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{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Jami%27_al-fununJami' al-funun2024-02-08T15:49:59Z<p>Hparkercook: Added footnotes to introduction and translated section. Made minor translation edits.</p>
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<div>{{Infobox writer<br />
| name = Pseudo Ibn Akḥī Ḥizām<br />
| image = File:JAMI' Al-Funun title.pdf<br />
| imagesize = 250px <br />
| caption = Kitāb al-makhzūn jāmiʿ al-funūn title (BnF 2824) <br />
| birthdate = 10th AH/ 15th CE century<br />
| birthplace = Egypt? Syria?<br />
| occupation = Mamluk scribe?<br />
| nationality = Circassian Period (“Burjī”) Mamluk<br />
| influences = {{plainlist<br />
| Mamluk Martial Arts Literature<br />
| Lāchin b. ʿAbdallāh al-Ṭarablūsī<br />
| Ibn Akhī Ḥizām<br />
}}<br />
| genre = Military manual<br />
| language = Arabic, Egyptian Colloquial Arabic<br />
| notableworks = ''[[Kitāb al-makhzūn jāmiʿ al-funūn]]'' (875/1470-1)<br />
| manuscript(s) = BnF Arabe 2824<br />
| wiktenauer compilation by = Hamilton Parker Cook, PhD<br />
}}<br />
''Kitāb al-makhzūn: Jāmiʿ al-funūn'' ("The Treasure: A Work that Gathers Together Combative Arts"; colophon dated 875 AH/1470-1CE) is an Arabic language work in the classical style of Mamluk furūsīya literature <ref> Pseudo Ibn Akhī Ḥizām, “Kitāb al-makhzūn” </ref>. The work is attributed to the famous «father» of Islamicate martial arts literature Ibn Akhī Ḥizām (c. 250 AH/ 864 CE; given as Ibn Akhī Khuzām), yet is clearly the work of a Mamluk author <ref> al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents”, pg. 154</ref>. Agnès Carayon suggests that a grandee of the Circassian Mamluk (''Burjī'') court commissioned the work, potentially for Sultan Qāʾitbay (r. 1468-1496) <ref> CARAYON, “La Furūsiyya Des Mamlûks”, pg. 605</ref>. Composite in nature, the work is most likely a summary of other, more voluminous works—such as ''Nihāyat al-suʾl wa-l-amnīya fī taʿlīm aʿmāl al-furūsīya'' ("The End of Questioning: A Trustworthy Work concerning Instruction in the Deeds of Furūsīya") by Al-Aqsarāʾī (c. 9th cent. AH/14th cent CE) <ref> al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents”, pg. 155-172</ref>. Certain sections begin and then trail off, while others remain incomplete, suggesting that this work is composite in nature and was most likely a summary or copy of other works both extant and lost. The author does not cite other authors within the body of the text itself. <br />
<br />
The text of ''Jāmiʿ al-funūn'' is by and large more classical in nature with a great deal of dialectal, Egyptian Arabic of the period. This pertains both to vocabulary (ex: ''bāṭ'' for ''ibāṭ'' "armpit" throughout; ''jawwān'' as a preposition) as well as to grammar (verbs not in gender alignment, plurality disagreements, grammatical inconsistencies of adverbial phrases etc.). An introductory phrase in Ottoman Turkish in the beginning of the text has it that on «The seventh night of Muharram, 975 AH (1567CE)” a certain “Ṣilāhdār Aǧa” Dervish (unknown) petitioned God to be among those counted as Muhammad’s companions <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 2r </ref>. Likewise, the intricate title page has “The owner of this work is Derviş Ağa” crossed out in black ink <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 3r </ref>. Whether or not this was a higher ranking “Arms-Bearer” of the Sultan cannot be confirmed. The version from which the following translation stems is Bibliothèque Nationale MS 2824 (another version can be found in the same collection: MS 2826). Scholars have yet to produce a critical edition of this work. <br />
<br />
Despite its brevity in comparison to other works of the Mamluk furūsīya tradition, Jāmiʿ al-funūn provides a great deal of insight into the ways in which the Mamluks trained their troops. The illustrations featured in the work are some of the best examples of the medium <ref> See: Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 28r, 36r, 62r etc.</ref>. Distinct from other works in the genre with lengthy introductions, Jāmiʿ al-funūn begins with only minor benedictions, then jumps straight into a description of how to establish the training area for cavalry exercises – the nāwārd. From there, the author displays 72 bunūd or paired lance exercises – most likely inspired by al-Ṭarāblūsī’s famous 72 forms (c . 738 AH / 1337-8 CE) <ref> CARAYON, “La Furūsiyya Des Mamlûks”, pp. 567, 574, 581 </ref>. Following this, the author then treats issues deemed relevant to the development of a cavalier, without a particular logic to the ordering of the sections. <br />
<br />
Unlike other works of furūsīya, ''Jāmiʿ al-funūn'' contains several sections detailing the ways in which soldiers can train for combat on foot. Most notably, the author presents a system for training swordsmanship. The work begins with instruction on the ways in which one can execute paired exercises with cane fighting, dagger fighting, and cane and shield fighting on foot. The author details the proper ways to feint and hit, the ways in which one can parry and riposte (and disarm), and where to target with a sword. In the author’s system, training with the cane was a safe means to perfect one’s technique before moving on to using sharp swords in battle. After training with the cane, the author recommends perfecting test cutting on clay mounds as a way to develop arm strength and ensure proper edge alignment. Following both of these methods of training, a potential cavalier would be ready to pursue test cutting on horseback.<br />
<br />
The translation which follows is a selection of those sections of Jāmiʿ al-funūn most relevant to the study of swordfighting and the development of the saber in the Islamicate. <br />
<br />
== '''Selections from Jāmiʿ al-funūn''' == <br />
<br />
==='''The Band of the Sword''' (''band al-sayf'') ===<br />
[[File:JAMI' Al-Funun 2.pdf|200px|thumb|left]]<br />
<br />
[12v] The wrists do the right motions correctly, while the rider sits towards the front of the horse. The opponent should hold the lance on the right, while you work from the right shoulder, able to bring your own lance down and put it behind your back, and then hold it from the left. You draw your sword and then obscure it, and strike a hard strike, then sit forward a tenth degree (ʿāshir). Then, another hard strike while you take up the lance while your opponent is at your left shoulder, as if you were going to thrust at him. At this moment, strike his forearms with the sword <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 11r </ref>. <br />
<br />
==='''Chapter on Shielding Oneself with the Shield in War'''===<br />
You should put in the shield two, delicate (''liṭāf'') rings between the two edges of the inner part of the shield (''min al-khānabayn''). Then, you should add a fine cord (''bindan latifan'') to them. Then, you tie a knot to the head of this cord, which should enter over the right shoulder over the gambeson (''qarqal'') and then should enter through the other side of the two rings, from under the grip. [The rider] should enter his right hand from under the cord between the grip and one of the rings, and lift the shield over his (left) shoulder so that it protects and shields his face, and sets upon his [left] shoulder bone (''ʿalā rummānati katfihi''). He should then pull the rope tight such as he is able, then tie over the other ring one strap from the front. The rider should be able to transport it in this way, such that the shield does not move about while upon his shoulder whenever he intercepts a blow. If he wants to shorten the rope to make it tighter on his back, he should move it and shorten it between his shoulders. If the rider wants, he can return it to its (previous) position on his shoulder (from the back). If someone should bind a weapon to the shield, or thrust into the middle of the shield, the rider can cut the knot tying together the strap, and the shield will release, and the rider will be freed of it. None have seen a shield of this likeness before. Some of those who use shields when they seek to bind against a spear, they are not able to fire a single arrow as a riposte. With this shield, you are able to shoot whatever you want and thrust however you want, and the shield will not deter you at all. For this reason, riders have made these shields (in the above manner), and chosen these shields over all other shields. So you should not favor any other one, because this kind of shield will remain as the best <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 43r </ref>. <br />
<br />
==='''Chapter Concerning how the Play of the Canes are on Foot'''===<br />
[[File:JAMI' Al-Funun 3.pdf|200px|thumb|left]]<br />
<br />
It is that which consists of taking (''al-akdh'', or "binding") and parrying (''al-tabṭīl'', or "deflecting"). If you will engage in this, you should:<br />
<br />
Strike to the left, then parry with the left. Strike above the head, and parry above the head. Strike to the right and the left – hitting the thigh (''kafal'') and the head.<br />
Then: Jump in a way to disengage (''al-taḥlīl'')<br />
Then: Enter in (''al-ʿaṭf'')<br />
