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If you readily frighten, you should never learn fencing. - Liechtenauer's Verses, Von Danzig Fechtbuch - 1452 As a champion longsword fencer, Jack Fischer receives many invitations to tournaments, but none like this: few details, no return address and thousands of dollars in cash that is his to keep whether he accepts or not. He wants nothing to do with it until a multi-national task force recruits him to help bring down the organizers, a society of modern duelists who fight to the death while wealthy patrons watch and place bets. Surrounded by opulence, glamour and the respect of powerful benefactors, Jack finds himself fighting the desire to prove himself in combat and vindicate his life's work. His loyalties are further strained when he meets Frederica, a woman whose skill with a sword rivals his own. Struggling with a disease that is ravaging her body, she has come to the tournament to win the means to pay for her treatment or to die trying. But underneath the pomp, the lofty ideals and promised wealth, neither the tournament nor its organizers are what they seem, and Jack is forced to face an impossible choice between love, self preservation and honor in a place where the only truth worth finding may lie in a pool of his own blood.
Originally published in Great Britain in 2000 by Greenhill Books; reprinted in this format in 2014 by Frontline Books.
The medieval knight was a well-trained fighting man, expert in the use of sword, lance, spear and dagger, and member of a warrior aristocracy whose values, virtues and vices helped shape European society for over 500 years. As a window into the knight and his craft, In Saint George's Name: An Anthology of Medieval German Fighting Arts brings readers a treasure trove of historic combat treatises, musings on the culture and context of the martial arts in the late Middle Ages, and hands-on training exercises for wrestling, dagger, falchion, and poleaxe. Join medieval combat expert Christian Henry Tobler on an expansive journey into the lost world of chivalric fighting arts, certain to thrill martial artists, arms and armour enthusiasts, and lovers of history alike.
Hans Talhoffer's professional fencing manual of 1467 illustrates the intricacies of the medieval art of fighting, covering both the 'judicial duel' (an officially sanctioned fight to resolve a legal dispute) and personal combat.Combatants in the Middle Ages used footwork, avoidance, and the ability to judge and manipulate timing and distance to exploit and enhance the sword's inherent cutting and thrusting capabilities. These skills were supplemented with techniques for grappling, wrestling, kicking and throwing the opponent, as well as disarming him by seizing his weapon. Every attack contained a defence and every defence a counter-attack. Talhoffer reveals the techniques for wrestling, unarmoured fighting with the long sword, pole-axe, dagger, sword and buckler, and mounted combat.This unparalleled guide to medieval combat, illustrated with 268 contemporary images, provides a glimpse of real people fighting with skill, sophistication and ruthlessness. This is one of the most popular and influential manuals of its kind.
A completely new translation of the anonymous commentary on the Zedel of Johannes Liechtenauer, forming a 15th century treatise on three subjects: Fencing on foot with the longsword, fencing on horseback with lance, sword and dagger, and fencing on foot with lance, sword, and dagger.The work contains a poetic translation of the Zedel and plain, straightforward translations of the commentaries to provide a smooth reading experience perhaps closer to that of reading the original document.
From fantasy novels and cosplay to Renaissance festivals and roleplaying games, the love for medieval weapons runs deep. But how were they actually used? In The Use of Medieval Weaponry, historical fencing instructor and competitive fighter, Eric Lowe brings together the words of over a dozen medieval masters, as well as the practical experience of contemporary historical European martial artists, to answer this deceptively simple question. For the first time, learn to see weapons from the perspective, not of ancient generals or modern museum curators, but the people holding the sword. Compare weapons in combat, consider the pros and cons of different types and styles, and discover how medieval warriors adapted their art to their favorite tools. Whether you are an armchair enthusiast or a fighter ready to step up your game, Lowe takes you inside the world of medieval martial arts as no one else can.
"The Academy of the Sword centers on an assemblage of rare illustrated books devoted to the subject of fencing and dueling, drawn (with one exception) from the library of the Arms and Armor Department of The Metropolitan Museum of Art ... Accompanying the books and giving vivid impact to their illustrations are a selection of swords, rapiers, parrying daggers, bucklers, and other accoutrements, which follow the chronology of, and changes in, fighting styles depicted in the books"--Introduction, page 3
"No, I haven't seen any airplanes. No lights in the sky at night either, except for the stars. Where the hell are we?" Fifty people go to sleep in their own beds and wake up in a compound in the middle of the jungle. Men and women from all walks of life with only one thing in common-none of them know where they are or how they got there. Alex is a paratrooper. Yael is a mathematician. Max is a law professor. They can't leave-a lethal barrier surrounds the facility, but no one knows if it's there to keep them in, or to keep something out. The compound is comfortable and provides for all of their needs. There's a warehouse with DNA coded locks. Only Barbara, the doctor, can open a fully stocked operating room, and only Alex can get into an arms room with enough weapons to outfit an infantry platoon. There is enough food and other supplies to last for decades, but nothing to tell them who did this to them or why. For Alex, it's an intriguing mystery-anything is better than digging foxholes in the desert-but he and the others don't realize that time is running out. On the other side of the barrier lies a horror beyond imagination, and the barrier is about to come down.
The Flower of Battle is Colin Hatcher's translation of Fiore dei Liberi's art of combat from the early 15th century. The work included high-resolution images and English text laid out in the manner of the original.