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Difference between revisions of "Pedro de Heredia"
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| '''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 sword point looking in front of the enemy's right shoulder a bit higher than the fittings<ref>According to Lauvernay, | + | 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. | ||
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|- | |- | ||
| | | | ||
− | | <p>'''Section 6 - Knowing which is the sword's correct<ref>Droit can mean "right" | + | | <p>'''Section 6 - Knowing which is the sword's correct<ref>Droit can mean "right" or "correct" (as in not incorrect) or "true".</ref> or false edge.'''</p> |
<p>The sword's correct edge is that which offends and the false edge is that which parries.</p> | <p>The sword's correct edge is that which offends and the false edge is that which parries.</p> | ||
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<p>'''Collect''' the foot means to bring the foot back to therefore break the measure with discretion.</p> | <p>'''Collect''' the foot means to bring the foot back to therefore break the measure with discretion.</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>'''Over-thrust'''<ref>Estocade is the French loanword for the Italian stoccata and is used in this treatise as "pronation".</ref> means a touch given with the point carried by the hand twisted with the nails upwards.</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>'''Under-thrust'''<ref>Brocade is the French loanword for the Italian imbroccata and is used in this treatise as "supination".</ref> also means a touch with the point taken with the hand twisted with the nails downwards.</p> |
<p>A '''stab''' means a touch both in under-thrust and over-thrust.</p> | <p>A '''stab''' means a touch both in under-thrust and over-thrust.</p> | ||
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{{master subsection begin | {{master subsection begin | ||
− | | title = Chapter 2 - The discard<ref>Credits to Alan Bloniarz for providing context to the word "garatusa".</ref>. | + | | title = Chapter 2 - The discard<ref>Credits to Alan Bloniarz for providing context to the word "garatusa" which is a Spanish card game where one discards their cards to win.</ref>. |
| width = 90em | | width = 90em | ||
}} | }} | ||
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{{master subsection begin | {{master subsection begin | ||
− | | title = Chapter 5 - | + | | title = Chapter 5 - Disappearances<ref>Écarté is the French loanword for the Italian technique "inquartata" and means "discarded" and is a French card game where one discards their cards to win.</ref> and remedies. |
| width = 90em | | width = 90em | ||
}} | }} | ||
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|- | |- | ||
| | | | ||
− | | <p>'''Section 1 The | + | | <p>'''Section 1 The disappeances.'''</p> |
<p>'''Article 1'''</p> | <p>'''Article 1'''</p> | ||
− | <p>To perform the | + | <p>To perform the disappearances well, you will hold your sword guard close to the belt, the legs widened to be in your strength; and if the enemy shoots an under-thrust, you will disengage your point inward against the middle of his blade and removing the body, you will push with firm foot to the right shoulder.</p> |
− | <p>Doing the | + | <p>Doing the removing, note that it is necessary to remove or void the body, that the tips of the feet twist backward, and the heels forward, such that what was behind goes forward, and what was forward back, all at once.</p> |
<p>'''Article 2'''</p> | <p>'''Article 2'''</p> | ||
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<p>You can also hold the guard close to your belt, and with the enemy going to pass over you with your left foot outward, you will disengage your sword inward with the dodging of the body and twisting your foot without advancing it.</p> | <p>You can also hold the guard close to your belt, and with the enemy going to pass over you with your left foot outward, you will disengage your sword inward with the dodging of the body and twisting your foot without advancing it.</p> | ||
− | <p>'''Section 2 Remedy against all types of | + | <p>'''Section 2 Remedy against all types of disappearances that can be performed.'''</p> |
<p>'''Article 1'''</p> | <p>'''Article 1'''</p> | ||
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{{master subsection begin | {{master subsection begin | ||
− | | title = Chapter 8 - The | + | | title = Chapter 8 - The disappearances. |
| width = 90em | | width = 90em | ||
}} | }} |
Revision as of 00:46, 14 June 2022
Pedro de Heredia | |
---|---|
Spouse(s) | unknown |
Occupation |
|
Nationality | Spanish |
Movement |
|
Influences | Girolamo Cavalcabo |
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. He wrote three manuscripts.
De Heredia's Le Livre des Leçons ("The Book of Lessons") is influenced by Girolamo Cavalcabo's Nobilissimo discorso intorno il schermo ("Most Noble Discourse on Defense").
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[9].
- 1.2.3 Chapter 3 - Double lessons of the single sword.
- 1.2.4 Chapter 4 - Feints.
- 1.2.5 Chapter 5 - Disappearances[10] 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[11] or the subjections of the sword.
- 1.2.12 Chapter 12 - Slashes[12], reversals, and their remedies.
- 1.2.13 Chapter 13 - Single sword play in mathematics form.
- 1.2.14 Chapter 14 - Discourse and advice 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 disappearances.
- 1.3.9 Chapter 9 - On times and counter-time.
- 1.3.10 Chapter 10 - The encroachment.
- 1.3.11 Chapter 11 - The advancing[13] on the long and short play.
- 1.3.12 Chapter 12 - On the breaking.[14]
- 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 advice 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 - Advice on 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" or "correct" (as in not incorrect) or "true".
- ↑ Volter is an Italian loanword of voltare which means "to turn".
- ↑ Estocade is the French loanword for the Italian stoccata and is used in this treatise as "pronation".
- ↑ Brocade is the French loanword for the Italian imbroccata and is used in this treatise as "supination".
- ↑ Caver is the French loanword for the Italian cavare, which means "to dig or to excavate".
- ↑ 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" which is a Spanish card game where one discards their cards to win.
- ↑ Écarté is the French loanword for the Italian technique "inquartata" and means "discarded" and is a French card game where one discards their cards to win.
- ↑ 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.
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