I had hoped to be able to offer a session before the new year, sadly it seems that we will have to  wait... So we start back on Wednesday the 2nd, look forward to some hard work:).

Ok it’s a little late, I was having too much fun playing the half sword, but anyway. A most happy Yule to you all wherever, whoever, whatever you are, Dave

What's the Point, I.33 and long point.

One of the most common I.33 questions I get asked is why one persons interpretation of the cuts end up with each blow coming to a long point in front of the face, where as we show the cuts as passing through from ward to ward.

The answer is both simple and complex.

The potential.

At the beginning of Obsesseo I show the cuts passing from ward to ward, this is to show the potential of a full heft blow, a wide spaced blow that passes from ward to ward in an aggressive manner, the full potential of an aggressive strike, this is vital to understand if you are to use the counterwards effectively. It is also important in understanding how to move from ward to ward.

The art.

The manuscript states:

“Note, that the nucleus of all the art of fencing consists in this latter ward which is called langort. Also, all actions of the wards or of the sword are determined by it, i.e. they end in it and not in others. Therefore, do first consider well this above mentioned ward” (taken from the Freywild translation)

This is in no way at odds with what we show as our purpose in the beginning drill is not to illustrate this point. However the long point in this context requires further clarification.

What is long point.

The first long point is illustrated in several ways;

With the point towards the ground, almost in the manner of early plough/latter fool.

With the point forward straight out and in line with the shoulder.

With the point high, ending with the point higher than the opponent’s head (as if striking a blow from right to left rising slightly at the end of the blow)

These first three are all point forward but cover a line that passes from the floor to a point above the opponent’s head.

And finally the priests long point, lying across the right hip/thigh with the point aligned with the rear foot.

As you can see this gives you an a potential long-point arc of 180 degrees.

These definitions of long-point can be identified simply as the first point after the sword has left it’s area of effect. And the direct threat.

I identify the area of effect as where the cut would, if in distance, pass through the opponent, if this falls short, the blade is held at the point it left it’s effective cutting line to the left or right, above or below the opponent, but not passing fully back into ward.

In the case of the priest’s long-point, this arc is increased to account for his bind.

The direct thrust is the manner where the sword is held forward to threaten the face or breast.

How this relates to our teaching.

When cutting toward at the opponent in range, we should leave the point as far forward as possible after it leaves its area off effect, allowing the point to lie above, below to left or right of our opponent’s blade but narrow spaced, in an attitude of readiness.

This does not mean that the point will always end up in front on a direct line at the opponent as this will render attacks weaker and offer less, rather than more cover (part of the body lying uncovered to either side of the sword). But it does mean that the sword is forward and ready (in the case of priest’s special, ready). It is also important to show (and by showing understand) the potential for great ferocity and force within each blow from each ward, so as to be able to better counter them. I feel we made this point clear through the actions continuously throughout Obsesso, but wished to add clarity to this area.

 Obsesseo is available from our online store, and £10 from every sale in December will go to Shelter.