The Language of Power

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I have often said that one of the key distinctions between the medieval "fighting" systems and the later Renaissance fencing systems relates to differences in power.

In Renaissance or classical fencing, one uses time (tempo), position and distance in an effort to CAST the point or the end of the weapon--what Fiore calls the sword's punta. Fiore does do this in a couple of places, and he calls it buttare della punta, or "casting the point."

But casting has very little power. Unlike the German systems, Fiore doesn't do this much.

Unless the sword is extremely sharp, and the opponent is hardly armoured, it will merely discomfit. Discomfiting blows are useful in that they capture time and allow a more definitive, powerful strike to follow.

Fiore likes to harness maximum power in his colpi, or strikes. Rather than saying "to cut," (tagliare, French tailler), he says to STRIKE, or to make a blow (colpire).

Elsewhere in the manuscript, he also discusses the idea of striking the opponent WITH THE EARTH, rather than throwing them down. This idea of harnessing the stability and power inherent in the earth is a key principle in Fiore's L'arte d'armizare, and it helps to explain his preference for the low poste.

In making a blow, I've noticed that students often make the requisite movements, but miss the key linkage with power. This requires turning the whole body, rather than striking with the arms (remember, the arms merely direct the  power, they don't generate it). In presenting this to students, I've found that a couple of English words really help to cement the idea:

When striking from below, SCOOP the power from the earth and use the body to lift this massive weight. In order to do this, the body TURNS (the volte). When striking a fendente from tutta porta di ferro--the core movement from the main posta--HAMMER the blow (a rebattendo) to clear the center of the fight.

When striking from above, HURL the power from the heavens like a lightning bolt. Use the earth's power to draw the blow, keeping the hand closer to the body.

When closing with an opponent, or when thrusting, DRIVE towards the opponent. If he's insufficiently strong, DRIVE THROUGH him. If he's immovable, then use a volta to TURN around him.

We don't spend a lot of time dancing around the opponent, nor casting in hopes of an opening. Instead, we DRIVE inward to capture the opponent's main weapon, neutralizing the main threat. Then, follow-on with one or more of the cinque cose (the "five things" - strike, disarm, bind, break, throw).

Remember the power words:
DRIVE in to seize the fight and the opponent's weapon
When striking from below, SCOOP power from the earth
When striking from above, HURL power from the heavens, seeking the earth
When striking from tutta porta di ferro, HAMMER across and down to seize the centerline
CAPTURE the opponent's weapon, and do one or more of the FIVE THINGS




Comments   

 
#2 Brian R. Price 2010-07-18 10:57
Charles--

Yes, I have heard some people teach Fiore as if he used all the power all the time. But it is equally important to be able to temper power with measure--judgme nt--in terms of what's appropriate.

But it's always better to have power (even if in reserve) than to not, so striking with the body rather than the arms is a key kinesthetic principle of Fiore's art, I believe.

Also, being able to reduce your commitment reduces the chance of your opponent using that commitment against you. Vadi discusses this in the first part of his book.
 
 
#1 Charles Deily 2010-07-18 05:10
Good points, and especially good advice for me--thank you. I've been noticing lately that proper use of the volte allows one to vary your level of power so you *can* do softer hits when required (like playing with our local groups)--the body makes the power movements and relaxed arms can take away some of the impact if needed.
 

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