Monday, 7 July 2014

Medieval Monday: Equipment

It's another Medieval Monday, and today, I'm looking at the most important activity for any heroic figure in a medieval setting- shopping. It's a weird thing, but in medieval stories, epic poems and so on, often we hear more about the hero's equipment than about their personal characteristics. Indeed, in many cases, we get the impression that the biggest difference between them and anyone else is the stuff they're carrying about. In many ways, the RPG thing of spending hours poring over equipment lists and digging out that plus one sword of general light entertainment is a more accurate representation than people think.

Swords are an obvious one. Arthur had Excalibur, but his wasn't the only sword of note in stories from the middle ages. El Cid had Tizona. Roland had Durendal. Even the swords that didn't have names of their own were typically described in terms of their quality and makers. Raoul de Cambrai's sword is described as being the next best sword in existence to Durendal, pointing to a kind of shared awareness of this process of talking about the quality of the weapons. There was also a tendency to talk about the swords being forged by particularly famous or even mythical smiths, from the "Galant" who forged de Cambrai's blade to Wayland Smith, who gets cited in all sorts of places.

It wasn't just swords though. That focus is a modern one. The stanza after we hear about Raoul's special sword, we hear about a golden shield. The stanza before, we hear about a helmet proof against every blow. Armour was a big deal for writers in the middle ages, and indeed, the way fight scenes are written in the literature, it is often the big thing. Modern movie fight scenes are about grace and skill and movement. Written medieval ones are mostly about personal strength set against the strength of the opponent's armour. Often, we find detailed descriptions of armour giving out beneath the strength of particular blows. I'm not saying that's an accurate description of how fighting happened, but it is how it was portrayed in fiction.

Perhaps a part of that is because there was an element of reality to it. The simple fact was that the people who could afford thick armour and good weapons had an advantage over those who couldn't. It wasn't an unfair advantage in their eyes so much as a symbol of their greater nobility and higher birth, which of course made it right that they should be able to beat up all those poorly armoured peasants. Indeed, a big part of the whole issue of becoming a knight was not nobility per se (barons, earls etc would have been insulted if you'd called them a knight in the early part of the period) but simply the ability to afford the armour.

Tuesday, 1 July 2014


I'm worrying this month about the notion of not writing well enough. Two things have sparked this. One is reading through the 2014 Best SFF as part of some reviewing I'm doing. Another is working through some re-writes on a piece. The one is about the idea of all this incredible writing right in front of me, while the other is about being told outright that something needs work. Which is an occasional occupational hazard.

But there's the other half of that, which is about other people's standards. At what point does wanting to write to the standard of something else spill over into not wanting to write like yourself? Not wanting to be yourself. I know I have a particular voice, so at what point does that become a problem? How much is it worth changing things, and at what point should you push back and say that doing so isn't going to work.