Fencing Physiology

Fencing Physiology by John H. Proctor There is a swimming drill where the swimmer moves across the pool in as few
strokes as possible. Supposedly hydrodynamics dictate a long object will move
faster though the water than a shorter one. So swimmers stretch out to
lengthen their bodies and thus create a type of wave resistance which allows
the body to glide further. The swimmer practices going across in as few
strokes as possible, then as fast as possible without adding onto more strokes.

On a bicycle one could infer the idea of fewer movements will lead to
greater efficiency. Just the idea sounds good. But in fact racers pedal
around 90 RPM's a minute and go faster with less fatigue over the distance.
This has to do with the metabolic rate of the body coupled with cardio vascular
effects, along with muscle fatigue physiology. Everything is different, there
are no liquid waves to contend with, unless we count air, actually a form of
liquid but with a totally different viscosity. The body is sitting upright as
opposed to stretched out horizontal in the water. Lo and behold wouldn't it be
funny if 50 years from now swimmers were taking more strokes and bicyclists
pedaling fewer RPM's? But there would probably be a reason for it based on the
results.
Fencing is a little harder because the ultimate speed or having a lower
amount of fatigue isn't as cut and dry. For example take the arm extension.
How many of you have run into Epee fencers who seem to have gumby arms? They
don't look like they lunge very far or even go fast. But like some kind of
magic stretching proboscis they always gain the extra millimeter, even if they
had to first cover 10 feet. The extension never ends. How do they do this?
There must be some kind of method. Do all of the Epee stretch-o fencers use the
same type of movement? Was it learned? If the methods are different but
equally effective what are the pros and cons to different techniques? We are
just talking about the gumby Epee fencers here, not those who rely on surprise
timing, machine gun fire or raw speed and violence. We are simply looking at
stretch. Sometimes good point control gives the illusion of reach as well. Or
maybe this isn't an illusion? We haven't even touched on other aspects of the
game such as the aforesaid speed, timing, distance, position, opponent
assessment or tactical set up. It is always nice to know how creating the
gumby arm is always something given space for improvement. Even by a gain in
1/2 millimeter.
PS: Before doing experimentation know the shoulder joint is extremely
fragile with breakable parts such as rotator cuffs and other tendons and
ligaments. Much consideration should go into how stretch is gained and perhaps
not doing it through the shoulder is a good start.

Dry Foil by John H. Proctor

The FEX had a dry foil competition on November 28. It was not a usfa competition so anyone without membership could come. 12 beginner and intermediate students did. Here was a mixture of children, teenagers and adults, the FEX rarely divides categories in competition. Adults were told to fence children seriously, nevertheless two of the children defeated their elders. In the end the kids brains were shot and were taken out, not by force or superior strength but through attrition.
At this competition everyone seems to have come by their own motivation. There was little if any social reinforcement and the fencers seemed determined for their own reasons. The organizers didn't even guess to hazard speculation on the participation. Most of the fencers were just starting to experiment with competition and the dry equipment gave them a chance to do so without further investment in electric.
The dry Foil rules are no longer in the FIE or usfa rulebook so we had to use an old 1996 rulebook to remind ourselves of details. There are some differences in dry fencing as compared to electric so far as how the right of way is called, tempo is perceived, touches are seen, and how judgment is weighed. It is far more complicated than electric fencing and requires more mental effort and work from everyone involved. Sarita Mizin and John Proctor were the referees.
Without a time limit for a recognized double touch the referee has more power to decide who has the right of way in relation to the interpretation of tempo. For comparison electric fencing only registers a double touch by two machine lights. If a double touch arrives within 3/10 of a second then two lights will tell the referee so. Since current fencing is based on not getting hit the fencer who failed to defend themselves when attacked is seen at fault if this causes the double touch. This would seem to give the attacking initiative some room for less than perfect execution since the other fencer is required to defend. In practice this is often the case but in theory and when applied correctly attacks are performed flawlessly. Poor attacks, if they arrive at all are subject to being hit with a riposte.
Electric fencing currently allows for an incomplete defense. If the defender fails to guard themselves but instead counter attacks they are often more than 3/10 of a second ahead of the finished attack. So the defender counter attacks in the attempt to touch first. Counter attacks and renewed attacks are now popular in electric Foil and this gives the game some heavy Epee character. Here the finger of doubt pointing to he responsible for the double touch is aimed at the man who failed to attack correctly. There is a whole treatise on Italian fencing arguing for this. It is a bit of a paradox. French and Italian calls always ask if the glass is half full.
Dry fencing give the referee greater power to caste doubt at the fencer who failed to defend. There is no puny window of time for two lights to register a double touch. The referee has the better ability to judge on tempo. As a result fencing phrases begin to show more parry and ripostes. Attacks become more complicated in order to elude the more sophisticated defense and fencing becomes complicated. The result is students learning to defend themselves. Near the end of this competition the parries were getting quite good and the winner, Jackie won hands down with her riposte. Having a good defense allowed her to go on the offense.
As time passed the contestants seemed to put their energy into building up their concentration. Early bouts with frenzied actions were soon stamped out by the better fencers. The final direct eliminations were either a standoff of strategic equality or tactical decimation. Some of the final fencers were surprised to have just fought a slow moving grinding bout only to find their next opponent had the right tactical answer for their style and won with high scores like 15-3. Most went home tired.
This was a good competition with the aimed results, being set up for the participants to learn how to fence.

