Monday, April 30, 2012

Changes in Byzantine tactics between the sixth and tenth centuries


Beginning in the year 330, the Byzantine Empire used its well-trained and flexible military to outlast its Western Roman counterpart by a millennium.  The Byzantines celebrated their highest degree of success between the sixth and tenth centuries. Their borders reached their peak under the emperor Justinian I. Justinian began one of the greatest building programs of the Middle Ages, spreading Byzantine artistic and architectural influences throughout Europe. The emperor Heraclius defeated the longtime rival of the Byzantines: Sassanian Persia. But it was the Byzantine army that made all of this possible.  The Byzantines left many military manuals for posterity, which allow us a greater understanding of Byzantine military theory than nearly any other medieval style of warfare. By using these manuals, as well as other historical sources which corroborate their use, we can see not only the changing tactics of the Byzantine army, but also the influences that shape the Byzantine army.
In the fifth century, the Byzantine army began to solidify in its general structure, which would last through at least the eleventh century. Through encounters with the Huns and other nomadic steppe-cavalrymen, the Byzantines established an army in which the mounted-archer was the dominant force.[1] By the sixth century, the mounted archer became the primary arm of the Byzantine military. Sixth century military manuals such as the Strategikon and the Anonymous Byzantine Treatise on Strategy (henceforth Strategy) describe the Byzantine cavalryman in depth. The Strategikon, attributed to the emperor Maurice at the end of the sixth century, describes the equipment expected to be carried by a Byzantine cavalryman:
They should have hooded coats of mail reaching to their ankles, […] carrying cases; helmets with small plumes on top; bows suited to the strength of each man […] cases broad enough that when necessary they can fit the strung bows in them, with spare bow strings in their saddle bags; quivers with covers holding about thirty or forty arrows […] cavalry lances of the Avar type, […] swords[2]

