You are not currently logged in. Are you accessing the unsecure (http) portal? Click here to switch to the secure portal.
Wiktenauer logo.png

Difference between revisions of "Sigmund ain Ringeck/Sandbox"

From Wiktenauer
Jump to navigation Jump to search
Line 531: Line 531:
  
 
{{ringeck row LS|51
 
{{ringeck row LS|51
−
| 2
+
|  
−
| 3
+
|  
−
| 4
+
|  
−
| 5
+
|  
−
| 6
+
|  
−
| 7
+
|  
 
}}
 
}}
  
Line 612: Line 612:
  
 
{{ringeck row LS|60
 
{{ringeck row LS|60
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|61
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|62
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|63
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|64
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|65
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|66
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|67
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|68
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|69
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|70
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|71
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|72
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|73
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|74
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|75
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|76
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|77
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|78
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|79
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|80
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|81
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|82
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|83
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|84
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|85
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|86
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|87
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|88
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|89
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|90
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|91
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|92
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|93
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|94
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|95
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|96
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|97
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|98
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|99
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|100
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|101
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|102
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|103
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|104
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|105
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|106
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|107
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|108
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|109
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|110
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|111
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|112
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|113
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|114
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|115
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|116
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|117
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|118
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|119
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|120
 +
|
 +
|
 +
|
 +
|
 +
|
 +
|
 +
}}
 +
 +
{{ringeck row LS|121
 
|  
 
|  
 
|  
 
|  

Revision as of 06:04, 27 February 2022

Select one or more fencing styles using the checkboxes below to view the associated treatises.

The number in brackets at the beginning of each translation box is a paragraph number assigned by Wiktenauer; clicking it will take you to the translation page. The numbers in brackets in the transcriptions with an "r" or "v" are manuscript folio numbers; clicking them will take you to original page scan with the transcription alongside for comparison. If you want to sort a column by number, click the black triangles in the table headers.

Whenever the Glasgow version mentions an illustration, the scan is included in the illustration column whether it has a picture or not. The Rostock version has no illustrations at all in this section, so it is not pictured when it mentions them.

Long sword

Illustrations

Glasgow Version

Translations

Draft Translation Draft translation (2022) by Christian Trosclair

Featured Translation (all versions) Featured translation (2015) by Christian Trosclair

Draft Translation (Dresden only) Draft translation (2010) by Keith Farrell

Incomplete Translation (Dresden only) Unfinished translation (1999-03) by Jörg Bellinghausen and David Rawlings

Transcriptions

Salzburg Version (1491) by Dierk Hagedorn

Dresden Version (1504-19) by Dierk Hagedorn

Glasgow Version (1508) by Dierk Hagedorn

Augsburg Version (1553) by Werner Ueberschär

Rostock Version (1570) by Dierk Hagedorn

Short sword

Illustrations

None

Translations

Incomplete Translation (Dresden only) Unfinished translation (2003) by David Rawlings

Incomplete Translation (Dresden only) Unfinished translation (1999) by Jörg Bellinghausen

Transcriptions

Dresden Version (1504-19) by Dierk Hagedorn

Vienna Version (1512) by Dierk Hagedorn

Rostock Version (1570) by Dierk Hagedorn

Mounted fencing

Illustrations

Glasgow Version

Translations

Draft Translation (Glasgow only) Draft translation (2020) by Stephen Cheney

Transcriptions

Dresden Version (1504-19) by Dierk Hagedorn

Glasgow Version (1508) by Dierk Hagedorn

Illustrations

Draft Translation Draft translation (2022)
by Christian Trosclair

Featured Translation Featured translation (2015)
by Christian Trosclair

Draft Translation (Dresden only) Draft translation (2011)
by Keith Farrell

Incomplete Translation (Dresden only) Unfinished translation (2003)
by David Rawlings

Incomplete Translation (Dresden only) Unfinished translation (2001)
by Jörg Bellinghausen

Salzburg Version (1491) [edit]
Transcribed by Dierk Hagedorn

Dresden Version (1504-19) [edit]
Transcribed by Dierk Hagedorn

Glasgow Version (1508) [edit]
Transcribed by Dierk Hagedorn

Augsburg Version (1553) [edit]
Transcribed by Werner Ueberschär

Rostock Version (1570) [edit]
Transcribed by Dierk Hagedorn

[1] Here begins the interpretation of the recital.

In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written[1] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.

[1] Here begins the interpretation of the Recital

In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame[2] time known as[3] fencing master[4] to the highborn prince and noble Lord Albrecht, Pfalzgraf[5] of the Rhine and Herzog[6] of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured[7] here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.

[1] Here begins the explanation of the epitome.

In which lies recorded the knightly art of the longsword, composed and formed by Johannes Liechtenauer, who was a great master in the art, may God be merciful to him. He wrote the markverses with deep and hidden words, so that the art would not be widely known. And these deep and hidden words have been by Master Sigmund ain Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Count Palatine of Rhine and Duke of Bavaria, recorded and explained in this little book which now follows, so that every fighter who otherwise can fight, shall be able to take these and understand them.

[1] This is the beginning of the interpretation

of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmeister of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phrasings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmeister of Albrecht, Count Palatine of Rhine and Duke of Bavaria.

[10v] Hie hept sich an die vßlegu~g der zedel

In der geschriben stett die Ritterlich kunst des langes schwerts Die gedicht vnd gemacht hat Johannes lichtenawer der ain grosser maiste~ in der kunst gewesen ist dem gott genedig sÿ der hatt die zedel laußen schrÿbe~ mitt verborgen vñ verdeckte~ worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die selbige~ v°borgneñ vñ verdeckte wort hatt maister [11r] Sigmund ain ringeck der zÿt des hochgeborne~ fürsten vñ herreñ herñ aulbrecht pfalczgrauen bÿ Rin vñ herczog in baÿern schirmaiste~ Glosieret vñ außgelegt alß hie in disem biechlin her nach geschrÿben stät dz sÿ ain ÿede~ fechter wol verömen vnd vestan mag der da ande~st fechten kan etc~   ~  

[22r] Merck die zettl /

dar in geschribñ stett / die kunst des langen schwerch die Johannes liechtñawen hat lassen schreiben mit verporgen vnd verdachtñ wortñ / die w selbigñ wort hat Maist~ Sigmund Emring verklert vnd aus gelegt / als In[8] diessem puech geschribñ stett vnd gemalt / vnd hat das gethon daru~b daz fu~rstñ vnd herrñ Ritter vnd knecht den die kunst zu gehõrt dester grosser lieb darzu habñ su~llen Anno dm~ 1508

[06r] Hie hebẽ sich an die Zedttel

In den geschrieben stedt die Ritterlich kunst, des langen schwerdts die gedicht vnnd gemacht hat Johannes Liechtennaur der ein großer meister In der kunst gewesen ist. Dem gott gnedig sey, der hatt die Zedtel lasen schreiben mitt verborgen vnd verdackten wortten, darumb das die kunst nicht gemeyns solt werden, vnd dieselbigen verborgen vnd verdagkten worten der Zedtel, Die hat meister Sigmundt Einring zu derselbigenn zeit des hochgeboren fursten vnd herren herren Albrechts Pfaltzgraff bey Rein vnd hertzog in Bayernn schiermeister gewesen ist, also glossirt vnnd ausgelegtt, als sie den in diesem buchlein hernach geschrieben, vnd gemalt stehnn, das sie ein Jeder fechter wol vernemen vnd verstehen mag, der da anderß recht fechten kan.

MS E.1939.65.341 035r.jpg

[2] The foreword of the recital.

1 Young knight learn
 To have love for god, honor women
2 So that you expand your honor.
 Practice Knighthood and learn
3 Art that decorates you
 And in war exalts you with honor.
4 Use the good grips of wrestling,
 Lance, spear, sword, and messer
5 Like a man
 And render them useless in other's hands.
6 Attack suddenly and storm in,
 Keep rolling, engage or let pass.
7 Thus the intellectuals hate him,
 Yet this one sees glories.
8 Hold yourself to this:
 All art has a time and place.[9]

[2] The foreword of the Recital

1 Young knight, learn;
 Loveth god; furthermore honor women
2 Thus cultivate your honor.
 Practice chivalry and learn[10]
3 Art which decorates you [and]
 In combat exalts with honor.
4 Wrestling's good fetters,
 Lance, spear, sword, and Messer
5 Manfully put to good use
 And make useless in other's hands.[10]
6 Hew therein, charge there;
 Rush onwards, hit or let drive.
7 Those maturing[11] in this wisdom[12],
 This one sees praises.
8 Hold yourself to this:
 All art has length and measure.

[2] Foreword to the epitome.

1 Young knight, learn
 to always honour women, and love God,
2 so increase your honour.
 Practice chivalry and learn
3 arts which improve you
 and in the battle bring honour.
4 Wrestle well, understand the lance,
 spear and sword and use the knife
5 like a man.

6 Cut fiercely!
 Storm forwards: Hit or miss;
7 The well-experienced hate that
 which seeks to cut them.
8 This you shall understand:
 all arts have length and measure.

[2] 

Die vor red der zedel ~

Jungk ritter lere
Got liebhaben fröwen ia ere
so wöchse dein are ere

Kunst die dich ziert
In kriegen zu° ern hoffiert
[11v] Ringes gütt fesset
Glefen sper schwert vnd messer /
manlich bederben

Haw drin hart dar
Rausch hin triff ode~ las farñ
daß in die wÿsen /
hassen den man sicht brÿsen
Daruff dich fasse /
alle kunst haben lenge vñ masse ~~~  ·:·~ 

Das Ist die vorredt.

Junckh Ritter lere
got lieb haben, frauen so ehre
so wechst dein Ehre
vber Ritterschafft vnd lehre
kunst, die dich ziertt
vnd In kriegen Zw ehren hoffirt,
Ringens gut Fesser
Gleffen Spern schwerdt vnd messer
manlich bederben,
vnnd In andern henden verderben,
Haw drein, vnnd huet dar
rausch hin trieffe oder laß farenn
das in die weissen
hasen, den man sicht preisn
darauff dich fasse,
alle kunst hab ein leng vnd masse.

[3] This is the text of many good common lessons of the long sword

9 If you wish to examine the art,
 Go left and right with cutting
10 And left with right
 That is, if you desire to fence strongly.

Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then accompany the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.

[3] This is the text of many good common lessons of the long sword

9 If you wish to examine the art,
 Go left and right with hewing
10 And left with right
 that is, if you desire to fence strongly.

Gloss. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.

[3] Many good general lessons about the longsword.

9 If you would like to see skill,
 see that you go to the left then right with the cuts.
10 And left with right,
 if you want to fight strongly.

Glosa. This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight strongly and correctly. When you want to cut from the right side, stand with your left foot forwards; and when you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards the other side, in front of the left foot.

[3] 





Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well.

Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward.

If you strike an Oberhau from the right side then, follow the blow with your right foot.

If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side.

Das ist der text von vil gu°tter gemainer lere des langen schwerts

Willtu kunst schowen
Sich linck gen vñ recht mitt hawen
Vñ linck mitt rechtem /
ist dz du starck gerst fechten :·

Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du die hew võ baÿden sÿtten recht solt lernen hawen Ist dz du annders starck vñ gerecht fechten wilt Dz ver nÿm allso Wenn du wilt howe~ von der rechten sÿtten So sich dz dein k lincker fu°ß vor stee Vñ wenn du wilt howe~ võ der lincken sÿtten so sich dz dein rechter fu°ß vor stee Haw Häustu dann den ober haw° von der rechten sÿtten so folg dem haw nach mitt dem rechten fu°ß tu°st du dz nicht / so ist der how falsch vnd vngerecht wann dein [12v] rechte sÿten pleibpt dahinden Daru~ ist der haw zu° kurcz vñ mag sein rechten gang vndersich zu° der rechten sÿten andere~ sÿtten vor dem lincken fu°ß nicht gehaben

[06v] Das ist der Textt von viel gutten gemeinen lere des lang~ schwerdts.

Wiltu kunst schauen
sich lingck gehen vnd recht mit hauen
vnd ling mitt rechten
ist das du strackh [sic] begerst fechten.

Glosa. Merck das ist die erste lere des langen schwerdts, das du die hew von beyden seitten recht solst lernen hauen, Ist das du anderst starck vnnd gerecht fechten wilt, das vernym also wen du wilt hauen, von der rechten seiten, so sich das dein lingker fueß vorstee, vnnd wen du wilt hauen, von der lincken seytten so sich das dein rechter fuß vorstee, hastu dan den vberhaw von der rechten seiten, so volge dem haw nach, mit dem rechten fuß, thustu das nicht so ist der haw falsch vnd vnrecht, wenn dein rechte seiten bleibet dahinden, darumb ist der haw zw kurtz vnd mag seinen rechten ganng vnder sich zw der andernn seiten vor dem lincken fueß nicht gehaben,

[4] The same when you cut from the left side and [you] do not accompany the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you accompany the cut with the same foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.

[4] The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.

[4] Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of your techniques correctly and with strength. And in the same way should all the other cuts be performed.

[4] If you strike from the left side and you do not follow the blow, it too is wrong,. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.

Des glÿchen wenn du haw°st von der lyncken sÿtten vnd dem haw nicht nachfolgest mitt dem lincken fu°ß so ist der haw° och falsch Daru~ so merck von welcher sÿtten du haust / dz du mitt dem selbige~n fu°ß haw° nachfolgest so magstu mitt sterck alle dein stuck gerecht trÿbeñ Vnnd also süllen alle andere hew° [13r] och gehawen werden ~:·  

deßgleichen wen du haust von der lincken seiten, vnd dem haw nicht nach volgest mit dem lincken fueß, So Ist der haw auch falsch, Darumb so merck von welcher seitten du hawest, das du mit dem selbig~ fueß, dem haw nachvolgest, so magstu mit stercke alle deine stucke gerecht treiben, vnd also sollen all ander hew auch gehauen werdenn.

[5] Again, the text about a lesson

11 Whoever chases after cuts
 They permit themselves little opportunity for art.
12 Cut from close proximity whatever you wish
 No change gets past your shield
13 To the head, to the body
 Do not omit the stingers[13]
14 With the entire body
 Fence whatever you desire to conduct with strength.[14]

Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themselves little opportunity from art because they often become struck with it.

[5] Again, the text about a lesson

11 Whoever chases after hews,
 They allow themselves to hardly enjoy the art.
12 Hew nearby, whatever you wish:
 No change comes in your shield;
13 To the head, to the body,
 Do not omit the fleshwounds.[15]
14 With the entire body fence
 Whatever you desire to conduct strongly.[16]

Gloss. Note, this is[17] when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.

[5] A further lesson

11 He who goes after the cut,
 receives little joy from his skills.
12 Cut closely, then do what you want
 so he cannot to change-through your defence.
13 Strike to the head, to the body,
 do not refrain from swift strikes.
14 Fence with the whole body
 if you want do this with strength.

Glosa. When you come against him in Zufechten you shall not await his attack, and neither shall you wait to see what he is thinking about doing to you. All fencers who are hesitant and wait for the incoming attack, and do nothing other than to ward it away, they gain very little joy from this sort of practice because they are often beaten.

[5] 









When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often.

Der text aber võ aine~ lere

Wer nach gat haw°en /
der darff sich kunst wenig fröwen
Haw nachent waß du wilt
kain wechsel kumpt in dein schilt
Zu° koppff zu° lÿbe /
die zeck nicht vermÿde /
mitt ganczem lÿb
ficht waß du strarck gerst zu° trÿben :·

Glosa Wenn du mitt dem zu°fechten zu° im kumpst so solt du vff sein hew nicht sechen noch warten wie er die gegen dir trÿbt wann alle fechte~ die do sechen vñ warten vff aines anderen hew Vnnd wellend anderß nichtß nicht~ thon [13v] dañ verseczen die durffen sich söllicher kunst wenig fröwen wann sÿ werden do bÿ offt geschlagen

Der Textt aber von einer Lehre

Wer nach gehet hauen
der darff sich kunst nicht frewen
Haw nahet was du wilt,
kein wechseler kombt an den schildt
zw kopff zw leib
die zeckrur nicht vermeydt,
mit gantzem leyb
ficht was du starck begerest zw treybenn.

[07r] Glosa. Mercke das ist wen du mit dem zufechten zw im kumbst, so soltu auff sein hew nicht sehen auch noch wartten, wie ehr die gegen dir treybtt wenn alle fechter die da sehen vnd wartten, vff eines andern hew, vnnd wöllen anderst nicht thun, wen versetzen die bedurffen sich solcher kunst wenig freuen wann sie werden dabey offtt geschlagen.

[6] Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.

[6] Item. You shall[18] note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).

[6] Always fight with the strength of the whole body! Cut close into him, to the head and to the body, so he cannot change-through in front of your point. And when the cut ends up in the bind you shall not hesitate but shall quickly and fluently make attacks against the nearest opening, using the five strikes and other techniques that will be described later.

[6] Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques.

Item du solt mercken alles dz du fechten wilt dz trüb mitt ganczer störck deines lÿbs Vnnd haw im do mitt nahent ein zu° kopff vñ zu° lÿb so mag er vor dinem ort nicht durch wechslen Vñ mitt dem haw° solt du im den anbinden des schwerts der zek zeckru°re nicht vermyden zu° der nächsten blöß di dir hernach in den fünff hewen vnd in anderen stucken vßgericht [14r] werden ~~ :·  

Item merck alles was du fechten wilt, das treib mitt gantzer sterck deines leybes, vnnd haw im damit nahẽt zw dem kopff, vnd zu dem leyb, So mag ehr von deinem ort nicht durch gewechselnn vnd mit dem haw soltu in dem anbinden des schwerdts der Zweck rur nicht vermeydenn zẅ der negsten blöße die dir hernach in denn funff hewenn vnd In andern stucken ausgericht werdenn.

[7] Again, a lesson.

15 Hear what is bad.
 Do not fence lefty from above if you are a righty
16 And if you are lefty,
 In the right [you] are also severely hindered.

Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish.

[7] Again, a lesson

15 Hear what is bad for that:
 Do not fence from above left if you are right,
16 And if you are left,
 In the right [you] are also severely hindered.

Gloss. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).

[7] Another lesson.

15 Hear what is bad,
 do not fence from the left if you are right-handed,
16 and if you are left-handed,
 you are weak from the right.

Glosa. This lesson applies to two types of people: those who are left-handed and those who are right-handed. When you come against him in Zufechten, if you are right-handed and want to strike him, you must not throw your first cut from your left side. That is because this is weak and cannot bring strength to bear if he binds the strong of his blade against you. Therefore, cut from your right side, so you can be strong and skillful in the bind and can do as you will.

[7] 





Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like.

aber ain lere

Höre waß du schlecht ist /
ficht nitt oben linck / so du recht bist
Vñ ob du linck bist
Im rechte~ auch ser hinckest ·:

Glosa Mörck die lere trifft an zwu° personen aine~ lincken vnd ain grechten / vñ mainest den man zu° schlagen So haw° den ersten haw° Das vernÿm also.  Wann du mitt zu° fechten zu° im kumpst Bist du dann gerecht vñ mainest den man zu° schlachen So haw den erste~ haw° nicht von der lingen sÿtten Wann der ist schwach vnd magst damitt nicht [14v] wider gehalten wann man dir starck daruff bindt Darum so haw der rechten sÿtten / so magst du starck am schwert mitt kunst arbaÿten waß du wilt

Aber ein lehre.

Hor was da schlecht ist
ficht nit oben lingck so du recht bist,
vnd ob du lingck bist
im rechten auch sere hinckest,

Glosa. Merck die lehre trifft an zwo p~son einem lingcken vnd einem rechten, vnd das vernym also wen du mit zufechten zw im kumbst, bistu den gerecht, vnd meinst, den man zu schlagen, so haw den ersten haw nicht, von der lincken seyten wan ehr ist schwach vnd magst damit nit wyderhalten wan man dir starck darauff bindt darumb so haw von der rechten seiten so magstu starck am schwerd mit kunst arbeiten was du wilt,

[8] The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.

[8] The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.

[8] Similarly, if you are left handed, do not cut from the right, because the art is pointless when a left-hander tries to fence from the right side. Likewise this statement applies to a right-hander fencing from the left side.

[8] So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa.

Des gelichen Bist du linck so haw° och nitt von der rechtt~ wenn die kunst ist gar wild aine~ lincken ze triben von der rechten sÿtten Des glich ist es och aine~ rechten von der lincken sÿtten ~

desgleichen bistu linck So haw auch nicht von der rechten seiten, wann die kunst ist gar wildt einem lincken zu treyben, vor der rechten seiten desgleichen ist sie auch einen rechtem von der lincken hanndt.

[9] This is the text and learn a lesson about before and after.

17 Before and After, the two things
 Are the singular origin of the entire art.
18 Weak and strong
 Indes, note them with this word
19 So that you may learn
 To work and ward with art.
20 Whoever frightens easily
 Never learns to fence.

Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing.

Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.

[9] This is the text and a lesson about before and after

17 Before and after, the two things
 Are the one origin of all art.
18 Weak and strong,
 In-the-moment; with that mark the word.
19 Thus, you may learn
 To work and ward with art.
20 If you frighten easily,
 Never learn any fencing.

Gloss. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours.[19] Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.

[9] A lesson about "Before" and "After".

17 "Before" and "After", these two things,
 all other skills spring from these.
18 "Weak" and "Strong",
 "Instantly", mark well these words.
19 So you can learn
 to work skillfully and defend yourself.
20 If you become gentle and timid,
 you will never learn anything about fencing.

