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{{infobox medieval text
 
{{infobox medieval text
<!-- --------Name---------->
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<!-----------Name---------->
| name                  = Modus Dimicandi
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| name                  = Modus Dimicandi
| alternative title(s)  = Method of Fighting
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| alternative title(s)  = Method of Fighting
 
<!----------Image---------->
 
<!----------Image---------->
| image                = File:MS G.B.f.18a 123v.png
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| image                = File:MS G.B.f.18a 123v.png
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| width                = x200px
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| caption              =  
 
<!----------Information---------->
 
<!----------Information---------->
| full title            =  
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| full title            =  
| also known as        =  
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| also known as        =  
| author(s)            =  
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| author(s)            =  
| ascribed to          = [[name::H. Beringer]]{{#set:occupation=Fencing master}}
+
| ascribed to          = [[name::H. Beringer]]{{#set:occupation=Fencing master}}
| compiled by          =  
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| compiled by          =  
| illustrated by        =  
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| illustrated by        =  
| patron                =  
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| dedicated to          =  
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| audience              =  
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| audience              =  
| language              = {{plainlist
+
| language              = {{plainlist
| [[language::Early New High German]]
+
  | [[language::Early New High German]]
| [[language::Renaissance Latin]]
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  | [[language::Renaissance Latin]]
}}
+
}}
| date                  =  
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| date                  =  
| state of existence    =  
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| state of existence    =  
 
<!----------Manuscript Information---------->
 
<!----------Manuscript Information---------->
| genre                = {{plainlist
+
| genre                = [[Fencing manual]]
  | [[Fencing manual]]
+
| archetype(s)          = [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (1416-44)
 +
| manuscript(s)        = [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479)
 +
| principal manuscript(s)=
 +
| first printed edition =
 +
  | wiktenauer compilation by=[[Michael Chidester]]
 +
| translations          = {{plainlist
 +
  | {{english translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/}}
 +
  | {{german translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/|1}}
 +
}}
 +
| below                =
 
}}
 
}}
| archetype(s)          = [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (1418-28)
+
'''Magister H. Beringer''' was a [[century::15th century]] writer credited with recording a poem on fencing with some connection to the [[Recital]] of [[Johannes Liechtenauer]]. It is first recorded in the [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1416-44), and thus predates all records of Liechtenauer's teachings.<ref name="Kleinau">[[Jens P. Kleinau]]. "[https://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/ 1418 Modus Dimicandi Magistri H. Beringois of the Ms. G.B.f.18.a]". ''Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau'', 09 July 2013. Retrieved 20 November 2017.</ref> The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a last name and very common first initial, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.<ref name="Acutt">James Acutt. "[http://chivalry.org.uk/beringois.html Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)]". ''Chivalry''. 2 September 2014. Retrieved 20 November 2017.</ref>
| manuscript(s)        = [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479)
 
| principal manuscript(s)=
 
| first printed edition =
 
| wiktenauer compilation by=[[Michael Chidester]]
 
| translations          = {{plainlist
 
| {{english translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/}}
 
| {{german translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/|1}}
 
}}
 
| below                =
 
}}
 
'''Magister H. Beringer''' was a [[century::15th century]] writer credited with recording a poem on fencing with some connection to the [[Recital]] of [[Johannes Liechtenauer]]. It is first recorded in the [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1418-28), and thus predates all records of Liechtenauer's teachings. The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a very common initial and last name, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.<ref>James Acutt. "[http://chivalry.org.uk/beringois.html Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)]". ''Chivalry''. 2 September 2014. Retrieved 26 July 2017.</ref>
 
  
The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half<ref>113 of the 218 lines.</ref> of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. It may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or it may be that Beringer's verse represents just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in [[Nuremberg Hausbuch (MS 3227a)|MS 3227a]].<ref>See MS 3227a, fol. 13v. "There is just one art of the sword, and... Master Liechtenauer internalized and applied it quite completely and correctly—not that he discovered and conceived it himself, but rather, he traveled through many lands and sought the legitimate and truthful art for the sake of experiencing and knowing it."</ref>
+
The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half<ref>113 of the 218 lines.</ref> of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. Rather, it may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or even that Beringer's verse represents just one of the teachings that Liechtenauer learned and compiled over the course of the journeys described by [[Pseudo-Hans Döbringer]].<ref>See MS 3227a, [[Page:MS 3227a 13v.jpg|fol. 13v]].</ref>
  
