OLD POLISH SABRE FENCING
Polish national heritage

Old Polish sabre fencing fits within the limits of broadly understood Polish martial art, which in addition to sabre fencing includes, i.a. fight with the use of a war horse and a hussar lance, pickax - horseman’s pick, scythe and Polish lance. The basis for the claim that Poland has its own sabre fencing pattern is the fact that it developed its own - Polish sabre pattern called the hussar sabre ([Kwaśniewicz, 1988, p. 66] and the existence of old Polish fencing with palcaty (short sticks) [Kwaśniewicz, 2017, p. 473] an important element in the preparation of a nobleman and courtier for fencing with this weapon known as "cross art" [Jezierski, 1791, p. 213], and in the case of short sticks, "striking the clubs (palcaty)" [Kitowicz, 1985, p. 113]. This was founded in the 16th century and its tradition was cultivated until 1939. It was resurrected in 1986 under the name Polish martial art SignumPolonicum as a contribution of the Polish national heritage to the world family of national sports and martial arts.

Body
From the dawn of the Polish state creation, the Polish military showed its own distinctiveness, which was already pointed out by professor of the Jagiellonian University Eugeniusz Piasecki: "With the adoption of the Christian faith and entering the family of civilised nations, Poles will also apply the Western division into states, and jointly many knightly habits. However, they never completely copy the ceremony of French knights adopted throughout the West, partly maintaining their own traditions"[Piasecki, 1925, p. 2].
Like prof. Piasecki other Polish historians also pointed out that Poland had its own martial art even before the Old Polish period, in which Old Polish sabre fencing was created. Professor Stefan Kuczyński described it this way: "A characteristic feature of earlier scholars writing on the art of war in Poland until the end of the 15th century was rather seeking foreign influence, from the West or the East, on the Polish military rather than finding native elements of it. The existence of Old Polish martial art was noticed only from the beginning of the 16th century. (...) Therefore, despite a smaller number of source testimonies than for later centuries, there is no doubt that in every age of the Middle Ages there was Polish martial art which - regardless of foreign influences and borrowings - had its own face"[Kuczyński, 1965, p. 5].

When the Old Polish period came and the changes that accompanied it, Poland already had some "fencing patterns and experiences of its own" from which it could draw knowledge and experience in this martial art.

The time frame in which Old Polish sabre fencing was created can be determined at the beginning of the 16th and the end of the 17th century. As Old Polish sabre fencing falls under the concept of martial art, the starting point for determining such a time frame can be the definition of Otto Laskowski: "Under the term Old Polish martial art I understand our martial art of the period in which our military, having gained a solid foundation for development in the form of colloquial defense, reaches its peak and also exhibits the most original features, that is, Polish martial art from the beginning of the 16th to the end of the 17th century" [Laskowski, 1935, p. 375].

The key element in the creation of the Old Polish sabre fencing was the choice of sabres by the nobility in place of the medieval sword.

When, at the turn of the between the late 15th and early 16th centuries the nobility began gaining importance, and the knightly state rejected the swordin favour of a weapon with a curved blade –the sabre, it became clear that the development of fencing science with this weapon must take place, hence necessity to create new fencing patterns for it. In Western Europe, after the rejection of the sword, a rapier was adopted, which in construction resembled a sword, so fencing with it was a direct result of sword fencing, or at least it drew a lot from it.

Moreover, as the Poles fought on horseback, sabre fencing had to be primarily created for that purpose. It began, however, with fencing on the ground, foot fencing which was dictated by technical (it was easier to learn the basics on foot than on horseback) and practical considerations. Each nobleman took into account the loss of a horse in combat and necessity to continue fighting on foot, and the necessity of the fight itself resulted from his social status. A Polish nobleman coming from a knightly state and tasked with defending the country and people had to constantly train in the art of war.

Part of this education were various knightly exercises, including sabre fencing. Łukasz Górnicki, another writer of the period, writes about such requirements for a courtier-nobleman: "Now, I want him to be well trained in everything that a soldier should be able to know, as well as to advance, that he should be able to handle well any weapon, both on foot and on horseback, and know all their tricks, especially the weapons they use most at the court. (...). Skill and various weapons will suit him not only in need, but also for play; there are foot tournaments, horse tournaments, sometimes there is fencing, races in front of the master and the eyes of all people where the courtier, to do a good job mustexceed what’s designed for him, must be a good rider, know the horse, lead and sit beautifully and formably on it ”[Górnicki, 1639, pp. 30-31].

