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Difference between revisions of "Joachim Meyer"

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| <p>'''Zedel'''</p>
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| <p>'''''Zedel'''''</p>
  
 
The 4 Main Guards, namely Tag, Fool, Ox, Plow.</p>
 
The 4 Main Guards, namely Tag, Fool, Ox, Plow.</p>
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| <p>'''Wrist cut'''</p>
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 +
<p>Item: if one stands in Speak Window and the other is too, or otherwise comes high so that his blade hangs down to the lower left, then cut with a horizontal strike up from below between the pommel or behind the pommel to the hands.</p>
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| {{section|Page:MS Bibl. 2465 004r.jpg|1|lbl=4r.1}}
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|-
 +
|
 +
| <p>'''Clash cut'''</p>
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 +
<p>In the ''Zufechten'' go with your sword through the Ox, step and strike overhand with the flat to his left ear so that your half edge slides downwards to his right shoulder.<ref>Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words ''mit Glitschen = to slither, to slide, to glide, to move with sliding.</ref></p>
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| {{section|Page:MS Bibl. 2465 004r.jpg|2|lbl=4r.2}}
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|-
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|
 +
| <p>'''Winding cut'''</p>
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 +
<p>If one stands before you with outstretched arms in the Long Point, then come in the ''Zufechten'' with the right foot forward, the sword in Hanging Point, Instantly pull around the head and cut with the long edge from the left outside and over his right arm so that your sword appears to swing between his head and sword to his left shoulder, pull back around again to the horizontal cut or Long Point.</p>
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| {{section|Page:MS Bibl. 2465 004r.jpg|3|lbl=4r.3}}
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|-
 +
|
 +
| <p>'''Middle or handworks in the following after'''</p>
 +
 +
<p>Binding on may have no other explanation than that every fencer knows well when the swords come together and have bound.</p>
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| {{section|Page:MS Bibl. 2465 004v.jpg|1|lbl=4v.1}}
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|-
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|
 +
| <p>'''Remaining'''</p>
 +
 +
<p>Is thus understood when one cuts into an opening with the long edge and at once would pull back to himself as if to cut to another opening, but does not, and instead cuts again with the short edge on the same line, that is called remaining, when one remains with cutting on one opening. Item, One remains in the binding of the swords and waits on the next action until he gets his opportunity to work further.</p>
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| {{section|Page:MS Bibl. 2465 004v.jpg|2|lbl=4v.2}}
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|-
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|
 +
| <p>'''Slicing'''</p>
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 +
<p>If one has bound on to your sword’s blade, then note when he strikes around and goes away from your sword, then slice him strongly with the long edge to his arm, there are four slices; two from above, from below and to both sides.</p>
 +
| {{section|Page:MS Bibl. 2465 004v.jpg|3|lbl=4v.3}}
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|-
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|
 +
| <p>'''Cutting around'''</p>
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 +
<p>Is when one cuts around to another opening from the bind.</p>
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| {{section|Page:MS Bibl. 2465 004v.jpg|4|lbl=4v.4}}
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|-
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|
 +
| <p>'''Chasing after'''</p>
 +
 +
<p>Chasing after is following after his sword to the next opening, so namely of this you should know, when one cuts from above at you, and in the meantime draws up his sword for the strike then you hurry in before he fully springs his stroke, the work is rather good against those who strike around widely.</p>
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|
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{{section|Page:MS Bibl. 2465 004v.jpg|5|lbl=4v.5|p=1}} {{section|Page:MS Bibl. 2465 005r.jpg|1|lbl=5r.1|p=1}}
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|-
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|
 +
| <p>'''Snapping around'''</p>
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<p>Note: When one has bound on your sword, and is hard in the bind, then let your sword fall down below you, then instantly heave your bind upwards and snap around to another opening.</p>
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| {{section|Page:MS Bibl. 2465 005r.jpg|2|lbl=5r.2}}
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|-
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|
 +
| <p>'''Running off'''</p>
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 +
<p>Running off is when I allow it to run off to one side or another and is self explanatory.</p>
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| {{section|Page:MS Bibl. 2465 005r.jpg|3|lbl=5r.3}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004r.jpg|1|lbl=4r.1}}
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| <p>'''Doubling'''</p>
 +
 
 +
<p>Doubling is when you allow it once or twice to run off, and also to double. Item; One cut done twice or doubled, thus in the approach I cut from my right to his left ear, once it clashes I take it away again, to my right and cut once again inside and halfway through, allowing it to snap in again.</p>
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| {{section|Page:MS Bibl. 2465 005r.jpg|4|lbl=5r.4}}
  
