Meyer’s German

Longsword 1

Name: ___________________
Scholars of Alcalá 5th Revision

~1~
Meyer’s German Longsword 1
Level 1, 5th Revision
This workbook looks at some of the primary guards used in German longsword traditions as well as the normal attacks
you can make from the guards. The focus of this workbook is Meyer, but quotes from other masters will be included
from time to time.

Copyright
This text is based on the Jeffrey L. Forgeng translation of Meyer’s Fundamental Description of the Noble and Knightly Art
of Fencing, 1570. Since this translation is under copyright we will endeavor to not exceed what would be allowed under
the rules of fair use.

Other cited works can be found in the Bibliography.

Prerequisites
This text assumes that you have already reviewed the Instructions and Footwork Supplement.

Contents
Lesson 1 – Basic Concepts ....................................................................................................................................................... 3
Lesson 2 – Ochs, the Ox .......................................................................................................................................................... 6
Lesson 3 – Pflug, the Plow..................................................................................................................................................... 11
Lesson 4 – vom Tag or From the Roof .................................................................................................................................. 16
Lesson 5 – Alber, The Fool’s Guard ....................................................................................................................................... 21
Lesson 6 – Zornhut, the Wrathful Guard .............................................................................................................................. 26
Lesson 7 – Wechsel, the Changer ......................................................................................................................................... 31
Lesson 8 – Langort or Longpoint ........................................................................................................................................... 36
Bibliography .......................................................................................................................................................................... 41
Next Steps ............................................................................................................................................................................. 41

~2~
Lesson 1 – Basic Concepts
Parts of the Schwert/Sword
 Knopf: Pommel
 Ort: Point
 Creutz: Quillons / Gefeß: Hilt
 Heft: Haft / Bint: Grip
 Schilt: Shield
 Klinge: Blade
 Stercke: Strong
 Schweche: Weak
 Lange Schneide: Long Edge
 Kurtze Schneide: Short Edge

Stepping
Sigmund Schining ein Ringeck
This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can
fight strongly and correctly. When you want to cut from the right side, stand with your left foot forwards;
and when you want to cut from the left side, stand with your right foot forwards. If you cut with an
Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is
poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot
follow the correct arc down towards the other side, in front of the left foot.

Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left
foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can
perform all of your techniques correctly and with strength. And in the same way should all the other cuts
be performed.

The Primary Cuts

The three basic cuts are:

 Oberhauw – High cut (Lines H, A, B)

 Mittle – Middle or Horizontal Cut (Lines G, C)
 Underhauw – Low Cut (Lines F, E, D)

The basic cuts may be performed with either the long or short edge. As a general rule, step with
the right foot for cuts from the right (Lines B thru D) and the left foot for cuts from the left
(Lines F thru H). For vertical cuts step with either foot.

The abbreviations on the chart refer to the cutting lines.

 Sch: Scheittellini – Parting Line

 Zor: Zornlini – Wrath Line
 Zw: Zwerchlini – Thwart Line
 Üb: ubersich steyget lini

~3~
Reasons to Cut
It must be noted that not all cuts are meant to actually injure the opponent. Quite often they are instead meant to
create an advantageous position.

Joachim Meyer
Now so that you may better understand this, I will distinguish the cuts into three uses: that is, firstly they
are used to provoke; secondly to take or parry; thirdly to hit. The Provoking Stroke is what I call the cut
with which I goad and provoke the opponent to go out of his advantage and to cut.

The Primary Guards

Liechtenauer
Four wards alone,
Hold onto those, and curse the vulgar.
Ochs, Pflug, Alber, vom Tag,
there are no others for you.

While Meyer uses the four guards spoke of by Liechtenauer, his longsword section over a dozen. This workbook will
introduce eight of these guards. It will also illustrate some of the differences between traditional German guards and the
variants preferred by Meyer.

Langort – Longpoint
Longpoint is mostly used as a transitional guard through which
one passes on the way to another guard.

Most cuts will pass through Langort on their way to completion.

Four Openings
The body is divided into four openings: upper-left, upper-right,
lower-left, and lower-right. Likewise the head is divided into four
openings. This is shown in the diagram for Langort.

Thrusting
During Meyer’s time, thrusting with the sword wasn’t done except when warring for foreign nations. While he discuss
the thrust from time to time, most of book one focuses on using cuts with the edge and beats with the flat of the sword.

