Difference between revisions of "Pedro de Heredia"

Pedro de Heredia
Pedro de Heredia
Spouse(s)	unknown
Occupation	Governor ; Captain ;
Nationality	Spanish
Movement	Esgrima común
Genres	Fencing manual
Language	Middle French
Notable work(s)	Book of Lessons
Principal; manuscript(s)	Traite des armes (MS E.1939.65.359) ; Traite des armes (MS E.1939.65.360) ; Traite des armes (MS X.911) ;

Revision as of 04:23, 26 May 2022

Pedro de Heredia was a 17th century Spanish governor of a region in Belgium and a cavalry captain from 1615-1645.

Treatises

Illustrations	Draft Translation by John Tse	Transcribed by
	The strong will be from the back half for defense. And the weak for offense from the point until the middle. The sword can also be divided into three as you see above. As for the guards on which I rest my foundation, I stand with the common opinion of those who have made a profession of handling arms well that there are four guards, in the order that they are consecutively attributed; which nevertheless can be reduced to two, joining the first and second in one, and the third and fourth in the other. So let's say before going over what it is to be perfectly on guard. To be on guard consists of two things, namely: the accommodation of the body and that of the sword.
	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 sword point looking in front of the enemy's right shoulder a bit higher than the fittings^[1], 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.
	Section 2 - The four principle guards of the single sword. Article 1 The first guard is when one holds the arm at shoulder height. Article 2 The second will be when the hand is a bit lower than the shoulder. Article 3 The third is when the arm is a bit forward past the knee as it has been said above. Article 4 The fourth will be holding the sword forward from the left side.
	Section 3 - Counterguards to the aforementioned. The counterguard of the first aforementioned will be the fourth guard. The counterguard of the second will be the same. The counterguard of the third will likewise be the same in passing outward from the enemy's sword. 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.
	Section 4 - It is also important to know how our body can operate. Our body can be divided in two parts, one for offense, the other for defense. The right part will be used for offense, and the left for defense.
	Section 5 - The most notable points of warning that must be observed in several places. First, note when you are on guard with the enemy that you have a view of his eye, so that you have the proper means to discover all of his intentions. If you see the enemy's foot narrow, it will be to offend, if it is wide it will be to wait.
	Section 6 - Knowing which is the sword's correct^[2] or false edge. The sword's correct edge is that which offends and the false edge is that which parries.
	Section 7 - Four ways of passing. 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.
	Section 8 - Knowing which are the kind of times. Time of the sword, time of the foot, and time of the body movement are those that one can take in measure, when one wants to offend his enemy.
	Section 9 - Which kind are being in and out of measure. The measure consists of the distance from which one can reach each other with a single extended step, for there are three kinds, namely: exact, narrow, and far measure. The exact measure is when one can reach one another in one step, the narrow measure is when one can reach one another solely by extending the sword or an unforced half-step. The far measure is when one cannot easily reach with only one step; so to perfect it, we put a half step forward with a forced follow-up, another step to reach at what is the true resolute cut. Out of measure means when one cannot reach one another.
	Section 10 - How to win the measure. The measure, whatever it is, is gained by four kinds of accommodation of the foot which are called: advancing, approaching, joining, and chasing of the foot. The advancing of the foot is when, being in narrow or true step, you gain the measure advancing the right foot forward to double again with the right foot or go with the left foot as you see fit. The approaching of the foot is when, finding yourself in a wide step, you approach your left foot halfway to go to the right, then after with your right foot. Joining is when, finding yourself in true or narrow step, you join your left foot to the right to have means of advancing the right foot. The chasing of the foot is when, finding yourself in wide step, you approach with the left foot and chase the right further forward than it was. It is also curious to note and observe, before any accommodation of foot, to advance the sword a little towards the enemy's weak and to have an eye on the lookout so as not to be caught by surprise, and that you can go in countertimes to your advantage. I in no way approve of the stamping of the feet being an improper and uncomfortable thing. 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.
	Section 11 - What is the strong and the weak of the sword. The strong will be for defense, from the back half; and weak for offense from point until the middle.
	Section 12 - Understanding when one is on guard with advantage. The advantage will be when you have the sword point right at the enemy's shoulder, and his sword does not face you.
	Section 13 - Some definitions of words that are noted to understand fencing. Pass means to always move without changing intention except when the opportunity arises. Rotate^[3] properly speaking means going or twisting towards the part that one wants to offend whether it is inward or outward. Walk means going step by step both forward and backward. Snatch the foot means to bring the foot back to thereby break the measure with discretion. Over-thrust^[4] means a touch given with the point carried by the hand twisted with the nails upwards. Under-thrust^[5] also means a touch with the point taken with the hand twisted with the nails downwards. A stab means a touch both in under-thrust and over-thrust. Disengage means when one feints high and goes low, or feints low and goes high. 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. Firm foot means to give a long over-thrust or under-thrust without passing. Riposte is the over-thrust that the enemy shoots at he who shot first, whether a thrust or a hew. Straight line is to pursue the enemy without rotating or crossing anywhere. Void the body means to twist it to give way to the over-thrust that the enemy shoots. Round outers^[6], and round reversals mean hitting with a reversal and with a hew without moving the hand from where it is except by twisting it. Hew the sword is to beat the enemy's sword with one's own. Cover the sword means to lodge your sword onto that of the enemy's to subdue him or to compel him to disengage. Puncture the sword is to force the enemy to change guard. 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. 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. Flourish means to vary your point below the enemy's sword, both outward and inward, so that the enemy cannot know your intention, nor cover your sword. Recover or return in first, second, third, or fourth means to retire on guard with order.