Then bring the cane from below to the chin. <br />
Then: Turn the cane upside down.<br />
Then: Turn the cane to threaten the head.<br />
Then: Strike [the head] to the right and to the left.<br />
(All of the above: a snapping motion, i.e., feint then ''molinello'')<br />
<br />
Then: Strike his two elbows from both directions (left and right)<br />
Then: Strike left and right. <br />
Then you should finish as with the first strike to the head. <br />
<br />
Then your opponent should do as you have done. <br />
<br />
Then practice the known counters (''Al-mufāsadāt al-maʿlūma'') to these actions between players of the cane.<br />
<br />
In this manner one should do as I’ve described to you here on horseback, if you intended to do the play on foot <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 62r </ref>.<br />
<br />
[64v] «Description of the Cane that the player should use»<br />
It should only be from the bitter almond tree (''al-lūzmur''), because it is not too stiff when striking (''wa-lā yathbit li-l-ḍarb''). Or, it should be one that can be made from an orange tree (''nāranj''). It should be one whose length is eight hand grips (''qabḍāt''). <br />
<br />
Now, the play beings with the stopping of the horses, and grabbing the cane in the rider’s right hand. The left stirrup should be short, in order for the rider to stand up in it. The rider should grab the reins of the horse at the half. After saluting the opponent (''al-khidma''), the rider should begin by striking from the right and from the left, by breaking the trot of the horse (''bi-taḥrīk al-faras'') with the spurs – but not stopping the horse during any of the actions. The rider should circle in the Nāward (space for practice). <br />
<br />
Then: The rider should grab the horse by the head, and have it circulate. This is knowledge from the Chapter of Warfare (''fa-hādhā bāb al-ḥarb''). The rider has already voided the opponent, after parrying him, from the right and from the left. Then, the rider should jump in a way to disengage after having grabbed the face of the horse and the flank of the horse. Then the rider should disengage from the right and the left. After disengaging, he should strike at the head. After striking, he should invert his cane so that it is behind him, and cast it to hit the two elbows, two times and three. Then, the rider should engage from the Abode of the Arm (''bayt al-marfaq''), striking from the right and the left. Then disengage, inverting the cane to hit the two elbows, striking from the right and from the left. Then, he should strike from the right and the left. Then the rider should engage from the Abode of Entering (''bayt al-ʿaṭf''): he should lean in and strike from the right and the left. He should “strip” the opponent’s cane with his own cane that will lay on top of it [i.e., hitting and pushing it away]. Then he should cast the cane at the face of the opponent vertically (i,e., hand is level). Then, the rider should turn his hand to strike under the armpit (sic. ''bāṭ'' for ''ibṭ'', pl. ''ābāṭ'') of the opponent. Then, he should invert the cane threatening the head. Then, he should parry right and left, then enter to take advantage of the pursuit during retreat (''al-khasārah''). <br />
<br />
And strike three strikes: at the back of the neck, at the face, and the head of the horse <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 62v </ref>. <br />
<br />
(text above and below illustrations)<br />
[[File:JAMI' Al-Funun 4.pdf|200px|thumb|left]]<br />
"The way in which the play with the cane is done on horseback" <br />
<br />
"In direct confrontation and during the pursuit <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 63r </ref>"<br />
<br />
"A description of this: One plays as one played on the ground"<br />
<br />
It is necessary that the horse be obedient during all of the leanings, entries, and escapes. <br />
<br />
Some deceptions in executing the play of the cane: <br />
<br />
If you strike to the right, then invert the cane to threaten the hand quickly from the left. <br />
<br />
Another: If the opponent struck hard (''daqqa'') against your cane, and you have also struck hard against his cane, then strike his forearm quickly from under his own cane. <br />
<br />
Another: If the opponent comes to you from «The Abode of Retreat», and he is unaware, lean on the shoulder of the horse to the right, and strike his face (sic. ''iḍrib wajhaka'' ''strike your face'' instead of ''iḍrib wajhahu''). <br />
<br />
Another: If the opponent comes to you from the «Abode of Retreat» and has struck your cane, be yourself someone receptive to the strike (''fa-kun anta mutaḥaṣṣil al-ḍarba''; i.e., parry it). Then immediately enter your hand from under your own cane and shackle up the opponent’s cane and pull it from him towards yourself – in order to take it from his hand. Whether it leaves his hand or not, do not busy yourself with taking the cane too much. Rather, invert your own cane toward the opponent’s neck quickly. This will yield a great injury. <br />
<br />
Another: If you want to have the opponent not reach you with his cane, then every time he attacks you from the Abode of Retreat, let him slip by, then lean to the right, always. He will not be able to reach you. If you want your strike to be strong, and want to stop his hand from striking, whenever you riposte with a strike, twist your hand in the blow, the opponent’s hand will become stung up unto the shoulder, and he will not be able to meet you [for another blow], and will fatigue. He will not be able to meet you [for another blow]. Then, [strike] three blows: If you strike, invert the blow, then invert the blow a second time from above, then strike a third time with your hand vertical (''istiwāʾan''). This will yield a great injury. <br />
<br />
If the opponent should enter into a retreat, it will tire him out<ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 63v </ref>. <br />
<br />
(text above and below the images)<br />
[[File:JAMI' Al-Funun 5.pdf|200px|thumb|left]]<br />
<br />
"A description of the play with the cane and the buckler on foot"<br />
<br />
"A description of the play with the dagger (''al-kazlak''). In our times, it is not common" <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 64r </ref><br />
<br />
==='''Explanation of the Play with the Dagger. Its description is that you stand…'''=== <br />
Opposite the opponent, and put the right foot to the front, while putting the left foot behind. Grab the handle of the dagger with its head inverted toward the earth. Its pommel should be gripped so that the hand is showing outwards. You should seek to hold onto it well. If the opponent throws a blow against it, so that it should meet the reverse of the dagger, the meeting of the dagger should always be with the reverse of the dagger in all actions [in this play; i.e., keep the same grip]. Your dagger should meet his own from the right and from the left, then shield the head with the dagger, and seek to riposte to the head of the opponent quickly. The person doing this should not do so excessively, nor should the players be neglectful in practicing, so that someone should die or be forced to retire. If you do this one time during a session (''fī jawlānihi'') with the opponent, and if one should be able to reach the head of the opponent a second time, the player should take the back of the dagger, invert it to threaten the forearm and then take the dagger from the opponent all the while cutting his hand. This is indeed the art. If one does this exercise excessively, then it is possible to practice taking the sword or the knife from the opponent. Understand this, for it is a concise summary.<br />
<br />
Section: Concerning the Play with the buckler and cane (''al-shaqqa''). The description of this is that you take up a light buckler and a cane (''qaḍīb'') with a color of burnt wood (''zind-lawn?''). The player stands holding the buckler in his left hand, and the stick in his right. He strikes the first strike at the face of the opponent, and then inverts the cane to strike under the opponent’s armpit, all the while not having the cane pass to become caught in the underarm itself —the opponent will be able to fend it off. The player should then extract the cane [from a bind] quickly to strike the hand of the opponent and his face. Then he should return the cane to above his head and strike at the face of the opponent. <br />
<br />
These are the three places of striking [i.e., face; armpit; hand/arm] on which rest the tradition (''al-thiqāfa'') in its entirety. The one who understands the tradition’s ways of entering, its ways to retreat, its disadvantages, and its benefits, has come to know the entire tradition <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 63v </ref>.<br />
<br />
=== '''Chapter concerning Striking the Sword in Clay in Continual Training (''al-idmān'')''' ===<br />