Parrying
As in many other fencing traditions, German masters placed special emphasis on parries that simultaneously counter-
attack.

Liechtenauer
Do not strike at the sword, but always to the openings, to the head, the body if you wish to remain
unharmed. If you hit or miss, always search for the openings, in all teachings turn the point to the
openings.

~4~
Joachim Meyer
Be first aware that the parries are twofold, the first is without any particular advantage and is resorted
to only for blocking parries from which you cannot do more with your weapon in that you oppose your
opponent’s strike to avoid being damaged, but then seek not to damage him, but only to withdraw as
you wish without being injured by him.
[…]
The second art of displacing is when you parry and injure your opponent with one strike, which the
ancients undertook with special praise, from which these spoken words grew: “A proper fencer parries
not. As his opponent strikes so he too strikes. As his opponent steps so he too steps. As his opponent
stabs so he too stabs.”

Sign Man
It is traditional for fencing schools to have a sign man posted on the wall. This is used to act as a visual reminder of the
cuts and what lines they occur on. Using the space below, label the cuts and openings.

~5~
Lesson 2 – Ochs, the Ox
Sigmund Schining ein Ringeck
The first guard. The Ox.

Hold it like this: stand with the left foot forwards, and hold your sword beside and slightly in front of the
right side of your head, and let the point hang towards his face.

Joachim Meyer
The upper part of the combatant is allotted to the Ox, and as that has two quarters, the right and left, so
one can divide the posture of the Ox into two parts, namely the right and left. The right Ox is done thus:
stand with your left foot forward, and hold the sword with the hilt up by your head on the right side, so
that your point extends toward your opponent’s face. For the left Ox, position yourself opposite to this,
that is, stand with your right foot forward, and hold your sword with the hilt by your head on the left side
as I have said. Thus you have both Ox guards or postures; this posture is depicted on the left side of
Image B.

These illustrations from Paulus Hector Mair show both the left and right Ochs. Note how the left Ochs doesn’t have the
arms crossed.

~6~
Guard Analysis

 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 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.

~7~
Right Ochs
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~8~
Left Ochs
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~9~
Review

Draw your own fencers standing in Left and Right Ochs

1. Does it feel more comfortable to have the quillons straight up and down or more of an angle?

2. Which is better for attacking?

3. Which is better for defending?

4. Do you prefer to “unwind” your arms when you thrust from Right Ochs?

5. Do you use a passing step when thrusting? Or do you just step forward without changing your lead foot?

6. Are there any cuts that feel better when stepping wide (i.e. to the side)?

7. When stepping backwards?

8. Do you feel your lower body is adequately protected in this guard?

9. Do you prefer to stand more upright? Or is a lower, wider stance better for you?

~ 10 ~
Lesson 3 – Pflug, the Plow
Sigmund Schining ein Ringeck
The second guard. The Plough.

Hold it like this: stand with the left foot forward, and hold your sword with crossed hands beside and
slightly above your right knee, in such a way that the point is towards his face.

Joachim Meyer
The lower part of the combatant belongs to the Plow, and as that has two quarters or two sides, right
and left, so the Plow is called right or left. Both are in essence merely the position of a thrust from below.
Execute the right Plow as follows: stand with your right foot forward, hold your weapon with the hilt by
your forward knee, and am the tip or point at your opponent’s face as if you intended to thrust at him
from below; thus you are in the right Plow. If you stand with your left foot forward and do the same
thing, then you are in the left Plow. And the right Plow is also illustrated in the same image [B] on the
right.

Notice how Ringeck prefers his Pflug to be retracted while Meyer has it extended.

Here are two more examples, one from Solothurner and the other two from Paulus Hector Mair.

~ 11 ~
Guard Analysis

 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.

~ 12 ~
Right Pflug
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 13 ~
Left Pflug
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 14 ~
Review

Draw your own fencer standing in Pflug

1. Do you feel safer in Ringeck’s or Meyer’s Pflug?

2. Is it easier to cut from Ringeck’s or Meyer’s Pflug?

3. Is it easier to thrust from Ringeck’s or Meyer’s Pflug?

4. Do you raise your sword before using Oberhauws? Or do you just aim lower?

5. When someone thrusts at you, do you thrust in return?

6. Do you feel your head is adequately protected while in this guard?

7. Do you prefer to stand more upright? Or is a lower, wider stance better for you?

~ 15 ~
Lesson 4 – vom Tag or From the Roof
This is also known as Tag, which means Day.

