Meyer Longsword Drill Book 1 Sept Preview

Introduction
Scholars of Alcalá 1st Edition

Introduction
Volume 1, 1 s t Edition
This study guide summarizes and explains the longsword plays found in chapters 9 thru 11 of Joachim Meyer’s A
Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses,
Affected and Put Forth with Many Handsome and Useful Drawings. Additional essays, drills, and other exercises are
included to help the fencer understand the material.
This guide should be used in conjunction with Jeffrey L. Forgeng’s translation of the original text, which is published
under the title The Art of Combat: A German Martial Arts Treatise of 1570.
While prior fencing experience of any kind is helpful, this text is meant to be accessible to beginners.
Text and diagrams copyright Jonathan Allen, 2023. Historical images are public domain.
Research for this study guide was conducted by the Scholars of Alcalá.
Introduction ............................................................................................................................................................. 5
Parts of the Schwert/Sword .....................................................................................................................................10
Primary Guards .......................................................................................................................................................11
Secondary Guards ...................................................................................................................................................18
Cutting Through the Postures ..................................................................................................................................21
How One Shall Attack to the Four Openings ............................................................................................................25
Concerning the Cuts ................................................................................................................................................47
Some Useful Advice About Versetzen (Parrying) ......................................................................................................66
Handtarbeit (Handwork)..........................................................................................................................................69
Concerning the Abzug (Withdrawl) ........................................................................................................................119
Advice about Stepping ...........................................................................................................................................119
Fighting from the Postures: Tag (Day) ....................................................................................................................120
Fighting from the Postures: Zornhut (Wrath Guard)...............................................................................................140
Fighting from the Postures: Ochs (Ox) ...................................................................................................................155
Fighting from the Postures: Einhorn (Unicorn) .......................................................................................................161
Fighting from the Postures: Schlüssel (Key)............................................................................................................172
Fighting from the Postures: Hangetort (Hanging Point) ..........................................................................................174
Fighting from the Postures: Schrankhut (Crossed Guard) .......................................................................................177
Fighting from the Postures: Nebenhut (Side Guard) ...............................................................................................181
~ 3 ~ Revision 284 Printed on 10/5/23

Introduction
Fighting from the Postures: Mittelhut (Middle Guard)........................................................................................... 182
Fighting from the Postures: Langort (Longpoint) ................................................................................................... 185
Fighting from the Postures: Wechsel (Changer)..................................................................................................... 193
Fighting from the Postures: Brechfenster (Break Window) .................................................................................... 195
Appendix: Annotated Illustrations ......................................................................................................................... 201
Index..................................................................................................................................................................... 206
Bibliography.......................................................................................................................................................... 206
Next Steps ............................................................................................................................................................ 207

Introduction
Each play in the text is described using a cutting diagram, footwork diagram, and/or a tempo breakdown. It may
also contain suggestions, variants, and drills.
Variants are alternative versions of a pattern, play, or device found in the text. Meyer usually explains them in the
prose that follows the technique itself.
Drills are additional exercises inspired by the text. They are not ‘canonical’, but may be useful for understanding the
material.
Each drill is broken down into a series of actions referred to as tempi. A tempo often includes a single or double
step accompanied with a cut or thrust, though that is not always the case. The duration of a tempo can vary widely,
with long-range actions tending to have longer tempi than short-range actions.
The tempi numbers will not necessarily correspond to the numbers used in the cutting diagram cuts. This can
happen when the other fencer performs an action, an action is interrupted, or if the author asks the fencer to
perform two or more blade movements as a single, continuous action.
Agent: The first fencer to act in a drill or exercise.

Patient: The second fencer to act in a drill or exercise.
Indes (Instantly): A moment in time where the fencer needs to observe the situation and make a decision.
Meyer divides a fight or exchange into three phases.
Zufechten (Onset or To Fencing): The opening phase of an engagement, including any provocations and the first or
second real attack.
Mittelarbeit (Middle Work): The middle phase of an engagement. Roughly speaking, this begins with the first major
decision point where the agent decides to continue, modify, or abort the original plan. Also known as Handtarbeit
(Handwork).
Abzug (Withdrawal): These are the final cuts used to ward off the opponent while breaking off the fight. Also
known as Cutting Away.
A play is considered to be a ‘complete device’ if it incorporates all three phases. Where present, dark lines are used
in the tempo breakdown to divide the phases.
A Agent’s initial guard
P Patient’s initial guard.

1 First action in the onset.
2 Subsequent actions in the onset.
3 First action in the middle work
4 Subsequent actions in the middle work.
5 The withdrawal.

Introduction
The numbers in the diagram refer to cutting angles.
7. Descending Vertical: Oberhauw (High Cut), Scalp Cut, Scheittellini

(Scalp Line)
1/2. Descending Diagonal: Zornhauw (Wrath Cut), Zornlini (Wrath
Line), also part of Oberhauw
5/6. Horizontal: Mittlehaw (Middle Cut), Zwerchlini (Thwart Line)
3/4. Ascending Diagonal: Underhauw (Low Cut), Ubersich Steyget Lini
8. Ascending Vertical
The Oberhauw (High Cut) can refer to just line 7 or any of the
descending lines depending on context.
The Zwerch (Thwart) is described as being along lines 3, 4, 5, and 6.
Each major blade action is numbered. For cuts, the number also indicates the rough starting point of the cut.
Adornments on the number provide additional reminders such as which edge to use and whether or not the arms
are crossed.
Thrusts may have a small number, 1 thru 5, indicating the hand rotation.
1: Long edge up, palm out, arms crossed.

2: Palm down, long edge to the right (for right-handed fencers).
3: Long edge down, palm to the right.
4: Palm up, long edge to the left (for right-handed fencers).
5: Long edge up, palm out, arms uncrossed.

Introduction
Where appropriate, a Cut Sequence is provided under the diagram to further serve as a memory aid. These are
intended to be very concise so they can be verbally called out when drilling. As such, they omit many of the finer
details that can be found in the diagram and tempo breakdowns.
· 1 thru 8: Cuts.
· T: Thrusts.
· CW/CCW: Clockwise and counter-clockwise cuts/parries.
· Di/Do: Disengage to the inside/outside.
· S: Slash with the short edge on line 3 or 4.
The slash is called out explicitly because of its frequent use as an opening move in Meyer’s longsword.

Introduction
In order to improve clarity, a common set of terms have been developed to describe the footwork. Unless called
out at being specific to a text, the terms are used in all of the books in this series.
When provided, the starting positions are marked with the words “Left” and “Right”. The numbers refer to the
tempo in which the step occurs, with the left foot in blue and the right in orange.
In some of the diagrams you will see narrow lines without arrow heads. These are “stance lines”, the length of
which is used to illustrate how narrow or wide one’s stance is.
Note that the text often omits footwork instructions. Unless specifically noted that the foot doesn’t move,
additional steps may need to be added.
An increase is simply the act of

moving the front foot forward. This
can be used to change one’s stance
or for a quick attack.
Here we see an increase used as part

of a lunge.
The passing step allows one to

change lead foots. The length of
the step will depend on whether
you wish to widen or narrow your
stance.
The advancing step begins with Passing steps can be forward for
moving the front foot forward. backwards. They can also be done
The length of the advance will as a sloping or compass step.
vary depending on the situation.
When approaching the opponent,
the length of the typical advance A forward gathering step is
should be roughly one to one-and- simply drawing the rear foot up
a-half foot-lengths. This reduces to the front foot. This prepares
the time your foot is in the air. you for making a larger step.
At the completion of an advancing step, regardless of This is one of the most subtle
length, you should have the same distance between ways to close distance without
the feet as when you started. a lot of risk because the body
doesn’t move forward significantly. It also sets up for
a powerful lunge.

Introduction
You can also gather your front A slope step is simple an
foot back to meet your rear foot. advancing step that moves at
This is useful when you want to an angle instead of directly
put a little space between you and forward. Unless otherwise
your opponent without actually qualified, a slope step is done
changing your position. at roughly a 45 degree angle.
In the image below you can

To perform a driving step, gather your see a footwork diagram that
rear foot forward, then increase the may have been used for practicing slope and triangle
front foot. steps.
Driving steps can be thought of as

your rear ‘pushing’ the front foot
forward. As opposed to advancing
steps, where the front foot ‘pulls’ the
rear foot along.
The retreating step can be performed

in two ways.
The first option is to move the lead foot close to the

rear foot. Then slide the rear foot back. This is useful
for quickly moving the body out of harm’s way.
The compass step is simply a slope
The second option is to push the rear foot back first. step that also changes the direction
This is done by straightening the front knee. Its you are facing.
advantage is that your feet are never close together,
Circles such as this from Marozzo
which is less stable position.
would have been used for practicing
compass steps.

Parts of the Schwert/Sword
· Knopf: Pommel
· Ort: Point
· Creutz: Quillons
· Gefeß: Hilt
· Heft: Haft
· Bint: Grip
· Schilt: Shield
· Klinge: Blade
· Stercke: Strong (Forte)
· Schweche: Weak (Debole)
· Lange Schneide: Long Edge (True Edge)
· Kurtze Schneide: Short Edge (False Edge)
· Inside Flat: Palm side of front hand.
· Outside Flat: Back side of front hand.
There are three ways to attack in German longsword, the thrust, the cut, and the slice.
· The thrust is performed with the point.

· The cut is usually performed with the weak or upper half of the sword.
· The slices are usually performed with the strong or lower half of the sword.
Parries are also generally performed with the middle to the strong of the sword.

Primary Guards
This section covers the four primary guards plus Langort. The analysis of each guard should be taken advisory only,
as there is room for interpretation in the illustrations.
Annotations have been made to the illustrations to assist with seeing details.
Red and Blue Floor Lines: These denote the toe and hill of each foot.
Red Sword Line: This is the front or long edge of the sword.
Blue Sword Line: This is the back or short edge of the sword.
Purple Lines: These denote the height of key points such as the point and hilt.
Cyan Lines: These denote the horizontal location of key points such as the point, hilt, elbows, and shoulders.
Yellow Lines: These denote the approximate location of the bones. Used to better seen the lean of a fencer.
Note that each guard has a left and right variant. If the sword is retracted (Ochs, Olber, Tag), ‘left’ and ‘right’ refer
to which side of the body the sword is on. If the sword is extended and roughly centered (Langort, Pflug), ‘left’ and
‘right’ refer to the forward foot.
Each illustration should be taken to be an example of the posture. Each guard has many named and unnamed
variants that a fencer will require at various times.

Primary Guards
Langort is the most important guard because nearly all cuts and thrusts travel through, or end in, this posture. This
version shows the end of a thrust.
· Right foot is turned out.

