 |
You are not currently logged in. Are you accessing the unsecure (http) portal? Click here to switch to the secure portal. |
Difference between revisions of "Pedro de Heredia"
Jump to navigation
Jump to search
| Line 83: | Line 83: | ||
| '''Section 1 - How one must accommodate the body to get into a good posture.''' | | '''Section 1 - How one must accommodate the body to get into a good posture.''' | ||
| − | Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or slightly bent, the two heels face-to-face to one another showing only the flank; you will cover with your right arm well extended below and a bit in front above the right thigh, the point | + | Now the accommodation of the body to be on guard will be holding the body straight with the right side a bit forward, turning the left side a bit backward, leaning the body on the left leg, of which the knee must be bent; the left arm is raised near the face like a semi-circle, the right leg extended or slightly bent, the two heels face-to-face to one another showing only the flank; you will cover with your right arm well extended below and a bit in front above the right thigh, the sword point looking in front of the enemy's right shoulder a bit higher than the fittings<ref>According to Lauvernay, "fourniment" is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.</ref>, and traversed somewhat within, properly going on all sides to the enemy's sword. It is the third guard that I hold to be the most perfect, and in which all observations of good technique can be better preserved, since everything that derives from the other guards can easily (at least in part) be accommodated by this one. However having previously spoken of the four guards, I want to explain each of them in their place, to show that it is not necessary to rest in only one, because I hold them all good when performed well. |
Before putting the said guards in effect, a good master must teach his disciples the steps which are called passing, turning, traversing, and linear following before putting the sword in their hand, to make them more agile and swift in all movements, which having understood, he will give them sword in hand, teaching them the ensuing guards from which all the others derive as their principal element. | Before putting the said guards in effect, a good master must teach his disciples the steps which are called passing, turning, traversing, and linear following before putting the sword in their hand, to make them more agile and swift in all movements, which having understood, he will give them sword in hand, teaching them the ensuing guards from which all the others derive as their principal element. | ||
| Line 117: | Line 117: | ||
<p>The counterguard of the second will be the same.</p> | <p>The counterguard of the second will be the same.</p> | ||
| − | <p>The counterguard of the third will likewise be the same in passing | + | <p>The counterguard of the third will likewise be the same in passing outward from the enemy's sword.</p> |
<p>The counterguard of the fourth will be the third, your sword covering that of the enemy's with your strong on your opponent's weak.</p> | <p>The counterguard of the fourth will be the third, your sword covering that of the enemy's with your strong on your opponent's weak.</p> | ||
| Line 140: | Line 140: | ||
|- | |- | ||
| | | | ||
| − | | <p>'''Section 6 - Knowing which is the correct<ref>Droit can mean "right" (as in not left or not wrong) or "correct" (as in not incorrect) or "true" (as in not false). All are likely acceptable.</ref> or false edge | + | | <p>'''Section 6 - Knowing which is the sword's correct<ref>Droit can mean "right" (as in not left or not wrong) or "correct" (as in not incorrect) or "true" (as in not false). All are likely acceptable.</ref> or false edge.'''</p> |
| − | <p>The correct edge | + | <p>The sword's correct edge is that which offends and the false edge is that which parries.</p> |
| | | | ||
| Line 149: | Line 149: | ||
| <p>'''Section 7 - Four ways of passing.</p>''' | | <p>'''Section 7 - Four ways of passing.</p>''' | ||
| − | <p>The first passing is made | + | <p>The first passing is made outward from the enemy's sword. The second will be on the left side, the third will be narrowing the step going in a straight line. The fourth will pass one foot in front of the other; take heed that with this last passing, the left foot must move first.</p> |
