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Difference between revisions of "Pseudo-Ibn Akḥī Ḥizām"

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The translation which follows is a selection of those sections of ''Jāmiʿ al-funūn'' most relevant to the study of swordfighting and the development of the saber in the Islamicate, prepared as part of [[Hamilton Parker Cook]], PhD.
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The translation which follows is a selection of those sections of ''Jāmiʿ al-funūn'' most relevant to the study of swordfighting and the development of the saber in the Islamicate, prepared by [[Hamilton Parker Cook]], PhD, for the Oakeshott Collection.
  
 
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  | source link =  
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  | source link = https://hamaassociation.wordpress.com/blog/
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  | source title= Historical African Martial Arts Association
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  | source title= HAMA Association Mamluk Project
 
  | license    = noncommercial
 
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Latest revision as of 17:28, 12 March 2025

Pseudo Ibn Akḥī Ḥizām
Born 10th AH/15th CE century
Egypt? Syria?
Occupation Mamluk scribe?
Nationality Circassian Period (“Burjī”) Mamluk
Influences
  • Mamluk Martial Arts Literature
  • Lāchin b. ʿAbdallāh al-Ṭarablūsī
  • Ibn Akhī Ḥizām
Genres Military manual
Language Arabic, Egyptian Colloquial Arabic
Manuscript(s) MS Arabe 2824 (1470)
The title of this article contains the characters ā, ḥ and ī. Where they are unavailable or not desired, the name may be represented as Pseudo-Ibn Akhi Hizam.

Kitāb al-makhzūn: Jāmiʿ al-funūn ("The Treasure: A Work that Gathers Together Combative Arts"; colophon dated 875 AH/1470-1CE) is an Arabic language work in the classical style of Mamluk furūsīya literature.[1] The work is attributed to the famous «father» of Islamicate martial arts literature Ibn Akhī Ḥizām (c. 250 AH/ 864 CE; given as Ibn Akhī Khuzām), yet is clearly the work of a Mamluk author.[2] Agnès Carayon suggests that a grandee of the Circassian Mamluk (Burjī) court commissioned the work, potentially for Sultan Qāʾitbay (r. 1468-1496).[3] Composite in nature, the work is most likely a summary of other, more voluminous works—such as Nihāyat al-suʾl wa-l-amnīya fī taʿlīm aʿmāl al-furūsīya ("The End of Questioning: A Trustworthy Work concerning Instruction in the Deeds of Furūsīya") by Al-Aqsarāʾī (c. 9th cent. AH/14th cent CE).[4] Certain sections begin and then trail off, while others remain incomplete, suggesting that this work is composite in nature and was most likely a summary or copy of other works both extant and lost. The author does not cite other authors within the body of the text itself.

The text of Jāmiʿ al-funūn is by and large more classical in nature with a great deal of dialectal, Egyptian Arabic of the period. This pertains both to vocabulary (ex: bāṭ for ibāṭ "armpit" throughout; jawwān as a preposition) as well as to grammar (verbs not in gender alignment, plurality disagreements, grammatical inconsistencies of adverbial phrases etc.). An introductory phrase in Ottoman Turkish in the beginning of the text has it that on «The seventh night of Muharram, 975 AH (1567CE)” a certain “Ṣilāhdār Aǧa” Dervish (unknown) petitioned God to be among those counted as Muhammad’s companions.[5] Likewise, the intricate title page has “The owner of this work is Derviş Ağa” crossed out in black ink.[6] Whether or not this was a higher ranking “Arms-Bearer” of the Sultan cannot be confirmed. The version from which the following translation stems is Bibliothèque Nationale MS 2824 (another version can be found in the same collection: MS 2826). Scholars have yet to produce a critical edition of this work.

Despite its brevity in comparison to other works of the Mamluk furūsīya tradition, Jāmiʿ al-funūn provides a great deal of insight into the ways in which the Mamluks trained their troops. The illustrations featured in the work are some of the best examples of the medium.[7] Distinct from other works in the genre with lengthy introductions, Jāmiʿ al-funūn begins with only minor benedictions, then jumps straight into a description of how to establish the training area for cavalry exercises – the nāwārd. From there, the author displays 72 bunūd or paired lance exercises – most likely inspired by al-Ṭarāblūsī’s famous 72 forms (c . 738 AH / 1337-8 CE).[8] Following this, the author then treats issues deemed relevant to the development of a cavalier, without a particular logic to the ordering of the sections.