· Right knee is bent so that the lower leg is vertical.
· Left foot is 90 degrees.
· Left knee is slightly bent.
· Body is upright.
· Chin is level.
· Right hand is close to the guard with the thumb up on a quillon.
· Left hand is on the pommel.
· Left arm is bent.
· Hilt is shoulder high, point just higher than the head.
Pommel is over the knee

Primary Guards
Ochs is the high guard for the thrust. It also known as the “upper hanger” and if often used in the middle of a fight.
· Right foot is lined up with opponent’s feet (blue lines) and at nearly 90 degrees.
· The ankle on the right foot is rolled slightly in to be in line with the leg rather than flat on the ground.
· Left foot is off to the side of the opponent with the foot turned outward.
· Distance between the feet is approximately one foot width.
· Both knees are bent
· The right hand is above the shoulder.
· The cross guard is above the hip.
· The right index finger is extended. The grip is done with the ring and pinky finger.
· The right thumb is inline with the edge and supporting the sword from beneath.
· The left rink and pinky fingers are loosely touching the pommel.
· The long edge (red) is up and slightly outwards.
· The point is level with the armpit.

Primary Guards
Pflug is the low guard for the thrust. It is also known as the lower hanger.
· The left foot is turned slightly out.

· The right foot is more than 90 degrees back.
· The heels are in line with each other.
· The back is in line with the rear leg.
· The head is inclined upward.
· The front knee is bent so that it is over the toe.
· The long edge (red) is turned inwards slightly.
· Both arms hang loosely, the left slightly bent.
· The right hand is over, or slightly past, the front
knee.
· The right hand is cupping the handle.
· The thumb is along the short edge.
· The left hand is holding the pommel from behind.
· The point is level with the armpit.
· The point is level with the other fencer’s hip.
· The cross guard is slightly angled with the short
edge higher.

Primary Guards
Tag is the high guards for the cut. This is also known as vom Tag, which is translated as “From the Roof”.
· Feet (red lines) are in line.

· Back foot is in-line with leg, right foot nearly straight.
· Back leg is straight, front knee is bent so lower leg is straight.
· Loose grip with right hand.
· Tighter grip with left hand.
· Left hand is just above the pommel.
· Point is roughly 45 degrees back
· One hand on either side of head, roughly lined up with hips.
· Body is inclined slightly forward
· Left shoulder is leading.

Primary Guards
Obler (Alber, Fool’s Guard) is a long-range guard that affords a good field of view and good mobility since your
posture is more relaxed and less locked in as with higher guard.
It is important to know how to fence from this position since it’s the natural end point from full cuts. Using this
guard at long range denies your opponent contact with your sword, preventing them from working from the bind
and forcing them into long range tactics. Conversely, using this guard in close range is not advised since your
opponent can smother most of your options and it leaves most of your upper body completely exposed.
Holding the sword to the center allows for quick thrusts into Langort (Longpoint).
Sword tip more toward the dominant side allows for strong sweeping strikes with the true edge from below or the
side with the potential to transmute into overhead strikes. These can batter opponent strikes off the centerline,
opening your opponents for powerful counter thrusts. Meyer also likes to enter into range with short edge rising
cuts from the dominant side.
Sword held toward the non-dominant side favor powerful rising beats and thrusts with the short edge made with a
shoveling motion. These parry incoming strikes up and out, leaving your opponent open to the already chambered
strike from above. True edge rising cuts will lack range and strength due to the crossed armed nature, but readily
unwind into short edge cuts from below above when parried.
Other defensive options from Olber include stepping off to the sideways and behind your sword in a Hangort
(Hanging Point) guard or Gerade Veratzung (Straight Parrying). Kron Strike is also another option.

Primary Guards
· Left foot is turned slightly out.

· Right foot is turned out, but not quite 90 degrees.
· Right foot is flat on the ground.
· Left foot (blue line) is to outside of the opponent’s feet (red lines).
· Body forms a straight line to the rear foot.
· Head is tilted upwards.
· Head and shoulders are directly above left knee and foot.
· Left knee is bent so lower foot is 90 degrees to the ground.
· Rear leg is straight.
· Left hand is above the front foot.
· Both arms are somewhat bent.
· Index finger is over the quillon.
· Thumb is raised onto the flat of the sword.
· Left hand is just above the pommel.
· Long edge (red) is turned slight to the left.

Secondary Guards
This section summarizes the secondary guards that appear in the text. Meyer considers each is considered to be a
variant of one of the four primary guards.
Meyer Chapter 11
Meyer Chapter 11
This is known as Porta di Ferro in Italian sources.

This guard is used for close-in fighting. It occurs more
Meyer doesn’t illustrate this posture, from Marozzo.
readily with sharp swords, as they tend to “bite” into
Note how the hands are held higher than Pflug, but
each other, which in turn pushes the points upward.
not quite as high and extended as it would be in
Meyer doesn’t illustrate this posture, so we turn to
Langort. It is thought to be called the “Iron Gate”
Jörg Wilhalm.
because of its strong defensive potential.
Meyer Chapters 3 and 11

Meyer Chapter 11
This guard is primarily used in Meyer’s rapier text,

but it does appear in an Einhorn play.
If you stand in Ochs and raise the point, you form the
guard Einhorn.

Secondary Guards
Meyer Chapter 3 Meyer Chapter 11
This guard is used to primary to parry blows. It is rare

to be in this posture for more than a moment.
Meyer Chapter 11
The Kron (Crown) guard has the arms high and
forward, point is slopping forward, and the quillons
roughly forehead high. The quillons are horizontal so
they can catch incoming blows. Essentially the
illustration below, but again with horizontal quillons.
This guard, primarily used with the dussack, is used in

a handful of techniques. In addition to the illustration
with the Dussack, we offer Paulus Hector Mair’s
version using the longsword.
Meyer Chapter 11
It is thought that the name comes from the idea that

the quillons look somewhat like a crown when
viewed head-on.

Secondary Guards
Another guard that isn’t illustrated, it may refer to
the above image from Mair. Note that Mair says that Meyer Chapters 3 and 11
it can be performed on either side.
Meyer Chapter 11
Later Meyer will say that any guard can be countered

with the Schlussel.
This variant of the posture is a form of invitation,

used to deceive the opponent about how close you
are.
More commonly, it would be used with an upright

stance with the sword resting on the shoulder or
down the back rather than being twisted around.
Meyer says that this guard is often incorrectly called
Eisenport. Later he will make the same mistake.

Cutting Through the Postures
Meyer 1.9v-1.10r
Cut Sequence: 7-8-7-8
A Right Tag (High Guard)

1 Pass the right foot forward while cutting vertically down into Langort (Longpoint).
2 Continue through the cut into left Olber (Fool).
3 Turn the sword into left Schrankhut (Crossed Guard) with uncrossed arms.
4 Cut upwards through left Hangetort (Hanging Point).
5 Continue through into left Einhorn (Unicorn).

6 Pass the left foot forward while cutting vertically down into Langort (Longpoint).
7 Continue through the cut into right Olber (Fool).
8 Turn the sword into right Schrankhut (Crossed Guard) with crossed arms.
9 Cut upwards through right Hangetort (Hanging Point).
10 Continue through into right Einhorn (Unicorn).
In tempi 1 and 6, the foot should land when you strike your opponent, or in this case where you imagine your
opponent’s head would be.
In tempi 3 and 8, Meyer uses the term Eisenport (Irongate), which he explains has a “real” version and a Schrankhut
version. Given that long edge cuts are called for in this drill, he most likely means the Schrankhut version.

Meyer 1.9v-1.10r
A Right Zornhut (Wrath Guard)
1 Pass the right foot forward while cutting diagonally through Langort (Longpoint).
2 Continue through into left Wechsel (Changer).
3 Pull the hilt up into left Nebenhut (Side Guard).
4 Pass the left foot forward while cutting through Langort (Longpoint).
5 Continue through into right Einhorn (Unicorn).
6 Pass back the left foot into left Zornhut (Wrath Guard).
7 Pass the left foot forward while cutting diagonally through Langort (Longpoint).
8 Continue through into right Wechsel (Changer).

9 Pull the hilt up into right Nebenhut (Side Guard).
10 Pass the right foot forward while cutting through Langort (Longpoint).
11 Continue through into left Einhorn (Unicorn).
12 Pass back the right foot into right Zornhut (Wrath Guard).
* Repeat from beginning.
opponent’s head would be.
In tempi 3 and 9, do not draw the hands as high as you see in the illustration from Mair. The hilt only needs to be
about chest-high for the cut. Likewise, don’t leave the hilt down by the thighs or hips. If you do so, you’ll expose
your arms during the ascending cut.
Tempi 6 and 12 are used to reset for cutting from the other side. They are not part of Meyer’s text.

Meyer 1.9v-1.10r
Cut Sequence: 1-S-2-S
3 Pass the left foot forward while slashing with the short edge through Langort (Longpoint).
4 Continue through into right Zornhut (Wrath Guard).
5 Pass back the left foot while lifting sword over head into left Zornhut (Wrath Guard).
8 Pass the right foot forward while slashing with the short edge through Langort (Longpoint).
9 Continue through into left Zornhut (Wrath Guard).
10 Pass back the right foot while lifting sword over head into right Zornhut (Wrath Guard).
opponent’s head would be. Likewise in tempi 3 and 9, the foot should land when you strike your imagined
opponent’s blade.

Meyer 1.9v-1.10r
Cut Sequence: 1-S-2-S
3 Pass the left foot forward while slashing with the short edge through Langort (Longpoint).
4 Turn the sword and draw it up into right Hangetort (Hanging Point).
5 Continue through into right Ochs (Ox).
6 Pass back the left foot while thrusting and retracting the sword left Ochs (Ox).

9 Pass the right foot forward while slashing with the short edge through Langort (Longpoint).
10 Turn the sword and draw it up into left Hangetort (Hanging Point).
11 Continue through into left Ochs (Ox).
12 Pass back the right foot while thrusting and retracting the sword right Ochs (Ox).
opponent’s head would be. Likewise in tempi 3 and 9, the foot should land when you strike your imagined
opponent’s blade.

How One Shall Attack to the Four Openings
In Meyer’s longsword manual, chapters 1 thru 9 consist primarily of background information, terminology, and
theory. The actual exercises intended for novice fencers begin in chapter 10.
Meyer 1.27v.1
Cut Sequences
Black S-S-S, 1-4-3-2, 5
Red S-S-S, 3-2-1-4, 5
Blue S-S-S, 2-3-4-1, 6
Green S-S-S, 4-1-2-3, 6
A Right Weschel (Changer)

1 Slash upwards through the face into Langort.
2 Gather forward while recovering the sword, then increase the left foot with a second slash into Langort.
3 Gather forward while recovering the sword, then increase the left foot with a third slash into Langort.
4 Pass forward the right foot, cutting a Zornhauw to the opponent’s upper-left opening.
Pass forward the left foot, cutting an Underhauw to the opponent’s lower-right opening. As you do this,
5
keep the hilt high to protect your head.
6 Pass forward the right foot, cutting an Underhauw to the lower-left opening. Again keep the hilt high.
7 Pass forward the left foot, cutting a Zornhauw to the upper-right opening.
8 Step back with a Zwerch for your protection.
When learning this pattern and its accompanying drills, it may be useful to practice the three phases (denoted by
thick borders) separately at first.

