Longsword Lichtenahuer

Table of Contents 1. History & Basics

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2. Strikes, Cuts & Thrusts

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3. Master Strikes, Pt 1

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4. Master Strikes Pt 2

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6. Master Strikes, Part 4

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7. Four Displacements: Versatzungen

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8. Fight Tactics

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9. Advanced Techniques Techniques 1

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10. Advanced Techniques Techniques 2

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Appendix A: Ringeck’s Commentaries

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Appendix B: Class Structure

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Appendix C: Class Drills & Games

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Appendix D: German Martial Glossary

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Appendix E: Assorted Resources

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1. History & & Basics

A historical introduction introduction to Liechtenhauer Liechtenhauer and German longsword fighting traditions. Work through the Veir Leger.

A. Historical Origins Source Material !

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The teachings of Master Johannes Liechtenhauer, Liechtenhauer, mid 14th century, as written down by Sigmund Ringeck, a fencing master to the Duke of Bavaria in the early part of the 15t h century The Goliath Fechtbuch c.1500, whose verse is strikingly similar to Peter von Danzig’s of 1452. Hanko Dobringer Fechtbuch from 1389 Hans Talhoffer 1467 Fechtbuch We have roughly two dozen surviving manuscripts attributed to t he teachings of Liechtenhauer, Liechtenhauer, but none are i n his hand that we know of. It is a complete system that is based on the mechanics introduced in the longsword teachings including: Dagger fighting, Wrestling, and Armored Combat on foot and on horseback References to the Liechtenhauer works continue to show up in manuscripts all the way to the 17th century works of Jacob Sutor.

Current Interpretations !

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The original Ringeck commentaries were in an archaic German language (Swaibian), and was presented in mnemonic verses called merkverse Christian Tobler: Tobler: Secrets of Medieval German Swordsmanship & Fighting with the German Longsword Ochs Video: Liechtenhauer’s Longsword, Part 1 David Lindholm: Sigmund Ringeck’s Ringeck’s Knightly art of the Longsword

B. Veir Veir Leger (Four Primary Guards) Demonstrate the four guards. guards. Explain the origins of their names, and their potential uses.

The Four Guards There are only four basic positions which are useful in combat, this are Ochs, Alber, Alber, Pflug, and vom Tag. Tag. The first guard: Ochs (the Ox) / Stand with your left foot forward, hold your sword at the right side of your head, your point point directed at his face. The second guard: Pflug (the Plough) / Stand with the left foot forward and hold your sword at your right side above your knee,with your hands crossed, your point directed at his face. The third guard: Alber (the Fool) / Stand with your right foot forward and hold your sword in front of you you with your arms extended, extended, your point point directed at the ground. ground. The fourth guard: vom Tag Tag ("From the Roof") / Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended. And in this book, you’ll find written down how how to fence from from these guards. guards. ! ! ! !

Discuss the traditional use of the term ‘Guards’ as opposed to ‘positions.’ Stances generally refers to foot placement and weight distribution. Any position in which you can stand, or move with the sword has a corresponding corresponding position name. Lines of attack and defense are opened and closed based on which guard is adopted.

C. Footwork ! !

Basic foot placement in the stances Center of balance and body stance

Footwork Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the Page 3

left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side. If you strike from the left side and you do not follow the blow, blow, it too is wrong. wrong. That is why no matter from Stepping is not just a matter which side you are striking follow the blow with the same foot. So you will of improving power, but range, and edge placement as well. succeed in all techniques. techniques. This is how you shall strike all blows.

Types of Stepping !

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Gathering or Lunging is generally done on the tightrope (i.e. on line forward or backward), and is used merely to change the range between you and your opponent. opponent. This step does not tend to Strikes should be timed alter your defensive profile. profile. Skeletal power is generated by the leading foot. foot. so that impact power is Passing can be done on or off line. Your defensive profile changes with each step. maximized by foot / Skeletal power is generated with each step. Exchanging your feet is done in place. Exchanging is used to alter the feet position, hip / shoulder motion and alignment. and generate skeletal power with the sword. sword. Generally, Generally, the front foot is brought backward, and placed next to the rear foot, which is then moved forward and/or outward. Skeletal power is generated generated when the second foot lands. Compass Stepping is used to move move drastically off line. It is a passing step in which the rear foot first passes forward and outward. The second foot foot then follows off line, and swings outward outward before it lands. lands. The swinging motion of the second foot generates a lot of skeletal power as it lands.

D. Drill Explain the purpose of Drilling (See Appendix B: Class Structure)

Vier Leger Drill Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -Left Ochs -- Right Alber -- Left Langort - pivot

E. Play Time Explain the purpose of Play Time (See Appendix B: Class Structure)

Roman Focus Game Using good Using good hand hand protection, partners attempt to slap each other’s hands with the boffer dagger. dagger. Only the the hands are valid targets. targets. Both hands must stay in front front of your body at all times. Free advice: advice: keep moving!

F. Open Sparring Explain the purpose of Open Sparring (See Appendix B: Class Structure) BE SAFE! Review Review Safety Safety & Intent Reminder Reminder from the Begin ning of class

Recommended Minimum Sparring Gear ! ! ! ! !

Modified shanai longsword Three Weapons Fencing Fencing Mask / Helm Padded gloves / gauntlets Neck protection / gorget Cup

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2. Strikes, Cuts & Thrusts Nebenhut, Targeting, Edge Control & Ansetzen

A. Review Key Concepts from Previous Sessions !

Vier Leger Drill

B. Strikes, Thrusts & Cuts ! ! !

Oberhau & Unterhau Releasing forward hand for extra thrust distance Pull & push cutting

Body Mechanics !

Footwork for range change and increased power

Footwork Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Ober hau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and can not travel in i n its proper arc towards the left side. If you strike from the left side and you do not follow the blow, it too is wrong. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows. !

Skeletal alignment with arms, hips & shoulders

Keep tip on line and threatening the face of the opponent.

Ansetzen: The Hanger Point ! ! !

The dangers of powerful strokes and following t hrough too far Sword tip is in position for immediate thrust This is unarmored combat.

Edge Control ! !

Swords do not cut with the flat. With any thrust, cut or strike, you want the tip or edge to be perpendicular to the impact target to ease the breaking of the skin, and the entry into the flesh.

C. Striking Pattern Drill ! ! ! !

First set starts in Right Vom tag: UpR, LowL, LowR, UpL Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL Third set starts in Left Vom tag: UpL, LowR, LowL, Upr Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowR

D. Play Time

Move your feet, control your edge, Watch your tip

Baton Striking with Edge Control Game (from Ochs: Longsword DVD) One partner wears a mask mask and protective gloves. He grips a baton in both hands so that there is at least 8” of space between them. As he circles and moves, he will present present the baton in front, or beside himself representing representing target openings. openings. The other partner strikes the baton with an appropriate strike, strike, cut, or Master Strike. Careful attention should be paid to range, staying in an appropriate guard, striking power, power, and edge placement.

Thrust Targeting Targeting Game (from Ochs: Longsword DVD) This game is just like the Baton Striking game, but uses thrusting target as the focus.

E. Open Sparring Explain the purpose of Open Sparring (See Appendix B: Class Structure) Review Safety & Intent Reminder from the Beginning of class Work on hanger point, and edge control

Recommended Minimum Sparring Gear ! ! ! ! !

Modified shanai longsword Three Weapons Fencing Fencing Mask / Helm Padded gloves / gauntlets Neck protection / gorget Cup

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The Zornhau Plays including Abnemen, Mutieren, Duplieren, and basic Winden.

A. Review Key Concepts from Previous Sessions ! ! !

Vier Leger Drill Stepping & Striking Striking Pattern Drill

B. Introduce New Material Introduction to Master Strikes ! ! !

Special ways of swinging the sword to alter the ini tiative in a fight. More of a set of tactical techniques than anything. You must have good fundamental skills in footwork, ansetzen and edge control to make these work.

Historical Source & Background The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade.

Intercept his blow near to you & far from him.

When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength , pull your sword upwards, away from his. And Step left as you then strike to the head from the other side, also along his blade. When you strike a “take off”: Abnemen strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from from above. When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast. Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head.

Step into the wind & thrust

If he “takes-off”, turn the long edge outward & push hard into the flat of his blade as he comes back down.

You must notice notic e immediately, immediat ely, if someone is weak or strong at the sword if he bin ds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, ously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat close-combat (Krieg), this is nothing else than Winding (Winden) (Winden) at the sword. sword.

The techniques presented here are covered in depth in a later class.

In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under "durchführen") "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.

Mutieren and and Duplieren Duplieren against the four four openings: openings: These are the four openings you should aim at in combat. The first opening is the right Tactical Advice Advice side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. exposes. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s he’s up to, fence securely and you’ll hit so outstandingly, outstandingly, that he’ll not be able t o get through with his own techniques. Page 6

If you want to break one of the four openings by force, then "Dupliere" at the upper open ing, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot cannot defend himself and he will not be able to either strike or thrust. Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, im mediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, body, strike him diagonally through the face. Or strike him hi m on the head. Mutieren: If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides.

Doubling is done from farther out, but you must step step off-line toward your opponent’s pommel as you do this.

Done from close in, again stepping toward his pommel. Think of this this as gathering his blade. This one requires requires DEEP stepping,and wide motiions.

Notes on Zornhau Plays & Their Organization ! ! ! !

There is a lot going on here. These have a random / illogical feel to their order. There are plays, counters & counter-counters going on here to introduce the sense that a fight has a flow to it. This Master Strike Stri ke is only launched from Vom Tag. Tag. You could come from another position, position , but you would pass through Vom Tag on your way.

C. Drills ! !

Striking Pattern Drill Vier Leger

Winden Drill: Clockwise & Counter-Clockwise Counter-Clockwise (from Ochs: Longsword DVD) Work Work large circles moving through through the eight windings clockwise and counter-clockwise. Keep pressure on the blades, and maneuver toward a position from which a good thrust could be executed.

D. Play Time !

Baton Striking with Edge Control & Thrust Targeting Games from Ochs: Longsword DVD

E. Focused Sparring to Improve Timing Followed by Open Sparring ! ! ! !

Safety & Intent Review Explain Focused Sparring concept, and details for its application. (See Appendix B) Work Work on various Zornhau plays. Actively engage in binding swords. swords.

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4. Master Strikes Pt 2 The Krumphau Plays and the Schrankhut Guard


Zornhau, Strike of Wrath Abnemen, Taking Taking off Winden, Duplieren & Mutieren

B. Introduce New Material A New Guard- The Schrankhut ! ! !

The barrier guard Thumb Grip on both sides Blade flat against opponent From Goilath: Of the Barrier Guard: Put yourself thus in the barrier guard to your left side: when you come to him with it in the prefencing, then stand with the right foot forward and hold your sword near your left side to the ground with crossed hands, so the short edge is above, and give an opening with your right side, if he Strikes to your opening, then burst out of the strike toward him with the left foot well to his right side. . . .

Historical Source & Background The Krumphau: This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the t he strike with your right foot towards his left side and with crossed hands strike against his hands using the point.

Use a deep, fast step, strike with the very tip of the sword to ensure the proper range.

This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head.

You need to get get under his sword for this one. one. Strike with the short edge.

If you want to weaken a master, then while he strikes an Beat his sword aside by striking it on the flat Oberhau from his right side strike a Krumphau with with the thumb grip as you enter Schrankhut. crossed hands against his sword. When you strike him with the Krumphau against his sword, from the sword immediately strike upUse short edge at close range. If wards against his head with the short edge. Or after the Krumphau wind farther out: wind and thrust. the short edge at his sword and thrust him into the breast. When he strikes an Oberhau from his right shoulder, pretend pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point through under his sword and wind your hilt over your head and to your right side. Then thrust him in the face.

One fluid motion, range is critical, step in with the trust

This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended.

You must be in a very strong position for this. A step in as as well.

Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. other. This is called the "noble war" and wit h this you’ll confuse him so much , that he will not know how to defend defend himself against your your attacks.

Winden

Notes on Krumphau Plays ! ! !

