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Difference between revisions of "Sigmund ain Ringeck/Keith Farrell 2010"

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<section begin="10"/>{{red|b=1|Mark, that which is called "After".}}
 
<section begin="10"/>{{red|b=1|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. Thus you win the "Before" and he is left in the "After".<section end="10"/>
+
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.<section end="10"/>
  
−
<section begin="11"/>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.<section end="11"/>
+
<section begin="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.<section end="11"/>
  
 
<section begin="12"/>{{red|b=1|The Five cuts.}}
 
<section begin="12"/>{{red|b=1|The Five cuts.}}
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|-  
 
|-  
 
| <small>30</small>
 
| <small>30</small>
−
| Note to train this:<br/> &emsp;cut, thrusts, guards--soft and hard.
+
| Note to train this:<br/> &emsp;cut, thrusts, guards&mdash;soft and hard.
 
|-  
 
|-  
 
| <small>31</small>
 
| <small>31</small>
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| Strike the Schielhau when he closes with you,<br/>&emsp;change through, against his face.
 
| Strike the Schielhau when he closes with you,<br/>&emsp;change through, against his face.
 
|}
 
|}
−
{{red|b=1|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.<ref name="clause-d"/><section end="52"/>
+
{{red|b=1|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.<section end="52"/>
  
 
<section begin="53"/><section end="53"/>
 
<section begin="53"/><section end="53"/>
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{{red|b=1|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.<section end="58"/>
 
{{red|b=1|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.<section end="58"/>
  
−
<section begin="59"/>{{red|b=1|How the slice counters the Crown.}}
+
<section begin="59"/>{{red|b=1|How the slice counters the Crown.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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<section begin="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.<section end="70"/>
 
<section begin="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.<section end="70"/>
  
−
<section begin="71"/>{{red|b=1|A technique against the displacements.}}
+
<section begin="71"/>{{red|b=1|A technique against the displacements.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 500: Line 500:
 
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.<section end="72"/>
 
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.<section end="72"/>
  
−
<section begin="73"/>{{red|b=1|A technique against the displacements.}}
+
<section begin="73"/>{{red|b=1|A technique against the displacements.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 508: Line 508:
 
{{red|b=1|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.<section end="73"/>
 
{{red|b=1|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.<section end="73"/>
  
−
<section begin="74"/>{{red|b=1|A technique against the displacements.}}
+
<section begin="74"/>{{red|b=1|A technique against the displacements.}}<br/><br/>
  
 
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.<section end="74"/>
 
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.<section end="74"/>
  
−
----
+
<section begin="75"/>{{red|b=1|About following-after.}}
−
 
 
−
<section begin="75"/>{{red|b=1|This is about racing-after}}
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>75</small>
 
| <small>75</small>
−
| Learn the racing-after,<br/>&emsp;Doubly or cut into the weapon<ref>Alternately: defense.</ref>
+
| Learn to follow after<br/>&emsp;twofold, or cut in the defence.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is so that you shall learn the racings-after quite well, because they are dual,<ref name="clause-r"/> and<ref name="word-d"/> the first<ref name="word-r"/> conduct thusly:<ref name="word-d"/> when he wishes to cleave-in above him,<ref name="word-r"/> 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<ref>"And hit him" omitted from the Rostock.</ref> to the upper<ref name="word-r"/> opening before the moment<ref name="moment-d">"The moment" omitted from the Dresden.</ref> he descends<ref>D. ''wieder-kommen'': to meet, to encounter, to run into".</ref> with the hew, or fall with the long edge above him onto his arm and with that, press him from you.<ref>"Or fall… from you" omitted from the Rostock.</ref><section end="75"/>
+
{{red|b=1|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.<section end="75"/>
  
−
<section begin="76"/>{{red|b=1|Yet another racing-after}}<ref name="line-r">Line omitted from the Rostock.</ref>
+
<section begin="76"/>{{red|b=1|Another following-after.}}
  
−
Item.<ref>R. "or".</ref> When he begins to hew you downward<ref name="word-d"/> from above, and<ref name="word-d"/> if he then<ref>"If he then" omitted from the Rostock".</ref> allows his sword to go down to the earth with the hew: so<ref name="word-d"/> race-after him with an over-hew<ref>D. ''haw'': "hew".</ref> to the head before the moment<ref name="moment-d"/> he comes-up with the sword, so is he struck.<ref name="clause-d"/><section end="76"/>
+
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.<section end="76"/>
  
