An Introduction to Joachim Meyer, 1570

Instructor Jacob Norwood, SFS

ARMA Southern Knights 2004
9:00 11:00 Sunday, February 29
th



This course is intended as an introduction to the teachings of Joachim Meyer, a Freifechter (Freefencer) in Strasburg. All of the
material here is grounded in his manual from 1570, Thorough Descriptions of the Free and Knightly Art of Fencing with Various
Customary Weapons with Many Beautiful and Useful Illustrated Figures Affected and Presented (illustrated by Tobias Stimmer).
In putting this workshop together I have benefited most from Mike Rassmussens online translation at www.schielhau.org, which
I recommend (and notoriously misspell). I have supplemented this with my own translations and bits-and-pieces of other
translations of various passages, each of which has given me altered insights, many of which came from the Meyer E-list in early
2003. Another translation comes from http://www.st-max.org/FechtWeb/longsword.htm, although I havent spent as much time
with this one, and I suspect that it is probably a copy of Rassumussens.

Meyers Thorough Descriptions covers many weapons, including the longsword, rapier, dagger, staff, and Ringen. This workshop
will focus exclusively on his longsword work, partially due to available translations, partially due to my own greatest proficiency.

Perhaps the finest thing about Thorough Descriptions is the methodical fashion in which it is presented. Unlike most fechtbuch
authors, Meyer is actually a pretty good technical writ er, and his longsword work is clearly aimed at novices and intermediate
studentsin other words, its meant for us. Whats more is that the longsword section of Thorough Descriptions is meant for
classroom use, not the battlefield, which again models our own situation as modern practitioners of historical European martial
arts. Examine the opening passage of the book (translation by MR, emphasis mine):

Now, I'm divulging the Art of Fencing with these Knightly and Manly Weapons, which at the current time
for us Germans is of greatest necessity, to which my best understanding and abilities are well and truly
described for uptaking, and although the lesson given is obvious, that fencing with the sword is not the sole
origin and wellspring for all other fencing arts, it is celebrated among other weapons for artfulness and
manliness, and because of it I have what's needed for good understanding from which to make progress, and

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thus quickly, so onward I see with clarity how with wise handling all this can be applied in other arts and
disciplines.
Firstly attain your target for comprehension and skill to present, then from Mastering this art move with
diligence to seek on, that one balances habit thus with curiousity to learn more shortly the fighting one
wishes to understand.
Then thirdly, achieve the ability to extend the art in your own right, and from your clarity attain and
exude the proper judgment in Stance and Strikes so that Youth will not have to learn this art unguided and,
because of your unspoken word, ill is wrought and they thus learn wrongly to the detriment of the art. Once
achieved, we need your words and thoughts in this art, first from notes you would clarify, then onto
subjects important to read in training, then to other subjects you want to de velop further, so that the
discipline of fencing grows on properly understood principles you have contributed to, rather than
relying on mindless juggling, thus greater the difference between juggling and fencing will become, and
the Knightly art of Fencing will grow from Warriors far and wide, particularly to Citizens at large, but beware
the Juggler, to whom the unseemliest losses are and who is found everywhere in the world, until all are put
away.
Fencing with the Sword is nothing other than a discipline, wherein your force strives together with your
sword in placement so that one with the other, using care and agility, artfulness, delicacy and manliness, are at
need the same both in strikes and in other handwork one is obliged to, excepting when one is not in a serious
situation, thus by such discipline one will be more dangerous and more skillful, and when needing to protect
one's body be more effective.

The Last is as you are fulfilled and will, with harm neither inflicted nor received, withdraw.

Meyer then, in a characteristically organized fashion, goes about explaining all of the principles and techniques a fighter should
learn. In some ways the book is a commentary on Liechtenauers Hauptstucke, for Meyer even quotes the ancient fencer in
several places, however the interpretations are more detailed and potentially show a progression from the down-and-dirty fight of
the earlier masters to a greater emphasis on the art end of things without losing a great deal of efficacy. Each in turn, Meyer
discusses target openings, stances (basic and secondary), strikes (basic, secondary, and meisterhauwen), footwork, all forms of
handiwork, and the best explanation of indes Im aware ofand the book continues from there!