 
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|-  
 
|  
 
|  
 +
| <p>'''Deceiving'''</p>
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 +
<p>That is when you look at an opening and make as if you would cut there, but you don’t and instead cut somewhere else, this is the second Squinter with the face, Item, the fencer who will willingly parry, or slice away, so there you should work quickly with failing, flying around, circling or looping, so he does not know where to go and gets lost.</p>
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| {{section|Page:MS Bibl. 2465 005r.jpg|5|lbl=5r.5}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004r.jpg|2|lbl=4r.2}}
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| <p>'''Flying'''</p>
 +
 
 +
<p>Note when you have cut in to an opening, once it touches then pull around your head in a flight in the air to the next opening, if he slips in after then do not allow it to touch but rather let it fly from one opening to another until you have an opening, or otherwise come to comparable work.</p>
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| {{section|Page:MS Bibl. 2465 005v.jpg|1|lbl=5v.1}}
  
 
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|-  
 
|  
 
|  
 +
| <p>'''Failing'''</p>
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<p>In the approach cut him to an opening, once you note that he will parry, then do not allow it to touch, rather allow it to fail, run off and cut instantly to another opening.</p>
 +
| {{section|Page:MS Bibl. 2465 005v.jpg|2|lbl=5v.2}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004r.jpg|3|lbl=4r.3}}
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| <p>'''Circling'''</p>
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 +
<p>Thus you stand before one in the Speak window, then cut from above with the half edge and crossed arms and fail (with it) beside his right ear, in the failing, cut again with the long edge to the same target, namely his right ear.</p>
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| {{section|Page:MS Bibl. 2465 005v.jpg|3|lbl=5v.3}}
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 +
|-
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|
 +
| <p>'''Looping'''</p>
 +
 
 +
<p>Looping is when one jerks back from an opening in a swing and in the air lets it run off one time, and from this running off cuts in there again to both sides with a flight above the head.</p>
 +
| {{section|Page:MS Bibl. 2465 005v.jpg|4|lbl=5v.4}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>'''Winding'''</p>
 +
 +
<p>When you have bound with him, then remain with the edge on his blade, turn the half edge inwards to his head. Item when you have thus wound in with the half edge then turn with the pommel again out to the other side upwards and wind the half edge outwards to his head from below through the horizontal.</p>
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| {{section|Page:MS Bibl. 2465 005v.jpg|5|lbl=5v.5}}
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{{section|Page:MS Bibl. 2465 006r.jpg|1|lbl=6r.1}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004v.jpg|1|lbl=4v.1}}
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| <p>'''Winding through'''</p>
 +
 
 +
<p>When you have cut at him with a Wrath cut, and when it clashes wind with the hilt down through, instantly reach over with the pommel above his blade or arms and wrench downwards or work further to your favor.</p>
 +
| {{section|Page:MS Bibl. 2465 005r.jpg|2|lbl=6r.2}}
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|-
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|
 +
| <p>'''Reversing'''</p>
 +
 
 +
<p>Reversing is when two have bound together and in the bind, one thrusts his pommel through below his right arm, thus he comes with his hands crossed over both his arms, or one comes with the half edge on the other, so that you can constrain him or allow it to run through.</p>
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 +
| {{section|Page:MS Bibl. 2465 006r.jpg|3|lbl=6r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
 +
| <p>'''Changing - Changing through'''</p>
 +
 +
<p>Change belongs to the fencers who cut to the sword and not to the body. the same, one should change through, so when you note that he wants to meet your oncoming strike, then jerk and cut to the other side, that is called Changing. Item: Act as if you would cut at him from above, but don’t do it, instead... drive down through to the other side, to the next opening.</p>
 
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| {{section|Page:MS Bibl. 2465 004v.jpg|2|lbl=4v.2}}
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{{section|Page:MS Bibl. 2465 006r.jpg|4|lbl=6r.4|p=1}} {{section|Page:MS Bibl. 2465 006v.jpg|1|lbl=6v.1|p=1}}
  
 
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|-  
 
|  
 
|  
 +
| <p>'''Running over'''</p>
 +
 +
<p>Running over works from the low cuts, when one will cut at you from below, then fall on it from above with the long edge, as soon as he drives out from you to defend, then let your cut run over and work to the next opening from which he came.</p>
 +
| {{section|Page:MS Bibl. 2465 006v.jpg|2|lbl=6v.2}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004v.jpg|3|lbl=4v.3}}
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| <p>'''Setting off'''</p>
 +
 
