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Triangle Sword Guild KdF Training Guide Staff / Spear / Poleaxe
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Contents
About this Manual ........................................................................................................................................ 3
Our Approach to Spear and Staff .................................................................................................................. 3
TSG’s Curriculum ........................................................................................................................................... 3
Phase 1 Requirements .................................................................................................................................. 4
Phase 2 Requirements .................................................................................................................................. 4
Phase 3 Spear Requirements ........................................................................................................................ 5
Staff and Spear Basics – An Overview ........................................................................................................... 6
English Quarterstaff .................................................................................................................................... 10
English Staff Terms ...................................................................................................................................... 14
Some Basic Staff Drills ................................................................................................................................. 16
Some Historical Examples of the Quarterstaff in Use ................................................................................. 17
Talhoffer’s Spear ......................................................................................................................................... 20
Ringeck’s Spear ........................................................................................................................................... 24
Fiore Spear .................................................................................................................................................. 26
Attacking the Spear ..................................................................................................................................... 29
Bibliography ................................................................................................................................................ 30
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About this Manual This text is designed to be a training guide to spear and staff material for Triangle Sword Guild members.
This is not intended to be a comprehensive guide to all spear techniques, nor is it an adequate substitute
for good in‐class instruction. The main goal of this guide is to give members a resource to help them
start training on their own.
Our Approach to Spear and Staff When designing our curriculum, we had to decide how much to emphasize spear and staff material. As a
Liechtenauer‐based KdF club, it was tempting to only focus on the one or two purely Liecthenauer‐
influenced spear manuscripts, even though the material in these texts was fairly limited in scope. Had
we chosen this route, spear would play a very minute part of our study, relegated to the position of a
curiosity mostly. Instead, we wanted to give our members the ability to understand and train a deep and
varied approach to this very ubiquitous weapon. So, we decided to incorporate focused training from a
number of different sources, a variety that allows students to develop a flexible and effective
understanding of the weapon outside the very narrow context seen in the Liechtenauer texts. Our
choice of source material is primarily late‐medieval with one or two exceptions. For instance, we briefly
use some of the English staff material to emphasize feeling from crossed staves since this nicely parallels
the fuhlen we see in the Liechtenauer sword material. In general, our progression starts with staff, then
moves to spear, then to poleaxe. To preserve some focus we avoid an emphasis on other, later medieval
and renaissance polearms.
TSG’s Curriculum
Our curriculum is divided into three phases: Fundamentals, Core and Focus Classes. Phase 1, Fundamentals: At this phase, students start with an introduction to longsword, messer, dagger, and staff. The staff material here is fairly basic, focusing on staff handling, guards, thrusting, and striking. Phase 2, Core: This phase develops a core defensive competency in the four weapons introduced in Fundamentals. We build on the
staff material from Phase 1, learning basic defense, binding, and other actions. We also introduce spear, primarily focusing on spear material from Ringeck.
Phase 3, Spear and Poleaxe: At this phase students will focus on specific texts including Fiore Spear, Talhoffer Spear, Paurñfeyndt staff, Jeu de la Hache Poleaxe, Talhoffer Poleaxe, and others.
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Phase 1 Requirements
Overview Phase 1 is designed to give new students a comfort with the four Liechtenauer‐based weapons, longsword, messer, dagger, and spear. For staff, students really only need a basic exposure to the weapons, enough comfort level to know how the fundamentals work. See the Longsword and Messer Training Guide for full details on Phase 1 requirements. Only spear requirements are listed here.
Knowledge Spear/Staff
1. Quarterstaff Guards ‐ English Staff 2. Half‐Staff Guards ‐ Talhoffer, Ringeck 3. Transitions
a. Between half and quarterstaff b. Between guards c. Between left and right hand leading d. Between hand down and hand up grips
Basic Thrusts
Initiatory Prize Play See Longsword / Messer Training Guide. The first prize play focuses primarily on the Longsword.
Phase 2 Requirements
Overview After Phase 2, students are expected to have a core competency in the four basic Liecthenauer weapons, longsword, messer, dagger, and spear. They should have a basic sparring and skill competency with each and be comfortable defending against attacks from each.
Knowledge Spear/Staff
1. Basic defenses against a thrust and strike 2. Basic binding work from quarter and half staff 3. Ability to defend against basic spear attacks in a near‐sparring environment 4. Armored spear basics from Ringeck
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Core Prize Play See the Longsword and Messer Training Guide for full details on Phase 1 requirements. Only spear requirements are listed here.
Spear Prize
The spear prize involves two distinct pieces, the demonstration of ability in freeplay at the half‐staff, and skill demonstration at the quarterstaff. The half‐staff portion will proceed to significance, as other prize fights. For safety, the quarterstaff demonstration will involve on the demonstration of the ability to defend a variety of attacks and binding actions from a variety of opponents using a variety of grips.
Phase 3 Spear Requirements
Overview Phase 3 focuses developing a wide understanding of the kinds of ways the staff, spear, and poleaxe are used by focusing on specific staff texts.
Knowledge 1. Staff
a. Paurñfeyndt
b. Peter Faulkner
2. Spear
a. Fiore (including Defeating a man with a spear)
b. Talhoffer
c. Gladiatoria MSS
3. Poleaxe
a. Talhoffer poleaxe
b. Jeu de last Hache
Phase 3 Prize Plays The phase 3 prize play for spear is still under development. Though the member should be able to demonstrate skills from each of the texts studies in practice including defending against non‐spear weapons, attacking a man with a spear, single handed spear material, armored spear, spear v. multiple opponents, and other skills.
