Meyer’s longsword manual is divided into an introduction, 12 chapters, and part 3. While it is important to read it in this order, for actual exercise it is more useful to start with chapter 10. This is where he starts to layout the basic skills that you’ll need to develop before tackling the more complex actions found in the vocabulary chapters.
The first pattern contains what is often referred to as “Meyer’s Square”, so named because an ornamental square border was drawn around the crisscross pattern. This is, of course, not the first or only cutting pattern that Meyer draws inside a square. But that’s a topic for another day.
The first pattern is a complete play consisting of an opening, middle work, and withdrawal. Unfortunately most people only practice the four cuts in the middle, neglecting the opening and withdrawal. To understand why this is a problem, let us first consider the opening.
Opening
[Clip of cutting into posture]
To begin this drill, stand upright with the sword resting on your left shoulder. Grasp the sword with your right hand. Then while stepping back with the right foot, cut diagonally into Wechsel, the Changer. Note that the short or back edge of the sword faces forward.
The reason we step into our first guard or posture is that we want to begin with a good structure. If you were to ask a student to simply assume the posture, it is more likely than not that the student would fling the point well behind them and present the flat of the sword to their partner.
[Clip of assuming the incorrect posture]
The act of cutting reminds the fencer where their sword is supposed to be. It takes them additional effort to leave that guard and mutate into an incorrect posture.
[Clip of good posture and first cut/recovery]
From here the play begins with an upwards slash of the sword and an increase of the left foot. The angle is important here. It needs to be steep enough to deflect rather than block a cut from one’s opponent. But it can’t be so vertical that it doesn’t clear the line.
After the slash, the sword circles around back towards its starting position. As the sword comes back, the rear foot is gathered forward so that another step may be taken.
[Clip of entire sequence]
This is repeated two more times for a total of three slashes.
Refinements
It is important that the front foot does not move unless the blade is also in front the fencer. The blade is your shield. And you need your shield most when moving towards your opponent.
Step by pushing off with your rear foot. Don’t try to reach out with your front foot. This allows for a smooth weight shift.
When recovering your sword, it is safe to move the rear foot because that doesn’t cause your body to move forward.
The bladework should be powered mostly with your back and shoulders, not your elbows and wrists. While wrist cuts are fast, they disconnect your sword from your body’s structure.
Purpose
These three opening cuts serve multiple purposes. First and foremost, they are an exercise designed to help you learn how to move correctly. Practice it regularly and watch your partner for poorly performed steps and incorrect timing.
In sparring, the slashes can be used to threaten your opponent. They can parry cuts or disrupt a sword held in front of you. They can also be used to test your opponent’s intentions and otherwise be a nuisance while you formulate a plan.
Middle Work
The middle work consists of four cuts. The first is a diagonal cut that is immediately followed by another diagonal cut along the same line, but in the opposite direction. The third cut is a diagonal that crosses the first, which again is followed by an opposing cut on the same line.
As there are four possibilities for the first cut, there are four sets of cuts to choose from.
[Insert diagram here]
Which do you choose? The one that attacks the quarter which is most exposed.
When do you choose? At the end of the 3rd slash and not a moment sooner.
Indes
One of the most important concepts in Meyer’s system is the word Indes or Instantly. This refers to the points in the play where you have to pause and make a decision. That pause is short. In the time it takes to blink an eye, you have to assess the situation and decide what to do next.
In pattern one, it is vital that you don’t decide which opening to attack until you reach the point of indes. Never go into the pattern thinking
As your sword comes up for the third slash, watch what your opponent does with their sword. Does it yield and fly out to the side? Does it hold strong and drive down in defiance? Maybe they pull it up into an ochs or back into a pflug.
Where ever it goes, go to the opposite. Let them choose where they want to be attacked, and make that attack as inconvenient as possible for them.
The Philosophy Behind the Four Cuts
The primary purpose of the four cuts is to teach you how to cut to the four openings. There is more to it than that, but the most important thing is to learn how to fluidly cut from corner to corner. Do this both in the air and against a pell, as the resistance will change things.
Tactically, these four cuts are designed to keep your opponent on the defensive. As they rush from parry to parry, they don’t have time to steal the initiative and perform their own actions. In German fencing we would say they are in the nach or after and we are in the vor or before. In Italian fencing we would say the opponent is in obedience, as they are forced to respond to our actions in a predictable manner.
Refinements: Bladework
When you first learn this exercise, you are likely to cut at 45-degree angles. That is acceptable when trying to learn everything else. But that angle is really only appropriate for one-handed swords.
For two-handed swords, you want to cut at a steeper angle. Somewhere around 22.5 degrees will be much harder for your opponent to parry. But don’t cut vertical, you still want enough angle to clear the line in case your opponent tries to counter-attack.
Refinements: Footwork
When you first learn this drill, you will work linearly. That is to say, you are stepping directly forward with each cut.
Once you are familiar with the pattern, you’ll start stepping from side to side with each cut. This is better than directly forward and should be practiced. But it is also flawed in that you are consistently moving back and forth across the danger zone. With each step, you cross the center line where it is easiest for your opponent to attack you.
To correct this, learn to work one side or the other with all four cuts. Keep going until you are alongside or behind your opponent. The more time your opponent spends trying to reorient so they can see you, the less time they have to parry or counter-attack.
As you do this, don’t worry about crossing your feet. People are often obsessed about this because they imagine they will fall over if a foot crosses the invisible line. Yet these same people frequently cross their constantly when moving about their day without a thought.
It is an invariable rule of fencing that everyone forgets how to walk when they first pick up a sword. Much of this comes from over-thinking the footwork. Just step naturally by pushing off with your rear foot and your body will land in a stable position. Subtle tweaks like rotating the foot can come later. While helpful, they aren’t so beneficial that you can afford to stop and consider each step.
Cutting Away
The last action in the official pattern is a Zwerch or Thwart cut while stepping back. The purpose of this cut is to protect yourself until you are out of range. If necessary, use two or three as you back up. These cuts will parry any late attacks and discourage your opponent from following.
This is just as important to practice as the other parts of the play. Outside of a tournament, the fight isn’t over the moment you touch your opponent. In a friendly bout or deadly fight, they may seek retribution after being hit.
Concluding Action
Conclude the drill by transitioning into a point forward guard. This will threatened your opponent so that they are not likely to rush after you. Once it is clear that the engagement is over, draw your front foot to the rear and place the sword back onto your left shoulder. Thus you have returned to the beginning and are ready to repeat the exercise.
Additional Drills
There are many drills you can develop from this pattern. Here are some examples.
Practice using the slash to parry a cut. Once you can parry consistently, add a counter-attack.
Have your partner stand in a point-forward guard. Slash into it and then attack the first available opening. Confer with your partner on whether they agree the right choice was made. From time to time, your partner should change guards or responses to the slash.
As you practice the pattern, have your partner practice their basic parries while backing up. Then reverse roles so that they drive you back to the starting point.
Instead of using the long edge, cut with the short edge or either flat during the middle work. Meyer insists that this is an important skill to master before moving on.
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Post is missing the clips.
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