Cookie Cutter Classic 2009 by John H. Proctor

This past weekend was our Cookie Cutter Classic electric foil competition.We had 16 foilists show up, and everyone brought delicious cookies. Especially of note were the three penn state fencers who came, our own Sarita Mizin, Maria Reis (an epeeist), and Katie Shaffer. Everyone wanted to fence Katie, because she brought the biggest chocolate chip cookies anyone had ever seen! We had a great turn out from other areas, including fencers from New York state, the Poconos, Williamsport, Wilkes-Barre, and New Jersey. The quarter finals saw Trevor Tomaszewski, Sarita Mizin, Ceceilia Griffin, and Gerard all competing for the medals and the large shiny trophy! The finals came down to a father-daughter match, with Cici taking the trophy, and Gerard taking second place. In the fence off Sarita ended up taking the bronze. All fencers had a good time, and a great attitude. With the radio playing in the background the whole time, lots of friendly chit chat, the spirit of competition, and just enough milk to help everyone finish the cookies, it was a great day!

Nature of Victory by John H. Proctor

People wonder how they can become better fencers in competition. Should they take group lessons, private, free fence more, improve technique, compete with better fencers, fencers of their ability level, worse fencers, how often to practice, does practice alone cause improvement, what is the formula for winning competitions?
If a plan is applied questions still crop up. Should the fencer become athletic and overpower the opposition? Should he gain more experience and technical skill for broad improvement? Should all of his time be spent on perfecting one perfect move, a secret thrust nobody can defeat? What school is best, French, Italian, Russian? Should a coach, invisible friends and parents attend each competition to, er help the fencer win? Or does the fencer like going out alone to visit friends and enjoy the experience come many victories or defeats?
Can winning be taken to far? In the 90's Russians and Germans were accused of collusion during a championship so a picked fencer had the best chance to win. Does this create the best atmosphere for learning or is it a bad copy of a fixed Las Vegas boxing bout? What is the purpose of winning?
These are pretty complicated questions and if enough of them are asked there is no question a specific objective will be targeted.
Winning is pretty important, there is an old saying, "Be victorious or come home on the back of your shield." Wow tell this to a 17 year old German barbarian. He is being told, "win or come home dead but never be parted from your shield." This goes beyond the need for winning, it looks like the purpose is to stay on the battlefield, life or death is less important than sticking to your guns. Kill as much as possible. Of course if the boy wants to live he has to win.
Imagine chewing on this quote from your mother as you tramp through dark sodden forests, shield slung across shoulders, spear in hand. The weather is wet and freezing. You haven't even had a chance to date the foxy tribal Dutch girl yet.
Maybe it was a Spartan saying. Perhaps Chinese. Yet the Germans did conquer most of Europe. They probably loved coming home on the backs of their shields.
Winning has its place but with privilege there might be time to define the nature of victory before marching to the front lines.

Strange by John H. Proctor

Guy Windsor states in his book “The Swordsman’s Companion”;
“Essentially; any position you take can be a guard if you understand its
tactical and practical consequences.” This seemingly simple statement is
loaded with peril. Did Renaissance Italians know how to strike the target in
the straightest line? Do Spanish bullfighters know how to draw a bull onto the
point of their estoque? Do sword and shield men know how to cover themselves
with the shield? Fencing is loaded with technique and lore and when done well
it is surprisingly effective. The French made Foil into a perfect art and
Russians learned how to win quasi-political fencing competitions, leading to
some weird results.
Think about the objective in fencing. It could be to kill someone, score five
touches, display an esoteric movement or defend oneself from harm. After
imagining the use make up a position, any position and call it a guard. Try to
imagine , as Guy says, the consequences of this guard for the purpose it is
being put to use. Can you make it work and if so how does this position affect
the rest of the play? Now can this guard be given greater scrutiny, is there a
way to make it work better? How is proof created for its effectiveness?
Making a small change as adjusting the fingers on the handle can have great
effect. The more control a fencer has, the better he understands and applies a
system the more a change in guard is understood.
Just because the guard is not part of an accepted system doesn’t mean it
isn’t going to work. It could be strange and draw a few far flung
conclusions, like a house made of toothpicks, a paper canoe, but a lot of odd
stuff functions. Those words, “tactical and practical CONSEQUENCES!” This
is the proof, the meaning. Sometimes this takes awhile to understand. Such as
undergoing a new medical procedure or going deep into the wilderness with a
couple of new fangled gadgets. Even a different pair of shoe laces. Classical
systems iron a lot of this out. Good thing fencing is a past time.

