The Onion: Basics of European Longsword: Part 1

by Roger Norling | Oct 10, 2013 | Articles, Meyer Dagger, Meyer Halben Stangen, Meyer longsword, Meyer Rappier,Teaching & training methods, Techniques & interpretation | 0 comments

For the last year or so I have been working on a group of primarily longsword exercises based on studying fechtmeister Joachim Meyer‘s holistic system for training and fighting, focusing on the dussack, longsword and staff in combination with some additional mostly untutored practice of Portuguese Jogo do Pau. Some of the core questions have revolved around how to become more dynamic in fencing while also learning to fence in a more safe way that leads to fewer double kills.

A good friend recently compared this group of exercises to an onion that has many, many layers of sublime understandings that you train simultanously, in order to improve one’s swordsmanship. In a way that is a fair comparison I think, as you here will need to work with a focus on all aspects of handling your weapon and your body in relation to those of your opponent, often in a way that is somewhat unusual and perhaps even surprising to the practitioners of earlier Liechtenauer and Fiore fencing, but more recognizable to practitioners of Marozzo and Bolognese.

So, with this in mind, I will try to explain the various layers and how to work with them in an extensive series of some 15-20 planned articles, but first of all a brief explanation on the roots of the exercises.

Frequens Motus, Flow, Meyer and Hs.3227a

In his treatise of 1570 Joachim Meyer teaches the use of Zucken (Pulling), Wechselhauw (Changing Cut) andUmbschlagen (Striking around), i.e. leaving the bind without using the pressure from the bind, and striking again, or around. This is partly done with the help of a specific diagram depicting four series of four cuts to the openings that can be done with the two edges and both flats.

This humble diagram is seemingly quite simple but in reality very ingenious and even complex as a training tool, particularly when you consider the accompanying text that expands on what is shown in the diagram. What it does, is teach you how to cut to any opening from any stance, ie how to move from one cut to any other opening available, primarily using the Meisterhäuwe (Master Cuts), while also working with pulled strikes as well as feints.

Derived from this diagram, the main focus of the exercises in the forthcoming articles is on learning how to cut more dynamically, how to parry more fluently and more variedly, how to fence more controlled & learning how to identify when to counterattack.

Keep in mind that these exercises are not actual fighting stücken, but training of skills based on Meyer. However, much of it, even striking repeatedly, can be applied directly to combat and is even described in early treatises like the Hs.3227a from 1389, as examplified below.

If you win and do the first strike [Vorschlag] then he can either defend himself or let himself get struck. When you do the first strike [Vorschlag], regardless if you hit or miss then you should quickly and briskly do the after strike [Nachschlag] before he can come to blows. So when you wish to do the first strike [Vorschlag] then you should also do the [Nachschlag] quickly and speedily so that he cannot come to blows himself.

And you should also make sure that in all things concerning swordsmanship that you act before your opponent does. And as soon as you move before him and win the first strike [Vorschlag], at once do the after strike [Nachschlag].

You should never do the first strike [Vorschlag] if you do not have the [Nachschlag] in mind at the same time, meaning that you are always in motion [In motu seist] and do not rest or hold yourself back but does one thing after another quickly and decisively so that your opponent can’t do anything at all. (1) – – – With the word before [Vor] as has been told before, he [Liechtenauer] means that you with a good first strike [Vorschlag] shall close in without fear or hesitation and strike at the openings [Blossen], to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that he does not know what to do against you.

Then before the opponent can gather himself and come back, you shall do the after strike [Nachschlag] so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike [Vorschlag] and the opponent defends against this, in the defence you will always be first to reach the after strike [Nachschlag] before the opponent.

As soon as you can you should go with the pommel to the head or come in with the cross strike [Zwerchhaw] that is always good to do, or you can throw the sword forward crosswise in and by that enter into other techniques. (2) – – – … place your sword a bit in front of you. Then move into the barrier guard [Schrankhute] on both sides and try to find openings on both sides with good footwork. Then come into the lower hanging [Uenderhengen], do this also on both sides with proper foot- work. Then you should do the upper hanging [Oeberhengen ] on both sides with good footwork. Then do the cross strike [Thwer hewe] on both sides, and again with good footwork. – – – And always seek the upper opening [Obern / blossen] rather than the lower and go in over the cross guard. Consider the earlier teachings concerning all things so that you win the first strike [Vorschlag], and as soon as you have done so, then do the after strike [Nachschlag] without stopping or any hesitation or holding anything back. Almost as if you were trying to do them both at the same time. And always do one thing after another quickly and boldly, just so that if one misses then the other will hit home and is successful. Then the opponent will never be able to come to strikes himself. (3)

There are plenty of more examples like these in the fechtbücher (fencing books), describing cutting to the Ochs and Pflug (the four openings) using the Zwerchhauw (Across Cut), The Zornhauw (Wrath Cut), The Unterhauw (Under Cut), the Zucken (pulled strikes) and the Fehler (feints), further examplified in the Codex Ringeck.

Zwer (Across) to the Pflug (Plough) and add a hard one to the Ox

Glosa This is how you shall strike the Zwer (Across Cut) against the four openings when you go against someone. Note then when you against him in the Zufechten come, observe where he is open to you and leap towards him and strike in with the Zwer to the lower opening on his left side. That is called striking to the Pflug (Plough).