Unlike other works of furūsīya, Jāmiʿ al-funūn contains several sections detailing the ways in which soldiers can train for combat on foot. Most notably, the author presents a system for training swordsmanship. The work begins with instruction on the ways in which one can execute paired exercises with cane fighting, dagger fighting, and cane and shield fighting on foot. The author details the proper ways to feint and hit, the ways in which one can parry and riposte (and disarm), and where to target with a sword. In the author’s system, training with the cane was a safe means to perfect one’s technique before moving on to using sharp swords in battle. After training with the cane, the author recommends perfecting test cutting on clay mounds as a way to develop arm strength and ensure proper edge alignment. Following both of these methods of training, a potential cavalier would be ready to pursue test cutting on horseback.

Treatise

The translation of these two sections was prepared as part of The Mamlulk Project.

The translation which follows is a selection of those sections of Jāmiʿ al-funūn most relevant to the study of swordfighting and the development of the saber in the Islamicate, prepared by Hamilton Parker Cook, PhD, for the Oakeshott Collection.

Additional Resources

  • Agnès CARAYON, “La Furūsiyya Des Mamlûks: Une élite sociale à cheval (1250-1517), Doctoral Thesis in History (Arab World, Muslim, and Semitic Studies), Université de Provence Aix-Marseille, June 26 2012.
  • Shihab al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents,” in Mamlūk Studies Review Vol. VIII, No. 1 (2004).