A Winning Improvement, An Improving Win by John H. Proctor

The other day... and a lot of days before this, maybe years. Maybe many years, it was noticed during a distance drill how awful I performed. In fact a similar exercise was practiced at the Penn State club a couple days before this with equally poor results. In each case the distance drill was followed with a few bouts against difficult opponents. I won all of the bouts. But knew in the right circumstance a heart attack could occur. Being a bit disgusted I wondered about my winning score since I sucked so badly at the drill.
Was it because I work harder when fencing for points? Pay better attention? Or have an ability to harmonize a bunch of mediocre moves into a strategic punch? Nevertheless something was very wrong here.
Then it was remembered when fencing against really good fencers, some of the best, in this case with the Sabre, the demerit of keeping perfect distance was more apparent and all bouts were lost. Of course Sabre highlights distance aspects. In truth this is not less so with the Foil and Epee but in these weapons it is easy to have the misconception that few shortcuts can be made with footwork. The misconception is true all the way to the highest levels, except at the very highest level. At the very highest level an occasional Mozart fencer comes along, even if it is someone who is having a good day, or a good couple of years. Against this sort of monster it quickly becomes apparent where deficiency lay.
If all referees, philosophers and political fencing organizations were perfect there would still be a lot of subtleties hiding pitfalls for the unwary. It is the nature of fencing. Here you are swinging your sword with aplomb and turning everything in its path to hari kari. Then suddenly BAM a touch against. What happened? Was not everything going according to plan?
A truth says a fencer only needs to perform what is necessary to win. The problem is the occurrence of winning does not point out where there are faults. Unless one is critical of their performance. It is impossible to be perfect at any one thing, much less perfect at two movements, but a venomous look into skill, giving merit where it is due, can teach a swashbuckler where the next best effort can be directed. Some of the best rewards are aesthetic. Others require muscle.

St. Valentine's Day Massacre 2010 by John H. Proctor

This was the 7th or 8th annual Valentines Day Massacre at The Fencing Exchange. As usual for this competition the unexpected usually happens. This time Sarita Mizin brought along Penn State Team Members, one of them being the Brazilian national Epee champion. Fencers came from the region of all ability levels and styles. A lot of chocolate and funky fencing mask trophy, along with two newly designed medals were given to the top three places, plus some chocolate for 4th place. A nice feature was Ray Stedenfeld who brought along three young men from the Western Wayne High School near Honesdale. For the group of experienced fencers who watched their bouts it was commented on how fiercely the boys fought when they were pitted against one another. When more advanced fencers engage they are often more cool about it.

Even spirit can be measured and calculated to gain advantage, but watching the raw beginner fencers reminds the more experienced what the game is about, minus the deceptive concealment of emotions. The experienced savvy fencers were hard to read, except when making strong moves, often touching toes and wrists. For a split second all of the energy and spirit comes forth in the ultimate effort to score a touch.

Epee is such a crazy game, trying to touch first. You don’t care if you are hit as long as the button on your sword lights up the machine first. There is a 1/25 second for a double light to occur, both fencers are rewarded touches. This is also 4/100 of a second, a pretty small period of time. But fencers can time and measure it, for instance picking off the wrist with enough time to make a single light, although the fencer who hit the wrist first is touched in the chest say, 1/35 of a second later. The idea to defend, as enforced in Foil by conventional right of way, is avoided in Epee. In fact Epee fencers try to do the exact opposite, even counter attacking into attacks if the counter can touch first. Unfortunately for John Proctor, when he faced Maria, a recent Brazilian National champion, he learned she was able to carry out Foil phrases when her counter attacks or remises were not going to arrive first. Many Epee and Sabre fencers are not capable of developing a good phrase, instead relying on counter attacks (Epee) and attacks in Sabre. But a good fencer can defend themselves when the advantage of specialty weapons such as Epee and Sabre no longer apply. Meaning they are going to get hit and must defend.