To use many of these plays, you must step far and fast. You must have quick hands. In Schrankhut, you feel like a coiled spring. Page 8

C. Drills Vier Leger Drill Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -Left Ochs -- Right Alber -- Left Langort - pivot

Master Strikes Drills Step through Krumphau Master Strike from right & left sides using ALL guard positions

D. Play Time ! !

Baton Striking with Krumphau Winden Game from Ochs: Longsword DVD

E. Focused Sparring to Improve Timing, Followed Followed by Open Sparring !

Work on various Krumphau plays and counter plays

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5. Master Strikes, Pt 3 The Zwerchau Plays and various types of Feints

A. Review Key Concepts from Previous Sessions ! ! ! !

Zornhau, Strike of Wrath Winden, Duplieren & Mutieren Krumphau to the hands Krumphau to the blade

B. Introduce New Material Historical Source & Background The Zwerchhau The Zwerchhau counters (literally "breaks") all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make (make a large, large, explosive step) step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head. This is how you can work with the stark (strong) (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him -at the If he binds with sword- on the head behind his blade with your his long edge, then double hands crossed. crossed. Or cut him trough trough the face. When you bind at hi s sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head. If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword.

Push his sword backward and downward with your hilt.

Push cut as you step in, break his balance with your elbow, body and knee, his left foot must be forward.

If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.

This is similar similar to Step #4 above, but you need to force force his sword down

A defense against against the upper upper Zwerch: Zwerch: When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under hi s sword.

Step to the left, your hilt will be near your face, and being under his sword will protect you. If you are far ther away, step step back out of his range, and hit his arms.

This is how you can strike strike to the four openings openings with the Zwerch: Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "strik ing towards the plow" ("zum Pflug schlagen").

Keep your hilt up high when striking to the lower openings. openings.

When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head. When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.

Tactical Advice Advice

Instructor Demonstration & Explanation Followed by Whole Class Step Through !

Follow Ringeck’s Ringeck’s Tactical Tactical advice in the final paragraph, except that a more straight ahead step may be required when more distance must be covered. covered. Page 10

C. Drills Intermediate Guards Drill Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Nebenhut - Zornhau -> Alber - short edge Unterhau -> pivot ( Repeat on opposite side)

Master Strikes Drills ! !

Step through Zwerchau Master Strike from right & left sides using ALL guard positions Work Work side-to-side Zwerchau striking

D. Play Time !

Baton Striking with Krumphau and Zwerchau


Work Work on various Zwerchau plays and counter plays

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6. Master Strikes, Part 4 The Schielhau & Scheitelhau Plays

A. Review Key Concepts from Previous Sessions ! ! ! ! !

Zornhau, Shooting the thrust Winden, Duplieren & Mutieren Krumphau Zwerchau Intermediate Guards Drill

B. Introduce New Material Historical Source & Background The "Squinter": The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you Block & strike are from his right side, strike from your right side simultaneous. with the short edge and extended arms Turn your body to against the weak of his sword and hit him on adopt the “Squintthe right shoulder. shoulder. If he changes through, ing” position. thrust him into his breast with your arms extended. You You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below. Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints).


You will know this when he does not extend his arms when striking. You You should strike then, too, move your point through under his sword and thrust him into the face. Note: The Squinter breaks the "long point" and this is done as follows: When he faces you and points his point against your breast or face with extended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended. When he strikes an Oberhau, look at his head, as if you int end to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade.

Your feint must look like it is going to be powerful Step to stay out of range of his weapon. weapon.

The "Parting Strike" Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, Alber, strike vertically downward with the long edge. And while striking, keep your arms arms up high and move move your point to his face.

Step to stay out of range of his weapon. weapon.

If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down down into the breast. breast.

Step in to get enough height

When you strike a parting strike and he displaces with the hi lt high above his head, then this displacement is called "the crown". From there you can rush in. If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword sword from the low cut cut into a high one and free yourself yourself in this way. way.

Instructor Demonstration & Explanation Followed by Whole Class Step Through

C. Drills Master Strikes Drills Step through Schielhau & Scheitelhau Master Strikes from right & left sides using ALL guard positions

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Intermediate Guards Drill Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Nebenhut - Zornhau -> Alber - short edge Unterhau -> pivot ( Repeat on opposite side)

D. Play Time Counters to oberhau and unterhau using Zornhau, Krumphau, Zwerchau, Schielhau & Scheitelhau plays


Work Work on various Schielhau & Scheitelhau plays, counter plays

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7. Four Displacements: Versatzungen Guard Breaking Drills & Applications


Five Master Strikes Winden, Duplieren, Mutieren Intermediate Guards Drill

B. Introduce New Material Historical Source & Background

7. The Four Displacements (Versatzungen) (Versatzungen) You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes. The first strike is the "crooked strike" (Krumphau). (Krumphau). It counters (li ter ally "breaks") "breaks") the guard (Hut) ochs. The second strike is the Zwerchhau. It counters the guard Vom Tag. Tag. The third strike is the "squinter" (Schielhau). It counters the guard Pflug. The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber. Alber. And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find written down how how you shall strike and and thrust.


A Technique Technique against against a Displacement: Displacement: If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; down; and strike him on on the head simultaneously. simultaneously.

Stepping in to your left as you wind your pommel around around his sword.

A Second Technique Technique against against a Displacement: Displacement: If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide).

Both of these are after your sword has been driven down following a strike

A Third Technique Technique against against a Displacement: Displacement: If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best.

Release your left hand and move toward the halfsword as you zwerch.

A Fourth Technique Technique against against a Displacement: Displacement: If you thrust at his face at the Halb Schwert (half-sword) and he dis places this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.

Footwork and range are the keys to this play. You really don’t need to move more than your feet.

From Goliath: Goliath: That is you should not displace as the common fencer does. When they dis place then they hold their point high or to one side, so understand that they do not know how to use the point in the displacement to seek onward and are often hit. Thus when you would displace, then displace with your strike or with your stab and Immediately search for the next opening with the point, thus you will not be mastered and struck to your damage.

Tactical Advice Advice on using the hanger point for all blocking to defeat a foe who does not.

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C. Drills Intermediate Guards Drill Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Nebenhut - Zornhau -> Alber - short edge Unterhau -> pivot ( Repeat on opposite side)

Guard Breaking Drill (from Ochs: Longsword DVD) One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate Master Strike. Partners alternate this role role for each stroke. stroke.

D. Play Time Push Me, Pull You (from Schola St. George) Each partner grips a sword handle in his right hand. He then grips his partner’s sword sword blade about 8” from the tip in his left hand. The players are are now connected by two swords. The goal is to push and pull on one, or or both of the swords in an attempt to get the other player off off balance. This game may be played with stationary feet, feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed Followed by Open Sparring

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8. Fight Tactics

Using Initiative Theory, Sprechfenster & Feints


Five Master Strikes Intermediate Guards Drill Versetzen Versetzen at quick speed

B. Introduce New Material Historical Source & Background Tactical Basics When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do Advice not do anything else than warding them off, do Tactical Advice not succeed very often. They are defeated very often. Note: Always fence using all of your strength! When you're close, strike at his head and at his body, body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike Use light blows to light blows at his next opening, as is de- probe for an opening. scribed in the section about different blows and other techniques. Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against against your blade. Because Because of this, strike from from the right side, you you can work strongly "Am "Am Schwert" ("on the sword") sword") and you you can use all techniques techniques you like. So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa. Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, preempting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defense and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling. wrestling. "After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against Use Indes to restore Vor you. So, if you have to displace him, make the displacement ‘simulta neously" (Indes) and from the bind, strike immediately at his nearest opening. So you win the "before" and he remains in the "after". Also, you should –during the "before" and "after" –notice ‘simultaneously" Always watch for opportunities to (Indes) how you can "work" against the strong or the weak exploit the weak part of his weapon. of his sword. This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well.

Sword physics. The flat is also weak in the standard grip.

Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated, regardless of all skill.

The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

Feint and watch his reaction for an opening. opening. Page 16

The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, Step in quickly place your left leg in front of his right leg and toss him over. over.

The Double Feint: Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over over and strike to the right side of his head. head. If you have attacked him on the right side of the head as described, strike immedi- Duplieren behind ately at the same spot. Then go over his sword with the short edge and your his sword hands not crossed, jump to your left side and cut through his face with the long edge.

The Sprechfenster Note: It is called the speaking speaking window. window. If he binds your sword sword with a strike or a parry parry, then remain strong at the sword with extended arms (Langenort) using the long edge. Keep the point of the sword at his face and calmly note what he intends against you. Note: If he strikes around with an oberhau to your other side, then follow and bind strongly wit h the long edge toward his hi s head. Or if he strikes around with wit h a zwerchau, then hit on his arms arms with a high cut. Or if he yanks the sword sword to himself himself and wishes wishes to thrust to your lower openings, then travel after him at the sword and thrust high. Note: If he neither wishes to wi thdraw, thdraw, or strike around, then you will work wit h the sword using duplieren and other techniques as you find out if he is weak or strong at the sword.

Probe his defense for weakness

Instructor Demonstration & Explanation Followed by Whole Class Step Through Review master strike techniques and comment on initiative type. ! Zornhau: displace with power & thrust (Nach) ! Krumphau: leap out and strike hands of oberhau (Indes) ! Zwerchau: displace oberhau & cut head (Indes) ! Scheilhau: displace buffalo & cut head (Indes) ! Sheitelhau: Step back & cut scalp (Indes)

C. Drills Guard Breaking Drill (from Ochs: Longsword DVD) One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate appropriate Master Strike. Partners alternate this role for each stroke.

D. Play Time Push Me, Pull You (from Schola St. George) Each partner grips a sword handle in his right hand. He then grips his partner’ partner’s s sword blade about 8” from from the tip in his left hand. The players are now now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed by Open Sparring

Page 17

9. Advanced Techniques 1

Nachreissen, Fuhlen, Abnahmen, Ueberlauffen, Absetzen, Durchwechseln and Zucken



B. Introduce New Material Historical Source & Background

8. The "Traveling "Traveling After" (Nachreissen): There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him He is fencing with his with a strike or a thrust and hit him in the arms, not his body. His upper opening before he can complete point is not on line. the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from from you.

Another Nachreisen Nachreisen When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again. But i f he wants to thrust at you and pulls the sword back to prepare prepare for the thrust, travel after him and thrust at him, hi m, before he can do it himself.

A third Nachreisen Nachreisen When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.

Void his attack, attack, and then strike strike after his blade in the same arc. Do this as he lifts his sword from a lower / Alber position. If you are in his strong, step in in deeply as you cut his arms.

The "Abnahmen" from the outside Note, there are two "Abnahmen" from the Outside, which are two "Nachre isen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword (maintain blade contact) and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening.

Feel his intent in the bind. Strike his flat as his blade comes up and Mutieren, or scoop his blade aside.

The second Abnahmen from the outside Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain strong contact with his sword from below. If he then attacks your high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust i nto his face.

As he winds toward your upper opening, step in as you wind over the the top of his sword.

The "Fuhlen" ("feeling") and the word "Indes" ("while" or "during") You shall learn and understand both the word "Fuhlen" and the word "Indes", because Tactical advice. advice. these two belong together and together they account for the greatest art and skill in fencing. Therefore remember: remember: if one bi nds against the others sword, you shall notice right in the moment when the blades make contact- whether he has bound hard or soft. And as as soon as you have noticed this, remember remember the word "In- Fuhlen is the physical knowldes": this means that you should attack the next opening immediately and edge of what he intends to nimbly, nimbly, hard or soft. So he will be defeated defeated before before he knows it himself. do. Likewise, you shall remember the word "Indes" during all binds at the sword, because "Indes" dupliert" and "Indes" mutiert, "Indes" rushes through and "Indes" takes the 'Schnitt', "Indes" wrestles and "Indes" dis arms him, "Indes" –in the art of fencingfencing- does, what your your heart desires. desires.

Indes is the moment outside of the rhythm in which you are free to attack. Page 18

"Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes is the key, which unlocks the art of fencing.

Fighting Techniques. Techniques. The Overrunning. When he crosses swords, with a cut or thrust to the lower openings, then you will not set him aside. Rather wait, until you may strike or cut at his head. So you defeat him because the oberhau oberhau and thrust have have longer reach reach then unterhau.

Geometry play

The Absetzen You must learn the art of setting aside so that his cuts and thrusts may be broken. Do it like t his. When he stands before you, as though to strike your lower opening, then take the guard of the plow on your right side to open your left. When he strikes to your left wind against his sword to your left and take one step with your right foot toward him: so you achieve your your thrust and he has been displaced.

The Second Set-aside. When you stand opposite him in the guard of the plow on your left side and he strikes towards your open left side move your sword high to your left side, with t he hilt before your face. Take Take one step towards him with right foot and thrust through through his face.

The Change Through Do it like this: if he wants to engage you in a bind against Cut or Thrust, so let t he point/ thrust slide through under his sword and stick/stab him in the other side. There you find him exposed.