… When you have struck him with the Across Cut to the lower opening, then strike immediately around to him on the other side with the Zwer, from above to his head. That is called striking to the Ochs (Ox).

And continue to strike nimbly Zwer to the Ochs and the other to the Pflug crosswise, to one side – then the other. And cut him then with an Oberhauw (Upper Cut) to the head and then pull yourself back (Abzucken). (4)

Further, we also see it described more tactically in a stücke here:

Step in close in the bind the Zucken (Pulling) gives you good findings. Zuck! If it hits, pull again. Find openings to work: it hurts. Zuck in all hits If you wish to fool the masters.

Glosa. When you come against him in the Zufechten, then cut, from above, strongly in from your right shoulder to his head. If he binds with a Versetzen or suchlike, then step in the bind closer to him and pull your sword up away from his and continue cutting in from the other side, from above, to his head. If he displaces you a second time, then strike further to the other side from above and work nimbly to the upper openings, as is fitting, with the duplieren and other techniques. (5)

Note in particular how we are even told that the Zucken fools the masters. This is a strong and quite valid tactic to use against any opponent, but also dangerous to yourself if used unwisely. It is important to note that it requires a certain distance, usually attained or maintained by you stepping intentionally short or the opponent stepping back slightly. This distance gives you somewhat more safety and control, but requires self-control and toning down of aggression. Like Meyer says:

… so too it is no use to be overly aggressive with striking, or to cut in at the same time against his strokes recklessly as if with closed eyes, for this resembles not combat but rather a mindless peasants’ brawl. (6)

Note how Meyer not only says that we shouldn’t be overly aggressive with striking, but also not overdo the cutting in at the same time as “his strokes”. But, more on that later.

So, while this is an excellent training tool, it has direct combat applications. But more than that, it even forms the foundation of the fencing, according to Meyer. It is something we all need to learn properly, and which lies at the core of all swordplay:

You must be well instructed in the four openings, if you wish to fight at all surely. For whatever cuts and devices you may execute, however good they may be, if you do not know how to break off in each quarter, and to transmute the intended devices, transforming them into another more appropriate attack, always depending on how he fights against you and counters your devices, then it can befall that you are planning on one device for a particular opening, and yet he conducts himself against you such that another opening is more accessible; this opportunity will escape you, if you execute your intended devices without heeding other opportunities that arise.

Therefore be diligent always to fight flying fluidly to the four openings. For you have only three ways to cut and strike, that is with the long edge, short edge,and flat, from which all combat is assembled, directed at the four parts of the opponent; from these arise all other incidental techniques, such as pulling, doubling, running off, concerning which I have spoken enough already. (7)

The Onion

So, returning to the aforementioned many “onion layers” of this group of exercises: Here are some that we will work on specifically.

• Shifting grips enable better and safer cutting

• Cutting to the 4 openings using 3 “edges” and 2 flats, resulting in 19 cuts in 7 directions

• Adapting to the situation through flow training

• Shift in mentality towards safer fencing

• Protecting your hands better through proper striking mechanics

• Use of stances in relation to stepping

• Distance management

• Deeper understanding of Vor (Before) and Nach (After)

• Working in Vor and Nach

Most of these are connected and affect each other. Correct distance also require correct hand placement and grip to enable body & hand safety with good point control etc, etc. Most important of all is the mentality, where your own safety is more important than that of your opponent’s “unsafety”.

1. The stages of a fight and distance

The stages of a fight can partially be described through what distances they are fought at, as those require different types of tactics and techniques. Here we find three + one stages to discuss; Zufechten, Mittel (Krieg in Hs.3227a), Ringen and Abzug.

Zufechten (Into fighting)

Simply put, this is a distance where you can attack from with a single step, basically through super-extending yourself with your attack so much that a step is needed to avoid falling. Likewise you can also remain safe simply by just stepping back, or aside, in equal proportion to your opponent’s steps forward. This is about the distance from where you can just about reach out and touch the point of your opponent’s weapon with yours if you both extend them forwards, but it is also reliant on e.g. both of your reach, weapon length, agility and angle of attack. This is also the distance from which you normally make your first attack, your Vorschlag, using a passing step. Keep in mind that your Zufechten might not be the same distance as that of your opponent, depending on those variables.

Mittel (Middle)

This is tied to binding the swords after an initial attack. This is normally done close to the middle of the blade or thereabout, but can also be done at closer distance to the cross to gain better leverage quicker, but that also means greater risk of getting hit on the hands. Oftentimes it is more safe to remain in the bind and use leverage to control the opponent’s blade, working with the handtarbeit (handworks), like Winden, Zornort, Duplieren, Mutieren etc, but this is not true if the opponent chooses to step back somewhat while defending, standing on the edge of the Mittel.

Here considerably shorter steps, steps more offline and even no stepping with the strikes is more common.  The same goes for when you are attacked, where timing of hand and foot can be done separately, meaning you distinctly parry/bind first without stepping and then continue with your attack, sometimes with a passing step, but sometimes even striking “against” your leg.

Ringen (Grappling)

When you get even closer, or the weapons are entangled or caught with the hands, then moving into Ringen or Ringen-am-Schwert (wrestling at the sword)  is the logical next step. However, Ringen is also dangerous unless you are more skilled or clearly stronger than your opponent, as the closer you get, the less control and overview you have over the fight.