Most of the Massacre was typical crazy Epee with all out simple attacks, counter attacks and renewed attacks. The typical long development of cat and mouse preparation and little exchange of bladework, for Epee fencers try to reduce the phrase to zero, hit first. The timing of the good fencers was incredible, there were entire games as compared to a single movement of an intermediate fencer. Meaning if an intermediate fencer was attacking the advanced fencer, so long as there was no error, would be counter attacking… twice. Once to feint, then counter attack with opposition and remise. Good point control and timing allows for this. It is something to always remember in Foil and not always let the phrase dictate actions.

Fencing is always filled with paradoxes. We had fun, there was no paradox here. Many different people of many different styles. A couple rock, paper, scissors relationships when one fencer would defeat another, only being defeated by the loser of the person they just defeated. This quickly wraps things up in the direct elimination.

Sword and Shield by John H. Proctor

Talk about rough. As if Olympic fencing isn’t hard enough. A hickory sword weighs 1.5 to 2 pounds. The Shield is 5 to 8 pounds. These mediaeval wasters (practice swords) are actually lighter than the real thing by a pound or two. But they feel so heavy. Impossible to keep the shield or guard up for long. Everything is fine until your partner smashes the distance, pommels into your guard with his shield, a fierce tussle and thrown to the mat. Only a touch of sufficient force with clean technique and absolutely no damage or threat of damage is accepted. So a touch is scored badly the offender immediately performs 35-50 pushups. This is enforced strictly. The defender is not certain he won’t take a bruise and keeps his guard up. What use for him with a swollen finger if his opponent has finished 100 pushups? The finger is still smashed. Control is quickly established, fighters feeling each other out as hard as they dare. Fortunately much can be done with massive power. Jamming, wrestling, pushing, clinching, anything to make an opening for a well placed strike with the sword. Punches and slaps are fine, but no allowance for loss of control.
Most of the classes are learning to fall. Then more falling. Learning to hit and take a hit without injury. A quantity of calisthenics, aerobic conditioning and toughening. Then holding the sword and shield up, going over the guards repeatedly. This is simple, the effort made in doing the drills correctly.
Different games create skills, such as a feather game of light touches. Often moves are choreographed for study. Many drills limit use of sword or shield alone. Such as wrestling without touches by the sword, but must hold onto weapons at all times. There are modified games of Sumo or three points of the body touching the ground loses. Ect… Bouts are played by 3 worthy touches against. A time limit of 5 minutes is near the maximum limit for our current physical condition. But most sparring is done for a time period with emphasis on skill work, no touches recorded. There is no halt for a touch, the play keeps going. Although it is hard to score a touch, like Kendo conditions have to be just right. Often 1 touch is scored for every 8 or 9 hits. A lot of work. If one has had enough they parley. Tap out or call halt.
Only fencers with experience participate in Sword and Shield due to previous discipline with the Foil. Skirmishing takes much control, it is really more fun simply playing for light touches and no wrestling allowed. A nice way to try different swords and let gentler people act out their fantasies and get a feel for the weapons. Plus a moment for the tough guys to take a break and focus on sword placement. But is good once and a while to place solid, non damaging hits with perfection. Although the effort feels more like partaking in some kind of service then a personal pastime. A nice pay off is wild fencers on the Olympic strip are no longer intimidating. Illegal pushes and shoves, trips and flips, slaps with the Foil are laughed at. Dangerous and uncontrolled thrusts however are never lightly taken. For the Olympic fencing swords are steel.
Gaining endurance and toughness is a plus. And it always pays to learn courage.

