Pedro de Heredia

Big block of text describing the man, the book and the translation. Links to Rob's page on Fallen Rook Press.

• The Book of Lessons, by Pedro de Heredia (tr. Rob Runacres)

There's three large-scale sections to this very thick book covering:

• Simple Lessons of the Single Sword
• Plays of the Single Sword in Mathematical Form
• Plays of the Sword and Dagger

The term “mathematical form” has sparked much interested. Rob Runacres and other believes it refers to the geometrically precise Spanish rapier system of La Verdada Destrza (LVD). Personally, I don't see this in the description of actions and prefer to equate this term, like Jacopo Monesi (Opposizioni at Avverimenti Sopra La Scherma pp.10-11 quoted in the translators' introduction to Palladini's Art of Fencing), with a distinction between sword fighting in earnest and fencing in the salle or training hall. In short, I see nothing in this section which flags itself as obviously a Destreza-countering strategy or tactic or, conversely, anything which precludes its use against Destreza.

The definition of tempo in Heredia's text is included in the section at the start of the book copied directly from Cavalcabo. However, the definition of tempo, falling around the middle of the plagiarised section, differs from the older text. Does this represent a refinement of or a change to the core concept?

As with Cavalcabo, there are three tempi:

• the tempo of the sword,
• the tempo of the foot, and
• the tempo of the body.

Later in the exercises, Heredia changes the list. This time, he lists three different tempi:

• the tempo of the hand,
• the tempo of the foot, and
• counter-tempo (which appears to have a sub-category of “tempo of the head” which is basically just striking to the face).

We can take the tempo of the hand/sword/dagger and tempo of the foot as the classic rapier fencing notion of “when your opponent is moving their hand/sword/dagger or foot, they cannot be attacking you” thus providing you with a safe moment in which to make your attack while the opponent's attention is elsewhere. This matches the first part of Agrippa's confusion about time.

Counter-tempo is the new addition to the list. While present in Agrippa's text as the second part of his confusion about time in fencing, it likely represents the inclusion into the “Cavalcabo style” of contemporary fencing updated since Cavalcabo senior first wrote his text approximately 40-50 years before Heredia put pen to paper.

Heredia makes two tactical statements when dealing with tempo and counter-time action in particular:

• “But note that in all contretempi it must be that the hand and the body are extended before the foot steps and it is necessary to perform these blows fully so that your strong, in parrying, passes over the weak of the enemy.”
• “Caution yourself not to take the countertempo unless the enemy is first on the way with arm extended.”

Invitation or Engagement	No. of Actions	Opponent's Action or Parry	Counter Action	Source(s)	Concordance
I subject opponent, appel and withdraw		Opponent follows me	I thrust at the same time opp moves to follow me	HT-01
Invitation		Opponent moves into measure	I thrust (in quarte?) at the same time the opponent moves	HT-02
Invitation		Opponent moves into measure	I thrust (in quarte?) at the same time the opponent lifts the foot	HT-03	Cf. HT-02
At engagement		Opponent narrows stance from wide to narrow	I thrust with resolution at the same time the opponent lifts the foot	HT-04
At engagement		Opponent “wants to extend his body”	I thrust in the same tempo	HT-05
At wide measure		Opponent wants to “turn in presence” (circle?)	I thrust in the same tempo the opponent lifts the leading foot	HT-06
I subject the opponent's blade		Opponent disengages	I thrust in the same tempo as the opponent disengages	HT-11
I subject the opponent's blade		Opponent “abandons your blade” (releases pressure, lets the point drop)	I thrust in the same tempo as the opponent acts	HT-12
At engagement in a high line		“Your enemy comes to make some feint to the inside or outside with a beat of the foot and hand”	I thrust on the pied ferme at the same time	HT-13
At engagement in the high line, I subject the opponent to their outside		Opponent disengages to thrust in brocade (2nd)	I thrust on the pied ferme at the same time	HT-14	Cf. HT-15
At engagement in the high line, I subject the opponent to their inside		Opponent disengages to thrust	I thrust on the pied ferme at the same time	HT-15	Cf. HT-14
At engagement in the high line, I subject the opponent's blade		Opponent disengages to withdraw	I thrust at the same time	HT-16
At engagement in the high line, I subject the opponent's blade to my outside		Opponent disengages to thrust in estocade	I thrust in counter-time	HT-21
At engagement in the high line, the opponent subjects my blade		Opponent abandons my blade to thrust in estocade	I thrust in counter-time	HT-22	Cf. Ht-31
Opponent in high tierce. I am in low tierce, my point under the middle of the opponent's strong.		Opponent thrusts in estocade	I thrust in counter-time	HT-23	Cf. HT-24
Opponent in high tierce. I am in low tierce, my point under the middle of the opponent's strong.		Opponent thrusts in brocade	I thrust in counter-time	HT-24	Cf. HT-23
Opponent subjects my blade		Opponent abandons my blade to thrust in estocade	I thrust in counter-time to the head	HT-31	Cf. HT-22
Opponent in high tierce. I am in low tierce, my point under the middle of the opponent's strong.		Opponent thrusts in estocade	I thrust in counter-time	HT-32	Cf. HT-23