Abzug (Withdrawal/Pulling back)

Regardless if you hit or miss, you will sooner or later have to withdraw to gather your strengths, catch your breath and reevaluate the situation. This is Meyer’s Abzug or Abzucken in e.g. Codex Ringeck, Lew & Danzig, i.e. the withdrawal stage of the fight and it is done from the Mittel. Meyer consistently advocates doing this with a threat, usually a cut as you pull back, just to keep the opponent away. This is a good tactic both in sport and in earnest as you can’t rely on an opponent realizing that he should be dead from the cut or thrust he just received.

In Meyer’s words:

Then when he has executed his intention, he must judiciously draw away such that he does not receive harm at the end through overconfidence; and when it befalls because of some cause that arises, that he cannot come to his intent, then he shall not remain long before his opponent, so that he does not exert himself uselessly, but see how he can withdraw from him suitably, so that he may gather for a fresh attack, and thus skillfully make himself ready to address the shortcoming that held him off from his intent the first time. (8)

Another spiritually similar concept to the Abzug, although not specified as such by Meyer, is to control the opponent’s body with your arms or sword, like with the Hendetrucken, where you press your sword against the opponent’s arms, hard enough to cause pain, thus forcing your opponent to step back and/or pull back the arms, or the Durchlaufen, where you overrun your opponent and throw him. Neither of these are as safe as just withdrawing with a cut, but they fill a similar function of controlling the threat against you after you have landed a successful hit.

*

The focus for the exercises here is on working in Zufechten and the Mittel and particularly using the distance in between, or rather moving in and out of the two, working just outside of reach, at the edge of the Mittel, by stepping back slightly into safe distance as the opponent attacks, and then in again to counter-attack or retreat more if you are unable to. The exercises do not at this stage include stepping closer from the Mittel and working with techniques from the bind, apart from a few Duplieren-related cuts.

That’s it for now. The above will be tied in to and further explained and examplified in a series of articles. The currently planned list of topics is as follows, and these articles will be released regularly in the next few months:

1. The stages of a fight and distance (Published) 2. Vor, Nach & Nachreissen (Published) 3. The Schweche, the Mittel and the Stercke (Published) 4. Fuhlen, Indes, Hard and Soft, Weak and Strong and if you like; just fuck it all. (Published) 5. Kinetic energy, leverage, Versetzen and distance (Published) 6. Types of cuts (Published) 7. Mentality and tactics (Published) 8. Mess with the mind, then with the body (Published) 9. The point of stances (Published) 10. Shifting Grips (Published) 11. Cutting 12. The Line and protecting the hands 13. Leaning 14. Stepping 15. The Zwerchhauw, the Wechselhauw and the Verfliegen 16. Flow and Combat application 17. Solo Exercises 18. Partner Exercises

References

1. Hs.3227a. 38R. ca 1389AD. Translation by David Lindholm

2. Hs.3227a. 21R. ca 1389AD. Translation by David Lindholm

3. Hs3227a, 52V. ca 1389AD. Translation by David Lindholm

4. Codex Ringeck (MS Dresd.C.487). 29r. early 1500s. Translated by Roger Norling.

5. Codex Ringeck (MS Dresd.C.487). 41r-41v. early 1500s. Translated by Roger Norling.

6. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.15R) Translation by Dr. Jeffrey L. Forgeng

7. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.60R) Translation by Dr. Jeffrey L. Forgeng

8. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(B3R) Translation by Dr. Jeffrey L. Forgeng

The Onion – Basics of European Longsword: Part 2

by Roger Norling | Oct 18, 2013 | Articles, Meyer Dagger, Meyer Halben Stangen, Meyer longsword, Meyer Rappier,Teaching & training methods, Techniques & interpretation | 7 comments

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Continuing with part 2 in the Onion series of articles we will now focus on the topic of controlling the fight, or lack thereof and regaining it. In German terms these concepts are called Vor, Nach andNachreissen. These concepts are hugely important, but at the same time very hard for a beginner to sense and utilise, but they can be trained with the right set of exercises, while they build the correct mentality for both parties.

So, what do these concepts really mean?

2. Vor, Nach, Gleich & Nachreissen explained

Before we begin, I would like to remind you that it is a good idea to read the articles in this series in order, so if you haven’t done so already, then please read the preceding article in this series: The Onion: Vor & Nach flow exercises: Part 1

Picking up where we left off last time, with a quote from Meyer we read the following:

… so too it is no use to be overly aggressive with striking, or to cut in at the same time against his strokes recklessly as if with closed eyes, for this resembles not combat but rather a mindless peasants’ brawl. (1)

This exchange is further described with these words:

There is thus a constant changing and transformation between the Before [Vor]and After [Nach], for now your opponent gets it, now you in return. (2)

These two quote gives us a tiny glimpse into the fencing of Meyer’s time. Based on this, we don’t as much get an impression of short exchanges of a handful of strikes, but rather a complex of strikes where the “control” of the fight is shifted back and forth between the two fighters – fighters who certainly fight aggressively, but do it in a measured and judicious manner, as that is required to keep oneself safe and unharmed in a fight. Or in a single word; control.