Competition 2010 by John H. Proctor

Fencing is a difficult practice. There are so many things which can go wrong and likewise so much possibly done right. The play of swords is deceptive, so much even when winning there are often many faults gone unnoticed, until somebody a touch is received. Everything affects play. Emotions and perceptions create stage drama. It is nice thinking of clubs with different characters. For instance the clubs Temple and Corsair, both have a cavalier attitude. The schools are serious about their academics both on and off the strip. But the character of their fencers is fun, daring. This sets the table for how their game is going to be played. Swashbuckling! You might even be winning and think, “boy they look like they’re having fun & development. Creating a side of themselves very much part of fencing.” The pirate part.
There is this old Clint Eastwood movie, The Outlaw Jose Wales. The character Clint plays is a partisan ranger, sometimes known as a bushwacker in the Missouri/Kansas area. He is out for revenge by his murdered family during the bitter internecine raids of the Civil War. He is so mad, as shown by the pinpoint aim of chewed mouth tobacco, there is a scene near the end when a bounty hunter tries to collect Jose’s warrant amid a dusty old bar. Jose is standing in a dark corner and doesn’t move. Yes the corner is dark and there is no reason for movement, except to shoot. But he is so ANGRY, perhaps tired, standing fatefully and uncaring, except for seething emotions. Jose shoots instantly and accurately, a million vendettas solved, and another death. There are fencers like this. Of course they aren’t mad? Right? Ha ha. But do move this way, very still and cold, then bam! You try and see if you can get them to blink.
Shortly after the Civil War, true story supposedly, a Pennsylvanian veteran down the way of the Huntingdon area became sheriff. Like almost everyone he had a real rough time of it during the war, especially during action at Gettysburg. But after works as sheriff, veteran or no he still has to pay the bills, or perhaps it was in his mind to do so. What is noted is during a couple arrests against armed bandits he captures his villains without being armed himself. You wonder how he does this but perhaps after the inconceivable pounding taken during the war these common thieves with cap shooters don’t present much of a problem. He has the grit, determination and knowledge of doing the work. Perhaps he feels the behavior is nonsense compared to his hard knocks during war. But certainly something is learned in the experiences.
Much goes into acquiring skill. It isn’t just fencing lessons and time on the strip but also acquiring the experiences in life. Preferably by sticking it out. The game of competition helps as a pastime. No reason for this to become a chore. But more goes into improvement then just lessons, practice or competition. It can be asked, “what makes a swordsman?”

Surfing by John H. Proctor

Anyone know anything about surfing? For those who swim and bob around in the ocean, crashing through waves and surfing your bellies down a curler, know what it feels like to tumble around in the foam. Trying to find the right wave and get a good ride is a timeless experience. Until too tired to swim. Once into the swing of the wet there is constant sudsy movement, a few flips and tumbles out of a breaker, thence porpoise diving back through the waves. Being tossed in the float waiting for another big one. Waiting for Jaws. Always lurking.
Isn’t it summertime? Ready to go.
But some like to mix in a bit of work with the sea board. What is the nagging feeling at the back of the mind? Too much fun in the sun? Feeling a bit beach bummed? What connects nicely with the strand, boot stomping treasure chest opening activity. Sabre of course. Pull out the cutlasses and sack a seaside town. Gimmie yr’ marbles kid. But nobody can fence Sabre unless they practice; so looting games from the boardwalk will have to wait.
Body surfing is one thing but standing atop a board and slicing down an exceptionally large wave is different. The board ads another element, “I’m gonna diieee.” It is like this with tools and complex interactions of cannons and ships, armed Spanish forts ready for plunder, or defending against a very fast opponent swinging their cutlass. Sabres are no different, the tool requires skill. It isn’t part of the body but rather an extension of its expression.
Once the basics are learned it is easy to sand stomp for hours and get into the move. Sabre is so complex, being light weight and able to cut & thrust, it goes full circle and ratchets back to simplicity. But simplicity a notch up, easy as drawing a ‘perfect circle in one swoop. The weapon is cosmically simple. ATTACK, ah don’t hesitate. Parry & cut. ABC. Don’t think, ride the slice, distance spaced waves. Blending.
Then there is Jaws, no matter how perfectly executed the cut a thrust will out reach it. It is often not in the best interest to thrust into a progressive cutting attack but when a well times thrust comes up it bites a leg off.
Sabre is as much fun as surfing but learned on the sward.. Ships cannot stay out at sea forever. With a sword there is a sense of destiny, self fate and this is a worthy task. Stay at club a few hours and dance in the sand until the lines of the body are hard. Pumping arms and legs moving smooth. The surf, a ship and moon. Plow waters aside rip rap onto the beach and cut jungle vines asunder to light a fire.