 
<section begin="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.<section end="77"/>
 
<section begin="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.<section end="77"/>
  
−
<section begin="78"/>{{red|b=1|About the outer-cattle-drives}}
+
<section begin="78"/>{{red|b=1|About the outer takings.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>76</small>
 
| <small>76</small>
−
| Two outer-cattle-drives,<ref>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.</ref><br/>&emsp;You work begins thereafter,
+
| Two outer takings.<br/>&emsp;Thereafter you shall start your work.
 
|-  
 
|-  
 
| <small>77</small>
 
| <small>77</small>
−
| And test the attacks,<br/>&emsp;Whether they are soft or hard.
+
| And test the movements,<br/>&emsp;if they are weak or strong.
 
|}
 
|}
−
{{red|b=1|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.<section end="78"/>
+
{{red|b=1|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.<section end="78"/>
  
−
<section begin="79"/>{{red|b=1|The other outer-cattle-drives}}<section end=""/>
+
<section begin="79"/>{{red|b=1|The other outer taking.}}
  
−
Item. When you fence cautiously<ref>''geim'': "watchfully, to observe, cautiously, with foresight".</ref> 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.<section end="79"/>
+
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.<section end="79"/>
  
−
<section begin="80"/>{{red|b=1|This is the text and the gloss about the feeling and about the word "in-the-moment"}}
+
<section begin="80"/>{{red|b=1|About the Feeling and about the word "Instantly".}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>78</small>
 
| <small>78</small>
−
| Learn the feeling;<br/>&emsp;In-the-moment, that word hews severely.
+
| Learn to Feel.<br/>&emsp;"Instantly" is a word which cuts sharply.
 
|}
 
|}
−
{{red|b=1|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.<section end="80"/>
+
{{red|b=1|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.<section end="80"/>
  
−
<section begin="81"/>{{red|b=1|Item}}.<ref name="word-d"/> And<ref name="word-gs">Word omitted from the Glasgow and the Salzburg.</ref> understand it thusly:<ref>S. "the feeling work thusly".</ref> When you come to him with the onset and<ref>"You come… onset and" omitted from the Dresden and the Glasgow.</ref> one binds another on the sword, so in that you shall feel with the hand (that is, perceive),<ref name="clause-ds"/> just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that,<ref>S. "soft or hard".</ref> think of the word "in-the-moment"; that is, in that same swift perceiving<ref>S. "feeling".</ref> of the soft and of the hard, you shall work to the nearest opening,<ref>"To the nearest opening" omitted from the Salzburg.</ref> so [he] becomes struck before he will have his insight.<ref>D., G. ''gewar'', S. ''ÿnnen''.</ref><section end="81"/>
+
<section begin="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.<section end="81"/>
  
−
<section begin="82"/>{{red|b=1|Item}}. Note,<ref name="word-ds">Word omitted from the Dresden and the Salzburg.</ref> you shall think of the word "in-the-moment" in all bindings of the sword, because  
+
<section begin="82"/>In all bindings with the sword you shall think of the word "Instantly", because  
  
−
in-the-moment doubles <br/>
+
"Instantly" doubles <br/>
−
and<ref name="word-g"/> in-the-moment mutates, <br/>
+
and "Instantly" mutates, <br/>
−
in-the-moment runs-through, <br/>
+
"Instantly" runs through <br/>
−
and<ref name="word-g"/> in-the-moment changes-through,<ref name="clause-d"/> <br/>
+
and <br/>
−
in-the-moment takes the cut; <br/>
+
"Instantly" takes the cut, <br/>
−
in-the-moment wrestles, <br/>
+
"Instantly" wrestles, <br/>
−
and with in-the-moment, take the sword. <br/>
+
"Instantly" takes the sword from him, <br/>
−
In the art, In-the-moment does whatever your heart desires.<section end="82"/>
+
"Instantly" does in the art all that your heart desires. <section end="82"/>
  
−
<section begin="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<ref name="word-g"/> the key in which all of the art of fencing becomes unlocked.<section end="83"/>
+
<section begin="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.<section end="83"/>
  
