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Medieval & Renaissance Fencing Terminology from the Source Manuals

The following list is compiled from 13^th to 16^th century fencing manuals and focuses on the long-sword.  It is divided into two sections, one from primarily English & Italian source manuals and one from German Fechtbuchs.

15th century Italian & English

Arte Dello Spadone

Fiore Dei Liberi’s name for his craft of the long-sword, symbolized by four virtues or qualities as represented by the Wolf (carefulness or prudence), the Tiger (swiftness or speed), the Lion (courage or bravery), and the Elephant (strength).

Backsteppe

In English swordplay, a simple step backward with the rear leg, sometimes followed by the lead leg.

Bicornio

See Posta di Bicornio. (“Two Horned Guard”)

Boar / Boar’s Tooth

See Posta di Dente Chingiale

Chase

A term from the 15^th century English sword text MS 39564 likely referring to a following on or counter action.

“Close” guard

A modern generic term for the Pflug or “Plow” guard, with knees bent and the weapon held close into the hip and somewhat off to the side. A fundamental on-guard position. Essentially a defensive posture suited to protecting the hips, waist, and grip, as well as delivering thrusts and slices.

Cockstep

In the English style a koc stappis or kocstep, a forward skipping step of the lead foot, similar to the Balestro of later fencing.

Colpi Dritti

 (“right strokes”) Vadi blows from the right side used to defend.

Corona

(“Crown”) See Posta de Fronte

Coverta

(“Covering” – meaning ‘blanket”) Fiore’s term for the principle of covering a possible line or opening of attack by moving the body and weapon to close it. In Vadi the defensive controlling of the enemy’s sword with your own or your hand. It consists of maintaining contact while entering close.

Cownter / Cowntyr

A term in the English sword text MS 39564 referring to types of counter-striking technique or the action of counter-attacking. (also cowntris or cowntr)

Crown guard

See Corona.  A form of high center stance. Also Frontale. See Kron.

Dritto / Deritto

Cuts made from right to left. Fiore uses Dritto and Reverso Dritto. The term deritto is equivalent to dritto, Vadi uses both as well as diritto and Manreverso.  

Disarmo Soprano

(“upper disarm”) a Gico Stretto technique of Fiore’s for grabbing the opponent’s wrist  after closing and stifling their blade above their shoulders.

Downright blow

An Oberhau or Fendente in English swordplay, i.e., any descending strike with the forward edge.

Elza

Vadi’s term for “crosses” or the “cross-guard (what Fiore calls the crucibus).  See Croce.

En Garde

(“on guard”) A French term first used in 1400’s to refer to simply a ready posture of both attack and defense with any sword or weapon.

Falsita’

Vadi’s term referring, according to his diagram, to the false edge, but it may also mean “falsehood” in general.

Fendente

A downward blow in the Italian schools. Shown typically as a diagonal not a vertical cut.  Vadi refers to Diritto Fendente (right downward) and Riverso Fendente (left downward) cuts.

Filo

Italian for the “edge” of the sword. (Fil Falso or Falso Filo each mean “false edge”). Opposite of Filo Dritto.

Finestra

See Posta di Finestra. (“Window” guard). See Ochs.

Florishe / Florysch

“To Flourish” – An English term from at least the mid 1300s used in the brief English sword text, MS 39564, c. mid-1400s, to refer to the brandishing of a weapon with large showy movements during practice or prior to play or fight. Used now to mean a practice routine of cuts and thrusts with appropriate footwork.

Footwork

There are essential two ways of moving: simple steps, of the either the leading or rear foot, and passing steps where the rear legs moves past the forward or vice versa.  Additional types of footwork are traversing or diagonal steps (which may be followed by a second move to turn the body 90 degrees), double or great steps, cock steps, and false or broken / feinting steps.

Foyne or Foin

(“thrust”) A term used from at least the 1300’s to refer to a stabbing attack with a sword.  The Italian term is Ponta or Ponte.

Gioco Largo

(“far” or “large play” or “large game”) Combat without body contact and at cutting or striking range in the Italian schools as opposed to seizing or grappling range.