 describes the Byzantine cavalryman as both a mobile archer and as a shock-charge soldier: “On horseback at a run he should fire one or two arrows rapidly and put the strung bow in its case… and then he should grab the spear which he has been carrying on his back.”[3] Strategy also treats the ideas behind the cavalry formation: “it too possesses its own kind of forcefulness in attacking, since it does not fall upon the enemy in a slow or measured way but charges at full speed. This charge is really terrifying to men who have not had years of combat experience.”[4] What emerges is a picture of a body of cavalry which would approach their enemy, loose several volleys of arrows against their opponents, and then charge in on the enemy while they’re still recovering from the arrow storm. While knights in Western Europe required support from peasant archers and infantry, the Byzantines developed a system in which their cavalry could be self-sufficient. However, the Byzantines did not force their cavalry to do it all.
The Byzantines did train infantry for battle as well as for garrisoning cities and forts. The basic formation for Byzantine infantry was the phalanx. This infantry formation was meant to complement the use of cavalry on the battlefield. While the cavalry became the primary arm of action for the Byzantines by using their high mobility to strategically maneuver against the enemy, the infantry became the solid block of the army which was used to hold ground. Strategy describes the formation of the phalanx: “A phalanx is a formation of armed men designed to hold off the enemy. It may assume a variety of shapes: the circle, the lozenge, the rhomboid, the wedge, the hollow wedge, and many others.”[5] The strength of the phalanx formation is evident in the Strategikon, where Maurice describes that the infantry phalanx should be used to protect the more valuable cavalry formations: “If the army wants to draw up for battle, but not actually engage in fighting that day, and the enemy charges against our cavalry… they should not await the charge in their position… but should move in behind the infantry.”[6] The phalanx formation often forms the center of the battle-line, and therefore would be expected not to break. This strength was meant to work in close accordance with the maneuverability of the Byzantine cavalry. While the infantry could never hope to be as mobile as the cavalry, there were instructions for different maneuvers for both branches.
In the sixth century, maneuver had become the hallmark of the Byzantine military. Strategy makes the argument that “very few people nowadays have any practical knowledge of tactics,” and sets out to educate its readers in the fine arts of maneuver.[7] It describes the types of movement that the phalanx can move: “the regular march, the change of front, the changing of its own formation, uniting a phalanx which has been split up, dividing a unified phalanx.”[8] The Strategikon provides the types of maneuvers which would be given for maneuver on the battlefield. These orders include phrases such as: “give way”; “turn, threaten”; “to the left/right, change front”; “about face”; and “change place.” The orders to “give way” and to “turn, threaten” describe orders to present a false retreat before wheeling about upon your enemies.[9] Changing front to the left or right is done in response to a threat from that direction, or to swiftly maneuver to one side or another. It is a maneuver which forces each man in the formation to turn individually, which means that the formation does not move, but the front of the formation changes its formation.[10] The orders to “about face” and “change place” both move the formation around 180 degrees. When the commander gives the order to “about face,” each man pivots in place, while the order to “change place” causes the whole formation to turn by marching out.[11] Maurice also describes to us the need to use surprise attacks and maneuvers, especially when the Byzantines were outnumbered: “it is better… to try to employ different surprises and tricks as much as possible rather than engage in a pitched battle which involves dangers which could prove fatal.”[12] This becomes a common sentiment in the Strategikon and Maurice continually stresses the importance of maneuver and flexible formations.
Maurice writes in Greek, the common language of the Byzantine Empire, but most of the orders listed in the Strategikon are listed in Latin. This is evidence that despite the major shift away from the Roman style of fighting (legionary infantry acting as the primary military arm), the Byzantines cling to their Roman military heritage by preserving  their military language. The order to “Give way. Turn. Threaten” translates from the Latin “Cede. Torna mina.”[13] The order to march in line comes from the Latin “Equaliter ambula.”[14] The Byzantines also mimic their Roman ancestors by making use of a large officer corps. Besides the general and his personal staff, there are merarchs (also called stratelates and includes the lieutenant general) who command the largest formations, the meros. Beneath the merarchs are the moirarchs (also called dukes or chiliarchs) who command detachments of two-to-three thousand men. Below the moirarchs are the counts (also called tribunes) which oversee the individual formations which are called tagmas or bandons and which consist of three-to-four hundred men. Within each tagma are the hekatontarchs, ilarchs, dekarchs, pentarchs, tetrarchs, file guards, heralds, and standard bearers.[15] This extended officer corps is a strict meritocracy and is very reminiscent of the Roman obsession with organization. We have seen the influence of Roman military heritage on the military manuals of the sixth century.
These manuals were not simply written as practices in military theory. They were put to use on the battlefields and off, and the evidence is quite clear. The general Belisarius, after his victories against the Vandals, returned to Constantinople and was celebrated in a traditional triumph. This traditional celebration, according to Procopius, had not been celebrated since the emperors Titus and Trajan.[16] Belisarius, during his defense of Rome against the Ostrogoths, utilized his cavalry in an unusual way. He sent two hundred soldiers under a commander named Trajan to attack an Ostrogothic camp. The cavalry detachment moved to a hilltop and enticed the Goths to leave their camp. The Goths moved out against this small force and the Byzantines began successfully showering arrows upon their enemies: “And since their shafts fell among a dense throng, they were for the most part successful in hitting a man or a horse. But when all their missiles had at last failed them, they rode off to the rear with all speed.”[17] The Goths chased the Byzantine cavalry back to the walls of Rome, where the defenders upon the walls began firing upon them with bows and siege engines.  The Goths suffered nearly one thousand casualties because they couldn’t match the mobility and versatility of the Byzantine cavalry.[18] Another example of using the Byzantine maneuverability to surprise and defeat an opponent came under the leadership of the emperor Heraclius. When the Persians failed to surprise Heraclius with an attack at dawn, Heraclius ordered his men to execute a false retreat. The Persians pursued and broke ranks. Then, the Byzantines wheeled about and decimated their Persian enemies.[19] This is not just an example of Maurice’s maxim of using surprises and tricks, but also an example of the orders to “Give way” and then “Turn, threaten.”
By the ninth and tenth centuries, the Byzantines had seen an explosion in the writing of military manuals. Sources such as the Anonymous Book on Tactics, the Taktika by the general Nicephorus Ouranos, and the Praeceptra militaria and Skirmishing, both possibly by the emperor Nicephorus II Phocas, all combine to show the depth and breadth of Byzantine military theory. The Praecepta militaria lists several distinctions of cavalry. In addition to basic mounted archers, the Praecepta lists light cavalry (called prokoursatores) and heavy cavalry (kataphraktoi). The prokoursatores would be used as scouts before battle, and during battle would be used to “stir up” an enemy which is hesitant to engage.[20] The heavily-armed and armored kataphraktoi would be formed into a large wedge and used in a classic cavalry shock-charge:
 “The triangular formation of kataphraktoi must then carry on at its pace and its front line must strike against the commander of the enemy formation… the enemy will be put to flight… they will smash the heads and bodies of the enemy and their horses with their iron maces and sabers, they will break into and dismember their formations, and from there break through them and so completely destroy them.”[21]