Beringer's verse was recapitulated by [[Hans Folz]] in the [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479), but in an unattributed and garbled form indicates he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.
+
Beringer's verse was recapitulated by [[Hans Folz]] in the [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479), but in an unattributed and garbled form which indicates that he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.<ref name="Acutt"/>
  
 
== Treatise ==
 
== Treatise ==
Line 52: Line 50:
 
  | width = 93em;
 
  | width = 93em;
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-   
 
|-   
! style="width:33em;" | <p>{{rating|c|Draft Translation (from the Jena)}}<br/>by [[translator::Jens P. Kleinau]]</p>
+
! style="width:33em;" | <p>{{rating|c|Draft Translation (from the Jena)}}<br/>by [[Jay Acutt]]</p>
! <p>[[Modus Dimicandi (MS G.B.f.18a)|Jena Transcription]] (1418-28){{edit index|Modus Dimicandi (MS G.B.f.18a)}}<br/>by [[Jens P. Kleinau]]</p>
+
! <p>[[Modus Dimicandi (MS G.B.f.18a)|Jena Version]] (1416-44){{edit index|Modus Dimicandi (MS G.B.f.18a)}}<br/>Transcribed by [[Jay Acutt]]</p>
! <p>[[Die Meisterlieder des Hans Folz (MS Q.566)|Weimar Transcription]] (1479){{edit index|Die Meisterlieder des Hans Folz (MS Q.566)}}<br/>by [[Andreas Meier]]</p>
+
! <p>[[Die Meisterlieder des Hans Folz (MS Q.566)|Weimar Version]] (1479){{edit index|Die Meisterlieder des Hans Folz (MS Q.566)}}<br/>Transcribed by [[Andreas Meier]]</p>
  
 
|-  
 
|-  
| <p>'''Here starts the good and true fencing mode of master H. Beringer, of blessed memory.'''</p>
+
| <p>'''Here follows Master Beringer’s (blessed memory) Good and True mode of Combat'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>1</small>
 
| <small>1</small>
| Young knight learn<br/>to love God and honor women.
+
| Young knight study <br/>to love God and to treat women with dignity.<ref>The word “Ere” may be aligned with the modern German “Ehre” meaning “honour”. I have aimed to use a translation which rhymes, but have also suggested the term stemming from the Latin term for honour: dignitas. Dignity and Honour in this context are therefore captured as synonyms. Bailey (1675), seems to agree “Dignity (dignité, F. of Dignitas, L) Honour, Reputation</ref>
 
|-  
 
|-  
 
| <small>2</small>
 
| <small>2</small>
| <br/>Practice knighthood and learn
+
| <br/>Practice knighthood and study,
 
|-  
 
|-  
 
| <small>3</small>
 
| <small>3</small>
| the thing that dignifies you,<br/>and serves you in wars.
+
| the material<ref>Aristotle’s Res (material, or “thing”). HS3227a, Wolfenbüttel record “Matter” (Dingen), whereas Talhoffer (1443), Rome (1452), Ringeck Dresden (1504) record “Art” (Kunst), Aristotle’s Ars.Wachter (169-170) suggests “Dinghen” means “to contend” (contendere), whilst “to ding” is to “give a great blow”.</ref> that exalts you, <br/>and in battle truly glorifies you.
 
|-  
 
|-  
 
| <small>4</small>
 
| <small>4</small>
| Glaive, wrestling,<br/>spear, sword and knife
+
| Lance,<ref>I offer “Lance” in accordance with the aforementioned dialect (Schiller & Lübben (1875, 119) Mittelniederdeutsches Wörterbuch. (1863, 136) Urkunderbuch des Historischen Vereins für Niedersachsen, Volumes 6-8. von der Hagen, FH (1843, 62) Germania, Volumes 5-6;). Kleinau suggests “Glaive, wrestling, spear,” (Glevringen . sper)</ref><br/>Spear, Sword and Machete,
 
|-  
 
|-  
 
| <small>5</small>
 
| <small>5</small>
| requires a righteous man’s hands<br/>and contain harm in other’s.
+
| Manfully wield<br/>and be a threat in another’s hands.
 
