A Short History Of Ancient Fencing...


The word "Escrime" is used to signify the art of "Touching without being touched". It seems that the word "Carma" coming from Sanskrit meaning fencing. An old French word "Escremie" or "Eskermie" is also used to specify the meaning of "Escrime" or fencing. Since the origin of humankind, people have tried to compensate for their physical weakness by inventing weapons to defend themselves against animals and other human beings, or to conquer them. The first weapons were made from wood, stone and then metal. Weapons have been developed and evolved to follow patterns reflecting their value in the social, artistic and technological aspects of various cultures. Weapons have been used to settle personal disputes, battles between small tribes and between nations. Eventually, the use of weapons led to man trying to develop perfect methods of combat. People wanted to be able to maximize their most effective strengths and skills. For all people, learning how to handle and control a weapon immediately led to an important subject: the art of fencing. Mention was made in sacred books, in ancient India, containing the principles of weapon exercises shown by the Brahmans, the first professionals who taught fencing lessons in public places. Later on, this science of fencing was strictly reserved for the warrior class. There is also evidence of early fencing in many text books in China. A Siu-Fu, the Kung-Fu master, established himself either in an isolated place deep in the forest, in a cave or on a mountain peak. He then meditated to search and study the martial arts. In certain monasteries, some monks also observed and learned the motions of the animals in order to simplify and modify their gestures, transforming them into the science of fencing. They also included many bizarre forms, techniques, and secret movements, frequently tricky and deadly. In Egypt, the most popular fencing practice was to fence with quarterstaffs. It was the basic technique for beginners preparing to learn for other weapons. However, there is an interesting document in an ancient history describing how in 1190 B.C., to celebrate his victory over the war against the Libyans, King Ramses III organized a fencing tournament very similar to those we follow today. In the Medinet Habou temple in High Egypt there is a remarkable illustration engraved under one of the Bas-relief. The competitors are fencing with blunted swords, wearing visible helmets and armor and one can identify a jury presiding over the tournament. Without going back as far as ancient times one can find the trace of the single combat from the Iliad. In Athens, hoplomachie (fencing teachers) were in demand in the fifth century. Numerous fencing masters taught the methods of combat in return for a great reward from each session they taught. The Greeks used a heavy weapon in the art of fighting. Their foot soldiers had a very busy training schedule. Their dress included a helmet, armor, round shield, metal side case fitted boots for protection and short swords and long spears as weapons. Eventually, the practice of fencing was included in the Olympic Games. Later on, the fencing teachers were employed by the health clubs which organized events for the men and children. Their teaching was established in Sparta, even during the time of the Roman domination. During the decline of the Roman Empire in the Middle Ages, it seems that many changes took place. The Roman conquerors, unconcerned with the Hellenic traditions, transformed the Olympic Games into a circus. The gladiator's combat was greatly enjoyed by the Romans and the Games were extremely cruel and bloody; it was far beyond the conventional combats and courtesies of the Greek fencers. For the Romans, it was another form of fencing, military combat. Their most skillful soldiers became "Doctors of Arms" and received a double allowance for living. After the collapse of the Roman Empire and the vast invasions in Europe, the feudal society constituted itself progressively around people with a specific function: those who prayed (the clergy), those who worked (the peasants) and those who fought (the warriors). For the lord and his people, war was a profession and a method for survival. Around 1000 AD. The Christians began the Crusades and thus chivalry and the knighthood were established. It was the French who brought chivalry under discipline, and organized the first tournaments in 1066 AD. Toward the end of the Middle Ages, the contests and events were changed into a tournament of ostentatious equestrian exercises, where the knight attempted to display his value. Under the Carolinian dynasty, the knights dressed up with various tunics worn over their armor, with coats of mail covering the body from the neck all the way down to the thighs. In the Capétians era, the warriors clothed themselves in coats of mail and armor made up from steel plates. The fourteenth century marked the appearance of the two-handed épée. The weapon became more solid, the sword increasing in weight and length in order to break open the coats of mail or armor of the opponent's arms and legs or to penetrate between the joints with the sharp point. Since the weapons became heavier and more cumbersome, the techniques were based upon the brute force of fencers. The fencing teachers were great in numbers, but they had not formed any school from which one could teach unified and precise methods. The students received a rule-of-thumb instruction given by the fencing teachers who taught from their own personal experiences. Thus, the students engaged in combat with bizarre forms. They were taught the secret tricks, and swore to never reveal them or use them against those who had taught them. During this period, fencing went through the dark ages with no literature being produced and teaching being done in secret. In