Glosa. Mark well that more than anything else you must understand "Before" and "After", because these two concepts are the grounding from which all fencing comes. Mark also: "Before" means that you shall always perform a strike or thrust against his openings, before he does the same to you. Then he must defend against you! And work deftly both in the defence and in moving your sword from one opening to another, so he cannot have the chance to perform his own techniques between yours. But if he rushes in close to you, deal with him through wrestling.

[9] 









Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, preempting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling.

Daß ist der text vñ lere ain lere von vor und nach

Vor vñ nach die zwaÿ dinck /
sÿnd aller kunst ain vrsprimg
Schwöch vñ störck
/In/des/ daß wort domitt mörck
So magst [15r] du leren
mitt kunst arbaiten vñ wereñ
Er schrickstu gern /
kain fechten nim~er lern gelerñ ·:

Glosa Merck dz ist dz du vor allen sachen wol solt verston daß vor und daß nach / wann die zwaÿ ding sind ain vrspru~g do alle kunst des fechtenß außgät Daß vernÿm also Daß for das vor daß ist dz du all weg solt vorkum~en mitt aine~ haw° ode~ mitt aine~ sch stich Im zu° der blöß Ee wann er dir zu der deinen so mu°ß er dir verseczen / so arbaÿt in der versachung behentlich für dich mitt dem schwert [15v] von ainer be blöß zu° der andere~ so mag er vor deiner arbaÿt zu° seine~ stucken nicht kom~en Aber laufft er dir ein eÿnn So kom~e fo vor mitt dem ringen ~~~≈~~~~~~~

[10] Here note that which is called the after.

Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you.

Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play.

[10] Here note that which is called the after

Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play.

[10] Mark, that which is called "After".

Mark, that if you cannot come in the "Before", wait for the "After". This will defeat all techniques that he does against you. When he comes at you so that you must defend yourself against him, so work deftly "in the Instant" with your defence against his nearest opening, so strike him before he can finish his technique.

[10] "After" means:

If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement "simultaneously" (Indes) and from the bind, strike immediately at his nearest opening.

Hie mörck was da haÿsst daß nach

Mörck magstu zu° dem vor nitt kom~en So wart uff dz nach dz sÿnd die brüch uff allen stu°ck die er vff dich trÿbt Das vernÿm also Wann er vorkumpt daß du ihm verseczen mu°st So arbait mitt der versäczung / Indes behentlich für dich zu° der nächsten blöß So triffestdu in ee Wann [16r] er sein stuck verbringtt

[11] Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.

And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist[20] when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.

[11] Thus you have seized the before and he remains after. You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist[21] when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.

[11] Thus you win the "Before" and he is left in the "After". You shall also know how you can use "the Instant" against his "weak" and "strong" parts of the sword. From the hilt of the sword to the blade's centre the sword is "strong", and with this you can meet against his blade when you bind against it. And further, from the middle to the point the sword is "weak", which should not be brought against his blade. And when you really understand these things you can work skillfully and defend yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in play and earnest. But if you become frightened easily you should not learn fighting arts, because a weak and frightened heart—it does not help you—it defeats all of your skills.

[11] So you win the "before" and he remains in the "after". Also, you should – during the "before" and "after" – notice "simultaneously" (Indes) how you can "work" against the strong or the weak of his sword.

This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well.

Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated, regardless of all skill.

Also gewinstu aber dz f vor Vñ er blÿpt nach Auch soltu in dem vor vñ nach mörcken wie du mitt wort /in des/ arbaitten solt nach der schwech vnd nach der störck seines schwertß Vnd das vernÿm Also Von dem gehulcze des schwerts by biß in die mitten der clingen Hatt dz schwert fin sin störcke dar mitt du wol magst wide~ gehalten wann man dir dar an bindt Vñ fürbaß von der mitt biß an den ort hat es sein schwöch da magst nitt nicht wider [16v] gehalten Vñ wenn du die ding recht verstest So magstu mitt kunst wol arbaitten vñ dich darmitt wören vñ fürbaß lerne~ fürsten vñ her~eñ dz sÿ mitt der selbige~ kunst wol mügen besten In schim~pff vñ in ernst Aber erschrckstu gern so saltu die kunst des fechtens nitt lerne~ Wann ain blöds verzags hercz dz tu°t kain gu°t wann es wirt bÿ aller kunst geschlagen ~  ~  ~

[12] The text of the five cuts

21 Learn five cuts
 From the right hand, whoever invests in these,
22 We swear to them
 To gladly pay them back in skills.

Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themselves against you in defense. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.

[12] This is the text of the five hews

21 Learn five hews
 From the right hand against the defense.[22][23]
22 We happily consign[24] them
 To the rewards[25] in the Arts.

Gloss.[2] Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews,[26] when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.[27])

[12] The Five cuts.

21 Learn five cuts from the right hand.
 He who can defend himself with these,
22 he should be praised,
 his skill rewards him well.

Glosa. Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about. You will learn not to strike any other cuts when you come from the right side against one who stands against you in defence. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who can counter with these against an opponent without being hurt will be praised by the master of the markverses, and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.

[12] 

Der text võ den fünf hewen

Fünff hew° lere
von der [17r] rechten hand Wer dz wäre
dem wir geloben /
in kunsten gern zu° lonen ~:·

Merck die zedel seczt fünff verborgne hew° Da von vil maiste~ des schwerts nicht wissen zuo zu° sagen Die soltu anders nicht lerne~ hawen wann võ der rechten sÿtten gege~ dem der sich gegen dir stöllet zu° der were Vñ versu°ch öb du mitt aine~ haw vsß den fünffen den man mitt dem ersten schlag mügest treffen Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt Von dem maiste~ der zedeln daß im siner kunst [17v] bas gelonet soll werde~ dann aine~ andern fechtern der wÿde~ die funff hew nicht fechten kann Vñ wie du die fünff hew howen solt / dz fündest du in den selbigen funff hewen her nach geschriben /

[07v] Das ist der Text von denn funff hewenn.

Funff hewe lehre
von der rechten hanndt wyde[r] die wehre
dem wir geloben
in kunsten geren zu lohnn.

Glosa. Merck die zedtel setz verbo[r]gen hew daruon viel meister des schwerdts nit wissen zu sagen die soltu anderst nicht lerne[n] hauen wan von der rechten seytten gegen de[n] der sich gegen dir stellet zur wehre vnnd ve[r]such ob du mitt einem haw aus denn funff[?] den man mit dem ersten schlag mugst treffe[n] wer dir die brechen kan, an sein schaden den soll wirt gelobett vonn dem meister der zetel da[s] im sein kunst böß gelonet sol werd~, wen einem anndernn fechter der wider die funff haw nit fechtenn kann, vnnd wie du die funf hew hawen solt, das vindestu hernach geschribenn.

[13] This is the text of the plays of the recital

23 Wrathcut Crook and Cross,
 If the Eye Cocker keeps with the Parter,
24 The Fool parries.
 Pursuing, Overrunning, places the attack
25 Disengage, Suddenly withdraw,
 Rush through, cut off, press the hands
26 Tilt and Turn to uncover with
 Slash, catch, sweep, stab to clash with

Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them.

They are seventeen in number and begin with the five cuts

[13] This is the [text] of the plays of the Recital

23 Wrath-hew, crooked, thwart
 Has squinter with parter
24 Fool displaces
 Following-after, run-over
25 Set the hew, change-through, yank
 Run-through, cut-off, press the hands
26 Hang and with openings
 Strike, catch, sweep, thrust with blows.

Gloss. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.

[13] The techniques of the markverses.

23 Wrath strike, crooked strike, crosswise,
 squinting, with Parting
24 breaking the Fool,
 follow after, go over,
25 cut, change through, twitch,
 rush in, slice, press the hands,
26 hanging guard, and with openings,
 strike, catch, sweep and thrust with the point.

Glosa. Here are listed the correct and most important techniques in fighting with the longsword, they are named specifically so that you may understand them better. They are seventeen in number and begin with the five cuts.

[13] Overview of The Fighting Techniques









Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen techniques and they start with the five strikes.

Das ist der võ den stucken de~ zedeln

Zorn haw · krump · zwerch
hat Schiller / mitt schaittler
Alber verseczt /
nachraÿsen Vberlauff hav haw seczet
Durch wechsel zuck
durch lauff abschnide / hende dn druck /
heng vñ mitt blössen
schlach vach streÿch sch stich mitt stossen ~·:·~

Glosa [18r] Mörck hie werden genampt die rechten haüptstucke der kunst deß langen schwerts wie ÿettlichs besunde~ haist mit dem namen / daß du die dester baß ver sten kündest Der ist sibenzechen an der zal Vnd heben sich an den funff hewen an / ~~ Item num nun mörck der erst haw haist der zorn haw
Der ander der krump haw
Der drit der zwer haw
Der viert der schill haw
Der funfft der schaittel/haw
Der sechst daß sind die vier

[14] Another. Now note the first cut called the wrath-cut
The second the crooked cut
The third the crosswise cut
The fourth the cockeyed cut
The fifth the scalp-cut
The sixth this is the four guards
The seventh the four parries
The eighth Pursuing
The ninth the overrunnings
The tenth the displacements
The eleventh disengaging
The twelfth yanking back
The thirteenth the rush throughs
The fourteenth the cut offs
The fifteenth the hand presses
The sixteenth the hangings
The seventeenth this is the winds

[14] Item. Now note the first hew called the wrath-hew
The second the crooked-hew
The third the thwart-hew
The fourth the squint-hew
The fifth the scalp-hew
The sixth they are the four guards
The seventh the four displacements
The eighth the following-after
The ninth the running-over
The tenth the setting-aside
The eleventh the changing-through
The twelfth the yanking
The thirteenth the running-through
The fourteenth the cutting-off
The fifteenth the hand-pressing
The sixteenth the hanging
The seventeenth they are the windings

[14] The first cut is called the wrath strike,
the second is the crooked strike,
the third is the crosswise strike,
the fourth is the squinting strike,
the fifth is the parting strike,
the sixth: these are the four guards,
the seventh is the four displacements,
the eighth is travelling after,
the ninth is the over reaching,
the tenth is the setting aside,
the eleventh is changing through,
the twelfth is the twitching,
the thirteenth is the running through,
the fourteenth is the cutting],
the fifteenth is the hand pressing,
the sixteenth is the hanging,
the seventeenth: this is the windings.

[14] 1. The first strike is the strike of wrath (Zornhau)
2. The second one is the "crooked strike" (Krumphau)
3. The third one is the Zwerchhau
4. The fourth one is the squinting strike (Schielhau)
5. And the fifth one is the "parting strike" (Scheitelhau)
6. Sixth there are the four basic guards
7. Seventh there are the four techniques of displacement (Versetzen)
8. Eighth there is the Nachreissen ("Traveling after")
9. Ninth there is the Overrunning (Ueberlaufen)
10. Tenth there is the setting aside (Absetzen)
11. Number eleven is the changing through (Durchwechseln)
12. The twitching (Zucken)
13. The running through (Durchlaufen)
14. The cutting off (Abschneiden)
15. The pressing of the hands
16. The "Hanging"
17. And finally there is the Winding

[18v] hütten
Das sÿbent die vier verseczen
Das acht die nachraisen
Das neindt die überlauffen
Das J zechend die abseczen
Daß aÿlfft daß durchwechßlen
Das zwülfft daß zucken
Daß drÿzehend die durchläuffen :/
daß vierzehend die abschnÿden :
daß funffzehend die hend trucken
Daß sechzehend die hengen
Daß sibenzehend · daß sind die winden

[15] And how you shall uncover with the hanging and winding and how you shall conduct all the forenamed plays, you find that all written hereafter.

[15] And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.

[15] And how you will perform the hanging and windings, and how you shall perform all these named techniques, all this you will find written hereafter.

[15] 

Vnnd wie du dich mitt den heng~ und winden enplösen solt Vnd wie du alle vorgenampte stuck trÿben solt daß vindestu alles her nach geschriben ~  ~ ~ ~ :·

[16] This is the wrath-cut with its plays

27 Whoever cuts at you from above,
 The wrath-cut point threatens them

Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.

[16] This is the wrath-hew with its plays

27 Whoever hews over[28] you,
 The wrath-hew point threatens him.

Gloss. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your[29] right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).[30]

[16] Do the Zornhau with these techniques.

27 That which cuts from above,
 the Zornhau threatens him with the point.

Glosa. When someone cuts against you from above from their right side, so cut with a strong Zornhau (wrath strike) with the long edge from your right shoulder. If he is weak in the bind, thrust in with the point along his blade to his face, and threaten to stab him.

[16] The Fighting Techniques: The Strike of Wrath and the Winding



Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade.

[19r] Das ist der zorn haw° mitt sinen stucken ~

Wer dir ober haw°et
Zor haw ort im dröwet ·:

Glosa Daß vernÿm also Wann dir ainer von siner rechten sÿtten oben oben [!] ein hawet so haw ainen zorn haw mitt der langen schnide~ och von diner rechte~ achslen mitt im starck ein Ist der dann waich am schwert / so schüß Im den ort für sich lang ein zu° dem gesicht Vnnd träw im zu° stechen ·~·:·~·

Das ist der Zornhaw mitt seinenn stuckenn.

Wer die oberhawet
Zornhaw ort dm~ trauwet.

Glosa. Das vernim also, wenn dir einer vonn seiner Rechtenn seiten obin inhawet, So haw einenn Zorenhaw mit der lanngenn schneyden auch vonn der rechten achselnn mit Im starck, Ist er dann waich am schwert, So scheus im den ort fursich, lanng im zu dem gesicht, vnd dro Im zu stechenn, als hernach am nechsten gemachtt stehet.

[17] Yet another play from the wrath-cut

28 If they become aware of it,
 Then take off above without concern

Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.

[17] Again a play from the wrath-hew

28 If he becomes aware of it,
 So take-off above without driving.

Gloss. This is[31] when you shoot-in the point with the wrath-hew (as stands done before next to this):[30] if he then becomes aware of the point and displaces the thrust with strength, so back-off[32] your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).[30]

[17] Another technique from the Zornhau.

28 If he recognises this,
 so lift off above without danger.

Glosa. When you thrust after a Zornhau and he becomes aware of the point and strongly defends against the thrust, twitch your sword up, over and away from his sword and cut him on the other side of his sword up into his head.

[17] 



When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade.

Aber ain stuck vß dem zorn haw°

Wirt er es gewar
So nÿms [19v] oben ab an far :·

Glosa Wann du mitt dem zorn haw den ort ein schüst wirt er dann deß orts gewar vñ verseczt den stich mit störcke So ruck dein schwert übersich oben ab von dem sinen Vñ haw im zu° der andren sÿtten an sine~ schwert wider oben ein zuo dem kopffe ~~

Aber ein stuck aus dem Zornhaw.

[08r] Wirtt es gewar,
so nim obenn abe onefar.

Glosa. das ist, wenn du Im mit dem Zornhaw denn ortt inschust, als vor am nechstenn gemachtt stet, Wirt er dan des orttes gewar, vnnd versetzt denn stich mit sterck So ruck dein schwert vbersich oben ab von dem seinen vnnd haw im zu der Anndernn seitenn ann seinẽ schwert wider oben in zu dem kopff als hie gemachtt stett.

[18] Yet another play from the wrath-cut

29 Be strong in turn
 And thrust. If they see it, take it again[sic][33]

Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.

[18] Again a play from the wrath-hew

29 Be stronger back
 And thrust. If he sees it, take it down[34]

Gloss. Note, this is[17] when you cleave-in with the wrath-hew (as stands done before next to this):[30] if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).[30]

[18] Another technique from the Zornhau.

29 Become stronger against
 and thrust! If he marks this, take it below.

Glosa. When you cut in against him with a Zornhau and he defends himself and holds backs, strong against you in the bind, so become strong again against him in the bind and push up with the "strong" of the sword against the "weak" of his sword, and wind your hilt high in front of your head, and thrust down from above into his face.

[18] 



When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above.

Aber ein stuck vß de~ zornhaw°

Biß störcker wider /
vnd sch stich sicht erß so nÿm es wider ·:

Glosa Wenn du im mitt dem zornhaw° Inhaw°st verseczt er dir daß vñ pleibt dir damitt [20r] starck am schwert So bÿß gen im wider starck am schwert Vñ far uff mit der störck dines schwerts in die schwöchi sines schwerts vnd wind am schwert de din gehülcz f~ vorne~ für dein hopt haupt vñ so stich in oben zu° dem gesichte ~

Aber ein stuck aus dem Zornhaw.

Bis stercker wider,
vnnd stich, sihet ers so nim es nider.

Glosa. Merck das ist, wenn du Im mit dem Zorenn inhawest, als vorn am nechstenn gemacht stet, Versetzt er dir das, vnnd bleibt dir damit starck am schwert, So biß gen Im wider starck am schwert, Vnnd far auf mit der sterck deines schwerts, Inn die schweche seines schwerts, vnnd winde am schwerte dein gehiltz, vorn vor deinem haupt, vnnd stich Im oben in zu dem gesicht als hie gemalt stet.

[19] Yet another play from the wrath-cut

When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.

[19] Again a play from the wrath-hew

When you thrust-in high with the winding (as stands pictured[2] before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).[30]

[19] Another technique from the Zornhau.

When you use the winding against him and thrust down from above—as mentioned already—and he pushes up high with the hands and uses the hilt to defend against your upper thrust, so stand in the winding and thrust your point downwards between his arms and chest.

[19] 

When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast.

Aber ain stuck vß dem zornhaw°

Wann du Im mitt dem winden oben ein stichst / alß vor stett / fört er den hoch vff mitt den henden vñ versetzt mitt dem gehülcze den obern sttich stich so plÿb alst also sten in dem winden vnd setz im den ort [20v] niden zwischen sinen armen vñ der brust ~ ~~

Aber ein stuck aus dem Zornhaw.

Wenn du Im mit dem winden obein instichst, als vor gemalt stet, fert er dann hoch auf mit den hendenn, Vnnd versetzt mit dem gehiltz den oberstich. So beleib also stehenn in dem winden, vnnd setz im den ortt niden zwischen seinen armen ann die brust, als hie vnden gemalt stet.

[20] A break against the taking off

Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind [35]strongly with the long edge from high towards their head.

[20] A break against the taking-off

Note, when you bind with someone strongly on his[36] sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in[37] strongly with the long edge high to his head.

[20] A counter to the taking-away.

When you bind strongly against him and he twitches away his sword up and over your sword and in the bind cuts against you on the other side of your sword to your head, so bind (strike) strongly with the long edge in against his head.

[20] 

Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head.

Ain bruch wide~ daß abneme~

Mörck wenn du mitt ainem starck am schwert bindest Ruckt er dan sein schwert übersich oben abe von dine~ schwert vñ haw~t dir zu° der andere~ sÿtten am schwert wider eÿn zuo dem kopffe So bind starck mitt der langen schnÿden Im oben eÿn zu° dem kopffe ~~

Ein bruch wider das abnemenn.

[08v] Merck du wenn du mit einẽ starck an sein schwert bindest, ruckt er dann sein schwert vbersich oben ab, vonn deinem schwert, vnd hawt dir zu der anndern seitenn am schwert wider in zu dem kopff, So wind starck mit der lang~ schneiden im oben in zu dem kopff.

[21] Here note a good lesson.

30 Note this precisely:
 Cut, thrust, guard; soft or hard,
31 Indes and before after[sic][38]
 Without rush, your war is not hasty.[39]
32 Whoever hunts the war
 Above, will be exposed below.

Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush[40] upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.

[21] Here note a good lesson

30 Note this precisely:
 Cut, thrust, leaguer; soft or hard,
31 In-the-moment[41] and drive-after[sic]
 Without hurry. Do not rush your war:[42]
32 Whoever's war aims
 Above, they become ashamed below.

Gloss. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work[43] upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.

[21] A good lesson.

30 Note to train this:
 cut, thrusts, guards—soft and hard.
31 "Instant" and "Before", "After" without hurry.
 Do not seek close combat prematurely.
32 Those who aim for close combat
 before they are ready, are cut down.

Glosa. When one binds against your sword with a cut or thrust or anything else, you must find out whether he is soft or hard in the bind. And when you find this, you will "Instantly" know what is best to do, to attack him with "Before" or "After". But in the attack you shall not be too hasty to go into close combat, because close combat is nothing other than the windings in the bind.

[21] 







You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.

Hie mörck ain gu°tte lere

Das öben mörck /
Haw stich leger waÿch oder hört
In des vñ fär nach /
on hurt dein krieg sich [21r] nicht gäch
Weß der krieg ri riempt
oben nÿder wirt er beschämpt ·:

Glosa Daß ist dz du gar eben mörcken solt wann du dir aine~ mitt ainem haw~ oder mit aine~ stich oder sunst an din schwert bintt bindet ob er am schwert waich oder hört ist vñ wenn du das enpfunden hast So solt du /In das/ wissen welchses dir am beste~ sÿ ob du mitt dem vor oder mitt dem nach an in hurten solt Abe~ du solt dir mitt dem an hurten nicht zu° gauch laussen sÿn mitt dem krieg wenn der krieg ist nicht anders dann die winden am [21v] schwert

Hie merck ein gute lehre.

Das eben merck
hew stich leger weich oder herte
Jun ger [sic], vnd far nach
an hürt dein krieg, sey nit goch,
wes der krieg remet
oben nider, wirt er beschemet.