Pattern 1 has four target variants, representing the four openings. Using the diagram below, substitute the four
cuts (tempi 4 thru 7) with one of the four colored sequences.
For example, the green sequence would be
4 Increase the left, cutting an Underhauw to the lower-right opening.
5 Pass forward the right foot, cutting with a Zornhauw to the upper-left opening.
6 Pass forward the left foot, cutting a Zornhauw to the opponent’s upper-right opening.
7 Pass forward the right foot, cutting an Underhauw to the opponent’s lower-left opening.
For the blue and green sequences, note that the footwork changes to account for the first cut coming from the left.
Also, the final Zwerch (Thwart) may come from either side.
Repeat the four target variants above, but using the short (back) edge of your sword for the four cuts instead of the
long (front) edge.
Repeat the four target variants, but using the flat of your sword for the four cuts instead of the edge. Meyer
instructs us to use the inside flat for strikes to the opponent’s right opening, and the outside flat for strikes to the
opponent’s left.
· Inside Flat: The flat of the sword on the side with the palm and fingernails.
· Outside Flat: The flat of the sword on the side with the back of the hand.
The term Measure refers to the distance from which you can attack. More specifically, Wide Measure is the
distance from which you can attack by taking a single step and Narrow Measure is the attack distance for which no
step is required.
Several factors affect measure including the length of the weapon, the length of your arm, the length of your stride,
the type of step, and the type of attack. For example, a thrust has a significantly longer measure than a short edge
cut.
For this drill, pick an arbitrary distance from a fixed target. Perform as many slashes as necessary to come into wide
measure. Then perform a cut to see if you were correct. If the distance was wrong, adjust the number of slashes or
the length of each step accordingly.
Perform this drill with a partner. The agent will perform the four middle work cuts (tempi 4 thru 7), stepping
forward with each.
The patient will parry each cut, stepping backwards as necessary to maintain a reasonable distance.
After the fourth cut, the roles reverse and the patient executes the pattern while moving forward while the agent
parries.

Instead of stepping straight forward, step to the right during the first cut of the middle work (tempo 4). Each
subsequent cut goes further to the right, allowing the left foot to pass between the fencer and the opponent as
needed.
Or if the first cut in the middle work is to the patient’s right opening (green and blue patterns), step further to the
left with each cut.
In this manner, the agent moves farther and farther from the original line. Often the agent can redefine the center-
line faster than the patient can turn to compensate. And if the patient turns too quickly, they can expose their other
side for the agent to work against.
Indes (Instantly) refers to instant decision making. Meyer says that you must be prepared to assess the situation
and decide to continue or change your plan in the time it takes to blink.
An indes drill requires the fencer to make such decisions at certain points of the exercise.
The patient will start with a point forward guard several paces away.

Gather forward while recovering the sword, then increase the left foot with a third slash into Langort,
3
striking the opponents sword.
4 Indes Note which of the four openings the patient exposes when the sword is struck and cut there.
5 Continue to the 2nd cut as per the colored sequence from the Meyer’s cross.
6 3rd cut from the colored sequence.
7 4th cut from the colored sequence.
To encourage observation, the patient should vary between allowing their sword to be batted away, quickly moving
the sword back, and outright resisting the slash. The patient may also vary between low and high, point-forward
guards.
This pattern serves many roles. In the onset, it teaches the fencer to provoke a response from their opponent and
observe what opportunities arise. In the middle work, it teaches the fencer to attack the four openings, chaining
attacks together in a way that makes it increasingly hard for the opponent to parry. And in the withdrawal, to cut
away for safety.
For the patient, the one receiving the attacks, it’s an opportunity to practice their parries in the four quarters.
The pattern also introduces the concept of attacking with the short edge and both flats of the sword. The short
edge is used extensively in longsword, especially in Meyer’s text where it can substitute for a thrust. In addition to
specialized uses, attacking with the flats can be used when one wants to doesn’t want to hurt their opponent.
(Imagine a tournament, friendly sparing match, or trying to subdue a suspect for questioning.)

Finally, the pattern can be used to explore various concepts such as working one side or the other, avoiding the
opponent’s centerline where they pose the most danger. In the subsequent patterns, we see this modified to look
at feints, running off, deceptions, and reacting to different types of parries.

Meyer 1.28v.1
Fehien (Failing) refers to a feint in which your sword fails to make contact with the opponent’s sword. It is one of
several types of deceptions taught by Meyer. In this pattern, the 3rd cut is feinted.
Cut Sequences
Black S-S-S, 1-4-3-2, 5
Red S-S-S, 3-2-1-4, 5
Blue S-S-S, 2-3-4-1, 6
Green S-S-S, 4-1-2-3, 6
1: Feint this cut
5
6 Gather forward the right foot, feinting an Underhauw to the lower-left opening.
7 Step forward the left foot, cutting a Zornhauw to the upper-right opening.
Note the abbreviated step in tempo 6. With feints, it is often better to not take a full step.
As with pattern 1, it may be useful to learn the middle work (tempi 4 thru 7) alone before performing the full play.
As with pattern 1 (page 25), replace the middle section with one of the four colored patterns shown on the right.
As with pattern 1 (page 25), use the short (back) edge and flats along with the four target variants.
Feint the 1st or 2nd cut in the middle work (tempi 4 thru 7) instead of the 3rd.

In this drill, only the middle work section is used.
2
Gather forward the right foot, feinting an Underhauw to the lower-left opening.
3
Patient decides whether or not to parry.
If patient didn’t parry, agent completes the step and Underhauw to the lower-left opening.
4
If patient parries, agent steps forward the left foot, cutting a Zornhauw to the upper-right opening.
Precept: All feints are real attacks, aborted when no longer viable.
It is important to understand that a feint is a real attack until it isn’t. If the opponent doesn’t react to the feint, then
it should be completed as if it was intended to be a real cut or thrust all along.
Precept: Use real steps with real cuts, fake steps with fake cuts.
Avoid taking full steps when using a feint, as it commits you to a course of action. Instead take half-steps or leave
the foot in the air until you decide to proceed or abort the attack.
Precept: Feints require audience participation.
Feints tend to work best against intermediate fencers. Novices often miss the feints entirely, never reacting to
them. Advanced fencers see through the feints, knowing which will hit and which can be ignored. The intermediate
fencer is observant enough to see the attack coming early enough to react, but not perceptive enough to separate
the real attacks from the fakes.
You can compensate for this by exaggerating your feints when facing the novice, making larger motions with the
hand, body, or foot. Against the advanced fencer, work on reducing your “tells”, the hints your body gives to your
opponent about your intentions, so you shorten the time they have to make a decision.

Meyer 1.28v.2
In this pattern, the 2nd and 3rd cut is feinted.
Cut Sequences
Black S-S-S, 1-4-3-2, 5
Red S-S-S, 3-2-1-4, 5
Blue S-S-S, 2-3-4-1, 6
Green S-S-S, 4-1-2-3, 6
1: Feint this cut

5 Gather forward the left foot, feinting an Underhauw to the opponent’s lower-right opening.
6 Feint an Underhauw to the lower-left opening.
7 Step forward the left foot, cutting a Zornhauw to the upper-right opening.
The lack of a step in tempo 6 is just one option. Play with different footwork options when using your feints such as
taking a half-step or lifting the foot only to replace it in the same location.

Meyer 1.29r.1
In this pattern, the 1st and 2nd cut is feinted.
Cut Sequences
Black S-S-S, 1-4-?
Red S-S-S, 3-2-?
Blue S-S-S, 2-3-?
Green S-S-S, 4-1-?
1: Feint this cut
?: Cut anywhere

4 Pass forward the right foot, feinting an Zornhauw to the opponent’s upper-left opening.
5 Gather forward the left foot, feinting an Underhauw to the opponent’s lower-right opening.
6 Indes Observe where the opponent is open and cut to the nearest opening.
The phrase “cut to the nearest opening” is used by German authors to indicate that target should be selected based
on what the opponent makes available.
Though not specified in the manual, one should end this drill by cutting away with a Zwerch or two.

Meyer 1.29r.2
Ablauffen or Running Off refers to actions where you don’t try to meet the opposing blade with a static block, but
rather guide and redirect their energy to the side. This is often done by dropping the point at the moment of
impact, thus creating a ramp for the other blade to slide down.
Cut Sequence: S-S-S, 1-7
Pass forward the right foot, cutting a Zornhauw to the left ear.
4
Patient parries.
5 Agent allows the sword to run off, then cut to the right ear with the short edge and crossed arms.
Footwork for tempi 5 is not specified in the manual.
To being this practice, ensure the patient can parry successfully.
1
Patient parries.

Then add the running off and second cut.
1
Patient parries.
Agent runs off by pulling the pommel to the left and dropping the point to the right, allowing the patient’s
2 parry slide down the sword rather than being stopped.
Then cut to the right ear with the long edge.
Then add the second parry.
1
Patient parries.
Allow the sword to run off, then cut to the right ear with the long edge.
2
Patient parries.
Finally add the short-edge cut.
1
Patient parries.
Agent allows the sword to run off, giving the impression that a long edge cut to the right is intended.
2 Patient parries.
Agent cut to the right ear with the short edge and crossed arms.
Running off can also be used by the defender.
1
Patient parries.
2 In a fluid motion, the patient runs off and cuts to the right ear with the long edge.
As demonstrated in the exercises for this pattern, running off can be done by either the attack or defender.
Generally speaking, a fencer will choose to use running off when the other fencer is strong in the bind and really
pushing into their blade. Essentially their own energy is used against them.
If the other fencer is weak in the bind, it is usually better for the stronger fencer to maintain the centerline and
thrust or otherwise work the middle.

Meyer 1.29r.3
Cut Sequence: S-S-S, 1-7-1

4 Pass forward the right foot, cutting a Zornhauw to the left ear.
Cut to the right ear with the short edge and crossed arms without hitting.
5
Patient parries.
6 Allow the sword to run off, then cut a Zornhauw to the left ear.
Note: The opening slashes are not explicitly stated in the text. They have been included because this pattern is
presented as a pair with pattern 5.
Pattern 5 acts as the preparatory drill for this play.
This drill follows the familiar pattern of observing how the patient reacts.
1
Patient parries.
Agent beings a cut to the right ear with the short edge and crossed arms.
2
Patient decides whether or not to parry.
3 If patient didn’t parry, agent completes the step and short edge cut.

If patient parries, agent runs off without hitting and then cuts a Zornhauw to the left ear.

Meyer 1.29v.1
This pattern is designed to give the impression that you are going to throw two high cuts in a row, when instead
you use two cuts from the same side.
Cut Sequence: 1-3
1 In the first attack, cut to the left ear.

Pull both arms up, the pommel going under your own right arm, then immediately step towards opponent
2 with the left foot behind the right while cutting from below to the left opening so that the haft is over the
head.
Starting with this pattern, Meyer no longer reminds us what the onset should look like. Experiment with using the
three slashes that were seen in the previous patterns.
In the first attack, cut to the left ear.

1
Patient parries.
Then add a simple second attack. This attack is called Umbschlagen or Striking Around.

1
Patient parries.
Pull both arms up, the pommel going under your own right arm to cut with the long edge against the right
2
opening with a passing the left foot to the left.

The patient should then practice parrying this combination.

1
Patient parries.
Pull both arms up, the pommel going under your own right arm to cut with the long edge against the right
2 opening with a passing the left foot to the left.
Patient parries.
This pattern can be used on the left side as well.
1 In the first attack, cut to the right ear.