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Staff and Spear Basics – An Overview
Holding the Spear English Sources
o Held at one end (in the quarter) o Either hand forward o Forward hand may be palm up or down o Hand switching using the weavers shuttle method
Fiore o Forward hand up o Spear held in center o Half masters have right hand leading, half have left o Hand switching not explicit
Ringeck o Not explicit, but presumably from some descriptions it seems the staff is held in the
middle o Not explicit, but left forward right back is the only hand position that makes sense given
some of the descriptions o No hand switching o Forward hand position not explicit, but likely palm down, as with halfswording.
Talhoffer o Held somewhat center o Either hand is shown leading o The lead hand may be up or down o No explicit instruction on switching grip
Guards
English Sources o Upper Ward: held like pflug at the waist, top toward your opponent. o Lower Ward: held like a hanging guard, tip toward the ground
Fiore o Masters on the Right (dominant hand leading, dominant foot back)
Full Iron Door: Staff held fairly vertical, at the dominant shoulder Fiore calls this a good master to wait for your opponent in
Middle Iron Door: Staff on the non‐dominant side (feet stay the same) with the point extended or to the floor
Perhaps the end position for a strike from Full Iron Door or the pulled‐back position after a thrust
Right Window: Staff over the dominant shoulder, pulled back Not explicit in Fiore, but we’ve found this works well for a recovered
thrust pulled back around the head and through this position to again issue another strike.
o Masters on the Left (non‐dominant hand leading, dominant foot behind, facing a threat from that direction)
Boar’s Tooth: Similar to Full Iron Door, but on the opposite shoulder True Cross: Similar to Middle Iron Door, but on the dominant side
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Left Window: Arms crossed, still over the dominant shoulder. Tip toward your opponent.
Also functions as a decent position for a recovered thrust while switching hand positions.
Ringeck o Lower right: as with the lower right halfswording guard o Upper right: as with the upper right halfswording guard
Talhoffer o No explicit naming of guards, though a number of positions are shown. Names that
follow are my own. o Gewappen: Similar to the english low ward, though the space between the hands us
used to receive a blow. Gewappen is the slang term used to describe a halfswording‐like position. The first image appears like an upper hengen.
o Lower Hengen: Similar to English high ward (or lower hengen). o Tail Guard: Spear held butt forward with the spear behind or to the side o Vom Dach: Spear held over the head for a strong downward strike.
Footwork
English Sources o Little mentioned o Lunge with a thrust
Fiore o From the right masters, traverse with the right foot o from the left masters, withdraw the right foot o Both of these work best with then the rebatto is make from the hips first, letting that
movement propel the feel into their natural position. Ringeck
o Left foot always forward. No other footwork mentioned Talhoffer
o Either foot can be forward o There are no cross‐body feet positions, like we see in Fiore
Striking
English Sources o Not described in Silver or Swetnam
Fiore o Strikes only used to set up a thrust (using the hips)
Ringeck o None
Talhoffer o Seiten Schlag: A strong single‐handed strike from the side is seen in Talhoffer. The strike
comes from the right and the right foot leads after it, as with longsword o Grossen Schlag: As strong downward strike from above (von oben nieder). Either foot
appears to lead.
Thrusting
English Sources
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o Single (one hand on staff) o Double (two hands on staff) o Recover quickly by pulling the staff back to defend o Thrusts with the butt of the staff may happen as well
Fiore o Thrusts happen from the cross. o No specifics on how to thrust
Ringeck o Thrusting aimed primarily at the openings in armor (face or armpit are explicitly
mentioned) o Thrusting may be done in the vor or from the bind o No explicit instructions on how to thrust
Talhoffer o A plain thrust from the guard with the tip forward is implied, but not explicitly shown. o Over‐arm thrust: a single handed thrust done from the side or above. The spear may
rest over the forward arm in the thrust (unclear) o Three thrusts are shows from the bind. All three target the lower quarter.
Defense
English Sources o If your opponent strikes or thrusts high, defend in the low guard by striking against this
blow. o If your opponent strikes or thrusts low, defend in the high guard by striking against it. o Planting: For low strikes, attacks where visibility is poor, or in the case where you aren't
sure where the strike will land, you can plant the tip of your staff while holding it at the very end.
o Follow‐up from the ward immediately, usually with a thrust. o Defense is almost always made with the front end of the staff and rarely between the
hands. One exception is when closing. Fiore
o The beat us always used to set aside thrusts (and presumably strikes as well). Defense is done always by striking from the side, not from below, and always ends with the point in your opponent’s center line.
Ringeck o Thrust first. Don’t defend.
Talhoffer o Gewappen: From this “guard” a defense against the Sieten Schlag is shown by receiving
the blow between the hands. The follow‐up a spear thrust to the midsection a hooking behind the knee to throw. ubergreiffen by reaching the forward arm over his spear to secure it and stab
single handed. o Lower Hengen: No defense is explicitly shows, though it seems apparent from the
illustrations. o Tail
Defend by passing to strike with the point. This is used to versetz the gross schlag from above and return with a thrust.
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Defend with the butt of the staff. Step in and bring the staff behind his neck to throw.
Counter Defense
English Sources. If your opponent defends your attack by striking against the staff o (Durchwechsel) Slip under his to strike or thrust the other side o (Zucken): Pull your staff back and strike or thrust again o (Einlauffen): If close, step and switch your staff so the butt is forward and strike with
that Fiore
o Same as English texts. Step in and strike with the butt. Ringeck
o (Winden): Wind high on his spear, then if he sees the thrust go low o (Zuck‐Durch): If he displaces your spear to the side, zucken to durchwechsel under the
staff to the other side o (Nachreissen): If he pulls back, thrust in and push. If he flees, run in.
