Swordsman's Companion - Ebook download as PDF File .pdf), Text File .txt) or read book online. A modern training manual for medieval longsword. As a technical manual it has been largely superceded by The Medieval Longsword, which came out in , but it is unsurpassed as a general guide to how. As a technical manual it has been largely superceded by The. Medieval Longsword, which came out in , The Swordsman's Companion - Guy Windsor.
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IO Ebook and Manual Reference. The Swordsmans Companion A Modern Training Manual For Medieval. Longsword Ebooks Nice ebook you want to . THE SWORDSMAN'S COMPANION BY GUY WINDSOR PDF. Find the key to enhance the lifestyle by reading this The Swordsman's. THE SWORDSMANS COMPANION - In this site isn`t the same as a solution manual you download in a book store or download off the web. Our Over manuals.
The re-enactment of historical battles is an excellent pursuit.
It is basically unrehearsed stage combat with a huge cast. It provides the opportunity for the re-enactors to wear shiny kit, tool up with swords and have a damn good bash, and for the general public to have a glimpse of history that is far more immediate and present than a book or a film. It must be remembered that the prime function of re-enactment is not the practice of historically accurate fighting methods.
War without wounds and slaughter cannot be historically accurate. In fact, the most common battlefield techniques are almost universally outlawed on the re-enactment field, and rightly so.
The organisation of a safe, dramatic re-enactment, with sometimes thousands of untrained people all fighting at once, usually with no face protection, is, frankly, a miracle. However, it is certainly the case that a well-trained Western martial artist will provide a better, safer spectacle than the untrained weekend warrior. I would advise any re-enactor reading this to practise all the techniques in this book.
Bear in mind also that there is a fundamental difference between fighting alone and fighting in a line. Do not expect to have room to whirl the sword around. In many re-enactments head attacks and close quarters techniques are illegal: be certain that you fully understand the rules of the society organising the event.
The Swordsman's Companion
You do not need to fear that training in dangerous techniques might make them spontaneously emerge to injure someone in the heat of battle. There should be no heat of battle for a trained martial artist at a re-enactment: it is just fun for you and the crowd. The Society for Creative Anachronism is, as its name suggests, in general far removed from actual historical combat. Its members use rattan sticks with sword-handles to have a jolly good bash with whatever weapons or combinations seem like fun.
Much of the technique in this book can be adapted to SCA fighting, but bear in mind that steel behaves differently to rattan. I have never participated in a live-action roleplay game, though many of my students do so, and we have given demonstrations and lectures at LARP events.
For our purposes there are two LARP scenarios that this book might help you with: pre-ordained fights with steel, and boffer fighting. A free fencing bout with steel weapons, inadequate protection, but a pre-arranged winner, is quite easy to do if both combatants are trained, preferably in the same system.
With practice comes control, and an understanding of how a real fight might progress: training can add realism and ease to these fights. Boffer fighting, however, breaks all the known rules of swordplay. The training should help, but do not be surprised if you get hammered, even if you have been practising with steel weapons for a while. The reasons for this should become obvious when you start training with steel.
Another major difference between historical fencing practiced as a martial art and the above activities is the length of time you need to train before you are considered competent by your peers. Needless to say, he had not yet even begun partner drills with steel. The plain fact of the matter is that there are far more possible techniques, counters and variations in true historical fencing with steel blades than there are in stage-combat, re-enactment, rattan sword fighting and boffer play put together.
Finally it is up to you to decide what parts of this system can be applied in your own arena. What Are Martial Arts?
The Swordman's Companion: A Modern Training Manual for the Medieval Longsword
The original goal of a martial system is to train the practitioner to be able to execute the orders of his superior. That meant being able to kill other people with whatever weapon you happened to have. It did not, I suspect, take long before someone realised that that superior could be yourself.
Not the lying, cheating, greedy scumbag most people are at least some of the time, but the ideal self that we all aspire to become.
So the external discipline could be internalised, and the practice developed beyond a merely practical method for training soldiers to a more refined system for training the whole individual. This has led, particularly in modern times, to martial arts styles that are really designed and marketed as self-improvement courses, leading ultimately one hopes to a state of enlightenment. At the same time, what with mans ludic nature, allied to a thirst for bloody spectacle, with a whole load of cupidity thrown in, the martial arts have also been co-opted as sports and entertainment, ranging from the public butchery of Christians in Rome, to the frantic flailing of modern sports fencing.
Each has much to recommend it.