References

  1. ↑ Pseudo Ibn Akhī Ḥizām, “Kitāb al-makhzūn”
  2. ↑ al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents”, pg. 154
  3. ↑ CARAYON, “La Furūsiyya Des Mamlûks”, pg. 605
  4. ↑ al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents”, pg. 155-172
  5. ↑ Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 2r
  6. ↑ Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 3r
  7. ↑ See: Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 28r, 36r, 62r etc.
  8. ↑ CARAYON, “La Furūsiyya Des Mamlûks”, pp. 567, 574, 581
  9. ↑ This entire opening, including its references to the Quran, can be understood as a sort of thesis through which the author purchases social credit through a display of religious relevance and piety and attempts to contextualize their art in the religious sensibilities of the time. The author does not include the reference numbers to the Quranic passages that he presents, but they would have been largely known by his audi­ence.
  10. ↑ Furusiyah is an art of horsemanship or chivalry, deriving from the same root as "horse." Like Chivalry, its extent through martial arts on horseback and on foot, as well as religious and moral codes has changed over time and from one culture to another, however its distinctive practices set it apart from Chivalry as an art in its own right.
  11. ↑ The plural of faris; a practitioner of Furusiyah.
  12. ↑ Hidden intelligence, while the concept does not refer directly to Greek concepts of "the mysteries", it is an appropriate approximation so long as the reader is cautious to avoid Orientalist interpretations of mysti­cal swordsmanship beyond what the author himself presents.
  13. ↑ The art of Furusiyah.
  14. ↑ The author puts effort here to dispel the magical in favour of a mundane approach to learning the art: God does not give some people magical knowledge of Furusiyah, rather He gifts them with passion and removes obstacles from their education so that they may learn it themselves.
  15. ↑ This term has great contemporary religious significance in academia, however here it means simply to exert effort, meaning some people are forbidden by God to seek knowledge in the art of Furusiyah as a way of explaining why some excel and others do not, not as a social restriction on learning the art.
  16. ↑ Scholars
  17. ↑ Similar to the phrase "if you can't do, teach."
  18. ↑ The sons of Adam; all of humanity.
  19. ↑ The one who accepted him; his wife.
  20. ↑ This quote is found in classical Hadith literature as narrated in many ways, but Tirmidhy narrated it from Abduilah bin Abdulrahman bin Abu-Hasan as, "Verily, God would let by one arrow three people into Heaven: its maker who is seeking goodness in making it, its archer, and its supplier, and "the Prophet' said shoot and ride, and for you to shoot is more beloved to me than to ride, every entertainment a Muslim man has is useless except shooting with his bow, training his horse, and playing with his wife for they are from Truth." lt is unclear why the author relates the Hadith in a way that excludes riding, when that is the focus of his work.
  21. ↑ Mohammed bin lsa bin Shaibah bin AlSalt bin Osfour Alsudousi, Abu Ali Albasri Albazzar. Died circa 300H/913CE in Egypt.
  22. ↑ Ibn, bin, abu, and other words are used in Arab genealogical names to identify lineage, which becomes important when relating oral traditions such as these. In this case, it is our opinion that a mistake was made in transcription or in fact, as the Abu-Bakr referred to here is a man well known to history, being one of the Seven Jurists of Medina, with a well known genealogy (his genealogical name is traditionally Abu-Bakr bin Abdulrahman bin Alharith bin Hisham bin Almugheerah). Makhool is largely regarded to be from a different tribe, and therefore not the ancestor of this Abu-Bakr. This mistake could represent an alternative geneal­ogy, or an intentional or accidental misattribution or more likely, it could have been a manuscript error and intended as, "And it was narrated through Mohammed bin lsa, by Abu-Bakr bin Alharith bin Abdulrahman that Makhool said that the Prophet..."
  23. ↑ This is a narrator of Hadith that used to narrate traditions without the chain of narration that supports oral traditions, so his narrations are rarely found in the classical Hadith literature and are usually graded poorly. He was not present in the early Islamic period, but in this work the chains of narration end with him, demonstrating the gap in oral history between him and his subjects.
  24. ↑ This is likely a novel Hadith. Our team has not found it in any other source.
  25. ↑ This narrator is not known, but Isa bin Younus bin Abu-Ishaq Amro bin Abdullah, Abu-Mohammed, is a famous narrator and either the intended person given here, or possibly his father.
  26. ↑ The well known scholar Abu-Zaid AlLaithi.
  27. ↑ The second Caliph
  28. ↑ This appears to be a composite of several traditions. The first hadith was narrated by this the following chain of narration: Abu-Hatim Mohammed bin Ya'qoob told us, said Alhussain bin ldrees, said Swaid bin Abi-Nasr, said Abdullah bin Almubarak, from Osama bin Zaid, said Makhool Aldimashqi that Omar bin Alkhattab wrote to the people of Sham 'teach your kids swimming, shooting with arrows, and Furusiyah."' in the book of Fadhaeel Alrami for lshaq bin Alqarrab #15 pg. 55-56 and the rest (teach them to hide amongst different things) was narrated by Sarkhasi in the Alseyar, in the chapter of weaponry and Furusiyah.