As shown above, Górnicki explicitly mentions fencing as one of the forms of knightly preparation that one should know. That notwithstanding, Górnicki is demanding exercises in Poland be better than those of others: "And so that the Italians have this fame, as if they were good riders when it comes to shaping the horse according to measure and time, as if to quintane, supposedly best ring runners; let my courtier in all this before Italy be forerunner. We also give it to the Germans that in chainmail no one’s better over the not-so-large seat, as well as forts, let a courtier not give in to any German. Yet Hungarians  whom is a natural thing to sit with the shield well and chase courageously: let my courtier also meet Hungary with such a bold stumble as a good struggle "[Górnicki, 1639, pp. 33-34].

This type of greater efficiency in the sabre fight was confirmed by Jan III Sobieski's courtier Françoise Paulin Dalerac: "[k. 33] The only thing Poles have now is a Sabre, a little longer than Turkish, and heavier: but far better chopping. Is it because there is good iron in it; so also that the hand cuts well. That's why Poles are accustomed to heaviness, by constant wearing iron heads in Hand; one can see them daily they let their hand, fist, inure to sabre. In addition, to learn how to duel well, they make exercises by frequent beating with sticks, where the young people constantly make experiments"[Sikora, 2012, p. 119].

Such training wasn’t conducted in knightly schools or academies, absent in Poland but at home, which is indicated by Szymon Starowolski: "That's why noble Polish Crown (...) and always by the grace of God K.H.M. Our Gracious Lord has a soldier with his need by not borrowing him from his neighbours, but yes, by adding to foreign nations: he always has the grace of practicing his school at home, a trained soldier with a need, he has (...) and as has been shown more than once against Moscow, Turkish power"[Starowolski, 1634, p. 32].
As I mentioned above, the Pole fought on horseback, not on foot, according to the prevailing maxim: "Rider - the Pole has got in his nature -  to Fight in the field, not in the wall" [Czarnecki, 2016], and the best for this type of fight was a curved weapon, such as sabre. Tadeusz Czacki, a preeminent Polish scholar, justified it this way: "riding a horse, … such a saber, apart from a stronger cut, offers a greater veil over their head than a straight saber or sword.”[Czacki, 1800, p. 217]. Zygmunt Gloger also confirmed such usefulness of the sabre by writing: "The sabre curvature, in addition to a stronger cut, gives a better head parry than a straightépée and sword "[Gloger, 1978, vol. 4, p. 296]. Poland fought both with the western knight armed with a sword or heavy rapier, and with the eastern opponent armed with a curved sabre. It was this curved sabre that turned out to be the most useful for a Polish rider-nobleman fighting on horseback, unlike the West, which gave up cavalry in favour of infantry development, and useda straight bladed weapon, better suited for thrusts (rapier) than cuts (sabre).

An excellent fencing instructor of the 19th century, Karol Bernolak attributed this importance to the sabre: "Without a sabre at his side (he) never left the house; he wore it as an emblem of his knightly calling. He also appeared with it at all ceremonies, weddings, funerals, name days, relocations, royal rooms, the first visit, etc. By respecting the host, he did not suit it until he was asked. The national costume and sabre were inseparable. One without the other was unthinkable. Hence the proverbs: "Without carabel, probably in bedclothes", and the poor nobility were told: "Walk barefoot by the cord." "Cling to the kord" meant to start a knightly profession. The sabre hung over the bed of each nobleman, passed from father to son, from son to grandson, as the most expensive family jewel, which was always associated with some memory or historical event. They were baptised on sabres, given to them as chrism and at the lad age they were taught to wield weapon"[Bernolak, 1898, p. 9].

Zygmunt Gloger also wrote about it: "The sabre belonged to the so-called melee, that is cutting weapon. Poles achieved many victories with. Thus it became the nation's beloved weapon, which the Polish knight gave up fighting, alongside with his life. The relationship between a Pole and his sabre is not repeated in other nations"[Gloger, 1978, vol. 4, p. 296].
The sabre was a sign not only of dignity but also of honour, as evidenced by the inscriptions found on Polish sabre blades, e.g. "Do not drag me without honour, do not get me out without reason"[Łepkowski, 1857, p. 42]. It was a symbol of nobleman’s social position, strength and spiritual power, never failed him and he never betrayed it. He put his personal and national security on the sabre, perfected wielding it to such an extent that in the 17th century there was developed our national - Polish sabre model, a hussar sabre.
Through a series of evolution from around 1576 to 1630, the Poles developed a new model of battle sabre, improving the pattern of the Hungarian sabre known in Poland as “Batorówka.” First, a pattern referred to as the Hungarian–Polish sabre was created, then this pattern was refined by adding a thumb ring to the handguard and modifying the sabre blade (adapted for cutting and thrusting), which resulted in the Hussar sabre pattern.