Pull both arms up, the pommel going to the right and starting to circle to the left as if striking around, then
2 immediately step towards opponent with the right foot behind the left while cutting from below to the
right opening so that the haft is over the head.
Note how the pommel action in the actual play begins the same way as the simple second attack, a.k.a. the
Umbschlagen (Striking Around). This is where the deceptive aspect resides.
The word umbschlagen can also be translated as “to turn over”, “to turn up”, or “to fold or turn back”. This
accurately describes how the sword almost appears to fold onto the arm when leaving the bind, and then unfold
onto the other side.

Meyer 1.29v.2
This deception is designed to give the impression that you are cutting to opposite ends of the same line, as in the
middle of pattern 1 (page 25).
Cut Sequence: 3-1
A [Any high guard]
1 Step forward with right foot while cutting to the lower-left opening.
Pull back by your right side, then move the left foot back behind the right while cutting to the upper-left
2
opening so that you are protected by your blade.
The first cut should be performed from a high guard such as Tag (Day). If you start too low, it exposes the arms and
makes the follow-up action harder.
The footwork essentially makes up both halves of a Compass Step (page 9).
In the first attack, cut to the lower-left opening.

1
Patient parries.
Then add a simple second attack.

1
Patient parries.
Agent pull’s back by the right side, then passes to the left with the left foot while cutting to the upper-right
2
opening


1
Patient parries.
Agent pull’s back by the right side, then passes to the left with the left foot while cutting to the upper-right
2 opening
Patient parries.
At this point the patient is trained to expect an opposing cut on the same line. Thus, when the second cut comes
from the agent’s right instead, they are taken by surprise.
Another way this deception can arise is from attacks known as Flügelhau (Winging Strike). A winging strike is a
rising cut that starts in any high guard on one side and end in Einhorn (Unicorn) on the other. They are usually used
in two or more, as it gives the appearance of a bird beating its wings. A pair of such cuts may be colloquially
referred to as double winging.
A Start in any high guard.

1 Step forward with the right foot while cutting upwards to the left chin, ending in Einhorn (Unicorn).
2 Step forward with the left foot while cutting upwards to the right chin, ending in Einhorn (Unicorn).
3 Step forward with the right foot while cutting upwards to the left chin, ending in Einhorn (Unicorn).
Pull back as is starting another Flügelhau (Winging strike), but instead move the left foot back behind the
4
right while cutting to the upper-left opening so that you are protected by your blade.
This version of the deception works because it gives the opponent the impression that you are using two sets of
double winging.
As with pattern 7 (page 37), the key to this deception is convincing the opponent that you are going somewhere
else. Essentially you are using their training against them. The more familiar they are with the basic pairs such as
striking around or double winging, the more likely they are to fall for a deviation such as this.

Meyer 1.29v.3
Cut Sequence: 1-7-3
Tempo Diag.
Begin to cut with the long edge, then mutates it into a cut with the short edge and crossed
1 1-2
arms to left ear. (See image.)
2 3 Zwerch from below to left ear.
The deception in which you transform a long edge cut into a short edge cut is known as Doplieren (Doubling).
Ideally this is performed the moment the swords clash, but can work even if you hesitate in the bind. Depending on
the range, the short edge cut may become a thrust behind the opponent’s sword.
These drills are used understand while mutating into the short edge is important.
Begin to cut with the long edge,

1
Patient parries with a counter cut.
Ensure the patient is performing the parry correctly before adding the counter.

1
2 Agent mutates into a cut with short edge and crossed arms that goes behind the patient’s blade.
The footwork in this drill is essential for the patient’s safety, as is protecting the head using Ochs.
Begin to cut with the long edge.

1
Patient parries with a counter cut while compassing the left foot behind the right.
2 Agent mutates into a cut with short edge and crossed arms.

Patient cuts with the short edge into left Ochs (Ox).
While Meyer doesn’t teach thrusts with the longsword for safety and cultural reasons, older fencing masters did.
They would use the Verkehren (Reversing) in this manner.

1
As the blades clash, the agent turns the short edge inward, crossing the arms, to thrust behind the patient’s
2
blade.
When Ringeck presents the concept of Verkehren (Reversing), he explicitly mentions the thrust as seen in the drill
above. But there’s more. When the patient goes to defend themself, Ringeck instructs the fencer to grapple.

1
As the blades clash, the agent turns the short edge inward, crossing the arms, to thrust behind the patient’s
2 blade.
Patient parries.
Agent places the left foot in front of the patient’s right foot, grabs the right elbow with the left hand, and
3
stabs over the right arm.
Note the differences between Meyer and Ringeck. Meyer doesn’t mention when to mutate the cut, while Ringeck
explicitly says to do so when they clash. Meyer uses the short edge while Ringeck uses the point. Meyer says that
reversing is used to create room to work, while Ringeck uses it as a prelude to grappling. These differences may
reflect the intended audience. Meyer is writing for fencers learning the basics (at least in this chapter), while
Ringeck’s audience is assumed to already be skilled with the sword.

Meyer 1.29v.4
This deception gives the impression that the fencer is using a pair of Zwerch (Thwart) cuts.
Cut Sequence: 3-7
1 Step with a Zwerch (Thwart) from below to the left opening.

Pull up by your right side, pommel under your own right arm, then flick short edge with crossed arms at
2
opponent’s left.
Step with a Zwerch (Thwart) from below to the left opening.

1
Patient parries.

1
Patient parries.
2 Agent passes the left foot to the left and cuts a long edge Zwerch (Thwart) to the right arm or ear.

1
Patient parries.
Agent passes the left foot to the left and cuts a long edge Zwerch (Thwart) to the right arm or ear.
2
Patient parries.
At this point the patient is trained to expect a pair Zwerch (Thwart) cuts. Thus, when the second cut attacks the
patient’s left instead, they are taken by surprise.

Meyer 1.30r.1
Cut Sequence: T-4

Stepping to the left, shoot in with the short edge to the right ear. The arms will not be crossed, the palm of
1
the lead hand up (4th rotation).
2 Completing the double step to the left, throw a long edge cut from below with crossed arms.
Shooting in is like a thrust, but strikes with an edge rather than the point.
While Meyer doesn’t use thrusting in his longsword material, opportunities to thrust are often apparent.
Stepping to the left, thrust to the face. The arms will not be crossed, the palm of the lead hand up (4th
1
rotation).
2 Completing the double step to the left, cut a long edge cut from below with crossed arms.
1 rotation).
Patient parries the agent’s sword to the patient’s right.
1 rotation).
Patient parries the agent’s sword to the patient’s right.
Agent passes the left foot to the left and uses the momentum of the parry to throw a long edge cut from
2
below with crossed arms.
Einschiessen (Shooting In) can result in a ‘push cut’, which is to say a slice, to the face or neck. However, it is more
commonly used as a setup for another action or the result of a failed thrust.


Meyer 1.30r.2
Cut Sequence: *-7
Tempo Diag.
Agent cuts a Zornhauw (Wrath Cut) to the patient’s left opening.

1
Patient counter-cuts with a Zornhauw (Wrath Cut) to the left opening as their parry.
2 1 From the bind, the agent pushes the pommel under their own right arm.
3 2 Jerk the pommel back out and wind the short edge to the head.
Note that actions in tempo 1 are called out in the prose that precedes the pattern itself.
According to Meyer, this pattern is to be used when the patient uses a counter-cut for their defense. If the patient
merely strikes the sword during the parry without aiming for agent, the agent can leave the bind and attack the
other side.
Agent cuts a Zornhauw (Wrath Cut) to the left opening.

1
Patient parries to the sword without threatening the agent.
The agent doesn’t allow the blades to hit and instead cuts a Zornhauw (Wrath Cut) to the
2
right opening.
For the indes variant, have the patient alternate between parrying and counter-cutting.
In the longsword section, Meyer doesn’t dedicate a lot of room to discusses defensive actions. Other than a few
snippets such as the prose before pattern 12, it is mostly left as an exercise to the reader. This changes in later
sections, with the manuals on dussack and rapier spending far more time on defense.
Counter-cuts are examples of Stesso Tempo (Single-Time) actions that both defend and attack. Meyer prefers
these to Dui Tempi (Double Time) actions, where the parry and riposte occur separately. While he discusses it in
more detail elsewhere, here you see that against the stesso tempo defense a more complicated action is needed
while against the dui tempi defense, Meyer recommends the simple feint as first seen in pattern 2.
Fighting from the Postures: Tag (Day)
This section contains plays from Meyer Chapters 9 and 11. Note that you never start in Tag (Day), but rather the
play starts as you (or your opponent) enter it. This is an important part of the exercise because it teaches you to not
linger in a guard, especially one that is so exposed.
Meyer 1.26r.1
The example wards off vertical cuts to the head.
Cut Sequence: S-5-6-*-7-5
A Any low or middle guard

P Weschel (Changer)
Agent pulls up into Tag (Day) for a cut.
1
Patient Slash upwards through the face into Langort (Longpoint).
2 Agent begins a cuts to the head, redirecting it to the patient’s blade to stop the Zwerch.
Patient feints a parry with a Zwerch (Thwart) to the agent’s left ear. The blades shouldn’t touch.
3 Patient passes with the left foot to the left while cutting a with a Zwerch (Thwart) to the agent’s right ear.
Agent attempts to leave the bind to cut around.

4
Patient counters by slicing down on agent’s arm.
Agent tries to lift arms.
5 Patient counters by pushing agent up and back with hilt or schilt (shield) of the sword with a sudden
motion.
6 Patient cuts to the head with short edge and crossed arms.
7 Patient steps back with left foot, using a Zwerch (Thwart) to the right ear for coverage.
There are several Indes opportunities for the patient in this play. All but the first are called out by Meyer in the text.


In the first Indes drill, the agent hesitates when the patient slashes up towards the face. The patient must recognize
this and change the plan accordingly.
P Weschel (Changer)
Agent pulls up into Tag for a cut.
1
Patient Slash upwards through the face into Langort.
Agent hesitates.
2
Indes Recognizing that the agent has hesitated, patient thrusts.
To practice this, have the agent alternate between hesitating and attempting the cut.
In this variant, the agent doesn’t recognize the danger posed by the Zwerch.
P Weschel (Changer)
1
Agent begins a cuts to the head.
2 Indes Seeing that the agent has committed to the cut, the patient parries with a Zwerch (Thwart) that hits
the agent’s left ear.
To practice this, have the agent alternate between attempting to complete the cut and redirecting to stop the
patient’s Zwerch. Also mix in the drill above.
Using the Zwerch (Thwart) to parry an Oberhau (High Cut) is a common tactic, but it needs to be practiced to be
effective.
A Tag (Day)
P Tag (Day) with the left foot forward
Agent cuts an Oberhau (High Cut) directly down at the head.

1
Patient passes to the right while cutting a short edge Zwerch (Thwart) for a parry.
If the patient has the right foot forward, the drill changes slightly.
A Tag (Day)
P Tag (Day) with the right foot forward
Agent cuts an Oberhau (High Cut) directly down at the head.