However, at any pole, something is lost. A system designed purely for killing is worth practising only if you are actually expecting to use it: in that case, best join the army. If the focus of the practice is entirely spiritual, then you might as well go to church. And if you just want to look good and put on a show, be an actor or a rock star. A true martial art must retain something of all of these: it must be practical, it must lead to spiritual development, it must clearly differentiate between skill-levels, and it must be aesthetically rewarding.
Many modern martial artists, quite rightly disgusted with the utter lack of style shown in the sporting arena, and the utter lack of practicality shown on the stage, have dismissed these two poles as unworthy. However, I would say that any fencing match between masters that I have seen has been better spectacle than the best stage combat, and at the highest level of fencing that I have partaken in, anyway , it has always been clear who would have won if the fencers were interested in competition.
And of course, every technique used was thoroughly practical if occasionally made more complex than necessary to better examine the fundamental truths behind the simpler, more street-effective techniques , and each fencer trained to better themselves. The fifth pole, health, is generally ignored by practitioners of Western and many Eastern martial arts. In my grandfathers house he was a medical doctor, who fenced into his eighties, and lived to be 92 hung a framed piece of calligraphy, which is now on my wall at home.
It paraphrases George Silvers Paradoxes of Defence. And moreouer, the exercising of weapons putteth away aches, griefes, and diseases, it increaseth strength, and sharpneth the wits. It giueth a perfect iudgement, it expelleth melancholy, cholericke and euill conceits, it keepeth a man in breath, perfect health, and long life.
It is unto him that hath the perfection thereof, a most friendly and comfortable companion when he is alone, having but only his weapon about him. This encapsulates for me most of the benefits of training.
In my opinion, it is also necessary for a martial artist practising ways of hurting people in however an enlightened and non-violent a fashion to counterbalance their skill in inflicting injury with skill in healing.
This is not only useful for dealing with the stresses and strains of normal training, and the routine bumps and bruises of friendly combat, but also provides a psychological counter-measure to the otherwise constant emphasis on hitting people. My students eventually progress through the five poles: first the practical martial skills, then the medical skills which at my School includes remedial massage, breathing exercises, basic nutrition, and some use of medicinal herbs ; then developing the aesthetic appreciation of swordsmanship; then competitive as opposed to purely academic freeplay; and finally the meditative, spiritual aspects of the Art.
Naturally, this book is largely confined to practical fencing techniques, but keep in mind that a true martial art partakes of all poles and is limited to none. Western M artial A rts Martial arts exploded into western public awareness in the sixties, a result both of the New Agers search for spiritual guidance almost exclusively from Eastern sources , and the extraordinary popularity of kung-fu movies spearheaded by Bruce Lee.
With the increase in interest in European weapons coming a decade or so later, it was inevitable that some of the have-a-go heroes would begin to attempt to recreate the historical methods of using their weapons. This has, unsurprisingly, been met with limited success.
We are now in the middle of a renaissance in western i. European martial arts. For a few decades now, perfectly normal people have been strapping on armour and bashing their mates on a Saturday afternoon. Who carries a sword in the Inner Cities?
So we have not had to worry much about thugs looking for cool new ways to hurt people. Other aspects of the Art seemed to have been covered by other systems. The new-Age types looking for spiritual awareness were all doing Yoga, Tai Chi Chan actually thoroughly lethal and street effective if taught that way or Aikido also not bad on the street if you really know what its about the sportsmen and fitness types were doing judo, sportfencing or aerobics, and the actors were on stage.
So who would start up such a bizarre and apparently redundant activity? Actually, quite a number of people and for various reasons. There are cultural and military historians looking for insight into how things were done in the past, looking for a truly historical martial art.
There are also martial artists who find the European perspective a refreshing change after training in the Asian ways. And we get the sword lovers: people who have always just been drawn to the long, shiny, poem in steel that is a good sword.
As always, most students who progress beyond the beginners course have a blend of these interests, and the resurgence of western martial arts is drawing in the thugs, hippies, competitors and thespians previously mentioned. The point is that, properly taught, Western swordsmanship has much to offer all the above. There is no generally recognised regulatory body for Western martial arts. Such a body would be a practical impossibility, as it would have to arbitrate on too many conflicting fields: the martial aspect, the historical accuracy or otherwise , etc.
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There is, I believe, an English translation now available.
A very few schools offer training in a living tradition of Western swordsmanship, which has the authority of lineage behind it, but not everyone can travel across the world to train. The method I teach them is therefore aimed at long-term results.
Colonel Donald McBane - April 12, was a noted Scottish swordsman, career soldier, and fencing master, who is widely regarded as one of the most prolific duelists of all time.
Anyone who tells you otherwise is ignorant and probably, to quote The Princess Bride, selling something. Bear in mind also that there is a fundamental difference between fighting alone and fighting in a line.