Meyer Free Scholars ​Study Plan 2017
Lesson Plan 2017:1:
HEMA Inception
We need to go deeper...
by ​Daniel Pope​, January, 2017
HEMA in History
While the term HEMA is new the concept of reconstructing historical swordsmanship
techniques has a long and diverse history stretching back to the 16th century and
perhaps beyond.
One of Meyer’s contemporaries for example states that he had rediscovered a heretofore
lost text of old swordsmanship containing secrets of masters past, which he had studied
and now could readily teach (there are suggestions that this text was none other than
i.33, as it is now known). Likewise Meyer himself seems to have emulated a number of
earlier historical masters, though whether this was part of a living tradition or if he was
consulting historical texts is in many places unclear.
By the 19th century there was a movement in England which saught out historical texts
and techniques and attempted to make sense of them. Notable amongst these fencers
was Alfred Hutton.
Hutton was a Victorian era officer in the Kings Dragoon Guards and established himself
early in his career as an excellent swordsman, having fenced in his younger years at the
Angelo fencing school where he later returned and focused on reviving older fencing
systems, as well as studying foil, sabre, and bayonet fencing. Hutton also taught fencing
classes at the Bartitsu Club, where he also learned core elements of jujutsu and french
cane fighting.
In 1892 he published the book “Old Sword Play” in which he put forward interpretations
of a number of weapons from antiquity, including rapier and dagger, two handed sword
(longsword), and sword and buckler.
Hutton’s interpretation of old techniques may seem somewhat inauthentic to the
modern HEMA practitioner who has access to a broader community which a greater
number of texts to work from. As such Hutton’s old sword play has a distinctive 19th
century sabre flavour and lack the distinctive movements we associate with German and
Italian longsword styles. However as today’s lessons will show, this doesn’t make it
entirely ineffectual and it may indeed have something to teach us when it comes to
fencing; especially to tournament play.
The Stance
For this class we’re going to adopt a slightly different fencing stance, one more similar to
that advocated in his section of the book “Cold Steel” describing the use of the great stick
(which Hutton states is based on historical Italian Longsword techniques).
The stance is very upright and largely back weighted compared to the Meyer stance. The
lead foot faces the opponent while the rear foot faces out perpendicular.
The method of gripping the sword is a familiar one, however.
The Attacks
The basic system consists of 6 moulinet cuts, as well as a vertical cut, the thrust, and the
pommel strike.
Hutton enumerates his six moulinet cuts just as he does with the sabre, using the same
numbers for the cuts, and advocates practicing them individually then in sequence.
As a general principle the cut moves around in a large circle from a longpoint-like
position, rotating all the way round cutting through the target until the hands have just
passed the centreline so that the line of attack is covered by the length of the blade. The
cuts should not withdraw the hands excessively (though not keep them out too much
and endanger them or weaken the blow), and be accompanied by a short lunge.
Effectively the cuts emulate the cuts along the diagram provided by Meyer, with:
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Cut 1 being a zornhauw from the upper right
Cut 2 being a zornhauw from the upper left
Cut 3 being an unterhauw from the lower right
Cut 4 being an unterhauw from the lower left
Cut 5 being an mittelhauw from the right
Cut 6 being a mittelhauw from the left
EXERCISE 1
Goal: ​Practice the 6 Cuts
Perform each of the six cuts in isolation 10 times, and
Try to remember:
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Cutting from extended position back around through to the extended position.
Include a short lunge with each cut
Hutton adds to this a single vertical downward cut which he numbers cut 7. This cut is a
scheitelhauw/oberhauw in the Meyer system. He also adds a thrust (thrusts can be
along any of the hanging lines, turning the long edge to the opponent to cover the line in
the thrust) and a pommel strike.
EXERCISE 2
Goal: ​Practice the Attacks in sequence
Beginning from a longpoint with left forward:
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Lunge, Cut 1, Recover
Passing step lunge, Cut 2, Recover
Passing step lunge, Cut 3, Recover
Passing step lunge, Cut 4, Recover
Passing step lunge, Cut 5, Recover
Passing step lunge, Cut 6, Recover
Passing step lunge, Cut 7, Recover
Lunge thrust, Recover
Passing step pommel strike, Recover.
Try to remember recovery between each.
The Guards
[High] Prime (1st)
The guard of prime is a high hanging from the right wide across to guard the left side,
and forms a natural part of most swordsmanship.
The guard is high enough that the fencer can see beneath it, and hangs diagonally down
to the left side.
This high prime covers against cut 1 and can be used against cut 5 also.
EXERCISE 3
Goal: ​Practice prime
With a partner both stand in middle guard (eisenport) against each other at perfect
measure (the distance where you can strike on a lunge without moving the rear foot),
left foot forward.
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Taking turns, lunge and give the edge with cut 1 to the left cheek.
The defender parries in the form of prime.
Repeat until both parties have cut 10 times each.
[High] Octave (8th)
The guard of octave is a high hanging from the left wide across to guard the right side,
and forms a natural part of most swordsmanship.
The guard is high enough that the fencer can see beneath it, and hangs diagonally down
to the left side.
This high prime covers against cut 2 and can be used against cut 6 also.
EXERCISE 4
Goal: ​Practice octave
With a partner both stand in middle guard (eisenport) against each other at perfect
measure (the distance where you can strike on a lunge without moving the rear foot),
right foot forward.
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Taking turns, lunge and give the edge with cut 2 to the right cheek.
The defender parries in the form of octave.
Repeat until both parties have cut 10 times each.
Quarte (4th)
The guard of quarte is in the form of pflug on the left, with the right foot forward.
Quarte guards against cut 1 and cut 5 (zornhauw/mittelhauw).