|-  
 
|-  
 
| <small>6</small>
 
| <small>6</small>
| Wrath-Strike, Crook-Strike, Cross-Strike<br/>has Slant-Strike with Parting-Strike
+
| Wrathful cuts Crumple, Across<br/>with Scalps<ref>Kleinau offers “Wrath-Strike, Crook-Strike, Cross-Strike has Slant-Strike with Parting-Strike” although the use of the term “strike” is a modern extrapolation which does not appear in the source. I have offered a pseudo- sentence in a bid to suggest that the couplet means something different to the uninitiated; whereas the initiated would understand the keywords as names for strikes.</ref> has Squints.
 
|}
 
|}
 
| {{section|Page:MS G.B.f.18a 123v.png|1|lbl=123v-a}}
 
| {{section|Page:MS G.B.f.18a 123v.png|1|lbl=123v-a}}
Line 91: Line 89:
 
|-  
 
|-  
 
| <small>7</small>
 
| <small>7</small>
| Who strikes at you above,<br/>is threatened by Wrath-Strike’s point.
+
| Whoever cuts above you, <br/>Wrathful cuts-point threatens.
 
|-  
 
|-  
 
| <small>8</small>
 
| <small>8</small>
| If he becomes aware of it,<br/>take it off without danger.
+
| Should he defend, <br/>Take it over without risk.
 
|-  
 
|-  
 
| <small>9</small>
 
| <small>9</small>
| If you are stronger<br/>wind again and thrust. If he sees it, take it down.
+
| Against stronger <br/>then turn the point, if he spots that aim it low.
 
|-  
 
|-  
 
| <small>10</small>
 
| <small>10</small>
| Draw, what is above from superiority,<br/>such ends the war.
+
| Pull up high overhead,<br/>thus resolves the battle.<ref>Read: Trial by battle.</ref>
 
|-  
 
|-  
 
| <small>11</small>
 
| <small>11</small>
| Crook, do not strike short,<br/>the Changer lurks within.
+
| Crumple not, with the shift,<br/>the short cut is evident:
 
|-  
 
|-  
 
| <small>12</small>
 
| <small>12</small>
| Crook, upwards fast,<br/>throw the point on the hands.
+
| Crumple up lithely, <br/>throw the point over the [his] hands:
 
|-  
 
|-  
 
| <small>13</small>
 
| <small>13</small>
| Crook, who judges well,<br/>with steps will hurt many strikes.
+
| Crumple whoever wants to position <br/>with stepping, many cuts are harmed:
 
|-  
 
|-  
 
| <small>14</small>
 
| <small>14</small>
| Crook, who confuses you,<br/>the noble war bewilders you.
+
| Crumple who confuses you, <br/>with the noble war you confuse,
 
|-  
 
|-  
 
| <small>15</small>
 
| <small>15</small>
| Cross receives<br/>what comes from the sky above.
+
| The Cross escorts<br/>what comes from Heaven,<ref>I believe the wording here lends a clue to the meanings, by referencing the double-meaning of “Cross” as crucifix, the scribe suggests that Christ welcomes that which comes from God, a reference inevitably to the trial by combat as a Judgement of God.</ref>
 
|-  
 
|-  
 
| <small>16</small>
 
| <small>16</small>
| Cross to the point,<br/>take the throat/neck without fear.
+
| Cross to the point <br/>to take the neck without fear,
 
|-  
 
|-  
 
| <small>17</small>
 
| <small>17</small>
| Slant in high above,<br/>if you want to impress him.
+
| Squint from on high, <br/>so that you will be in command,
 
|-  
 
|-  
 
| <small>18</small>
 
| <small>18</small>
| The parting-strike with his turn,<br/>is a menace to the face.
+
| The scalper at his angle <br/>is a threat to the face.
 
|}
 
|}
 
| {{section|Page:MS G.B.f.18a 123v.png|2|lbl=-}}
 
| {{section|Page:MS G.B.f.18a 123v.png|2|lbl=-}}
Line 132: Line 130:
  
 
|-  
 
|-  
| <p>'''Here are the precepts'''</p>
+
| <p>'''Here are precautions'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>19</small>
 
| <small>19</small>
| Do you startle easily<br/>you will never learn to fight.
+
| If you’re easy to flight,<br/>never shall you learn to fight.
 
