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− | '''Joachim Meyer''' (ca. 1537 - 1571)<ref name="Dupuis">[[Olivier Dupuis|Dupuis, Olivier]]. ''Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat.'' Dijon: AEDEH, 2006.</ref> was a [[century::16th century]] [[nationality::German]] [[Freifechter]] and [[fencing master]]. He was the last major figure in the tradition of the German grand master [[Johannes Liechtenauer]], and in the last years of his life he devised at least three distinct and quite extensive [[fencing manual]]s. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including | + | '''Joachim Meyer''' (ca. 1537 - 1571)<ref name="Dupuis">[[Olivier Dupuis|Dupuis, Olivier]]. ''Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat.'' Dijon: AEDEH, 2006.</ref> was a [[century::16th century]] [[nationality::German]] [[Freifechter]] and [[fencing master]]. He was the last major figure in the tradition of the German grand master [[Johannes Liechtenauer]], and in the last years of his life he devised at least three distinct and quite extensive [[fencing manual]]s. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing.<ref name="Castle 74">[[Egerton Castle|Castle, Egerton]]. {{Google books|XgYHAAAAQAAJ|Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century|page=74}}. London: George Bell and Sons, 1885. pp 74 - 76.</ref> In addition to his fencing practice, Meyer was a Burgher and a master cutler.<ref name="Naumann">Naumann, Robert. ''Serapeum.'' Vol. 5. T.O. Weigel, 1844. pp 53-59.</ref> |
Meyer was born in Basel,<ref>According to his wedding certificate.</ref> where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.<ref>His dagger teachings do, however, show some evidence of influence by [[Achilles Marozzo]]'s printed treatise.</ref> | Meyer was born in Basel,<ref>According to his wedding certificate.</ref> where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.<ref>His dagger teachings do, however, show some evidence of influence by [[Achilles Marozzo]]'s printed treatise.</ref> | ||
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Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund) and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var 82]] (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/1561-joachim-meyer-dedicated-a-fencing-book-to-the-pfalzgrafen-of-pfalz-veldenz-2/ 1561 Joachim Meyer dedicated a fencing book to the Pfalzgrafen of Pfalz-Veldenz]". ''Hans Talhoffer ~ as seen by Jens P. Kleinau''. 04 July 2011. Retrieved 14 February 2015.</ref> Dwarfing these works is the massive book he published in 1570 entitled "[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings]]". Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dussacks, and rapiers with ball tips. | Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund) and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var 82]] (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/1561-joachim-meyer-dedicated-a-fencing-book-to-the-pfalzgrafen-of-pfalz-veldenz-2/ 1561 Joachim Meyer dedicated a fencing book to the Pfalzgrafen of Pfalz-Veldenz]". ''Hans Talhoffer ~ as seen by Jens P. Kleinau''. 04 July 2011. Retrieved 14 February 2015.</ref> Dwarfing these works is the massive book he published in 1570 entitled "[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings]]". Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dussacks, and rapiers with ball tips. | ||
− | The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter [[Andre Paurñfeyndt]] (via [[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|Christian Egenolff's reprint]]) and Liechtenauer glossators [[Sigmund ain Ringeck]] and [[ | + | The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter [[Andre Paurñfeyndt]] (via [[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|Christian Egenolff's reprint]]) and Liechtenauer glossators [[Sigmund ain Ringeck]] and [[Lew]], as well as using terminology otherwise unique to the brief [[Recital]] of [[Martin Syber]]. Not content merely to compile these teachings as his contemporary [[Paulus Hector Mair]] was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a [[greatsword]] and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule). |
The second part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.<ref>Roberts, James. "[http://www.hroarr.com/system-vs-syllabus-meyers-1560-and-1570-sidesword-texts/ System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts]". Hroarr.com, 2014. Retrieved 14 February 2015.</ref> Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,<ref>[[Roger Norling]]. "[http://hroarr.com/the-dussack/ The Dussack - a weapon of war]". Hroarr.com, 2012. Retrieved 6 October 2015.</ref> combines the old [[Messer]] teachings of [[Johannes Lecküchner]] and the dussack teachings of Andre Paurñfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of [[Achille Marozzo]]). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dussack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later. | The second part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.<ref>Roberts, James. "[http://www.hroarr.com/system-vs-syllabus-meyers-1560-and-1570-sidesword-texts/ System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts]". Hroarr.com, 2014. Retrieved 14 February 2015.</ref> Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,<ref>[[Roger Norling]]. "[http://hroarr.com/the-dussack/ The Dussack - a weapon of war]". Hroarr.com, 2012. Retrieved 6 October 2015.</ref> combines the old [[Messer]] teachings of [[Johannes Lecküchner]] and the dussack teachings of Andre Paurñfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of [[Achille Marozzo]]). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dussack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later. | ||
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! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ||
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ||
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| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p> | | <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p> | ||
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<p>Subserviently Willing</p> | <p>Subserviently Willing</p> | ||
<p>Joachim Meyer<br/>Fencing Master</p> | <p>Joachim Meyer<br/>Fencing Master</p> | ||
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− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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− | | <p>{{red|b=1|Thorough Descriptions | + | | <p>{{red|b=1|Thorough Descriptions of the free Knightly and}}''' Noble Art of Fencing, with various Custom'''ary Weapons, with many beautiful and useful illustrated Figures affected and presented.'''<br/><br/></p> |
− | <p>{{red|By Joachim Meyer | + | <p>{{red|By Joachim Meyer, Free-Fencer in Strasburg}}</p> |
<p>YEAR 1570</p> | <p>YEAR 1570</p> | ||
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<section begin="credits1"/> | <section begin="credits1"/> | ||
− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
<section end="credits1"/> | <section end="credits1"/> | ||
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− | | <p>'''Contents of the first Book on Fencing with the Sword | + | | <p>'''Contents of the first Book on Fencing with the Sword, and how its description is ordered, and whereupon this Knightly Art’s foundations are laid.'''</p> |
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|1|lbl=1 | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|1|lbl=Ⅰ.1r.1}} |
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| <p>As I intent to diligently and truly and to the best of my understanding and abilities describe the art of Fencing in the Knightly and Manly weapons that are currently used most often by us Germans, and because fencing with the sword is not just the source and origin of all other forms of fencing but, as experience shows and as is obvious, also the most artful and manly next to other weapons, I deem it necessary and good to begin with it and do so in brevity but also clarity as it is customary in other arts and disciplines.</p> | | <p>As I intent to diligently and truly and to the best of my understanding and abilities describe the art of Fencing in the Knightly and Manly weapons that are currently used most often by us Germans, and because fencing with the sword is not just the source and origin of all other forms of fencing but, as experience shows and as is obvious, also the most artful and manly next to other weapons, I deem it necessary and good to begin with it and do so in brevity but also clarity as it is customary in other arts and disciplines.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|2|lbl=Ⅰ.1r.2}} |
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| <p>Firstly, list the terminology invented by masters of this art so that one can learn and comprehend the secrecy and speed of it all the quicker and easier. After that, explain these terms so that everyone may understand what is meant by them.</p> | | <p>Firstly, list the terminology invented by masters of this art so that one can learn and comprehend the secrecy and speed of it all the quicker and easier. After that, explain these terms so that everyone may understand what is meant by them.</p> | ||
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| <p>Then thirdly, achieve the ability to extend the art in your own right, and from your clarity attain and exude the proper judgement in Stance and Strikes so that Youth will not have to learn this art unguided and, because of your unspoken word, ill is wrought and they thus learn wrongly to the detriment of the art. Once achieved, we need your words and thoughts in this art, first from notes you would clarify, then onto subjects important to read in training, then to other subjects you want to develop further, so that the discipline of fencing grows on properly understood principles you have contributed to, rather than relying on mindless juggling, thus greater the difference between juggling and fencing will become, and the Knightly art of Fencing will grow from Warriors far and wide, particularly to Citizens at large, but beware the Juggler, to whom the unseemliest losses are and who is found everywhere in the world, until all are put away.</p> | | <p>Then thirdly, achieve the ability to extend the art in your own right, and from your clarity attain and exude the proper judgement in Stance and Strikes so that Youth will not have to learn this art unguided and, because of your unspoken word, ill is wrought and they thus learn wrongly to the detriment of the art. Once achieved, we need your words and thoughts in this art, first from notes you would clarify, then onto subjects important to read in training, then to other subjects you want to develop further, so that the discipline of fencing grows on properly understood principles you have contributed to, rather than relying on mindless juggling, thus greater the difference between juggling and fencing will become, and the Knightly art of Fencing will grow from Warriors far and wide, particularly to Citizens at large, but beware the Juggler, to whom the unseemliest losses are and who is found everywhere in the world, until all are put away.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|4|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/22|4|lbl=Ⅰ.1r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/23|1|lbl=Ⅰ.1v.1|p=1}} |
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| <p>Fencing with the Sword is nothing other than a discipline, wherein your force strives together with your sword in placement so that one with the other, using care and agility, artfulness, delicacy and manlyness, are at need the same both in strikes and in other handwork one is obliged to, excepting when one is not in a serious situation, thus by such discipline one will be more dangerous and more skillful, and when needing to protect one’s body be more effective.</p> | | <p>Fencing with the Sword is nothing other than a discipline, wherein your force strives together with your sword in placement so that one with the other, using care and agility, artfulness, delicacy and manlyness, are at need the same both in strikes and in other handwork one is obliged to, excepting when one is not in a serious situation, thus by such discipline one will be more dangerous and more skillful, and when needing to protect one’s body be more effective.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/23|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/23|2|lbl=Ⅰ.1v.2}} |
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− | | <p>This can be advanced in three stages and be organized thus, namely as the Start, the Middle and the End, where the three stages each have one aim which you shall fence through, and must do one by one to advance, that you thereby know with which strikes or stances you will engage your counterpart and then frontally attack as you would in the Middle stage’s handwork, letting fly to work against the openings, keeping the initiative such that his attacks are preempted. | + | | <p>This can be advanced in three stages and be organized thus, namely as the Start, the Middle and the End, where the three stages each have one aim which you shall fence through, and must do one by one to advance, that you thereby know with which strikes or stances you will engage your counterpart and then frontally attack as you would in the Middle stage’s handwork, letting fly to work against the openings, keeping the initiative such that his attacks are preempted. The Last is as you are fulfilled and will, with harm neither inflicted nor received, withdraw.</p> |
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<p>The End is the resolution, where one fencer shall withdraw without damage from his opponent and strike away if desired.</p> | <p>The End is the resolution, where one fencer shall withdraw without damage from his opponent and strike away if desired.</p> | ||
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| <p>The initial pre-fencing is the face off from the Stances to the strikes, which are of two kinds, namely the Lead Stances and the Secondary Stances, we start with the Lead Stances.</p> | | <p>The initial pre-fencing is the face off from the Stances to the strikes, which are of two kinds, namely the Lead Stances and the Secondary Stances, we start with the Lead Stances.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|2|lbl=Ⅰ.2r.2}} |
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| <p>There are four Lead Stances, the Roof or Upper Guard, the Ox, the Fool, and the Plough. There are eight Secondary Stances, Wrathful Guard, Window Breaker, Long Point, Barrier Guard, Unicorn, Key, Iron Door, Changer.</p> | | <p>There are four Lead Stances, the Roof or Upper Guard, the Ox, the Fool, and the Plough. There are eight Secondary Stances, Wrathful Guard, Window Breaker, Long Point, Barrier Guard, Unicorn, Key, Iron Door, Changer.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|3|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|3|lbl=Ⅰ.2r.3}} |
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| <p>The strikes with the Sword are many, belonging to two groups, which are common to both the direct and indirect strikes which we shall name. The first group is named the Lead or Principal strikes, on which all other strikes are based, and which are four, Over, Under, Middle, and Wrathful strikes. The others are named the secondary or derivative strikes, which are twelve in number, namely the Glance, Curve, Short, Slide, Bounce: Single and Double, Blind, Wound, Crown, Knee Hollow, Plunge, and Change Strike.</p> | | <p>The strikes with the Sword are many, belonging to two groups, which are common to both the direct and indirect strikes which we shall name. The first group is named the Lead or Principal strikes, on which all other strikes are based, and which are four, Over, Under, Middle, and Wrathful strikes. The others are named the secondary or derivative strikes, which are twelve in number, namely the Glance, Curve, Short, Slide, Bounce: Single and Double, Blind, Wound, Crown, Knee Hollow, Plunge, and Change Strike.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|4|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|4|lbl=Ⅰ.2r.4}} |
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| <p>Beyond these strikes come the proper Master Strikes, which we shall also name, from which all masterful and artful moves with the Sword are made and accomplished with varying grips, these are Wrath, Arc, Traverser, Glancer and Vertex which are all used when wanting to conclude and complete, and which I will describe to you. Just as I introduced pre-fencing, so I have clearly spoken and introduced the Strikes to you.</p> | | <p>Beyond these strikes come the proper Master Strikes, which we shall also name, from which all masterful and artful moves with the Sword are made and accomplished with varying grips, these are Wrath, Arc, Traverser, Glancer and Vertex which are all used when wanting to conclude and complete, and which I will describe to you. Just as I introduced pre-fencing, so I have clearly spoken and introduced the Strikes to you.</p> | ||
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| <p>The second or Handwork in the Middle Stage involves the greatest art, where all your withdrawals in the fight can be advances. Look not only to how one can use the sword in binding, Winding, Changing, Enticing, Following After, Cutting, Doubling, Flowing off to leave be or in whatever shape you’ve cut, Hewing, Advancing, Twitching and Jerking, Adjusting, Grappling, Charging In, Throwing, and End Wrestling. An important concept is Targetting, through which one must come to understand Man and Sword, and through which one comes to understand proper stance and footwork, and from which how one shall handle one’s point.</p> | | <p>The second or Handwork in the Middle Stage involves the greatest art, where all your withdrawals in the fight can be advances. Look not only to how one can use the sword in binding, Winding, Changing, Enticing, Following After, Cutting, Doubling, Flowing off to leave be or in whatever shape you’ve cut, Hewing, Advancing, Twitching and Jerking, Adjusting, Grappling, Charging In, Throwing, and End Wrestling. An important concept is Targetting, through which one must come to understand Man and Sword, and through which one comes to understand proper stance and footwork, and from which how one shall handle one’s point.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|6|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/24|6|lbl=Ⅰ.2r.6|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|1|lbl=Ⅰ.2v.1|p=1}} |
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| <p>That brings us to the end, which flows from the Middle, and has the greatest Practical use, by which one ends each case, from thereof Withdraw soundly, in order to report what happened, and so arrange it all in the first chapter of Sword Fighting, from the Master Principles onward, so on to officially profess more skill in this Weapon, and by using this Book you shall Teach the initiates, and so after shall this art drive on to become more useful at need, and shall from others range farther to be sufficiently retold.</p> | | <p>That brings us to the end, which flows from the Middle, and has the greatest Practical use, by which one ends each case, from thereof Withdraw soundly, in order to report what happened, and so arrange it all in the first chapter of Sword Fighting, from the Master Principles onward, so on to officially profess more skill in this Weapon, and by using this Book you shall Teach the initiates, and so after shall this art drive on to become more useful at need, and shall from others range farther to be sufficiently retold.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|2|lbl=Ⅰ.2v.2}} |
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− | | <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p> | + | | class="noline" | <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p> |
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl= | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl=Ⅰ.2v.3}} |
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− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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<p>From One’s divisions one shall come to understand the Openings and Stances, to and from which one will fence, ongoing to grasping the Middle or Handwork which will be described in the course of this Book, even though at first I was willing to sit and describe this subject alone without any other considerations. Then we move on to examine Fencing in all its components and arts, to be at first known from lessons, then from there to be shown, and then onward to be handled, and you shall at first want to take care to demonstrate how it’s properly done, so that not only the Middle or Handwork is attained, but that the Openings shall be minded, from lessons thereon to note taking, and going forward I shall not leave my written lessons behind me to be forgotten.</p> | <p>From One’s divisions one shall come to understand the Openings and Stances, to and from which one will fence, ongoing to grasping the Middle or Handwork which will be described in the course of this Book, even though at first I was willing to sit and describe this subject alone without any other considerations. Then we move on to examine Fencing in all its components and arts, to be at first known from lessons, then from there to be shown, and then onward to be handled, and you shall at first want to take care to demonstrate how it’s properly done, so that not only the Middle or Handwork is attained, but that the Openings shall be minded, from lessons thereon to note taking, and going forward I shall not leave my written lessons behind me to be forgotten.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|1|lbl=1 | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|1|lbl=Ⅰ.3v.1}} |
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| <p>Now we will visualise a man in four quarters or parts, Above and Below and on both the Right and the Left. Beyond this and how you view yourself, I dare not describe further, but if you care to look, you see that humans are arranged in high and low and right and left parts. In order to better understand my meaning, examine the figure on the right side of the picture above.</p> | | <p>Now we will visualise a man in four quarters or parts, Above and Below and on both the Right and the Left. Beyond this and how you view yourself, I dare not describe further, but if you care to look, you see that humans are arranged in high and low and right and left parts. In order to better understand my meaning, examine the figure on the right side of the picture above.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|2|lbl=Ⅰ.3v.2}} |
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| <p>And if these four parts weren’t already addressed enough for one, against them the Ancient German Fencer will need to strike with the various strikes as they are known among us Germans at this time, so special in their Handywork with the Winding, these will fight the furthest and against the Greatest since all of humanity in common is divided in the above named four parts. We see how the the Upper Vertices meet, and Below how the Chin and Throat are relevant. Onward we see the Right and Left parts which are joined across the Ears, both sides are relevant, both right and Left ears will be addressed.</p> | | <p>And if these four parts weren’t already addressed enough for one, against them the Ancient German Fencer will need to strike with the various strikes as they are known among us Germans at this time, so special in their Handywork with the Winding, these will fight the furthest and against the Greatest since all of humanity in common is divided in the above named four parts. We see how the the Upper Vertices meet, and Below how the Chin and Throat are relevant. Onward we see the Right and Left parts which are joined across the Ears, both sides are relevant, both right and Left ears will be addressed.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|3|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/27|3|lbl=Ⅰ.3v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|1|lbl=Ⅰ.4r.1|p=1}} |
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<p>In addition my need is to know then how in all weapons such concepts can be understood in the short term and be shown and explained, and if not to be returned to, until the Person can explain the sections, so by them if the opposing fencer tries to mark one or another part, one knows with proper displacement how to smoothly move to secure themselves. Or if one or another intends to aim for an opening, he can also strive to undertake this strike correctly. Then each one shall probe to hit the four points, be met there, and have to guard against same, and thus must always be on Guard, ready to displace.</p> | <p>In addition my need is to know then how in all weapons such concepts can be understood in the short term and be shown and explained, and if not to be returned to, until the Person can explain the sections, so by them if the opposing fencer tries to mark one or another part, one knows with proper displacement how to smoothly move to secure themselves. Or if one or another intends to aim for an opening, he can also strive to undertake this strike correctly. Then each one shall probe to hit the four points, be met there, and have to guard against same, and thus must always be on Guard, ready to displace.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|2|lbl=Ⅰ.4r.2}} |
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− | | <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p> | + | | class="noline" | <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p> |
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl= | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl=Ⅰ.4r.3}} |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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<p>Now we will clarify this and why it is done in fencing, namely how one or another are like the parts of one’s body which one strikes away from in knightly fashion or accordingly defend them at need. Just like the parts of the human are quickly understood, so it’s again apparent from noting why and how certain relative parts of the sword work against others to bring success, and similarly how you should know these labels or overviews before you try yourself likewise, so thus onward from nothing else than your Sword shall you cause communication, and meanwhile have wisdom not in only one device, but also shortly know cuts with the short edge, then with the long, then with the strong, and with the weak, then will you charge on to success from the Sword’s necessities and from heeding this Art’s known elements also have something to say.</p> | <p>Now we will clarify this and why it is done in fencing, namely how one or another are like the parts of one’s body which one strikes away from in knightly fashion or accordingly defend them at need. Just like the parts of the human are quickly understood, so it’s again apparent from noting why and how certain relative parts of the sword work against others to bring success, and similarly how you should know these labels or overviews before you try yourself likewise, so thus onward from nothing else than your Sword shall you cause communication, and meanwhile have wisdom not in only one device, but also shortly know cuts with the short edge, then with the long, then with the strong, and with the weak, then will you charge on to success from the Sword’s necessities and from heeding this Art’s known elements also have something to say.</p> | ||
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| <p>We define the form and figure of the Sword’s parts as its Pommel, Point, Cross or Hilt, Haft or Grip, and the Blade, about which, though without evaluation, we will now say several words.</p> | | <p>We define the form and figure of the Sword’s parts as its Pommel, Point, Cross or Hilt, Haft or Grip, and the Blade, about which, though without evaluation, we will now say several words.</p> | ||
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| <p>The Blade has basically two underlying divisions, where the first is the Strong and Weak, the other the Short and Long edges, those being the forward and trailing edges.</p> | | <p>The Blade has basically two underlying divisions, where the first is the Strong and Weak, the other the Short and Long edges, those being the forward and trailing edges.</p> | ||
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| <p>The Strong of the Sword is the name for the part running from the Cross or Hilt to the middle of the blade, the Weak is from the middle to and with the point or end itself, from which the Long and Short edges grow.</p> | | <p>The Strong of the Sword is the name for the part running from the Cross or Hilt to the middle of the blade, the Weak is from the middle to and with the point or end itself, from which the Long and Short edges grow.</p> | ||
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| <p>The Long Edge is the full length of edge from the fingers onward, directed against your opponent, the Short or half edge is the one nearest the thumb, between the thumb and index finger, first finger pointing at the fencer’s self, as if it is imitating the other’s weapon. We will speak as well of the spine of the sword, as shown in the previous illustration.</p> | | <p>The Long Edge is the full length of edge from the fingers onward, directed against your opponent, the Short or half edge is the one nearest the thumb, between the thumb and index finger, first finger pointing at the fencer’s self, as if it is imitating the other’s weapon. We will speak as well of the spine of the sword, as shown in the previous illustration.</p> | ||
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| <p>From the overlying parts of the sword springs forths the correct total view, which is very useful in fencing, namely that the Sword is outwardly grouped in four parts and divisions, as is seen in the previous illustration.</p> | | <p>From the overlying parts of the sword springs forths the correct total view, which is very useful in fencing, namely that the Sword is outwardly grouped in four parts and divisions, as is seen in the previous illustration.</p> | ||
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| <p>The first to be named is the Bind or Haft, including Pommel and Cross, for charging, Wrenching, Grappling, Throwing, and of service in other work.</p> | | <p>The first to be named is the Bind or Haft, including Pommel and Cross, for charging, Wrenching, Grappling, Throwing, and of service in other work.</p> | ||
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| <p>The second is the Strong, as was counted, used in Cutting, Winding, Impacting, and otherwise where the Strong is useful in fencing.</p> | | <p>The second is the Strong, as was counted, used in Cutting, Winding, Impacting, and otherwise where the Strong is useful in fencing.</p> | ||
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| <p>The third part is the Middle, which lies between strong and weak on the halfway part and is used when needing to close in the changeful work, where it will be resorted to at every opportunity when needed.</p> | | <p>The third part is the Middle, which lies between strong and weak on the halfway part and is used when needing to close in the changeful work, where it will be resorted to at every opportunity when needed.</p> | ||
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− | | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p> | + | | class="noline" | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p> |
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| width = 90em | | width = 90em | ||
}} | }} | ||
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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<p>Since the Stances or Guards have the four sections of ones body as their obvious origin, in that one is divided into four quarters, Over, Under, Left and Right, so also one’s opponent is divided and thus shall be encountered, as four Targets, and relative to them there are the four Primary Stances or Guards, from which all others originate and spring forth, which are the Ox, Plough, Roof and Fool, from which one comes to understand the secondaries which, in due order, one comes to deploy, which are the Wrathful Guard, Long Point, Changer, Close Guard, Iron Door, Hanging Point, Key, and Unicorn.</p> | <p>Since the Stances or Guards have the four sections of ones body as their obvious origin, in that one is divided into four quarters, Over, Under, Left and Right, so also one’s opponent is divided and thus shall be encountered, as four Targets, and relative to them there are the four Primary Stances or Guards, from which all others originate and spring forth, which are the Ox, Plough, Roof and Fool, from which one comes to understand the secondaries which, in due order, one comes to deploy, which are the Wrathful Guard, Long Point, Changer, Close Guard, Iron Door, Hanging Point, Key, and Unicorn.</p> | ||
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<p>Thus you have been told of both Ox Guards or Stances, which is being shown by the Left Figure of illustration B above.</p> | <p>Thus you have been told of both Ox Guards or Stances, which is being shown by the Left Figure of illustration B above.</p> | ||
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<p>The Right Plough is shown by the figure on the Right of the above illustration.</p> | <p>The Right Plough is shown by the figure on the Right of the above illustration.</p> | ||
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<p>The Guard of the Roof, which is also known as the High Guard, is explained as follows. Stand with your Left Foot forward, hold your Sword high over your head so its point is directly above, consider the figure on the left of the image above, illustration C, which indicates how one can operate from above, that all strikes can be fenced from the Roof or High Guard, which is why this Guard is named the Roof.</p> | <p>The Guard of the Roof, which is also known as the High Guard, is explained as follows. Stand with your Left Foot forward, hold your Sword high over your head so its point is directly above, consider the figure on the left of the image above, illustration C, which indicates how one can operate from above, that all strikes can be fenced from the Roof or High Guard, which is why this Guard is named the Roof.</p> | ||
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<p>This will now be described. Stand with the Left leg forward, hold your Sword with the Point stretched out in front of you aimed at the ground in front of your forward foot, with the short edge above, the long edge below. Thus you stand in this Guard rightly, as you can see in the illustrated figure above on the right.</p> | <p>This will now be described. Stand with the Left leg forward, hold your Sword with the Point stretched out in front of you aimed at the ground in front of your forward foot, with the short edge above, the long edge below. Thus you stand in this Guard rightly, as you can see in the illustrated figure above on the right.</p> | ||
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<p>The Wrathful Guard is known as such since the stance has a wrathful bearing, as will be shown. Stand with your left foot forward, hold your sword out from your right shoulder, so that the blade hangs behind you to threaten forward strikes, and mark this well, that all strikes out from the Guard of the Ox can be intercepted from the Wrathful stance, indeed leading from this stance shows unequal bearing from which One can entice onward, whereupon one can move quickly against the other as needed, as is shown by the Figure in illustration E (on the left).</p> | <p>The Wrathful Guard is known as such since the stance has a wrathful bearing, as will be shown. Stand with your left foot forward, hold your sword out from your right shoulder, so that the blade hangs behind you to threaten forward strikes, and mark this well, that all strikes out from the Guard of the Ox can be intercepted from the Wrathful stance, indeed leading from this stance shows unequal bearing from which One can entice onward, whereupon one can move quickly against the other as needed, as is shown by the Figure in illustration E (on the left).</p> | ||
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<p>Stand with your Left foot forward, hold your Weapon with outstretched arms out in front of your face, so that you stand and point forward at your opponent’s face, and thus you stand in the Guard of the Long Point, which you can see in the picture in illustration A.</p> | <p>Stand with your Left foot forward, hold your Weapon with outstretched arms out in front of your face, so that you stand and point forward at your opponent’s face, and thus you stand in the Guard of the Long Point, which you can see in the picture in illustration A.</p> | ||
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<p>This Guard shall now be fully described, stand with your Right foot forward, hold your weapon with the point or Weak stretched out from close at your side aimed at the ground, so that the short edge stands toward your opponent, such as can be seen from the right figure in illustration D above.</p> | <p>This Guard shall now be fully described, stand with your Right foot forward, hold your weapon with the point or Weak stretched out from close at your side aimed at the ground, so that the short edge stands toward your opponent, such as can be seen from the right figure in illustration D above.</p> | ||
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<p>To put yourself into this guard, stand with your Left foot forward, hold your sword close to your right with the point to the ground and the pommel above, and with the short edge against you.</p> | <p>To put yourself into this guard, stand with your Left foot forward, hold your sword close to your right with the point to the ground and the pommel above, and with the short edge against you.</p> | ||
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<p>What the right Iron Door is, which you will find out should you go farther onto Rapier Fencing, that while it is used in stabbing with the Sword as by us Germans, this guard is also easily deflected and sent to the ground. Although at this time it is used by the Italians and other nations, it covers like the Barrier Guard, and so of the Iron Door no further report is therefore required.</p> | <p>What the right Iron Door is, which you will find out should you go farther onto Rapier Fencing, that while it is used in stabbing with the Sword as by us Germans, this guard is also easily deflected and sent to the ground. Although at this time it is used by the Italians and other nations, it covers like the Barrier Guard, and so of the Iron Door no further report is therefore required.</p> | ||
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| <p>There is a basic underlying division, and here I will shortly clarify both, and so will now describe the Iron Door. Stand with your right foot forward, hold your sword with the grip in front of the knee, with straightly hanging arms, that your point stands upward out at your opponent’s face. In addition, keep your Sword in front of you to shut like an iron door, and when you stand with feet wide and so come to lower your body, you can clear all strikes and stabs out and away from you.</p> | | <p>There is a basic underlying division, and here I will shortly clarify both, and so will now describe the Iron Door. Stand with your right foot forward, hold your sword with the grip in front of the knee, with straightly hanging arms, that your point stands upward out at your opponent’s face. In addition, keep your Sword in front of you to shut like an iron door, and when you stand with feet wide and so come to lower your body, you can clear all strikes and stabs out and away from you.</p> | ||
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| rowspan="2" | [[File:Meyer 1570 Longsword F.jpg|center|400px]] | | rowspan="2" | [[File:Meyer 1570 Longsword F.jpg|center|400px]] | ||
| <p>However, the Barrier Guard is when you hold your Sword with crossed hands in front of you with the point at the ground, which is seen from the figure in illustration F.</p> | | <p>However, the Barrier Guard is when you hold your Sword with crossed hands in front of you with the point at the ground, which is seen from the figure in illustration F.</p> | ||
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<p>This stance is very close to the Ox in similar form, only different in that in the Ox your arms are strongly held in high mode, but here shall be directly outstretched before your face, letting the Sword hang toward the Earth, therefore it is named Hanging Point.</p> | <p>This stance is very close to the Ox in similar form, only different in that in the Ox your arms are strongly held in high mode, but here shall be directly outstretched before your face, letting the Sword hang toward the Earth, therefore it is named Hanging Point.</p> | ||
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<p>The Key is shown by the left figure in illustration D, stand with your Left foot forward, and hold your Sword with the haft and crossed arms in front of your chest, so that the short edge lies on your Left Arm, and the point is aimed at your opponent’s face. Thus is this stance or guard rightly made.</p> | <p>The Key is shown by the left figure in illustration D, stand with your Left foot forward, and hold your Sword with the haft and crossed arms in front of your chest, so that the short edge lies on your Left Arm, and the point is aimed at your opponent’s face. Thus is this stance or guard rightly made.</p> | ||
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<p>Come into pre-fencing with your Left foot forward, wings out from both sides, as if you would stand in the forenamed Key guard, drive with crossed hands overhead on your Right, so that the point is aimed high above and outward, thus it is named Unicorn, and stand as shown by the figure on the Right of illustration E.</p> | <p>Come into pre-fencing with your Left foot forward, wings out from both sides, as if you would stand in the forenamed Key guard, drive with crossed hands overhead on your Right, so that the point is aimed high above and outward, thus it is named Unicorn, and stand as shown by the figure on the Right of illustration E.</p> | ||
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| <p>And thus are named the count of the Stances or Guards, and now all in the work phase will be fully and shortly examined. After this point in all fencing, you will Strike, Strive, Displace, or float to work for what you wish, and not remain in a stance, but always drive from one to the other, as one or the other must soon become afflicted, thus you especially must move on to keep the working initiative, and will lead out from one to another of the above cited stances, which I will clarify with a few words about the strikes through the lines or pathways.</p> | | <p>And thus are named the count of the Stances or Guards, and now all in the work phase will be fully and shortly examined. After this point in all fencing, you will Strike, Strive, Displace, or float to work for what you wish, and not remain in a stance, but always drive from one to the other, as one or the other must soon become afflicted, thus you especially must move on to keep the working initiative, and will lead out from one to another of the above cited stances, which I will clarify with a few words about the strikes through the lines or pathways.</p> | ||
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| rowspan="2" | [[File:Meyer 1570 Longsword Cuts.jpg|center]] | | rowspan="2" | [[File:Meyer 1570 Longsword Cuts.jpg|center]] | ||
| <p>Firstly if you will execute the high or Vertex Strike, you will find yourself in three Stances, first in the start you will stand in the Roof, in the Middle in the Long Point, and end up in the Fool, so you have moved directly from above through the Line from A to E via three Guards or Stances. If you then drive farther on upward from below to displace with crossed hands, you will find yourself in three more Stances, at the start in the Iron Door, in the Middle the Hanging Point, and in the end full above you in the Unicorn, then grip your Sword with the haft before your chest, so that the half edge lies on your left arm. Now you stand in the Key, and thus you come have onward and drove on along Line A and E from one stance into the other.</p> | | <p>Firstly if you will execute the high or Vertex Strike, you will find yourself in three Stances, first in the start you will stand in the Roof, in the Middle in the Long Point, and end up in the Fool, so you have moved directly from above through the Line from A to E via three Guards or Stances. If you then drive farther on upward from below to displace with crossed hands, you will find yourself in three more Stances, at the start in the Iron Door, in the Middle the Hanging Point, and in the end full above you in the Unicorn, then grip your Sword with the haft before your chest, so that the half edge lies on your left arm. Now you stand in the Key, and thus you come have onward and drove on along Line A and E from one stance into the other.</p> | ||
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<p>You can similarly strike out with your Sword from the Hanging Point, from which you drive over in front of you to move into the Guard of the Ox. Thus you find always, when taking the indicated Lines, one moves through them via at least three stances.</p> | <p>You can similarly strike out with your Sword from the Hanging Point, from which you drive over in front of you to move into the Guard of the Ox. Thus you find always, when taking the indicated Lines, one moves through them via at least three stances.</p> | ||
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| <p>However it shall be a good Fencer who does not rush and who waits longer in his Stances, so that as soon as he can reach his opponent to attack, he can Fence onward to take the pre-named paths, as waiting longer allows many displacements from which one eventually can come to strike, as will be described below.</p> | | <p>However it shall be a good Fencer who does not rush and who waits longer in his Stances, so that as soon as he can reach his opponent to attack, he can Fence onward to take the pre-named paths, as waiting longer allows many displacements from which one eventually can come to strike, as will be described below.</p> | ||
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| <p>The Stances are also very useful towards the divisions and openings, thus if one comes into a Stance without danger before Striking, he can soon be mindful of what path to take from pre-fencing. These then serve not just for careful and sensible changes from one Stance to the other, but also to entice the opponent, such that he will be made unable to know what you shall Fence with. Lastly this is also good and useful for all from here on, in that you will easily know and recognise your opponent’s part, and what he can safely fence with, and so thus oppose him more sensibly.</p> | | <p>The Stances are also very useful towards the divisions and openings, thus if one comes into a Stance without danger before Striking, he can soon be mindful of what path to take from pre-fencing. These then serve not just for careful and sensible changes from one Stance to the other, but also to entice the opponent, such that he will be made unable to know what you shall Fence with. Lastly this is also good and useful for all from here on, in that you will easily know and recognise your opponent’s part, and what he can safely fence with, and so thus oppose him more sensibly.</p> | ||
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− | | <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p> | + | | class="noline" | <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p> |
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− | ! <p> | + | ! <p>Figures</p> |
− | ! <p>{{rating| | + | ! <p>{{rating|start|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> |
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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<p>Now I come to write of the artful and free Knightly exersize, namely to the Strikes, which is a major Heading in Fencing in that the basics are given here, the number is told, each is described, and how they are executed to the full, will here be noted and told, and from here alone the friendly reader will afterward be reminded, that between the Sword Fighting times, when it was in custom for our forefathers and the ancients, and our time there is a great difference, in that not only was the point used, which is not the custom today, but of old much more of the Sword was used in the strikes, and they fenced sharply with both strikes and stabs, and thus shall I present this and other points of knowledge.</p> | <p>Now I come to write of the artful and free Knightly exersize, namely to the Strikes, which is a major Heading in Fencing in that the basics are given here, the number is told, each is described, and how they are executed to the full, will here be noted and told, and from here alone the friendly reader will afterward be reminded, that between the Sword Fighting times, when it was in custom for our forefathers and the ancients, and our time there is a great difference, in that not only was the point used, which is not the custom today, but of old much more of the Sword was used in the strikes, and they fenced sharply with both strikes and stabs, and thus shall I present this and other points of knowledge.</p> | ||