Talhoffer o None described
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English Quarterstaff
The Staff There really is no such thing as a standard (or even typical) staff, though hardwood is best, especially for
continued practice. George Silver recommends a fairly long staff. According to his advice, if you stand
upright and reach straight up with your hand then that height will be the location of your foremost hand
when holding the weapon. That is, if you take that height and add the distance of your hands (about a
foot and a half) you will come to the entire length of the staff. The illustrations in Swetnam's text,
however, show a much shorter staff and he mentions seven to eight feet as a good length.
Holding the Staff Contrary to what is typically seen in movies, most staff work is done while holding the weapon near one
end not in the middle, like a spear. Both Swetnam and Silver advise this and historical accounts confirm
their teaching. Swetnam explicitly advises against holding the staff in the middle, suggesting that it is
fairly easy for one's hands to be targeted. When you think about it, one of your primary advantages with
any staff weapon is its length and therefore its ability to control the distance between you and your
opponent. With some exceptions, it doesn't make sense to give up that tactical advantage by shortening
the reach of your weapon. Being able to keep enemies at bay also makes it easier to defend against
multiple opponents, a use which is consistent with historical accounts of the staff.
Although the staff was primarily held like a spear, there were examples of it held in the middle or half‐
staff grip, but mostly among the German sources. In these cases, the staff seems to be primarily used as
a training weapon for other polearms, and some have speculated that the half‐staff grip was used for
the same reason as the half‐sword grip – that is, against a man in armor. There certainly seems to be
some truth to this theory since the half‐staff techniques contain significantly more grappling and
disabling techniques. One last note on the half‐staff: unlike the spear grip, we have plenty of historic
evidence for the use of the term half‐staff, which seems to confirm that this grip was an exception that
needed naming while the spear grip was the standard, one that everyone assumed to be a typical
method not needing naming . Although we have no historical proof of the etymology of the word
quarterstaff, it is possible to speculate that it is perhaps due to the fact that it is more commonly held in
the first quarter of the staff.
Holding the weapon at the quarter staff not only allows one to control the distance of the fight, but it
also changes the fight's dynamic. When held at one end, the staff's most effective form of attack is now
the thrust, though strikes are still a very key part of its use. Also, the bind – when both staves meet and
opponents use this contact to feel their enemies' intentions – becomes critical to staff fighting, a
principle which is consistent with most other European weapons forms.
The staff can be held with either hand forward, though the English sources advise us to be sure to match
what your opponent is doing. The back hand is held facing down, though the forward hand can be held
either face down or up. The English text and illustrations seem to suggest it was more frequently used
face up. When held on the right side of the body, the left hand and foot will lead, at least in your initial
stance. Of course, this will be reversed when held on the left. Swetnam advises learning to switch
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quickly between a right and left stance to match your opponent's action. This can be done fairly easily
by simply slipping one hand past the other while passing backward with your front foot to change sides.
If the staff is held with both hands down, then you can change sides by using the German wechsel. This
is accomplished by letting go with the back hand, crossing your front arm, and grabbing the staff closer
to the other end. This position is such that both hands are now in the forward position, though your
arms are crossed in front of you. The action is completed by removing the hand which used to be
forward hand and grabbing the back end of the other side of the staff, all while passing back.
Basic Guards Two guards are clearly described in the texts. In the low guard, the back hand is held at or around the
hip with the tip extended toward your opponent's face. Swetnam advises always keeping your tip to the
side slightly, which keeps your opponent to the inside, allowing you to only need to defend one side of
your staff. In the high guard, the forward hand is in relatively the same position, but the back hand is
lifted over the head and the tip hangs toward the ground.
Footwork See the longsword basics section for descriptions of types of footwork. The English texts say very little
about footwork, though Swetnam advises a lunge with a thrust when your staves are the same size and
a pass with the back foot when staves are different sizes. This may feel awkward to those familiar with
longsword, but due to the linear nature of a trusting staff, this actually makes sense and is quite stable.
In fact, a very strong thrust can be made with the off foot in front and the staff held firmly to one's side.
Much of the German texts include this type of footwork as well, and many of the English techniques,
such as the slip, can be very effective with a pass to close the distance
Thrusting Thrusts can be done either single or double, that is with one hand holding the staff or both. When
thrusting with one hand, you will slip the foremost hand, holding the staff primarily in the back hand to
get the most range out of the thrust. With this type of thrust you need to recover quickly and beware of
a displacement which may cause you to lose control of your weapon. Most of Swetnam's thrusts seem
to be single thrusts, especially against a strike where you can outreach your opponent. Silver mentions
both single and double thrusting, depending on range.
When thrusting with the back tip you can also thrust single or double, depending on your range. We've
found that by thrusting single from the back end you can get quite a strong strike from some distance
away and still have a stable grip in the case of a ward.
Striking There is no explicit explanation of how one should strike in any of the texts. Since lifting the staff to
prepare a strike is problematic against a thrust, it seems likely that one wouldn't lead an encounter with
a strike, at least against an enemy with a staff prepared to defend. Therefore, most strikes are probably
set up with a play at the bind first. After a thrust with the back tip, for instance, a strike is very effective
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since your forward point is already behind you ready to be thrown. A fairly strong strike (Wilde's Strike)
can also be thrown out of the high guard but momentarily pulling the staff back to the shoulder before
striking downward.