|-  
 
|-  
 
| <small>20</small>
 
| <small>20</small>
| <br/>Inbetween,  
+
| <br/>Now,  
 
|-  
 
|-  
 
| <small>21</small>
 
| <small>21</small>
| Before and After, those two things<br/>are all things' origin.
+
| Before and After, those two things<br/>are the origin of all things.
 
|-  
 
|-  
 
| <small>22</small>
 
| <small>22</small>
| Inbetween, Before and After<br/>without rush do not be after the War.
+
| Now, Before and After<br/>into the battle, do not be last;
 
|-  
 
|-  
 
| <small>23</small>
 
| <small>23</small>
| What the War intends above,<br/>below he will be embarrassed.
+
| if the battle roams up high,<br/>then down below may he be shamed.
 
|-  
 
|-  
 
| <small>24</small>
 
| <small>24</small>
| Hear what is bad,<br/>do not fence left if you are a righty,
+
| Hear what is worst:<br/>don’t fight from the left when you are right,  
 
|-  
 
|-  
 
| <small>25</small>
 
| <small>25</small>
| and as a lefty with the right,<br/>listen you will limp.
+
| since left instead of right,<br/>also hear, lags behind.
 
|-  
 
|-  
 
| <small>26</small>
 
| <small>26</small>
| I say truly,<br/>no man will guard himself without danger.
+
| I say veritably,<br/>no man may protect himself without risk,
 
|-  
 
|-  
 
| <small>27</small>
 
| <small>27</small>
| If you remarked it,<br/>he will not come to any strikes.
+
| so you have been told&mdash;<br/>do not let him come to blows.
 
|}
 
|}
 
|  
 
|  
Line 169: Line 167:
  
 
|-  
 
|-  
| <p>'''Of the Hangings'''</p>
+
| <p>'''On the inclines'''<ref>Trajectories/planes.</ref></p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>28</small>
 
| <small>28</small>
| Two hang down&mdash;<br/>of both hands&mdash;up from the earth.
+
| Two inclines:<br/>down from both hands, up from the ground.
 
|-  
 
|-  
 
| <small>29</small>
 
| <small>29</small>
| Who withdraws before you,<br/>strike quickly so that he snorts.
+
| Whoever pulls his blow<br/>quickly away from you,
 
|-  
 
|-  
 
| <small>30</small>
 
| <small>30</small>
| Strike to the {sides&#124;flutes}<br/>if you want to play a trick on the master.
+
| then so the master<br/>strikes at the flat
 
|-  
 
|-  
 
| <small>31</small>
 
| <small>31</small>
| Strike to the Plough,<br/>join firmly to the Ox.
+
| firmly, at the Plough, <br/>at the Ox.
 
|-  
 
|-  
 
| <small>32</small>
 
| <small>32</small>
| Who follows the strikes,<br/>cannot have joy in the art.
+
| He who cuts afterwards:<br/>his skill cuts with little joy<ref>Avail.</ref>,
 
|-  
 
|-  
 
| <small>33</small>
 
| <small>33</small>
| Strike what you want,<br/>no Changer will reach your shield.
+
| and cut whatever you wish,<br/>so that no shifts<ref>''Wechseler''.</ref> may penetrate your defence.<ref>''Schilt''.</ref>
 
|-  
 
|-  
 
| <small>34</small>
 
| <small>34</small>
Line 207: Line 205:
 
|-  
 
|-  
 
| <small>36</small>
 
| <small>36</small>
| Four are the Displacements,<br/>which hurts the Guards sore.
+
| Whoever does fore-stall,<br/>severely damages the Postures.
 
|-  
 
|-  
 
| <small>37</small>
 
| <small>37</small>
| Set on the four Ends,<br/>stay on it if you want to end.
+
| Set upon the four extremities,<br/>and remain there if you wish to stop.<ref>Read: Stop the fight.</ref>
 
|-  
 
|-  
 
| <small>38</small>
 
| <small>38</small>
| Of displacing beware,<br/>if it happens,
+
| Guard yourself from Fore-stalling,<br/>since if it’s done to you,
 
|-  
 
|-  
 
| <small>39</small>
 
| <small>39</small>
| it will troubles you much.<br/>If it happens, how it happens,
+
| it is difficult to defend. <br/>Thus it is that you fore-stall, however he comes at you.
 
