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| '''[15r] Der zornhaw'''
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<poem>Wer dir vberhaut,
 
zornhaw, ort dem traw,
 
wirt er es gewar
 
nym oben ab ane vor,
 
bis sterckher wieder
 
wind stich sicht er es, nym es nyder,
 
das oben merckh,
 
haw stich beg er weich oder hert
 
jm des, vnnd vor nach
 
an hurt dem krieg sey nit gach,</poem>
 
 
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{{section|Page:Cod.I.6.2º.2 42br.jpg|4|lbl=-}}
| <br/>
+
| <p><br/></p>
<poem>wer der krieg Remet,
+
 
oben Nider wirt er beschemet,
+
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jn allen winden,
 
haw stich schnite leere winden,
 
auch soltu Brrueffen,
 
mit hawe stich oder schnite,
 
jm allem treffen,
 
den maistern wilt du si <del>treff</del> Effen,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|1|lbl=42vb}}
| '''Die vier plössen,'''
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<poem>Vier plösse<sup>wisse</sup>
 
Remen, so schlechstu gewise,
 
an alle var
 
Der Zweifel wirt er gewar</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|2|lbl=-}}
| '''Die vier plössen zubrechen'''
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<poem>Wiltdu dich rechen
 
vier plösse kunstlich brechen.
 
obenn Dupliere<ref>Between "Dupliere" and "doniden" there is a lack of space, possibly the "d" was added later.</ref>
 
doniden rechte mutiere,
 
jch sag für war,
 
sich Schucz kain mann an vare,
 
hastu vernomen,
 
zu, schlagen mag er Cleine <del>khumen</del> kumen</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|3|lbl=-}}
| '''Der krumbhaw'''
+
|  
<poem>Krumb auff behende
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wirff deinen ort auff die hende,
 
krumb wher wol seczt,
 
mit schriten vil hew leczt,
 
haw krumb zuflech[en]
 
'''[15v]''' den maistern wiltdu si schwechen,
 
wen es kliczt ob,
 
so stannd ab, das will jch loben,
 
krumb mit kurcz hau,
 
durchwechsel damit schaw,
 
krumb wer dich jrret,
 
der Edl krieg verwirrret,
 
das er nicht waiß fur war,
 
wo er seyone var,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|4|lbl=-}}
| '''Der Twer haw'''<br/><br/>
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<poem>Twer benymbt,
 
was von dem tag darkumbt,
 
were mit der sterckhe,
 
dein arbait derh mit merckhe,
 
twere zu dem pluge,
 
zu dem ochsen hart gefuge,
 
was sich wol tweret,
 
mit springen dem haubt gefert,</poem>
 
 
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{{section|Page:Cgm 3711 43v.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cgm 3711 44r.jpg|1|lbl=44r|p=1}}
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|5|lbl=-}}
| <poem>veller verfüret,
+
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von vnden nach wunsche, er ruret,
 
verkert zwinget,
 
durch lauffen Ouch mit Ringet,
 
den elenbogen gewis nym,
 
spring jn[n] die wage,
 
veller zwifach,
 
drifft man den snit mit mache,
 
zwiefachs furbas
 
schret jn linckh vnd bes nicht laß,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 42bv.jpg|6|lbl=-}}
| '''Der von schilhaw'''
+
| {{section|Page:Reichsstadt "Schätze" Nr. 82 015v.jpg|4|lbl=-}}
<poem>Schiller einpricht,
 
was puffel [sc]hlecht oder sticht,
 
wer wechsel draut,
 
schiller darumb in beraut,
 
[sc]hil kurczt er dich an,
 
durchwechsel, das sigt jm an,
 
[sc]hil zu dem ort,
 
vnd nym den hals one forcht,
 
[sc]hill zu dem [o?]ben[?] haubt vnd hende,
 
wilt du bedobern,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43r.jpg|1|lbl=43r}}
| '''Der scheitler'''
+
|  
<poem>Der [sc]heitler
+
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dem antlicz ist gever,
 
