A collection of insightful, cool, funny, inspiring or silly quotes from historical fencing texts. Emphasis is added by me unless otherwise noted.

If you have a good quote that you think should be included, send it to me with the source!

15th Century

Unknown

“Practice is better than artfulness, because practice could be sufficient without artfulness, but artfulness is never sufficient without practice.”

– Anonymous German Fencing Master, MS 3227a, translation by Michael Chidester

Fiore de’i Liberi

“When faced with a man’s dangerous knife – which all fear – immediately go against it with your arms, hands, and elbow. Always do these five things: take his dagger away, strike him, break his arms, put him in a lock, and throw him to the ground. None of these five plays goes without the other.”

– Fiore de’i Liberi, 1409 Getty-MS, Strikes of the dagger, translation by Tom Leoni and Gregory Mele

“Thrusts we are, of greatest offense
And we make our dispute to all strikes;
Venomous we are, more than a serpent,
And we kill more people than any strike;
And our thrusts to the blows do say:
So little do you cut that we sew like a needle.”

– Fiore de’i Liberi, 1409 Pisani Dossi MS, introduction to the strikes of the sword, translation by Michael Chidester

“These two masters are here crossed at the full of the sword. And that which one can do, the other can do also—that is, he can do all the plays of the sword with this crossing. But crossing is of three categories (that is, from the full of the sword to the tip of the sword), and whoever is crossed at the full of the sword can withstand a little, and whoever is crossed at middle of the sword can withstand less, and whoever at the tip of the sword can withstand nothing at all. So the sword, as such, has three matters—that is, a little, less, and nothing.”

– Fiore de’i Liberi, ca. 1400-1410 Morgan-MS, Sword on horseback, translation by Michael Chidester

“This axe is hollow all around and filled with a powder that is so strong and corrosive that it makes it impossible to open the eyes as soon as it comes into contact with them and may even cause permanent blindness.
…
My lord, my noble marquis! I’ve put many dirty tricks in this book, I know you’ll never resort to them. But examine them anyway, just for the love of knowledge.

This is the recipe for the powder that goes in the axe that I showed in the previous picture. Take the milk of the tymne and dry it in the sunlight or in the oven, and make a powder out of it. Take two ounces of this powder and one ounce of powder of fior di preta*, and mix them together. Then, put the mixture in the axe. This can also be done with any fine caustic powder.”

*fior di preta – lit. “preist’s flower”; possibly a mixture used in makeup for its swelling effect on the skin, or possibly the alpine flower aconitum napellus, which produces a flower similar to the hat of a preist and was known since antiquity for its caustic effects.

– Fiore de’i Liberi, 1409 Getty-MS, Poleaxe in armour, translation and footnote from “Flowers of Battle Volume 1” by Tom Leoni and Gregory Mele p. 315

Philippo di Vadi

“The Art of the Sword consists solely in crossing
Separating thrust and cut according to their context
To make war against the one that confronts you.”

– Filipo di Vadi, ca. 1482-1487 De Arte Gladiatoria Dimicandi Chapter III, translation by Jamie MacIver

“And note well this statement of mine,
You know your heart, not the companion’s
Do not ever fall into that illusion.”

– Filipo di Vadi, ca. 1482-1487 De Arte Gladiatoria Dimicandi Chapter III, translation by Guy Windsor

“If the tongue could strike with reason,
And wound like the sword does,
The dead would be infinite.”

– Filipo di Vadi, ca. 1482-1487 De Arte Gladiatoria Dimicandi Chapter III

“The half-tempo strike is a single turn
In the knot: quickly and immediately striking
…
Of all the art this is the jewel
Because in one motion it strikes while defending
Often the swift strike
Will break the other’s brain with a good edge.”

– Filipo di Vadi, ca. 1482-1487 De Arte Gladiatoria Dimicandi Chapter XIV, translation by Jamie MacIver

“It is necessary that the sword should be
A great shield that covers all of you,
And grasp this fruit,
That I give you for your instruction.

Be sure that your sword is never far away
In making guards or striking
Oh how sensible this thing is,
That your sword makes short movements.

Make it so your point watches the face
Of the companion, in guard or striking,
You will take away his courage,
Seeing always the point staying in front of him.

And you will make your plays always forwards,
With your sword and with a small turn,
With a serene and relaxed hand,
Often breaking the tempo of the companion,
You will weave a web better than a spider’s.”

– Filipo di Vadi, ca. 1482-1487 De Arte Gladiatoria Dimicandi Chapter XVI, translation by Guy Windsor

16th Century

Pietro Monte

“Guards and ways of standing come into being because fighters or those who use weapons often become masters and are troubled by the task of teaching others, wherein they are confined to place themselves in guards to teach. Truthfully, as in wrestling no hold is safe, there is no safe guard to be found in arms. Wherefore we work to always conserve ourselves. Letting the enemy go as they will, we carry the weapon with ease and always in front of ourselves, seeking openings where the adversary is less covered, and always walking lightly, so the enemy cannot move so quickly that we are unable to detect him, and we have time to move to our parry.”