Being in the Vor is precisely that, being in control. This doesn’t necessarily mean that you are attacking ormoving forward, even if it is preferable. It is more a temporal thing, with you being quicker than the opponent when attacking and defending. You can move backwards while parrying and still be in the Vor, comfortably controlling the fight by parrying the opponent’s too slow attacks. Conversely, you can strike aggressively while leaping forwards and still be in the Nach, as you are simply slower than the opponent, e.g. as a result of a miscalculation of distance and reach, mismatching of guards where your strike naturally is slower than the opponent’s parry, or you just having less stamina or agility than your opponent.

However, there is a distinct difference between being in Nach, being forced to parry without room for counter-attacking, and retreating while parrying comfortably, waiting for a good opening, or parrying whileretreating from someone you don’t want to fight or ‘kill’ at this time and place. In the former context you are not in control, but in the latter two you are. This is where the concept of the controlled withdrawal, theAbzug, comes in.

It is also my belief that the difference between Vor & Nach is only a very small temporal difference, pretty much undetectable to an outside viewer but perceivable to an experienced fencer and vitally important to understand and use, as one keeps attacking and defending using the static parries and the Maisterhäuwe(master cuts). To an outside viewer, both fencers will appear to be doing the same thing, with both working with the Versetzen, but one of the fighters will usually feel more crowded and threatened in any exchange.

The Versetzen, Drei Wunder and Duplieren

These are various tools that help you regain the Vor if you have lost it (or haven’t even found it). Simply described, a Versetzen is a cut that controls the opponent’s weapon, by ‘binding’ with one’s blade to that of the opponent, at the same time as the cut or thrust hits the opponent. It can be used both offensively as an attack, and defensively as a counter-attack that parries and preferably also hits simultanously, although it is not required to do so. Most of the Maisterhäuwe (The ‘Master Cuts'; Zornhauw, Zwerchhauw, Shielhauw, Scheitelhauw and Krumphauw) can be done as Versetzen.

Likewise, depending on the situation and distance you should be able to use any part of the weapon for attacking the enemy, the blade, the cross or the pommel, using the Drei Wunder (Three Wounders/Wonders); striking, slicing & thrusting. Oftentimes the latter two are quicker and safer to use from a bind than switching around with another strike. However, it is also possible to cut from the bind, with a Duplieren (Doubling), where you maintain the bind, but pull back the point somewhat and strike e.g. from the upper right to the upper left or lower right. Basically it is a winding cut instead of a winding thrust, although not to be confused with the Windthauw, which is a somewhat Rosen-like two-part cut involving a parrying cut from below transformed into a cut from above on the same side.

Regardless if you hit or miss with these Versetzen and Duplieren, you will put the pressure on the opponent to respond to your threats instead of vice versa, thus regaining the Vor. Or at least that is what you strive for. Of course, that is also what the opponent strives to do, using the very same techniques.

Still, against an opponent reluctant to stay in the bind, who prefers to work at somewhat more distance this is often difficult, and this particular tactic is to a high degree what this article series explores.

Gleich & Indes

Gleich, is another temporal, but also situational term, similar to the concept of Indes [Instantaneously], but seemingly with less of the deeper connotations of the latter, and Meyer uses both these words. Gleich here simply means acting simultaneously, at the same time, often ending up in a equal, neutral position. It can also carry the meaning of like, similar to and immediately.

The Simultaneously [Gleich] is when both you and our opponent execute your cuts at the same time [zugleich], which is also signified by the word Instantly [Indes]. (3)

In Meyer’s time Gleich appears to be as commonly used a word as Indes, but Meyer’s explanation of the word Indes still matches that of the older master’s quite well:

Many have believed that the word Indes has its origin from the Latin word intus [‘inside’], and indicates the inside combat, which arises from the windings and similar work; but you will hear now that this is not true. I leave the meaning of the word ‘intus’ to the Latinists, but the word Indes is a good German word, and embodies a serious exhortation to quick judgement, so that one should be constantly swift of mind.(4)

The deeper meaning of Indes, also expressed by Meyer here, is that Indes is more about a mental thing, having a quick mind that doesn’t dwell too long on what actions to  make, but responds intuitively, often using Fühlen, tactile sensation, to gather data on which to make a quicker decision, but also from trainingand experience, similarly to Silver’s concept of judgement, where we intuitively know what guards that match each other and what cuts and thrust that match other guards, cuts and thrusts.

Naturally, acting Gleich is of course very dangerous unless both of you seek a bind, as that will often lead to a double kill, but it is likewise a good practice as long as you both seek it. This is more problematic if one fighter is little experienced and does not respond logically or has a suicidal mindset of a kamikaze fighter, not caring for personal safety or physical integrity. This happens too often in our sparring, as our protective gear makes such behaviour possible without any real consequence. This is why it is so important to nurture a mindset in training that focuses more on taking turns in cutting, parrying and counter-cutting, rather than just trying to land a hit with every cut and counter-cut. (… so too it is no use to be overly aggressive with striking, or to cut in at the same time against his strokes recklessly as if with closed eyes). Still, with human behaviour being what it is, combined with this somewhat twisted sense of security, this ‘reckless’ fencing is something we need to learn to counter.

Which brings us to Meyer’s solution to the problem: Provoking the opponent to act in a specific way so you can control his weapon and counter-attack more safely.