Gioco Stretto

(“close playing or “close game”) In the Italian schools a term for entering techniques used for body-contact fighting close-in at seizing and grappling range (in the later English systems of cut-and-thrust sword of the 1500’s, these were known as “gryps” or “seizures”). All are based essentially on a handful of key actions: reaching out to grab the opponent’s hilt or arm, striking with the pommel or guard, trapping their forearms with your second arm, slipping the blade against or between their forearms, using the second hand to hold the blade while binding/striking/slicing, and tripping and kicking. In the German schools close-in techniques for “wrestling at the sword” or Ringen Am Schwert, involved throws or grappling and disarming moves known as or Schwertnemen (“sword-taking”) there was also ground-fighting (Unterhalten, “holding down”).

Grete Steppe

A large or double step of the foot in the English style.

Guards / Guardia

(stances, wards, Huten, Leger) A term for fighting postures or ready positions.

Hanging guard

A right or left stance with the blade held hilt high and point down diagonally forward.  A versatile and useful defensive or countering position not actually described as a true stance in any 15^th century manual but does appear in 16^th century ones. Also depicted in most texts as an action occurring from a Ochs or Finestra (Ox or Window) guard. Later styles of swordplay actually incorporated a “hanging” or guardant ward, but Medieval manuals do not seem to actually show this as a true ready position or guard, but only a transitory position or action that occurs during weapon contact. In his 1570 text (written at a time when the old Medieval great-sword was more of a “tradition” than practical weapon). Joachim Meyer described a Hengenort (“Hanging Point guard) as this hanging stance with the blade forward and angled down.  Di Grassi in 1570 also describes this stance as being the “high ward”.  See Pendant.

Haukes/Half Haukes

(“Hawk”)  A term from the 15^th century English text by J. Ledall (Harliean Manuscript BL MS. 3542), that refers to  “downright blows”, likely a downward cut, - as if  “striking down like a bird or prey. Forms include hauke, half hauke, broken hauke, broken half hauke, contrary hauke, and double hauke. Perhaps related to the Italian “Falcon” guard (Posta di Falcone).

High guard/stance

A modern generic term for any of the offensive postures of holding the sword or weapon over the head or shoulder, in a “Roof” position.  See Vom Dach / Vom Tag, Oberhut, (Vigianni in the 1550’s called it Guardia Alta).  Leckuechner actually referred to Hochort or Ochs as the “high guard”.

Incrosada / Incrosar a Mezzo Spada

(“crossing the swords”) Fiore Dei Liberi’s term for the action of blade contacting against blade (“crossings of the blade” or “tied up”) just before any action is made. Possibly equivalent to Anbinden in the German schools, the engaged position with weapons crossed in which the weapons collide together in their moment of contact.

Instabile

Fiore describes his posta/stances as being either stable or unstable, or rather being active or reactive.  His unstable guards are the Window, Longa, Two-Horn, and Front/Crown. These stances are “unstable” positions in that they are intended to react to attacks.  Stabile (stable) positions are ones that move to receive. Pulsatina positions are those that provoke or offend.

Iron Door guard

See Porta di Ferro and Eiserne Pforte.  A type of low guard.

Long guard

See Posta Longa and Langerort.

Low guard

See Alber and Posta di Ferro . A defensive position with the blade pointing downward.

Manreverso

Vadi’s left side horizontal cut.

Manudextri

Pietro Monte’s blows from the right delivered from his Prima stance.

Manusinistri

Pietro Monte’s blows from the left from delivered from his Seconda stance.

Mezza Spada

(“Half-Sword”) Equivalent to the German “Halb-Schwert”.  Special techniques of grabbing the sword’s blade by the second hand (or both even hands) and thrusting, deflecting, or striking.  Often used in combat against heavy armor.  Fiore lists 6 Mezza Spada: Posta Serpentino, Posta Serpentino  Superiore, Posta Sagittarria, Posta Vera Croce, and Posta Croce Bastarda. Vadi used Mezza Mela ("half-blade") for Halb-Schwert and Mezza Spada for Incrosar a Mezzo Spada (perhaps a result of the universal linguistic tendency to shorten lengthy phrases).

