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William Elder
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Re: Response to Ilkka's posted criticisms--WARNING! VERY LO

Postby William Elder » Wed Jan 21, 2009 6:42 pm

Jason Taylor wrote:...The reason is that many of the criticisms fall into an area that can be usefully discussed from my own background as a professional academic writer and college professor who has quite a few years of martial arts experience, a couple of which are in HEMA, specifically with ARMA.


I hope Ilkka won't take it amiss if I address a couple of the issues you raise.

Jason Taylor wrote:
Still on page 10, third paragraph the author explains how, in the start of the dagger section Fiore shows a man who holds two "arms" to signify disarming, while it is the person holding a dagger that signifies disarms, and the "arms" signify broken arms.


This may very well be true, but how do you come to the conclusion that the dagger represents disarms and the arms broken arms? Is it in the translation of the text? If so, can you post that translation? I don't really speak Old Italian, and my Latin is getting pretty rusty.


Yes, in fact, that is exactly where it is. From the Exile's translation of the Getty:

The Master Holding a Dagger wrote:Because I carry the dagger in my right hand I carry it for my art that she has well deserved, that anyone that draws a dagger to me, I will take it from his hand, and with that I know well to injure, because of the pros and cons of all endings.


The Master Holding Broken Arms wrote:For his broken arms that I carry, I want to say my art, because this is without wanting to lie, that I have not broken and dislocated in my life, and he who will put himself against my art I want to make, such art always I am ready to want to use.


If, indeed, these are reversed in the book as Ilkka claims (I have not read it), then that would be a pretty fundamental error. The kind of error that is likely to undermine a knowledgeable reader's confidence in the rest of the text.

Jason Taylor wrote:
Page 19, paragraph 2 states strongly that the paired postures are not engaging each other. Interestingly, in the Getty poleaxe section, a pair is said to be facing each other and having often met in combat. This, of course, does not necessarily mean they always were contrasting each other.


You seem here to be committing a mistake common to a lot of scholarly writers trying to prove a point, in that you’ve thrown in everything but the kitchen sink that could possibly support your argument. While I appreciate the work you've done, references like this, and the implication that it is somehow an "error," as opposed to John expressing his interpretation, makes it seem that you are trying very hard indeed to find problems. This section of the essay does not refer to poleaxes or the Getty text about them. There is no reason that one isolated example (and you say it is “a pair,” which implies a single set of figures, in one section of one manuscript, so that qualifies it as “isolated”) should somehow invalidate Mr. Clements’ remarks. Additionally—how is this not an interpretive disagreement?


We are two guards, one is made like the other, and one is the contrary to the other.

-The Getty's Illustration of Posta Di Donna Opposite Tutta Porta di Ferro


We are called post and guards by name
And we are one contrary to the other;
And depending on how we stand or are positioned
We'll show how one stands against the other.

-The Pisani-Dossi's Opening Verse Ahead of the Posta of the Sword in Two Hands


While this may not be absolute proof, it does seem to indicate some kind of relationship based on the pairings in the manuscript. If the author believes otherwise, perhaps it could be described as an interpretive issue. That said, it would be one that begs significant justification.

Jason Taylor wrote:
Page 26, third paragraph tells that we shouldn't face a dagger in a half-sword guard, while this is exactly what Fiore suggests in the six guards that precede the longsword guards.


I looked through the translation I just found of Fiore at the same site (the exiles), and I couldn’t find a reference in which Fiore says that we should go to half-sword against a dagger. Can you provide me with a reference to where Fiore tells us to do so? I found dagger and I found half-sword, but I didn’t have the time before this posting to really read the two sections thoroughly.


I would refer you to the text of the last unnamed posta in the section on the sword in two hands:

I am a good guard against sword, pollaxe and dagger wearing armour, because I carry the sword with the left hand in the middle. And I ... do it against the dagger, which can harm me in a worse way than the other arms.


It is also worth noting that the Getty's depiction of mezana porta de ferro is extremely similar to the "halfsword".
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Postby Stacy Clifford » Wed Jan 21, 2009 11:30 pm

I'll add my compliments to Jaron, this thread is getting interesting now, good constructive criticism on both sides. I admit some guilt in dragging it the wrong direction earlier, but I look forward to Ilkka's response.
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Postby Brandon Paul Heslop » Thu Jan 22, 2009 12:21 am

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Postby I. Hartikainen » Thu Jan 22, 2009 1:49 am

Jason,

granted that all my points were not 'errors' as such in my post, it does not mean that there were no errors. You seem to concentrate on the points of interpretation, which is understandable due to you not being that familiar with the actual treatise. In any case, I am fine with that, even though it is a shame. I would personally be more interested in discussing things like 'what makes Fiore Bolognese?'.