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| <p>However, as of now the Strikes with the Sword belong to two underlying principles, as in the direct and inverted strikes. The Direct strikes are named such as they strike against the opponent with the long edge and outstretched arms. There are four, the Over, Wrathful, Middle and Under Strikes, and from these all the others come forth, and in the world will still be found none conceived as such, and of them not one of these will be feebly grasped and deployed by you. These are named the Lead or Principal Strikes.</p> | | <p>However, as of now the Strikes with the Sword belong to two underlying principles, as in the direct and inverted strikes. The Direct strikes are named such as they strike against the opponent with the long edge and outstretched arms. There are four, the Over, Wrathful, Middle and Under Strikes, and from these all the others come forth, and in the world will still be found none conceived as such, and of them not one of these will be feebly grasped and deployed by you. These are named the Lead or Principal Strikes.</p> | ||
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| <p>The inverted strikes are those where in the strike you turn your sword hand around so that you hit the opponent, not with the full or long edge, but somewhat with the short edge, flat, or engage at an angle. Face this with the Slide, Short, Crown, Glance, Arc, Traverse, Bounce, Blind, Wind, Knee Hollow, Plunge, and Changer Strikes.</p> | | <p>The inverted strikes are those where in the strike you turn your sword hand around so that you hit the opponent, not with the full or long edge, but somewhat with the short edge, flat, or engage at an angle. Face this with the Slide, Short, Crown, Glance, Arc, Traverse, Bounce, Blind, Wind, Knee Hollow, Plunge, and Changer Strikes.</p> | ||
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| <p>Thus you come to the four above cited Strikes, and from there the various strikes are named.</p> | | <p>Thus you come to the four above cited Strikes, and from there the various strikes are named.</p> | ||
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| <p>Now from these both come five for further reading, as the Master Strikes will be named, not that one can thus fully use the weapon Rightly, and Master this art so soon, but that from them one can Master all proper artful elements which will be acted on from knowing them here, and thus you can Fence properly at need, and become an artfully striking Fencer, who retains all Master principles at the same time, and against whom nothing can be borne. These Strikes are Wrathful, Arc, Thwart, Glancer, and Vertex.</p> | | <p>Now from these both come five for further reading, as the Master Strikes will be named, not that one can thus fully use the weapon Rightly, and Master this art so soon, but that from them one can Master all proper artful elements which will be acted on from knowing them here, and thus you can Fence properly at need, and become an artfully striking Fencer, who retains all Master principles at the same time, and against whom nothing can be borne. These Strikes are Wrathful, Arc, Thwart, Glancer, and Vertex.</p> | ||
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| <p>How all these are done I will show you in due order, and firstly speak of the Direct Strikes, of which the first will be the Over Strike.</p> | | <p>How all these are done I will show you in due order, and firstly speak of the Direct Strikes, of which the first will be the Over Strike.</p> | ||
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<p>The Over Strike is a strong strike directly from Above, against your opponent’s head or scalp, therefore it is also called Vertex Strike.</p> | <p>The Over Strike is a strong strike directly from Above, against your opponent’s head or scalp, therefore it is also called Vertex Strike.</p> | ||
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<p>The Wrathful Strike is a serious strike from your Right Shoulder, against your opponent’s left ear, or through his face or chest, consider how it’s done through two lines, with the lines drawn through the upper right and crosswise overtop one another. This is the strongest beyond all others in that all one’s strength and manliness is laid against one’s opponent in fighting and fencing, therefore the ancients also named it Straight Strike or Father Strike. Along the considered lines you can move onwards, etc.</p> | <p>The Wrathful Strike is a serious strike from your Right Shoulder, against your opponent’s left ear, or through his face or chest, consider how it’s done through two lines, with the lines drawn through the upper right and crosswise overtop one another. This is the strongest beyond all others in that all one’s strength and manliness is laid against one’s opponent in fighting and fencing, therefore the ancients also named it Straight Strike or Father Strike. Along the considered lines you can move onwards, etc.</p> | ||
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<p>The Middle or Traversing Strike can execute most effects the Wrathful Strike can, the difference is only that while the Wrathful Strike is a forceful high point, the Diagonal Traverse is traverses above, as shown in the Traverse line including both C and G. Such lines are also applicable to Dusack.</p> | <p>The Middle or Traversing Strike can execute most effects the Wrathful Strike can, the difference is only that while the Wrathful Strike is a forceful high point, the Diagonal Traverse is traverses above, as shown in the Traverse line including both C and G. Such lines are also applicable to Dusack.</p> | ||
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<p>This you execute thusly, strike so that you move into the Right Ox (more is said about this in the next chapter) and thus can bring your opponent fencer into range, and step to strike from below traversing above into their left arm, while coming into position with the hilt high above your head, and thus complete. Regarding this, see the figures fighting against the left in the background of illustration B.</p> | <p>This you execute thusly, strike so that you move into the Right Ox (more is said about this in the next chapter) and thus can bring your opponent fencer into range, and step to strike from below traversing above into their left arm, while coming into position with the hilt high above your head, and thus complete. Regarding this, see the figures fighting against the left in the background of illustration B.</p> | ||
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<p>The Glancing Strike is also a High strike, but has been so named in that one closes with a small glancing blow, which is done thus: put yourself in the Guard of the Roof or Wrath (as shown in the third chapter) with your left foot forward, from which you will be striking, and while striking be sure to wind your short edge against his strike, and hit with inverting hands at the same time as closing with him, step fully with your Right Foot toward his left side, and so quickly take his head, thus have you done it rightly, and will stand as shown by the figures fighting on the left side of illustration G.</p> | <p>The Glancing Strike is also a High strike, but has been so named in that one closes with a small glancing blow, which is done thus: put yourself in the Guard of the Roof or Wrath (as shown in the third chapter) with your left foot forward, from which you will be striking, and while striking be sure to wind your short edge against his strike, and hit with inverting hands at the same time as closing with him, step fully with your Right Foot toward his left side, and so quickly take his head, thus have you done it rightly, and will stand as shown by the figures fighting on the left side of illustration G.</p> | ||
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<p>This strike is described thus: stand in the Wrath Guard with your left foot forward, when your opponent strikes, step with your right foot fully away from his strike and against his left side, strike with the long edge and crossed hands against his strike, or between his pommel and blade, diagonally over his hands, and fully overshoot his arms to lay on the blade, as shown in illustration D by the figures on the upper right hand side.</p> | <p>This strike is described thus: stand in the Wrath Guard with your left foot forward, when your opponent strikes, step with your right foot fully away from his strike and against his left side, strike with the long edge and crossed hands against his strike, or between his pommel and blade, diagonally over his hands, and fully overshoot his arms to lay on the blade, as shown in illustration D by the figures on the upper right hand side.</p> | ||
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<p>You send yourself into the Thwarter thus: assume the primary stance of Wrathful Guard to the right (as shown in the previous chapter), that is you put your left foot forward and hold your sword over your right shoulder, as if you would strike a wrathful strike, and when your opponent strikes you from the roof or above, strike closely with your short edge, breaking against his strike from below, holding your hilt high above to displace near your head, and strike to close by stepping full onto his Left side, thus displacing and closing against the other as shown by the left background figures of illustration H. This can be executed to the left thus striking his right side with a changed point, in that you will strike against his right by engaging with the long edge.</p> | <p>You send yourself into the Thwarter thus: assume the primary stance of Wrathful Guard to the right (as shown in the previous chapter), that is you put your left foot forward and hold your sword over your right shoulder, as if you would strike a wrathful strike, and when your opponent strikes you from the roof or above, strike closely with your short edge, breaking against his strike from below, holding your hilt high above to displace near your head, and strike to close by stepping full onto his Left side, thus displacing and closing against the other as shown by the left background figures of illustration H. This can be executed to the left thus striking his right side with a changed point, in that you will strike against his right by engaging with the long edge.</p> | ||
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<section begin="Kurtzhauw"/> | <section begin="Kurtzhauw"/> | ||
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<p>This is a secretive attack, and is described thus: when your opponent strikes you from above, stand as if you would respond with a Arc Strike, that is to bind his sword with the half edge, but let it fall and drive through under his sword, strike with the half edge and crossed arms over his right arm to hit his head, thus you have closed off his sword with the long edge, and accomplished the Short Strike, and stand as is shown by the smaller figure (mid background) on the left of illustration B fighting against the right.</p> | <p>This is a secretive attack, and is described thus: when your opponent strikes you from above, stand as if you would respond with a Arc Strike, that is to bind his sword with the half edge, but let it fall and drive through under his sword, strike with the half edge and crossed arms over his right arm to hit his head, thus you have closed off his sword with the long edge, and accomplished the Short Strike, and stand as is shown by the smaller figure (mid background) on the left of illustration B fighting against the right.</p> | ||
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<section end="Kurtzhauw"/> <section begin="Glützhauw"/> | <section end="Kurtzhauw"/> <section begin="Glützhauw"/> | ||
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<p>The Slide Strike is described as follows: when you are attacked from above, hit with even or free hands against his strike, aiming at his upper left opening, let your blade’s midsection ride up his blade so that the short edge will swing over his hands and hit his head.</p> | <p>The Slide Strike is described as follows: when you are attacked from above, hit with even or free hands against his strike, aiming at his upper left opening, let your blade’s midsection ride up his blade so that the short edge will swing over his hands and hit his head.</p> | ||
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<section end="Glützhauw"/><section begin="Prellhauw"/> | <section end="Glützhauw"/><section begin="Prellhauw"/> | ||
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<p>This one is twofold, one the single, the other one named the double. The single is made thus: when your adversary strikes at you from above, meet his strike with a Zwerch, as soon as it connects, twitch the sword around the head, and strike from your left with the outward flat towards his ear, as shown by the large figures on the right hand side of Illustration K, so that the sword bounces back again, thus twitch it during the rebounding swing back around the head again, strike with the Zwerch towards the left, thus it is completed.</p> | <p>This one is twofold, one the single, the other one named the double. The single is made thus: when your adversary strikes at you from above, meet his strike with a Zwerch, as soon as it connects, twitch the sword around the head, and strike from your left with the outward flat towards his ear, as shown by the large figures on the right hand side of Illustration K, so that the sword bounces back again, thus twitch it during the rebounding swing back around the head again, strike with the Zwerch towards the left, thus it is completed.</p> | ||
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| [[File:Meyer 1570 Longsword I.jpg|center|400px]] | | [[File:Meyer 1570 Longsword I.jpg|center|400px]] | ||
| <p>Do the double thus: just as your adversary brings his sword in the air to work against you while closing in, place yourself in the right Ochs, twitch your sword around your head, and strike with the inward flat strongly against his blade from your right side so that your pommel touches your forearm during the strike, as it is depicted in the large picture in Illustration I, and can be seen on the left hand side. However, while striking step well around towards his left with your right foot, and as soon as it hits or connects, pull it upwards and wrench out simultaneously towards your left side and nimbly strike from the outside with inverted hands again towards the same opening, that is with the inverted flat when it strongly rebounds in a ricochet motion, thus you have done it right.</p> | | <p>Do the double thus: just as your adversary brings his sword in the air to work against you while closing in, place yourself in the right Ochs, twitch your sword around your head, and strike with the inward flat strongly against his blade from your right side so that your pommel touches your forearm during the strike, as it is depicted in the large picture in Illustration I, and can be seen on the left hand side. However, while striking step well around towards his left with your right foot, and as soon as it hits or connects, pull it upwards and wrench out simultaneously towards your left side and nimbly strike from the outside with inverted hands again towards the same opening, that is with the inverted flat when it strongly rebounds in a ricochet motion, thus you have done it right.</p> | ||
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<section end="Prellhauw"/><section begin="Blendthauw"/> | <section end="Prellhauw"/><section begin="Blendthauw"/> | ||
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<p>Bind your opponent’s sword from your right side, wind through in the clash against his left side with your hilt or haft below, when your opponent tries to swipe away the winding, quickly move the weak with crossed hands from your right toward his left against his head, that is the forward point, wind your hands through again or twist out to your left with the half edge. Thus you have fully executed the Blind Strike, which can be made in many ways and from there further on in places.</p> | <p>Bind your opponent’s sword from your right side, wind through in the clash against his left side with your hilt or haft below, when your opponent tries to swipe away the winding, quickly move the weak with crossed hands from your right toward his left against his head, that is the forward point, wind your hands through again or twist out to your left with the half edge. Thus you have fully executed the Blind Strike, which can be made in many ways and from there further on in places.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|2|lbl=Ⅰ.14r.2}} |
<section end="Blendthauw"/><section begin="Windthauw"/> | <section end="Blendthauw"/><section begin="Windthauw"/> | ||
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<p>The Wound Strike is described as follows: if your opponent strikes from above, then strike against his sword with crossed hands from the left and below, so that your pommel sits under your right arm, and thus quick to glide, step strongly from him from your left side with your left foot, swing your sword’s pommel out farther in an arc toward your left side so that the swing moves your long edge over his right arm behind his pommel or hits atop his right arm, as is shown by the figure in the right side foreground of illustration H, and closely thereafter your sword flies out from close to your side, and again strikes against the hands through the cross, so it is done.</p> | <p>The Wound Strike is described as follows: if your opponent strikes from above, then strike against his sword with crossed hands from the left and below, so that your pommel sits under your right arm, and thus quick to glide, step strongly from him from your left side with your left foot, swing your sword’s pommel out farther in an arc toward your left side so that the swing moves your long edge over his right arm behind his pommel or hits atop his right arm, as is shown by the figure in the right side foreground of illustration H, and closely thereafter your sword flies out from close to your side, and again strikes against the hands through the cross, so it is done.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|3|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|3|lbl=Ⅰ.14r.3}} |
<section end="Windthauw"/><section begin="Kronhauw"/> | <section end="Windthauw"/><section begin="Kronhauw"/> | ||
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<p>This you hold thus: when you stand in the Plough or in a similar stance (which are discussed in an earlier chapter) which allow stabs from below, and your opponent strikes at you from above, then drive above you with a high traversing cross, intercept his strike above on your riccasso or quillons, and as soon as he slides, bring your pommel up high and strike with the half edge behind his blade onto his head, thus you have rightly executed the Crown Strike.</p> | <p>This you hold thus: when you stand in the Plough or in a similar stance (which are discussed in an earlier chapter) which allow stabs from below, and your opponent strikes at you from above, then drive above you with a high traversing cross, intercept his strike above on your riccasso or quillons, and as soon as he slides, bring your pommel up high and strike with the half edge behind his blade onto his head, thus you have rightly executed the Crown Strike.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|4|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/48|4|lbl=Ⅰ.14r.4}} |
<section end="Kronhauw"/><section begin="Kniechelhauw"/> | <section end="Kronhauw"/><section begin="Kniechelhauw"/> | ||
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<p>This strike takes its name from the joint against which it is tried, and is completed thus: when at first you hold your hands high above your head, and your opponent is moving under his sword so his head is held between both arms, then strike with a traversing strike under his sword’s pommel, with a view to his knuckles or to the joints between hand and arm. If he holds his hands much too high, then strike with a rising traverse Strike from below up against the knob of his elbows, thus is it completed.</p> | <p>This strike takes its name from the joint against which it is tried, and is completed thus: when at first you hold your hands high above your head, and your opponent is moving under his sword so his head is held between both arms, then strike with a traversing strike under his sword’s pommel, with a view to his knuckles or to the joints between hand and arm. If he holds his hands much too high, then strike with a rising traverse Strike from below up against the knob of his elbows, thus is it completed.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|1|lbl=1 | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|1|lbl=Ⅰ.14v.1}} |
<section end="Kniechelhauw"/><section begin="Sturzhauw"/> | <section end="Kniechelhauw"/><section begin="Sturzhauw"/> | ||
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<p>Although this strike is an Over Strike, be aware that between one and the other lies a minor difference, from which comes this strike’s name of Plunge Strike, that one strikes through by plungeing from above, and that the point comes against one’s opponent’s face from the Ox, and can thus be executed from the start or pre-fencing.</p> | <p>Although this strike is an Over Strike, be aware that between one and the other lies a minor difference, from which comes this strike’s name of Plunge Strike, that one strikes through by plungeing from above, and that the point comes against one’s opponent’s face from the Ox, and can thus be executed from the start or pre-fencing.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|2|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|2|lbl=Ⅰ.14v.2}} |
<section end="Sturzhauw"/><section begin="Wechselhauw"/> | <section end="Sturzhauw"/><section begin="Wechselhauw"/> | ||
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<p>The Change Strike is nothing other than changing from one side to the other, from above to below and back again, before striking your opponent, thus make it so.</p> | <p>The Change Strike is nothing other than changing from one side to the other, from above to below and back again, before striking your opponent, thus make it so.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|3|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|3|lbl=Ⅰ.14v.3}} |
<section end="Wechselhauw"/><section begin="Schneller"/> | <section end="Wechselhauw"/><section begin="Schneller"/> | ||
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<p>Rusher or twitch-hit(?) is basically a thing which is actually not a strike, but if the strike should be rushed it will be completed in the middle or full work when one has engaged, namely from above or on both sides or from below against your opponent with the flat or outer part of the blade, let the weapon snatch or rush inward in a swing over or under his blade.</p> | <p>Rusher or twitch-hit(?) is basically a thing which is actually not a strike, but if the strike should be rushed it will be completed in the middle or full work when one has engaged, namely from above or on both sides or from below against your opponent with the flat or outer part of the blade, let the weapon snatch or rush inward in a swing over or under his blade.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|4|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|4|lbl=Ⅰ.14v.4}} |
<section end="Schneller"/> | <section end="Schneller"/> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|5|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/49|5|lbl=Ⅰ.14v.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|1|lbl=Ⅰ.15r.1|p=1}} |
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− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|2|lbl= | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|2|lbl=Ⅰ.15r.2}} |
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| width = 90em | | width = 90em | ||
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− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
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| <p>'''Of Displacing, a useful concept'''</p> | | <p>'''Of Displacing, a useful concept'''</p> | ||
− | <p> | + | <p>Chapter 5</p> |
<p>Fencing is based on two prerequisite parts, namely first on the Strikes which you initially put against your opponent, with the other being displacement, which is how you judge and work off of your opponent’s Strikes, and you do not do this weakly. How you accomplish the Strikes and the elements of striving has already been sufficiently clarified, because displacing, or how one properly meets every opposing strike with your weapon and therewith put them away at need so as not to have your body injured, cannot be learned without first learning the Strikes. Because you have now learned the Strikes you can approach the subject of how you displace those Strikes, and come to learn and understand these just as the Strikes have now been heeded and cannot be dismissed, and will be solidified from noting and treating the basics with special care. Be first aware that the parries are twofold, the first is without any particular advantage and is resorted to only for blocking parries from which you cannot do more with your weapon in that you oppose your opponent’s strike to avoid being damaged, but then seek not to damage him, but only to withdraw as you wish without being injured by him.</p> | <p>Fencing is based on two prerequisite parts, namely first on the Strikes which you initially put against your opponent, with the other being displacement, which is how you judge and work off of your opponent’s Strikes, and you do not do this weakly. How you accomplish the Strikes and the elements of striving has already been sufficiently clarified, because displacing, or how one properly meets every opposing strike with your weapon and therewith put them away at need so as not to have your body injured, cannot be learned without first learning the Strikes. Because you have now learned the Strikes you can approach the subject of how you displace those Strikes, and come to learn and understand these just as the Strikes have now been heeded and cannot be dismissed, and will be solidified from noting and treating the basics with special care. Be first aware that the parries are twofold, the first is without any particular advantage and is resorted to only for blocking parries from which you cannot do more with your weapon in that you oppose your opponent’s strike to avoid being damaged, but then seek not to damage him, but only to withdraw as you wish without being injured by him.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|3|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/50|3|lbl=Ⅰ.15r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/51|1|lbl=Ⅰ.15v.1|p=1}} |
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− | | When you are forced to these parries with force and strong bearing, see that you steady yourself by stepping back, and thus be able to come into the “Before” again with advantage from the parry, to this Liechtenauer did speak. | + | | <p>When you are forced to these parries with force and strong bearing, see that you steady yourself by stepping back, and thus be able to come into the “Before” again with advantage from the parry, to this Liechtenauer did speak.</p> |
− | : | + | :Before displacing guard yourself.<br/>Place yourself for advantage. |
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/51|2|lbl=Ⅰ.15v.2}} | ||
− | With which he didn’t completely warn against parrying, namely that you should teach only strikes and how to damage, as was told above. When you will succeed from displacing, it does much, thus you should displace stoutly. Thus it is used not only to return strikes, on the other hand it also keeps an eye on preventing his strikes from moving in closely, so that no more fencing can then be built or similarly be attempted without problem. | + | |- |
− | | | + | | |
− | + | | <p>With which he didn’t completely warn against parrying, namely that you should teach only strikes and how to damage, as was told above. When you will succeed from displacing, it does much, thus you should displace stoutly. Thus it is used not only to return strikes, on the other hand it also keeps an eye on preventing his strikes from moving in closely, so that no more fencing can then be built or similarly be attempted without problem.</p> | |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/51|3|lbl=Ⅰ.15v.3}} | |
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− | | However, to be more useful I will with one stroke put forward Strikes and Displacing here, and only teach you how you will need to displace such strikes, which also need to be shown as two points. First how you will intercept and put away your opponent’s strike, or set it aside in one blow, then second when you meet his advancing weapon and rush in with one blow to his body. | + | | <p>However, to be more useful I will with one stroke put forward Strikes and Displacing here, and only teach you how you will need to displace such strikes, which also need to be shown as two points. First how you will intercept and put away your opponent’s strike, or set it aside in one blow, then second when you meet his advancing weapon and rush in with one blow to his body.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/51|4|lbl=Ⅰ.15v.4}} |
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− | | The second Art of displacing is when you parry and injure your opponent with one strike, which the ancients undertook with special praise, from which these spoken words grew: a proper fencer parries not, as his opponent strikes so he too strikes, as his opponent steps so he too steps, as his opponent stabs so he too stabs. | + | | <p>The second Art of displacing is when you parry and injure your opponent with one strike, which the ancients undertook with special praise, from which these spoken words grew: a proper fencer parries not, as his opponent strikes so he too strikes, as his opponent steps so he too steps, as his opponent stabs so he too stabs.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/52|1|lbl=Ⅰ.16r.1}} |
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− | | Of the first shall you now know, that the Oberhau impairs all other strikes as in the Wrath, Middle or Diagonal, and Under Strike, from above it blocks down below you, from this know when to spring against his strikes, and close to his strikes which he releases with strength so that you then rightly engage, his weapon thus weakened that you then can strike another full to his body before he can rightly take it. As the Oberhau blocks all secondary strikes down from above, so will it drive off all from the Wrath or Diagonal strike, and thus it also takes the Under with strong placing, and be there with help from stepping out with the Oberhau above one’s self. | + | | <p>Of the first shall you now know, that the Oberhau impairs all other strikes as in the Wrath, Middle or Diagonal, and Under Strike, from above it blocks down below you, from this know when to spring against his strikes, and close to his strikes which he releases with strength so that you then rightly engage, his weapon thus weakened that you then can strike another full to his body before he can rightly take it. As the Oberhau blocks all secondary strikes down from above, so will it drive off all from the Wrath or Diagonal strike, and thus it also takes the Under with strong placing, and be there with help from stepping out with the Oberhau above one’s self.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/52|2|lbl=Ⅰ.16r.2}} |
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− | | When however two similar strikes come together thus with your orderly stepping, in that you step a little before or after the other, so that it’s placed in an eyeblink, then you bring up your displacement. This displacement is brought on with the principal and direct strikes, the other displacement however is when you closely displace and engage, then hit with the countering strikes, as in the Glance, Slide, Crown and Traverse strikes, and with them then complete, thus have you heard above about clearing every strike. | + | | <p>When however two similar strikes come together thus with your orderly stepping, in that you step a little before or after the other, so that it’s placed in an eyeblink, then you bring up your displacement. This displacement is brought on with the principal and direct strikes, the other displacement however is when you closely displace and engage, then hit with the countering strikes, as in the Glance, Slide, Crown and Traverse strikes, and with them then complete, thus have you heard above about clearing every strike.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/52|3|lbl=Ⅰ.16r.3}} |
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− | | Then such countering strikes are taken onward from there as foundations, so that with close displacement comes hitting. However, because I should not backtrack, but direct you to more understanding and knowledge, I will give an example of displacing with the Zwerchhau. | + | | <p>Then such countering strikes are taken onward from there as foundations, so that with close displacement comes hitting. However, because I should not backtrack, but direct you to more understanding and knowledge, I will give an example of displacing with the Zwerchhau.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/52|4|lbl=Ⅰ.16r.4}} |
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− | | Place yourself into the Wrathful Guard, if you are then struck from above, then step with the right foot forward against your opponent’s side, and strike with a traverse to that side, short cut a high traverse to close in with it, thus that you take his strike onto the strong of your blade, catching it near your quillons and, with the farther end of your sword, hit his left ear, thus have you thus closely displaced and hit with a second. | + | | <p>Place yourself into the Wrathful Guard, if you are then struck from above, then step with the right foot forward against your opponent’s side, and strike with a traverse to that side, short cut a high traverse to close in with it, thus that you take his strike onto the strong of your blade, catching it near your quillons and, with the farther end of your sword, hit his left ear, thus have you thus closely displaced and hit with a second.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/53|1|lbl=Ⅰ.16v.1}} |
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− | | The other strikes, which still can be hit with further displacement, as in with the Short Strike and feinting etc. will not be reckoned into fencing, especially since only accident or chances will be given that way, and One thus leads one on to provoke, operating wrathfully, and drive from one’s advantage, which often times cannot be done without danger, and so because of this no other displacement will be shown. | + | | <p>The other strikes, which still can be hit with further displacement, as in with the Short Strike and feinting etc. will not be reckoned into fencing, especially since only accident or chances will be given that way, and One thus leads one on to provoke, operating wrathfully, and drive from one’s advantage, which often times cannot be done without danger, and so because of this no other displacement will be shown.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/53|2|lbl=Ⅰ.16v.2}} |
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− | | '''Handwork''' | + | | <p>'''Handwork'''</p> |
− | All in the first part of fencing up until now, both the Stances and Strikes, were sufficiently and properly done, and from thus we come ahead, that you come to your opponent as equals under the sword, and so first push one’s self to strive seriously, so that you drive against him accurately and forcefully into the Middle work such as Misleading, Following After, Changing, Doubling, Hitting After, setting the Prize thus as the goal all Fencers work toward and wish to attain and keep with quick work. | + | |
− | | | + | <p>All in the first part of fencing up until now, both the Stances and Strikes, were sufficiently and properly done, and from thus we come ahead, that you come to your opponent as equals under the sword, and so first push one’s self to strive seriously, so that you drive against him accurately and forcefully into the Middle work such as Misleading, Following After, Changing, Doubling, Hitting After, setting the Prize thus as the goal all Fencers work toward and wish to attain and keep with quick work.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/53|3|lbl=Ⅰ.16v.3}} | |
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− | | Because it doesn’t start off fully and immediately, where you neither close nor safely attack, then from there on the largest art lies, which is fully grasped here in this chapter of handwork. Since similar things must happen in various ways, on this you’ll have advice in every special word and way, which will be through lessons, and from there through demonstration you shall fully draw clearly and rightly how it is done and understood. | + | | <p>Because it doesn’t start off fully and immediately, where you neither close nor safely attack, then from there on the largest art lies, which is fully grasped here in this chapter of handwork. Since similar things must happen in various ways, on this you’ll have advice in every special word and way, which will be through lessons, and from there through demonstration you shall fully draw clearly and rightly how it is done and understood.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/53|4|lbl=Ⅰ.16v.4}} |
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| [[File:Meyer 1570 Longsword D.jpg|center|400px]] | | [[File:Meyer 1570 Longsword D.jpg|center|400px]] | ||
− | | And now stands the whole Handwork applied in binding or staying, Travelling After, Cutting, Chopping Down, Walking Around, Misleading, Flowing Off, Putting Away, Displacing, Twitching, Doubling, Overturning, Capturing, Avoiding, Circling, Channeling, Winding, Winding Through, Changing, Changing Through, Cutting Away, Hand Punching, Shooting Ahead, Hanging, Moving Out, Blocking, Adjusting, Grappling, Closing, etc. | + | | <p>And now stands the whole Handwork applied in binding or staying, Travelling After, Cutting, Chopping Down, Walking Around, Misleading, Flowing Off, Putting Away, Displacing, Twitching, Doubling, Overturning, Capturing, Avoiding, Circling, Channeling, Winding, Winding Through, Changing, Changing Through, Cutting Away, Hand Punching, Shooting Ahead, Hanging, Moving Out, Blocking, Adjusting, Grappling, Closing, etc.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/55|1|lbl=Ⅰ.17v.1}} |
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− | | '''Binding, Staying, Feeling.''' | + | | <p>'''Binding, Staying, Feeling.'''</p> |
− | These are names for when the swords are in contact with each other. Staying is two moded, firstly when the swords stop each other, watch what One wants to fence with then and where you can attack your opponent if you will. Then there is the other with which one sends strikes, when you set yourself as if you sought to recover from a strike, only to slash quickly and come inward again with the short edge, thus back to the Before to strike with the long edge. Now mark the word “feeling” which means so much, as it therewith sends or finds, you will become aware how hard or soft on your sword he is, etc. | + | |
− | | | + | <p>These are names for when the swords are in contact with each other. Staying is two moded, firstly when the swords stop each other, watch what One wants to fence with then and where you can attack your opponent if you will. Then there is the other with which one sends strikes, when you set yourself as if you sought to recover from a strike, only to slash quickly and come inward again with the short edge, thus back to the Before to strike with the long edge. Now mark the word “feeling” which means so much, as it therewith sends or finds, you will become aware how hard or soft on your sword he is, etc.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/55|2|lbl=Ⅰ.17v.2}} | |
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− | | '''Travelling After''' | + | | <p>'''Travelling After'''</p> |
− | This is an especially good handwork, and therein the need and will to know will be raised if you want to rise and become a Master at low cost, thus conduct yourself in Travelling After: When your opponent starts to move his sword above or below himself so as to prepare to strike, you rush at his targets and thus preemptively intercept his Strike, which then can be joined against as you come to want or need, with this one fences and sweeps away with your strike. Since you soon require better understanding, I will clarify this to you with an example. | + | |
− | | | + | <p>This is an especially good handwork, and therein the need and will to know will be raised if you want to rise and become a Master at low cost, thus conduct yourself in Travelling After: When your opponent starts to move his sword above or below himself so as to prepare to strike, you rush at his targets and thus preemptively intercept his Strike, which then can be joined against as you come to want or need, with this one fences and sweeps away with your strike. Since you soon require better understanding, I will clarify this to you with an example.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/55|3|lbl=Ⅰ.17v.3}} | |
|- | |- | ||
| | | | ||
− | | When one fences against you, take on whatever part his sword takes, if leading first in the right Ox, that is in the high right quarter, thus you shall take off as soon as he changes his sword from there to the other side or off to seek a strike, move similarly and strike after it with cunning, and of course you’ll need to pick a strike and target, against which you close and soon you’ll want your displacement. However if he fences out of the Low Guard, thus mark that as soon as he drives out, (he fences from either left or right side), follow cunningly under his sword from below with the long edge and strike the next opening. | + | | <p>When one fences against you, take on whatever part his sword takes, if leading first in the right Ox, that is in the high right quarter, thus you shall take off as soon as he changes his sword from there to the other side or off to seek a strike, move similarly and strike after it with cunning, and of course you’ll need to pick a strike and target, against which you close and soon you’ll want your displacement. However if he fences out of the Low Guard, thus mark that as soon as he drives out, (he fences from either left or right side), follow cunningly under his sword from below with the long edge and strike the next opening.</p> |
− | | | + | | |
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/55|4|lbl=Ⅰ.17v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/56|1|lbl=Ⅰ.18r.1|p=1}} | ||
|- | |- | ||
| | | | ||
− | | '''Slicing''' | + | | <p>'''Slicing'''</p> |
− | Is a fundamental element of proper handwork, when you rush from your opponent with quick and agile blows, you can block and impede him better with no other move than with the slice, which you, though you will treasure it in all instances as special as here, will hold in reserve. You must however complete the slices thus: after you entangle your opponent’s sword with the bind, you shall strive thereon, feel if he would withdraw or flow off from the bind, as soon as he flows off, drive against him with the long edge on his arm, thrust the strong or quillons from you in the effort, let fly, and as he himself seeks to retrieve, strike then to the next opening. | + | |
− | | | + | <p>Is a fundamental element of proper handwork, when you rush from your opponent with quick and agile blows, you can block and impede him better with no other move than with the slice, which you, though you will treasure it in all instances as special as here, will hold in reserve. You must however complete the slices thus: after you entangle your opponent’s sword with the bind, you shall strive thereon, feel if he would withdraw or flow off from the bind, as soon as he flows off, drive against him with the long edge on his arm, thrust the strong or quillons from you in the effort, let fly, and as he himself seeks to retrieve, strike then to the next opening.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/56|2|lbl=Ⅰ.18r.2}} | |
|- | |- | ||
| | | | ||
− | | '''Slashing Around''' | + | | <p>'''Slashing Around'''</p> |
− | Is named from hitting around with the sword, when you have bound from your right against his left, from this bind leave off again, strike or rush around to the other side. | + | |
− | | | + | <p>Is named from hitting around with the sword, when you have bound from your right against his left, from this bind leave off again, strike or rush around to the other side.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/56|3|lbl=Ⅰ.18r.3}} | |
|- | |- | ||
| | | | ||
− | | '''Flowing Off''' | + | | <p>'''Flowing Off'''</p> |
− | On whichever hand you bind on your opponent’s sword, so move while retrieving your hand, and let yourself flow off below you with the half edge, and twitch under to bring your riccasso high overhead to strike, and drive such to both sides. | + | |
− | | | + | <p>On whichever hand you bind on your opponent’s sword, so move while retrieving your hand, and let yourself flow off below you with the half edge, and twitch under to bring your riccasso high overhead to strike, and drive such to both sides.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/56|4|lbl=Ⅰ.18r.4}} | |
|- | |- | ||
| | | | ||
− | | '''Misleading''' | + | | <p>'''Misleading'''</p> |
− | Remember this: when you show your intent, as if you mean to fence to one of your opponent’s openings, absolutely do not do so, but instead slash the strike unto another opening, to which you should come properly without injury, and thus Misleading enables many moves, such as facing with the Glancer Strike, Hacking, Flying, Beckoning, Off Flowing, Twitch, Circle and others. In addition, Misleading is not only performed with the sword, but also by presenting various initial stances, which are not yet more techniques, because techniques are the fencer’s distinction, toward which you direct yourself throughout fencing at every single distinction and habit which then shall be set upon with wrath. This quickly clears hands fenced slowly, thus Misleading likewise requires forms which will be directed in the work. | + | |
− | | | + | <p>Remember this: when you show your intent, as if you mean to fence to one of your opponent’s openings, absolutely do not do so, but instead slash the strike unto another opening, to which you should come properly without injury, and thus Misleading enables many moves, such as facing with the Glancer Strike, Hacking, Flying, Beckoning, Off Flowing, Twitch, Circle and others. In addition, Misleading is not only performed with the sword, but also by presenting various initial stances, which are not yet more techniques, because techniques are the fencer’s distinction, toward which you direct yourself throughout fencing at every single distinction and habit which then shall be set upon with wrath. This quickly clears hands fenced slowly, thus Misleading likewise requires forms which will be directed in the work.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/57|1|lbl=Ⅰ.18v.1}} | |
|- | |- | ||
| | | | ||
− | | '''Flying Off''' | + | | <p>'''Flying Off'''</p> |
− | Withdrawing thus is shown: when you in either pre-fencing or full work strike at your opponent’s opening, but he drives to intercept your strike in the air, do not allow him to put his blade onto your sword, but twitch off the strike with one flight in the air to another opening, which will work very well against this, follow only after your sword and your body will not come to be hurt. | + | |
− | | | + | <p>Withdrawing thus is shown: when you in either pre-fencing or full work strike at your opponent’s opening, but he drives to intercept your strike in the air, do not allow him to put his blade onto your sword, but twitch off the strike with one flight in the air to another opening, which will work very well against this, follow only after your sword and your body will not come to be hurt.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/57|2|lbl=Ⅰ.18v.2}} | |
|- | |- | ||
| | | | ||
− | | '''Setting Aside''' | + | | <p>'''Setting Aside'''</p> |
− | |||
− | |||
− | |||
− | + | <p>Now in all Fencing moves, as above were shown, two things are necessary, namely strikes, and strikes which clear or displace with the sword. So mark that this handwork is the proper clearing or displacing, with which you won’t address the strikes badly and not strike onward again, but move at the same time to address his opening during the withdrawal. As you come during pre-fencing into the Changer, and as he strikes to you then from Above, drive upward with the long edge against his strike, and step at the same time with your right foot against his left and offset him, then as soon as he glides, wind the short edge, and rush at him against his head.</p> | |
