Geek chic.

Ah, and what does the well-dressed geek wear for a late Saturday lunch at the Storm Crow?

NASA cap - check.

Forbidden Planet t-shirt - check.

Academie Duello longsword apprentice green cord - check.

Book Nerd pin - check.

Table for two, please...

- Sid

The Book of the Sword, Part Five: Green Cord.

Fortified by some homework with the Duello TV longsword channel, and a solid re-read of some classic Robert E. Howard Conan the Barbarian stories, I headed off to my final Academie Duello longsword class on Thursday night.

The reason behind my prep work?  Very simple: although there's no test to establish competency at the end of the course, we were scheduled to spend the final class proving our skills in a practical fashion by dueling with each other and the students from the companion Introduction to Rapier course which has been running at the same time as our class for the last four weeks.  When our instructor Miguel had mentioned at our previous class that we'd be doing this, I was a bit apprehensive: my impression of the relative strengths of the two weapons led me to expect that rapier users would butcher us with speed and reach.

To my surprise, this turned out not to be the case.  The leverage provided by the two-handed longsword grip repeatedly allowed me to push aside the rapier and go inside the reach of the blade for a cut or an oblique thrust.  It also turned out that I may in fact have some minor skill in the area of swordplay, to the point where one of my fellow longsword classmates actually said, "Wow, you're good at this!"  I found that I was repeatedly outscoring my opponents by two or three to one, whether it was against longsword or rapier.*

At the end of the evening, there was a brief graduation ceremony,where we were presented with our Green apprenticeship cord by our instructors.  The head of the school, Devon Boorman, was in attendance, and cheerfully informed us that we now knew more about swordplay than 99.9 percent of the rest of the world - although they're doing their best to change that percentage, one student at a time.

Although Academie Duello offers a comprehensive list of options for people wishing to move forward in their study of the sword and achieve further mastery, I don't plan to continue - I'm happy to have received my green cord and become part of that .1% of the global population.

That being said, if you have any interest in trying something a little bit different, or have some curiousity about swordplay after seven seasons of Game of Thrones, I would unhesitatingly recommend an Academie Duello class.  The instructors and staff are uniformly friendly, knowledgeable and helpful, I found both the historical and practical information to be interesting, and hey, you get to fight with swords.

Arte, Ardore, Onore!

- Sid

* To be honest, I can't attach too much significance to this.  It's a bit like being the best walker out of a group of one-year olds.  It's an achievement of sorts, but Usain Bolt certainly isn't going to view me as a threat.

The Book of the Sword, Part Four: Lost in Translation

 

To end our third week of longsword training at Academie Duello, we spent a class working with sidesword and buckler. The sidesword was a successor to the medieval arming sword, which was a relatively short one-handed weapon worn by knights when out of armour, and marked the introduction of a more elaborate knuckle guard than the simple crossbar of the arming sword, following the Germanic habit of hooking one finger over the crossguard for additional control.  The knuckle guard provides protection for the exposed finger, and presages the development of the more elaborate guards that characterize the rapier.

The sidesword was also more of an everyday weapon than longsword or poleaxe.  Its shorter length allowed it to be a literal side weapon that could be worn during everyday activities.  Similarly, the buckler is a shield that's small enough to be hooked onto your scabbard beside the sword, rather than the full sized shield that would be used in actual warfare. (The term "swashbuckler"comes from bravos rattling their bucklers against their swords in order to announce themselves as they swaggered through the streets.)  Held at arm's length, the buckler is both a defensive and offensive weapon, used to block attacks as well as deliver blows when corps-à-corps.

My expectation for sword and buckler was that the buckler would be held in front as a defensive lead, with the sword extended beside it to allow for the two to be used together or independently, much as shown in the illustration below - although from perhaps a bit further away than these two gentlemen.  To my astonishment, we are instructed to hold the sword straight up over our heads as our starting position.  It seems a ridiculous stance for fighting, especially with a weapon that can thrust as well as cut, but Miguel reassures us that this is the approved technique as taken from historical documents.

 

Regardless, I'm sceptical.  Miguel pointed out in one of the earlier sessions that one of the challenges in reviving the art of swordplay is that there's no continuity of practise - swordplay becomes less and less common over time, finally falling entirely out of use as gunpowder takes over the battlefield.  Because of this historical break, modern scholars are forced to rely on a relatively small library of instructional texts in order to rediscover the techniques.*

Most of what we've been taught for longsword is taken from the Flos Duellatorum (Flower of Battle) a 14th century text by Fiore die Liberi, an Italian fencing master.  Other salles d'armes follow equivalent German texts, and there's enough similarity - and variation - to indicate a continuum of technique, albeit with a slightly different vocabulary and bias.

To my mind, the things that we've learned for longsword make sense.  There are standard defensive stances that involve short and long guards (posta breve and posta longa) in which the sword is extended directly in front of the body with the point aimed at your opponent's face, as opposed to the posta di donna or di fenestra, which positions the sword behind either shoulder for cutting or thrusting attacks - these positions are not unlike the way you'd stand if you were at bat in baseball, which seems a logical starting position for a longsword cut.

The hand-over-head sidesword starting guard seems to be a long way - literally - from a good place to attack or defend, and I was a little tempted to take a completely different stance during practice, although that would seem to defeat the purpose of taking instruction. Based on my own experience with instructional material and training, a small part of me wonders if the person who wrote the description that we're following just didn't have had a lot of experience actually fighting people - the old "those who can, do" problem.

- Sid

* If you've seen The Princess Bride, you're familiar with some of the authorities of classic swordplay.  During the duel between Inigo Montoya and the Dread Pirate Roberts, they discuss the various techniques for fighting under those conditions as per Bonetti, Capo Ferro, Agrippa, and Thibault - actual fencing masters from the Renaissance.