Nachreissen

The Nachreissen (Chasing, Snapping After), alongside of the provocations and feints are what really messes up our desire to take the Vor, as they exploit our very ambition to do so, while we reveal new Blossen(openings) as we move. The reason for Meyer’s reasoning in the first quote in this article is likely based precisely on the danger that lies in trying to win the Vorschlag recklessly, without calculating all variables properly, thus exposing ourselves as the opponent slips back and voids our attack, and then counterstrikes.

As Meyer advises us on how to exploit such miscalculations:

And chasing is executed thus: if your opponent cuts with his weapon either too far up or down, or too far out to the side, then you rush after him at his opening and thus prevent his cut coming to completion; for this may properly be used against those who fight with their cuts sweeping wide around them. – – – When an opponent is fighting with you, then observe in which part he holds his sword. Now if he holds it in the right Ox, that is in the upper right quarter, then the moment he takes his sword away from there to change to the other side, or simply pulls up for the stroke, you shall cut in quickly and skillfully, using those cuts and techniques from which you can at once achieve a parry. (5) – – – Chasing is diverse and manifold, and should be executed with great judiciousness against combatants who fight inexpertly swinging around with long cuts. (6) – – – Also note that chasing is when an opponent goes too high upward, and you chase him below either with cutting or slicing as he draws up for the stroke; likewise if he strays too wide to the side, and you chase his weapon to the opening from above. And in all chasing, if he escapes you, be sure to turn your long edge against his weapon; and take good heed of the slice, for with it you can force him out of all his work. (7)

Five things are noteworthy here:

1. Nachreissen is used when the opponent over-extends in the cut.

2. Nachreissen is used when the opponent pulls back somewhat for a strike, either when preparing to make a strike or when leaving the bind.

3. A cut is better if you at once can achieve a parry from it, and following Meyer’s advice that you should attack the opening just revealed in a cut, that parry should involve moving to the stance you started your attack from. This is similar to what Miyamoto Musashi expresses about stances and cutting, always returning your sword in the path of your cut. (8)

4. Meyer wishes us to do the Nachreissen with a long edge bind, “chasing” the opponent’s sword, possibly because it is quicker to do without changing grips.

5. Meyer doesn’t like wide, swinging cuts, quite opposed to what is today sometimes claimed by HEMA fencers.

So, Nachreissen is about breaking the opponent’s movement earlier before it is completed, and the earlier the better. For that reason it has to be a very quick movement, often using a somewhat weaker cut, or a slice or thrust.

Alexander Bennett describes similar concepts, when describing theory behind Japanese naginata fighting and ‘striking opportunities’ (9) as defined by the All Japan Naginata Federation (AJNF):

1. Debana – Just as the opponent is about to launch into an attack.

2. When the opponent is moving back from a clash at close-quarters.

3. When they have completed an attack, and are temporarily physically or mentally spent.

4. When the opponent freezes, and is unable to react.

5. When the opponent is changing kamae [guard].

6. When the opponent is breathing in deeply.

7. When the opponent succumbs to any of the four “sicknesses” (shikai – ‘surprise’, ‘fear’, ‘doubt’ and ‘confusion’), or kogishin (the mind that experiences hesitation or doubt when executing a technique).

8. Kyo-jitsu – Falsehood and truth. In other words, bringing oneself into the jitsu (truth) state (showing no weakness), thereby forcing the opponent into the kyo state where they will reveal openings in their kamae. Strike when they are in a state of kyo, but be careful when they are showing great concentration and no weakness in the jitsu state.

This list is quite similar to what we see expressed in the European fencing treatises too, although with an added layer of psychology, looking to openings in the opponent’s mind and not justguards and movements. This is a layer Meyer too keeps returning to, refering to fencers who will not work, or who fences carelessly and overly boldly, and how to manipulate different personality types.

This provoking and acting in Nachreissen is hugely important in Meyer’s fencing and can be seen in almost every stücke, alongside of the Vorschlag and the Abzug.

The Abzug

The Abzug again is important in this context, as it is what allows you to regain your composure as you lose your wind & stamina or just feel that you have little control over what is happening, i.e. when you have lost the Vor. Withdrawing with a cut, gives you some room to rethink strategies and catch your breath while letting the strength return to your arms and legs.

…then he shall not remain long before his opponent, so that he does not exert himself uselessly, but see how he can withdraw from him suitably, so that he may gather for a fresh attack, and thus skillfully make himself ready to address the shortcoming that held him off from his intent the first time. (10) – – – … withdraw from him, if not with harm to him, then at least without injury to yourself. (11)

George Silver expresses similar ideas with his concept of the The ‘Place’ where we can reach the opponent, and the ‘True Place’, where we have outmanouvered our opponent to an optimal angle and place, so we can reach in with our attack but not be reached in return. Although this is the ideal place to be, neither of these are places where we are advised to stay in for long, in fact we are told to retreat to out of distance quickly, after landing a successful hit.