 This is likely an influence from Byzantine interactions with Western Europeans, who stereotypically over-relied on the heavy-cavalry shock-charge. This shows the continued shaping of the Byzantine military by foreign sources. This shows a definite shift from the concept of a highly versatile cavalry corps to a more specialized variety of cavalry types. These new cavalry variations could not possibly match their sixth-century counterparts for their wide range of skills, but could likely be more effective in their individual uses. If the three types of tenth-century cavalry could coordinate their actions effectively, they could prove to be much more devastating. This type of coordination required even more precision and training than it did in the sixth century. This demonstrates a major change in the Byzantine military.
Through these examples we see not only the changing tactics of the Byzantine army, but also the influences that shape the Byzantine army. The sixth century manuals clearly demonstrate the importance of a flexible, versatile core of cavalry which work in conjunction with infantry to out maneuver their enemies. The tenth century manuals stress the importance of a variety of highly specialized cavalry. And we have seen aspects of these manuals enacted in the historical record. The Byzantine military, through its flexibility and effectiveness, helped the Byzantine Empire last one thousand years.


~Written by Shelby Harris


[1] Edward N. Luttwak, The Grand Strategy of the Byzantine Empire, Cambridge, MA: Harvard University Press, 2009, 56.
[2] Maurice, Strategikon, trans. George T. Dennis in Maurice’s Strategikon: Handbook of Byzantine Military Strategy, (Philadelphia: University of Pennsylvania Press, 1984), 12.
[3] Maurice, 11.
[4] Anonymous, “The Anonymous Byzantine Treatise on Strategy,” in Three Byzantine Military Treatises, Translated and edited by George T. Dennis, 9-136, (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1985), 59.
[5] Strategy, 47.
[6] Maurice, 144.
[7] Strategy, 47.
[8] Strategy, 59.
[9] Maurice, 39.
[10] Maurice, 39.
[11] Maurice, 39.
[12] Maurice, 93.
[13] Maurice, 39.
[14] Maurice, 38.
[15] Maurice, 16-17.
[16] Procopius, History of the Wars, Books I and II: The Persian Wars, translated by H.B. Dewing, LaVergne, TN: Dodo Press, 2010, 106.
[17] Procopius, History of the Wars, Books V and VI: The Gothic War, translated by H.B. Dewing, LaVergne, TN: Dodo Press, 2010, 97.
[18] Procopius, The Gothic War, 97.
[19] Theophanes, “Chronographia,” trans. Harry Turtledove in The Chronicle of Theophanes, Anni mundi 6095-6305 (A.D. 602-813), (Philadelphia: University of Pennsylvania Press, 1982), 15.
[20] Nicephorus II Phocas, Praecepta militaria, in Sowing the Dragon’s Teeth: Byzantine Warfare in the Tenth Century, trans. and edited by Eric McGeer, 12-60, (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1995) 27.
[21] Nicephorus Ouranos, Taktika, in Sowing the Dragon’s Teeth: Byzantine Warfare in the Tenth Century, trans. and edited by Eric McGeer, 88-164, (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1995) 129.

Thursday, April 26, 2012

Hollywood Knights: The Lion in Winter


“What family doesn’t have its ups and downs?”


The Lion in Winter (1968) was a movie I only discovered a few years ago, but has quickly become one of my favorite films. This film has played a major role in my studies, as it helped to take my passing interest in the Plantagenets and turn it into an obsession. As such it makes a great starting point for my first movie review. Please bear with me, I am not a professional film critic and have no real authority on the subject. It may take me several reviews to really hit my stride, and maybe at that point I will revisit this film.
The criteria by which I will grade films will differ from many critics to better fit the point of this blog. While entertainment obviously takes precedence when talking about film, historical accuracy, costuming, and action sequences will also play major roles in my grading. The criteria are as follows:
·         Plot: Does the story make sense? Does it flow well? Is it original?
·         Cast: Are there notable actors? Do they act well? Is the dialogue good?
·         Cinematography: How does the film look? Are the special effects good?
·         Music/Sound: Is the music good? Does it fit the film? Is the audio of good quality?
·         Historical Accuracy: Is the film realistic? Were events portrayed correctly? There shouldn’t be much nit-picking here.
·         Costuming: Are the costumes historically likely? Do they reflect the characters well? Do they look good?
·         Action: Are the fights well choreographed? Do they capture the spirit of historical combat?
·         Overall: The average score for the film.