Mezzane / Mezani

Fiore’s horizontal cut, as in Dritto Mezzane and Reverso Mezzane. Dritto cuts right to left with true edge, Reverso cuts left to right with false edge.

Parare

(“parry”) Vadi advises all parrying is to be done with the fendente (downward cut), definitely not a static block, but a deflecting striking blow.

Pendant / Pendante

A term from the 15^th century English MS 39564 manuscript, by J. Ledall, referring seemingly to a hanging ward. See Hengen.

Posta

Italian for “position” (fighting posture or stance).

Posta Breve / Posta Breva

(“Short” guard) Fiore Dei Liberi’s thrusting middle guard with the pommel held close to the body.  Also called Spada Distesa (“lying sword”). A limited “entering” or close-range posture with the blade held more vertical, the hilt pulled in low and the knees bent more, it is used for both parrying and preparing to slice, thrust, or bind.

Posta di Bicornio

(“Two-Horned” position) Fiore’s thrusting guard holding the sword horizontally in a high middle position with the left hand in a reverse grip. Suited for thrusting in close.

Posta Breve Serpentina

(“Short Snake” guard) One of Fiore’s Mezza Spada postures, essentially a “Middle” guard with the left hand holding the blade at the ricasso, left leg leading.

Posta di Coda Lunga Distesa

(“Long Lying Tail” position) Fiore Dei Liberi’s term for a right “Tail” guard, leading with the left leg and the blade held back and down at 45-degrees.

Posta Croce / Posta Vera Croce

(“Cross” guard or “True Cross Guard”) One of Fiore’s Mezza Spada postures, with the left hand holding the middle of the blade in a reverse grip. Essentially a low left “hanging” guard.

Posta Dente di Cinghiale

(“Boar’s Tooth” guard or “Wild Boar’s Tooth”) Fiore Dei Liberi’s Low guard leading with the right leg and the sword held forward and down at roughly 45-degrees, the hilt to the outside of the left side of the left knee. Suited to counter-thrusting and to ward off by lifting upward followed by an immediate cut downward.

Posta di Donna Soprano e Altera / Posta di Donna la Sinestra

(“Upward Proud Woman’s guard” or “Noblewoman’s” guard) Fiore Dei Liberi’s term for a position with the blade held over or on the right shoulder.  In one version it is held horizontal almost resting on the shoulder. In another it is held at a 45-degree angle as if in a shoulder-level “high” guard, but with the opposite shoulder turned more forward. While he only depicts a right-side version, Fiore does list both a left & right Woman’s guard (Posta Dominarum dextra and sinixtra). The Women’s guard seems related to horizontal cut, as the posture can be assumed both preliminary to such a blow and as a result of such a blow.  Yet it is more likely this guard is actually a shoulder-level Vom Dach (high guard). 

Posta di Falcone

Vadi’s name for a guard with the blade held centered close at chest level with the blade out forward at a 45-degree angle.  Perhaps similar to Fiore’s Posta Fronte.

Posta di Fronte

(“Front guard”) Fiore Dei Liberi’s term for Corona (“crown guard”) or a middle position and the hilt held close to the chest or abdomen pointing forward. In Vadi the “Front” guard is shown as held much closer to the body and more vertical with the point directed upward.  Likely equivalent to the German Kron.

Porta di Ferro

(“Iron Door” guard) Fiore Dei Liberi’s low middle-right position, a form of Low guard (point forward, blade down at roughly 45 degrees) leading with the left leg and the blade turned slightly, point back and turned slightly to the right, the hilt turned slightly left.  Also called Porta di Ferro Piana Terrena or Tuta Porta di Ferro.  See Eiserne Pforte.

Porto di Ferro Mezzana

(“Middle Iron Door” guard) Fiore Dei Liberi’s term for the Low guard, leading with the right leg. Used to counter-strike and to defend against Gioco Stretto. See Alber.

Posta di Fronte

(“Front” guard) Fiore and Vadi’s term for a form of unstable high middle position poised to greet or intercept a downward blow with the ricasso or cross.  Also called Corona. See Kron.