Glosa. Das ist, das du gar ebenn mercken solt, wẽ dir einer mit einem haw oder mit einem stich, oder sonst ann dein schwert bindet, ob er am schwert waich oder hert ist, vnnd wen du das empfunden hast, So solt in dan wissen, welches da am besten sey, ob du mit dem vor, oder mit dem nach arbeiten solt, aber du solt dir damit nit zu goch lassen sein, mit dem krieg, wen der krieg nit anderst ist, wen das windenn am Schwert.

[22] Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.

[22] Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.

[22] Perform close combat like this: when you cut against him with a Zornhau, when he defends himself quickly, you shall go up in an orderly fashion with the arms and wind against his sword with your point in against the upper opening. If he defends against this thrust, stand in the winding and thrust with the point into the lower openings. If he follows further after the sword in self defence, go under his sword with the point through to the other side and hang your point over in against the other opening on his right side. In this way he will be cut down in close combat both above and below, because you (unlike he) can perform the movements correctly.

[22] In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under – "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.

Item den krieg trÿb also Wam [!] du Im mitt dem zorn haw~ In haw~est Alß bald er dann verseczt so far wol vff mitt den armen vñ wind im den ort am schwert ein zu° der obern blöß verseczt er denn den stich So blÿb sten in de~ winden vñ stich mitt dem ort die vnder blöß folgt er dann fürbaß mitt der versaczu~ge dem ss schwert nach so far mitt dem ort vnde~ sÿn schwert durch vñ heng im den ort oben ein zu° de~ andere~ blöß sine~ rechten sÿtten Also wirt er mitt dem krieg oben vñ vnden beschämpt Ist daß du die ge/ [22r] fört andrest recht kanst trÿben ~

Item denn krieg treib also, wenn du Im mit dem Zornhaw inhawest, als bald er denn versetzt, so far wol auf mit denn Armen, vnnd windt im den ort am schwert in zu der obern bloß, versetzt er dan den stich, so beleib sten in dem winden, vnnd such mit dem ort die vntern bloß. Volgt er dann furbas mit der versatzung deinem schwert nach, so far mit dem ortt vnter sein schwert durch, vnd heng Im denn ort oben [09r] in zu der anndern ploß seiner rechten seiten, also wirt er mit dem krieg oben vnd vnden beschemet, ist das du du [sic] gefert anders recht kannst treybenn.

[23] How one shall properly find cuts and thrusts in all windings

33 In all winding
 Learn to properly find cut, thrust.
34 You shall also with that gauge,
 cut, thrust or slice
35 In all encounters
 Of the masters, if you wish to dishonor them.

Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct[44]. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themselves against you.

[23] How one shall properly find hews and thrusts in all winding

33 In all winding,
 Learn to properly find hew, thrust.
34 You shall also, with
 Testing, hew, thrust, or cut
35 In all hits
 If you wish to confound the masters.

Gloss. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut.[45] Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut.[46] And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm.[47] Remember this[2] in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.

[23] How one in all windings shall find correct cuts and thrusts.

33 In all windings
 learn correctly to find the cut and the thrust.
34 You shall also test
 with cut, thrust or slice,
35 in all fights
 if you want to beat the masters.

Glosa. That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind, you shall become immediately aware of which the three will work best for you to use. This is so that you do not cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also: if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves against you.

[23] 

Wie man In allen winden hew° stich recht vinden sol ~

In allen winden
hew stich recht lern finden
Auch soltdu mit brüch
brüffen / hew stich oder schnitt
In allen treffen
den maistern wilt du sÿ effen ·:

Glosa Daß ist daß du in allen winden hew stich vñ schnitt recht finden solt Also wenn du windest dz du da mitt zu° handt solt brüffen weches dir vnder den de drÿen daß best sÿ zu° triben al also dz du nicht hav~est wann du steche~ solt vñ nit schnidest wañ du hawen solt vñ nicht stechest [22v] wann du schniden solt Vñ mörck wan man dir der aÿnes verseczt dz du in mitt dem andern treffest Also / versecz man dir den stich so trÿb treÿb den haw° Laufft man dir eÿnn so treÿb den vndern schnitt In sin arm des morck in allen treffen vñ anbinden der schwert wilt du anderst die maister effen die sich wider dich seczen ~~ : ~ :·

Wie mann in den winden hew, stich gerech[t] findenn sol.

Inn allenn windenn
hewen stich, schnit recht lere find[ẽ]
auch soltu mit
prufen hew, stich, oder schnit,
in allen treffenn
denn Meisten, wiltu sin effen.

Glosa. Das ist, das du in allen windenn, hew stich vnnd schnit recht findenn solt, Also wenn du windest, das du damit zu hand prufen, welches dir vnter den treyẽ das beste sey zu treybenn, der hew, oder stich, od~ schnit, also das du nit hawest, wen du stechenn solt, Vnnd nit schneidest, wenn du hawen solt. Vnnd merck, wen man dir der eins versetzt, das du In mit dem andern triffest, das merck in allen treffen, vnnd anbinden der schwert, wiltu anders die meister effen die sich wider dich setzenn.

[24] About the four openings

36 Know to target the four openings;
 Thus you strike wisely.
37 Go upon all
 Without doubt how he bares.

Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themselves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.

[24] About the four openings

36 Know to target the four openings;
 Thus you strike wisely.
37 Go upon all
 Without doubt how he bares.

Gloss. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is[48] the left side[48] above the girdle of the man. The other two are also the right and the left sides below the girdle. In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and[49] with following-after, and also with the winding upon the sword,[30] and otherwise with all techniques, and do not pay attention[50] to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.

[24] The four openings.

36 Learn four openings,
 aim to strike these with safety,
37 without any risk,
 without doubt about what he can do.

Glosa. Here you will learn about people's four openings, against which you will always fence. The first opening is on the right sight, the second on the left side, above the man's belt. The other two are likewise on the right and left sides under the belt. Always pay attention to the openings in Zufechten. His openings you shall skillfully seek without danger: with thrusts with the the outstretched point, with travelling after and with all other techniques. And do not pay heed to what he tries to do with his techniques against you, but fence with belief and throw strikes that are excellent and that do not allow him to come at you with his own techniques.

[24] 





These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes.

Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques.











[17r] Item du solt wissen welche ploß der man gegen dir entplost der selben ploß reme künlichen an var mit ÿn schissen des langen ortz vnd mit noch riessen vnd mit winden am schwertt [17v] vnd auch süns mit namen allen gefertenn vnd acht nicht wie er mit sinen gefertem gegen dir gebare so schlechstu In gewisß ~[51]

Von den vier blossen

Vier bloß wisse /
rem so schlechstu gewisse
an alle for /
on zwifel wie er gebar ·:

Glosa Hie soltu morcken die vier blossen an dem man da du all wegen zu° fechten [23r] solt Die erst bloß ist die recht sÿtt seÿtt die ander ist die link seÿtt oberhalben der girtel deß manß Die ander zwuo sind och die recht vnd die linck seÿtten vnderhalben der girtel Der blossen nÿm eben war in dem zu°fechten mitt welcher er sich gege~ dir enblösse der selbigen reme künstlichen on far mitt einschiessen des langen orts mit nachraisen vñ sunst mit allen geförten vñ acht nitt wie er mit sÿne~ geförten gegen dir bar gebar So vichtest du gewisß vnnd schlechst schlege daruß die do treffenlich sind vnd lau laust in domitt zu° seine~ stucken nitt komen ~~~ :  ~

Vonn denn vier blossenn.

Vier blosse wiß
reine [sic], so schlechstu gewiß
ann aller var,
one zweifel wirt er gewar.

Glosa. Hie soltu merckenn die vier blossenn ann dem man da du alleweg zu fechtenn solt, die erste bloß ist, die recht seytenn, die ander die linck oberhalb der gürtel des mans, die anndernn zwo sind auch die recht, vnnd die linck seyt vnterhalb der gürtel. Der blossenn [09v] nim ebenn war in dem zufechtenn, mit welcher er sich gegenn dir emplöst, derselbenn reine [sic] kunlich an far mit inschiessenn des langenn orts mit nachreysenn, Vnd auch mit denn Winden am schwert, vnnd sonst mit allenn gefertenn, vnnd Achte nicht, wie er mit seinenn geferttenn gegenn dir gepar. So fichstu gewiß, vnnd schlechst schleg daraus die da treflich sindt, vnnd lest in damit zu seinenn stucken nicht kummenn.

[25] The text and the gloss about the doubling and about the mutating. How they break the four openings.

38 If you wish estimate for yourself how
 To artfully break the four openings
39 Double above
 Mutate right below
40 I say to you truthfully
 No one defends themselves without danger
41 If you have properly understood this,
 They can scarcely come to blows, etc.

Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themselves from that and can neither come to strikes nor to thrusts.

[25] The text and the gloss about the doubling and about the mutating: how they break the four openings.

38 If you wish to reckon yourself,[52]
 Artfully break the four openings:
39 Double above,
 Mutate right[53] below.
40 I say to you truthfully:
 No master defends themselves without danger.
41 If you have understood this properly,
 He may hardly come to blows.

Gloss. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend[54] himself from that, and may neither come to strikes nor to thrusts.

[25] Explanation of doubling and mutating: how these break the four openings.

38 If you would like to find revenge,
 skillfully break up the four openings:
39 double over,
 mutate below correctly.
40 Certainly I say this:
 no master defends himself without risk.
41 If you have understood this,
 he can hardly come to blows.

Glosa. When you would like to skillfully break up the four openings for him, use the doubling against the upper openings and the mutating against the other openings. Certainly I say to you that he cannot defend himself against this, and can succeed with neither cut nor thrust.

[25] Mutieren and Duplieren against the four openings:









If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust.

[23v] Der text vnd die gloß von de~ dupliern vnd von dem mutierñ Wie die brechen die vier blossen ~~

Wilt du rechen
Die vier blossen künstlich brechen
Oben duplir /
vnden recht mutier
Ich sag dir für war /
sich scu schücz kain maiste~ an far
Haustu es recht vernom~en
zu° schlage mag er klain kom~en ·:

Glosa Daß ist Wann du dich an eine~ rechen wilt also / dz du im die vier blossen mitt kunst wilt brechen d So trÿb dz dupliern zu° der oberen bo blössen gen de~ störcki seines schwerts vñ daß mutiern zu° der anderen blösß [24r] So sag ich dir für war daß er sich dar von nitt schüczen kan vnd mag weder zu° schlachen noch zu° stechen komen ~

Der text vnnd die gloss von dem dupliern vnnd von mutiern, wie die prechenn die vier blossenn.

Wiltu dich rechenn,
die vier blossenn künstlichenn brechenn,
obenn dupliern,
niden recht mutiern,
Ich sag dir furwar,
sich schutzt kein man an far,
hastu vernommenn,
zu schlag mag er klein kommenn.

Glosa, das ist wenn du dich Rechen wilt, an einẽ, also das du Im die vier blossenn mit kunst balde wilt brechenn, So treib das dupliern zu der obernn bloß, gegenn der sterck seines schwerts, Vnnd das mutiern zu der Andernn bloß, So sag Ich dir fur war, das er sich darvor nicht behuetẽ kann, vnd mag weder zu schlegenn noch zu stichen kummenn.

[26] The doubling

Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.

[26] The doubling

Item.[48] Note,[2] when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove[55] your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play[56] upon the head.

[26] Doubling

When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so "Instantly" thrust your pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands, between the sword and the man. Or cut him with the sword in the head.

[26] Duplieren:

When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head.

Daß dupliern

Item wann du in mitt dem zorn haw° / oder sunst oben eÿn haw~st verseczt er dir mit stöck So stos /In des/ deines schwerts knopff vnder deine~ rechte~ arm mitt der lincken hand vñ schlach in mitt gecruczten henden am schwert hinder sines schwerts cli klingen zwischen de~ schwert Vñ dem mann vff durch daß maul Oder schlach im mit dem stück vff den kopff ~

Das dupliernn.

Merck wenn du Im mit dem Zornhaw, oder sonst oben in hawest, versetzt er dir nit starck, So stos

[27] Note the mutating

Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.

[27] Note the mutating

Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.

[27] Mutating

When you bind against his sword with an Oberhau or something similar, so wind the short edge against his sword and go up in an orderly fashion with the arms; and hang your sword blade over his sword on the outside and thrust into him through the lower openings. This can be done on both sides.

[27] Mutieren:

If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides.

Mörck daß mutiern

[24v] Daß mutiern treÿb also. Wenn du im mitt dem obern haw° ode~ sunst an daß schwert bindest So winde die kun kurcze~ schnide~ an sin schwert vñ far wol vff mit den armen vñ heng im dein schwerczs ? clingen vssen über sein schwert vñ stich v im zu° der vndern blösse vñ dz trÿb zu° baÿden sÿtten ~

[28] The crooked cut with its plays

42 Crook up swiftly
 Throw the point onto the hands

Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.

[28] The crooked-hew with its plays

42 Crook on[57] swiftly,
 Throw the point upon the hands.

Gloss.[58] This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your[59] right side to the opening[60] with over- or under-hews,[61] spring away from the hew with the right foot against him well to his left side, and strike him[62] with crossed[63] arms with the point[58] upon his[36] hands. And also conduct this play against him when he stands against you in the guard of the oxen.[64]

[28] Do the Krumphau (crooked strike) with these techniques.

42 Strike the Krumphau deftly,
 cast the point towards the hands.

Glosa. This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left side; and cut with crossed arms with the point to the hands. And even try this technique against him when he stands against you in the Ox guard.

[28] 



The "Krumphau": This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point.




[18v] daß ist wie du krumpt solt haulben zu den henden Daß stuck tribe also wan er dir von diner rechten siten mit dem ober haulb oder vnter haulb zu haulbett so spring vß dem haulb mit dem rechten fus gegen ym woll vff sin lincke siten vnd schlag in mit vß gestreckten armen mit dem vff sin hende[65]

Der krumphaw° mitt sine~ stüken stucken

Krump vff behende /
wirff den ort vff die hende ·:

Glosa Daß ist wie du krump solt haw°en zu° den henden vñ daß stuck trÿb also wenn er dir von deine~ recht~ sÿtten mitt aine~ obern ode~ vndern haw~ zu° der blöss haw~et So [25r] spring vsß dem haw° mitt dinem recht~ fu°ß gege~ im wol vff sin Lincke sÿtten vñ schlach in mit gecrüczenten arme~ mitt dem ort vff die hende vñ dz stuck trÿb och gem [!] im wenn er gen dir stätt staut In der hüt deß ochsen ~

[29] Yet another play from the crooked cut

43 Crook. Whoever fully commits
 Disrupts many cuts with stepping.

Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.

[29] Again a play from the crooked-hew

43 Crook whoever sets well
 With stepping, he sunders many hews.

Gloss. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall][66] over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.

[29] Another technique from the Krumphau.

43 He who uses the Krumphau well
 with a step, he is able to defend against cuts.

Glosa. This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your openings from his right side, step with your right foot out to his left side and throw your blade across his sword with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut him in the head.

[29] 



This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head.

Aber ain stuck vß dem krumphaw°

Krump wer wol seczet
mitt schrÿtten er vil hew~ leczet ~·:

Glosa Daß ist wie du mitt dem komp krump haw° die obern häw abseczen solt daß stuck trÿb also Wann er dir von sÿme sine~ rechten sÿtten oben ein hawet zu° der blosß so schrÿt mitt dem rechten fu°ß vff sÿn lincke sÿten v~ber sin schwert / mit dem ort [25v] vff die erden In die schranckhüte dz trÿb zu° baÿden sÿtten Och magstu In vß dem abseczen vff dz haupt schlachen ~

[30] Yet another play from the crooked cut.

44 Hew crooked to the flats of
 The masters if you wish to weaken them.

Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.

[30] Again a play from the crooked-hew

44 Hew crooked to the flats of
 The masters if you wish to weaken them.

Gloss. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.

[30] Another technique from the Krumphau.

44 Cut crookedly against the flat side
 of the masters, if you want to weaken them.

Glosa. When you want to weak a master, use this technique: when he cuts in against you from above from his right side, strike crookedly with crossed hands against his cut above the sword.

[30] 



If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword.

Aber ain stuck vsß dem krumhaw°

Haw krump zu° den flechen /
den maistern wiltu sÿ schwechen :·

Glosa Daß ist Wenn du aine~ maiste~ schwechen wilt So trÿb dz stuck also weñ er dir oben einhawt võ sine~ rechten sÿtten So haw~ kru~ mit gekreucztem gekrentzten hende~ gege~ sime sine~ haw vff sin schwert ~

[31] Yet another play from the crooked cut

45 When it sparks above
 So stand aside, that I will laud.

Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast.

[31] Again a play from the crooked-hew

45 When it sparks above
 So stand aside, that I will laud.

Gloss. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.

[31] Another technique from the Krumphau.

45 When it comes from above
 stand back, this I shall praise.

Glosa. When you cut a Krumphau onto his sword, so cut immediately back up from the sword with the short edge, in and down from above onto his head. Or wind the Krumphau with the short edge against his sword and thrust into his breast.

[31] 



When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast.

Aber ain stuck vß dem krumhaw°

Wenn es kluczt oben /
so stand ab dz will ich loben ·:

Glosa Dast ist wenn du im mitt dem krumphaw~ vff sin schwert hawst So schlache vom schwert mitt de~ kurczen schnide~ [26r] bald wider vff / im oben ein zu° dem kopff Oder windt Im mitt dem krumphaw° die kurczen schnÿden an sin schwert vñ stich im zu° der brust ~ ~

[32] Yet another play from the crooked cut

46 Don't crook, cut short
 Disengage and with that expose them

Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.

[32] Again a play from the crooked-hew

46 Do not crooked[-hew]; short-hew,
 With that seek the changing-through.

Gloss. This is when he wishes to cleave-in above from his right shoulder:[67] so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew[68] and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.[30]

[32] Another technique from the Krumphau.

46 Do not Krump, cut short,
 then see changing-through.

Glosa. When he wants to cut in from his right shoulder, pretend that you want to bind against his sword with a Krumphau. Cut short; and go through with the point under his sword and wind your hilt to your right side over your head, and stab him in the face.

[32] 



When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face.

Aber ain stuck vß dem krumphaw°

Krum nicht kurcz haw° /
durch wechsel dar mitt schow :·

Glosa Das ist wenn er dir von siner rechten achseln oben ein will howen So tu° alß ob du mitt dem krumphaw° an sin schwert wöllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~ schwert durch vnd wind vff din rechte sÿttenn dein gehülcz über din höppt vnd stich im zu° dem gesicht ~ ~




[10r] oben In wilt hawenn, so thu als du Im mit dem krumphaw ann sein schwert wollest winden, vnd haw kurtz vnnd far mit dem ort vnter seinem schwertt durch, vnnd wind auf dein recht seit deinẽ gehiltz vber dein haupt, vnnd stich im zu dem gesicht, als hie gemalt stet, vnd das stuck bricht die.

[33] 

[33] Again[69] a break against the crooked-hew[70]

Note, when[71] you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your[72] right side and drive well up over your[73] head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble[58] war. With that, you[58] confound him so completely that he does not know where he shall remain before you.[74]

[33] 

[33] 

[20v] Item ein bruch wider den krümpt haulb

so du im den ortt vnter sin schwertt in schuest zu siner brust druck er dan mit dem krümpt haulb din schwertt vnter sich zu der andern erden so wind gegen siner rechten siten vnd far mit dem arm woll vff vber dem hauptt vnd setz im den ortt oben an sin brust versetz er dir dz so pleib also stett mit dem gehultz vor dem hauptt vnd arbeitt behendeglich mit dem ort von eÿner plos zu der andern dz [21r] heist der krieg do mit verirrest In so gar dz er nit weiß wo er sich hutten soll ~ [75]

Aber ein bruch wider den krumphaw.

Merck wenn du Im den ort vnter seinẽ schwert ein scheust zu seiner brust, als vor geschriben vnd gemalt stet, druckt er dann mit dem krumphaw dein schwert vntersich zu der erdenn, So wind gen deiner rechtenn seittenn, vnnd far mit dem Arm wol auf vber dein haupt, vnd setz im den ort oben an die brust, Als hernach gemalt ist, versetzt er dir das, so beleib also stehenn mit dem gehiltz, vor dem haupt, vnd arbayt behentlich mit dem ort, vonn einer bloß zu der andernn, das heist der odel krieg, damit verwirrest du Inn so gar, das er nicht weis, wo er vor dir beleybenn sol.

[34] Note how one shall break the crooked cut.

47 Whoever foils you crooked,
 The noble war confounds them
48 That they do not truthfully knows
 Where they are without danger.

Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.

[34] Note how one shall break the crooked-hew

47 Whoever foils you crooked,
 The noble war confounds them
48 That they do not truthfully know
 Where they are without danger.

Gloss. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.

[34] How one should counter the Krumphau.

47 Krumps that foil you;
 the Noble War confuses him,
48 so that he truthfully
 does not know where he shall be without danger.

Glosa. When you cut against him from above or from below, from your right side; if he also cuts crookedly from him right side with crossed arms to your sword and thus foils your strike, so bind strongly with your sword. And shoot your point against his breast under the long edge of his sword.

[34] 





This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended.

Mörck wie man den krumphaw° brechen sol ~

[26v] Krump wer dich Irret /
der edel krieg in verwü°ret
Daß er fürwar
nicht waÿst :wo er sÿ one far :·

Glosa Daß ist Wann du im von diner rechten sÿtten ober ode~ vnden zu° haw~est Hawt er dann och von sÿner rechten sÿtten mit gekreutzen armen krump vff din schwert Vñ verir°et dir do mitt dein hew~ So blÿb mitt dine~ schwert starck an dem sine~ Vnnd schüß im vnde~ dem schwert den ort lang ein zu° der brust etc~

[35] Another break for the crooked cut

Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above. Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.