Illustrations

Draft Translation
by John Tse

Transcribed by

Since the single sword is held above all as the queen of weapons and is carried everywhere and in companies, I will put it first and I will show in order the principles or simple lessons that I am accustomed to instruct young students.

Article 1

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.

Article 2

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 recovering into third guard.

Article 3

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.

Article 4

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 on 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 recovering in fourth guard.

Article 5

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 disengage and 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.

Article 6

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 below his guard giving him an over-thrust below 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.

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.

Article 7

Finding the enemy in second guard, you will go from third to cover with the middle of your strong on the middle of his weak, always observing the extension of the arm and body by subduing the sword before stepping with the right foot; and having gained this measure, if the enemy disengages to push a stab outward, you can counter-disengage passing your sword below his; raising your point and meeting his weak with your strong, you will push with the correct edge an over-thrust from fourth along his blade to the right shoulder, retiring quickly on guard without abandoning the blade.

Article 8

Finding the enemy in fourth guard, you will go from third to cover with your strong on his weak outward, twisting your hand in under-thrust; and if he disengages his point inward, you can make a counter-disengage, passing your point below his blade and returning to second; having found his weak with your strong, you will push an under-thrust to the right shoulder, retiring to second without leaving the enemy's blade.

Article 9

Finding the enemy in third guard, you will go in fourth pointing the sword point toward his guard, making a feint outward, beating the front foot without advancing it. And if the enemy goes to parry, you will cover inward over the sword guard, striking it at the right shoulder, returning quickly in third guard. Be warned that all feints must be done with a beat of the front foot, without moving the rear one, and that being on guard below the enemy's sword, your point remains two palms behind his guard, not advancing it, nor making the beating further than this, so as not to be taken by surprise.

Article 10

On the aforementioned guard, you can still carry your point below the enemy's sword outward towards his right arm. From there, you will feint inward according to the above rule and if he goes to parry, you will cover your point outward pushing an over-thrust on his right shoulder, recovering in third.

Article 11

The enemy being in third guard, you can go into fourth; carrying your point below his sword a bit outward, corresponding to the middle of his strong, and having gained this measure, you will gather your point inward lodging your strong on the middle of his weak to subdue it. And if he wants to press against it, you will cover your point below his guard, striking an over-thrust to his right shoulder, holding your guard well raised to counterguard your head, then you will return to second.

Article 12

If you find the enemy in third, you can go into fourth; holding your point below his sword a bit outward, corresponding to the middle of his strong; and having gained this measure, you will gather your point inward, placing your strong on the middle of his weak to subdue it; then if he presses against it, you will cover your point below his guard, stabbing him in the right shoulder, having the guard well raised, to counterguard the head.