| | | | ||
− | | | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/57|3|lbl=Ⅰ.18v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/58|1|lbl=Ⅰ.19r.1|p=1}} |
− | |||
− | | | ||
− | |||
|- | |- | ||
| | | | ||
− | | ''' | + | | <p>'''Slinging'''</p> |
− | + | ||
− | | | + | <p>Is nothing other than how you let a strike fly in a Sling to your opponent’s head, for this put yourself in the Fool’s guard, and pull your sword back though close to your right, step with your right foot to your opponent while pulling your sword back to you, and sling your strike to his head. This Slinging Strike shall fly out even like a stone is thrown from a sling, whatever more you need note on Slinging you will find described in sections after here.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/58|2|lbl=Ⅰ.19r.2}} | |
|- | |- | ||
| | | | ||
− | | ''' | + | | <p>'''Twitching'''</p> |
− | + | ||
− | | | + | <p>Twitching is one very good handwork with which you can masterly mislead your opponent, and which shall be operated thus: After you have bound against your opponent with the long edge or have struck in to an opening, handily twitch over yourself again as if you want to strike to the other side, however don’t drive ahead, but handily execute the strike with the short edge again onto the point, from which you are exited.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/58|3|lbl=Ⅰ.19r.3}} | |
|- | |- | ||
| | | | ||
− | | ''' | + | | <p>'''Doubling'''</p> |
− | + | ||
− | | | + | <p>Is a strike or move made double in this wise: Strike first from your right to his ear, as then when the swords glide together, thrust your sword’s pommel through under your right arm, driving at the same time out with both arms, and hit him with the the short edge behind his blade onto his head. This handwork will therefore be called Doubling, because through it a double or twofold strike will be accomplished, first with long and then with short edge.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/58|4|lbl=Ⅰ.19r.4}} | |
|- | |- | ||
| | | | ||
− | | ''' | + | | <p>'''Inverting'''</p> |
− | + | ||
− | | | + | <p>Inverting is: bind onto your opponent’s sword against his left, and just as the pommel moves under your right arm, thrust through, if he at the same time would come at your head in a strike against your right, push your blade or arms from you with crossed hands so as to ward him below you so that he cannot work onward, however make your required space to work.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/59|1|lbl=Ⅰ.19v.1}} | |
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Clipping'''</p> |
− | | | + | |
+ | <p>Clipping is two moded, the first is when you, as just now was told, come at him in a flip his arm or blade, thus stopping his blade or arm with quillons stiff under you, and under this let the blade Clip to his head.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/59|2|lbl=Ⅰ.19v.2}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>However, the other is where he closes to you with a Loop under him, retreat with the left foot towards his right, and at the same time reach over his right arm with the pommel above, pull back under yourself, and let the sword edge come under his blade to clip against his head, such that your hands come to cross over each other.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/59|3|lbl=Ⅰ.19v.3}} | |
− | | | ||
− | |||
+ | |- | ||
+ | | | ||
+ | | <p>'''Feinting'''</p> | ||
+ | <p>Feinting can be wanted each time, however it will be useful and resorted to properly and in the suitable time which only the advancing fencer knows, thereby you will effect a false strike with advantage, that you seek to attain another from there, and take it soon. When you strike at one opening, and your opponent would displace you, don’t pull the strike but let it flow off nicely, and strike to another opening, as in this example. In advancing come into the right Wrath, and as soon as you can reach him, step and strike at the left ear unto his sword, however in the strike, even and then pull it, thus lift the pommel and let the blade miss and flow off near his left, and twitch over the head, as to then strike him on the other side, out over his right arm to his head.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/59|4|lbl=Ⅰ.19v.4}} | ||
<section begin="Zirckel"/> | <section begin="Zirckel"/> | ||
|- | |- | ||
| [[File:Meyer 1570 Longsword E.jpg|center|400px]] | | [[File:Meyer 1570 Longsword E.jpg|center|400px]] | ||
− | | '''Circle''' | + | | <p>'''Circle'''</p> |
− | |||
− | |||
− | |||
+ | <p>When you stand in the bind before your opponent, and both you and he drive the swords foreward in the air overhead, but neither will give away an opening to the other, then the Circle is an especially good work model at need which you will execute thus: Strike with the half edge and crossed hands from above toward his right side forward through above, so that both your hands stay overhead, but in striking cross your right hand boldly over your left, thereby you will want to reach or graze his right ear with the half edge, the sword thus clips him with your arms under yourself, then step with the right foot to take on his right side or to bring yourself back, and strike a direct splitting strike to his head.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/61|1|lbl=Ⅰ.20v.1}} | ||
<section end="Zirckel"/><section begin="Rinde"/> | <section end="Zirckel"/><section begin="Rinde"/> | ||
|- | |- | ||
| | | | ||
− | | '''Rounds''' | + | | <p>'''Rounds'''</p> |
− | |||
− | |||
− | |||
+ | <p>The rounds are two things, Single and Double. The single round is when you twitch off your sword from your opponent’s blade or opening in a swing overhead, and let fly over in the air so that you make a round circle. The double round is this: when you so twitch strongly off from his sword, that it goes over your head two times in full swing overhead, one time to each side, thus both single and double rounds are very serviceable also to Leading On, such that you will see and drive farther onward.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/61|2|lbl=Ⅰ.20v.2}} | ||
<section end="Rinde"/><section begin="Winden"/> | <section end="Rinde"/><section begin="Winden"/> | ||
|- | |- | ||
| | | | ||
− | | '''Winding''' | + | | <p>'''Winding'''</p> |
− | The word Winding is known in good German as Twisting, whose work shall be done thus: when you have bound onto your opponent’s sword from your right against his left, then hold fast in the bind and wind the far part of your blade inward against his head, and then again out. So that you will be told how to always stay stiff onto his sword in the bind, such will be shown in this example. | + | |
− | | | + | <p>The word Winding is known in good German as Twisting, whose work shall be done thus: when you have bound onto your opponent’s sword from your right against his left, then hold fast in the bind and wind the far part of your blade inward against his head, and then again out. So that you will be told how to always stay stiff onto his sword in the bind, such will be shown in this example.</p> |
− | + | | | |
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/61|3|lbl=Ⅰ.20v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/62|1|lbl=Ⅰ.21r.1|p=1}} | ||
|- | |- | ||
| | | | ||
− | | Strike once from the Roof, thus binding from your right with a hard traverse onto his sword, and just as it connects, thrust your pommel through under your right arm, and wind the short edge thus in a rush inward against his head, in this all but stay with the edge hard against his sword, if he would beware of the rush and displace, or if you feel that he will fall down to your openings from above, then pull the pommel from under your arm again to your left above you, and hit him again with the short edge through the traverse to his left ear. | + | | <p>Strike once from the Roof, thus binding from your right with a hard traverse onto his sword, and just as it connects, thrust your pommel through under your right arm, and wind the short edge thus in a rush inward against his head, in this all but stay with the edge hard against his sword, if he would beware of the rush and displace, or if you feel that he will fall down to your openings from above, then pull the pommel from under your arm again to your left above you, and hit him again with the short edge through the traverse to his left ear.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/62|2|lbl=Ⅰ.21r.2}} |
− | |||
− | |||
<section end="Winden"/><section begin="Durchwinden"/> | <section end="Winden"/><section begin="Durchwinden"/> | ||
|- | |- | ||
| | | | ||
− | | '''Winding Through''' | + | | <p>'''Winding Through'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>If you bind with a Traverse Strike, as was described before here, wind the short edge inward against your opponent’s head, then step through under it with the right foot between you and him, against your opponent’s right side, and wind through at the same time with your hilt under your blade from your left side, and drive him with your pommel winding out over your right arm, step back with the right foot, and travel at the same time from your right side out under him, and slash in with the long edge to the head, thus have you not only wound through, but also wrenched over with the pommel.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/62|3|lbl=Ⅰ.21r.3}} | ||
<section end="Durchwinden"/><section begin="Wechseln"/> | <section end="Durchwinden"/><section begin="Wechseln"/> | ||
|- | |- | ||
| | | | ||
− | | '''Changes''' | + | | <p>'''Changes'''</p> |
− | |||
− | |||
− | |||
+ | <p>A skilled fencer will have Changes, so then be skilled at such and only Change at the right time, and only when you need, and not give away your openings without cause. However he who will be experienced in fencing will need the knowledge of Changes, for is it an artful work and belongs to fencing with all this, that while it only works against the sword and not against the body, the Changes are many. Change in opening from one side to the other, change before the attack from one stance to another.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/62|4|lbl=Ⅰ.21r.4}} | ||
+ | |- | ||
+ | | | ||
+ | | <p>Remember in the attacks to change through against the strikes, thus in the pre-fencing strike from your right a direct Wrath or High strike against your opponent’s left side, strike him against the sword and not to his body, thus let the point flit under his sword with crossed hands with the strike, step and strike in to the other high target, see however that you carefully ensure that he does not attack or set upon you by following after, to this in the beginning come into the Long Point, and stretch likewise long from you, if he strikes at your sword, and will hit out or wind, then let the point drop under yourself through sinking, and work him to the other side, if he swipes after and will displace, then change through again, bite onward again to another opening or work to stand yet rightly, then after you can strike.</p> | ||
+ | | | ||
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/62|5|lbl=Ⅰ.21r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/63|1|lbl=Ⅰ.21v.1|p=1}} | ||
<section end="Wechseln"/><section begin="Abschneiden"/> | <section end="Wechseln"/><section begin="Abschneiden"/> | ||
|- | |- | ||
| | | | ||
− | | '''Slicing Off''' | + | | <p>'''Slicing Off'''</p> |
− | Slicing Off shall you drive thus: hold the sword with outstretched arms long from you, or sink into the Fool’s guard, strike your opponent then with a long strike from you, and thus slice away from you to both sides with the long edge, so as long as you keep your advantage, that you onward will come to work properly at need. | + | |
− | | | + | <p>Slicing Off shall you drive thus: hold the sword with outstretched arms long from you, or sink into the Fool’s guard, strike your opponent then with a long strike from you, and thus slice away from you to both sides with the long edge, so as long as you keep your advantage, that you onward will come to work properly at need.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/63|2|lbl=Ⅰ.21v.2}} | |
|- | |- | ||
| | | | ||
− | | In Slicing Off travelling after is also advantageous when done together with the slice, thus concerning this Liechtenauer spoke in a quote. | + | | <p>In Slicing Off travelling after is also advantageous when done together with the slice, thus concerning this Liechtenauer spoke in a quote.</p> |
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
+ | :Slice off the hardened,<br/>driven from both. | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/63|3|lbl=Ⅰ.21v.3}} | ||
+ | |- | ||
+ | | | ||
+ | | <p>That is cut the hard strike off from you from both sides. Apart than this, Slicing Off will be described more only after here in examples and other defenses.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/63|4|lbl=Ⅰ.21v.4}} | ||
<section end="Abschneiden"/><section begin="Hendtrucken"/> | <section end="Abschneiden"/><section begin="Hendtrucken"/> | ||
|- | |- | ||
| | | | ||
− | | '''Hand Hitting''' | + | | <p>'''Hand Hitting'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>Hand Hitting is almost the same as the Slice to the arm, of which is told above, and not otherwise shown, how to be done with the Over and Under cuts, unless you run one through with oafish hitting, so drive him under his strike with the Crown or other high displacement, or go under yourself by hanging, and catch his sword on your blade’s flat, and thus you come under his sword, yet pay attention when when he with his strike goes off from your defense again over you, that you follow after him with the strong of your sword, and take him with the hilt from below to drive the strong, that you trap him with both the strong and your blade, thrust at him with the hilt above you, and strike long against the opening.</p> | ||
+ | | | ||
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/63|5|lbl=Ⅰ.21v.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/64|1|lbl=Ⅰ.22r.1|p=1}} | ||
<section end="Hendtrucken"/><section begin="Verschieben"/> | <section end="Hendtrucken"/><section begin="Verschieben"/> | ||
|- | |- | ||
| | | | ||
− | | '''Deflecting''' | + | | <p>'''Deflecting'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>When you stand in the right wrath, and you will be struck at, let the blade hang behind you, and send your hanging blade over your head and under his blade, that you catch his strike on your flat, and your thumbs stand broad across your hilt under you, to then wind or otherwise further work as you want, whatever you can best take onward.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/64|2|lbl=Ⅰ.22r.2}} | ||
<section end="Verschieben"/><section begin="Hengen"/> | <section end="Verschieben"/><section begin="Hengen"/> | ||
|- | |- | ||
| | | | ||
− | | '''Hanging''' | + | | <p>'''Hanging'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>From the preceeding, Hanging is to be understood clearly, this you do thusly: When you stand in the Plough and your opponent strikes to you, drive your grip above you so that the blade hangs somewhat toward the ground, and take his strike thus on your blade’s flat, to then work with Winding to the next opening.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/64|3|lbl=Ⅰ.22r.3}} | ||
<section end="Hengen"/><section begin="Außreissen"/> | <section end="Hengen"/><section begin="Außreissen"/> | ||
|- | |- | ||
| | | | ||
− | | '''Wrenching Out''' | + | | <p>'''Wrenching Out'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>If you bind once from your right, overturn your sword in the bind, and pull out to your left side, so that you both stand close together in the meeting, thus endevour that you can come at him with the pommel from below and wrench over yourself, or you rush him from Above to grapple over the arm with the pommel, or to whatever way the winding wants to happen, then wrench out underneath, that you thereafter come farther to hear more.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/64|4|lbl=Ⅰ.22r.4}} | ||
<section end="Außreissen"/><section begin="Sperren"/> | <section end="Außreissen"/><section begin="Sperren"/> | ||
|- | |- | ||
| | | | ||
− | | '''Blocking''' | + | | <p>'''Blocking'''</p> |
− | |||
− | |||
− | |||
− | |||
+ | <p>Mark when one stands before you in the Changer or Fool’s guard, and cunningly drop with long edge upon his blade, and just as he glides or pulls, cross over your hands, and block him so that he can’t come out, or when he strikes in front of you, drop with crossed hands onto the blade and block him.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/65|1|lbl=Ⅰ.22v.1}} | ||
<section end="Sperren"/><section begin="Verstüllen"/> | <section end="Sperren"/><section begin="Verstüllen"/> | ||
|- | |- | ||
| | | | ||
− | | '''Forestalling''' | + | | <p>'''Forestalling'''</p> |
− | |||
− | |||
− | |||
+ | <p>Forestalling shall be driven thus: if one comes working unto you with all sorts of actions against the four targets, and strives then to move overhead, drop a cut onto his arm or his sword and let him not come further, especially not where he wants to, thus follow after him with the cut hard on his arm, and forestall thus his advance that he can’t work on, and as soon as you see your opportunity, thrust out with your edge and let fly to the next opening.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/65|2|lbl=Ⅰ.22v.2}} | ||
<section end="Verstüllen"/><section begin="Ubergreiffen"/> | <section end="Verstüllen"/><section begin="Ubergreiffen"/> | ||
|- | |- | ||
| | | | ||
− | | '''Overgripping''' | + | | <p>'''Overgripping'''</p> |
− | |||
− | |||
− | |||
+ | <p>Overgripping is thus: Strike from your right to his upper left opening, however in the strike grip with the fingers out over the cross or hilt while holding the thumb on the haft, then with the left hand raise the pommel and slash in with hanging blade over or behind his displacement to the head.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/65|3|lbl=Ⅰ.22v.3}} | ||
<section end="Ubergreiffen"/><section begin="Einlauffen"/> | <section end="Ubergreiffen"/><section begin="Einlauffen"/> | ||
|- | |- | ||
| | | | ||
− | | '''Charging In''' | + | | <p>'''Charging In'''</p> |
− | Charging In is nothing other than a charge in under your sword, that both swords come together, beyond this belong grappling and throwing, so that you from here on will attain understanding, will I retain all until now, and now move on to the third section of my list. | + | |
− | | | + | <p>Charging In is nothing other than a charge in under your sword, that both swords come together, beyond this belong grappling and throwing, so that you from here on will attain understanding, will I retain all until now, and now move on to the third section of my list.</p> |
− | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/65|4|lbl=Ⅰ.22v.4}} | |
<section end="Einlauffen"/> | <section end="Einlauffen"/> | ||
− | |||
|- | |- | ||
− | | | + | | class="noline" | |
− | | What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter. | + | | class="noline" | <p>What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter.</p> |
− | | | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|1|lbl=Ⅰ.23r.1}} |
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}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
|- | |- | ||
| | | | ||
− | | '''Of the Withdrawal< | + | | <p>'''Of the Withdrawal'''</p> |
− | If, as has been said, one has started, and in nearly half the efforts is rebuffed in every action, thus indeed making all the same all a bad end, thus come back to the before and do it well, not to execute and downfall, and observe how daily, that now with this you shall not be opposed in fencing, that afterwards you will go on grasping this and have safety after hitting, with honour’s first test at last, which one would then overcome, thus I with this will show and clarify how the withdrawal shall be done | + | |
− | + | <p>Chapter 6</p> | |
− | + | ||
+ | <p>If, as has been said, one has started, and in nearly half the efforts is rebuffed in every action, thus indeed making all the same all a bad end, thus come back to the before and do it well, not to execute and downfall, and observe how daily, that now with this you shall not be opposed in fencing, that afterwards you will go on grasping this and have safety after hitting, with honour’s first test at last, which one would then overcome, thus I with this will show and clarify how the withdrawal shall be done.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|2|lbl=Ⅰ.23r.2}} | ||
|- | |- | ||
| | | | ||
− | | This then will be heeded in particular, that after every attack always know the three wisdoms of withdrawing, either at first before your opponent, or at the last after him, or even at the same time with him. If you would withdraw before him then exert yourself, that you drive out before you with the most wary moves, that he must shoot to drive high, just as he would then see what you would employ in front, strike through at the same time as the withdrawing stroke, and drive on away as you will then first be wary. | + | | <p>This then will be heeded in particular, that after every attack always know the three wisdoms of withdrawing, either at first before your opponent, or at the last after him, or even at the same time with him. If you would withdraw before him then exert yourself, that you drive out before you with the most wary moves, that he must shoot to drive high, just as he would then see what you would employ in front, strike through at the same time as the withdrawing stroke, and drive on away as you will then first be wary.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|3|lbl=Ⅰ.23r.3}} |
|- | |- | ||
| | | | ||
− | | If you would withdraw after him, mark that this will be seen as two different concepts, firstly when you wait for your Opponent’s withdrawal, thus when he strikes away, that you cunningly follow after his withdrawal above his blade. The second is when you stall with faking, as if you would withdraw before him, however handle your strike artfully indeed and guardingly behind, thereby when he rushes against you, you strike a false strike to him and decline, so that you cover your weapon against him and can strike to an opening. However, when you want to withdraw at the same time as him, then place yourself that you can cover his blade by stepping out and away from the strike, and when he strikes away on his right, you will be on his left, where however he strikes from his left, you step out at his right, and at the same time as him, strike in. | + | | <p>If you would withdraw after him, mark that this will be seen as two different concepts, firstly when you wait for your Opponent’s withdrawal, thus when he strikes away, that you cunningly follow after his withdrawal above his blade. The second is when you stall with faking, as if you would withdraw before him, however handle your strike artfully indeed and guardingly behind, thereby when he rushes against you, you strike a false strike to him and decline, so that you cover your weapon against him and can strike to an opening. However, when you want to withdraw at the same time as him, then place yourself that you can cover his blade by stepping out and away from the strike, and when he strikes away on his right, you will be on his left, where however he strikes from his left, you step out at his right, and at the same time as him, strike in.</p> |
− | | | + | | |
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/66|4|lbl=Ⅰ.23r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|1|lbl=Ⅰ.23v.1|p=1}} | ||
|- | |- | ||
− | | | + | | class="noline" | |
− | | While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained. | + | | class="noline" | <p>While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained.</p> |
− | | | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|2|lbl=Ⅰ.23v.2}} |
|} | |} | ||
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}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
|- | |- | ||
| | | | ||
− | | '''A Lesson in Stepping< | + | | <p>'''A Lesson in Stepping'''</p> |
− | |||
− | + | <p>Chapter 7</p> | |
− | + | <p>Here a wisdom is now particularly needed, one not yet practiced in fencing, thus I will report on stepping and onward show that nothing is relied on as much as one step and, if one already is upon that reliance, that such a one marks what is said if he would learn well, in that as this is relied on so much, so it will be gained by experience as all artful fencing is to be gained. Where the proper steps are not used, the ancient Fencer commented and covered this as stated in his twelth rule:</p> | |
− | |||
− | |||
− | : | + | :He who steps after striking<br/>deserves less joy in his art. |
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|3|lbl=Ⅰ.23v.3}} | ||
− | + | |- | |
+ | | | ||
+ | | <p>That is that every strike must have its own step which shall occur at the same time as the strike, if you would do otherwise with the elements which you resort to, then step too early or too late, thus it happens around your play, and you thus bring yourself around your strike, thus learn to make the steps right so that your opponent cannot work as he really wants, bringing on a stop, particularly so that you upset his grounding or place as it were. In attacking now let yourself mark this, and position yourself as if you would make large and far steps, but actually stay closer with your feet correct, and attack him. So much is then built on from here. Since all of this must be learned and used in fencing, this must be known.</p> | ||
+ | | | ||
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/67|4|lbl=Ⅰ.23v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/68|1|lbl=Ⅰ.24r.1|p=1}} | ||
|- | |- | ||
− | | | + | | class="noline" | |
− | | The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now. | + | | class="noline" | <p>The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now.</p> |
− | | | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/68|2|lbl=Ⅰ.24r.2}} |
|} | |} | ||
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}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
|- | |- | ||
| | | | ||
− | | '''Of Before, After, During, and Just As< | + | | <p>'''Of Before, After, During, and Just As'''</p> |
− | Up until now the proper Leading parts of all Fencing with the Sword, how many they were, how you named them, and how they shall be made and accomplished were actually clarified in good order, that from them now you can drive from your place as it were, and bring these elements into play | + | |
− | + | <p>Chapter 8</p> | |
− | + | ||
+ | <p>Up until now the proper Leading parts of all Fencing with the Sword, how many they were, how you named them, and how they shall be made and accomplished were actually clarified in good order, that from them now you can drive from your place as it were, and bring these elements into play.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|1|lbl=Ⅰ.24v.1}} | ||
|- | |- | ||
| | | | ||
− | | Meanwhile however your opponent has observed this as well, so be prepared, that you too can oppose all such, that is from noting how you know first with what opportunities you can approach him, then evaluate the opportunity and use it appropriately in the fight, which you practice daily, but at all times know that no element will ever be as good as intended, which is to be useful in the fight, if it is off track and not to proper time. | + | | <p>Meanwhile however your opponent has observed this as well, so be prepared, that you too can oppose all such, that is from noting how you know first with what opportunities you can approach him, then evaluate the opportunity and use it appropriately in the fight, which you practice daily, but at all times know that no element will ever be as good as intended, which is to be useful in the fight, if it is off track and not to proper time.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|2|lbl=Ⅰ.24v.2}} |
|- | |- | ||
| | | | ||
− | | Thus because of this pay attention in all three parts to all things, namely in pre-fencing or the onset, in the middle or handwork, and following thereafter in withdrawing, to the Before, During, After, and Just As, which if not heeded will be of no help in fencing. | + | | <p>Thus because of this pay attention in all three parts to all things, namely in pre-fencing or the onset, in the middle or handwork, and following thereafter in withdrawing, to the Before, During, After, and Just As, which if not heeded will be of no help in fencing.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|3|lbl=Ⅰ.24v.3}} |
|- | |- | ||
| | | | ||
− | | The Before is so named as you attack the opponent with your strikes first and then drive forward that he cannot come to his intended target, so you must displace with care, as he wants to shoot before you do. | + | | <p>The Before is so named as you attack the opponent with your strikes first and then drive forward that he cannot come to his intended target, so you must displace with care, as he wants to shoot before you do.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|4|lbl=Ⅰ.24v.4}} |
|- | |- | ||
| | | | ||
− | | The During is when both you and your opponent bring forth your strikes at the same time, which is also a part of the expression “Just As”. | + | | <p>The During is when both you and your opponent bring forth your strikes at the same time, which is also a part of the expression “Just As”.</p> |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|5|lbl=Ⅰ.24v.5}} |
|- | |- | ||
| | | | ||
− | | The After is, however, when you withdraw from your opponent as was outlined above, where you cannot accomplish your objective, in that between Before and After a stand off changes and ends, so that soon your opponent and soon again you, become the same. Whichever is in the After, that is striving so that he always must displace, shall think of the words “Just As”, and thereon not forget, that through them the Before will again be achieved, that he then can withdraw without damage, however he who does not pay attention to this, if he too soon undertakes to strive to you, will indeed never learn to fence well. | + | | <p>The After is, however, when you withdraw from your opponent as was outlined above, where you cannot accomplish your objective, in that between Before and After a stand off changes and ends, so that soon your opponent and soon again you, become the same. Whichever is in the After, that is striving so that he always must displace, shall think of the words “Just As”, and thereon not forget, that through them the Before will again be achieved, that he then can withdraw without damage, however he who does not pay attention to this, if he too soon undertakes to strive to you, will indeed never learn to fence well.</p> |
− | | | + | | |
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/69|6|lbl=Ⅰ.24v.6|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/70|1|lbl=Ⅰ.25r.1|p=1}} | ||
|- | |- | ||
| | | | ||
− | | '''Just As''' | + | | <p>'''Just As'''</p> |
− | The expression “Just As” has much meaning in that its origin is from the latin word “Intus” and is taken into fencing as such, which is applied in the Winding and similar work, however that this seem not only thus, you must hear what follows. | + | |
− | + | <p>The expression “Just As” has much meaning in that its origin is from the latin word “Intus” and is taken into fencing as such, which is applied in the Winding and similar work, however that this seem not only thus, you must hear what follows.</p> | |
− | | | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/70|2|lbl=Ⅰ.25r.2}} |
− | |||
|- | |- | ||
− | | | + | | class="noline" | |
− | | The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted. | + | | class="noline" | <p>The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted.</p> |
− | | | + | | class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/70|3|lbl=Ⅰ.25r.3}} |
|} | |} | ||
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{{master subsection begin | {{master subsection begin | ||
− | | title = 9 - A Guide to the | + | | title = 9 - A Guide to the Elements |
| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
− | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | + | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p> |
|- | |- | ||
| | | | ||
− | | '''A Guide to the Elements, how you can and shall be successful from the elements previously clarified.< | + | | <p>'''A Guide to the Elements, how you can and shall be successful from the elements previously clarified.'''</p> |
− | While up till now all these cited and clarified elements are actually nothing other than a start and elementary part of all Fencing with swords and shall be taken as such, then note how and when I sieze various elements from here before showing with what ease these shall be undertaken. Now you must retain all writings in your thoughts and memory, also know thoroughly what each and every art and distinction is, thus you will come to write a fully correct word, that from here on serviceable and heeded letters will flow orderly one to another from the quill. Thus shall you also retain the previously clarified elements, and that way you realise as often as you come to fence with someone, you will fail with anything other than this, thus success will come from taking note. However, just like every letter cannot be applied to each and every word, thus it is also impossible to undertake all the previously cited elements in every engagement | + | |
− | + | <p>Chapter 9</p> | |
− | + | ||
+ | <p>While up till now all these cited and clarified elements are actually nothing other than a start and elementary part of all Fencing with swords and shall be taken as such, then note how and when I sieze various elements from here before showing with what ease these shall be undertaken. Now you must retain all writings in your thoughts and memory, also know thoroughly what each and every art and distinction is, thus you will come to write a fully correct word, that from here on serviceable and heeded letters will flow orderly one to another from the quill. Thus shall you also retain the previously clarified elements, and that way you realise as often as you come to fence with someone, you will fail with anything other than this, thus success will come from taking note. However, just like every letter cannot be applied to each and every word, thus it is also impossible to undertake all the previously cited elements in every engagement.</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/71|1|lbl=Ⅰ.25v.1}} | ||
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− | | Therefore you shall pay attention, as the situation requires, to how your opponent poses against you, and also observe the person, if they are quick or slow, large or small, and then know how to apply your work to him and how to oppose him. Just as every full fight, as was indicated above, is divided into three parts, namely the Pre-Fencing, the Middle, and the Withdrawal, these three parts are clarified in due order, and what is advised in every undertaking, thus in the beginning your first need is various strikes through the stances, with which you will best engage and overtake your opponent as intended, and in the first phase when you engage and close to him, or maybe come to be under his sword, then forward you must have still more moves with which to bring the part to its conclusion, which you then learn from the second section of this book, namely the Handwork, that you force ahead to all four openings, and he then cannot come to do damaging work to you, or similarly as when you have made it sufficiently ineffective. | + | | <p>Therefore you shall pay attention, as the situation requires, to how your opponent poses against you, and also observe the person, if they are quick or slow, large or small, and then know how to apply your work to him and how to oppose him. Just as every full fight, as was indicated above, is divided into three parts, namely the Pre-Fencing, the Middle, and the Withdrawal, these three parts are clarified in due order, and what is advised in every undertaking, thus in the beginning your first need is various strikes through the stances, with which you will best engage and overtake your opponent as intended, and in the first phase when you engage and close to him, or maybe come to be under his sword, then forward you must have still more moves with which to bring the part to its conclusion, which you then learn from the second section of this book, namely the Handwork, that you force ahead to all four openings, and he then cannot come to do damaging work to you, or similarly as when you have made it sufficiently ineffective.</p> |
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− | | And in order to bring the engagement to its end, you must lastly add more letters to this word, and seek onward to the third section of this book, how the engagement shall be ended, and you withdraw without damage, or your opponent allowed one. | + | | <p>And in order to bring the engagement to its end, you must lastly add more letters to this word, and seek onward to the third section of this book, how the engagement shall be ended, and you withdraw without damage, or your opponent allowed one.</p> |
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− | | Because of this see that you then force the Middle Work, that you first come to withdraw though defense, as then much will be learned in various engagements, or you incite so that he strikes you away and then at the same time you strike over his sword while stepping out, and justifiably want to take and claim your withdrawal. So that with this you will understand it entirely, I will present an entire engagement in all three parts. | + | | <p>Because of this see that you then force the Middle Work, that you first come to withdraw though defense, as then much will be learned in various engagements, or you incite so that he strikes you away and then at the same time you strike over his sword while stepping out, and justifiably want to take and claim your withdrawal. So that with this you will understand it entirely, I will present an entire engagement in all three parts.</p> |
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− | | In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack, Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence. | + | | class="noline" | <p>In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack, Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence.</p> |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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− | | '''How one shall fence to the four Openings< | + | | <p>'''How one shall fence to the four Openings'''</p> |
− | While up until now, artful reader, my attentive clarification of all servicable elements of sword fighting, such that each would be seriously raised by diligent practice, will be sufficient guide to understand all parts set after here, therefore I will now go forward to show, in one Stance after another, how one will behave therein and also how all fencing from it shall be. While forward you will come to judge all your strikes and actions from or against Man’s four divisions, following on you must similarly be prepared to address the four openings, necessary to go on to the onset of Fencing from the stances. That I properly report on this part, I will now set out and give the following example: | + | |
− | + | <p>Chapter 10</p> | |
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+ | <p>While up until now, artful reader, my attentive clarification of all servicable elements of sword fighting, such that each would be seriously raised by diligent practice, will be sufficient guide to understand all parts set after here, therefore I will now go forward to show, in one Stance after another, how one will behave therein and also how all fencing from it shall be. While forward you will come to judge all your strikes and actions from or against Man’s four divisions, following on you must similarly be prepared to address the four openings, necessary to go on to the onset of Fencing from the stances. That I properly report on this part, I will now set out and give the following example:</p> | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/75|1|lbl=Ⅰ.27v.1}} | ||
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− | | In the pre-fencing when you come near to your opponent, then strike out in front of him from your right, through his face one time, twice, thrice, so that in the third strike before him (see that you keep your left foot forward) come into the long point, from there let the forward part of your blade flow off to your left, and just then with your blade level and sinking below you, pull back under it with your grip above you, step and strike first from your right against his left ear, as soon as the strike hits on, then quickly twitch to fly off again, and strike the second from below diagonally against his right arm, however in this strike keep your cross high over your head, and step to him with your left foot a little to his right together with your strike from below, and hit on with this as well, should you nimbly move your sword over you to your right, and thus from your right strike to his lower left opening, as the right is pulled or hit then twitch off again to over your head, and strike the fourth seriously against his right ear, from then traverse over and pull out. The first four Strikes shall be nimble and quick from one opening to another for your steps to be successful. | + | | <p>In the pre-fencing when you come near to your opponent, then strike out in front of him from your right, through his face one time, twice, thrice, so that in the third strike before him (see that you keep your left foot forward) come into the long point, from there let the forward part of your blade flow off to your left, and just then with your blade level and sinking below you, pull back under it with your grip above you, step and strike first from your right against his left ear, as soon as the strike hits on, then quickly twitch to fly off again, and strike the second from below diagonally against his right arm, however in this strike keep your cross high over your head, and step to him with your left foot a little to his right together with your strike from below, and hit on with this as well, should you nimbly move your sword over you to your right, and thus from your right strike to his lower left opening, as the right is pulled or hit then twitch off again to over your head, and strike the fourth seriously against his right ear, from then traverse over and pull out. The first four Strikes shall be nimble and quick from one opening to another for your steps to be successful.</p> |
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− | | However while in the onset there are three ways for your Sword or sword’s blade to hit and touch, firstly with the Long edge as was already taught, then with the Short, and lastly with the flat, therefore observe that you can also slash handily to all four openings with the short edge as well as you did before with the long, then still at the last with the flat, and similarly to what was shown before now with the half edge, fly freely from one opening to another, namely with the inward flat to the right, and slash with the outward (that is with reversed or inverted flat to his left). | + | | <p>However while in the onset there are three ways for your Sword or sword’s blade to hit and touch, firstly with the Long edge as was already taught, then with the Short, and lastly with the flat, therefore observe that you can also slash handily to all four openings with the short edge as well as you did before with the long, then still at the last with the flat, and similarly to what was shown before now with the half edge, fly freely from one opening to another, namely with the inward flat to the right, and slash with the outward (that is with reversed or inverted flat to his left).</p> |
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| [[File:Meyer 1570 Longsword Segno.jpg|center|400px]] | | [[File:Meyer 1570 Longsword Segno.jpg|center|400px]] | ||
− | | However if you would become practiced in this, then you shall always change with the first strike, and when you first strike to his upper left opening, and then the second is to his lower right opening, and then further as taught above (as is shown by the outer digits in the printed figure), then you shall again strike first to his lower left, then a second to his upper right, and then further as the second set of digits in the previous figure show. The next strike is first struck to his upper right then to his lower left, then further as shown by the third set. The last strike is first struck to his right, then further as is shown by the inner digits, and first learn this as instructed with the long then with the half edge, then lastly with the flat as judged into the work. When you can do such, then follow ahead to the next part, namely that you must understand the four openings before the strikes just taught can be retained, or onward your sword’s blade will be held off and you will be repulsed with better countering strikes, these are thus the two Main Elements of Fencing, the Origins from which all other elements flow forth, onward follows the third, a large element which is and is named the Practice. One comes to the Practice thus: when you can lead your strikes from the stances to all of Man’s divisions, which in the First part of fencing must be taken in the Before thus into the work, and yet your opponent is the same, and is also nimble in the Second stage of displacing, working off or stopping you and your strikes, so that you cannot reach your chosen destination for your strikes, then we come thus to the Third part which is the Practice, which is the most cunning, and teach it as you did the strikes where you were aware, that while every point can be futile or pointless, twitch off closely and nimbly from there to strike again onward, or feint over to let it go off and then lead on to another opening. When he also displaces himself, then twitch off yourself as well, and thus let fly from one opening to another so long and much as you are able to reach to a hit. However, so that such lessons will be marked and understood , I will demonstrate with a few good examples so that my objective will be simply and distinctly taught, presented, and set out, with which the goodly Reader will sufficiently judge all secondary and ongoing elements, and thus can take understanding from it in the Middle work thus: | + | | <p>However if you would become practiced in this, then you shall always change with the first strike, and when you first strike to his upper left opening, and then the second is to his lower right opening, and then further as taught above (as is shown by the outer digits in the printed figure), then you shall again strike first to his lower left, then a second to his upper right, and then further as the second set of digits in the previous figure show. The next strike is first struck to his upper right then to his lower left, then further as shown by the third set. The last strike is first struck to his right, then further as is shown by the inner digits, and first learn this as instructed with the long then with the half edge, then lastly with the flat as judged into the work. When you can do such, then follow ahead to the next part, namely that you must understand the four openings before the strikes just taught can be retained, or onward your sword’s blade will be held off and you will be repulsed with better countering strikes, these are thus the two Main Elements of Fencing, the Origins from which all other elements flow forth, onward follows the third, a large element which is and is named the Practice. One comes to the Practice thus: when you can lead your strikes from the stances to all of Man’s divisions, which in the First part of fencing must be taken in the Before thus into the work, and yet your opponent is the same, and is also nimble in the Second stage of displacing, working off or stopping you and your strikes, so that you cannot reach your chosen destination for your strikes, then we come thus to the Third part which is the Practice, which is the most cunning, and teach it as you did the strikes where you were aware, that while every point can be futile or pointless, twitch off closely and nimbly from there to strike again onward, or feint over to let it go off and then lead on to another opening. When he also displaces himself, then twitch off yourself as well, and thus let fly from one opening to another so long and much as you are able to reach to a hit. However, so that such lessons will be marked and understood , I will demonstrate with a few good examples so that my objective will be simply and distinctly taught, presented, and set out, with which the goodly Reader will sufficiently judge all secondary and ongoing elements, and thus can take understanding from it in the Middle work thus:</p> |