I only posted the above because people here so keenly asked for some references. I spent an hour or so re-reading the essay and then making some general remarks. The reason why I did not do so in the first place was because it is very time consuming, and I would be happy to review John's writings if he asked me to do so, and even happier if it could be done before publication.

I thank William for standing up for some of the points, I'll second what he said.

Besides that, I hope you don't mind me giving you two advices: 1) read the manual before commenting, and 2) make a distinction between a published article and a forum post. With the manual I of course refer to Fiore, and I hold the opinion that a totally different level of attention to proof-reading, source checking, editing, reviewing etc. should go to a published article than to forum discussion.

That said, I'll address a couple of your points.

Multiple opponents: if someone, who is serious about his martial arts ability, knows how to defend against people attacking one by one with one strike thinks they can handle two or three opponents, they are in for a big surprise... BTW, did you know that Agrippa teaches how to handle skirmishes of four people? Look at the pictures...

Latin: you're absolutely right about the Latin on 6a, thanks for pointing that out. I'll have to do a closer look at the Latin on PD, there might be even more.

Segno: I was asking for the reference to the segno in the use as a wall/floor diagram in the 15th century out of pure interest. Forum discussion, you know? I didn't mean it as an error in the text. You know what? If I could I would now change the first line of that post, since I couldn't resist leaving my post only to the factual errors. I probably should have, but it's late now. Do you have this reference?

Same goes for much of the later points. Let's discuss interpretation. Or let's discuss the factual errors. I think it is quite obvious to any reader that not all my points were 'errors', but rather something I have an issue with. The actual errors are points:

1, 4, 8, 10, 14, 16 and 17

which are of such basic level that they gave me the impression that the original article is rather cut&paste than analysis of the primary sources.

Oh, and what is versetzen and what is a volarica? Can you tell me? Did the article explain?

Apart from the carta 6a of the PD (thanks for that, hadn't noticed it before, and feel embarrassed) your post did not really add much information to the discussion, apart from that you disagree on what I thought of as differences in interpretation and what as errors. I hope that is now settled.

And for everybody, I am not asking or expecting anyone to read my list and comment on it, I only posted something because I am a man of my words, and others requested me to stand up for my comments.

If someone wishes to discuss points of interpretation, or even more, acknowledge or correct the points which I state erroneous, great! But whether you agree or disagree with the organization and contents of my list, that's private messaging material - it's not useful for others.

Yours,
Ilkka

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Postby Stacy Clifford » Thu Jan 22, 2009 2:17 am

I. Hartikainen wrote:Multiple opponents: if someone, who is serious about his martial arts ability, knows how to defend against people attacking one by one with one strike thinks they can handle two or three opponents, they are in for a big surprise...


I have personally seen John Clements take on ten of his students at once in an open field (I was one of them) and beat us all, and I've beaten up to four by myself on occasion. Fighting against multiple opponents is something we practice, so we are in no way surprised.

As for Jason's response, he could only refute what you actually said, not what you thought you meant before you corrected yourself, and he clearly stated the limitations of his response, so I see no sense in saying that he really didn't contribute anything. He forced you to clarify your meaning and intentions in order to make your point, which makes this discussion more useful, and therefore contributed to the overall process of discovery. That's what we encourage here. I for one would like to see this discussion continue in public rather than go private because it is the kind that gets more people to take their own look at the manuals to see what you're talking about, and regardless of affiliation we all want that.
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Postby I. Hartikainen » Thu Jan 22, 2009 2:24 am

Stacy,

you misunderstood me. What I meant was simply, that if someone thinks, that the ability to defend against opponents attacking one by one with one strike constitutes as skill to handle multiple opponents, they are in for a surprise.

Basically, I'm trying to make a distinction between what Fiore says, and what fighting with multiple opponents means. If I recall right, the only advice against multiple opponents Fiore gives is to ride away in fear of his opponent's friends, in the last play of the Getty.