1
Patient passes to the left while cutting a long edge Zwerch (Thwart) for a parry.

Repeat the preceding drill with the agent using a diagonal Zornhauw (Wrath Cut) instead.
This play was presented in chapter 9 to explain the concept of the three phases of a fight. However, it is best
practiced after chapter 10, where the novice fencer learned the basic attacks and parries.
How the agent responds to the patient can greatly affect the course of a play. In the example device, we have three
moments of indes called out: the slash towards the face that can become a thrust, the first Zwerch, and what
happens after the second Zwerch. The last one is so significant enough for Meyer to give it a dedicated section.
A direct Oberhauw (High Cut) is rarely used in longsword, the harder to parry diagonal Zornhauw (Wrath Cut) being
preferred. However, it is still important to know how to counter it.
This play also demonstrates how the patient can steal the initiative and force the agent into merely reacting. In
German terminology, the one controlling the fight is in the Vor (Before) and the one responding is in the Nach
(After). The Vor and Nach is not determined by who makes the first attack, but rather by who wins the advantage
coming out of it.
If neither fencer is dictating the other’s actions, you are both in the Gleich (Simultaneously). This is a messy
situation where both fencers are liable to be hit. There is a risk of this occurring in tempo 4 of the device, which
Meyer has the patient mitigate by slicing the arm to reestablish the Vor. Elsewhere Meyer discusses using such
slices to interrupt an opponent’s device when they find themselves in the Nach.

Meyer 1.26v.1
In this version of the example device, the agent doesn’t try to leave the bind in tempo 4, so the patient creates an
opening with wrenching.
Cut Sequence: S-5-6-*-7-5
P Weschel (Changer)
1
Agent begins a cuts to the head, redirecting it to the patient’s blade to stop the Zwerch.
2
Patient feints a parry with a Zwerch (Thwart) to the agent’s left ear. The blades shouldn’t touch.
3 Patient passes with the left foot to the left while cutting a Zwerch (Thwart) to the agent’s right ear.
4 Patient slices down on agent’s blade or arm.
5 Patient wrenches the opponent’s sword to the patient’s right to create an opening.
6 Patient cuts to the head with short edge and crossed arms.
7 Patient cuts a middle cut from his right to the opponent’s left neck.
8 Patient cuts away using high cuts.
In tempo 5, the specific type of wrenching is called Verkehren (Reversing). This is when you push your pommel
under your right arm while pushing down on their blade with your short edge. A small torso twist or compass step
makes it far more effective, as you can use your whole body’s strength instead of just your arms.
When practice this device, mix in the agent’s response with the responses from the first example device.

Meyer 1.31v.1
Cut Sequence: S-5-4-7-7-5
Tempo Diag.
Agent Any low or medium guard

Patient Tag (Day)
Agent slashes or pulls sword into Tag (Day).
1
A Patient cuts descending at left side of agent’s head.
Agent springs to the right and parries with outside flat (back of hand), striking the left ear if
2 1
possible.
Rebounding off the parry, agent steps to the left with the left foot and cuts rising to the right
3 2
arm, leaning the head behind the blade.
3 Cut the left ear with the short edge without hitting.
4
Patient tries to parry
5 4 Agent runs off, cutting the right ear with the short edge and crossed arms.
6 5 Withdraw while cutting a Zwerch to the left ear.

If the patient doesn’t attempt to parry the cut to the left ear, the agent should allow the blow to land.
A Any low or medium guard
P Tag (Day)

1
Patient cuts descending at left side of agent’s head.
2 Agent springs to the right and parries with outside flat, striking the left ear if possible.
Rebounding off the parry, agent steps to the left with the left foot and cuts rising to the right arm, leaning
3
the head behind the blade.
4 Cut the left ear with the short edge.
5 Agent cuts away.
Using the flat of the sword to parry and bounce to the other side is called a Prellhauw (Rebound Cut).
A common theme in this section is that each play starts with the agent pulling or slicing up into Tag (Day) rather
than starting in it. The patient’s response, a strike or hesitation, then determines which play follows.

Meyer 1.31v.2
Cut Sequence: S-7-7-2
Tempo Diag.

Patient Tag (Day)
1
A Patient cuts from below at agent’s left.
2 1 Agent steps to the right and parries with long edge onto the patient’s forte.
2 Step further to the right and cut with short edge to the left ear without hitting.
3
Patient parries
Agent runs off, steps to the left, and cuts to the right ear with the long edge, keeping the
4 3
quillons over the head.
Patient strikes around.
5
4 Agent slices arm.
6 5 Cut to the nearest opening.
7 6 Agent cuts away.

Before attempting the above technique, it is useful to practice these basic drills. The first drill demonstrates the
basic Krumphauw (Crooked Strike) with a riposte using the short edge.
Tempo Diag.

Patient Tag (Day)

1
3 2 Step further to the right and cut with short edge directly to the right ear.
The second drill adds the patient’s counter.
Tempo Diag.
Patient Tag (Day)
1
2 Step further to the right and cut with short edge directly to the right ear.
3
A Patient parries by sweeping from right to left.
The primary technique anticipates and counters this parry.
As the agent slashes into Tag, the patient chooses to attack the upper left (Tag 1) or lower left (Tag 2). The agent
must observe the patient’s choice and respond accordingly.
The initial parry uses a Krumphauw (Crooked Cut), a word that can also be translated as Arc Cut. It is called this
because, from the fencer’s perspective, the point traces an arc through the air instead of a straight line.
Meyer often omits the simple actions from his devices. This play is a good example, where the patient counters the
Krumphauw and riposte and the agent counters the counter. It is unclear if Meyer expects the reader to already
know the simple action or if he expects the reader to work with an instructor that can explain it.

Meyer 1.32r.1
Cut Sequence: S-7-7-1-3
Tempo Diag.

Patient Tag (Day)
1
A Patient cuts from below at agent’s right.
2 1 Agent steps to the left with the left foot and parries with long edge onto the patient’s forte.
2 Push the pommel under the arm to cut with the false edge and crossed arms at head.
3
B Patient parries to his right.
4 3 Agent runs off on the left side, steps to the right, and cuts with long edge to the head.
5 4 Back step with the left foot, cutting a Zwerch (Thwart) from below to the left ear.
6 Cut away.
While it doesn’t say the cut in tempo 3 shouldn’t hit, it is desirable if you notice the parry is unavoidable.
Meyer doesn’t indicate which foot is forward. Experiment with either or both fencers starting with the left or right
foot forward.

Before attempting the above technique, it is useful to practice these basic drills. The first drill demonstrates the
basic Krumphauw (Crooked Strike) with a riposte using the short edge.
P Tag (Day)
1
Patient cuts from below at agent’s right.
2 Agent steps to the left with the left foot and parries with long edge onto the patient’s forte.
3 Push the pommel under the arm to cut with the false edge and crossed arms at head.
And the patient’s counter.

P Tag (Day)

1
Patient cuts from below at agent’s right.
2 Agent steps to the left with the left foot and parries with long edge onto the patient’s forte.
Push the pommel under the arm to cut with the false edge and crossed arms at head.
3
Patient parries to his right, sweeping both blades up and over the head.
As the agent slashes into Tag, the patient chooses to attack the upper left (Tag 1), lower left (Tag 2), or lower right
(Tag 3). The agent must observe the patient’s choice and respond accordingly.
Again we see the Krumphauw (Crooked Cut) as the initial parry and riposte, along with its counter and counter-
counter.

Meyer 1.32r.2
Cut Sequence: S-T-5-4-7-7-3
Tempo Diag.

Patient Tag (Day)
1
Patient hesitates.
2 1 Agent crosses the right hand over the left to threaten a thrust.
3 2 Step with the right foot towards the patient with a short edge Zwerch (Thwart) to the left ear.
4 3 Feint a long edge Zwerch (Thwart) to the lower-right opening, not allowing it to connect.
5 4 Feint with the short edge at the left ear, running off so it doesn’t connect.
6 5 Cut with the short edge and crossed arms at the right ear.
Back step [with left foot] and cuts with long edge the from below at left arm. (See figure on
7 6
the left in the illustration for Tag 5.)
Tempi 4, 5, and 6 should be done as a single flowing action.

While Meyer doesn’t use thrusts in the longsword section, he offers the opportunity.
P Tag (Day)

1
Patient hesitates.
Agent crosses the right hand over the left to threaten a thrust.
2
Patient continues to hesitate.
3 Agent completes the thrust.
If the patient parries, it feeds into the rest of the play.

P Tag (Day)
1
Patient hesitates.
Agent crosses the right hand over the left and thrusts.
2
Patient parries to the right.
Agent steps with the right foot towards the patient and uses the energy of the parry to cut a short edge
3
Zwerch (Thwart) to the left ear.
As the agent slashes into Tag, the patient chooses to attack the upper left (Tag 1), lower left (Tag 2), or lower right
(Tag 3) or to hesitate (Tag 4). The agent must observe the patient’s choice and respond accordingly.
The phases of the fight are somewhat arbitrary, chosen mostly to make learning the play by sections easier. Meyer
may have chosen to divide them in a different place or say that it doesn’t really have any middle work at all.
In Meyer’s rapier section, we see several examples of converting a thrust into a cut.
Take care to use indes in the middle work. It is easy to think “I’m going to use two feints in a row” and miss
opportunities to hit. Instead, don’t decide is a strike is going to be a feint or a hit until you observe whether or not
the patient is attempting a valid parry. If they are slow to react, go ahead and complete the cut before moving onto
the next action.

Meyer 1.33r.1
This is a response to Tag 4 from other fencer’s perspective.
Tempo Diag.
A Agent back steps with a cut to the lower-left opening.

1 Patient passes the right foot forward and parries onto blade with short edge and crossed
1
hands. (See figure on the right in the below illustration.)
Agent pulls back for a cut.
2
Patient pulls up and around to the left side.
B Agent cuts.
3
2 Patient parries with outside flat from left to right.
While stepping left, continues around with a Zwerch (Thwart) to the right ear that hits or
4 3
grazes.
5 4 Back step with a long edge cut.

In order to better fit with the other devices, the play can be slightly rewritten.
Tempo Diag.

Patient Tag (Day)

1
A Patient passes the right foot forward with a cut to the lower-left opening.
Agent passes the right foot forward and parries onto blade with short edge and crossed
2 1
hands.
Patient pulls back for a cut.
3
Agent pulls up and around to the left side.
B Patient cuts.
5
2 Agent parries with outside flat from left to right.
While stepping left, continues around with a Zwerch (Thwart) to the right ear that hits or
7 3
grazes.
8 4 Back step with a long edge cut.
As the agent slashes into Tag, the patient chooses to attack the upper left (Tag 1), lower left (Tag 2), lower right
(Tag 3), or lower left (Tag 5, modified) or to hesitate (Tag 4). The agent must observe the patient’s choice and
respond accordingly.
The way this play is written is a little off. It could be read as a response to the Tag 4 from the other fencer’s
perspective, but that’s not necessarily correct. It could also be seen an interruption of Tag 4, where the patient
instead of the agent does the cut in tempo 7. In which case, Tag 5 would then be a continuation of the agent’s
actions.