…but see you stay not at any time within distance, but in due time fly back or hazard to be hurt, because the swift motion of the hand being within distance will deceive the eye, whereby you shall not be able to judge in due time to make a true ward. (12)

This topic we will continue to explore in the following chapters of this article series. Next up is the topic of ‘The Schweche, the Mittel and the Stercke’ (Weak, Middel and Strong) where we will look a bit at the different parts of the sword and how they should be used. Beyond that, in the next few months we will continue to cover the following:

1. The stages of a fight and distance (Published) 2. Vor, Nach & Nachreissen (Published) 3. The Schweche, the Mittel and the Stercke (Published) 4. Fuhlen, Indes, Hard and Soft, Weak and Strong and if you like; just fuck it all. (Published) 5. Kinetic energy, leverage, Versetzen and distance (Published) 6. Types of cuts (Published) 7. Mentality and tactics (Published) 8. Mess with the mind, then with the body (Published) 9. The point of stances (Published) 10. Shifting Grips (Published) 11. Cutting 12. The Line and protecting the hands 13. Leaning 14. Stepping 15. The Zwerchhauw, the Wechselhauw and the Verfliegen 16. Flow and Combat application 17. Solo Exercises 18. Partner Exercises

Until next time, thank you for taking the time to read this and feel free to comment and share your ideas!

Roger Norling

References

1. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.15R) Translation by Dr. Jeffrey L. Forgeng

2. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.25R) Translation by Dr. Jeffrey L. Forgeng

3. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.25R) Translation by Dr. Jeffrey L. Forgeng

4. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.25R) Translation by Dr. Jeffrey L. Forgeng

5. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.17V-v1) Translation by Dr. Jeffrey L. Forgeng

6. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.59V) Translation by Dr. Jeffrey L. Forgeng

7. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.59v2) Translation by Dr. Jeffrey L. Forgeng

8. Musashi Miyamoto (1645 AD): Go Rin No Sho (Book of five Rings)

9. Bennett Alexander (2005): Naginata: The definitive Guide. Kendo World Publications, Auckland, New Zealand, p.81

10. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(B3R) Translation by Dr. Jeffrey L. Forgeng

11. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens(1.2R) Translation by Dr. Jeffrey L. Forgeng

12. Silver George (1605 AD). Brief Instructions upon my Paradoxes of Defence into modern English by Steve Hick

The Onion – Basics of European Longsword: Part 3

by Roger Norling | Oct 25, 2013 | Articles, Meyer Halben Stangen, Meyer longsword, Meyer Rappier, Teaching & training methods, Techniques & interpretation | 0 comments

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Time for part 3 in the Onion Article Series, this time taking a closer look at the parts of the weapon and how it relates to handling of distance and tactics. Simply put there are two ways of approaching the issue of controlling the opponent; either physically or mentally. But more on that later.

3. The Schweche, the Mittel and the Stercke

Physically controlling your opponent and his/her weapon can be done either with your body, or with your weapon and its features. To better understand this we need to look at how a regular longsword is divided into different parts. It has a hilt with a grip, a cross and a pommel. All these parts can be used for striking and  hooking both the opponent and his weapon. More common, of course, is to use the blade, which is further separated into a long and short edge, some times also refered to as the true and false edges. The long edge is the edge that is held down for the right-handed fighter and up for the left-handed, when the point is extended straight forward. The blade also has an outside flat and an inside flat. If you again stand with your sword aimed straight forward and the long edge down, then the outside flat points to the right, for a right handed fencer. Both edges and flats can be used for parrying as well as striking. The reason for the use of this terminology is so we can communicate which of the two edges and flats that is used in cutting, both when making specific cuts, but also when cutting from one place to another, thus making the body mechanics more logical and clear in instruction. Furthermore, which edge or flat you use is also relevant for deflecting and parrying the opponent’s attacks.

Nearest the cross of the fechtschwerte we also see a flared ‘schildt‘, meant to protect the hands by moving the bind further away from the hands along the direction of both the blade and the cross. At the opposite end we see the point, used for thrusting and cutting at soft targets, but also, and quite importantly, forprovoking and feinting cuts.

The blade can also be divided into first two more parts; the Schweche (Weak), the Stercke (Strong), and then there is a third, the Mittel (Middle), which is actually divided into a strong and weak part too.

Meyer himself describes this with the following words:

Now the blade has two distinct divisions, of which the first is into the forte [Stercke ] and foible [Schweche]… The forte of the sword is the part from the quillons or haft to the middle of the blade, the foible from the middle to the point or end, from which arises the division of the techniques… – – – From these divisions of the sword arise the proper full divisions, which are very useful in combat… The first is called the grip or haft; it includes the pommel and quillons, and is useful for running in, wrestling, grappling, casting, and other work. The second is the forte as I have said, useful for slicing, winding, pressing, and other things that are executed from the forte. The third part is the midpart; it is taken equally from the forte and foible around the middle part, and pertains to various work that may be used according to the opportunity. The fourth is the foible, appropriate for changing through, flicking, slinging, and such things that are executed at a distance, of which you will have plenty of examples later. (1)

All this is of course also very nicely illustrated in this ‘colour enhanced’ piece of art from Joachim Meyer’s 1570 treatise (2).

As described, the different parts of the blade lend themselves better or worse for particular techniques and the most common core principles that all these techniques are based on are two:

• either gaining better leverage by moving your strongest part of your blade (‘blue/green‘) close to the opponent’s weak (‘orange/red’), thus becoming stronger in the bind. This can be done directly in your first attack, with a thrust (Absetzen) or a cut (Versetzen), seeking the bind, or after a parry or displacement where no one successfully lands a hit (e.g. Zornort & Duplieren). In German terms, this is the Winden (Winding), part of the Mittel/Krieg (Middle/War).

