polish saber 选译之二

译者注：本部分选译polish saber一书的89-98页，部分配图因为无必要（纯插图性质），故进行了删减，引用的原始资料为了降低工作量也不再与译文中双语对照，感兴趣的可以直接看原文部分进行查找，选译文章发成双语对照版，另一部分原因也是因为译者水平有限，方便读者进行自行查找原文进行理解及纠错

Interpretation

解读

This chapter is an interpretation of the use of the Polish saber of the 17th century in the context or the duel on foot. The prior material has been combined and used to create a coherent system that can be used in isolated training drills or in sparring with a partner.

本章是对波兰军刀在17世纪环境中的使用或徒步决斗的解读。结合之前的材料，用于创建一个连贯的系统，可以用于单独的训练或与一个伙伴的对练。

Lacking a period fencing manual from which to work, knowing how to reconstruct the 17th century Polish system of fencing requires more interpretation than trying to recreate Italian rapier, or German longsword. While there is no definitive period text, the previously detailed sources do provide more than enough material to interpret the system.

由于缺少一本可以使用的击剑手册，想知道如何重建17世纪的波兰击剑系统需要比重现意大利剑或德国长剑更多的解释。虽然没有明确的这段时期的文本（指现在没有17世纪的波兰军刀典籍），但先前详细的资料来源确实提供了足够的材料来解释这一体系。

Given Poland's ability to adopt and use other customs, the great influx of foreigners, and the loose style of training, it is quite plausible that there was a good deal of personalization in the use of the Polish saber. A nobleman educated in Padua might take up Italian notions such as the concept of tempo and the use of the lunge. Another, who spent time in the Royal army, might pick up different techniques from the many Germans in its ranks. Yet another, who found himself fighting Muscovites, might well devise a system suited toward combating them. Pasek's journals indicate that rapiers, for instance, were used by his fellow Poles. Is it so hard to believe that what they learned about one weapon, they tried to incorporate with another?

鉴于波兰有能力采用和使用其他习俗，大量外国人涌入，以及宽松的训练风格，波兰军刀的使用很有可能是个性化的。在帕多瓦接受教育的贵族可能会接受意大利的观念，如节奏的观念和弓箭步的使用。另一个曾在皇家军队服役的人，可能会从许多德国士兵那里学到不同的技术。另一个发现自己在与莫斯科人作战的人，很可能会设计出一套适合与他们作战的系统。例如，帕塞克的日记表明，他的波兰同胞使用了rapier。难以置信的是他们从一种武器中学到的东西，他们试图与另一种武器结合在一起？

Despite the adoption of outside ideas, there was still something unique to the Polish method of fencing. There were enough differences that Father Jezierski, Kitowicz, and Starzewski made note of it. Perhaps, as in the 17th century Polish style of dress and architecture, it was the mixing and matching of the outside world with their own that made it "Polish."

尽管采用了外来的想法，但波兰的击剑方法仍有其独特之处。父亲杰泽尔斯基，基托维茨和斯塔泽夫斯基记录下来了它们具有的充分的差异。也许，就像17世纪波兰人的服饰和建筑风格一样，正是外部世界与自身世界的融合和匹配才使其“波兰化”。

Interpretation is hardly an exact science, and so we must use what sources, anecdotes, and connections are available, and work from there.

解读并不是一门精确的科学，所以我们必须利用现有的来源、轶事和联系，并从中进行研究。

Using every source included in this book is not necessary. It is acceptable to pick and choose from what is available, since to date there is nothing more definitive. Furthermore, every source comes with advantages and disadvantages. Starzewski wrote one of the most complete sources, and it is of Polish origin. However, his writings are a 19th century interpretation of the 17th century. Giganti's description of cross-cutting comes from the correct century and lends itself well to the Polish saber and the mysterious cross-cut first mentioned by Father Jezierski. Alas, Giganti's book was writter specifically for the use of the rapier and makes no mention of the saber or of Poland. Pasek and Kitowicz give us firsthand accounts, but they give few specifics when it comes to fencing. In the case of Pasek, the memoir was written down years after the actual events took place. All of the sources, be it Pasek, Starzewski, Marcelli, or Meyer, have strengths and weaknesses, and these should be understood before proceeding.