The Twitching. When you move in to strike him from your right with an Oberhau to the head and he bi nds your sword, take a single step towards him, maintaining pressure against his sword. Then jerk your sword backwards backwards and away from from his to disengage. Then strike his head from from the other side. If he sets this aside, then hit him on the other side and work skillfully to his up per openings with Duplieren Duplieren and other pieces. pieces.

Instructor Demonstration & Explanation Followed by Whole Class Step Through ! !

Nachriesen is a principle, not a set of t echniques. In general, aim at his hands when using most Nachriesen techniques.

C. Drills Fühlen Drill (from Fighting with the German Longsword) Partners agree to a strike and counter-strike counter-strike technique (I.e. Zornhau v. v. oberhau from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate technique based on the attacker’s level of commitment. commitment . You will want to pre-plan the level of commitment the attacker wi ll use at first. Start slowly and carefully carefully as this skill takes a lot of time and practice.

D. Play Time Push Me, Pull You (from Schola St. George) Each partner grips a sword handle in his right hand. He then grips his partner’s partner’s sword blade about 8” from the tip in his left hand. The players are are now connected by two swords. The goal is to push push and pull on one, or both of the swords in an attempt to get the other player off balance. balance. This game may be played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed by Open Sparring Page 19

10. Advanced Techniques 2 Wrestling at the Sword



B. Introduce New Material Historical Source & Background The Walkthrough.

. n t a i n i r t o p l a e r c e n t a l a l i a u b f q e f o e s i h t h e s g n u i n , i s m w r o r e t h e t d e r s o e f h t d o f o h t l l e m a e r l o g F

When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm and spring your right This spring’ must foot behind his right foot. In the spring grip be a large enough him with your right arm around his body. body. Take Take step to take you him on the right hip and throw him to the nearly past him. ground.

A Second Walkthrough Walkthrough.. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade blade over your back. back. Duck under his right arm, arm, leave your right leg in front of his and grip grip him with your right arm around around his back, then throw throw him behind you.

First Sword Sword Wrestling. Wrestling.

Use this one if you cannot spring all the way past him.

When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring your left foot in front of his right, grip him with your left arm about his body take him on the left hip and throw him to the ground. Be careful to make no mistake.

Second Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring with the left foot behind his right. Grip him with the left arm arm around the chest, throw him over your leg behind you.

A Third Sword Sword Wrestle Wrestle When you come in, let you sword out in your left hand and hold it in with your right. Throw the pommel over his right arm, and tear it downwards. Grab his right elbow, spring your left foot before his right and pull him over your leg so that he goes over your right side.

A Fifth Sword Sword Wrestle. Wrestle. If someone comes in close to you, then use your left hand and drive with it over his right arm. Seize his sword at the handle between his two t wo hands and pull it to t o your left side. Thus you you take the sword sword from him and and it will go badly for him. Always pull

the weapon out through the weakest Taking a Sword. part of the grip. If he binds your sword by engaging it or by other means, then seize both

swords in the centre of the blades with the left wrong hand. Hold them to gether firmly, firmly, and drive through with your right hand to your left side with the pommel down, over both of his hands. And then pull upward to your right side thus you take both swords.

Instructor Demonstration & Explanation Followed by Whole Class Step Through

C. Drills Fühlen Drill (from Fighting with the German Longsword) Partners agree to a strike and counter-strike counter-strike technique (I.e. Zornhau v. oberhau from from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate appropriate Page 20

technique based on the attacker’s attacker’s level of commitment. You will want to pre-plan the level of commitment the attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.

D. Play Time Push Me, Pull You (from Schola St. George) Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his l eft hand. The players are now connected by two swords. The goal is to push and and pull on one, one, or both of the swords in an attempt to get the other player off off balance. This game may may be played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed by Open Sparring

Page 21

Appendix A: Ringeck’s Commentaries This is the beginning of the interpretation of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmiester of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phrasings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmiester of Albrecht, Count Palatine of Rhine and Duke of Bavaria.

Footwork Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side. If you strike from the left side and you do not follow the blow, it too is wrong. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.

Tactical Basics When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often. Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques. Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like. So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa. Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, pre-empting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling. "After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement ‘simultaneously" (Indes) and from the bind, strike immediately at his nearest opening. So you win the "before" and he remains in the "after". Also, you should –during the "before" and "after" –notice ‘simultaneously" (Indes) how you can "work" against the strong or the weak of his sword. This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed,

if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well. Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated , regardless of all skill.

Overview of The Fighting Techniques Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen techniques and they start with the five strikes. 1. The first strike is the strike of wrath (Zornhau) 2. The second one is the "crooked strike" (Krumphau) 3. The third one is the Zwerchhau 4. The fourth one is the s quinting strike (Schielhau) 5. And the fifth one is the "parting strike" (Scheitelhau) 6. Sixth there are the four basic guards 7. Seventh there are the four techniques of displacement (Versetzen) 8. Eighth there is the Nachreissen ("Traveling ("Traveling after") 9. Ninth there is the Overrunning (Ueberlaufen) 10. Tenth Tenth there is the setting aside (Absetzen) 11. Number eleven is the changing through (Durchwechseln) 12. The twitching (Zucken) 13. The running through (Durchlaufen) 14. The cutting off (Abschneiden) 15. The pressing of the hands 16. The "Hanging" 17. And finally there is the Winding

The Fighting Techniques: The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade. When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade. When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above. When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast. Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head. You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword. Page 22

In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.

Mutieren and Duplieren against the four openings: These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques. If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust. Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head. Mutieren: If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You You can use that from both sides.

The Krumphau: This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point. This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head. If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword. When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast. When he strikes an Oberhau from his right shoulder, pretend pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face. This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended. Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung)

this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over y our head and thrust at his breast from above. If he displaces that,stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much , that he will not know how to defend himself against your attacks.

The Zwerchhau The Zwerchhau counters (literally "breaks") all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head. This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him -at the sword- on the head behind his blade with your hands crossed. Or cut him trough the face. When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head. If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword. If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.

A defense against against the upper Zwerch: Zwerch: When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword. This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking "striking towards the plow" ("zum Pflug schlagen"). When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. other. Then you can disengage from him with an Oberhau to the head. When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.

The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the Page 23

thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.

Stand with the left foot forward and hold your sword at your right side above your knee,with your hands crossed, your point directed at his face.

The Double Feint:

The third guard: Alber (the Fool)

Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head. If you have attacked him on the right side of the head as described, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.

Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground. The fourth guard: vom Tag ("From the Roof") Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended.

The "Squinter":

The Squinter is a strike which primarily "breaks" the strikes and And in this book, you’ll find written down how to fence from thrusts of those fencers, who rely only on their strength. Do it these guards. like this: If he attacks you from his right side, strike from your 7. The Four Displacements (Versatzungen) right side with the short edge and extended arms against the You have heard previously, that you shall fight only from four weak of his sword and hit him on the right shoulder. If he guards. Now, you shall get to know the four displacements, changes through, thrust him into his breast with your arms ex- which are four strikes. tended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below. The first strike is the "crooked strike" (Krumphau). It counters (literally "breaks") the guard (Hut) ochs. Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints). The second strike is the Zwerchhau. It counters the g uard Vom Tag. You will know this when he does not extend his arms when striking. You should strike then, too, move your point trough The third strike is the "squinter" (Schielhau). It counters the under his sword and thrust him into the face. guard Pflug.

Note: The Squinter breaks the "long point" and this is done as follows:

The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber.

When he faces you and points his point against your breast or And beware of all displacements used by bad fencers. Note: face with extended arms, place your left foot forward and look Strike, when he strikes, thrust, when he thrusts. And in this at his point. Feint a strike against his point, strike strongly chapter and in the chapter on the five strikes you shall find writagainst his sword with the short edge and "shoot" (thrust) , with ten down how you shall strike and thrust. a forward step with the right foot, your point against his throat, A Technique Technique against a Displacement: with your arms extended. If a strike of yours has been displaced, note: if an Oberhau of When he strikes an Oberhau, look at his head, as if you intend yours is displaced, stay in the bind, move your pommel over his to strike him there. But then strike against his blow with the forward hand and tear it down; and strike him on the head sishort edge and then strike at the hands with your point, along multaneously. his blade.

The "Parting Strike" Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face.

A Second Technique Technique against a Displacement:

If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide).

If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your A Third Technique Technique against against a Displacement: sword, lift the (your) hilt high above your head and thrust him If you strike an Oberhau from the right and if you want to end down into the breast. the fight, then note: when he displaces, immediately strike When you strike a parting strike and he displaces with the hilt around (i.e., to the other side) with the Zwerchhau. Grab the high above his head, then this displacement is called "the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best. crown". From there you can rush in. If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.

A Fourth Technique Technique against against a Displacement: Displacement:

The Four Guards

If you thrust at his face at the Halb Schwert (half-sword) and he displaces this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.

There are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.

8. The "Traveling After" (Nachreissen):

The first guard: Ochs (the Ox) Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face. The second guard: Pflug (the Plough)

There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you. Page 24

Another Nachreisen Nachreisen

The Second Set-aside.

When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again. But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself.

When you stand opposite him in the guard of the plow on your left side and he strikes towards your open left side move your sword high to your left side, with the hilt before your face. Take one step towards him with right foot and thrust through his face.

The "Abnahmen" from the outside

The Change Through

Note, there are two "Abnahmen" from the Outside, which are two "Nachreisen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword (maintain blade contact) and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening.

Do it like this: if he wants to engage you in a bind against Cut or Thrust, so let the point/thrust slide through under his sword and stick/stab him in the other side. There you find him exposed.

The second Abnahmen from the outside Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain strong contact with his sword from below. If he then attacks your high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face. The "Fuhlen" ("feeling") and the word "Indes" ("while" or "during")

The Twitching. When you move in to strike him from your right with an Oberhau to the head and he binds your sword, take a single step towards him, maintaining pressure against his sword. Then jerk your sword backwards and away from his to disengage. Then strike his head from the other side. If he sets this aside, then hit him on the other side and work skillfully to his upper openings with Duplieren and other pieces.

The Walkthrough. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm and spring your right foot behind his right foot. In the spring grip him with your right arm around his body. Take him on the right hip and throw him to the ground.

You shall learn and understand both the word "Fuhlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing. Therefore A Second Walkthrough. Walkthrough. remember: if one binds against the others sword, you shall no- When he holds his sword aloft to strike you a powerful blow tice right in the moment when the blades make contact- then will you hold your sword with the left hand on the pommel whether he has bound hard or soft. And as soon as you have above your head and the blade over your back. Duck under his noticed this, remember the word "Indes": this means that you right arm, leave your right leg in front of his and grip him with should attack the next opening immediately and nimbly, hard or your right arm around his back, then throw him behind you. soft. So he will be defeated before he knows it himself. Likewise, you shall remember the word "Indes" during all binds at the sword, because "Indes" dupliert" and "Indes" mutiert, "Indes" rushes through and "Indes" takes the 'Schnitt', "Indes" wrestles and "Indes" disarms him, "Indes" –in the art of fencing- does, what your heart desires. "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes is the key, which unlocks the art of fencing.

A third Nachreisen Nachreisen When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.

Fighting Techniques. The Overrunning. When he crosses swords, with a cut or thrust to the lower openings, then you will not set him aside. Rather wait, until you may strike or cut at his head. So you defeat him because the oberhau and thrust have longer reach then unterhau.

The Absetzen

First Sword Wrestling.

When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring your left foot in front of his right, grip him with your left arm about his body take him on the left hip and throw him to the ground. Be careful to make no mistake.

Second Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring with the left foot behind his right. Grip him with the left arm around the chest, throw him over your leg behind you.

A Third Sword Sword Wrestle When you come in, let you sword out in your left hand and hold it in with your right. Throw the pommel over his right arm, and tear it downwards. Grab his right elbow, spring your left foot before his right and pull him over your leg so that he goes over your right side.

A Fifth Sword Sword Wrestle. Wrestle. If someone comes in close to you, then use your left hand and drive with it over his right arm. Seize his sword at the handle between his two hands and pull it to your left side. Thus you take the sword from him and it will go badly for him.

You must learn the art of setting aside so that his cuts and thrusts may be broken.

Taking a Sword.

Do it like this. When he stands before you, as though to strike your lower opening, then take the guard of the plow on your right side to open your left. When he strikes to your left wind against his sword to your left and take one step with your right foot toward him: so you achieve your thrust and he has been displaced.

