Longsword, Chapter 5: Counterattacks (Versetzen)

[1] A useful reminder about counteractions

Chapter 5

As fencing is based on two noble concepts: namely, the cuts on the one hand—with which you desire to bring your enemy to a standstill—and the counteractions on the other hand—that is, how you remove the strikes which your enemy directs at you and how you should make [them] a powerless thing of no importance. The manner in which you complete the cuts and direct them in the work has been sufficiently explained earlier, and because each cut is used both for defense against your enemy’s strike (in order to remove [it]) and also to injure their body, the cuts could not be taught without teaching about the counteractions. Therefore, as you previously learned to cut the cuts, you will likewise have also been taught and instructed how you should move the cuts aside. This cannot be separated (whether or not it now really belongs to the cuts), yet it is also necessary to deal specifically with this using a different division.

Therefore, take note from the beginning that the counteraction is two-fold.

The first is that you only counteract in the common way, due to fear and without any specific advantage, in which you then do nothing except hold your weapon in opposition to your counterfencer, such that you catch the strikes as they occur from your opponent. Also, you do not desire to damage them; it is solely sufficient that you can withdraw from them without injury.

[2] When you are compelled into this counteraction with force and haste, observe that you can still free yourself by stepping away and you can return with advantage in the Before. Liechtenauer also informs about this counteraction, when he states:

Guard yourself from counteraction;
 if this plight happens to you, it will burden you.

[3] He does not intend to absolutely forbid the counteraction with this, meaning that you should not learn anything except cutting. However, it is to your detriment (as mentioned above) if you were to accustom yourself to counteract to the point that it becomes an excess, such that you would be forced to only counteract. Thus, it is not useful that you scream loudly with strikes, nor that you would want to thoughtlessly cut in simultaneously with their strikes with your eyes closed. This is not fencing, but instead is consistent with a foolhardy peasant’s brawl.

[4] For the sake of greater usefulness, I want to separate out cuts and the counteractions that occur with a strike and to teach you solely how you should use such cuts for counteracting, which can also occur in two ways. Firstly, when you proceed to move your counterpart’s strike aside or rebuff it with a cut, and after you take their frontal defense, you rush their body with a cut.

[5] The other type of counteraction is that you simultaneously counteract and injure your counterpart, which the Old Masters then praise as deservedly superb. The saying arose from this that, “a correct fencer doesn’t [solely] counteract, but instead, if their opponent cuts, then they also cut; if their opponent steps, then they also step; if their opponent thrusts, then they also thrust.”

[6] Regarding the first: you should now know that the High Cut suppresses all other cuts below itself from above (thus the Wrath, Middle or Crossing, and Low Cut). In this way, when you leap out of their cut and simultaneously cut at their cut in that moment in which they strongly let fly (such that you correctly hit the same), you weaken their weapon to an extent that you can well cut the second [strike] at their body before they correctly recover.

Now, as the High Cut (from above with a downward motion) suppresses all the other strikes, it would be driven off by the Wrath or Crossing Cut, and the Low Cut also takes out the High Cut by lifting the High Cut upward (if it is executed with strength and if it is supported by stepping out).

[7] If two identical cuts with their assigned steps thus occur together—so that one fencer steps a little before or after the other, as that also occurs in the blink of an eye—the cuts also bring their counteraction into play. This counteraction is included in the first and straight cuts.

The second counteraction is that you simultaneously counteract and hit, which occurs with the inverted cuts like the Squinter, Glancing, Crown, and Crosswise Cuts. You heard above during the explanation of each cut how these are to be completed.

[8] These inverted cuts were superbly invented for the purpose that using them simultaneously counteracts and hits. Therefore, so that I deceive in nothing and so that you can be well advised to greater understanding and instruction, I will provide an example of the counteraction with the Crosswise Cut.

[9] Position yourself into the Wrath Guard. If you are cut at from above, step with your right foot toward your counterpart’s side and cut a Crosswise Cut—that is, short edge across and inward simultaneously—such that you intercept their cut on the Strong of your blade close to their crossguard and you hit their left ear with the outer part of your sword. Thus, you have then simultaneously counteracted and hit, one with the other.

[10] Regarding the other cuts which neither counteract nor hit, such as the Short Cut and Misser, etc.: [they] are not actually considered to be part of fencing, but instead are admitted only due to circumstances or by chance so that fencers can use them to mislead, incite, anger their opponent, and drive their opponent from their advantage. This does not often occur without risk, so no counteraction can occur when using them.

[11] Handwork

Following the previous, sufficient reports made in the first part of the fencing, both about the stances and cuts; these have brought you to this point where, by using the same, you will come under your opponent’s sword. The correct seriousness and striving arise only at this point: namely, how you drive them, frighten them, and force them to such an extent with all the types of work in the Middle, like misleading, pursuit, changing, doubling, and pressing after, so that with swift work, you can achieve and obtain the prize (which is the goal that all fencers desire).