I have no doubts on John's ability to fight you and your friends, but that is irrelevant to this discussion, ok?

Yours,
Ilkka

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Postby Stacy Clifford » Thu Jan 22, 2009 2:31 am

I. Hartikainen wrote:Stacy,

you misunderstood me. What I meant was simply, that if someone thinks, that the ability to defend against opponents attacking one by one with one strike constitutes as skill to handle multiple opponents, they are in for a surprise.

Basically, I'm trying to make a distinction between what Fiore says, and what fighting with multiple opponents means. If I recall right, the only advice against multiple opponents Fiore gives is to ride away in fear of his opponent's friends, in the last play of the Getty.

I have no doubts on John's ability to fight you and your friends, but that is irrelevant to this discussion, ok?

Yours,
Ilkka


Fair enough, I can agree with that.
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Postby I. Hartikainen » Thu Jan 22, 2009 2:52 am

As for Jason's response, he could only refute what you actually said, not what you thought you meant before you corrected yourself, and he clearly stated the limitations of his response, so I see no sense in saying that he really didn't contribute anything. He forced you to clarify your meaning and intentions in order to make your point, which makes this discussion more useful, and therefore contributed to the overall process of discovery. That's what we encourage here. I for one would like to see this discussion continue in public rather than go private because it is the kind that gets more people to take their own look at the manuals to see what you're talking about, and regardless of affiliation we all want that.


Indeed. He could've done that with less words though. :)

I'll be happy to continue the discussion, if further points are raised, now that the clarification has been made.

Yours,
Ilkka

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Postby Sam Nankivell » Thu Jan 22, 2009 4:04 am

Brandon Paul Heslop wrote:No need to take this to PM by the way. The point of posting on a forum is discussing it in public. If you're going to start a PM discussion with each person that disagrees, for each and every post you make...

Actually, Vince, I changed my mind. You're quite right. No need to take this to PM.

First, however, a disclaimer: my distaste for the rapier falls in line with the reservations that Silver held for it. It is a killing weapon, to be sure, but a purely civilian one. THE FOLLOWING IS UNDER COPYRIGHT: Silver did not claim that the rapier was ineffective at killing, he simply didn't like the theatre in which the rapier killed. In short, it's only good for squalid back alley vendetta, and the killing of one's own countrymen.

If Englishmen had taken the rapier afield, against the hated French for example, and it had proven effective on the battlefield, Silver would have lauded the weapon. But the rapier was never a benefit to the civic-minded Silver, it was instead a social liability, and over-specailized, to boot. It was the weapon of the fop and the petty street thug, (often, surprisingly perhaps, one and the same).

The rapier was also the beginning of the end for martial swordplay in Europe; after it became eclipsed by the small sword, the art of swordsmanship waned in Europe, until it finally became something only half-remembered. Much of this, of course, can be attributed the the rise of the gun as an effective weapon of war, and the gun and the small sword rose to prominence together. As the gun became more effective, swordplay became less important,until it finally became about how gentleman comported himself, about grace while fighting with a pointed, gilt and filigreed piece of jewelry...

...Silver's preferred sword, on the other hand, capable of cutting and thrusting with equal effect, was suitable for both war and duel, skirmish and brawl. © Brandon Heslop, c. 2008.

I also, I suspect you will be able to detect, have an asthetic dislike for the rapier. That cannot be held against it, of course. In some respects, I just don't like it. I like the small sword even less. Further, to me, they represent the first symptoms of the disease that felled real swordplay. I understand that others have an emotional attachment to these...weapons (spit three times)...but that doesn't mean I have to.

And yes, as has been pointed out, these opinions are mine. Not the ARMA's. I find it ridiculous that this has to be continously pointed out for the sake of the, in my opinion, somewhat over-sensitive. I have never claimed to represent the ARMA. The ARMA is more than capable of representing itself. I simply happen to agree with John \ the ARMA on most things. As far as the rapier is concerned, there we have a divergeance, and that's more than fine. There are many within the ARMA that adore the rapier and are quite skilled in it's murderous application. That's great, but it's not for me. Moving on...