If he binds your sword by engaging it or by other means, then seize both swords in the centre of the blades with the left wrong hand. Hold them together firmly, and drive through with your right hand to your left side with the pommel down, over both of his hands. And then pull upward to your right side thus you take both swords.

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Appendix B: Class Structure

This Class Structure has been adapted from Schola St. George. Review Previous Key Concepts & Drills This part, at the beginning of each class serves to remind students of what has been covered thus far. far. There is also a safety lecture each and every session.

Introduce The first step in presenting the material to students is to provide the historical background for the master involved and for the weapon at hand. Next, elements of the techniques are distilled and presented, verbally, verbally, physically and recorded in at least written--if not photographic--form to key the student's memory. memory. This presentation will over time become ever-more refined, and will incorporate much of what is continually learned from new students with diverse martial backgrounds. The instructor then steps through the technique with the students, correcting gross and subtle errors.

Drill Next, the students follow drills designed to build muscle and intellectual memory for the movements involved. Usually these are repetition drills that should be done outside of class as well as within. It often takes hundreds, or even thousands of repetitions for a student to integrate a technique; hence it is absolutely critical that students do key drill s at home--daily if possible. Generally, Generally, it is good to review drills for a couple of weeks after introducing them, encouraging students to do extra repetitions or custom drills to correct specific issues. Often, drills incorporate extremely slow movements. Speed gains little except at the very end of the process; when moving slow, you're working on position. To work on timing, use focused sparring. Students should not, in drill, attempt to "win" the engagement, but must be cooperative or resistant according to the instructor's direction. Drill creates the how of a particular fighting technique; focused sparring teaches when.

Play Time Play Time exercises not only work physical skills, but also build the mental aspects of the fight, in particular initiative, timing, balance, and endurance. Such play helps to keep the students involved i n the hard work that is training.

Focused Sparring to Improve Timing Many schools excel at teaching historical technique. However, However, the historical manuals do not say much with respect to teaching the mental aspects of the fight, or to the integration of technique into the fighting psyche.

Integration is the bridge step between doing the technique in drill or practice and executing it under the stress of a fight. Two very different things! To internalize the ‘when’ of using a technique in a fight, a combatant enters into a sparring engagement looking only for the time when a specific thing can be done with a resistant opponent under the stress of a fight. In the first step, the opponent is aware of the student's objective and will execute maneuvers specifically to invite the technique, but at speed and with increasing resistance. In the second step, the opponent will be unaware of specifically what the student is working on. on. The student is challenged to see the moment for the new technique. One or more sparring sessions may pass without the proper time for the technique appearing. This is where the student must resist the urge to worry about the win/loss outcomes of the fight and focus instead on seeing that fleeting moment when the technique in question can be used. Once the time does show up, then it will become more quickly apparent the second time, and still easier to see the third, etc. Focused Sparring is not a quick phase, but it does integrate the technique sufficiently so that it can be employed under the stress of a fight, whether in competition or in earnest.

Open Sparring To finalize the benefits and to work on initiative, timing, courage and the other vi rtues, open sparring is extremely beneficial as well as being rewarding and entertaining. Students should spar in whatever tradition they come to the WMA through, attempting to integrate focused sparring-built techniques into their fights whenever possible. Open sparring usually comprises only a small potential of class time. ARMA's four general rules free-play: free-play: Placement: using good edge alignment and target ing Intent: striking with some degree of force in proper range to ensure ensure actual contact and and in a manner that has sufficient motion to simulate the inertia of a real damaging blow Control: not hitting too hard or too fast to prevent injury, injury, plus not hitting off target Time-on-Target: connecting with a sufficient interval of time whereby the weapon makes contact in order to simulate the energy that would have impacted or penetrated

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Appendix C: Class Drills & Games Baton Striking with Edge Control Game (from Ochs: Longsword DVD) One partner wears a mask mask and protective gloves. He grips a baton in both hands so that there is at least 8” of space between them. As he circles and moves, he will present present the baton in front, or beside himself representing representing target openings. openings. The other partner strikes the baton with an appropriate strike, strike, cut, or Master Strike. Careful attention should be paid to range, staying in an appropriate guard, striking power, power, and edge placement.

Vier Leger Drill Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -Left Ochs -- Right Alber -- Left Langort - pivot

Intermediate Guards Drill Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Nebenhut - Zornhau -> Alber - short edge Unterhau -> pivot ( Repeat on opposite side)

Fühlen Drill (from Fighting with the German Longsword) Partners agree to a strike and counter-strike counter-strike technique (I.e. Zornhau v. oberhau from from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate appropriate technique based on the attacker’s attacker’s level of commitment. You will want to pre-plan the level of commitment the attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.

Guard Breaking Drill (from Ochs: Longsword DVD) One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate Master Strike. Partners alternate this role role for each stroke. stroke.

Master Strikes Drills Step through each Master Strike from right & left sides using ALL guard positions

Push Me, Pull You (from Schola St. George) Each partner grips a sword handle in his right hand. He then grips his partner’s sword sword blade about 8” from the tip in his left hand. The players are are now connected by two swords. The goal is to push and pull on one, or or both of the swords in an attempt to get the other player off off balance. This game may be played with stationary feet, feet, or with both partners moving and circling.

Roman Focus Game Using good Using good hand hand protection, partners attempt to slap each other’s hands with the boffer dagger. dagger. Only the the hands are valid targets. targets. Both hands must stay in front front of your body at all times. Free advice: advice: keep moving!

Striking Pattern Drill (from Ochs: Longsword DVD) ! ! ! !

First set starts in Right Vom tag: UpR, LowL, LowR, UpL Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL Third set starts in Left Vom tag: UpL, LowR, LowL, Upr Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowR

Thrust Targeting Targeting Game (from Ochs: Longsword DVD) This game is just like the Baton Striking game, but uses thrusting target as the focus.

Winden Drill: Clockwise & Counter-Clockwise Counter-Clockwise (from Ochs: Longsword DVD) Work Work large circles moving through the eight windings clockwise and counterclockwise. Keep pressure pressure on the blades, and maneuver toward toward a position from which a good thrust could be executed.

Winden Game Using boffer swords, masks and gloves, partners attempt to wind against each other in order to execute a thrust from the bind. The swords swords should should remain remain in a bind at all times, and players may not step out of range at any time.

Kali Drills ! ! !

Sombrata Down & Back Heaven’s Six

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Appendix D: German Martial Glossary Ablauffen :(“Running Off”) Withdrawing the blade from an at- acknowledged it was sometimes necessary. tack, before or after contact, by rotating it around the hilt to hit Aureisse n:("Pull away"). According to Leckchner, “When with the false edge on the other side. Can be done singularly or somebody binds at your sword and remains strong in the binddoubly. One of the primary ways of using a Kurze Schneide ing, move with your hilt over both his hands and pull them down attack. See Duplieren. towards you again. You create an opening and hit him.” :To move away or free yourself from a bind and make Aussernym :(“Outertaking” or “Outerwinding”) In a crossed Abnemen :To another attack. sword position, to pressure the opponent’s blade in a bind so Abrayssen / Abraisen :(to “break away”) To push the oppo- as to press it aside or down, thereby creating a small opening nent’s nent’s hand or weapon downward with the Gehiltz (hilt). to which you s uddenly reverse pressure and slice forward. Abschnappen :(“to snap off”) To get free of a Band (bind) by Bainbruch :(“leg break”) A wrestling-grip made exclusively or sliding or batting the blade away with a strong, controlled blow. partially at the legs, which throws an opponent to ground. Abschneiden / Abschnyden :(“cutting aside” or “cutting off’ or Bedebern / Bedebren :To defend with stabs or blows. “to slice off”) 1. Short drawing cuts known also as Schnitt Bleiben :(“Remaining”) In a binding position to maintain the (“slices”), called Rakes in English, used at closer distances blades pressing in contact and thereby sense the opponent’s against the opponent’s forearms and hands, they can be made intentions through feeling the pressure on his blade (i.e., Fhlen ). with both the lead and the back edges. These are drawing cuts Binden / Band :(“bind”) The moment of contact between generally used against the opponent’s arms at close range. weapons and the actual contact of two weapons. A bind or Made singly or doubly (i.e., upwards and then down, or down- trapping action by pressing blade upon blade (usually edge on wards and then up.) 2. To Slice over the arms from below or edge at the ricasso). See Band. above; usually with Langer Schnyde (Long edge). Abschneid edge). Abschneid = = Binden Binden an das Schwert:("binding on the sword") A term from Cut Away the Codex Wallerstein. :(“setting aside”) 1. The principle of timed Blizen / Blitzen :(“flashes”) To To strike with a shower of sparks. Absetzen / Absezen :(“setting counter attack to deflect a thrust or parry a cut. While Absetzen See Glutzen and Glutzen and Klitzen. Klitzen. in a specialized sense refers to thrusts with opposition the word Blossen / Bloen :(“openings”) The fencer’s body divided by can also be used to mean a simple parry, usually followed by a two imaginary lines –across the belt and vertexes –into four thrust. It is also used to denote a type of trapping move in Blossen: Blossen: a right and left upper and lower Blossen. Blossen. The name which the sword is hooked over the opponent’s opponent’s blade, dragging probably came from organized fight practice, particularly from the opponent’s blade down to the ground. 2. To parry an attack the instructions and theory part, where it was in the first lesson on the lower Blossen (openings), the attack is put down by as a term for any unprotected body parts. The Four Openings leading his weapon with the Langer Schnyde ( long edge) while are areas to aim at in combat, the first opening is the oppomoving towards the side that the attack came from. nent’s nent’s right side, the second opening is their left side above the belt, and the other openings are their right and left sides below Abwenden :("turning aside") To “ward off” a blow as with a deflecting strike. the belt. Liechtenauer first proposed the idea of there being Abzug :(“Withdrawal”) According to Meyer, a stage of engage- only “four quarters” or openings” high and low, left and right. ment where the combatant tries to disengage without being hit, English text MS. 39564 also refers to “smyting” the quarters or usually delivering a retreating strike to cover the withdrawal. to “pley a quarter”. Alber :(“fool’s guard”) A low middle stance with point down. Blossfechten :Unarmored combat in the Fechtschulen as disThis stance takes its name from Liechtenauer’s Liechtenauer’s belief that only a tinguished from armored fighting. fool stays on the defensive, relinquishing the initiative to his Brechen :(“breaks”) To To penetrate by force, to wound, or to deopponent. He acknowledged the superior defensive qualities of fend effectively. this stance by including it among his four. See Posta Tuta di Brechfenster:“breaking window”, see Sprechfenster Ferro. Ferro. Das Brentschirn / Das Brentschrn :According to Talhoffer, a Alter Schnitt :(“After Slice” or “The Ancient Slice”) A cut over bind or an entanglement with the shortened sword during Halbthe arm of the opponent opponent when he has repulsed repulsed a Nachreissen. Nachreissen. Schwert. Also a state of battle in which the edges of the swords To move in to slice on the opponent’s opponent’s extended arms as a Nach rub together in the Band. In attempt to usurp the opposing action following the completion of his strike. Part of the “se- sword from this position. crets” of fencing –in contrast to the fundamentals of the art. swordplay, the action of an effective defense Bruch :(“break”) In swordplay, Am Schwert : (“on the sword”) Attacks made while maintaining being a counterattack that “breaks “ the adversary’s own constant pressure on the opposing blade, also known as the strike. See Stuck . Winden (winding or turning). The second grouping of attacks Brysen :(“breezes”) A defensive push, to press hard, cornering. made in the Krieg phase of combat. These are attacks made Buffel / :(“buffalo”) An expletive for fighters without the art Buffel / Pffel :(“buffalo”) without leaving the opposing blade, maintaining constant blade of defense, those who use the virtue of strength alone. contact throughout the course of the attack. Better known as Cuts:The German schools recognized three major forms of cut: the Winden (Winding or Turning). Oberhau Oberhau (over cuts) downward diagonal or vertical, Unterhau Mittelhau, Anbinden / Ambinden :(“crossings of the blade” or “tied up”) (under cuts) upward or rising, and Zwerchhau or Mittelhau, The engaged position with weapons crossed in which the (crosscuts) horizontal right-to-left and horizontal left-to-right. weapons collide together in their moment of contact. Called Diagonal cuts were Zornhau Zornhau and vertical were Scheitelhau. Scheitelhau. Incrosar a Mezzo Spada (“crossed Spada (“crossed at half-sword”) by Fiore. There were several names for various specific individual cuts Streithau (the “battle cut”), and Vater Streich (the “fa Ansetzen :(“place”) An attack (or thrusts) aimed at a certain such as: Streithau (the body part. ther strike”). draw cuts and slicing pulls were usually known as Auffangen :(“Catching”) According to Meyer, a simple block, Schnitt. The grand master Johannes Liechtenauer distinguished wherein the opponent’s attack, rather than deflected off or five principal cuts: Zornhau Zornhau (“rage cut” or “strike of wrath”), struck down, is stopped by interposing your own weapon in its made diagonally from behind the right shoulder; Krumphau path. Essentially an edge parry. parry. Meyer recognized it conferred (“twisted” or “crooked” cut), made downwards with the false no particular advantage and recommended against it (in favor edge, and effected with crossed or twisted wrists; Zwerchhau of setting aside, Absetzen, and warding off, Abwenden). But he (horizontal side cut); the Schielhau Schielhau (“squinting cut”), made Page 28