[12] It is by no means sufficient and correct to have begun, if you do not likewise also carefully press forwards towards that upon which the major skill is based and which embodies everything in this chapter about Handwork. This must occur in many ways, each of which has its own specific terms and manner of speaking. Therefore, it will be necessary to clearly report and inform you about the same, as to what they are and how they should be completed.

[13] Indeed, the entirety of Handwork is found primarily in the binding (or, that is, remaining): to pursue, slice, strike around, move around, mislead, fly away, set off, counteract, pull, double, invert, snap, miss, circle, round, twist, twist through, change, change through, slice off, crush hands, shift forward, hang, rip out, block, restrict, grip past, run in, etc.

[14] Binding on, remaining, feeling

This is when the swords touch on one another. There are two types of remaining: the first, when the swords are held on one another in order to see what an opponent wants to fence and where they want to attack their counterpart.

Afterward, regarding the second, which occurs with strikes: when you position yourself as if you were going to pull a strike in order to recover but only flick back around obliquely, arriving back in again with the short edge at the point where you had cut with the long edge previously.

Remember here the word Fülen, which means something like ‘testing’ or ‘sensing’, so that you can be aware whether they are hard or soft on your sword with their bind, etc.

[15] Pursuit

This is an especially good Handwork, and whoever is well practiced in this and knows well how to use it can deservedly be praised as a master. You conduct yourself in pursuit like this: you hurry after your counterfencer to the opening (because your counterfencer cuts with their weapon either too high or too low or too far out), and you thus prevent them from completing their cut. This can properly be used against those who fence with the cuts sweeping wide around themselves. I will explain it to you with this example, so that you can better understand it.

[16] When an opponent fences against you, [you must] perceive which [of the four] part[s] they hold their sword in. If they move in the right Ox (which is in the upper right quarter), immediately or in that moment in which they lift up their sword from there to change to the other side (or only pull up to strike), you should quickly and cunningly cut under the same and use those cuts and techniques from which you can simultaneously and immediately have your counteraction. If, however, they fence from the low guards, then take note of whether they fence from the left or right sides so that you cunningly follow them with the long edge under their sword and strike at the closest opening immediately and in that moment in which they lift.

[17] Slicing

Among the Handwork, this is also correctly considered a core technique. When you are rushed by your counterpart with quick and fast sequences, you have no better technique to obstruct and hinder than with the slice, which you should keep in mind beforehand in all sequences as a special gem invented for this purpose.

You must complete the slice as follows: after you receive your counterpart’s sword with the bind, you should tarry there, to feel whether they want to lift from the bind or strike around. As soon as they strike around, then follow them with the long edge on their arm, push them back from you with the Strong or ricasso and let fly. Cut at the closest opening before they can recover.

[18] Striking around

Striking around from the sword means that when you are bound on from your right toward their left, lift back from the same bind to strike around or flick a strike at the other side.

[19] Dropping down

[Dropping down] is: from whichever side you bind your opponent on their sword, then in that moment in which the sword touches, invert your hand and let it drop down with the half edge facing downward, and while that occurs, pull your hilt upwards into the high to strike, and this can be executed on both sides.

[20] Misleading

[Misleading] is completed like this: when you display with gestures as if you wanted to fence at an opening of your counterpart, but you do not execute it and instead hit the strike at another opening (at which you think you can most properly arrive without injury). Yet many other techniques belong to misleading, like the Squinter Cut with the face, the missing, flying away, twisting, dropping down, drawing back, the circle, and others. This is also due to the fact that misleading does not arise solely from the sword, but instead also arises from quite a variety of body language indicators. These are no longer techniques [with the sword], but they are techniques and characteristics of the fencer because it is directed according to each characteristic and custom in fencing: as one fencer is angry, another demure; this one is quick and spry, that one fences slowly. Misleading also uses the same configuration and is directed the same way in the work.

[21] Flying away

[Flying away] must occur like this: when you cut at the opening of your counterpart in the Onset or fully within the work, and they move against you to receive your strike in the air. Do not allow them to touch your sword with their blade, but instead forcibly draw this strike back in the air with a sweeping motion to another opening. This work is useful against those who are only desirous to pursue your sword and not injure the body.

[22] Setting off

Because all fencing sequences require two things (as indicated above), namely cutting and moving aside or counteracting the cut with the sword, take note of this here: this Handwork is the correct way to move aside or counteract, with which you not only receive the strike obliquely and do not cut back, but instead, in that moment in which the set off touches, you simultaneously hit at their opening with steps out to the side. Thus, in the Onset when you arrive in the Change [Guard], if they cut at you from above, rise upward toward their strike with the long edge, and simultaneously step with your right foot toward their left, and set them off. In that moment in which it glances off, immediately turn the short edge and flick toward their head.