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− | | When you have struck as taught above in the Pre-Fencing, and have closed in the strike, then let the first and second hit on hard as above, then don’t let the third hit on, but twitch nimbly then hit off again in a backward flight, so that the fourth can thus hit on quickly. | + | | <p>When you have struck as taught above in the Pre-Fencing, and have closed in the strike, then let the first and second hit on hard as above, then don’t let the third hit on, but twitch nimbly then hit off again in a backward flight, so that the fourth can thus hit on quickly.</p> |
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− | | Note: hit the first and twitch the second and the third in a quick flight, and let the fourth hit, still likewise launch the first and second bites to the Openings, and indeed twitch them off again and then lead into the next target, in this disengagement you can and also should attack with the first, changing off to things taught before in the numbered lessons, namely that you now twitch and feint from this then to another, and meanwhile still have care and attention where he would engage your own openings, that you then soon be on his sword with a bind, from this twitching now move farther on to Flowing Off and Missing and the like. Thus when you would lead a strike to the man’s now known sections, and yet then take care that he displaces such strikes, then don’t twitch off again, but (in that he is unaware of your observance) then close by the same side miss to let it fully flow off on over and strike nimbly to another opening, being first on the outside right (what you led with). Example: | + | | <p>Note: hit the first and twitch the second and the third in a quick flight, and let the fourth hit, still likewise launch the first and second bites to the Openings, and indeed twitch them off again and then lead into the next target, in this disengagement you can and also should attack with the first, changing off to things taught before in the numbered lessons, namely that you now twitch and feint from this then to another, and meanwhile still have care and attention where he would engage your own openings, that you then soon be on his sword with a bind, from this twitching now move farther on to Flowing Off and Missing and the like. Thus when you would lead a strike to the man’s now known sections, and yet then take care that he displaces such strikes, then don’t twitch off again, but (in that he is unaware of your observance) then close by the same side miss to let it fully flow off on over and strike nimbly to another opening, being first on the outside right (what you led with). Example:</p> |
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− | | As you have rebounded through the out stretching to the strikes as was taught above, then step and strike high from your right against his left ear, as soon as he clears this, nimbly let your blade sink below you with the half edge near your left side, and then pull your pommel and grip above you, and nimbly strike to his right ear with the short edge, so that your hands become crossed in this strike. | + | | <p>As you have rebounded through the out stretching to the strikes as was taught above, then step and strike high from your right against his left ear, as soon as he clears this, nimbly let your blade sink below you with the half edge near your left side, and then pull your pommel and grip above you, and nimbly strike to his right ear with the short edge, so that your hands become crossed in this strike.</p> |
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− | | Note: let the first hit hard against his left ear, nimbly let the second flow off missing near his right as instructed before, and hit deep to his left ear, thus onto it nimbly (whereas you hit the first hard unto him) as well, letting it flow off to both sides, and still attack on to the next target as it opens, all these diagonally and with crossed arms as was taught, also against each other single and double, judged in the work against your need and opportunity. Then farther, as was taught, drive the blade in the full work first with the long edge then with the short, and also with the flat, against his sides in full flight to the high and low openings. | + | | <p>Note: let the first hit hard against his left ear, nimbly let the second flow off missing near his right as instructed before, and hit deep to his left ear, thus onto it nimbly (whereas you hit the first hard unto him) as well, letting it flow off to both sides, and still attack on to the next target as it opens, all these diagonally and with crossed arms as was taught, also against each other single and double, judged in the work against your need and opportunity. Then farther, as was taught, drive the blade in the full work first with the long edge then with the short, and also with the flat, against his sides in full flight to the high and low openings.</p> |
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− | | In the first attack strike a long downstrike to his left ear, just as he glides then twitch both hands above you, so that your pommel will be under your right arm as you thrust through to him above you, and strike handily from below with the long edge to his left, just then step to him with your left foot behind your right and come through this strike to bring your grip high over your head. Onward again first strike an understrike with the long edge to his low opening while advancing your right foot, twitch handily near your right above you again, and strike the second from above also to his left while backstepping with your left behind your right as before, from which you will stand guarded behind your blade. | + | | <p>In the first attack strike a long downstrike to his left ear, just as he glides then twitch both hands above you, so that your pommel will be under your right arm as you thrust through to him above you, and strike handily from below with the long edge to his left, just then step to him with your left foot behind your right and come through this strike to bring your grip high over your head. Onward again first strike an understrike with the long edge to his low opening while advancing your right foot, twitch handily near your right above you again, and strike the second from above also to his left while backstepping with your left behind your right as before, from which you will stand guarded behind your blade.</p> |
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| [[File:Meyer 1570 Longsword C.jpg|center|400px]] | | [[File:Meyer 1570 Longsword C.jpg|center|400px]] | ||
− | | Note: twitch with a high strike from the right with the half edge to his left, but in the air cross over your hands and slash with the half edge to his left ear, as is shown by the top two figures in illustration C, twitch your hands again thus crosswise over you, and slash again with a traverse from below to his left ear, then again onward strike the traverse from below to his left with an advance step, twitch nimbly near your left above you, and thrust through in this off-twitch with your pommel under your right arm, and quickly again with crossed arms from your high right into his left, in this way slash with the flat below and above on the one side, that goes to both sides, and mark when you will slash to the lower right opening, which will be with the flat, long or short, then your hands will cross, but when you slash to his hight righ opening, then your hands will not always be crossed, from here mark the following example: | + | | <p>Note: twitch with a high strike from the right with the half edge to his left, but in the air cross over your hands and slash with the half edge to his left ear, as is shown by the top two figures in illustration C, twitch your hands again thus crosswise over you, and slash again with a traverse from below to his left ear, then again onward strike the traverse from below to his left with an advance step, twitch nimbly near your left above you, and thrust through in this off-twitch with your pommel under your right arm, and quickly again with crossed arms from your high right into his left, in this way slash with the flat below and above on the one side, that goes to both sides, and mark when you will slash to the lower right opening, which will be with the flat, long or short, then your hands will cross, but when you slash to his hight righ opening, then your hands will not always be crossed, from here mark the following example:</p> |
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− | | Thus in advancing shoot through before him and slash with the half edge from your left to his right ear, without crossing your hands, but with your pommel staying out toward your left, twitch nimbly overhead to your right, and crossing your hands over in the air, slash with crossed hands to his lower right opening from your left, in all moves keep your pommel full behind your blade, stepping double steps out to your right, thus you can both slash with the flech and with the long edge, from below and above, near your right, as I taught you before, that you shall twitch and turn the strikes from one opening to another, thus you shall twitch and address both high and low openings on one side. Basically, when you drive a strike to his high openings, and notice that he does not strike, but your sword drives on to engage, see that you then not let your strike hit on, but lead your strike to his low opening, but where he does get under the strike, then drive your strike ahead against the strong of his blade. From this work grows winding at the Sword, namely when you have bound onto his sword from your right against his left, then stay stay hard on his blade, thrust your pommel through under your right arm unseen to him, stay thus forward on his sword, and then pull your pommel out again and wind your short edge out to his head. Thus you again find three edges and the flat, namely the outward and inward long edge, also the outward and inward short edge, and similarly the inward and outward flat, all on both sides. | + | | <p>Thus in advancing shoot through before him and slash with the half edge from your left to his right ear, without crossing your hands, but with your pommel staying out toward your left, twitch nimbly overhead to your right, and crossing your hands over in the air, slash with crossed hands to his lower right opening from your left, in all moves keep your pommel full behind your blade, stepping double steps out to your right, thus you can both slash with the flech and with the long edge, from below and above, near your right, as I taught you before, that you shall twitch and turn the strikes from one opening to another, thus you shall twitch and address both high and low openings on one side. Basically, when you drive a strike to his high openings, and notice that he does not strike, but your sword drives on to engage, see that you then not let your strike hit on, but lead your strike to his low opening, but where he does get under the strike, then drive your strike ahead against the strong of his blade. From this work grows winding at the Sword, namely when you have bound onto his sword from your right against his left, then stay stay hard on his blade, thrust your pommel through under your right arm unseen to him, stay thus forward on his sword, and then pull your pommel out again and wind your short edge out to his head. Thus you again find three edges and the flat, namely the outward and inward long edge, also the outward and inward short edge, and similarly the inward and outward flat, all on both sides.</p> |
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− | | Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances. | + | | class="noline" | <p>Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.</p> |
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− | ! <p> | + | ! <p>Figures</p> |
− | ! <p>{{rating| | + | ! <p>{{rating|start|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p> |
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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− | | '''Fencing from the Stances | + | | '''Fencing from the Stances''' |
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+ | Chapter 11 | ||
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Since much now concerns the Stances, I will thus not keep you long in each for the same reason they were given still only half composed, but going onward, since you will need to know, when you present your sword and (while you are twitching off the guard he aimed to you) you would strike, as soon as you come out from the farthest point (where you have begun to pull back your sword), then from here on you should lead your sword against him again with agility, like how it will be handled from the Guard of the Roof, the Guard through which you bring about the Downstrike. Thus when you move to the Downstrike (to do such) you will then in the outermost point of this move come to be in the guard named Roof, you can now not only (just as you seek to strike) strike then and thus drive ahead with your Downstrike, but can also persist to stay. This is the reason, namely just that you not yet undertake any strike unplanned, but even as soon you have allowed the same considered strike to be drawn against them, you should now lead the strike on from even from here so that as you stay for only an eyeblink at the obvious outermost point, so consider ahead if your chosen strike can either still be led usably to fulfillment, or if through it you can attain a better opportunity applicable elsewhere, where you thus change to a second strike accordingly at the outermost point and thus conclude the Downstrike which you have drawn out with a Traverse. This is the underlying reason for the development of the Stances and is why you stay while in one Guard: to see what the other will take ahead (and then rightly know how to overtake his chosen part) and prevent such just by being certain to see here what his chosen part will be, and such waiting is a great art and experience. Because you now need to know onward how to engage your opponent’s oncoming strikes from the Roof with your Sword, I have set the following examples both of when he would strike, or stay and not strike. | Since much now concerns the Stances, I will thus not keep you long in each for the same reason they were given still only half composed, but going onward, since you will need to know, when you present your sword and (while you are twitching off the guard he aimed to you) you would strike, as soon as you come out from the farthest point (where you have begun to pull back your sword), then from here on you should lead your sword against him again with agility, like how it will be handled from the Guard of the Roof, the Guard through which you bring about the Downstrike. Thus when you move to the Downstrike (to do such) you will then in the outermost point of this move come to be in the guard named Roof, you can now not only (just as you seek to strike) strike then and thus drive ahead with your Downstrike, but can also persist to stay. This is the reason, namely just that you not yet undertake any strike unplanned, but even as soon you have allowed the same considered strike to be drawn against them, you should now lead the strike on from even from here so that as you stay for only an eyeblink at the obvious outermost point, so consider ahead if your chosen strike can either still be led usably to fulfillment, or if through it you can attain a better opportunity applicable elsewhere, where you thus change to a second strike accordingly at the outermost point and thus conclude the Downstrike which you have drawn out with a Traverse. This is the underlying reason for the development of the Stances and is why you stay while in one Guard: to see what the other will take ahead (and then rightly know how to overtake his chosen part) and prevent such just by being certain to see here what his chosen part will be, and such waiting is a great art and experience. Because you now need to know onward how to engage your opponent’s oncoming strikes from the Roof with your Sword, I have set the following examples both of when he would strike, or stay and not strike. | ||
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| '''The First Part''' | | '''The First Part''' | ||
And firstly when you come before your opponent and, while striking out or otherwise pulling your sword back (to downstrike) to bring it high above you, he strikes just then to your left at your head, then burst full away from his strike against his left and somewhat toward him, and strike with an outward flat against his incoming strike to meet his sword strongly on the strong so that the forward part of your blade will swing inward over his sword to his head, which is then certainly hit. When you slash at the same time as him and your sword comes to be over his, to hit or not on his strike, then twitch your sword off over yourself again, and strike diagonally upward from below to his right arm, in this strike step out with your left foot full against his right side and arc yourself with your head fully behind your sword’s blade, from there nimbly twitch again upward and flit the short edge to his left ear, if you see that he will wipe against this, then don’t let the impact fail or flow off, but soon cross your hands in the air (the right over the left) and slash him with the short edge deep to his right ear and then traverse over and pull out. Mark here when he would nimbly follow after the Understrike just taught and thus would be hard onto the roof so that you can’t come to flow off, then pay attention just then if he would twitch off from your sword, then follow after him with a cut to the arm. | And firstly when you come before your opponent and, while striking out or otherwise pulling your sword back (to downstrike) to bring it high above you, he strikes just then to your left at your head, then burst full away from his strike against his left and somewhat toward him, and strike with an outward flat against his incoming strike to meet his sword strongly on the strong so that the forward part of your blade will swing inward over his sword to his head, which is then certainly hit. When you slash at the same time as him and your sword comes to be over his, to hit or not on his strike, then twitch your sword off over yourself again, and strike diagonally upward from below to his right arm, in this strike step out with your left foot full against his right side and arc yourself with your head fully behind your sword’s blade, from there nimbly twitch again upward and flit the short edge to his left ear, if you see that he will wipe against this, then don’t let the impact fail or flow off, but soon cross your hands in the air (the right over the left) and slash him with the short edge deep to his right ear and then traverse over and pull out. Mark here when he would nimbly follow after the Understrike just taught and thus would be hard onto the roof so that you can’t come to flow off, then pay attention just then if he would twitch off from your sword, then follow after him with a cut to the arm. | ||
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| '''The Second Part''' | | '''The Second Part''' | ||
However if he strikes at your left from below, then step quickly out to his left and strike with the long edge onto the strong of his sword, as soon as your sword moves or glides on his, twitch your sword high above yourself again and slash down with the short edge quickly and deeply to his left ear while stepping forward out to his left, he will then want to rush to displace and then drive above against it, so then strike nimbly with the long edge over again to his right ear and in this slashover step full against his right like before, yet stay with the cross high over your head, and mark as soon as he slashes over then fall further with a cut to his arm, if he is not hurt by this but would evade your work, then follow after him (staying on his arm), and when he makes the smallest extraction, then let fly to another opening and strike him away from you. | However if he strikes at your left from below, then step quickly out to his left and strike with the long edge onto the strong of his sword, as soon as your sword moves or glides on his, twitch your sword high above yourself again and slash down with the short edge quickly and deeply to his left ear while stepping forward out to his left, he will then want to rush to displace and then drive above against it, so then strike nimbly with the long edge over again to his right ear and in this slashover step full against his right like before, yet stay with the cross high over your head, and mark as soon as he slashes over then fall further with a cut to his arm, if he is not hurt by this but would evade your work, then follow after him (staying on his arm), and when he makes the smallest extraction, then let fly to another opening and strike him away from you. | ||
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| '''The Third Part''' | | '''The Third Part''' | ||
However, if he strikes to your right as you come to be in the High Guard, then step nimbly with your left foot to his right out of his strike, and at the same time fall from above with the long edge onto the strong of his sword and, just as you fall on his sword, thrust your pommel under your right arm, so that you slash at his head with crossed hands fully over or near his sword, if he drives above against your right then let the half edge nearly flow off and step under it full out to his left side, and strike with the long edge directly to his head from above, but twitch nimbly upward again and slash with a traverse from below to his left ear with an off set with your left foot, and then strike him away from you. | However, if he strikes to your right as you come to be in the High Guard, then step nimbly with your left foot to his right out of his strike, and at the same time fall from above with the long edge onto the strong of his sword and, just as you fall on his sword, thrust your pommel under your right arm, so that you slash at his head with crossed hands fully over or near his sword, if he drives above against your right then let the half edge nearly flow off and step under it full out to his left side, and strike with the long edge directly to his head from above, but twitch nimbly upward again and slash with a traverse from below to his left ear with an off set with your left foot, and then strike him away from you. | ||
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| '''The Fourth Part''' | | '''The Fourth Part''' | ||
Mark in Pre-Fencing when you have come to hold your sword high above in the guard of the Roof to beware that he not then rush to strike, so that you can stay in the Before, cross your hands over your head, (the right over the left) so that it appears as if you would stab to his face, step under this toward him with your right foot and twitch your sword then to your left over your head and strike him thus with the short edge through a crafty traverse from your right to his left ear, twitch nimbly back off again and drive against his lower right opening with a long traverse, let it not stay but twitch above you again in the same flight and let the third flow off deep to his left ear with the short edge, and slash the short edge again with crossed hands into to his right ear, as soon as this hits, step back with the left foot and strike with the long edge from below to his left arm to be as shown by the figure fighting against the right in the left background of illustration G above, mark here when you step off in this Understrike if he would strike to your lower left opening, then step to him with your left foot and fall with crossed hands and the short edge onto his sword, strike him thus an Understrike as shown in the other figure fighting against the right in the just considered picture. Now mark further just as he then pulls his sword over himself again, then pull your sword with crossed hands full to your left and, just as he slashes again, take his oncoming strike from your left against his right with your outward flat, high traverse out strongly so that your sword flies overhead in full flight and your hands cross over each other in the air while your sword flies, then step full against his right, but still keep your hands high and let the half edge flow off in a twitch near his right ear (as this hits or grazes), and just then strike long with an off step. I have described this part in particular as still many good moves can be taken and be fought from here, therefore you should learn not just this alone, but think forward with diligence. Thus I will describe yet another part with a different start. | Mark in Pre-Fencing when you have come to hold your sword high above in the guard of the Roof to beware that he not then rush to strike, so that you can stay in the Before, cross your hands over your head, (the right over the left) so that it appears as if you would stab to his face, step under this toward him with your right foot and twitch your sword then to your left over your head and strike him thus with the short edge through a crafty traverse from your right to his left ear, twitch nimbly back off again and drive against his lower right opening with a long traverse, let it not stay but twitch above you again in the same flight and let the third flow off deep to his left ear with the short edge, and slash the short edge again with crossed hands into to his right ear, as soon as this hits, step back with the left foot and strike with the long edge from below to his left arm to be as shown by the figure fighting against the right in the left background of illustration G above, mark here when you step off in this Understrike if he would strike to your lower left opening, then step to him with your left foot and fall with crossed hands and the short edge onto his sword, strike him thus an Understrike as shown in the other figure fighting against the right in the just considered picture. Now mark further just as he then pulls his sword over himself again, then pull your sword with crossed hands full to your left and, just as he slashes again, take his oncoming strike from your left against his right with your outward flat, high traverse out strongly so that your sword flies overhead in full flight and your hands cross over each other in the air while your sword flies, then step full against his right, but still keep your hands high and let the half edge flow off in a twitch near his right ear (as this hits or grazes), and just then strike long with an off step. I have described this part in particular as still many good moves can be taken and be fought from here, therefore you should learn not just this alone, but think forward with diligence. Thus I will describe yet another part with a different start. | ||
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| '''A Second''' | | '''A Second''' | ||
In the pre-fencing when you come into the Roof or High Guard, then let your blade sink down in front of you, as before, to your left side, and twitch over your head, step and strike a high traversing Middle Strike with the long edge against his left to his neck or throat, as soon as he withdraws, then twitch again over the head, and strike a second high Middle Strike traversing from your left against his right, again at his throat, as soon as it glides then strike the third, a high strike with the long edge direct from above. These three strikes shall go from one to another in a nimble flight. If you want more room then raise your pommel above to your left side, twitch thus overhead, and take your flat or short edge near your left from below through to his right against your right in a wrench out above him, so that your blade again flies over in the air, and strike with the half edge from above down with crossed hands feinting over near his right ear, you can reach further with the short edge by stepping ahead, thus let it engage and strike a strong wrath strike to his left side and following strike away from him. This is indeed a serious and strong sequence in that, since you have the Before, he can only defend. | In the pre-fencing when you come into the Roof or High Guard, then let your blade sink down in front of you, as before, to your left side, and twitch over your head, step and strike a high traversing Middle Strike with the long edge against his left to his neck or throat, as soon as he withdraws, then twitch again over the head, and strike a second high Middle Strike traversing from your left against his right, again at his throat, as soon as it glides then strike the third, a high strike with the long edge direct from above. These three strikes shall go from one to another in a nimble flight. If you want more room then raise your pommel above to your left side, twitch thus overhead, and take your flat or short edge near your left from below through to his right against your right in a wrench out above him, so that your blade again flies over in the air, and strike with the half edge from above down with crossed hands feinting over near his right ear, you can reach further with the short edge by stepping ahead, thus let it engage and strike a strong wrath strike to his left side and following strike away from him. This is indeed a serious and strong sequence in that, since you have the Before, he can only defend. | ||
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| '''Breaking the Roof Stance or Guard''' | | '''Breaking the Roof Stance or Guard''' | ||
If you are aware that after striking outward one can, in a little flight up over the head, stay in the Guard of the Roof, then come in the pre-fencing into the Guard of the Key, from there raise both hands thus crosswise over your head, and at the same time step to him with your right foot, and while stepping strike with the short edge near your right thigh strongly from below through your opponent’s Vertex line up above you, so that the sword is above your head, flying off with an upstrike from your left to your right, keep your hands high in the displacement, just as it connects then step nimbly with your right foot to his left and strike with the short edge in a swing to his left ear. From there upstrike twice with a walk, follow the slash with a traverse to his right ear, and just then step at the same time with your right foot backward to your left, thus the Traverse goes deeper. When this happens you can strike as soon as he does. | If you are aware that after striking outward one can, in a little flight up over the head, stay in the Guard of the Roof, then come in the pre-fencing into the Guard of the Key, from there raise both hands thus crosswise over your head, and at the same time step to him with your right foot, and while stepping strike with the short edge near your right thigh strongly from below through your opponent’s Vertex line up above you, so that the sword is above your head, flying off with an upstrike from your left to your right, keep your hands high in the displacement, just as it connects then step nimbly with your right foot to his left and strike with the short edge in a swing to his left ear. From there upstrike twice with a walk, follow the slash with a traverse to his right ear, and just then step at the same time with your right foot backward to your left, thus the Traverse goes deeper. When this happens you can strike as soon as he does. | ||
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| Or if he comes ahead to you going high, then pay attention then if he will go to the low guard, then follow him nimbly with two strong understrikes from both sides out of whatever guard or stance suits you, just as long as you strike nimbly from below. One to the other with the half edge in a nimble walk from both sides deep to the head, after this bind nimbly into his blade, if he goes off then follow after. If he stays then wind, wrench out and make your work onward to the next. | | Or if he comes ahead to you going high, then pay attention then if he will go to the low guard, then follow him nimbly with two strong understrikes from both sides out of whatever guard or stance suits you, just as long as you strike nimbly from below. One to the other with the half edge in a nimble walk from both sides deep to the head, after this bind nimbly into his blade, if he goes off then follow after. If he stays then wind, wrench out and make your work onward to the next. | ||
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| '''Wrath Guard''' | | '''Wrath Guard''' | ||
When at the onset you come into the Wrath Guard, then step as soon as you can reach him and strike a quick Wrath Strike, which he must defend from, to his left ear. Nimbly follow the strike over with an Under Strike against his lower right opening, thus you have now attacked. Under this as and when he is reached for work and the arms show he will strike, then fall low with your sword onto his arm and behind his charge so that he can not come to work, as he will then not be able to rightly defend from this, then thrust to him with an incomplete shove from yourself, that he likewise shows that he would fall, and meanwhile slash to the next opening that you know you have, but if he reaches this and strikes you off, then be there again with the cut or displacement, and fall against his strike on the blade, if he goes off the blade again, then cut him on the arm again, but if he stays on your sword then thrust his sword aside with your hilt and nimbly let your sword fly again to the next opening and swing to him after your need. Thus now you shall fight with all elements of the sword to the body, and from the body to the sword, but where he would twitch or flow off from you, then always use the cut for help, and where you can’t cut, then there can be no useful fencing, but where you can do it rightly, then swing to him as you will. He who can break the cut himself, you will find less, but he who cannot rightly lead the cut will soon be broken. | When at the onset you come into the Wrath Guard, then step as soon as you can reach him and strike a quick Wrath Strike, which he must defend from, to his left ear. Nimbly follow the strike over with an Under Strike against his lower right opening, thus you have now attacked. Under this as and when he is reached for work and the arms show he will strike, then fall low with your sword onto his arm and behind his charge so that he can not come to work, as he will then not be able to rightly defend from this, then thrust to him with an incomplete shove from yourself, that he likewise shows that he would fall, and meanwhile slash to the next opening that you know you have, but if he reaches this and strikes you off, then be there again with the cut or displacement, and fall against his strike on the blade, if he goes off the blade again, then cut him on the arm again, but if he stays on your sword then thrust his sword aside with your hilt and nimbly let your sword fly again to the next opening and swing to him after your need. Thus now you shall fight with all elements of the sword to the body, and from the body to the sword, but where he would twitch or flow off from you, then always use the cut for help, and where you can’t cut, then there can be no useful fencing, but where you can do it rightly, then swing to him as you will. He who can break the cut himself, you will find less, but he who cannot rightly lead the cut will soon be broken. | ||
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| [[File:Meyer 1570 Longsword F.jpg|center|400px]] | | [[File:Meyer 1570 Longsword F.jpg|center|400px]] | ||
| rowspan="2" | If you stand in the right Wrath stance and your opponent strikes from his right to your left, then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath, and the blade hanging below you somewhat to the ground, but as soon as in glides then step with the left foot to his right side, and wind the short edge under his sword inward to his head, as shown by the small middle figures in illustration L. When you have wound, then hold your sword with the short edge on his, and wrench the sword out following against your right above you, as shown by the small middle figures in illustration F, thus that your hands complete the wrench high in the air and crossed over, and slash in (keeping your hands high) with an inwinding flat to his lower right opening, as soon as he swipes against it in displacement, then don’t pull but twitch high again and strike a glide strike to his left ear, but in this strike let the blade swing in deep over your hands and fence quickly away from him. | | rowspan="2" | If you stand in the right Wrath stance and your opponent strikes from his right to your left, then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath, and the blade hanging below you somewhat to the ground, but as soon as in glides then step with the left foot to his right side, and wind the short edge under his sword inward to his head, as shown by the small middle figures in illustration L. When you have wound, then hold your sword with the short edge on his, and wrench the sword out following against your right above you, as shown by the small middle figures in illustration F, thus that your hands complete the wrench high in the air and crossed over, and slash in (keeping your hands high) with an inwinding flat to his lower right opening, as soon as he swipes against it in displacement, then don’t pull but twitch high again and strike a glide strike to his left ear, but in this strike let the blade swing in deep over your hands and fence quickly away from him. | ||
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| [[File:Meyer 1570 Longsword A.jpg|center|400px]] | | [[File:Meyer 1570 Longsword A.jpg|center|400px]] | ||
| If your counterpart strikes to you from above, then step and strike to him from your right with a high traversing Middle Strike, thus also through and away from his long edge strike in flight so that your blade flies over with the half edge against his left ear but, as soon as you near it, flow off and twitch over your head from your right to your left, step and slash him with an inverted flat from your left to his right ear, high traversing through the middle line shown on the larger figure on the right of illustration A. | | If your counterpart strikes to you from above, then step and strike to him from your right with a high traversing Middle Strike, thus also through and away from his long edge strike in flight so that your blade flies over with the half edge against his left ear but, as soon as you near it, flow off and twitch over your head from your right to your left, step and slash him with an inverted flat from your left to his right ear, high traversing through the middle line shown on the larger figure on the right of illustration A. | ||
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| If it happens that he would not strike, then place yourself into the right Wrath stance and drive over your forward thigh thus: Stay standing with your left foot planted and strike seriously from your right over your left leg into the left Changer, from there travel over yourself again with the short edge through the strike line which you just travelled through from above so that your sword comes to your right shoulder again. Do this then once or thrice and, at the last when you see your opportunity, then drive the short edge in a move from your left above in the air over yourself and let it snap over thus into an upstrike to his lower right opening with your third step, and as this is then pulled right, then slash a deep one again with the short edge over your hand to his left ear, in this let your pommel snap full upward, thus letting it go deeper, then twitch over again and drive a strike to his lower right opening with two forward steps, and then as such is pulled right, then slash again over your hand with the short edge to his left ear, in this let your pommel snap upward thus making it go deeper, twitch over again and drive a strike to his right, yet still soon traverse again to his left with a back step and then pull out. | | If it happens that he would not strike, then place yourself into the right Wrath stance and drive over your forward thigh thus: Stay standing with your left foot planted and strike seriously from your right over your left leg into the left Changer, from there travel over yourself again with the short edge through the strike line which you just travelled through from above so that your sword comes to your right shoulder again. Do this then once or thrice and, at the last when you see your opportunity, then drive the short edge in a move from your left above in the air over yourself and let it snap over thus into an upstrike to his lower right opening with your third step, and as this is then pulled right, then slash a deep one again with the short edge over your hand to his left ear, in this let your pommel snap full upward, thus letting it go deeper, then twitch over again and drive a strike to his lower right opening with two forward steps, and then as such is pulled right, then slash again over your hand with the short edge to his left ear, in this let your pommel snap upward thus making it go deeper, twitch over again and drive a strike to his right, yet still soon traverse again to his left with a back step and then pull out. | ||
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| In the pre-fencing strike into the the right Wrath and, as soon as your opponent goes off, then raise your hands high over your head and let your point shoot forward toward his face as if you would stab, but twitch off again and slash with inverted hands or reversed flat from your lower right out to his left ear or arm together with a retreating step. If he then strikes from above at the same time as you, then nimbly twitch over after the swords meet and slash diagonally deep to his upper right opening with an inward flat so that your hands become crossed, yet then pull out to yourself again as if you would strike to his left but don’t, rather twitch off again without engaging and strike thus with the short edge in a circle to his right ear so that the short edge grazes his ear. During this keep your hands high above you and step around with the circle then step back and strike a direct vertex strike to his head, then twitch nimbly upward again with a high traversing cross. That is, come over your head into the Crown, from there traverse to both sides, the first on the right with the long edge, the other to the left with the short edge, keeping your thumb always under the ricasso, and pull off. | | In the pre-fencing strike into the the right Wrath and, as soon as your opponent goes off, then raise your hands high over your head and let your point shoot forward toward his face as if you would stab, but twitch off again and slash with inverted hands or reversed flat from your lower right out to his left ear or arm together with a retreating step. If he then strikes from above at the same time as you, then nimbly twitch over after the swords meet and slash diagonally deep to his upper right opening with an inward flat so that your hands become crossed, yet then pull out to yourself again as if you would strike to his left but don’t, rather twitch off again without engaging and strike thus with the short edge in a circle to his right ear so that the short edge grazes his ear. During this keep your hands high above you and step around with the circle then step back and strike a direct vertex strike to his head, then twitch nimbly upward again with a high traversing cross. That is, come over your head into the Crown, from there traverse to both sides, the first on the right with the long edge, the other to the left with the short edge, keeping your thumb always under the ricasso, and pull off. | ||
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| '''Rule''' | | '''Rule''' | ||
When you stand in the Right or Left Wrath, and one strikes to you from below committing to your right or left opening, then strike high outward with the long edge and, just as it engages, then shoot the point on his sword inward to his face, just then drive off with your hands and work to the next opening with elements of going before or after. | When you stand in the Right or Left Wrath, and one strikes to you from below committing to your right or left opening, then strike high outward with the long edge and, just as it engages, then shoot the point on his sword inward to his face, just then drive off with your hands and work to the next opening with elements of going before or after. | ||
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| '''Left Wrath Stance''' | | '''Left Wrath Stance''' | ||
When at the onset you come into the Left Wrath stance, then drive over the right thigh, as above with the left, one strike, two, three, yet then step and strike from your low left out strongly through your right upward, so that your sword flies over in the air in an upstrike toward your right, then twitch over your head and strike a strong traverse to his left ear, onward quickly crosswise and high traverse to all four openings: to his left over the hand, be it high or low, that is reversed or inverted with the hand, and on his right with an inward flat, that is under the hand. | When at the onset you come into the Left Wrath stance, then drive over the right thigh, as above with the left, one strike, two, three, yet then step and strike from your low left out strongly through your right upward, so that your sword flies over in the air in an upstrike toward your right, then twitch over your head and strike a strong traverse to his left ear, onward quickly crosswise and high traverse to all four openings: to his left over the hand, be it high or low, that is reversed or inverted with the hand, and on his right with an inward flat, that is under the hand. | ||
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<p>You will learn of the Middle Guard later with the Dusack, whereas that will be done with one hand, here you shall place yourself in it with two hands. Then even if in the beginning I was not well disposed to set this here, I can indeed (since from nothing else can the Ward of the Roses be taught onward) otherwise not go forward, then mark when one comes ahead to you so that his sword is stretched out before him in the long point or else driving in direct displacement, then drive with your blade around in a circle from the middle guard right over around his, so that you come right back to the same middle guard with your blade, from there swing the weak forcefully out to him over his arm to his head, or as he then (just as you would would drive over his blade through the roses) meanwhile would fall from above down to your opening, then take his blade outward with the half edge, namely on the second time you come to be in the middle guard, then as quickly as he has not yet come to reach your opening, you come around just then with the Roses, with which you have enough time to come to the described out, after this you still take him outward, then let flow over in a curve in the air over your head (by which you mislead him) through a circle to the next opening.</p> | <p>You will learn of the Middle Guard later with the Dusack, whereas that will be done with one hand, here you shall place yourself in it with two hands. Then even if in the beginning I was not well disposed to set this here, I can indeed (since from nothing else can the Ward of the Roses be taught onward) otherwise not go forward, then mark when one comes ahead to you so that his sword is stretched out before him in the long point or else driving in direct displacement, then drive with your blade around in a circle from the middle guard right over around his, so that you come right back to the same middle guard with your blade, from there swing the weak forcefully out to him over his arm to his head, or as he then (just as you would would drive over his blade through the roses) meanwhile would fall from above down to your opening, then take his blade outward with the half edge, namely on the second time you come to be in the middle guard, then as quickly as he has not yet come to reach your opening, you come around just then with the Roses, with which you have enough time to come to the described out, after this you still take him outward, then let flow over in a curve in the air over your head (by which you mislead him) through a circle to the next opening.</p> | ||