[sc]heitler mit seiner kar
 
der Brust vast gewer,
 
was [sc]heitler von jm kumbt,
 
'''[16r]''' Die [E?]ron das abnymbt,
 
schneid durch die [E?]ron,
 
so prichstu si gar schon,
 
die straich drucke,
 
mit schneiden si abzuckhe,</poem>
 
 
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| '''Die vier leger'''
+
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<poem>Vier Leger allein,
 
davon halt vnd fleuch die gemain,
 
ochs pflug alber,
 
vom tag sein dir nicht vnmer,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43r.jpg|3|lbl=-}}
| '''Die vier versecz[en]'''
+
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<poem>Vier sind verseczen,
 
die di leger auch seer Leczen,
 
vor versecz[en] Huet dich,
 
geschicht das auch seer Nücz dicht,
 
ob dir verseczt ist,
 
vnd wie das dar kumen ist,
 
Hör was jch dir Rate
 
streich ab Haw [sc]hnel mit drate,
 
secz an vier enden,
 
bleib darauff ` lere wiltu enden,</poem>
 
 
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| '''Von Nachraisen,'''
+
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<poem>Nachraisen Leere,
 
zwifach oder, schneid Jnn die wehre,
 
zway außre nyme,
 
der arbait darnach beginne,
 
vnd pruff die gefertte,
 
ob si waich sind oder herte,
 
das [fe?]llen Leere,
 
Jnndas wort findet seere,
 
Nachraysen zwifach,
 
Trifft man den alten schnit mit mache</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43r.jpg|5|lbl=-}}
| '''Von vberlauffen,'''
+
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<poem>Wer vnnden remet
 
vberlauffen den der wirt be schemet,
 
wen es gliczt oben,
 
so truckst das gerich loben
 
dein arbait schwache,
 
oder hört druckh zwifache</poem>
 
 
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| '''[16v] Von abseczen,'''
+
| {{section|Page:Reichsstadt "Schätze" Nr. 82 016v.jpg|1|lbl=16v}}
<poem>Leere abseczen,
 
haw stich kunstlichen leczen,
 
wer auff dich sticht,
 
dein orte Trifft, vnd seiner pricht,
 
von baiden syten,
 
triff alle mal wilu schreiten</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43v.jpg|1|lbl=43v}}
| '''Von Durchwechsel,'''
+
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<poem>Durchwechsel Leere,
 
von baiden seiten stich mit seere
 
wer auf dich bindet,
 
durchwechsel jn schier findet,</poem>
 
 
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| '''Von zucken,'''
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<poem>Trit nahendt in pinde,
 
das zuckhen gibt guet fünde,
 
zuckht trifft er, zuckht mer
 
arbaitere, vnnd das met jm wee,
 
zuckht aller treffen,
 
den maistern wilt du sy äff[en]</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43v.jpg|3|lbl=-}}
| '''Von Durchlauffen,'''
+
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<poem>Durchlauff laß hangen,
 
mit dem knopff greiff wiltdu reng[en]
 
wer gegen dir sterckh,
 
durchlauff damit merckh,</poem>
 
 
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| '''Von abschneiden'''
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<poem>Schneid ab die hannd,
 
von vnden jnn baiden gewerten,
 
vier sind der [sc]hnit,
 
zwen vnden zwen oben mit,</poem>
 
 
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| '''Von hennd truckhen,'''
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<poem>Dein schneid wennde
 
zuflechen druckh die hende,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43v.jpg|6|lbl=-}}
| '''[17r] Von zwayen hengen'''
+
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<poem>Zway hengen werden,
 
aus ainer hannd von der erd[en]
 
Jn allen gevert,
 
haw stich leger waich oder hert,</poem>
 
 
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| {{section|Page:Cod.I.6.2º.2 43v.jpg|7|lbl=-}}
| '''Von Sprechvenster'''
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<poem>Sprechvenster machen,
 
stannd Freilichen, besich sein sachen,
 
schlag jn das er schnabe,
 
wehr sich vor der zeucht abe,
 
Jch sag furwar,
 
sich schucz kain mann on var,
 
hast du es vernomen
 
zu schlageen mag er clein khumen</poem>
 
 
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{{section|Page:Cod.I.6.2º.2 43v.jpg|8|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.2 44r.jpg|1|lbl=44r|p=1}}
| '''Das ist die beschliessung der zetl'''<br/><br/>
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<poem>Wer wol furet
 
vnd recht bricht, vnd mitlich gar bericht
 
bricht besunder,
 
jeczlichs jm dren wunder,
 
wer recht wol hawet
 
do bringet
 
vnd winden achten,
 
mit rechte[n] wegen betrechten,
 
vnd so jr eine,
 
der winden selbtrit ich meine,
 
so sind jr zwainczig,
 
vnd vier, zele si ainczig,
 
von baiden seiten,
 
acht winden lerne mit schreiten,
 
vnd pruff die gefert,
 
nicht mer nur waich oder hert,</poem>
 
 
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Revision as of 23:57, 26 June 2017

Die Zettel
The Recital
Johannes Liechtenauer.png
Full Title A Recital on the Chivalric
Art of Fencing
Ascribed to Johannes Liechtenauer
Illustrated by Unknown
Date Fourteenth century (?)
Genre
Language Middle High German
Archetype(s) Hypothetical
Manuscript(s)
First Printed
English Edition
Tobler, 2010
Concordance by Michael Chidester
Translations

Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a German fencing master in the 14th or 15th century. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the Nuremberg Hausbuch, one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Nuremberg Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.

Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zettel ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive glosses (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on Paulus Kal's roll of the Fellowship of Liechtenauer were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter.

Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Nuremberg Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.[1] However, given that the Nuremberg Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the early 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Nuremberg Hausbuch as being of indeterminate date, the oldest version of the Recital appears in the MS G.B.f.18.a, dating to ca. 1418-28 and attributed to an H. Beringer, which both conforms to this timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teaching rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts).

Treatise

Liechtenauer's teachings are preserved in a brief poem of rhyming couplets called the Zettel ("Recital"). These "secret and hidden words" were intentionally cryptic, probably to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as Sigmund ain Ringeck, Peter von Danzig zum Ingolstadt, and Jud Lew wrote extensive glosses that sought to clarify and expand upon these teachings.

Twenty-one manuscripts contain a presentation of the Recital as a separate (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is found in the gloss from the Nuremberg Hausbuch, which contains almost twice as many verses as any other. However, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the standard Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only the version attributed to H. Beringer (which is also included in the writings of Hans Folz).

The following tables include only those manuscripts that quote Liechtenauer's Recital in an unglossed form. Note that in the case of Beringer and Folz, the verse is presented in an alternative sequence; they have been reordered to match the others in this rendition, but you can find the original layout in their articles.

temp division

In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six figuren ("figures")—single line abbreviations of the longer couplets, generally drawn in circles, which seem to sum up the most important points. The precise reason for the existence of these figures remains unknown, as does the reason why there are no equivalents for the armored fencing or unarmored fencing verses.

One clue to their significance may be a parallel set of teachings first recorded by Andre Paurñfeyndt in 1516, called the "Twelve Teachings for the Beginning Fencer".[29] These teachings are also generally abbreviations of longer passages in the Bloßfechten, and are similarly repeated in many treatises throughout the 16th century. It may be that the figures are a mnemonic that represent the initial stage of mounted fencing instruction, and that the full verse was taught only afterward.

Additional Resources

References

  1. Christian Henry Tobler. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. p6
  2. The text diverges here, omitting Liechtenauer's couplet and inserting this quatrain instead:
    Dagge swert stãge lãse schon
    Messer bockler has vñ rõken
    Taegñ darde vnd schilt
    Miden allen zu ringe~ uff du wilt
  3. First letter almost illegible.
  4. First letter illegible.
  5. Text terminates at this point. The leaves with the rest of the text are gone, probably lost.
  6. kam
  7. deinen
  8. faler
  9. Gotha inserts the title Das ist der krieck in this position, but no other version separates it in that way.
  10. Text adds an additional couplet: "hastu es vernomen zu kain / schlag mag er komen".
  11. Text adds an additional couplet: "hast dus vernomen / zu kaim schlag mag er komen".
  12. Text adds an additional line: "das son ich vernomen".
  13. Text adds an additional line: "ha das han ich vernomen".
  14. There is no space between "Dupliere" and "doniden", the "D" was possibly added later.
  15. Corrected from »Im«.
  16. 16.0 16.1 Corrected from »Twir«.
  17. haust
  18. Talhoffer adds an additional couplet: [4r] Page:Ms.Thott.290.2º 004r.jpg
  19. Hier hat der Schreiber offensichtlich ein Häkchen vergessen.
  20. should be "dreffen"
  21. This section is followed by one titled "Von durchlauffen ab seczen", which repeat the verse on Absetzen.
  22. Text adds an additional couplet: "Das schwertt bind / zu der fleche truck in die hend".
  23. Text adds an additional couplet: "thutt er sich gegen dir greisen / schlagen das er seisse".
  24. Text adds an additional couplet: "thutt er sich gegen dir greifen / schlagen das er Seise".
  25. ";" in a circle
  26. The meaning is unknown, but may be a part of the bridle.
  27. There are dots above the e, but it is not clear whether it really is an umlaut.
  28. "Vecht" (sound shift b→v)
  29. Andre Paurñfeyndt, et al. Ergrundung Ritterlicher Kunst der Fechterey. Hieronymus Vietor: Vienna, 1516.