[23] Catapult

[The catapult] is nothing other than: you let a cut fly like a catapult at your opponent’s head. Therefore, position yourself into the guard of the Fool and pull your sword back through next to your right [side]. In that moment in which you pull your sword back, step toward them with your right foot, and catapult your cut at their head. This Catapult Cut should then fly straight, like a stone thrown from a sling. Whatever else is necessary for the catapult, you will find described in subsequent plays.

[24] Pulling

Pulling is that which is very good Handwork. You can masterfully mislead your counterfencer, and you should execute this as follows: after you have bound your opponent with the long edge or cut in at an opening, then quickly pull back upward (as if you wanted to cut at the other side); however, do not continue, but instead quickly complete the cut with the short edge back at that point from which you started.

[25] Doubling

[Doubling] is making a cut or sequence twice in this way: cut firstly from your right at their ear. When the swords glance together, push your sword’s pommel through under your right arm and simultaneously raise both arms. Hit them with the short edge behind their blade at their head. This Handwork is called doubling because a cut can be doubled (or completed twice) by this means: first with the long edge, then with the half edge.

[26] Inversion

The inversion is: bind onto your counterpart’s sword toward their left, and, in that moment in which it touches, push your pommel through under your right arm and simultaneously pull your head toward your right (well out from the strike). Following this, press their blade or arm away from you and downward with crossed hands so that you force them so they can no longer work. You, however, make your own space to work according to your pleasure.

[27] Snapping around

There are two kinds of snapping around. The first: when you use inversion to come at their arm or blade (as just described). Then stiffly hold their blade or arm under yours using the crossguard and let your blade snap around at their head during this.

[28] The second: when they have pressed you down using inversion, then yield to them with your left foot toward their right and simultaneously grip up over their right arm with the pommel. Pull that downward and let [your blade] snap around under their blade with the short edge toward their head, so that your hands end up crossed over one another.

[29] Missing

Anyone can well miss; however, only a well-practiced fencer knows how to do so properly, and to use it usefully at opportune times. Therefore, you will want to execute a missed strike advantageously so that you can recover another out of it. Therefore, pay attention: when you cut at an opening and your counterpart wants to counteract you, don’t allow the cut to touch, but instead let it drop downward and cut at another opening.

As an example: move into right Wrath in the Onset. As soon as you can reach them, step and cut at the left ear up to their sword, but in the cut and before it touches, lift the pommel and let the blade drop downward as an intentional miss next to their left, and pull around your head. Cut at their other side from the outside and over their right arm at their head.

[30] Circle

When you stand in front of your opponent in the bind and both you and they move the swords in the air above your heads and neither wants to reveal an opening before the other, then the circle is an exemplary and good work to use which you should form like this: cut through in front of yourself with the half edge and crossed hands from above next to their right side, so that your two hands remain above your head. During the cut, cross your right hand strongly over your left so that you can easily reach or scratch their right ear with the half edge. If they then swipe after the sword with their arms downward, step with your right foot well to the side, out to their right side, or step backwards, and cut a straight Hairline Cut at their head.

[31] Round

The round has two forms: single and double. The single round is when you withdraw your sword from your counterpart’s blade or opening in one sweeping movement over your head and let it fly around in the air so that you form a round circle.

The double round is this: when you strongly withdraw from their sword so that it circulates twice in full sweeping movements above your head (once on each side). You will extensively see and learn in the sequences how and which of these rounds (both single and double) would be more serviceable for misleading.

[32] Twisting

The little word Winden is “to turn over or back” in good German. This work should be carried out like this: when you have bound on your counterpart’s sword from your right toward their left, then remain firmly in the bind and turn the front part of your blade back inward toward their head, and back out again, so that you always remain rigidly below on their sword with the bind (as mentioned, and as can be seen here in this example).

[33] If an opponent cuts at you from the Day, bind on their sword from your right using a Crosswise Cut, and in that moment in which it glances off, push your pommel through under your right arm and turn the short edge back in one flicking strike inwardly toward their head. Remain with the edge hard on their sword in this entire motion. If they perceive the flicking strike and counteract, or if you feel that they want to drop from above away from the sword at your opening, then pull the pommel back from under your arm upward toward your left and hit them again with the short edge through the Crosswise Cut at their left ear.

[34] Twisting through

When you have bound on with a Crosswise Cut, and you have (as mentioned previously) twisted the short edge inward toward your counterpart’s head, step through with your right foot toward your opponent’s right side (between you and them), and simultaneously twist your hilt through under their blade to your left side and move your pommel outwardly over their right arm. Step back with your right foot and simultaneously rip downward out to your right side. Hit with the long edge at their head. Thus, you have both twisted through and also reached or grabbed over with the pommel.

