Consulting Swordsman. Writer.
For years now the question I've been asked the most is “when is your next longsword book coming out?” And now the answer to that is in your hands. I have launched a campaign on Indiegogo to raise funds for layout and printing; and the moment we hit the target, layout work will begin.
I can't do this without you, so, if you like my work, let me know by buying my book!
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Thank you!
This book is a modern edition of the 1595 work of Honour and Honourable Quarrels, a guide to the ethics of duelling, by the famous Elizabethan fencing master, Vincentio Saviolo. Let’s cut to the chase. If you are interested in the history of violence, duelling, or moral philosophy, buy this book.
Jared Kirby, the editor, has added thirty pages or so of useful and interesting front-matter, including a detailed argument for the likely location of Saviolo’s school in London, some background on the import of Italian fencing into England in the late 16th century, and as much biographical detail about Saviolo as scholarship has yet uncovered. Kirby also gives all the contemporary references to Saviolo, with complete quotations, in the appendices. To give a flavour of the level of Kirby’s commitment to accuracy: on page seven there is what is now my favourite footnote of any book: “There are no author, editor or publisher/printer details for Alfabetto Citta. The only way to get access is to go to the state archives of Padua and talk to the curator.”
Saviolo’s book is a comprehensive expression of his views on the duel, a critically important issue for Elizabethan gentlemen (and indeed, gentlemen of any era). It comprises eight chapters in about 140 pages, and covers everything from the initial insult, giving the lie, the issue as it regards different ranks in society (lords, knights etc.), choices of weapons, etc. And it concludes with the fantastic “The Nobility of Women” in which he robustly asserts that women are in all respects (culture, intellect, nobility etc.) the equals of men. A must-read for any gender-studies course!
I was initially horrified to read that Kirby intended to modernise the language of the original, and I completely disagree with his assertion that “The natural ability to read and understand sixteenth-century English is a rare gift” (p. xvii): being able to read any language is not a natural ability, or a gift, it’s a learned skill like any other. But his modernisation has been done with a gentle touch, such that reading it I scarcely noticed the changes, and they may save readers lacking the skill referred to earlier the bother of looking up some words or puzzling over some obscure locutions.
There are some interesting additions to the book. Kirby has inserted 16 illustrations, mostly 19th-century drawings, which at times add useful insight, but occasionally come across as complete non-sequiturs. Nothing that detracts from the text, I just wonder at the thinking behind their inclusion (and the lack of source citations in some cases).
In conclusion then, some odd editorial decisions aside, Saviolo’s book is vital reading for anyone interested in the history of the duel and the duelling code, and Kirby’s additional material adds depth of interest. So, as I said above, buy this book!
Disclosure: Jared Kirby and I have been friends for twenty years now, and have fenced together many times, stayed in each others’ homes, etc. In short, friends enough that if I didn’t like his book I’d say so to his face!
Class on Monday was all about how the seniors should approach the new sword handling drill, the Farfalle di Ferro, the Butterfly of Iron. As this is a pretty important topic, especially for the chaps in the branches, we videoed the class. The footage here was preceded by the usual 10 minutes of breathing exercises and a few minutes of the Syllabus Form done solo, then (because there were difficulties with it that we fixed last week) the Syllabus Form Applications Drill. Then by way of introduction, we did the Farfalle di Ferro in its basic form.
This 20 minute video is basically unedited footage of the class.
The video contents are:
00.00-0.56 introduction. Making the handling drill tight and small.
00.57-2.35 basic applications of the drill: counterattack with mandritto fendente; gaining leverage control with fenestra to thrust (note groundpath in true edge, not in the flat); yielding to the parry and striking on the other side.
02.36-04.11 corrections to mistakes made in class; when not to follow the drill. General rule: “If your opponent’s point is going away from you, strike into the opening line.” Being specific about when to use the farfalle combination.
04:12-07.06: About the footwork: when winding to fenestra to thrust; and especially the footwork when striking on the other side: the meza volta. Noting Fiore’s explanation of the meza volta, groundpaths and the mechanical consequences stepping linearly instead of turning.
07.07-08.39: The same applications, applied by the attacker. Noting what happens if the parry against the fenestra thrust is a yield to the outside instead of the turn to the inside.
08.40-09.41 changing the measure; using the drill to get into close quarters. The rules: “stick your point in his face. If his sword is moving away from you, strike into the opening line. If his sword is moving towards you, put your sword in the way.”
09.42-10.52 difficulties arising from poor mechanics, especially the turn around the middle of the sword. Minimising time spent with your point moving away from the opponent.
10.53- 11.46 a basic drill to help with the turn around the middle of the blade.
11.47- 12.51: repeating the drill beginning with the roverso instead of the mandritto (i.e. start at part 2). And other variations on the basic drill.
12.52-15.19: Using part 3; the sottani blows. Variation on second drill, defender ripostes with sottano on either side. Notes re the necessary footwork to stay safe. Note re continuations if attacker parries the riposte. Note re getting away again after the riposte.
15.20-16.48: Attacker’s use of the same action, as a response to the parry. Variations depending on the defender’s actions. Use of the sottano v. the sottano.
16.49-18.02: Counter to the punta falsa as an example of turning within the turn. Making your actions smaller than your opponent’s. Note re opponent’s expectations re line of attack.
18.03-19.35: How does this work with sharps? Very nicely, thank you.
So, there you have it. Enjoy!