−
<section begin="84"/>{{red|b=1|This is yet another play text and gloss about racing-after}}
+
<section begin="84"/>{{red|b=1|Following after.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>79</small>
 
| <small>79</small>
−
| Traveling-after twice:<br/>&emsp;If one joins, make the farewell cut with it.
+
| Follow after twofold,<br/>&emsp;meet him as he does the old slice.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note,<ref name="word-d"/> 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<ref>D. "winds".</ref> under you upon the sword, so note just as soon as one sword sparks<ref>D. ''blitzscht'': "flashes".</ref> 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),<ref name="clause-d"/> or cut him from the sword through the mouth. Deploy this to both sides.<section end="84"/>
+
{{red|b=1|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.<section end="84"/>
  
−
<section begin="85"/>{{red|b=1|This is the text and the gloss about running-over}}
+
<section begin="85"/>{{red|b=1|About reaching-over.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>80</small>
 
| <small>80</small>
−
| Whoever aims below,<br/>&emsp;Run-over, then they become shamed.
+
| The one who aims underneath,<br/>&emsp;reach over him, so he will be defeated.
 
|-  
 
|-  
 
| <small>81</small>
 
| <small>81</small>
−
| When it sparks above<br/>&emsp;Then strengthen, this I will laud.
+
| When it clashes above,<br/>&emsp;be strong: that I will praise.
 
|-  
 
|-  
 
| <small>82</small>
 
| <small>82</small>
−
| Make your work<br/>&emsp;Or press hard twice.
+
| Do your work<br/>&emsp;or strike hard twice.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note,<ref name="word-d"/> 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)<ref name="clause-d"/> so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.<section end="85"/>
+
{{red|b=1|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.<section end="85"/>
  
−
<section begin="86"/><ref>D. "Item".</ref>{{red|b=1|This is the text and the gloss: how one shall offset hews and thrusts}}
+
<section begin="86"/>{{red|b=1|How one shall set aside cuts and thrusts.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>83</small>
 
| <small>83</small>
−
| Learn to offset:<br/>&emsp;Skillfully injure, hew, thrust
+
| Learn to set aside,<br/>&emsp;skillfully arrest cuts and thrusts.
 
|-  
 
|-  
 
| <small>84</small>
 
| <small>84</small>
−
| Whoever thrusts upon you,<br/>&emsp;Such that your point hits and his breaks,
+
| That which is thrust against you,<br/>&emsp;meet him with your point and he is countered.
 
|-  
 
|-  
 
| <small>85</small>
 
| <small>85</small>
−
| From both sides;<br/>&emsp;Hit any time if you wish to step.
+
| From both sides<br/>&emsp;you always strike if you take a step.
 
|}
 
|}
−
{{red|b=1|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<ref name="word-d"/> understand<ref>G. "note".</ref> 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<ref name="word-g"/> 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).<ref name="clause-d"/><section end="86"/>
+
{{red|b=1|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.<section end="86"/>
−
 
 
−
<section begin="87"/>{{red|b=1|Yet another play from setting-aside}}<section end=""/>
 
  
−
{{red|b=1|Item}}.<ref name="word-g"/> Note,<ref name="word-d"/> 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<ref name="word-d"/> to the left side against his hew (such that the hilt is in front of your head), and step into him with your<ref name="the-d"/> right foot and stab him in the face (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="87"/>
+
<section begin="87"/>{{red|b=1|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.<section end="87"/>
  
−
<section begin="88"/>{{red|b=1|This is the text and the gloss about Changing-through}}
+
<section begin="88"/>{{red|b=1|About changing-through.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>86</small>
 
| <small>86</small>
−
| Learn to change-through<br/>&emsp;From both sides; stab with violence
+
| Learn to change-through<br/>&emsp;on both sides, hurt him with thrusts.
 
|-  
 
|-  
 
| <small>87</small>
 
| <small>87</small>
−
| Whoever binds upon you,<br/>&emsp;The Changing-through finds him swiftly.<ref>''Schier'' has the sense of approaching quickly and closely.</ref>
+
| He who binds against you<br/>&emsp;the changing-through finds him quickly.
 
|}
 
|}
−
{{red|b=1|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<ref name="word-g"/> 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).<ref name="clause-d"/><section end="88"/>
+
{{red|b=1|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.<section end="88"/>
−
 
 
−
<section begin="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.<section end="89"/>
 