[35] Changing

Changing requires a practiced fencer because whoever changes inexpertly and at the incorrect time only delays themselves and exposes themselves without cause. It is skilled work for those who are learned in fencing and know how to use changes, and is suited for fencing against those who work only at the sword and not at the body. Changing, however, has many forms: changing in the Onset from one side to the other, changing before the attack from one stance into another.

[36] Item, changing through in the attack against the cut: that is, cut a straight Wrath or High Cut in the Onset from your right toward your counterpart’s left side.

If they cut toward the sword and not at your body: let the point, including the cut, swipe down and through with crossed hands; step in and cut long to the other upper opening. Observe that you are careful in this, that they don’t use pursuit to catch you or set their sword on you.

Likewise, move into Longpoint in the Onset and extend the same long away from you. If they cut toward your sword and want to beat it out or twist: let the point drop downward and through, and work at their other side. If they swipe after your sword and want to counteract, change through again until an opening is exposed or you observe otherwise suitable work towards which you can cut.

[37] Slicing off

You should execute the slicing off like this: hold the sword with arms extended long in front of you or drop into the guard of the Fool. If your opponent cuts at you with long cuts, then slice the same away from you on both sides using the long edge, as many as it takes until you recognize your advantage (so that you can come to other, more suitable work).

[38] Pursuit is also secretly apprehended in this slicing off (which also includes the slice), to such an extent that Liechtenauer also includes them in a mnemonic when he states:

Slice off the hard [ones]
 from both dangers/directions

[39] That is, slice the hard strikes away from you from both sides; however, more will be subsequently described about this slicing off in the examples and other weapons.

[40] Crushing hands

Crushing the hands is almost comparable with a slice at the arm (about which there were entries above) because there is no difference except between a High Cut and a Low Cut. When an opponent runs over you with great, whacking strikes, move under their strike with the Crown or another high counteraction (or come under them with hanging) and catch their sword on the flat of your blade. Pay attention as you come under their sword; when they rise back upward away from your weapon with their strike: follow them with the Strong of your sword and drop the ricasso in front of their fists so that you catch both of their hands with the Strong of your edge. Push them upwardly and away from you with the ricasso, and strike long at the opening.

[41] Shifting forward

When you stand in the right Wrath and [an opponent] cuts at you, let the blade hang behind you and push or shift the hanging blade over your head and under their blade (so that you receive their strike on your flat, and your thumb rests below on your ricasso on the wide path [i.e., flat]). You can then carry out twisting or other suitable work (whatever you consider to be the best).

[42] Hanging

Hanging should be understood clearly from the previous [example]. Execute it like this: when you stand in Plow and your counterpart cuts at you, lift your hilt upward so that the blade hangs somewhat toward the ground and receive their strike on your flat blade. Then work with twisting at the closest opening.

[43] Ripping out

If you bind an opponent from your right, invert your sword in the bind and rip out toward your left side in such a way that you two stand next to each other in the bind. Endeavor that you can come between their arms from below with your pommel and rip out upward. Or, if you have grabbed them from above with the pommel over the arms (or in whatever way this may have occurred), then rip out downward (as you will then hear about later in the sequences).

[44] Blocking

Take note: if an opponent stands before you in Change [Guard] or in the guard of the Fool, then drop cunningly down onto their blade with the long edge. When it glances off or touches, cross your hands and block them so that they can’t break free. Or, if they strike at you from the front, then drop down on their blade with crossed hands and block them.

[45] Restriction

You should carry out the Restriction this way: if a fencer arrives before you, who quickly works at the four openings with any kind of work and wants to quickly execute the same from over their head, drop down on them with the slice on their arms or their sword, and don’t let them move back up. Instead, wherever they want to go, follow them with the slice hard on their arm and restrict their movement so that they can’t work. As soon as you see your opportunity, push them away from you with the slice and let fly at the closest opening.

[46] Gripping past

The grip past [your crossguard onto your blade] occurs like this: cut from your right at their upper left opening. During the cut, grip with your fingers over or past the crossguard or ricasso (but retain the thumb on your hilt). Raise the pommel with the left hand and hit them on the head with the hanging blade above or behind their counteraction.

[47] Running in

To run in means nothing other than to run in under their sword so that both swords touch together. Since this relates to wrestling and throwing, I will save it until then, as it is more suitable for understanding to deal with this in sequences related to those [techniques] and I now want to move to the third part of my Recitation.

[48] Up until now, gracious reader, you have heard both about the way you can attack your counterpart with cuts and also by what means you can further approach them in the Handwork without injury to yourself. However, this is not enough if a good Withdrawal is not carried out as a third [action]. Therefore, I will provide correct and clear instruction in the following chapter about the Withdrawal.