This time we see a short-edge Krumphauw (Crooked Cut) instead of the long edge version we so often use. The
choice of edge doesn’t affect the parry much, but allows for a different set of follow-up actions.

Meyer 1.33r.2
Cut Sequence: 5-6-7-4-7-1
Tempo Diag.

Patient Tag (Day)
1
Patient hesitates.
2 Agent drops point to the left side.
3 1 Pull the sword around the head for a Mittlehauw (Middle Cut) to the left neck or temple.
4 2 Cut a Mittlehauw (Middle Cut) to the right neck or temple.

5 3 Cut an Oberhauw (High Cut) straight down on the head.
6 To create room to work, pull up with the pommel to the left and around the head.
7 4 Take out the opponent’s sword with a slash up from the left using the flat or short edge.
8 5 Feint a cut down with the short edge and crossed hands without hitting.
9 6 Cut a strong Zornhauw (Wrath Cut) to the left opening.
10 7 Cut away.
Tempi 2 thru 5 (cuts 1 thru 3) need to be performed in one continuous action. Likewise, tempi 6 and 7 (cut 4) need
to be performed in one continuous action.

This drill is from Paulus Hector Mair, has been included because follows the same basic concept demonstrated in
tempi 2 thru 5.
P Tag (Day)
1 With the short edge, Zwerch (Thwart) to the left opening.
2 With the long edge, Zwerch (Thwart) to the right opening.
3 Feint a Zwerch (Thwart) to the left.
4 Feint a Zwerch (Thwart) to the right.
5 Cut straight down with the long edge onto the head.
As you can see here, and the main play, the basic idea is to get the opponent to focus on cuts coming from the left
and right so they forget to protect the head from above.
In tempo 7, the phrase take out can mean to parry or beat. Either way, it disrupts the opponent’s sword, leaving an
opening to do something.

Meyer 1.33v.1
Cut Sequence: 3-4-7-4-3-6
Tempo Diag.

Patient Tag (Day)
1 Agent slashes or pulls sword into Tag (Day).
Agent hesitates.
2
Patient approached in Schlüssel (Key).
[Agent cuts.]
3
Patient raises sword crosswise above head so that the high cut will run off.
Passing forward with the right foot, slash up with the short edge past the right thigh along the
4 1
scalp (vertical) line.
5 2 The sword flies over the head into a low cut against the right, keeping the hands high to parry.
6 3 Step right with the right foot, cutting deep with the short edge to the left ear.
7 4 Low cut to the right.
8 5 Low cut to the left.

9 6 Stepping with the right foot behind the left, Zwerch (Thwart) to the right ear.
10 7 Cut away.
The agent cutting in tempo 3 is not explicitly stated in the text, but is necessary for the running off to make sense.
An open question is whether the cut in tempo 4 should be a with arms crossed (i.e. a steeply angled Zwerch
(Thwart)) or uncrossed. Both are possible, with different effects on the subsequent low cut.

Meyer 1.33v.2
Cut Sequence: 3-4-7-7 Cut Sequence: 4-3-7-7
P Tag (Day)
Agent slashes or pulls sword into Left Tag (Day).
1
Patient throws a low cut to the agent’s left.
2 Low cut to the agent’s right.
3 Short edge cut to the head.
4 Short edge cut with crossed hands to the head.
5 Bind and work from there.
If the agent has the right foot forward, then cut to the right side first.
P Tag (Day)
Agent slashes or pulls sword into Right Tag (Day).

1
Patient throws a low cut to the agent’s right.
2 Low cut to the agent’s left.
3 Short edge cut with crossed hands to the head.

4 Short edge cut to the head.
5 Bind and work from there.

Fighting from the Postures: Zornhut (Wrath Guard)
This section contains plays from Meyer Chapter 11.
Meyer 1.34v.1
Cut Sequence: 1-4-*

This device has several branching points. It begins with the agent maintaining the initiative. This is referred to as
being in the Vor (Before) in German sources.
Tempo Diag.
Agent Right Zornhut (Wrath Guard)
1 Zornhauw (Wrath Cut) to the left ear.
1
Patient parries.
2 2 Low cut to the right ear.

A Patient begins to gather arms for a stoke.
3
3 Agent lays sword on the patient’s arms from below and shoves to create room.
4 4 Attack the nearest opening.
When drilling this device, the patient is acting in the Nach (After). They are just responding to the agent’s actions,
and by tempo 3 those responses should feel like a desperate attempt to get out of a bad situation.

Cut Sequence: 1-4-*-1

If patient recovers from the shove too quickly, the agent is then the one who must work in the Nach (After),
responding to and countering the patient’s actions.
Tempo Diag.

1
Patient parries.

3
B Patient recovers and cuts.

4
4 Agent parries by setting off or slicing away such that the sword falls on the patient’s blade.
Setting Off refers to parrying by means of a thrust. It will be discussed in more depth in Ochs on page 160. Slicing
Away means to parry by cutting towards the ground, as if shaving a slice of metal off your opponent’s sword. Both
types of parries are covered in more depth in the Meyer Rapier Drill Book, vol. 1.
Note the green bar at the end of the drill. This denotes where the drill that follows will diverge.

Cut Sequence: 1-4-*-1-*

For scenario B1, the patient can pull back the sword in tempo 5, freeing it for another action.
Tempo Diag.

1
Patient parries.

3
4
C Patient pulls back for another stroke.

5
Agent slices and presses arms again.

Cut Sequence: 1-4-*-1-*-2-*

For scenario B2, the patient remains in the bind in tempo 5. The agent responds with a cross-knock to create room
to attack.
Tempo Diag. Right Zornhut (Wrath Guard)
Agent
1
Patient parries.

3

4
Patient remains in the bind.

5
5 Agent hits the patient’s blade to the agents right using the shilt (shield) or lower quillon.
6 6 Cut to the left opening.
7 7 Regain control of patient’s sword.

Cut Sequence: 1-4-*-1-*-2-*

In scenario B3, Meyer adds a second divergence point. Here the patient doesn’t allow their sword to be caught, so
the agent targets the arms with another slice.
Tempo Diag.

1
Patient parries.

3

4
Patient remains in the bind.

5
6 6 Cut to the left opening.
7 Attempt to regain control of patient’s sword.

7
C Patient pulls back or otherwise keeps their sword free.
8 8 Agent slices the arms again.

This isolation drill should be practiced on both sides. The agent can pull straight up or to either shoulder.
A Tag (Day) or Zornhut (Wrath Guard)
P Tag (Day) or Zornhut (Wrath Guard)
1 Both fencers cut into a neutral bind.
2 Agent pulls the sword back and up, in preparation for a stroke.
3 Patient follows after, laying the blade across the agent’s arms.
Isolating this technique will make it easier to master. If both fencers are right-handed, this only works on the right.
A Right Tag (Day) or Zornhut (Wrath Guard)

P Right Tag (Day) or Zornhut (Wrath Guard)
1 Both fencers cut into a neutral bind from their right, swords crossing in the lower half.
3 Cut to the left opening.
The counter to this drill uses the German concept of meeting strength with weakness.

Agent hits the patient’s blade to the agents right using the shilt (shield) or lower quillon.
2 Patient meets the cross-knock with weakness, using the energy to wind the pommel around such that the
pommel strikes the face under the arms.
When drilling this, attempt to stop just before hitting your partner’s mask. This way you will lightly hit the
mask if you overshoot. If you attempt to lightly hit the mask and misjudge the range, you can cave in the mask and
injure your partner.
Rather than using a cross-knock, the agent can instead use wrenching the pommel. This works especially well when
the hilts are low.

Agent winds pommel around the blade to place pommel between the patient’s arms. During this winding,
2
remove the lower hand.
3 Jerk the sword down and to the right. The blade may hit the patient in the face while they fall forward.

It may be tempting to try a decision tree or flowchart for the various possibilities, but that can be counter-
productive. In a real match, one simple doesn’t have time to work through all of the possibilities. Instead, try
thinking of core responses.
· If the patient tries to flee from the bind, place your blade on their arms to frustrate their intent, shoving as
necessary to create room to attack.
· If the patient stays in the bind, knock their sword to one side and then attack the other.
· If the hilts go high, send the pommel below and drive them higher.
· If the hilts go low, send the pommel over the top and wench them lower.

Meyer 1.34v.2
Cut Sequence: *-2-1-7
P Right Zornhut (Wrath Guard)

Agent cuts to the upper-left opening.
1 Patient passes the right foot forward while slipping the sword to parry with the outside flat, thumb on the
inside flat.
Step left with the left foot, winding in a short-edge cut to head with uncrossed arms. See left fencer in the
2
first image below.
3 Wrench up and to the Agent’s right. See the right fencer in the second image below.
Loop around to begin to strike the lower-right opening with the inside flat, hands high and crossed.
4
Agent parries.
5 Patient feints and pulls up for a clashing cut to the left ear with the palm away from the patient.
A Glützhauw (Clashing Cut) starts as a strike with the flat of the sword. When it contacts the opponent’s blade, it
changes direction and becomes a cut the with edge. In this example, the flat strike is diagonal from above, and then
mutates into a vertical-down, short-edge cut.

Normally the agent would expect the patient to run-off after the initial parry. Tempos 2 & 3 are a subversion of that
expectation.
Agent cuts to the upper-left opening.

1 Patient passes the right foot forward while slipping the sword to parry with the outside flat, thumb on the
inside flat.
Run off while compassing the left foot behind the right, to cut from above to the upper-left opening with
2
either edge.
The feint with the flat in tempo 4 seems to be critical for setting up the Glützhauw (Clashing Cut) in tempo 5. Not
only does it distract the opponent, as any feint will do, but it also teaches the fencer the correct angle to use as it
follows the same line.

Meyer 1.35r.1
Cut Sequence: 5-5-6

Agent cuts from above.
1
Patient steps [to the right] and parries with a Mittelhauw (Middle Cut) from patient’s right to left.
Fly around to cut with short edge to left ear.
2
Agent parries.
3 Run off and step [to the left] and strike with outside flat to right ear. See image below.
Aussschlagen (Striking Out) is an active parry where your intent is to knock your opponent’s sword well off line.
The parry should be done at a range that its momentum won’t be interrupted.
The intermediary guards you will be passing through are called Mittelhut (Middle Guard). See illustration on page
19. The flat strike may be more steeply angled than shown in the illustration.

Meyer 1.35r.2
Cut Sequence: 1-S-1-S-1-S, 4-7-4-5
1 Keeping the left foot forward, cut steeply over left leg into Wechsel (Changer).
2 [Gather the right foot forward] while slashing back into Zornhut (Wrath Guard).
3 [Advance the left foot] while cutting steeply over left leg into Wechsel (Changer) for the second time.
4 [Gather the right foot forward] while slashing back into Zornhut (Wrath Guard).
5 [Advance the left foot] while cutting steeply over left leg into Wechsel (Changer) for the third time.
6 Indes. Seeing an opening, gather the right foot forward while slashing into the air.
Advance the left foot while cutting with the long edge into the lower-right opening.
7
Patient parries.
8 Agent cuts with the short edge to the right ear. Allow the pommel to snap upward to deepen the cut.
9 Feint a [low cut] cut to the right opening.
10 With a back step, Zwerch (Thwart) to the left opening.
11 Withdraw.
For tempi 2 thru 7, we are using driving steps just as we did with Pattern 1: Meyer’s Cross on page 25.
The number of cut-slash pairs will vary depending on when an opportunity to attack becomes available.
The feint in tempo 9 is most likely a repeat of the low cut in tempo 7.