Eine Übersetzung von mir aus dem Englischen:

“Fechtstellungen und Fechthaltungen entstehen, weil Kämpfer oder Waffenknechte oft zu Meistern werden und mit der Aufgabe konfrontiert sind, andere zu unterrichten, wobei sie gezwungen sind, sich in Fechtpositionen zu stellen, um zu lehren. In Wahrheit, so wie beim Ringen kein Griff sicher ist, gibt es auch bei den Waffenkünsten keine sichere Fechtstellung. Deshalb arbeiten wir daran, uns immer selbst zu bewahren. Wir lassen den Feind gehen, wie er will, wir tragen die Waffe mit Leichtigkeit und immer vor uns, suchen Blößen, wo der Gegner weniger gedeckt ist, und gehen immer leichtfüßig, so dass der Feind sich nicht so schnell bewegen kann, dass wir seine Absichten nicht vorwegnehmen können, und wir Zeit haben, unsere Deckung zu machen.”

– Pietro Monte, 1509 Exercitorum Atque Artis Militaris Collectanea translation by Ian Davis as in his book “The Practical Monte” p. 114

Anonymous Bolognese Author

“Of all the blows that one may make the thrust provides the easiest defense, for those who are skilled in the art of the sword, and for the unlearned, the thrust is the most difficult attack against which to defend themselves. And so I will also say that even for those that have the art of defending against the thrust, it is still the most difficult blow to defend oneself against, when it is made correctly and with malice; and so I say that blows to the hand are the most profitable attacks that one may make because the hand guards the body, but the body does not protect the hand; and as you must attack the part of the enemy that most threatens so you should attack the hand; and so also to throw at the enemy’s sword hand is advantageous because you can reach it a [half arm’s length]* before you can reach the body.”

*mezzo braccio: a “braccio” was a unit of measurement of about 64cm, so half of that is about 32cm

– Anonimo Bolognese (MSS Ravenna M-345/M-346), ca. 1510s translation by Stephen Fratus

“Although necessity compels you to attack your enemy so as to not be overwhelmed by his attacks, you must not throw a profusion of attacks hoping that one strikes him; because true virtue derives not by chance but from an art governed by choice, and while through chance some good things may come, you cannot always count upon being so fortunate.”

Eine Übersetzung von mir aus dem Englischen:

“Obwohl die Notwendigkeit dich dazu zwingt, deinen Feind anzugreifen, um nicht von seinen Angriffen überwältigt zu werden, darfst du nicht eine Fülle von Angriffen ausführen, in der Hoffnung, dass einer davon ihn trifft; denn wahre Tugend entsteht nicht durch Zufall, sondern durch eine Kunst, die von Entscheidungen bestimmt wird, und obwohl durch Zufall manchmal Gutes entstehen mag, kannst du dich nicht immer darauf verlassen, dass du so viel Glück hast.”

– Anonimo Bolognese (MSS Ravenna M-345/M-346), ca. 1510s translation by Stephen Fratus

Antonio Manciolino

“The wounding of the hand, not of the enemy, is registered in the account of blows in play. Because the hand is the chief in exposing itself, thus in combat for earnest it is the most singular wound, because that member of the enemy must be offended which offends more than others, and this is the hand.”

– Antonio Manciolino, 1531 Opera Nova translation by W. Jherek Swanger

“It is to be known that all of this spirited art is divided into two virtues. The first is to protect oneself first; therefore the chapter above on guards was done. The second is knowing how to strike your enemy in tempo, so that you cannot be equally harmed by him, because you would report no victory if you were stricken while striking, making yourself victor and vanquished at once. It is not to be wished then to make the enemy a participant in your victory, nor you in his shame.”

– Antonio Manciolino, 1531 Opera Nova translation by W. Jherek Swanger

“As strikes without shieldings are not done sensibly, so shieldings without a following of a strike should not be made, waiting for the tempos nonetheless. Therefore if one always wards without responding with a blow, he would give his enemy a manifest sign of his timidity; unless with such warding one drives the enemy back, the enemy would proceed with great courage; and in truth warding should be done going forward and not back, being thus more apt to reach the enemy, as well as to weaken the enemy’s blow, if he comes against you; because striking you at close quarters he cannot harm you with that part of the sword which is from the middle back toward the hilt; but it would be far worse from the middle forward.”

– Antonio Manciolino, 1531 Opera Nova translation by W. Jherek Swanger

Francesco Altoni

“For this reason, it is often said that striking in contratempo is an action for the bold, the actions in tempo are for the wise and temperate, and the strikes in the mezzo tempo are for the timid. This is said of the fighters in mezzo tempo, who, not daring to strike others when they see an attack coming and are not so temperate as to wait their time, but throw themselves according to their nature into that which appears to be safe and easy.”