Defense Staff defense is very basic and can be summed up in the following points.
If your opponent strikes or thrusts high, defend in the low guard by striking against this blow.
If your opponent strikes or thrusts low, defend in the high guard by striking against it.
Planting: For low strikes, attacks where visibility is poor, or in the case where you aren't sure
where the strike will land, you can plant the tip of your staff while holding it at the very end.
Follow‐up from the ward immediately, usually with a thrust.
Defense is almost always made with the front end of the staff and rarely between the hands.
One exception is when closing (see below).
Falsing / Feinting There are several examples that Swetnam gives for doing this.
Slip: Feint a strike or thrust and then go under his parry to thrust before his staff makes contact.
Pulling: Feint a strike but pull the staff back when he parries. Strike to the other side.
Feint low, strike high: Feint a thrust to his foot and when he moves into the high guard to parry,
thrust to this head or chest.
Voiding and Preempting When facing an opponent who relies on strong swings to attack, Silver recommends voiding the blow
and attacking during his overswing. He voids by pulling the body and staff back straight and then striking
down. Swetnam suggests preempting any blow with a thrust. Once your opponent lifts to strike,
immediately thrust before he can complete his action.
Four Wards (Binds) There are four main wards at the staff, two upper and two lower, two inside and two outside. For
instance, when you and your opponent are standing in the low guard on the left and your opponent's
staff crosses yours on your left, you are in a high‐inside ward. Likewise, when you are both in the low
guard on the left (right hand forward), and your opponent's staff crosses yours on the left, then you are
in a low‐inside ward. Swetnam warns against any outside binds or displacements, arguing that it is far
more effective to do one inside bind than many outside ones. Also note, that if you don't match your
opponent's grip, it is possible for one of you to be bound on the inside and one to be bound on the
outside. Also, when striking with the back tip a bind is also possible, though this will also be either
inside, outside, high or low, like all binds.
Like most European martial arts, much of the skill at the staff comes from one's ability to work from the
bind (or ward). Both Silver and Swetnam emphasize the need to feel how strong your opponent is at the
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ward. Depending on the strength of your opponent's ward, you will respond differently. Note that the
English texts prefer the terms strong and weak over hard and soft, when describing the character of the
bind.
A few basic responses from the wards
Opponent stronger at
the ward
Pass forward and strike with the back end of the staff
Slip and thrust to the other side
Opponent weaker at
the ward
Thrust against him (how you do this will be different depending on which of
the four wards you are in)
Force his staff down and strike back at him
Low Ward Pull your staff to the low guard and thrust at him. On an inside bind cross
steps and thrust over his forward arm.
Bind close to the hands Grab his staff with your back hand reversed. Pull your staff over your head
and thrust him with the back tip.
Closing In most cases, it's not advisable to close on your opponent when you are defending yourself with a staff.
Your best advantage at the staff is your distance and the strength of the thrust. Closing negates these.
However, Swetnam does include some cases where closing to wrestle may be advisable, including
fighting in the dark where you are unsure of where blows will fall. While there are many ways to close,
here are two that are given as examples.
Running Under: When your opponent strikes, hold your staff with your hands as far apart as
possible and receive the blow on the staff between them. Immediately run under your staff and
gain access to his body for a grapple.
Initiating a wrestle: Thrust at his face while passing with back foot, making sure that he is forced
to defend the thrust. Immediately transition into the high guard, and carry your enemy's point
over your head. Back strike or "trip up his heels".
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English Staff Terms
Note that Swetnam and Silver both prefer some terms over others, so we avoid making generalizations
about an universally agreed upon set of terminology used by the English. For our use, however, we've
adopted some of their terms and adapted them to our study. When applicable, I try to note the origin
below as well.
Cross: When two staves meet and each opponent reacts according to his judgment based on the
strength of the contact. The bind.
Cross Step: Foot work that consists of advancing one foot and crossing it in front of the other. This isn't
mentioned in the English texts at all, but is used frequently in similar German texts, and has some
interesting applications for the English material.
Double: To thrust or strike with both hands on the staff.
Falsing / to False: A feint. A strike that isn't intended to truly fall where it looks like it will.
Guard: A term used by Swetnam to indicate the starting positions for holding the staff in a fight. From
the guards, one defends against thrusts and blows. To indicate a means of holding the staff, Silver
prefers to use the word lie. That is, what Swetnam calls the low guard (with the tip pointing upward),
Silver call to “lie up.” We use Swetnam's terminology.
Half‐Staff: Holding the staff in the middle rather than at one end.
To Lie: A term used more frequently by Silver to indication how one holds the staff. That is, to lie up
means to hold the staff with the tip up, probably Swetnam's low guard; to lie down is to hold the staff
similar to the low guard. Silver also uses the terms to lie aloft, which may mean to hold the staff upward
in a guard similar to the German vom dach, and to lie low, perhaps similar to the alber. Also note, that
lie is also at times used in place of rely.
Narrow Space: Silver's term for a close distance. With the staff, he isn't explicit about how close narrow
is, as he instead uses the term to describe the general idea of closing enough to perform some action.
Pass: Footwork that consists of advancing the back foot in front of the forward foot. Though the English
texts definitely mention this type of footwork, this specific term is a convention borrowed from other
European sources.
Plant / Pitch: A technique for defending against strikes, often when you aren't certain where they will
fall. To execute a plan, one removes the fore hand and plants the tip of the staff in the ground, holding it
above your head with the back hand. This plant should be followed immediately, usually with a thrust.
