Swetnam’s Postulate
(9/28/2009)
Image from Swetnam
“…yet regard chiefly the words rather than the Picture.” ~ Joseph Swetnam
First, a postulate is to maintain or assert that something is self-evident. It is part of the fundamental element or basic principle of a logical argument.
Second, a primary source is an original text (like a fencing manual) or an object (like a sword). We will use a primary source to draw conclusions about a topic. A fencer might study the book of Salvator Fabris to understand Italian rapier. Darkwood Armory might study a rapier from the original time period to understand how to create a training weapon for fencers today.
In our case, a primary source is important in identifying the origin of the information we want to interpret. Primary sources are given greater value than secondary sources. A secondary source is information or discussion of the primary source that is not originated from the primary source. For example, you could argue that our recreation of Destreza based on an English translation is a tertiary source because it is based on a secondary source (the English translation).
This becomes tricky in a fencing manual when we consider the images. For example, Ridolfo Capoferro’s work has been subjected to some intense scrutiny in this regard and I have been involved in some heated discussions about the position of the feet, the nature of offline steps, and the gaining of the weapon. While the plates in the text are very important we need to remember Joseph Swetnam’s advice.
“…yet regard chiefly the words rather than the Picture.”
I call this Swetnam’s Postulate. Unless the fencing master himself is listed as the artist, the images are not a primary source of information but rather a secondary source.
Interpreting a Text
When interpreting a fencing text, I use a hierarchy of sources in which item 1 is given the highest priority and item 7 the lowest.
- The text in the original language is a primary source.
- Swetnam’s Postulate – Unless we can prove the master created the images, the artwork is a secondary source.
- The translated text is a secondary source.
- Masters in the same tradition, weapon, and time period can provide insight to technique.
- Masters in the same tradition, weapon, and a different time period, can also provide insight.
- Masters in the same tradition with similar weapons (for example classical Italian fencing) can provide insight.
- My own experience or experimentation.
For example… If Capoferro indicates that I should travel directly forward on the line of direction, I should obey the text even when it contradicts (or seems to contradict) the images rather than reinterpret the author’s instructions based on my understanding of pictures created by an artist. If other sources within the tradition also seem to confirm Capoferro’s text, rather than a picture that could arguably be on the line or off it, this provides us additional incentive to trust the author’s voice.
Likewise, as an interpreter, I need to be aware of my fencing biases and try to avoid item 7 as much as possible. When I change ‘canonical‘ technique or add technique of my own this needs to be clearly stated in my interpretation. (In this sense, I use the term ‘canonical‘ to indicate a deviation from the original text or texts.)
For example, at WMAW 2009 I applied principles from Ettenhard’s book in order to create new techniques appropriate for left-handed fencers. When I demonstrated these variations to the class, I made certain to explain that these were my variations and not Ettenhard’s original work.
By expressing some dissatisfaction with the images in his book and asking the reader to give his words precedence over the plates, Swetnam reminds us that the author’s voice is the first and primary source of information an interpreter should consider.