Meyer's longsword 101 - Chapter 10: How One Should Fence at the Four Openings

This summarised chapter 10 from the 1570 'Art of combat'. Chapter 10 is where we get the Meyer's square, often used as a warm-up exercise. Meyer uses it to teach the various cuts and handworks covered in earlier chapters.

Concept Overview

Learn to:

• Strike into all four openings (high left/right, low left/right).

• Recover and flow from one cut to the next, adapting based on the opponent’s response.

• Use all parts of the blade: long edge, short edge, and flat.

• Control the bind: strike, deceive, and recover with timing.

  
  

Drill 1: The Four Openings — Basic Cutting Flow

1. Advance to within one klafter (approx. 6 feet).

2. From right shoulder, make three rising cuts through opponent’s face. On the third, land in Longpoint with left foot forward.

3. Drop blade tip left, raise hilt, cut diagonally from right toward opponent’s left ear. (i.e. cut from a hanging guard)

4. Immediately pull back, then cut upward diagonally from below at opponent’s right arm, stepping off-line left.

5. Pull sword up to right again and cut at opponent’s left lower opening.

6. Before it hits, wind the cut around the head and strike diagonally to their right ear.

7. Finish with a cross cut and retreat.

Repeat this full sequence fluidly—no pauses.

Drill 2: Edge Mastery — Long Edge, Short Edge, Flat

1. Repeat Drill 1 with long edge.

2. Then repeat same flow using short edge—ensure you can hit all four targets nimbly.

3. Repeat again using the flat:

   • Use inward flat to strike right side.

   • Use outward/inverted flat to strike left side.

4. Switch up your starting point each time (high left, low right, low left, etc.).

Meyer's square

Drill 3: Defensive Reactions & Counter-Cuts

Goal: Learn to guard the four openings either by:

• Blocking with the blade, or

• Delivering counter-cuts during the opponent’s attack.

Practice both options. Counter-cuts are preferred when timed well.

Meyer doesn't say which cuts to use, but in my experience, the simplest is to perform Oberhaus and Unterhaus, the same as your opponent is making. However, more practically, you can use Krumphaus for everything.

Drill 4: 'The craft' — Flow & Redirection

1. If your cut is blocked, don’t force it.

2. Instead, withdraw mid-cut, feint, and redirect to another opening. This will involve using the handworks from Chapter 6: pulling, flying away, running off, failing, cutting around etc.

3. Use this to overwhelm their defense by cycling attacks until one lands.

   
   

Examples:

• Strikes 1 and 2 land, but 3 is blocked → pull back 3 and send 4 immediately.

• Strike 1 lands, then 2 and 3 are withdrawn mid-way → strike 4 decisively.

• Feint 1 & 2, then redirect to nearest open line.

Train both sides, switching which cut you withdraw and redirect. Think of this as “wringing out” failed strikes into openings they leave exposed.

Drill 5: Attacking the same opening twice

Learn to send your blade to the opening in combination. Also, do this firstly with the long edge, then with the flat or the short edge.

These drills don't make a whole lot of sense to me at the moment...

Variant 1:

• Start with high cut to left ear (long edge).

• Immediately pull hands up, pass pommel under right arm, and cut up from below at left again.

• Step in with left foot behind right; guard raised.

Variant 2:

• Start with low cut to lower opening (long edge).

• Pull blade back up right and cut down from above to same side.

• Step back left foot behind right to stay protected.

Variant 3:

• Cut high from right with short edge, hands crossed.

• Pull back, then cut up from below with crosswise short edge to the same side.

Variant 4:

1. Start with a crosswise cut from below at their left while stepping forward.

2. Pull the sword upward on your right side, thrust your pommel under your right arm.

3. Flick back with crossed hands from your right high to strike their left again.

4. This series hits with the flat on both levels (high and low) on one side. Works left and right.

Note: When striking the lower right, your hands cross regardless of edge used. But at the upper right, hands may or may not cross—depends on blade angle.

Variant 5:

1. In the onset, make a half edge cut from your left to their right ear.

   • Hands do not cross; pommel points left.

2. Pull back upward toward your right, crossing hands in the air.

3. Strike with crossed hands a crosswise strike to their lower right opening from the left.

4. Notice: you’ve likely taken two steps out to their right, keeping your head well covered by the sword line.

   
   

Variant 6:

• Start a cut to an upper opening.

• If you sense they aren’t attacking, but preparing a counter → don’t let your blade land.

• Redirect mid-cut to a lower opening on the same side.

• If they step under your cut, continue the attack against the strong of their blade.

Goal: Pressure both high and low simultaneously—create uncertainty, force reactions.

Drill 6: Bind & Wind Variation (Winden)

1. If you’ve bound from your right to their left, stay firm on their blade.

2. Unexpectedly thrust your pommel under your right arm, still maintaining contact. This basically pushes aside their blade with your weak.

3. Pull pommel back while winding short edge outward at their head.

Tip: Edge Application Spectrum

You now have six variations for offensive work, on both sides:

Edge Type	Direction
Long Edge	Inward / Outward
Short Edge	Inward / Outward
Flat	Inward / Outward

Train each edge variation in both directions and against different openings. Edge choice plus hand crossing determines speed, control, and line coverage.

Drill 7: Practical Application — The Third Aspect of Fencing

Concept Summary:

The third principle of fencing is about applying the first two (attacks and counter-techniques) in real combat, adapting to moment-by-moment changes.

Principle Breakdown:

• From attacks (1st principle): Learn to adapt on the fly—let cuts transform, misdirect, pass off-line, or deceive in response to the opponent's defense.

• From countering (2nd principle): Learn to disrupt their attack by pulling away mid-technique, chasing their retreat, slicing through, or pressing your advantage—making their actions ineffective.

Drill Objective:

Perform a sequence where you:

1. Initiate cuts from known stances with purpose and pressure.

2. Use clever tactics (feints, cut-throughs, redirection) when they respond.

3. If they try to counter, respond in turn by evading or binding, keeping your attacks live.

4. Once you’ve seized initiative, either:

   • Withdraw safely, or

   • Pursue carefully and maintain pressure.

Summary Thought:

The third aspect is the living art—the “flow state” where techniques become instinctive, reactive, and unpredictable. Every stance, cut, or bind becomes a gateway to another, depending on timing and judgment.