Single: To thrust or strike with only one hand on the staff.
Slip: A slip is a response to an opponent who crosses with strength, usually performed by slipping your
staff under his and attacking to the other side. For those familiar with German martial arts, the slip is
equivalent to the durchwechsel.
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Step: Footwork that consists of advancing the forward foot first to close the distance. Although the word
step is used in the texts, of course, the specific meaning here is a convention used by our and many
other HEMA groups.
Ward: A term used by Silver (never by Swetnam) to indicate the defense against an attack. Although
some interpret this term to mean guard, we find that its meaning is closer to bind. That is, while there
are two primary guards, you can use them to bind against your opponent (or to ward his attacks) in four
ways, two with the point up and two with the point down; two on the inside and two on the outside.
Wechsel: A German term for a transitional guard where in the staff is held in the middle with the arms
crossed over one another. This position is used as part of the action of transitions from a right to a left
grip on the staff when both hands are held palm down. Note that a version of this can be performed
with the forward hand up, and the action of passing the staff back and forth using this method is similar
to the action of throwing a weaving shuttle across a loom. We include this action and this guard as one
possible interpretation of Swetnam's advice to change hands like a weaver's shuttle.
Wide Space: Silver's term for long distance from your opponent, usually used to mean a distance far
enough away to prevent some action by your opponent.
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Some Basic Staff Drills
Stance Transitions This drill is similar to the stance transition drill used for longsword, with some additions due to the
nature of the staff. Work your way into the transitions one step at a time. Start with the low guard and
practice footwork using steps, passes, and cross steps with the staff on one side only. Then switch to the
other and work that one as well. Then start transitioning between the two using any possible
interpretations for grip transition. Do this with the forward hand up and down. Be sure to do this in all
directions and include as many 180 degree transitions as you feel comfortable with. Keep using all three
types of footwork. Gradually add the two high guards to your work. Eventually, you may throw in strikes
and thrusts into your transitions as well.
Thrusts Double thrusts from low guard: 10‐20 with a step, 10‐20 with then a pass, then repeat on the
other side
Single thrusts from low guard: 10‐20 with a step, repeat on each side
Double thrusts from high guard: 10‐20 with a step, 10‐20 with then a pass, then repeat on the
other side
Double thrust from the Plant: 10‐20 on each side
Back Thrusts: Pass, then thrust with the back tip, 10 times on each side
Strikes 180 degree strikes, 10‐20 on each side
Lift strikes, 10‐20 on each side
Wilde Strikes: 10‐20 on each side
Combinations Forward thrust + (pass) back thrust + (pass back) strike
False Strike Low + Strike High
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Some Historical Examples of the Quarterstaff in Use
Pontis, Louis. Memoirs of the Sieur De Pontis who served in the army six and fifty years under King
Henry IV, Lewis the XIII, and Lewis the XIV Part 1, Book II. London, 1694. Pages 19‐20.
"Being then a little further advanc'd in the Forrest, we met with three men laid down by the road
side, with Fusees lying by them. As we past by they rose up and complimenting us, God protect you
Gentlemen, said they, whether are you travelling after that manner? and we had need indeed that
God should protect us from the consequence of such a Compliment. We replied that we were
going to Verdun. We will bear you company, said they, very civilly, if you please, for we are going
thither too. I who thought it not convenient to tye our selves to such Company, and that absolutely
concluded them to be Rogues, made answer, though civilly enough too, That it appear'd a little
hard we should travel far together, and that they could not well keep pace a foot with us who had
Horses. They, who desir'd nothing more but to begin a quarrel, presently made what I had said an
affront of honour, and brutishly replying, What! Gentlemen, said they, because we are a foot, are
we less men of honour, and less honest men? I reply'd again very civilly to this huffing return, That
I was very far from undervaluing them, and that it was not my humour so to do. Upon this, instead
of taking notice of what I said, they grew hotter and proceeded to rage, when three or four more
at the instant rusht out of the Wood, asking their Comrades what was the matter? and almost
before they could give them an answer, were all upon us with fury, crying out, Kill, Kill. I had no
more time at the instant, but to seize on our Guides Quarter‐staff, who ran away in a moment,
with all the good testimony had been given us of him; we let go our Horses, and clapping my self
back to back to the Canon, who I spoke to not to forsake me, but to defend himself on his side as
well as he could, I began to lay about me with my Quarter‐staff with all my force and art, and I
stood in need of it all in this rencounter. The great blows and thrusts I made at them kept them at
a distance, and hindred them from approaching too near: They presently made some shots at us,
with which the Canon was only wounded in the Thigh; but the heat of the Combat made him that
he did not feel it: for he defended himself on his side with incredible ardour, having about him a
girdle of 300 Pistols, which made him fight like a Tyger.