There's an old saying that I find particularly apt here: The truth will stand up to scrutiny. No matter how hard someone looks for some fatal flaw, the truth will withstand against the most concerted efforts to pick it apart. I think most reasonable people can agree on this point. With regard to our subject, the most rigorous test of all is the test of martial application. I propose an experiment: let's arrange to have the most respected small sword fencer we can find \ get to agree to participate, and put him or her up against a pure novice longsword fencer. We all know what I think will happen, but I say let's try it. If the longsword fencer wins, then that is evidence irrefutable. So, run off to the Order of Seven Hearts, or whatever your preferred group, and see if anyone will deign to participate. It has to be small sword, though. Rapier is out. Small sword only.

Who's with me on this? It can be dignified and polite. No need for recriminations. Come on. Somebody's gotta have the guts out there. To sweeten the deal, win or lose, I will personally shell out $50.00 to each of the two participants, (so long as they consent that it be filmed and uploaded on YouTube). Any takers?

-B.


Firstly, sorry about stretching your opinion to imply all of ARMA had the same opinion. However, I do think it is not much of a stretch to say the video had a distinct anti-smallsword/anti-anything-after-1700 flavour to it (though we seem to agree that this is present in the video).

I would love to participate in such an experiment. Unfortunately, I cannot due to geographical restrictions (I am currently on the other side of the planet) and due to personal lack of experience with the smallsword. However, you have explained yourself quite well. I would just be careful to make the distinction between disliking a weapon due to personal style/having different requirements (I would never take a smallsword with me onto a battlefield!) and making an absolute statement that the weapon is crap. For instance, though I do not have a preference for the German style of the longsword, I certainly don't think it is ineffective.

Something that may be of interest to you though is this video that the British Federation for Historical Swordplay put out. The video is of military broadsword vs. smallsword, so not exactly longsword vs. smallsword, but a similar contest of wider, cut and thrust vs. thinner, faster, thrust only weapon: http://video.google.com/videosearch?q=smallsword&hl=en&emb=0&aq=f#q=smallsword&hl=en&emb=0&aq=f&start=30

Once again, I do really wish I could participate in such an experiment. If you seriously want to do it, I recommend you talk with people on the Order of the Seven Hearts forum in their smallsword section about it, they could lead you to finding someone who could participate in the experiment. I would also recommend posting at MyArmoury or SFI.
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Postby Brandon Paul Heslop » Thu Jan 22, 2009 4:19 am

Once again, I do really wish I could participate in such an experiment. If you seriously want to do it, I recommend you talk with people on the Order of the Seven Hearts forum in their smallsword section about it, they could lead you to finding someone who could participate in the experiment. I would also recommend posting at MyArmoury or SFI.

Cool.

Being in China, I understand how that might be difficult for you, LOL. In all frankness, I may well propose the experiment over at 7 hearts, but I do have some reservations as their affilations. MyArmoury is probably a better idea. I WOULD post it at SFI, but my old accnt there is defunct, and they have a "temporary" restriction on new accnts (for reasons I find suspect, but I won't get into that here). Game's locked over at SFI. So I can't post it there. Unless, of course, you'd like to post it for me? He he.

-B.
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Thys beeth ye lettr yt stondÿ in hys sygte \

To teche . or to play . or ellys for to fygte...



"This [is] the letter (way,) [for] standing in his (the opponent's) sight \

[either] to teach, or to play, or else for fight..."



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Postby Martin Lysen » Thu Jan 22, 2009 9:48 am

This thread has proven quite interesting. It's made me want to look closer at Fiore, for one thing. I know of the Exile's translations, but are there any other ways to get hold of the different versions of Fiore's text? Where have you found yours, mr Hartikainen?

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Jason Taylor
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Postby Jason Taylor » Thu Jan 22, 2009 1:35 pm

Jason,

granted that all my points were not 'errors' as such in my post, it does not mean that there were no errors. You seem to concentrate on the points of interpretation, which is understandable due to you not being that familiar with the actual treatise. In any case, I am fine with that, even though it is a shame. I would personally be more interested in discussing things like 'what makes Fiore Bolognese?'.


I did not mean to suggest that there were no errors—only that the bulk of the comments were more usefully treated under another heading. That’s why I concentrate on your points of interpretation.

As far as Fiore and the Bolognese background, I read the prologue and found a reference to “Premariocco of the Diocese of the Patricarch of Aquilegia.”

As you point out yourself, this is time-consuming discussion work, so you’ll have to forgive me if I don’t spend time boning up on my Italian geography for that one. :) So I'll have to take your word for it, and guess that either A) It's a mistake missed in editing, or B) He meant to lump Fiore into the Bolognese school of fence for some reason.