  
−
<section begin="90"/>{{red|b=1|Item. Another.}}
+
<section begin="89"/><section end="89"/>
  
−
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.<section end="90"/>
+
<section begin="90"/><section end="90"/>
  
−
<section begin="91"/>{{red|b=1|This is the text and the gloss about yanking}}
+
<section begin="91"/>{{red|b=1|About the twitching.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>88</small>
 
| <small>88</small>
−
| Tread near in binding;<ref>''Zucken'' has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.</ref><br/>&emsp;The yanking gives good opportunities.
+
| Step in closer in the bind,<br/>&emsp;the twitching gives you a good deal.
 
|-  
 
|-  
 
| <small>89</small>
 
| <small>89</small>
−
| Pull: if it connects, yank more.<br/>&emsp;If he works, cut so that it does him woe.
+
| Twitch! Meet it, then twitch again.<br/>&emsp;Find openings to work: then give pain.
 
|-  
 
|-  
 
| <small>90</small>
 
| <small>90</small>
−
| Pull in all hits<br/>&emsp;Of the masters if you wish to deceive them.
+
| Twitch in all fights<br/>&emsp;against the masters, if you want to trick them.
 
|}
 
|}
−
{{red|b=1|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<ref>"On the sword" omitted from the Dresden.</ref> 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).<ref name="clause-d"/> 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<ref>Beginning of sentence in Glasgow reads "and work swiftly with the doubling.</ref> (or otherwise with other plays to his nearest opening).<ref>D. "(and with other plays)".</ref><section end="91"/>
+
{{red|b=1|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.<section end="91"/>
  
−
<section begin="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.<section end="92"/>
+
<section begin="92"/><section end="92"/>
  
−
<section begin="93"/>{{red|b=1|This is the text and the gloss about running-through}}
+
<section begin="93"/>{{red|b=1|About running-through.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-
 
|-
 
| <small>91</small>
 
| <small>91</small>
−
| Run-through, allow to hang<br/>&emsp;With the pommel, grasp if you wish to wrestle.
+
| Run-through! Let it hang<br/>&emsp;with the pommel, grip if you want to grapple.
 
|-  
 
|-  
 
| <small>92</small>
 
| <small>92</small>
−
| Whoever strengthens against you,<br/>&emsp;Run-through. With that note.
+
| When someone is strong against you:<br/>&emsp;remember to run-through.
 
|}
 
|}
−
{{red|b=1|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,<ref name="back-r">R. "hang down behind you".</ref> 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).<ref>G. "next to this".</ref><ref name="clause-d"/><section end="93"/>
+
{{red|b=1|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.<section end="93"/>
−
 
 
−
<section begin="94"/>{{red|b=1|This is yet another play about running-through}}
 
  
−
Item.<ref name="word-gr"/> Note,<ref name="word-d"/> when he wishes to overpower you with strength by running-in with the sword high:<ref>R. "when in the running-in he also drives-up with the arms".</ref> so hold your sword with the left hand near the pommel and let the blade hang over your back.<ref name="back-r"/> Run-through with the head under his right arm, and remain with the right foot forward<ref name="word-dg"/> before his right and drive in<ref name="word-dr"/> 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).<ref name="word-g"/><ref name="clause-d"/><section end="94"/>
+
<section begin="94"/>{{red|b=1|Another running-through.}}
  
−
<section begin="95"/>{{red|b=1|A wresting at the sword}}
+
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.<section end="94"/>
  
−
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.
+
<section begin="95"/>{{red|b=1|A wrestle with the sword.}}
  
−
'''Though watch that it does not fail you.'''<section end="95"/>
+
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.
  
−
<section begin="96"/>{{red|b=1|Yet another wresting at the sword}}
+
'''But watch out so that it does not go wrong for you.'''<section end="95"/>
  
−
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.<section end="96"/>
+
<section begin="96"/>{{red|b=1|Another wrestle with the sword.}}
  
−
<section begin="97"/>{{red|b=1|Yet another wresting at 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.<section end="96"/>
  
−
Item.<ref name="word-g"/> Note,<ref name="word-d"/> when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside<ref name="word-g"/> with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand<ref name="word-g"/> 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).<ref name="clause-d"/><section end="97"/>
+
<section begin="97"/>{{red|b=1|Another wrestle with the sword.}}
  