本书使用所有的原始资料是不必要的。从现有的资料中挑选一部分是可以接受的，因为到目前为止没有什么比这些资料更可靠的了。此外，每一种来源都有其优缺点。斯塔泽夫斯基写了一个最完整的原始资料，它是波兰的资料中最早的。然而，他的作品是19世纪对17世纪的诠释。吉甘蒂对十字斩的描述来自正确的世纪（指17th），很适合波兰军刀和杰齐尔斯基神父首先提到的神秘十字斩。唉，吉甘蒂的书是专门为使用迅捷剑而写的，没有提到军刀和波兰。帕塞克和基托维茨向我们提供了第一手资料，但在击剑方面，他们只有很少的细节。以帕塞克为例，回忆录是在实际事件发生数年后写下的。所有的原始资料，无论是帕塞克，斯塔泽夫斯基，马尔切利，还是迈耶，都有优点和缺点，这些都应该在进行复原之前理解。

In the end, the goal of an interpretation is to provide as valid a system as possible, while being well aware that newly discovered material, or critical analysis of what is known, may change and alter it.

最后，解释的目的是提供尽可能有效的系统，同时充分意识到新发现的材料或对已知事物的批判性分析可能会改变和改变它。

 

Concepts of fencing          

击剑的概念

To facilitate the interpretation, there are a few core concepts found in numerous systems that are also found in this system. Some of these are based on the ideas of Aristotle, others were set down in later periods by fencing masters.

为了便于解释，在许多系统中都可以找到一些核心概念，这些概念也可以在这个系统中找到。其中一些是基于亚里士多德的思想，另一些则是由击剑大师在后期制定的。

Definition: Measure = Aristotle used measure as a means of explaining distances between objects.

定义：Measure（下文翻译为距离）=亚里士多德用Measure来解释物体之间的距离。

For fencing, the concepts of measure are used to determine, abstractly, how close an opponent is to you.

对于击剑，距离的概念被用来抽象地确定对手离你有多近。

Measure is relative to the fencers. A tall person with a long sword could be in wide measure while facing a shorter opponent with a shorter sword who might be out of measure, because the taller person would be able to hit while the shorter person would still be out of range.

距离与剑士有关。一个长剑的高个子可以在很宽的范围内面对一个短剑的矮个子对手，而这个距离对矮个子可能是不合适的，因为高个子的人可以击中，而矮个子的人仍然在距离之外。

Measure can be defined in three categories

距离可以定义为三类

Out of Measure

远距离

Wide Measure

中距离

Close Measure

近距离

1-    OUT OF MEASURE- Out of range to hit an opponent, even when making a full passing step.

1-远距离-超出攻击范围，即使使出一个充分的跨步也无法击中对手。

From here, very little matters since neither opponent can attack one another. This changes the moment either fencer enters into wide measure.

在这个距离下，是安全的，因为两个对手都无法攻击到对方。这一点剑士进入中距离时改变（即不再是安全的了）。

2-    WIDE MEASURE - Within range to hit an opponent with an advance or a passing step.

2-中距离-在这个距离下前进一步即可以击中对手。

From here, everything matters because each opponent can strike. Every movement, the choice of guard and attack is critical. Additionally, it is possible for one fencer to be in measure, while the other is not.

从这里开始，一切都很重要，因为每个对手都可以攻击到对方。每一个动作，防守和进攻的选择都至关重要。另外，一个剑士有可能位于中距离，而另一个不是。

3-    CLOSE MEASURE - Within range to hit or even to grab an opponent without moving the feet. 184

3-近距离-在不移动脚的情况下就可以击中甚至抓住对手（184）。

From here, not only is the weapon a concern, but the off-hand as well. It is easy to get to grips at this range and a fencer has to worry about being cut or stabbed! At this range both fencers will be in measure.

从这里开始，不仅仅有武器的问题，还有离手的问题。在这个范围内很容易擒抓对手，而且剑士也必须担心被砍或刺伤！在这个范围内，两个剑士都将在近距离（指区别于上文的中距离，可能一方进入了中距离一方没有进入，进入近距离的话双方剑士都会在这个距离内）。

184 Giganti's 17th century rapier treatise used similar concepts of measure. Aaraon Taylor Miedema, Nicoletto Giganti's The School of the Sword, (Kingston: Legacy Books Press, 2014), xxii

184吉甘蒂17世纪的迅捷剑典籍使用了类似的距离概念。Aaraon Taylor Miedema, Nicoletto Giganti's The School of the Sword, (Kingston: Legacy Books Press, 2014), xxii（此处为引文及位置）

Definition: Tempo = Aristotle measured time through motion. When something moved, a tempo had passed. When something was still, a tempo had passed. When something moved slowly it was a long tempo, and when something moved quickly, a short one. Two actions were two tempo Logically, a single tempo action should complete before a two tempo action, and a short tempo should complete before a long tempo.

