Summary of Joachim Meyer's The Art of Sword Combat
Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The well-born lord, Lord Otto Count von Solms, lord of Münzenberg and Sonnenwalde, was my gracious lord. He had a particular charm in the chivalric liberal art of combat, and he greatly loved and promoted it.
#2 The Before and After are two stages of every attack combination. The Before is when you drive your opponent with your techniques so that he cannot achieve his intent, but confines himself to parrying your techniques and counter and bar them. The After is when you are rushed upon by your opponent and you immediately counter him with suitable work.
#3 The sword is first divided into two parts, from the haft to the middle of the blade, which is the forte, then the middle to the tip is the foible. The sword is further divided into four parts as indicated in the illustration.
#4 The five master cuts are Wrath, Crooked, Thwart, Squinter, and Scalper. The six secret cuts are Blind, Rebound, Short, Wrist, Clashing, and Winding.
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Sample Book Insights:
#1 The well-born lord, Lord Otto Count von Solms, lord of Münzenberg and Sonnenwalde, was my gracious lord. He had a particular charm in the chivalric liberal art of combat, and he greatly loved and promoted it.
#2 The Before and After are two stages of every attack combination. The Before is when you drive your opponent with your techniques so that he cannot achieve his intent, but confines himself to parrying your techniques and counter and bar them. The After is when you are rushed upon by your opponent and you immediately counter him with suitable work.
#3 The sword is first divided into two parts, from the haft to the middle of the blade, which is the forte, then the middle to the tip is the foible. The sword is further divided into four parts as indicated in the illustration.
#4 The five master cuts are Wrath, Crooked, Thwart, Squinter, and Scalper. The six secret cuts are Blind, Rebound, Short, Wrist, Clashing, and Winding.
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