−
<section begin="98"/>{{red|b=1|Yet another wresting at the sword}}<ref name="line-g">Line omitted from the Glasgow.</ref>
+
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.<section end="97"/>
  
−
Item.<ref name="word-g"/> Note,<ref name="word-d"/> when one runs-in to the other: so drive with the left arm<ref>D. "left hand inverted".</ref> over his right, and with that seize his<ref name="your-d">D. "your".</ref> right arm with an inverted hand<ref>"With an inverted hand" omitted from the Dresden.</ref> and press his left<ref name="right-d"/> over your left with the<ref name="your-d"/> right arm, and spring with your<ref name="the-g"/> right foot behind his right and turn yourself away from him to your<ref name="his-g">G. "his".</ref> left side, and<ref name="word-d"/> thus you<ref>"Thus you" omitted from the Glasgow.</ref> throw him over your<ref name="his-g"/> right hip (as stands pictured next to this).<ref name="clause-d"/><section end="98"/>
+
<section begin="98"/>{{red|b=1|Another wrestle with the sword.}}
  
−
<section begin="99"/>{{red|b=1|Yet another wresting}}
+
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.<section end="98"/>
  
−
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.<section end="99"/>
+
<section begin="99"/><section end="99"/>
  
−
<section begin="100"/>{{red|b=1|A sword taking}}<ref>D. "One other wrestling at the sword".</ref>
+
<section begin="100"/>{{red|b=1|Another wrestle with the sword.}}
  
−
Item.<ref name="word-g"/> Note,<ref name="word-d"/> 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);<ref name="clause-d"/> so you take the sword from him.<ref name="clause-g">Clause omitted from the Glasgow.</ref>
+
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 vex him badly.'''<ref name="sentence-g">Sentence omitted from the Glasgow.</ref><section end="100"/>
+
'''This will be very bad for him.'''<section end="100"/>
  
−
<section begin="101"/>{{red|b=1|This is yet another sword taking}}<ref>D. "A sword taking".</ref>
+
<section begin="101"/>{{red|b=1|A sword capture.}}
  
−
Item.<ref name="word-g"/> Note,<ref name="word-d"/> when he binds on your sword (with displacing or otherwise): so seize both swords in the middle<ref name="word-d"/> of the blade with the left hand inverted<ref name="word-g"/> 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).<ref name="clause-d"/><section end="101"/>
+
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.<section end="101"/>
  
−
<section begin="102"/>{{red|b=1|This is the text and gloss about cutting-off}}
+
<section begin="102"/>{{red|b=1|About slicing.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>93</small>
 
| <small>93</small>
−
| Cut away the hard [ones]<br/>&emsp;From below in both drivings.<ref>Read: "attacks".</ref>
+
| Slice by the obstacles,<br/>&emsp;from below threaten him.
 
|-  
 
|-  
 
| <small>94</small>
 
| <small>94</small>
−
| Four are the cuts:<br/>&emsp;With two below, two above.
+
| Four are the slices,<br/>&emsp;two below and two above.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will<ref name="word-g"/> overpower you above against your left side with strength,<ref>"With strength" omitted from the Glasgow.</ref> so twist your sword and fall<ref name="far-g">G. ''far'': "drive".</ref> 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);<ref name="clause-d"/> or, if he runs-in against your right side, fall<ref name="far-g"/> into his arm with the short edge and press upwards as before.<section end="102"/>
+
{{red|b=1|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.<section end="102"/>
  
−
<section begin="103"/>{{red|b=1|Yet another cut}}<section end=""/>
+
<section begin="103"/>{{red|b=1|Another slice.}}
  
−
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.<section end="103"/>
+
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.<section end="103"/>
  
−
<section begin="104"/>{{red|b=1|This is the over-cut}}<ref>D. "Yet another cut".</ref>
+
<section begin="104"/>{{red|b=1|Another slice.}}
  
−
Item.<ref name="word-r"/> Note,<ref name="word-d"/> conduct the cut thusly: when one binds on the sword against your left side, and<ref name="word-r"/> he then<ref>"He then" omitted from the Dresden.</ref> strikes around from the sword to the right side (with the thwart or otherwise),<ref name="clause-r"/> 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).<ref>"And press… pictured here" omitted from the Dresden.</ref> Deploy this to both sides.<ref name="sentence-r"/><section end="104"/>
+
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.<section end="104"/>
  
