NOTE:
THIS PAGE IS BEING REVISED AND UPDATED
Medieval &
Renaissance Fencing Terminology from the Source Manuals
The following list is compiled from 13th
to 16th century fencing manuals and focuses on
the long-sword. It is divided into two sections, one
from primarily English & Italian source manuals and
one from German Fechtbuchs.
|
15th century Italian
& English
|
Arte Dello Spadone
|
Fiore
Dei Liberis name for his craft of the long-sword,
symbolized by four virtues or qualities as represented by
the Wolf (carefulness or prudence), the Tiger (swiftness
or speed), the Lion (courage or bravery), and the Elephant
(strength).
|
Backsteppe
|
In
English swordplay, a simple step backward with the rear
leg, sometimes followed by the lead leg.
|
Bicornio
|
See
Posta di Bicornio. (Two Horned Guard)
|
Boar
/ Boars Tooth
|
See
Posta di Dente Chingiale
|
Chase
|
A
term from the 15th century English sword text
MS 39564 likely referring to a following on or counter action.
|
Close
guard
|
A
modern generic term for the Pflug or Plow
guard, with knees bent and the weapon held close into the
hip and somewhat off to the side. A fundamental on-guard
position. Essentially a defensive posture suited to protecting
the hips, waist, and grip, as well as delivering thrusts
and slices.
|
Cockstep
|
In
the English style a koc stappis or kocstep, a forward skipping step of the lead foot, similar to the Balestro of
later fencing.
|
Colpi
Dritti
|
(right strokes)
Vadi blows from the right side used to defend.
|
Corona
|
(Crown)
See Posta de Fronte
|
Coverta
|
(Covering
meaning blanket) Fiores term for
the principle of covering a possible line or opening of
attack by moving the body and weapon to close it. In Vadi
the defensive controlling of the enemys sword with
your own or your hand. It consists of maintaining contact
while entering close.
|
Cownter / Cowntyr
|
A
term in the English sword text MS 39564 referring to types
of counter-striking technique or the action of counter-attacking.
(also cowntris or cowntr)
|
Crown
guard
|
See Corona. A form of high
center stance. Also Frontale. See Kron.
|
Dritto
/ Deritto
|
Cuts
made from right to left.
Fiore uses Dritto and Reverso Dritto. The
term deritto is equivalent to dritto, Vadi uses both
as well as diritto and Manreverso.
|
Disarmo
Soprano
|
(upper disarm) a Gico Stretto
technique of Fiores for grabbing the opponents
wrist after closing and stifling their blade above
their shoulders.
|
Downright blow
|
An Oberhau
or Fendente in English swordplay, i.e., any descending strike
with the forward edge.
|
Elza
|
Vadis
term for crosses or the cross-guard (what
Fiore calls the crucibus). See Croce.
|
En
Garde
|
(on guard) A French term
first used in 1400s to refer to simply a ready posture
of both attack and defense with any sword or weapon.
|
Falsita
|
Vadis
term referring, according to his diagram, to the false edge,
but it may also mean falsehood in general.
|
Fendente
|
A downward blow in the Italian schools.
Shown typically as a diagonal not a vertical cut.
Vadi refers to Diritto Fendente (right downward) and Riverso
Fendente (left downward) cuts.
|
Filo
|
Italian
for the edge of the sword. (Fil Falso
or Falso Filo each mean false edge).
Opposite of Filo Dritto.
|
Finestra
|
See
Posta di Finestra. (Window guard). See
Ochs.
|
Florishe / Florysch
|
To
Flourish An English term from at least the
mid 1300s used in the brief English sword text, MS 39564,
c. mid-1400s, to refer to the brandishing of a weapon with
large showy movements during practice or prior to play or
fight. Used now to mean a practice routine of cuts and thrusts
with appropriate footwork.
|
Footwork
|
There are essential two ways of moving:
simple steps, of the either the leading or rear foot, and
passing steps where the rear legs moves past the forward
or vice versa. Additional types of footwork are traversing
or diagonal steps (which may be followed by a second move
to turn the body 90 degrees), double or great steps, cock
steps, and false or broken / feinting steps.
|
Foyne or Foin
|
(thrust) A term used from
at least the 1300s to refer to a stabbing attack with
a sword. The Italian term is Ponta or Ponte.
|
Gioco
Largo
|
(far
or large play or large game) Combat
without body contact and at cutting or striking range in
the Italian schools as opposed to seizing or grappling range.
|
Gioco Stretto
|
(close playing or close game)
In the Italian schools a term for entering techniques used
for body-contact fighting close-in at seizing and grappling
range (in the later English systems of cut-and-thrust sword
of the 1500s, these were known as gryps
or seizures). All are based essentially on a
handful of key actions: reaching out to grab the opponents
hilt or arm, striking with the pommel or guard, trapping
their forearms with your second arm, slipping the blade
against or between their forearms, using the second hand
to hold the blade while binding/striking/slicing, and tripping
and kicking. In the German schools close-in techniques for
wrestling at the sword or Ringen Am Schwert,
involved throws or grappling and disarming moves known as
or Schwertnemen (sword-taking) there
was also ground-fighting (Unterhalten, holding
down).
|
Grete
Steppe
|
A
large or double step of the foot in the English style.
|
Guards
/ Guardia
|
(stances,
wards, Huten, Leger) A term for fighting postures or ready
positions.
|
Hanging
guard
|
A right or left stance with the blade
held hilt high and point down diagonally forward.
A versatile and useful defensive or countering position
not actually described as a true stance in any 15th
century manual but does appear in 16th century
ones. Also depicted in most texts as an action occurring
from a Ochs or Finestra (Ox or Window) guard.
Later styles of swordplay actually incorporated a hanging
or guardant ward, but Medieval manuals do not seem
to actually show this as a true ready position or guard,
but only a transitory position or action that occurs during
weapon contact. In his 1570 text (written at a time when
the old Medieval great-sword was more of a tradition
than practical weapon). Joachim Meyer described a Hengenort
(Hanging Point guard) as this hanging stance with
the blade forward and angled down. Di Grassi in 1570
also describes this stance as being the high ward.
See Pendant.
|
Haukes/Half Haukes
|
(Hawk) A term from
the 15th century English text by J. Ledall (Harliean
Manuscript BL MS. 3542), that refers to downright
blows, likely a downward cut, - as if striking
down like a bird or prey. Forms include hauke, half hauke,
broken hauke, broken half hauke, contrary hauke, and
double hauke. Perhaps related to the Italian Falcon
guard (Posta di Falcone).
|
High guard/stance
|
A modern generic term for any of the
offensive postures of holding the sword or weapon over the
head or shoulder, in a Roof position.
See Vom Dach / Vom Tag, Oberhut, (Vigianni in the 1550s
called it Guardia Alta). Leckuechner actually referred
to Hochort or Ochs as the high guard.
|
Incrosada
/ Incrosar a Mezzo Spada
|
(crossing the swords) Fiore
Dei Liberis term for the action of blade contacting
against blade (crossings
of the blade or tied up) just before
any action is made. Possibly equivalent to Anbinden
in the German schools, the engaged position with weapons
crossed in which the weapons collide together in their moment
of contact.
|
Instabile
|
Fiore describes his posta/stances as
being either stable or unstable, or rather being active
or reactive. His unstable guards are the Window,
Longa, Two-Horn, and Front/Crown. These
stances are unstable positions in that they
are intended to react to attacks. Stabile (stable)
positions are ones that move to receive. Pulsatina
positions are those that provoke or offend.
|
Iron Door guard
|
See Porta di Ferro and Eiserne
Pforte. A type of low guard.
|
Long guard
|
See
Posta Longa and Langerort.
|
Low
guard
|
See
Alber and Posta di Ferro . A defensive position
with the blade pointing downward.
|
Manreverso
|
Vadis
left side horizontal cut.
|
Manudextri
|
Pietro Montes blows from the right
delivered from his Prima stance.
|
Manusinistri
|
Pietro Montes blows from the left
from delivered from his Seconda stance.
|
Mezza Spada
|
(Half-Sword) Equivalent to
the German Halb-Schwert. Special techniques
of grabbing the swords blade by the second hand (or
both even hands) and thrusting, deflecting, or striking.