|-  
 
|-  
 
| <small>40</small>
 
| <small>40</small>
| hear what I advise,<br/>sweep off, quick, strike with a step.
+
| Heed my advice:<br/>quickly strike cuts away<ref>Read: Away from you.</ref> with diligence.
 
|-  
 
|-  
 
| <small>41</small>
 
| <small>41</small>
| Thereafter-Riding learn,<br/>step forward and cut into the weapon/defense.
+
| Learn ''terminus''<ref>''Nach rysen''.</ref><br/>tread forwards, and slice in defence.
 
|-  
 
|-  
 
| <small>42</small>
 
| <small>42</small>
| Speaking-Window do,<br/>stand steady, observe his doing,
+
| Do the ‘Speaking-Window’<br/>to stand bravely and observe his form.
 
|-  
 
|-  
 
| <small>43</small>
 
| <small>43</small>
| without any danger,<br/>how much remorse he bears.
+
| Without any risk<br/>regardless of how he persists.
 
|-  
 
|-  
 
| <small>44</small>
 
| <small>44</small>
| In all Winding<br/>strikes, thrusts, and cuts learn to find.
+
| In all rotations<br/>learn to find the cut, stab, slice.
 
|-  
 
|-  
 
| <small>45</small>
 
| <small>45</small>
| That is to remark above,<br/>if the guards are soft or hard.
+
| That should you note above,<br/>if the Postures are flexible or firm.
 
|-  
 
|-  
 
| <small>46</small>
 
| <small>46</small>
| Jerk/redraw, if he jerks, jerk more&mdash;<br/>work he will find, the step into.
+
| Pull if he pulls, pull moreso,<br/>[then] he will work to step toward you.
 
|}
 
|}
 
|  
 
|  
Line 252: Line 250:
 
|-  
 
|-  
 
| <small>48</small>
 
| <small>48</small>
| Change two times,<br/>the old cut do with it.
+
| Shifting twofold,<br/>the Ancient Slice shall you perform.
 
|-  
 
|-  
 
| <small>49</small>
 
| <small>49</small>
| Who wields the Miss from below,<br/>will hit wherever he wants.
+
| Feint who is below,<br/>afterwards flow where you want.
 
|-  
 
|-  
 
| <small>50</small>
 
| <small>50</small>
| Two times forward,<br/>step into your guard and do not be lazy.
+
| March forward twice <br/>into your guard, and don’t be sluggish.
 
|-  
 
|-  
 
| <small>51</small>
 
| <small>51</small>
| If it comes that it glistens above,<br/>I happily praise stand-off.
+
| If you clash above,<br/>then going to a stand-off I do condone.
 
|-  
 
|-  
 
| <small>52</small>
 
| <small>52</small>
| Who thrusts at you,<br/>his point with the defense meet and break.
+
| Whoever goes to strike you,<br/>hit transversely, and a break  
 
|-  
 
|-  
 
| <small>53</small>
 
| <small>53</small>
| I you want to avenge yourself,<br/>four openings break artfully:
+
| will you reckon:<br/>four openings skilfully broken.
 
|-  
 
|-  
 
| <small>54</small>
 
| <small>54</small>
| above double,<br/>below mutate.
+
| High duplicate,<br/>Low mutate&mdash;
 
|-  
 
|-  
 
| <small>55</small>
 
| <small>55</small>
| If you know (to use) the four openings,<br/>you beat him for sure.
+
| know four openings,<br/>thus you may strike with certainty.
 
|-  
 
|-  
 
| <small>56</small>
 
| <small>56</small>
| Let the point hang low,<br/>grab the pommel, if you want to wrestle.
+
| Allow the point to hang, <br/>seize the pommel so that you may grapple,
 
|-  
 
|-  
 
| <small>57</small>
 
| <small>57</small>
| Four are the cuts,<br/>two below and with them two above.
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| four are the slices:<br/>with two low, two high, etc.
 