In the Mow by John H. Proctor

Eons ago when farms were still ran in northeastern Pennsylvania there was a type of summertime work called haying. This tradition entailed gathering cut grass in fields and throwing it into a barn. In the 20’s and 30’s many farmers were still cutting out back with horses, then pitchforking the clumps into a wagon, then forking them into the barn. The job was incredibly hot and physical, but not as physical as using hand saws to clear cut trees and pull stumps, or digging rocks out of fields and piling them into stone walls. If somebody had "hay fever", forget it! Stacking hay with pitchforks coated the entire body in a sweaty sheen of dry grass particles. Farming among the glacial hills of Pennsylvania has always been a grueling task.
Around WWII, machines became prevalent and work changed. Almost every farmer had a tractor hitched to a machine for cutting and gathering. Larger sections of fields could be cut. There were different kinds of machines for gathering harvest, the method most commonly employed was a device compacting the grass into a 2X3 foot bale wrapped in two rows of twine. The bale weighed anywhere from 40 to 60 pounds depending on the density of packing and moisture content. The strings kept it all together and offered handles for farmers to grab and fling. Out the rear end of this "bale-er" was a spinning belt that grabbed and shot these cubes into a wagon, or alternitively a catapult flipped them into a trailer. To get more bales per wagon, farm hands stood in the trailer ready to receive the heavy missiles and divert them to a place where they could be stacked. The flying bales would be karate chopped in the air to a place in the wagon. A few strong boys could briefly catch and fling them into place. Anything to make the job easier. If the bales were allowed to land helter skelter the wagon held less volume and actually made the job of unloading them harder. The tractor would pull the entire assemble, a bailing machine and rickety hickety trailer along the field, up and down steep hills and bumping over permanently set glacial rocks. Pitching and rolling, bales flying, burning sun, needles of hay sticking into wet skin, it was fun. On occasion, less physically endowed trailer stackers would become overwhelmed and buried, this was amusing for the farmer sitting atop the tractor. There were occasional mishaps with machines flipping along steep hills, or catching afire. In fact the potential for mishaps was endless and these were sometimes deadly. Goofy farm dogs or woodchucks would get run over and squished by machinery or sucked into the bale-ing machine. Or the bales would have mince meat birds caught in their tresses.
Then there was the job of piling bales into a barn. Most farms had a conveyer belt to carry hay high into the loft when the stacks grew high. Being in the mow, especially as the bales reached near the tin on the roof, one would become hellishly hot, around 120+ degrees. A small space was left near the roof so the hay would not spontaneously combust. A good crew of workers would forgo the conveyer belt and form a small chain gang launching the cubes by hand from the trailer into the mow. As sport, at least on the Prezelski’s farm, the hands would time how long it took to unload and stack a double axle trailer brimming with bales. The exact number of cubes per double axle trailer is forgotten; perhaps 80-120 bales per wagon. The entire trailer could be unloaded and stacked in just over 12 minutes of frantic all out effort. Boys who couldn’t keep up were sent home with a kick in the rear. Sickness was not an allowable excuse. This was heady work. In a single day of 10 or 12 hours, 2200 or 2500 bales could be put into the mow. One Prezelski boy and a single helper achieved the notable feat of stacking about 2300 bales into the barn. Normally there would be 6 or 8 workers. But no one would come that day, in disgust the Prezelski boy and the hired help did the job alone and did it better, realizing the other stackers only got in the way. It was broiling hot.
Harder than this work was logging, bent over all day with a heavy chain saw, using levers and wedges to move the logs around, clearing away branches and brush. The job was downright deadly, it wasn’t a matter of when the logger would get hurt, but how bad. There wasn’t a moment's concentration could afford to be lost. If woodsmen went the extra shift they split logs into firewood and stacked them into cords. This made the job even harder.
These are heroic descriptions, yet fencing practice is difficult. In salles without air conditioning, temperatures reach into the warm mid 80’s. Combine this with a full jacket and knickers in the heat of foining with an opponent, things get hot real quick. The fencer isn’t being paid for the effort; they practice for their own accomplishment. Putting a warm engagement into perspective; higher maximum heart rates often occur in fencing practice more so than during intense running. The evidence for this is found comparing running with fencing using a heart rate monitor. Beats per minute can average 2 or 3 higher when fencing and 10% more calories burned. Although haying was intense, the heart never clicked so high for sustained periods. Haying used explosive power of the entire body whilst fencing emphasizes muscles in the legs, hips and stomach. The only cardiovascular effort comparable to fencing is snowshoe racing. None of these feats pound the body so much as running along pavement. Mentally, fencing is difficult. When not deciphering how to win there are long hours of acquiring training perspective. Practice is cosmically convoluted. It is easy to put the sword down and call it quits; there is little material reward except self improvement. Mental freshness and physical vigor during peak effort are difficult to sustain. It is easier to condition with aerobics and weights. Self defense is incredibly effective by having skills with a gun, but there is little physical conditioning and other than paint ball and war games practice is abstract. Fencing combines physical conditioning with academic defense and plays it out safely as sport, using a sword.
In comparison haying seems easier. The outdoors, smell of fresh cut grass, rolling golden hills, and for the most part partaking in simple tasks with an open mind. Until a machine breaks. For the mechanically quizzical lovers of machines there are few dull moments inquiring into their workings. If farmers didn’t fret over dollars per minute there would be much to gain pondering new designs. Then it would be designs per minute. For the physically fit, motivation is organization of effort per minute. Different forms of currency.
One of our fencers commuted in via bicycle today. Around 20 miles. It was 100+ degrees in the sun. Going down hill her brake pads melted, a while along an old patch on the tube fried and the tire blew out. By coincidence she was only a block away from Cedar Bicycle Shop. Rubber failed on scorching pavement, the girl arrived laughing. Skin bronzed and tawny muscled she was affected not at all by the heat. This part of the day was purposefully recreational. There was no quota to fill or feet dragging co- workers called upon to pick up production. Nor endless hours staring at a computer screen. She is in the hall now bouncing her blade over friendly plastrons.