Article 13

If you still find the enemy in third guard, the arm forward, and you are in fourth with your point outward from his sword and corresponding to the middle of his strong as above, you will gather your point inward, covering his weak with your strong, stepping forward with the right foot, then approaching the left foot, you will resolutely push an over-thrust to the right shoulder, letting go only the right foot without moving the left, returning into third, still holding the enemy's blade subject as long as you can.

Article 14

The enemy still being in third guard, and you in fourth with your point inward to oppose the middle of his strong, you will gather your point outward, twisting your hand in an under-thrust; and going into second, you will cover his weak with the middle of your strong, advancing the right foot and joining the left, you will push an under-thrust to the right shoulder quickly returning into second.

Article 15

Being both in the same guard as above, and having covered the enemy's sword with yours, if he shoot a reversal outward, you will parry his first cut with your strong against his weak, twisting your hand in an under-thrust, shooting at the same time to his right shoulder with firm footing, returning into second.

Article 16

If the enemy is in third and you, being in second, have covered his sword outward with your hand twisted in an under-thrust, and when he shoots at you with a heavy-cut^[7] inward, you will parry him with the same, twisting the hand in an over-thrust with the strong of your sword on his weak, pushing him at the same time an over-thrust from fourth to the right shoulder with firm foot, returning into fourth.

Article 17

If you find the enemy in second guard, you can put yourself in a third, holding your sword point raised below the middle of his strong; from there, advancing a step with the right foot, letting the left follow, you will push an under-thrust from second outward, over the middle of his strong to compel him to parry; in this time, you will cover your point below the elbow of his arm, striking it below the armpit, returning into second.

Article 18

If the enemy comes to cover your sword from second outward and having disengaged, he redoubles to again subdue it from third inward, you will advance your sword in fourth until the enemy's middle; come to your strong; and at the same time, you will twist the hand in an under-thrust, striking it from second towards the right shoulder, returning into third.

Article 19

If being on first guard, the enemy is going to cover your sword to shoot you with a first or second over-thrust to the head or shoulder, at the same time as his arm advances to strike, you will twist your hand in an under-thrust, dodging or subtly lowering the body and head, lowering your point a bit, you will strike him from second to the right side below the armpit, returning after into second.

Article 20

You can also put yourself in third guard, holding your sword guard near your belt, the hand half-twisted in an under-thrust, your point outward that of the enemy's corresponding to the middle of his strong; and if he comes from fourth with his arm extended to cover your weak, you will push a resolute under-thrust, straight to the right shoulder, dodging your head a little, putting yourself back into second.

Article 21

Your enemy being in first guard, his point and his guard of the same height, you will come from second to cover his weak with the middle of your blade, having the hand twisted in an over-thrust; then twisting it into an under-thrust, you will lead his sword outward, pushing at the same time an under-thrust below his guard to the right side, with firm foot or with passing. The same is also done in an over-thrust, depending on how you find the enemy's point disposed, putting you back into second.

Article 22

If you are going into third to cover the weak of the enemy's sword and failing your intention, he disengages his point to shoot you from second an under-thrust in the right shoulder, you will quickly twist your hand into an under-thrust and thus, leaning the body and the head, you will push from second the same under-thrust to the enemy's right side; and having warned him, you will retire into second.

Article 23

Article 24

Article 25

Article 26

Article 27

Article 28

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source	License
Illustrations
Transcription	Lionel Lauvernay, Olivier Dupuis, Philippe Errard, Didier de Grenier	Livre des Lecons

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.
↑ Lit. translated as "right-hands".
↑ Estramaçon is a loanword for the Italian stramazzare which means "to fall heavily". It is also French for greatsword.
↑ 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.

[1] 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.

[2] 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.

[3] Volter is an Italian loanword of "Voltare".

[4] Estocade is the French loanword for the Italian stoccata.

[5] Brocade is the French loanword for the Italian imbroccata.

[6] Lit. translated as "right-hands".

[7] Estramaçon is a loanword for the Italian stramazzare which means "to fall heavily". It is also French for greatsword.

[8] Credits to Alan Bloniarz for providing context to the word "garatusa".

[9] Écarté is the French word for the Italian technique "inquartata".

[10] 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.

[11] The Spanish word "cortar" simply means "to cut".

[12] Chassement means "chasing". In this case, it is the back foot chasing the front. In modern fencing, this is known as advancing.

[13] Crèvement means "to burst or to puncture." In the treatise, it is used to describe breaking guards.