Often used in combat against heavy armor. Fiore lists
6 Mezza Spada: Posta Serpentino, Posta Serpentino
Superiore, Posta Sagittarria, Posta Vera
Croce, and Posta Croce Bastarda. Vadi used Mezza
Mela ("half-blade") for Halb-Schwert and Mezza
Spada for Incrosar a Mezzo Spada (perhaps a result of the
universal linguistic tendency to shorten lengthy phrases).
|
Mezzane / Mezani
|
Fiores horizontal cut, as in Dritto
Mezzane and Reverso Mezzane. Dritto cuts right
to left with true edge, Reverso cuts left to right with
false edge.
|
Parare
|
(parry) Vadi advises all
parrying is to be done with the fendente (downward cut),
definitely not a static block, but a deflecting striking
blow.
|
Pendant / Pendante
|
A term from the 15th century
English MS 39564 manuscript, by J. Ledall, referring seemingly
to a hanging ward. See Hengen.
|
Posta
|
Italian for position (fighting
posture or stance).
|
Posta Breve / Posta Breva
|
(Short guard) Fiore Dei Liberis
thrusting middle guard with the pommel held close to the
body. Also called Spada Distesa (lying
sword). A limited entering or close-range
posture with the blade held more vertical, the hilt pulled
in low and the knees bent more, it is used for both parrying
and preparing to slice, thrust, or bind.
|
Posta di Bicornio
|
(Two-Horned position) Fiores
thrusting guard holding the sword horizontally in a high
middle position with the left hand in a reverse grip. Suited
for thrusting in close.
|
Posta Breve Serpentina
|
(Short Snake guard) One of
Fiores Mezza Spada postures, essentially a
Middle guard with the left hand holding the
blade at the ricasso, left leg leading.
|
Posta
di Coda Lunga Distesa
|
(Long
Lying Tail position) Fiore Dei Liberis
term for a right Tail guard, leading with the
left leg and the blade held back and down at 45-degrees.
|
Posta Croce / Posta Vera Croce
|
(Cross guard or True
Cross Guard) One of Fiores Mezza Spada
postures, with the left hand holding the middle of the blade
in a reverse grip. Essentially a low left hanging
guard.
|
Posta Dente di Cinghiale
|
(Boars Tooth guard
or Wild Boars Tooth) Fiore Dei Liberis
Low guard leading with the right leg and the sword
held forward and down at roughly 45-degrees, the hilt to
the outside of the left side of the left knee. Suited to
counter-thrusting and to ward off by lifting upward followed
by an immediate cut downward.
|
Posta di Donna Soprano e Altera /
Posta di Donna la Sinestra
|
(Upward Proud Womans guard
or Noblewomans guard) Fiore Dei Liberis
term for a position with the blade held over or on the right
shoulder. In one version it is held horizontal almost
resting on the shoulder. In another it is held at a 45-degree
angle as if in a shoulder-level high guard,
but with the opposite shoulder turned more forward. While
he only depicts a right-side version, Fiore does list both
a left & right Womans guard (Posta Dominarum
dextra and sinixtra). The Womens guard
seems related to horizontal cut, as the posture can be assumed
both preliminary to such a blow and as a result of such
a blow. Yet it is more likely this guard is actually
a shoulder-level Vom Dach (high guard).
|
Posta di Falcone
|
Vadis name for a guard with the
blade held centered close at chest level with the blade
out forward at a 45-degree angle. Perhaps similar
to Fiores Posta Fronte.
|
Posta di Fronte
|
(Front
guard) Fiore Dei Liberis term for Corona
(crown guard)
or a middle position and the hilt held close to the chest
or abdomen pointing forward. In Vadi the Front
guard is shown as held much closer to the body and more
vertical with the point directed upward. Likely equivalent
to the German Kron.
|
Porta di Ferro
|
(Iron Door guard) Fiore Dei
Liberis low middle-right position, a form of Low guard
(point forward, blade down at roughly 45 degrees) leading
with the left leg and the blade turned slightly,
point back and turned slightly to the right, the hilt turned
slightly left. Also called Porta di Ferro Piana
Terrena or Tuta Porta di Ferro. See Eiserne Pforte.
|
Porto di Ferro Mezzana
|
(Middle Iron Door guard)
Fiore Dei Liberis term for the Low guard, leading
with the right leg. Used to counter-strike and to
defend against Gioco Stretto. See Alber.
|
Posta di Fronte
|
(Front guard) Fiore and Vadis
term for a form of unstable high middle position poised
to greet or intercept a downward blow with the ricasso or
cross. Also called Corona. See Kron.
|
Posta Longa
|
Fiore Dei Liberis name for an extended
Middle guard, leading with the left leg bent,
the rear leg stretched
and the arms extended, the blade held more horizontal. Often resulting
from a thrust and used for warding, threatening and
thrusting to the throat or face as well as slicing to the
arms. See Langort.
|
Posta di Vera Finestra / Porta Reale
di Vera Finestra
|
(True Window or True
Royal Window guard) Fiore Dei Liberis term for
a stance leading with the left leg and the sword held horizontally
out to the right, point aimed at the opponents face.
The blade is held with the edge and cross upward and the
hilt slightly behind the head, not in front of it or to
its side. Essentially equivalent to the German right Ochs
stance. While Fiore only depicts a right-side version, he
does list both a left & right Window guard (Posta
Fenestrarum dextra and sinixtra).
|
Posta di Vera Finestra Mancina
|
(True Left Hand Window guard)
Fiore Dei Liberis posture of holding the sword over
and behind the left shoulder. While called a window
stance, it is not equivalent to the right-side window.
This position can be interpreted as either form of High
guard or one with the blade behind the head, horizontal
or diagonal. Essentially a left-side Womans guard.
|
Posta Sagittarria
|
(Archer guard) One of Fiores
Mezza Spada postures, a right Window
guard with the sword pulled farther back and the left hand
holding the blade knuckles up.
|
Posta Serpentina Superiore
|
(Upper Snake guard) One of
Fiores Mezza Spada postures, a raised Serpentina
guard consisting of a right Window guard with
the left hand holding the blade in a reverse grip.
|
Prelhaw /Prelhau
|
(Plunge Strike) From a binding
position, a plunging thrust down between the opponents
arms.
|
Prima
|
Pietro Montes first
guard, with the blade held over the right shoulder, possibly
in an Ochs/Window stance.
|
Posta Vera Croce
|
(True Cross guard) One of
Fiores Mezza Spada postures, a low right hanging
position with the left hand holding the blade in a reverse
grip.
|
Punta Falso
|
(False Point) Fiore Dei Liberis
term in Mezza Spada for feinting a thrust and disengaging.
|
Raykes
|
A
term from the 15th century English great-sword text by J.
Ledall, MS 39564, likely referring to draw cuts
from a high guard. Possibly equivalent to the German
Schnitt or slice cuts.
|
Rebatter / Rebatir
|
(Set aside) Fiores
defensive technique meaning essentially Versetzen, to displace
an opposing blow.
|
Riversi
|
Fillipo Vadis blows made from the
left to the right.
|
Rollyng Strokis
|
A type of blow from the MS 39564, possibly a round strike
or a molinello.
|
Rota
|
A countering technique described by Filippo
Vadi (c. 1480). A cut wherein the back edge (fil
falso) is quickly raised to smack or deflect an opposing
blade prior to an immediate descending cut with the forward
edge. The word rota comes from the verb rotare,
which means to turn.
|
Rownde / Double Rownde
|
Following through and back around with
a cut once or twice. An English term from the 15th
century text MS 3542 which likely refers to
a change-in-line strike by bringing the point of the weapon
first down and back, and then up and around high, or by
first bringing the weapon down and then back up high right
then left (a molinello/molinet or windmill),
once for Ye single rownde or twice for Ye
double. It may be accomplished with the hilt
held at chest level or higher above the shoulders. The action
generates power while being deceptive. See Rundstreich
and Doppelrundtstreich.
|
Seconda
|
Pietro Montes second
guard, with the blade held over the left shoulder, possibly
in an Ochs/Window stance.
|
Segno
|
A training aid consisting of a circular
wall or floor diagram of 8 intersecting lines representing
all possible cutting angles and thrust, or when placed on
the floor, stepping positions for the feet.
|
Segno Cuts
|
Fiore Dei Liberi described seven cuts
or blows, two Fendenti (right or left downward cuts
from a high position) two Sottani (right or left
upward cuts from a low position), two Mezani or Mezzane
(horizontal cuts), and Ponte (the straight thrust).