downwards with the false edge at the enemy’s shoulder or neck; and Scheittelhau Scheittelhau (the “crown cut” or “parting strike”), made vertically downwards and literally aimed at the crown of the head. See Segno Segno cuts. Sigmund Ringeck (c. 1440) refers Liechtenauer’s cuts as the “five strikes”. Meyer calls all blows delivered with the true edge “straight blows”. Dal Wegbinden Wegbinden:(“The sling-away” or the “sling-behind”) In Talhoffer, the act of puling the sword blade away from contact or opposition and turning or withdrawing the body to use the second hand to seize or strike. Das Gayszlen :The “Spring” –throwing a cut from one hand to increase its range by clutching the pommel with the second hand. English text MS. 39564 frequently refers to the use of blows from the “spryng”. “DGZPS” :An acronym used by Duerer meaning, Das geht zu paiden seiten (“that works on both sides”). sides”). This refers to the bilateral symmetry of German fighting arts that multiplies the number and variations of techniques. Doppelhau :Liechtenauer’s “double-cut”. Cutting the same way again or by following around or reversing the strike. Doppelrundtstreich :(“double round-strike”) Quickly striking through with two left-to-right horizontal cuts delivered from the elbow (or half-arm and following around to strike again.) See Rundstreich. Rundstreich. Equivalent to the English Double Rownde Strike. Doppelstich :(“double thrust”) From Joachim Meyer, 1570. Drey Hewe :(“three blows”) A series of three main blows: an Oberhau from Oberhau from the right, followed by an Unterhau from Unterhau from the left, then a powerful Scheitelhau, Scheitelhau, or vertical downward blow. Drey Wunder :(the “three wonders”) The three principle actions used in the Krieg or Handarbeit phase of sword close combat, the cut ( Hau Hau ), the thrust ( Stoss Stoss ), and the Schnitt (a slicing or drawing drawing cut). The thrust thrust was used primarily at longer longer range, the cut at medium range, and the slice more at closer range. To instantly follow up a Duplieren / Doplieren :(“Doubling”) To parried true-edge strike with a false edge strike around the opponent’s ponent’s blade. A Winden variant; Winden variant; or an Oberhau that Oberhau that turns into a Dupliert (snatch), (snatch), through a swift crossing over of the arms the left hand, that guides the sword pommel, goes under the right - in this position your sword is between the weapon and body of the opponent, hit with a backhand with the Kurtzen Schnyde Schnyde against his unprotected head and a Zeckruroren against the arms. See also Abluaffen. Durchfhren :(“Changing Through”) In close-combat, to disengage under by moving your point under the opponent’s sword to thrust at an opening on the other side. Durchfuehren means Durchfuehren means “continuing”, “going along” and “pressing through”, and could also mean “to lead through”. Durchlauffer / Durchlauffen :(“pass through”, “running through” or “to run though”) A term for two actions: 1. To run under a highly directed attack of the opponent, while you keep the hilt of your sword on the left side of your head and put the blade across the back, and move through under the opponent’s opponent’s weapon. 2. To pass all the way under the opponents raised right arm, so that you can reach his back and do a wrestling throw. Durchsetzen :(“pushes through” or “to push though”) A timed thrust from above or below that passes between the opponent’s opponent’s held out arm and his body. Durchstreychen / Straichen :(“Striking Through” or “Stretch Through”) A falsing action by a circling-motion along the opposing sword, that disengages from one opening and stabs or cuts into another. another. Also a type of Durchwechselns. Durchwechselns. According to Meyer, sweeping or flourishing the sword in front of the opponent, to stall, confuse, intimidate, or provoke. Durchwechseln / Wechslen :(“changing through”) The move of evading contact with the opponent’s blade as you strike (e.g., changing line of attack). To change into another opening with the point. Also called Durchwechsel . Einhorn :(the “unicorn”) A posture similar to the Ochs, but with the point aimed high like a unicorn’s horn. Also, from the Sprechfenster straight straight thrust to the face; a Valsch Valsch Ortt , a thrust, thrust,

that was regarded as dangerous and malicious The term instills a visual image that the executing fencer leaves behind his weapon. The position may be equivalent to Fore’s Posta Finestra. estra. To duck under the opposing weapon Einlauffen :(“Running In”) To or employ closing and entering techniques ( Einlauff Einlauff ). Eiserne Pforte :(“Iron Gate” or “Iron Door”). Another name for Alber , the “Fool’s Guard”. See Low guard. In the German schools, the may be made in the center, left or right. :(“fighting in ear nest”) The idea of practicing real Ernst Fechten :(“fighting killing techniques and not play or show fighting. falso. Opposite of filo dritto, dritto, Falso Filo :The false edge. Also filo falso. true edge. Fechtbuch :(“fight book” or “fencing book”) a German manual on fighting techniques and methods, particularly swordsmanship, (plural Fechtbuecher), among the more famous are those by the masters Johannes Liechtenauer’s of 1389 (by Hanko Doebringer), Sigmund Ringneck of c. 1440, Hans Talhoffer of 1443, Peter von Danzig of 1452, Paulus Kal of c.1460, Johannes Leckuechner (“Lebkomer”) of 1482, Peter Falkner of 1490, H. von Speyer of 1491, Joerg Wilhalm of 1523, Andre Pauerfeindts of 1516, and Gregor Erhart from the early 1500’s. 1500’s. (plural is Fechtbucher). Medieval Italian fighting manuals include those of Tarcirotti of c. 1400, Fiore dei Liberi from 1410, Boris Ferres of 1428, Fillipo Vadi of c. 1480, and Pietro Monte of 1509, and there is also the Spaniard Diego de Valera’s Valera’s of c. 1490. Fechtmeister :(“Fight Master”) - a German Master of Defence or martial arts expert (Italian Meastro de’ Arme’ or Master of Arms) Fechtschule :(“Fight School”) A Medieval or Renaissance fencing school or public fighting exhibition and competition in Germany. Federfechter :A German Renaissance fighting guild which favored the rapier among other weapons. Ferzcken:Sudden abrupt changes of the direction of the attack (i.e., “changes in line”). falso, false edge. Filo Dritto :The true edge. Opposite of filo falso, Fixura :A sword & buckler technique from the anonymous German MS. I.33 or “Tower “Tower Fechtbuch” (c. 1295). A thrust either crossed over or under the buckler or occasionally without crossing the buckler at all (not always distinguishable from the Stich). Flech :German for the flat of the blade. Fliegender :(“flying thrust”) From Joachim Meyer, 1570. Fuehlen :(“Feeling”). Feeling or gauging an opponent’s pressure. To judge or “sense” the Harte or Weiche Weiche (hard or soft) through the feel of your weapon when pressed in Anbinden. Also called Fullen / Fulen / Fuhlen. Fuhlen . Fusshau :Liechtenauer’s “foot-cut”. Gaukler :(“juggler” or “acrobat”) A derogatory term for those masters who taught flowery, ineffective forms of swordsmanship as opposed to Ernst Fechten. Fechten. See Leichmeister and Klopffechter. Gefechten :Foot combat. As contrasted with mounted combat. Geferte :The intended attacks and their manner of execution; the movement of blow combinations. Gevert and and Vart with with significant adaptation and application in a fight. Also called Gefarte / Gefahrte. Gefahrte. Gehiltz / Gehultz :The cross guard of the hilt. See Croce. Gemechstich :(“groin thrust”) From Joachim Meyer, 1570. Geschrenckt Ortt : A thrust, in which the hands are held crossed over, over, the left hand under right. See Langer Ort. Gesicht Stich :(“face thrust”) From Joachim Meyer, 1570. Halb Gewapent Stehen / Gewappnete Hand :A half-sword ( Halb Schwerdt ) stance where the sword becomes a barrier in front of the body, by grasping the middle of the blade with the left hand and the hilt in the right hand. The Term expresses the idea that the position covers and protects the body against attacks. Gewappet Ort / Gewappent Ortt :To thrust forth from the Ste hen or shielded half-sword position. Gleich Fechten :Attacking at the same time as the opponent or Page 29