It is necessary for one who wants to train striking the sword to make use of three swords, one light, one of middling weight, and one heavy, all from black iron (i.e., dark wootz). His grip should be full in accordance with the strength of the palm of the one who is striking. If the striker practices striking with the first sword, he moves on to the second heaviest, then to the third. The weight of the first is three ''ratl''s, the weight of the second is five ''ratl''s, and that of the third is in accords with the strength of the striker [i.e., as heavy as the striker can handle]. If the person wishes to practice, he should begin by presenting clay that he has covered for two days or three. When he has covered it, he should take a plank of wood about the width of a coat of mail, and the length of five [?], and set it upon four small pillars, with each pillar being as tall of a handspan. The striker should also have something that can carry water, and a cutlet (sic. ''ẓalʿ'' instead of ''ḍalʿ'') of camel or cow, and some iron. Whatever may attach to the sword of clay, wipe it off with the cutlet. When one has done all of this, bake the clay in a crossed baking, and carry it upon the aforementioned plank. If the feet of the plank should be longer or shorter than they should be, the palm of the striker will be ruined. The clay should be set down on the plank as a small mound, as the back of a camel, so that the strike will land correctly. If the clay is placed incorrectly from above, or if it is too fine below, this will ruin the cut of the striker’s hand, and will be loathsome to the exercise. This is a great secret which not everyone understands: the clay pile should be in the same height of the striker, neither higher nor lower <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 64r </ref>.<br />
<br />
If it is higher than that, then the hand will gain the habit of stopping short, for the strike becomes a moment among moments (i.e., segmented instead of smooth). If it is shorter than that, then the hand will gain the habit of striking too hard (al-inṣidāʿ, lit. splitting or cracking), and lessening of strength. However, if one does as I have said, the striker’s blow will become heavy and strong, and the heart of the striker will be overjoyed. His strike will remain accurate. The striker will be able to work the clay from the first instance of hitting all the way through to the end, as I have described it. It is also necessary that one does not mix into the clay anything that does not belong, for it will corrupt it. The clay itself can come from any kind of clay, whether it is lime, small ground stones, or plaster. When you have shaped the clay, and recognize its goodness, the exercise begins after becoming aware of the states of the clay and sword. The cutter should stand at the head of the clay, and enter in [by turning] the toes of the left foot, and enter in a little bit with the left side in striking due to the strength of the force of the right side. When one does not do this, there will be no strength to the cut at all. <br />
<br />
Chapter/section on holding the hilt of the sword with the correct grab.This entails that you grab the part of the sword meant to be grabbed (i.e., not the blade). Grasping the sword occurs in several ways: The first [and most important?] is that if there is a small curve (ḥadab) to the grip, then it will not cut. Know that the sword does not cut save by its tip – and by no other part. If there is a curve at the tip of the blade, then it cuts. If the curve is from below the tip [as a part of the construction of the blade], then it does not cut. The established grip is one that is gentle, this is the goal. It should be neither too refined, nor done incorrectly <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 64v </ref>. <br />
<br />
This pertains to the composition of the sword. Let the grip of the sword be circular (''mudawwara''), not broad. For if it is too broad, the the sword will fall from the hand, and will not remain in place in a steadfast fashion. If the grip is too fine, wrap wax around it a bit. This is what needs to be done especially with «darkened swords». Practice will make gripping these weapons much easier, and progress strength and composure in using them. If the hand grip is too close to the crossguard, it is incorrect, and if too close to the end of the sword, it is too fine – it will cause issues in the hand of the striker, even if the striker is stronger in build. Rather, the grip should be small and subtle at the top of the hand toward the crossguard and while robust yet not excessive toward the end of the sword. For if strength is applied to the front of the sword in cutting, the sword cuts well. If strength is applied to the back of the sword in cutting, the sword misses its mark (lit. «the sword swims»), and will have no strength in any cut that should happen. In addition, the grip should not bee too short, for then one could not strike with it. Rather, the whole sword should be manipulated from the end to the tip of the blade if it is held [well] from the grip. The right hand should twist well around the back of the grip, while the tip of the head of the sword should come towards the nose of the striker (in length). Whether the striker has two long hands or two shorter hands, the sword should come up to about the left eye. Many people who forge black swords broad, while making swords for striking fine. Between these swords are many differences <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 70r </ref>. <br />
<br />
The broad bladed sword cuts deeper than the fine bladed sword. However, the fine bladed sword cuts more quickly than the broad bladed sword. The root cause of this lies in the grips, proper positioning, and in their quenching – there is no fourth reason. Quenching comes in many different varieties, while sections of the sword occur in different kinds. As for sword without quillons, its kinds are comprised of two different general varieties: "rigid" (''ṣalb'' – the blade) and "soft-rigid" (''nāʿim-ṣalb'' – the grip). The rigid part of a sword is made of iron and all things associated with it. The soft part of the sword is made of materials like crocodile and all concomitant with it. If we recall these two kinds beyond all others, it is because iron is a core part of making a blade as well as crocodile (or other biological material). An iron-wroght sword must be made from blue-green steel, and likewise when it is struck by the blacksmith it must be said about it "a sword shall be made with an edge" [i.e., intentionality to the design]. There is an exception for those swords that do not have edges, such as the horseman's sword [i.e., something like an estoc] which itself lacks an edge. As for the sword that cuts soft things, it must be made from white steel, and must at least have an edge as we’ve discussed before. It can also have a slight curve at the tip, the curve can also be more pronounced (''taḥtānī'', literally "under"). As for the grip, as we have said above, the strongest soft things to wrap around it are those that emerge from the water, such as the crocodile and other creatures. Another strong choice would be grips made from birds, ostriches, eagles, scorpions -great Egyptian vultures are by my reckoning the strongest of all. After these kinds, there are those made of sheep, donkey, and cow, and other such animals. Every one of these wrappings has a quenching, preparation, working, and fashioning – so understand this! <br />
<br />
If you desire to take up using the sword correctly: Stand as you have learned and take up the sword with the right hand. The shoulder should open up, because this gives the greatest power. The grip should be aligned with the back of the spine of the sword. You should place the top of the grip (''barjaq'') between the thumb and the pointer finger without having the grip lean on the bones of the thumb and forefinger <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 70v </ref>. <br />
<br />
The head of the grip should be freed to move about(''mukhallaṣ'') between the two fingers to the top of the right quillon – just like thread. This is the right kind of wrapping. If the one meant to grip the sword grips it, he should raise his shoulder until it is at the same level as his ear, and raise his elbow in front of him. His left hand should be at a safe place. Once he has raised his elbow thusly, and is standing at the head of the striking point of the clay, he should bring the sword down in a balanced manner (''bi-mīzān'', i.e., with balanced and not excessive strength). While doing so, he should be wary of his grip. The hand should not become lax in the grip. If this should happen, the sword will cut crookedly in the clay, and this will damage the hand. When the trainer goes to bring the sword down on the clay, he should do so with strength, and aim to make a cut on the right in his descending cut. When he does cut downwards, let his descending cut end in a draw back towards the cutter a bit. Were the cutter to cut a descending cut, and would not draw the sword back in this manner in his descent, he would not be able to cut anything effectively – neither would the sword be able to go through the clay. Let the cutter be on his knees when he cuts as well. <br />
<br />