Filippo Vadi taught the same six cuts and one thrust,
but called his horizontal cuts Volanti. Vadis
right-to-left cuts are Derito and his left-to-right
cuts were Manreverso. While Filippo Vadi speaks of
seven cuts, he lists only three (Fendente,
Volanti, and the Rota), but as each of these
can be employed either left or right, along with Punte
(his thrust) they make for seven attacks. Neither Fiore
Dei Liberi nor Fillipo Vadi distinguished between different
angles vertical or diagonal) of cut, all descending cuts
were Fendenti. Pietro Monte advised Manudextri
(blows from right to left) and Manusinistri (from
left to right). Monte taught only 2 primary cuts: both diagonal
rising cuts from either right or left (and a thrust, Stocchata
Vel Puncta). These cuts and thrusts were invariably
used in swift combinations of 2 to 3 strokes. See Cuts (German).
|
Short
guard
|
See
Posta Breve.
|
Sottani
|
Fiore Dei Liberis upward cuts from a low position (essentially
an Unterhau).
|
Spada in Arme
|
(Sword and Armor) Italian
for combat in plate armor or heavy armor (called
Harnischfechten
in German).
|
Stocchata Vel Puncta
|
Pietro Montes thrust
or straight thrust delivered from either side from a high
or low position and which he considered the most effective
of all attacks.
|
Stramazzone
|
A
term Vadi uses for a cut he does not describe except to
say do it with a little turn in front of the
face. This is consistent with the later use of the
term stromacione meaning a quick, light slash or
scratch to the face with the point.
|
Varco
|
Vadi uses the phrase varco to varco
(opening to opening or step to step)
to mean attacking the opponents various targets with
different strokes.
|
Viste
|
(feints)
Vadis term for actions which confuse the opponents
defense preventing him from understanding clearly from which
side you will act.
|
Volanti
|
Vadis term for horizontal or cross
cuts. (Tonda, Mezzane, Mittelhau)
|
Voydyng
/ Voyding
|
A
term used from at least the 15th century and found English
sword text, MS 39564, and other sources, referring
to a defensive evading movement such as voydyng bake
with the lyffte legge.
|
Window
guard
|
See
Porta di Vera Finestra Mancina & Porta
Reale di Vera Finestra.
|
|
|
Medieval German Martial Terms
|
Ablauffen
|
(Running
Off) Withdrawing the blade from an attack, before
or after contact, by rotating it around the hilt to hit
with the false edge on the other side. Can be done singularly
or doubly. One of the primary ways of using a Kurze
Schneide attack. See Duplieren.
|
Abnemen
|
To move away or free yourself from a
bind and make another attack.
|
Abrayssen
/ Abraisen
|
(to
break away) To push the opponents hand
or weapon downward with the Gehiltz (hilt).
|
Abschnappen
|
(to
snap off) To get free of a Band (bind) by sliding
or batting the blade away with a strong, controlled blow.
|
Abschneiden / Abschnyden
|
(cutting
aside or cutting off or to slice
off) 1. Short drawing cuts known also as Schnitt (slices),
called Rakes in English, used at closer distances
against the opponents forearms and hands, they can
be made with both the lead and the back edges. These are
drawing cuts generally used against the opponents
arms at close range. Made singly or doubly (i.e.,
upwards and then down, or downwards and then up.) 2. To
Slice over the arms from below or above; usually with Langer
Schnyde (Long edge). Abschneid = Cut Away
|
Absetzen
/ Absezen
|
(setting aside) 1. The principle
of timed counter attack to deflect a thrust or parry a cut.
While Absetzen in a specialized sense refers to thrusts
with opposition the word can also be used to mean a simple
parry, usually followed by a thrust. It is also used to
denote a type of trapping move in which the sword is hooked
over the opponents blade, dragging the opponents
blade down to the ground. 2. To parry an attack on
the lower Blossen (openings), the attack is put down
by leading his weapon with the Langer Schnyde (long edge)
while moving towards the side that the attack came from.
|
Abwenden
|
("turning
aside") To ward off a blow as with a deflecting
strike.
|
Abzug
|
(Withdrawal) According to
Meyer, a stage of engagement where the combatant tries to
disengage without being hit, usually delivering a retreating
strike to cover the withdrawal.
|
Alber
|
(fools guard) A low
middle stance with point down.
This stance takes its name from Liechtenauers
belief that only a fool stays on the defensive, relinquishing
the initiative to his opponent. He acknowledged the
superior defensive qualities of this stance by including
it among his four. See Posta Tuta di Ferro.
|
Alter
Schnitt
|
(After
Slice or The Ancient Slice) A cut over
the arm of the opponent when he has repulsed a Nachreissen.
To move in to slice on the opponents extended
arms as a Nach action following the completion of his strike.
Part of the secrets of fencing
in contrast to the fundamentals of the art.
|
Am
Schwert
|
(on the sword) Attacks
made while maintaining constant pressure on the opposing
blade, also known as the Winden (winding or turning).
The second grouping of attacks made in the Krieg phase of
combat. These are attacks made without leaving the
opposing blade, maintaining constant blade contact throughout
the course of the attack. Better known as the Winden
(Winding or Turning).
|
Anbinden
/ Ambinden
|
(crossings of the blade or
tied up) The engaged position with weapons crossed
in which the weapons collide together in their moment of
contact. Called Incrosar a Mezzo Spada
(crossed at half-sword) by Fiore.
|
Ansetzen
|
(place)
An attack (or thrusts) aimed at a certain body part.
|
Auffangen
|
(Catching)
According to Meyer, a simple block, wherein the opponents
attack, rather than deflected off or struck down, is stopped
by interposing your own weapon in its path. Essentially
an edge parry. Meyer recognized it conferred no particular
advantage and recommended against it (in favor of setting
aside, Absetzen, and warding off, Abwenden). But he acknowledged
it was sometimes necessary.
|
Außreissen |
("Pull away"). According to Lecküchner,
When
somebody binds at your sword and remains strong in the binding,
move with your hilt over both his hands and pull them down
towards you again. You create an opening and hit him. |
Aussernym
|
(Outertaking or Outerwinding)
In a crossed sword position, to pressure the opponents
blade in a bind so as to press it aside or down, thereby
creating a small opening to which you suddenly reverse pressure
and slice forward.
|
Bainbruch
|
(leg
break) A wrestling-grip made exclusively or partially
at the legs, which throws an opponent to ground.
|
Bedebern
/ Bedebren
|
To
defend with stabs or blows.
|
Bleiben
|
(Remaining) In a binding
position to maintain the blades pressing in contact and
thereby sense the opponents intentions through feeling
the pressure on his blade (i.e., Fühlen).
|
Binden
/ Band
|
(bind) The moment of contact
between weapons and the actual contact of two weapons.
A bind or trapping action by pressing blade upon blade (usually
edge on edge at the ricasso). See Band.
|
Binden
an das Schwert |
("binding
on the sword") A term from the Codex Wallerstein. |
Blizen
/ Blitzen
|
(flashes) To strike with
a shower of sparks. See Glutzen and Klitzen.
|
Blossen
/ Bloßen
|
(openings)
The fencers body divided by two imaginary lines across
the belt and vertexes into four Blossen: a
right and left upper and lower Blossen. The name
probably came from organized fight practice, particularly
from the instructions and theory part, where it was in the
first lesson as a term for any unprotected body parts. The
Four Openings are areas to aim at in combat, the
first opening is the opponents right side, the second
opening is their left side above the belt, and the other
openings are their right and left sides below the belt. Liechtenauer first proposed the idea of
there being only four quarters or openings
high and low, left and right. English text MS. 39564
also refers to smyting the quarters or to pley
a quarter.
|
Blossfechten
|
Unarmored
combat in the Fechtschulen as distinguished from
armored fighting.
|
Brechen
|
(breaks)
To penetrate by force, to wound, or to defend effectively.
|
Brechfenster
|
breaking window, see Sprechfenster |
Das Brentschirn / Das Brentschürn
|
According
to Talhoffer, a bind or an entanglement with the shortened
sword during Halb-Schwert. Also a state of battle in which
the edges of the swords rub together in the Band. In attempt
to usurp the opposing sword from this position.
|
Bruch
|
(break) In swordplay, the
action of an effective defense being a counterattack that
breaks the adversarys own strike.
See Stuck.
|
Brysen
|
(breezes)
A defensive push, to press hard, cornering.
|
Buffel / Püffel
|
(buffalo)
An expletive for fighters without the art of defense, those
who use the virtue of strength alone.
|
Cuts
|
The German schools recognized three major forms of cut:
Oberhau (over cuts) downward diagonal or vertical,
Unterhau (under cuts) upward or rising, and Zwerchhau
or Mittelhau, (crosscuts) horizontal right-to-left
and horizontal left-to-right. Diagonal cuts were Zornhau
and vertical were Scheitelhau. There were several
names for various specific individual cuts such as: Streithau
(the battle cut), and Vater Streich (the
father strike). draw cuts and slicing pulls
were usually known as Schnitt. The grand master Johannes
Liechtenauer distinguished five principal cuts: Zornhau
(rage cut
or strike of wrath), made diagonally
from behind the right shoulder; Krumphau (twisted
or crooked cut), made downwards with the false
edge, and effected with crossed or twisted wrists; Zwerchhau
(horizontal side cut); the Schielhau (squinting
cut), made downwards with the false edge at the enemys
shoulder or neck; and Scheittelhau (the crown
cut or parting
strike), made vertically downwards and literally
aimed at the crown of the head. See Segno cuts. Sigmund
Ringeck (c. 1440) refers Liechtenauers cuts as the
five strikes. Meyer calls all blows delivered with the true edge straight
blows.
|
Dal Wegbinden
|
(The sling-away or the sling-behind)
In Talhoffer, the act of puling the sword blade away from
contact or opposition and turning or withdrawing the body
to use the second hand to seize or strike.
|
Das
Gayszlen
|
The Spring throwing
a cut from one hand to increase its range by clutching the
pommel with the second hand. English text MS. 39564
frequently refers to the use of blows from the spryng.
|
DGZPS
|
An acronym used by Duerer meaning, Das
geht zu paiden seiten (that works on both sides).