Sigmund Schining ein Ringeck

The fourth guard. From the Roof.

Hold it like this: stand with the left foot forwards, and hold your sword at your right shoulder. Or hold it
with outstretched arms above your head. And how you shall fence from these guards, you will find
described in this book.

Joachim Meyer
The guard of the Day, which is also called the High Guard [Oberhut], is executed in the following manner:
stand with your left foot forward, and hold your sword up over your head so that the point extends right
upwards, as shown by the figure on the left in Image C. Now any attack that is delivered from above is
said to be executed from the Day or High Guard; therefore this posture is called the Day.

In modern speech, we refer to the two variants as “Right vom Tag” and “High vom Tag”.

Some right-handed fencers like to adopt a posture they call “Left vom Tag”. For the right-handed fencer this involves
having the Short edge facing forward instead of the Long edge. As this posture is not found in either of the German
longsword systems covered by this workbook, no worksheet for it will be provided.

~ 16 ~
Guard Analysis

 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

~ 17 ~
Right vom Tag
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 18 ~
High vom Tag
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 19 ~
Review

Draw your own fencers standing in Right and High vom Tag

1. For defending yourself, do you prefer Right vom Tag or High vom Tag?

2. For attacking, do you prefer Right vom Tag or High vom Tag?

3. Did you feel that High vom Tag left you exposed to low cuts?

4. Did you feel that High vom Tag left you exposed to thrusts?

5. Do you prefer to hold your Right vom Tag close to the body or do you push your arms out some?

6. Were you able to thrust from high vom Tag? If so, did you have to let go with one hand?

~ 20 ~
Lesson 5 – Alber, The Fool’s Guard
Sigmund Schining ein Ringeck
The third guard. The Fool.

Hold it like this: stand with your right foot forwards, and hold your sword with outstretched arms in front
of you with the point towards the ground.

Joachim Meyer
The Fool in my opinion takes its name from the word Alber, which is to say ‘simple-minded’, since from
this guard no proper stroke can be readily achieved, unless one gathers for a new cut after the
opponent’s cut has been caught by means of a parry, which is truly the part of a fool and simple man, to
allow someone to strike him without a prepared counterstroke. It is performed thus: stand with your left
foot forward, and hold your sword with the point extended toward the ground in front of you before your
forward foot, such that the short edge lies above, the long edge below. Thus you lie properly in this
guard, as you can see in the same image [C] on the right.

Notice how Ringeck prefers his Alber somewhat to the side while Meyer extends it directly forward. Also note that
Ringeck prefers the right foot forward while Meyer prefers the left.

~ 21 ~
Guard Analysis

 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.
 Lone edge (red) is turned slight to the left.
 Point is extended nearly to opponent’s foot.

~ 22 ~
Right Alber
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 23 ~
Left Alber
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 24 ~
Review

Draw your own fencer standing in Alber

1. Do you prefer the point to be straight forward or off to the side a bit?

2. Do you prefer to have a balanced posture or to lean forward like Meyer?

3. Were you able to make your partner miss by shifting your weight backwards?

4. When your partner cut your head, did you have a tendency to thrust him in the chest at the same time?

5. If so, were you able to do so safely? Or was it a “double-kill”?

6. Do you try to deflect downward cuts by battering them away with your short edge?

7. Do you try to block downward cuts by turning over your sword and catching them with long edge?

~ 25 ~
Lesson 6 – Zornhut, the Wrathful Guard
This guard is not part of the first device, but is often used by Meyer to explain other

Joachim Meyer
Zornhut is known as such since the stance has a wrathful bearing, as will be shown. Stand with your left
foot forward, hold your sword out from your right shoulder, so that the blade hangs behind you to
threaten forward strikes, and mark this well, that all strikes out from the Guard of the Ochs can be
intercepted from Zornhut, indeed leading from this stance shows unequal bearing from which one can
entice onward, whereupon one can move quickly against the other as needed.