 +
<p>Note when you stand in Long Point and he goes to fight you, then set him off from both sides one strike to another, work to him ''Indes'' with the half edge.</p>
 +
| {{section|Page:MS Bibl. 2465 006v.jpg|3|lbl=6v.3}}
  
 
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|-  
 
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 +
| <p>'''Cutting off'''</p>
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<p>Cutting off is when one is hard on you with the long edge and you cut them away from you.</p>
 +
| {{section|Page:MS Bibl. 2465 006v.jpg|4|lbl=6v.4}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004v.jpg|4|lbl=4v.4}}
+
| <p>'''Pulling'''</p>
 +
 
 +
<p>Pulling is like it’s reported in the Remaining, that if one has bound on you to an opening and pulls off again, and still strikes around again there, or threatens to where he has pulled away.</p>
 +
| {{section|Page:MS Bibl. 2465 006v.jpg|5|lbl=6v.5}}
  
 
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|-  
 
|  
 
|  
 +
| <p>'''Hand pushing'''</p>
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 +
<p>Note when one pulls off from you and drives upwards, then follow after him with the long edge on his hands and push him away from you.</p>
 +
| {{section|Page:MS Bibl. 2465 006v.jpg|6|lbl=6v.6}}
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|-
 
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| {{section|Page:MS Bibl. 2465 004v.jpg|5|lbl=4v.5}}
+
| <p>'''Sliding'''</p>
 +
 
 +
<p>If you stand in Wrath guard and one cuts at you from above then drive out with the arms and raise the blade over your head and catch the strike on the flat of your blade. That is called Sliding.</p>
 +
| {{section|Page:MS Bibl. 2465 007r.jpg|1|lbl=7r.1}}
  
 
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|-  
 
|  
 
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 +
| <p>'''Hanging'''</p>
 +
 +
<p>Hanging is various, namely to constrain while hanging over, Item; stand in Plow if one strikes at you, then drive up with the arms and catch the strike on the flat of your blade on the strong, that is Hanging.</p>
 +
| {{section|Page:MS Bibl. 2465 007r.jpg|2|lbl=7r.2}}
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|-
 
|  
 
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 +
| <p>'''Blocking'''</p>
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 +
<p>Note when one comes forth at you with quick running off, deceiving, or flitting in order that I may prevent him from reaching me, thus I fall on him with the slice on his sword or arms, and I block his (sword) so that he cannot work well, and I follow after with convenient work.</p>
 +
| {{section|Page:MS Bibl. 2465 007r.jpg|3|lbl=7r.3}}
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|-
 
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 +
| <p>'''Barring'''</p>
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 +
<p>Then if one stands in Changer or the Fool before you, fall on him quickly thereafter with the long edge. Item, if one strikes out before you, then bar him also with setting off.</p>
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| {{section|Page:MS Bibl. 2465 007r.jpg|4|lbl=7r.4}}
  
 
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 +
| <p>'''Wrenching'''</p>
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<p>If someone binds you on your sword in whatever way that happens, reverse it and wrench out. Item: Wrench with the pommel between his two arms from below to your left side and yank out to your right side.</p>
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| {{section|Page:MS Bibl. 2465 007r.jpg|5|lbl=7r.5}}
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{{section|Page:MS Bibl. 2465 007v.jpg|1|lbl=7v.1}}
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|-
 
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 +
| <p>'''Grabbing over'''</p>
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 +
<p>Note when two come close together and both have their arms up high, reverse your right hand on the sword and reach over both his arms with the blade and wrench downwards to one side. You may also reach over with the pommel.</p>
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| {{section|Page:MS Bibl. 2465 007v.jpg|2|lbl=7v.2}}
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|-
 
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| <p>'''Weak pushing'''</p>
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<p>When two come close together and are once again high with the arms, then release your left hand from the sword and grab him behind his right elbow and push him away from you.</p>
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| {{section|Page:MS Bibl. 2465 007v.jpg|3|lbl=7v.3}}
  