This indeed is the secret to cutting efficaciously: Cut a downward cut. If you have cut into the body of the clay pile thoroughly, pull the sword toward you and then extract it from the clay. Do not lift the sword back toward the place from which you have made your descending cut, for it will become stuck in the reverse part of the clay, and the sword will bend in it. If clay sticks to the sword, take the cutlet that I mentioned before to you, wipe the blade off and clean it. Were you not to continuously work, and tire in the work of practice, the results of such labor will not come to you. Now, if you strike, strike the clay one strike at a time. Do so starting at the tip of the clay pile and work your way down to its base. Whenever you strike a bit of clay, move your legs forward a bit closer to the clay, until your strike cannot find space to work. If you have done this, and practiced these exercises thoroughly day by day, and have strengthened your shoulder, to the point that you have internalized this method of cutting into your very character <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 71r </ref><br />
<br />
Take up the second sword that is weightier than the first. Do what you have done with the first sword with the second —if you have the capacity to do so, and do not return to the first, taking up the second sword will strengthen you. Take up the aforementioned second sword, and when you have done as I have said to you, and have practiced thoroughly with the second sword, then take up the third sword. <br />
<br />
When you have practiced with the third sword sufficiently, and have become stronger, you may begin with the "Baldric Strike" (''ḍarb al-ḥamālī''). For this, you should construct a pyramid from the aforementioned clay. The bottom should be broad while the top should be thin, just as with the first clay pile. Its height should be at about your right breast. Take up the light sword with which you began your training, and stand facing the pyramid. Stand towards it with both feet flat on the ground, with feet equal distance from one another. Do not take a step yet. When you do step, one step should be ahead of the other, let your feet not be parallel upon the ground - this will corrupt your stance for cutting well. When you have taken a step [with the right foot], stop with your left side at an angle forward. Cast forth your sword from the left, and strike at the top of the pyramid from the left [with an ascending cut]. When you have struck from the left at the head of the silo, tread on the right foot with strength. Let your left shoulder assist your left cut [lean in with your body]. This is what is intended in this lesson. If you do not do this, you will not acquire any skill whatsoever in this Art. So strike from the left, and understand. Strike from the left section by section on the silo, until you reach the ground. When you have come close to the ground in your strikes, undertake descending cuts from the left, and attempt to perform drawing cuts in each cut. This is the correct tradition for striking.<br />
<br />
When you have finished this, that is, by cutting the left side of the clay, then take a goose and slaughter it. Hang up its body, and strike it from the left with the sword <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 71v </ref>. <br />
<br />
(text above, in the middle, and below the image)<br />
[[File:JAMI' Al-Funun 6.pdf|200px|thumb|left]]<br />
<br />
"A depiction of setting up the clay on the dais." <br />
<br />
"A depiction of the pyramid of clay, and the Baldric Cut on it." <br />
<br />
"In doing so, make sure to take the weights and measurements of the swords you will use in cutting the goose <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 72r </ref>."<br />
<br />
And make sure to hang the carcass in in front of you in a place roughly at your breast level. Continue to cut from the left as you have done with clay. Your cuts from the left should stick to the spine in the back of the goose, and the goose should remain in two parts. Once you have considered yourself as having become proficient in these strikes, set up other pells to cut from soft-tissues. If you have not become proficient, return to the clay and strike it. However, if you have practiced well, string up another goose. Once you have cut these all down, begin with a sheep that you have sacrificed. Hang it up like you did the goose, but this time have the loins hung from above the head with its four legs hanging down, and its entrails opened. When you have become proficient in cutting the sheep, then move onto a donkey. Once you have become proficient in this, sacrifice a cow, hamstring it upon its knees after it has died, and hang it in such a way that its neck is exposed to you. Strike the neck in the same way that you have struck clay, and strike the flanks. Once you have become proficient at this, return, to the clay with a heavy sword, and then return again to this cow. Once you have become proficient at this, strike an ostrich. Once you have become proficient at this, then strike a vulture, and do not make light of it. Your strikes should be at its neck. Once you have become proficient at this, then strike a crocodile. In all of this there is great strength to be had. Do not refrain from cutting a carcass even if it is older or young. If it is young, do not fear, strike with steadfastness in your stance (''bi-thabāt''), and seek to be proficient. If it is older, and has been dead for some time, do not fear, continue to strike. If one of these animals is alive, and it is hard to cut into them, in the case of quadrupeds, do not cut them unless you have thrown over their face a cloth. For when you strike at them, and they see the edge of your sword, it will tighten up, and such a strike will not be possible. However, if you put a cloth over their faces, their eyes will not be able to see. It will open its eyes under the cloth. Were the animal to become violent and lash out <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 72v </ref>, <br />
<br />
at this moment, strike as you have hit the clay. Indeed, you will cut well. Once you have cut in this manner, it will be easy to cut any animal, such as beasts of prey, hyenas, wolves, bears, and beyond. <br />
<br />
Now, when you have struck something, your sword and its quenching will deteriorate. Indeed, there are many aspects to quenching. Do not [re-]quench a sword except with coal and felt. Now, if you are certain in your technique, you will try and cut felt from the left. A description: buy Syrian felt, wrap it up as you would wrap up a paper scroll. Arrange it as you had the pyramid of clay. Strike it from the left in the same way. Let your first left cut be twenty rolls of felt. Once you have cut twenty, then make it thirty. Once you have cut thirty, then make it fifty. Once you have cut fifty, then add ten layers of felt by ten until your strength becomes complete. At this moment, your sword with which you cut this felt should become whetted and sharpened, and should have breadth, in essence it should return to its original form (''wa-yakūn muṣaddar''). Once you have done this, take up a bolt of cloth and place it over a stuffed carded-cotton cushion, and do not make light of this!. For many people cannot cut such a cushion. Strike at the cushion, and make your hand light, and keep your hand holding the cushion at a proper distance away from the strike. Indeed, the cloth will cut. <br />
<br />
Once you have done so, begin with strikes against iron. Now, it is necessary that you have at your disposal…[writing ends here…]<br />
<br />
For every kind of sword cannot cannot be used outside of its class (i.e., some swords better for cutting soft materials, others are better for cutting hard ones) <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 73r </ref>. <br />
<br />
Chapter concerning cutting iron with the sword, and cutting all things that are rigid. This is [different] than cutting soft things. For this, you should have a sword possessed of a good edge as I have described to you. Take an iron bar and place it in the ground. It should be made of old horseshoes. Strike a blow in the correct manner. Be wary that the cut part does not fly into your face. If the iron bar cuts, and when put into the fire it glows, do not place it just anywhere, but rather, have your bars arranged well ordered on the ground. Doing this will strengthen you. You should begin, after this, what is called «trick cutting» - which is the cutting of ephemera (''al-hazaliyyāt''). This is a cut of various sheets from whatever one chooses by the strength of the sheet. A description of this: One can take a small cut of iron, formed into the form of a sheet that you can cut. One then adds to this a bit of starch to cover it and conceal it [i.e., extending beyond the sheet]. Once one has done this, no one from among those God has created would know what is in this sheet. One could then say to the crowd (''al-baṭṭāra'') "How many should I cut for you?" They would respond "this many, that many, etc." and then one could take up this bit of iron sheet, and add to it and place it before them in such a way that one could strike it, and the sheets would cut be cut just to the edge of the iron core, but the iron core of the sheets would not be cut themselves. They would perceive this with much wonder at the trick! I have not mentioned here many more such tricks. So understand this <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 73v </ref>. <br />