"After this manner we defended our selves above a quarter of an hour without intermission,
against all these fellows, arm'd with a Halbert, Fire‐arms, and Swords. They made but little use of
their Fusees, he that had the Halbert made mighty attempts to get in to us; but being I had a
continual eye upon him, and that the furious blows I every moment dealt amongst them with my
Staff kept them in awe, they could do us no harm, and durst not venture too far. The bravest, or
the most furious amongst them, was a young red‐headed Rogue, who prest very hard upon me,
and that I found always upon the attack. But beginning to feel my self weary with so long and so
rough a Combat, I made a final effort, and having as it were muster'd all my forces together, and
made a kind of a falsifie, I reacht this young Rogue such a rap, as made him immediately retire
forty paces, and sit down upon the ground. Never were people so astonisht, to see us so obstinate,
not to yield our selves to so many as they were; and I assure my self that could they have foreseen
such a consequence of their first Compliment, they would have fav'd both themselves and us so
much fruitless labour. In the end, seeing the stoutest of their company hurt, they began by little
and little to slacken their ardour, and to talk amongst themselves: which made us judge that it was
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time to think of a retreat, and accordingly we threw our selves back together into the Wood, and
get away in the strangest equipage that ever eye beheld, having neither Cloak, nor Hat, nor my
Sword, which was also lost from my side: and being out of breath, and almost quite spent, we
rested our selves a little in the Bushes."
"The Tryal of Susanna Martin, June, 29. 1692." More wonders of the invisible world, or, The wonders of
the invisible world display'd in five parts ... : to which is added a postscript relating to a book intitled,
The life of Sir William Phips / collected by Robert Calef, merchant of Boston in New England. London,
1700. Pages 114‐116.
This short account is from the records of the trial of Susanna Martin, a woman tried for witchcraft
in Amesbury, Massachusetts. This is the testimony of Bernard Peache (referred to in the account as
the deponent) who claims that Susanna entered his house and "laid on him" for two hours while he
was made unable to move or speak. He eventually freed himself and drove her from the house.
Days later, Bernard claims that Susanna again attacked him and during this encounter he drives her
off with a quarterstaff:
"At another time this Deponent was desired by the Prisoner, to come unto a husking of Corn, at
her House; and she said, If he did not come, it were better that he did! He went not; but the night
following, Susanna Martin, as he judged, and another came towards him. One of them said, here
he is! but he having a Quarterstaff, made a blow at them. The Roof of the Barn, broke his blow; but
following them to the Window, he made another blow at them, and struck them down; yet they
got up, and got out, and he saw no more of them. About this time, there was a Rumour about the
Town, that Martin had a broken head; but the Deponent could say nothing to that."
Harman, Thomas. A caveat or warning, for common cursetors vulgarly called vagabonds, set forth by
Thomas Harman, Esquire. 1573. p. 10‐11.
"Not long sithens, a wild rogue chanced to meet a poor neighbor of mine who for honesty & good
nature surmounteth many. This pore man riding homeward from London, where he had made his
market: this rogue demanded a penny for God's sake to keep him a true man. This simple man
beholding him well, and saw he was of tall personage with a good quarter staffe in his hand, it
much pitied him as he said to see him want, for he was well able to serve his prince in the wars.
Thus being moved with pity, looked in his purse too find out a penny, and in looking for the same,
he plucked out viii. shillings in whyt money, and raked therein to find a single penny, and at the last
finding one, doth offer the same to this wild rogue but he seeing so much money in this simple
man's hand, being stricken to the heart with a courteous desire, hid him forthwith to deliver all
that he had, or else he would with his staffe beat out his brains: for it was not a penny would now
quench his thirst seeing so much as he did: thus swallowing his spittell greedily down, spoiled this
poor man of all the money that he had, and leapt over the hedge into a thick wood, and went his
way as merely as this good simple man came home sorrowfully."
Peeke, Richard. Three to One: Being, An English‐Spanish Combat.
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"The Rapier men traverst their ground, I mine; Dagerous Thrusts were put in, and with dangerous
hazard avoided: Showtes ecchoed to Heaven, to encourage the Spaniards; Not a shoute, not Hand,
to hearten the poor English Man; Onely, Heaven I had in mine Eye, the Honor of my Countrey in my
Heart, my Fame at the Statke, my Life on a narrow Bridge, and Death doth before me and behind
me.
"It was not now a time to dally, they still made full at me; And I had beene a Coward to my Selfe,
and a Villane to my Nation, if I had not called up all that weake Manhood which was mine, to guard
my owne Life, and overthrow my Enemies.
"Plucking up therefore a good heart, seeing my self faint and wearied, I vowed to my Soule, to doe
something, ere she departed from me: And so setting All upon One Cast, it was my Good Fortune
(it was my God did it for Mee) with the But‐end where the Iron Pike was, to Kill one of the Three;
and within a few Boutes after, to Disarme the other two, causing the One of them to fly into the
Armie of Soldiersthen present, and the Other for refuge fled beind the Bench."
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Talhoffer’s Spear
Images Translation
By Ben Strickling
Archetype Transcription (1446-1459) [edit]
by Dierk Hagedorn
The displacement against the side
strike [45r] Die v°satzung für die sÿten schlegg
The thrust over the arm
Standing with the spear
[45v] Der stich über den arm
Der stand Im spüß
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The strike down from above
Standing against the great strike
[46r] Der schlag von oben nÿder
Der stand für den grossen schlag
He hews the great strike defending
and thrusts his spear in through. [46v] Da haut er den grossen schlag gewert
vnd stost sein glän durch In
Hewing the First-Strike [vorschlagen]
He flings the point against it and
intends to step to him.
[47r] Der haut v°schlagen
Der wirfft den ort für vnd will zu° Im tretten
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How he steps to him and hews in
with the spear-head placed on the
shoulder and intends to throw him.
[47v] Hie ist er zu° im getretten vnd haut in mit
der glän gevangen bÿ dem hals vnd will in
werffen
During the strike [in the middle of a
strike]
So, he strikes the gewappen* defense, and lets the point go in
through.
*wappen literally mean to bestow heraldry
on someone. In this context, gewappen
almost always refers to techniques against
a man in armor where the weapons is held
like the half-sword to control a thrust.