Włodzimierz Kwaśniewicz is of a similar opinion when he writes: "Around 1630 a new evolution begins in the field of sabre shapes. In addition to the current eastern sabre, with an always open handle, the handle of which is gradually changing, transforming from a cylindrical shaft into a characteristic "carabel" handle, which resembles the neck and beak of a bird, there is a "hussar broadsword" - a professional heavy-cavalry soldier’s weapon, (...) "[Kwaśniewicz, 1988, p. 66].

According to Czesław Jarnuszkiewicz, it is the hussars that should be considered the cavalry formation to which we owe the adoption of the sabre in Poland. He writes: "What influenced the discarding of the sword so quickly in favour of the sabre in Polish cavalry armament? In all likelihood, this impact was exerted by the emergence of a new type of cavalry, which fights in 1506 near Kleck with the Tatars, and in 1514 contributes to the victory at Orsha. It was a mercenary ride, called "raca", or Serbs - hussars. It came from Hungary and already around 1500 hussar troops, partly armed with sabres, began to appear in Poland "[Jarnuszkiewicz, 1973, p. 56]

This initiation of sabre takeover by the hussars had its further consequences, because in the second half of the 16th century this weapon won the hearts of noble brothers to become their weapon of choice. The Poles, taking over the sabres, adopted it in  several designs. There were Hungarian sabres, Turkish sabres called scimitar, there were carabelas and finally hussars, also referred to as black sabres. Each type of sabre demanded a slightly different type of fencing. However, it is the hussar sabre that is structurally original in Poland, as abovementioned Włodzimierz Kwaśniewicz, wrote: "(...) and this weapon deserves the most detailed discussion, as it represents the peak of excellence in cutting weapons and is a purely Polish product"[Kwaśniewicz, 1988, p. 66].

As a result, the Polish battle sabre became a kind of Signum Polonicum - a Polish Sign informing all and sundry that Poland and the Polish nation possess their own weapon and developed their own martial art with this weapon.

An old Polish sabre fencing style called "cross-art" was created for it In 1971, a well-known Polish fencer and team world champion in sabre (1962 and 1963) professor Wojciech Zabłocki as a recognised authority in this field assessed the combat qualities of the Polish Hussar sabre and described them (their combat suitability), confirming the conducted research of its excellent effectiveness and usefulness in battlefield, both on foot and on horseback, while at the same time emphasising its Polish pattern and construction thought. „The hussar broadsword is a specific type of sabre, appropriate for direct reflective, sweep-cutting cuts from the elbow or shoulder, and arched from the shoulder - it is therefore the most universal weapon" [Zabłocki, 1971, p. 83].

The bishop of Kiev, Józef Wereszczyński, who is considered to lay the first solid foundations for building the Polish ideal of the Christian knight at the end of the 16th century also considered the war experience as a source of combat knowledge,. In 1594, he came out with an idea of ​​establishing a knightly school in Ukraine, stating that martial art cannot be learned "in Krakow on the cobblestones", but only "in the fields of wild subdio, under the the roof of heavens"[Wereszczyński, 1858, p. 3 ]. Moreover, in the sabre Wereszczyński sees the most appropriate weapon with which the young nobleman should save himself from oppression—that is, defend himself and his homeland against the enemy. He felt the creation of such a school would ensure the correct education of the future defenders of Poland (Wereszczyński, 1858, p. 4). The undeniable fact is that in addition to our own type of combat sabre, we've also created our own fencing type, of which we have numerous confirmations in our history. Hetman Jan Tarnowski already gives the following recommendation in this regard: Fencing philosophy notes that a swordsman who wants to inflict a cut must take into account the possibility of opening himself up to a counterattack, and the one executing a thrust is more covered. In other words, a thrust can be a parry in itself whereas a cut cannot. Considering the merits of the sabre, Hetman Jan Tarnowski gives the following recommendation in this regard: “Better to have a well-tempered weapon, not a Lansknecht’s Kotspergal, which will do nothing” (Tarnowski, 1987, p. 5). A similar "instruction" as to the technique of using the sabre is given to us by Stanisław Łaski, who advises on card 105 in item 11 (original spelling): "Whoever wants to make a cut wound must put himself down, who thrusted or stabbed one, hides himself harmfully, better have a weapon of fair quality, not as Landsknecht’s Kotspergal which does nothing ”[Łaski, 1599, p. 105].