Notes:

• In all these actions, the target is called out as the opponent's leading shoulder (ie: the right shoulder for the right-handed opponent). Except where noted, all strikes are estocade which could simply mean a thrust or could mean specifically a thrust in quarte.
• Unsure whether HT-03 is a different action to HT-02 or merely a specification of it.
• HT-04 is pure Agrippa who states that a widely spaced stance is defensive but narrowing this stance (gathering the rear foot forward) indicates the opponent is preparing to attack.

This section covers pages 46-51 in the Fallen Rock Press hardcover edition of the translation. It is followed by two pages of more general tactical advice then plays for specific circumstances (eg: versus sword and cape, long play versus short play, etc). I'm uncertain whether these should be included in this section or form a separate section of their own.

De Heredia lists four basic parries as the first item under this section. These cover a parry again a thrust coming in above your sword hand, to the inside and to the outside of your sword, and similarly a thrust coming in below you sword hand, to your inside or to your outside line.

The hints he gives on the stance (Item 5) to adopt against the “mathematical form” is very similar to the standard stance of Cavalcabo and Paternoster. De Heredia specifies that the sword hand should be approximately a palm and a half about the belt/waist.

An integral component in these parries is stepping into the line being attacked. For example, when parrying a thrust to your outside line, you parry and step toward your outside line. This increases the angle you gain on your opponent's blade with the parry to set up the riposte or counter-attack.

• High Outside Parry: Hand is in quarte and withdrawn close to the body, hand low and point high. Step to the outside.
• High Inside Parry: Hand is in quarte and withdrawn close to the body, hand low and point high. Step to the inside.
• Low Outside Parry: Hand is high and point is low. Step to the outside.
• Low Inside Parry: Hand is high and point is low. Step to the inside.

There are three pieces of which De Heredia gives at the end of the plays below.

• Never to “turn” in the presence of the opponent. I'm curious about the original word translated as “turn” and wonder whether “circle” might not be a better choice.
• Always move the hand (and body) before the feet – unsurprisingly matching the advice hammering on in the texts by Cavalcabo and Paternoster.
• If the opponent “turns” [circles?], always “turn” [circle] in the same direction.

A quick note on the De Heredia's terms used below.

• Estocade: a thrust in quarte, fingernails up
• Brocade: a thrust in seconde or tierce, fingernails down
• Cortelade: a forehand cut from the right for a right-handed fencer, elsewhere called a main droit. This term is interesting because it appears to be a direct french-ification of the Italian cortellata rather than the Spanish equivalent (tajo) or well-known French main droit.
• Revers: a backhand cut from the left for a right-handed fencer.
• High Guard: Unsure. Undefined. I suspect this a stance in second or a tierce guard held at shoulder level. High guard appears to suggest that while the sword hand is held “high” the point is held low, usually under the opponent's guard/blade position. This seems decidedly odd.