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@@ Line 200: / Line 200: @@
 <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 inward or outward.</p>
+<p>'''Rotate'''<ref>Volter is an Italian loanword of "Voltare".</ref> properly speaking means going or twisting towards the part that one wants to offend whether it is inward or outward.</p>
 <p>'''Walk''' means going step by step both forward and backward.</p>
@@ Line 220: / Line 220: @@
 <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 rotating or crossing anywhere.</p>
-<p>'''Void''' the body means to turn it to give way to the over-thrust that the enemy shoots.</p>
+<p>'''Void''' the body means to twist it to give way to the over-thrust that the enemy shoots.</p>
 <p>'''Round outers<ref>Lit. translated as "right-hands".</ref>, ''' 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>
@@ Line 228: / Line 228: @@
 <p>'''Hew''' the sword is to beat the enemy's sword with one's own.</p>
-<p>'''Cover''' the sword means to lodge your sword onto that of the enemy to subdue him or to compel him to disengage.</p>
+<p>'''Cover''' the sword means to lodge your sword onto that of the enemy's to subdue him or to compel him to disengage.</p>
 <p>'''Puncture''' the sword is to force the enemy to change guard.</p>

Difference between revisions of "Pedro de Heredia"

Revision as of 04:23, 26 May 2022

Contents

Treatises

Preface

Single Sword Play

Chapter 1 - Simple lessons of the single sword.

Chapter 2 - The discard[8].

Chapter 3 - Double lessons of the single sword.

Chapter 4 - Feints.

Chapter 5 - Spread[9] and remedies.

Chapter 6 - The passes.

Chapter 7 - Times and counter-times.

Chapter 8 - Lessons on sword attack.

Chapter 9 - On the use of the free hand.

Chapter 10 - On sword-taking and its remedy.

Chapter 11 - The gainings[10] or the subjections of the sword.

Chapter 12 - Slashes[11], reversals, and their remedies.

Chapter 13 - Single sword play in mathematics form.

Chapter 14 - Discourse and warning of the single sword play, both for winning land and other required subtleties.

Chapter 15 - Rule to avoid being surprised on the time of the foot.

Chapter 16 - Single sword play against sword and dagger.

Chapter 17 - On the short sword.

Chapter 18 - On the use of the cloak.

Chapter 19 - The grapples of the single sword.

Chapter 20 - Against the left-hander.

Sword and Dagger Play

Chapter 1 - First the dagger parries.

Chapter 2 - The simple lessons of sword and dagger.

Chapter 3 - The feints of the said sword and dagger play.

Chapter 4 - On the beats of both sword and dagger.

Chapter 5 - On the long play.

Chapter 6 - The double intentions.

Chapter 7 - The passes and their remedies.

Chapter 8 - The spreads.

Chapter 9 - On times and counter-time.

Chapter 10 - The encroachment.

Chapter 11 - The advancing[12] on the long and short play.

Chapter 12 - On the breaking.[13]

Chapter 13 - The slashes of the sword and dagger play.

Chapter 14 - Binding and unbinding.

Chapter 15 - Subjugation, disengagement, and avoidance of engagement.

Chapter 16 - Lessons of dagger cuts.

Chapter 17 - How one can throw the sword out of the hand.

Chapter 18 - On the left foot.

Chapter 19 - Against the left-hander.

Chapter 20 - Discourse and warning of the sword and dagger play.

Chapter 21 - Know who has more advantage being in a mountainous place, he who holds the top or the bottom.

Chapter 22 - Know who has more advantage, the left-hander or the right-hander.

Chapter 23 - Rule against those withdrawing that we want to catch off guard while you pursue.

Chapter 24 - Know who has more advantage, the sword and cape or the sword and dagger.

Chapter 25 - Warning how a little man needs to control a big man.

Chapter 26 - The grapples of the sword and dagger.

Chapter 27 - The guard takes against dagger cuts.

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References

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Chapter 2 - The discard^[8].

Chapter 5 - Spread^[9] and remedies.

Chapter 11 - The gainings^[10] or the subjections of the sword.

Chapter 12 - Slashes^[11], reversals, and their remedies.

Chapter 11 - The advancing^[12] on the long and short play.

Chapter 12 - On the breaking.^[13]