In Hs 3227a, the anonymous author talks about his “five words,” although he really expresses several others as important as well. I’ve been looking at these things for years, trying to find the core, root principles of the Kunst des Fechtens—the universal ones that apply to all forms in the art, not just to the longsword.
Not all ideas are universal: For example, with the longsword we are taught to attack on a diagonal from the Zufechten, but this doesn’t apply to halfswording. Others, however, are universal: The idea of the strong and weak of a weapon is important even in grappling (although the strong and weak usually refer to places on your opponent’s arm).
The primary idea in all of these oppositions is to know what condition prevails in a fight. We aren’t to prefer one over the other, but rather to accept it and know what to do from that condition. As we are told, react to “strength with weakness and weakness with strength”—neither is given as “better,” we just have to know what to do in either condition without trying to force the one we want.
Some may think that the Vor is always to be preferred over the Nach, but that is a misconception. Many people believe Liechtenauer instructs us to always act in the Vor, but von Danzig calls Long Point the best of all positions from which to fight (talking about waiting in it for the enemy to act), and, of course, the plays of the third halfsword guard are all waiting techniques in the same way. Sometimes it is very dangerous to attack a skilled, prepared opponent in the Vor from the Zufechten. No, the real idea is to take the Vor and then keep it, but there are plenty of times when it is far preferable to allow your opponent to start in the Vor and then take it from him when he acts. Again, the important thing is to know what to do in either situation.
Likewise with the strong or weak of a weapon. We shouldn’t care where the bind occurs as much as we should be concerned with knowing how to act in either situation. Granted, there are times we must select one or the other, such as in the Zornhau Ort when we have to make the initial bind with our strong on our opponent’s weak, but if he prevents that from happening we have to know how to act. The same with whether the bind is hard or soft, you simply have to know how to act in either case.
The danger in preferring one of the oppositions over the other is that you will often try to “force” a technique in the wrong situation if you prefer one over the other. By not really caring one way or the other you have less mental inertia to overcome and can act with less hesitation. That doesn’t prevent you from trying to do a technique that requires one over the other (e.g., the displacement I mentioned above), simply that you not be wedded to it; after all, it is a universal maxim that few plans survive contact with the enemy, and the consequences of that truth can best be managed with mental flexibility.
Fühlen and Indes are a special case, one that I didn’t really see for a long time. They may seem too different to be specifically opposed, but in a way they really are contradictory. We are told to act Indes, immediately, or instantly, but we are also told to feel the bind, a thing that takes a moment to do. There is no mystical secret, as some believe, that allows us to disconnect our brains and instantly feel a bind then instantly act in that same moment—we simply aren’t wired that way. This recognition led me to examine many of the techniques and their alternative actions which in turn led to something I call “Active Fühlen.”
Let’s take, as an example, the Zwerchhau counter to the Zornhau. We are told that if the enemy binds with the cut, we must feel the bind, and if he is hard in the bind we can either use a Duplieren or a Cross Knock, while if he is soft in the bind we should use a neck Schnitt. That’s fine, but he’s not likely to sit there and wait even the nanosecond it takes for us to use Fühlen, he’s going to go on to the next thing on his agenda. But instead of passively feeling the bind, we can test it actively by using the technique we would use if the bind were found to be soft—the Schnitt in this case, and doing so Indes, without pause or hesitation. If he’s actually soft in the bind, no problem—we have acted Indes and he dies from a terrible shaving cut. If he’s hard in the bind, however, the technique won’t work, but he will usually push back into the bind as we move against it—in effect, pinning him for just a moment, and in that moment we change gears—mental flexibility through not preferring either one—and do, say, the Cross Knock.
Likewise, if someone is soft in the bind and you use a technique that moves his blade (as most do), he may suddenly and instinctively go hard in the bind to prevent your technique from working. Again, that’s fine—you don’t care what the bind is, you merely care about acting correctly in it. You actively test the bind in a way that tends to cause your opponent not to move on, giving you time in which to act.
Thus, Fühlen and Indes are opposed, but that opposition simply tells us how to use them together.
I am not trying to develop any new ideas through this analysis—any readers of my work will know I completely reject any attempt to “improve” Liechtenauer’s art. Instead, I’m simply trying to find a different way of looking at what we’ve been told in order to better understand it and to find better ways transmit it to my students. So the next time you do a technique, in any form, be it longsword, dagger, pollaxe or grappling, analyze it according to the Four Oppositions.