Invitation or Engagement	No. of Actions	Opponent's Action or Parry	Counter Action	Source(s)	Concordance
Both engaged in “high guard”		Opponent thrusts under my guard estocade	Low parry to inside or outside as required and a low thrust	HM-1	Cf. HM-4
I subject opponent's sword to my outside		Opponent disengages to thrust to my inside	Low inside parry; thrust to opponent's inside	HM-2
Opponent subjects me to my inside		Advance my sword then strike in brocade	—	HM-3
I subject the opponent to my inside		Opponent disengages to thrust to my outside	I thrust to opponent's right shoulder (in estocade?)	HM-4	Cf. HM-2
I position my blade under the opponent's. No blade contact?		Opponent strikes to my outside	I thrust to opponent's right shoulder “along the blade” on my inside	HM-5	Cf. HM-4
I subject opponent (to my outside)		Opponent disengages to thrust low to my inside	Low outside parry (envelopment?) and low thrust	HM-6
I stand in high tierce. Opponent is in low tierce.		Opponent subjects from below moving my sword up and to my outside	Envelope into a low outside parry and thrust in brocade	HM-7	Cf. HM-8, HM-9
I stand in high tierce. Opponent is in low tierce.		Opponent subjects from below moving my sword up and to my inside	Envelope into a low inside parry and thrust in brocade	HM-8	Cf. HM-7, HM-9
I stand in high tierce. Opponent is in low tierce.		Opponent subjects from below moving my sword up and to my inside	Envelope into a low inside parry and thrust in estocade	HM-9	Cf. HM-7, HM-8
I subject opponent to my outside		I envelop opponent's blade into a low inside parry and thrust low	—	HM-10	Cf. HM-11
I subject opponent to my inside		I envelop opponent's blade into a low outside parry and thrust low	—	HM-11	Cf. HM-10
I provoke with a thrust in quarte to opponent's inside		Opponent parries to the inside	I “turn [my] hand” (disengage?) into seconde to thrust to the right shoulder, stepping left with the left foot	HM-12
At engagement on the inside		Opponent makes to subject my sword (to my outside?)	“Gather [my] point towards [me]” and cut into a thrust to the opponent's right shoulder on the outside	HM-13
Invitation in “high guard”		Opponent advances the arm to subject my blade on the inside	Caver under the guard and thrust to the right shoulder on the outside	HM-14	Cf. HM-15
Invitation in “high guard”		Opponent advances the arm to subject my blade on the outside	Caver under the guard and thrust to the right shoulder on the inside in quarte	HM-15	Cf. HM-14
At engagement in “high guard”		Opponent lifts my point in order to thrust under my guard in brocade	Caver (collapse) into a low outside parry and thrust in brocade, “lifting the hand to protect the head”	HM-16
My point is “under the enemy's sword on the [my?] inside”. Provoke with a thrust.		Opponent parries [inside or outside?]	Disengage and thrust in estocade to the right shoulder	HM-17
My point is “under the enemy's sword on the [my?] outside”. Provoke with a thrust.		Opponent parries to my inside	Disengage and thrust in estocade to the right shoulder	HM-18
At engagement in the “straight line”		Opponent subjects me on the outside	Disengage and thrust low in estocade to the right side, keeping the hand high	HM-19	Cf. HM-21
Opponent subjects my sword on the inside		Opponent circles (“turns”) to my inside or outside	Low thrust under the opponent's guard to the leading flank	HM-20
Opponent subjects my sword on the inside		Opponent steps into the subjection (ie: to my right)	Disengage and strike to the right shoulder	HM-21
I fleureter in order to make the opponent attack		Opponent fourcourirs and creates an opening	I thrust in estocade	HM-22	Note: Section called “To make the enemy fourcourir“
Engagement in high guard		Opponent fleureters	I drop my point on the inside to bar out the opponent's action stepping to the inside to void the engagement	HM-23	Note: Section called “The remedy against movements or fleuretages”
Engagement in high guard		Opponent fleureters	I drop my point on the outside to bar out the opponent's action stepping to the outside to void the engagement	HM-24	Note: Section called “The remedy against movements or fleuretages”
Engagement in high guard		Opponent moves feet or body while “in presence”	I step in “burdening the opponent's blade with the flat of mine on the inside, keeping my had close to my waist to prevent a thrust. When the opponent disengages (over my blade?) I turn mine my to thrust in estocade to the right shoulder on the inside	HM-26
Engagement in high guard		Opponent moves feet or body while “in presence”	I step in “burdening the opponent's blade with the flat of mine on the outside, keeping my had close to my waist to prevent a thrust. When the opponent disengages (over my blade?) I turn mine my to thrust in estocade to the right shoulder on the inside	HM-27a
Engagement in high guard		Opponent moves feet or body while “in presence”	I step in “burdening the opponent's blade with the flat of mine on the outside, keeping my had close to my waist to prevent a thrust. When the opponent does nothing I turn mine my to thrust in brocade to the right shoulder on the inside	HM-27b
At engagement		Opponent subjects my blade to the inside	Cut a cortelade while withdrawing	HM-28
At engagement		Opponent subjects my blade to the inside	Cut a revers while withdrawing	HM-29
At engagement		Opponent subjects my blade to the outside	Cut a cortelade while withdrawing	HM-30
At engagement		Opponent subjects my blade to the inside	Feint to cut a revers then cut a cortelade while withdrawing	HM-31	A rond or stramazzone?
At engagement		Opponent subjects my blade to the outside	Feint to cut a cortelade then cut a revers while withdrawing	HM-32	A rond or stramazzone?

Note: There is no HM-25. It turns out not to be a play but advice.

HM-22, HM-23 and HM-24 are crazy and make little sense. The whole action is very silly but this is completely out of character for the rest of the book. I don't understand what is happening here. HM-22 is a play where I perform the fleuretage in order to provoke a reaction from the opponent. In HM-23 and HM-24, I avoid the opponent's fleuretage provocation.

Fleuretage is defined in HM-22 although it is not named until HM-23. The description runs, “You keep your guard high, with the wrist of the hand raised and the point of your sword low, under the middle of the strong of the enemy's sword, and from there makle movements with the point on the inside and outside, moving only the wrist.”

Once again, de Heredia lifts the text pretty much directly from Cavalcabo. Best go check out the page on Cavalcabo's Cape et Épée. The cape is wrapped around the off-hand and used in the same way as the dagger.

In addition, de Heredia used the cape-wrapped hand to parry thrusts (but not cuts) directly with the cape. These actions do not appear in Cavalcabo and there are hints that he frowned upon this practice.