Principles

The division of Man
Man is divided into upper and lower, left and right. All of
Meyers techniques are easier when the body is viewed in
this fashion, and his text chastises those who think this is a
foolish idea. When attacking the upper openings he tends to
refer to ears, while he refers to the lower openings as
legs or even arms.

The divisions of the Sword
Very basically, the sword is divided into pommel, haft, cross
(together the hilt), strong, weak, and middle (which is the
joining point of strong and weak, not a zone on the blade).
The blade is further divided into the long and half edges and
inner/inverted (palm-side) and outer flats. Meyers use of
the flat is still a controversial topic, and none of the
proposed explanations (including my own) are fully
satisfactory yet. I will add that I refuse to believe that the
Bounce Strike, which uses multiple hits with the flat, is a
bitch slap of any type, and that there is no evidence to
entertain such an idea.

Displacement and Advantage
Before displacing guard yourself. Place yourself for
advantage, wrote Liechtenauer and quotes Meyer. Meyer
discourages use of bad parries, which belong primarily to
any form of static block. Not only are such displacements
generally bad form, but many of Meyers positions leave
you momentarily with crossed arms, making such blocks
very foolish indeed. Hes a realist, however, and notes that
should you be forced to use such a parry, you should
immediately step back and cover yourself so that you can
again seek advantage. The preferred defenses are at best the
Meisterhauwen, which deflect and attack simultaneously.
Second to them are those displacements that put you in a
position of immediate advantage. These should be sought
after.


Stepping and Footwork (three steps)
Meyers footwork almost universally relies on moving to the
sides of an opponent while striking, constantly trying to
reach his flank. He outlines three kinds of steps:
1) Basic Steps. These are forward and backward, like
walking.
2) Triangle Steps. These are essentially simple
steps and pivot steps used when moving to the
outside of an opponent. First is the single: the back
leg stays behind and the lead foot steps or leaps to
the outside. Next is the double: step as before with
the lead foot to the opponents outside, and then

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follow with the rear foot as above, then step again
with the forward foot. This moves you to his flank.
3) Broken or Stolen Steps. This is much like a
reverse of the Triangle Step. Bring the lead foot
behind and to the side of the rear foot, pivoting the
body opposite of what a Triangle (double) step
would do.
Meyer is also quite fond of leaping about, taking great (but
controlled) steps that lead to his characteristic wide stance
once a body is in motion. This is not to be overlooked.

Before, During, After, and I ndes
Ill let Meyer speak for himself on the first three:
? The Before (Vor) is so named as you attack the
opponent with your strikes first and then drive
forward that he cannot come to his intended target,
so you must displace with care, as he wants to
shoot before you do. As with all the German
masters, Meyer believes in a strongly offensive
fight, relying on taking and retaining the Before, or
the initiative.
? The During (Gleich) is when both you and your
opponent bring forth your strikes at the same time,
which is also a part of the expression Just As
(Indes). Note that During and Just As are not the
same, however, although they are tightly
connected.
? The After (Nach) is, however, when you
withdraw from your opponent aswhere you
cannot accomplish your objective.
? I ndes, or Just As, is more complicated.
Essentially it consists of reacting very quickly to
changes in your opponent. These may be changes
in pressure (when winding), changes in available
openings, or changes in your opponents attack.
Understanding Indes protects you from feinting and
allows you to modify your action to whatever is
most advantageous at that time. The use of Indes is
what allows one to steal back the initiative when
lost.