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|-  
| <p>'''And this is the end of the art.'''</p>
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| class="noline" | <p>'''And here is the Art at an End.'''</p>
| {{section|Page:MS G.B.f.18a 123v.png|8|lbl=-}}
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| class="noline" | {{section|Page:MS G.B.f.18a 123v.png|8|lbl=-}}
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| class="noline" |  
  
 
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{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[James Acutt]]
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  | authors    = [[translator::Jay Acutt]]
 
  | source link = http://chivalry.org.uk/beringois.html
 
  | source link = http://chivalry.org.uk/beringois.html
  | source title= Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)
+
  | source title= "Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)"
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Jena Transcription
 
  | work        = Jena Transcription
  | authors    = [[James Acutt]]
+
  | authors    = [[Jay Acutt]]
 
  | source link =  
 
  | source link =  
 
  | source title= [[Index:Modus Dimicandi (MS G.B.f.18a)]]
 
  | source title= [[Index:Modus Dimicandi (MS G.B.f.18a)]]
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[[Category:New format]]

Latest revision as of 23:25, 25 January 2024

Modus Dimicandi
Method of Fighting
MS G.B.f.18a 123v.png
Ascribed to H. Beringer
Genre Fencing manual
Language
Archetype(s) MS G.B.f.18a (1416-44)
Manuscript(s) MS Q.566 (1479)
Concordance by Michael Chidester
Translations

Magister H. Beringer was a 15th century writer credited with recording a poem on fencing with some connection to the Recital of Johannes Liechtenauer. It is first recorded in the MS G.B.f.18a (ca. 1416-44), and thus predates all records of Liechtenauer's teachings.[1] The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a last name and very common first initial, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.[2]

The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half[3] of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. Rather, it may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or even that Beringer's verse represents just one of the teachings that Liechtenauer learned and compiled over the course of the journeys described by Pseudo-Hans Döbringer.[4]

Beringer's verse was recapitulated by Hans Folz in the MS Q.566 (1479), but in an unattributed and garbled form which indicates that he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.[2]

Treatise

In the presentation below, the teaching has been arranged in verses for clarity; line divisions are determined based on rhyme scheme and extrapolation from Liechtenauer. Hans Folz's verses have been rearranged to match the sequence given by Beringer, and the verses that are not found in Beringer have been inserted based on their positions in Folz and checked against Liechtenauer's verse.

Additional Resources

References

  1. Jens P. Kleinau. "1418 Modus Dimicandi Magistri H. Beringois of the Ms. G.B.f.18.a". Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau, 09 July 2013. Retrieved 20 November 2017.
  2. 2.0 2.1 James Acutt. "Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)". Chivalry. 2 September 2014. Retrieved 20 November 2017.
  3. 113 of the 218 lines.
  4. See MS 3227a, fol. 13v.
  5. The word “Ere” may be aligned with the modern German “Ehre” meaning “honour”. I have aimed to use a translation which rhymes, but have also suggested the term stemming from the Latin term for honour: dignitas. Dignity and Honour in this context are therefore captured as synonyms. Bailey (1675), seems to agree “Dignity (dignité, F. of Dignitas, L) Honour, Reputation
  6. Aristotle’s Res (material, or “thing”). HS3227a, Wolfenbüttel record “Matter” (Dingen), whereas Talhoffer (1443), Rome (1452), Ringeck Dresden (1504) record “Art” (Kunst), Aristotle’s Ars.Wachter (169-170) suggests “Dinghen” means “to contend” (contendere), whilst “to ding” is to “give a great blow”.
  7. I offer “Lance” in accordance with the aforementioned dialect (Schiller & Lübben (1875, 119) Mittelniederdeutsches Wörterbuch. (1863, 136) Urkunderbuch des Historischen Vereins für Niedersachsen, Volumes 6-8. von der Hagen, FH (1843, 62) Germania, Volumes 5-6;). Kleinau suggests “Glaive, wrestling, spear,” (Glevringen . sper)
  8. Kleinau offers “Wrath-Strike, Crook-Strike, Cross-Strike has Slant-Strike with Parting-Strike” although the use of the term “strike” is a modern extrapolation which does not appear in the source. I have offered a pseudo- sentence in a bid to suggest that the couplet means something different to the uninitiated; whereas the initiated would understand the keywords as names for strikes.
  9. Read: Trial by battle.
  10. I believe the wording here lends a clue to the meanings, by referencing the double-meaning of “Cross” as crucifix, the scribe suggests that Christ welcomes that which comes from God, a reference inevitably to the trial by combat as a Judgement of God.
  11. Difficult to read, could also be jn.
  12. Trajectories/planes.
  13. Avail.
  14. Wechseler.
  15. Schilt.
  16. Hard to read because the word is crossed out.
  17. Word illegible.
  18. Read: Stop the fight.
  19. Read: Away from you.
  20. Nach rysen.