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| <p>Or as you have struck to the left into the Middle Guard in pre-fencing, and your counterpart strikes below this to you from above, then step well out from his strike to his right side, and throw your short edge above or outside his right arm to his head, and in this throw in let your blade shoot well in, either to his head or above both his arms, then nimbly twitch your sword upward again and strike him strongly with the long edge from your left above to his right arm, from there fence to him onward as with previous and following elements at your pleasure, and meanwhile since the Roses can also be fenced rightly from the Long Point, just as I set forth the previous element, I will describe it with the Long Point as well thus:</p> | | <p>Or as you have struck to the left into the Middle Guard in pre-fencing, and your counterpart strikes below this to you from above, then step well out from his strike to his right side, and throw your short edge above or outside his right arm to his head, and in this throw in let your blade shoot well in, either to his head or above both his arms, then nimbly twitch your sword upward again and strike him strongly with the long edge from your left above to his right arm, from there fence to him onward as with previous and following elements at your pleasure, and meanwhile since the Roses can also be fenced rightly from the Long Point, just as I set forth the previous element, I will describe it with the Long Point as well thus:</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/104|4|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/104|4|lbl=Ⅰ.42rd|p=1}} '''[XLIIv]''' damit zwingestu jhn das er gehlingen ubersich fehrt / als bald er solch es thut / so lasse dein Lincke hand vom knopff ab / und laß dein klingen gegen seiner Rechten von Unden auff in einer hand umb schnappen / und setze jhm den vordern ort an sein Brust / greiff in des dein knopff wider an / wie du solches an den kleinern Bilder zur Rechten hand mit dem F. hievor sehen kanst / stoß jhn also mit verkehrter hand von dir / laß als bald dein knopff wider ab / und dein Schwerdt umb dein Kopff fahren / und hauwe lang mit angreiffung des knopffs nach / dergleichen stuck soltu gegen die welche gern einlauffen gebrauchen. |
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− | | Also bistu nun bißher in disen ersten und andern theils disses Schwerdt fechtens / eigentlichen underrichtet worden / beide von des Manns und denn auch von des Schwerdts theilung / folgents vom zufechten / Mittelarbeiten und Abziehen / neben andern notwendigen stucken und lehren / sampt den Exempeln im andern theil so aus dem ersten gezogen / was ferner andere hie zu notwendige stuck belanget / wirstu im folgenden Buch vom Schwerdt fechten gnugsam bescheidt finden / sovil ich dißmal zuschreiben für hab. | + | | class="noline" | Also bistu nun bißher in disen ersten und andern theils disses Schwerdt fechtens / eigentlichen underrichtet worden / beide von des Manns und denn auch von des Schwerdts theilung / folgents vom zufechten / Mittelarbeiten und Abziehen / neben andern notwendigen stucken und lehren / sampt den Exempeln im andern theil so aus dem ersten gezogen / was ferner andere hie zu notwendige stuck belanget / wirstu im folgenden Buch vom Schwerdt fechten gnugsam bescheidt finden / sovil ich dißmal zuschreiben für hab. |
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{{master subsection end}} | {{master subsection end}} | ||
− | <p style="width:100%;">The long sword material in the [[Joachim Meyers Fäktbok (MS A.4º.2)|Lund manuscript]] closely mirrors the "Third Part" of Meyer's ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der Kunst des Fechtens]]'', so they are both included in the compilation below. Though the current translation is based on the Lund, | + | <p style="width:100%; margin-left: 2em;">The long sword material in the [[Joachim Meyers Fäktbok (MS A.4º.2)|Lund manuscript]] closely mirrors the "Third Part" of Meyer's ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der Kunst des Fechtens]]'', so they are both included in the compilation below. Though the current translation is based on the Lund, in the future we will expand it with a full translation of both, footnoting the differences.</p> |
{{master subsection begin | {{master subsection begin | ||
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| width = 120em | | width = 120em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p> | ! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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Nach dem ich guthertziger Leser bewilliget / disen meinen Fecht zedel welchen ich auß rechtem grunde der Alten zusamen gesetzt / gebessert un in ein rechte ordnung gebracht / hab ich den (damit meniglich dester mehr nutz darauß haben möcht) durch vil schöner und geschwinder stuck und Exempel auch etwas zu erkleren / unnd den zu verstehn ein kleine anleitung geben wollen / dan sie dermassen reich von stucken / un aller hand geschwindigkeit / also das wo du sie nach solcher anleitung erwigest / jhe lenger ihe mehr stuck hierauß erlernen wirst können / dan das die Reimen ohn außlegung nicht vil nutzen / ist offenbar an andern außgangenen Fechtbüchlein / und solt aber wissen das der erste theil solcher Reimen in meinem bishergelehrten Fechten gnugsam erklärt / derwegen an disem meinen anhab nemen / also. | Nach dem ich guthertziger Leser bewilliget / disen meinen Fecht zedel welchen ich auß rechtem grunde der Alten zusamen gesetzt / gebessert un in ein rechte ordnung gebracht / hab ich den (damit meniglich dester mehr nutz darauß haben möcht) durch vil schöner und geschwinder stuck und Exempel auch etwas zu erkleren / unnd den zu verstehn ein kleine anleitung geben wollen / dan sie dermassen reich von stucken / un aller hand geschwindigkeit / also das wo du sie nach solcher anleitung erwigest / jhe lenger ihe mehr stuck hierauß erlernen wirst können / dan das die Reimen ohn außlegung nicht vil nutzen / ist offenbar an andern außgangenen Fechtbüchlein / und solt aber wissen das der erste theil solcher Reimen in meinem bishergelehrten Fechten gnugsam erklärt / derwegen an disem meinen anhab nemen / also. | ||
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− | | ''' | + | | '''Sword Fencing''' |
− | + | Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. In the Sword this is namely attacking, followed by the withdrawal or other than to the first to reach it, send your attacks through the Guards and Hew like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. Onwards to the last, or the withdrawal, how orderly each one will hereafter be diligently written and taught. | |
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− | | | + | | Secondly one should note the Vor and Nach (Before and After), Weak and Strong. The Before is when you drive with your Stücken so that he cannot come to his senses, especially by positioning yourself close, and how he defends before your Stücken and these same would like to break and bar, with this, he runs off the Vor to you. |
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− | | | + | | The after is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond Indes quickly with convenient work, with this, you are strongest on his Stücken, when you lay on with your work in the Vor, and in this you are crowded so that you must displace him after, thus is a constant changing with the Vor and Nach, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence. |
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− | | ''' | + | | '''Divisions of the sword to the Weak and Strong''' |
− | + | The Sword is firstly divided in two parts, namely from the grip to the middle of the Blade which is known as the Strong, from the middle to the most forward, is the Weak furthermore is the sword divided in four parts how the figure below this shows. | |
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− | | | + | | With the inward part, that is the haft, and [with it] the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings. |
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− | | ''' | + | | '''Hard and Soft''' |
− | + | Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut. | |
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− | | | + | | Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen. With this however the Sword fencing and the following written stuck is more understandable thus as I explain my Zedel according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End. |
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|- | |- | ||
| | | | ||
− | | | + | | '''Follow the Sword Zedel''' |
+ | |||
+ | '''The Four Main guards''' | ||
+ | |||
+ | From the Roof, Fool, Ox, Plow | ||
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | ''' | + | | '''The Eight Secondary Guards''' |
− | + | Long-point, Iron-door, Hanging Point, Speak-window, Key, Side Guard, Barrier Guard, Wrath Guard | |
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | | + | | '''The Five Master-Cuts''' |
+ | |||
+ | Wrath Cut, Crooked cut, Thwart Cut, Squinter cut, Scalper | ||
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | The | + | | '''The Six Covert Cuts''' |
+ | |||
+ | Blinding cut, Bouncing cut, Short cut, Knuckle cut, Clashing cut, Wind cut | ||
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | ''' | + | | '''Handworks in the Sword''' |
− | + | Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing | |
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | | + | | '''From the Four Openings and Divisions''' |
+ | |||
+ | Firstly will the opponent be divided in two sections, namely left and Right, how the Lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow. | ||
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | | + | | Whose use should one should thus firstly note, in which division he leads his sword under or above, to the right or the Left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this: |
− | |||
− | |||
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | | + | | In Zufechten, thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath-guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinter cut. |
| | | | ||
| | | | ||
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|- | |- | ||
| | | | ||
− | | | + | | '''Another''' |
− | |||
− | '''Another''' | ||
Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity. | Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity. | ||
Line 2,313: | Line 2,322: | ||
<p>Therefore note when a Roof guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p> | <p>Therefore note when a Roof guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p> | ||
− | | rowspan="2" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|1|lbl= | + | | rowspan="2" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|1|lbl=Ⅰ.52v}} |
| rowspan="2" | | | rowspan="2" | | ||
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|- | |- | ||
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | '''Ende des Schwerdts.''' | + | | class="noline" | '''Ende des Schwerdts.''' |
− | ''' | + | '''Ordenliche Beschreibung und anweisung''' des fechtens im Dusacken/ darinn vil Mannliche und geschwinde Stucke/ durh welche die angehende Schüler zur behendigkeit/volgends im Rapier zufechten/ so vil deß besser mögen abgericht werden/in guter ordnung begriffen/ vnd nach einander fürgestellet.''' |
− | | | + | |
+ | <poem>Mit diser Mehr raich weit und lang / | ||
+ | Dem hauw nach fürsich vberhang / | ||
+ | Mit deinem Leib/ darzu trit ferr / | ||
+ | Dein háuw fúhr gwaltig vmb jn her / | ||
+ | Zu all vier enden/laß die fliegen / | ||
+ | Mit geberden/ zucken/ kanst jn triegen / | ||
+ | In die sterck solt du versetzen / | ||
+ | Mit der schwech zugleich jn letzen / | ||
+ | Auch náher solt du kommen nit / | ||
+ | Dann dast jn langest mit eim trit / | ||
+ | |||
+ | |||
+ | Wann er dir wolt einlauffen schier / | ||
+ | Das Vorder ort/treibt jn von dir / | ||
+ | Wer er dir aber glauffen ein / | ||
+ | Mit greiffen/ Ringen / der erst solt sein / | ||
+ | Der sterck vnd schwech nim eben war / | ||
+ | Indes / die Blóß / macht offenbar / | ||
+ | Im Vor/ vnd Nach/ darzu recht trit / | ||
+ | Merck fleissig auff die rechte zeit / | ||
+ | Vnd laß dich bald erschrecken nit.</poem> | ||
+ | |||
+ | | class="noline" | | ||
|} | |} | ||
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| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ||
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ||
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|- | |- | ||
− | | | + | | class="noline" | |
− | | <p>Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can Break the Guards and Strikes. E.</p> | + | | class="noline" | <p>Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can Break the Guards and Strikes. E.</p> |
− | | | + | | class="noline" | |
|} | |} | ||
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| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating}}</p> | ! <p>{{rating}}</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|1|lbl=Ⅰ.55r.1}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|2|lbl=Ⅰ.55r.1}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|3|lbl=Ⅰ.55r.3}} | ||
+ | |||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/152|1|lbl=Ⅱ.1r.1}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/152|2|lbl=Ⅱ.1r.2}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | | ||
+ | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/152|3|lbl=Ⅱ.1r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/153|1|lbl=Ⅱ.1v.1|p=1}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | | ||
+ | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/153|2|lbl=Ⅱ.1v.2}} | ||
|- | |- | ||
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| [[File:Meyer 1570 Dussack D.png|400px|center]] | | [[File:Meyer 1570 Dussack D.png|400px|center]] | ||
| | | | ||
− | | | + | | |
|- | |- | ||
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|- | |- | ||
− | | [[File:Meyer 1570 Dussack P.png|400px|center]] | + | | class="noline" | [[File:Meyer 1570 Dussack P.png|400px|center]] |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
|} | |} | ||
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| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p> | ||
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ||
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|- | |- | ||
− | | | + | | class="noline" | |
− | | <p>Item hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p> | + | | class="noline" | <p>Item hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p> |
− | | | + | | class="noline" | |
|} | |} | ||
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| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating}}</p> | ! <p>{{rating}}</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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|- | |- | ||
− | | [[File:Meyer 1570 Portrait 3.png|400px|center]] | + | | class="noline" | [[File:Meyer 1570 Portrait 3.png|400px|center]] |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
|} | |} | ||
{{master subsection end}} | {{master subsection end}} | ||
+ | |||
{{master subsection begin | {{master subsection begin | ||
| title = Rostock Rapier | | title = Rostock Rapier | ||
| width = 90em | | width = 90em | ||
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
− | ! <p>{{rating}}</p> | + | ! <p>{{rating|C}}<br/>by [[Thomas Carrillo]]</p> |
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]]{{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]]{{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ||
|- | |- | ||
| | | | ||
− | | | + | | <p><br/></p> |
+ | |||
+ | <p>If you want to fence with one hand<br/>Know the twelve cuts<br/>the cuts and thrust right deceive<br/>the thrust with cutting right mutate</p> | ||
| {{section|Page:MS Var.82 112r.png|1|lbl=112r}} | | {{section|Page:MS Var.82 112r.png|1|lbl=112r}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''12 cuts'''</p> |
+ | {| | ||
+ | |- | ||
+ | | Wrath Cut  || Waker  || Anger Cut | ||
+ | |- | ||
+ | | Constrainer  || Danger Cut  || Winker | ||
+ | |- | ||
+ | | High Cut  || Low Cut  || Plunge Cut | ||
+ | |- | ||
+ | | Middle Cut  || Change Cut  || Foot Cut | ||
+ | |} | ||
+ | |||
| {{section|Page:MS Var.82 112r.png|2|lbl=-}} | | {{section|Page:MS Var.82 112r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Wrath Cut'''</p> |
+ | |||
+ | <p>What would be aimed at you<br/>The Wrath cut point beaks</p> | ||
+ | |||
+ | <p>1a That is when you stand in the wrath cut and one cuts or thrust to you, then step sideways around his cut, and cut him with the point to the hand.</p> | ||
+ | |||
+ | <p>''handcut''</p> | ||
| {{section|Page:MS Var.82 112r.png|3|lbl=-}} | | {{section|Page:MS Var.82 112r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Who cuts above to you<br/>Threaten him with the zornhauw</p> |
+ | |||
+ | <p>2b That is almost the same as the previous, so one has cut from above, then cut with a wrath cut to the strong of his weapon with a step out. At the same time<ref name="indes">indes</ref> thrust over-hand<ref>palm up</ref> to his face. If he wards it, then cut to his foot. This goes for both sides.</p> | ||
+ | |||
+ | <p>''overhang''</p> | ||
| {{section|Page:MS Var.82 112r.png|4|lbl=-}} | | {{section|Page:MS Var.82 112r.png|4|lbl=-}} | ||
Line 4,141: | Line 4,234: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p><br/></p> |
+ | |||
+ | <p>3c If he cuts from above<ref>oberhauw</ref> to you, then cut with a wrath cut to the strong of his messer [sic] and step with the right foot to his right side, at the same time<ref name="indes"/> wind with the haft under on his blade through upwards over his right arm. Draw in the arm with the pomel to your body, fall in with the left hand also on the arm over the joint. Thrust with the left hand away from you and hold his hand with your pommel strong on your body so he must fall or be broken.</p> | ||
+ | |||
+ | <p>''Winding upward''</p> | ||
| {{section|Page:MS Var.82 112v.png|2|lbl=-}} | | {{section|Page:MS Var.82 112v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>4d Item: Approach in left wrath cut, and he cuts a roof cut, then cut towards him from your left side, hard in his strong. At the same time<ref name="indes"/> hang the point to his left shoulder Over-hand; cut directly to the right leg.</p> |
+ | |||
+ | <p>''hanging with back of the hand.''</p> | ||
| {{section|Page:MS Var.82 112v.png|3|lbl=-}} | | {{section|Page:MS Var.82 112v.png|3|lbl=-}} | ||
+ | |||
+ | {{section|Page:MS Var.82 112v.png|5|lbl=-}} | ||
|- | |- | ||
| | | | ||
+ | | <p>5e Or allow a thrust to run though an undercut to the right hip. Or parry with a barring zornhauw from above downwards. Immediately<ref name="indes"/> thrust to his face. If he wards it, then cut a middle cut to his stomach and then step and cut long to his right with a step off.</p> | ||
+ | |||
+ | <p>''hip-thrust''</p> | ||
| | | | ||
− | + | {{section|Page:MS Var.82 113r.png|1|lbl=113r|p=1}} {{section|Page:MS Var.82 112v.png|4|lbl=-|p=1}} {{section|Page:MS Var.82 113r.png|2|lbl=-|p=1}} | |
|- | |- | ||
| | | | ||
− | | | + | | <p>6f Item: He cuts a high cut to you, then cut with the zornhauw, going through his strike from your right shoulder. The next to his foot.</p> |
− | | {{section|Page:MS Var.82 113r.png| | + | |
+ | <p>''foot cut''</p> | ||
+ | | {{section|Page:MS Var.82 113r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Waker'''</p> |
− | | {{section|Page:MS Var.82 113r.png| | + | |
+ | <p>7g The waker is thus: When you cut to your opponent, a high cut or low cut, then cut onto the strong of his blade, and don’t lift your blade from his weapon, but remain hard on his weapon, and thrust thus in the strike with sinking point to the opening. That’s why the verse says “wake deftly, wind the point to the face”.</p> | ||
+ | |||
+ | <p>''waker''</p> | ||
+ | | {{section|Page:MS Var.82 113r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
| | | | ||
− | | {{section|Page:MS Var.82 113r.png| | + | {| |
+ | |- | ||
+ | | Item wake with the edge, pull quickly with stepping | ||
+ | |- | ||
+ | | Item wake all encounters, if you want to fool the masters | ||
+ | |} | ||
+ | <p>8h When one shoots the point at your face as before, then slice with your long edge from below and step with the left<ref>‘right’ is originally written, ‘left’ is written above it</ref> foot to his left, and with your right foot behind your left out to the side. At once<ref name="indes"/> wind your hand around so that the long edge is under, the half edge<ref>short edge</ref> above, and your elbow stands upwards, thus thrust under your reversed hand to his stomach.</p> | ||
+ | |||
+ | <p>''reversed thrust''</p> | ||
+ | | {{section|Page:MS Var.82 113r.png|5|lbl=-}} | ||
{{section|Page:MS Var.82 113v.png|1|lbl=113v}} | {{section|Page:MS Var.82 113v.png|1|lbl=113v}} | ||
Line 4,173: | Line 4,292: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''On the wake, from under'''</p> |
+ | |||
+ | <p>9i When one cuts an undercut from the right onto your sword and winds at the same time<ref name="indes"/> the thrust under to your groin, then cut at the same time as the thrust with a footcut sideways from your left to your right. At the same time,<ref name="indes"/> quickly step to his right, and wind the point to his groin. Thus you do to him what he wanted to do to you. Of course, cut to his right node.</p> | ||
| {{section|Page:MS Var.82 113v.png|2|lbl=-}} | | {{section|Page:MS Var.82 113v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Anger cut'''</p> |
+ | |||
+ | <p>The anger cut would be namely used to run in to him, break his arm, and throw him, and similar techniques.</p> | ||
| {{section|Page:MS Var.82 113v.png|3|lbl=-}} | | {{section|Page:MS Var.82 113v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>10k The anger cut is done thus: hold your messer or sword long before yourself, with the point out, and the hilt towards the ground near your forward foot. If one thrusts or cuts to you, then wind the long edge upwards, and parry strongly on his blade, at the same time<ref name="indes"/> change through with the point and thrust to the other side. Or, when you have thus parried, then quickly pull around your head, and cut him to the foot.</p> |
+ | |||
+ | <p>''here, one grabs the blade with the left hand''</p> | ||
| {{section|Page:MS Var.82 114r.png|1|lbl=114r}} | | {{section|Page:MS Var.82 114r.png|1|lbl=114r}} | ||
Line 4,189: | Line 4,314: | ||
| | | | ||
| | | | ||
+ | {| | ||
+ | |- | ||
+ | | <br/> | ||
+ | |- | ||
+ | | <br/> | ||
+ | |} | ||
+ | <p>11l Item: Lay on him angrily, and he cuts or thrusts with rage onto you, then go onto his blade with strength. At the same time,<ref name="indes"/> grab behind his hand with your left, reversed, hand. Jerk his right to yourself, at the same time<ref name="indes"/> quickly drive your haft up, over his arm. Push him, and at the same time<ref name="indes"/> wind his elbow out back by his head. Throw him from you, and cut him to the neck. If he pulls out a dagger, then let go of his right hand, spring well towards his right side, stab him to the hip, with reversed hand, as with play 8h.</p> | ||
| {{section|Page:MS Var.82 114r.png|2|lbl=-}} | | {{section|Page:MS Var.82 114r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>12m Item: if one runs to you with a high cut or or thrust, then parry with the anger cut quickly under his sword, spring to him with your right behind his right. At the same time,<ref name="indes"/> catch his right hand with your left reversed hand, torque it upwards, over his right shoulder, and at the same time as all this, drive in with the pommel into his face, throw him thus. But if he grabs his dagger, then cut him with the long edge to the hand. Push from you, so he must fall.</p> |
| {{section|Page:MS Var.82 114v.png|1|lbl=114v}} | | {{section|Page:MS Var.82 114v.png|1|lbl=114v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>13n Item: You have parried him with the anger cut as before, then grab his hand as before, and torque it up, and jerk it towards you so he can’t do anything. push your pommel strong on his joint, from below, so he wavers. Jerk his elbow strongly to your right; thus you break his arm.</p> |
| {{section|Page:MS Var.82 114v.png|2|lbl=-}} | | {{section|Page:MS Var.82 114v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>14o Item: Lay on him angrily, and if one cuts from above to you, or thrusts from above, then wind your hand and parry with straight long edge, so that your point hangs toward his left. Then wind from below up over his right arm by the hand, jerk it onto your breast, and wind your left side onto his right, and fall with the left arm, thus he must break.</p> |
+ | |||
+ | <p>''parry over-hand''</p> | ||
| | | | ||
{{section|Page:MS Var.82 114v.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 115r.png|1|lbl=115r|p=1}} | {{section|Page:MS Var.82 114v.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 115r.png|1|lbl=115r|p=1}} | ||
Line 4,211: | Line 4,345: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Constrainer cut'''</p> |
+ | |||
+ | <p>Constrainer is twofold: One, when your opponent uses a short sword<ref>“Degen”, lit. dagger, could either refer to a sword or dagger.</ref> and one with rapier.</p> | ||
| {{section|Page:MS Var.82 115r.png|2|lbl=-}} | | {{section|Page:MS Var.82 115r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>But being both constrainers are bundled here, I want to report to you that not much of either will be here. The constrainer in the rapier is thus: Stand with your right foot forward, your sword to your left side, the half edge<ref>short edge</ref> against you.</p> |
+ | |||
+ | <p>''Constrainer''</p> | ||
| {{section|Page:MS Var.82 115r.png|3|lbl=-}} | | {{section|Page:MS Var.82 115r.png|3|lbl=-}} | ||
+ | |||
+ | {{section|Page:MS Var.82 115r.png|5|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>The other with the short weapon is thus: stand with your left foot forward, hold your weapon before you, the long edge towards your opponent. The point towards the earth in front of your left foot. Both are useful for breaking the other constrainer.</p> |
+ | |||
+ | <p>''The other constrainer''</p> | ||
| {{section|Page:MS Var.82 115r.png|4|lbl=-}} | | {{section|Page:MS Var.82 115r.png|4|lbl=-}} | ||
+ | |||
+ | {{section|Page:MS Var.82 115r.png|6|lbl=-}} | ||
|- | |- | ||
| | | | ||
| | | | ||
− | | {{section|Page:MS Var.82 115r.png| | + | {| |
+ | |- | ||
+ | | Constrain to the right, thrust left you will fence | ||
+ | |- | ||
+ | | get through from the right, bring behind with the middle cut | ||
+ | |- | ||
+ | | Constrainer breaks what the buffalo thrusts or hits (or, hits or thrusts) | ||
+ | |} | ||
+ | <p>15p If you stand in the constrainer and one thrusts or hits you you, then cut it away from you, with the long edge from your left through to behind your right, and around your head. The second to his foot. Spring with the left well around his right.</p> | ||
+ | | {{section|Page:MS Var.82 115r.png|7|lbl=-}} | ||
{{section|Page:MS Var.82 115v.png|1|lbl=115v}} | {{section|Page:MS Var.82 115v.png|1|lbl=115v}} | ||
Line 4,233: | Line 4,386: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>16q Thus you lie in constrainer, and he thrusts to you, thus parry his thrust up, with the long edge from your breast, step at the same time<ref name="indes"/> with your left foot well around, or to his right. Meanwhile<ref name="indes"/> wind your blade upwards over his from below, with the point to his groin.</p> |
+ | |||
+ | <p>''groin thrust''</p> | ||
| {{section|Page:MS Var.82 115v.png|2|lbl=-}} | | {{section|Page:MS Var.82 115v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>17r Constrainer. If one cuts or thrusts to you, then, with a step with your left foot to his right, cut from above down onto his blade, and hold it as you would with the waker, and thrust your point at the same time on his blade. This he must ward, and cut upwards. Thus he leaves his lower opening clear, and you win a full, nasty, blow to him. Do it well, so your middle cut comes through his stomach.</p> |
| {{section|Page:MS Var.82 115v.png|3|lbl=-}} | | {{section|Page:MS Var.82 115v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Danger cut'''</p> |
+ | {| | ||
+ | |- | ||
+ | | dangercut with his cut/ wait for his shoulder and breast | ||
+ | |- | ||
+ | | dangercut, show a change through meanwhile | ||
+ | |} | ||
+ | <p>'''waker'''</p> | ||
+ | |||
+ | <p>18s Item: Stand with your right foot forward, hold your sword on your left side. Middle cut to your opponent almost like with the constrainer. At the same time, step with your left around his right. Meanwhile,<ref name="indes"/> cast the half edge<ref name="indes"/> with the point into his face, over his right arm. At the same time<ref name="indes"/> wind around and thrust before yourself further into his face. Pull around your head with a cut or thrust below to the nearest opening.</p> | ||
| {{section|Page:MS Var.82 116r.png|1|lbl=116r}} | | {{section|Page:MS Var.82 116r.png|1|lbl=116r}} | ||
Line 4,250: | Line 4,414: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>19t Item: Cast the point to his face as mentioned before. Meanwhile<ref name="indes"/> wind your blade around and let the point change from above his right arm to below and thrust long under his sword to his stomach.</p> |
| {{section|Page:MS Var.82 116r.png|3|lbl=-}} | | {{section|Page:MS Var.82 116r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Cast the blade to his face as before with the half edge well through, let it hang over his right arm. Meanwhile,<ref name="indes"/> quickly raise around your head and cut him to the right hip, or foot, step with the left foot well around his right. Thus the play goes well.</p> |
+ | |||
+ | <p>''hip thrust''</p> | ||
| {{section|Page:MS Var.82 116r.png|4|lbl=-}} | | {{section|Page:MS Var.82 116r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>20v Do the danger cut also from the right side. In the approach, spring with your right to his left, cast or hit him with the half edge towards his left through his face. Meanwhile,<ref name="indes"/> quickly raise your hilt upwards, pull around your head and cut him through to the left side, the next to the right through the cross, and step with the left foot well to his right.</p> |
| | | | ||
{{section|Page:MS Var.82 116v.png|1|lbl=-|p=1}} {{section|Page:MS Var.82 116r.png|5|lbl=-|p=1}} {{section|Page:MS Var.82 116v.png|2|lbl=116v|p=1}} | {{section|Page:MS Var.82 116v.png|1|lbl=-|p=1}} {{section|Page:MS Var.82 116r.png|5|lbl=-|p=1}} {{section|Page:MS Var.82 116v.png|2|lbl=116v|p=1}} | ||
Line 4,268: | Line 4,434: | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Wincker'''</p> |
+ | |||
+ | <p>You should shoot the winker<br/>and wake the masters with it<br/>In two ways learn the wincker<br/>to the left and to the right<br/>winck left and hit him<br/>cut right long, and you will confuse him<br/>if you want to deceive the masters<br/>you should enjoy the wincker<br/>what comes crooked or poorly<br/>the wecker straightens</p> | ||
+ | |||
+ | <p>Wincker is nothing other than to threaten and then thrust elsewhere or else with cuts.</p> | ||
| {{section|Page:MS Var.82 116v.png|3|lbl=-}} | | {{section|Page:MS Var.82 116v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>21x Item: In the approach, step and threaten him with an earnest thrust to his left shoulder, quickly pull towards yourself and thrust him to the lower right opening. This goes for both sides.</p> |
+ | |||
+ | <p>''a deception''</p> | ||
| {{section|Page:MS Var.82 117r.png|1|lbl=117r}} | | {{section|Page:MS Var.82 117r.png|1|lbl=117r}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>22y Item: Step and threaten a high cut to his face, at the same time<ref name="indes"/> wind and cut quickly to his left foot.</p> |
| {{section|Page:MS Var.82 117r.png|2|lbl=-}} | | {{section|Page:MS Var.82 117r.png|2|lbl=-}} | ||
Line 4,284: | Line 4,456: | ||
| | | | ||
| | | | ||
− | | {{section|Page:MS Var.82 117r.png|3|lbl=-}} | + | {| |
+ | |- | ||
+ | | Pull the encounters you will fool the masters | ||
+ | |- | ||
+ | | if he will bind to you pull quickly, thus you will find him | ||
+ | |} | ||
+ | <p>''Foot cut''</p> | ||
+ | |||
+ | <p>23z Item: If he gathers for a strike from the roof or otherwise, and you meet him, and he will bind to you, then pull quickly, and change through to the other side.</p> | ||
+ | |||
+ | <p>''change through''</p> | ||
+ | | {{section|Page:MS Var.82 117r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''High Cut'''</p> |
+ | |||
+ | <p>The high cut is the scalper, the driving is also done from it, also many techniques are ended with it.</p> | ||
+ | |||
+ | <p>''High cut''</p> | ||
| {{section|Page:MS Var.82 117r.png|4|lbl=-}} | | {{section|Page:MS Var.82 117r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Cut a high cut to loosen him[?] but don’t let it hit, pull around and stab him in the groin from below. Raise your hilt back up, and step and cut to his right.</p> |
| {{section|Page:MS Var.82 117r.png|5|lbl=-}} | | {{section|Page:MS Var.82 117r.png|5|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''High Thrust'''</p> |
+ | |||
+ | <p>Spring and thrust a high thrust from above long into his face, meanwhile<ref name="indes"/> wind around with the haft towards his right, and cut him to the foot.</p> | ||
| {{section|Page:MS Var.82 117v.png|1|lbl=117v}} | | {{section|Page:MS Var.82 117v.png|1|lbl=117v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Thrust as before to his face, pull back towards yourself and cut through with a middle cut as broken down in technique 6, strike away with the long edge from your left side, and step and thrust to the nearest opening.</p> |
+ | |||
+ | <p>''Pulling''</p> | ||
+ | |||
+ | <p>''setting aside''</p> | ||
| {{section|Page:MS Var.82 117v.png|2|lbl=-}} | | {{section|Page:MS Var.82 117v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Under cut'''</p> |
+ | |||
+ | <p>''Under cut''</p> | ||
+ | |||
+ | <p>Item: cut an undercut from your left side hard towards his right. At the same time<ref name="indes"/> step with your left to his right, wind your haft downwards, and stab him to the stomach.</p> | ||
| {{section|Page:MS Var.82 117v.png|3|lbl=-}} | | {{section|Page:MS Var.82 117v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Do an undercut from your right, at the same time<ref name="indes"/> step, wind the thrust under his to his stomach, step well with your right around his left, menwhile,<ref name="indes"/> raise your hilt upwards, cut to his arm. If he parries that pull through, thrust to his other opening.</p> |
| {{section|Page:MS Var.82 117v.png|4|lbl=-}} | | {{section|Page:MS Var.82 117v.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: cut two undercuts one into the other along with their steps, thrust to the nearest opening.</p> |
| {{section|Page:MS Var.82 118r.png|1|lbl=118r}} | | {{section|Page:MS Var.82 118r.png|1|lbl=118r}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Do the two undercuts as before, and thrust to him from below to his groin. This goes for both sides.</p> |
| {{section|Page:MS Var.82 118r.png|2|lbl=-}} | | {{section|Page:MS Var.82 118r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: when one cuts at you from below, then fall onto it with the long edge. As soon as you go onto him, travel after him with a thrust.</p> |
+ | |||
+ | <p>''Traveling after''</p> | ||
| {{section|Page:MS Var.82 118r.png|3|lbl=-}} | | {{section|Page:MS Var.82 118r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Position yourself as you would the waker, thrust the point into his face.</p> |
+ | |||
+ | <p>''Wake''</p> | ||
| {{section|Page:MS Var.82 118r.png|4|lbl=-}} | | {{section|Page:MS Var.82 118r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Plunge cut'''</p> |
+ | |||
+ | <p>Item: Thus you will go to him with the plunge cut: Thrust over hand, into his face, and cut him to his right leg. This goes for both sides.</p> | ||
| {{section|Page:MS Var.82 118r.png|5|lbl=-}} | | {{section|Page:MS Var.82 118r.png|5|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Approach into the plunge to him and thrust long to his face. Pull the thrust back toward yourself and cut a middlecut directly through his stomach and winck meanwhile<ref name="indes"/> with the half edge to his left, and cut long to his right.</p> |
+ | |||
+ | <p>''pulling''</p> | ||
+ | |||
+ | <p>''middle cut''</p> | ||
| {{section|Page:MS Var.82 118r.png|6|lbl=-}} | | {{section|Page:MS Var.82 118r.png|6|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>When one thus thrusts above to you, and will then middlecut through to you, then parry the thrust with the angercut, then middlecut.</p> |
| {{section|Page:MS Var.82 118r.png|7|lbl=-}} | | {{section|Page:MS Var.82 118r.png|7|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Bar him so that he can’t come through with the long edge. Do this for cuts and thrusts from above[?], then cut to the next opportunity.</p> |
+ | |||
+ | <p>''Barring with the foot cut''</p> | ||
| {{section|Page:MS Var.82 118v.png|1|lbl=118v}} | | {{section|Page:MS Var.82 118v.png|1|lbl=118v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Middle cut'''</p> |
+ | |||
+ | <p>Middlecut goes to the fencer with the greatest reach of the arm. Thus you should cut through with the middle cut to your opponent’s body.</p> | ||
+ | |||
+ | <p>''Middle cut''</p> | ||
| {{section|Page:MS Var.82 118v.png|2|lbl=-}} | | {{section|Page:MS Var.82 118v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Thrust to him strongly to the face, so that he must parry upwards, cut him right away with the middle cut. The middlecut goes with almost all thrust. Without it, it would be difficult to make any plays.</p> |
| {{section|Page:MS Var.82 118v.png|3|lbl=-}} | | {{section|Page:MS Var.82 118v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Change Cut'''</p> |
+ | |||
+ | <p>The change is done thus: Stand with the right foot forward, your weapon near you to the left side, with the point to the earth, the half edge up. If one cuts or thrusts to you, take it away with the half edge, and cut him to the foot.</p> | ||
+ | |||
+ | <p>''change''</p> | ||
| {{section|Page:MS Var.82 118v.png|4|lbl=-}} | | {{section|Page:MS Var.82 118v.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: If one thrusts or hits to you, then parry with the long edge, and wind to him with the top of your blade up and over his blade, the point into his face.</p> |
+ | |||
+ | <p>''Setting aside''</p> | ||
| {{section|Page:MS Var.82 118v.png|5|lbl=-}} | | {{section|Page:MS Var.82 118v.png|5|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Parry as before with the long edge, and cut two undercuts hard into each other. Thrust and cut him from the roof. Or when you have done the undercuts, then straight away cut a middlecut and high cut through the cross.</p> |
+ | |||
+ | <p>''double undercut''</p> | ||
| {{section|Page:MS Var.82 119r.png|1|lbl=119r}} | | {{section|Page:MS Var.82 119r.png|1|lbl=119r}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Take away his thrust with the changer, let it travel around your head and threaten a thrust to his right. Don’t let it connect, instead hit him to the left. When one lies in the change before you, then cut from your right shoulder towards his opening. Thwart across onto his sword, so he can’t come to complete parrying. He must leave openings above and below, giving you room to stay and cut. Just take heed of the traveling after.</p> |
+ | |||
+ | <p>''Traveling after''</p> | ||
| {{section|Page:MS Var.82 119r.png|2|lbl=-}} | | {{section|Page:MS Var.82 119r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Another; if one lies in the changer, then thrust from your right side from below to his body, thus he must defend or be hit, then he leaves room for you to thrust or cut his lower left opening.</p> |
| {{section|Page:MS Var.82 119r.png|3|lbl=-}} | | {{section|Page:MS Var.82 119r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Footcut'''</p> |
+ | |||
+ | <p>Foot cut is a distinguished cut in the Rapier, you do it to your opponent in almost all plays. Seeing that it’s so often repeated, I will briefly show its properties.</p> | ||
| {{section|Page:MS Var.82 119r.png|4|lbl=-}} | | {{section|Page:MS Var.82 119r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Position yourself in the bastion or Anger cut. If one cuts or thrusts, then parry upwards with the long edge and cut the other to the foot. In sum, if you want to cut to the foot, thus lay on as he does to you, thrust or hit along with his weapon and drive the parrying up high. With that you have room to cut a nasty cut.</p> |
| {{section|Page:MS Var.82 119v.png|1|lbl=119v}} | | {{section|Page:MS Var.82 119v.png|1|lbl=119v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>The foot cut is broken with a simultaneous cut to the foot. At the same time<ref name="indes"/> as it clashes, then wind the point to the body or an opening. Take heed of the slice in the traveling after.</p> |
| {{section|Page:MS Var.82 119v.png|2|lbl=-}} | | {{section|Page:MS Var.82 119v.png|2|lbl=-}} | ||
Line 4,409: | Line 4,634: | ||
| | | | ||
| | | | ||
+ | {| | ||
+ | |- | ||
+ | | Take heed of the hard slice yet in all dangers | ||
+ | |- | ||
+ | | in the slice learn the setting aside cuts and thrusts artfully impede | ||
+ | |} | ||
+ | <p>'''A good throw:'''</p> | ||
+ | |||
+ | <p>If one thrusts to you to the right, thus spring well to his right side, and fall with your sword onto his sword by the strong, and catch his right arm with your left hand, hard behind his hand on top. Torque the hand around upwards to his right ear, and grab with the pommel and hand on the elbow, throw him thus from you with the left foot behind his right foot.</p> | ||
| {{section|Page:MS Var.82 119v.png|3|lbl=-}} | | {{section|Page:MS Var.82 119v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>The first and foremost posture in the Rapier is the long point. It is done thus: stand with the right foot forward, the sword long before you, the point towards the opponent. The long edge below, the half edge above. The point always higher than the hilt.</p> |
+ | |||
+ | <p>''Postures in the Rapier''</p> | ||
| {{section|Page:MS Var.82 120r.png|1|lbl=120r}} | | {{section|Page:MS Var.82 120r.png|1|lbl=120r}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Ward away thrusts or blows in the posture thus: If one thrusts over your parrying, then set it aside, if he’s weak, move in to him with the slice off, and meanwhile<ref name="indes"/> seek the opening with the point.</p> |
| {{section|Page:MS Var.82 120r.png|2|lbl=-}} | | {{section|Page:MS Var.82 120r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: If one thrusts to you under your parrying, then slice it, hand the point to his face, if he wards the point, then pull and thrust and cut him to the hand or arm.</p> |
| {{section|Page:MS Var.82 120r.png|3|lbl=-}} | | {{section|Page:MS Var.82 120r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''The second posture, Bastion'''</p> |
+ | |||
+ | <p>Stand with the left foot forward, hold the sword long from you with the point toward the earth, so that the half edge stands above. If one cuts or thrust to you, slice it away from both sides.</p> | ||
+ | |||
+ | <p>Item: Step and stab long, will you fight.</p> | ||
| {{section|Page:MS Var.82 120r.png|4|lbl=-}} | | {{section|Page:MS Var.82 120r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
+ | | <p>'''Ox, the third posture'''</p> | ||
+ | |||
+ | <p>Stand upright with your left side towards your opponent, your feet near one another, hold your sword to your right, the half edge towards your left arm, the point towards your opponent.</p> | ||
+ | |||
+ | <p>A teaching; how one should principally fight from the ox</p> | ||
| | | | ||
− | + | ||
+ | {{section|Page:MS Var.82 120r.png|5|lbl=-|p=1}} {{section|Page:MS Var.82 120v.png|1|lbl=120v|p=1}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>learn winding away, long over-hand you will end cuts and thrust</p> |
− | + | ||
+ | <p>'''Boar, the fourth posture'''</p> | ||
+ | |||
+ | <p>Stand with the left foot forward, the haft next to your right knee, the point towards the opponent.</p> | ||
− | + | <p>Item: A good teaching on fighting from the boar.</p> | |
− | |||
− | |||
| {{section|Page:MS Var.82 120v.png|2|lbl=-}} | | {{section|Page:MS Var.82 120v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Take heed of the before and after<br/>To the shooting through, you should consider<br/>Shooting through, changing, learn<br/>slicing away, pulling, with that you’ll injure.</p> |
+ | |||
+ | <p>'''A play with the long point; the first'''</p> | ||
+ | |||
+ | <p>Item: Spring to him, and point your thrust to his face, and quickly thrust to his lower opening. This play is done when one lies with his sword below his belt. But if he lies above his belt with his sword, then thrust to him below and pull quickly to the upper opening, then also cut to his foot.</p> | ||
| {{section|Page:MS Var.82 120v.png|3|lbl=-}} | | {{section|Page:MS Var.82 120v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''A play from the Bastion'''</p> |
+ | |||
+ | <p>If he hits or thrusts to you, then displace upwards hard with the long edge. Cut directly up across from below onto his arm or through his body. Thrust to him with a winding thrust to his right lower opening, long from yourself, wind with a step to his right. Pull around your head, and cut him to the right leg with well stretched arm so that he may not reach you, meanwhile<ref name="indes"/> step backwards with your feet together and cut him high to the head.</p> | ||
| | | | ||
{{section|Page:MS Var.82 120v.png|4|lbl=-|p=1}} {{section|Page:MS Var.82 121r.png|1|lbl=121r|p=1}} | {{section|Page:MS Var.82 120v.png|4|lbl=-|p=1}} {{section|Page:MS Var.82 121r.png|1|lbl=121r|p=1}} | ||
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|- | |- | ||
| | | | ||
− | | | + | | <p>'''A play from the ox'''</p> |
+ | |||
+ | <p>When you thrust in ochs, scalp from below with the half edge through his body and face with a step off, cut straight away running to his right side, but don’t let it hit, step with your left around your right. Wind at the same time<ref name="indes"/> and make the undercut a thrust to the right hip. Then the right leg with the undercut.</p> | ||
| {{section|Page:MS Var.82 121r.png|2|lbl=-}} | | {{section|Page:MS Var.82 121r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Another from the ox'''</p> |
+ | |||
+ | <p>Thrust and step with your right foot and with your point long into his face. Meanwhile<ref name="indes"/> wind toward your left with your haft. Step and cut to his right leg. This goes on both sides.</p> | ||
| {{section|Page:MS Var.82 121r.png|3|lbl=-}} | | {{section|Page:MS Var.82 121r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''A play from the boar'''</p> |
+ | |||
+ | <p>The play written after is a breaking of the changer.</p> | ||
| {{section|Page:MS Var.82 121r.png|4|lbl=-}} | | {{section|Page:MS Var.82 121r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: Step and thrust from the board hard from below. Thwart up to his face, this he must parry from below, and open himself, leaving you free to hit his left side or foot. This goes for both sides.</p> |
| {{section|Page:MS Var.82 121v.png|1|lbl=121v}} | | {{section|Page:MS Var.82 121v.png|1|lbl=121v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>If you wish to fence with one hand<br/>Know how to break the postures</p> |
+ | |||
+ | <p>'''Breaking the long point 1'''</p> | ||
+ | |||
+ | <p>Item: If he lies in the longpoint against you, then approach him in the change, take his sword away the the half edge, your strong on his weak, and cut long to the nearest opening. This goes for both sides.</p> | ||
| {{section|Page:MS Var.82 121v.png|2|lbl=-}} | | {{section|Page:MS Var.82 121v.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Item: If one will take away your forward parrying, at the same time<ref name="indes"/> as the blades meet, let your blade run around your head, and cut his right leg; from whichever side he took your blade away, hit him to that side.</p> |
| {{section|Page:MS Var.82 121v.png|3|lbl=-}} | | {{section|Page:MS Var.82 121v.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Breaking the bastion'''</p> |
+ | |||
+ | <p>If one lays in the bastey, then stand with your left foot forward, hold your sword near your right side, the point towards the earth, away from you. Step and strike to him with the half edge from below, angling upward through his face. Let the thwart run off to the left side; cut to his right knee.</p> | ||
| | | | ||
{{section|Page:MS Var.82 121v.png|4|lbl=-|p=1}} {{section|Page:MS Var.82 122r.png|1|lbl=122r|p=1}} | {{section|Page:MS Var.82 121v.png|4|lbl=-|p=1}} {{section|Page:MS Var.82 122r.png|1|lbl=122r|p=1}} | ||
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|- | |- | ||
| | | | ||
− | | | + | | <p>'''Breaking the Ox'''</p> |
+ | |||
+ | <p>Step and cut from your right side from below his weapon to his left arm, with the weak of your long edge. The other, strike again into his left, stepping more with the tho strikes well around his left side.</p> | ||
| {{section|Page:MS Var.82 122r.png|2|lbl=-}} | | {{section|Page:MS Var.82 122r.png|2|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>'''Breaking the boar'''</p> |
+ | |||
+ | <p>Item: Thrust from your left side in the approach quickly overhand towards his breast, as soon as he will parry, then pull around your head, and cut him to the right arm. In the strike, step well around his right side.</p> | ||
| {{section|Page:MS Var.82 122r.png|3|lbl=-}} | | {{section|Page:MS Var.82 122r.png|3|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>Mark, this aforewritten breaking of the posture must be done deftly, as soon as you take up a posture to him, he becomes aware of your play. When you don’t hold the ‘before’, then your breaking will not go well, as when you took up a posture.</p> |
| {{section|Page:MS Var.82 122r.png|4|lbl=-}} | | {{section|Page:MS Var.82 122r.png|4|lbl=-}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>This aforewritten fencing I have drawn from the old verses and taken it together with the sword in one hand, but now I wish to write on the rapier fencing in my own opinion, which befits attribution itself.</p> |
| {{section|Page:MS Var.82 122v.png|1|lbl=122v}} | | {{section|Page:MS Var.82 122v.png|1|lbl=122v}} | ||
|- | |- | ||
| | | | ||