−
<section begin="105"/>{{red|b=1|This is the text and the gloss about the transformation of the cut}}
+
<section begin="105"/>{{red|b=1|About the transforming of the slice.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>95</small>
 
| <small>95</small>
−
| Turn the edge<br/>&emsp;To flatten; press the hands.
+
| Wind the edge,<br/>&emsp;to avoid, press the hands.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is when you come in your running-in with the under-cut below<ref name="word-d"/> into his arm (such that your point goes out against his<ref>G. "your".</ref> right side): so with that,<ref>"With that" omitted from the Dresden.</ref> press firmly upwards with the cut,<ref>"With the cut" omitted from the Augsburg and the Glasgow.</ref> 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.<ref name="clause-ag">Clause omitted from the Augsburg and the Glasgow.</ref> Thus have you transformed the under-cut into the over; conduct this to both sides.<ref name="sentence-d">Sentence omitted from the Dresden.</ref><section end="105"/>
+
{{red|b=1|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.<section end="105"/>
  
−
<section begin="106"/>{{red|b=1|This is the text and the gloss about the two hangings}}
+
<section begin="106"/>{{red|b=1|About the two hangings.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>96</small>
 
| <small>96</small>
−
| The two hangings happen<br/>&emsp;From one hand from the earth.
+
| There are two hangings<br/>&emsp;from each hand to the ground.
 
|-  
 
|-  
 
| <small>97</small>
 
| <small>97</small>
−
| In every drive,<br/>&emsp;Hew, thrust, leaguer; soft or hard.
+
| In all movements:<br/>&emsp;strikes, thrusts, guards—soft or hard.
 
|}
 
|}
−
{{red|b=1|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<ref name="word-g"/> 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<ref name="word-d"/> drive up with him,<ref>"With him" omitted from the Augsburg and the Glasgow.</ref> 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)<ref>"Or test" omitted from the Dresden.</ref> whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)<ref name="sentence-ad">Sentence omitted from the Augsburg and the Dresden.</ref><section end="106"/>
+
{{red|b=1|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.<section end="106"/>
  
−
<section begin="107"/>{{red|b=1|This is the text and the gloss about the speaking-window}}
+
<section begin="107"/>{{red|b=1|About the speaking window.}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>98</small>
 
| <small>98</small>
−
| Make the speaking-window;<br/>&emsp;Stand freely, seek out his thing,<ref>''sach'': thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.</ref>
+
| Doing the speaking window:<br/>&emsp;stand straight, observe what he does.
 
|-  
 
|-  
 
| <small>99</small>
 
| <small>99</small>
−
| Strike him such that it snaps<br/>&emsp;Whoever withdraws before you.
+
| Strike in, when he twitches.<br/>&emsp;About the one who draws himself away from you,
 
|-  
 
|-  
 
| <small>100</small>
 
| <small>100</small>
−
| I say to you in truth:<br/>&emsp;No one protects themselves without danger.
+
| truly I say this to you:<br/>&emsp;no man can truly defend himself without danger!
 
|-  
 
|-  
 
| <small>101</small>
 
| <small>101</small>
−
| If you have correct understanding,<br/>&emsp;He may barely come to strikes.
+
| If you have understood this correctly,<br/>&emsp;he can rarely come to blows.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note,<ref name="word-ag">Word omitted from the Augsburg and the Glasgow.</ref> this called the speaking-window: when he binds you on the sword with hews or<ref>A. "and".</ref> with<ref name="word-ad">Word omitted from the Augsburg and the Dresden.</ref> 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).<section end="107"/>
+
{{red|b=1|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.<section end="107"/>
  
−
<section begin="108"/>{{red|b=1|Item}}.<ref name="word-a">Word omitted from the Augsburg.</ref> If he strikes-around from the sword with an over-hew to the other side, so bind-after<ref>''nachbinden'': "attach to the end or behind something".</ref> with the long edge<ref>"With the long edge" omitted from the Augsburg and the Glasgow.</ref> against<ref name="word-d"/> his hew with strength, above into the head.<section end="108"/>
+
<section begin="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.<section end="108"/>
  
