譯者注：本部分選譯polish saber一書的89-98頁，部分配圖因?yàn)闊o必要（純插圖性質(zhì)），故進(jìn)行了刪減，引用的原始資料為了降低工作量也不再與譯文中雙語對照，感興趣的可以直接看原文部分進(jìn)行查找，選譯文章發(fā)成雙語對照版，另一部分原因也是因?yàn)樽g者水平有限，方便讀者進(jìn)行自行查找原文進(jìn)行理解及糾錯

Interpretation

解讀

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.

本章是對波蘭軍刀在17世紀(jì)環(huán)境中的使用或徒步?jīng)Q斗的解讀。結(jié)合之前的材料，用于創(chuàng)建一個連貫的系統(tǒng)，可以用于單獨(dú)的訓(xùn)練或與一個伙伴的對練。

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擊劍手冊，想知道如何重建17世紀(jì)的波蘭擊劍系統(tǒng)需要比重現(xiàn)意大利劍或德國長劍更多的解釋。雖然沒有明確的這段時(shí)期的文本（指現(xiàn)在沒有17世紀(jì)的波蘭軍刀典籍），但先前詳細(xì)的資料來源確實(shí)提供了足夠的材料來解釋這一體系。

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?

鑒于波蘭有能力采用和使用其他習(xí)俗，大量外國人涌入，以及寬松的訓(xùn)練風(fēng)格，波蘭軍刀的使用很有可能是個性化的。在帕多瓦接受教育的貴族可能會接受意大利的觀念，如節(jié)奏的觀念和弓箭步的使用。另一個曾在皇家軍隊(duì)服役的人，可能會從許多德國士兵那里學(xué)到不同的技術(shù)。另一個發(fā)現(xiàn)自己在與莫斯科人作戰(zhàn)的人，很可能會設(shè)計(jì)出一套適合與他們作戰(zhàn)的系統(tǒng)。例如，帕塞克的日記表明，他的波蘭同胞使用了rapier。難以置信的是他們從一種武器中學(xué)到的東西，他們試圖與另一種武器結(jié)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."

盡管采用了外來的想法，但波蘭的擊劍方法仍有其獨(dú)特之處。父親杰澤爾斯基，基托維茨和斯塔澤夫斯基記錄下來了它們具有的充分的差異。也許，就像17世紀(jì)波蘭人的服飾和建筑風(fēng)格一樣，正是外部世界與自身世界的融合和匹配才使其“波蘭化”。

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

解讀并不是一門精確的科學(xué)，所以我們必須利用現(xiàn)有的來源、軼事和聯(lián)系，并從中進(jìn)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.

本書使用所有的原始資料是不必要的。從現(xiàn)有的資料中挑選一部分是可以接受的，因?yàn)榈侥壳盀橹箾]有什么比這些資料更可靠的了。此外，每一種來源都有其優(yōu)缺點(diǎn)。斯塔澤夫斯基寫了一個最完整的原始資料，它是波蘭的資料中最早的。然而，他的作品是19世紀(jì)對17世紀(jì)的詮釋。吉甘蒂對十字?jǐn)氐拿枋鰜碜哉_的世紀(jì)（指17th），很適合波蘭軍刀和杰齊爾斯基神父首先提到的神秘十字?jǐn)?。唉，吉甘蒂的書是專門為使用迅捷劍而寫的，沒有提到軍刀和波蘭。帕塞克和基托維茨向我們提供了第一手資料，但在擊劍方面，他們只有很少的細(xì)節(jié)。以帕塞克為例，回憶錄是在實(shí)際事件發(fā)生數(shù)年后寫下的。所有的原始資料，無論是帕塞克，斯塔澤夫斯基，馬爾切利，還是邁耶，都有優(yōu)點(diǎn)和缺點(diǎn)，這些都應(yīng)該在進(jìn)行復(fù)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，解釋的目的是提供盡可能有效的系統(tǒng)，同時(shí)充分意識到新發(fā)現(xiàn)的材料或?qū)σ阎挛锏呐行苑治隹赡軙淖兒透淖兯?/p>

?

Concepts of fencing??????????

擊劍的概念

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.

為了便于解釋，在許多系統(tǒng)中都可以找到一些核心概念，這些概念也可以在這個系統(tǒng)中找到。其中一些是基于亞里士多德的思想，另一些則是由擊劍大師在后期制定的。

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

定義：Measure（下文翻譯為距離）=亞里士多德用Measure來解釋物體之間的距離。

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

對于擊劍，距離的概念被用來抽象地確定對手離你有多近。

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.