定义：拍子=亚里士多德通过运动测量时间。当某物移动时，一个拍子过去了。当事情静止时，一个拍子过去了。当某物缓慢移动时，是一个长拍子，当某物快速移动时，是一个短拍子。两个动作在逻辑上是两拍子，一个一拍子动作应该在两拍子动作之前完成，一个短拍子应该在长拍子之前完成。

In fencing, the term is used to understand movement and its relationship to an opportunity to at tack or to be attacked. Different masters used tempo differently. Rapier masters of the 17th century tended to suggest a single-time stratagem, where the attack and defense were combined.185 The small sword of the late 17th to the 19th century often used a double-time system, where an attack was parried and then followed with a counter-attack.186 In the 18th and 19th century, the development of sport fencing led to quick attacks meant to touch the opponent first

在剑术中，这个术语用来理解运动及攻击与被攻击的机会的关系。不同的大师使用不同的节拍。17世纪的剑术大师们倾向于提出一种进攻和防御相结合的单一时间战略（一拍子同时攻防）。（185） 17世纪末到19世纪的小剑经常使用一种双时间系统，在这种系统中，一次进攻被挡开，然后再进行反击。（186）在18世纪和19世纪19世纪，运动击剑的发展导致了旨在先触对手的快速进攻

When using the Polish saber, in a 17th century context, some offensive actions required two tempo to complete, such as a cut powered by a moulinet of the wrist or arm. However, some actions require a single tempo, such as a simple cut, a thrust, or a changing of guard.

当使用波兰军刀时，在17世纪的背景下，一些进攻动作需要两个节奏才能完成，例如手腕或手臂的风车斩（moulinet意思是划圆斩击，以下统一翻译为风车斩）。然而，有些动作需要一个单一的节奏，比如简单的切入（指直接推出去的斩击）、一个刺击或是换个架势。

The fencer on the right is performing a two tempo action. One to get into the position as depicted, and another will be needed to pass and strike. The fencer on the left can use a hanging parry in response. This will be a one tempo action since all he has to do is raise his arm into the correct position

右边的击剑手正在演示两拍子动作。一个动作将剑举起到预定的可以发动斩击的位置，一个动作将剑斩击出去。左边的击剑手可以用悬挂的招架来回应。这将是一个一拍子动作，因为他所要做的就是把手臂举到正确的位置。

185 Salvatore Fabris, Capo Ferro and Nicooletto Giganti all depict numerous single-time actions in their rapier manuals.

185 Salvatore Fabris，Capo Ferro和Nicooletto Giganti都在他们的迅捷剑手册中描述了无数的同时攻防动作。

186 Sir William Hope's manual The Scots Fencing Master (1693) and Anthony Gordon's A Treatise on the Science of Defence for the Sword, Bayonet, and Pike, in Close Action (1805) both discuss a parry and riposte system.

186威廉·霍普爵士的《苏格兰击剑大师手册》（1693年）和安东尼·戈登的《近战中剑、刺刀和长矛的防御科学》（1805年）都讨论了招架和还击系统。

Definition: Martial Validity = The effect of an attack can be difficult to judge. Things to consider are the power behind an attack and how valid it is.

定义：武术有效性=攻击的效果很难判断。需要考虑的是攻击背后的力量以及攻击的有效性。

While single tempo cuts are very fast, they do not always have the power behind them to do damage, and if performed poorly they can leave openings for a counter-attack.187

虽然单节拍的斩击速度非常快，但他们并不总是有能力造成足够的伤害，如果效果不佳，对手可以留下反击的机会。

For example, a simple single tempo cut to an opponent's head while he is in the process of making a two tempo moulinet powered by the arm may strike first, but it might not stop 7the opponent from completing his more powerful (and thus more deadly) attack187.However, if a simple single tempo cut is directed at an opponent's head while he is in the process of advancing, this is a much better situation. Because the fencer is not at risk, and can safely guard himself after he strikes, the attack can be considered martially valid.

例如，一个简单的一拍子斩击一个对手的头部，而他正在做一个由手臂驱动的两拍子风车斩时，可能会先击中对手的头部，但它可能不会阻止对手完成他更强大（因而更致命）的攻击。（187）然而，如果一个简单的一拍子斩击是当对手在前进的过程中，瞄准他的头部，这是一个更好的情况。因为剑士没有危险，并且在斩击后可以安全地保护自己，所以攻击可以被认为是武术上有效的。

To fence well, measure, tempo and martial validity need to be combined, Ideally, the objective is to hit and not be hit until the opponent is no longer a threat.

要想防守好，就需要把距离、拍子和攻击有效性结合起来，理想情况下，目标是直到对手失去威胁之前，都要打中对手而不被击中。

The fencer on the right is preparing a powerful, arm-powered moulinet. The fencer on the left could attempt a quick simple cut to his head, but would likely be struck by the much more powerful incoming attack as he did so. The fencers have to try to hit well, and hit and not be hit. This is a continual balancing act of movement, guards, attacks, parries and counter-attacks!