− | | | + | | <p>[???]Though the big and strong people sully you, rethink confrontation, and remember your art besides that despise<br/>their advantage you I pay little attention<br/>then believe me all the time<br/>the presumptuous despiser, he is with uneven swings<br/>therefrom I will say no more<br/>many fine heroes do lament the boxing[???]</p> |
| {{section|Page:MS Var.82 122v.png|2|lbl=-}} | | {{section|Page:MS Var.82 122v.png|2|lbl=-}} | ||
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− | | | + | | class="noline" | |
− | | {{section|Page:MS Var.82 126r.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 126v.png|1|lbl=126v|p=1}} {{section|Page:MS Var.82 127r.png|1|lbl=127r|p=1}} | + | | class="noline" | {{section|Page:MS Var.82 126r.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 126v.png|1|lbl=126v|p=1}} {{section|Page:MS Var.82 127r.png|1|lbl=127r|p=1}} |
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− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C}}<br/>by [[Jens P. Kleinau]]</p> | ! <p>{{rating|C}}<br/>by [[Jens P. Kleinau]]</p> | ||
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p> | ||
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− | | [[File:MS A.4º.2 88r.jpg|400px|center]] | + | | class="noline" | [[File:MS A.4º.2 88r.jpg|400px|center]] |
− | | | + | | class="noline" | |
− | | {{paget|MS A.4º.2|88r|jpg|blk=1}} | + | | class="noline" | {{paget|MS A.4º.2|88r|jpg|blk=1}} |
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− | {| class=" | + | {| class="master" |
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− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C}}<br/>by [[Jens P. Kleinau]]</p> | ! <p>{{rating|C}}<br/>by [[Jens P. Kleinau]]</p> | ||
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]]{{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]]{{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ||
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− | | <p>{{redu|u=1|b=1|The End.}}</p> | + | | class="noline" | <p>{{redu|u=1|b=1|The End.}}</p> |
<p>In the Feeble you can force him,<br/> | <p>In the Feeble you can force him,<br/> | ||
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In “Vor” and “Nach” grab, grasp him well,<br/> | In “Vor” and “Nach” grab, grasp him well,<br/> | ||
Do you break out well [right], he must let you go.</p> | Do you break out well [right], he must let you go.</p> | ||
− | | | + | | class="noline" | |
{{section|Page:MS Var.82 003r.png|6|lbl=-|p=1}}<br/>{{section|Page:MS Var.82 003v.png|1|lbl=003v|p=1}} | {{section|Page:MS Var.82 003r.png|6|lbl=-|p=1}}<br/>{{section|Page:MS Var.82 003v.png|1|lbl=003v|p=1}} | ||
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}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p> | ! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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− | | [[File:Meyer 1570 Dagger F.png|400px|center]] | + | | class="noline" | [[File:Meyer 1570 Dagger F.png|400px|center]] |
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}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p> | + | ! <p>Figures</p> |
! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p> | ! <p>{{rating|C}}<br/>by [[Jon Pellett]]</p> | ||
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p> | ||
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<p><br/>I have gathered these three weapons together in a figure, while the spear is best arranged, with its length, in the above perspective thus, as in every figure previously shown, noted with a letter, so the diligent reader should not yet leave and want thus the half staff as a foundation of all long weapons the first take for the hand and firstly advise how many the lyings thus how you the same in the work should do rightly, teach and describe.</p> | <p><br/>I have gathered these three weapons together in a figure, while the spear is best arranged, with its length, in the above perspective thus, as in every figure previously shown, noted with a letter, so the diligent reader should not yet leave and want thus the half staff as a foundation of all long weapons the first take for the hand and firstly advise how many the lyings thus how you the same in the work should do rightly, teach and describe.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/396|1|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/396|1|lbl=Ⅲ.16r}} |
|- | |- | ||
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<p>Arrange yourself in the Upper Guard like this: stand with the left foot forward and hold your staff with the rear part at your chest, so that the fore end stands straight up toward the sky. You should direct it to both sides in the Work, like you are now doing it straight in front of you. If you shall always stand well with the left foot forward, then you must not have your feet too far apart, so that you could always have a step forward.</p> | <p>Arrange yourself in the Upper Guard like this: stand with the left foot forward and hold your staff with the rear part at your chest, so that the fore end stands straight up toward the sky. You should direct it to both sides in the Work, like you are now doing it straight in front of you. If you shall always stand well with the left foot forward, then you must not have your feet too far apart, so that you could always have a step forward.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/397|1|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/397|1|lbl=Ⅲ.16v}} |
|- | |- | ||
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<p>For these, arrange yourself like this: stand with the right foot forward and hold your staff with the middle part at your left hip, so that the shorter end and the butt point toward your opponent, but the longer end points behind you. Show your right side to him well, as you see in the lower picture in Figure A on the right hand side. The Middle Guard is the straight defence in front of the opponent, from which most fence.</p> | <p>For these, arrange yourself like this: stand with the right foot forward and hold your staff with the middle part at your left hip, so that the shorter end and the butt point toward your opponent, but the longer end points behind you. Show your right side to him well, as you see in the lower picture in Figure A on the right hand side. The Middle Guard is the straight defence in front of the opponent, from which most fence.</p> | ||
| | | | ||
− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/397|3|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/399|1|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/397|3|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/399|1|lbl=Ⅲ.17v|p=1}} |
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| <p>There are also four principle defences with the staff, like the binds: the first with the fore end of the staff from both sides, the second in front of the hand, the third in the middle, and the fourth is performed with the butt end. The while all such in techniques is enough to understand, is without ?? difficulties ??? to handle.</p> | | <p>There are also four principle defences with the staff, like the binds: the first with the fore end of the staff from both sides, the second in front of the hand, the third in the middle, and the fourth is performed with the butt end. The while all such in techniques is enough to understand, is without ?? difficulties ??? to handle.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/400|1|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/400|1|lbl=Ⅲ.18r}} |
|- | |- | ||
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<p>In the approach place yourself in the Upper Guard to the left, that is, so that the fore end or longer part of your staff stands up over your left shoulder, and thus step toward him with your left foot forward; if he thrusts toward your face or chest, then spring well away from his thrust toward his right side, and strike down from above with your staff (which you should be holding fast in both hands) full through on the middle of his staff, so that through this blow you come into the Right Lower Guard; from this (where he would further thrust to your face) tear with the half edge up toward your left shoulder again. While you tear upward like this, give your staff a swing with your left hand, and in this swing let go of the staff with your left hand, and strike with one hand from your right over across toward his temple. The upper blow should quickly happen together with the tear, as soon and while this blow connects, then grip your staff with your left hand again, and bring it back into the straight defence.</p> | <p>In the approach place yourself in the Upper Guard to the left, that is, so that the fore end or longer part of your staff stands up over your left shoulder, and thus step toward him with your left foot forward; if he thrusts toward your face or chest, then spring well away from his thrust toward his right side, and strike down from above with your staff (which you should be holding fast in both hands) full through on the middle of his staff, so that through this blow you come into the Right Lower Guard; from this (where he would further thrust to your face) tear with the half edge up toward your left shoulder again. While you tear upward like this, give your staff a swing with your left hand, and in this swing let go of the staff with your left hand, and strike with one hand from your right over across toward his temple. The upper blow should quickly happen together with the tear, as soon and while this blow connects, then grip your staff with your left hand again, and bring it back into the straight defence.</p> | ||
− | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/401|1|lbl= | + | | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/401|1|lbl=Ⅲ.18v}} |
|- | |- | ||
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<p>Mark, when you strike from above through his staff like this, and after you have torn up again from below, and your left hand together with the fore end of your staff has come upright again, then at once turn up your right hand together with the butt as well, and ? the same ?, lower the fore end with your left hand near your left out to the side, and turn the forward longer part of the staff again up toward his right. This must all happen in a ?. Thrust as then further with a step out straight toward his face, but be careful that you don't turn your right hand downward again to your chest in thrusting, but rather shift the same also well at your chest and inward at your left arm in thrusting ahead of you in to him. So, from the Upper Guard you have learned: firstly, how you should step out and thrust at the same time at him; secondly, striking at his staff down from above and thrusting afterward; thirdly, how you break down through against his staff from above, and tear up from below; lastly, how you should make a deceptive thrust.</p> | <p>Mark, when you strike from above through his staff like this, and after you have torn up again from below, and your left hand together with the fore end of your staff has come upright again, then at once turn up your right hand together with the butt as well, and ? the same ?, lower the fore end with your left hand near your left out to the side, and turn the forward longer part of the staff again up toward his right. This must all happen in a ?. Thrust as then further with a step out straight toward his face, but be careful that you don't turn your right hand downward again to your chest in thrusting, but rather shift the same also well at your chest and inward at your left arm in thrusting ahead of you in to him. So, from the Upper Guard you have learned: firstly, how you should step out and thrust at the same time at him; secondly, striking at his staff down from above and thrusting afterward; thirdly, how you break down through against his staff from above, and tear up from below; lastly, how you should make a deceptive thrust.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/401|2|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/402|1|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/401|2|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/402|1|lbl=Ⅲ.19r|p=1}} |
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<p>Mark, when you hold your right hand together with the butt of your staff at your right side in the approach, and you have lain your point well ahead of you out on your right side on the ground, observe as soon as he thrusts toward your face, then step step out with your right foot toward your right side, and with your left further toward his left to him; thrust in this way to his face above his left arm while he directs his thrust. You should also duck your head well down toward your right side over your staff while you thrust with him thus, away from his flying thrust, so you are the better defended.</p> | <p>Mark, when you hold your right hand together with the butt of your staff at your right side in the approach, and you have lain your point well ahead of you out on your right side on the ground, observe as soon as he thrusts toward your face, then step step out with your right foot toward your right side, and with your left further toward his left to him; thrust in this way to his face above his left arm while he directs his thrust. You should also duck your head well down toward your right side over your staff while you thrust with him thus, away from his flying thrust, so you are the better defended.</p> | ||
| | | | ||
− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/402|2|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/403|1|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/402|2|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/403|1|lbl=Ⅲ.19v|p=1}} |
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<p>Mark, when you fallen into the Left Lower Guard in the approach, and he strikes with one hand from above toward your head, then raise both your arms, and with this spring in well under his stroke, thus parrying his blow with your staff between your hands. As soon as and while the blow lands on your staff, and is still touching, draw the butt toward you with your right hand, letting the point drop downward, direct the same between his hands under his staff to his body, and thus thrust below his staff between his hands in front of his chest. While you are thrusting in like this, turn the butt of your staff together with your right hand down again, and could drive in inside your right arm. After the thrust is performed you should be nimble with the bind again on his staff; therewith you may the better protect yourself from what he does afterward.</p> | <p>Mark, when you fallen into the Left Lower Guard in the approach, and he strikes with one hand from above toward your head, then raise both your arms, and with this spring in well under his stroke, thus parrying his blow with your staff between your hands. As soon as and while the blow lands on your staff, and is still touching, draw the butt toward you with your right hand, letting the point drop downward, direct the same between his hands under his staff to his body, and thus thrust below his staff between his hands in front of his chest. While you are thrusting in like this, turn the butt of your staff together with your right hand down again, and could drive in inside your right arm. After the thrust is performed you should be nimble with the bind again on his staff; therewith you may the better protect yourself from what he does afterward.</p> | ||
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− | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/403|3|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/404|1|lbl= | + | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/403|3|lbl=-|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/404|1|lbl=Ⅲ.20r|p=1}} |
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<p>Or when you stand in the said way in the Right Lower Guard, then step again as before, while he thrusts, toward his right side away from his thrust, and strike off his staff together with him from your left toward your right, and afterward thrust nimbly again as before (before he can recover) to his face.</p> | <p>Or when you stand in the said way in the Right Lower Guard, then step again as before, while he thrusts, toward his right side away from his thrust, and strike off his staff together with him from your left toward your right, and afterward thrust nimbly again as before (before he can recover) to his face.</p> | ||
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<p><br/>Mark, when you come in the Lower Guard to someone in the approach, and he won't work after thrusting, then let yourself with gestures mark and behold, as you want to see all first what kind of fencing pieces be, as soon as and while he extends his staff thus from him, then jerk out in an sudden jerk or blow, and thrust nimbly (while his staff lurches away from the thrust) to his face. In this striking out you should diligently take care, that you (in your excitement) don't move your staff too far to the side, but rather strike his (as taught) in a jerk out, so that your staff is straight in front of his face, and thus the thrust is performed before he can recover himself again.</p> | <p><br/>Mark, when you come in the Lower Guard to someone in the approach, and he won't work after thrusting, then let yourself with gestures mark and behold, as you want to see all first what kind of fencing pieces be, as soon as and while he extends his staff thus from him, then jerk out in an sudden jerk or blow, and thrust nimbly (while his staff lurches away from the thrust) to his face. In this striking out you should diligently take care, that you (in your excitement) don't move your staff too far to the side, but rather strike his (as taught) in a jerk out, so that your staff is straight in front of his face, and thus the thrust is performed before he can recover himself again.</p> | ||
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<p>In the approach place yourself in the Middle Guard, such as is shown in the large picture printed in Figure A on the right hand side, and take care as soon as you can reach him, throw your staff with your right hand overthwart across his face, and in the throw give your staff a strong swing with your left hand, and loose the same from the staff, so that your staff can the swifter fly across his face and around your head; while your staff is thus flying through his face and around your head, step to him with your left foot forward, and grip under your staff again with your left hand, while your staff is still flying through the air, and strike to the other from your left to your right through the face; also against his staff through where he drives before him, this blow should be performed with both hands, so that you end in the Right Lower Guard after the blow. While your staff thus in this blow falls into the Lower Guard, if he would nimbly thrust at your face (which would be left open by this movement), then step with your right foot quickly on your right side, and thrust in with him at the same time also to his face, so that you have turned the rear part of your staff together with the long edge against his, and pulled your head well away over your staff, so you are defended.</p> | <p>In the approach place yourself in the Middle Guard, such as is shown in the large picture printed in Figure A on the right hand side, and take care as soon as you can reach him, throw your staff with your right hand overthwart across his face, and in the throw give your staff a strong swing with your left hand, and loose the same from the staff, so that your staff can the swifter fly across his face and around your head; while your staff is thus flying through his face and around your head, step to him with your left foot forward, and grip under your staff again with your left hand, while your staff is still flying through the air, and strike to the other from your left to your right through the face; also against his staff through where he drives before him, this blow should be performed with both hands, so that you end in the Right Lower Guard after the blow. While your staff thus in this blow falls into the Lower Guard, if he would nimbly thrust at your face (which would be left open by this movement), then step with your right foot quickly on your right side, and thrust in with him at the same time also to his face, so that you have turned the rear part of your staff together with the long edge against his, and pulled your head well away over your staff, so you are defended.</p> | ||
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<p>In the approach place yourself in the said manner in the Middle Guard to the left side, and step with the left foot behind your right toward him, so that in the movement you turn your back to him. While you thus turn in front of him, he will quickly thrust to your face, meaning to overtake you; then in your backward stepping lift both your hands nimbly upward together with the butt of your staff, outstretched toward his left side, so that the point hangs toward the ground, and as you turn strike his oncoming thrust with your hanging staff from your right out toward your left side, and let the same move through a full swing around your head. While it thus moves through the swing, let go with your left hand (after you have given the staff a strong swing with the same) and strike with one hand a strong swift stroke to his left ear. This is a swift piece which goes well in the first attack; if you provoke his thrust with your turn, then you take his staff out in the time of the turn, and surely hit him, if he has thrust in earnest.</p> | <p>In the approach place yourself in the said manner in the Middle Guard to the left side, and step with the left foot behind your right toward him, so that in the movement you turn your back to him. While you thus turn in front of him, he will quickly thrust to your face, meaning to overtake you; then in your backward stepping lift both your hands nimbly upward together with the butt of your staff, outstretched toward his left side, so that the point hangs toward the ground, and as you turn strike his oncoming thrust with your hanging staff from your right out toward your left side, and let the same move through a full swing around your head. While it thus moves through the swing, let go with your left hand (after you have given the staff a strong swing with the same) and strike with one hand a strong swift stroke to his left ear. This is a swift piece which goes well in the first attack; if you provoke his thrust with your turn, then you take his staff out in the time of the turn, and surely hit him, if he has thrust in earnest.</p> | ||
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<p>When you become aware in the pressing out that he is coming on nimbly with his staff, so that you cannot overtake him with the thrust you were taught, then do this: Jerk his staff again on one side as before, and let yourself seem as if you want to thrust as before, but as soon as and while he speeds his staff again toward yours, meaning to parry your thrust, then meanwhile go through under his staff, and with a spring out thrust to his face with great speed and force. This is a swift passage, when you thus unexpectedly jerk someone's staff out, and nimbly go through under, and thrust in on the other side.</p> | <p>When you become aware in the pressing out that he is coming on nimbly with his staff, so that you cannot overtake him with the thrust you were taught, then do this: Jerk his staff again on one side as before, and let yourself seem as if you want to thrust as before, but as soon as and while he speeds his staff again toward yours, meaning to parry your thrust, then meanwhile go through under his staff, and with a spring out thrust to his face with great speed and force. This is a swift passage, when you thus unexpectedly jerk someone's staff out, and nimbly go through under, and thrust in on the other side.</p> | ||
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<p>In the approach bind from your left hand side, with the outermost part of your staff on the outermost of his, and press his out with a sudden jerk toward his left side, and draw your staff nimbly back again, toward your left around your head. Let go of the staff with your left hand, and strike with one hand strongly from your right overthwart, with a wide step of your right foot through his feet; grip your staff again with your left hand while the same is thus moving through in the stroke, and then strike the other with both hands through to his right shoulder, so that you end in the Right Lower Guard; from this thrust to his face after the manner described above.</p> | <p>In the approach bind from your left hand side, with the outermost part of your staff on the outermost of his, and press his out with a sudden jerk toward his left side, and draw your staff nimbly back again, toward your left around your head. Let go of the staff with your left hand, and strike with one hand strongly from your right overthwart, with a wide step of your right foot through his feet; grip your staff again with your left hand while the same is thus moving through in the stroke, and then strike the other with both hands through to his right shoulder, so that you end in the Right Lower Guard; from this thrust to his face after the manner described above.</p> | ||
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<p>Do it like this: in the approach bind the tip of your staff with the tip of his; let yourself seem as if you are earnestly looking where or how you want to thrust to his face. As soon as he notices, he will diligently take care on your leaving the bind, that he could nimbly thrust while you leave. When you place yourself earnestly, like you want to thrust, then quickly jerk the butt of your staff upward, and swing the staff back with your left hand toward your left around your head, and thus unexpectedly strike straight from above to his head, and if he would yet thrust under this, then the same does not serve, for then you are too swift with the blow to his head. This and the like pieces have the more part in the Practice, namely that you outrace your opponent with unexpected speed, when he makes the slightest mistake.</p> | <p>Do it like this: in the approach bind the tip of your staff with the tip of his; let yourself seem as if you are earnestly looking where or how you want to thrust to his face. As soon as he notices, he will diligently take care on your leaving the bind, that he could nimbly thrust while you leave. When you place yourself earnestly, like you want to thrust, then quickly jerk the butt of your staff upward, and swing the staff back with your left hand toward your left around your head, and thus unexpectedly strike straight from above to his head, and if he would yet thrust under this, then the same does not serve, for then you are too swift with the blow to his head. This and the like pieces have the more part in the Practice, namely that you outrace your opponent with unexpected speed, when he makes the slightest mistake.</p> | ||
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<p>Further, when you can reach the tip of his staff with the tip of yours, and he is hard on your staff, the be aware as soon as he wants to press you out to the side with force, then draw back your staff nimbly (while he is pressing out) around your head with both hands, and strike outside over his left arm to his head with a step out. As soon as this blow connects, quickly shift your staff over his near his hands, as you can see shown hereafter in Figure G; when you have thus found and barred his staff, then you may go in and thrust with the butt of your staff, or strike in front of his face with the longer part; if he moves his point up, and works it out under your staff, then follow after from below with thrusting, winding, or pressing.</p> | <p>Further, when you can reach the tip of his staff with the tip of yours, and he is hard on your staff, the be aware as soon as he wants to press you out to the side with force, then draw back your staff nimbly (while he is pressing out) around your head with both hands, and strike outside over his left arm to his head with a step out. As soon as this blow connects, quickly shift your staff over his near his hands, as you can see shown hereafter in Figure G; when you have thus found and barred his staff, then you may go in and thrust with the butt of your staff, or strike in front of his face with the longer part; if he moves his point up, and works it out under your staff, then follow after from below with thrusting, winding, or pressing.</p> | ||
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<p>Mark diligently, when you have bound with someone from your left side, then diligently observe and feel just as soon as he leaves the bind, to go through below or to work otherwise, then thrust while he is thus leaving, straight ahead to his face.</p> | <p>Mark diligently, when you have bound with someone from your left side, then diligently observe and feel just as soon as he leaves the bind, to go through below or to work otherwise, then thrust while he is thus leaving, straight ahead to his face.</p> | ||
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| <p>Thus you should mark and be aware of what your opponent wants to fence and drive to you, so that you catch him just in his own technique, as next herefore at this one then inclined true soon after to thrust [???]. Then you must expose yourself cautiously and warily to the same, and place yourself in such a way with the appearance, as resist befalling the approximate and ignorant [???], or you have wasted your ? thrust after with reluctance, so that through this he will be all the more incited to thrust, with which thrust or blow he fails and exposes himself, as close that he so agile hardly against comes up and may recover himself [???], before then you have overtaken him. This will be expanded on further on by example in the halberd.</p> | | <p>Thus you should mark and be aware of what your opponent wants to fence and drive to you, so that you catch him just in his own technique, as next herefore at this one then inclined true soon after to thrust [???]. Then you must expose yourself cautiously and warily to the same, and place yourself in such a way with the appearance, as resist befalling the approximate and ignorant [???], or you have wasted your ? thrust after with reluctance, so that through this he will be all the more incited to thrust, with which thrust or blow he fails and exposes himself, as close that he so agile hardly against comes up and may recover himself [???], before then you have overtaken him. This will be expanded on further on by example in the halberd.</p> | ||
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<p>If you have bound someone ahead from your left against his right, but he stays still and does not work, then step with your rear right foot to your right side, and go with your point hard on his staff through below, and thrust nimbly and unexpectedly from your right over his left arm to his face. In thrusting, let go of your staff with your left hand, and give the right side the thrust, so that you reach in the further. In this thrust turn up your right hand together with the butt of your staff toward your left side, and draw your staff around your head, and in this drawing around spring in nimbly on your left side. Strike thus wickedly to his right shoulder. This blow together with the thrust should be done nimbly one after another and together. Then spring back, so that you may be sure to catch and grip your staff again.</p> | <p>If you have bound someone ahead from your left against his right, but he stays still and does not work, then step with your rear right foot to your right side, and go with your point hard on his staff through below, and thrust nimbly and unexpectedly from your right over his left arm to his face. In thrusting, let go of your staff with your left hand, and give the right side the thrust, so that you reach in the further. In this thrust turn up your right hand together with the butt of your staff toward your left side, and draw your staff around your head, and in this drawing around spring in nimbly on your left side. Strike thus wickedly to his right shoulder. This blow together with the thrust should be done nimbly one after another and together. Then spring back, so that you may be sure to catch and grip your staff again.</p> | ||
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<p><br/>Mark, when you find your opponent in the straight defence in the approach, then place yourself thus also, and let yourself seem by your appearance, as if you wanted first wanted to see how you should fence; when he makes the slightest mistake, step quickly with your right foot out to his left side, and thrust over his left hand (which he has put forward on the staff) straight to his chest, not touching his staff with yours. In this thrust move your right hand well toward your left arm, and on the same inside, and turn your open left hand around upward, so the thrust goes the deeper, and hit surely, as you see set out in the picture on the left side in Figure E.</p> | <p><br/>Mark, when you find your opponent in the straight defence in the approach, then place yourself thus also, and let yourself seem by your appearance, as if you wanted first wanted to see how you should fence; when he makes the slightest mistake, step quickly with your right foot out to his left side, and thrust over his left hand (which he has put forward on the staff) straight to his chest, not touching his staff with yours. In this thrust move your right hand well toward your left arm, and on the same inside, and turn your open left hand around upward, so the thrust goes the deeper, and hit surely, as you see set out in the picture on the left side in Figure E.</p> | ||
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| <p>At the same time as you make this thrust, lift your staff with both hands, and strike nimbly from above down to his face, and in this blow spring further toward his left side with your right foot.</p> | | <p>At the same time as you make this thrust, lift your staff with both hands, and strike nimbly from above down to his face, and in this blow spring further toward his left side with your right foot.</p> | ||
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<p>Do it like this: in the approach, as soon as you can reach the tip of his staff with the tip of yours, hold your point straight in front of his face, and turn yourself well on your right side, so that you turn your back to him, and while you turn your back, step with your right foot behind your left toward him, turning completely around on your right with this step, and strike with one hand, that is, around with your right hand, straight down to his head. This blow works very well when you do it right; if he thrusts at you while you are turning, he cannot reach you, because you were bound on his tip, and if he can reach you, to touch your exposed back, you surely hit him when he thrusts; the stroke runs so swiftly, that he cannot deliver any thrust before the same. You may also direct the stroke across from the middle in this turn.</p> | <p>Do it like this: in the approach, as soon as you can reach the tip of his staff with the tip of yours, hold your point straight in front of his face, and turn yourself well on your right side, so that you turn your back to him, and while you turn your back, step with your right foot behind your left toward him, turning completely around on your right with this step, and strike with one hand, that is, around with your right hand, straight down to his head. This blow works very well when you do it right; if he thrusts at you while you are turning, he cannot reach you, because you were bound on his tip, and if he can reach you, to touch your exposed back, you surely hit him when he thrusts; the stroke runs so swiftly, that he cannot deliver any thrust before the same. You may also direct the stroke across from the middle in this turn.</p> | ||
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<p>When you have bound your opponent, or stand before him in the defence, and he doesn't want to work, then thrust earnestly to his face, and look under it diligently; then he is ready to parry and bear off your thrust, so don't complete it, but rather draw it back again quickly through your left hand, so that you have your left hand fully outstretched in front of your face. As you pull back your staff, place yourself with a serious appearance, as if you want to go through below, and thrust on the other side; as you thus distract with looks, you must masterfully raise your lead foot and set it down again, and as you seem to be thrusting on the other side, while he moves out to the side against your thrust to turn the same aside, thrust straight ahead at the same point, that you originally drew back from. This should be done nimbly, and performed earnestly in all circumstances.</p> | <p>When you have bound your opponent, or stand before him in the defence, and he doesn't want to work, then thrust earnestly to his face, and look under it diligently; then he is ready to parry and bear off your thrust, so don't complete it, but rather draw it back again quickly through your left hand, so that you have your left hand fully outstretched in front of your face. As you pull back your staff, place yourself with a serious appearance, as if you want to go through below, and thrust on the other side; as you thus distract with looks, you must masterfully raise your lead foot and set it down again, and as you seem to be thrusting on the other side, while he moves out to the side against your thrust to turn the same aside, thrust straight ahead at the same point, that you originally drew back from. This should be done nimbly, and performed earnestly in all circumstances.</p> | ||
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<p>If your opponent binds hard on your staff from his left side against your right, and presses hard towards you in the straight defence, so that you may not depart from his staff with any technique, then stay hard with the bind in front of his hand on the staff; press with the point toward his face, so that he is compelled to move up. As soon as he has raised his staff a little, stay with your point on his continually, and wind the butt end over nimbly from your right to his left above his, press it down, and strike him on the head with the fore end (so that your left hand comes over your right), as is shown in the middle of Figure D.</p> | <p>If your opponent binds hard on your staff from his left side against your right, and presses hard towards you in the straight defence, so that you may not depart from his staff with any technique, then stay hard with the bind in front of his hand on the staff; press with the point toward his face, so that he is compelled to move up. As soon as he has raised his staff a little, stay with your point on his continually, and wind the butt end over nimbly from your right to his left above his, press it down, and strike him on the head with the fore end (so that your left hand comes over your right), as is shown in the middle of Figure D.</p> | ||
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<p>In the approach bind strongly from your right against his left on his staff, and work with the point again toward his face, so that he is compelled to raise his staff; as soon as and while he is still raising his staff, bend down, and spring toward him under his staff with your right foot, staying throughout continually with your point on his staff, and in this spring go through under his with the butt of your staff, and turn the same over his staff on his right side, so the point comes after, with which strike him on the head, or press down with the butt of your staff (while you have wound over), and tear out with the same, and thrust with the point to his face; but if he presses upward so strongly, that you can't force his staff down with the butt of your own, then wind your point (while you must go up with the butt from the pressing) up from below to his face, near his right arm, while he presses upward. However, if he wants to lift the butt of his staff (while you wind over his staff with the butt of yours) and wind over above, then quickly turn your point from your left against his right over his right arm in around his head, and catch him around the neck with your staff, and jerk him toward you on your left side.</p> | <p>In the approach bind strongly from your right against his left on his staff, and work with the point again toward his face, so that he is compelled to raise his staff; as soon as and while he is still raising his staff, bend down, and spring toward him under his staff with your right foot, staying throughout continually with your point on his staff, and in this spring go through under his with the butt of your staff, and turn the same over his staff on his right side, so the point comes after, with which strike him on the head, or press down with the butt of your staff (while you have wound over), and tear out with the same, and thrust with the point to his face; but if he presses upward so strongly, that you can't force his staff down with the butt of your own, then wind your point (while you must go up with the butt from the pressing) up from below to his face, near his right arm, while he presses upward. However, if he wants to lift the butt of his staff (while you wind over his staff with the butt of yours) and wind over above, then quickly turn your point from your left against his right over his right arm in around his head, and catch him around the neck with your staff, and jerk him toward you on your left side.</p> | ||
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<p>It often happens that both staves become bound together in the middle; when this happens, stay on his staff with yours, and let go with your left hand; invert it, grab both staves, and go through below with the butt of your staff. Press upward toward you with your right hand, so he must let go, or fall when you step back with your right foot.</p> | <p>It often happens that both staves become bound together in the middle; when this happens, stay on his staff with yours, and let go with your left hand; invert it, grab both staves, and go through below with the butt of your staff. Press upward toward you with your right hand, so he must let go, or fall when you step back with your right foot.</p> | ||
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| <p>In all fencing observe diligently, that you in no way let yourself be provoked or deceived, and don't thrust a lone thrust expecially the forepart in the before, but if you find your opponent in a guard that gives you an opening, then you should not commit to the same thrust, but rather see if you can provoke him with withdrawn thrusts; afterward you may change through. But if he remains too long in his guard aforesaid, then you can suddenly overtake him, when he makes the slightest mistake. But if you have bound, and may not thrust well to some opening (in the before), put in a thrust hard on his staff, and feel precisely in thrusting, whether he wants to take out or strike out your thrust. As soon as you sense this, go through below with your thrust, and help his staff fully to the side, toward which he has struck out, or thrust in on the other side while he is striking out. But if you sense that he wants to thrust at the same time as you do, then don't move your staff, but rather act subtly and secretly or unnoticed, until he makes a full thrust. As soon as he thrusts, then move out his staff in your thrust, and fully put in your upraised thrust. Thus you should not be moving in all techniques, but rather attend to how he approaches, so you can the more smoothly encounter him.</p> | | <p>In all fencing observe diligently, that you in no way let yourself be provoked or deceived, and don't thrust a lone thrust expecially the forepart in the before, but if you find your opponent in a guard that gives you an opening, then you should not commit to the same thrust, but rather see if you can provoke him with withdrawn thrusts; afterward you may change through. But if he remains too long in his guard aforesaid, then you can suddenly overtake him, when he makes the slightest mistake. But if you have bound, and may not thrust well to some opening (in the before), put in a thrust hard on his staff, and feel precisely in thrusting, whether he wants to take out or strike out your thrust. As soon as you sense this, go through below with your thrust, and help his staff fully to the side, toward which he has struck out, or thrust in on the other side while he is striking out. But if you sense that he wants to thrust at the same time as you do, then don't move your staff, but rather act subtly and secretly or unnoticed, until he makes a full thrust. As soon as he thrusts, then move out his staff in your thrust, and fully put in your upraised thrust. Thus you should not be moving in all techniques, but rather attend to how he approaches, so you can the more smoothly encounter him.</p> | ||
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| source link = http://purl.uni-rostock.de/rosdok/ppn780606825/phys_0000 | | source link = http://purl.uni-rostock.de/rosdok/ppn780606825/phys_0000 | ||
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Revision as of 00:18, 15 April 2021
Joachim Meyer | |
---|---|
Born | ca. 1537 Basel, Germany |
Died | 24 February 1571 (aged 34) Schwerin, Germany |
Spouse(s) | Appolonia Ruhlman |
Occupation |
|
Citizenship | Strasbourg |
Patron |
Heinrich von Eberst (?)
|
Movement | Freifechter |
Influences | |
Influenced | |
Genres | Fencing manual |
Language | Early New High German |
Notable work(s) | Gründtliche Beschreibung der Kunst des Fechtens (1570) |
Manuscript(s) |
|
First printed english edition |
Forgeng, 2006 |
Concordance by | Michael Chidester |
Translations | |
Signature |
Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German Freifechter and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the last years of his life he devised at least three distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing.[2] In addition to his fencing practice, Meyer was a Burgher and a master cutler.[3]
Meyer was born in Basel,[4] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[5]
Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer petitioned the City Council of Strasbourg for the right to hold a Fechtschule (fencing competition). He would repeat this in 1563, 1566, 1567 and 1568;[6] the 1568 petition is the first extant record in which he identifies himself as a fencing master.
Meyer probably wrote his first manuscript (MS A.4º.2) in either 1560 or 1568 for Otto Count von Sulms, Minzenberg, and Sonnenwaldt.[7] Its contents seem to be a series of lessons on training with long sword, dussack, and rapier. His second manuscript (MS Var.82), written between 1563 and 1570 for Heinrich Graf von Eberst, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings. Finally, on 24 February 1570 Meyer completed (and soon thereafter published) an enormous multi-weapon treatise entitled Gründtliche Beschreibung der Kunst des Fechtens ("A Thorough Description of the Art of Combat"); it was dedicated to Johann Casimir, Count Palatine of the Rhine, and illustrated at the workshop of Tobias Stimmer.[8]
Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 1300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[6]
Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]
Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]
Contents
- 1 Treatises
- 1.1 Dedication and Foreword
- 1.2 Sword
- 1.2.1 Contents
- 1.2.2 1 - Of Man and His Divisions
- 1.2.3 2 - Of the Sword and its Divisions
- 1.2.4 3 - Of the Stances or Guards
- 1.2.5 4 - Of The Strikes
- 1.2.6 5 - Of Displacing
- 1.2.7 6 - Of the Withdrawal
- 1.2.8 7 - A Lesson in Stepping
- 1.2.9 8 - Of Before, After, During, and Indes
- 1.2.10 9 - A Guide to the Elements
- 1.2.11 10 - How one shall fence to the four Openings
- 1.2.12 11 - Fencing from the Stances
- 1.2.13 Third Part/Lund
- 1.3 Dussack
- 1.4 Rapier
- 1.5 Additional cutting diagrams
- 1.6 Dagger
- 1.7 Polearms
- 1.8 Copyright and License Summary
- 2 Additional Resources
- 3 References
Treatises
Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the MS A.4º.2 (Lund) and the MS Var 82 (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.[11] Dwarfing these works is the massive book he published in 1570 entitled "A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings". Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dussacks, and rapiers with ball tips.
The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurñfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).
The second part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[12] Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[13] combines the old Messer teachings of Johannes Lecküchner and the dussack teachings of Andre Paurñfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dussack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.
The third part of Meyer's treatise only appears in his published book and covers dagger, wrestling, and various pole weapons. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo[14] and the anonymous teachings in Egenolff, but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurñfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.