[35] Another break above the crooked-hew[70]

Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest.[76] If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.

[35] Another counter against the Krumphau.

When you cut in against him from above from your right side and he also cuts crookedly from his right side with crossed arms onto your sword and thus presses it down towards the ground, wind towards your right side; go with your arms up over your head. And thrust with your point from above against his breast.

If he defends himself against this, stand with your hilt in front of your head, and work deftly with the point from one opening to the other, this is called "the Noble War." With this you will confuse him so totally that truthfully he will not know where he will find himself.

[35] 

Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much, that he will not know how to defend himself against your attacks.

Ain andern brüch über den krumphaw° ~~

Mörck wenn du im von diner rechten sÿtten oben ein hawst Hawt er deñ och võ sine~ recht~ sÿtten mit gekrenczten armen  komp [77] [27r] Vff dein schwert vnd drückt dir das da mit vnder sich gen der erden So wind ge deiner rechten syte~ vnd far mit den arme~ wol vff v~ber dein hau°pt vnd secze Im dein ort obe~ an dei die brust Glosa Versetzt er dir das so plÿb also sten mit dem gehu~lcz vo° dem hau~pt vnd arbait behendtlich mit dem ort von aine~ bloß zu° der andere~ Das hayset der edel krig Da mit verwirstü In so gar Das er nit waysst wo er vor dir blibe~ sol fur war

[36] The crosswise cut with its plays

49 The cross seizes
 Whatever arrives from the roof

Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this:[78] When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.

[36] The thwart-hew with its plays

49 The thwart takes away
 Whatever approaches from-the-roof.

Gloss. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and[79] when he cleaves-in [an] over[-hew] to your head, so spring well[2] with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).[30]

[36] Do the Zwerchau (crosswise strike) with these techniques.

49 The Zwerchau takes away
 that which comes from above.

Glosa. The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head, spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge against his left side. So you catch his strike with your hilt and strike him in the head.

[36] The Zwerchhau



The Zwerchhau counters[80] all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head.

Der zwerhaw° mit sine~ stucken

Zwerch benÿmp
was võ tag her kümpt

Glosa Merck de~ zwerhaw bricht alle hew die võ oben nÿder gehawe~ werde~ vnd den haw trÿb also We~ er dir oben In hawet zu° dem kopf So spring mit dem rechte~ fu°ß [27v] gen Im vß dem hawe Vff Sin lincken sytten vnd im springen verwent din schwert mit de~ gehu~ltz houch vor deine~ haupt das din dou~m vnnde~ kome vmd [!] schlach In mit der kurtze~ schnide~ zu° siner lincken sytten So vaschdü sine~ haw In din gehu~ltz vnd triffest In zu° dem kopff ~~

Der Twer haw.

+ Twer benimpt,
was vom tag herkompt.

Glosa. Merck denn Twer haw pricht alle hew, die vonn obenn nider gehawenn werden, vnnd denn haw treib also, Stehe mit dem linckenn fus vor, vnnd halt dein schwert an deiner rechtenn Achsel, vnnd [10v] wann er dir obenn inhawet zu dem kopf, so spring mit dem rechtenn fus gen Im wol aus dem haw auf sein lincke seittenn, vnnd im springenn verwendt dein schwerd mit dem gehiltz, hoch vor deinem haupt, das dein dawme vnden komme, vnd schlag in mit der kurtzenn schneidenn, zu seiner linckenn seytten, fechstu seinen haw in dem gehiltz, vnnd truckst in zu dem kopf, als hie gemalt ist.

[37] A play from the crosswise cut

50 Cross with the strong
 With that note the work

Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.[81] then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.

[37] A play from the thwart-hew

50 Thwart with the strong
 With that note the work.

Gloss. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind[82] strongly with the strong of your sword upon his. If he then holds strong against,[83] so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here),[30] or cut him with the play through the maw.

[37] A technique from the Zwerchau.

50 Zwerch with the "strong";
 mark well your work with this.

Glosa. This is how you shall work with the "strong" from the Zwerchau. When you cut against him with the Zwerchau, think that you shall strike powerfully with the sword's "strong" against his. Hold him thus strongly in the bind then cut with crossed arms behind his sword blade, from above against the head, or cut him with the sword to the face.

[37] 



This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him - at the sword - on the head behind his blade with your hands crossed. Or cut him trough the face.

[27v] Ain stuck vß dem zwerhaw°

Zwer mit der stoerck
den arbait do mit moerck

Glosa Das ist wie dü mit der stoerck auss der zwer arbaite~ solt vnd dem thu°n also / we~ dü Im mit der zwer zu° hauest So gedenck das dü Im mit der zwer sterck deines schwerts starck In das Sin Helt den er starck wyder So schlach In am schwert mit gekrütte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff den kopff [28r] oder schnÿd In mit dem stuck dürch das mau°l ~~

Ein stuck aus dem Twerhaw.

Twer mit der sterck,
den arbait domit merck.

Glosa. Das ist, wie du mit sterck aus der Twer arbaittenn solt, vnnd den thu also, wen du Im mit dem Twer zu hawest, So gedenck das du Im mit der sterck deines schwerts starck windest an das sein, helt er dann stark wider, so schlag in am schwert mit gecreutztenn Armen hin seines schwerts klingenn auf denn kopff, als hie ist gemacht, oder schneid im mit dem stuck durchs maul.

[38] Yet another play from the crosswise cut

Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,[84], then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.

[38] Again a play from the thwart-hew

Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it],[83] so shove his sword from you downward to your right side with your hilt (as is pictured here),[30] and strike back-around quickly with the thwart against his right side to his head.

[38] Another technique from the Zwerchau.

When you bind against his sword from the Zwerchau with your sword's "Strong"; hold him strongly, then push his sword away from you with your hilt, down and out to your right side, and strike immediately round with the Zwerchau against his right side, against the head.

[38] 

When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.

Aber ein stuck auf dem Twerhaw.

Merck wenn du im auß dem Twer mit der sterck deines schwerts ann sein schwert bindest, halt er dann starck bey dir, so stoß mit deinem gehiltz sein schwert vonn dir vntersich, auf dein rechte seyttenn, als hie gemalt stet, vnnd schlag balde mit [11r] der Twer wider vmb genn seiner rechtenn seyttenn im zu dem kopff.

[39] Yet another play from the crosswise cut

Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.

[39] Again a play from the thwart-hew

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.

[39] Another technique from the Zwerchau.

When you bind against his sword with the Zwerchau, if he is weak in the bind, so lay the short edge against the right side of his neck and spring with the right foot behind his left; and pull him over it with the sword.

[39] 

If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword.

Aber/ain stuck vß dem zwerhaw°

Itm~ wan dü Im mit der zwer an sin schwert bindest Ist da er waich am schwert So leg Im die kurtze~ schnÿde~ zu° seine~ rechte~ sytten an den halß vnd spring mit dem rechte~ fu°ß hinder seine~ lincke~ vnd ru~cke In mit dem schwert daru~ber ~etc~ 

[40] Another play

Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.

[40] Another play

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.

[40] Another technique

When you bind against his sword with the Zwerchau, if he is weak in the bind, so press down on his sword with the Zwerchau; and lay the short edge behind his arms in front of his neck.

[40] 

If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.

Ain ander stuck

[28v] Itm~ wen dü Im mit der zwer an sin schwert bindest Ist er dan waich am schwert So truck mit der zwer sin schwert nÿde° vnd leg Im die kurtze~ schnÿde~ hinde~ sinen arme~ vorne~ an den halß

[41] Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.

[41] Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.

[41] 

[41] 

[22v] Item nÿmpt dich eyner by dem hals zu diner rechten siten so loß din schwertt vß diner lincken hant vnd stos mit der rechten sin schwertt von dinem hals vnd schrit mit dinem lincken fus gegen siner rechten siten fur sin beide fus vnd far mit dinem lincken arm vber sin beide arm nohe by dem gehultz vnd fur in zu dem tantz oder stich im vnten zwuschen dinem beynen zu dem gemechtt ~ 

MS E.1939.65.341 001r.jpg

[42] Here note the break against the upper crosswise cut

Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themselves the same way with your sword.

[42] Here note the break against the upper thwart-hew

Item.[85] Note,[2] when you bind him from your right side with an over-hew (or otherwise[86] on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew[87] under his sword on his neck (as stands pictured hereafter next to this),[88] such that he strikes himself the same with your sword.[89]

[42] A counter against the upper Zwerchau

When you bind against his sword from the right side with an Oberhau or similar attack, if he strikes round with the Zwerchau against your other side, do the same back to him, throw a Zwerchau under his sword against his neck.

[42] A defense against the upper Zwerch:

When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword.

[21v] Item ein bruch wider den zwerch ober haulb

so du Im von diner rechten siten mit eynen ober haulb an sin schwertt bindest schlecht er mit der zwierch vmb sich so küm auch vor mit dem zwerch haulb vnter sin schwertt an den hals ~  [90]

ain bruch wider den obern zwerhaw°

Itm~ wã dü Im võ deiner rechte~ sytte~ mit aine~ obere~ haw / ode~ sunst an sin schwert bindest Schlecht er dan mit der zwer vmb dir zu° der andere~ sytten so kom vor au~ch mit der zwerch vnder sin schwert Im an den halß ~~

[01r] Hie merck den pruch der wider den õbern twer haw

Merck wen du im von deiner reichtn seittñ mit ainem ober haw oder sunst an sein schwert pindest / schlecht er dan mit der twer vmb / dir zu der andern seittñ / so kum vor auch mit der twer vndter seinem schwert im an den hals / als am nãchstn hernach gemalt stett / so schlecht er sich selber mit deinem schwert /

Ein bruch wider den ober Twer haw.

Merck wenn du im von deiner rechtenn seytten, mit einem oberhaw, oder sonnst ann sein schwert windest, schlecht er denn mit dem mit der Twer vmb dir zu der anndernn seittenn, so kum vor auch mit der Twer vnter seinem schwert im an den hals als hie stet gemalt.

MS E.1939.65.341 001v.jpg

[43] Here note the break against the low cross strike

Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other[91] opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.

[43] Here note the break against the low thwart-strike

Note, when you bind[92] [against] him on his sword with the over-hew[93] from your right side, if he then strikes-around from the sword with the thwart to the other[94] opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to[95] this).

[43] 

[43] 

[01v] Hie merck den pruch wider die vnderñ twer schleg /

Merck / wen du im von deiner rechtñ seittñ an sein schwert pindest / schlecht er dan vom schwert vmb mit der twer dir zu der andern plõs deiner rechtñ seittñ / so pleib mit deinem gehiltz vber deinem haubt / vnd verwendt dein schwertz kling vndter sich gegen seinem haw / vnd stich im zu der vndtern plõs / als am nachstñ hernach gemalt stet /

Ein stuck wider ein vnter Twerhaw.

Merck wenn du Im vonn deiner rechtenn seyttenn ann sein schwert windest mit einem oberhaw, schlecht er dann vom schwert vmb mit der Twer dir zu der vnternn bloß deiner rechtenn seittenn, So beleib mit deinem gehiltz ober deinem haupt, vnd verwẽdt dein schwert clingenn vntersich gen seinem haw, vnnd stich im zu der vntern bloß als hie gemalt stet.

MS E.1939.65.341 002r.jpg

[44] How one shall strike with the cross to the four openings

51 Cross to the plow
 Yoke hard to the ox

Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.

Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.

[44] This is the text and the gloss: How one shall strike with the thwart to the four openings

51 Thwart to the plow,
 Join hard to the oxen.

Gloss. This is how one shall strike going-to with the thwart to all[36] four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).[30] This is called "striking to the plow".

[44] How one shall strike against the four openings with the Zwerchau.

51 Zwerch against the plough,
 and strike powerfully against the ox.

Glosa. This is how you shall strike against the four openings with the Zwerchau when you go against someone. When you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the Zwerchau against the lower opening on his left side. This is called "to strike against the plough".

[44] 



This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking towards the plow" ("zum Pflug schlagen").

Wie man zu° den vier blossen mitt der zwer schlache~ soll

Zwer zu° dem pflu°g /
zu° de~ ochsen hart gefu°ge

Glosa das ist wie dü In aine~ zu° gang [29r] mit der zwer zu° den vier blossen schlagen solt Das vernÿm also Wã dü mit dem zu°fechte~ zu° Im kompst So merck wan es dir eben ist So spring zu° Im vnd schlag In mit der zwer zu° der vndere~ bloß siner lincken sytte~ Das hayst zu° dem pflu°g geschlagen ~

[02r] Das ist der text vnd die glõß wie man mit der twer zu den vier plõssn schlachen sol /

Twer zu dem pflueg /
zu dem ochsen hat gefueg /

Glosa / das ist wie du in ainem zu gang mit der twer zu allen vier plõsn schlachen solt / das vernym also / wen du mit dem zu fechtn zu im kumbst / So merck wen es dir eben ist so spring zu im / vnd schlag im mit der twer zu der vndterñ plõs seiner lincken seittñ / als am nechstn gemalt stet / das haist zu dem pflug geschlagen /

MS E.1939.65.341 002v.jpg

[45] Yet another play from the crosswise cut

When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called striking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.

[45] Again a play from the thwart-hew

Note,[2] when you have struck with the thwart to the lower opening (as stands pictured before next to this),[30] so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike[96] a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.

[45] Another technique from the Zwerchau.

When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau against the other side upwards into the head. This is called "to strike against the ox". And continue to strike quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And cut him after with an Oberhau in against the head and thus draw yourself back from him.

[45] 

When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.

Aber ain stuck vß dem zwerhaw°

Wen dü Im mit der zwer zu° der vndere~ bloß geschlagen hast so schlag bald vff mit der zwer Im zu° der andere~ sytten oben In zu° dem kopff das haisst zu de~ ochse~ geschlage~ vnd schlach denn fürbas behendtlich ainen zwerch schlag zu° dem ochse~ vnd den andere~ zu° dem pflug cru~czwÿß võ ainer sytte~ zu der andere~ vnd haw Im do mit aine~ obere~ haw obe~ ein zu° dem kopffe vnd zu~ch dich damit ab ~

[02v] Aber ein stuck auß dem twer haw /

Merck / wen du im mit der twer zu der vndterñ plõss geschlagen hast / als vor am nãchstn gemalt stet / so schlag pald auff mit der twer im zu der anderñ seittñ oben ein zu dem kopf / das haist zu dem ochssen geschlagen / vnd schlag den fu~rbas behentlich albeg ainen twer schlag zu dem ochsn / vnd den andern zu dem pflu~eg / creu~tz weis von ainer seittñ zu der andern / vnd haw im ein ober haw oben ein zu dem kopf / vnd zeuch dich damit ab /

[46] 

52 Whoever crosses themselves well
 Threatens the head by springing.

Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.

[46] This is the text and a teaching thereof[10]

52 Whoever thwarts themselves well
 With springing threatens the head.

Gloss. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his[36] head, and be aware that you are fully covered above in the spring[2] with your hilt in front of your head.

[46] 

52 He who Zwerches well
with a spring, threatens the head.

Glosa. That is to say, that in all of your Zwerchau strikes you shall take a proper spring out to the side where you want to strike him. So you can strike him well in the head. And see to it in the spring that you are properly protected from above with your hilt above and in front of your head.

[46] 



When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.


[29v] Waß sich wol zwerch
mit springe~ dem haupt geferet

Glosa das ist das dü mit ainem yden zwerschlage wol vß solt springe~ Im vff die sytte~ / do dü Im zu° schlage~ wylt so mag stü In wol treffe~ zu° siene~ haupt vnd wart das dü In dem spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck sÿest

[03r] Das ist der text vnd ein ler dau~on

Was sich wol twer /
mit springen dem haubt gefert /

Glosa das ist / das du mit einem yeden twer schlag wol auß solst springen / Im auff die seittñ do du im zu schlagen wild / So magstu in wol zu dem haubt treffen / vnd wart das du in dem oben / vor deinem haupt mit dem gehiltz wol bedeckest seiest /

MS E.1939.65.341 003v.jpg

[47] This is the text and the gloss of yet another play from the crosswise cut and is called the failer.[97]

53 Whoever credibly executes the failer
 They wound according to desire from below

Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.

[47] This is the text and the gloss of yet another play from the thwart-hew, and is called the failer

53 Whoever directs the failer well
 From below, he hits[98] according to desire.

Gloss. Note,[2] this is[99] with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike[100] with a free over-hew[101] to his left side to the head, and steal-away[102] your sword with the hew and strike him with the thwart to the lower opening of his right side or left[103] (as stands pictured hereafter next to this).[104] Thus is he contacted and struck below according to [your] desire.

[47] A further technique from the Zwerchau, and it is called the feint (Feler).

53 He who does a good feint,
 strikes from below how he wishes.

Glosa. With the feint all fencers who quickly leap to the defence are mislead and defeated. When you come against him in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can strike him underneath however you want and defeat him.

[47] The "Fault" (Feint):



All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

Hie nach mörck aber ain stuck vß der zwer vñ das haÿsset der feler

Feler wer wol furet
von vnde~ nach wunsch er ruret

Glosa Das ist mit dem feler werde~ alle fechter die da gern fersetze~ ver fyrt vnd geschlache~ das stuck trib also Wã du mit dem zu° fechte~ zu° Im kompst So thu° alß ob dü In mit aine~ fryen ober haw zu° siner lincke~ sÿtte~ So ist er vnnde~ nach [30r] wu°nsch geru~ret vnd geschlage~

[03v] Das ist der text vnd die gloß aber ains stucks auß dem twerhaw vnd haist der feler /

Feler wer wol fu~ret /
von vndten nach wunsch erru~ret /

Glosa Merck mit dem feler werñ alle vechter die da geren versetzn verfu~rt vnd geschlagen / das stuck treib also / wen du mit dem zu vechtn zu im kumbst / So thue als du mit eine~ freien twerhaw zu seiner lincken seittñ zu dem kopf wellest schlagen vnd verzugk mit dem haw dein schwert vnd schlag im mit der twer zu der vndterñ plõs / seiner rechtñ seittñ / als am nachstñ da hernach gemalt stet / So ist er vndten nach wunsch geru~rt vnd geschlagen /

Das ist aber ein stuck aus der Twer das heist der Feler.

Feler wer furet,
von vnden nach wunsch er ruret.

Glosa. Merck mit dem feler werenn al fechter die do gernn versetzenn verfurt vnnd geschlagen, das stuck treib also, wen du mit dem zu fechtenn zu Im kombst, So thu als du in mit einem [11v] freyenn oberhaw zu seiner linckenn seitten zu dem kopff wollest schlagenn, vnnd wend mit dem haw dein schwert, vnnd schlag in mit der Twer, zu der vndern bloß seiner rechtenn seyttenn oder linckenn als hie gemalet stet, so ist er vnten nach wunsch gerurt vnnd geschlagenn.

MS E.1939.65.341 004r.jpg

[48] Yet another play from the crosswise cut and this is called the inverter

54 The inverter constrains.
 The one who slips across also wrestles with it.
55 Take the elbow surely
 Spring into their stance.

Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find hereafter in the slipping through.

[48] This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter[105]

54 The Inverter overwhelms,
 Running-through with wrestling as well;
55 The elbow wisely take
 Spring to him in the scales.

Gloss. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).[30] Or run-through with the inverter and wrestle, as you will find written[2] hereafter

[48] Another technique from the Zwerchau, and it is called the turner (Verkehrer).

54 The turner subdues,
 runs through and grapples.
55 Take the elbow certainly,
 spring against him in the movement.

Glosa. When you bind against his sword with an Oberhau or Underhau, turn your sword so that your thumb comes underneath, and thrust him down from above into the face. In this way you force him to defend himself. And in the defence, grip his right elbow with your left hand and spring with your left foot in front of his right, and stab him over it. Or use the turner to rush through and grapple, in the same way that you will be told for running through.

[48] The "Verkehrer":





If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.

aber ain stuck vsß dem zwerhaw° vnd daß haÿsst der verkerer ~~

Verkerer zwinget
durch laeffe~ au~ch mit ringet
den elenbogen gewisse nÿm
spring Im In die wage

Glosa Merck das stu~ck soltü also trÿbere~ wen dü In mit aine~ vnde~ oder oben haw an sin schwert bindest So verker dein schwert das din dou~me vnde kome vnd stich Im obe~ In zu° de~ gesichte So zwingstu In das er dir versetze~ mu°ß Vnd In der verseczung begriff mit de~ lincken hand sin rechte~ eleboge~ vnd spring mit dem lincken fu°sse für sine~ rechte~ vnd stosß In also dariber / Oder lauff In mit dem verkerrer durch vnd ringe / alß dü In dem durch lauffen her nach wirst finde~

[04r] Das ist der text vnd die glos aber ains stucks aus dem twerhaw das haist der verkerer /

Verkerere zwinget
durch lauffer auch mit ringet /
den elpogen / gewis nÿm
spring im in die wage~ /

Glosa / Merck das stuck solt du treiben also / Wen du im mit ainem vndter oder ober haw an sein schwert pindest / so verker dein schwert das dein dawm vndten kum vnd stich im oben ein zu dem gesicht / So zwingst du in das er dir versetzn mu°ß / vnd in der versatzung Begreiff mit der lincken hand sein rechten elpogen / vnd spring mit dem lincken / fues fu~r sein rechten / vnd stos in also daru~ber / als am nãchsten da hernach gemalt stet / oder lauff im mit dem verkerer durch vnd ring / als du in dem durchlauffen hernach geschriben wirst vinden /

MS E.1939.65.341 004v.jpg

[49] Yet another play from the failer

56 Double the failer
 If they make contact, make the slice with it

Gloss. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.