In another place, he advises: "Strike with the point and not with the flat I advocate, because one thrust stands for two cuts; the Italians, the Spaniards, the French know it, the Germans themselves see it, albeit late, and there are the Turks, and no one mounts a horse without a sabre under his leg at the saddle and a sabre at his side”[Łaski, 1599, p. 92].
Here are some other examples:

1) Father Franciszek Salezy Jezierski: "It seems that the movement of cheerfulness has its superficial signs, which are the characters of the Nations in their dances, and the movement of anger has its own possession in iron wielding; a Muscovite cuts from above, a Hungarian from the left, a Turk towards himself, and a Pole makes a cross with his sabre "[Jezierski, 1792, p. 113].

2) Józef Łepkowski: "Polish wielding a sabre is completely different from the methods known in the rest of Europe. It has its own characteristics and special terminology - cross art, Rejowskie, Referendary e.a., have different rules from the German and French fencing school "[Łepkowski, 1857, p. 57].

3) Zygmunt Gloger: "After the spread of sabre curves in Poland, we have developed the most famous in the world art of  fighting wiht them. Poles have reached such extraordinary skill in wielding a curved sabre that no other nation has managed to meet them in this art ”[Gloger, 1978, p. 148].

Traces of this fencing art survived until the 18th and were still reproduced in the 19th century, i.e. in the form of the most famous Polish cut called "Polish Fourth" or "Polish Quarta". It was shown in fencing textbooks, especially German ones. Already in 1791 we have an example of such a cut, which the author descripts "Polnische Quarte" [Behr, 1791, pp. 27-28]. This cut is called the "nyżek" (low cut) or "hellish Polish fourth".

A great description and presentation of this cut is given in a German textbook from 1824: "Also on the same line there is a cut, which is called e. Polish or Hellish (?) Quart (Table XIII, fig. 1.) This cut is opposed to the high third and therefore follows the same line as the half-second or internal saecond,

only with the difference that the cut in the quart movement runs from right to left, from the bottom up. This cut is almost the hardest of all because the same cut requires the most uncomfortable turn of the fist. To be used primarily on opponents who have the habit of moving their torso back, which usually gives the weak side to the intended cut. It is unfavorable if cut poorly, which reveals the inside of the swordsman in all its weakness "[Werner, 1824, p. 21].

 A similar description and the same cut was perfectly shown in the fencing textbook from 1868. The author almost 100 years later since the publication of the abovementioned textbook from 1791 also gives us a pattern of the Polish cut also called 'Polnische Quart' [Montag, 1868, p. 160]. This time the author clearly emphasised the origin of this cut by drawing silhouettes of swordsmen in Polish national historical costumes.

          This is clear evidence - not only written, but graphic, for the existence of the Polish cut called "devilish or hellish Poland fourth", and thus for the existence of Old Polish sabre fencing. In the fencing literature known to me I have not encountered such a clear "national" assignment of a sabre cut as in case of Poland.

          The proof of the existence of Polish sabre fencing and Polish fighting technique was also the extraordinary efficiency of Polish fencers. Bartosz Paprocki gives us the following examples:
          1) "Modliszewski family from Gniezno, it was an ancient and powerful house (...). Andrzej was a writer with the Hungarian queen, Gabryel, a bailiff, he was a great man and an uncommon swordsman, hand so measured that he cut little coin from the boy's head, no hair was touched "[Paprocki, 1584, p. 51].

          2) Ambroży Grabowski, an outstanding researcher of Polish antiquities, writes about similar skills: "Prokop from Granowo Sieniawski, court marshal for Sigismund III, stopped the six-horse carriage at a trot. Witha a single sabre cut he chopped a horse or an ox through the center of the body into two halves (...), Tomasz Olędzki, the castellan of Zakroczym, cut five minted thalers, placed one on another, chopped with the sabre "[Grabowski, 1852, p. 448].