In des Fechten (as Fechten (as opposed to Nach Reissen and Reissen and Vor Fechten ). guard (Italian Finestra). Glietzhaw :(“Clashing Blow”) According to Meyer a forehand Hffthau :Liechtenauer’s “hip-cut” blow in which the right hand comes in with knuckles upward to Hut / Huot :See Leger. The expression is based on the idea of catch an opponent’s blow on the flat, then rolls counterclock- the “ protective vigilance “, that the fencer occupies in the wise to deliver a false edge blow. Huten. :To make a shower of sparks. Also Klutzen. Glutzen (glow) :To Huten :For the Medieval long-sword in the German schools there are various fighting guards/stances/wards/postures guards/stances/wards/postures (Leger Gurgelstich :(“throat thrust”) From Joachim Meyer, 1570. Halb Schwert / Halbem Schwert :(“half-sword”) techniques of or “position”). Of these four are major universal ones of gripping the middle of the blade itself with the second hand or Liechtenauer correspond to High, Middle, Low, and Outside typically left hand (often by gloves or armored gauntlets). Also positions. Editions of Talhoffer show high, middle, low, outside, called Halt-Schwert or or Kurzen Schwert, they Schwert, they allow a wide range back, plus three Halb-Schwert and a few other postures not of offensive and defensive striking and deflecting actions as exactly clear. well as thrusts. It is used for the more powerful and more accu- In Des Fechten / In Des :(“meanwhile” or “in the middle of”) rate stabs. The term comes from the pose of the left hand on Attacking during the adversary’s adversary’s own attack, one of the three the blade cutting the sword in half. Called Mezza-Spada in Mezza-Spada in Ital- ways of overcoming an opponent’s opponent’s attack along with Vor Fechian. ten and Nachreissen. Nachreissen. The concept In des or Indess means to Halbschilt :(“half shield”) A sword & buckler technique from the strike "just as" they do rather than actually simultaneously with anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). them. A defensive position with both arms extended close together Kampfplatz / Kampfring :An enclosed area where judicial duand the sword pointing upwards at approximately forty-five els and some foot challenges challenges took place, it was made up of a degrees. square wooden barrier or “ring”, equivalent to the Champ Clos. Clos. Winden variant. Also known as a Zu a Zu Legen. Legen. The Klitzen (claps) :To collide with noise. Hals Fahen :A Winden variant. swordsman on the left lifts his arms up into the left Ochs posi- Klopffechter :(“clown-fighter”) itinerant, crude fighting tion, pressing his Starck / Stark against the opponent’s swordsmen performers during the later 1500s and 1600s in Schwech. Schwech. He then slides his back edge down between the Germany, Germany, not considered a true Fechtmeister opposing blade and the opponent’s head, striking to his neck. Knopf :The sword pommel. The opponent’s instinctive parry adds force to the blow. From Krawthacke :(“garden hoe”) A swift sequence of vertical blows here, the swordsman levers up with his back hand the slicing to the upper and lower Blossen (openings) during which you pressure of the back edge on his neck forces the defender over step towards the opponent. The term comes from the resemthe attacker’s attacker’s right leg, which is placed in a tripping or barring blance to the motion of a garden hoe. position next to the defender’s defender’s leg. Gefe and Kreuz :(“Cross”). The long sword’s cross hilt. See Gefe Croce. Halshau / Halsshau :Liechtenauer’s “neck-cut”. A horizontal Croce. strike to the throat Krieg :(“war”) The phase of sword combat where the swordsHandarbeit :(Handwork). Phase of sword combat where the men have closed distance and the blades have crossed at swordsmen have closed distance and the blades have crossed, close combat. The meaning comes from war, the effort, going follows from Anbinden, both Schwertnemen and Schwertnemen and Abschneiden against, the resistance. See Handarbeit . are often used here. Also known as Kreig or Kreig or Mittel (Middle). (Middle). Kron is not a stance, but Kron / Krone :(“Crown”) The German Kron is actually a strike of Liechtenauer described by Sigmund Ringeck Handhabe :“Hilt”. See also Gehiltz . :Liechtenauer’s “hand-cut”. (c. 1440). This action is essentially that of lifting the blade to Handhau :Liechtenauer’s Harnischfechten :(“harness fighting”) Combat in plate armor or stifle and bind an on coming blow with the ricasso and guard “harness fighting” in the Fechtschulen as distinguished from prior to counter-cutting. Also type of Halb Schwert (half-sword) (half-sword) light or unarmored fighting, called Spada in arme’ in arme’ in Italian. parry against a vertical downwards cut with the sword held Hart / Horte :(“hard”) A strongly aimed or forcefully controlled point forward over the head, used against a vertical downwards cut, blow, attack or bind. The principle of hardness or force cut to the head. Holding the sword over the head with the point rather than softness or yielding. forward, catching the incoming cut on the portion of the blade Hart und Weich :(“hard and soft”) The idea when ever contact between the hands. Can be followed by a thrust over the opis made of gauging the pressure the opponent places upon ponent’s right arm at his face as a single-time or double-time your blade (either strong or weak), oppose strength with weak- technique. In this posture the sword is “crowning “ and protecness and weakness with strength to control and exploit. tive over the head. Leckuechner’s Leckuechner’s definition of the Kron from c. Leckuechner stated to “Test “Test “Weych” (soft) or “Hert” (hard)”. 1482 is similar: “Step and strike from above with your true edge :(“pressing the hands” or “to to his left ear. The other step and strike from above with your Hende Trucken / Hande Drucken :(“pressing press the hand”). A term of Liechtenauer likely meaning stop short edge to his right ear.” See also Corona or Posta di cuts to the opponent’s hands or forearms. The term refers to Fronte. Fronte. the pressure of the hands exerted by means of the sword-blade Kronhaw :(“Crown Blow”) According to Meyer, a false-edge against the arms of the opponent. blow made from the Kron position after catching the incoming Das Hngen / Hengen / Hen / Hangend :(“The Hanging” or “to attack with on the ricasso or cross. hang”) An important and very versatile long-sword movement Krucke :(“crutch”) A sword & buckler technique from the referring to positions or actions where the point “hangs” down- anonymous German MS. I.33 or “Tower “Tower Fechtbuch” (c. 1295). A ward from above, covering the body. The Hngen is not a guard movement in which the sword is held almost vertically, point (but in a sense, results in one), but an action, or more precisely downward with the buckler turned outward and very close to a series of techniques delivered from the Ochs or Finestra posiFinestra posi- the sword hand. tion, usually as a Winden. Winden. Sigmund Ringeck described a classic Krumpen / krumphawen :To :To execute a Krumphau. See Krumhanging action. Ringeck describes two hanging techniques phau. Leckchner described that from the tailgaurd: "When used when the blades are pressed or crossed, and the point somebody strikes from above, or elsewhere, step out of line can thrust from under or over. It may be delivered from the Pflug and strike krump to his opening." by raising the hilt and closing as the opponent opponent strikes. He also Krumphau / Krump :(“Crooked” or “Twisted Cut” or "Bend instructs to learn all cuts, thrusts, and slices while in the hang- Strike") 1. A downwards curt with the false edge made with ing. Meyer also calls the Hengen a technique. Also called: crossed or twisted wrists. 2. Any strike with crossed hands. Hanging Point, Hangetort, Hengetort, hengeten Ort. One of the Meisterhau. Meisterhau. The Krumphau Krumphau may be delivered with a Meyer, 1570. slicing or pulling action by the back edge of the blade while Herzstich :(“heart thrust”) From Joachim Meyer, Hochort :(“high thrust/point”) Possibly the “Fenster” or Window close-in and blades are crossed. The German system taught Page 30

cuts in the opening phase of combat not to be made from the offside, so that the arms & wrists would not be twisted. Kunst des Fechtens :The German Medieval (and Renaissance) art of fighting, fighting, consisting primarily of the arts of the langenschwert or long-sword, the Messer (a sort of falchion), and Ringkunst or or Ringen (wrestling). Unarmored combat was known as Blossfechten. Combat in plate armor was known as Har nischfechten nischfechten (or “harness fighting”). Fighting on foot was also distinguished from Rossfechten, Rossfechten, or mounted combat. Similar distinctions appear to have been made in Italy and elsewhere in Europe. Kurtze Schneide / Kurze Schnyde :(“short edge”) The back or “false” upper edge of the sword, proceeding in the extension of the thumb. The controlled upward backhand blow with the Kurtzen Schnyde can only hit short distance. Opposite of the Long edge (Lange Schnyde or “true” edge). Also called falso filo in filo in Italian. Kurtzes Schwert :In half-swording, to shorten the sword-edge with the left hand. Langer Schnyde / Langen Schnyde :(“long edge”) The forward or true edge of the sword, opposite of the Kurtze Schnyde (Short back or “false” edge). Also called filo dritto in dritto in Italian. Langer Ort / Langortt / Lang Ortt :(“long guard” or “long point”) To thrust over a long distance with stretched out arms. The Ort in means “tip of the weapon “ and “direction aimed”. Also a defensive thrusting position with with the blade horizontal and and arms extended straight forward more, designed to create safer distance between the opponent and ideal for warding and making stabbing attacks or stop-thrusts. Also Das lang Zorn ortt ortt (“The Long Thrust of Wrath”) according to Talhoffer. Lazen varn :To miss with a cut or thrust. :To take a position like one of the Hutens or Legers. See Legen :To Hut . Also, in the Codex wallerstein, placing the blade at the adversary’s adversary’s neck), followed either by a slicing cut or a throw. Leger / Ligen / Lger :“Position” in German, referring to a fighting posture or guard. Another name for Hut; vantage ground or ground-position with the weapon from which a change-hit begins and attacks can be advantageously repulsed. In contrast to hut , Leger doesn’t indicate the function of the position but the position, the “ appropriate storage “ of the weapon. See Huten. Huten. Leng und Masse :("length and reach") A term from the Codex Wallersten, referring to properdistance and stance. Leichmeister / Leychmeister :(“dance-master”) a derogatory term used by the German master Doebringer of 1389, for those instructors who taught flashy but impractical and ineffective fighting techniques, particularly for arms-dance and armsplays. Also possibly known as Knopfmeistern. See Gaukler and Klopffechter. Lincke Clinge :To control the blade with the Kurze Schneide using only short, quick, nimble, yet “clumsy” cuts. Akin to making small upward beats. Linker Ochs : (“left ox”) From Joachim Meyer, 1570. Luxbrueder / Luxbrder :(Company of St. Luke) – another major Medieval German fighting guilds, similar to later English schools of defence, they were headed by four adepts and a captain. “ Man muss fleissig nachdencken” nachdencken ” :A frequent Fechtmeister saying that, “one must think about this diligently”, meaning to ponder the meaning of a technique or principle. Meisterhau :(“master cuts”) The most prized techniques described by the grand-master Liechtenauer, mostly in which the swordsman strikes in a manner so that his sword deflects the incoming blow while simultaneously hitting the opponent. The 5 Meisterhau consist of: Zornhau, Zornhau , Zwerchhau, Zwerchhau , Scheitelhau, Scheitelhau, Krumphau, Krumphau, and Schielhau. Schielhau. They essentially correspond to a diagonal, horizontal, vertical, crossed-hand, crossed-hand, and false-edge cut. Mittelhau / Mittelhaw :(“middle cut”) A left-to-right horizontal or slightly diagonal side cut. In contrast to that directed Ober hau hau from above and the strokes or, Unterhau from Unterhau from below, the Mittelhau lies Mittelhau lies in a middle position. Mortschlag / Mordschlag :(“death blow” or “the Murder-

stroke”) stroke”) A type of rare Halb Schwert blow blow made by holding the sword blade itself with both hands and striking with the pommel or guard, used to slam a foe in heavy armor. armor. The name came to be, because of the dangerousness of choosing to direct a blow to face or head. See Schlachender Ort Schlachender Ort . Mutare Gladium :(“exchanging the sword”) A sword & buckler technique from the anonymous German text, MS. I.33, I.33, or “Tower “Tower Fechtbuch” (c. 1295) to indicate a disengage by passing over or under the opponent’s blade so it is engaged in the line opposite to the original position. Winden variant. To To direct the course of attack from Mutieren :A Winden variant. the upper to the lower Blossen. Blossen. After the Anbinden with the Langen Langen Schneide Schneide,, wind the Kurze Schneide Schneide into a Band, lift your arms and the hilt high and change means Schiessen, Schiessen, with a thrust into the lower Blossen, sliding away, over the opponent’s sword. Nach :(“After”) The defensive or countering principle of fighting, opposite of Vor (“before”), Nach und Vor are are two important concepts in the Fechtschulen. If the opponent attacks first, the swordsman is left with the Nach, or defensive principle. Liechtenauer taught that a swordsman who accepts this turn of events passively and merely parries his opponent’s blows will eventually be struck and defeated. On the contrary, a good swordsman seeks to turn the tide by somehow regaining the initiative and going on the offensive. Nachreisen / Nachraisen Nachraisen :(“traveling after” or “attacking after”) A timed attack immediately after the adversary’s adversary’s own attack. One of the three ways of overcoming an opponent’s attack (contrasted with Gleich Gleich Fechten Fechten or In Des Fechte Fechten n and Vor Fechten ). An advanced concept of inviting the opponent to attack rather than taking the offensive, as is the general tenet of German swordsmanship. These are techniques in which the opponent is allowed to attack first, then counterattacked when he is either in the middle of his strike, or after his strike has missed. Nebenhut :(“Near Ward”) The name for the “Tail” or low under guard. Ringeck says it is used best on the left, but can be performed on the right with the long edge forward. Also meaning “beside” or “at your side” in Lecküchner in 1488 and Joachim Meyer in 1560s. See Post Coda Longa. Longa. Noterczunge :A fast repeated series of thrusts over the Gehiltz of the opposing sword, by which a Durchwechseln Durchwechseln (change through) is initiated again and again, but is not executed, until the opponent is overwhelmed and leaves a Blossen (opening) Blossen (opening) for a thrust. The sword in its movement is like the “hissing tongue of an adder”. Obere Ansetzen :Techniques or thrusts delivered from above or over the opponent’s guard (opposite of Untere Ansetzen). Essentially a Stoccata. Stoccata. Oberhau :(“Over cut”). Any cut or strikes made from above the waist ( Oberhuten Oberhuten ) either diagonal Zornhau ( ) or vertical ( ScheitelScheitel hau ). Any blow directed from above usually made with the Lan ger Schneide (long Schneide (long edge). Also edge). Also called Oberhawen called Oberhawen.. Oberhut :(“upper guard”) The high or roof guard/stance in the German schools, usually referred to as Vom Dach or Dach or Von Tag (“from the roof”). Oberschnitt :Downward slices made from above. See Schnitt . Huten or Leger , with a left or Ochs :(“Ox”) One of the two upper Huten or right side. In this s tance, the swordsman holds the weapon next to his head, with the point sloping down toward his opponent’s face. This drooping blade position gives the stance its name, as it resembles the lowered horns of an ox or protrudes from the fighter’s fighter’s head like a hor n. They are confused and misunderstood more than any other. One variation places the blade diagonal and the other more horizontal as in the Finestra. Offen :(“open”). The Germans preferred cuts in the opening phase to be made from the right side, with the arms & wrists uncrossed (open) so as to deliver more power and prevent the hands from being tied up. Ort :German for the point of the sword. Also spelled Ortt . See Langer Ort . Page 31