<br />
==='''A description of the practice of cutting reeds on horseback'''===<br />
One should take a green, Persian reed, and then plunge it into the ground to about the height of the chest of the rider on horseback. Then the sword is grasped with vigor. You, the rider, should drive your horse and cut at the reed from the left, cutting it a hand-span (''shibr'') by hand-span to the extent that only a hand-span should remain. When you have achieved certainty in this, intensify your strike to that of wild game on the ground <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 85v </ref>. <br />
<br />
Take care that the sword does not cut through the horse or through yourself (''takhraj al-faras aw takhrajka''). Do not grab the sword except in such a way that leaves room for free movement at the right side of the horse. If you find that you are not hitting [''il-lā labis'' unclear], do not strike from the left nor strike in the same way you have been doing before. Rather, thrust a good thrust at the reed while standing up in your two stirrups. Refine your hand on the sword, and do not hurry, you will push through (''fa-takhruj'', i.e., the velocity of the horse will force the cut through). However, your toes should remain in the stirrups, do not release your toes to the side of the horse, or you will be expelled from the stirrups. Be wary of this. <br />
<br />
[[File:JAMI' Al-Funun 7.pdf|200px|thumb|left]]<br />
<br />
(Text accompanying the image above, to the side, and below)<br />
<br />
"Depiction of the Green Reed"<br />
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"Practice with the sword on horseback"<br />
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"The reed and practicing on horseback <ref> Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn, 85v </ref>" <br />
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== '''References''' ==<br />
Agnès CARAYON, “La Furūsiyya Des Mamlûks: Une élite sociale à cheval (1250-1517), Doctoral Thesis in History (Arab World, Muslim, and Semitic Studies), Université de Provence Aix-Marseille, June 26 2012. <br />
<br />
Pseudo Ibn Akhī Ḥizām Kitāb al-makhzūn jāmiʿ al-funū, colophon 875 AH/1470-1CE, BnF Arabe 2824: https://gallica.bnf.fr/ark:/12148/btv1b8422958j.r=arabe%202824?rk=21459;2<br />
<br />
Shihab al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents,” in Mamlūk Studies Review Vol. VIII, No. 1 (2004).</div>Hparkercookhttps://wiktenauer.com/wiki/Angelo_PaternostraroAngelo Paternostraro2024-02-05T15:09:06Z<p>John Tse: Typo</p>
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<div>{{Infobox writer<br />
| name = [[name::Angelo Paternostraro]]<br />
| image = <br />
| imagesize = 200px<br />
| caption = <br />
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| pseudonym = <br />
| birthname = <br />
| birthdate = <br />
| birthplace = <br />
| deathdate = 16th century<br />
| deathplace = <br />
| resting_place = <br />
| occupation = [[occupation::Fencing master]]<br />
| language = {{plainlist<br />
| [[language::Middle French]]<br />
| [[language::Early New High German]]<br />
}}<br />
| nationality = <br />
| ethnicity = <br />
| citizenship = <br />
| education = <br />
| alma_mater = <br />
| patron = <br />
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| period = <br />
| genre = [[Fencing manual]]<br />
| subject = <br />
| movement = <br />
| notableworks = ''[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|Traité ou instruction pour tirer des armes]]'' (1595)<br />
| manuscript(s) = <br />
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| influences = <br />
| influenced = [[Girolamo Cavalcabo]]<br />
| awards = <br />
| signature = <br />
| website = <br />
| below = <br />
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'''Angelo Paternostraro''' was a 16th century [[nationality::Italian]] fencing master. He seems to have been a professional fencing master, and to have written his treatise by 1595 as it was published after his death. He was Roman and have been active in Rome: [[Torquato d'Alessandri]] named a ''Angelo Paternostraro'' among the masters teaching in Rome.<ref>"...the good and honoured masters of Rome, such as Messrs. Oratio and Cesare Cavalcabo, Camillo Paladino [sic], most excellent men, known as the Bolognese; Messers. Francesco and Vincenzo Marcelli, most exquisite men, known as the Abruzzese; and Messrs. Appio Castelli, Gio[vanni]. Angelo Paternostraro and Antonio Rinaldi, most fine and famous men, known as the Romans." [[Torquato d'Alessandri|D’Alessandri, Torquato]]. ''Il cavaliere compito''. Viterbo, 1609. p.109.</ref><br />
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Paternostraro's treatise covers the sword alone.<br />
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Paternostraro's manuscript was not published in his own lifetime, but it was credited and included in [[Girolamo Cavalcabo]]'s fencing manual (presumably as the "late Paternostrier of Rome") subtitled [[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|Un discours pour tirer de l'espée seule]] (A discourse on drawing the sword alone).<br />
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== Treatise ==<br />
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! <p>Illustrations</p><br />
! <p>{{rating|C|Draft Translation (from the German)}}<br/>by [[Kevin Maurer]]</p><br />
! <p>[[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]] (1597)<br/></p><br />
! <p>German Translation (1611)<br/></p><br />
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|- <br />
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| [http://docs.google.com/file/d/0B-fDw4TzmaMnZjFQWDdKc1BiQlU/edit Text to copy over]<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
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| work = Images<br />
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{{sourcebox<br />
| work = Translation<br />
| authors = [[translator::Kevin Maurer]]<br />
| source link = http://docs.google.com/file/d/0B-fDw4TzmaMnZjFQWDdKc1BiQlU/edit<br />
| source title= Meyer Freifechter Guild<br />
| license = noncommercial<br />
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| work = [[Nobilissimo discorso intorno il schermo (MS Italien 1527)|Archetype]]<br />
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{{sourcebox<br />
| work = [[Traité ou instruction pour tirer des armes (Girolamo Cavalcabo)|French Translation]]<br />
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| work = [[Neues Kunstliches Fechtbuch (Girolamo Cavalcabo)|German Translation]]<br />
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== Additional Resources ==<br />
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{{bibliography}}<br />
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== References ==<br />
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[[Category:Masters]]<br />
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[[Category:French]]<br />
[[Category:German]]<br />
[[Category:Copy/Pasting]]<br />
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[[Category:Rapier]]</div>John Tsehttps://wiktenauer.com/wiki/Matrak%C3%A7%C4%B1_Nas%C3%BBh_(Tuhfat_al-ghuzat)Matrakçı Nasûh (Tuhfat al-ghuzat)2024-01-10T16:21:43Z<p>Hparkercook: Added footnotes to sword section.</p>
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<div>{{Infobox writer<br />
| name = Matrakçı Nasûh<br />
| pseudonym = Matrakçı, Maṭraqī, Ṣilāhī, Naṣūhī<br />
| birthname = Nasûh ibn ʿAbdallāh<br />
| birthdate = late 15th/early 16th century<br />
| birthplace = Modern day Bosnia<br />
| deathdate = 958AH/1551CE<br />
| occupation = Janissary, Scholar<br />
| nationality = Ottoman Empire<br />
| education = Enderun Palace School, Constantinople<br />
| influences = {{plainlist<br />
| Mamluk Martial Arts Literature<br />
| Lāchin b. ʿAbdallāh al-Ṭarablūsī<br />
}}<br />
| genre = Military manual<br />
| language = Turkish, Arabic<br />
| notableworks = <br />
| manuscript(s) = {{plainlist<br />
| Süleymaniye Ktp., Esad Efendi Kol., Nr. 2205 <br />
| Millet Ktp., Ali-Emiri-Askeriyye, Nr. 219<br />
| İstanbul Belediyesi Atatürk Kütüphanesi, Muallim Cevdet Yazmaları, O.50<br />
| The Library of the Hungarian Academy of Sciences, Török, Nr. O.128<br />
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| wiktenauer compilation by= <br />
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| below = <br />
