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Secrets of the Sword
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
- GenresNonfictionMartial Arts
246 pages, Paperback
First published January 1, 1861
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About the author
César Lecat de Bazancourt
48 booksFrédéric Joseph Lecat, baron de Bazancourt was a French military historian, director of the library of Compiègne under Louis Philippe.
Frédéric Joseph Lecat, baron de Bazancourt, connu sous le nom de plume de César Lecat de Bazancourt est un historien militaire français, directeur du librairie de Compiègne sous Louis Philippe.
Frédéric Joseph Lecat, baron de Bazancourt, connu sous le nom de plume de César Lecat de Bazancourt est un historien militaire français, directeur du librairie de Compiègne sous Louis Philippe.
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Displaying 1 - 4 of 4 reviews
August 10, 2025
Erudite insight into the difference between fencing for sport and a duel; the conventions surrounding a duel are examined and explained in depth and with expert analysis. If you fence, are a member of a historical reenactment group or are a member of a theater company that presents historical dramas this book will be an invaluable resource to you.
November 20, 2017
I’ve always had a general interest in fencing stemming from childhood daydreams about being a swashbuckling swordsman and my desire to channel my inner D’Artagnan. I even went so far as to take a class in sabre fencing some years back; alas my general lack of coordination and inability to understand the intermediate instructor’s rather thick Russian accent had me leaving the class by the time I finished the beginner’s level, but I still think fencing would be a cool thing to learn…perhaps someday. Of course one of the things that made my head spin were the plethora of ‘scientific’ jargon for the various cuts, thrusts, parries, and ripostes. Since I couldn’t keep straight my tierce from my prime and even had trouble remembering what the difference between a riposte and a parry was (though that is in fact simple enough) I wasn’t exactly the ideal student.
It appears that many before me, even in a time when fencing was still much more common than it is today, had similar problems. So Cesar Lecat the baron de Bazancourt decided to compose a treatise on fencing whose sole purpose was to do away with many of the more technical terms, and myriad details on every possible stroke a swordsman might be able to make, in favour of a more stripped-down approach to the art (or I really should say science) of fencing. Bazancourt identifies himself firmly in the camp of the ‘New School’ of fencing over against the traditional ‘Professors’ whose own treatises and methods were, in his opinion, bogged down in the jargon and minutiae of ancient authority and tradition. Bazancourt also took into account the decline in fencing as a required achievement for the gentle class, as the gun was quickly replacing the sword as the weapon of choice not only on the military field, but even on the duelling ground (a fact he deplores greatly). Thus he aimed his treatise at gentlemen of leisure whom he felt ought to know their way around a sword (primarily for the ‘noble exercise’ fencing provided, though also in case they should ever find themselves in need of some basic knowledge of the use of a sword in deadly earnest), but for whom the occult teachings of the sword masters were too much to stomach.
Bazancourt goes even further at making his ‘treatise’ palatable by presenting it as a series of after-dinner conversations between himself and a group of friends, all of whom are at most amateurs in the art of fence and who desire the Baron’s insights into how best to approach the noble science. He then tackles a variety of topics germane to his subject each night as they partake of their cigars since “Brilliant conversation, you know, cannot be maintained without something to smoke.” This role of the baron as raconteur of the sword works very well at making an often abstruse subject palatable, as does his attempt at stripping away from fencing the accumulation of centuries of complications and details in favour of what he sees as the fundamental aspects of the use of the sword. It bears to keep in mind though, that ultimately he doesn’t so much want to destroy the entire edifice that has come before, but to glean from it only the most essential aspects that entail the true ‘secrets of the sword’. Whether he is fully successful or not would have to be determined by someone far more versed in the realities of fencing than I, but I must say that I found the Baron’s conversation both illuminating and entertaining and think that I can say I really did come away from this work with something like a useful understanding of the art of fencing in its most basic lineaments.
The Baron covers fencing as a sport in the first half of his discussions and urges it upon his friends as “a most exhilarating exercise and one that is particularly suitable for those of us who live a town life. A dull day in London may be very sensibly enlivened by a brisk assault.” Who could argue with such charming wisdom? He then discourses on the very real possibility of running into circumstances that might lead one to the necessity of undertaking a duel, making a sharp distinction between that and the mere play of the sporting assault. He especially notes that one ought not to adhere to the niceties of the fencing salon (such as what is a ‘legal’ hit) when one is in deadly earnest since the whole of the law in mortal combat is “that in actual fighting it is not a question of hitting your opponent often, or of placing your point artistically, but of striking somehow and anyhow one blow and only one.” He outlines what instruction he would give to a neophyte who found himself in dire need of some basic learning in the ways of the sword, and also lingers on the importance of the role of seconds in the duel (who must be much more than the mere witnesses they often tend to be characterized as), and also details the various ways in which a duel ought to be undertaken depending on the varying skill levels of each of the combatants.