the fourteenth century, the invention of gunpowder and development of firearms made armor useless and inefficient, and thus it was progressively abandoned. Unarmored opponent’s gave rise to the emergence of fencing in the common classes. Many special schools taught the art of fencing to all those who had the courage and necessary strength. When the practice of chivalry disappeared, the nobles began to take lessons from the plebeian masters. The Renaissance brought a new light to the art and science of fencing. This, and the subsequent influence of Italian fencing masters in France, gave rise to the French fencing movement. Modern fencing has its roots in Spain. In the sixteenth century, the Spanish fencing school had a good reputation. In 1569 the first written work, modestly entitled "Inventor of the Science of Arms" tried to establish a relationship between circles, arcs, angles, and so on and ended up setting forth a quite artificial principle. Despite these utopian fantasies, the Spaniards were the most outrageous duelists. It is thought that their systematic practice of the rapier, however, contributed more than philosophical digressions and pseudo scientific analysis. Numerous books were published, but the Spanish authors did not contribute any real technical aspects to the art of modern fencing. It should be noted that it was the Italians who were the first to arrange some fencing principles in theoretical order. They codified and regulated the techniques from which originated the basic exercises. Some specialist masters created a veritable fencing school of didactics, set up on a theory that replaced the shield with the dagger. Between 1494-1516, war broke out in the Alps and France made a fascinating discovery in the civilization of the Italian Renaissance. In the sixteenth century, part of the French fencing education was done in Italy. The fencing schools in Rome, Milan or Venice taught the nobles and young French fencers. Infatuation for Italian fencing endured during the sixteenth century and was also reflected in France in the field of fencing. A gentleman from Provence, Henry de Saint-Didier, devoted his study to the art of fencing. He learned the Italian fencing theories and published in 1573, his first treatise defining the secrets of épée. His theory was accurate and he can be considered the "founder of French fencing", even if his treatise was inspired by the Italian methods. After the Napoleon Campaign in 1796 and 1797 in Italy, Italian fencing ceased to use the same principles from the masters in the seventeenth century. This was exceeded to such an extent by French influence, that Italian fencers lost their national character. In spite of the works written by two Italian fencing masters in 1811, with their aim to take away the influence of the French school and to recover the ancient principles of the Bolognese school, Italian fencing was in jeopardy. During the seventeenth century, the épée was modified. At first, it was comprised of two sharp cutting edges used in striking. It was then altered to have a triangularly grooved blade that was lighter and the old form of grip was modified. Starting in the middle of the seventeenth century, fencing favoured the use of the weapon point resulting in manoeuvres of the weapon being more varied. This change was due mostly to the épée being lighter than before. A newer instrument was developed that was easier to exercise with. It resembled a practice foil with a short and square grip. The invention of this weapon developed a methodical classification of fencing and vice-versa. Before the revolution, La Boessiére invented a mask made from a wire netting material which immediately led to an important change in fencing techniques. The increased safety afforded the fencer more difficult and demanding exercises. The increased ability to practice those techniques lead to a general increase in both the speed and variety of techniques. In 1567, the fencing masters in Paris were recognized by the "Lettre de Patente" of King Charles IX, giving them the authorization to join together in a community as "Academie des Maîtres en faits d'Armes de l'Academie du Roy" or the French Fencing Academy. The privileges of this Academie were confirmed by his royal successors: Henry III, Henry IV, Louis XIII and extended under Louis XIV. To express the high esteem in which the king held the profession of the fencing master, he ennobled a certain number of masters with hereditary titles. Since this era, fencing has prospered and there has been a favorable environment for cautiously staying on the solid base that was established by the masters in the twelfth century. Certain techniques were remarkable for their neatness and precision while others were oppressive, influenced by theory from the previous century. In 1789, the French Revolution occurred. The juries and the fencing masters were suppressed and the French Fencing Academy was abolished. After a period of rest, fencing sprang back to life, finally flourishing at the end of the first Empire. Starting in 1815, the fencers and their remarkable teachers came to light. It was they who defined the methodical art of fencing within the French tradition. During the nineteenth century, numerous French fencing masters left their indelible trace on the tradition. One of the most renowned fencers during this era was Jean Louis (1785-1865). The fact he left no written record has no bearing on his influence. The teaching legacy he left, and the fencing masters he formed to follow his path were so influential that the verbal legacy of the school of Jean Louis ensured the supremacy of the French school in the nineteenth century and even in our era. A great number of fencing masters, as well as their students, are still following the great principles of his fencing. Thus, he is known as "the father of French fencing".