In both cases the line of the sword is just outside that of the shoulder and the hands are
held quite far back as a protective measure. Care should be taken not to push the guard
too far outside the line of the shoulder.
When used against cut 1 the hands are lifted somewhat and the point is somewhat
upward to cover the high line, while the form against cut 5 is with a lower point.Quarte
can also be used against a vertical cut 7 by lifting it horizontally overhead (like a St
George’s guard with the sabre).
EXERCISE 5
Goal: ​Practice quarte
With a partner both stand in middle guard (eisenport) against each other at perfect
measure, right foot forward.
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Taking turns, lunge and give the edge with cut 1 to the left cheek.
The defender parries in the form of quarte.
Repeat until both parties have cut 10 times each.
Tierce (3rd)
The guard of tierce (also called false guard) is in the form of pflug on the right, with the
left foot forward.
Tierce guards against cut 2 and cut 6 (zornhauw/mittelhauw).
In both cases the line of the sword is just outside that of the shoulder and the hands are
held quite far back as a protective measure. Care should be taken not to push the guard
too far outside the line of the shoulder.
When used against cut 2 the hands are lifted somewhat and the point is somewhat
upward to cover the high line, while the form against cut 6 is with a lower point.
Tierce can also be used against a vertical cut 7 by lifting it horizontally overhead (like a St
George’s guard with the sabre).
EXERCISE 6
Goal: ​Practice quarte
With a partner both stand in middle guard (eisenport) against each other at perfect
measure with the left foot forward.
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Taking turns, lunge and give the edge with cut 2 to the right cheek.
The defender parries in the form of tierce.
Repeat until both parties have cut 10 times each.
Seconde (2nd)
The guard of seconde had no direct analogue in Meyer’s system. It is best explained as
being like an alber off to one side, or a pflug with the point downward instead of toward
the opponent’s face.
Seconde guards against cut 3 and cut 5 (underhauw/mittelhauw).
In both cases the line of the sword is just outside that of the shoulder and the hands are
held quite far back as a protective measure. Care should be taken not to push the guard
too far outside the line of the shoulder.
When used against cut 5 the hands are lifted somewhat and the point is steeply
downward to cover the middle line, while the form against cut 3 is with the point on a
diagonal downward angle, and the hands just over the level of the hips.
EXERCISE 7
Goal: ​Practice seconde
With a partner both stand in middle guard (eisenport) against each other at perfect
measure with the left foot forward.
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Taking turns, lunge and give the edge with cut 3 to the right thigh.
The defender parries in the form of seconde.
Repeat until both parties have cut 10 times each.
Septime (7th)
The guard of septime is like seconde but on the opposite side.
Seconde guards against cut 4 and cut 6 (underhauw/mittelhauw).
In both cases the line of the sword is just outside that of the shoulder and the hands are
held quite far back as a protective measure. Care should be taken not to push the guard
too far outside the line of the shoulder.
When used against cut 6 the hands are lifted somewhat and the point is steeply
downward to cover the middle line, while the form against cut 4 is with the point on a
diagonal downward angle, and the hands just over the level of the hips.
EXERCISE 8
Goal: ​Practice septime
With a partner both stand in middle guard (eisenport) against each other at perfect
measure with the right foot forward.
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Taking turns, lunge and give the edge with cut 4 to the left thigh.
The defender parries in the form of septime.
Repeat until both parties have cut 10 times each.
What about guards 5 and 6?
These guards exist in the sabre system, but are not used in the longsword methods of
Hutton.
Lessons with a Single Riposte
Now that we have established the basics of the techniques taught by Hutton we can
continue with his lessons including a single riposte. Some of these lessons are adapted
from the original work slightly to include training elements we’ve already covered.
Lessons are frames as a master and a pupil - the master initiates the exchange, the
student parries and responds appropriately. This format should be familiar from our own
syllabus.
Parries against Cut 1
Both participants begin with the right foot forward.
Lesson 1
Master
Pupil
Cut 1 to left ear
Parry in quarte, cut 2 over
Parry high octave
Lesson 2
Master
Pupil
Cut 1 to left ear
Parry in quarte, cut 4 under
Parry octave
Parries against Cut 2
Both participants begin with the left foot forward.
Lesson 3
Master
Pupil
Cut 2 to right ear
Parry in tierce, cut 3 under
Parry septime (passing back)
Lesson 4
Master
Pupil
Cut 2 to right ear
Parry in tierce, cut 1 over
Parry high prime
Parries against Cut 3
Both participants begin with the right foot forward.
Lesson 5
Master
Pupil
Cut 3 to right thigh
Parry in septime, cut 1
Parry quarte
Lesson 6
Master
Pupil
Cut 3 to right thigh
Parry in septime, cut 4
Parry seconde (pass back)
Parries against Cut 4
Both participants begin with the left foot forward.
Lesson 7
Master
Pupil
Cut 4 to left thigh
Parry in seconde, cut 2
Parry tierce
Lesson 8
Master
Pupil
Cut 4 to left thigh
Parry in seconde, cut 3
Pass back, parry Septime
Lessons with a Multiple Ripostes
We are also provided with a number of set play fencing sequences.
Parries against Cut 1
Both participants begin with the right foot forward.
Lesson 9
Master
Pupil
Cut 1 to left ear
Parry in quarte, cut 2 over
Parry high octave, Cut 6
Parry tierce, cut 1 over
Parry high prime
Parries against Cut 1
Both participants begin with the left foot forward.
Lesson 10
Master
Pupil
Cut 2 to right ear
Parry in tierce, cut 3 under
Parry septime (pass back), Cut 7
Parry Horizontal Quarte, cut 6
Parry halfsword right