| | | | ||
| Line 177: | Line 177: | ||
<p>I in no way approve of the stamping of the feet being an improper and uncomfortable thing.</p> | <p>I in no way approve of the stamping of the feet being an improper and uncomfortable thing.</p> | ||
| − | <p>As also I entirely blame those who shoot their | + | <p>As also I entirely blame those who shoot their over-thrust, stretch their bodies and hold their heads back, thinking that this makes a better cut, in which they are mistaken. On the contrary, they more often than not abandon themselves to the discretion of their enemy, for they are not assured of delivering their cut, which having just been parried, they find themselves so rushed and so committed that they cannot recover time without receiving. Also, it removes the protection of the left hand; therefore I cannot approve of these big steps, and I say that it is better to hold the body straight with strength by extending his cuts to be always prompt in the delivery.</p> |
| | | | ||
| Line 200: | Line 200: | ||
<p>'''Pass''' means to always move without changing intention except when the opportunity arises.</p> | <p>'''Pass''' means to always move without changing intention except when the opportunity arises.</p> | ||
| − | <p>'''Turn'''<ref>Volter is an Italian loanword of "Voltare".</ref> properly speaking means going or turning towards the part that one wants to offend whether it is | + | <p>'''Turn'''<ref>Volter is an Italian loanword of "Voltare".</ref> properly speaking means going or turning towards the part that one wants to offend whether it is inward or outward.</p> |
<p>'''Walk''' means going step by step both forwards and backwards.</p> | <p>'''Walk''' means going step by step both forwards and backwards.</p> | ||
| Line 206: | Line 206: | ||
<p>'''Snatch''' the foot means to bring the foot back to thereby break the measure with discretion.</p> | <p>'''Snatch''' the foot means to bring the foot back to thereby break the measure with discretion.</p> | ||
| − | <p>''' | + | <p>'''Over-thrust'''<ref>Estocade is the French loanword for the Italian stoccata.</ref> means a touch given with the point carried by the hand twisted with the nails upwards.</p> |
| − | <p>''' | + | <p>'''Under-thrust'''<ref>Brocade is the French loanword for the Italian imbroccata.</ref> also means a touch with the point taken with the hand twisted with the nails downwards.</p> |
| − | <p>A ''' | + | <p>A '''stab''' means a touch both in under-thrust and over-thrust.</p> |
<p>'''Disengage''' means when one feints high and goes low, or feints low and goes high. | <p>'''Disengage''' means when one feints high and goes low, or feints low and goes high. | ||
| Line 216: | Line 216: | ||
<p>'''Call''' means pulling a step or uncovering a part of the body, to provoke the enemy to attack, in order to execute what one desires. | <p>'''Call''' means pulling a step or uncovering a part of the body, to provoke the enemy to attack, in order to execute what one desires. | ||
| − | <p>'''Firm foot''' means to give a long | + | <p>'''Firm foot''' means to give a long over-thrust or under-thrust without passing.</p> |
| − | <p>'''Riposte''' is the | + | <p>'''Riposte''' is the over-thrust that the enemy shoots at he who shot first, whether a thrust or a hew.</p> |
<p>'''Straight line''' is to pursue the enemy without turning or crossing anywhere.</p> | <p>'''Straight line''' is to pursue the enemy without turning or crossing anywhere.</p> | ||
| − | <p>'''Void''' the body means to turn it to give way to the | + | <p>'''Void''' the body means to turn it to give way to the over-thrust that the enemy shoots.</p> |
| − | <p>'''Round right hands''' and '''round reversals''' mean hitting with a reversal and with a hew without moving the hand from where it is except by | + | <p>'''Round right hands''' and '''round reversals''' mean hitting with a reversal and with a hew without moving the hand from where it is except by twisting it.</p> |
<p>'''Hew''' the sword is to beat the enemy's sword with one's own.</p> | <p>'''Hew''' the sword is to beat the enemy's sword with one's own.</p> | ||
| Line 232: | Line 232: | ||
<p>'''Puncture''' the sword is to force the enemy to change guard.</p> | <p>'''Puncture''' the sword is to force the enemy to change guard.</p> | ||