Posta Longa

Fiore Dei Liberi’s name for an extended Middle guard, leading with the left leg bent, the rear leg stretched and the arms extended, the blade held more horizontal. Often resulting from a thrust and used for warding, threatening and thrusting to the throat or face as well as slicing to the arms.  See Langort.

Posta di Vera Finestra / Porta Reale di Vera Finestra

(“True Window” or “True Royal Window” guard) Fiore Dei Liberi’s term for a stance leading with the left leg and the sword held horizontally out to the right, point aimed at the opponent’s face. The blade is held with the edge and cross upward and the hilt slightly behind the head, not in front of it or to its side. Essentially equivalent to the German right Ochs stance. While Fiore only depicts a right-side version, he does list both a left & right Window guard (Posta Fenestrarum dextra and sinixtra).

Posta di Vera Finestra Mancina

(“True Left Hand Window” guard) Fiore Dei Liberi’s posture of holding the sword over and behind the left shoulder. While called a “window” stance, it is not equivalent to the right-side “window”. This position can be interpreted as either form of “High” guard or one with the blade behind the head, horizontal or diagonal. Essentially a left-side Woman’s guard.

Posta Sagittarria

(“Archer” guard) One of Fiore’s Mezza Spada postures, a right “Window” guard with the sword pulled farther back and the left hand holding the blade knuckles up.

Posta Serpentina Superiore

(“Upper Snake” guard) One of Fiore’s Mezza Spada postures, a raised Serpentina guard consisting of a right “Window” guard with the left hand holding the blade in a reverse grip.

Prelhaw /Prelhau

(“Plunge Strike”) From a binding position, a plunging thrust down between the opponent’s arms.

Prima

Pietro Monte’s “first” guard, with the blade held over the right shoulder, possibly in an Ochs/Window stance.

Posta Vera Croce

(“True Cross” guard) One of Fiore’s Mezza Spada postures, a low right “hanging” position with the left hand holding the blade in a reverse grip.

Punta Falso

(“False Point”) Fiore Dei Liberi’s term in Mezza Spada for feinting a thrust and disengaging.

Raykes

A term from the 15th century English great-sword text by J. Ledall, MS 39564, likely referring to “draw cuts” from a high guard. Possibly equivalent to the German Schnitt or “slice cuts”.

Rebatter / Rebatir

(“Set aside”) Fiore’s defensive technique meaning essentially Versetzen, to displace an opposing blow.

Riversi

Fillipo Vadi’s blows made from the left to the right.

Rollyng Strokis

A type of blow from the MS 39564, possibly a round strike or a molinello.

Rota

A countering technique described by Filippo Vadi (c. 1480). A cut wherein the back edge (fil falso) is quickly raised to smack or deflect an opposing blade prior to an immediate descending cut with the forward edge. The word “rota” comes from the verb “rotare”, which means “to turn”.

Rownde / Double Rownde

Following through and back around with a cut once or twice. An English term from the 15^th century text  MS 3542 which likely refers to a change-in-line strike by bringing the point of the weapon first down and back, and then up and around high, or by first bringing the weapon down and then back up high right then left (a molinello/molinet or “windmill”), once for “Ye single rownde” or twice for “Ye double”.  It may be accomplished with the hilt held at chest level or higher above the shoulders. The action generates power while being deceptive. See Rundstreich and Doppelrundtstreich. 

Seconda

Pietro Monte’s “second” guard, with the blade held over the left shoulder, possibly in an Ochs/Window stance.

Segno

A training aid consisting of a circular wall or floor diagram of 8 intersecting lines representing all possible cutting angles and thrust, or when placed on the floor, stepping positions for the feet.

Segno Cuts

Fiore Dei Liberi described seven cuts or blows, two Fendenti (right or left downward cuts from a high position) two Sottani (right or left upward cuts from a low position), two Mezani or Mezzane (horizontal cuts), and Ponte (the straight thrust).  Filippo Vadi taught the same six cuts and one thrust, but called his horizontal cuts Volanti. Vadi’s right-to-left cuts are Derito and his left-to-right cuts were Manreverso. While Filippo Vadi speaks of “seven cuts”, he lists only three (Fendente, Volanti, and the Rota), but as each of these can be employed either left or right, along with Punte (his thrust) they make for seven attacks. Neither Fiore Dei Liberi nor Fillipo Vadi distinguished between different angles vertical or diagonal) of cut, all descending cuts were Fendenti.  Pietro Monte advised Manudextri (blows from right to left) and Manusinistri (from left to right). Monte taught only 2 primary cuts: both diagonal rising cuts from either right or left (and a thrust, Stocchata Vel Puncta). These cuts and thrusts were invariably used in swift combinations of 2 to 3 strokes. See Cuts (German).