The long sword material in the Lund manuscript closely mirrors the "Third Part" of Meyer's Gründtliche Beschreibung der Kunst des Fechtens, so they are both included in the compilation below. Though the current translation is based on the Lund, in the future we will expand it with a full translation of both, footnoting the differences.
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The fifth and last part of this book, in which will be taught and briefly handled the fencing of the Staff, the Halberd, and the Long Spear.
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[Ⅲ.16r] Das fünffte und letste theil dises Buchs in welchem gelehrt und auffs kürtzest gehandelt wirt, von dem Fechten in der Stangen, Helleparten, unnd vom langen Spieß. DIse drey Wehr hab ich derenhalben zusamen in ein Figur gatiert, dieweil der Spieß seiner lenge halben und nach der perspectiva sich also oben in Figuren am besten geschickt hat, derenhalben dieweil dann ein jede Figur wie bißher auch geschehen, mit einem sondern Buchstaben vermerckt, sol sich der fleissige Leser das nicht irren lassen, unnd wil also die halbe Stangen als ein Fundament aller langen Wehren, zum ersten für die hand nemen, und erstlich anzeigen wie vil der Leger, demnach wie du dieselbigenins werck richten solt, lehren und beschreiben. | |
Of the Lyings or Guards. There are five principal lyings, namely the Upper Guard, straight upward before you outstretched and to both sides; the Lower Guard also to both sides; furthermore you thus also have two Near Guards and a Middle Guard; lastly the Tiller Guard. |
Von den Legern oder Huten. DEr Leger aber sein fürnemlich fünffe, nemlich die Oberhut, gerad ubersich vor dir außgestreckt unnd zu beiden seiten, demnach die Underhut auch zu beiden seiten, ferner so hastu auch zwo Nebenhuten und ein Mittelhut, letstlich die Steirhut. | |
Upper Guard Arrange yourself in the Upper Guard like this: stand with the left foot forward and hold your staff with the rear part at your chest, so that the fore end stands straight up toward the sky. You should direct it to both sides in the Work, like you are now doing it straight in front of you. If you shall always stand well with the left foot forward, then you must not have your feet too far apart, so that you could always have a step forward. |
[Ⅲ.16v] Oberhut. IN die Oberhut schicke dich also, stand mit dem Lincken fuß vor, halt dein Stangen mit dem hinderen theil an deiner Brust, also das der vordern ort gerad ubersich gegen dem Himmel stande, wie du nun solche gerad vor dir anschickest, also soltu sie auch zu beiden seiten in das werck richten, und ob du wol alwegen mit dem Lincken fuß vor bleiben solt, so mustu doch mit den füssen nicht zu weit von einander komen, auff das du mit dem Lincken fuß alwegen ein fürtrit haben könnest. | |
Lower Guard Do it like this: stand with your left foot forward and hold your staff with the rear part at your flank and with the fore end outstretched in front of you on the ground. When you hold the butt at your right flank like this it is the same, whether you hold or direct the point outstetched to left or right or straight ahead; whichever you may change to, either after his thrust, or after your techniques are performed. |
Underhut. DIe mach also, stand aber mit dem Lincken Fuß vor, halt dein Stangen mit dem hindern ort an deiner Weiche, und mit dem vordern ort vor dir außgestreckt auff die erden, wann du nun also den hindern ort an deiner rechten Weiche behaltest, so gilt es demnach gleich ob du den vordern ort zur Lincken oder Rechten oder gerad vor dir außgestreckt haltest, oder führest, welches außstrecken du wandlen magst, eintweders nach seinem herfechten oder nach deinen fürgenomenen stucken. | |
Near Guard and Middle Guard For these, arrange yourself like this: stand with the right foot forward and hold your staff with the middle part at your left hip, so that the shorter end and the butt point toward your opponent, but the longer end points behind you. Show your right side to him well, as you see in the lower picture in Figure A on the right hand side. The Middle Guard is the straight defence in front of the opponent, from which most fence. |
Nebenhut und Mittelhut. ZU deren schicke dich also, stand mit dem Rechten Fuß vor, halt dein Stangen mit dem mitleren theil auff deiner Lincken hüfft, also das das kurtzer ort und hinder ort gegen dem Man, das lenger aber hinder dir außstehe, beut ihm also die Recht seiten wol dar, wie dich solches das [Ⅲ.17v] under Bild in der Figur A. zur Rechten hand lehrt, die Mittelhut ist die gerade versatzung vor dem Mann, daraus man dann am meisten ficht. | |
Tiller Guard In this, arrange yourself like this: stand with the left foot forward and hold your staff with the fore end in front of your left foot on the ground, and the butt with outstretched arms in front of your face, all such as you can see in the second picture on the left hand side in the previous picture. You should also do the guard like this: stand with right foot forward and hold your staff behind you, also with the fore end on the ground, so you can strike deftly. |
Steürhut. IN dise schicke dich also, stand mit dem lincken Fuß vor, unnd halt dein Stangen mit dem vorderen ort für deinem lincken Fuß auff die erden, und den hindern ort mit außgestreckten Armen vor deinem gesicht ubersich, aller ding wie du solches an dem anderen Bild zur Lincken hand in obgedachter Figur sehen kanst, Auch soltu dise Hut also machen, stand mit dem Rechten Fuß vor, und halt dein Stangen hinder dir, auch mit dem vordern ort auff die erden, so bistu geschickt zum streich. | |
Of the binds and the defences of the staff; also its parts. The staff is divided into four parts, just as was taught previously of the other weapons. There are also four binds, and the first bind is performed at the fore end or outermost part of the staff; the second in front of the hand which is foremost on the staff; the third in the middle of the staff; the fourth will be performed with the butt end through the entering. You should especially be aware and take care of these parts and binds, because different techniques are appropriate to different parts, namely, in the first part and bind, the blow and flying thrust, in the second, staying in the winding and travelling after, and furthermore in the second entering and wrestling. |
Von dem anbinden und der Stangen versatzungen, auch ihrer theilung. DIe Stangen wirt auch in vier theil getheilt, gleichfals wie bißher von andern Wehren gelehrt, Derenhalben hastu auch vier anbind, und geschicht das erste anbinden am vordern oder eussern theil der Stangen, Das ander vor der hand, welche er in der Stangen vor führet, Das dritte in der mitte der Stangen, Das vierdte aber wirt durch das einlauffen mit dem hindern ort zu wegen gebracht, auff solche theilung und anbinde soltu sonderlich acht nehmen unnd haben, dann es sonst sorglich ist, wo man sich nicht befleißt in einem jeden theil des selbigen zugehörete stuck zu Fechten, als nemlich im ersten theil und anbind die schleg und fliegende stöß, im andern die bleiben Winden und nachreisen, und ferner in den andern die einlauffen und Ringen. | |
There are also four principle defences with the staff, like the binds: the first with the fore end of the staff from both sides, the second in front of the hand, the third in the middle, and the fourth is performed with the butt end. The while all such in techniques is enough to understand, is without ?? difficulties ??? to handle. |
[Ⅲ.18r] Der Versatzung aber in der Stangen seind fürnemlich auch wie der anbinden vier, deren dann die erste mit dem vorderen theil deiner Stangen von beiden seiten, Die ander vor der hand, Die dritte in der mitte, Und die vierte mit dem hindern ort volbracht wirt, Dieweil aber solche alle in stucken gnugsam zu verstehn, ist ohn von nöten von deren eim jeden in sonderheit zuhandeln. | |
Upper Guard In the approach put yourself in the Upper Guard, and notice as soon as he thrusts toward your left side, then step on your right side away from his thrust, and thrust in at him at the same time he thrusts at you, then wind the long edge against his staff; so he misses with his blow, and you connect with yours. |
Oberhut. Im zufechten schicke dich in die Oberhut, und nim wahr als bald er dir gegen deiner Lincken seiten zu sticht, so trit du auff dein Rechte seiten von seinem stoß aus, und Stich mit ihm zugleich hinein, im hinein stechen aber, so wende die Lange schneide gegen seiner Stangen, so felt er mit seinem stoß, und triffestu mit dem deinen. | |
However, if he thrusts toward your right, then step away from his thrust toward your left side, and thrust in with him again the same as before. |
Stoßt er dir aber gegen deiner Rechten, so trit aus seinem stoß gegen deiner Lincken seiten, und stoß abermal wie vor gleich mit ihm hinein. | |
The second piece from the Upper Guard Mark, in the approach place yourself in the Upper Guard. If he thrusts from above or below to the body, then step (when he thrusts to one side of you) away from his thrust to the other side, and strike while stepping out at the same time from above downward on his forward hand, and mark diligently, if he draws back the same, then thrust straight ahead toward his face. |
Das ander stuck auß der Oberhut. Merck, im zu fechten schicke dich in die Oberhut, Sticht er als dann auff dich her es sey unden oder oben zum leib, so trit ihm (wann er dir zu einer seiten hersticht) aus seinem stoß gegen der andern seiten, und schlag gleich in solchem austretten von oben nider auff sein vordere hand, und merck fleissig in dem er dieselbige zuckt, so stoß gerad vor dir hin gegen seinem gesicht. | |
Another, how you should strike him from above down through his staff, and tear out, and strike with one hand. In the approach place yourself in the Upper Guard to the left, that is, so that the fore end or longer part of your staff stands up over your left shoulder, and thus step toward him with your left foot forward; if he thrusts toward your face or chest, then spring well away from his thrust toward his right side, and strike down from above with your staff (which you should be holding fast in both hands) full through on the middle of his staff, so that through this blow you come into the Right Lower Guard; from this (where he would further thrust to your face) tear with the half edge up toward your left shoulder again. While you tear upward like this, give your staff a swing with your left hand, and in this swing let go of the staff with your left hand, and strike with one hand from your right over across toward his temple. The upper blow should quickly happen together with the tear, as soon and while this blow connects, then grip your staff with your left hand again, and bring it back into the straight defence. |
[Ⅲ.18v] Ein anders, wie du ihm von Oben nider durch seine Stangen schlagen, und wider ubersich außreissen, unnd mit einer hand nach schlagen solt. IM zufechten schicke dich in die Oberhut zur Lincken, das ist das dein Stangen mit dem vordern ort, oder langeren theil uber deiner Lincken Achsel auffstehe, trit also mit dem lincken Fuß vor zu ihm, stoßt er gegen deiner Brust oder deinem gesicht zu, so spring wol aus seinem stoß gegen seiner Rechten seiten, und schlag ihm mit deiner Stangen (die du dann zu beiden henden gefast behalten solt) von Oben nider, auff die mitte seiner Stangen gantz durch, also das du durch solchen schlag mit deiner Stangen in die rechte Underhut komest, von deren (wo er ferner deinem gesicht aber zu würde stechen) Reiß mit halber schneid wider ubersich gegen deiner Lincken Achsel, gleich mit in dem du also ubersich reissest, so gibe mit deiner lincken Hand deiner Stangen den schwung, in disem schwung laß die lincke Hand ab von deiner Stangen, unnd schlage mit einer hand von deiner Rechten uberzwerch gegen seinem schlaff, der oberschlag sampt dem Riß sollen behend auff einander geschehen, als bald und in dem diser schlag antrifft, so ergreiff mit deiner lincken Hand dein Stangen wider, und verzucke die in die gerade Versatzung. | |
Another. Mark, when you strike from above through his staff like this, and after you have torn up again from below, and your left hand together with the fore end of your staff has come upright again, then at once turn up your right hand together with the butt as well, and ? the same ?, lower the fore end with your left hand near your left out to the side, and turn the forward longer part of the staff again up toward his right. This must all happen in a ?. Thrust as then further with a step out straight toward his face, but be careful that you don't turn your right hand downward again to your chest in thrusting, but rather shift the same also well at your chest and inward at your left arm in thrusting ahead of you in to him. So, from the Upper Guard you have learned: firstly, how you should step out and thrust at the same time at him; secondly, striking at his staff down from above and thrusting afterward; thirdly, how you break down through against his staff from above, and tear up from below; lastly, how you should make a deceptive thrust. |
Ein anders. MErck wann du ihm also nun von Oben durch sein Stangen geschlagen, und dernach auch wider von Unden ubersich ausgerissen hast, und mit deiner lincken Hand sampt dem vor= [Ⅲ.19r] dern theil deiner Stangen wider ubersich komen bist, so wende als bald dein Rechte hand zu sampt dem hindern ort auch ubersich, unnd lasse dieselbige weil, dein vordern ort mit der lincken hand neben deiner Lincken zur seiten aus wider undersich sincken, unnd wende hiemit den vordern lengern theil deiner Stangen widerumb von unden ubersich gegen seiner Rechten, dises alles muß in einem huy geschehen, stoß als dann ferner mit einem austrit gerad gegen seinem gesicht, aber hab acht das du nicht allein im hinein stossen dein rechte Hand wider undersich zu deiner Brust wendest, sondern dieselbige auch wol an deiner Brust und inwendig an deinem lincken Arm im stossen für dir hin zu ihm hinein schiebest, Also hastu aus der Oberhut erstlich wie du austretten und mit im zugleich stossen solt, Zum anderen im sein Stangen von oben nider ausschlagen und nachstechen, Zum dritten wie du ihm gegen seiner Stangen von oben nider durchbrechen, unnd von unden ubersich ausreissen, auch wie du letstlich ein verführten stoß machen solt, gelehrt. | |
How you should thrust together with him from the Lower Guard. Mark, when you hold your right hand together with the butt of your staff at your right side in the approach, and you have lain your point well ahead of you out on your right side on the ground, observe as soon as he thrusts toward your face, then step step out with your right foot toward your right side, and with your left further toward his left to him; thrust in this way to his face above his left arm while he directs his thrust. You should also duck your head well down toward your right side over your staff while you thrust with him thus, away from his flying thrust, so you are the better defended. |
Wie du aus der Underhut mit ihm zugleich hinein stechen solt. MErck, wann du nun also im zufechten dein Rechte hand sampt dem hindern ort deiner stangen, an deiner Rechten weiche haltest, und dein vordern ort mit wol fürsich nach gehencktem leib, vor deiner Rechten zur seiten aus auff der erden ligen hast, so nim war als balt er gegen deinem gesicht hersticht, so trit mit deinem Rechten Fuß gegen deiner Rechten seiten auß, unnd mit deinem Lincken ferner gegen seiner Lincken zu ihm, stiche ihm also in dem er seinen stoß herführet, oberhalb seinem Lincken Arm zu seinem gesicht, auch soltu hiemit in dem du also mit ihm [Ⅲ.19v] hinein stossest, deinen Kopff wol von seinem herfliegenden stoß uber dein Stang gegen deiner Rechten seiten undersich sencken, so bistu desterbas versetzt. | |
Another, how you should strike out his thrust, and thrust afterward. In the approach place yourself again in the Lower Guard as before, with your forward knee bent, so that your upper body is well sunk to your staff, and mark as soon as he thrusts, then strike his staff from your right side toward your left in a jerk out, as far as the straight defence, and before he can recover himself from his thrust, thrust with a spring out toward his face. |
Ein anders, wie du ihm sein stoß außschlagen, unnd nach stossen solt. IM zufechten schicke dich abermals mit wol fürsich gebogenem Kni, also das dein oberer leib der Stangen wol nach gesenckt sey, in die Underhut wie vor, unnd merck als bald er her stoßt, so schlage ihm seine Stangen von deiner Rechten gegen deiner Lincken in einem ruck aus, doch also das du dich mit deiner Stangen in solchem ausschlagen nicht ferner verschlagest dann bis in die gerade Versatzung, unnd ehe dann er sich von solchem stos wider erholt und ermant, so stos ihm mit einem aussprung gegen seinem gesicht. | |
Another. Mark, when you fallen into the Left Lower Guard in the approach, and he strikes with one hand from above toward your head, then raise both your arms, and with this spring in well under his stroke, thus parrying his blow with your staff between your hands. As soon as and while the blow lands on your staff, and is still touching, draw the butt toward you with your right hand, letting the point drop downward, direct the same between his hands under his staff to his body, and thus thrust below his staff between his hands in front of his chest. While you are thrusting in like this, turn the butt of your staff together with your right hand down again, and could drive in inside your right arm. After the thrust is performed you should be nimble with the bind again on his staff; therewith you may the better protect yourself from what he does afterward. |
Ein anders. MErck wann du dich im zufechten in die Lincke Underhut verfallen hast, und er schlecht dir mit einer hand von Oben herein gegen deinem Kopff, so fahre mit beiden Armen ubersich auff, mit solchem aufffahren spring ihm wol under seinen streich hinein, versetze ihm also seinen schlag zwischen dein beide hend auff dein Stangen, als bald unnd in dem der schlag auff dein Stangen bocht, und noch im zusamen rühren ist, so zuck mit deiner Rechten hand den hindern ort zu dir, auch lasse hiemit den vorderen ort undersich sincken, führe im dasselbige zwischen seinen beiden henden under seiner Stangen zum leib, und stosse ihm also underhalb seiner Stan= [Ⅲ.20r] gen zwischen seinen beiden henden, für sein Brust, in dem du aber also hinein stossest, so wende deinen hinderen ort zu sampt deiner Rechten hand wider undersich, gegen deiner Brust, auff das du mit derselbige den stoß hart an deiner Brust, und inwendig an deinem Rechten arm hinein führen könnest, nach volbrachtem stoß soltu behend mit dem band wider an seiner Stangen sein, damit du dich dester baß vor seinem nachfechten schützen mögest. | |
How you should yield to his thrust from the Left Lower Guard, and thrust together with him. In the approach, step with your left foot forward, hold the butt of your staff together with your right hand at your right flank, and let the point of your staff lie outstretched in front of you on the ground, a little out to the left side, and mark as soon as your opponent thrusts at you, then step with your right foot behind your left out to the side, a little toward his right side, and as you set down your right foot in stepping behind, step quickly with your left foot also toward his right side further toward him, and thrust over his right arm (while he thrusts) to his face. |
Wie du ihm aus der Lincken Underhut auß seinem stoß weichen, und mit ihm zugleich hinein stossen solt. IM zufechten trit mit deinem Lincken Fuß vor, halt dein hindern ort sampt der Rechten hand in der Rechten weiche, unnd lasse den vordern ort deiner Stangen gegen deiner Lincken ein wenig zur seiten aus, vor dir ausgestreckt auff der erden ligen, unnd merck aldo als bald dein gegenfechter auff dich her stoßt, so trit mit deinem Rechten fus hinder deinem Lincken zur seiten aus, ein wenig gegen seiner Rechten seiten, und in dem du deinen Rechten fus im hinder tretten noch also nider setzest, so trit eilents mit deinem Lincken fus auch gegen seiner Rechten seiten fürter zu im, und stoß ihm oberhalb seinem Rechten arm (in dem er her stoßt) gegen seinem gesicht. | |
How you should strike out his thrust from your Left Lower Guard and thrust afterward. Or when you stand in the said way in the Right Lower Guard, then step again as before, while he thrusts, toward his right side away from his thrust, and strike off his staff together with him from your left toward your right, and afterward thrust nimbly again as before (before he can recover) to his face. |
Wie du ihm seinen stoß von deiner Lincken underhut ausschlagen und nach stechen solt. ODer wann du auff gemelte weiß in der Rechten Underhut stehest, so trit abermals wie vor, in dem er her sticht gegen seiner Rechten seiten aus seinem stoß, und schlag ihm gleich mit sei= [Ⅲ.20v] ne Stangen von deiner Lincken gegen deiner Rechten ab, demnach stosse ihm behend abermals wie vor (ehe dann er sich wider erholt) gegen seinem gesicht. | |
How you should take out from your left upward with the long edge, and thrust again through the Roses from your right side up from below to his face.
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Wie du mit Langer schneide von deiner Lincken ubersich außnemen, und durch die Rosen wider von deiner Rechten unden auff gegen seinem gesicht stechen solt. IM zufechten schicke dich in die Underhut zur Lincken wie vor, stost er dann auff dich her, so fahre mit beiden Armen auff, und schlage im seinen stoß mit dem vordern theil deiner Stangen von deiner Lincken ubersich, gegen deiner Rechten mit Lnager schneide aus, also das du in solchem ausschlagen mit deiner Stangen gantz ubersich durch kommest, wende demnach dein Stangen wider neben deiner Rechten von unden auff, unnd stich von derselbigen wider ubersich gegen seinem gesicht. | |
How you should jerk his staff out and thrust afterward.
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Wie du ihm sein Stangen außrucken und nach stechen solt. MErck wann du im zufechten in der Underhuten eine kommest, unnd er nicht arbeiten noch stossen will, so laß dich mit geberden mercken und ansehen, als woltestu dich aller erst umb sehen was dir für stuck zu Fechten seyen, als bald und in dem er aber sein Stangen also von ihm ausstreckt, so rucke ihm die in einem uhnversehenen ruck oder schlag aus, unnd stoß ihm behend (all dieweil er nach mit seiner Stangen vom genomnen stoß daumelt) gegen seinem gesicht, in [Ⅲ.21r] disem ausschlagen soltu fleissig wahr nemen, das du dich (wie nechst auch angeregt) nicht mit deiner Stangen dem ausschlagen nach zu weit auff die seiten verfahrest, sonder schlage ihm die seine (wie gelehrt) in einem ruck aus, auff das du mit deiner Stangen behend wider gerad vor seinem gesicht seyest, und also den stoß volbringest ehe dann er sich wider ermant. | |
How you should fence from the Middle Guard. In the approach place yourself in the Middle Guard, such as is shown in the large picture printed in Figure A on the right hand side, and take care as soon as you can reach him, throw your staff with your right hand overthwart across his face, and in the throw give your staff a strong swing with your left hand, and loose the same from the staff, so that your staff can the swifter fly across his face and around your head; while your staff is thus flying through his face and around your head, step to him with your left foot forward, and grip under your staff again with your left hand, while your staff is still flying through the air, and strike to the other from your left to your right through the face; also against his staff through where he drives before him, this blow should be performed with both hands, so that you end in the Right Lower Guard after the blow. While your staff thus in this blow falls into the Lower Guard, if he would nimbly thrust at your face (which would be left open by this movement), then step with your right foot quickly on your right side, and thrust in with him at the same time also to his face, so that you have turned the rear part of your staff together with the long edge against his, and pulled your head well away over your staff, so you are defended. |
Wie du auß der Mittelhut fechten solt. Im zufechten schicke dich in die Mittelhut, auff solche weiß wie das grosser Bild in hievor getruckter Figur A. zur Rechten hand anzeigt, unnd nim wahr als bald du ihn erlangen kanst, so wirff ihm dein Stangen mit deiner Rechten hand uberzwerch durch sein gesicht, zu solchem wurff gibe deiner Stangen mit deiner Lincken hand ein starcken schwung, unnd laß dieselbige hiemit von der Stangen ab, auff das deine Stangen in disem wurff dester geschwinder durch sein gesicht und umb dein Kopff fliegen könne, in dem aber, das dein Stang also durch sein gesicht und umb dein Kopff fleugt, so trit auch mit deinem Lincken Fuß fürt zu ihm, unnd greyff under des, dieweil dein Stangen im herumb fliegen noch in der lufft ist, mit deiner Lincken hand wider an dein Stangen, und schlage ihm zum andern von deiner Lincken gegen seiner Rechten durch das gesicht, auch gegen seiner Stangen durch wo er die vor ihm führet, diser schlag soll mit beyden henden verricht werden, also das du nach endt des schlags in die Rechte Underhut kommest, dieweil dein Stangen aber also in disem schlag in die Underhut verfallet, wirt er dir behendiglichen gegen deinem gesicht (welches dann mit solchem verfallen enblöst wirt) herstossen, deren halben so trit mit deinem Rechten Fuß eilents auff dein Rechte seiten, unnd stoß mit im zugleich auch gegen seinem gesicht hinein, doch das du im hinein stossen die Lange schnei= [Ⅲ.21v] de sampt dem hindern theil der Stangen gegen der seinen gewendet, unnd deinen Kopff wol aus seinem stoß uber dein Stangen entzuckt habest, so bistu versetz. | |
Or after you have fallen into the Right Lower Guard after this blow, and he has thrust at the opening offered, then tear out his flying staff upward with the half edge toward your left shoulder; at the same time drive your staff above around your head, and strike him outside over his left arm from your right; you should also drive this blow around with both hands; herein beware that he (while you thus drive your blow around) will thrust to the face; as soon as he does so, move the butt of your staff around lower before your face, and let the blow fly the faster. If he parries your blow with hanging staff, then mark the moment your staff lands on his or misses, then at once turn the butt end upward, and thrust above or below his staff to the body. |
Oder nach dem du also durch disen schlag in die Rechte Underhut verfallen bist, und er deiner gegebenen Blösse zu stost, so Reisse mit halber schneide ihme sein herfliegende Stangen ubersich, gegen deiner Lincken Achsel aus, zugleich mit solchem Ausreissen führe dein Stangen oben umb dein Kopff, und schlage ihm von deiner Rechten aussen uber seinem Lincken Arm, disen schlag soltu auch mit beiden henden herumb führen, hie zwischen hab acht ob er dir (dieweil du disen schlag also herumb führest) zum gesicht stossen wölle, so bald er dann solches thut, so führe den hinderen ort im herumb fahren dester niderer vor deinem gesicht herumb, unnd lasse den schlag dester geschwinder fliegen, Versetzt er dir aber den schlag mit hangender Stangen, so merck in dem dein Stang auff die seine bocht oder felt, so bald wend auch den hindern ort ubersich, und stoß ihm ober oder underhalb seiner Stangen zum leib. | |
Another, how you should invert before him, or give over, take out, and strike after. In the approach place yourself in the said manner in the Middle Guard to the left side, and step with the left foot behind your right toward him, so that in the movement you turn your back to him. While you thus turn in front of him, he will quickly thrust to your face, meaning to overtake you; then in your backward stepping lift both your hands nimbly upward together with the butt of your staff, outstretched toward his left side, so that the point hangs toward the ground, and as you turn strike his oncoming thrust with your hanging staff from your right out toward your left side, and let the same move through a full swing around your head. While it thus moves through the swing, let go with your left hand (after you have given the staff a strong swing with the same) and strike with one hand a strong swift stroke to his left ear. This is a swift piece which goes well in the first attack; if you provoke his thrust with your turn, then you take his staff out in the time of the turn, and surely hit him, if he has thrust in earnest. |
Ein anders, wie du dich vor ihm verkehren, oder ubergeben, ausnemen und nachschlagen solt. IM zufechten schicke dich auff obgemelte form, in die Mittelhut zur Lincken seiten, unnd trit also bald mit deinem Lincken Fuß hinder deinem Rechten zu im, also das du in solchem umbwenden, ihme den Rucken zu wendest, in dem du dich aber also vor ihm umbwendest, wirt er dir eilents gegen deinem gesicht herstechen, in meinung das zu ereylen, derenhalben so erhebe in solchem hindersich treten dein beide hend zu sampt dem hinderen theil deiner Stangen, also das das vorder theil derselbigen gegen der erden hanget, behendiglich ubersich ausgestreckt gegen [Ⅲ.22v] seiner Lincken, und schlag ihm in solchem deinem umbwenden, seinen herkommenden stoß mit deiner hangenden Stangen von deiner Rechten gegen deiner Lincken zur seiten aus, und laß die selbige durch ein schwung vollend umb den Kopff fahren, in dem du aber also mit deiner Stangen herumb fahrest, so laß die Lincke hand (nach dem du mit derselbigen deiner Stange einen sterckern schwung gegeben hast) ab, und schlag mit einer hand einen starcken geschwinden streich zu seinem Lincken ohr, Dises ist ein geschwind stuck, welches im ersten angriff wol angeht, dann mit deinem umbwenden reitzestu ihn zu stossen, stost er dann, so nimstu ihm gleich in solchem umbwenden sein Stangen aus, und triffst ihn gewiß, so er ernstlichen gestossen hat. | |
The techniques learned up to now from the side lyings, I wanted to first set down, since you were to arrive in the same through striking aback, thrusting away, or fending off, so the more smoothly you know how to recover again, also the better you know how to do the techniques that follow; the same with these long weapons as with the weapons previously handled; in full fencing always from one into another, in which you need not first long consider what you are to do, but rather press on with the next technique. |
Dise bißher gelehrte stuck aus den seiten Legern, hab ich darumb erstlich setzen wöllen, damit wann du durch Verschlagen, Verstossen oder Versetzen in derselben eines ankomen werest, dich dester füglicher wissest wider zu ermanen, auch dich in folgende stuck dester baß wissest zu richten, dann in disen langen Wehren komstu gleichfals wie auch in bißher verrichten Wehren, in vollem Fechten immer aus einem in das ander, in welchen du dich demnach nicht lang erst bedencken must was dir zu thun sey, sonder mit den nechst fürfalleten stucken fürtringen. | |
Now in the straight defence as I have named it here, position yourself in the approach as shown by the pair in the previous figure. |
Nun in die gerade Versatzung aber, wie ich sie hie genent hab, schicke dich im zufechten also, wie dich die zwen bossen in hievor getruckter Figur fürbilden und lehren. | |
The first technique in the outermost bind. When you bind with the outermost part of your staff on the outermost part of his, then press the same in a sudden strong jerk out to the side, such that yours does not move after the pressing out, but rather thrust nimbly off from his staff ahead to his face, and that quickly before he has recovered himself from the pressing out. |
Das erste stuck im eussersten anbinden. SO du ihm mit deinem eussersten theil deiner Stangen an das eusserste der seinen anbindest, so truck ihm dieselbige in einem uhnversehenen starcken ruck zur seiten aus, soch also das du mit der deinen dem austrucken nach nicht verfahrest, sonder stoß im behendiglichen, von seiner Stangen ab, für dir hin zu seinem gesicht, und das eilents ehe dann er sich vom austrucken erholt hat. | |
Another, how you should move through and thrust on the other side after the jerking out. When you become aware in the pressing out that he is coming on nimbly with his staff, so that you cannot overtake him with the thrust you were taught, then do this: Jerk his staff again on one side as before, and let yourself seem as if you want to thrust as before, but as soon as and while he speeds his staff again toward yours, meaning to parry your thrust, then meanwhile go through under his staff, and with a spring out thrust to his face with great speed and force. This is a swift passage, when you thus unexpectedly jerk someone's staff out, and nimbly go through under, and thrust in on the other side. |
[Ⅲ.23r] Ein anders, wie du nach dem außrucken durchfahren und auff der andern seiten stossen solt. SO du aber in solchem ausrucken gewahr wirst, das er mit seiner Stangen so behend wider ankompt, also das du ihn mit gelehrtem stoß nit ereylen kanst, so thu ihm also, Ruck im seine Stangen abermal auff ein seiten wie vor auch, und laß dich mercken als woltestu wie vor stossen, aber als bald und in dem er mit seiner Stangen wider her zu gegen deiner eylet, in meinung deinen stoß zuversetzen, so fahr du dieweil er noch herwischt, under derselbigen seiner Stangen durch, und stoß ihm auff der andern seiten mit einem aussprung eilents unnd gewaltig zum gesicht, Dises ist ein geschwinder durchgang, wann du einem also sein Stang ohnversehens außruckest, demnach behend unden durch fahrest, und auff der andern seiten hinein stost. | |
Another, how you should press out his staff and strike to his forward leg. In the approach bind from your left hand side, with the outermost part of your staff on the outermost of his, and press his out with a sudden jerk toward his left side, and draw your staff nimbly back again, toward your left around your head. Let go of the staff with your left hand, and strike with one hand strongly from your right overthwart, with a wide step of your right foot through his feet; grip your staff again with your left hand while the same is thus moving through in the stroke, and then strike the other with both hands through to his right shoulder, so that you end in the Right Lower Guard; from this thrust to his face after the manner described above. |
Ein anders, wie du ihm die Stangen außrucken, und zu seinem fürgesetzten bein schlagen solt. IM zufechten bind ihm von deiner Lincken hand, mit deinem eussersten theil an das eusserste seiner Stangen, und truck ihm die in einem unversehenen ruck gegen seiner Lincken hand auß, unnd zucke dein Stangen behend wider zu ruck, gegen deiner Lincken umb deinen Kopff, laß hiemit dein Lincke hand von der Stangen ab, unnd schlage mit einer Hand von deiner Rechten starck uberzwerch, mit einem weiten zutrit deines Rechten fusses durch sein füß, ergreiffe demnach dein Stangen dieweil dieselbige im streich noch also durch fahrt, wider mit deiner Lincken hand, und schlage als dann den andern mit beiden henden, von deiner Lincken schlims [Ⅲ.23v] gegen seiner Rechten achsel durch, also das du nach ende des schlags in die rechte Underhut kommest, von deren stoß ihm nach obgeschriebener form zu seinem gesicht. | |
Or when you thus strike through overthwart to his forward leg, then look that you grip your staff again on your left side with your left hand; as soon as you have gripped it, draw the butt back to your right at your chest, and move the left well along the staff with outstretched arm; while you draw your hands apart thus on the staff, turn the staff toward his, and strike out the same (while he thrusts), so that you strongly and forcefully come again into the straight defence with left arm stretched far out, and then thrust nimbly straight ahead to his face. |
Oder wann du also zu seinem fürgesetzten bein uberzwerch durchschlechst, so schauw das du dein Stangen im durchschlagen wider auff deiner Lincken seiten mit deiner Lincken hand ergreiffest, als bald du die ergriffen hast, so zuck dein hindern ort zu deiner Rechten an dein Brust, und mit der Lincken fahr wol mit ausgestrecktem Arm in die Stangen hinein, in dem du aber dein hend also in der Stangen von einander zeuchst, so wende dein Stangen gegen seiner, und schlag im dieselbige (in dem er her stöst) auch auß, also das du dein Stangen gewaltig und starck mit außgespanenem Lincken Arm wider in die gerade Versatzung bekommest, und stoß als dann behendiglich gerad für dir hin zü seinem gesicht nach. | |
A piece, how you should make the Brain Blow. Do it like this: in the approach bind the tip of your staff with the tip of his; let yourself seem as if you are earnestly looking where or how you want to thrust to his face. As soon as he notices, he will diligently take care on your leaving the bind, that he could nimbly thrust while you leave. When you place yourself earnestly, like you want to thrust, then quickly jerk the butt of your staff upward, and swing the staff back with your left hand toward your left around your head, and thus unexpectedly strike straight from above to his head, and if he would yet thrust under this, then the same does not serve, for then you are too swift with the blow to his head. This and the like pieces have the more part in the Practice, namely that you outrace your opponent with unexpected speed, when he makes the slightest mistake. |
Ein stuck wie du den Hirnschlag machen solt. DEn treib also, im zufechten binde im mit deinem eussersten theil deiner Stangen in sein eusserste an, aldo laß dich mit geberden mercken als sehest du dich ernstlich umb, wo oder wie du ihm gegen seinem gesicht stechen wöllest, als bald er das mercken wirt, so wirt er fleissig war nemen auff dein abgohn, auff das er dir behend in dem du abgehest nach stossen könne, Derhalben wann du dich am aller ernstlichen stellest, sam du alben zu stechen wollest, so ruck dein hindern ort eilents ubersich, und mit der Lincken hand aber schwing die Stangen zu ruck, gegen deiner Lincken umb den Kopff, unnd schlag ihm also mit einer hand ohnversehens gerad von oben zu seinem Kopff, unnd ob er under dessen schon herstechen wirde, so geht ihm derselbige doch nicht an, dann du bist ihm zu geschwind mit dem schlag auff seinem Kopff, Dise und derglei= [Ⅲ.24r] chen stuck stand den mehren theil in der Practick, nemlich da du dein wider fechter mit ohnversehener behende ubereylest, wann er sich dessen am wenigsten versicht. | |
Another, with the skewed stroke. Mark, when you have bound your opponent as taught above, then surreptitiously invert your right hand on your staff, and deceive him meanwhile by appearance, so that he doesn't notice what you are doing, and when he makes the slightest mistake, then step toward him quickly with the right foot, and strike a swift and powerful stroke over the hand, straight from above to his head, so that your upper body is sunk well down after the blow, then nimbly move your staff up again, and at the same time step back again with the right foot, and grab your staff with your left hand again, so that you can strongly defend yourself again. You can move to this skewed stroke as you do the aforesaid brain blow, namely when you first jerk out his staff, or else when you can hinder him with some other technique, so that you can hit him with the skewed stroke before he can come up again. |
Ein anders mit dem schöfferstreich. MErck wann du deinem gegenmann wie bißher gelehrt, angebunden hast, so verkehre dein Rechte hand heimlich an deiner Stangen, unnd verführe ihn dieweil mit geberden, auff das er dein fürnemen nicht mercke, als dann wan er sich des am wenigsten versicht, so trit mit dem Rechten Fuß eilents zu im, und schlag hiemit uber die hand einen gewaltigen und geschwinden streich, gerad von Oben zu seinem Kopff, also das du mit deinem obern leib dem schlag nach wol undersich gesenckt standest, fahre als dann behendiglich mit deiner Stangen wider auff, unnd trit zugleych auch mit deinem Rechten Fuß wider zu ruck, auch greyff underdes mit deiner Lincken hand wider an dein Stangen, damit du dich wider mit versatzung stercken mögest, Zu dem vorgehenden Hirnschlag, Zu disem Schöfferstreich kanstu dir auch raumen, nemlich wann du ihm die Stangen erstlich ausruckest, oder ihn sonst mit andern stucken hinderst, auff das du ihn mit dem Schöfferschlag ereylest ehe dann er wider auffkompt. | |
How you should strike around from his staff and shoot over. Further, when you can reach the tip of his staff with the tip of yours, and he is hard on your staff, the be aware as soon as he wants to press you out to the side with force, then draw back your staff nimbly (while he is pressing out) around your head with both hands, and strike outside over his left arm to his head with a step out. As soon as this blow connects, quickly shift your staff over his near his hands, as you can see shown hereafter in Figure G; when you have thus found and barred his staff, then you may go in and thrust with the butt of your staff, or strike in front of his face with the longer part; if he moves his point up, and works it out under your staff, then follow after from below with thrusting, winding, or pressing. |
Wie du von seiner Stangen umbschlagen und uberschiessen solt. WEyter wann du im zufechten sein eusserste theil der Stangen mit deinem eussersten erlangen kanst, und er ist dir hart an deiner Stangen, so hab acht als bald er dir mit gewalt zur seiten austrucken wil, so zuck dein Stangen behendiglich (in dem er dir solche außtruckt) umb [Ⅲ.25r] deinen Kopff mit beiden henden, und schlag in mit solcher aussen uber seinen Lincken Arm, mit einem außtrit zum Kopff, als bald diser schlag antrifft, so schiebe dein Stangen eilents uber die seine nach bey seinen henden, wie du solches in der Figur G. hernach gezeichnet sehen kanst, wann du ihm also sein Stangen gefast und gespert hast, so magstu ihm also dann mit dem hindern ort eingehn und stossen, oder mit dem langen theil für sein gesicht schlagen, fehrt er aber mit dem ort auff, und arbeit sich under deiner Stangen herfür, so folge im von unden nach, es sey mit stossen Winden oder trucken. | |
How you should go through him. Mark, if your opponent is hard on your staff in the bind, and presses away from him, then go under through, and thrust on the other side. Or while he thus presses out your staff with his hard bind, again go hard on his staff (while he is still pressing) through under, and jerk him out with a ? blow from the other side, and thrust nimbly before he has recovered. |
Wie du ihm durchgehn solt. MErck ist dein gegen fechter mit seinem band hart ahn deiner Stangen, und truckt von im, so fahr unden durch, und stoß auff der andern seiten, Oder in dem er dir also dein Stangen austruckt mit seinem harten anbinden, so fahr abermal hart an seiner Stangen (dieweil er noch also truckt) unden durch, und Ruck ihm die mit einem neydlichen schlag von der andern seiten auß, und stoß behendiglich nach, ehe dann er sich ermant hat. | |
Another. If someone binds hard on your staff, then hold hard against him with your bind; if he also presses against yours, then quickly go through below, and act as if you want to thrust, but don't; rather draw through below again, and thrust to the side which you were originally bound on. |
Ein anders. Bindet dir einer hart an dein Stangen, so halt ihm mit deinem band hart wider, truckt er auch gegen der deinen, so fahr eilents unden durch, und thu sam du stossen woltest, thus aber nicht sonder zuck wider unden durch, unnd stoß ihm zu der seiten gegen welche du ihm erstlich angebunden hast. | |
How you should learn missing in the bind. Mark diligently, when you have bound with someone from your left side, then diligently observe and feel just as soon as he leaves the bind, to go through below or to work otherwise, then thrust while he is thus leaving, straight ahead to his face. |
[Ⅲ.25v] Wie du in den Banden fehlen leren solt. Das mercke fleissig wann du einem von deiner Lincken seiten angebunden hast, so nim fleissig wahr und fühle eben, als bald er von deinem Band abgeht, es sey unden durch oder sonst zu arbeiten, so stosse ihm dieweil er noch also abgeht, gerad für dir hin gegen seinem gesicht. | |
Another is a counter to the former. When you become aware in the bind, that your opponent is watching for your leaving, and wants to thrust to the opening while you are leaving, then let yourself seem by your appearance as if you earnestly want to move away from his staff and thrust, and when you think that he is ready to thrust, then move off his staff to the side, as if you wanted to thrust as said, but don't; rather, while he rushes in with his thrust, strike it up out to the side, and thrust in as first ?, then when he rushes in, you can easily take his staff out, and overtake him well before he can recover himself again. |
Ein anders ist der bruch auff das vorige. WAnn du im Band gewahr wirst, das dir dein gegen Fechter auff dein abgehn acht nimpt, und dir dieweil du abgehest zur Blöß stossen will, so laß dich mit geberden mercken als wollestu ernstlich von seiner Stangen abgehn und stossen, und wann du vermeinest das er sich am aller besten zum nachstossen geschickt hab, so gehe mit deiner Stangen gehlingen auff die seite aus, ab, von der seinen, sam du wie gesagt stossen wöllest, thus aber nicht, sonder in dem er mit seinem stoß hereylet, so schlag ihm den auff die seiten aus, und stoß als dann erst vervollen hinein, dann wann er so gehlingen hereylet, kanstu ihm sein Stangen leychtlichen ausnemen, und ihn wol ereylen ehe er sich wider erholet. | |
Thus you should mark and be aware of what your opponent wants to fence and drive to you, so that you catch him just in his own technique, as next herefore at this one then inclined true soon after to thrust [???]. Then you must expose yourself cautiously and warily to the same, and place yourself in such a way with the appearance, as resist befalling the approximate and ignorant [???], or you have wasted your ? thrust after with reluctance, so that through this he will be all the more incited to thrust, with which thrust or blow he fails and exposes himself, as close that he so agile hardly against comes up and may recover himself [???], before then you have overtaken him. This will be expanded on further on by example in the halberd. |
Also soltu auff mercken und wahrnemen, was dein gegen Fechter auff dich Fechten und treiben wölle, das du ihn eben in seinen eigenen stucken fangest, als nechst hievor an disem der dann geneygt wahre bald nach zustechen, Derenhalben mustu dich vor demselben fürsichtlich unnd gewahrsam blössen, unnd zu solchem blössen dich mit geberden also stellen, als wehre dir das ungefehr unnd unwissen widerfahren, oder habest dich deinem begirigen stoß nach mit unwillen verfallen, auff das er hiedurch dester ehr unnd begirlicher zu stossen angereitzt werde, mit welchem stossen oder schlagen er sich selber vergibt unnd blöst, als fast das er so behendt [Ⅲ.26r] schwerlich wider auff komen und sich erholen mag, ehe dann du ihn ereylet habest, Dises aber wirt in der Helleparten noch weiter durch Exempel ausgeführt werden. | |
A deceptive piece. When you have bound with someone in the approach, and neither of you will leave the other's staff, then thrust to his leading foot with a serious appearance, exposing your face, to which he will nimbly thrust, then step out to the side with your lead foot, followed by the right, and thrust under his staff from below (while the same flies in the thrust) to his face, and pull your head well away from his thrust behind your staff, so you hit him (while he is thrusting) in the face. Or when you thrust or strike to his foot, and meanwhile he thrusts to your face, then strike out his flying thrust, and at the same time spring out to the side away from his thrust, and thrust quickly and nimbly. |
Ein verfüher stuck. IM zufechten wann du mit einem angebunden hast, und keiner wil von des andern Stangen abgehn, so stich im mit ernsthafften geberden zu seinem fürgesetzten fuß, damit blössestu dein gesicht, zu welchem er behendiglich her stossen wirt, als bald, und in dem er dann herstost, so trit du mit dem vordern Fuß zur seiten aus, folge mit dem Rechten, und stoß ihm von unden uberhalb seiner Stangen (in dem dieselbige zum stoß herfleugt) gegen seinem gesicht, und entzucke ihm auch hiemit deinen Kopff wol von seinem stoß hinder dein Stangen, so triffestu ihn (dieweil er noch hersticht) in sein gesicht, Oder wann du ihm zu seinem Fuß stöst oder schlechst, und er dieweil deinem gesicht zu stost, so schlage ihm sein herfliegenden stoß aus, und springe zugleich in solchem ausschlagen zur seiten aus seinem stoß, und stoß behend und eilents nach. | |
How you should thrust with one hand out over his left arm to his face, wind through with the butt end of your staff, and strike to the right shoulder. If you have bound someone ahead from your left against his right, but he stays still and does not work, then step with your rear right foot to your right side, and go with your point hard on his staff through below, and thrust nimbly and unexpectedly from your right over his left arm to his face. In thrusting, let go of your staff with your left hand, and give the right side the thrust, so that you reach in the further. In this thrust turn up your right hand together with the butt of your staff toward your left side, and draw your staff around your head, and in this drawing around spring in nimbly on your left side. Strike thus wickedly to his right shoulder. This blow together with the thrust should be done nimbly one after another and together. Then spring back, so that you may be sure to catch and grip your staff again. |
[Ⅲ.26r] Wie du mit einer hand aussen uber seinen Lincken arm zu seinem gesicht stossen, mit dem hindern ort durchwinden, und zur Rechten achsel schlagen solt. HAstu einem vornen von deiner Lincken gegen seiner Rechten angebunden, er aber ligt still und arbeit nicht, so trit mit deinem hindersten Rechten fuß auff dein Rechte seiten, und gehe hiemit auch mit deinem vordern ort hart an seiner Stangen unden durch, unnd stoß ihm behents und ohnversehens von deiner Rechten uber seinem Lincken arm zu seinem gesicht, im hin= [Ⅲ.26v] ein stossen aber, so laß die Lincke hand von der Stangen, und gib die Rechte seiten dem stoß wol nach, auff das du von uberzwerch dester weiter hinein langest, in solchem stossen wende die rechte hand mit sampt dem hindern theil der Stangen ubersich gegen deiner Lincken, und zuck dein Stangen hiemit umb dein Kopff, auch spring in disem umbzucken behends auff dein Lincke seiten, schlage ihm also schlims gegen seiner Rechten achsel, Diser schlag zu sampt dem stoß sollen behends auff einander und zusamen getrieben werden, spring als dann zu ruck, auff das du dein Stangen wider sicher mit deiner Lincken hand aufffangen und ergreiffen mögest. | |
Another, how you should wind through with the thrust. Do it like this: if you find yourself in the straight defence in the approach, then thrust straight from your right to his left hand, that he has placed forward on his staff; but in the beginning, let yourself seem by your appearance as if you wanted to thrust to his face. When you come near his hand with your point, go through below his staff and step with your left foot well out to his right side, and take your head well aside with you, and turn your point thus in thrusting through outside over his right arm to the face - turn your open right hand well upward, inside your left arm, so the thrust goes the deeper. |
Ein anders, wie du mit dem stoß durchwinden solt. DEm thu also, im zufechten so du ihn in gerader versatzung findest, so stoß ihm gericht von deiner Rechten gegen seiner Lincken hand, die er dann in der Stangen vor führet, im anfang aber, so laß dich doch mit geberden mercken als woltestu ihm in sein angesicht stossen, wann du nun mit deinem vordern ort nahet an sein hand komest, so fahre under seiner Stangen durch und trit hiemit auch mit deinem Lincken Fus wol gegen seiner Rechten seiten aus, in solchem aus tretten nim dein Kopff wol mit, und wende also deinen vordern ort im durchstossen aussen uber seinem Rechten Arm zum gesicht, im hinein stechen aber, wende dein Rechte offene hand wol ubersich, an deinem inwendigen Lincken arm hinein, so gehet der stoß desto dieffer. | |
A swift and artful thrust against one who does not work, but rather lies strongly in the defence.