| − | <p>Sometimes if one is said to '''shoot a | + | <p>Sometimes if one is said to '''shoot a stab''' to the face or a cut to the head, that may be a feint, therefore, one must use discretion. |
| − | <p>'''Beating of the foot''' means feinting to push a resolute | + | <p>'''Beating of the foot''' means feinting to push a resolute over-thrust with firm foot so that the enemy must parry and after he does to redouble to another where you will see him open.</p> |
<p>'''Flourish''' means to vary your point under the enemy's sword, both outward and inward, so that the enemy cannot know your intention, nor cover your sword.</p> | <p>'''Flourish''' means to vary your point under the enemy's sword, both outward and inward, so that the enemy cannot know your intention, nor cover your sword.</p> | ||
| Line 271: | Line 271: | ||
<p>'''Article 1</p> | <p>'''Article 1</p> | ||
| − | <p>First finding yourself in the fourth guard and the enemy being in third or second, you will cover inward with the strong of your sword on the middle of his weak; and having gained, you will push an | + | <p>First finding yourself in the fourth guard and the enemy being in third or second, you will cover inward with the strong of your sword on the middle of his weak; and having gained, you will push an over-thrust straight from the correct edge to his right shoulder without abandoning his blade. And to perform this cut well, note that it is appropriate for the arm to be extended and the body extended before the foot steps to push, so that you are not surprised and the enemy cannot disengage on the raising of the foot.</p> |
<p>'''Article 2</p> | <p>'''Article 2</p> | ||
| − | <p>You will also be in fourth guard, to subjugate the enemy's sword covering it as above; and if he changes his point and shoots outward a | + | <p>You will also be in fourth guard, to subjugate the enemy's sword covering it as above; and if he changes his point and shoots outward a under-thrust, you will parry with your strong on his weak with the hand twisted into an under-thrust, and you will at the same time push an under-thrust with the correct edge to the right side, fully extending the body and arms, without abandoning the enemy's sword, quickly pulling back into third guard.</p> |
<p>'''Article 3</p> | <p>'''Article 3</p> | ||
| − | <p>Finding the enemy camped in third guard, you will advance in second with the arm and body; and | + | <p>Finding the enemy camped in third guard, you will advance in second with the arm and body; and twisting the hand in under-thrust, you will cover his sword with your strong on the middle of his weak; and if he changes his point and shoots a stab inward, you will parry again with your strong to his weak, and you will push with the correct edge an over-thrust with firm foot to the right shoulder. Note that the arm and the body are still lodged before the foot step in order to push off.</p> |
<p>'''Article 4</p> | <p>'''Article 4</p> | ||
| − | <p>Being in third guard, you can also similarly hold your point below the middle of the strong of the enemy's sword a bit outward; then gathering it towards you at the height of the enemy's face, you will cover from the middle of your strong to the middle of his weak inward, pushing at the same time an | + | <p>Being in third guard, you can also similarly hold your point below the middle of the strong of the enemy's sword a bit outward; then gathering it towards you at the height of the enemy's face, you will cover from the middle of your strong to the middle of his weak inward, pushing at the same time an over-thrust to the right shoulder without abandoning his blade so as not to receive at the same time, quickly putting you back in fourth guard.</p> |
<p>'''Article 5</p> | <p>'''Article 5</p> | ||
| − | <p></p> | + | <p>You can still with the same guard, hold your sword point inward below the enemy's hilt; and in case he comes to cover your sword, you will change it at the same time placing your strong on the middle of his weak, twisting the hand in an under-thrust, and thus you will shoot from second a straight line stab outward at the right shoulder extending first the arm and body, then returning to the same guard.</p> |
<p>'''Article 6</p> | <p>'''Article 6</p> | ||