[48r] Als der geschlagen hautt
So haut der gewappett v°setzt vnd laut daz
ortt durch in gãn
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The struck blow
During the strike it is defended, and
he intends to throw him by the foot.
[48v] So der geschlagen haut
Als haut eß der gewertt vnd wil in werffen bÿ
dem fu°ß
[49r] Als der in geloffen ist vnd hautt wellen
schlachen So hautt der den spüß für
geworffen gewappett vnd im mit der glinggen
hand den arm über grüffen vnd stost mit der
rechtten den spüß durch Inn
[49v] Das ist der vortaill mit der glän gen aim
rÿttenden
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Ringeck’s Spear
Context
Ringeck’s spear work is designed for harnessfechten, presumably in the context of a judicial duel or combat that begin on horseback, and may proceed to foot combat using spears. The spear is used as the first of three weapons (sword and dagger proceed after it). The beginning of Ringeck’s spear text begins with a spear throw, which is done with the left foot forward and is used to distract your opponent long enough to close and draw your sword. The remaining spear text assumes that you don’t want to throw the spear and proceed to attack with it instead.
Holding the Spear
Ringeck isn’t explicit about how the spear is held. However, given that the techniques are analogous to the halfswording material, it’s likely that the spear is held with the right hand back and the left hand forward, both palm down. It’s also likely that the spear will be held more center (half‐staff), as with most weapons in armored combat, and not at one end as with the English quarterstaff.
Guards
Ringeck mentions two guards but notes that they are explained later, presumably in the halfswording section. The text explicitly states that the spear should be held on the right side in the lower guard, so we can assume the two guards mentioned are the two halfswording guards on that side.
Footwork
The only footwork that is explicitly mentioned is the admonition to keep the left foot forward when preparing to throw. It’s assumed that if the staff remains on the right side that the left foot remains forward most of the time.
Thrusting
No explicit advice is given on how to thrust, but give we are thrusting from the half‐staff and aiming for openings in the armor, we probably aren’t overly committing to an extended thrust, but instead planting the tip in the opening with force, couching the spear, and pushing through. The entire set of plays, however, does begin with a committed thrust to the face, one that presumably sets up the binding plays that follow.
Basic Defense
Ringeck offers no advice on defense. Instead his advice is to thrust courageously before he can. As such, the attack comes either first or simultaneously.
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The Fight
All of Ringeck’s plays are from the bind, after a committed thrust to the face. The plays are clearly based on some of Liechtenauer’s hauptstucke.
Hengen/winden If you thrust to his face, and he displaces it, then you wind your hands high so your forward hand is at his spear‐tip and then thrust again to his face. He will have to lift his left hand high to displace this now that you have leverage. If he does so, then thrust down into his left armpit. This sequence follows the same winding sequence that we see in the longsword.
Zucken/Durchwechsel Ringeck demonstrates and twitch‐through, what can perhaps be described as a durchwechsel‐zucken combination. if you thrust at his face and he displaces laterally so his point is offline, then drop the point and twitch underneath it and attack his left quarter on the other side of the spear.
Nachreissen If he lifts from the bind thrust immediately in against him. There doesn’t seem to be a concern about whether the thrust actually hits an opening in the armor. Regardless of where it connects, you will push aggressively forward pushing him backward. If he turns from the fight, then grapple.
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Fiore Spear
Holding the Spear
Fiore shows the spear held with the forward hand up, like the English sources do. Unlike the English sources, Fiore holds the spear closer to the center and even advocates its use there over the extended spear because “the more it is extended, the less it deceives.” In the one and only contrario shown in his spear text, Fiore shows a switching of the hand position so that both hands remain down. This seems to indicate a dynamism to the hand position on the staff that isn’t clear in other sources.
Fiore shows the staff used with either hand forward, and advocates different masters (see below) for each hand position, though it may be the case that all six masters may be done from each hand position and only half are shown and described. Regardless, since half the plays are show with one hand leading and the other half are shown with the other hand leading, it’s likely that learning to switch these is important. Fiore doesn’t explain explicitly how to do this, though some hand switching comes naturally from the masters. As such, we’ll look into that below, as well.
Masters
Fiore shows six masters, three right and three left (see http://wiktenauer.com/wiki/Fiore_de%27i_Liberi). All these masters set up the exact same defense, and a lot of the spear interpretation seems to ignore a pretty key question: why would Fiore give us six different ways to do the same thing? Ben’s interpretation of this:
The three masters on the right threaten with a rebatteno (beat) from the right side with the dominant hand on top. And so, they cross with the other spear from the right as well. Each has the dominant foot back and each is done with a traverse with that back foot. Importantly, these three masters defend from attack coming from your left flank (or in front).
The three masters on the left threaten from the left and cross on the left. Each is done with the non‐dominant hand on top, and the footwork requires pulling the back foot (or front foot depending on how you describe it) back to turn quickly toward an opponent attacking on your right flank (hence the image of the master looking back that direction over his right shoulder).
See Footwork, below, for more on the dynamic of stepping, but simply put, each set of masters allows you to defend attacks coming at you from different sides. And while each of the three masters ends the same, each allows you to defend from different starting positions. Two guards on each side are pulled back to the shoulder (Full Iron Door and Boar’s Tooth). These are a good starting positions, or place to “wait,” as Fiore suggests. If you strikes a rebatto or pulls back from a thrust, you end in one of the two low guards (True Cross and the MIddle Iron Door). It’s possible that you may start the fight here as well (as with any of the guards).