Since the appearance of the fencing mask, fencing masters in the beginning of the nineteenth century have orientated their teaching towards a conventional form of fencing which became a type of physical exercise with regulations and rules. The target was reduced and thrusts doubtful or irregular were declared non-valid hits. Fencing bouts became an army tool to dispel disputes. This courtesy has been part of fencing at large, and in the tournament. The science of arms, or rather the science of foil fencing derived its glory from the original French masters whose style one can consider to represent a perfect methodical and scientific approach, bearing the traces of the philosophical techniques which developed the noble French fencing history.



Modern Fencing...


Fencing has evolved over 800 years from a deadly combat to a complete sport. Speed of movement and the intricate strategy of ancient dueling are still very much a part of modern fencing. Since dueling was outlawed, fencing as a sport has grown more and more popular with both men and women. Women and men compete separately, with some fencers becoming proficient in two or all three weapons, while others specialize in only one. Coordination, speed, agility and self assurance are a few of the qualities this sport requires of its followers. Because of the necessity to analyze the opponent's game and to develop strategy, fencing is often described as an animated game of chess. With the development of new metal alloys, lighter and more manageable weapons have become possible. These place a premium on speed and coordination and give little if any advantage to sheer strength. When the French introduced a new type of fencing, it was neat, quiet, precise and more deadly than before. The essence of the action was nimbleness of wrist and fingers which required quickness rather than muscular vigor. By fencing, we have come to mean not simply fighting for hits, but a strictly regulated game. Its traditions have been transmitted through generations and make fencing a truly educational sport. Despite the evolution of fencing from combat to sport, certain conventions have remained intact - judges do not distinguish between accidental and strategically thought out hits. Competitions are presently held in three weapons: Foil, Épée, and Sabre.

THE FOIL In the middle of the XVIIth century a light, straight sword was invented. It was a fine thin blade and sharpened at the tip, approximately 110 centimeters long, having a small round guard fit with a cross-rod at the handle. The fencing masters used this weapon to teach their students the methods of rapier fencing because its lighter weight made it easier to manoeuvre and also prevented the risk of being accidentally hurt or killed during practice. It favored actions with the point and became a study weapon. It established the foundation of our modern foil fencing. The modern foil is a light weapon. Its blade is rectangular and tapers from a relatively thick and inflexible section at the guard to a more slim and flexible section at the end. The tip is flattened into a small button-like end for a practice foil or fitted with an electric point for official competition. In foil fencing, the target area is confined to the trunk and excludes the arms, legs and mask. Valid hits are those which reach the target area. Hits outside this region are invalid and are not counted.
THE ÉPÉE It seems that épée fencing was started toward the middle of the XVIth century. After the disappearance of the two-handed broadsword and the abandonment of the complete suit of armor, a new weapon was born in Spain. The rapier or épée, had a long fine blade with a sharper edge and tip that could be used to cut and thrust. The guard looked like a small basket drilled with holes, having a long, straight ramrod bored through it to be used in engaging and breaking the opponent's blade and point. With the change from heavy broadsword to lighter épée, swordsmen were obliged to personalize fencing with trickery and artfulness. Some fencing masters developed the secrets of nasty tricks and the all purpose parries into a sort of philosopher's stone of fencing. In the XVIIIth century, the small sword with its triangular blade, similar to the one used in electric épée today, became the weapon of choice for dueling. Since then, the fencing techniques and weapons have been simplified and improved and their principles have been displayed and transformed into the backbone of the present modern épée fencing. In modern épée, the blade is triangular in cross-section and lacks any cutting edges. It has the ability to flex upward and downward, but not to the sides. An electric point at the tip is used for recording hits. Unlike foil, the épée target area includes the whole of the fencer's body. There is no area of the opponent's body which is considered off-target. top......