| − | <p></p> | + | <p>Finding the enemy in first guard, you will put yourself in second, pointing your sword point at opponent's the right eye; who coming to cover your weak with his strong, you will lower your point at the same time under his guard giving him an over-thrust under the armpit, carrying your sword guard well raised to protect the head against slashes that the enemy could shoot if you were caught off guard.</p> |
| + | |||
| + | <p>This same cut can be done after your enemy has already covered your sword, provided that you take it at the time that it is strong enough to subdue it.</p> | ||
<p>'''Article 7</p> | <p>'''Article 7</p> | ||
| Line 412: | Line 414: | ||
<p>'''Article 1'''</p> | <p>'''Article 1'''</p> | ||
| − | <p>If the enemy is in second, and you in third, at the same time as he extends his arm in | + | <p>If the enemy is in second, and you in third, at the same time as he extends his arm in over-thrust, you will parry, covering his sword with your strong on his weak; then twisting your hand in under-thrust, you will shoot a reversal on his sword, pulling your false edge back towards you, and thus you can shoot the sword out of his hands.</p> |
<p>'''Article 2'''</p> | <p>'''Article 2'''</p> | ||
| − | <p>The enemy having gained your sword within and wanting to give you an | + | <p>The enemy having gained your sword within and wanting to give you an over-thrust from fourth, you will parry with the strong of your sword close to his point; then twisting your hand in under-thrust, you will draw a reversal to you on his weak, and thus you will throw the sword from his hands.</p> |
<p>'''Article 3'''</p> | <p>'''Article 3'''</p> | ||
| − | <p>The enemy also wanting to shoot | + | <p>The enemy also wanting to shoot under-thrust inward at you, you will shoot him at the same time a slash from second long to the his sword point in order to throw it out of his hand.</p> |
| − | <p>And if observing the aforementioned rules for throwing the sword out of the enemy's hand, and he wants to leave your sword, at the same time as his point binds, you will shoot a | + | <p>And if observing the aforementioned rules for throwing the sword out of the enemy's hand, and he wants to leave your sword, at the same time as his point binds, you will shoot a under-thrust to his chest, retiring into third.</p> |
<p>'''Section 2 Remedy against the discard.'''</p> | <p>'''Section 2 Remedy against the discard.'''</p> | ||
| − | <p>If the enemy having gained the weak of your sword inward on his strong, wants to throw you with his hand, at the same time that he does the turn from the reversal, you will change your point outward, pushing from fourth a | + | <p>If the enemy having gained the weak of your sword inward on his strong, wants to throw you with his hand, at the same time that he does the turn from the reversal, you will change your point outward, pushing from fourth a stab to his right shoulder; or else you will twist the hand in under-thrust, letting the sword hilt slide in your hand; or else at the same time that he wants to turn his reversal, you will twist your hand in under-thrust, shooting a slash to his head.</p> |
| | | | ||
| Line 601: | Line 603: | ||
{{master subsection begin | {{master subsection begin | ||
| − | | title = Chapter 12 - Slashes<ref> | + | | title = Chapter 12 - Slashes<ref>The Spanish word "cortar" simply means "to cut".</ref>, reversals, and their remedies. |
| width = 90em | | width = 90em | ||
}} | }} | ||
Revision as of 03:11, 18 May 2022
| Pedro de Heredia | |
|---|---|
| Spouse(s) | unknown |
| Occupation |
|
| Nationality | Spanish |
| Movement | Esgrima común |
| Genres | Fencing manual |
| Language | Middle French |
| Notable work(s) | Book of Lessons |
| Principal manuscript(s) |
|
Pedro de Heredia was a 17th century Spanish governor of a region in Belgium and a cavalry captain from 1615-1645.
Contents
- 1 Treatises
- 1.1 Preface
- 1.2 Single Sword Play
- 1.2.1 Chapter 1 - Simple lessons of the single sword.
- 1.2.2 Chapter 2 - The discard[6].
- 1.2.3 Chapter 3 - Double lessons of the single sword.
- 1.2.4 Chapter 4 - Feints.
- 1.2.5 Chapter 5 - Spread[7] and remedies.
- 1.2.6 Chapter 6 - The passes.
- 1.2.7 Chapter 7 - Times and counter-times.
- 1.2.8 Chapter 8 - Lessons on sword attack.
- 1.2.9 Chapter 9 - On the use of the free hand.
- 1.2.10 Chapter 10 - On sword-taking and its remedy.
- 1.2.11 Chapter 11 - The gainings[8] or the subjections of the sword.
- 1.2.12 Chapter 12 - Slashes[9], reversals, and their remedies.
- 1.2.13 Chapter 13 - Single sword play in mathematics form.