This refers to the bilateral symmetry of German fighting
arts that multiplies the number and variations of techniques.
|
Doppelhau
|
Liechtenauers double-cut.
Cutting the same way again or by following around or reversing
the strike.
|
Doppelrundtstreich
|
(double
round-strike) Quickly striking through with two left-to-right
horizontal cuts delivered from the elbow (or half-arm and
following around to strike again.) See Rundstreich.
Equivalent to the English Double Rownde Strike.
|
Doppelstich
|
(double thrust) From Joachim
Meyer, 1570.
|
Drey
Hewe
|
(three
blows) A series of three main blows: an Oberhau
from the right, followed by an Unterhau from the
left, then a powerful Scheitelhau, or vertical downward
blow.
|
Drey Wunder
|
(the
three wonders) The three principle actions used
in the Krieg or Handarbeit phase of sword close combat,
the cut (Hau), the thrust (Stoss), and the
Schnitt (a slicing or drawing cut). The thrust was
used primarily at longer range, the cut at medium range,
and the slice more at closer range.
|
Duplieren / Doplieren
|
(Doubling) To instantly
follow up a parried true-edge strike with a false edge strike
around the opponents blade. A Winden
variant; or an Oberhau that turns into a Dupliert
(snatch), through a swift crossing over of the arms - the
left hand, that guides the sword pommel, goes under the
right - in this position your sword is between the weapon
and body of the opponent, hit with a backhand with the Kurtzen
Schnyde against his unprotected head and a Zeckruroren
against the arms. See also Abluaffen.
|
Durchführen
|
(Changing
Through) In close-combat, to disengage under by moving
your point under the opponents sword to thrust at
an opening on the other side. Durchfuehren
means continuing, going along
and pressing through, and could also mean to
lead through.
|
Durchlauffer
/ Durchlauffen
|
(pass through, running
through or to run though) A term for two
actions: 1. To run under a highly directed attack of the
opponent, while you keep the hilt of your sword on the left
side of your head and put the blade across the back, and
move through under the opponents weapon. 2.
To pass all the way under the opponents raised right arm,
so that you can reach his back and do a wrestling throw.
|
Durchsetzen
|
(pushes
through or to push though) A timed thrust
from above or below that passes between the opponents
held out arm and his body.
|
Durchstreychen
/ Straichen
|
(Striking
Through or Stretch
Through) A falsing action by a circling-motion
along the opposing sword, that disengages from one opening
and stabs or cuts into another. Also a type of Durchwechselns.
According to Meyer, sweeping or flourishing the sword in
front of the opponent, to stall, confuse, intimidate, or
provoke.
|
Durchwechseln
/ Wechslen
|
(changing through) The move
of evading contact with the opponents blade as you
strike (e.g., changing line of attack). To change
into another opening with the point. Also called Durchwechsel.
|
Einhorn
|
(the
unicorn) A posture similar to the Ochs,
but with the point aimed high like a unicorns
horn. Also, from the Sprechfenster straight
thrust to the face; a Valsch Ortt, a thrust, that
was regarded as dangerous and malicious The term instills
a visual image that the executing fencer leaves behind his
weapon. The position may be equivalent to Fores
Posta Finestra.
|
Einlauffen
|
(Running
In) To duck under the opposing weapon or employ
closing and entering techniques (Einlauff).
|
Eiserne
Pforte
|
(Iron Gate or Iron
Door). Another name for Alber, the Fools
Guard. See Low guard. In the German schools,
the may be made in the center, left or right.
|
Ernst Fechten
|
(fighting
in earnest) The idea of practicing real killing techniques
and not play or show fighting.
|
Falso Filo
|
The
false edge. Also filo falso. Opposite of filo
dritto, true edge.
|
Fechtbuch
|
(fight
book or fencing book) a German manual
on fighting techniques and methods, particularly swordsmanship,
(plural Fechtbuecher), among the more famous are those by
the masters Johannes Liechtenauers of 1389 (by Hanko
Doebringer), Sigmund Ringneck of c. 1440, Hans Talhoffer
of 1443, Peter von Danzig of 1452, Paulus Kal of c.1460,
Johannes Leckuechner (Lebkomer) of 1482, Peter
Falkner of 1490, H. von Speyer of 1491, Joerg Wilhalm of
1523, Andre Pauerfeindts of 1516, and Gregor Erhart from
the early 1500s. (plural is Fechtbucher). Medieval
Italian fighting manuals include those of Tarcirotti of
c. 1400, Fiore dei Liberi from 1410, Boris Ferres of 1428,
Fillipo Vadi of c. 1480, and Pietro Monte of 1509, and there
is also the Spaniard Diego de Valeras of c. 1490.
|
Fechtmeister
|
(Fight
Master) - a German Master of Defence or martial arts
expert (Italian Meastro de Arme
or Master of Arms)
|
Fechtschule
|
(Fight
School) A Medieval or Renaissance fencing school or
public fighting exhibition and competition in Germany.
|
Federfechter
|
A
German Renaissance fighting guild which favored the rapier
among other weapons.
|
Ferzücken
|
Sudden
abrupt changes of the direction of the attack (i.e., changes
in line).
|
Filo Dritto
|
The
true edge. Opposite of filo falso, false edge.
|
Fixura
|
A
sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295).
A
thrust either crossed over or under the buckler or occasionally
without crossing the buckler at all (not always distinguishable
from the Stich).
|
Flech
|
German
for the flat of the blade.
|
Fliegender
|
(flying thrust) From Joachim
Meyer, 1570.
|
Fuehlen
|
(Feeling).
Feeling or gauging an opponents pressure. To judge
or sense the Harte or Weiche (hard
or soft) through the feel of your weapon when pressed in
Anbinden. Also called Fullen / Fulen /
Fuhlen.
|
Fusshau
|
Liechtenauers foot-cut.
|
Gaukler
|
(juggler or acrobat)
A derogatory term for those masters who taught flowery,
ineffective forms of swordsmanship as opposed to Ernst
Fechten. See Leichmeister and Klopffechter.
|
Gefechten
|
Foot
combat. As contrasted with mounted combat.
|
Geferte
|
The
intended attacks and their manner of execution; the movement
of blow combinations. Gevert and Vart with
significant adaptation and application in a fight. Also
called Gefarte / Gefahrte.
|
Gehiltz
/ Gehultz
|
The
cross guard of the hilt. See Croce.
|
Gemechstich
|
(groin thrust) From Joachim
Meyer, 1570.
|
Geschrenckt
Ortt
|
A thrust, in which the hands are
held crossed over, the left hand under right. See Langer
Ort.
|
Gesicht Stich
|
(face thrust) From Joachim
Meyer, 1570.
|
Gewapent
Stehen / Gewappnete
Hand
|
A
half-sword (Halb Schwerdt) stance where the sword
becomes a barrier in front of the body, by grasping the
middle of the blade with the left hand and the hilt in the
right hand. The Term expresses the idea that the position
covers and protects the body against attacks.
|
Gewappet
Ort / Gewappent Ortt
|
To thrust forth from the Stehen or
shielded half-sword position.
|
Gleich
Fechten
|
Attacking
at the same time as the opponent or In des Fechten
(as opposed to Nach Reissen and Vor Fechten).
|
Glietzhaw
|
(Clashing
Blow) According to Meyer a forehand
blow in which the right hand comes in with knuckles upward
to catch an opponents blow on the flat, then rolls
counterclockwise to deliver a false edge blow.
|
Glutzen
(glow)
|
To
make a shower of sparks. Also Klutzen.
|
Gurgelstich
|
(throat thrust) From Joachim
Meyer, 1570.
|
Halb
Schwert / Halbem Schwert
|
(half-sword)
techniques of gripping the middle of the blade itself with
the second hand or typically left hand (often by gloves
or armored gauntlets). Also called Halt-Schwert or
Kurzen Schwert, they allow a wide range of
offensive and defensive striking and deflecting actions
as well as thrusts. It is used for the more powerful and
more accurate stabs. The term comes from the pose of the
left hand on the blade cutting the sword in half.
Called Mezza-Spada in Italian.
|
Halbschilt
|
(half shield) A sword &
buckler technique from the anonymous German MS. I.33 or
Tower Fechtbuch (c. 1295). A defensive
position with both arms extended close together and the
sword pointing upwards at approximately forty-five degrees.
|
Hals Fahen
|
A Winden variant. Also known as
a Zu Legen. The swordsman on the left lifts
his arms up into the left Ochs position, pressing his Starck
/ Stark against the opponents Schwech.
He then slides his back edge down between the opposing blade
and the opponents head, striking to his neck.
The opponents instinctive parry adds force to the
blow. From here, the swordsman levers up with his
back hand the slicing pressure of the back edge on his neck
forces the defender over the attackers right leg,
which is placed in a tripping or barring position next to
the defenders leg.
|
Halshau
/ Halsshau
|
Liechtenauers neck-cut.