As an additional question that occurred to me—does it actually keep that reference in the published version, or is it only on this (as Stacy pointed out, somewhat older) online PDF version? If there is a mistake in the printed version, then I’m sure John would like to know.

I only posted the above because people here so keenly asked for some references. I spent an hour or so re-reading the essay and then making some general remarks. The reason why I did not do so in the first place was because it is very time consuming, and I would be happy to review John's writings if he asked me to do so, and even happier if it could be done before publication.


Well, yes, I did ask for your remarks. The response I posted was not an attempt to attack you for having posted them—as I noted more than once, I appreciated the time you put into doing so.

I thank William for standing up for some of the points, I'll second what he said.


And I thank him as well. I asked for references, and he provided them. This is a basic tenet of the academic discussion, give and take, and I will try to look through those points and respond to Mr. Elder when I have the time. Mr. Elder—I’d like to add that I appreciate the tone of your post, which was professional and direct without attacking me personally or the value of my contribution.

Besides that, I hope you don't mind me giving you two advices: 1) read the manual before commenting, and 2) make a distinction between a published article and a forum post.


Are you suggesting that if I have not read the entire treatise, I shouldn’t be posting? I have been reading the manual, ever since the original post drew me into the discussion. The fact that I haven’t completed that process yet should not exclude my opinions from having value, especially when, wherever possible, I have read the specific section of the source material under discussion. The question I raised about the masters and half-swording against the dagger were honest requests for information because I could not find the sections, or translations of those sections that were clear, and I felt I needed help in doing so.

With the manual I of course refer to Fiore, and I hold the opinion that a totally different level of attention to proof-reading, source checking, editing, reviewing etc. should go to a published article than to forum discussion.


Aside from the Latin, which I could only meaningfully discuss through source-checking, I did not hold you to any unnaturally high standard. Your post made claims that I felt should be addressed, so I addressed them using the text of the post. If there were ways in which you felt the scrutiny was unfair, then I apologize, for that was truly not my intention. As I said, I wanted to address your ideas with the care and respect they deserved.

Multiple opponents: if someone, who is serious about his martial arts ability, knows how to defend against people attacking one by one with one strike thinks they can handle two or three opponents, they are in for a big surprise... BTW, did you know that Agrippa teaches how to handle skirmishes of four people? Look at the pictures...


I’m not arguing that if you can do one, you can do the other. When I teach self-defense and personal protection through my original system’s school, I spend significant time on evasion, defense, human shielding, psychological tactics, force multipliers, etc. when more than one attacker is involved. I’m quite aware of the differences in the two. I’m arguing that there is a reference to multiple opponents in the text, which there is. Nothing more. Even if Fiore says “ride away in fear of his friends,” as I believe you stated elsewhere, that’s a reference to it (and incidentally the best such advice of all). Mr. Clements mentions it in passing, and it is there. This is also not an attempt to hold you to a higher standard, by the way, but to clarify what I saw as Mr. Clements’ intentions in his comment.

Latin: you're absolutely right about the Latin on 6a, thanks for pointing that out. I'll have to do a closer look at the Latin on PD, there might be even more.


I’ve been looking myself. If I find any further references, I’ll post them.

Segno: I was asking for the reference to the segno in the use as a wall/floor diagram in the 15th century out of pure interest. Forum discussion, you know? I didn't mean it as an error in the text. You know what? If I could I would now change the first line of that post, since I couldn't resist leaving my post only to the factual errors. I probably should have, but it's late now. Do you have this reference?


Forum discussion, yes. But I can only respond to what you actually said. Am I supposed to guess that since it’s only a forum post, you probably meant something other than erroneous? Especially given the original post about non-interpretive errors, my response was logical. And no, I don’t have the reference, though if I find it, I will post it.

Same goes for much of the later points. Let's discuss interpretation. Or let's discuss the factual errors. I think it is quite obvious to any reader that not all my points were 'errors', but rather something I have an issue with.


As I mentioned twice in my original post, it is not obvious to any reader. It was not obvious to me until I pulled out all three texts—your post, the essay, and the manual—and read them in tandem. A casual reader just sees the post and says, “wow, that’s a lot of mistakes.” So discussing which of the points that you labeled erroneous aren’t errors is extremely valuable to this discussion, which includes casual readers.