Leger. A middle stance of (“over blow” or “high blow”). Schaitler = = Apex Pflug :(“plow”). One of the two lower Leger. A a slightly bent position with the arms and the hilt close to the Schielhau :(the “squinting cut” or “squinter”) A downward cut body next to the upper thigh, and the blade on a 45-degree with the false edge at the enemy’s shoulder or neck. 2. A sideangle pointed at the adversary’s face. It is well suited to making ways cut (from above) with the back or short edge ( Kurze Kurze thrusts and defending against middle cuts. This is the funda- Schneide ) of the blade, delivered with only one eye on your mental “middle” stance and may appear to be more “left” or opponent due to the manner in which the head and torso turn in “right” depending upon which leg leads. However, However, the arms are delivering the blow. Used mostly to deflect the opponent’s only extended when an action or counter-action is executed. blade and at the same time inflict an injury with the point. One The posture is similar to the position taken when walking be- of the Meisterhau. Also called Schilhaw, Schilhaw, Schiller , Squinters, hind a yoke or a plow, hence giving the stance its name. Schilcher . The Schielhau Schielhau may be delivered by bringing the blade back around behind the head to strike with the false edge Pfoberr Zagel :A circular-motion with the Ort in front of the opponent’s eyes, until a favorable Blossen (opening) (opening) is discovdiscov- and passing with the leg. ered; corresponds approximately to the Redel . With the Pfoberr Schiessen / Schussen :To execute a sudden and powerful Zagel (foper zagle), the fencer executes a sword-movement that stab; in close combat, slide your weapon along the opponents resembles a pummeling wheel from the tail of a peacock. and use theirs as a guide. :(“Door”) A defense-position, where you place the Ort in Ort in Schiller:(the “squinting cut” or “squinter” or "glance strike") Pforte :(“Door”) A front pointed towards the ground, like the Schrankhut and the One of the Meisterhau. 1. According to Ringeck, to step in and Alber . Often called the Eiserne Pfortes, Pfortes, since the idea is that the strike at the opponent’s weak when they are in the Pflug in orsword is placed before the body like an “iron door” and deny der to knock it aside and then thrust or cut. Often used to break the enemy attack access to any Blossen. Blossen. the Langen Langen Ort . 2. A downward cut with the false edge at the Platzen :(“burst through”) To meet with an attack that reaches enemy’s shoulder or neck. 3. A sideways cut (from above) with the target. The noise of the entering weapon is described. the back or short edge ( Kurze Kurze Schneide ) of the blade, delivered Rauschen :(“rustles”) To attack with a swift series of hits. This with only one eye on your opponent due to the manner in which expresses the swiftness of movements and the sound of the the head and torso turn in delivering the blow. Used mostly to attacks. deflect the opponent’s blade and at the same time inflict an Rauschen. injury with the point. The Schielhau may Schielhau may be delivered by bringRawsch :A wild attack. See Rauschen. Meyer, 1570. ing the blade back around behind the head to strike with the Rechter Ochs :(“right ox”) From Joachim Meyer, :To hold the sword with outstretched arms and execute a false edge and passing with the leg. Also called Schilhaw, Schilhaw, Redel :To Squinters, Schilcher . swift circular-motion circular-motion of the blade in front as a falsing. The name Schiller , Squinters, comes from similarity to the rotation of a wheel. Schiltslac :(“shield blow”) A sword & buckler technique from Religando :(“binding”) A sword & buckler technique from the the anonymous German MS. I.33 or “Tower Fechtbuch” (c. anonymous German MS. I.33 or “Tower “Tower Fechtbuch” (c. 1295) to 1295). The use of the buckler to strike an opponent’s sword indicate sword contact (engagement of opposing blades). and/or buckler to one side, while instantaneously delivering an pponent’s buckler and Ringen am Schwert :(“Wrestling at the sword”) Close-in tech- attack of one’s own. To knock aside the o pponent’s niques based essentially on a handful of key actions: reaching leave him open to an attack. out to grab the opponent’s hilt or arm, striking with the pommel Schlachender Ort :Another form of Mortsclag Mortsclag but one that or guard, trapping their forearms with your second arm, slipping grasps the blade in both hands in order to make a thrust. the blade against or between their forearms, using the second Schlaudern :(“Slinging”) An :(“Slinging”) An overhand slinging blow akin akin to Das hand to hold the blade while binding/striking/slicing, and trip- Gayszlen. Gayszlen. ward from Joachim Meyer where where the ping and kicking, involved throws or grappling and disarming Schlssel :(“Key”) A ward moves known as or Schwertnemen (“sword-taking”) there was sword is held horizontally in front of the upper chest with the also ground-fighting ( Unterhalten, Unterhalten, “holding down”). Also re- point forward and the false edge resting on the forward arm. ferred to as the Durchlauffen “running Durchlauffen “running through”. Schnall :(“flick”) A flicking blow with the tip of the sword, Italian stromacione.. Ritterliche Kunst :“The knightly art”, i.e. noble martial skills equivalent to the Italian stromacione such as jousting, poleaxe, and swordplay To execute a sudden movement of the Schnappen :(“to snap”) To Rossfechten :Mounted combat in the Fechtschulen as distin- weapon from the bind by using the hard press of the oppoguished from fighting on foot (Blossfechten) or strictly heavy nent’s nent’s own weapon to lift off and hit back. The suddenness and armored combat ( Harnischefechten Harnischefechten ) noise of the movement are described. Rundstreich :(“round-strike”) Striking through with a horizontal Schnitt :(“slice”) Draw cuts and slicing pulls. To direct with cut delivered from the elbow (or half-arm) and recovering by strength and bodies movement, Bruch Bruch over the arms or the Schnitts, or bringing the weapon around from one side or the other to strike joints with the sword-edge, from above Oberers Schnitts, again. Also again. Also to strike by bringing the weapon up around around one way from below Unterer Schnitts. Schnitts. One of the “three wonders ( Drey Drey and hitting from the other, other, acquiring power and deceiving the Wunder ) line of attack. See Doppelrundtstreich. Doppelrundtstreich. Equivalent to the English Schnitt durch die kron:(“slice through the crown”) A horizontal Rownde Strike. slice from below with the Langer Schneide Schneide and your hands or arms raised over the Kron. Kron. Ruren :To reach with a cut or thrust to the body. Uebergesetzten Gehiltzes at the body Schrankhut / Schranckhut :(“Crossed Ward” or “Barrier Ryssen :To tear with the Uebergesetzten joints or on the arms. Ward”) Leading with the left leg, the blade is held before the body on the right side, pointing down and with the arms unSchaide :Any kind of Band (bind), even between a hand and a weapon. The idea of a close contact lies, in the grounds, as well crossed. Cuts are made stepping forward with the right foot. as that which exists between a sword and a sword-scabbard. According to Meyer, Meyer, a position equivalent to a low Hengen Hengen usuScheitelhau / Schedelhau :(“scalp cut”, “crown-cut”, or “skull ally with the left foot forward. Meyer indicates that this is also cut” or the “parting strike” or "vertex strike") Liechtenauer’s called the “Iron Gate”. Perhaps equivalent to the Italian “Boar’s short, quick, high horizontal blow at the opponent’s forehead. Tooth”. Also a vertical downward cut, from either side, and aimed liter- Schut :The disruption that results when touching weapons in ally at the crown of the head. A vertical Oberhau. Oberhau. One of the the Band . Meisterhau. Meisterhau. Al so ca ll ed Schaytler , Scheytelhau, Scheytelhau, or Schutten :To jar, to knock together, with strength and noise, Schaittelhaw. Schaittelhaw. It may be called the “parting” strike because it is and Anbinden. delivered as you pass back away from the opponent and the Schutze :(“protection”) A sword & buckler technique from the blades momentarily engage. According to Meyer, Meyer, a vertical anonymous German MS. I.33 or “Tower “Tower Fechtbuch” (c. 1295). A downwards cut with the true edge, also called an Oberhaw form of parry or deflect which is less well-defined and inconsisPage 32

tently illustrated. Schwech :(“weak”) German masters divided the long-sword into two portions, the weaker section of blade from middle to point was known known as Schwech (or Schwech (or Schwche, Schwche, i.e. foible), used for most thrusting and slicing but not parrying or binding (equivalent to the Foible of later renaissance fencing), opposite of Stark ( Starck Starck ). The further you move from the center-of-percussion center-of-percussion towards towards the hilt ( Stark Stark or or forte’), the weaker the strength when cutting and parry. The blade middle was regarded as the starting point of the Schwech that increased further towards the ort. Schwert Wechszlen :(“Shifting the sword” or “sword change”) In Talhoffer Talhoffer,, reversing the grip and grabbing the blade in HalbSchwert. Schwertnemen / Schwertsnehmen :(“Sword taking”) Close-in disarming or trapping actions. In the German schools close-in techniques for “wrestling at the sword” or Ringen Ringen Am Schwert Schwert , involved throws or grappling and disarming moves known as or Schwertnemen (“sword-taking”) there was also ground-fighting ( Unterhalten, Unterhalten, “holding down”). Called Gioco Stretto (Close Playing) in Italian, very useful and effective moves in long-sword fighting, called Grypes and Seizures in some later Renaissance styles. Schwuch :A lever-grip on the arm, with momentum that forces the opponent to fall. To To “Schwuchten”, is to “teeter-totter”. Sprechfenster :(“Talking Window”) The action of staying on guard in a strong bind (Band) after an Oberhau is Oberhau is parried with an upper Hengen, Hengen, keeping the point directed at the opponent’s opponent’s face in order to forestall his action. The two weapons form a kind of close window-cross. Ringeck describes it as useful for anticipating the opponent’s action. Also called Brechfenster ("breaking window"). Stark / Starck :The stronger part of the blade nearer the hilt (i.e., the forte’) less effective for cutting but used for parrying and binding. Opposite of Schwech. Schwech. Also, powerful, effective attacks or operations in the moment of contact between two weapons (i.e., “the Band”). Stercken :Attacks of particular effectiveness and those executed with skill (art); to linger in the Band with strength. Stich :A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). A special kind of Langort thrust in which the buckler is drawn back to the left hip and the right elbow is advanced but sharply bent so that the sword (held in supination) points down and backwards. strong Anbinden on the weapon. Storck / Sterck / Sterk :1. A strong Anbinden 2. The part of the sword-blade from the Gehiltz up up to the middle of the blade. 3. Attack of particular effectiveness and skill (art). Also called Sterck , Sterk . Liechtenauer’s blows. Streithau :(the “battle cut”) One of Liechtenauer’s Streychen / Straichen :To direct a blow from below against the opponent’s opponent’s blade to cancel their action. See Rota. Stcke / Stuke :(“device” or “piece”, “fighting trick”). Techniques or attack combinations designed to get past an opponent’s nent’s defenses. A chain of techniques possibly in the manner of a series of attack and counter drills. Key was the idea of knowing the opponent’s likely response to each attack, and attacking the opening that it creates. As the German masters would say, one technique paves the way for the next. This was not used initially, but appears in the later manuals. See Bruch. Bruch. Stcke und Bruch :(“performance/maneuver and stopping”) Moving to strike so that the opponents attack is “broken” or blocked before you strike. 2. “Technique and counter” or the idea that every technique has a counter and every counter has a technique, two major components of the German systems of swordsmanship. Sturtzhaw / Sturtzhow :(“plunging cut”, “plunge blow”, or “shifting cut”) According to Talhoffer, a straight thrust from the Hengen. Hengen. According to Meyer a high strike used in Zuefechten and made with the false edge with the hands high and the point aimed at the opponent’s opponent’s face. See also Talhoffer’s Prelhaw. Prelhaw. Versatzung for mounted combat - a blow with Taschenhaw :A Versatzung for the Langen Schneide from Schneide from the chief hut from mounted combat,