Meyer 1.35r.3
Cut Sequence: S-T-3-6-7-7-6-5
A Any low guard.
Agent cuts into Zornhut (Wrath Guard).

1
Patient goes up.
2 Agent lifts hands to threaten a thrust.
3 Strike with the outside flat from below to the left arm or ear.
Patient cuts from above.
4
Agent parries to the right opening with the inside flat.
5 Feint a cut to the left opening.

6 Graze the right ear with the short edge and crossed arms to begin a circle.
Continue the circle into a Scheitelhauw (Scalp Cut) to the head, ending in Kron (Crown) with horizontal
7
quillons.
8 Zwerch (Thwart) to the right opening.
9 Zwerch (Thwart) to the left opening.

10 Withdraw.

The Scheitelhauw (Scalp Cut) with the longsword differs from a normal high cut in
that the hands are kept high, as shown in the illustration below from Ringeck.
While you can also use the term more loosely to refer to any vertical, long edge
cut, keeping the hands high prepares you for the Zwerch (Thwart) cuts that follow.

Meyer 1.35v.1
Cut Sequence: 1-T
P Either Zornhut (Wrath Guard).
1 Agent cuts from below.

2 Patient parries with a long edge cut from above.
3 [Feint a] thrust with opposition at the face.
4 Cut to the nearest opening.
Thrusting with opposition refers to intentionally making blade on blade contact while thrusting, usually with the
long edge. Do not actively push sideways against the blade, but rather allow your forward motion to guide the
opponent’s sword off-line.
In tempo 2, Meyer uses the term “shooting in” which usually means the point is moving past the opponent in a
thrust-like manner, allowing a push-cut or setting up a wrestling move. But here he is explicitly aiming for the face.
As Meyer doesn’t normally advocate thrusting with the longsword, this probably means that it is a feint.

Meyer 1.35v.2
Cut Sequence: 2-S-2-S-2-S, 4-5, 6-5-4-1-2-3
A Left Zornhut [Wrath Guard]
1 Keeping the right foot forward, cut steeply over right leg into Wechsel (Changer).
2 [Gather the left foot forward] while slashing back into Zornhut (Wrath Guard).
3 [Advance the right foot] while cutting steeply over right leg into Wechsel (Changer) for the second time.
4 [Gather the left foot forward] while slashing back into Zornhut (Wrath Guard).
5 [Advance the right foot] while cutting steeply over right leg into Wechsel (Changer) for the third time.
6 Indes. Seeing an opening, start to gather the left foot forward while slashing into the air.
7 Continue to pass the left foot forward while cutting with the long edge to the lower-right opening.
8 Zwerch (Thwart) to the left ear.
9 Horizontal strike with the inside flat to the right opening.
10 Horizontal strike with the outside flat to the left opening.

11 Rising strike with the inside flat to the lower-right opening.
12 Descending strike with the outside flat to the upper-left opening.

13 Descending strike with the inside flat to the upper-right opening.
14 Rising strike with the outside flat to the lower-left opening.
The order of the flat strikes (tempi 9 thru 14) are not specified in the text, other than that they occur in opposing
pairs. For example, if you perform a strike to the lower-right, it should be followed by a strike to the upper-left.

Fighting from the Postures: Ochs (Ox)
This section contains plays from Meyer Chapter 11. Note the drills do not start in Ochs, but rather the fencer must
cut into that posture. This reinforces the idea that guards are not static postures, but rather waypoints between
actions.
As mentioned above, an important concept in all of the Ochs (Ox) devices is that you never start in Ochs. Rather,
you plunge into Ochs and then immediately leave it to do something else.
1 Starting well outside measure, walk around normally with the sword resting comfortably near you knee.
When two steps away from your opponent, take a single step into measure and Sturtzhauw (Plunge Cut)
2
into right Ochs (Ox) and threaten with the point.
3 Take one more step while cutting to verify the range is correct.
If you wish to be on the defensive, plunge three steps away instead of two. This forces your opponent to be the one
to step into measure, giving you time to recognize their intention before they commit to the attack.
Meyer 1.7v
For each of the exercises that follow, Meyer says that you can perform them from Zornhut (Wrath Guard) as well as
Ochs. To modify the plays, slash into right Zornhut (Wrath Guard) instead of plunging into Ochs.

Meyer 1.36r
Cut Sequences
Blue: 7-1-4
Red: 7-3-2
Green: 7-5-6
The three variants of this all have the same rule: threaten with the point, cut to a line, then cut its opposite.
1 Sturtzhauw (Plunge Cut) into right Ochs (Ox) and threaten with the point.
2 Use a Mittlehauw (Middle Cut) to the left opening.

3 Use a Mittlehauw (Middle Cut) to the right opening.
The height of the preceding two middle cuts will vary based on what openings are available.
2 Cut to the upper left opening.

3 Cut to the lower right opening.
2 Cut to the lower left opening.
3 Cut to the upper right opening.
Meyer 1.36v
For the cut in tempo 3, use the short edge or flat. For the lower-right opening, you may find it easier to move the
thumb to the outside flat.
Repeat the drills, starting with a plunge into left Ochs instead of right.

Meyer 1.36r.1
Cut Sequence: 7-1-4-5-5-6-4-5
2 Pass the right foot forward with a broad step and Wrath cut (Zornhauw) to the left ear.
3 Pass the left foot to the left, cutting to the arm while ducking the head behind the sword.
4 Patient extends sword [with a back step].

Agent pulls sword around and behind head to take out the patient’s sword with the long edge or flat from
right to left.
5 Circle around the head again for a short edge Zwerch (Thwart) to the left ear.
6 Stepping with left foot, strike with outside flat to the right ear. See image below.
With hands high, feint a long edge cut to the right arm to draw the patient into Pflug.
7
[Patient parries in a narrow Pflug.]
8 Agent, with a backstep, cuts a short edge Zwerch (Thwart) to left ear, keeping the hands high.
9 Withdraw.

The first three tempi are not necessarily done in measure. They are meant mostly to see how the opponent reacts.
The extension in tempo 4 is a common way for the patient to say, “Get away from me”, and create room to devise
their own plan. The agent’s response counters this.
Note how the pommel doesn’t go under the arm in tempo 6. This isn’t a powerful flat strike, but rather more of a
harassing action. By keeping the pommel on the inside, you leave the option to then push the pommel under the
arm to power the arm cut in tempo 7.
In tempo 8, the patient may want to thrust from Pflug. Parrying this thrust with the Zwerch will be much easier if
your hands are high.

Meyer 1.36v.1
Cut Sequence: 7-5-6
2 Cut with the outside flat to the left ear.

3 Cut with the outside flat to the right ear.
4 Cut to the nearest opening.
Repeat the drill, starting with left Ochs instead of right. For the strikes, use the inside flat to both sides, starting
with the right opening. Or the inside flat to the right opening followed by the outside flat to the left opening.

Meyer 1.36v
Cut Sequence: 7-T-*
Patient cuts.
2
Agent thrusts to the face while turning the long edge towards the patient’s blade.
3 Wind on the sword to the nearest opening.
Absetzen (Setting Off) is the act of parrying by means of a thrust. When performing this action, it is important to
concentrate on the thrust itself. Move your sword straight forward and trust in your posture to protect you. If you
“chase the sword” by pushing your hilt off to one side in an attempt to parry, you are more likely to miss your
opponent while also forming a weaker parry.
If the patient cuts to your left side, fully extend your arms with the palm up. If the patient cuts at your right, the
arms will remain crossed in an extended Ochs (Ox). Either way, the long edge faces the opponent’s blade.

Fighting from the Postures: Einhorn (Unicorn)
This section contains plays from Meyer Chapter 11.
All of the devices in this section use the same opening, which is a combination of driving with slashes and with
rising cuts.
1 Agent slash upwards through the face into Langort.
4 Cross arms into right Einhorn (Unicorn).

5 While lifting and setting down the left foot, perform a low cut into left Einhorn (Unicorn).
6 While lifting and setting down the left foot, perform a low cut into right Einhorn (Unicorn).
The first three tempi are the same as you use in Pattern 1: Meyer’s Cross on page 25 and numerous other plays.
In tempo 4, pull your right hip back as you transition into right Einhorn (Unicorn). It will help set your posture. The
point of rotation for the sword should be near the point. Imagine you are pulling back a pendulum that’s attached
at the tip.
The pair of cuts in tempi 5 and 6 are sometimes referred to as Double Winging. When performed correctly, the
point traces a figure-8 pattern reminiscent of the flapping of a bird’s wings.
Also note that, the left foot doesn’t actually advance in tempo 5 and 6. The idea is to make fake steps to disguise
your intentions. The patient may think that you are stepping or shifting your weight, and thus deceived mistakenly
they may be lured into attacking outside of their natural range. If for some reason this range isn’t acceptable to
you, you can employ advancing or passing steps as necessary.
When driving your opponent back, the slashes tend to be more useful at longer ranges. The slash covers a large
area and can setup for a thrust. As you close, it may be advantageous to switch to winging. These cuts have a
shorter range, but don’t leave you as exposed as the larger slashes.
In this drill, keep the hands high the entire time. Aim for the point of the shoulder or under the chin with each cut.
Imagine that you are driving your opponent back with each cut.
A Right Ochs (Ox)
1 Pass the right foot forward while performing a low cut into left Einhorn (Unicorn).
2 Pass the left foot forward while performing a low cut into right Einhorn (Unicorn).
3 Repeat 1-2 moving forward until out of room.

4 Repeat 1-2 moving backward until you reach your starting point.

This drill assumes the patient will be on the inside (left of your blade) at the end of a slash.
Start to cross arms into right Einhorn (Unicorn), leaving patient on the inside.
4
Patient cuts to the left opening.
5 Agent parries by unwinding into Langort (Longpoint) or Gerade Veratzung (Straight Parrying).
This drill assumes the patient will be on the outside (right of your blade) at the end of a slash.

Patient transitions the sword to the outside.

4
Agent crosses arms into right Einhorn (Unicorn), using the long edge to find the patient’s sword.
5 Thrust from above to the face or chest.
This drill assumes the patient will be on the outside of measure at the end of a slash.

Patient steps back, standing just out of range.

4
Agent crosses arms into right Einhorn (Unicorn).
5 Pass the right foot forward while performing a low cut into left Einhorn (Unicorn).
6 Pass the left foot forward while performing a low cut into right Einhorn (Unicorn).
The agent performs the beginning of the previous 3 drill. The patient chooses to place their sword on the inside, on
the outside, or to back step out of measure. The agent responds using the instructions from the appropriate drill.