 
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| <p>Therefore, I have for this reason slightly explained another, so that the following ''stuck'' are better understood, which are not only in the sword, but rather also in other weapons to be noted and understood.</p>
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| {{section|Page:MS Bibl. 2465 007v.jpg|4|lbl=7v.4}}
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|-
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| rowspan="2" | [[File:MS Bibl. 2465 008r.jpg|400px|center]]
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| <p>'''Of the four openings and divisions of the man how one should use (them) in the Sword'''<ref>The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.</ref></p>
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<p>First, the man is divided into two parts namely left and right as shown by the (vertical) line in the above figure<ref>Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?</ref> from above to below but then into two parts namely in the lower and upper, which the two upper parts are divided in the Ox the other two to the plow.
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| {{paget|Page:MS Bibl. 2465|008r|jpg|lbl=8r}}
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|-
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| <p>First, notice to which opening he leads his sword, lower or upper, to the right or to the left, and when you have seen that, then attack it as soon as possible, be it to an upper opening or elsewhere, of this, take an example.</p>
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| {{section|Page:MS Bibl. 2465 008v.jpg|1|lbl=8v.1}}
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|-
 
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| <p>In the Onset when you both come together and you see that he holds his sword to his upper right, whether it is in the Ox or Wrath Cut, then attack to his left lower opening, not with the intent to hit, but rather to incite him to meet you, as soon as it clashes or touches, then pull around your head and strike above to the opening from which he came, namely to his right ear with the half edge and crossed hands, that is the correct Squinting Cut.</p>
 +
| {{section|Page:MS Bibl. 2465 008v.jpg|2|lbl=8v.2}}
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|-
 
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 +
| <p>'''Another'''</p>
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<p>In the ''Zufechten'' when the opponent holds his sword on the left, then go through before him from your right, and cut with strength to his right. As soon as he slips after the strike, then pull in a loop to the left opening, if he slips after it again, then let it fly back around, thus going from one opening to the other, crosswise and against each other according to opportunity. Every fighter should be accustomed to be promptly heedful in all hits, from whichever opening the cut has come, instantly to follow after there. And before I conclude I will add the teaching concerning parrying. It is written in the ancient ''Zedel'', Who often parries is often hit.</p>
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| {{section|Page:MS Bibl. 2465 008v.jpg|3|lbl=8v.3}}
  
 
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| <p>Item, Liechtenauer says in his secret words "Guard yourself against parrying, if need befalls you it will hurt you". Therefore every fighter should be accustomed to be the first to attack and finish, then if every fighter is accustomed to watch and wait for another, this same rarely comes away without harm, or at the least does not achieve very much. A proper fighter however does not parry much unless he has a great advantage, And when the opponent strikes so he strikes too, if the opponent thrusts then he thrusts too, if the opponent steps, he steps also. For when two like strokes come together, they bring their parrying with them, and when someone cuts from above and you cut against it with a Thwart, then you parry and hit at the same time. Likewise you shall pay attention to simultaneous cutting and take good heed of your advantage in it. Therefore, every fencer should know that he should quickly consider, as mentioned above, when two good fencers come together, which I consider is the same as shown before.<ref>Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”</ref></p>
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|
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{{section|Page:MS Bibl. 2465 008v.jpg|4|lbl=8v.4|p=1}} {{section|Page:MS Bibl. 2465 009r.jpg|1|lbl=9r.1|p=1}}
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|-
 
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| <p>Thus I have briefly summarized and presented sword fencing and all needful techniques, and also explained the somewhat obscure words in part, and thereafter integrated them into an attack combination, dividing it into three parts, namely (as I said initially) the beginning or attack, the followup or middle-work, the last withdrawal or end. So that you may understand it better I will repeat briefly, as follows: for the attack I have presented the guards, in which you should not tarry and wait, but through which you should attack to the uttermost with one or two of the described cuts according to opportunity. Now when you have attacked and the Before has run off from you, then in the second part you shall follow up with all kinds of proper handworks, so you keep the Before, these handworks are also presented above. Thirdly you should crowd and confine him with handworks so that you can come to the withdrawal without harm.</p>
 
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 +
{{section|Page:MS Bibl. 2465 009r.jpg|2|lbl=9r.2|p=1}} {{section|Page:MS Bibl. 2465 009v.jpg|1|lbl=9v.1|p=1}}
  
 
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 +
| <p>'''Of this I will give an example'''</p>
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 +
<p>When someone fights against you from the Roof Guard, then come in the ''Zufechten'' into the Side Guard, you shall not wait there longer than until he pulls up his sword for the stroke, as soon as he brings his sword up in the air, then meet him with a Thwart strike, once it clashes, then cut quickly again back around with a long Thwart to the other side on his sword, that is the Attack. If he strikes around, then slice after, if he parries, then deceive him, if he escapes then chase him, if he is hard then you are soft, if he strikes then counter it, if he parries then strike. Thirdly, also pay attention instantly for your opportunity to withdraw.</p>
 +
| {{section|Page:MS Bibl. 2465 009v.jpg|2|lbl=9v.2}}
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|-
 