Three Parts of the Fight
Tightly bound to the times above are the three parts of an
engagement. While these are related to issues of range, they
are not the same thing.
1) Zufechten (the Approach, or to the fight) is the
time and range leading up to an actual exchange of
blows. It is in Zufechten that one relies on stances
and choosing that first attack or displacement.
2) Krieg/Handarbeit/Mittel (War/Handiwork/Middel)
This is the phase that striking, winding, binding,
initial wrestlings, and all other attempts at really
doing the other guy in take place. It is also where
the above concepts of time are most important.
3) Abzug (the Withdrawal) is the phase where you try
to create distance between yourself and your
opponent to end or reset the fight, as it is both
foolish and eventually impossible to stay in Mittel
for long.

Fencing to the Four Openings
The real beautiful element of Meyers technique is the
emphasis on quickly striking to each of the aforementioned
four openings of man, using both edges and occasionally the
flat. This is almost always accomplished by alternating long
edge and short edge strikes, and by almost never striking to
the same opening more than once in succession. Here issues
of grip (see
below) are very,
very important, as
is following
Meyers advice
on stepping. The
goal is to produce
a flurry of attacks
to overwhelm the
opponent, keep
you in the
Before, and
create an opening
for exploitation
with Indes.

Meyer presents a
wonderful solo drill for learning to do this well, though it
does require a good deal of forearm and shoulder strength
and endurance. It relies on striking with alternating edges to
the four openings in the order of the numbers on the chart on
the left. Drill the outer ring of numbers first, then the second
ring from the outside, and so on. Now drill them all again,
reversing your use of long and short edges, and again with
the flats if you want to be true to Meyers training regimen.
These work phenomenally well in sparring once you get the
hang of it just keep that hilt high!

Gripping the Sword (i mplied)
It is also worth noting that Meyers grip is clearly very
liquid, shifting from a standard sword/hammer grip to the
now-vogue thumb grip to a sort of non-thumb sideways grip
to fingering the ricasso. It is highly unfortunate that Meyer
doesnt expound more on the matter of grip, as the right grip
is what makes many of his techniques possible. Try them
all, and use the one that works best for any given situation.

Lack of the Thrust (implied)
The reason for so little thrusting in Thorough Descriptions is
still a bit vague. As we know, thrusting with a steel blunt is
dangerous, especially without any form of mask or armor,
and so my assumption concerning this book is that the
longsword was at this time a sparring tool more than not,
thus thrusting was omitted for safety purposes. This does not
mean that Meyers practice of the longsword was a sport,
at least no more than our own sparring and HEMA practice
is a sport. This view is supported by multiple references to
thrusting in the listing and descriptions of various
techniques throughout, in addition to a discouragement

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against thrusting in classroom fighting. The rapier section of
Thorough Descriptions does not omit thrusting, however,
which presents a number of questions yet to be satisfactorily
answered.

Interpreting the Images (implied)
A few things should be kept in mind when working from
Meyers beautiful woodcuts. The first is that they are very
good, and if any images may be taken literally, these can.
The second is that every one of the figures are in motion at
the time of snap shot, meaning that stances are wider and
figures appear in positions that are not worth holding, but
which are incidental and/or transitory in nature. Prime
examples include plates E (Zornhut/Wrath Guard) and F
(Eisenpfort-Schrankut/Iron Door-Barrier Guard). Much
becomes clearer when Meyers stepping instructions are
followed. The third item is understanding that each image is
a single variation on many, many possibilities covered by a
single stance, strike, or technique. Thus Meyer depicts
Pflug/Plough Stance in figure B with the thumb clearly on
the flat and preparing to thrust (what? A thrust in Meyer?!?),
but the text makes no mention of this meaning that grip is
secondary to function, and exists to facilitate the latter.


Stances

Meyer outlines 12 stances in Thorough Descriptions, the first four of which he calls primary (and happen to line up with
Liechtenauers primary four), and eight he calls secondary or derived. Ive only added comments to those that are a little different
from what is standard ARMA practice or otherwise noteworthy.