THE SABRE The modern sabre took its origins and traditions from the cavalry sabre. It is believed that the Hungarians introduced sabre fencing in Europe towards the end of the XVIIIth century. Their sabre, derived from oriental symmetry, had a flat, slightly curved blade and was not as wide and thick as the French cavalry sabre. At that time, Hungarian fencing had not yet developed in depth. The Hungarians could not perfect their sabre until they were influenced by the Italian school which helped them to perfect their teaching. Towards the end of the XIXth century, the Italians invented a light sabre (Sciabota) destined to be used in dueling. At first it was highly criticized because it had nothing in common with the heavy cavalry sabre. With time however, this sword was universally adopted. The basis and development of the techniques of the light sabre are generally attributed to the Milan fencing master Giuseppe Radaelli. In France, since the first Empire, sabre fencing was reserved for the cavaliers. It existed in Saumur, a School of Cavalry Sabre. The practice of sabre movements were executed with large twirling actions and a diversity of parries which rendered defense very complex. In the majority of fencing books published in France, one rarely finds a short version of sabre fencing, that teaches the theories and practices of the sabre. It was not until some 50 years ago that sabre fencing was fully developed in France, after the French fencing masters gained more knowledge of the weapon by studying and being influenced by the Hungarian and Italian fencing masters. The modern sabre is both a thrusting and a cutting weapon. In the past, sabre fencing has been exclusively non-electric, this meant that all bouts required a referee and side judges. Recently an electrical scoring apparatus has been invented and is now in use in all major competitions. In sabre, the target is comprised of all parts of the body above a horizontal line between the top of the folds formed by the thighs and the trunk of the fencer when in the on guard position.
INTERNATIONAL FENCING FEDERATION

On November 29th, 1913 at a meeting in Paris, the national fencing representatives of France, Italy, Great Britain, Germany, Belgium, Bohemia, Holland, Hungary and Norway met and decided to form the Federation International d'Escrime, which has been the governing body of the sport ever since. Later in 1918, the first F.I.E. rule book was published. At present, there are over 80 countries affiliated with the Federation. The F.I.E. is striving to make fencing more visual and dynamic through the use of transparent masks, wireless scoring devices and electronic scoring boards. The first modern Olympic Games in Athens in 1896 included foil and sabre events. In 1900, the épée was also admitted to the Paris Olympic program. Women participated in Olympic foil events for the first time in Paris in 1924. With the advance of technique has also come the evolution of the equipment. Electrical monitoring for épée was made mandatory for the first time in Budapest in 1934 at the European Championship. Twenty years later it was also applied to the foil and a system was adopted at the World Championships in Rome in 1955 and at the 1956 Olympic Games in Melbourne. However, despite the changes and improvements in scoring systems for épée and foil fencing, the sabre event still depended solely on human judgment for scoring. The first official competition using electric sabre equipment was held in 1985 during the World Cup Finals in Dourdan, France. The equipment used then was very different from that used today; it was very sensitive and fragile, but it was a satisfactory experiment. In Rome in 1987, the F.I.E. presented a more refined microprocessor-based scoring system for the electronic judging of hits. The F.I.E. is now committed to the use of electrical sabre in all major events and 1992 marked the first year that an electrical sabre system was used at the Barcelona Olympic Games. Another important change has been the admittance of women's épée into the 1990 World Fencing Championship in Lyon, France. For the 1996 Olympic Games in Atlanta, women's épée has been added to the fencing program without increasing the total number of fencers in the competition. Women's sabre is still in the process of development, but hopefully it will one day be as popular as the present male-dominated version. Modern fencing has long been in need of sophisticated electronic scoring systems for use in judging a fencing bout to minimize human error and make the sport more civilized, safe, and enjoyable. Unfortunately, electric judging systems have also contributed some disadvantages. The worst example of this is how today's fencers are more concerned with scoring points rather than employing finesse and grace. The traditional forms of fencing are forgotten or ignored. They sacrifice the elegant play of the traditional fine art in favor of speed and power so that fencing styles sometimes demonstrate ferociousness and bizarre form. Some new fencers use their personal style as well as trickery, stressing the necessity of speed to win a fencing bout; strategy and technique have been downplayed. It no longer matters how you fence but that you score points quickly. The quality of a hit is no longer important, only that the hit is first. At present, the fundamental principles and techniques structured by the fencing masters of the classical Italian, French and Hungarian schools as far back as the XIXth century have disappeared and we now have in the last half of the XXth century, methods and styles which are designed by amateurs, causing the sport of fencing to grow into some sort of contest of personal eagerness. Many amateur coaches are not trained by professional fencing schools which have solid and time-honored classical methods in their teaching. Instead, they are taught to develop the raw, aggressive and often violent natural abilities of a prospective champion in a manner which does not follow a strictly standardized instruction technique. This results in the fencer not being molded into a professional well-rounded athlete by years of hard-learned technical skills, but rather into an amateuristic competitor who burns-out when the rigors of age reveal the lack of ingrained basic fencing skills. This degradation of the art of fencing has upset the purists who like to consider it a pristine sport. It is my hope that despite these changes, this book will help others to better understand the art of foil, épée and sabre fencing and consequently preserve the traditional forms of fencing as they have been for centuries.