- 1.2.14 Chapter 14 - Discourse and warning of the single sword play, both for winning land and other required subtleties.
- 1.2.15 Chapter 15 - Rule to avoid being surprised on the time of the foot.
- 1.2.16 Chapter 16 - Single sword play against sword and dagger.
- 1.2.17 Chapter 17 - On the short sword.
- 1.2.18 Chapter 18 - On the use of the cloak.
- 1.2.19 Chapter 19 - The grapples of the single sword.
- 1.2.20 Chapter 20 - Against the left-hander.
- 1.3 Sword and Dagger Play
- 1.3.1 Chapter 1 - First the dagger parries.
- 1.3.2 Chapter 2 - The simple lessons of sword and dagger.
- 1.3.3 Chapter 3 - The feints of the said sword and dagger play.
- 1.3.4 Chapter 4 - On the beats of both sword and dagger.
- 1.3.5 Chapter 5 - On the long play.
- 1.3.6 Chapter 6 - The double intentions.
- 1.3.7 Chapter 7 - The passes and their remedies.
- 1.3.8 Chapter 8 - The spreads.
- 1.3.9 Chapter 9 - On times and counter-time.
- 1.3.10 Chapter 10 - The encroachment.
- 1.3.11 Chapter 11 - The advancing[10] on the long and short play.
- 1.3.12 Chapter 12 - On the breaking.[11]
- 1.3.13 Chapter 13 - The slashes of the sword and dagger play.
- 1.3.14 Chapter 14 - Binding and unbinding.
- 1.3.15 Chapter 15 - Subjugation, disengagement, and avoidance of engagement.
- 1.3.16 Chapter 16 - Lessons of dagger cuts.
- 1.3.17 Chapter 17 - How one can throw the sword out of the hand.
- 1.3.18 Chapter 18 - On the left foot.
- 1.3.19 Chapter 19 - Against the left-hander.
- 1.3.20 Chapter 20 - Discourse and warning of the sword and dagger play.
- 1.3.21 Chapter 21 - Know who has more advantage being in a mountainous place, he who holds the top or the bottom.
- 1.3.22 Chapter 22 - Know who has more advantage, the left-hander or the right-hander.
- 1.3.23 Chapter 23 - Rule against those withdrawing that we want to catch off guard while you pursue.
- 1.3.24 Chapter 24 - Know who has more advantage, the sword and cape or the sword and dagger.
- 1.3.25 Chapter 25 - Warning how a little man needs to control a big man.
- 1.3.26 Chapter 26 - The grapples of the sword and dagger.
- 1.3.27 Chapter 27 - The guard takes against dagger cuts.
- 1.4 Copyright and License Summary
- 2 Additional Resources
- 3 References
Treatises
Preface
Single Sword Play
Sword and Dagger Play
Copyright and License Summary
Additional Resources
References
- ↑ According to Lauvernay, "fourniment" is the powder case of arquebusiers and musketeers (sometimes extended to all the equipment carried). The word is only used once to indicate a place on the body, probably a bit below the shoulder.
- ↑ Droit can mean "right" (as in not left or not wrong) or "correct" (as in not incorrect) or "true" (as in not false). All are likely acceptable.
- ↑ Volter is an Italian loanword of "Voltare".
- ↑ Estocade is the French loanword for the Italian stoccata.
- ↑ Brocade is the French loanword for the Italian imbroccata.
- ↑ Credits to Alan Bloniarz for providing context to the word "garatusa".
- ↑ Écarté is the French word for the Italian technique "inquartata".
- ↑ Gannance is a loanword derived from the Spanish word "ganancia", which means "gain". It is used to describe a situation where your blade is used to restrict the opponent's blade movement. Credit to Tim Riviera for the explanation.
- ↑ The Spanish word "cortar" simply means "to cut".
- ↑ Chassement means "chasing". In this case, it is the back foot chasing the front. In modern fencing, this is known as advancing.
- ↑ Crèvement means "to burst or to puncture." In the treatise, it is used to describe breaking guards.
|
|||||||||||||||||||||||||||
