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.
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".
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.
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. 
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. 
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. 
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
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
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.