The actual errors are points:
1, 4, 8, 10, 14, 16 and 17

which are of such basic level that they gave me the impression that the original article is rather cut&paste than analysis of the primary sources.


All right, that’s good. There are seven factual errors you’re concerned about. I’m not saying that you haven’t found or wouldn’t find others, but again, I can only respond to the post in question. And I will examine these more closely—again, when I have more time. This kind of material takes a greater level of research, and deserves a closer analysis.

Oh, and what is versetzen and what is a volarica? Can you tell me? Did the article explain?


The article says “Though Fiore does not appear to specifically indicate they are used to simultaneously defend and offend in one motion as with the German Versetzen displacements or the volarica(“jewel of the art”) as later described by master Vadi, they can indeed be interpreted and applied this way. [emphasis mine.] So these concepts refer to a movement that both blocks and strikes simultaneously with different parts of the blade.

I. Hartikainen wrote:
Stacy Clifford wrote:As for Jason's response, he could only refute what you actually said, not what you thought you meant before you corrected yourself, and he clearly stated the limitations of his response, so I see no sense in saying that he really didn't contribute anything. He forced you to clarify your meaning and intentions in order to make your point, which makes this discussion more useful, and therefore contributed to the overall process of discovery. That's what we encourage here. I for one would like to see this discussion continue in public rather than go private because it is the kind that gets more people to take their own look at the manuals to see what you're talking about, and regardless of affiliation we all want that.


Indeed. He could've done that with less words though. :)



I realize you’re not making a serious criticism—but I would like to say that if it was too long, it was just me trying to cover all my bases and assure any reader that my comments were not an attack on you or your group affiliations. :)

Apart from the carta 6a of the PD (thanks for that, hadn't noticed it before, and feel embarrassed) your post did not really add much information to the discussion


If someone wishes to discuss points of interpretation, or even more, acknowledge or correct the points which I state erroneous, great! But whether you agree or disagree with the organization and contents of my list, that's private messaging material - it's not useful for others.


Ilkka, I must admit I am rather disappointed by these comments. I spent significant time and energy to give your ideas a fair shake, and I assumed that you had an intelligent, professional, and educated basis from which you made them. The least you can do is afford me the same courtesy. I freely admitted that I came into this discussion without significant background in Fiore, but as someone with other skills and experience to offer. The fact that you are trying to discount and minimize my contribution to this discussion is upsetting and frankly insulting.

Again, I can only respond to what you seemed to be claiming in your post: “these are errors, and John Clements doesn’t know what he’s talking about.” If that’s not what you wanted to say, I’m okay with that; accept that there was a miscommunication and we can move on, don’t try to claim that my entire approach was useless.

You’ve pointed out the things you feel are factual errors, so now any discussion that goes forward can focus on those elements. Real discourse isn’t about just adding data, if that’s what you mean by information, but about deciding what is important to talk about and what belongs in what category. That is what I did, along with trying to make clear to other readers (again, many of whom will not be doing their own fact-checking) what the discussion is about. In particular, I felt the need to respond for the record to the comment that John Clements had not read Fiore. Maybe you didn’t mean that literally, but other readers don’t know that, whatever you may think. Therefore, I believe my response is eminently “useful for others.” Others on this board, in fact, have already commented on how useful they felt it was.

And for everybody, I am not asking or expecting anyone to read my list and comment on it, I only posted something because I am a man of my words, and others requested me to stand up for my comments.


You didn’t request it, but others did, and, as I said, they implied that the lack of a response meant that there wasn’t one. I am not saying that you implied anything of the sort, only that someone else did, which a quick glance over the thread will show to be true. You responded to keen requests for comments, I responded to keen requests for a response. And even if you don’t care what I have to say, I will read your remaining factual comments for my own edification. Which is what this is all about.

Respectfully,

Jason
I'm impatient with stupidity. My people have learned to live without it.--The Day the Earth Stood Still

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I. Hartikainen
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Postby I. Hartikainen » Thu Jan 22, 2009 4:08 pm

Jason,

please do not be offended by my post, I don't wish any ill feelings.

We can have it your way, if you like. The 7 errors are not the only ones that I consider erroneous, but they are the things that I find directly erroneous in relation to the primary sources, even to a reader totally unfamiliar with the context. I find the other points relevant as well, but perhaps more so in a discussion where the interpretation counts as well.