Jakob Sutor
The man on the left is in the stance called the Wrathful Guard: stand with your left foot forward, hold
your sword off your right shoulder so that it hangs behind you ready to strike, take more distance than
you would for the Ox but use it to entice your opponent forward. Attack your opponent from above then
step and flatten to strike in a high traverse cut from your right as he withdraws so that you cut with the
half edge to his left ear, close against further withdrawal, move to your right while transitioning left over
his head, step and hit his right ear with another traverse with the Weak, striking through the middle line.

For the sake of argument, we will say that Right Zornhut is with the sword on the right shoulder.

Jakob Sutor Jörg Wilhalm Hutter

Joachim Meyer

~ 26 ~
Guard Analysis

 Feet are in line (red lines).

 Rear foot is pointed backwards.
 Rear knee is bent over the toe.
 Front leg is straight,
 Front ankle is in line with leg.
 Body isn’t upright, but it isn’t quite in line with the left leg either.
 The right hand may be using the same grip as vom Tag, but it is unclear.
 The right elbow is shoulder high.
 The left hand is lose.
 The left wrist is somewhat bent.
 The left elbow is slightly higher than the shoulder.
 Point is extended forward past the knee.
 Point is roughly level with the natural waist

~ 27 ~
Right Zornhut
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 28 ~
Left Zornhut
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 29 ~
Review

Draw your own fencers standing in Left and Right Zornhut

1. TODO

2.

3.

~ 30 ~
Lesson 7 – Wechsel, the Changer
This guard has both a left and a right version. The text and images below describe the left Wechsel. Practice cutting from
Ochs and Zornhut in Wechsel and back.

Jakob Sutor
The image on the right shows a man in a Guard stance also called the Changer: stand with your right
foot forward, hold your sword with the point near the ground and your arms outstretched so a cut with
the false edge is threatened.

Joachim Meyer
This guard is executed thus: stand with your right foot forward and hold your weapon with the point or
foible extended toward the ground by your side, so that the short edge faces toward your opponent, as
you can see in the figure in Image D.

Hans Talhoffer Jakob Sutor Joachim Meyer

~ 31 ~
Guard Analysis

 Feet are in line (blue lines).

 Roughly centered between opponent’s feet (red lines).
 Right foot is forward.
 Right knee is over the toe.
 Left foot is roughly 90 degrees out.
 Left ankle is rolled inward more than what’s needed to line up with the leg.
 Body is almost straight with the back leg.
 Chin is inclined up.
 Both arms are bent.
 Hilt is below the left shoulder.
 Right hand is close to the guard with the thumb up on a quillon.
 Right wrist is in line with arm.
 Left hand is loosely on the pommel.
 Left wrist is bent.
Right Wechsel
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 33 ~
Left Wechsel
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 34 ~
Review

Draw your own fencers standing in Wechsel

1. TODO

2.

3.

~ 35 ~
Lesson 8 – Langort or Longpoint
Joachim Meyer
Stand with your left foot forward, and hold your weapon with your arms extended long in front of your
face so that your point stands toward your opponent’s face; thus you lie in the guard of the Longpoint, as
shown by the figure in Image A.

Sigmund Schining ein Ringeck

Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards
him with outstretched arms towards the face or the chest. If he cuts at you from above and down
towards your head, wind with the sword against his cut and stab him in the face.

Joachim Meyer Hans Talhoffer

~ 36 ~
Guard Analysis

 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

~ 37 ~
Right Langort
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 38 ~
Left Langort
Cuts
H A B

G C

F E D

Parries
B A H

C G

D E F

Thrusts Parries
Above Above
Right

Right
Left

Left

Below Below

~ 39 ~
Review

Draw your own fencers standing in Langort

1. Do you feel safe when resting in Langort?

2. At the beginning of this workbook we said that all cuts go through Langort. Did that turn out to be true?

3. Can you use this position to change the direction of your cut?

~ 40 ~
Bibliography
[name?], 1467, by Hans Talhoffer

Fundamental Description of the Noble and Knightly Art of Fencing, 1570, by Joachim Meyer. Translation by Jeffrey L.
Forgeng and Mike Rasmusson

Johannes Liechtenauer. Translated by David Lindholm, Jeffrey Hull, and Keith Farrell

MS Dresden C 487, circa 1504-1519, by Sigmund Schining ein Ringeck. Translated by Keith Farrell.

MSS Dresden C 93 and C 94, 1542, by Paulus Hector Mair. Translated by Keith Myers

Next Steps
[TODO]

~ 41 ~