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Despite being one of the most celebrated polymaths of the so called 16th century “Golden Age” of the Ottoman Empire, not much is known about Matrakçı Nasûh’s life for certain. We cannot verify his name, birth date, and birth location based on present source materials. The most common name throughout all treatises ascribed to him is Nasûh ibn ʿAbdallāh. Based on contemporaneous histories and prosopographies, his death date is most likely 958 AH/1551 CE <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 7-8 </ref>. Overall, Nasûh is known for being a polymath during the reign of Suleiman I (r. 1520-1566 CE), authoring works in mathematics, poetry, travel, and martial arts and translating seminal Arabic language histories into Turkish. More recent studies have shown that while we can be certain that Nasûh authored the works of poetry, history translations, and his martial arts treatises ascribed to him, the other works are difficult to confirm as Nasûh’s <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 9-16 </ref>. <br />
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Biographies that appear more than 50 years after his passing ascribe Nasûh’s birthplace to the Balkans, more specifically modern-day Bosnia. It is clear that Nasûh was sent to the Enderun palace school in Constantinople during the reign of Sultan Bayezid II (r. 1481-1512 CE), during which time he studied under a notable poet. According to later histories, during this time Nasûh ostensibly became well versed in combative games to the point where he stood out among other students <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pg. 8 </ref>. Due to his success in martial arts, he was sent to Egypt to assess the troops there under a certain Hayr Bey (unknown), and to train them. Nasûh returned to Constantinople in 1530 in order to participate in the celebrations for the circumcision of the crown princes of Suleiman I. During this time, Suleiman I recognized Nasuh with a Title of Privilege (Tur. ''Berat'') signifying him as a “leader of arms-masters” (Per./Tur. ''Silahşor'') in 936/1530. The document describes him (as “Nasûh the weapons-master, ''Nasūh-i ṣilāḥī'') as one who could not be bested by any of those he encountered while in Egypt <ref> YURDAYDIN, ''Matrakçı Nasûh'', pp. 2-11, 70-71</ref>. In fact, the Berat claims that Nasûh instructed those he defeated in “elegant Arabic.” While it documents Nasûh’s mastery of the sword, mace, javelin, and bow-and-sword (with the sword balanced in the shooting hand), the Berat showcases Nasûh’s greatness in lance exercises. All in all, the Berat hails Nasûh as the “ultimate master” (Tur. ''Üstad-ı ser-amed'') and “Head of (Martial) Artists (Tur. ''reis-i hünermend'') <ref> YURDAYDIN, ''Matrakçı Nasûh'', pp. 70-71</ref>. In honor of the circumcision ceremony, Nasûh wrote a work of cavalry combative exercises and overall strategy, which he published in 938-9 AH/1533 CE. Entitled ''Ṭuhfat al-ghuzāt'' “Treatise dedicated to the Holy Warriors,” the 42-folio work was written mostly in Turkish with some sections in Arabic. <br />
<br />
Nasûh then accompanied Suleiman on his campaign in Iraq in 940/1534, during which time he took to writing history and translating seminal Arabic language histories into Turkish. We can confirm from numerous sources that Nasûh passed away in 958/1551 <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pg. 8 </ref>. Many works bearing his name, or various permutations, appear after his death – including mathematical works, travelogues, even miniature paintings for which Nasûh has become celebrated. Whether or not Nasûh authored them, or whether others with the fairly common name Nasûh penned the works cannot be determined given the available information <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pg. 9 </ref>. <br />
<br />
Later historians describe Nasûh as having been a master of ''maṭraq'', a cane fighting art meant to train swordfigthing. Some even claim that he was its inventor. Nasuh’s association with the art became such that he is often called “Matrakçı Nasûh” or “Nasûh the Master of the art of ''maṭraq''.” essentially cane fighting meant to train one in the proper use of sword arts <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 7; YURDAYDIN, ''Matrakçı Nasûh'', pp. 2-3</ref>. While documents such as the ''Berat'' praise Nasûh’s exceptional performance in many different combat exercises, maṭraq or any similar art is not called out. Likewise, the cavalry-focused ''Tuḥfat al-ghuzāt'' does not feature exercises that resemble maṭraq. <br />
<br />
== Treatise ==<br />
<br />
The mostly Turkish language “Treatise dedicated to the Holy Warriors” follows the genre-defining precedents that previous Arabic language martial arts texts have set. Recent scholarship has drawn on the three available manuscripts in collections in Turkey and Hungary as well as contemporaneous treatises featuring Ottoman cavalry exercise to present a critical edition, complete with limited illustrations <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 17-40 </ref>. The work bears a colophon dating to 938-9 AH/1533 CE and has script that is consonant with Nasûh’s translations of Arabic language histories <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pg. 89 </ref>. By and large, Nasûh’s material is his own as far as scholars can tell, but he draws on several Arabic language works on ḥadīth and histories for certain sections. In others, he makes use of one Mamluk Arabic language treatise (Lāchin b. ʿAbdallāh al-Ṭarablūsī (738/1338) ''Ṭuhfat al-mujāhidīn fī-l-ʿamal bi-l-mayādīn'') and now lost Turkish-Arabic treatises that seem to be translations of Arabic ''furūsīya'' materials (''ʿUmdat al-ṣilāḥ'', and ''Ṣilāḥshurnāma''). Nasûh cites ''Ṭuhfat al-mujāhidīn'' by name throughout ''Ṭuḥfat al-ghuzāt'' to showcase his knowledge of ''furūsīya'' material and also to situate his own work within the lineage of masters who came before him <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 37-40 </ref>. <br />
<br />
It is clear that Nasûh wrote this work to celebrate the circumcision festival of the crown princes of Suleiman I, and perhaps to cement his career among the palace guard. In terms of form and content, Nasûh clearly writes to place himself in the tradition of Arabic-language furūsīya authors, most notably Mamluk-era authors (r. 1250-1517 CE) <ref> See: al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents;” CARAYON, “La Furūsiyya Des Mamlûks” </ref>. In doing so, I would assert that Nasûh participates in efforts to legitimize the Ottomans as the new leading polity in the western Islamicate. Ṭuhfat al-ghuzāt is meant to demonstrate that Ottoman cavaliers are successors to their defeated foes, most notably the Mamluks in Egypt after 1517 CE. It is also meant to be a work that supersedes previous treatises. <br />
<br />
In typical fashion for Furūsīya treatises, ''Ṭuhfat al-ghuzāt'' begins with benedictions, an introduction praising those who support and participate in ''Jihād'', and lamentations over the state of soldiery <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 43-53 </ref>. It offers general pedagogical exhortations to remedy such issues that can be gained by reading the treatise – summarized in an “Ode to Weapons-bearers” (''Qaṣīda-yi ṣilāhshurān'') <ref> KARADENİZ, ''Tuhfetü’l-guzât'', pp. 54-55 </ref>. Following convention, Nasûh’s work is organized into four chapters (Ar. faṣl) dealing with particular weapons —in order: Bow, Sword, Mace, and Lance— and one chapter on troop organization, deployment, and tactics. Each chapter on weapons has a history of the weapon and exercises (Tur. ''ḥovpare'') devoted to it meant to be performed by troops in the ''maydān'' – a space for military exercise in Constantinople’s Hippodrome (today’s Sultanahmet Meydanı in Istanbul). All exercises are performed on horseback, and assume that the riders are also utilizing shields (''kalkan'', ''ḥaddād'') that can be maneuvered around the body and held in the left hand while shooting a bow. Nasûh equates his Exercises (Tur. ''ḥovpare'') with Forms (Ar. ''band'', pl. ''bunūd'')—a term that Arabic-language authors have used to describe formulaic exercises that one carries out against a compliant or semi-compliant partner (not unlike paired ''kata'' in Japanese martial arts traditions). <br />
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Featured here is Nasûh’s section on the Sword. As the reader will notice, the exercises have far more to do with the use of the sword as a sidearm to the bow than they do with swordplay in and of itself. However, from a more general perspective, Nasûh features sword techniques that are relevant to the development of saber-play overall. Most notably, the so called “mangonel cut” (''manjanīq'', meaning in Arabic and Turkish in general a “catapult”) in Form 2 and Form 9 can be considered a kind of mimicry of a catapult or trebuchet arm – that is, a descending ''molinello'' from the shoulder after threatening first with an ascending cut from the right as a feint. <br />
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{{master begin<br />
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{| class="master"<br />
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! <p>{{rating|C}}<br/>by [[Hamilton Parker Cook, PhD]]</p><br />
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| <p>'''Concerning Knowledge of the Use of the Sword—A Section that is Comprised of Ten Forms''' (''Ḥūpāra'')</p><br />