The Method of Movement in French Fencing The technique of French fencing is based on a way of movement that significantly involves the forms, with a styled method of making the patterns of form evolve from the movement, and the movement emerge from the forms. The structures are so varied as to put into play every part of the body from the smallest joint to the largest muscle. Harmoniously designed and masterfully patterned, they are done with flowing continuity, finesse, smoothness and evenness. Precise balance and calmness is the traditional French fencing way. The basic qualities of the technique are exemplified by the perfect weaving of the dynamics of movement by the weapon hand exhibiting fine movement in circular, lateral, diagonal and semicircular actions and by the subtle movements of the legs in stepping, passing, sliding and hopping forward or backward. Above all, these qualities quiet the mind and regulate the emotions. t is finesse in the style of exercise which develops energy by never allowing one to expend oneself in a ferocious gesture of violence. This finesse contrasts with the hard or over-energetic force that does not permit reserve of action in the art of fencing. Natural body behavior with a fluid and continuous style of moving eliminates any possibility of becoming too rigid or hard. In learning the French technique of fencing from this book, the fencers should keep themselves mentally stimulated as the technique develops from form to form. The mind cannot be anywhere but on the action, as the variation and repetitions demand total attention. Because the structure does not evolve correctly without this mental participation, control of the conscious mind inevitably develops and proper concentration is a natural result of such technique and form. Moving with smooth actions prevents the body from becoming tense or hard and makes the muscles more resilient and pliable. Strength cannot be wasted or falsely propelled, because smooth movement requires attentive control. The entire system is warmed up gradually as the actions accumulate. Patterns and movements in subtle succession activate different parts of the body and never, at any time, repeat themselves in over-concentrated units. This enables the body to do more without causing the heart to beat unduly fast in an effort to keep up with the body's exertions. Breathing is natural, light or deep depending on the structure and the positions of the fencing techniques themselves. However, the fencer must not concern himself with the breathing process. This aspect is developed gradually in the process of learning. The fundamentally smooth finesse and tempo are the essence of the French classical technique and contribute to the ability to sustain conscious control and aid in the building of experience in the science of fencing. With flowing alteration between light and strong dynamics, and fluid and solid forms, the technique allows the fencer to execute actions accurately and freely with the mind in harmony with the body. The method of the French classical fencing movement is, in a deeper sense, related to the movement of the mind; the mind must direct the body's movement in the defensive, offensive or counter-offensive. The alertness and concentration needed to do this are developed as the techniques are being learned by taking lessons from the Fencing Master. One of the great advantages of the French traditional method is that one can never be mechanical when doing it. The benefit of this is perhaps obvious since fencing has, as one of its goals, the development of awareness, quickened reflexes and an alert mind. The coordinated aspects of movement within movement by the legs to advance, retreat or attack and by the weapon hand in the execution of attack, defense and counter-attack demands complete attention; the subtle regulation of the timing of each small part within the whole is precise coordination. The mind moves from form to style to tempo to coordination to plasticity to dynamics and finally to feeling and yet seems to acknowledge all at the same time. Concentrated by this variety, the mind's attention and awareness are one of the major factors of the French fencing school. The intrinsic principle of finesse in fencing is the inner smoothness of movement that can be recognized by the fact that there is no visible exertion in the execution of the fencing techniques. The action of the fencer appears to be completely relaxed; the activity is hidden inside, below the surface. The continuous flow of movement into movement such as from defensive to offensive or in advancing to retreating without straining also contributes to the appearance of outer smoothness and finesse. All the movements are performed with centralized inner force. It is not the extent to which the movement can be performed that matters, rather it is the quality in reserve that determines its smoothness. These intrinsically-stored and smooth techniques allow the body to be held loosely and therefore unrestricted. This helps store intrinsic energy and produces an inner elasticity of movement which is rich in the power of resilience. With continuity and inner smoothness as the component parts of finesse, calmness and lightness in the precise execution of technique are the inevitable results of the French traditional fundamental principles of the science of fencing.