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| <p>'''Follow several ''Stücke'' which one otherwise cannot understand without using figures.'''</p>
 +
| {{section|Page:MS Bibl. 2465 009v.jpg|3|lbl=9v.3}}
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|-
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| [[File:MS Bibl. 2465 010r.jpg|400px|center]]
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| <p>Note when you are in the ''Zufechten'' so come in the Ox, and as soon as you can reach him, then make like you would stab him in the face, but pull and cut from below to the left Plow, so that he must parry, then instantly release your hand from the grip and use it to grab your blade in the middle, and with the pommel above over his right arm, wrench downwards, drive with the blade around his neck, step with the left behind his right, throw him over your forward most leg.</p>
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| {{paget|Page:MS Bibl. 2465|010r|jpg}}
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|-
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| [[File:MS Bibl. 2465 010v.jpg|400px|center]]
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| <p>'''Sword Taking'''<p>
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 +
<p>Note if he binds on the middle of your sword blade, then release your left hand from the pommel and grab the middle of both blades with it, then drive the grip or pommel above and over both his arms jerk with the bind to you, how it is shown here.</p.
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| {{paget|Page:MS Bibl. 2465|010v|jpg}}
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|-
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| [[File:MS Bibl. 2465 011r.jpg|400px|center]]
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| <p>Note, position yourself in the Irongate, if he cuts at you, then drive up with crossed hands and catch his strike on the strong of your blade, and drive with the pommel over his left arm, instantly release your left hand from the hilt and grab ''Indes'' quickly with your left hand onto the middle of your blade, push it from you, thus you strike him ''Indes'' to the face.</p>
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| {{paget|Page:MS Bibl. 2465|011r|jpg}}
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|-
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| [[File:MS Bibl. 2465 011v.jpg|400px|center]]
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| <p>In the ''Zufechten'', come in the hanging point, take his blade away from the ground with the half edge from your left, ''Indes'' strike with the long (edge) horizontally over his hands to his right ear, ''Indes'' wind the half edge inwards to the head and again back out.<ref>Note: the image shows the opponent on the left in Barrier guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.</ref></p>
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| {{paget|Page:MS Bibl. 2465|011v|jpg}}
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|-
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| [[File:MS Bibl. 2465 012r.jpg|400px|center]]
 
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 +
<p>[When] you are positioned in the Barrier guard to the left side, the right foot forward, if one cuts at you then step with your left foot well around to his right and throw the half edge<br/>
 +
??? against with the weak to the head, wrench out to your right, allow the sword <br/>
 +
????? the half edge again under and into the head at the same left side.
 +
| {{paget|Page:MS Bibl. 2465|012r|jpg}}
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|-
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| [[File:MS Bibl. 2465 012v.jpg|400px|center]]
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| <p>'''Lang ort<br/>&emsp;Shieler'''</p>
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 +
<p>When someone does that to you, then drive with your blade against his, ''Indes'' push ???? <br/>
 +
through below your right arm, drive up with crossed hands, strike ???? <br/>
 +
ear, and then further to the next opening with deceiving.</p>
 +
| {{paget|Page:MS Bibl. 2465|012v|jpg}}
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|-
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| [[File:MS Bibl. 2465 013r.jpg|400px|center]]
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| <p>Note If one binds on you from the right, then push away with the sword, if he strikes around with his sword, then grab your shield with your hand and reach over both his hands with your sword, wrench downwards to your right side, push the pommel from you.</p>
 +
| {{paget|Page:MS Bibl. 2465|013r|jpg}}
  
 
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|  
 
|  
| <p>'''Item''' Liechtenauer said in his secret verses, that displacing hurts you, if you wish it on yourself, therefore shall every fencer know that he is to be the first with attacking and following, then to every fencer that is known to watch and wait on another, from this he shall come to no harm, or at the least, if he does not fight much.</p>
+
| <p>'''Item''' Liechtenauer said in his secret verses, that "displacing hurts you, if you wish it on yourself", therefore shall every fencer know that he is to be the first with attacking and following, then to every fencer that is known to watch and wait on another, from this he shall come to no harm, or at the least, if he does not fight much.</p>
  
 
<p>A proper fencer, who does not displace much, will have the greatest advantage. Thus, when he strikes you also strike, when he thrusts you also thrust, when he steps you also step. Where two equal strikes come together, thus they bring you to displacing, when however one will cut from above, and then next he goes against with a Thwart, thus he sets off, and steps with one another, thus simultaneously should one have a step out, with the same cut and therein with advantage also pay attention to his openings. Thus should every fencer know that he is soon attentive how it is also shown above, that where two good fencers have come together, which I have attentively married together in the illustrations.</p>
 