−
<section begin="109"/>Or<ref name="word-a"/> if he strikes-around from the sword<ref>"From the sword" omitted from the Dresden.</ref> with the thwart, so fall into his arms with the over-cut.<section end="109"/>
+
<section begin="109"/>Or if he strikes round in a Zwerchau, fall with the upper slice against his arms.<section end="109"/>
  
−
<section begin="110"/>Or<ref name="word-a"/> if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point,<ref>"With the point" omitted from the Dresden.</ref> and set-upon him above.<section end="110"/>
+
<section begin="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.<section end="110"/>
  
−
<section begin="111"/>{{red|b=1|Item.<ref name="word-ag"/> Note,}}<ref>D. "or"; word omitted from the Augsburg.</ref> if he does not wish to withdraw<ref>''abziechen''.</ref> 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.<section end="111"/>
+
<section begin="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.<section end="111"/>
  
−
<section begin="112"/>{{red|b=1|Here note how you shall stand in the long-point and what plays you shall conduct from it}}
+
<section begin="112"/>{{red|b=1|That which is called the "long point".}}<br/><br/>
  
−
Item.<ref name="word-dg"/> Note,<ref>D. ''Mörck Ee'': "Note, before".</ref> when you come just near<ref>"just near" omitted from the Augsburg and the Glasgow.</ref> to him with the onset: so set your left foot forward before when he binds you on the sword,<ref>"When he… the sword" omitted from the Dresden.</ref> and hold your<ref>A., D. "the".</ref> point long with<ref name="word-ad"/> extended arms against the face or against<ref name="word-ad"/> the chest. If he then hews-in from above<ref>D. "hews from above to below".</ref> to your head, so wind against his hew with the sword and thrust into his face.<section end="112"/>
+
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.<section end="112"/>
  
−
<section begin="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.<ref>D. "to the other side to the opening".</ref><section end="113"/>
+
<section begin="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.<section end="113"/>
  
−
<section begin="114"/>Or if he hits your sword with strength with the hew, so allow your sword<ref>"Your sword" omitted from the Augsburg and the Glasgow.</ref> to snap-around, so you hit him in the head.<section end="114"/>
+
<section begin="114"/>Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head.<section end="114"/>
  
−
<section begin="115"/>{{red|b=1|Or}}<ref name="word-ad"/> if he runs-in, so conduct the cut or await<ref name="word-d"/> the wrestling.
+
<section begin="115"/>If he rushes in towards you, grapple or slice him.
  
−
'''Watch that it does not fail you.'''<ref name="sentence-ag">Sentence omitted from the Augsburg and the Glasgow.</ref><section end="115"/>
+
'''Watch out so that it does not go wrong for you!'''<section end="115"/>
  
−
<section begin="116"/>{{red|b=1|This is the text about the conclusion of the entire Recital}}
+
<section begin="116"/>{{red|b=1|The summary of the markverses.}}<br/><br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>102</small>
 
| <small>102</small>
−
| Whoever commands well and properly breaks,<br/>&emsp;And tenaciously corrects completely,
+
| He who does well, who counters correctly<br/>&emsp;and diligently and who understands completely,
 
|-  
 
|-  
 
| <small>103</small>
 
| <small>103</small>
−
| And breaks apart,<br/>&emsp;Each into three wounders;
+
| and especially who counters<br/>&emsp;everyone by the three wounders,
 
|-  
 
|-  
 
| <small>104</small>
 
| <small>104</small>
−
| Whoever properly hangs well,<br/>&emsp;And with that brings the winding,
+
| he who lets go completely<br/>&emsp;and takes it into the wind
 
|-  
 
|-  
 
| <small>105</small>
 
| <small>105</small>
−
| And considers the eight windings,<br/>&emsp;With proper movement<ref>shifting, balance</ref>;
+
| by eight windings,<br/>&emsp;and who understands correctly
 
|-  
 
|-  
 
| <small>106</small>
 
| <small>106</small>
−
| And yet I mean your one<br/>&emsp;Of the windings are triple,
+
| that each of<br/>&emsp;the windings are threefold, so I mean
 
|-  
 
|-  
 
| <small>107</small>
 
| <small>107</small>
−
| So are they simply counted<br/>&emsp;Twenty and four.
+
| that there are<br/>&emsp;twenty and four,
 
|-  
 
|-  
 
| <small>108</small>
 
| <small>108</small>
−
| From both sides<br/>&emsp;Learn eight windings with stepping,
+
| counted on both sides.<br/>&emsp;Learn the eight windings with steps.
 