Plot: 9/10

The Plantagenets conspire ruthlessly to achieve their ends, leading the story on a winding and unpredictable course. The story is original, and fits neatly together with the earlier Becket (1964), featuring Peter O’Toole in his first turn as Henry II.
                Henry struggles with his wife, Eleanor of Aquitaine (Katherine Hepburn), his sons Richard (Anthony Hopkins), Geoffrey (John Castle), and John (Nigel Terry), his mistress Alais (Jane Merrow), and his rival King Philip of France (Timothy Dalton) while trying to determine who is to inherit the throne to his massive empire. While this may sound confusing, the movie is actually quite simple and easy to follow. The plot makes complete sense, and motivations are well defined throughout the film.

Cast: 8/10

                Peter O’Toole and Katherine Hepburn were both major stars at the time of this film, and both were nominated for Oscars (Hepburn tied for best leading actress and O’Toole lost for best leading actor). These two had incredible chemistry and deftly portrayed the love/hate relationship of Henry and Eleanor. The dialogue between these two alternates between vicious and heartwarming, often in a matter of seconds. These two alone make this a worthwhile film.


                Sir Anthony Hopkins delivers a very strong performance as Richard, bringing an intensity that stands in stark defiance of the blustery King Henry. Timothy Dalton also impresses as King Philip, appearing every bit the prideful young monarch he was written to be. John Castle seems to have captured the emotionless Geoffrey he was supposed to portray, but I feel his performance could be improved upon. And Nigel Terry played his role perfectly, even if this version of John is less than compelling.
                All in all, the important characters are expertly played, and the other characters are at least convincing.

 Cinematography: 7/10

                This film looks fantastic. I am continually shocked by the quality of the cinematography from the 1970s and earlier, and it seems that so many movies since then have not lived up to their standard. Almost every shot is carefully framed and dramatically lit. There are a few wide-angle shots in the film that include too much random action to really interest the viewer. But, in a world of high-definition, this film has to lose at least a little bit just for showing its age, but not so much as to bore younger audiences just because of the way it looks.

Music/Sound: 4/10

                This is one of the weak points of the film, at least for me. There are moments of what should be excitement or action which remain completely silent. And when the music kicks in, it seems to me to be a distraction. The music often seems overly dramatic and suddenly loud. For the most part the sound effects are appropriate, but those moments of silence are glaring, and sound effects for large moments of action seem cheesy.

Accuracy: 9/10

Yes, the story is fictional. But it is incredibly well-researched. The story deftly captures the personalities of Henry II, Eleanor of Aquitaine, and Richard as they have been passed down to us through history. And aside from several minor anachronisms (Christmas trees, syphilis, paper), everything seems authentically medieval. This is partly achieved by filming on location in southern France and in Ireland, in monasteries and castles. Importantly, there is nothing that is glaringly inaccurate, except for perhaps that there was not a Christmas Court that particular year. But again, this is a fictional event. It is true that the young Prince Henry died early, that Eleanor, Richard, and Geoffrey all had rebelled against their father, and that the familial relationships between them were strained. And Richard's sexuality is still hotly debated, with current opinion swinging more toward him having been homosexual.

Action: 3/10

                There are only three instances of “action” in this film: a beach ambush in the beginning, a fight between two guards, and a brief fight between Henry and all three of his sons. Mostly, this score is low because the fights were painfully boring.
The ambush was shot entirely in wide angle and was slow paced, but wasn’t in any way important to the plot anyway.
The fight between the guards had no excitement, but at least benefited from ending in a realistic manner: two men wrestling on the ground and one ultimately stabbing the other with a dagger.
And the “fight” between Henry and his sons was mostly just twitching. I don’t think Richard ever actually moved, and the other two hid behind him while Henry tried to appear as if he was thrusting.

Total: 6.9/10

Ultimately this film is much better than its overall rating. The poor combat brought down the score, but this movie is not an action movie at all and you probably shouldn’t watch it if that’s all you’re looking for. While the score might end up being lower than some future films, it will probably be one of the best posted, and is highly recommended.


Written by Shelby Harris

Wednesday, April 25, 2012

Welcome

Welcome to the new Stirling Mercenaries blog! We hope to keep this blog updated alongside our Facebook page with interesting, in depth content ranging from movie reviews, essays, photo albums, and more!

This will be a work in progress, so please bear with us. Also, if you have any idea for new content, please let us know. And if we start to become too preoccupied to post here, please remind us!