Knightly Swordplay by John H. Proctor

Picking up the Sword and Shield and clashing with an opponent takes less than two minutes of shielding and hacking until almost complete exhaustion overtakes the wielder. At all times the shield guard must be held up and the sword at ready for defense. There isn’t a moment for laziness in footwork either, getting the right position by distance is critical for it is all part of the guard. The only armour is a mask, so defense is by body evasion, a shield, and infrequently, with the sword. Points are not counted, effort is directed to keeping the shield up to avoid being hit.
A medieval style single handed hickory sword weighs about 1.6 pounds, and on average shields weigh near 7 pounds. Depending on size some shields are one or two pounds heavier and others equally lighter. This is considerably more weight than the 1 pound of a Foil, and the balance is different. The weight in the arming sword is distributed so it can be thrown out for a chop, so it feels blade heavy, while the rim of the shield carries heft and snapping a block into place wears out the user. Corps a corps is allowed along with some jostling but usually there is no wrestling. The pushing and shoving are physically draining.
There are other playing rules, such as allowing wrestling and other kinds of physical body blows. Touches can be acknowledged only by their worth, this means the quality of placement and intensity. Or fighters can melee before judges and at the end of a time period a rule is given on who had the greater advantage. For the most part touches no matter how light are counted since this is safer and emphasizes the fencing aspect.
Against a swordsman with a good guard it is hard to land hits, the swords are heavy and lines of attack are predictable, and because the shields cover a fair amount of target area many blows are traded before someone finds an open spot. Even if a touch lands the receiver simply says, “touch,” and the play continues without pause. It takes no time at all for the body to get soaked in sweat.
A swordsman in decent physical condition can fight for about 2 minutes before tiring. It is appreciated how much strength and endurance are required to maintain physical intensity for a longer time than this. People of average conditioning are able to continue for another 7 to 10 minutes albeit at a reduced pace. Attacking becomes less frequent and more attention is paid to keeping the guard up. At times the defender is too tired to raise the shield and this is sad, they are in the hands of the aggressor and with patience the stronger player bides his time and wears out the defender without too many hits until the time period expires.
The amount of strength required is similar to boxing, minus the toughness required to continue when taking a pounding. Sword hits are light, for heavy swords without armour quickly make devastating damage. Strength and muscular endurance is required to hold the weapons aloft and wield them effectively, toughness would only be required if heavy blows were landed and the fighters were determined to go on. There is a considerable amount of perseverance employed as the battle wears and this is similar to toughness, but more like endurance. The shield and sword are heavy and it takes strength to keep both weapons held aloft.
The legs are not used as intensely as in Olympic fencing. In fact the overall stress to the body with Sword & Shield is less than when fencing with Foil, Epee or Sabre. This is because the body is used naturally and the movement is symmetrical, unlike the asymmetrical stance of fencing with its powerful and ballistic footwork. Although fencing doesn’t pound the body nearly so much as running on pavement, a residual ache is felt in muscles and joints after bouting hard. Impact to the body with Sword & Shield is less, attacks are made by passing, or crossing the legs more so than a lunge, and when lunges are employed they are much smaller than in Olympic fencing. An overall effort by the entire body is exerted with sword and shield. But the effort is tremendous, much like running up hill as fast as possible and swinging weapons at vegetation while taking extra effort to avoid falling rocks.
A lot of fantasy and experimental movement is open to knightly swordplay, the movements are natural and intuitional, more so than fencing. It is easy for most people to pick up hickory swords and play at sticks. It is also easy for the experienced fencer to slow the pace and let a child or beginner get into the flow of things. Less of a lesson and more of an exchange. The play is not given to immediate critique or recognizing embarrassing mistakes compared to the finesse of fencing. At least at first, sooner or later the swordsmen will want to close their guards and learn to make an effective defense.