<p>A proper fencer, who does not displace much, will have the greatest advantage. Thus, when he strikes you also strike, when he thrusts you also thrust, when he steps you also step. Where two equal strikes come together, thus they bring you to displacing, when however one will cut from above, and then next he goes against with a Thwart, thus he sets off, and steps with one another, thus simultaneously should one have a step out, with the same cut and therein with advantage also pay attention to his openings. Thus should every fencer know that he is soon attentive how it is also shown above, that where two good fencers have come together, which I have attentively married together in the illustrations.</p>

Revision as of 04:04, 31 March 2024

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Heinrich von Eberst
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der... Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing. In addition to his fencing practice, Meyer was a Burgher and a master cutler.[2]

Meyer was born in Basel,[3] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[4]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a Fechtschule was granted. He would repeat this in 1563, 1566, 1567 and 1568;[5] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,[6] and his second (MS A.4º.2) in 1568 for Otto (later Count of Solms-Sonnewalde).[7] Both of these manuscripts contain a series of lessons on training with long sword, dusack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), written between 1563 and 1571 and containing a dedication at the end to Heinrich, Count of Eberstein, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet ("A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,[6] and illustrated at the workshop of Tobias Stimmer.[8] It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[5]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 MS A.4º.2 (Lund), dedicated to Otto von Solms; and the MS Var. 82 (Rostock), including notes on teachings from Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. Dwarfing these works is the massive book he published in 1570 entitled Gründtliche Beschreibung der ...Kunst des Fechtens ("A Thorough Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.

The first section of Meyer's treatise is devoted to the long sword (the sword in two hands), which he describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dusack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[11] Meyer's dusack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[12] combines the old Messer teachings of Johannes Lecküchner and the dusack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dusack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section of Meyer's treatise is omitted in the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds several plays of armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo,[13] but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.