A horizontal strike to the throat
|
Handarbeit
|
(Handwork). Phase of sword combat where
the swordsmen have closed distance and the blades have crossed,
follows from Anbinden, both Schwertnemen and Abschneiden
are often used here. Also known as Kreig or Mittel
(Middle).
|
Handhabe
|
Hilt.
See also Gehiltz.
|
Handhau
|
Liechtenauers
hand-cut.
|
Harnischfechten
|
(harness
fighting) Combat in plate armor or harness fighting
in the Fechtschulen as distinguished from light or unarmored
fighting, called Spada in arme in Italian.
|
Hart
/ Horte
|
(hard) A strongly aimed or
forcefully controlled cut, blow, attack or bind. The
principle of hardness or force rather than softness or yielding.
|
Hart
und Weich
|
(hard
and soft) The idea when ever contact is made of gauging
the pressure the opponent places upon your blade (either
strong or weak), oppose strength with weakness and weakness
with strength to control and exploit. Leckuechner stated to Test
Weych (soft) or Hert (hard).
|
Hende
Trucken / Hande Drucken
|
(pressing
the hands or to press the hand). A term
of Liechtenauer likely meaning stop cuts to the opponents
hands or forearms. The
term refers to the pressure of the hands exerted by means
of the sword-blade against the arms of the opponent.
|
Das Hängen /
Hengen / Hen / Hangend
|
(The
Hanging or to hang) An
important and very versatile long-sword movement referring
to positions or actions where the point hangs
downward from above, covering the body. The Hängen is not a guard
(but in a sense, results in one), but an action, or more
precisely a series of techniques delivered from the Ochs
or Finestra position, usually as a Winden.
Sigmund Ringeck described a classic hanging action. Ringeck
describes two hanging techniques used when the blades are
pressed or crossed, and the point can thrust from under
or over. It may be delivered from the Pflug by raising
the hilt and closing as the opponent strikes. He also instructs
to learn all cuts, thrusts, and slices while in the hanging.
Meyer also calls the Hengen a technique. Also called:
Hanging Point, Hangetort,
Hengetort, hengeten Ort.
|
Herzstich
|
(heart thrust) From Joachim
Meyer, 1570.
|
Hochort
|
(high
thrust/point) Possibly the Fenster or
Window guard (Italian Finestra).
|
Hüffthau
|
Liechtenauers hip-cut
|
Hut
/ Huot
|
See
Leger. The expression is based on the idea of the
protective vigilance , that the fencer occupies in
the Huten.
|
Huten
|
For the Medieval long-sword in the German
schools there are various fighting guards/stances/wards/postures
(Leger or position). Of these four are major
universal ones of Liechtenauer correspond to High, Middle,
Low, and Outside positions. Editions of Talhoffer show high,
middle, low, outside, back, plus three Halb-Schwert and
a few other postures not exactly clear.
|
In
Des Fechten / In Des
|
(meanwhile
or in the middle of) Attacking during the adversarys
own attack, one of the three ways of overcoming an opponents
attack along with Vor Fechten and Nachreissen.
The concept In des or Indess means
to strike "just as" they do rather than actually
simultaneously with them.
|
Kampfplatz
/ Kampfring
|
An
enclosed area where judicial duels and some foot challenges
took place, it was made up of a square wooden barrier or
ring, equivalent to the Champ Clos.
|
Klitzen (claps)
|
To
collide with noise.
|
Klopffechter
|
(clown-fighter)
itinerant, crude fighting swordsmen performers during the
later 1500s and 1600s in Germany, not considered a true
Fechtmeister
|
Knopf
|
The sword pommel.
|
Krawthacke
|
(garden
hoe) A swift sequence of vertical blows to the upper
and lower Blossen (openings) during which you step
towards the opponent. The term comes from the resemblance
to the motion of a garden hoe.
|
Kreuz
|
(Cross). The long swords
cross hilt. See Gefeß and Croce.
|
Krieg
|
(war)
The phase of sword combat where the swordsmen have closed
distance and the blades have crossed at close combat. The
meaning comes from war, the effort, going against, the resistance.
See Handarbeit.
|
Kron
/ Krone
|
(Crown)
The German Kron is not a stance, but actually
a strike of Liechtenauer described by Sigmund Ringeck (c.
1440). This action is essentially that of lifting the blade
to stifle and bind an on coming blow with the ricasso and
guard prior to counter-cutting. Also type of Halb
Schwert (half-sword) parry against a vertical downwards
cut with the sword held point forward over the head, used
against a vertical downwards cut to the head. Holding
the sword over the head with the point forward, catching
the incoming cut on the portion of the blade between the
hands. Can be followed by a thrust over the opponents
right arm at his face as a single-time or double-time technique.
In this posture the sword is crowning and protective
over the head. Leckuechners definition of the Kron
from c. 1482 is similar: Step and strike from above with your true edge to his
left ear. The other step and strike from above with your
short edge to his right ear. See also Corona or Posta di Fronte.
|
Kronhaw
|
(Crown Blow) According to
Meyer, a false-edge blow made from the Kron position after
catching the incoming attack with on the ricasso or cross.
|
Krucke
|
(crutch)
A sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295). A movement
in which the sword is held almost vertically, point downward
with the buckler turned outward and very close to the sword
hand.
|
Krumpen
/ krumphawen
|
To
execute a Krumphau. See Krumphau. Lecküchner described that from the tailgaurd:
"When
somebody strikes from above, or elsewhere, step out of line
and strike krump to his opening."
|
Krumphau
/ Krump
|
(Crooked
or Twisted Cut or "Bend Strike") 1.
A downwards curt with the false edge made with crossed or
twisted wrists. 2. Any strike with crossed hands. One of
the Meisterhau. The Krumphau may be
delivered with a slicing or pulling action by the back edge
of the blade while close-in and blades are crossed. The German system taught cuts in the opening phase of combat not to be
made from the offside, so that the arms & wrists would
not be twisted.
|
Kunst
des Fechtens
|
The
German Medieval (and Renaissance) art of fighting,
consisting primarily of the arts of the langenschwert or
long-sword, the Messer (a sort of falchion), and Ringkunst
or Ringen (wrestling). Unarmored combat was known
as Blossfechten. Combat in plate armor was known as Harnischfechten
(or harness fighting). Fighting on foot was
also distinguished from Rossfechten, or mounted combat.
Similar distinctions appear to have been made in Italy and
elsewhere in Europe.
|
Kurtze
Schneide / Kurze Schnyde
|
(short edge) The back or
false upper edge of the sword, proceeding in
the extension of the thumb. The controlled upward backhand
blow with the Kurtzen Schnyde can only hit short distance.
Opposite of the Long edge (Lange Schnyde or true
edge). Also called falso filo in Italian.
|
Kurtzes
Schwert
|
In
half-swording, to shorten the sword-edge with the left hand.
|
Langer Schnyde / Langen Schnyde
|
(long
edge) The forward or true edge of the sword, opposite
of the Kurtze Schnyde (Short back or false edge).
Also called filo dritto
in Italian.
|
Langer
Ort / Langortt / Lang Ortt
|
(long guard or long
point) To thrust over a long distance with stretched
out arms. The Ort in means tip of the weapon
and direction aimed. Also a defensive thrusting
position with the blade horizontal and arms extended straight
forward more, designed to create safer distance between
the opponent and ideal for warding and making stabbing attacks
or stop-thrusts. Also Das lang Zorn ortt (The
Long Thrust of Wrath) according to Talhoffer.
|
Lazen
varn
|
To
miss with a cut or thrust.
|
Legen
|
To
take a position like one of the Hutens or Legers. See Hut.
Also, in the Codex wallerstein, placing
the blade at the adversarys neck), followed either
by a slicing cut or a throw.
|
Leger
/ Ligen / Läger
|
Position in German, referring
to a fighting posture or guard. Another name for Hut; vantage
ground or ground-position with the weapon from which a change-hit
begins and attacks can be advantageously repulsed.
In contrast to hut, Leger doesnt indicate the
function of the position but the position, the appropriate
storage of the weapon. See Huten.
|
Leng
und Masse |
("length
and reach") A term from the Codex Wallersten, referring
to properdistance and stance. |
Leichmeister / Leychmeister
|
(dance-master) a derogatory
term used by the German master Doebringer of 1389, for those
instructors who taught flashy but impractical and ineffective
fighting techniques, particularly for arms-dance and
arms-plays. Also possibly known as Knopfmeistern.