Things like the nature of the 'volta stabile' come into play then: I find it erroneous not to see the volta stabile between the two first posta di donnas that Fiore shows, but if one wishes to argue that their difference is but artistic, then I can't really help it.

The Bolognese mistake is in the printed version as well. And I think the online version is even newer, as it has a reference to the BnF manuscript. I wouldn't be surprised if the Bolognese reference would be dropped out from it soon, but that would only be a good thing! I'm sure John is aware of this thread.

About reading the manual I am indeed suggesting that, especially since without doing so it is difficult for you to comment on what I call actual 'errors' as well as what I now accept as points of interpretation. I do appreciate you standing up for the essay, though. Maybe you could still contribute more. What did you, as a person not so familiar with Fiore, learn from it? Did it raise any further questions?

The requests of further references are of course ok, and I can look up things for you as well, if necessary. The poleaxe guards reference, for example is on 37 verso, but it is merely a curiosity, and not proof one way or the other, as I said earlier, since the donna on this page says that it is against dente di zenghiaro, and only the porta di ferro opposite to it says to be against the donna.

And please hold me to a high standard, it is fine. I try not to let people down.

Still about multiple opponents, please cite where Fiore speaks of fighting multiple opponents? What you describe as doing in your sd and pp training is not what Fiore talks about. Fiore is specific in that each time there are more than one people standing against him, they all come one by one with different attacks and Fiore responds with the same action against each of these attacks. This is clearly a way of communicating the idea that a single defence works against various different attacks (thrust, cut, thrown sword). If you think otherwise, why? In the horseback section Fiore even mentions that it has been agreed that each opponent can do one attack (48r).

To be honest, when I read the essay, my initial thought was exactly "wow, that's a lot of mistakes", so why would I not wish to convey this idea to others?

If you can address the factual errors at some point, that would be great! Or acknowledge them as errors, I am not challenging you to dispute them, they are not your errors after all.

Finally, I am sorry to hear you are disappointed by my comments, but honestly, what did you expect? After yourt post I could not really delve into the interpretations, and you chose not to comment on the factual errors. I don't find my ideas very much shaken at all. The PD dagger introductions are in Latin, and I need to read my Fiore again, that I accept. But, the "seven errors" remain. Fiore is still in my opinion based on due tempi defenses and sort of single time counters to these. The figures have not turned their heads but performed a volta stabile and are about to perform it again (altough the head turn can facilitate the same effect). The essay would have benefitted from a bit of editing. I'm still 'waiting' for references about the floor segno, 3227a multiple opponent eisenpforte and the defense without stepping. I don't call the sword in one hand guard porta di ferro. I still don't see the zornhut (which by the way is in a 'rear stance' just like Fiore's donna, why is it no longer an artistic convention in the 16th century?) very related to Fiore, especially not as a connection between Fiore and Liechtenauer tradition (not that it was originally suggested as such, but the ignorant reader may have gotten the impression). I still feel the naming of poste is consistent enough to pose no hurdles in reading the texts. I still hold that the poste are the key in Fiore's art, and are of great importance. I find the meaning of the garters and crowns easy to explain and extremely relevant, worth a spot in the beginning of the essay. And I still believe fiore is not speaking of combat against multiple opponents when the poor villains, who know little of his art, come one by one to give their agreed strike to the master.

I appreciate the attempt, however. Do keep posting, but can we please get over fetisizing with the erroneous-claim and the 'not-read-Fiore'-claim? I'm not going to comment more on those, unless you have something really good to say.

I'm knee deep in this already, so I will answer for points of interpretation or about the errors, or if needed dig up more references. But let's keep to the subject that benefits us all, ok? Or if you still have an issue with something what I find irrelevant, can we take it to PMs until we have gone through it, and then post something conclusive for everybody if we find it necessary.

Martin,

I'm happy to hear you find this interesting. Your best bet would be to get the Massimo Malipiero's facsimile, transcription and analysis of the Getty Fior di Battaglia, and the Pisani Dossi version floating around the internet. Send me a PM if you're having trouble locating all of this stuff and I'll help you. Besides the Exiles Fiore-project also Schola Gladiatoria have good stuff online: www.fioredeiliberi.org/getty. The Arma website had some scans of the Morgan microfilm somewhere at one point, but they may have taken them down.