Meyer 1.37v.1
Cut Sequence: S-S-S, 3-4-1-6-1
Tempo Diag.
Agent Right Weschel (Changer)

1 1 Agent slash upwards through the face into Langort.
Gather forward while recovering the sword, then increase the left foot with a second slash
2 2
into Langort.
Gather forward while recovering the sword, then increase the left foot with a third slash into
3 3
Langort.
4 4 Cross arms into right Einhorn (Unicorn).
5 5 While lifting and setting down the left foot, perform a low cut into left Einhorn (Unicorn).
6 6 While lifting and setting down the left foot, perform a low cut into right Einhorn (Unicorn).
A Patient attacks to the left opening.

7 Agent passes the right foot to the right while parrying with a cut from right to left such that the
7
patient’s sword strikes the agent’s forte.
Spring further with the right foot and lift the sword, then push the pommel under the arm to
8 8 flick the short edge or inside flat, with crossed arms, against the right side of the head. See
first image below.
B Patient attacks to the left opening.
9 Agent pulls pommel out from under the arm and turns the long edge against the patient’s
9 sword to parry, ending in Langort (Longpoint), thus standing in Gerade Veratzung (Straight
Parrying). See second image below.
The parry-hit-parry sequence in tempi 7 thru 9 happen in rapid succession, like three snaps of the finger. Any delay
will leave you exposed for a counter-attack.
In tempo 8, you will be cutting behind the patient’s sword, in the pocket between their head and blade. As you do
this, the spring to the right is vital for giving you extra room for the subsequent parry.

In tempo 9, you want your point to continue to stay in the ‘pocket’. To do this, rotate your sword around a point
near the tip. If you use the hilt as the center of rotation, your point will fly around to the other side of their head,
which will take longer and make for a weaker parry.
It is not stated what the patient is trying to do in tempo 8. Most likely, after the parry in tempo 7, the patient is
pulling back with the intention of cutting to the other side. If they try, the agent’s attack in that tempo will counter
it, leaving their sword on the original side.

Meyer 1.37v.2
Cut Sequence: S-S-S, 3-4-1-6-1-7-1
Tempo Diag.

2 2
into Langort.
3 3
Langort.
A Patient attacks to the left opening.

7 Agent passes the right foot to the right while parrying with a cut from right to left such that the
7
patient’s sword strikes the agent’s forte.
Spring further with the right foot and lift the sword, then push the pommel under the arm to
8 8
flick the short edge or inside flat, with crossed arms, against the right side of the head.
B Patient attacks to the left opening.
9 Agent, while keeping the arms crossed, shoots the blade over the patient’s sword near the
9
shilt (shield) and wrenches to the left. See image below.
Raise hands and strike left ear with short edge and uncrossed arms, palm will be away from
10 10
patient.
11 11 Place long edge back on patient’s sword, ending in Langort (Longpoint).
12 Withdraw.
This is a variant of Einhorn Device 1 on page 163, but uses a different parry against patient’s cut B.

Reminder, the Shilt (Shield) is the wide flange near the base of a training sword. You will use it to drive the patient’s
sword slightly downwards and to your left. Common mistakes in this action include dropping the tip straight down,
which removes the sideways force for a proper wrench. Another mistake is keeping the blade horizontal and driving
the hilt straight down, which again doesn’t allow for a sideways wrench. As the illustration below shows, you want
your blade to be roughly 30 to 45° down from horizontal.
Artists note: the right fencer’s left hand is drawn incorrectly, giving the fencer a second right hand.
The wrenching in tempo 9 should flow into the short-edge cut in tempo 10.

Meyer 1.38r.1
Cut Sequence: S-S-S, 3-4-1-6-5
Tempo Diag.

2 2
into Langort.
3 3
Langort.
A Patient attacks to the left opening from above.

7
7 Agent [steps to the right] and lets the blade travel around the head to bind on the right.
B Patient pulls back sword.

8 Agent pushes pommel under arm to cut patient’s arms with the long edge. See illustration
8
below.
9 9 Shove patient to the agent’s left with a cross-knock.
10 10 Cut to the nearest opening.
This differs from Einhorn Device 1 on page 163 in that the patient cuts downwards rather than from their right.
In tempo 7, a step to the right with the right foot is preferable, but if you need more time, you can pass the left foot
backwards. Don’t leave your feet unchanged, as that will result in a weak structure.
While the text says that the blade travels around the head, this is not a large action. Rather, use the middle of the
blade as the point of rotation and allow the tip to trace a somewhat small circle over your head.

The action in tempo 8 requires the opponent to pull up their sword for another cut. You can encourage this by
giving them a slight upwards push in the bind; not to drive them up but just give them a hint that it’s an option.
When they go up, rotate your blade near the base. This isn’t a true cut; you just want to get to the right position as
quickly as possible.
For the wrenching, push your opponent slightly up at an angle, then across and down. This breaks their structure,
whereas if you try to directly push them down, they can resist.
When performing the cross-knock, avoid hitting your opponent too hard with the quillons. Safety gear
doesn’t cover the wrists well and a hard blow can lead to an injury. If in doubt, place the quillons against the arm
first, then perform the shove.
The shove can easily turn your opponent around, exposing the back of their head. Take care to not strike
there, especially if their fencing mask lacks a back plate.

Meyer 1.38r.2
Cut Sequence: S-S-S, 3-4-CCW-7
Tempo Diag.

2 2
into Langort.
3 3
Langort.
A Patient attacks to the left side of the head.

7 Agent steps to the right with the right foot and parries downward with the short edge and
7
crossed arms.
[Compass the left behind the right] and cut downwards at the head with the short edge and
8 8
arms uncrossed. The palm will be facing away from the patient.
This is a simplification of second parry in Einhorn Device 2 on page 165.

Cut Sequence: S-S-S, 3-4-CCW-1
Tempo Diag.

2 2
into Langort.
3 3
Langort.
A Patient attacks to the left head from the left.

7 Agent steps to the right with the right foot and parries downward with the short edge and
7
crossed arms.
8 8 Drive down patient’s sword with the hilt.
9 9 [Compass the left behind the right] and cut with long edge.
Note that Meyer has you drive down the patient’s sword in this variant, but doesn’t mention it in the previous one.
This may be intentional or an oversight.

Meyer 1.38r
[TODO: As per Meyer, add drills for low cuts and thwart]

Appendix: Annotated Illustrations





Index
Ablauffen, 32, 34, 45 Flügelhau, 38 Pomel Strike, 109

Absetzen, 124 Fool, 16 Prellhauw, 91
Abzug, 5 From the roof, 15 Rebound Cut, 91
Advancing Step, 8 Gather Back, 9 Retreating Step, 9
After, 88, 104 Gather Forward, 8 Running Off, 32, 34, 45
Agent, 5 Gerade Veratzung, 18 Scalp Cut, 116
Alber, 16 Gleich, 88 Scheitelhauw, 116
Arc Cut, 93 Glützhauw, 111 Schlussel, 20, 102, 134
Ausreissen, 44 Handtarbeit, 5 Schrankhut, 20, 21, 139
Aussschlagen, 113 Hangetort, 19, 21, 24, 136 Setting Off, 105, 124
Before, 88, 104 Hanging Point, 19, 136 Shooting In, 42
Break Window, 18, 157 Increase, 8 Side Guard, 19, 143
Brechfenster, 18, 157 Indes, 5, 27 Simultaneously, 88
Changer, 20, 155 Instantly, 27 Single-Time, 44
Clashing Cut, 111 Iron Gate, 125 Slicing Away, 105
Compass Step, 9 Irongate, 18 Slope Step, 9
Crooked Cut, 93, 95, 99 Key, 20, 102, 134 Stesso Tempo, 44
Crooked Strike, 93 Kron, 19 Straight Parrying, 18
Crossed Guard, 20, 21, 139 Krumphauw, 93, 95, 99 Striking Around, 36
cross-knock, 107 Langort, 12, 147 Striking Out, 113
Crown, 19 Longpoint, 12, 147 Tag, 15
Cut Sequence, 7 Measure, 26 take out, 101
Day, 15 Meyer’s Cross, 25 Thrusting with opposition, 117
Doplieren, 39 Middle Guard, 19, 113, 144 Umbschlagen, 36
Double Time, 44 Mittelhut, 19, 113, 144 Unicorn, 18, 125
Double Winging, 38, 125 Nach, 88, 104, 105 vom Tag, 15
Doubling, 39 Narrow Measure, 26 Vor, 88, 104
Driving Step, 9 Nebenhut, 19, 22, 143 Wechsel, 20, 155
Dui Tempi, 44 Ochs, 13, 119 Wide Measure, 26
Einhorn, 18, 125 Olber, 16 Winging Strike, 38
Einschiessen, 42 Ox, 13, 119 Wrath Guard, 20, 104
Eisenport, 18, 125 Passing Step, 8 Wrenching, 44, 109
Example Device, 86 Patient, 5 Zornhut, 20, 104
Failing, 28 Pflug, 14 Zufechten, 5
Fehien, 28 Plow, 14
· Fundamental Description of the Noble and Knightly Art of Fencing, 1570, by Joachim Meyer. Translation by
Jeffrey L. Forgeng
· Marozzo
· L’ange
· Mair
· Capo Ferro
· Jörg Wilhalm

Next Steps
Volume two of the Meyer Longsword Drill Book series will cover “The Third Part of the Treatise of the Sword”,
which is Meyer’s interpretation/expansion of Johannes Liechtenauer’s poem on fencing.
You may also wish to look at Meyer’s dussack or rapier material before returning to the more advanced longsword
sections.

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Introduction

Scholars of Alcalá 1st Edition

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Agent: The first fencer to act in a drill or exercise.

Meyer divides a fight or exchange into three phases.

A Agent’s initial guard

P Patient’s initial guard.

2 Subsequent actions in the onset.

3 First action in the middle work

4 Subsequent actions in the middle work.

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The numbers in the diagram refer to cutting angles.

7. Descending Vertical: Oberhauw (High Cut), Scalp Cut, Scheittellini

1: Long edge up, palm out, arms crossed.

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An increase is simply the act of

Here we see an increase used as part

The passing step allows one to

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In the image below you can

Driving steps can be thought of as

The retreating step can be performed

The first option is to move the lead foot close to the

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· The thrust is performed with the point.

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· Right foot is turned out.

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· The left foot is turned slightly out.

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· Feet (red lines) are in line.

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· Left foot is turned slightly out.

~ 17 ~ Revision 284 Printed on 10/5/23

This is known as Porta di Ferro in Italian sources.

Meyer Chapters 3 and 11

This guard is primarily used in Meyer’s rapier text,

~ 18 ~ Revision 284 Printed on 10/5/23

Meyer Chapter 3 Meyer Chapter 11

This guard is used to primary to parry blows. It is rare

This guard, primarily used with the dussack, is used in

It is thought that the name comes from the idea that

~ 19 ~ Revision 284 Printed on 10/5/23

Meyer Chapters 3 and 11

Later Meyer will say that any guard can be countered

Meyer Chapters 3 and 11

This variant of the posture is a form of invitation,

More commonly, it would be used with an upright

~ 20 ~ Revision 284 Printed on 10/5/23

Cut Sequence: 7-8-7-8

A Right Tag (High Guard)

5 Continue through into left Einhorn (Unicorn).

7 Continue through the cut into right Olber (Fool).

10 Continue through into right Einhorn (Unicorn).