The Science of French Fencing The principles at the very heart of this book are derived from the theories and practices of the innovative ancient French fencing masters schools which were concerned with the development to full potential of a fencer's intrinsic physical and mental abilities. In this book I have incorporated technical ideas that have grown out of my teaching experience to give the fencer not only an intellectual awareness of the French traditional fencing technique, but also to create the understanding necessary to experience their essence as well as their physical form. We know too well that this process cannot be hurried unnaturally; nevertheless, the way can be illuminated by quietly studying and analyzing such that one's body, gradually by degrees, learns to do the bidding of the mind. "To go a thousand miles one has to take the first step" is a familiar saying. Each step is ostensibly like the following but the added experience that each step brings to the next contributes to endurance, agility and strength. The great variety of the French fencing forms, the intensely interesting techniques - the subtleness of which unfold with experience - and the sheer beauty of the postures of the French traditional style gives delight and grace. As one develops understanding and progresses with the techniques from this book, the French technique of fencing becomes a richer entity, seemingly limitless in what it has to offer. The ability to perform it at its minimum gives one good lasting form. To perfect it and live with it as a life-long exercise is to assure oneself of stable health, mental alertness and equanimity of spirit.
The Personal Benefits of Fencing The personal benefits of fencing range into virtually every area of the participants physical and intellectual being. The intensity of fencing, and the extreme demands it places on the mind and body are a natural result of fencing's bloody and noble heritage. It is perhaps the most complete union of thought and action that has ever evolved as a sport. However the skill, strength and self-control which were once only by-products of this deadly art now figure amongst its highest rewards. Aside from the sheer pleasure of competition, the fencer also enjoys an enhanced coordination, endurance and strength. One need only observe an accomplished fencer in competition to fully appreciate these truths. In order to succeed, a competitor must fence bout after bout with unflagging stamina. To lose concentration or slacken the pace can mean a quick defeat. Also, a successful fencer must be capable of mounting powerful driving attacks or conversely, of making subtle and crafty defenses, all within the space of a few seconds. The coordination must be so finely developed that the fencer can adapt all movements to many different opponents of widely varied strength, skill and speed. A fencer's success however is not purely a result of physical skill. The fencer must also possess the acute intellect of the chess player plus powerful concentration to guide his/her actions and make good his/her calculations. The pleasant exterior which masks all the scheming and violence of fencing is that of refined gentility. Like many martial arts, fencing is surrounded by a certain amount of courtesy and ceremony, and of course the tradition of the genteel fencer descends directly from the nobleman who first practiced the art. The spirit of fair play and honor which is an integral part of fencing is expected both on and off the fencing strip. A maximum of politeness and consideration is always observed while competing with others, however it would be a mistake to assume that a fencer's good manners, strength and poise begin and end in the gymnasium. Indeed fencing is as much an attitude as it is a sport and those who practice the art find that it can profoundly affect their lives. First, and most simply, the fencer enjoys the good health and vitality that only intense, vigorous exercise can bring. Fencers become more attuned to their physical potential and can thus use their strength and endurance with greater efficiency. Secondly there is the fencer's grace and natural ease of movement. The mid-point between the purely physical and the purely mental is perhaps best expressed as one's poise. Of this, the fencer is well endowed, having the good posture, precise action and the confident carriage of the ballet dancer. Moreover, the fencer will have developed an alert and shrewd intelligence which easily compliments their physical presence. Were it not for the self-control that good fencing requires, it would be easy for a fencer to become over-confident or even arrogant. However as sound judgment and good sportsmanship pervade the sport this possibility is seldom realized. In addition to its physical and intellectual benefits, it can also be expected that good balanced fencing produces a good balanced character.