1) Ochs (Ox) See Fig. B.
2) Pflug (Plough) Deeper stance, lead with the right
foot as standard practice, thumb the flat with blade
horizontal, not vertical, hilt by the forward knee
not the hip! This is used from thrusting and
defense. See Fig. B.
3) Tag (Roof, in some translations, Day) Over the
head, not the shoulder. All strikes can be done from
here. See Fig. C.
4) Olber (Fool) Arms extended, finger on the ricasso.
No killing strikes can be made from here, but its
good for defense and provocations. See Fig. C.
5) Zornhut (Wrath Guard) Hilt over the shoulder,
blade slopes back some. This is definitely Meyers
favorite opening position. The figure in the drawing
is in motion, probably recoiling with a Triangle
Step, and not stationary. This is further supported
by all the in-text references to Einhorn, which is
across form Zornhut-man. See Fig. E.
6) Langort (Long Point) Arms extended (not locked)
with the point at the opponents face or throat. This
is the finishing position of a thrust from Plug or
Schlssel, or a mid-point for any full -arm cut. This
may be the most important position in Meyers
text, because all Handarbeit (Handiwork) seems to
start here. See Fig. D.
7) Wechsel (Changer) This is a mid-ground between
the Italian Boars Tooth Posta and the German
Nebenhut. The short edge is directed at the
opponent, the point down and to the side. A
Zornhau ends in Wechsel, and many tricky attacks
originate here. This may be Ringecks Nebenhut on
the left. See Fig. D.
8) Nebenhut (Close Guard) This is similar to the
Italian Tail Guard. It is a natural starting position
for rising long-edge cuts. (Not illustrated. See
Talhoffer 1467 plate 25)
9) Eisenpfort/Schrankhut (Iron Door/Barrier Guard)
Meyer mumbles through this one, but the final
consensus is that these are essentially the same
position. This guard is a natural mid-point for
long-edge Unterhauwen, and is most simply
understood by bringing Nebenhut out in front of the
body. Schranckhut is also a natural starting and
finishing position for the Krumphaw. See Fig. F.
10) Hangetort (Hanging Point) The Hengen that we
know and love. Its essentially the same as Ochs,
but with the point sloping down and to the other
side of the body somewhat. Position the wrist under
the hilt (which protects the head), using a thumb
grip if necessary, and catch the incoming blade
with the flat. This is also the final striking
position of many Unterhauwen and Twitch-hits.
Meyer shows this only from the left side. See Fig.
F.
11) Schssel (Key) This is Ochs or Einhorn lowered
down to the chest and cradled in the arms, with the
short edge resting on the lead forearm. It is
primarily a thrusting position used to break Tag.
12) Einhorn (Unicorn) Like Ochs with the point
higher. This is the natural finishing point for a
committed Underhauw with the long edge from
either side. See Fig. E.

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Strikes

Meyer outlines 16 strikes, the first four of which are primary (however, this time they are not Liechtenauers primaries), and five
of which are Meisterhauwen. There is overlap in these two categories, with two of the Meisterhauwen coming from the four
primary strikes, and the other three coming from the other 12 secondary and inverted strikes. As with my exposition of the
stances, only those strikes that differ somewhat from what may be expected or known are commented upon.

Meyer records a few general principles of striking at the end of his chapter on stances. Referencing
a diagram remarkably similar to the Italian segno, he delineates cutting through each line in terms
of three-stance combinations. A Schedelhauw, for example, consists of Tag, Langort, and Olber.
An Underhauw comes from Schrankhut , Hangetort or Langort, and Einhorn. All strikes, he
maintains, can be described in terms of three stances; also interesting is that Langort is almost
always the middle stance, where the strike takes place and the foot lands. All strikes, unless
otherwise noted, are made with large steps to the side that you attack.

Finally, Meyers 16 strikes are not, as far as I can tell, really 16 different attacks, but rather 16 drills
to teach you all of the possible forms of attack in Meyers style. Thus the Gliitzhauw is really just
a combination of Schedelhauw or Zornhauw with the Schielhauw that relies heavily on feeling the
pressure in the opponents sword at the bind and acting on it Indes.