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<p>(Turkish) This second section is a description of the Forms of the Sword (''kılıç'')<ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 60</ref>. Know that from the time of the Prophets, peace be upon them, God has decreed from His sublime infallibility and lordly wisdom that humans should work against the corruption of the earth that is caused by the misguidance of infidelity. Humans should endeavor to purify the world from the grave sin of ignorance. God has decreed that the religion and state of Muhammad and the pillars of the religious Law of Ahmad (i.e., Muhammad) are as a single sword (''shamshir''), with which social harmony and political order might be established (''nizam ve intizam bula'').</p><br />
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| <p>Quatrain:</p><br />
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<p>It is the lowly dust of the earth that makes one corrupt. <br/><br />
This same dust of the earth, made into swords, can render one pure.<br/><br />
For within the sword is found: We sent down Iron (Qur’an 57:25)<br/><br />
About the sword God said: It has mighty power (Qur’an 57:25) <br/><br />
It is the sword that foils all enemies. <br/><br />
The sword upsets foes. Like a falcon, it rips apart ranks of troops. <br/><br />
Whatever I say of the sword, in sum: it is the Sultan of weapons.<br/><br />
Whatever is said about other weapons (like the spear) is vain boasting. <br/><br />
For the roses of the sword are the shield of Heaven’s Garden. <br/><br />
The sword’s hyacinths descend from Paradise’s lilies.</p><br />
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| <p>Know as well that God, the Truth, most mighty and exalted, gave the first sword to the Prophet Seth, by means of the angel Gabriel. This is also found in the ''Risāla-yi Ṭuhfat al-mujāhidīn'' (“Treatise dedicated to the Mujāhidīn”):</p><br />
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<p>(Arabic) “Indeed God, most mighty and exalted, made the sword descend from heaven by means of trustworthy Gabriel, to the Prophet Seth. God said to Seth ‘Take this tool (''ʿidda''). Let it be for you a means of succor, and an aid in establishing religion.’”</p><br />
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| <p>(Turkish) At that time, swords were entirely straight [that is, double edged and straight]. Later, at the time of the Sassanian Shah Yazdegird I (r. 399-420 CE), sword makers began to make swords curved (''eyri'', i.e., single edged and curved) <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 61</ref>. The reason that curved, single edged swords were produced was because of Zahhak, the paternal uncle of Yazdegird. The king entrusted a sword made of silver to Zahhak. However, a servant betrayed him. In the throws of a deep sleep, the servant found two opportunities for treachery: taking up the sword, he cut off the head of Zahhak, and then took the fine blade for himself. These affairs became known to the Shah Yazdegird. Thus, the king commanded in response, “From now on, let swords be stretched so that they are crooked. It does not befit swords to be straight if a servant can cut off the head of a master with the master’s own blade.” Some swords still remain straight even after this treacherous affair. Straight, double edged swords are nonetheless the most original form of the weapon.</p><br />
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| <p>As for the Sword: ''Dhū-l-Faqār'' (''Zulfikar'')</p><br />
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<p>They say that the famed sword of the Imam ‘Ali ibn Abi Talib (d. 40AH /661 CE), the Prophet’s cousin and son in law, was double edged and fullered. The sword was not forked in its tip, as the heretical Shiite “Rejectors” of the Rightful Caliphs say. Ali’s sword was instead fullered for the purposes to make it lighter (''khafīf''). It is also said that at the Battle of Badr (2 AH/ 624 CE), Ali took it as a part of his share of the war spoils. It is also said that Prophet of God took it for himself. In one narration, the Sassanid Emperor’s vicegerent in Alexandria, Muqawqis, sent it as a gift to the Prophet. Now, it has been explained here the significance and history of swords. After this section several Forms (''hovpare'') are mentioned, as well as their summaries (''mukhtaṣar'') culled from various Fighting Forms (''bunūd al-ḥarbīya'') and Essential Plays (''luʿūb aṣlīya'').</p><br />
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| <p>Poem:</p><br />
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<p>Of all manner of armament (''yarāq'') that exists, the greatest is the sword.<br/><br />
With a sword, one cannot be overcome, even if one’s state seems beyond salvation (''dirigh'')!<br/><br />
When a sword is drawn for combat, it is an act of glory.<br/><br />
It is the sword that wafts the fine perfume of blood to Heaven<ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 62</ref>. </p><br />
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| <p>'''The First Form – Winding In'''</p><br />
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<p>This Form is that of Winding In, the way it is employed is as follows: The riders should wind in from the right and from the left [ranks in which they stand in the ''maydān'']. When they arrive at the entrance of the ''maydān'', they should turn and attack [with the sword], and then retreat by circling around, ending up back where they were in the ''maydān''. At the end, they should shoot a bodkin arrow (''ḥarbīya'') then attack [with swords] <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 62 </ref>. </p><br />
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| <p>'''The Second Form – The Baldric'''</p><br />
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<p>This Form is that of the Baldric, the way it is employed is as follows: One rider should shoot at the opponent’s shield [''kalkan''] twice with bodkin arrows. After this, the opponent should shift his own shield behind his back, at which point the rider should seek to cut under the opponent’s armpits three times, ending with a Mangonel Strike [''manjanīq'', to the head – a ''molinello'' from the shoulder] followed by shooting a bodkin arrow. He should end in the ''maydān'' without further attacks<ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 62</ref>. </p><br />
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| <p>'''The Third Form – The Bodkin Arrow'''</p><br />
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<p>This Form is that of the Bodkin Arrow, the way it is employed is as follows: Shoot a bodkin arrow at the opponent’s knee. After this, stay in place, and prepare to hit with a shield strike [to defend against an incoming blow after shooting], turning the shield to the left and the sword to the right [to maximize defensive cover], then fire five bodkin arrows [as you circle the opponent]. Wheel back to the same location and shoot a bodkin arrow, followed by a sword strike<ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63</ref>.</p><br />
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| <p>'''The Fourth Form – Intercepting from the Right '''</p><br />
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<p>This Form is that of Intercepting from the Right, the way it is employed is as follows: The rider should stay in one place and fire a bodkin arrow. After this, he should turn and attack from the right. Then he should follow wind in further and seek to strike the opponent. The opponent will keep his sword behind him and over his knees [in defense]. Thus locking up any openings as the rider approaches the opponent’s legs, the two riders disperse from the ''maydān'' <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63</ref>. </p><br />
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| <p>'''The Fifth Form – Interception from the Left'''</p><br />
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<p>This Form is that of Intercepting from the Left, the way it is employed is as follows: The rider should shoot a bodkin arrow and then strike the opponent while initiating an attack from the right. At that moment, the opponent will seek to parry by putting the sword at the head then riposting with a turn toward the rider. When this occurs, the rider should parry the incoming blow with the metal boss of his shield (''ḥaddād''), and then enter into striking distance of the leg. The opponent should parry this, and right after, shift the shield behind him against any blows from behind. Placing their swords over their knees, the riders disperse from the ''maydān'' <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63</ref>.</p><br />
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| <p>'''The Sixth Form – The Oblique'''</p><br />
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<p>This Form is that of the Oblique, the way it is employed is as follows: The riders should turn toward each other and circle one another, with one seeking to attack with a turn out of the circle (''hov döne''). During the second circling, one rider should enter in and bind the opponent’s blade [who is trying to attack and turn out of the circle]. After this, the rider should have his horse stamp its foot, and seek to enter in the aforementioned way in the ''maydān''. The opponent will take up the shield [in surprise], in which case the rider can strike under it. The rider should take up his own shield over the right shoulder, because a riposte from the opponent will come. After this, the riders should disperse and fire bodkin arrows <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63</ref>.</p><br />