All-in-all this was an entertaining look at an intriguing subject and I’d recommend it, at least as a curiosity, to anyone who has an interest in fencing, as either a sport or a martial art. It’s a relatively quick read and might serve as a good introduction to some heavier material in the same area.
It appears that many before me, even in a time when fencing was still much more common than it is today, had similar problems. So Cesar Lecat the baron de Bazancourt decided to compose a treatise on fencing whose sole purpose was to do away with many of the more technical terms, and myriad details on every possible stroke a swordsman might be able to make, in favour of a more stripped-down approach to the art (or I really should say science) of fencing. Bazancourt identifies himself firmly in the camp of the ‘New School’ of fencing over against the traditional ‘Professors’ whose own treatises and methods were, in his opinion, bogged down in the jargon and minutiae of ancient authority and tradition. Bazancourt also took into account the decline in fencing as a required achievement for the gentle class, as the gun was quickly replacing the sword as the weapon of choice not only on the military field, but even on the duelling ground (a fact he deplores greatly). Thus he aimed his treatise at gentlemen of leisure whom he felt ought to know their way around a sword (primarily for the ‘noble exercise’ fencing provided, though also in case they should ever find themselves in need of some basic knowledge of the use of a sword in deadly earnest), but for whom the occult teachings of the sword masters were too much to stomach.
Bazancourt goes even further at making his ‘treatise’ palatable by presenting it as a series of after-dinner conversations between himself and a group of friends, all of whom are at most amateurs in the art of fence and who desire the Baron’s insights into how best to approach the noble science. He then tackles a variety of topics germane to his subject each night as they partake of their cigars since “Brilliant conversation, you know, cannot be maintained without something to smoke.” This role of the baron as raconteur of the sword works very well at making an often abstruse subject palatable, as does his attempt at stripping away from fencing the accumulation of centuries of complications and details in favour of what he sees as the fundamental aspects of the use of the sword. It bears to keep in mind though, that ultimately he doesn’t so much want to destroy the entire edifice that has come before, but to glean from it only the most essential aspects that entail the true ‘secrets of the sword’. Whether he is fully successful or not would have to be determined by someone far more versed in the realities of fencing than I, but I must say that I found the Baron’s conversation both illuminating and entertaining and think that I can say I really did come away from this work with something like a useful understanding of the art of fencing in its most basic lineaments.
The Baron covers fencing as a sport in the first half of his discussions and urges it upon his friends as “a most exhilarating exercise and one that is particularly suitable for those of us who live a town life. A dull day in London may be very sensibly enlivened by a brisk assault.” Who could argue with such charming wisdom? He then discourses on the very real possibility of running into circumstances that might lead one to the necessity of undertaking a duel, making a sharp distinction between that and the mere play of the sporting assault. He especially notes that one ought not to adhere to the niceties of the fencing salon (such as what is a ‘legal’ hit) when one is in deadly earnest since the whole of the law in mortal combat is “that in actual fighting it is not a question of hitting your opponent often, or of placing your point artistically, but of striking somehow and anyhow one blow and only one.” He outlines what instruction he would give to a neophyte who found himself in dire need of some basic learning in the ways of the sword, and also lingers on the importance of the role of seconds in the duel (who must be much more than the mere witnesses they often tend to be characterized as), and also details the various ways in which a duel ought to be undertaken depending on the varying skill levels of each of the combatants.
All-in-all this was an entertaining look at an intriguing subject and I’d recommend it, at least as a curiosity, to anyone who has an interest in fencing, as either a sport or a martial art. It’s a relatively quick read and might serve as a good introduction to some heavier material in the same area.
September 6, 2009
"Secrets of the Sword" is the English translation of Bazancourt's 1862, "Les Secrets de L'Epée."For devotees of the sport, at any level, this book is an engaging read. We follow a gentleman's perpective of fencing that takes the reader through a series of nightly lectures, covering the basics of the sport, techniques and application, and the practical considerations, and etiquette inherant in fighting a duel where the loser may not be fortunate enough to walk away from the fight.
While fencing today is a far less grave adventure than it may have been in Bazancourt's time, a lot of the technical advice in this book is still applicable, and practical. I found the language and style of the text very charming to read. I think anyone who shares a passion for the complexity of fencing will find this an entertaining approach to some of the fundamental aspects, and history of the sport.
While fencing today is a far less grave adventure than it may have been in Bazancourt's time, a lot of the technical advice in this book is still applicable, and practical. I found the language and style of the text very charming to read. I think anyone who shares a passion for the complexity of fencing will find this an entertaining approach to some of the fundamental aspects, and history of the sport.
August 25, 2008
"Brilliant conversation, you know, cannot be maintained without something to smoke." And so, eleven days of cigars after dinner at a French hunting lodge in 1900 serves as an excuse for the Baron's meditation on the art and role of fencing, dueling, chivalry and strategy in the modern industrial world. And vice versa.
Displaying 1 - 4 of 4 reviews