Short guard

See Posta Breve.

Sottani

Fiore Dei Liberi’s upward cuts from a low position (essentially an Unterhau).

Spada in Arme’

(“Sword and Armor”) Italian for combat in plate armor or “heavy armor” (called Harnischfechten in German).

Stocchata Vel Puncta

Pietro Monte’s “thrust” or straight thrust delivered from either side from a high or low position and which he considered the most effective of all attacks.

Stramazzone

A term Vadi uses for a cut he does not describe except to say “do it with a little turn in front of the face”. This is consistent with the later use of the term stromacione meaning a quick, light slash or scratch to the face with the point.

Varco

Vadi uses the phrase “varco to varco” (“opening to opening” or “step to step”) to mean attacking the opponent’s various targets with different strokes.

Viste

(“feints”) Vadi’s term for actions which confuse the opponent’s defense preventing him from understanding clearly from which side you will act.

Volanti

Vadi’s term for horizontal or cross cuts. (Tonda, Mezzane, Mittelhau)

Voydyng / Voyding

A term used from at least the 15th century and found English sword text, MS 39564, and other sources, referring to a defensive evading movement such as “voydyng bake with the lyffte legge”.

Window guard

See Porta di Vera Finestra Mancina & Porta Reale di Vera Finestra.

Medieval German Martial Terms

Ablauffen 

(“Running Off”) Withdrawing the blade from an attack, before or after contact, by rotating it around the hilt to hit with the false edge on the other side. Can be done singularly or doubly.  One of the primary ways of using a Kurze Schneide attack.  See Duplieren.

Abnemen

To move away or free yourself from a bind and make another attack.

Abrayssen / Abraisen

(to “break away”) To push the opponent’s hand or weapon downward with the Gehiltz (hilt).

Abschnappen

(“to snap off”) To get free of a Band (bind) by sliding or batting the blade away with a strong, controlled blow.

Abschneiden / Abschnyden

(“cutting aside” or “cutting off’ or “to slice off”) 1. Short drawing cuts known also as Schnitt (“slices”), called Rakes in English, used at closer distances against the opponent’s forearms and hands, they can be made with both the lead and the back edges. These are drawing cuts generally used against the opponent’s arms at close range.  Made singly or doubly (i.e., upwards and then down, or downwards and then up.) 2. To Slice over the arms from below or above; usually with Langer Schnyde  (Long edge). Abschneid = Cut Away

Absetzen / Absezen

(“setting aside”) 1. The principle of timed counter attack to deflect a thrust or parry a cut. While Absetzen in a specialized sense refers to thrusts with opposition the word can also be used to mean a simple parry, usually followed by a thrust. It is also used to denote a type of trapping move in which the sword is hooked over the opponent’s blade, dragging the opponent’s blade down to the ground.  2. To parry an attack on the lower Blossen (openings), the attack is put down by leading his weapon with the Langer Schnyde (long edge) while moving towards the side that the attack came from.

Abwenden

("turning aside") To “ward off” a blow as with a deflecting strike.

Abzug

(“Withdrawal”) According to Meyer, a stage of engagement where the combatant tries to disengage without being hit, usually delivering a retreating strike to cover the withdrawal.

Alber

(“fool’s guard”) A low middle stance with point down.

This stance takes its name from Liechtenauer’s belief that only a fool stays on the defensive, relinquishing the initiative to his opponent.  He acknowledged the superior defensive qualities of this stance by including it among his four. See Posta Tuta di Ferro.

Alter Schnitt

(“After Slice” or “The Ancient Slice”) A cut over the arm of the opponent when he has repulsed a Nachreissen. To move in to slice on the opponent’s extended arms as a Nach action following the completion of his strike.  Part of the “secrets” of fencing –in contrast to the fundamentals of the art.