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Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. 1.0 1.1 1.2 1.3 Dupuis, Olivier. Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat. Dijon: AEDEH, 2006.
  2. Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
  3. According to his wedding certificate.
  4. The influence of Achilles Marozzo's printed treatise is, however, apparent in the rapier illustrations of his 1561 manuscript and the dagger plays in his book.
  5. 5.0 5.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
  6. 6.0 6.1 Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.
  7. Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
  8. Whose members included Christoph Maurer and Hans Christoffel Stimmer.
  9. Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
  10. Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
  11. Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
  12. Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
  13. Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
  14. Up to this point, the text matches the Lund manuscript, folia 6r to 7r.
  15. Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words mit Glitschen = to slither, to slide, to glide, to move with sliding.
  16. A number in the margin refers to the illustration in page number 13.
  17. The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.
  18. Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?
  19. The "l" appears to be written over another letter, perhaps a "b".
  20. Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”
  21. Note: the image shows the opponent on the left in Barrier guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.
  22. 22.0 22.1 22.2 22.3 Torn page on left.
  23. 23.0 23.1 Torn page on right.
  24. 24.0 24.1 24.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  25. orig. ararmschirleinn
  26. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  27. orig. Armschiene - seemingly a part of the armour
  28. orig. geordinirtt
  29. orig. schießen; see here
  30. orig. findt
  31. orig. spis
  32. orig. schwertt
  33. orig. sebell
  34. 34.0 34.1 orig. kempff degen; it can mean either “combat sword” or “combat dagger” (Source 1, Source 2). See here for a painting with kempffdegen in its caption
  35. 35.0 35.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  36. orig. zimlich
  37. alt. "endure"
  38. Ittem has many potential meanings: "further", "likewise", "the same as", and also simply as a means of 'bullet-pointing' numerous items. I've found that "likewise" works as an apt translation most of the time, but for clarity I will leave it untranslated. See this article.
  39. orig. noch eines Idenn woll gefalen
  40. orig. Reren; cf. Rohre/Röhre
  41. orig. lest
  42. orig. Schranckenn
  43. orig. dringen/thringen; refers to pressing one's point into an opponent['s armour/mail], cf. modern sense of "pushing through a crowd". See this glossary for more information
  44. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  45. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  46. A blunt strike, as opposed to a cut or slice. See here.
  47. orig. versezen; alt. "parrying"
  48. Unclear.
  49. orig. ansezen; most likely means "pinned", "planted" (in the sense of placing your weapon or hand against an opponent, in a grappling sense); alt. "attacking" (cf. modern ansetzen). See this glossary for more information
  50. orig. erlang
  51. see nachreissen
  52. 52.0 52.1 52.2 52.3 52.4 52.5 52.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  53. orig. uchsen
  54. orig. Gelenck. Refers to joints in armour, but also body parts - in the context of armoured fencing, it is most likely referring to the joints in the armour
  55. orig. greifest
  56. 56.0 56.1 56.2 56.3 orig. brich
  57. orig. anbrichen
  58. 58.00 58.01 58.02 58.03 58.04 58.05 58.06 58.07 58.08 58.09 58.10 58.11 orig. stos
  59. orig. goch
  60. 60.0 60.1 60.2 60.3 60.4 60.5 60.6 orig. schlag
  61. 61.0 61.1 61.2 see absetzen
  62. orig. drissel; cf. thrissel
  63. orig. schlag dein beidt vnder dein Recht achsell. From interpretation, the word schlag here doesn't make much sense: it's possible that beidt was intended to be said or written as bindt, as in "put your grip under your right shoulder".
  64. orig. Achsell
  65. 65.0 65.1 see Ringen
  66. 66.0 66.1 see arbeiten
  67. 67.0 67.1 67.2 67.3 67.4 67.5 orig. streich, cf. schlag
  68. 68.0 68.1 68.2 68.3 68.4 68.5 68.6 68.7 orig. inndes
  69. alt. "attacks"
  70. orig. last Er dür die seitten
  71. 71.0 71.1 orig. Ring; alt. lists
  72. orig. vergesezsten
  73. 73.0 73.1 73.2 see abzucken
  74. orig. fies
  75. 75.0 75.1 see gleich
  76. unclear transcription; possibly nim, ergo "take the weight"
  77. Unclear.
  78. orig. zwerchs
  79. 79.0 79.1 orig. degen; see kempffdegen
  80. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  81. 81.0 81.1 81.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  82. orig. klos
  83. orig. Stuck
  84. orig. knefftiglich, interpreted as krefftiglich
  85. orig. verfelen - described earlier in 1561 as a feint whereby you wait for your opponent to react to a strike, then change the direction of the strike
  86. orig. entgehenn
  87. orig. faren/auffaren; cf. fahren
  88. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  89. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  90. 90.0 90.1 90.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  91. Possibly "hauberk"(?).
  92. 92.0 92.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  93. orig. verzoblen; cf. verzögern
  94. lit. oben hutt; contrast Oberhutt
  95. orig. heutt; possible verb form of hutt
  96. orig. überwegest
  97. 97.0 97.1 orig. schlagen. Probably means "place" in this context.
  98. orig. sez; no accompanying adposition but I assume he means ansezen
  99. listen
  100. orig. Bundtschlag, lit. "grip strike"
  101. orig. fertt
  102. orig. wie nechst
  103. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  104. orig. wendt
  105. orig. Reüb
  106. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  107. orig. steßen
  108. orig. abgewünnen
  109. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  110. orig. feder
  111. orig. spietzen
  112. Reference in the left margin to picture on page 61.
  113. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  114. orig. Wappenrock
  115. Unclear whether die refers to the dagger or the heart, here
  116. orig. kurz halbenn; alt. "short edge"
  117. orig. concordiren
  118. This word overwrites an initial die.
  119. The first 10 lines of this paragraph are shorter of 30% than the last four, as if there is a left place here for a picture or a diagram.