with which the sword is held in the “ bag “ of the slightly bent left arm. :The palm, the side of the hand that is not protected by Tenner :The armor. “Through the roses” :A 1555 edition of Johannes Leckuechner’s late 15th century fechtbuch, defines this as circular strike with the lowest point of the arc aimed at the thigh. Tuck lauff :A fast, secretive movement for the purpose of gaining a wrestling grip. Tunrschlag :(“From the Thunderclap”) A close-in throw or wrench according to Talhoffer. Uberfallen :A cutting or thrusting over the opponent’s weapon when it is held too low and his upper openings then become exposed. Also, to hook and pull down, with your right hand close to the Gehiltz , on the inside or outside of the opponents’ weapon over his hilt, in the proximity of or directly over his hand. See Uberlauffen. Uberlauffen. bergreiffen :(“Gripping Over”) Using the fingers of the right hand to wrap around or over the quillon (i.e., fingering). Leckuechner’s Leckuechner’s late 15th century fechtbuch described it from the Ochs position as: “Grip with your right hand over your cross guard into the blade, so that your fingers are standing in the flat of the blade. If somebody is hitting at you, hit him with strength that you just outdo his sword and twitch him your flat of the blade at his right ear and go high in a displacement.” Ueberlauffen / berlauffen :(“overrunning”) 1. The concept of timed counter-attack by outreaching the adversary just as they attack, you move into or out of their action and strike their closer targets exposed by their own attack. To outreach an opponent who attacks a distant target by targeting one closer. If the opponent attacks a lower target, the swordsman doesn’t bother to parry; rather, he simply attacks a higher (and therefore closer) target, outreaching the opponent. Typically a thrust, or a cut using the very tip of the blade. 2. Any cut or thrust over the opponent’s opponent’s weapon, when he attacks the lower openings. Umschlagen :To pull away after a blow for another to the opposite side. Similar to Talhoffer’s Dal Wegbinden. Wegbinden. Untere Ansetzen :Thrusts or techniques delivered under or below the opponent’s guard (opposite of Obere Ansetzen) Unterhalten / Underhalten :(“holding down”). Ground-fighting techniques wresting or grappling moves included in the curriculum of the German systems of fighting, entering techniques involving stepping in to trap the opponent’s opponent’s forearms or grip with you second hand or arm. Also a series of wrestling holds used to immobilize and opponent once the opponent was thrown to the ground. Once immobilized, the knight used his dagger to kill the opponent, or tied his arms and feet with cord, taking him prisoner. Also to hang on with a particular grip to an opponent already thrown to the ground. Unterhau :(“under cuts”) Any upward or rising strikes made from below the waist ( Unterhuten Unterhuten ), either diagonal ( Zornhau ) or vertical ( Scheitelhau Scheitelhau ). Usually made with the Langer Schneide (long edge). Unter Schnitt / Undern Schnitt :To slice upward from below. Valsch Ortt :A thrust to the face. A dishonest and dangerous attack, that was only allowed in serious combat. Vater Streich : (the “father strike”) One of Liechtenauer’s Meisterhau. terhau. Ver bo rge nes ne s Ri ngen ng en :(“wrestling secrets”) Dangerous wrestling-grips that were allowed only in serious fights and not for the public during fight school; Introductory remarks to their use were demonstrated but not allowed to be used. Verfhren Verfhren :(“Misleading”) Meyer said Misleading enables many moves and to remember when you show your intent, as if to strike to one of your opponent's openings, do not do so, but instead strike at another opening. Misleading is performed not only with the sword, but also by presenting various false stances to the opponent to lure or bait him into acting. The term might also cover provoking tactics in this sense, similar to Vadi’s falsit’. falsit’. Verhawen :An offensive cut, made before the opponent can Page 33

attack. Verkehren Verkehren / Das Verkehrer Verkehrer :According to Ringeck, a technique where if you bind at the adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and you thrust to his face from above, forcing him to displace the thrust, then grabbing his right elbow with your left hand place your left leg in front of his right leg and to toss him over. Also, a trapping technique of Joachim Meyer where the swordsman hooks the opposing blade and carries it down to the ground, sensing soft pressure from his opponent in engagement. Once the opponent’s blade is trapped, he can strike at his head or use a variety of other techniques. Verkerer / Verkehrer :To thrust from the Band with swords rotated about 180 degrees. The expression refers to the swordposture. (backwards upside-down, upside-down, turn or turning) Veller / Fehler :To fake a cut or thrust from an upper Blossen (opening) to a lower one, the concept of feinting high to low. the Zornhut (Guard (Guard of Wrath) to Verschieben :(“Sliding”) From the Zornhut lift your hilt over your head with your thumb on the blade (or ecussion ) and catch a blow on the flat, then immediately immediately wind in and slice. Versetzen Versetzen / Versatzung Versatzung :(literally “displacement” or “to displace”) The concept of a defensive action to put off an attack by a deflecting blow or counter strike as opposed to an opposition block, employed with evasive stepping (or the “displacements” are four of these cuts). Ringeck stated there were four Versatzungen techniques. Abwenden techniques. Abwenden and and Absetzen are examples of Versetzen. :According to Meyer, the action of keeping the Verstllen blade’s stark pressed against the opponent’s arm or weapon until an opening appears and a quick slice is used. See Bleiben and Umschlagen. Verzuckter Verzuckter Hau:(“twitched strike”) A term from the mid-15th century Codex Wallerstein text. Vidilpoge :(literally the “fiddle-stick”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower “Tower Fechtbuch” (c. 1295). A movement in which the fighter holds his sword essentially at right angles across his outstretched left arm. Vom Dach / Vom Vom tag :(“from the roof” or “from above”) A high guard, with the arms high over the head and the left foot is forward. Best suited for delivering strong cuts and threatening blows. Vom Schwert :(“from the sword”) The first group of techniques allocated to the Krieg phase. These are made by suddenly lifting off pressure or moving away from the opponent’s blade. Vor :(“before”) The offensive principle of fighting, aggressively taking the initiative, opposite of Nach (After). According to Liechtenauer’s Liechtenauer’s teachings, a good swordsman always attacks first, seizing the initiative before his opponent has the chance. Vor Fechten :(“attacking before”) One of the three ways of overcoming an opponent’s opponent’s attack. Vorfechter Vorfechter :A provost or advanced student in the Fechtschulen. Waage :("scale" or “balance”) A low firm body position of balance in whatever stance you use. The standard fighting position with legs and arms slightly bent. Also: To make a Wrestling grip on the elbow of the opponent and throw over your left foot, before he puts his right foot down and is in a delicate equilibrium. The term assumes that the throw - like with a scales - is only possible through the delicate balance-relationship corresponding. :(“What hurts, teaches”) The idea in the “Was sehrt, das lehrt” :(“What Fechtschulen that pragmatic knowledge follows only from realistic instruction and earnest practice (i.e., “no pain, no gain”). Wechsel :(“Change”) A term used by Joachim Meyer when re-

ferring to turning over the blade in a Tail guard from one edge to the other. Wechsel can mean a change of the stance from a position with short-edge facing the opponent (right leg lead, the blade forward, point down and to the left). This is a position which actually results from a diagonal right-to-left downward Zornhau ( ) cut. Similar to Fiore’ Fiore’s s Boar guard. Wechselhau / Wechssler :(“changing cut” or “Changer” ) An attack, that is parried/deflected, suddenly changes into a cut directed against another unprotected target. Pflug stance, to displace an attack Weckemeister :From the Pflug then deliver an upward thrust to the face from below. Winden / Wennden / Wend / Wenden en :(“winding” / “wind” or “turning”) Any turning of the point or pommel around to strike or ward. Close actions to maintain pressure and dominate the opposing blade to get in and use either edge to slice (also allows you to bind, trap, close, and seize). Any turning of the blade while pressing on the opponent’s blade in order to bring one end or the other of your sword (point or pommel) against them. To wind the opponent’s weapon by the wrists before attacking. Hallmarks Hallmarks of the Kunst des Fechtens Fechtens.. They typically involve the application of superior leverage against the opponent’s blade. The name is derived from the winding, turning motion of the sword. Major variations of the Winden are Winden are the Duplieren, Duplieren, Mutieren, tieren, and Hals Fahen. Fahen. Werffen:("throwing" or "armlocks") From the Codex Wallerstein, techniques, performed usually, although not always, with the help of the blade. Zeck / Zeckrur / Zecke / Zecken / Zeckruroren :(“tick”) To deliver a slight hit with the weapon when in close combat. A distracting hit or provocation. A light cut as a result of a “ Winden” den” that often catches the opponent by surprise. :Taps with the sword as a result of a “Winden” that are Zecken :Taps comparatively light, but often catch the opponent by surprise. Zornhau / Zorenuhau / Zorn haw :(“rage cut” or “anger cut”) A powerful diagonal cut delivered from behind the right shoulder or back, either Oberhau (above Oberhau (above the waist) or Unterhau (beUnterhau (below the waist). Also any diagonal cut. One of the Meisterhau. Meisterhau. Zornhut :(“guard of wrath” or “rage guard”) A sparingly used and vulnerable posture with the weapon pulled all the way point down behind the back, but which allows the most powerful blows such as Zornhau as Zornhau.. Zornort :To swing the sword back wide and then lifted over the head to thrust. This is done with good body control. :(“laying on”). A Winden variant, variant, also known as a Hals Zu Legen :(“laying Fahen (“neck Fahen (“neck catching”). Zucken :(Drawing) Generally applied to side-to-side cutting, in a “rownde” or wind-milling/moulinet-type fashion. Alternately a linear disengage or blade evasion. Zucken :(“twitches”) A jerky freeing of the weapon from the Band. When an opponent has over-stepped in the Band bringing himself nearer to you, you may take renewed cuts or thrusts at the first opening. You will notice that during this, you remain for another moment in the Band. Zuefechten :(“The Approach”) The initial phase of combat, the pre-fight or in pre-fencing before any engagement of weapons. One of the two phases of combat where the combatants are closing distance together to engage and an attack is made or their weapons make contact (prior to Anbinden to Anbinden or else Handar beit ). Zulaufent Ringen :Wrestling techniques used when first running together. Analogous to Zuefechten to Zuefechten.. Zwerchhau / Zwerchhaw / Zwerch :(“Thwart Blow”) A horizontal or “cross cut” (also a “slanting cut”) made from either side. A horizontal-strike to displace downward blows from above. above. One of the Meisterhau. Meisterhau. Also called Zwerch called Zwerch,, Zwer TwereTwere haw, haw, Twerchhau, Twerchhau, or Geschrenckt Ort . Zwer = = Thwart a Zwerchhau Zwerchen :to execute a Zwerchhau

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Appendix E: Assorted Resources Online Historical Manuals ARMA’ ARMA’s Historical Manuals Library: Library: http://www.thearma.or http://www.thearma.org/manuals.htm g/manuals.htm Higgin’s Higgin’s Armory Library: http://www.higginssword.or http://www.higginssword.org/guild/study/index.html g/guild/study/index.html Schielhau’s Schielhau’s Online Resources: http://schielhau.org/ Das Solothurner Fechtbuch: ht tp://mhewer.club.fr/Library/SF tp://mhewer.club.fr/Library/SFB/page_01.htm B/page_01.htm

Chivalry Bookshelf Chivalry Bookshelf Web Site: www.chivalrybookshelf.com www.chivalrybookshelf.com Secrets of German Medieval Swordsmanship, Christian Henry Tobler, ISBN 1-891448-07-2 Fighting with the German Longsword, Christian Henry Tobler, Tobler, ISBN 1-891448-24-2 The Longsword of Johannes Liechtenauer, Part I, DVD, Hans Heim, Alexander Kiermeyer, Kiermeyer, ISBN 1-891448-20-X In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal, Christian Henry Tobler, obler,

Paladin Books Paladin Press Web Site: www.paladin-press.com Sigmund Ringeck's Knightly Art of the Longsword, David Lindholm & Peter Svärd: ISBN 1-58160-410-6 Sigmund Ringeck’s Ringeck’s Knightly Arts of Combat, David Lindholm & Peter Svärd Codex Wallerstein, Grzegorz Zabinski with Bartlomiej Walczak

HMA Group Web Pages Stahlstadt Fechtschule: http://web.mac.com/perrywro http://web.mac.com/perrywrogers/iW gers/iWeb/FightingArts/ eb/FightingArts/ Rocky Mountain Historical Combat Guild: http://lamar.colostate.edu/~k http://lamar.colostate.edu/~kenelson/RMHCG enelson/RMHCG Schola St. George: http://www.scholasaintgeorge.org/ AEMMA: http://www.aemma.o http://www.aemma.org/ rg/ ARMA: http://www.thearma.or http://www.thearma.org g Chicago Swordplay Guild: http://www.chicagoswordp http://www.chicagoswordplayguild.com/ layguild.com/ Sword Forum: http://www.swordforum.com/

Internet Video Resources Eric Largo’s Video Site: http://www.ericwargo.com/sword/bouts/index.html Eric Largo’s Largo’s Schielhau Video: http://www.ericwargo http://www.ericwargo.com/swor .com/sword/bouts/using_the_schielhau.m d/bouts/using_the_schielhau.mov ov

Equipment Suppliers Arms & Armor: Armor: http://www.armor http://www.armor.com/index.htm .com/index.htmll Albion Swords: http://www.albion-swords.co http://www.albion-swords.com/ m/ Hollow Earth Swordworks: http://www.hollowearthswordworks.c http://www.hollowearthswordworks.com/ om/ Sword Crafts Aluminum Wasters: http://www htt p://www.swordcrafts.c .swordcrafts.com/ om/

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Longsword Lichtenahuer

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