  29. ↑ The original manuscript from which this translation derives has its pages out of order. The order was reconstructed through cross-referencing other contemporary works that cite or copy this work as well as through analysis of the themes, structure and grammar of the text itself. This page break is an example of one such reconstruction, as the following contents are misplaced to elsewhere in the original manuscript.
  30. ↑ This is to say a different individual horse or breed of horse, not a different type of mount entirely.
  31. ↑ The exact meaning of this phrase is unclear. It might be a copying error from a previous passage, or it might be intended as we have rendered it, or it might mean "...and Furusiyah itself is within one's grasp once they have the first two fundamentals."
  32. ↑ A state of patience or peacefulness, indicating a spirit of contentedness. The examples given in attain­ing 'bravery' belie a very distinctive paradigm in which the one who knows and exercises his rights, does good deeds, etc. can be content with his life, and therefore remove from himself all anxiety and face fear with stoic 'patience,' which is to say allow it to pass, rather than overcome it or pretend it does not exist.
  33. ↑ Literally, that which is permitted, could indicate any form of blessings including knowledge or material wealth which allows the practitioner the time and ability to perfect his art.
  34. ↑ Which is to say teach it, or indeed translate it.
  35. ↑ Through the passive nature of the horse, the author evokes the idea that the unsure rider is subjected to the terrain and not master over it.
  36. ↑ A type of saddle blanket or riding pad.
  37. ↑ These are archaic terms for part of the jull. Jafa could be a handle, or it could indicate that the jull is loose, as the word is related to removing a saddle or leaving one's place. Lubt is the belt or that which fastens the pad to the horse.
  38. ↑ These are technical gaits, though they are not always the most common terms for the gaits in modern terminology. The first, anaq, is walking. The second, khabab, is the pace, in which the left hooves and right hooves move together. The pace is uncommon in modern riding, however proves its utility in Furusiyah. The third, taqreeb, is galloping. The canter seems to be left out, as is the harder hodhor, which is a leaping sprint.
  39. ↑ Hezb, as found in the text, is usually translated as 'troops', rendering "get your horse out between the pair of troops." We have taken the meaning of 'firm terrain' instead because there is no other mention of troops or other participants in the text. This is a less common understanding of the word, and the meaning of the line is understood to indicate that the horse is to be taken out of the hippodrome and into the field.
  40. ↑ It is unclear what this tool is supposed to be.
  41. ↑ Roaimi Ethar, literally 'the lash of the people of Rome', which could refer to a tribe known as Roaimi, or the Byzantines, or a people who live in or near the Eastern Roman Empire. It is evidently a type of feed bag.
  42. ↑ The word mes'hak means very dark in all ways, rendering something like, 'do not let your bridle be without the blackest of leads.' Whereas we have rendered it assuming that the intention was mes'hak, which is a flighty horse.
  43. ↑ While in a modern sense this can mean a noose, presumably here it indicates a manger tie or quick release knot. In fact, the word in the text is written without dots, which would be isotah, but that word is meaningless.
  44. ↑ The qarboos is the cantle and pommel of the traditional Arabian saddle, which are much more vertical than in English or Western saddles, and may or may not include a horn, whereas the meytharah is the saddle cushion. The meaning here is likely in the case that the saddle does not have a horn, so the lead is secured between the cushion and the pommel.
  45. ↑ The ward is erased and from the text it is most likely to be labood and seems to be the plural form of the ward lubt.
  46. ↑ Badad is a big Lubt that is put on the back of the horse so that the wood of the saddle doesn't hurt it, it is taken from the word Badd which means the inner thigh due to the fact that this pad also touches the inner thigh of the rider.
  47. ↑ The sweat pad, from the root rash'h, meaning sweat.
  48. ↑ The style of clothing (probably the jacket), required opening before the rider could sit comfortably on the horse.
  49. ↑ Labaqat, from labaq, indicates perfection in the knowledge of doing something, and evidently needs a more precise definition in this context, which is provided by the author.
  50. ↑ Ibn Huthail cites this part and comments on it by saying that if the horse feels the reins it will know that the Faris is not focused and the horse will get used to driving itself.
  51. ↑ Damage to the manuscript prevents the interpretation of this word, but it seems to describe the instruc­tion of the horse to abide loose reins.
  52. ↑ The naward is alternatively known as the manege, school or arena depending on its exact specifica­tions.
  53. ↑ Perhaps this refers to the nature of the arena walls leaning outward while indeed blocking the path of the horse.
  54. ↑ This seems to indicate an exercise by which the Faris rides along the ring anti-clockwise, spiraling in­ward (thus moving away from the wall) as they become more comfortable with tighter circles. Once there is enough room between the faris and the wall, they can then quickly turn about toward the outside (thus their right side). Theoretically the exercise could thereafter be continued in the opposite direction.