See Gaukler and Klopffechter.
|
Lincke
Clinge
|
To control the blade with the Kurze
Schneide using only short, quick, nimble, yet clumsy
cuts. Akin to making small upward beats.
|
Linker Ochs
|
(left ox) From Joachim
Meyer, 1570.
|
Luxbrueder / Luxbrüder
|
(Company
of St. Luke) another major Medieval German fighting
guilds, similar to later English schools of defence, they
were headed by four adepts and a captain.
|
Man muss fleissig nachdencken
|
A
frequent Fechtmeister saying that, one must think
about this diligently, meaning to ponder the meaning
of a technique or principle.
|
Meisterhau
|
(master
cuts) The most prized techniques described by the
grand-master Liechtenauer, mostly in which the swordsman
strikes in a manner so that his sword deflects the incoming
blow while simultaneously hitting the opponent. The 5 Meisterhau
consist of: Zornhau, Zwerchhau, Scheitelhau,
Krumphau, and Schielhau. They essentially
correspond to a diagonal, horizontal, vertical, crossed-hand,
and false-edge cut.
|
Mittelhau
/ Mittelhaw
|
(middle
cut) A left-to-right horizontal or slightly
diagonal side cut. In contrast to that directed Oberhau
from above and the strokes or, Unterhau from below,
the Mittelhau lies in a middle position.
|
Mortschlag
/ Mordschlag
|
(death
blow or the Murder-stroke)
A type of rare Halb Schwert blow made by holding
the sword blade itself with both hands and striking with
the pommel or guard, used to slam a foe in heavy armor.
The name came to be, because of the dangerousness of choosing
to direct a blow to face or head. See Schlachender
Ort.
|
Mutare
Gladium
|
(exchanging
the sword) A sword & buckler technique from the
anonymous German text, MS. I.33, or Tower Fechtbuch
(c. 1295) to indicate a disengage by passing over or under
the opponents blade so it is engaged in the line opposite
to the original position.
|
Mutieren
|
A
Winden variant. To direct the course of attack from
the upper to the lower Blossen.
After the Anbinden with the Langen Schneide, wind
the Kurze Schneide into a Band, lift your arms and
the hilt high and change means Schiessen, with a
thrust into the lower Blossen, sliding away, over the opponents
sword.
|
Nach
|
(After) The defensive or
countering principle of fighting, opposite of Vor (before),
Nach und Vor are two important concepts in the Fechtschulen.
If the opponent attacks first, the swordsman is left with
the Nach, or defensive principle. Liechtenauer taught
that a swordsman who accepts this turn of events passively
and merely parries his opponents blows will eventually
be struck and defeated. On the contrary, a good swordsman
seeks to turn the tide by somehow regaining the initiative
and going on the offensive.
|
Nachreisen
/ Nachraisen
|
(traveling after or attacking
after) A timed attack immediately after the adversarys
own attack. One of the three ways of overcoming an opponents
attack (contrasted with Gleich Fechten or In Des
Fechten and Vor Fechten). An advanced concept
of inviting the opponent to attack rather than taking the
offensive, as is the general tenet of German swordsmanship.
These are techniques in which the opponent is allowed to
attack first, then counterattacked when he is either in
the middle of his strike, or after his strike has missed.
|
Nebenhut
|
(Near Ward) The name for
the Tail or low under guard. Ringeck says it
is used best on the left, but can be performed on the right
with the long edge forward. Also meaning beside
or at your side in Lecküchner in 1488 and
Joachim Meyer in 1560s. See Post Coda Longa.
|
Noterczunge
|
A
fast repeated series of thrusts over the Gehiltz
of the opposing sword, by which a Durchwechseln (change
through) is initiated again and again, but is not executed,
until the opponent is overwhelmed and leaves a Blossen
(opening) for a thrust. The sword in its movement is like
the hissing tongue of an adder.
|
Obere Ansetzen
|
Techniques or thrusts delivered from
above or over the opponents guard (opposite of Untere
Ansetzen). Essentially a Stoccata.
|
Oberhau
|
(Over cut). Any cut
or strikes made from above the waist (Oberhuten) either diagonal (Zornhau) or vertical
(Scheitelhau). Any blow directed from above usually
made with the Langer Schneide (long edge). Also
called Oberhawen.
|
Oberhut
|
(upper
guard) The high or roof guard/stance in the German
schools, usually referred to as Vom Dach or Von
Tag (from the roof).
|
Oberschnitt
|
Downward
slices made from above. See Schnitt.
|
Ochs
|
(Ox) One of the two upper
Huten or Leger, with a left or right side.
In this stance, the swordsman holds the weapon next to his
head, with the point sloping down toward his opponents
face. This drooping blade position gives the stance
its name, as it resembles the lowered horns of an ox or
protrudes from the fighters head like a horn. They
are confused and misunderstood more than any other. One
variation places the blade diagonal and the other more horizontal
as in the Finestra.
|
Offen
|
(open).
The Germans preferred cuts in the opening phase to be made
from the right side, with the arms & wrists uncrossed
(open) so as to deliver more power and prevent the hands
from being tied up.
|
Ort
|
German
for the point of the sword. Also spelled Ortt. See
Langer Ort.
|
Pflug
|
(plow).
One of the two lower Leger. A middle stance
of a slightly bent position with the arms and the hilt close
to the body next to the upper thigh, and the blade on a
45-degree angle pointed at the adversarys face. It
is well suited to making thrusts and defending against middle
cuts. This is the fundamental middle stance
and may appear to be more left or right
depending upon which leg leads. However, the arms
are only extended when an action or counter-action is executed.
The posture is similar to the position taken when walking
behind a yoke or a plow,
hence giving the stance its name.
|
Pfoberr Zagel
|
A circular-motion with the Ort in front
of the opponents eyes, until a favorable Blossen
(opening) is discovered; corresponds approximately to the
Redel. With the Pfoberr Zagel (foper zagle),
the fencer executes a sword-movement that resembles a pummeling
wheel from the tail of a peacock.
|
Pforte
|
(Door)
A defense-position, where you place the Ort in
front pointed towards the ground, like the Schrankhut
and the Alber. Often called the Eiserne Pfortes,
since the idea is that the sword is placed before the body
like an iron door and deny the enemy attack
access to any Blossen.
|
Platzen
|
(burst
through) To meet with an attack that reaches the target.
The noise of the entering weapon is described.
|
Rauschen
|
(rustles)
To attack with a swift series of hits. This expresses the
swiftness of movements and the sound of the attacks.
|
Rawsch
|
A
wild attack. See Rauschen.
|
Rechter Ochs
|
(right ox) From Joachim Meyer,
1570.
|
Redel
|
To
hold the sword with outstretched arms and execute a swift
circular-motion of the blade in front as a falsing. The
name comes from similarity to the rotation of a wheel.
|
Religando
|
(binding)
A sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295) to indicate
sword contact (engagement of opposing blades).
|
Ringen am Schwert
|
(Wrestling
at the sword) Close-in techniques based essentially
on a handful of key actions: reaching out to grab the opponents
hilt or arm, striking with the pommel or guard, trapping
their forearms with your second arm, slipping the blade
against or between their forearms, using the second hand
to hold the blade while binding/striking/slicing, and tripping
and kicking, involved throws or grappling and disarming
moves known as or Schwertnemen (sword-taking)
there was also ground-fighting (Unterhalten, holding
down). Also referred to as the Durchlauffen
running through.
|
Ritterliche
Kunst
|
The
knightly art, i.e. noble martial skills such as jousting,
poleaxe, and swordplay
|
Rossfechten
|
Mounted
combat in the Fechtschulen as distinguished from fighting
on foot (Blossfechten) or strictly heavy armored combat
(Harnischefechten)
|
Rundstreich
|
(round-strike)
Striking through with a horizontal cut delivered from the elbow (or half-arm) and recovering by bringing the
weapon around from one side or the other to strike again.
Also to strike by bringing the weapon up around
one way and hitting from the other, acquiring power and
deceiving the line of attack.
See Doppelrundtstreich. Equivalent to the
English Rownde Strike.
|
Ruren
|
To
reach with a cut or thrust to the body.
|
Ryssen
|
To
tear with the Uebergesetzten Gehiltzes at the body
joints or on the arms.
|
Schaide
|
Any
kind of Band (bind), even between a hand and a weapon. The
idea of a close contact lies, in the grounds, as well as
that which exists between a sword and a sword-scabbard.
|
Scheitelhau
/ Schedelhau
|
(scalp cut, crown-cut,
or skull cut or the parting strike
or "vertex strike") Liechtenauers short,
quick, high horizontal blow at the opponents forehead.
Also a vertical downward cut, from either side, and aimed
literally at the crown of the head. A vertical Oberhau.
One of the Meisterhau. Also called Schaytler,
Scheytelhau, or Schaittelhaw. It may
be called the parting strike because it is delivered
as you pass back away from the opponent and the blades momentarily
engage. According to Meyer, a vertical downwards cut
with the true edge, also called an Oberhaw (over
blow or high blow). Schaitler =
Apex
|
Schielhau
|
(the
squinting cut or squinter) A downward
cut with the false edge at the enemys shoulder or
neck. 2. A sideways
cut (from above) with the back or short edge (Kurze Schneide)
of the blade, delivered with only one eye on your opponent
due to the manner in which the head and torso turn in delivering
the blow. Used mostly to deflect the opponents blade
and at the same time inflict an injury with the point. One
of the Meisterhau. Also called Schilhaw, Schiller,
Squinters, Schilcher. The Schielhau
may be delivered by bringing the blade back around behind
the head to strike with the false edge and passing with
the leg.
|
Schiessen
/ Schussen
|
To
execute a sudden and powerful stab; in close combat, slide
your weapon along the opponents and use theirs as a guide.
|
Schiller
|
(the squinting cut or squinter or
"glance strike") One of the Meisterhau. 1. According
to Ringeck, to step in and strike at the opponents weak
when they are in the Pflug in order to knock it aside and
then thrust or cut. Often used to break the Langen Ort.