Academy of Foil by John H. Proctor

Our school is founded on the French system of Foil fencing. It is the academic sword and the school emphasizes a studied approach. The roots of Foil are academic, it was a training weapon, specifically for the French smallsword in the 18th century. Aristocratic French smallsword duels were lethal with thrusts directed at the chest cavity of the torso. The “first blood” French Epee duel of the 19th century was different, often a prick to the forearm ending the encounter. Aristocrats had a monopoly of honour, this meant an ability to settle quarrels without a magistrate or higher power presiding. Win or lose, taking part in an obligatory duel meant prestige and privilege. It advertised the status of the aristocrat and emphasized their primary privilege, their ability to kill others and the honour of personal defense. It is hard to imagine this today, quarrels settled by private parties. The accepted manner of killing has been replaced by the soldier representative of a nation. Weirder, the massive power at the fingertips of small political parties.
Training for the duel with the deadly smallsword was a hard nut to crack. The actual encounter could not be practiced without fatal results. Consequently a Foil was created. A small bladed practice weapon similar to the smallsword, if possible lighter and more flexible. Easier to handle and requiring even greater precision to wield. Of course it had a blunt tip.
Due to the fatality of the 18th century duel it was important to train correctly. Perfectly. But what is perfect? Practice with the Foil has always developed strange scenarios. For instance when a double touch occurs fault is pointed at the fencer who was in greater error. Usually the error is a failure to defend oneself, but there are cases where fault is directed to the incorrect attacker. This is emphasized in the Italian school. Judging what is correct might depend on offense, defense and at times even the ability to carry on a beautiful and balanced phrase. It seems there are many aspects of correct execution and the task is deciding which one prevails.
Electric Foil creates limits due to the double light shut out time, the time of button depression and the actual mechanics of how the button is depressed through manipulation of the fingers. Not long ago with a 2 second double light shut out time and 2/1000 second button depression time Foil looked almost like a form of dry Sabre. Attackers would run up the strip developing long and complicated attacks while defenders backpedaled furiously, waiting for the attack to end, then responding with Sabre parries and ripostes. It is no coincidence the classic French school emphasized flying attacks and coupes. These are attacks without blade contact and cutting over the button. Sabre like. The French style of fencing prevailed during the 20th century, only becoming more emphasized with electric fencing as time passed.
Very few people, even good fencers, could understand this kind of play, so the double light shut out time was reduced to 3/10 of a second and button depression time to 16/1000 of a second. Within this parameter long drawn out attacks, even ripostes became dangerous, for counter attacks could touch 3/10 of a second ahead of the attack. Suddenly Foil started to look more like Epee with emphasis on touching first. Attacks, counter attacks and remises prevail. The game is still complicated, but with emphasis on point control and phrases developing through counter attacks as opposed to parry and ripostes. The Italian school has something to say although it to is probably not happy with the pendulum swinging so far to the other side.
In the old dry fencing it was a toss up as to what aesthetic would be favored. There were especially differences between the French and Italian schools. But generally some kind of balance was sought. There were decades when artistic movement was applauded and other years when touches were scored aesthetically. Such as a high lifting of the arm. It seems in the world of Foil no one could ever make up their mind as to what is correct. The question of correctness might be similar to asking “Which math is more correct, geometry or algebra?” Is artistic realism superior to impressionism? Who makes the decision? Maybe the decision is made by a few prominent authorities on the subject or perhaps the arrived at via consensus, i.e. the current language in use.
How interesting to watch a bout displaying one fencer so superior in their own style they are able to overcome throngs of alien perspectives and unfavorable judgments.
Foil is proof. It is an argument. A display of swordsmanship under the eye of critical objectivity. The job of Foil is to prove by evidence of play what is right and through this most everything is found wrong. Foil champions can feel like idiots for error is quickly punished. Even when a point is rewarded to the actor he is well aware of his own mistakes. Arguments are fought by the ludicrous thrashing of “spam” fencing, simple rules here, or decided upon brilliantly orchestrated engagements. Foil is ruled more as a lesson than loose play, or the chaos of dueling.
Foilists are always emphasizing what is correct. Because of this critique, because proof is displayed in conception and execution, they become excellent at discrimination. It leads to good fencing. Reduction of error.
Sword and Shield is great exercise. It is safe when approached by experienced fencers. The hickory sticks may not feel safe, more bruises can occur but they are not steel thrusting swords whose fate is to break, often as sharp as an ice pick. Sword & Shield feels like fighting, banging and clashing, there is a sense of overpowering a weaker opponent. All of the muscles are used and this enables power to draw from more places within the body. A definite sense of defense exists, keep the shield up and block even if a touch cannot land on the adversary. Much can be done with good defense using the shield. Even offense. Swordsman are creative and the moves simple, the relation of guards and attacks are not hard to combine. Doing the simple moves well isn’t hard, doing them well however, takes much skill. But basic principles are easier to grasp, healthy for the mind and checkmate is easier to identify. So long as the fighters don’t get too heated, the feeling of play prevails.