  55. ↑ Bunood is the plural of Band which is "basic lance exercises or drills, intended to teach the stu­dent the basics of lance handling and riding, as a prerequisite to doing more advanced work in the hippo­drome." The Mamluk Lancer, K. E. Jensen.
  56. ↑ Tasareeh is the plural of Tasreeh which is to release or to get out of the place. Twelve of the twenty-five Tasaree are mentioned somewhat cryptically at the end of this section, however the second band contains a tasreeh, which can be understood to mean a maneuver or guard.
  57. ↑ The word used here is Yuqarbis which is the verb of Qarboos. Because Qarboos describes the horn and the cantle, it is unclear which part should be gripped, so qarboos remains even though the word is in verb form, not noun form, in the original text.
  58. ↑ Zandyiah is a possession form of the word Zand which means the forearm, and here it means a hit with the forearm, however this more likely means to strike upward with the butt of the spear, thus pre­senting the forearm as the spear head goes over your left shoulder.
  59. ↑ This entire exercise can be understood to take place in a zig-zagging motion on the horse. The Faras will put his lance over his right shoulder and then throw it forward to allow his right hand to slip to the back, thus extending the reach of the lance. With the lance in the right and qarboos (likely saddle horn) in the left, the Faras will thrust to and fro before finishing with the Zandyiah as you move away to the left.
  60. ↑ K. E. Jensen mentioned that the word Hamaili may be a mistake and it originally means Carrying (Hamllan) since it was mentioned only once in his book. However, in this book it is mentioned many times by the same form which means it is not a mistake, rather it is a military term. In Arabic, when Hamal Ala comes in a military context, it means to fight hard, and by looking to the context here, one can conclude that the word Hamaili is an adjective for the verb Hamal Ala that was formed in accordance to the Egyptian dialect that was common around that time. In either case, the word seems to have fallen into use as jargon, since the sense in this book is that it indicates the spear or lance should be held in both hands.
  61. ↑ The word here is Muqarnasat which is used specifically for a falconer's hawk.
  62. ↑ Probably the same zig-zagging motion is to be used, but with the spear in both hands stabbing to and fro until Faras performs one of the Tasreeh and then finishes with a Zandyiah.
  63. ↑ This exercise perhaps describes making several thrusts while holding the qarboos, then dropping the point of the lance to the ground, thus bringing the butt of the lance to the back of the right shoulder, then performing the Zandyiah as usual. This understanding comes from the fact that the first band deals with throwing the lance out to a very forward position, leaving this one to describe holding it more centrally with only the right hand, where the point could conceivably be dropped in this manner.
  64. ↑ This word may have had more specific meaning when it was written, or it could be taken at face value.
  65. ↑ This may describe a very far forward thrust in which the rider posts (stands up), and leans forward, three rings being a measure of the length of the spear in front of the horse, the rider then throws a zandy­iah as he gets back into the saddle.
  66. ↑ "The exercise of the Ignorant [pre-lslamic Arab pagans]"
  67. ↑ Presumably while still performing the zig-zagging pattern with the horse, charge in with both hands on the spear and the spear over the right side of the horse. Without a tasreeh or other blocking action, simple pull the spear under the armpit, grab the qarboos with the left hand, stab to and fro, and then finish with a Zandyiah.
  68. ↑ The word here is Alif which means when added to something, to stick to it.
  69. ↑ Dubooqah according to Ibn Manthour in Nithar AI-Azhar is a "ball of fur that is thrown in the air and then a boy takes it with his chest once, and once with the top of his right foot kicking it back up con­stantly" and according to Al-Jaheth in his Paper on the virtues of the Turk, the main feature of this game is the continuity of the kick which could be the meaning here as the meaning could be hitting constantly of for a few times. The meaning is unclear and could mean to kick, to strike upward, or to hit some­thing close to the ground. And Allah knows best.
  70. ↑ Perhaps mounting high on the saddle, set the spear facing backward on the left shoulder, then sweep upward from there, followed by further attacks on the left side, ended with zandyiah, identical to the sev­enth except you do not wheel at all.
  71. ↑ Leaning forward and to the right, wheel the horse to your right side, putting your target on your left, striking upward at it, then wheel it around it toward your left as you stab at it, finishing with zandyiah.
  72. ↑ This could mean the seventh band has the additional left wheel, leaving the ninth without, thus looking very much like the eighth in the opposite direction, which would make sense.
  73. ↑ Our understanding is that the lance is being held in the right hand. The left hand reaches over to hamaili, but with the knuckles up, thus "grabbing it from the top." The right hand releases, and the left hand takes the lance over to the left side (point facing backwards). The right hand returns with an underhand grip, and then the lance is used to sweep upward on the left side, placing it over the left shoulder. The rest is somewhat unclear, with the result being the right hand turning over to end in a proper zandyiah.
  74. ↑ A straight charge with both hands on the lance, returning to stabbing to and fro once the target is met, then a strike to the left, then a zandyiah to finish.