1. Oberhauw/Schedelhauw (Over Strike/Vertex
Strike) Standard vertical downward blow with the
long edge. Later in the manual the term Oberhauw
comes to mean any overhand blow, and the term
Schedelhauw is reserved for the Meisterhauw end
of things.
2. Zornhauw (Wrath Strike) The strongest cut,
generally made from the right shoulder and
targeted at the ear or shoulder (in other words, at
the opponents upper left opening) with the long
edge. The second Meisterhauw, sometimes called
the Father Strike or Straight Strike.
3. Mittel oder Uberzwerchhauw (Middle or High
Traversing Strike) Like the Zornhauw, but brought
on horizontally with the long edge from the right
and short edge from the left. Later in the text
Meyer seems to use the Uberzwerchhauw and the
Zwerch interchangeably. See Fig. C and G,
backgrounds.
4. Underhauw (Under Strike) Meyer prefers striking
with crossed arms and the long edge from the left
or center up to right Ochs. He also uses a great
many short -edge Underhauwen from the right,
which seem to end in a pseudo-Hengetort position.
See Fig. B, second from the back left.
5. Schielhauw (Glancing or Squinting Strike) This is
the first of the inverted strikes, made from Tag and
striking downward (diagonally somewhat) at the
head or right shoulder with the short edge. I
reccomned a thumb grip for this one (and for most
of the inverted strikes, actually). It is the third
Meisterhauw, and Meyer states that all other strikes
come from combining the above five (even though
this one isnt considered primary). This is a high
strike, not the lower anti-Pflug version from earlier
treatises (although that doesnt mean that Meyers
Schiller isnt ever performed lowerit is). See Fig.
G, front left; note the Triangle Step in action.
6. Krumphauw (Bend or Crooked Strike) This is a
long-edge cut executed from the right (usually
Zornhut) and targeted at the hands or opponents
hilt/strong. The hands and elbows are higher than
the now-frequent windshield wiper
interpretation, although even that is found from
Schranckhut. Use the thumb grip or other
perpendicular grip. The Krump is the fourth
Miesterhauw. See Fig. D, farthest back right.
7. Zwerch (Thwart or Traverser) Undeniably Meyers
favorite strike, the Zwerch is performed with the
short edge against the head and a thumb or
perpendicular grip. It travels in horizontal or very
shallow diagonal line, and the hilt stays high to
protect the head. As with earlier manuals, the
Zwerch is extolled as a superior defense against all
attacks from above, and is listed as the fifth and
final Meisterhauw. When executed from the left,
the long edge leads the attack, making the Zwerch
the exact inverse of the Uberzwerchhauw or
Mittelhauw. See Fig. H, second from the left in
back.
8. Kurtzhauw (Short Strike) There is some detail that
is still a bit misty for me here. The technique as
described works marvelously (and happens to
mirror both Talhoffers completed Krump, plates
19-20, and Lekuchners Winkerhau with the
Messer), but the context Meyer puts it in seems
unlikelymeaning that were still missing
something vital. Nonetheless, the Kurtzhauw is
essentially a feinted Krump from Zornhut that
passes beneath the opponents sword (threatening
to bind with the short edge) that quickly turns over
to a wicked downward short edge cut to the