• or using the opponent’s greater leverage or power against him by “giving in” and moving one’s blade into another opening, like with the Schnappen (Snapping) and the Zucken (Lifting back).

Simply put, you ‘meet strong with weak and weak with strong’, as the quoting of Liechtenauer in the Hs.3227a says:

Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be? (3)

However, there are more options too, e.g using cuts and thrusts with the furthermost part of the blade, at longest distance,  for:

• Provoking the opponent to respond in a desired way, giving you a new opening that it will be difficult for him/her to return to and cover quickly enough.

• Feinting, so he/she will over-extend trying to seek control of your blade with parries or Versetzen, thus giving you an even bigger opening.

• Harrassing as with the Verfliegen (Flitting), Schlaudern (Slinging), Schneller (Flick), and the Zeckrur (Tag Hit), where you make quick non-lethal cuts that are more meant to put pressure on the opponent, to overwhelm him/her while you push for the proper ‘killing’ blow, thus maintaining the Vor.

Of course, with all these three, you should land the attack if you have the opportunity to do so.

All three examples given above are as much about controlling the opponent mentally as they are about controlling him/her physically, being more of mindgames playing on the opponent’s experience (or lack thereof), fear and/or over-eagerness to attack.

Note also that is perfectly possible to deflect a blade using the middle or the ‘orange‘ part of the blade as well, cutting hard against the ‘green‘, as described several times by Meyer himself. Furthermore, although one can parry and get great leverage in the ‘blue‘, parrying in the ‘green‘ is safer for your hands, while still giving you good leverage. This latter aspect is important and something one notices more clearly when fencing with no gloves.

Rotation points

All bladed and staff weapons have rotation points around which you rotate them in different circumstances, particularly after your first strike, the Vorschlag, has been parried, as you move to make your second strike, the Nachschlag, or if you start from an extended stance like Pflug, Ochs or Langenort. These points are not fixed and for some weapons, like a staff, vary broadly, while on shorter weapons it is less apparent, especially if they have some form of cross, since that naturally limits your possibilities of working with varying rotation points. Using these rotational points make it easier and quicker to move the point to where it needs to be (in the opponent’s face), regardless if you are in or out of a bind, but it can also mean that you lose some power in the strikes, thus making such actions more suitable for harrassing cuts like the Verfliegen, Schlaudern,Schneller and Zeckrur.

This happens thus: in the Onset or the middle of the work, when you cut at your opponent’s opening, and he goes against you to catch your stroke in the air, then do not let his blade connect with your sword, but pull the stroke back in the air with a single motion to another opening. (4) – – – If he will also parry this, then pull that away too; and thus let it flit from one opening to another until you can find an attack that will hit. (5) – – – let it flit, begin with it, and send the hits to all four targets. (6)

The Flick or Tag-Hit is not actually delivered as a cut, but is rather flicked; it is executed in the middle of combat when one has occasion, namely when you make your weapon snap at your opponent from above or from either side or from below with the flat or foible of the blade, or flick it in an arc over or under his blade. (7)

This is simply when you let a cut fly with a fling against your opponent’s head… This Slinging Cut shall fly just as a stone is thrown from a sling. (8)

Or as Paurñfeyndt describes the Schlaudern:

Slinging is taken from the high guard, hew against him with the long edge to his left ear [hitting with the short edge], if he displaces you, then make like you will pull, but remain with the short edge on his left ear, pull and sling from below with the flat to his right ear. (9)

Note in particular how Paurñfeyndt here, some 50 years ahead of Meyer, actually advises us to strike the opponent with the flat of the blade.

For a longsword, the most ‘natural’, but not only or even most commonly used, rotation point is the same as the balance point found when you try to balance your sword horizontally on your hand and in fighting, it should be kept near ‘the line‘ (the ‘middle line’ between you and your opponent’s intended target), thus setting the hands and the point of the blade on opposite sides of the line.

Finally, a short note on intentionally using the cross. Meyer has several examples of this, e.g;

… then go up with horizontal quillons and catch his stroke in the air on your shield or quillon bar. (10) – – – Wrench his arms to the side with your shield and quillons (11) – – – Push him away from you with your quillons and shield before he recovers (12)

Oftentimes in the older treatises, we see the cross used for hooking or pushing the opponent’s sword away, but seldom do we see as clear advise on parrying with the cross and wrenching the opponent’s arms.

Next time we will begin to cover the topic of power and leverage.

1. The stages of a fight and distance (Published) 2. Vor, Nach & Nachreissen (Published) 3. The Schweche, the Mittel and the Stercke (Published) 4. Fuhlen, Indes, Hard and Soft, Weak and Strong and if you like; just fuck it all. (Published) 5. Kinetic energy, leverage, Versetzen and distance (Published) 6. Types of cuts (Published) 7. Mentality and tactics (Published) 8. Mess with the mind, then with the body (Published) 9. The point of stances (Published) 10. Shifting Grips (Published) 11. Cutting 12. The Line and protecting the hands 13. Leaning 14. Stepping 15. The Zwerchhauw, the Wechselhauw and the Verfliegen 16. Flow and Combat application 17. Solo Exercises 18. Partner Exercises

Until next time, thank you for taking the time to read this and feel free to comment and share your ideas! Have a great weekend everyone!