[49] This is the text and the gloss of a failer

56 Fail twice;
 If one hits then make the cut with [it].

Gloss. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right[2] foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in[106] to his right side onto his head (as stands pictured hereafter next to this).[30]

[49] Another technique from the feint.

56 Feint twofold,
 strike him, thus do the cut.

Glosa. This is called the double feint, because in the Zufechten you shall be misleading two times. Do the first like this: when you come against him in Zufechten, take a spring with the foot against him and pretend that you will cut with a Zwerchau against the left side of his head. And change the direction of the cut, to the right side of his head.

[49] The Double Feint:



Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head.

[30v] Aber ain stuck von aine~ feler

Feler zwÿfach
trifft mã den schnit mit macht

Glosa Merck das haysst der zwÿfach feler darümbe das mã In aine~ zu° fechte~ zwaÿerlaÿ ferfÿrung daru~ß trÿbe~ sol die erste~ tryb also we~ dü mit dem zu° fechte~ zu° Im kompst So spring mit dem fu°ß ge~ Im vnd thu°n alß dü Im mit aine~ zwer schlage~ zu° siner lincken sÿtten zu° dem kopff schlage~ welest vnd ferzu~ck den schlag Im zu° siner rechte~ sÿtten an de~ kopff ~~

[04v] Das ist der text vnd die glos aber von ainem feler

Veler zwifach /
trifft man den schnit mit macht

Glosa Merck das haist der zwifach veler / daru~b das man in ainem zu vechtñ zwayerlay verfu~rung darauß treiben sol / die erst treib also / wen du mit dem zu vechtñ zu im kumbst / so spring mit dem rechtñ fu~es gegen im vnd thue als du im mit einem zwerschlag zu seiner lincken zu dem kopf schlagen welst / vnd verzuck den schlag vnd schlag in zu seiner rechtn seittn an den kopf / als am nãchstn da hernach gemalt stett /

MS E.1939.65.341 005r.jpg

[50] Yet another play from the failer

57 Double further
 Step in left and do not be lazy

Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below[107] and immediately strike back around to the right side of their head and with that[108] from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.

[50] This is the text and the gloss of yet another play from the failer

57 Double it further;
 Stride-in left and be not lazy.

Gloss. This is when you have struck the first misleading to his right side to his head (as stands[109] pictured before[2] next to this): so with that take the cut under his arms[30] and strike quickly back-around to the left[110] side to his head, and drive over his sword with the short edge from[111] crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).[30]

[50] Another technique from the feint.

57 Continue doubly with this,
 step to the left and do not be slow.

Glosa. That is to say, when you have struck to the right side of his head with the first misleading—about which has just been written—so strike immediately round to the other side of the head, and go with the short edge with outstretched crossed arms over his sword: and "Imlincke", that is to say on the left side, and cut in with the long edge over the face.

[50] 



If you have attacked him on the right side of the head as described, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.

Aber ain stuck vß dem feler

Zwyfach es fyrbas
schryt In lunck vnd biß nit laß

Glosa Das ist wã dü Im mit der erste~ verfÿrunge zu° siner rechten sytte~ zu° dem kepff geschlage~ [31r] hau~st / alß am neste~ gemelt ist So schlach bald wyderu~mb Im zu° der rechte~ sytte~ zu° dem kopff vnd far mit der kurtze~ schnÿde~ mit auß gecru~tzten arme~ v~ber sin schwert vnd spring Imlincke das ist auff dein lincke~ sÿtte~ vnd schnyd In mit der lange~ schnÿde~ durch das maul ~~

[05r] Das ist der text vnd glos aber ains stucks aus dem feler /

Zwifach es fu~rbaß /
schreit ein linck vnd pis nit laß

Glosa / Das ist wen du in mit der erstñ verfu~ru~g zu seiner rechtñ seittñ zu dem kopf geschlagen hast / als vor am nachstn gemalt stet so nym damit den schnit vndten in sein arm~ / vnd schlag pald widerumb im zu der lincken seittñ zu dem kopf / vnd far mit der kurtzn schneid auß gekreutznt arme~ vber sein schwert vnd spring im linck das ist auf sein lincke seitt / vnd schneid in mit der langen schneid durch das maul / als da gemalt stet /

[51] The cockeyed cut with its plays

58 The cockeyed cut breaks inside
 Whatever the buffalo strikes or thrusts
59 Whoever threatens to change,
 The cockeyed cut robs them of it.

Gloss. Note here that the cockeyed cut is a cut that intrudes into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cuts in from above from their right side, then you also cut from your right against their cut with upright arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cut in this way when they stand against you in the guard of the plow or when they will thrust at you from below.

[51] This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them

58 The Squinter breaks-in[112]
 Whatever the buffalo strikes or thrusts.
59 Whoever threatens to change,
 The squinter robs him of it.

Gloss. Note here[113] that the squinter is a hew which breaks-in[114] the hews and thrusts of the buffalo ([one] who acquires[115] victory with power), and[48] conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,[116] with the short edge [and] with upright[117] arms, and strike him upon his right shoulder;[118] so you strike and displace with each other and hit him with the hew[119] (as stands pictured hereafter next to this).[120][30] If he changes-through, shoot with the hew long into his chest and[121] also hew when he stands against you in the guard of the plow or when he will thrust you from below.[47]

[51] Do the Schielhau (squinting strike) with these techniques.

58 The Schielhau counters
 that which a buffalo cuts or thrusts.
59 That which threatens with changing
 is robbed by the Schielhau.

Glosa. The Schielhau is a strike which counters cuts and thrusts from the buffalos—those who take their mastery through violent strength. Do the strike like this: when he cuts in against you from his right side, you should also cut from your right side with the short edge with the arms outstretched against his cut, against the "weak" of his sword and cut him on his right shoulder. If he changes through, shoot in with the cut, long edge against the breast. And you can also strike this, when he stands against you in the Plough guard [Pflug] or when he wants to thrust into you from below.

[51] The "Squinter":





The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you from his right side, strike from your right side with the short edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through, thrust him into his breast with your arms extended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below.

[52] Yet another play from the cockeyed cut

60 Cock an eye, If they short change you,
 Disengaging defeats them

Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.

[52] This is the text and the gloss of yet another play from the squinter

60 Squint if he shortens upon you
 Changing-through defeats him.

Gloss. Note, this is a lesson that you[2] shall squint with the visage and quite precisely see whether he fences short against you, because with that, [you] shall recognize when he begins to hew you and his arms do not extend long with the hew. So hew as well, and in the hew drive-through with the point under his sword, and wind your hilt to your right side above your head,[30] and thrust him to the face (as stands pictured next to this).[30]

[52] Another technique from the Schielhau.

60 Strike the Schielhau when he closes with you,
 change through, against his face.

Glosa. This is a lesson: you shall search with the look and notice carefully, if he fights close to you. This you shall mark when he cuts against you and his arm does not stretch out in the cut, so you will strike too. And in the strike go with the point under his blade to the other side, and thrust in against the face.

[52] 



Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints). You will know this when he does not extend his arms when striking. You should strike then, too, move your point trough under his sword and thrust him into the face.

[53] Another. All fencers, which fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.

[53] Item. All fencers, they who fence short from the oxen, from the plow, and with all windings before the opponent: freely change-through [against] them out of hews and out of thrusts with the long-point. With that, you plant[122] it upon the sword so that they must allow you to come to the binding-on[123] and be struck.

[53] 

[53] 

[54] Yet another play from the cockeyed cut

61 Squint to the point
 And take the neck without fear.

Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.

[54] This is the text and the gloss of yet another play from the squint-hew

61 Squint to the point
 And take the neck without fear.

Gloss. Note, the squinter breaks the long-point with a deceit of the visage and conduct it thusly: When he stands against you and holds the point against the face or against[124] the[121] chest from extended arms, so stand with the left foot forward and squint with the visage to his point,[125] and act as if you wish to hew to his point,[126] and hew strongly onto his sword with the short edge, and with that, shoot the point long to his neck with a tread-in of the right foot (as stands pictured hereafter next to this).[89]

[54] Another technique from the Schielhau.

61 Search with the point
 and take his neck without fear.

Glosa. Mark well; to strike the Schielhau breaks the long point; and then do this: when he stands against you and holds the point with outstretched arms towards the face or chest, so stand with the left foot forward and search with the gaze against the point, and pretend as if you want to strike against the point; and strike powerfully with the short edge above his sword, and thrust with the point along with the blade against the neck with a step towards him with the right foot.

[54] Note: The Squinter breaks the "long point" and this is done as follows:



When he faces you and points his point against your breast or face with extended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended.

[55] Yet another play from the cockeyed cut

62 Squint to the top of the
 Head if you wish to ruin the hands.

Gloss. Note when the opponent wishes to cut in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.

[55] This is the text and the gloss of yet another play from the squint-hew

62 Squint to the top of the
 Head if you wish to ruin the hands.

Gloss. Note,[127] when he wishes[58] to cleave-in to you a free over-hew[128] from above, so squint with the visage[129] to his head[130] (as if you wish to strike thereon[131]), and then hew with the short edge against his hew, and strike him upon his sword's blade, with the point down[124] on the hands (as stands pictured hereafter next to this).[30]

[55] Another technique from the Schielhau.

62 Search against the head above
 if you want to damage the hands.

Gloss. When he wants to cut in against you from above, so search with the gaze as if you want to hit him above the head. And strike with the short edge against his cut, and strike along his blade with the point onto the hands.

[55] 



When he strikes an Oberhau, look at his head, as if you intend to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade.

[56] This is the part cut with its plays

63 The part cut
 Is a threat to the face


Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.[132]

[56] This is the text and the gloss about the parter, and about the plays thereof

63 The Parter
 Is a danger to the face.[133]


Gloss.[2] Here[113] note the parter is really[2] dangerous to the face and to the chest;[47] conduct it[134] thusly: When he stands against you in the guard [of] the[2] fool,[135] hew above with the long edge, down from your[136] part to his head,[137] and with the hew remain high with the arms and if he displaces,[138] so hang-in[139] to him with[113] the point, with the long edge above his hilt, and thrust him[140] to the face (as stands pictured hereafter next to this).[30]

[56] Do the Scheitelhau (the parting strike) with these techniques.

63 The parter
 is a danger for the face.


The parter is dangerous for the face and the breast. When he stands against you in the fool's guard [Alber], cut with the long edge from the "long parting" from above and down; and keep the arms high in the cut, and hang with the point in against the face.

[56] The "Parting Strike"





Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face.

[57] A play from the part cut

64 With their turn
 Firmly threatens the breast.

Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head using your hilt and set the point against their breast from below.[141][142]

[57] Again a play from the parter

64 With its turn[143]
 The chest is quickly[144] threatened.[145]

Gloss.[146] Note,[2] this is when you strike-in and hang[147] the point[148] to the face with the parter:[149] if he then shoves the point[150] firmly upward with his[151] hilt in the displacement[152] of the parter,[153] invert your sword with the hilt high[154] in front of your head (such that the thumb comes below),[155] and set the point under his hands[156] upon his chest (as stands pictured here).[157]

[57] A technique from the parter.

64 With his turning,
 very dangerous for the breast.

Glosa. When you cut from above with the Scheitelhau and hang your point in his face, if he defends himself against your point by pushing it up and away with the hilt, then turn your sword with the hilt high in front of your head and stab him downwards into the chest.

[57] 



If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down into the breast.

[58] How the crown breaks the part cut

65 Whatever comes from them,
 The crown takes that away




Gloss. Note when you cut in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.

[58] How the crown breaks the parter[158]

65 Whatever comes from him,
 The crown takes it away.




Gloss. Note, when you cleave-in above with the parter: if he displaces with the hilt high over his head, this displacement is called the crown, and with it [he] runs-in to you.

[58] How the Crown counters the parter.

65 That which comes from him,
 the Crown takes away.




Glosa. When you cut in against him from above with the Scheitelhau, if he defends himself with the hilt over his head: this defence is called the Crown. And with that he can rush in close to you.

[58] 







When you strike a parting strike and he displaces with the hilt high above his head, then this displacement is called "the crown". From there you can rush in.

[59] How the slice breaks the crown.

66 Slice through the crown
 So you break the hard beautifully
67 Press the thrust[159]
 Withdraw it with slicing.

Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.

[59] This is the text and the gloss: how the cut breaks the crown

66 Cut through the crown,
 So you break the hard beautifully;[160]
67 Press the strike,[161]
 Withdraw it with cutting.

Gloss. Note, when he displaces the parter (or otherwise another hew) with the crown and with that runs in:[135] so take the under-cut[162] below his hands into his arm and press firmly upwards (as stands pictured next to this);[163] so the crown is broken again,[164] and wind your sword from the under-cut[165] into the over-cut,[124] and with that withdraw yourself.[58][166]

[59] How the slice counters the Crown.

66 Slice through the Crown,
 so you break this guard quickly.
67 Press with the sword,
 with more slicing you draw backwards.

Glosa. When he defends against the Scheitelhau or some other cut with the Crown and tries to rush in against you, pull the slice under his hands in his arm and press hard upwards, to break the Crown. And turn your sword from the under slice to the over slice, and thus draw back.

[59] 





If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.

[60] These are the four positions

68 Four positions alone
 Defend from those and eschew the common
69 Ox, plow, fool
 From-the-roof are not despised by you.

Gloss. This is about how you shall not operate from any other position than from these four that will be named here.

[60] This is the text and the gloss on the four leaguers

68 Four leaguers alone:
 Keep to those and flee[167] the common;
69 Ox, plow, fool,
 From-the-roof are not disgusting[168] to you.

Gloss. Note, this[169] is that you[121] shall not hold to any leaguer other[2] than solely to the four which will be[170] named here.

[60] The four guards.

68 Only four guards
 will you hold, and damn those that are commonly known.
69 "Ox", "Plough", "Fool",
 "From the Roof ", with these you will not be unfamiliar.

Glosa. This means that you shall not assume any other guards other than these four that are now to be described.

[60] The Four Guards





There are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.

[61] The first guard The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.

[61] Item.[2] The first guard is called[171] the ox; arrange yourself thusly: Stand with the left foot forwards and hold your sword near your right side with the hilt[172] in front of your head, and let the point hang[121] against the face (as stands pictured next to this).[30]

[61] The first guard. The Ox. Hold it like this: stand with the left foot forwards, and hold your sword beside and slightly in front of the right side of your head, and let the point hang towards his face.

[61] The first guard: Ochs (the Ox) Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face.

[62] The second guard The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.

[62] Item.[2] The second guard is called[171] the plow; arrange yourself thusly: Stand with the left foot forward and hold your sword with[2] crossed hands near your right side over your knee such that the point stands against the face (as stands pictured hereafter next to this).[30]

[62] The second guard. The Plough. Hold it like this: stand with the left foot forward, and hold your sword with crossed hands beside and slightly above your right knee, in such a way that the point is towards his face.

[62] The second guard: Pflug (the Plough) Stand with the left foot forward and hold your sword at your right side above your knee, with your hands crossed, your point directed at his face.

[63] The third guard The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms.

[63] Item.[2] The third guard is called[171] the fool; arrange yourself thusly: Stand with the right foot forward and hold your sword with outstretched arms with the point upon the ground (as stands pictured hereafter next to this).[30]

[63] The third guard. The Fool. Hold it like this: stand with your right foot forwards, and hold your sword with outstretched arms in front of you with the point towards the ground.

[63] The third guard: Alber (the Fool) Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground.

[64] The fourth guard From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.

[64] Item.[2] The fourth guard is called[171] from-the-roof; arrange yourself thusly: Stand with the left foot forwards and hold your sword upon your right shoulder (as stands pictured hereafter next to this),[30] or hold it with outstretched[173] arms over your head; and how you shall fence from the guards, you find it all[174] written in this book.[175]

[64] The fourth guard. From the Roof. Hold it like this: stand with the left foot forwards, and hold your sword at your right shoulder. Or hold it with outstretched arms above your head. And how you shall fence from these guards, you will find described in this book.

[64] The fourth guard: vom Tag ("From the Roof") Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended.

And in this book, you’ll find written down how to fence from these guards.

[65] This is the text and the gloss of the four parries that break the four positions

70 Four are the parries
 That also severely disrupt the positions.
71 Guard yourself from parrying for two reasons
 If it happens by necessity, it hurts you

Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.

[65] This is the text and the gloss of the four displacements which break the four leaguers

70 Four are the displacements
 Which also severely injure the leaguers.
71 Guard yourself from displacing[176]
 If it happens, it severely beleaguers you.

Gloss. Note, you have heard before that you shall fence solely from the four leaguers, so you should also just know[177] that the same four [displacements] break the four leaguers. And the four settings,[178] they are the four hews.

[65] These are the four displacements, which obstruct or break the four guards.

70 The displacements are four,
 that also greatly trouble the four guards.
71 Beware, for to defend,
 it becomes very difficult for you.

Glosa. You have earlier heard that you shall only fight from the four guards. So you shall now also know the four displacements. These are four strikes.

[65] 7. The Four Displacements (Versatzungen)





You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes.

[66] The first cut[121] is the crooked cut which breaks the guard of the ox.

[66] The first hew[121] is the crooked-hew, which breaks the guard that is named the ox.[179]

[66] The first strike is the crooked strike. This breaks the Ox guard.

[66] The first strike is the "crooked strike" (Krumphau). It counters[180] the guard (Hut) ochs.

[67] The second is the crosswise cut which breaks the guard from-the-roof.

[67] Item.[2] The second is the thwart-hew, which breaks the guard from-the-roof.

[67] The second strike is the crosswise strike. This breaks the Roof guard.

[67] The second strike is the Zwerchhau. It counters the guard Vom Tag.

[68] The third is the cockeyed cut which breaks the guard of the plow.

[68] Item.[2] The third is the squint-hew, which breaks the guard of the plow.

[68] The third strike is the squinting strike. This breaks the Plough guard.

[68] The third strike is the "squinter" (Schielhau). It counters the guard Pflug.

[69] The fourth is the part cut which breaks the guard, the fool.

[69] Item.[2] The fourth is the parter, which breaks the guard that is named the fool.

[69] The fourth strike is the parting strike. This breaks the Fool's guard.

[69] The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber.

[70] And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing.

[70] And guard yourself from all displacements which the simple[181] fencers conduct; they allow the point to go out before the man (low or high on a side), and whoever does that cannot seek the opening on the man. Therefore do not parry,[182] and [instead] note when he hews, thus you also hew; and when he thrusts, so thrust as well; and how you shall hew and thrust, you find that written in the five hews and in the setting-aside.

[70] And beware of all displacements, when they are used by poor fencers. When he cuts, strike also, and when he thrusts, you thrust too. And how you shall strike and thrust, that you will find described for the five cuts and in this section.

[70] And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find written down how you shall strike and thrust.

[71] A play against an act of parrying

72 If you are parried
 And however it has come to this
73 Hear what I advise
 Wrench off, cut quickly with haste

Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.

[71] This is the text and the gloss of a play against the displacement

72 If you are parried,
 And as it is arriving,
73 Hear what I advise:
 Rip off. Cut quickly with hurry.

Gloss.[183] This is as it arrives that you are becoming parried: so note if one displaces an over-hew,[184] go to him in the displacing with the pommel over[185] his forward-placed[186] hand, and with that wrench downwards, and with the wrenching strike him there[187] on the head with the sword (as stands pictured hereafter next to this).[163]

[71] A technique against the displacements.

72 If you are displaced
 and if it comes to this,
73 hear what I advise:
 go up, strike quickly and swiftly.

Glosa. If it has happened that you have been displaced, mark this well: if one of your Oberhau attacks becomes displaced, so go into the displacement with the pommel over his forward hand and tear downwards with that; and cut in the tearing in with the sword from above against the head.

[71] A Technique against a Displacement:





If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; and strike him on the head simultaneously.

[72] Yet another play against an act of parrying

Note when you execute a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.

[72] Yet another play against the displacement

Item.[124] Note, when you hew an under-hew from the right side: if he then falls with the sword onto yours so you cannot come up with it, swiftly drive over his sword with the pommel and wrench your blade from his [from] below[188] and strike him with the snapping, with the long edge to the head[189] (as stands pictured hereafter next to this);[190] or,[191] if he falls onto your sword against your left side, so strike him with the short edge.

[72] A technique against the displacements.

When you strike an Underhau from the right side, if he drops with his sword on top of yours do that you cannot come up with it, so go swiftly with the pommel over his sword and cut with powerful movement with the long edge against the head. Or if he drops onto your sword towards your left side, so cut him with the short edge.

[72] A Second Technique against a Displacement:

If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide).

[73] Yet another play against parrying.

74 Lodge against four regions
 Learn to remain upon them if you wish to finish

Gloss. When you cut in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.[192]

[73] This is the text and the gloss of yet another play against the displacing

74 Set-upon four ends;
 Learn to remain thereupon if you wish to finish.

Gloss. This is[31] when you cleave-in from your right shoulder: if you wish to quickly finish with him,[193] so note when he displaces [and] strike quickly around with the thwart, and with the strike grasp your sword[194] in the middle of the blade with the left hand, and set the point into the face (as stands pictured next),[30] or set-upon him to the four openings to whichever you can[195] best come.