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opponents upper right opening. I believe that the
Kurtzhauw itself is the second part, and that it can
be easily executed from left Nebenhut, Wechsel, or
Schranckhutnot unlike the Blendhauw, below.
See Fig. B, middle row (mid background) on the
left; note the full extension of the arms and the
long-edge bind.
9. Gliitzhauw (Slide Strike) Combination of any
Oberhauw and a Schielhauw at the bind, described
as a defense. The short edge should swing around
from the bind and hit the opponent in the head.
This is very, very fast and works very, very well,
even against Kron.
10. Prellhauw (Bounce Strike) This is the big
controversial one right here. It relies on striking
with the flat, bouncing it off one side to attack the
other, and potentially bouncing it off that side as
well for a final strike to the head with either edge. I
am of the opinion that this is a training drill for
learning to twitch properly, but I have yet to fully
convince even my self. This strike will not be
covered as part of this workshop. See Figs. K and I,
front right and front left respectively.
11. Blendhauw (Blind Strike) Bind from the right,
raise your hilt (as to Kron) and tear his weapon
down to your right hip, now cross your arms and
hit him from your hip or knee in his left ear with
the short edge. The strike here is the final portion
of the Kurtzhauw in reverse. This same strike may
be performed from Nebenhut on the right, or even
Wechsel on the right.
12. Windthauw (Wound Strikeas in winding and
binding, not bleeding) This is a tricky maneuver to
get down initially, but its magic once youve
gotten it. I believe that it is a direct relation to
Liechtenauers Hende Trucken, or Pressing the
Hands. Begin in left Wechsel, and as he cuts from
above transition into Schranckhut and step widely
to his right, simultaneously delivering a long-edge
Underhauw against the middle -strong of his blade.
As soon as it connects wind the pommel out from
under your right arm and cut with the long edge to
his arms, following with another cut to the same
opening. The trick to this technique is making both
the Underhauw and the cut to the arms one fluid
motion, not two distinct movements.
13. Kronhauw (Crown Strike) From Pflug (remember
the thumb grip?) or similar position raise your
sword to intercept an overhead strike on the ricasso
or crossguard (this is Kron). Now wind the sword
by thrusting the pommel upwards to strike at his
head with the short edge.
14. Kniechelhauw (Knee Hollow or Knuckle Strike)
This is more of a trick than a formulated technique.
Stand in Tag. When goes to do the same (as will
often happen) quickly throw an Uberzwerchhauw
at his elbows or other available targets while his
vision is obscured by his transitioning arms. This
traversing cut should rise a little, as if attacking
from beneath, should his arms go very high. As
with the Windthauw, this strike reminds me of
pressing the hands somewhat.
15. Sturzhauw (Plunge Strike) This appears to be a
thrust, actually, and not a cut at all. It is executed
by thrusting down to the face from Ochs.
16. Wechselhauw (Change Strike) Generally
interpreted as simply a feint, Meyer presents a few
specific variations on the Wechselhauw later in the
text that not only fulfill his definitions, but also
sheds light on Talhoffers 1467 Wechselhau from
plate 2. This technique comes from Meyers
chapter on Fencing to the Four Openings as
instructions on how to strike repeatedly to one side
by shifting from high to low and back again
(which, incidentally, is Meyers exact definition of
a Wechselhauw). Beginning in left Wechsel, strike
with the short edge to the opponents upper right
opening with uncrossed arms (this is not dissimilar
to an Italian sotani riverso or mezzana riverso, I
believe, and is perhaps the only example of such a
thing in Meyers text). As he goes to defend
himself quickly cross the arms and strike with the
long edge to his lower right opening, putting you in
Schranckhut. As always, if he doesnt cover
himself, go ahead and hit him with the initial short-
edge strike.
? Schneller oder Zeckrur (Rusher or Twitch-Hit) At
the end of his Chapter on Striking, Meyer
introduces the Schneller or Zeckrur: The Rusher
and Twitch-Hit. He writes:
Rusher or Twitch-hit is basically a thing
which is actually not a strike, but if the
strike should be rushed it will be
completed in the middle or full work
when one has enjoined, namely from
above or on both sides or from below
against your opponent with the flat or
outer part of the blade, let the weapon
snatch or rush inward in a swing over or
under his blade.
Huh? What he means becomes very clear when the
excersice from Fencing to the Four Openings in
the Principles section, above, is undertaken.
Everything that Meyer does is really an experiment
in finding ways to twitch around an opponent,
dizzying his senses, until an opening is made for
forceful exploitation with Indes.


All material in this introduction is 2004 Jacob Norwood, except Meyer Translations, 2002-2003 Mike Rassumussen and the ARMA logo,
2002 John Clements and the ARMA. Images taken from www.freifechter.orgor www.thearma.org. All rights reserved.

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Figures Referenced



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