Am Schwert

 (“on the sword”) Attacks made while maintaining constant pressure on the opposing blade, also known as the Winden (winding or turning).  The second grouping of attacks made in the Krieg phase of combat.  These are attacks made without leaving the opposing blade, maintaining constant blade contact throughout the course of the attack.  Better known as the Winden (Winding or Turning).

Anbinden / Ambinden

(“crossings of the blade” or “tied up”) The engaged position with weapons crossed in which the weapons collide together in their moment of contact.  Called Incrosar a Mezzo Spada (“crossed at half-sword”) by Fiore.

Ansetzen

(“place”) An attack (or thrusts) aimed at a certain body part.

Auffangen 

(“Catching”) According to Meyer, a simple block, wherein the opponent’s attack, rather than deflected off or struck down, is stopped by interposing your own weapon in its path.  Essentially an edge parry. Meyer recognized it conferred no particular advantage and recommended against it (in favor of setting aside, Absetzen, and warding off, Abwenden). But he acknowledged it was sometimes necessary.

Aussernym

(“Outertaking” or “Outerwinding”) In a crossed sword position, to pressure the opponent’s blade in a bind so as to press it aside or down, thereby creating a small opening to which you suddenly reverse pressure and slice forward.

Bainbruch

(“leg break”) A wrestling-grip made exclusively or partially at the legs, which throws an opponent to ground.

Bedebern / Bedebren

To defend with stabs or blows.

Bleiben

(“Remaining”) In a binding position to maintain the blades pressing in contact and thereby sense the opponent’s intentions through feeling the pressure on his blade (i.e., Fühlen).

Binden / Band

(“bind”) The moment of contact between weapons and the actual contact of two weapons.  A bind or trapping action by pressing blade upon blade (usually edge on edge at the ricasso). See Band.

Blizen / Blitzen

(“flashes”) To strike with a shower of sparks.  See Glutzen and Klitzen.

Blossen / Bloßen

(“openings”) The fencer’s body divided by two imaginary lines –across the belt and vertexes –into four Blossen: a right and left upper and lower Blossen. The name probably came from organized fight practice, particularly from the instructions and theory part, where it was in the first lesson as a term for any unprotected body parts. The Four Openings are areas to aim at in combat, the first opening is the opponent’s right side, the second opening is their left side above the belt, and the other openings are their right and left sides below the belt. Liechtenauer first proposed the idea of there being only “four quarters” or openings” high and low, left and right.  English text MS. 39564 also refers to “smyting” the quarters or to “pley a quarter”.

Blossfechten

Unarmored combat in the Fechtschulen as distinguished from armored fighting.

Brechen

(“breaks”) To penetrate by force, to wound, or to defend effectively.

Brechfenster

Das Brentschirn / Das Brentschürn

According to Talhoffer, a bind or an entanglement with the shortened sword during Halb-Schwert. Also a state of battle in which the edges of the swords rub together in the Band. In attempt to usurp the opposing sword from this position.

Bruch

(“break”) In swordplay, the action of an effective defense being a counterattack that “breaks “ the adversary’s own strike.  See Stuck.

Brysen

(“breezes”) A defensive push, to press hard, cornering.

Buffel / Püffel

(“buffalo”) An expletive for fighters without the art of defense, those who use the virtue of strength alone.

Cuts

The German schools recognized three major forms of cut: Oberhau (over cuts) downward diagonal or vertical, Unterhau (under cuts) upward or rising, and Zwerchhau or Mittelhau, (crosscuts) horizontal right-to-left and horizontal left-to-right. Diagonal cuts were Zornhau and vertical were Scheitelhau. There were several names for various specific individual cuts such as: Streithau (the “battle cut”), and Vater Streich (the “father strike”). draw cuts and slicing pulls were usually known as Schnitt. The grand master Johannes Liechtenauer distinguished five principal cuts: Zornhau (“rage cut” or “strike of wrath”), made diagonally from behind the right shoulder; Krumphau (“twisted” or “crooked” cut), made downwards with the false edge, and effected with crossed or twisted wrists; Zwerchhau (horizontal side cut); the Schielhau (“squinting cut”), made downwards with the false edge at the enemy’s shoulder or neck; and Scheittelhau (the “crown cut” or “parting strike”), made vertically downwards and literally aimed at the crown of the head. See Segno cuts. Sigmund Ringeck (c. 1440) refers Liechtenauer’s cuts as the “five strikes”.  Meyer calls all blows delivered with the true edge “straight blows”.

