GuardBreakingClass.pdf

Liechtenhauerʼs Guard Breaking and

Counter-Displacement Techniques

(Versatzungen)

Class Notes

Historical Source Material

✦ This material comes from the teachings of Master Johannes

Liechtenhauer, mid 14th century.

✦ The original text was written in merkverse, an mnemonic device to

help students who had already been trained in the techniques to

remember the material. Think about the ABC song, or “when two

vowels go a walking, the ﬁrst one does the talking (I.e. The word

goat or sneak.)

✦ We have roughly two dozen surviving manuscripts attributed to the

teachings of Liechtenhauer, but none are in his hand that we know of.

✦ The merkverse was later commented on by a host of others including, but

not limited to:

• Sigmund Ringeck, a fencing master to the Duke of Bavaria in the early

part of the 15th century. The Ringeck commentaries are text only--

no illustrations.

• The Goliath Fechtbuch c.1500, whose verse is strikingly similar to

Peter von Danzig’s of 1452, but includes striking illuminations.

• Hanko Dobringer Fechtbuch from 1389

• Most famously: Hans Talhoffer 1467 Fechtbuch

✦ References to the Liechtenhauer works continue to show up in

manuscripts all the way up to the 17th century in the works of Jacob Sutor.

✦ Current Interpretations:

• Christian Tobler: Secrets of Medieval German Swordsmanship & Fighting with the

German Longsword & In Service to the Duke

• Ochs Video: Liechtenhauer’s Longsword, Part 1

• David Lindholm: Sigmund Ringeck’s Knightly art of the Longsword

✦ It is a complete system that is based on the mechanics introduced in the longsword

teachings including: dagger ﬁghting, wrestling, sword and buckler, judicial combat, and

armored combat on foot and on horseback

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Historical Context

Stahlstadt Fechtschule Training Method

1. SAFETY: Number ONE concern. Everyone should

keep the safety of everyone else in mind at all times.

Do not break your training partners. Do not take wide-

open, or cheap shots.

2. INTENT: Move, act and strike with appropriate,

realistic force and motion. Keep range in mind. Avoid

exaggerated motions.

3. TARGETING: Use precise targeting and be mindful

of weapon placement and control. Do not lose sight of

the wounds that would be caused to unarmored

opponents by sharp weapons.

✦ When practicing these techniques it is

important to maintain a realistic view of the

context in which they are designed to work.

The longsword is light, fast, and works well

as a cutting or a thrusting weapon. The

combatants would likely have been clothed

in layers of linen and wool. These materials

would have provided good protection

against light slices and glancing blows.

✦ When the combatants would set-up to

begin the encounter (zuefechten) , they

would have done so at long range. Long

range is deﬁned as the range at which a

strike is only possible with a step toward your opponent. This would have been done

because of the speed of these very sharp weapons, and their lack of protection. This is in

contrast to the distance at which armored combatants set-up.

✦ A guard is a stance in which one stops in, however brieﬂy, for the purpose of creating a

defense, or offense. A position is one which is passed through while in motion. For

example, the position langenort is passed through as a result of many strikes and thrusts.

Review of Key German Fighting Concepts

✦ The key concept for this class is meeting strength with weakness, and weakness with

strength.

✦ Another key concept is using the initiative concepts of vor, nacht, and Indes to controlling

the ﬂow of a ﬁght.

✦ A rudimentary knowledge of the four primary guards is important.

Demonstration Material

-From Sigmund Ringeck

7. The Four Displacements (Versatzungen)

You have heard previously, that you shall ﬁght only from four guards. Now, you shall get

to know the four displacements, which are four strikes.

The ﬁrst strike is the "crooked strike" (Krumphau). It counters (literally "breaks") the

guard/position (Hut) ochs.

The second strike is the Zwerchhau. It counters the guard/position (Hut) Vom Tag.

The third strike is the "squinter" (Schielhau). It counters the guard/position (Hut) Pﬂug.

The fourth strike is the parting strike (Scheitelhau). It counters the guard/position (Hut)

Alber.