[73] A technique against the displacements.

74 Attack four ends,
 therefore stop him, if you want to learn to finish.

Glosa. When you strike in against him from above from your right shoulder and want to end him quickly, mark this: when he displaces, immediately strike round with the Zwerchau. And grip your sword with your left hand in the middle of the blade, and thrust with the point into his face. Or attack him against the four openings, whichever you can come at best.

[73] A Third Technique against a Displacement:



If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best.

[74] Yet another play against parrying

Item.[121] Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.

[74] This is the text and the gloss of yet another play against the displacement

Item.[121] Note,[2] when you set the point into his[196] face with the half-sword (as stands done before next to this):[30] if he displaces that, jab him with the pommel to the other side to his head, or spring with the right foot behind his left and with the pommel drive around his neck, over his right shoulder, [and] around the front of the neck, and with that, back him over your right leg (as stands pictured hereafter next to this).[30]

[74] A technique against the displacements.

When you set the point to his face with the halfswording and he displaces this, so strike him with the pommel to the other side of his head. Or spring with the right foot behind his left, and go with the pommel over his right shoulder in front and round the neck and therefore pull him over your right leg.

[74] A Fourth Technique against a Displacement:

If you thrust at his face at the Halb Schwert (half-sword) and he displaces this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.

[75] About pursuing

75 Learn to pursue
 Double or slice into the weapon

Gloss. This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.[197]

[75] This is about racing-after

75 Learn the racing-after,
 Doubly or cut into the weapon[198]

Gloss. Note,[2] this is so that you shall learn the racings-after quite well, because they are dual,[135] and[2] the first[48] conduct thusly:[2] when he wishes to cleave-in above him,[48] so note while he yanks up the sword to the strike, [and] race-after him with a hew or with a thrust, and hit him[199] to the upper[48] opening before the moment[200] he descends[201] with the hew, or fall with the long edge above him onto his arm and with that, press him from you.[202]

[75] About following-after.

75 Learn to follow after
 twofold, or cut in the defence.

Glosa. You shall learn well to follow after, and they are two in number. The first you do like this, when he tries to cut you from above. Wait until he draws the sword back and up for the strike, and follow after him with a cut or with a thrust and aim for the upper openings, before he can do his strike. Or fall with the long edge from above onto his arm and press him away from you with this.

[75] 8. The "Traveling After" (Nachreissen):



There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you.

[76] Yet another pursuing

Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword.[203]

[76] Yet another racing-after[204]

Item.[205] When he begins to hew you downward[2] from above, and[2] if he then[206] allows his sword to go down to the earth with the hew: so[2] race-after him with an over-hew[207] to the head before the moment[200] he comes-up with the sword, so is he struck.[30]

[76] Another following-after.

When he cuts against you from above and he continues downwards towards the ground with his sword, follow after him with an Oberhau to the head, before he comes up with the sword. Or if he wants to thrust at you, pay attention for when he positions his sword against you for the thrust, and follow after him and thrust in, before can perform his thrust.

[76] Another Nachreisen

When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again.

[77] Or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.

[77] Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.

[77] Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.

[77] But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself.

[78] About the couplings to the outside

76 Two couplings to the outside
 Your work begins thereafter
77 And gauge the application
 Whether they are soft or hard

Gloss. Note the two couplings to the outside are the two racings behind against the sword. Conduct it like this: When the opponent over-commits themselves attacking before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and gauge whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.

[78] About the outer-cattle-drives

76 Two outer-cattle-drives,[208]
 You work begins thereafter,
77 And test the attacks,
 Whether they are soft or hard.

Gloss. Note, the two outer-cattle-drives are the two racings-after upon the sword; conduct it thusly: When he mis-hews himself before you, race-after him. If he then displaces you, so remain with the sword upon his and test whether he is soft or hard with the attack. If he then, with the sword, lifts that of yours upwards with strength, then extend your sword outside over that of his and thrust to his low opening.

[78] About the outer takings.

76 Two outer takings.
 Thereafter you shall start your work.
77 And test the movements,
 if they are weak or strong.

Glosa. The two outer takings are two followings-after with the sword. When he cuts in front of you, travel after him. If he defends himself against this, and you are left with your sword against his, feel to see if he is weak or strong in the bind. If he then strongly lifts your sword up and away with it, reach your sword to the outside over his and thrust in against the lower openings.

[78] The "Abnahmen" from the outside





Note, there are two "Abnahmen" from the Outside, which are two "Nachreisen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword[209] and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening.

[79] The other coupling to the outside

Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.

[79] The other outer-cattle-drives

Item. When you fence cautiously[210] from the under-hews (or otherwise from the under-attacks): if he then lays over you and winds upon your sword before you come up with that, [and] then remains strong with your sword below upon his winding and works to your upper opening, so follow-after with the sword and take weak of his sword with the long edge, and press down and stab him in the face.

[79] The other outer taking.

When you fence against him with Underhau or with other techniques that come against him from below, if he overpowers you and winds from above against your sword before you can come up with, you are left with your sword under his and so hold strongly against it. If he winds and threatens your upper opening, so follow after with the sword and catch the weak of his sword with the long edge and push downwards, and thrust into his face.

[79] The second Abnahmen from the outside

Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain stronglcontact with his sword from below. If he then attacks yopur high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face.

[80] About the feeling and about the word Indes

78 Learn the feeling
 Indes, that word cuts sharply

Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing.

[80] This is the text and the gloss about the feeling and about the word "in-the-moment"

78 Learn the feeling;
 In-the-moment, that word hews severely.

Gloss. This is so that you properly learn the feeling and the word "in-the-moment", and shall understand that the two things belong to the same and are the greatest arts of fencing.

[80] About the Feeling and about the word "Instantly".

78 Learn to Feel.
 "Instantly" is a word which cuts sharply.

Glosa. You will learn this carefully, and understand, Feeling and the word "Instantly", because these two things go together and are the highest arts in the fencing.

[80] The "Fühlen" ("feeling") and the word "Indes" ("while" or "during")



You shall learn and understand both the word "Fühlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing.

[81] And understand it like this: When one binds someone against their sword, in that, just as the swords spark together, you shall immediately feel, whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.

[81] Item.[2] And[211] understand it thusly:[212] When you come to him with the onset and[213] one binds another on the sword, so in that you shall feel with the hand (that is, perceive),[190] just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that,[214] think of the word "in-the-moment"; that is, in that same swift perceiving[215] of the soft and of the hard, you shall work to the nearest opening,[216] so [he] becomes struck before he will have his insight.[217]

[81] When one binds the other with the sword, so you will, in the same moment that the swords strike together, already feel if he has bound soft or hard. And as soon as you have felt this, think of the word "Instantly": that is to say, that you in the same instant that you feel this, quickly work against the soft and against the hard with the sword towards the nearest opening. Thus he will be cut down before he understands what is happening.

[81] Therefore remember: if one binds against the others sword, you shall notice – right in the moment when the blades make contact - whether he has bound hard or soft. And as soon as you have noticed this, remember the word "Indes": this means that you should attack the next opening immediately and nimbly, hard or soft. So he will be defeated before he knows it himself.

[82] Another. You shall think of the word Indes in all bindings of the sword because

Indes doubles,
Indes mutates,
Indes slips through
and
Indes takes the slice.
Indes wrestles.
With Indes, take the sword.
Indes puts whatever your heart desires into the art.

[82] Item. Note,[218] you shall think of the word "in-the-moment" in all bindings of the sword, because

in-the-moment doubles
and[121] in-the-moment mutates,
in-the-moment runs-through,
and[121] in-the-moment changes-through,[30]
in-the-moment takes the cut;
in-the-moment wrestles,
and with in-the-moment, take the sword.
In the art, In-the-moment does whatever your heart desires.

[82] In all bindings with the sword you shall think of the word "Instantly", because

"Instantly" doubles
and "Instantly" mutates,
"Instantly" runs through
and
"Instantly" takes the cut,
"Instantly" wrestles,
"Instantly" takes the sword from him,
"Instantly" does in the art all that your heart desires.

[82] Likewise, you shall remember the word "Indes" during all binds at the sword, because

"Indes" dupliert
and "Indes" mutiert,
"Indes" rushes through
and
"Indes" takes the ‚Schnitt‚,
"Indes" wrestles
and "Indes" disarms him,
"Indes" – in the art of fencing - does, what your heart desires.

[83] Indes is a sharp word. Consequently, any fencer that knows nothing of this word, becomes cut. And this word, Indes, is also the key with which every art of fencing becomes unlocked.

[83] In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes hew. And the word "in-the-moment" is also[121] the key in which all of the art of fencing becomes unlocked.

[83] "Instantly" is a sharp word, which cuts all those fencers who do not know something about the word. And the word "Instantly" is also the key, whereby all fencing art is unlocked.

[83] "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes" is the key, which unlocks the art of fencing.

[84] Pursuing

79 Pursue twice,
 If one hits, make the old slice from it.

Gloss. This is for when the opponent over-commits themselves attacking before you, pursue with a cut to their upper opening. Then if they rise up and bind against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you or slice from the sword through their jaw. Conduct this on both sides.

[84] This is yet another play text and gloss about racing-after

79 Traveling-after twice:
 If one joins, make the farewell cut with it.

Gloss. Note,[2] this is when he mis-hews himself before you: so race after him with a hew to the upper opening; if he then drives up and binds[219] under you upon the sword, so note just as soon as one sword sparks[220] on the other, [and] so fall upon him from the sword with the long-edge over his arm, and also press him from you (as stands pictured next),[30] or cut him from the sword through the mouth. Deploy this to both sides.

[84] Following after.

79 Follow after twofold,
 meet him as he does the old slice.

Glosa. When he cuts against you and his point passes you, so follow after him with a strike against the upper openings. If he goes up and winds against you from below with the sword, pay attention to the sword blades against each other, and fall with the long edge from the bind over his arm, and push him away from you. Or slice him from the bind in over the face. Do this to both sides.

[84] A third Nachreisen



When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.

[85] About overrunning

80 Whoever hunts below
 Overrun, then they will be shamed.
81 When it clashes above,
 Strengthen, This I will praise.
82 Make your work
 Or press hard twice.

Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the onset, you shall not parry them, rather await, such that you overrun them with a cut in at the head from above or lodge the point from above, so that they become shamed by you because all descending cuts and all lodgings against from above reach over the lower.

[85] This is the text and the gloss about running-over

80 Whoever aims below,
 Run-over, then they become shamed.
81 When it sparks above
 Then strengthen, this I will laud.
82 Make your work
 Or press hard twice.

Gloss. Note,[2] this is when he targets the lower openings with a hew or with a thrust in the onset: you shall not displace him, rather await, such that you run-over with a hew above into the head or set-upon the point above (as stands pictured hereafter next to this)[30] so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.

[85] About reaching-over.

80 The one who aims underneath,
 reach over him, so he will be defeated.
81 When it clashes above,
 be strong: that I will praise.
82 Do your work
 or strike hard twice.

Glosa. In Zufechten, when he aims for a lower opening with a cut or a thrust, do not defend yourself against it. Rather, wait until you can reach over him with a strike from above against the head or a thrust from above, so he will be defeated by you, because all Oberhau and all high attacks reach further than lower strikes.

[85] (9) The uberlaufen the overflowing.







If when coming in to attack, he strikes with a strike or cut to the lower opening, then do not deflect him. Instead, wait and cut or thrust with a strike, or a high cut to the head. This way you can defeat him, because the higher strikes or cuts have a longer range than the lower ones.

[86] Another. How one shall displace cuts and thrusts

83 Learn to displace.
 Skillfully disrupt cut, thrust.
84 Whoever thrusts at you
 Such that your point hits and theirs breaks
85 From both sides
 You will hit every time, if you step.

Gloss. This is so that you shall learn to displace both cuts and thrusts alike with art such that your point hits them and theirs will be deflected and understand it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in turn against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and theirs fails to.

[86] [221]This is the text and the gloss: how one shall offset hews and thrusts

83 Learn to offset:
 Skillfully injure, hew, thrust
84 Whoever thrusts upon you,
 Such that your point hits and his breaks,
85 From both sides;
 Hit any time if you wish to step.

Gloss. This is so that you shall learn to offset hews and thrusts alike with art, such that your point hits him and, in that, his becomes broken, and[2] understand[222] it thusly: When someone stands against you and holds his sword as if he will stab you from below, so stand counter against him in the guard of the plow from your right side, and give yourself an opening with the left. If he then under-thrusts to the same opening, wind with the[121] sword against his thrust to your left side and step into him with the right foot, so that your point hits and his fails (as stands pictured next).[30]

[86] How one shall set aside cuts and thrusts.

83 Learn to set aside,
 skillfully arrest cuts and thrusts.
84 That which is thrust against you,
 meet him with your point and he is countered.
85 From both sides
 you always strike if you take a step.

Glosa. You shall learn to skillfully set aside cuts and thrusts, so that your point strikes him and he is countered. When someone stands against you and holds his sword as if he thinks to thrust at you from below, stand against him in the Plough guard on your right side and give yourself an opening on the left side. If he then thrusts from below to this opening, wind with your sword against his thrust, out to your left side, and step towards him with your right foot, so you can hit with your point as he misses.

[86] (10) The placing. (das absetzen).







You should learn to stop strikes and cuts correctly, so that his point is broken and yours hits. Practice it like this: when he stands in front of you as if he wants to aim(stab at) for the lower opening, then begin in the guard plug(plough) on your right side and open up your left side, if he then thrusts to your left hand side, twist/bind your sword against his on your left hand side and step with the right foot a step to him: This way your point strikes and his fails(misses).

[87] Yet another play about displacing

Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.

[87] Yet another play from setting-aside

Item.[121] Note,[2] when you stand against him in the guard of the plow from the left side: if he then hews to the upper opening of your left side, then drive up with the sword, and wind[2] to the left side against his hew (such that the hilt is in front of your head), and step into him with your[36] right foot and stab him in the face (as stands pictured hereafter next to this).[30]

[87] Another technique for setting aside.

When you stand against him in the Plough guard [Pflug] on your left side: if he cuts at you towards the upper opening on your left side then go up and out to the left side with the sword against his cut, with the hilt in front of the head; and step towards him with the right foot and thrust at his face.

[87] The second placing.

When standing against him in the guard pflug (plough) on the left hand side, and he strikes to your upper left hand opening, then drive high to the left with the hilt before your head, take a step toward him with the right foot and stab him in the face.

[88] About Disengaging

86 Learn to disengage
 From both sides stabbing sharply with it
87 Whoever binds upon you
 Disengaging surely finds the them

Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cut or thrust in in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and rush through and with that, gravely thrust in on the other side, so that you immediately find the opening of the opponent as is pictured here.

[88] This is the text and the gloss about Changing-through

86 Learn to change-through
 From both sides; stab with violence
87 Whoever binds upon you,
 The Changing-through finds him swiftly.[223]

Gloss. This is so that you shall learn the changing-through well, and conduct it thusly: When you cleave-in or thrust to him in the onset, if he will[121] then bind on the sword with a hew or with a displacement, allow the point under his sword and slip through, and with that, thrust-in to him violently at the other side, thus you find the opening upon him swiftly (as stands pictured).[30]

[88] About changing-through.

86 Learn to change-through
 on both sides, hurt him with thrusts.
87 He who binds against you
 the changing-through finds him quickly.

Glosa. You shall learn carefully to change-through. When you strike or thrust in against him in Zufechten and he tries to bind against the sword with a cut or a parry, let the point sweep through under his sword, and hurt him with a thrust to the other side, quickly find one of his openings.

[88] (11) The changing through. (durchwechseln).





Drive it so: when he wants to bind against a blow or cut , so let the point slide through under his sword: then you will find his opening.

[89] Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.

[89] Item. If he then becomes aware of the thrust and drives after it with the displacing, then but change-through to the other side.

[89] 

[89] 

[90] Another. Another.

If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.

[90] Item. Another.

As you come to him, set your left foot forward and hold the long [point] against his face. If he then hews to the sword (over or under) and will strike it away, allow your point to sink downwards and stab him to the other opening of the other side, and do that against all hews.

[90] 

[90] 

[91] About the yanking back

88 Tread close in binds,
 So that yanking back gives good opportunities.
89 Suddenly withdraw. If they engage, suddenly withdraw more.
 Uncover the work that does them harm.
90 Suddenly withdraw in all engagements
 If you wish to make a fool of the masters

Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.[224]

[91] This is the text and the gloss about yanking

88 Tread near in binding;[225]
 The yanking gives good opportunities.
89 Pull: if it connects, yank more.
 If he works, cut so that it does him woe.
90 Pull in all hits
 Of the masters if you wish to deceive them.

Gloss. This is when you come to him with the onset: so cleave-in strongly above from the right shoulder to the head. If he then binds you with displacing (or otherwise on the sword), so tread near to him in the bind on the sword[226] and withdraw your sword from his above, and cleave-in again above to the other side to his head (as it stands pictured next to this).[30] If he displaces that too a second time, so strike-in again above to the other side, and work swiftly according to the upper openings which may occur to you with the doublings[227] (or otherwise with other plays to his nearest opening).[228]

[91] About the twitching.

88 Step in closer in the bind,
 the twitching gives you a good deal.
89 Twitch! Meet it, then twitch again.
 Find openings to work: then give pain.
90 Twitch in all fights
 against the masters, if you want to trick them.

Glosa. When you come against him in Zufechten, strike powerfully from above from your right shoulder in against his head. If he binds against the sword with a parry or suchlike, step in closer to him in the bind and twitch your sword up and away from his and cut back down against him on the other side of the head. If he defends himself this second him, strike back to the first side from above and work deftly against the upper openings that open to you, with doubling and other techniques.

[91] (12) The Jerk (Das zucken)







When you come to fence, so hit him from the right with an oberhau to the head. If he binds at the sword, then step in close to him(still binding ), jerk your sword quickly from above his and hit from the other side to his head. If he deflects it again, then strike him again to the other side, and then work cleverly to the upper opening with duplieren and other pieces.

[92] Or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.

[92] Or act as if you will yank and [then] remain upon the sword, and quickly thrust-in again upon the sword to the face. If you then do not quite hit him with the thrust, so work with the doubling or otherwise with other plays.

[92] 

[92] 

[93] About Slipping through

91 Rush through, let hang
 Grab with the pommel if you wish to grapple.
92 Whoever strengthens against you,
 Remember to rush through with it.

Gloss. Note this is for when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back[229] and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.

[93] This is the text and the gloss about running-through

91 Run-through, allow to hang
 With the pommel, grasp if you wish to wrestle.
92 Whoever strengthens against you,
 Run-through. With that note.

Gloss. Note, this is when one runs-in to the other: if he then drives up with the arms and wishes to overwhelm you above with strength, so drive up as well with the arms, and hold your sword with the left hand near the pommel over your head and allow the blade to hang behind over your back,[230] and run-through with your head under his right arm and spring with the right foot behind his right, and with the spring, drive him well forward with the right arm around the body, and clasp him thusly to the right hip and throw him in front of you (as stands pictured here).[231][30]

[93] About running-through.

91 Run-through! Let it hang
 with the pommel, grip if you want to grapple.
92 When someone is strong against you:
 remember to run-through.

Glosa. When one rushes in closer to the other and goes up with the arms and wants to overpower you above with the strong; go up with your own arms and hold your sword by the pommel with the left hand over your head, and let the blade hang behind over your back. And run with your head through under his right arm and spring with the right foot behind his right foot. And as you spring, go with your right arm in front of and around his chest, and catch him around the side with your right hip and cast down him in front of you.

[93] (13) The running through (durchlaufen).





Notice: when he runs in, driving high with the arms and wants to subdue you with force from above, then drive high with your arms also and hold the pommel over your head with the left hand , so that the blade hangs down behind your back. Duck under his right arm and spring through with the right foot (Place it behind his right foot). In the spring grasp him around the breast and throw him over your hip.

[94] Yet another slipping through

Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword, hold your sword by the pommel with the left hand and let the blade hang over your back. Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.

[94] This is yet another play about running-through

Item.[113] Note,[2] when he wishes to overpower you with strength by running-in with the sword high:[232] so hold your sword with the left hand near the pommel and let the blade hang over your back.[230] Run-through with the head under his right arm, and remain with the right foot forward[124] before his right and drive in[49] well behind him with the right arm around the body, and clasp him upon your right hip and throw him behind you (as stands pictured here).[121][30]

[94] Another running-through.

When he rushes in towards you and powerfully tries to overpower you above with the sword, hold your sword by the pommel with the left hand and let the blade hang behind over your back, and run with the head through under his right arm and stand med with right foot in front of his right foot, and go with the right arm behind and around his chest, and catch him with the right hip and cast him down behind you.

[94] A second running through:

If while you are running through, he wishes to subdue you with strength from above, then hold the pommel with the left hand and let the blade hang down behind your back. Duck under his right arm, but leave your right leg in front of his. Grab him around the back with your right hand and throw him over your hip, behind you.

[95] A wrestling at the sword

Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side using your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you.

Though watch that it does not fail you.[233]

[95] A wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it with the right, and shove his sword from you to your right side with your hilt, and spring with the left foot in front of his right and drive him well back with your left arm around the body, and clasp him to your left hip and throw him in front of you.

Though watch that it does not fail you.

[95] A wrestle with the sword.

When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot in front of his right foot, and go with the left arm behind and around his chest, and catch him with the left hip and cast him down in front of you.