  75. ↑ The word used here is Maktoof which means the one who has his both hands tied or put together and therefore moves them limitedly. However, it could be a possession form from Katif (shoulder) although not common nor right but since there are many words written according to dialect, it is still possible it means so.
  76. ↑ The word used here is a possession form of the word perfection, a modern use of the same word is (complementary or completers) and it is given to things that are not necessities, yet they are possessed to complete what one has (e.g. apple watch, speakers, chocolates, scooters, etc.). but the meaning here is probably the first one.
  77. ↑ The word used here is derived from the word Qa'ad which means to sit or to stop, and that is why the eleventh Hijri month is called Dho-AlQa'yedat as the Arabs would stop their fightings in that month. The word is still used in this form until this day in Egypt with the sitting down meaning. Therefore, it might be best appropriate to use the word staying to translate it and Allah knows best.
  78. ↑ The word used here is Taqain whose singular means an arch, or could mean a double, like when said 'A two Taq dress' meaning it has got two layers, and like two-taq shoes meaning two layered and here it appears as a measurement unit, or could mean "blows".
  79. ↑ It is a possession from of the Aqb which means the back of the foot, or the end part of things, so here It could mean the bottom of the lance, i.e. that the lance is held backwards.
  80. ↑ This may mean the tenth Band and Allah knows best.
  81. ↑ Kaff is the palm of the hand, and Kaffyiah is the possession form of it. In this context it could mean holing it in special way like flipping it or something, but it is not very clear in this context what it exactly means. And Allah knows best.
  82. ↑ Hamilton Parker Cook, PhD, translates this as follows: The wrists do the right motions correctly, while the rider sits towards the front of the horse. The opponent should hold the lance on the right, while you work from the right shoulder, able to bring your own lance down and put it behind your back, and then hold it from the left. You draw your sword and then obscure it, and strike a hard strike, then sit forward a tenth degree (ʿāshir). Then, another hard strike while you take up the lance while your opponent is at your left shoulder, as if you were going to thrust at him. At this moment, strike his forearms with the sword.
  83. ↑ The word here is written Yatawass Badal which does not make sense. However, the word Yatawass, has four dots on one letter which, as done in this book several times, means that the word can be read with the letter Ta, or Ya, and if it was read with Ta it will be Tawass, which is a name meaning a noble origin. So one can spectate that the word here could mean to greet them a noble way in exchange, but because of lack of certainty, I will leave it as is for now.
  84. ↑ Kaffyiah is the possession form of Kaff, meaning hitting with an open hand (e.g. slap).
  85. ↑ The tall one is a style in which the lance is used and as far as it looks it is when handling and stabbing with the lance using it full length, and Allah knows best.
  86. ↑ Not sure if he means spine of the Faris or spine of the horse, but it seems that both are heading straight about the same way.
  87. ↑ Dhahryiah is a possession form of Dhahr which means apparent or the back, and it seems that here it means the back, and Allah knows best.
  88. ↑ al-akdh, or "binding"
  89. ↑ al-tabṭīl, or "deflecting"
  90. ↑ kafal
  91. ↑ al-taḥlīl
  92. ↑ al-ʿaṭf
  93. ↑ All of the above: a snapping motion, i.e., feint then molinello
  94. ↑ Al-mufāsadāt al-maʿlūma
  95. ↑ al-lūzmur
  96. ↑ wa-lā yathbit li-l-ḍarb
  97. ↑ nāranj
  98. ↑ qabḍāt
  99. ↑ al-khidma
  100. ↑ bi-taḥrīk al-faras
  101. ↑ Space for practice
  102. ↑ fa-hādhā bāb al-ḥarb
  103. ↑ bayt al-marfaq
  104. ↑ bayt al-ʿaṭf
  105. ↑ i.e., hitting and pushing it away
  106. ↑ i.e., hand is level
  107. ↑ Sic. bāṭ for ibṭ, pl. ābāṭ
  108. ↑ al-khasārah
  109. ↑ daqqa
  110. ↑ sic. iḍrib wajhaka strike your face instead of iḍrib wajhahu
  111. ↑ fa-kun anta mutaḥaṣṣil al-ḍarba; i.e., parry it
  112. ↑ istiwāʾan
  113. ↑ al-kazlak
  114. ↑ in this play; i.e., keep the same grip
  115. ↑ fī jawlānihi
  116. ↑ al-shaqqa
  117. ↑ qaḍīb
  118. ↑ zind-lawn?
  119. ↑ i.e., face; armpit; hand/arm
  120. ↑ al-thiqāfa
  121. ↑ al-idmān
  122. ↑ i.e., dark wootz
  123. ↑ i.e., as heavy as the striker can handle
  124. ↑ sic. ẓalʿ instead of ḍalʿ
  125. ↑ i.e., segmented instead of smooth.
  126. ↑ al-inṣidāʿ, lit. splitting or cracking
  127. ↑ i.e., not the blade
  128. ↑ and most important?
  129. ↑ ḥadab
  130. ↑ as a part of the construction of the blade
  131. ↑ mudawwara
  132. ↑ lit. «the sword swims»
  133. ↑ ṣalb—the blade
  134. ↑ nāʿim-ṣalb—the grip
  135. ↑ i.e., intentionality to the design
  136. ↑ i.e., something like an estoc
  137. ↑ taḥtānī, literally "under"
  138. ↑ barjaq
  139. ↑ mukhallaṣ
  140. ↑ bi-mīzān, i.e., with balanced and not excessive strength
  141. ↑ ḍarb al-ḥamālī
  142. ↑ bi-thabāt
  143. ↑ wa-yakūn muṣaddar
  144. ↑ writing ends here…
  145. ↑ i.e., some swords better for cutting soft materials, others are better for cutting hard ones)
  146. ↑ al-hazaliyyāt
  147. ↑ i.e., extending beyond the sheet
  148. ↑ al-baṭṭāra
  149. ↑ shibr
  150. ↑ takhraj al-faras aw takhrajka
  151. ↑ il-lā labis unclear
  152. ↑ fa-takhruj, i.e., the velocity of the horse will force the cut through
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