And beware of all displacements used by bad fencers. Note: Strike, when he strikes,

thrust, when he thrusts. And in this chapter and in the chapter on the ﬁve strikes you

shall ﬁnd written down how you shall strike and thrust.

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✦ A Displacement occurs when an opponent stops a blow of yours before it connects with its

intended target. A bind generally occurs after a displacement. Binds are very brief

moments where your blades have come together, and stay together because you are both

staying with the pressure. If one combatant pulls off, the bind ends.

-From Sigmund Ringeck

A Technique against a Displacement:

If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in

the bind, move your pommel over his forward hand and tear it down; and strike him on

the head simultaneously.

✦ Step in with the left foot, wind your pommel over his sword so that your blade is on top of

his. Force his sword downward and away from you. Pin his arm down just enough with

your elbow, and snap your sword upward striking him with the long edge. This is not as

difﬁcult, or as awkward as it sounds.

-From Sigmund Ringeck

A Second Technique against a Displacement:

If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes

it downwards), so that you cannot lift it up, move the pommel over his sword and, with

a snapping motion, strike him on the head with the long edge. Or, if he falls on your

sword on your left side, strike him with the short edge (Kurze Schneide).

✦ Step to the left as you wind around his sword to strike with the short edge. Keep your

pommel low as you do this so that you keep him pinned down. The best positioning in this

techniques actually puts you shoulder to shoulder as you complete the step and begin the

snapping motion.

-From Sigmund Ringeck

A Third Technique against a Displacement:

If you strike an Oberhau from the right and if you want to end the ﬁght, then note: when

he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau.

Grab the blade of you sword with the left hand and thrust into his face. Or attack one

of the other openings you can reach best.

✦ Both of these are after your sword has been driven down following a strike, AND are still at

a range where you can strike without stepping. Remember the quick step-in to the left with

the zwerchau into the half-sword .

-From Sigmund Ringeck

A Fourth Technique against a Displacement:

If you thrust at his face at the Halb Schwert (half-sword) and he displaces this,

immediately strike him on the other side of the head with the pommel. Or jump with the

right foot behind his left foot, move your pommel around his neck from the right

shoulder (i.e., his right side) and tear him down over your right leg.

✦ Footwork and range are the keys to this play. You really don’t need to move more than

your feet and follow with the hips, shoulders and arms. You should pass right in front of

him as you use the strength from his stroke to spin yourself around him.

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From Goliath:

. . . you should not

displace as the

common fencer

does. When they

displace then they

hold their point

high or to one side,

so understand that

they do not know

how to use the

point in the

displacement to

seek onward and

are often hit. Thus

when you would

displace, then

displace with your

strike or with your

stab and

Immediately search

for the next

opening with the

point, thus you will

not be mastered

and struck to your

damage.

✦ Tactical Advice on using the hanger point for all blocking to defeat a foe who does not.

This is a very key concept in German longsword ﬁghting.

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Bibliography

1. Goliath Fechtbuch c.1500, The verse is strikingly similar to Peter von Danzig’s of 1452, but

includes striking illuminations.

2. Hanko Dobringer Fechtbuch from 1389

3. Lingholm, David and Peter Svard. Sigmund Ringeck’s Knightly Art of the Longsword.

Paladin Press, 2003.

4. Meyer, Joachim translated by Jeffrey L. Forgeng. The Art of Combat . Greenhill Books,

2006.

5. Ochs. The Longsword of Johannes Liechtenhauer, Part 1. DVD. Agitas.tv, 2005.

6. Ringeck, Sigmund. Commentaries on Master Johannes Liechtenhauer’s Verse. Manuscript

from the 15 th century.

7. Talhoffer, Hans translated by Mark Rector. Medieval Combat. Barnes and Noble, 2000.

8. Tobler, Christian, Henry. Fighting with the German Longsword . Chivalry Bookshelf, 2004.

9. Tobler, Christian, Henry. In Service to the Duke: Paulus Kal’s 15 th Century Fighting Treatise .

Chivalry Bookshelf, 2007.

10. Tobler, Christian, Henry. Secrets of German Medieval Sworsmanship: Sigmund Ringeck’s

Commentaries on Master Liechtenhauer’s Verse . Chivalry Bookshelf, 2001.

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