Dal Wegbinden

(“The sling-away” or the “sling-behind”) In Talhoffer, the act of puling the sword blade away from contact or opposition and turning or withdrawing the body to use the second hand to seize or strike.

Das Gayszlen

The “Spring” –throwing a cut from one hand to increase its range by clutching the pommel with the second hand.  English text MS. 39564 frequently refers to the use of blows from the “spryng”.

“DGZPS”

An acronym used by Duerer meaning, Das geht zu paiden seiten (“that works on both sides”).  This refers to the bilateral symmetry of German fighting arts that multiplies the number and variations of techniques.

Doppelhau

Liechtenauer’s  “double-cut”.  Cutting the same way again or by following around or reversing the strike.

Doppelrundtstreich

(“double round-strike”) Quickly striking through with two left-to-right horizontal cuts delivered from the elbow (or half-arm and following around to strike again.) See Rundstreich. Equivalent to the English Double Rownde Strike.

Doppelstich

(“double thrust”) From Joachim Meyer, 1570.

Drey Hewe

(“three blows”) A series of three main blows: an Oberhau from the right, followed by an Unterhau from the left, then a powerful Scheitelhau, or vertical downward blow.

Drey Wunder 

(the “three wonders”) The three principle actions used in the Krieg or Handarbeit phase of sword close combat, the cut (Hau), the thrust (Stoss), and the Schnitt (a slicing or drawing cut). The thrust was used primarily at longer range, the cut at medium range, and the slice more at closer range.

Duplieren / Doplieren

(“Doubling”) To instantly follow up a parried true-edge strike with a false edge strike around the opponent’s blade.  A Winden variant; or an Oberhau that turns into a Dupliert (snatch), through a swift crossing over of the arms - the left hand, that guides the sword pommel, goes under the right - in this position your sword is between the weapon and body of the opponent, hit with a backhand with the Kurtzen Schnyde against his unprotected head and a Zeckruroren against the arms. See also Abluaffen.

Durchführen

(“Changing Through”) In close-combat, to disengage under by moving your point under the opponent’s sword to thrust at an opening on the other side. Durchfuehren means “continuing”,  “going along” and “pressing through”, and could also mean “to lead through”.

Durchlauffer / Durchlauffen

(“pass through”, “running through” or “to run though”) A term for two actions: 1. To run under a highly directed attack of the opponent, while you keep the hilt of your sword on the left side of your head and put the blade across the back, and move through under the opponent’s weapon.  2. To pass all the way under the opponents raised right arm, so that you can reach his back and do a wrestling throw.

Durchsetzen

(“pushes through” or “to push though”) A timed thrust from above or below that passes between the opponent’s held out arm and his body.

Durchstreychen / Straichen

(“Striking Through” or “Stretch Through”) A falsing action by a  circling-motion along the opposing sword, that disengages from one opening and stabs or cuts into another.   Also a type of Durchwechselns.  According to Meyer, sweeping or flourishing the sword in front of the opponent, to stall, confuse, intimidate, or provoke.

Durchwechseln / Wechslen

(“changing through”) The move of evading contact with the opponent’s blade as you strike (e.g., changing line of attack).  To change into another opening with the point. Also called Durchwechsel.

Einhorn

(the “unicorn”) A posture similar to the Ochs, but with the point aimed high like a unicorn’s horn.  Also, from the Sprechfenster straight thrust to the face; a Valsch Ortt, a thrust, that was regarded as dangerous and malicious The term instills a visual image that the executing fencer leaves behind his weapon.  The position may be equivalent to Fore’s Posta Finestra.

Einlauffen

(“Running In”) To duck under the opposing weapon or employ closing and entering techniques (Einlauff).

