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Ewart Oakeshott - Sword in the Age of Chivalry, Historiaaa
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The Sword in the AGE of Chivalry
Ewart Oakeshott
with drawings by the author
THE BOYDELL PRESS
Page 4
© R. Ewart Oakshott 1997
All Rights Reserved.
Except as permitted under current legislation no part of this work may be
photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast,
transmitted, recorded or reproduced in any form or by any means, without the prior permission of
the copyright owner
First published 1964
Reissued 1994
The Boydell Press, Woodbridge
Reprinted 1995
Reprinted in paperback 1998
ISBN 0 85115 362 3 hardback
ISBN 0 85115 715 7 paperback
The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12
3DF, UK and of Boydell & Brewer Inc.
PO Box 41026, Rochester, NY 14604-4126, USA
British Library Cataloguing-in-Publication Data
Oakeshott, Ewart
Sword in the Age of Chivalry.-New ed
1. Title
623.441
ISBN 0-85115-362-3
Library of Congress Catalog Card Number: 94-5438
This publication is printed on acid-free paper
Printed in Great Britain by Athenæsum Press, Gateshead, Tyne & Wear
Page 5
Preface to the 1994 Edition
This book, having been prepared and published in the early 1960s, contains many errors in the
matter of the dating of swords. Since then, thirty more years of thought based upon many significant
archaeological finds have exposed these errors. My publishers and I have decided not to amend the
actual text, but rather to add an appendix wherein these errors are corrected. Further finds and more
study will inevitably bring about the need for yet further amendments. Any publication of
archaeological research must always be subject to the possibility of new evidence calling for a
change of mind, and for any true scholar this must demand an admission of error. To avoid
confusion, I ask my readers to refer constantly to this appendix because all of these reassessments,
and all of this fresh thought have appeared in my
Records of the Medieval Sword
(Boydell Press,
1991).
Those of my readers who are already familiar with my work will know that I write in a
conversational style. I believe that a person-to-person approach is more likely to be appreciated by
those for whom I write, than a strictly academic one. I am not, nor ever have been, an "expert", and I
will not write merely for the benefit of experts. The words "amateur" and "dilettante" have become
pejorative. An amateur is held to be a person of no consequence who interferes with matters which
he does not understand, while a dilettante is considered to be a human butterfly who flits with
frivolous insouciance from one enthusiasm to another. But to be referred to as "a renaissance man"
is considered (and rightly so) to be a great compliment, and yet all three of these expressions mean
(or used to mean) the same thing. The amateur, the lover of his subject, is one who does not follow
only the particular and narrow discipline in which he works - that is the function of the expert - but
encourages his attention to stretch away into the study of any or every thing even remotely
connected with it. That, too, is what the true dilettante must do. In the case of the study of armour
and arms, and of their corollary, the ethics of elegant combat, a constant study of history is basic. It
is also necessary to be able to practise what is preached.
Long ago - more than fifty years ago - I found that in order to do justice to a real study of the sword,
not just to have a love-affair with it, I had to wander off into fascinating by-ways; it was essential of
course to
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study not only the history of the period, but its art, and not only its art, but its literature - all of it,
from saga, chronicle, will and inventory to love poems and pub songs and other frivolities. These
things, and only these things, can give some understanding of the
Zeitgeist
of a period without which
there can be no true appreciation of a sword or a war-harness, or indeed of anything else.
These by-ways, which always led back to the main road, took me far away from England, for most
of the material I needed came from Europe and Asia - from Ireland to Siberia and from Finland to
Andalusia. I also had to learn how to wear armour and ride in it, and to heft the sword. These
splendid things are not simply ancient artifacts buried in the ground of times past, to be dug up for
the benefit of the egos of 20th century experts. They were objects of everyday use by real, very
simple people - objects also of mystery and veneration.
So: I am indeed an amateur, whose aim is to arouse the interest of any person who cares to read what
I write, to be helpful to the student of history or culture or art, and to increase the pleasure of those
who collect these splendid things - and now, in these days, of all those who so eagerly and skilfully
use them in combat.
When this book was in preparation in 1962, I wrote a preface in which I acknowledged my
indebtedness to several eminent authorities, working in the field of arms and armour studies, for
their support and encouragement. Thirty-two years on, those personages belong to history and there
is little point in reiterating this acknowledgement but if, now, I were to try to thank by name all
those who support me, a mere preface would be totally inadequate. So I make a general, wide-
ranging expression of deep gratitude to all who may read this, wherever they may be, all over the
world. It is to them - to you - that I owe the will and the ability to go on working in this most
fascinating field of study as my eightieth year rapidly approaches; and it is for you I write. Without
the warmth and appreciation of so many people - some close and dear friends, some interesting
acquaintances to whom I hope to get closer, and some known to me only by their letters - I would be
a spent force.
So thirty years on I do not make acknowledgements to great authorities of the past, but I say thank
you, to all of you who still regard my work as useful, and without whose encouragement I could no
longer function.
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