右边的剑士正在准备一个强大的，手臂驱动的风车斩。左边的剑士可以尝试一个简单的快速砍他的头，但如果他这样做了很可能会被更强大的攻击击中。剑士必须努力打得好，而且打得好而不被打。动作必须在架势，攻击，招架和反击中取得平衡。

187 The issue of martially valid cuts remained an issue well into the modern era. Giueseppe Radaelli re-introduced powerful cuts into the Italian military because, as General Angelini noted in 1888, the prior system which used only wrist moulinets hampered the effectiveness of the saber. Christopher Holzman, The Art of the Duelino     Sabre, (New York: SKA Swordplay Books, 2011), xxvi

187武术上有效的斩击仍然是一个问题，一直到现代。朱埃塞佩·拉达埃利（Giueseppe Radaelli）重新向意大利军队引入了强力斩击，因为正如安杰利尼将军在1888年所指出的那样，以前的系统只使用手腕上的风车斩阻碍了军刀的有效性。克里斯托弗·霍尔兹曼，《杜利诺军刀的艺术》（纽约：SKA剑术书籍，2011），第二十六章

188 Settimo Del Frate, whose textbook was based on Radaelli, warned that such attacks done too soon or too late left the fencer in danger of being struck. Ibid, 16.

188塞蒂莫德尔弗拉特（settimo del frate）的教科书是以拉达利（radaelli）为基础的，他警告说，这种攻击来得太早或太迟，都会使剑士面临被击打的危险。Ibid，16。

Some questions to consider are:

MEASURE

1-    Am I in range to be hit by my opponent?

2-   Am I in range to hit my opponent?

3-    Am I in range to use my off-hand to grab my opponent?

有一些问题需要仔细考虑：

距离

1-我在对手的攻击距离之内吗？

2-我在攻击对手的距离之内吗？

3-我在用手抓住对手的距离之内吗？

TEMPO

1-    If I move or change position, will I be struck?

2-    If I do nothing, will I be struck?

3-    If my opponent moves or changes position, can I strike?

4- If my opponent does nothing, can I strike?

5- Can I respond with a defense if my opponent attacks?

6- Can my opponent respond with a defense if I attack?

拍子

1-如果我移动或改变位置，我会被击中吗？

2-如果我什么也不做，我会被打击吗？

3-如果我的对手移动或改变位置，我可以攻击吗？

4-如果我的对手什么都不做，我能出击吗？

5-如果我的对手进攻，我能用防守反击吗？

6-如果我进攻，我的对手能用防守反击吗？

MARTIAL VALIDITY

1-    If I strike, will I be struck back?

2-    Will my strike have enough power behind it to do damage? Example: A light hit to the body is different than a light strike to the fingers.

3-    Is my opponent's strike something that has enough power behind it to do damage?Example: A light gesture toward the head is likely a feint.

武术有效性

1-如果我攻击，我会被反击吗？

2-我的打击是否有足够的力量造成伤害？对身体的轻击不同于对手指的轻击。

3-我的对手的攻击是否有足够的力量来造成伤害？

举个例子：朝着头做一个小动作很可能是佯攻。

Definition: The Line = Between two opponents is an imaginary line that runs between their feet, from one fencer to the other. It is the quickest way for the opponents to close upon each other, which also makes it a dangerous line since they can both strike one another swiftly along this line .A common tactic is to attack or defend in such a way as to move off the line, either when attacking or defending, 189

定义：线=两个对手之间的线是一条假想的线，从一个剑士的脚到另一个剑士的脚之间。这是对手最快的接近对方的方式，这也使它成为一条危险的线，因为他们都可以沿着这条线迅速地互相攻击。一种常见的战术是进攻或防守时偏离线.189

189 Also known as moving “off-line” or “offline”

189也被称为移动“离线”.

DEFINITION: INSIDE AND OUTSIDE = For the right-handed fencer, everything from left of the sword is the inside and everything to the right is the outside.

定义：内侧和外侧=对于右手剑士来说，剑的左侧是内侧，剑的右侧是外侧。

For example, if an opponent is wearing a wristwatch, an attack at the opponent's right wrist where the face of the watch would show, is an attack to the outside of the wrist. An attack at the opponent's right wrist where the strap of the watch would buckle is an attack to the inside of the wrist.

举个例子，如果一个对手戴着一只手表，在对手的右手腕上手表的表面会显示的地方进行的攻击，就是对手腕外侧的攻击。在对手的右手腕上，对手表的表带会扣上的一侧次攻击是对手腕内侧的一次攻击。

Inside and outside is respective of the fencer and the opponent. A fencer can perform an inside wrist moulinet directed at the outside of the opponent. He could also perform the same attack to the inside of the opponent.

内外是剑士和对手各自的（双方内外相对）。剑士可以在对手的外侧进行手腕风车斩。他也可以对对手的内侧进行同样的攻击。