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Ein künstlichen und geschwinden stoß gegen dem der nicht arbeiten, sonder starck in der versatzung ligt zu brauchen. MErck wann du im zufechten deinen gegenpart in gerader Versatzung findest, so schicke dich auch also, und laß dich mit geberden mercken, als woltestu dich aller erst umbsehen was dir [Ⅲ.27r] zu fechten sey, under des aber, wann er sich dessen am wenigsten versihet, so trit mit deinem rechten Fuß eilents gegen seiner Lincken seiten aus, und stosse ihm oberhalb seiner Lincken hand (die er dann in der Stangen vor führet) gerichts seiner Brust zu, doch also das du sein Stangen mit der deinen nit rührest, in disem stoß führe dein Rechte hand wol gegen deinem Lincken arm, und auff demselbigen hinein, zu dem so wende hiemit dein Lincke offene hand ubersich umb, so geht der stoß dester dieffer, und triffst eben auff solche weiß an, wie dir solches an dem Bilde zur Lincken hand in der Figur E. fürgestelt. | |
Another: how you thrust upward through his face.
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Ein anders, wie du mit einem stoß ubersich durch sein gesicht stossen. TRinget dein gegenfechter im band auff dich, so bleibe mit deiner Stangen auch hart an der seinen, als bald ihr beide so nahet komen seind, also das die Stangen im anfang des anderen theils zusamen rühren, so bleibe under des mit dem band hart an seiner Stangen, und stosse den hindern ort mit deiner Rechten hand von dir, also das dein vorderer ort auff seiner Stangen gegen seiner Rechten achsel aussehe, zu dem so trit auch mit deinem Rechten Fuß wol auß gegen seiner Lincken seiten, und stosse ihm mit deiner Stangen (doch das du mit deren hart auff der seinen bleibest) gegen seiner Rechten achsel, im hinein stossen aber, wende dein Rechte hand mit dem hindern ort wider zu dir, gegen deiner Brust umb, also das deine Finger an deiner brust und die offene hand oben stehe, wann du also, dieweil du mit deiner Stangen hart auff der seinen bleibest, gegen seiner Rechten achsel stossest, und im hin stossen dein hindern ort wider zu dir wendest, so gehet dein stoß ubersich, und triffst ihn in sein gesicht, er muß aber sehr behendt und mit sterck ins werck gericht und volführet werden. | |
At the same time as you make this thrust, lift your staff with both hands, and strike nimbly from above down to his face, and in this blow spring further toward his left side with your right foot. |
[Ⅲ.27v] Zugleich mit disem stoß führe dein Stangen mit beiden henden ubersich, und schlage behend von oben nider gegen seinem gesicht wider nider, in solchem schlag aber, spring mit deinem rechten Fuß noch ferner gegen seiner Lincken seiten umb. | |
Another: how you should thrust a miss hard on his staff in front of him, and strike afterward long. In the approach don't come too near to your opponent, and mark while he doesn't want to work, then thrust to his right side hard on his staff; as soon as he notices the thrust and repels it to his right, let your staff run off near his right side, and draw it around your head with your right hand, and strike a swift stroke with one hand to his left ear. |
Ein anders, wie du vor ihm hart an seiner Stangen fehl stechen, und lang nachschlagen solt. IM zufechten komme nicht zu nahet auff den Mann, und merck in dem er nicht arbeiten wil, so stosse ihm gegen seiner Rechten seiten, hart an seiner Stangen hinein, als bald er den stoß wehrt, und gegen seiner Rechten abweist, so lasse dein Stangen neben seiner Rechten ablauffen, und zuck die mit der Rechten hand umb den Kopff, und schlage ihm mit einer hand ein geschwinden streych zu seinem Lincken ohr. | |
A good stroke in the going over. Do it like this: in the approach, as soon as you can reach the tip of his staff with the tip of yours, hold your point straight in front of his face, and turn yourself well on your right side, so that you turn your back to him, and while you turn your back, step with your right foot behind your left toward him, turning completely around on your right with this step, and strike with one hand, that is, around with your right hand, straight down to his head. This blow works very well when you do it right; if he thrusts at you while you are turning, he cannot reach you, because you were bound on his tip, and if he can reach you, to touch your exposed back, you surely hit him when he thrusts; the stroke runs so swiftly, that he cannot deliver any thrust before the same. You may also direct the stroke across from the middle in this turn. |
Ein guter streich im ubergehen. DEn treib also im zufechten, so bald du ihm sein eusserste theil der Stangen, mit deinem eussersten erlangen kanst, so behalt dein vordern ort gerad vor seinem gesicht, und wende dich in dessen wol auff dein Rechte seiten, also das du ihm den rucken zuwendest, und in dem du ihm den rucken darwendest, dieselbige weil trit auch mit deinem Rechten Fuß hinder deinem Lincken zu ihm, mit solchem trit wende dich für vollen auff deine Rechte seiten umb, unnd schlag mit einer hand, nemlich mit deiner Rechten hinden herumb, gerad von oben zu seinem Kopff, Diser schlag geht sehr wol an wann du in recht machest, dann ob er wol in dem du dich zum streich umbwendest herstöst, so kan er dich doch nicht langen, dieweil du ihm an seinem vordersten ort an= [Ⅲ.28v] gebunden hast, und ob er dich schon erlanget, so rühret er dir blößlich den Rucken, du aber triffst ihn gewiß wann er herstöst, auch laufft der streych so geschwindt, das er vor demselbigen zu keinem stoß kommen kan, du magst auch in solchem umbwenden den streych uberzwerch von der mitte herführen. | |
Another, with a Middle Blow. When you can reach his staff with the tip of yours in the approach, then draw your staff around your head, and strike across with one hand from your right to his left ear. In this stroke step with your right foot toward his left side, and as your stroke connects, grip with your left hand hard on your staff again in front of your right, and pull your right hand and staff to your chest. While you thus pull your staff toward you, move your left hand along the staff, until your arm is lies outstretched widely on the staff, and thus the left hand (as a shield) moves on the staff in front of your face. |
Ein anders, mit einem Mittelschlag. ALso, wann du im zufechten sein Stangen vornen mit deinem vorderen theil erlangen kanst, so zucke dein Stangen gehlichen umb deinen Kopff, und schlage mit einer hand uberzwerch von deiner Rechten gegen seinem Lincken ohr, zu solchem streich trit mit deinem Rechten Fuß wol gegen seiner Lincken seiten zu, unnd in dem dein streich antrifft, so greiff mit deiner Lincken hand hart vor deiner Rechten wider in die Stangen, und zeihe dieselbige dein Stangen mit deiner Rechten hand wider an dein Brust, in dem du aber also dein Stangen an dich zeuhest, so fare mit der Lincken hand für dir hin in die Stangen hinein, wo weit biß dein Arm ausgestreckt auff deiner Stangen lige, und also die Lincke hand (als ein schilt) auff der Stangen vor deinem gesicht führest. | |
The withdrawn thrust. When you have bound your opponent, or stand before him in the defence, and he doesn't want to work, then thrust earnestly to his face, and look under it diligently; then he is ready to parry and bear off your thrust, so don't complete it, but rather draw it back again quickly through your left hand, so that you have your left hand fully outstretched in front of your face. As you pull back your staff, place yourself with a serious appearance, as if you want to go through below, and thrust on the other side; as you thus distract with looks, you must masterfully raise your lead foot and set it down again, and as you seem to be thrusting on the other side, while he moves out to the side against your thrust to turn the same aside, thrust straight ahead at the same point, that you originally drew back from. This should be done nimbly, and performed earnestly in all circumstances. |
Die stöß verzucken. WAnn du deinem gegen fechter vornen angebunden hast, oder in der Versatzung vor ihm stehest, und er nicht arbeiten will, so stosse ihm ernstlichen zum gesicht, mit einem weitern zutrit deiner Lincken Fusses, unnd mercke under des fleyssig, so er bereit ist deinen stoß ab zutragen unnd zu versetzen, so volfühere denselbigen nicht, sondern zucke den eylents wider zu [Ⅲ.29r] dir durch dein Lincke hand, also das du dieselbige Lincke hand gantz aus gestreckt vor deinem gesicht habest, zugleich in dem du also dein Stangen wider zu dir zeuchst, so stelle dich mit ernsthafften geberden, als woltestu unden durchgehn, und auff der andern seiten stossen, zu solchen verzucken und geberden, mustu deinen vordern Fuß meisterlichen auff heben und wider nider setzen, auff das es nicht anders scheine, dann als stechest du alben zu auff der andern seiten schon daher, aber in dem er jetzt deinem stoß entgegen zur seiten ausfehrt, denselbigen ab zuweisen, so stosse du nur wider gerad für dir hin an das selbige ort, davon du erstlich gezuckt hast, Dises alles sol behendiglichen zugehn, und mit allen umbstenden ernstlich volbracht werden. | |
However, when he works before you and would thrust at you, then set aside the thrust with your staff with a jerk, and move the parry nimbly into a thrust, but while your thrust is on its way, pull the same back again, as if you wanted to thrust through below again; then he will want to encounter it quickly, so while he sweeps to the other side, meaning to parry, thrust straight ahead again to where you pulled back from. |
Wann er aber vor dir arbeiten und auff dich herstossen würde, so setze im den stoß mit deiner Stangen in einem ruck ab, und führe dem absatz oder der versatzung behend ein stoß nach, aber auff dem weg in dem du hinein stossest, so zucke den selbige wider, sam du abermal unden durch stossen woltest, so wirt er demselbigen eilent begegnen wöllen, in dem er aber der andern seiten zuwischt, in meinung zuversetzen, so stosse gerad vor dir hin abermal an das ort von welchem du gezucket hast. | |
With these withdrawn thrusts you can break all guards. For example, if you find your opponent in the Left Lower Guard, then thrust straight to his face, and meanwhile observe if he starts to strike into your thrust with his staff, then suddenly draw it back toward you a little, and nimbly go through below, and thrust him on his left side (while he is moving his staff upward) over his left arm to the face; but if he moves toward your staff, go through below again, and do so until you see your opportunity to reach an opening. |
Mit disen gezuckten stössen kanstu auch alle Leger brechen, Exempel also, findestu deinen widerfechter in der Underhut zur Lincken, so stosse ihm gerad gegen seinem gesicht, und nim war in dem er mit seiner Stangen aufffehrt dein stoß aus zuschlagen, so zuck den ohnvolbracht ein wenig wider an dich, und fahr behends unden durch, und stoß ihm auff seiner Lincken seiten (dieweil er noch im ubersich fahren ist) uber seinem Lincken arm zum gesicht, fehrt er deiner Stangen aber nach, so fahr wider unden durch, unnd das so lang biß du dein gelegenheit ein Blöß zu ereylen ersihest. | |
Winding. If your opponent binds hard on your staff from his left side against your right, and presses hard towards you in the straight defence, so that you may not depart from his staff with any technique, then stay hard with the bind in front of his hand on the staff; press with the point toward his face, so that he is compelled to move up. As soon as he has raised his staff a little, stay with your point on his continually, and wind the butt end over nimbly from your right to his left above his, press it down, and strike him on the head with the fore end (so that your left hand comes over your right), as is shown in the middle of Figure D. |
[Ⅲ.29v] Winden. BIndet dein gegenmann von seiner Lincken gegen deiner Rechten, hart an dein Stangen, und tringt mit gerader Versatzung hart auff dich hinein, also das du mit keinem stuck von seiner Stangen abweichen darffest, so bleib mit dem Band hart vor seiner hand an der Stangen, tringe mit dem vordern ort gegen seinem gesicht, auff das er gezwungen werdt auff zufahren, so bald er mit seiner Stangen ein wenig auff in die höhe kommen ist, so bleib mit dem vordern ort in dem allem gleichwol nach an seiner, und mit dem hindern winde im behendiglichen von deiner Rechten gegen seiner Lincken, oben uber die seine, truck ihm die undersich, und schlag ihm mit dem vordern theil (also das dein Lincke hand uber dein Rechte kom) auff sein Kopff, wie dir solches die mitlern bossen in der Figur D. hievor anzeigen. | |
Another. In the approach bind strongly from your right against his left on his staff, and work with the point again toward his face, so that he is compelled to raise his staff; as soon as and while he is still raising his staff, bend down, and spring toward him under his staff with your right foot, staying throughout continually with your point on his staff, and in this spring go through under his with the butt of your staff, and turn the same over his staff on his right side, so the point comes after, with which strike him on the head, or press down with the butt of your staff (while you have wound over), and tear out with the same, and thrust with the point to his face; but if he presses upward so strongly, that you can't force his staff down with the butt of your own, then wind your point (while you must go up with the butt from the pressing) up from below to his face, near his right arm, while he presses upward. However, if he wants to lift the butt of his staff (while you wind over his staff with the butt of yours) and wind over above, then quickly turn your point from your left against his right over his right arm in around his head, and catch him around the neck with your staff, and jerk him toward you on your left side. |
Ein anders. IM zufechten binde ihm von deiner Rechten seiten gegen seiner Lincken starck an sein Stangen, und arbeite ihm mit dem vordern theil abermals gegen seinem gesicht, damit er gezwungen werde sein Stangen etwas in die höhe zu führen, als bald und in dem er noch ubersich aufffehrt, so bucke dich, und spring mit deinem Rechten Fuß hinein zu ihm under sein Stangen, under des bleibe gleichwol mit dem vordern theil hart an seiner Stangen, und mit dem hinderen theil gehe mit solchem zusprung under der seinen durch, unnd wend mit demselbigen auff seiner Rechten seiten uber sein Stangen, so kompt das vorder ort hernach, mit welchem schlage ihn auff seinen Kopff, oder trucke mit deinem hindern ort (in dem du ubergewunden hast) undersich, und reisse mit demselbigen zugleich auch auß, stoß ihn mit dem vordern ort gegen seinem ge= [Ⅲ.30r] sicht, ist er aber so starck im ubersich trucken, also das du ihm sein Stangen mit deinem hindern ort nicht undersich zwingen kanst, so winde ihm den vordern theil (in dem du mit dem hindern darzu getrungen, aufffahren müst) von unden auff, dieweil er ubersich tringt, neben seinem Rechten arm zu seim gesicht, wo er dir aber (in dem du mit deinem hindern ort uber seine Stangen windest) mit seinem hindern ort aufffahren und oben uberwinden wolte, so wende eilents von deiner Lincken, mit deinem vordern theil gegen seiner Rechten, uber seinem Rechten arm hin uber umb sein Kopff, und faß ihn mit deiner Stangen umb seinen hals, ruck hiemit auff dem Lincken seiten zu dir. | |
Or bind him from your right side against his left, and stay hard with your point on his staff, but turn the butt of your staff in from below between his hand and staff as you step in with your right foot. Tear out upward with it, as shown in the middle of Figure F printed hereafter; then work further with your point. |
Oder bind ihm von deiner Rechten gegen seiner Lincken an, und bleib also mit deinem vordern theil hart an seiner Stangen, mit dem hindern ort aber wende in einem zu tritt deines Rechten fuß, von unden zwischen sein hand und Stangen hinein, Reiß damit ubersich aus, wie dir solches die mitlern bossen in nach getruckter Figur F. anzeigen, arbeite als dann ferner nach deinem vortheil. | |
Item: bind him from your left against his right, hard on his staff in front of his hand; stay with the same point hard on his staff, and wind the butt of your staff (with a spring of your right foot) over his staff, and over his right shoulder around his neck. Step further with your right foot behind his left, and throw him over your right leg, as you can see printed in Figure C. |
Item binde ihm von deiner Lincken gegen seiner Rechten, hart vor seiner hand in sein Stangen, bleib mit demselbigen vordern ort hart an seiner Stangen, unnd mit dem hindern winde im (mit einem zusprung deines Rechten fusses) uber seiner Stangen, und uber sein Rechte achsel umb sein halß, trit under des nach ferner mit deinem Rechten fuß hinder sein Lincke, wirff ihn uber dein Recht bein, wie du solches in hievor getruckter Figur C sehen kanst. | |
A staff-taking. It often happens that both staves become bound together in the middle; when this happens, stay on his staff with yours, and let go with your left hand; invert it, grab both staves, and go through below with the butt of your staff. Press upward toward you with your right hand, so he must let go, or fall when you step back with your right foot. |
Ein Stangen nemen. ES begibt sich offt das beide Stangen in der mitte zusamen gebunden werden, wann sich nun solches mit dir begibt, so bleib mit deiner Stangen an der seinen, und lasse dein Linck hand [Ⅲ.30v] ab, verkehr die, und greiff damit beide Stangen, und fahre demnach mit dem hindern ort under seiner durch, ruck also mit der Rechten hand ubersich zu dir, so muß er die lassen, oder wann du ihm mit deinem Rechten fuß hinder tritst, fallen. | |
Driving. Fence like this: when you are right foot forward in the approach, with your left hand foremost on the staff, lift up your staff with both hands toward your left shoulder, and thus strike strongly through (with a further step of your left foot) against his right from above to his fingers, ending in Right Lower Guard, with bent body, then tear strongly upward through his staff, ending again in Left Upper Guard. If he thrusts meanwhile, then strike down from above, and tear out up from below. Drive this one stroke strongly into three, four, or five together, until you see your opportunity to thrust. |
Treiben. DAs ficht also, wann du im zufechten mit deinem Rechten fuß vor bist, desgleichen auch die Lincke hand in der Stangen vorführest, so erhebe dein Stangen mit beiden henden ubersich gegen deiner Lincken achsel, schlage also (mit einem nach fernern zutrit deines Lincken fusses) gegen seiner Rechten, von oben an seiner Stangen zu seinen Fingern starck durch, biß in die rechte Underhut, mit wol nach gehencktem leib, als dann Reisse starck wider ubersich durch sein Stangen, biß wider in die Lincke Oberhut, er stosse hie zwischen wann er wölle, so nimstu ihm solche mit dem von oben niderschlagen, und von unden ubersich ausreissen aus, dises treib ein streich drey, vier oder fünffe, mit sterck von unden zusamen, so lang biß du dein gelegenheit zu stossen ersihest. | |
A technique from the Driving. In the approach, as soon as you can reach your opponent, drive wickedly from above and below, as taught strongly together; when you have driven one stroke into four, then act as if you want to most earnestly and strongly strike to his right shoulder, but in striking down, move your staff nimbly hard on his staff through below, and step well out to his left side as you go through, and as you do so thrust over his left arm from the other side to his face. |
Ein stuck aus dem Treiben. IM zufechten so bald du den Mann erlangen kanst, als bald treibe schlims von oben und unden, wie nechst gelehrt starck zusamen, wann du nun ein streich vier getrieben hast, so thu zum letsten als woltestu abermals gantz ernstlich unnd stercker dann vor, gegen seiner Rechten achsel schlagen, aber im herab schlagen, so führe dein Stangen lüstig behendiglich hart an seiner Stangen unden durch, unnd trit in solchem durchfahren wol gegen seiner Lincken seyten aus, stoß also in dem du durchgangen bist, von der andern seiten uber seinem Lincken arm zu seinem gesicht. | |
In all fencing observe diligently, that you in no way let yourself be provoked or deceived, and don't thrust a lone thrust expecially the forepart in the before, but if you find your opponent in a guard that gives you an opening, then you should not commit to the same thrust, but rather see if you can provoke him with withdrawn thrusts; afterward you may change through. But if he remains too long in his guard aforesaid, then you can suddenly overtake him, when he makes the slightest mistake. But if you have bound, and may not thrust well to some opening (in the before), put in a thrust hard on his staff, and feel precisely in thrusting, whether he wants to take out or strike out your thrust. As soon as you sense this, go through below with your thrust, and help his staff fully to the side, toward which he has struck out, or thrust in on the other side while he is striking out. But if you sense that he wants to thrust at the same time as you do, then don't move your staff, but rather act subtly and secretly or unnoticed, until he makes a full thrust. As soon as he thrusts, then move out his staff in your thrust, and fully put in your upraised thrust. Thus you should not be moving in all techniques, but rather attend to how he approaches, so you can the more smoothly encounter him. |
[Ⅲ.31r] In allem Fechten nim fleissig war, das du dich in keinen weg abreytzen oder verführen last, auch deine stöß ohn sonderlichen vortheil im Vor nicht ledig stossest, findestu aber deinen gegen fechter in einer solchen Hut darinnen er dir ein Blöß dargibt, so soltu ihm nicht freffel zu derselbigen stossen, sonder schauwen ob du ihn mit verzuckten stössen auffbringen, demnach durchwechseln mögest, wo er aber in seinen fürgenomenen Legern zu lang verharret, so kanstu in ohnversehens wol ereylen, wann er sichs am wenigsten versihet, hastu ihm aber angebunden, und darffest aber entblössens halben nicht wol (im Vor) stossen, so führe einen stoß hart an seiner Stangen hinein, und füle im hinein stossen eben, ob er dir wölle deinen stoß ausnemen oder ausschlagen, als bald du das entpfindest, so gehe mit deinem stoß unden durch, unnd hilffe seiner Stangen vollen gegen der seiten, gegen welcher er dir ausgeschlagen hat, oder stoß im dieweil er nach ausschlecht auff der ander seiten hinein, empfindestu aber das er mit dir zugleich stossen will, so biß nicht zu geh mit deinem stoß, sonder verhalt den fein heimlich oder ohnmerksam, so lang biß er im vollen herstossen ist, als bald er dann herstöst, so führe im seine Stangen in deinem hinein stossen aus, als dann stosse deinen angehebten stoß für vollen hinein, Also soltu in allen stucken nicht zu geh sein, sonder auffmercken was er für habe auff dich zufechten, damit du ihm dester füglicher begegnen könnest. | |
Another from the going through. Drive again through his staff as before, once, twice, and when he makes the slightest mistake, then fall through below his staff, and quickly tear out his staff downward from your right toward your left, and let your staff go around your head, and strike long with one hand. But before I finish with this weapon, I will also run over and go through the others, because without it these three weapons fence from one ground. |
Ein anders aus dem durchfahren. TReibe abermals wie vor durch sein Stangen, ein mal zwey, und wann er sichs am wenigsten versihet, so falle gehlingen under seiner Stangen durch, unnd reisse ihm demnach eylents sein Stangen von deiner Rechten gegen deiner Lincken undersich aus, und laß hiemit dein Stangen umb den Kopff fahren, und schlage mit einer hand lang nach, Ehe dann ich aber mit diser Wehr schliesse, will ich zu voren di andern auch uberlauffen, und durchgehn, dieweil ohne das dise drey Wehr aus einem grund gefochten werden. | |
[Ⅲ.32r] Von der Hellenparten. OB wol mein fürhaben nicht ist alhie an disem ort von einem jeden Hauw und Stich insonderheit zuschreiben, so hab ich doch nicht umbgehn wöllen, dise sechs Häuw in der Helleparten anfangs hieher zusetzen, als die nicht allein zur übung dadurch der leib zu aller behendigkeit angeführet werde nützlich, sondern vil mehr einem jeden der sich in dergleichen Wehren zu ernstlicher gegen wehr geschickt machen wil nötig, darumb so magstu die vor allen dingen lernen und manlichen von dir treiben, und hauwen wie volget. | ||
For further information, including transcription and translation notes, see the discussion page.
Work | Author(s) | Source | License |
---|---|---|---|
Lund Figures | Wiktenauer | ||
1570 Figures | Tobias Stimmer | Meyer Frei Fechter Guild | |
Rostock Figures | Universitätsbibliothek Rostock | Deutsche Forschungsgemeinschaft (DFG) Viewer | |
Translation | Mike Rasmusson | Schielhau.org | |
Translation | Kevin Maurer | Meyer Frei Fechter Guild | |
Translation | Jon Pellett | Megalophias his Page | |
Lund Transcription | Index:Joachim Meyers Fäktbok (MS A.4º.2) | ||
1570 Transcription | Index:Gründtliche Beschreibung der Kunst des Fechtens | ||
Rostock Transcription | Jens P. Kleinau | Index:Fechtbuch zu Ross und zu Fuss (MS Var.82) |
Additional Resources
- Kiermayer, Alex. Joachim Meyers Kunst Des Fechtens. Gründtliche Beschreibung des Fechtens, 1570. Arts of Mars Books, 2012. ISBN 978-3981162738
- Meyer, Joachim. Joachim Meyer 1600: Transkription des Fechtbuchs 'Gründtliche Beschreibung der freyen Ritterlichen und Adelichen kunst des Fechtens’. TAT. Wolfgang Landwehr, 2011. ISBN 978-3932077371
- Meyer, Joachim. The Art of Combat: A German Martial Arts Treatise of 1570. Trans. Jeffrey L. Forgeng.
- 1st edition. London: Greenhill Books, 2006. ISBN 978-1-85367-643-7
- 1st edition. New York: Palgrave Macmillan, 2006. ISBN 1-4039-7092-0
- 2nd edition. London: Frontline Books, 2014. ISBN 978-1-84832-778-8
- Meyer, Joachim. The Art of Sword Combat: A 1568 German Treatise on Swordmanship. Trans. Jeffrey L. Forgeng. London: Frontline Books, 2016. ISBN 9781473876750
References
- ↑ 1.0 1.1 1.2 1.3 Dupuis, Olivier. Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat. Dijon: AEDEH, 2006.
- ↑ Castle, Egerton. Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century. London: George Bell and Sons, 1885. pp 74 - 76.
- ↑ Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
- ↑ According to his wedding certificate.
- ↑ His dagger teachings do, however, show some evidence of influence by Achilles Marozzo's printed treatise.
- ↑ 6.0 6.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
- ↑ Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
- ↑ Whose members included Christoph Maurer and Hans Christoffel Stimmer.
- ↑ Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
- ↑ Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
- ↑ Jens P. Kleinau. "1561 Joachim Meyer dedicated a fencing book to the Pfalzgrafen of Pfalz-Veldenz". Hans Talhoffer ~ as seen by Jens P. Kleinau. 04 July 2011. Retrieved 14 February 2015.
- ↑ Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
- ↑ Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
- ↑ Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
- ↑ Corrected on Ⅲ.47v.
- ↑ Corrected on Ⅲ.47v.
- ↑ The "st" ligature is inverted.
- ↑ Typo, should be "wolt, könne".
- ↑ Originally printed "abzutzest", but corrected on Ⅲ.47v.
- ↑ Originally printed "verhauren", but corrected on Ⅲ.47v.
- ↑ The "t" is inverted.
- ↑ Corrected from Im, the first stroke of the “m” has been cancelled.
- ↑ Spitz uber- is clearly copied twice, this is probably an eye-skip.
- ↑ 24.00 24.01 24.02 24.03 24.04 24.05 24.06 24.07 24.08 24.09 24.10 24.11 24.12 24.13 24.14 24.15 24.16 24.17 24.18 24.19 24.20 24.21 24.22 24.23 24.24 24.25 24.26 24.27 24.28 24.29 24.30 24.31 indes
- ↑ palm up
- ↑ Illegible deletion.
- ↑ oberhauw
- ↑ ‘right’ is originally written, ‘left’ is written above it
- ↑ short edge
- ↑ “Degen”, lit. dagger, could either refer to a sword or dagger.
- ↑ short edge
- ↑ Unleserliche Streichung. Illegible deletion.
- ↑ Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
- ↑ Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
- ↑ Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
- ↑ Leicht unleserlich. Slightly illegible.
- ↑ Überschriebens »vom«. Overwritten “vom”.
- ↑ Inserted by means of a special mark.
- ↑ Word inserted next to the text.
- ↑ Inserted nest to the text.
- ↑ Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
- ↑ Wort am Seitenrand nachgetragen. Word inserted at the margin.