Yours,
Ilkka

William Elder
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Postby William Elder » Thu Jan 22, 2009 5:46 pm

Forgive me, friends, while I burn some karma.

Brandon Paul Heslop wrote:No need to take this to PM by the way. The point of posting on a forum is discussing it in public. If you're going to start a PM discussion with each person that disagrees, for each and every post you make...

Actually, Vince, I changed my mind. You're quite right. No need to take this to PM.

First, however, a disclaimer: my distaste for the rapier falls in line with the reservations that Silver held for it. It is a killing weapon, to be sure, but a purely civilian one.

<removed for reasons of copyright>

I also, I suspect you will be able to detect, have an asthetic dislike for the rapier. That cannot be held against it, of course. In some respects, I just don't like it. I like the small sword even less. Further, to me, they represent the first symptoms of the disease that felled real swordplay. I understand that others have an emotional attachment to these...weapons (spit three times)...but that doesn't mean I have to.


I find your gratuitous insults of the rapier ("bird-sticker", "spit-three-times") telling. The gentleman doth protest too much, methinks.

Brandon Paul Heslop wrote:There's an old saying that I find particularly apt here: The truth will stand up to scrutiny. No matter how hard someone looks for some fatal flaw, the truth will withstand against the most concerted efforts to pick it apart. I think most reasonable people can agree on this point. With regard to our subject, the most rigorous test of all is the test of martial application. I propose an experiment: let's arrange to have the most respected small sword fencer we can find \ get to agree to participate, and put him or her up against a pure novice longsword fencer. We all know what I think will happen, but I say let's try it. If the longsword fencer wins, then that is evidence irrefutable. So, run off to the Order of Seven Hearts, or whatever your preferred group, and see if anyone will deign to participate. It has to be small sword, though. Rapier is out. Small sword only.

Who's with me on this? It can be dignified and polite. No need for recriminations. Come on. Somebody's gotta have the guts out there. To sweeten the deal, win or lose, I will personally shell out $50.00 to each of the two participants, (so long as they consent that it be filmed and uploaded on YouTube). Any takers?

-B.


This is a foolish notion in a couple of ways, but certainly in line with the tact you've taken so far.

First, the objective flaws:
  • A single data point proves nothing. Indeed, even a series of data points from the same source doesn't have much meaning. One bout tells us exactly zero about the overall trend.
  • The comparison is meaningless because you propose matching two fencers of unequal skill. If the novice loses, even over a statistically meaningful series of bouts, does this tell us that the longsword is inferior or that training confers an advantage? No way to know.


That aside, why on earth would you expect any small sword master* to accept this kind of slanted challenge? First, you have set him up with a novice, the most unpredictable and chaotic--and thus the most dangerous--of fencers. Additionally, there is no way for the master to win. If he wins the bout, the response will be "oh, but that was just a novice, it doesn't prove anything." If he loses, he will receive a double ration of scorn. You're also asking him to risk crippling injury or death from an untrained longsword assault in a way that the novice is not. (Sharps would change this, but I don't think anyone would agree to that, and rightly so.)

So why do you expect the small sword master to take up your challenge when he has nothing to win and everything to lose? For a measly fifty bucks, contingent on winning? No. To satisfy your curiosity? I doubt it. Indeed, it seems kind of presumptuous of you to ask.

I know a woman who is a well-respected Asian martial arts instructor in my area. She gets the equivalent to these kinds of challenges (she phrased it less politely) in her art all the time. She told me that, for most of the same reasons I've listed, she requires a $500.00 fee, nonrefundable and up front, to accept a challenge. This sounds like a good idea to me, though she may be charging too little.

So perhaps, Brandon, you should consider refining your experiment to make the results meaningful, and paying a fair wage for the risks you expect others to incur to feed your martial prejudices.



*Let us avoid the tiresome "Modern Masters" argument and consider this simply to be shorthand for "most respected small sword fencer we can find".
William Elder

(Not an ARMA member, so don't blame them.)

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Stacy Clifford
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Postby Stacy Clifford » Thu Jan 22, 2009 5:48 pm

We've had this up for untold ages, but no translation to go with it:

http://www.thearma.org/Manuals/Liberi.htm
0==[>>>>>>>>>>>>>>>>>

Stacy Clifford
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ARMA Houston, TX


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