距離與劍士有關(guān)。一個長劍的高個子可以在很寬的范圍內(nèi)面對一個短劍的矮個子對手，而這個距離對矮個子可能是不合適的，因?yàn)楦邆€子的人可以擊中，而矮個子的人仍然在距離之外。

Measure can be defined in three categories

距離可以定義為三類

Out of Measure

遠(yuǎn)距離

Wide Measure

中距離

Close Measure

近距離

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

1-遠(yuǎn)距離-超出攻擊范圍，即使使出一個充分的跨步也無法擊中對手。

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

在這個距離下，是安全的，因?yàn)閮蓚€對手都無法攻擊到對方。這一點(diǎn)劍士進(jìn)入中距離時(shí)改變（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-中距離-在這個距離下前進(jìn)一步即可以擊中對手。

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.

從這里開始，一切都很重要，因?yàn)槊總€對手都可以攻擊到對方。每一個動作，防守和進(jìn)攻的選擇都至關(guān)重要。另外，一個劍士有可能位于中距離，而另一個不是。

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

3-近距離-在不移動腳的情況下就可以擊中甚至抓住對手（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.

從這里開始，不僅僅有武器的問題，還有離手的問題。在這個范圍內(nèi)很容易擒抓對手，而且劍士也必須擔(dān)心被砍或刺傷！在這個范圍內(nèi)，兩個劍士都將在近距離（指區(qū)別于上文的中距離，可能一方進(jìn)入了中距離一方?jīng)]有進(jìn)入，進(jìn)入近距離的話雙方劍士都會在這個距離內(nèi)）。

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世紀(jì)的迅捷劍典籍使用了類似的距離概念。Aaraon Taylor Miedema, Nicoletto Giganti's The School of the Sword, (Kingston: Legacy Books Press, 2014), xxii（此處為引文及位置）

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.

定義：拍子=亞里士多德通過運(yùn)動測量時(shí)間。當(dāng)某物移動時(shí)，一個拍子過去了。當(dāng)事情靜止時(shí)，一個拍子過去了。當(dāng)某物緩慢移動時(shí)，是一個長拍子，當(dāng)某物快速移動時(shí)，是一個短拍子。兩個動作在邏輯上是兩拍子，一個一拍子動作應(yīng)該在兩拍子動作之前完成，一個短拍子應(yīng)該在長拍子之前完成。

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

在劍術(shù)中，這個術(shù)語用來理解運(yùn)動及攻擊與被攻擊的機(jī)會的關(guān)系。不同的大師使用不同的節(jié)拍。17世紀(jì)的劍術(shù)大師們傾向于提出一種進(jìn)攻和防御相結(jié)合的單一時(shí)間戰(zhàn)略（一拍子同時(shí)攻防）。（185） 17世紀(jì)末到19世紀(jì)的小劍經(jīng)常使用一種雙時(shí)間系統(tǒng)，在這種系統(tǒng)中，一次進(jìn)攻被擋開，然后再進(jìn)行反擊。（186）在18世紀(jì)和19世紀(jì)19世紀(jì)，運(yùn)動擊劍的發(fā)展導(dǎo)致了旨在先觸對手的快速進(jìn)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.

當(dāng)使用波蘭軍刀時(shí)，在17世紀(jì)的背景下，一些進(jìn)攻動作需要兩個節(jié)奏才能完成，例如手腕或手臂的風(fēng)車斬（moulinet意思是劃圓斬?fù)簦韵陆y(tǒng)一翻譯為風(fēng)車斬）。然而，有些動作需要一個單一的節(jié)奏，比如簡單的切入（指直接推出去的斬?fù)簦?、一個刺擊或是換個架勢。

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

右邊的擊劍手正在演示兩拍子動作。一個動作將劍舉起到預(yù)定的可以發(fā)動斬?fù)舻奈恢茫粋€動作將劍斬?fù)舫鋈?。左邊的擊劍手可以用懸掛的招架來回?yīng)。這將是一個一拍子動作，因?yàn)樗龅木褪前咽直叟e到正確的位置。

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都在他們的迅捷劍手冊中描述了無數(shù)的同時(shí)攻防動作。

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《蘇格蘭擊劍大師手冊》（1693年）和安東尼·戈登的《近戰(zhàn)中劍、刺刀和長矛的防御科學(xué)》（1805年）都討論了招架和還擊系統(tǒng)。

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.