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| <p>'''The Seventh Form – Pursuing'''</p><br />
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<p>This Form is that of the Pursuit, the way it is employed is as follows: riders in the ''maydān'' should circle around each other. They will then open up the ''maydān'' and seek to attack each other one on one. After that, the riders should wheel around, and get within the distance of their respective opponents’ heads. The opponent will lean away from the incoming threat of the sword, at which point the rider should hit the head of the opponent with a Baldric cut [an ascending cut from the left; i.e. "a cut from the sheath on the baldric"]. After this strike, the opponents should disperse and fire a bodkin arrow <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63</ref>.</p><br />
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| <p>'''The Eighth Form – The Eternal'''</p><br />
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<p>The way it is employed is as follows: When one encounters a Baldric Cut [ascending cut from the left; i.e. “a cut from the sheath on the baldric”] wrapping in toward them, they should turn their shield behind them [over the right shoulder]. Then, they should take up their shield and strike the opponent’s leg with the sword. The opponent should lift their own leg and return to the ''maydān''. After that, the opponent should reach at the head of the rider, but then they will disperse and fire a bodkin arrow. Or, the rider will place his sword behind him, and seek to reach the head of the opponent from the side, and then reach the ''maydān'' as the opponent parries the blow<ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 63-64</ref>.</p><br />
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| <p>'''The Ninth Form – The New'''</p><br />
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<p>This Form is that of The New, the way it is employed is as follows: the riders should circle around each other and fire bodkin arrows. After this, one rider takes up entering in by coming in from the side. This rider should reach the distance of striking the opponent’s head. He should then pass his left foot to his right, placing the sword behind him, and strike with his shield, then use it to defend his knees. After that, as he passes again to reach the head of the opponent, the rider should bind up the opponent and get to a point where he can reach the opponent’s legs. While he is defending, the rider should be able to parry with his shield, and should be able to strike with the Mangonel Cut to the left and to the right. After this, the riders should turn and shoot a bodkin arrow <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 64</ref>. </p><br />
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| <p>'''The Tenth Form – The Essential'''</p><br />
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<p>This Form is that of the Essential, the way it is employed is as follows: One rider takes up entering in by coming in from the side, and should have his horse stomp its foot. After doing this [entire phrase of actions] around three times, the opponent should move his sword behind him, and strike at the back of the Teacher [i.e., the rider], and in response, the rider should take up his shield and turn and shoot a bodkin arrow. The rider should again take up his shield, move it behind him, and strike at the opponent’s leg. The opponent should stand still - moving his shield to his back and to the front as need be. In this manner, he should stand taking up his shield, attacking by turning to the left, protecting his back with his shield, again turning [to attack], again placing his shield on his back and to the front as need be. After this, he should protect his knees [with sword or shield], and the riders should disperse while attacking. In doing so, this Form becomes complete <ref> KARADENİZ, "Tuhfetü’l-guzât", pg. 64</ref>. </p><br />
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| class="noline" | <p>'''Concluding Remarks'''</p><br />
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<p>Now, these Forms of Combat in Battle (''bunūd al-ḥarbīya'') are ten. They have been explained in summary fashion. To complete one’s perspicacity in such matters, each Form should be performed in its proper location in the ''maydān'' (''maḥallinde''), all the while looking for the right opportunity to take advantage of the opponent by shooting as many bodkin arrows at them as is feasible (''harbīnin akthar ṭarīqi oldur'') <ref> KARADENİZ, Tuhfetü’l-guzât, pg. 64</ref>.</p><br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
| work = Translation<br />
| authors = [[translator::Hamilton Parker Cook, PhD]]<br />
| source link = <br />
| source title= Wiktenauer<br />
| license = default<br />
}}<br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
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== Additional Resources ==<br />
<br />
{{bibliography}}<br />
<br />
Matrakçı Nasûh, Tuhfetü’l-Guzât: Bir Silahşorluk risalesi, Ümran KARADENİZ ed. (Ankara: Türk Tarih Kurumu, 2019)<br />
<br />
Hüseyin G. YURDAYDIN, Matrakçı Nasûh (Ankara: Ankara Üniversitesi Basımevi, 1963)<br />
<br />
Shihab al-Sarraf, “Mamluk Furūsīyah Literature and Its Antecedents,” in Mamlūk Studies Review Vol. VIII, No. 1 (2004).<br />
<br />
Agnès CARAYON, “La Furūsiyya Des Mamlûks: Une élite sociale à cheval (1250-1517), Doctoral Thesis in History (Arab World, Muslim, and Semitic Studies), Université de Provence Aix-Marseille, June 26 2012. <br />
<br />
== References ==<br />
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{{reflist}}<br />
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{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Devon_WilsonDevon Wilson2023-11-16T16:39:59Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Robert_Preston_HyattRobert Preston Hyatt2023-11-16T16:39:48Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Christoph_AmbergerChristoph Amberger2023-11-16T16:39:17Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Elisabeth_VavraElisabeth Vavra2023-11-16T16:36:17Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Adam_FrantiAdam Franti2023-11-16T16:36:11Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Donald_J._La_RoccaDonald J. La Rocca2023-11-16T16:36:02Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Tobias_CapwellTobias Capwell2023-11-16T16:35:49Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Universit%C3%A4tsverlag_Winter_GmbHUniversitätsverlag Winter GmbH2023-11-16T16:34:49Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Arts_of_Mars_BooksArts of Mars Books2023-11-16T16:33:45Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Palgrave_MacMillanPalgrave MacMillan2023-11-16T16:33:35Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Gladiatoria_PressGladiatoria Press2023-11-16T16:33:02Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/VulpesVulpes2023-11-16T16:31:35Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Yale_University_PressYale University Press2023-11-16T16:31:15Z<p>Michael Chidester: Created page with "{{publisher catalog}}"</p>
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<div>{{publisher catalog}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Electronic_British_Library_JournalElectronic British Library Journal2023-11-16T16:30:14Z<p>Michael Chidester: </p>
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<div>{{DISPLAYTITLE:''{{PAGENAME}}''}}<br />
''[http://doaj.org/toc/1478-0259 Electronic British Library Journal]''<br />
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{{journal articles}}<br />
[[category:not Started]]</div>Michael Chidesterhttps://wiktenauer.com/wiki/Keith_AldersonKeith Alderson2023-11-16T16:16:52Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Jaime_GironaJaime Girona2023-11-16T16:16:14Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Ton_PueyTon Puey2023-11-16T16:15:32Z<p>Michael Chidester: Created page with "{{wiktenauer contributions}} {{author publications}}"</p>
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<div>{{wiktenauer contributions}}<br />
{{author publications}}</div>Michael Chidesterhttps://wiktenauer.com/wiki/Can_The_Bones_Come_to_Life%3F_Insights_from_Reconstruction,_Reenactment,_and_Re-creationCan The Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation2023-11-16T16:14:05Z<p>Michael Chidester: </p>
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<div>{{DISPLAYTITLE:''{{PAGENAME}}''}}<br />
* [https://www.freelanceacademypress.com/kzoovol1.aspx Volume 1]<br />
* [https://www.freelanceacademypress.com/kzoovol2.aspx Volume 2]<br />
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{{journal articles}}<br />
[[category:not Started]]</div>Michael Chidester