But watch out so that it does not go wrong for you.

[95] A battle in the sword.

If he tries to run in, then let go of the sword with the left hand and hold it in the right. Knock his sword to the right to your right with your cross guard. Spring with the left foot in front of his right foot grab him around the middriff, take him onto your left hip and throw him to the floor.

Though make sure that you do not fail.

[96] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.

[96] Yet another wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it in the right, and shove his sword from you to your right side with the hilt, and spring with the left foot behind his right and drive him forward with the left arm under his chest (well around the body), and throw him backward over your foot.

[96] Another wrestle with the sword.

When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot behind of his right foot, and go with the left arm in front of and under his chest, and catch him with the left hip and cast him backwards over your foot.

[96] A second battle in the sword.

If he tries to run in, then let go of the sword with the left hand, and hold it in the right hand, knock his sword to your right side with your cross guard. spring with your left foot behind his right, grab him around the chest with your left arm and throw him behind you over your leg.

[97] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm using your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.

[97] Yet another wresting at the sword

Item.[121] Note,[2] when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside[121] with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand[121] and spring with the left foot in front of his right, and back him thusly over the foot to your right side (as stands pictured next to this).[30]

[97] Another wrestle with the sword.

When you rush in towards another, release your sword with the left hand and hold it with the right. And go with the pommel outside and over his right arm, and thus twitch it downwards. And grip his right elbow with your left hand and spring with the left foot in front of his right foot, and pull him over the foot out to your right side.

[97] A third battle in the sword.

If you run in, then let go of the sword with your left hand and hold it in your right, then raise the pommel from the out side over his right arm, and pull him down, then grab his right elbow with your left hand, spring with your left foot in front of his right, and pull him to the right over your leg.

[98] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip.[234]

[98] Yet another wresting at the sword[235]

Item.[121] Note,[2] when one runs-in to the other: so drive with the left arm[236] over his right, and with that seize his[237] right arm with an inverted hand[238] and press his left[110] over your left with your[196] right arm, and spring with your[196] right foot behind his right and turn yourself away from him to your[239] left side, and[2] thus you[240] throw him over your[239] right hip (as stands pictured next to this).[30]

[98] Another wrestle with the sword.

When one rushes in towards the other, so go with the reversed left hand over his right arm and grip your right arm; and push his right arm over his left with your right arm, and spring with your right foot behind his right foot, and turn away from him to your left side, and so cast him over your right hip.

[98] A fourth battle in the sword.

If he runs in, then drive with the left hand reversed over his right arm and grabs your own right arm. Push with your right arm his right over your left, and spring with the right foot behind his right and turn to the left. This enables you to throw him over your right hip.

[99] Yet another wresting

Another. When someone rushes in inside your sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left using your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.

[99] Yet another wresting

Item. When someone runs-in at the sword, etc.: so let your sword fall and invert your right hand, and with that seize his right hand outside and clasp it near the right elbow with the left, and spring with the left foot in front of his right and shove his right arm over your left with the right hand, and with that lift it upwards; thus is he locked and thus [you] may break the arm, or throw him in front of you over the leg.

[99] 

[99] 

[100] One other wrestling at the sword

Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them.

This will vex them badly.[241]

[100] A sword taking[242]

Item.[121] Note,[2] when one runs-in to the other: so invert your left hand and with that drive over his right arm, and with that seize his sword by the grip between both hands, and back to your left side (as stands pictured next to this);[30] so you take the sword from him.[243]

This will vex him badly.[244]

[100] Another wrestle with the sword.

When one rushes in towards the other, turn your left hand and go with it over his right arm; and grip his sword's handle between his two hands, and pull it out to your left side, and so you will take the sword from him.

This will be very bad for him.

[100] A fifth battle at the sword.

If he runs in, then reverse your left hand and drive it over his right arm, grab his sword by the grip, between his hands and pull to your left hand side

and he will suffer.

[101] A sword disarm

Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades[245] with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.

[101] This is yet another sword taking[246]

Item.[121] Note,[2] when he binds on your sword (with displacing or otherwise): so seize both swords in the middle[2] of the blade with the left hand inverted[121] and hold them tightly together, and drive through below with the pommel with the right hand against the left side over both his hands, and with that back yourself upward to the right side. So you keep both swords (as stands pictured next to this).[30]

[101] A sword capture.

When he parries or in another manner binds against your sword, grip with a turned left hand both the swords by the blades. And hold them tightly together and go with the right hand out to your left side with the pommel from below round to the other side over both his hands; and pull upwards out to your right side; you will hold both swords.

[101] A sword captures.

If he displaces or in some other way binds your sword, then grab the swords in the middle of with your left hand (turned down). Hold them tightly together and drive your right hand underneath to your left side, over his hands. Then, pull upwards, to your right hand side, this way you get both swords.

[102] About cutting off

93 Cut off the hard ones
 From below in both paths
94 Four are the slices
 With two from below, two from above.

Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop[247] into their arms using the short edge and press upwards as before.

[102] This is the text and gloss about cutting-off

93 Cut away the hard [ones]
 From below in both drivings.[248]
94 Four are the cuts:
 With two below, two above.

Gloss. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will[121] overpower you above against your left side with strength,[249] so twist your sword and fall[250] under his hilt, into his arms with the long edge with crossed hands, and press-upward with the cut (as stands pictured next to this);[30] or, if he runs-in against your right side, fall[250] into his arm with the short edge and press upwards as before.

[102] About slicing.

93 Slice by the obstacles,
 from below threaten him.
94 Four are the slices,
 two below and two above.

Glosa. There are four slices. Understand this: when he rushes in towards you and goes high up with the arms and wants to overpower you with strength from above against your left side, wind your sword and fall with the long edge with crossed hands under his hilt against his arm; and press upwards with the slice. Or if he rushes in towards your right side, fall with the short edge against his arm and press upwards as before.

[102] (14) The cutting aside.





Note, there are four slices, two lower and two upper. Do the first like this: If he runs in from your left side, driving up with both arms and wants to overpower you from above. Then twist your sword and drop with the long edge under his hilt into his arm and press him upwards with the cut. But if he runs in from your right, then drop the false edge under and into his arm and press him up as before.

[103] Yet another slice

Another. When you bind strongly on their sword using a cut or otherwise, then if the opponent allows their sword to bounce away from yours and strikes at your head from above, then hang off your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.

[103] Yet another cut

Item. When you bind strongly on his sword (with a hew or otherwise): if he then allows his sword to snap-away from yours and strikes you above to the head, so twist your sword with the hilt in front of your head and cut-through his arm below, and with the cut, set the point below upon his chest.

[103] Another slice.

When with a strike or in some other manner you bind strongly with his sword; let him pull his sword away from you and strike from above to your head. Then wind your sword with the hilt in front of your head and slice his arm from below; and thrust the point in the slice down into his breast.

[103] The second cut.

If you bind strongly against his sword, with a blow or otherwise, and he then jerks his sword away and tries to hit your head from above, then twist your sword, work through with the cross guard in front of your head and cut him under his arm. With this cut place the point underneath against his breast.

[104] Yet another slice

Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above using your long edge. Conduct this on both sides.

[104] This is the over-cut[251]

Item.[48] Note,[2] conduct the cut thusly: when one binds on the sword against your left side, and[48] he then[252] strikes around from the sword to the right side (with the thwart or otherwise),[135] so spring from the hew with the left foot to his right side, and fall with the long edge above over both arms and press him from you (as stands pictured here).[253] Deploy this to both sides.[47]

[104] Another slice.

When someone binds your sword to your left side and strikes round from the sword with the Zwerchau or suchlike to your right side, spring with the left foot out to his right side away from the strike, and fall with the long edge from above over both arms. Do this on both sides.

[104] The third and fourth cuts.

If he binds with your sword from the left and then tries to strike around to your right with a zwerchhau or some other technique, then spring with your left foot out of the blow, to his right hand side and drop with the long edge from above, over both arms. Practise this from both sides.

[105] About the transformation of the slice

95 Turn your edges
 To flatten, press your hands

Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side and with that press their arms away from you.[254]

[105] This is the text and the gloss about the transformation of the cut

95 Turn the edge
 To flatten; press the hands.

Gloss. Note,[2] this is when you come in your running-in with the under-cut below[2] into his arm (such that your point goes out against his[255] right side): so with that,[256] press firmly upwards with the cut,[257] and amid the pressing spring with the left foot to his right side, and turn your sword with the long edge above over his arms (such that your point goes-out against his left side), and with that, press his arm from you.[258] Thus have you transformed the under-cut into the over; conduct this to both sides.[259]

[105] About the transforming of the slice.

95 Wind the edge,
 to avoid, press the hands.

Glosa. When you can come with an under-slice to his arm when he rushes in, so that your point goes out to his right side; press upwards with the slice. And in the pressing, spring with the left foot out to his right side, and wind your sword with the long edge from above over his arms so that your point goes out to his left side; and press his arms away from you.

[105] (15) The press with the hands.



The change of the cut: If you can run in then cut him under the arm, so that your point is pointing to his right, then push up strongly with the cut. Simultaneously spring with your left foot to his right side, and wrap the long edge of your sword up over his arms so that your point is pointing to his left, then press his arms away from you.

[106] About the two hangings

96 Two hangings emerge
 From the ground out of each hand
97 In every application
 Cut, Thrust, Position, Soft or Hard

Gloss. Note there are hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.[260]

[106] This is the text and the gloss about the two hangings

96 The two hangings happen
 From one hand from the earth.
97 In every drive,
 Hew, thrust, leaguer; soft or hard.

Gloss. Note, there are two hangings from one hand and from one side from the earth; conduct it thusly: When you bind onto his sword against your left side with the lower setting-aside, so hang your sword's[121] pommel against the earth, and thrust-up to him from below out of the hanging to the face. If he then shoves your point upward with the displacing, so remain thusly upon the sword and also[2] drive up with him,[261] and hang the point from above down to the face, and in the two hangings you shall swiftly conduct hew, thrust, and cut [with] every drive. Thereafter, as you [are] in the binding-on of the sword, with that, perceive (or test)[262] whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)[263]

[106] About the two hangings.

96 There are two hangings
 from each hand to the ground.
97 In all movements:
 strikes, thrusts, guards—soft or hard.

Glosa. There are two hangings from each hand and on each side towards the ground. When you bind against his sword with a lower setting-aside to your left side; hang your pommel to the ground and thrust him from below up into the face from the hanging. If he pushes your point upwards with a parry, stay in the bind and go up with him, and hang the point from above downwards towards his face. And in the two hangings you shall deftly use all techniques: strikes, thrusts and slice; in the binding against the sword notice if he is soft or hard.

[106] (16) The hanging.





Note: There are two hangings from the same side: Drive them as follows: If you bind against his sword on the left while absetzen (setting aside) an attack to the lower opening, let your sword pommel hang to the ground and stab to his face from beneath. If he then deflects your point upwards, remain on the sword and drive high also. and let the point hang into his face from above. And learn all techniques from both hangings:Blows, thrusts and cuts, depending, on whether you feel he is soft or hard in the bind.

[107] About the speaking window

98 Make the speaking window
 Stand freely, watch their situation.
99 Strike them so that it snaps.
 Whoever withdraws themselves before you,
100 I say to you truthfully
 No one defends themselves without danger
101 If you have understood
 They cannot come to blows

Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or parrying, remain strong against their sword using your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.

[107] This is the text and the gloss about the speaking-window

98 Make the speaking-window;
 Stand freely, seek out his thing,[264]
99 Strike him such that it snaps
 Whoever withdraws before you.
100 I say to you in truth:
 No one protects themselves without danger.
101 If you have correct understanding,
 He may barely come to strikes.

Gloss. Note,[265] this called the speaking-window: when he binds you on the sword with hews or[266] with[267] displacing, so remain strong from extended arms with the long edge upon the sword, with the point in front of the face, and stand freely and seek out his thing (whatever he will conduct against you).

[107] About the speaking window.

98 Doing the speaking window:
 stand straight, observe what he does.
99 Strike in, when he twitches.
 About the one who draws himself away from you,
100 truly I say this to you:
 no man can truly defend himself without danger!
101 If you have understood this correctly,
 he can rarely come to blows.

Glosa. It is called the "speaking window": when he binds against the sword with a strike or parry, hold strongly with the long edge against his sword with outstretched arms, with the point in front of his face, and stand calmly and observe what he tries to do against you.

[107] (17) The sprechfenster.









Note: this is the sprechfenster: If he binds with your sword with a strike or defection, so remain strongly on the sword with the long edge, with the point in front of his face, stand calmly and pay attention, to what his next move is.

[108] Another. If the opponent strikes around from the sword to your other side with a descending cut, then bind in from above with strength in accordance with their cut[268] using your long edge.

[108] Item.[269] If he strikes-around from the sword with an over-hew to the other side, so bind-after[270] with the long edge[271] against[2] his hew with strength, above into the head.

[108] If he strikes round with the sword in an Oberhau against you to your other side, follow after and bind powerfully on his cut with the long edge from above in to the head.

[108] If he strikes around the sword to the other side with an oberhau, then stay strongly in the bind and follow his strike, with the long edge, to his head.

[109] Or if they strike around using the crosswise cut, then drop into their arms using the upper slice.

[109] Or[269] if he strikes-around from the sword[272] with the thwart, so fall into his arms with the over-cut.

[109] Or if he strikes round in a Zwerchau, fall with the upper slice against his arms.

[109] Or if he strikes around with the zwerch, then fall on his arms with the overcut.

[110] Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword and lodge against them from above.

[110] Or[269] if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point,[273] and set-upon him above.

[110] Or if he twitches the sword and thinks to stab you from below, follow after him in the bind, and thrust into him from above.

[110] Or if he pulls his sword back and tries to stab you in the lower opening. Then then follow his thrust and stab him over the sword.

[111] Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.

[111] Item.[265] Note,[274] if he does not wish to withdraw[275] nor strike-around from the sword, so work upon the sword with the doubling (or otherwise with other plays) as you thereafter perceive the soft and the hard upon the sword.

[111] Or if he does not draw back from the sword, nor strikes round, work in the bind with the doubling and with other techniques—all because you mark if he is soft or hard in the bind.

[111] But if he wants neither to pull away or strike around, then work at the sword with duplieren and other techniques. Depending on whether or not you feel he is hard or soft at the sword.

[112] Hereafter note what is called here, the long point.

Note the moment before you arrive too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.[276]

[112] Here note how you shall stand in the long-point and what plays you shall conduct from it

Item.[124] Note,[277] when you come just near[278] to him with the onset: so set your left foot forward before when he binds you on the sword,[279] and hold your[280] point long with[267] extended arms against the face or against[267] the chest. If he then hews-in from above[281] to your head, so wind against his hew with the sword and thrust into his face.

[112] That which is called the "long point".

Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards him with outstretched arms towards the face or the chest. If he cuts at you from above and down towards your head, wind with the sword against his cut and stab him in the face.

[112] The long point

Note: If coming in to fence, then your left point forward and place your point (with outstretched arms) against his breast or face. Or if he strikes to your head wind your sword against his blow and stab him to the face.

[113] Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.

[113] Or if he hews from above to below, or from below up into the sword, and wishes to strike the point away, so change-through and thrust to the other opening or side.[282]

[113] Or if he cuts from above or from below against your sword and tries to knock the point away, change through and stab him on the other side into the opening.

[113] Or if he strikes you from above or beneath and wants to beat your blade to the side, then change through and thrust to the opening on the other side.

[114] Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.

[114] Or if he hits your sword with strength with the hew, so allow your sword[283] to snap-around, so you hit him in the head.

[114] Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head.

[114] But if he hits your sword with strength, snap it around and hit to his head.

[115] If the opponent rushes in, then conduct the wrestling or the slice.

Watch that it does not fail you.[284]

[115] Or[267] if he runs-in, so conduct the cut or await[2] the wrestling.

Watch that it does not fail you.[285]

[115] If he rushes in towards you, grapple or slice him.

Watch out so that it does not go wrong for you!

[115] If he runs in then wrestle or cut.

Always make sure you do not fail.

[116] The text about the distillation of the recital

102 Who fully commands and correctly breaks
 And makes complete irrefutable judgement
103 And breaks each one individually
 Into three wounders
104 Who hangs consummately and correctly
 And carries out windings with it
105 And considers the eight winds
 With correct judgement
106 And unites them.
 The windings, I differentiate trebly
107 Thus they are twenty
 And four counting them individually.
108 From both sides
 Learn eight windings with steps
109 And gauge these applications
 Nothing more than soft or hard

Gloss. This is a lesson in which the recital is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to execute your break against their play, so that you can complete your work from any particular break using the three wounders.[286]

[116] This is the text about the conclusion of the entire Recital

102 Whoever commands well and properly breaks,
 And tenaciously corrects completely,
103 And breaks apart,
 Each into three wounders;
104 Whoever properly hangs well,
 And with that brings the winding,
105 And considers the eight windings,
 With proper movement[287];
106 And yet I mean your one
 Of the windings are triple,
107 So are they simply counted
 Twenty and four.
108 From both sides
 Learn eight windings with stepping,
109 And test the drives [for]
 Nothing more than soft or hard.

Gloss. This is a lesson, therein the art of[288] the record is skillfully understood.[289] It is taught thusly so that you shall be quite well[290] practiced and accomplished[291] in the art. Also, so that you can appropriately command any attack and play[292] according to that which you fence with, so that you therefore correctly[2] know to conduct your break against his plays, so that you may work with three wounders from each particular break.

[116] The summary of the markverses.

102 He who does well, who counters correctly
 and diligently and who understands completely,
103 and especially who counters
 everyone by the three wounders,
104 he who lets go completely
 and takes it into the wind
105 by eight windings,
 and who understands correctly
106 that each of
 the windings are threefold, so I mean
107 that there are
 twenty and four,
108 counted on both sides.
 Learn the eight windings with steps.
109 And test all techniques
 no more than you test for weak or hard.

Glosa. This is a lesson, which summarises the markverses so that they are comprehensible for you. Learn also: that you shall acquaint yourself well with and train the art by which you fence, so that you know to use your counters against his techniques. Especially that you can work with the three wounders from every counter.

[116] The closing lesson. In the following it is taught briefly.

















Note: In the art of fencing you should always be practised and ready, so that from each break you are able to operate, with blows, with trusts, and with cuts.

[117] Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to execute.

[117] Item.[267] You shall also properly hang upon the sword and from the hangings you shall bring eight windings, and you shall also consider and properly estimate[293][294] the windings, so that you know to conduct which one of the said three.

[117] You shall also hang well in the bind, and from the hangings you will use eight windings, and you will study these windings, so that you know to use all of the three methods.

[117] You should be able to use the hanging at the sword. And to wind from the hanging. And from the hanging you are likewise to be able to strike and cut.

[118] Here note how you shall conduct the hangings and the windings

Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only execute two specific windings from each binding of the sword.

[118] Here note how you shall conduct the hangings and the windings

Item.[2] Understand it thusly: there are four bindings-on of the sword, two over and[269] two under. You shall only conduct two particular windings from each binding-on of the sword.[295]

[118] How you shall use the hanging and the windings.

There are four bindings with the sword, two over and two under. Now in every binding with the sword you will use two specific windings.

[118] The hanging and the winding.

There are four sword binds, two upper and two lower. From each bind you should control two winds.

[119] Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.

[119] Item.[267] Do[296] it thusly: When you come to him with the onset,[30] if he then binds-on to you above against your left side, so wind the short edge upon his sword and drive well up with the arms, and hang-in your point to him above and thrust into his face. If he displaces the thrust with strength,[297] allow your point to hang-in above upon the sword, and wind to your right side and thrust.[298] These are two windings on one side of the[299] sword.

[119] If he binds above on your left side, wind the short edge against his sword and go upwards with the arms; and hang the point in from above towards him and stab him in the face. If he defends against the thrust, let the point hang in from above in the bind and wind out to you right side. There are two windings around the side of the sword.

[119] So if he binds high to your left hand side, lift your arms and wind the short edge at his sword, leave the point hanging and thrust to his face. If he sets aside the thrust, wind to your right side and let the point hang.

[120] Or if the opponent binds against your right side from above, also wind your long edge against their sword toward your right side and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides.

[120] Item.[265] Or[269] if he binds-on above against your right side, wind the long edge upon his sword also against your right side and drive well up with the arms, and hang-in your point to him above, and thrust-in the point above[300] into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your left side and thrust. These are four windings from the two over-bindings-on, from[301] the left and from[121] the right sides.

[120] Or if he binds above to your right side, wind the long edge against his sword towards your right side. And up with the arms and hang the point in from above and thrust him in the face. If he parries the thrust powerfully, so in the binding let the point hang in towards him from above and wind out to your left side and thrust. There are four windings from the two high bindings on the left and right sides.

[120] Likewise if he binds high to your right side, then also wind to your right, with the long edge at his sword, lift up your arms let the point hang and thrust to his face. If he sets aside the thrust with strength then let his point rest on your sword above the hanging, wind to the left and thrust. These are the four windings from bindings to the upper left and upper right side.

[121] Another. Now you shall know that you shall also execute four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall execute one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play into the winding that is called for. If you do not do this, all windings become a means to be struck.[302]

[121] Item.[269] Now you shall know that you shall also conduct four windings from the two under-bindings-on with all attacks, as from the over[-bindings-on]. Thus the windings, over and under, become eight. And[121] remember that you shall conduct one particular hew, or[265] one[2] cut, or[303] one thrust, from each winding. And[265] this is called the[265] three wounders. From those, one can and shall[304] conduct them from the eight windings into twenty-four instances. And you shall properly learn to conduct the eight windings from both sides, so that you step in[305] with each winding,[306] and you test his attack, no more than[265] if he is soft or hard upon the sword. And when you have sensed these two things, conduct the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.