  120. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  121. The first letter corrected from “w” by cancelling the first bow of the letter.
  122. The first letter could also read as an “l", but “b” seems more probable here.
  123. The first letter corrected from “b” by overwriting.
  124. The ink is a bit blurred, particularly in the beginning of the word which results in an ambiguous reading; stucken would be more plausible in this context but does not fit with the appearance of the first couple of letters at all.
  125. The writer first wrote hawst but the “s” has been cancelled afterwards.
  126. Recte: und.
  127. The writer first wrote arms but the final “s” has been cancelled afterwards.
  128. The letter “s” has ben cancelled just before the word den.
  129. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  130. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  131. Setzen has been written afterwards just under ver- and looks like a catchword; however, the following page does not start with the same word. It could be a mistake of the scribe.
  132. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  133. The “h” is writen above a “e”.
  134. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  135. The words und oder after this word are cancelled.
  136. At this place is a sign that commonly indicates a line break or an end of a paragraph. Here, however, the following text continues in the same line.
  137. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  138. The end of this word, sicht is inserted below the line at the right, like a catchword. However, the following written page, fol. 23r, does not start with the same word. Could be a mistake by the scribe or a clue for a missing page.
  139. After this word a large circle is drawn and its only meaning seems to complete the line to the right and avoid a big default in the right alignment.
  140. The letter “d” is cancelled just before the “b” of this word.
  141. The initial letter “b” is written above another letter, maybe a “g”.
  142. This first two letters are written above the letter “k”.
  143. A letter “b” or “l” has been written after this word but has ben cancelled.
  144. The first letter seems to superscribe an initial “I”.
  145. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  146. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  147. This word is written above a previous one, which is unreadable now.
  148. The first letters are difficult to make out due to a (water?) damage.
  149. The first letter of this word has been written above another, now illegible one.
  150. A letter “h” was written in the second position to begin with but cancelled afterwards.
  151. The first letter is curiously composed, but seems to have been readen as a "v".
  152. The second letter has been canceled and corrected by "o" above the line.
  153. The original text is derholhalben derhalben, which seems to be an unnecessary repetition.
  154. Doubling of the word handt, a probable mistake as the first is written a the end of the line. Same mistake as 17r.
  155. Doubling of the words den andern, probable mistake, only it is conserved here.
  156. A lone letter "h" is writen here, perhaps a beginning for “hew”, which was finally written after the digit “4”. Corrected in this edition.
  157. This sentence can be found in the printed book: « und merck wann du zur rechten undern Blöß schlechst, es sey flech, lang oder kurtz » (plate XXIXv from the 1570 edition)
  158. The third letter “h” was cancelled by overwriting it with an “l”.
  159. The letter “a” is crossed out in the beginning of the word.
  160. The first letter was first written in lower case but was corrected with an upper-case letter.
  161. Unclear reading. It appears as if the scribe first intended to write “halber” but noticed his error in the middle of the word. The reverse may be true also.
  162. The "R." has been inserted at the end of the line afterwards.
  163. Right of this place a large blank space remains until the end of the line.
  164. The written put a "n" between sch and enckel and canceled it.
  165. Linck and seitten are reversed in the manuscript but superscribed with “1” and “2” respectively in order to indicate the correct order.
  166. Corrected from Im, the first stroke of the “m” has been cancelled.
  167. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  168. Correction done on sticht by canceling the last letter.
  169. This entire paragraph is justified on the right by a vertical line, unique in the manuscript.
  170. Corrected on Ⅲ.47v.
  171. Corrected on Ⅲ.47v.
  172. The "st" ligature is inverted.
  173. Typo, should be "wolt, könne".
  174. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  175. Originally printed "verhauren", but corrected on Ⅲ.47v.
  176. The "t" is inverted.
  177. Ⅲ.47v indicates that this was printed "erbangen" and needed to be corrected to "erlangen", but that's not true in any copy available for consult.
  178. Originally printed "mim", but corrected on Ⅲ.47v.
  179. Originally printed "Higur", but corrected on Ⅲ.47v.
  180. Originally printed "Fellen", but corrected on Ⅲ.47v.
  181. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  182. Originally printed "allo", but corrected on Ⅲ.47v.
  183. Originally printed "Atm", but corrected on Ⅲ.47v.
  184. The first 't' is inverted.
  185. Terminal 'e' is inverted.
  186. Originally printed "bleiden", but corrected on Ⅲ.47v.
  187. Originally printed "klnie", but corrected on Ⅲ.47v.
  188. Originally printed "duch", but corrected on Ⅲ.47v.
  189. The second "e" is inverted.
  190. Originally printed "fein", but corrected on Ⅲ.47v.
  191. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  192. Misnumbered 87r.
  193. 193.00 193.01 193.02 193.03 193.04 193.05 193.06 193.07 193.08 193.09 193.10 193.11 193.12 193.13 193.14 193.15 193.16 193.17 193.18 193.19 193.20 193.21 193.22 193.23 193.24 193.25 193.26 193.27 193.28 193.29 193.30 193.31 indes
  194. palm up
  195. Illegible deletion.
  196. oberhauw
  197. ‘right’ is originally written, ‘left’ is written above it
  198. short edge
  199. “Degen”, lit. dagger, could either refer to a sword or dagger.
  200. short edge
  201. Unleserliche Streichung. Illegible deletion.
  202. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  203. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  204. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  205. Leicht unleserlich. Slightly illegible.
  206. Überschriebens »vom«. Overwritten “vom”.
  207. Inserted by means of a special mark.
  208. Word inserted next to the text.
  209. Inserted nest to the text.
  210. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  211. Wort am Seitenrand nachgetragen. Word inserted at the margin.