2. A downward cut with the false edge at the enemys
shoulder or neck. 3. A sideways cut (from above) with the
back or short edge (Kurze Schneide) of the blade, delivered
with only one eye on your opponent due to the manner in which
the head and torso turn in delivering the blow. Used mostly
to deflect the opponents blade and at the same time
inflict an injury with the point. The Schielhau may
be delivered by bringing the blade back around behind the
head to strike with the false edge and passing with the leg.
Also called Schilhaw, Schiller, Squinters,
Schilcher. |
Schiltslac
|
(shield
blow) A sword & buckler technique from the anonymous
German MS. I.33 or Tower Fechtbuch (c. 1295).
The use of the buckler to strike an opponents sword
and/or buckler to one side, while instantaneously delivering
an attack of ones own. To knock aside the opponents
buckler and leave him open to an attack.
|
Schlachender Ort
|
Another
form of Mortsclag but one that grasps the blade in
both hands in order to make a thrust.
|
Schlaudern
|
(Slinging)
An overhand slinging blow akin to Das Gayszlen.
|
Schlüssel
|
(Key) A ward
from Joachim Meyer where the sword is held horizontally
in front of the upper chest with the point forward and the
false edge resting on the forward arm.
|
Schnall
|
(flick) A flicking blow with
the tip of the sword, equivalent to the Italian stromacione.
|
Schnappen
|
(to snap) To execute a sudden
movement of the weapon from the bind by using the hard press
of the opponents own weapon to lift off and hit back.
The suddenness and noise of the movement are described.
|
Schnitt
|
(slice) Draw cuts and slicing
pulls. To direct with strength and bodies movement,
Bruch over the arms or the joints with the sword-edge,
from above Oberers Schnitts, or from below Unterer
Schnitts. One of the three wonders (Drey
Wunder)
|
Schnitt durch die kron
|
(slice through the crown)
A horizontal slice from below with the Langer Schneide
and your hands or arms raised over the Kron.
|
Schrankhut / Schranckhut
|
(Crossed Ward or Barrier
Ward) Leading with the left leg, the
blade is held before the body on the right side, pointing
down and with the arms uncrossed. Cuts are made stepping
forward with the right foot. According to Meyer, a
position equivalent to a low Hengen usually with
the left foot forward. Meyer indicates that this is also
called the Iron Gate. Perhaps equivalent
to the Italian Boars Tooth.
|
Schut
|
The
disruption that results when touching weapons in the Band.
|
Schutten
|
To
jar, to knock together, with strength and noise, and Anbinden.
|
Schutze
|
(protection)
A sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295). A form
of parry or deflect which is less well-defined and inconsistently
illustrated.
|
Schwech
|
(weak)
German masters divided the long-sword into two portions,
the weaker section of blade from middle to point was known
as Schwech (or Schwäche, i.e. foible), used
for most thrusting and slicing but not parrying or binding
(equivalent to the Foible of later renaissance fencing),
opposite of Stark (Starck). The further you
move from the center-of-percussion towards the hilt (Stark
or forte), the weaker the strength when cutting and
parry. The blade middle was regarded as the starting point
of the Schwech that increased further towards the ort.
|
Schwert Wechszlen
|
(Shifting the sword or sword
change) In Talhoffer, reversing the grip and grabbing
the blade in Halb-Schwert.
|
Schwertnemen
/ Schwertsnehmen
|
(Sword
taking) Close-in disarming or trapping actions.
In the German schools close-in techniques for wrestling
at the sword or Ringen Am Schwert, involved
throws or grappling and disarming moves known as or Schwertnemen
(sword-taking) there was also ground-fighting
(Unterhalten, holding down). Called Gioco
Stretto (Close Playing) in Italian, very useful and effective
moves in long-sword fighting, called Grypes and Seizures
in some later Renaissance styles.
|
Schwuch
|
A
lever-grip on the arm, with momentum that forces the opponent
to fall. To Schwuchten, is to teeter-totter.
|
Sprechfenster
|
(Talking Window) The action
of staying on guard in a strong bind (Band) after an Oberhau
is parried with an upper Hengen, keeping the point
directed at the opponents face in order to forestall
his action. The two weapons form a kind of close window-cross.
Ringeck describes it as useful for anticipating the opponents
action. Also called Brechfenster ("breaking
window").
|
Stark
/ Starck
|
The stronger part of the blade nearer
the hilt (i.e., the forte) less effective for cutting
but used for parrying and binding. Opposite of Schwech.
Also, powerful, effective attacks or operations in the moment
of contact between two weapons (i.e., the Band).
|
Stercken
|
Attacks
of particular effectiveness and those executed with skill
(art); to linger in the Band with strength.
|
Stich
|
A
sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295). A special
kind of Langort thrust in which the buckler
is drawn back to the left hip and the right elbow is advanced
but sharply bent so that the sword (held in supination)
points down and backwards.
|
Storck
/ Sterck / Sterk
|
1. A strong Anbinden on the weapon.
2. The part of the sword-blade from the Gehiltz up
to the middle of the blade. 3. Attack of particular effectiveness
and skill (art). Also called Sterck, Sterk.
|
Streithau
|
(the
battle cut) One of Liechtenauers blows.
|
Streychen
/ Straichen
|
To
direct a blow from below against the opponents blade
to cancel their action. See Rota.
|
Stücke /
Stuke
|
(device
or piece, fighting
trick). Techniques or attack combinations
designed to get past an opponents defenses.
A chain of techniques possibly in the manner of a series
of attack and counter drills. Key was the idea of
knowing the opponents likely response to each attack,
and attacking the opening that it creates. As the
German masters would say, one technique paves the way for
the next. This was not used initially, but appears in the
later manuals. See Bruch.
|
Stücke und
Bruch
|
(performance/maneuver and stopping)
Moving to strike so that the opponents attack is broken
or blocked before you strike. 2. Technique and counter or
the idea that every technique has a counter and every counter
has a technique, two major components of the German systems
of swordsmanship.
|
Sturtzhaw
/ Sturtzhow
|
(plunging cut, plunge
blow, or shifting cut) According to Talhoffer,
a straight thrust from the Hengen. According
to Meyer a high strike used in Zuefechten and made with
the false edge with the hands high and the point aimed at
the opponents face. See also Talhoffers
Prelhaw.
|
Taschenhaw
|
A
Versatzung for mounted combat - a blow with the Langen
Schneide from the chief hut from mounted combat, with
which the sword is held in the bag of the
slightly bent left arm.
|
Tenner
|
The
palm, the side of the hand that is not protected by armor.
|
Through the
roses |
A
1555 edition of Johannes Leckuechners late 15th
century fechtbuch, defines this as circular strike
with the lowest point of the arc aimed at the thigh.
|
Tuck
lauff
|
A
fast, secretive movement for the purpose of gaining a wrestling
grip.
|
Tunrschlag
|
(From the Thunderclap) A
close-in throw or wrench according to Talhoffer.
|
Uberfallen
|
A
cutting or thrusting over the opponents weapon when
it is held too low and his upper openings then become exposed.
Also, to hook and pull down, with your right hand close
to the Gehiltz, on the inside or outside of the opponents
weapon over his hilt, in the proximity of or directly over
his hand. See Uberlauffen.
|
Übergreiffen
|
(Gripping Over) Using the fingers
of the right hand to wrap around or over the quillon (i.e.,
fingering). Leckuechners late 15th century fechtbuch
described it from the Ochs position as: Grip with
your right hand over your cross guard into the blade, so
that your fingers are standing in the flat of the blade.
If somebody is hitting at you, hit him with strength that
you just outdo his sword and twitch him your flat of the
blade at his right ear and go high in a displacement.
|
Ueberlauffen
/ Überlauffen
|
(overrunning) 1. The concept
of timed counter-attack by outreaching the adversary just
as they attack, you move into or out of their action and
strike their closer targets exposed by their own attack.