[121] Now you shall know that from the two low bindings also you shall use four windings with all techniques you use from the over bindings: thus there are eight windings above and below. And think that from every winding you can use a strike, a slice and a thrust. And these are called the \three wounders", which of the twenty four methods one can and should use from the eight windings. And the eight windings you shall learn well on both sides, so that with every wounder you can feel precisely if he is soft or hard in the bind, and no more. And when you have felt these two things, use the correct techniques that are companion to the windings. If you do not do this then you will be beaten despite all windings.

[121] Likewise you should control four windings from the lower bindings. just as above. This totals eight, and imagine that you can strike, thrust and cut, from each winding, so that twenty four techniques can come from one winding. And you are to learn the eight winds in this way, from both sides. So that with each strike you test whether he is hard or soft at the sword. And you have learnt to drive through all pieces that lead to winding, if not you will be hit within each winding.

  1. ↑ Rostock adds: and pictured
  2. ↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 2.19 2.20 2.21 2.22 2.23 2.24 2.25 2.26 2.27 2.28 2.29 2.30 2.31 2.32 2.33 2.34 2.35 2.36 2.37 2.38 2.39 2.40 2.41 2.42 2.43 2.44 2.45 2.46 2.47 2.48 2.49 2.50 2.51 2.52 2.53 2.54 2.55 Word omitted from the Dresden.
  3. ↑ "Known as" omitted from the Dresden.
  4. ↑ D. schirmaiste~, R. schiermeister.
  5. ↑ Count Palatine
  6. ↑ Duke
  7. ↑ "and pictured" omitted from the Dresden.
  8. ↑ Corrected from »am«.
  9. ↑ lit: All art has length and measure
  10. ↑ 10.0 10.1 10.2 Line omitted from the Dresden.
  11. ↑ lit: hastening. hasten, maturare, accelerare, see Grimm
  12. ↑ alt: instruction
  13. ↑ Zeck: Tick. (Rostock)Zeckruhr: Insect bites
  14. ↑ possibly: 'strongly desire to conduct'
  15. ↑ D. Zeck: Tick; R. Zeckruhr: Insect bites.
  16. ↑ Possibly "strongly desire to conduct".
  17. ↑ 17.0 17.1 "Note, this is" omitted from the Dresden.
  18. ↑ "You shall" omitted from the Rostock.
  19. ↑ Lit: "Before the moment he comes with his to you".
  20. ↑ wiederhalten: lit. 'hold against'. To withstand, resist
  21. ↑ wiederhalten: lit. "hold against"; to withstand, resist.
  22. ↑ Alternately: weapons.
  23. ↑ D. Wer dz wäre: "Whoever defends these".
  24. ↑ Alternately: avow, legally promise.
  25. ↑ Possibly "wages".
  26. ↑ Lit: "hew other hews".
  27. ↑ "In the same five hews" omitted from the Rostock.
  28. ↑ ober is an adjective, oben is an adverb.
  29. ↑ R. "the".
  30. ↑ 30.00 30.01 30.02 30.03 30.04 30.05 30.06 30.07 30.08 30.09 30.10 30.11 30.12 30.13 30.14 30.15 30.16 30.17 30.18 30.19 30.20 30.21 30.22 30.23 30.24 30.25 30.26 30.27 30.28 30.29 30.30 30.31 30.32 30.33 30.34 30.35 30.36 30.37 30.38 30.39 30.40 30.41 30.42 30.43 30.44 Clause omitted from the Dresden.
  31. ↑ 31.0 31.1 "This is" omitted from the Dresden.
  32. ↑ abrucken: "removere" (remove), "absetzen" (offset).
  33. ↑ Rostock: 'nider' => 'down'
  34. ↑ D. wider[sic]: "again".
  35. ↑ Rostock: "wind stark..." => "twist strongly"
  36. ↑ 36.0 36.1 36.2 36.3 36.4 D. "the".
  37. ↑ D. bind: "bind-in".
  38. ↑ Rostock garbles Indes with 'Jun ger'
  39. ↑ Rostock: "dem krieg"
  40. ↑ Rostock: has "arbaiten(to work)" instead of "hurten"
  41. ↑ R. Jun ger [sic].
  42. ↑ R. dem krieg: "the war".
  43. ↑ D. hurten: "to rush".
  44. ↑ Rostock adds: "der heúe, oder stich, od shnit"
  45. ↑ "The hew, or thrust, or cut" omitted from the Dresden.
  46. ↑ "Nor thrust… cut" omitted from the Rostock.
  47. ↑ 47.0 47.1 47.2 47.3 Sentence omitted from the Rostock.
  48. ↑ 48.0 48.1 48.2 48.3 48.4 48.5 48.6 48.7 48.8 Word omitted from the Rostock.
  49. ↑ 49.0 49.1 Word omitted from the Dresden and the Rostock.
  50. ↑ Alternately: ponder, weigh, calculate, estimate, consider.
  51. ↑ Codex Speyer (MS M.I.29), ff 17rv
  52. ↑ Alternately: avenge, take full legal retribution.
  53. ↑ Alternately: straight, upright, properly.
  54. ↑ D. schüczen, R. behuetẽ.
  55. ↑ Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.
  56. ↑ Alternately: part, piece.
  57. ↑ aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .
  58. ↑ 58.0 58.1 58.2 58.3 58.4 58.5 Word omitted from the Salzburg.
  59. ↑ Likely a scribal error and should be "his".
  60. ↑ "The opening" omitted from the Salzburg.
  61. ↑ S. "the over- or under-hew".
  62. ↑ Possibly "it".
  63. ↑ S. vß gestreckten: "outstretched".
  64. ↑ Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.
  65. ↑ Codex Speyer (MS M.I.29), ff 18v
  66. ↑ This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.
  67. ↑ Rostock begins again at this point.
  68. ↑ "Cut" omitted from the Dresden.
  69. ↑ S. "Item".
  70. ↑ 70.0 70.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).
  71. ↑ S. "if".
  72. ↑ S. "his".
  73. ↑ S. "the".
  74. ↑ S. "where he shall guard himself".
  75. ↑ Codex Speyer (MS M.I.29), ff 20v-21r
  76. ↑ D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.
  77. ↑ "Komp" added below the line in a different hand.
  78. ↑ Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."
  79. ↑ "Stand with… shoulder, and" omitted from the Dresden.
  80. ↑ literally "breaks"
  81. ↑ Rostock: supplies the missing verb, 'windest'
  82. ↑ D. "thwart".
  83. ↑ 83.0 83.1 Alternately, wiederhalten: to struggle or resist.
  84. ↑ alternately, wiederhalten: to struggle or resist
  85. ↑ Word omitted from the Glasgow, the Rostock, and the Salzburg.
  86. ↑ "Or otherwise" omitted from the Salzburg.
  87. ↑ "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.
  88. ↑ Clause omitted from the Dresden; struck out in the Rostock.
  89. ↑ 89.0 89.1 Clause omitted from the Dresden and the Rostock.
  90. ↑ Codex Speyer (MS M.I.29), f 21v
  91. ↑ Rostock: "unternn" => "lower"
  92. ↑ R. "wind".
  93. ↑ "With the over-hew" omitted from the Glasgow.
  94. ↑ R. unternn: "lower".
  95. ↑ "Next to" omitted from the Rostock.
  96. ↑ Glasgow adds albeg: "always, continually".
  97. ↑ The Rostock title matched the Dresden
  98. ↑ Or "connects"; alternately: rouses, stirs (ostensibly your opponent).
  99. ↑ "This is" omitted from the Glasgow and the Rostock.
  100. ↑ "Will strike" omitted from the Dresden.
  101. ↑ G. twerhaw: "thwart-hew".
  102. ↑ R. "wind".
  103. ↑ "Or left" omitted from the Glasgow.
  104. ↑ Everything from "and steal away" to the end of the sentence is omitted from the Dresden.
  105. ↑ Alternately: to turn around.
  106. ↑ "And strike in" omitted from the Dresden.
  107. ↑ omitted in Dresden
  108. ↑ mit omitted in the Glasgow
  109. ↑ D. "is".
  110. ↑ 110.0 110.1 D. "right".
  111. ↑ D. mit auß: "with from".
  112. ↑ As a thief would break into a house.
  113. ↑ 113.0 113.1 113.2 113.3 Word omitted from the Glasgow and the Rostock.
  114. ↑ Word is doubled in the Glasgow.
  115. ↑ annehmen: receive, accept, take up, assume, claim, obtain, etc.
  116. ↑ "Into the weak of his sword" omitted from the Rostock
  117. ↑ "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".
  118. ↑ "With upright arms… right shoulder" omitted from the Rostock.
  119. ↑ Clause omitted from the Dresden and the Glasgow.
  120. ↑ R. "pictured here".
  121. ↑ 121.00 121.01 121.02 121.03 121.04 121.05 121.06 121.07 121.08 121.09 121.10 121.11 121.12 121.13 121.14 121.15 121.16 121.17 121.18 121.19 121.20 121.21 121.22 121.23 121.24 121.25 Word omitted from the Glasgow.
  122. ↑ S. bestetigstu: "to plant".
  123. ↑ G. abent: "evening", clearly an error; Medel: anwinden: "winding-upon".
  124. ↑ 124.0 124.1 124.2 124.3 124.4 124.5 Word omitted from the Dresden and the Glasgow.
  125. ↑ "To his point" omitted from the Rostock.
  126. ↑ "To his point" omitted from the Glasgow.
  127. ↑ S. "You may also do this".
  128. ↑ "A free over-hew" omitted from the Dresden and the Glasgow.
  129. ↑ "With the visage" omitted from the Salzburg.
  130. ↑ "To his head" omitted from the Dresden and the Glasgow.
  131. ↑ D., G. "the head".
  132. ↑ Rostock:The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cut in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.
  133. ↑ R. includes couplet 64 with this gloss.
  134. ↑ R. denn Schaytler: "the parter".
  135. ↑ 135.0 135.1 135.2 135.3 Clause omitted from the Rostock.
  136. ↑ D. der lange: "long, high, tall, or lofty".
  137. ↑ "To his head" omitted from the Dresden and the Glasgow.
  138. ↑ "If he displaces" omitted from the Dresden and the Glasgow.
  139. ↑ einhangen: to adhere, stick to, cleave to, hold on to, engage deeply.
  140. ↑ "With the long… and thrust him" omitted from the Dresden and the Glasgow.
  141. ↑ Glasgow: Another. If the opponent firmly shoves your point upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.
  142. ↑ Rostock: One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust [in pPvD, this is 'strich' not 'stich'. So: "press the strike"], withdraw it with slicing. Gloss. Note when you cut in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.
  143. ↑ Kehr has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.
  144. ↑ Alternately: strongly, firmly, steadfastly.
  145. ↑ R. includes this couplet with the previous gloss.
  146. ↑ G., R., S. "Item".
  147. ↑ D. "hang-in"; "strike-in and" omitted.
  148. ↑ "The point" omitted from the Salzburg.
  149. ↑ Sentence omitted from the Glasgow and the Rostock.
  150. ↑ D., G., R. "you".
  151. ↑ D., G., S. "the".
  152. ↑ "In the displacement" omitted from the Salzburg and the Rostock.
  153. ↑ "Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.
  154. ↑ S. fast vber sich: "firmly upward".
  155. ↑ Clause omitted from the Dresden, the Glasgow, and the Salzburg.
  156. ↑ "His hands" omitted from the Dresden, the Glasgow, and the Salzburg.
  157. ↑ G. "since".
  158. ↑ Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.
  159. ↑ in pPvD, this is 'strich' not 'stich'. So: "press the strike"
  160. ↑ D., G. Schon, lit. "already", "yet".
  161. ↑ D. stuch, R. stich: "press the thrust".
  162. ↑ D., G., S. "cut".
  163. ↑ 163.0 163.1 Clause omitted from the Dresden, the Rostock, and the Salzburg.
  164. ↑ S. "well broken".
  165. ↑ "From the under-cut" omitted from the Salzburg.
  166. ↑ "And wind your sword… withdraw yourself" omitted from the Rostock.
  167. ↑ Imperative of fliehen.
  168. ↑ alt: unpleasant, repugnant
  169. ↑ "Note, this" omitted from the Dresden.
  170. ↑ "Will be" omitted from the Glasgow.
  171. ↑ 171.0 171.1 171.2 171.3 "Is called" omitted from the Dresden
  172. ↑ "With the hilt" omitted from the Dresden.
  173. ↑ G. auß gestrackten: "upstretched".
  174. ↑ "It all" omitted from the Dresden.
  175. ↑ "In this book" omitted from the Glasgow.
  176. ↑ G. "Guard yourself displacing crossed in front".
  177. ↑ D. instead continues "that the four displacings, they are the four hews".
  178. ↑ Setzen", possibly a shortening of versetzen, "displaces".
  179. ↑ D. "oxen".
  180. ↑ literally "breaks"
  181. ↑ S. other.
  182. ↑ "they allow the... do not parry" omitted from the Dresden and Glasgow.
  183. ↑ S. Item
  184. ↑ R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".
  185. ↑ D. "in front of".
  186. ↑ G., S. versetzte: "shifted, misplaced, displaced, parried".
  187. ↑ Word omitted from the Dresden, the Glasgow, and the Rostock.
  188. ↑ "And wrench… his below" omitted from the Dresden and the Glasgow.
  189. ↑ "The head" omitted from the Salzburg.
  190. ↑ 190.0 190.1 Clause omitted from the Dresden and the Salzburg.
  191. ↑ S. "also".
  192. ↑ Glasgow: This is the text and the gloss of yet another one of the plays against the parry.

    Lodge against four regions
     Learn to remain upon them if you wish to finish

    Gloss. This is for when you cut in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.
  193. ↑ G. mit dem schwert: "with the sword".
  194. ↑ D. "grasp with the sword".
  195. ↑ G. magst: "may".
  196. ↑ 196.0 196.1 196.2 G. "the".
  197. ↑ This is about pursuing.

    Learn to pursue
     Double or slice into the weapon

    Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.
  198. ↑ Alternately: defense.
  199. ↑ "And hit him" omitted from the Rostock.
  200. ↑ 200.0 200.1 "The moment" omitted from the Dresden.
  201. ↑ D. wieder-kommen: to meet, to encounter, to run into".
  202. ↑ "Or fall… from you" omitted from the Rostock.
  203. ↑ Or if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.
  204. ↑ Line omitted from the Rostock.
  205. ↑ R. "or".
  206. ↑ "If he then" omitted from the Rostock".
  207. ↑ D. haw: "hew".
  208. ↑ Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.
  209. ↑ maintain blade contact
  210. ↑ geim: "watchfully, to observe, cautiously, with foresight".
  211. ↑ Word omitted from the Glasgow and the Salzburg.
  212. ↑ S. "the feeling work thusly".
  213. ↑ "You come… onset and" omitted from the Dresden and the Glasgow.
  214. ↑ S. "soft or hard".
  215. ↑ S. "feeling".
  216. ↑ "To the nearest opening" omitted from the Salzburg.
  217. ↑ D., G. gewar, S. ÿnnen.
  218. ↑ Word omitted from the Dresden and the Salzburg.
  219. ↑ D. "winds".
  220. ↑ D. blitzscht: "flashes".
  221. ↑ D. "Item".
  222. ↑ G. "note".
  223. ↑ Schier has the sense of approaching quickly and closely.
  224. ↑ Glasgow: This is the text and the gloss about yanking back

    Tread close in binds,
     So that yanking back gives good opportunities.
    Suddenly withdraw. If they engage, suddenly withdraw more.
     If they work, slice so that it does them woe.
    Suddenly withdraw in all engagements
     If you wish to make a fool of the masters

    Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head as it is pictured next to this, and work swiftly to their nearest opening by doubling or otherwise by other plays.

  225. ↑ Zucken has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.
  226. ↑ "On the sword" omitted from the Dresden.
  227. ↑ Beginning of sentence in Glasgow reads "and work swiftly with the doubling.
  228. ↑ D. "(and with other plays)".
  229. ↑ Rostock: "and allow the blade to hang down behind you"
  230. ↑ 230.0 230.1 R. "hang down behind you".
  231. ↑ G. "next to this".
  232. ↑ R. "when in the running-in he also drives-up with the arms".
  233. ↑ This last sentence is highlighted and a drawn hand is pointing to it.
  234. ↑ Glasgow: Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left using your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.
  235. ↑ Line omitted from the Glasgow.
  236. ↑ D. "left hand inverted".
  237. ↑ D. "your".
  238. ↑ "With an inverted hand" omitted from the Dresden.
  239. ↑ 239.0 239.1 G. "his".
  240. ↑ "Thus you" omitted from the Glasgow.
  241. ↑ This sentence is underlined
  242. ↑ D. "One other wrestling at the sword".
  243. ↑ Clause omitted from the Glasgow.
  244. ↑ Sentence omitted from the Glasgow.
  245. ↑ Glasgow adds: in the middle of the blade
  246. ↑ D. "A sword taking".
  247. ↑ Glasgow: traverse
  248. ↑ Read: "attacks".
  249. ↑ "With strength" omitted from the Glasgow.
  250. ↑ 250.0 250.1 G. far: "drive".
  251. ↑ D. "Yet another cut".
  252. ↑ "He then" omitted from the Dresden.
  253. ↑ "And press… pictured here" omitted from the Dresden.
  254. ↑ Glasgow: This is the text and the gloss about the transformation of the slice

    Turn your edge
     To flatten, press the hands

    Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.
  255. ↑ G. "your".
  256. ↑ "With that" omitted from the Dresden.
  257. ↑ "With the cut" omitted from the Augsburg and the Glasgow.
  258. ↑ Clause omitted from the Augsburg and the Glasgow.
  259. ↑ Sentence omitted from the Dresden.
  260. ↑ Rostock: This is the text and the gloss about the two hangings the sword

    Two hangings emerge
     From the ground out of each hand
    In every application
     Cut, Thrust, Position, Soft or Hard

    Gloss. Note there are two hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you either perceive or recognize in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.
  261. ↑ "With him" omitted from the Augsburg and the Glasgow.
  262. ↑ "Or test" omitted from the Dresden.
  263. ↑ Sentence omitted from the Augsburg and the Dresden.
  264. ↑ sach: thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.
  265. ↑ 265.0 265.1 265.2 265.3 265.4 265.5 265.6 Word omitted from the Augsburg and the Glasgow.
  266. ↑ A. "and".
  267. ↑ 267.0 267.1 267.2 267.3 267.4 267.5 Word omitted from the Augsburg and the Dresden.
  268. ↑ G: against their cut
  269. ↑ 269.0 269.1 269.2 269.3 269.4 269.5 Word omitted from the Augsburg.
  270. ↑ nachbinden: "attach to the end or behind something".
  271. ↑ "With the long edge" omitted from the Augsburg and the Glasgow.
  272. ↑ "From the sword" omitted from the Dresden.
  273. ↑ "With the point" omitted from the Dresden.
  274. ↑ D. "or"; word omitted from the Augsburg.
  275. ↑ abziechen.
  276. ↑ Glasgow: Here note how you shall stand in the long point and what plays you shall conduct from it.

    Note. When you come to the opponent with the initiation of fencing, advance your left foot the moment before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts in from above at your head, then wind against their cut with your sword and thrust into their face.
  277. ↑ D. Mörck Ee: "Note, before".
  278. ↑ "just near" omitted from the Augsburg and the Glasgow.
  279. ↑ "When he… the sword" omitted from the Dresden.
  280. ↑ A., D. "the".
  281. ↑ D. "hews from above to below".
  282. ↑ D. "to the other side to the opening".
  283. ↑ "Your sword" omitted from the Augsburg and the Glasgow.
  284. ↑ This last sentence is highlighted.
  285. ↑ Sentence omitted from the Augsburg and the Glasgow.
  286. ↑ Glasgow: This is a lesson in which the art of the recital is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to execute your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.
  287. ↑ shifting, balance
  288. ↑ "Art of" omitted from the Dresden.
  289. ↑ A., D. "shortened for you to understand".
  290. ↑ "Quite well" omitted from the Augsburg.
  291. ↑ Dresden reverses these.
  292. ↑ "Also so that… play" omitted from the Dresden.
  293. ↑ wägen: "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.
  294. ↑ "And properly estimate" omitted from the Dresden.
  295. ↑ "The sword" omitted from the Augsburg and the Glasgow.
  296. ↑ D. "understand".
  297. ↑ "With strength" omitted from the Dresden.
  298. ↑ "And thrust" omitted from the Dresden.
  299. ↑ "Of the" omitted from the Glasgow.
  300. ↑ "-In the point above" omitted from the Dresden and the Glasgow.
  301. ↑ A. "and".
  302. ↑ Glasgow: Another. Now you shall know that you shall also execute four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall execute one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, in such a way that you step in with each winding and with that consider their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play that is called for in that winding. Whenever you do not do this, you will become struck by all windings.
  303. ↑ D. "and"; omitted from the Augsburg and the Glasgow.
  304. ↑ "And shall" omitted from the Augsburg and the Glasgow.
  305. ↑ "You step towards" omitted from the Dresden.
  306. ↑ D. "wounder".
Retrieved from "https://wiktenauer.com/index.php?title=Sigmund_ain_Ringeck/Sandbox&oldid=132440"