Roger Norling

References

1. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.4V) Translation by Dr. Jeffrey L. Forgeng

2. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens. Translation by Dr. Jeffrey L. Forgeng

3. Hs.3227a. 22V. ca 1389AD. Translation by David Lindholm

4. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.18V) Translation by Dr. Jeffrey L. Forgeng

5. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.28V) Translation by Dr. Jeffrey L. Forgeng

6. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.45R/B) Translation by Dr. Jeffrey L. Forgeng

7. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.15v1) Translation by Dr. Jeffrey L. Forgeng

8. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.19r1) Translation by Dr. Jeffrey L. Forgeng

9. Paurñfeyndt Andres (1516): Ergrundung Ritterlicher Kunst der Fechterey (52r) Translation by Kevin Maurer

10. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.14R-V) Translation by Dr. Jeffrey L. Forgeng

11. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.52v1) Translation by Dr. Jeffrey L. Forgeng

12. Meyer Joachim (1570): Gründliche Beschreibung der Freyen Ritterlichen und Adeligen Kunst des Fechtens (1.59r1) Translation by Dr. Jeffrey L. Forgeng

The Onion – Basics of European Longsword: Part 4

by Roger Norling | Nov 8, 2013 | Articles, Meyer Halben Stangen, Meyer longsword, Meyer Rappier, Teaching & training methods, Techniques & interpretation | 1 comment

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This time we will start moving into somewhat more unexplored and unmapped territory, working with various clues gathered from different places, to help us guide the way through the (wide) distance. The working theory is that there is a certain distance that many of us need to learn to fight at and utilize moreintently and not just pass through or end up in – a distance that is little discussed in the “German” treatises, as it just didn’t need as much explaining for our predecessors since it was common practice to utilize it and thus the authors chose to focus on the more difficult issues and techniques. Let me explain…

Two different ways of fighting

All fighting is ultimately about controlling one’s opponent physically and pretty much regardless of what fencing style we look at there are basically two different approaches to do this, here and now not countinggrappling with sword. These two approaches are also naturally closely connected to different distances.

1. First of all we can work at long distance, in Italian terms the Gioco Largo. In German terms this concept is not as clearly defined or much discussed, only using the term Zufechten for the distance where you need to take a step to be able to hit the opponent, but where you can also step back to into safety if the opponent steps and attacks you.

2. Second we have the middle distance, the Mittel or Krieg, working with the bind (crossed swords), or in Italian; the Gioco Stretto. This distance involves ‘binding’ or crossing the swords literally in the middle of the blades. In a neutral stance this is done with the blades pointing somewhat above the heads of each other, basically standing in the stance of Sprechfenster (speaking window), but in practicality and much more commonly; with both fighters struggling for better leverage, trying to strike or thrust from the bind in a “safe” way.

Images of the middle bind, the Sprechfenster, from Mair, Medel and Wilhalm.

This type of fencing is described very nicely for example here:

… as Aristotle said in the book Peri Hermanias; opposita iuxta se posita magis elucescunt / vel exposita oppositorum cui autem [opposed near him set wise men shine forth or abandon opposition]. Weak against strong, hard against soft and vice versa . Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be?

Therefore learn well to feel [Fuhlen] in the swordplay. As Liechtenauer says [Das Fuhlen] learn how to feel. In an instant/just as [Indes] is a sharp word. Thus when you find yourself on another’s sword and feel [Fuhlen] well if he is weak or strong at the sword, then at once [Indes] follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. (1)

This type of fighting is in a way more technical and difficult, in German called the Edele Krieg (‘Fine’ War) and therefore also discussed in depth in the treatises, as mastering it can give you more safety than fighting from Zufechten, since in Zufechten you mostly have to rely on mental control over the opponent, as physicalcontrol is difficult at such distance. However, if you are not trained in the handling of the Krieg, then the situation is exactly the opposite; you run a higher risk at getting hurt when fighting in the Krieg, and here is where the Art comes in, as we are trained to exploit certain mechanical principles to be able to defeat opponents with greater strength, speed and stamina.

However, this treatise focus on the Edele Krieg in my opinion gives us a somewhat false picture, a picture that seems to tell us that it is more important to learn fighting from the bind than fighting from longer distance. We should be very careful with such notions as the early treatises give little advise on thefrequency of the use of the various distances and associated techniques and combat principles. Meyer unusually however, tells us that half the fighting should be done with the Zwerchhauw, which is significant, especially when mirrored against advise in the earlier treatises of Hs.3227a and Ringeck, already described in earlier chapters.

The Thwart is one of the chief master techniques [Meisterstuck] with the sword; for you shall know, if the Thwart did not exist in modern combat [‘fighting of today’], then fully half of it would go out the window, particularly when you are under the opponent’s sword, where you can no longer attack with long cuts through the Cross (2)

This is very important to understand as we otherwise risk over-complicating our fencing, ending up fighting too much at close distances that put us at risk, trying to more frequently use the complicated techniques than make sense in a fight. And as we run little risk of any real consequences in our protective gear, such behaviour goes largely ‘unpunished’ and can even work reasonably well in sparring or tournament fighting, due to many fencers not being used to such ‘peasant’s brawling‘ and use of rule sets that allow for it in a way that naked skin doesn’t.

But, before we move on to the long distance fighting, we will again have a brief look at what the middle fighting involves.