定義：武術(shù)有效性=攻擊的效果很難判斷。需要考慮的是攻擊背后的力量以及攻擊的有效性。

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

雖然單節(jié)拍的斬?fù)羲俣确浅？?，但他們并不總是有能力造成足夠的傷害，如果效果不佳，對手可以留下反擊的機(jī)會。

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，一個簡單的一拍子斬?fù)粢粋€對手的頭部，而他正在做一個由手臂驅(qū)動的兩拍子風(fēng)車斬時(shí)，可能會先擊中對手的頭部，但它可能不會阻止對手完成他更強(qiáng)大（因而更致命）的攻擊。（187）然而，如果一個簡單的一拍子斬?fù)羰钱?dāng)對手在前進(jìn)的過程中，瞄準(zhǔn)他的頭部，這是一個更好的情況。因?yàn)閯κ繘]有危險(xiǎn)，并且在斬?fù)艉罂梢园踩乇Ｗo(hù)自己，所以攻擊可以被認(rèn)為是武術(shù)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，就需要把距離、拍子和攻擊有效性結(jié)合起來，理想情況下，目標(biāo)是直到對手失去威脅之前，都要打中對手而不被擊中。

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!

右邊的劍士正在準(zhǔn)備一個強(qiáng)大的，手臂驅(qū)動的風(fēng)車斬。左邊的劍士可以嘗試一個簡單的快速砍他的頭，但如果他這樣做了很可能會被更強(qiáng)大的攻擊擊中。劍士必須努力打得好，而且打得好而不被打。動作必須在架勢，攻擊，招架和反擊中取得平衡。

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武術(shù)上有效的斬?fù)羧匀皇且粋€問題，一直到現(xiàn)代。朱埃塞佩·拉達(dá)埃利（Giueseppe Radaelli）重新向意大利軍隊(duì)引入了強(qiáng)力斬?fù)?，因?yàn)檎绨步芾釋④娫?888年所指出的那樣，以前的系統(tǒng)只使用手腕上的風(fēng)車斬阻礙了軍刀的有效性。克里斯托弗·霍爾茲曼，《杜利諾軍刀的藝術(shù)》（紐約：SKA劍術(shù)書籍，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塞蒂莫德爾弗拉特（settimo del frate）的教科書是以拉達(dá)利（radaelli）為基礎(chǔ)的，他警告說，這種攻擊來得太早或太遲，都會使劍士面臨被擊打的危險(xiǎn)。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?

有一些問題需要仔細(xì)考慮：

距離

1-我在對手的攻擊距離之內(nèi)嗎？

2-我在攻擊對手的距離之內(nèi)嗎？

3-我在用手抓住對手的距離之內(nèi)嗎？

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-如果我移動或改變位置，我會被擊中嗎？

2-如果我什么也不做，我會被打擊嗎？

3-如果我的對手移動或改變位置，我可以攻擊嗎？

4-如果我的對手什么都不做，我能出擊嗎？

5-如果我的對手進(jìn)攻，我能用防守反擊嗎？

6-如果我進(jìn)攻，我的對手能用防守反擊嗎？

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.

武術(shù)有效性

1-如果我攻擊，我會被反擊嗎？

2-我的打擊是否有足夠的力量造成傷害？對身體的輕擊不同于對手指的輕擊。

3-我的對手的攻擊是否有足夠的力量來造成傷害？

舉個例子：朝著頭做一個小動作很可能是佯攻。

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

定義：線=兩個對手之間的線是一條假想的線，從一個劍士的腳到另一個劍士的腳之間。這是對手最快的接近對方的方式，這也使它成為一條危險(xiǎn)的線，因?yàn)樗麄兌伎梢匝刂@條線迅速地互相攻擊。一種常見的戰(zhàn)術(shù)是進(jìn)攻或防守時(shí)偏離線.189

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

189也被稱為移動“離線”.

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.

定義：內(nèi)側(cè)和外側(cè)=對于右手劍士來說，劍的左側(cè)是內(nèi)側(cè)，劍的右側(cè)是外側(cè)。

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.

舉個例子，如果一個對手戴著一只手表，在對手的右手腕上手表的表面會顯示的地方進(jìn)行的攻擊，就是對手腕外側(cè)的攻擊。在對手的右手腕上，對手表的表帶會扣上的一側(cè)次攻擊是對手腕內(nèi)側(cè)的一次攻擊。

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.

內(nèi)外是劍士和對手各自的（雙方內(nèi)外相對）。劍士可以在對手的外側(cè)進(jìn)行手腕風(fēng)車斬。他也可以對對手的內(nèi)側(cè)進(jìn)行同樣的攻擊。