To outreach an opponent who attacks a distant target by
targeting one closer. If the opponent attacks
a lower target, the swordsman doesnt bother to parry;
rather, he simply attacks a higher (and therefore closer)
target, outreaching the opponent. Typically a thrust,
or a cut using the very tip of the blade. 2. Any cut or
thrust over the opponents weapon, when he attacks
the lower openings.
|
Umschlagen
|
To pull away after a blow for another
to the opposite side. Similar to Talhoffers Dal
Wegbinden.
|
Untere
Ansetzen
|
Thrusts
or techniques delivered under or below the opponents
guard (opposite of Obere Ansetzen)
|
Unterhalten
/ Underhalten
|
(holding
down). Ground-fighting techniques wresting or grappling
moves included in the curriculum of the German systems of
fighting, entering techniques involving stepping in to trap
the opponents forearms or grip with you second hand
or arm. Also a series of wrestling holds used to immobilize
and opponent once the opponent was thrown to the ground.
Once immobilized, the knight used his dagger to kill the
opponent, or tied his arms and feet with cord, taking him
prisoner. Also to hang on with a particular grip to an opponent
already thrown to the ground.
|
Unterhau
|
(under
cuts) Any upward or rising strikes made from below
the waist (Unterhuten), either diagonal (Zornhau) or vertical (Scheitelhau).
Usually made with the Langer Schneide (long edge).
|
Unter
Schnitt / Undern Schnitt
|
To
slice upward from below.
|
Valsch
Ortt
|
A thrust to the face. A dishonest
and dangerous attack, that was only allowed in serious combat.
|
Vater
Streich
|
(the father strike)
One of Liechtenauers Meisterhau.
|
Verborgenes
Ringen
|
(wrestling
secrets) Dangerous wrestling-grips that were allowed
only in serious fights and not for the public during fight
school; Introductory remarks to their use were demonstrated
but not allowed to be used.
|
Verführen
|
(Misleading)
Meyer said Misleading enables many moves and to remember
when you show your intent, as if to strike to one of your
opponent's openings, do not do so, but instead strike at
another opening. Misleading is performed not only with the
sword, but also by presenting various false stances to the
opponent to lure or bait him into acting. The term might
also cover provoking tactics in this sense, similar to Vadis
falsità.
|
Verhawen
|
An
offensive cut, made before the opponent can attack.
|
Verkehren
/ Das Verkehrer
|
According to Ringeck, a technique where
if you bind at the adversaries sword with an Oberhau or
an Unterhau, turn your sword so that your thumb is down
and you thrust to his face from above, forcing him to displace
the thrust, then grabbing his right elbow with your left
hand place your left leg in front of his right leg and to
toss him over. Also, a trapping technique of Joachim
Meyer where the swordsman hooks the opposing blade
and carries it down to the ground, sensing soft pressure
from his opponent in engagement. Once the opponents
blade is trapped, he can strike at his head or use a variety
of other techniques.
|
Verkerer
/ Verkehrer
|
To
thrust from the Band with swords rotated about 180 degrees.
The expression refers to the sword-posture. (backwards
upside-down, turn or turning)
|
Veller
/ Fehler
|
To
fake a cut or thrust from an upper Blossen (opening)
to a lower one, the concept of feinting high to low.
|
Verschieben
|
(Sliding)
From the Zornhut (Guard of Wrath) to lift your hilt
over your head with your thumb on the blade (or ecussion)
and catch a blow on the flat, then immediately wind in and
slice.
|
Versetzen
/ Versatzung
|
(literally
displacement or to displace) The
concept of a defensive action to put off an attack by a
deflecting blow or counter strike as opposed to an opposition
block, employed with evasive stepping (or the displacements
are four of these cuts). Ringeck stated there were four
Versatzungen techniques. Abwenden and Absetzen
are examples of Versetzen.
|
Verstüllen
|
According to Meyer, the action
of keeping the blades stark pressed against
the opponents arm or weapon until an opening appears
and a quick slice is used. See Bleiben and
Umschlagen.
|
Verzuckter Hau |
(twitched strike) A term from the mid-15th
century Codex Wallerstein text. |
Vidilpoge
|
(literally the fiddle-stick)
A sword & buckler technique from the anonymous German
MS. I.33 or Tower Fechtbuch (c. 1295).
A movement in which the fighter holds his sword essentially
at right angles across his outstretched left arm.
|
Vom
Dach / Vom tag
|
(from the roof or from
above) A high guard, with the arms high over
the head and the left foot is forward. Best suited for delivering strong cuts
and threatening blows.
|
Vom
Schwert
|
(from the sword) The
first group of techniques allocated to the Krieg phase.
These are made by suddenly lifting off pressure or moving
away from the opponents blade.
|
Vor
|
(before) The offensive
principle of fighting, aggressively taking the initiative,
opposite of Nach (After).
According to Liechtenauers teachings,
a good swordsman always attacks first, seizing the initiative
before his opponent has the chance.
|
Vor
Fechten
|
(attacking
before) One of the three ways of overcoming an opponents
attack.
|
Vorfechter
|
A
provost or advanced student in the Fechtschulen.
|
Waage
|
("scale"
or balance) A low firm
body position of balance in whatever stance you use.
The standard fighting position with legs and arms slightly
bent. Also: To make a Wrestling grip on the elbow of the
opponent and throw over your left foot, before he puts his
right foot down and is in a delicate equilibrium. The term
assumes that the throw - like with a scales - is only possible
through the delicate balance-relationship corresponding.
|
Was sehrt, das lehrt
|
(What
hurts, teaches) The idea in the Fechtschulen that
pragmatic knowledge follows only from realistic instruction
and earnest practice (i.e., no pain, no gain).
|
Wechsel
|
(Change) A term used by Joachim
Meyer when referring to turning over the blade in a Tail
guard from one edge to the other. Wechsel can mean a change
of the stance from a position with short-edge facing the
opponent (right leg lead, the blade forward, point down
and to the left). This is a position which actually results
from a diagonal right-to-left downward (Zornhau)
cut. Similar to Fiores Boar guard.
|
Wechselhau
/ Wechssler
|
(changing
cut or Changer ) An attack,
that is parried/deflected, suddenly changes into a cut directed
against another unprotected target.
|
Weckemeister
|
From
the Pflug stance, to displace an attack then deliver
an upward thrust to the face from below.
|
Winden / Wennden / Wenden
|
(winding / wind
or turning) Any turning of the point or pommel
around to strike or ward. Close actions to maintain pressure
and dominate the opposing blade to get in and use either
edge to slice (also allows you to bind, trap, close, and
seize). Any turning of the blade while pressing on the opponents
blade in order to bring one end or the other of your sword
(point or pommel) against them. To wind the opponents
weapon by the wrists before attacking. Hallmarks of the
Kunst des Fechtens. They typically involve the application
of superior leverage against the opponents blade.
The name is derived from the winding, turning motion of
the sword. Major variations of the Winden are the
Duplieren, Mutieren, and Hals Fahen.
|
Werffen |
("throwing"
or "armlocks") From the Codex Wallerstein, techniques,
performed usually, although not always, with the help of the
blade. |
Zeck / Zeckrur / Zecke / Zecken /
Zeckruroren
|
(tick) To deliver a slight
hit with the weapon when in close combat. A distracting
hit or provocation. A light cut as a result of a Winden
that often catches the opponent by surprise.
|
Zecken
|
Taps
with the sword as a result of a Winden that
are comparatively light, but often catch the opponent by
surprise.
|
Zornhau / Zorenuhau / Zorn haw
|
(rage
cut or anger cut) A powerful diagonal
cut delivered from
behind the right
shoulder or back, either Oberhau (above the
waist) or Unterhau (below the waist). Also any diagonal
cut. One of the Meisterhau.
|
Zornhut
|
(guard
of wrath or rage guard) A sparingly used
and vulnerable posture with the weapon pulled all the way
point down behind the back, but which allows the most powerful
blows such as Zornhau.
|
Zornort
|
To
swing the sword back wide and then lifted over the head
to thrust. This is done with good body control.
|
Zu
Legen
|
(laying
on). A Winden variant, also known as a Hals
Fahen (neck catching).
|
Zucken
|
(Drawing) Generally applied to side-to-side
cutting, in a rownde or wind-milling/moulinet-type
fashion. Alternately a linear disengage or blade evasion.
|
Zucken
|
(twitches)
A jerky freeing of the weapon from the Band. When an opponent
has over-stepped in the Band bringing himself nearer to
you, you may take renewed cuts or thrusts at the first opening.
You will notice that during this, you remain for another
moment in the Band.
|
Zuefechten
|
(The Approach) The initial phase of combat, the pre-fight
or in pre-fencing before any engagement of weapons. One
of the two phases of combat where the combatants are closing
distance together to engage and an attack is made or their
weapons make contact (prior to Anbinden or else Handarbeit).
|
Zulaufent
Ringen
|
Wrestling techniques used when first
running together. Analogous to Zuefechten.
|
Zwerchhau / Zwerchhaw / Zwerch
|
(Thwart Blow) A horizontal
or cross cut (also a slanting cut)
made from either side. A horizontal-strike to displace downward
blows from above. One of the Meisterhau. Also called
Zwerch, Zwer Twerehaw, Twerchhau, or
Geschrenckt Ort. Zwer = Thwart
|
Zwerchen
|
to
execute a Zwerchhau.
|