In turn prof. Józef Łepkowski believes that the sabre " cut a liber of paper, tallow candle in a candlestick, etc." [Łepkowski, 1857, p. 66].

Another interesting example of masterful sabre wielding is given to us by Michał Starzewski himself, describing the advantages of the most famous Polish cut, the nyżek cut: “The cut is so-called Turkish with us, for we used it to cleave Turks’ stomachs” (Starzewski, 1932, pp. 130–131). Starzewski describes how a swordsman of poor pedigree demonstrated his exceptional skill by making this cut at the height of the belt of his opponent, a Mr. Voivode, with such a great dexterity that the belt or sash was cut but there was no damage to the skin of his stomach. According to Starzewski, this meant: ‘With respect, but you were cut, m’lord!’” (ibid.).

At the end of the description of fencing arts, it is worth knowing how they were perceived and presented by foreigners. Mary Barton wrote in 1846: "Dueling with pistols was a rarity in Poland at the beginning of the sixteenth century. In personal clashes, the main weapon used was a sabre. It was an indispensable prop in educating young people so that they would be trained in sabre art from the age of thirteen; students were used to fencing with sticks to practice for the sabre. (...) Perfection in the art of wielding a sabre consisted of rotating it with such a violence that a small stone thrown from a medium distance should always bounce off the blade and couldn’t reach the body . There was also another test, equally unchallenged, which consisted in the fact that during a duel the swordsman, having mentioned a word, should write it on the body of his adversary with the point of his weapon. This second proof required more skill than the previous one ”[quoted in Sawicki, 2012, pp. 151-153].

These few examples above perfectly reflect the extraordinary level of fencing skills of our ancestors and confirm the fact that we reached mastery in fencing crafts and sabres in particular, whilst becoming the best teachers in this field.

The basic source of knowledge necessary to create Old Polish sabre fencing were experience gained in combat and traditions passed from grandfather to father, from father to son, which is confirmed by Józef Teodor Głębocki who wrote in the nineteenth century about knight schools: "But our ancestors, rather emotional than contemplative, more self-sacrificing than methodical, were convinced that one can only improve in War by experience, in the face of the enemy, in the midst of the turmoil of war, and not on the school bench (...)"[Głębocki, 1866, p. 8].

          Conclusion

          It’s a confirmed fact that after adopting the sabre, Poland created its own type of this weapon called the hussar sabre, its own type of old Polish sabre fencing known as "cross art" and finally, fencing with sticks was created as a basic exercise for young noblemen for future use of sabres, and practiced back in the 18th century. Because the historical name of this sabre fencing was not left to us (for centuries the name brandishing was used), so when in 1986 it was resurrected, it was decided to give it the name Signum Polonicum (Sign of Polish Arts) to emphasise that in the martial arts Poland has its own national traditions.

          Today, this tradition is culivated as a form of national heritage by the Polish Association of Polish Martial Arts Signum Polonicum, based on the knowledge that Michał Starzewski left us, dating back to at least the victorious battle of Vienna (1683), studies and research, practice gained during over 40 years of exercises and training classes, as well as the knowledge passed on to Zbigniew Sawicki by the emigration circles of the Second Polish Republic in Great Britain (Sokol, Circle of Generals of the Second Polish Republic, etc.) which took place at the turn of the 80s and 90s of the last century, and is still cultivated today as an organised and complete system (style) of martial arts Signum Polonicum, bringing significant national and cultural values to the Polish and European heritage.

            Author information (biography)

            Zbigniew Sawicki, PhD.

Doctor of humanities. From 1973 he practiced Far Eastern martial arts. From 1981, he began exercises and research on recreating Polish martial arts. In 1896, he founded the Signum Polonicum Polish Martial Arts Club and contacted organizations of the Polish government in exile in Great Britain (Sokół, Circle of the Second Polish Republic), committing to take over the continuity of Polish martial arts traditions cultivated until 1939, which he continues to do today under the name Signum Polonicum. For this activity he was awarded the Falcon gold medal in Great Britain (1992). Currently, he is the president of the Polish Union of Associations of Polish Martial Art Signum Polonicum. A member of Idokan Polska and the international organisation IMACSSS. He is an author of many publications on the topic and a recognised scientific authority in the field.

e-mail: signum@signum-polonicum.com.pl

www.signum-polonicum.com.pl

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