The two upper guards seem like typical places to wait and strike from, but I propose that they actually serve a very unique purpose. Both guards rather nicely set up a transition of the hand position after a thrust. So, for example, you hold the spear with the right hand on top and thrust
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forward, letting the spear slide somewhat through your hand (bringing both closer together). When pulling the thrust back, don’t recover your right hand position. Instead pull the spear back over your right shoulder and then reach across with the left hand to occupy the more forward position. You are now in the Left Window and ready to defend an attack on your right.
Conversely, if you thrust with your left hand forward, again letting the staff slide through your hand. When pulling back, let the tip drop to your left over your shoulder. Switch your hand position as you bring the staff around over your head into the RIght Window. You can fluidly and immediately strike with the spear using the hips and in that motion allow your hand position to re‐separate to their original width.
Both of these offer a real fluid and continuous transition from both right and left masters. However, you may also make the transition in the same was as the English texts, by letting one hand slide by one another until your guard position switches (for instance, switching from the Middle Iron Door to the Boar’s Tooth).
Footwork
The trick to the footwork in Fiore’s spear section is in the body dynamic of the rebatto, something that Fiore isn’t explicit about. Moving the body and foot in the same timing as the spear is problematic as a) it’s slower and b) it doesn’t completely cover the outside line in time to get the body out of the way. Practicing this at moderate speeds doesn’t really reveal this dynamic though, but at accelerated intensity, many students find that the attacker can get the thrust in before the defensive spear can get into position. This is contrary to Fiore’s claim that this defense “cannot fail.”
Instead, the beat should be made primarily with the hips. You should be on the ball of your back foot and in turning the hips, you will also naturally want to pivot on the ball of that foot. In doing so, your knee will turn downward especially if you have a proper bend in the knees. In doing this simply snap the hands out into an extended position. Your end placement should have the spear on the left side of your body, completely closing off that line. The momentum of this dynamic actually draws the body to the side and the back foot will naturally follow with a traverse step, usually on the ball of the foot with the knee turned. Note that this end position is the exact position seen in all the left‐side masters. The key here is that the motion of the traverse step is not done with the legs in a stepping motion, but is the natural result of the hip motion involved. And the foot will fall after the hands are in position.
Fiore isn’t clear, but after a defense it’s completely possible to continue rotating and traversing in the same circular direction by repeating your movement, or to switch from clockwise to counter‐clockwise by switching masters (and hand positions).
Thrusting
Fiore shows a thrust from the cross, with the target being the face or breast. Note that he is close enough in the thrust to be inside his opponent’s spear length, not at distance where slipping and other binding techniques are feasible.
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Basic Defense
Fiore’s defense is simple. The beat us always used to set aside thrusts (and presumably strikes as well). Defense is done always by striking from the side, not from below, and always ends with the point in your opponent’s center line.
The Fight
Fiore doesn’t offer much in the way of an extended fight, and presumably the fight should end after the first play. He does offer one counter. If your staff gets beaten away, don’t resist it but instead let the beat propel your staff around until you are facing him with the opposite end and hit him with the butt of the staff. The hand position switches in this so both hands are downward.
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Attacking the Spear
Stick and Dagger Fiore
Fiore shows a defense against the spear using a long stick and a dagger. The stick is body length and planted in the ground. The defense is made by turning the body and using the top of the staff to defend (using the same hip motion as used in the defense with his spear) while keeping the tip planted in the ground. Once a spear is beaten away, the defender passes forward to injure with the dagger.
Fiore also also shows two club‐like sticks against a spear. The right hand throws one stick at the spear to distract him while the left beats away the spear from below. Then one passed inside, draws the dagger, and injures the spearman.
Longsword Ringeck (Armored)
All of Ringeck’s techniques assume that armored combat is taking place. Some of these seem risky out of armor. All start with the halfsword in the lower guard.
Option 1: As he thrusts, raise up and displace the thrust with the tip of the sword, in front of your forward hand. Step inside the reach of the spear while pulling into a high guard with the tip forward and attack your opponent.
Option 2: If he over‐extends the thrust, you can use your left hand to displace the spear as well.
If he thrust low, grab the spear with the left hand and hold it while, thrusting one‐handed with the sword into his groin. If he tries to pull the spear back, lift it high, run inside it, and resume the halfsword to wound him.
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Bibliography
As in all cases, your first stop for historic texts should be the Wiktenauer (www.Wiktenauer.com). Here
are some other print texts are relevant.
Brown, Terry. English Martial Arts. Anglo‐Saxon Books, 2002.
Knight, David James and Brian Hunt. Polearms of Paulus Hector Mair. Paladin Press, 2008.
Lindholm, David. Fighting With the Quarterstaff. Chivalry Bookshelf, 2006.
Ringeck, Sigmund. David Lindholm, trans. Sigmund Ringeck's Knightly Arts Of Combat: Sword and Buckler
Fighting, Wrestling, and Fighting in Armor. Paladin Press, 2006.
Ringeck, Sigmund. Christian Henry Tobler, trans. Secrets of German Medieval Swordsmanship: Sigmund
Ringeck's Commentaries on Liechtenauer. Chivalry Bookshelf, 2001.
Talhoffer, Hans. Trans. Mark Rector. Medieval Combat: A Fifteenth‐Century Manual of Swordfighting
and Close‐Quarter Combat. Greenhill Books, 2000.
Wagner, Paul. Master of Defence: The Works of George Silver. Paladin Press, 2003.