– Francesco Altoni

17th Century

Nicoletto Giganti

“The second are the natural cuts of those men who know nothing of this profession and throw certain bizarre blows that cannot be defended against but by those who have much practice in this virtue. Wishing to learn to defend against these natural cuts, it is necessary after you have learned to throw thrusts and cuts well that you recognize tempo and measure and that you know how to fence with those who do not know of them. Begin to practise with those who know nothing and let them throw at you in their own way. Parrying with the sword and dagger according to what you see he throws at you, throw at him on the side he uncovers. Fencing with various men, you will learn how to parry natural cuts. It is for this reason that it is no wonder that some good fencers, contending with those with no knowledge, are quite often struck—that is, because they are unpractised with those who know nothing, they therefore do not know how to parry natural cuts.”

—Nicoletto Giganti, 1608 Libro Secondo translation by Vansteenkiste

Francesco Antonio Mattei

“Seventh, I advise that, having to dispute with a person less practised in and ignorant of fencing, the gentleman must not mock him for it, but respect him as if he were an expert. For, in the end he is a man, and this man is his equal—especially since humans are not measured by the palmo*, and it sometimes occurs that great valour in one overruns and surpasses the knowledge of another.

Lastly, I advise that any person who is an expert in this science must not provoke anyone to struggle with him, nor draw the sword for every minimal caprice or quibble that he encounters. Moved by a capricious quibble or some carelessness or presumption? These were never the causes that the sword requires in order to return a victory. Rather, he must show his valour and grip it with equal courage when, assaulted by his enemy, he justly kills him in order to defend himself.”

*Palmo: an archaic unit of measurement

– Francesco Antonio Mattei, 1669 Neapolitan Fencing translation by Jeff Vansteenkiste

John Locke

“As for fencing, it seems to me a good exercise for health, but dangerous to the life; the confidence of their skill being apt to engage in quarrels those that think they have learned to use their swords. This presumption makes them often more touchy than needs on point of honour and slight or no provocations. Young men, in their warm blood, are forward to think they have in vain learned to fence, if they never shew their skill and courage in a duel; and they seem to have reason. But how many sad tragedies that reason has been the occasion of, the tears of many a mother can witness. A man that cannot fence, will be more careful to keep out of bullies’ and gamesters’ company, and will not be half so apt to stand upon punctilios, nor to give affronts, or fiercely justify them when given, which is that which usually makes the quarrel. And when a man is in the field, a moderate skill in fencing rather exposes him to the sword of his enemy than secures him from it. And certainly a man of courage who cannot fence at all and therefore will put all upon one thrust and not stand parrying, has the odds against a moderate fencer, especially if he has skill in wrestling.

And therefore, if any provision be to be made against such accidents, and a man be to prepare his son for duels, I had much rather mine should be a good wrestler than an ordinary fencer, which is the most a gentleman can attain to in it, unless he will be constantly in the fencing-school and every day exercising. But since fencing and riding the great horse are so generally looked upon as necessary qualifications in the breeding of a gentleman, it will be hard wholly to deny any one of that rank these marks of distinction. I shall leave it therefore to the father to consider, how far the temper of his son and the station he is like to be in, will allow or encourage him to comply with fashions which, having very little to do with civil life, were yet formerly unknown to the most warlike nations, and seem to have added little of force or courage to those who have received them; unless we will think martial skill or prowess have been improved by duelling, with which fencing came into, and with which I presume it will go out of the world.”

– John Locke, 1692 Some Thoughts Concerning Education

19th Century

Arthur Ranc

“M. d’Alembert often said to me: ‘I strike at the wrist and riposte to the body.’ In one sentence it is the method of the field.”

– Arthur Ranc (1831-1908) as quoted here

20th Century

Luigi Barbasetti

“In the art of practicing and studying fencing, it must be taken into consideration that the theoretical formulas are so rigid that they often interfere with the progress of the pupil. Theory does not take into consideration the physical qualifications of each individual, where different mechanisms conceal certain qualities in some fencers and certain defects in others.

It is therefore necessary to use a certain amount of elasticity in the application of general principles, which a good master must adapt with tact, taking into consideration the differences of temperament.

It is an error, in our opinion, to try and surmount by means of study, the power of natural gifts; it is also an error to believe that it is indispensable to correct at once and completely all the defects of a beginner. It is only by gradual progress that the bad habits disappear little by little while the fencer acquires increased ability.

He who tries to teach, without regard for the conformation and their aptitude of the pupil, makes a lamentable mistake.”

– Luigi Barbasetti, 1936 The Art of the Sabre and the Épée

21st Century

Alberto Bernacchi

“In the end, fencing is not a science with an infinite number of possibilities, i.e., some actions worked then and work today, other actions did not work then and do not work today nor will they ever. The total range of technical variations is large, but not so large to not present historical occurrences and recurrences. Therefore, it is difficult to find Maestri and schools which did really invent anything and which were really original in their work. This becomes clear when you read and study the treatises because from them one can understand that in the end they are all a bit alike.”

– Alberto Bernacchi, as quoted here