|-  
 
|-  
 
| <small>109</small>
 
| <small>109</small>
−
| And test the drives [for]<br/>&emsp;Nothing more than soft or hard.
+
| And test all techniques<br/>&emsp;no more than you test for weak or hard.
 
|}
 
|}
−
{{red|b=1|Gloss}}. This is a lesson, therein the art of<ref>"Art of" omitted from the Dresden.</ref> the record is skillfully understood.<ref>A., D. "shortened for you to understand".</ref> It is taught thusly so that you shall be quite well<ref>"Quite well" omitted from the Augsburg.</ref> practiced and accomplished<ref>Dresden reverses these.</ref> in the art. Also, so that you can appropriately command any attack and play<ref>"Also so that… play" omitted from the Dresden.</ref> according to that which you fence with, so that you therefore correctly<ref name="word-d"/> know to conduct your break against his plays, so that you may work with three wounders from each particular break.<section end="116"/>
+
{{red|b=1|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.<section end="116"/>
  
−
<section begin="117"/>{{red|b=1|Item}}.<ref name="word-ad"/> 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<ref>''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.</ref><ref>"And properly estimate" omitted from the Dresden.</ref> the windings, so that you know to conduct which one of the said three.<section end="117"/>
+
<section begin="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.<section end="117"/>
  
−
<section begin="118"/>{{red|b=1|Here note how you shall conduct the hangings and the windings}}<section end=""/>
+
<section begin="118"/>{{red|b=1|How you shall use the hanging and the windings.}}<br/><br/>
  
−
Item.<ref name="word-d"/> Understand it thusly: there are four bindings-on of the sword, two over and<ref name="word-a"/> two under. You shall only conduct two particular windings from each binding-on of the sword.<ref>"The sword" omitted from the Augsburg and the Glasgow.</ref><section end="118"/>
+
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.<section end="118"/>
  
−
<section begin="119"/>{{red|b=1|Item}}.<ref name="word-ad"/> Do<ref>D. "understand".</ref> it thusly: When you come to him with the onset,<ref name="clause-d"/> 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,<ref>"With strength" omitted from the Dresden.</ref> allow your point to hang-in above upon the sword, and wind to your right side and thrust.<ref>"And thrust" omitted from the Dresden.</ref> These are two windings on one side of the<ref>"Of the" omitted from the Glasgow.</ref> sword.<section end="119"/>
+
<section begin="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.<section end="119"/>
  
−
<section begin="120"/>{{red|b=1|Item.<ref name="word-ag"/> Or}}<ref name="word-a"/> 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<ref>"-In the point above" omitted from the Dresden and the Glasgow.</ref> 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,<ref>A. "over-windings-upon".</ref> from<ref>A. "and".</ref> the left and from<ref name="word-g"/> the right sides.<section end="120"/>
+
<section begin="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.<section end="120"/>
  
−
<section begin="121"/>{{red|b=1|Item.<ref name="word-a"/> 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<ref name="word-g"/> remember that you shall conduct one particular hew, or<ref name="word-ag"/> one<ref name="word-d"/> cut, or<ref>D. "and"; omitted from the Augsburg and the Glasgow.</ref> one thrust, from each winding. And<ref name="word-ag"/> this is called the<ref name="word-ag"/> three wounders. From those, one can and shall<ref>"And shall" omitted from the Augsburg and the Glasgow.</ref> 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<ref>"You step towards" omitted from the Dresden.</ref> with each winding,<ref>D. "wounder".</ref> and you test his attack, no more than<ref name="word-ag"/> 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.<section end="121"/>
+
<section begin="121"/>{{red|b=1|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.<section end="121"/>

Latest revision as of 21:33, 11 May 2022

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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".

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.


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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The first strike is the crooked strike. This breaks the Ox guard.

The second strike is the crosswise strike. This breaks the Roof guard.

The third strike is the squinting strike. This breaks the Plough guard.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

"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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Or if he strikes round in a Zwerchau, fall with the upper slice against his arms.

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.

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.

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.

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.

Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head.

If he rushes in towards you, grapple or slice him.

Watch out so that it does not go wrong for you!

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.

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.

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.

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.

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.

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.

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