Eiserne Pforte

(“Iron Gate” or “Iron Door”). Another name for Alber, the “Fool’s Guard”.  See Low guard. In the German schools, the may be made in the center, left or right.

Ernst Fechten

(“fighting in earnest”) The idea of practicing real killing techniques and not play or show fighting.

Falso Filo

The false edge. Also filo falso. Opposite of filo dritto, true edge.

Fechtbuch

(“fight book” or “fencing book”) a German manual on fighting techniques and methods, particularly swordsmanship, (plural Fechtbuecher), among the more famous are those by the masters Johannes Liechtenauer’s of 1389 (by Hanko Doebringer), Sigmund Ringneck of c. 1440, Hans Talhoffer of 1443, Peter von Danzig of 1452, Paulus Kal of c.1460, Johannes Leckuechner (“Lebkomer”) of 1482, Peter Falkner of 1490, H. von Speyer of 1491, Joerg Wilhalm of 1523, Andre Pauerfeindts of 1516, and Gregor Erhart from the early 1500’s. (plural is Fechtbucher). Medieval Italian fighting manuals include those of Tarcirotti of c. 1400, Fiore dei Liberi from 1410, Boris Ferres of 1428, Fillipo Vadi of c. 1480, and Pietro Monte of 1509, and there is also the Spaniard Diego de Valera’s of c. 1490.

Fechtmeister

(“Fight Master”) - a German Master of Defence or martial arts expert  (Italian Meastro de’ Arme’ or Master of Arms)

Fechtschule

(“Fight School”) A Medieval or Renaissance fencing school or public fighting exhibition and competition in Germany.

Federfechter

A German Renaissance fighting guild which favored the rapier among other weapons.

Ferzücken

Sudden abrupt changes of the direction of the attack (i.e., “changes in line”).

Filo Dritto

The true edge. Opposite of filo falso, false edge.

Fixura

A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295).

A thrust either crossed over or under the buckler or occasionally without crossing the buckler at all (not always distinguishable from the Stich).

Flech

German for the flat of the blade.

Fliegender

(“flying thrust”) From Joachim Meyer, 1570.

Fuehlen

(“Feeling”). Feeling or gauging an opponent’s pressure. To judge or “sense” the Harte or Weiche (hard or soft) through the feel of your weapon when pressed in Anbinden. Also called Fullen / Fulen / Fuhlen.

Fusshau

Liechtenauer’s  “foot-cut”.

Gaukler

(“juggler” or “acrobat”) A derogatory term for those masters who taught flowery, ineffective forms of swordsmanship as opposed to Ernst Fechten.  See Leichmeister and Klopffechter.

Gefechten

Foot combat. As contrasted with mounted combat.

Geferte

The intended attacks and their manner of execution; the movement of blow combinations. Gevert and Vart with significant adaptation and application in a fight. Also called Gefarte / Gefahrte.

Gehiltz / Gehultz

The cross guard of the hilt.  See Croce.

Gemechstich

(“groin thrust”) From Joachim Meyer, 1570.

Geschrenckt Ortt

 A thrust, in which the hands are held crossed over, the left hand under right. See Langer Ort.

Gesicht Stich

(“face thrust”) From Joachim Meyer, 1570.

Gewapent Stehen / Gewappnete Hand

A half-sword (Halb Schwerdt) stance where the sword becomes a barrier in front of the body, by grasping the middle of the blade with the left hand and the hilt in the right hand. The Term expresses the idea that the position covers and protects the body against attacks.

Gewappet Ort / Gewappent Ortt

To thrust forth from the Stehen or shielded half-sword position.

Gleich Fechten

Attacking at the same time as the opponent or In des Fechten (as opposed to Nach Reissen and Vor Fechten).

Glietzhaw 

(“Clashing Blow”)  According to Meyer a forehand blow in which the right hand comes in with knuckles upward to catch an opponent’s blow on the flat, then rolls counterclockwise to deliver a false edge blow.

Glutzen (glow)

To make a shower of sparks. Also Klutzen.

Gurgelstich

(“throat thrust”) From Joachim Meyer, 1570.

Halb Schwert / Halbem Schwert

(“half-sword”) techniques of gripping the middle of