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Difference between revisions of "Nicolaüs"

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{{Infobox writer
 
{{Infobox writer
| name                = [[name::Nicolaüs Augsburger]]
+
| name                = [[name::Nicolaüs]]
 
| image                =  
 
| image                =  
 
| imagesize            =  
 
| imagesize            =  
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| nationality          =  
 
| nationality          =  
 
| ethnicity            =  
 
| ethnicity            =  
| citizenship          = Augsburg, Germany
+
| citizenship          =  
 
| education            =  
 
| education            =  
 
| alma_mater          =  
 
| alma_mater          =  
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| movement            = Augsburg tradition
 
| movement            = Augsburg tradition
 
| influences          = [[Johannes Liechtenauer]]
 
| influences          = [[Johannes Liechtenauer]]
| influenced          = [[Jörg Wilhalm Hutter]]
+
| influenced          = [[Jörg Wilhalm]]
  
 
| genre                = [[Fencing manual]]
 
| genre                = [[Fencing manual]]
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| archetype            = Currently lost
 
| archetype            = Currently lost
 
| manuscript(s)        = {{collapsible list
 
| manuscript(s)        = {{collapsible list
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1523)
+
  | [[Ortenburg Fechtbuch]] (1400s)
 +
| [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1523)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523)
 
  | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523)
 
  | [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] (1533)
 
  | [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] (1533)
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  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 
  | [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Cod.Guelf.38.21 Aug.2º]] (1588)
 
}}
 
}}
| principal manuscript(s)=
+
| principal manuscript(s)={{plainlist
 +
| [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 +
| [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553)
 +
}}
 
| first printed edition=  
 
| first printed edition=  
 
| wiktenauer compilation by=[[Michael Chidester]]
 
| wiktenauer compilation by=[[Michael Chidester]]
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| below                =  
 
| below                =  
 
}}
 
}}
{{foreignchar|Nicolaus Augsburger|ü}}
+
{{foreignchar|Nicolaus|ü}}
'''Nicolaüs''' was a [[century::15th century]] German [[fencing master]], presumably from Augsburg.<ref>His work is only associated with treatises by Aurgsubrg residents.</ref> Nothing is known about this master outside of his treatise, but he seems to have been an initiate of the tradition of [[Johannes Liechtenauer]] (his treatise always appears coupled with a repetition of the grand master's [[Zettel|Record]]). On or around 2 July 1489,<ref>The date of the Visitation of Mary, the feast day mentioned in the Glasgow version of his treatise.</ref> he seems to have completed some version of a gloss on fencing with the [[long sword]], apparently based on a the anonymous [[pseudo-Peter von Danzig]] gloss of Liechtenauer's Recital.
+
'''Nicolaüs''' was a [[century::15th century]] German [[fencing master]], presumably from Augsburg.<ref>His work is only associated with treatises by Aurgsubrg residents.</ref> Nothing is known about this master outside of his treatise, but he seems to have been an initiate of the tradition of [[Johannes Liechtenauer]] (his treatise always appears coupled with a repetition of the grand master's [[Zettel|Recital]]). On or around 2 July 1489,<ref>The date of the Visitation of Mary, the feast day mentioned in the Glasgow version of his treatise.</ref> he seems to have completed some version of a gloss on fencing with the [[long sword]], apparently based on the anonymous [[pseudo-Peter von Danzig]] gloss of Liechtenauer's Recital.
  
 
== Stemma ==
 
== Stemma ==
  
Early on in its history, the Pseudo-Peter von Danzig [[gloss]] seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of [[Sigmund ain Ringeck]] also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered a fourth branch).
+
Early on in its history, the prototype of the [[Pseudo-Peter von Danzig]] [[gloss]] seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of [[Sigmund ain Ringeck]] also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered a fourth branch).
 +
 
 +
Branch A, first attested in the [[Codex Lew (Cod.I.6.4º.3)|Augsburg version]] (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of [[Andre Lignitzer]] and [[Martin Huntsfeld]] (or, in the case of the 1512 [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna II]], Ringeck's short sword gloss). Branch A is sometimes called the '''[[Lew]]''' gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the [[Codex Speyer (MS M.I.29)|Salzburg version]] (1491), which was copied independently<ref>Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.</ref> and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by [[Paulus Hector Mair]] (three mss., 1540s), [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Lienhart Sollinger]] (1556), and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Joachim Meyer]] (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for [[Johannes Lecküchner]]'s gloss on the [[Messer]] in the late 1470s.
 +
 
 +
Branch B, attested first in the [[Codex Danzig (Cod.44.A.8)|Rome version]] (1452), is found in only five manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs in that three of the four known copies are illustrated to some extent, where none in the other branches are. Branch B is the one most commonly identified with '''pseudo-Danzig''', because it is entirely anonymous and lacks any clues for other attribution. The [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow version]] (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,<ref>Zabinski, pp 82-83</ref> while [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg II]] (1564) collects only the six illustrated wrestling plays from the Krakow. The other substantial version of Branch B is the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna]], which includes the mounted and short sword sections but omits the long sword in favor of Branch C. Most anomalous are the [[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow version]] (1508), consisting solely of a nearly-complete redaction of the short sword gloss which begins with seven paragraphs of unknown origin, and the [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden version]], consisting of a redaction of the first half of the mounted fencing gloss which begins with four paragraphs from Ringeck. A final manuscript, the [[Falkner Turnierbuch]], is known to have once existed but seems to have been destroyed in the Siege of Strasbourg.
  
Branch A, first attested in the [[Codex Lew (Cod.I.6.4º.3)|Augsburg version]] (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of [[Andre Liegniczer]] and [[Martin Huntfeltz]] (or, in the case of the 1512 [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna II]], Ringeck's short sword gloss). Branch A is sometimes called the [[Jud Lew]] gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the [[Codex Speyer (MS M.I.29)|Salzburg version]] (1491), which was copied independently<ref>Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.</ref> and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by [[Paulus Hector Mair]] (three mss., 1540s), [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Lienhart Sollinger]] (1556), and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Joachim Meyer]] (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for [[Johannes Lecküchner]]'s gloss on the [[Messer]] in the late 1470s.
+
Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of those two branches together. The structure and contents of this branch align closely with Branch B, lacking most of the unique plays of Branch A, but the actual text is more consistent with that of Branch A (though not identical). The other mostly-complete copy of Branch C is the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg version II]] (1553), which was created by Paulus Hector Mair based on the writings of [[Antonius Rast]], and which segues into the text of [[Sigmund ain Ringeck|Ringeck]]'s gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm]]; one of these, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533) assigns the text a much earlier origin, stating that it was devised by '''[[Nicolaüs]]''' in 1489. This branch has received the least attention and is currently the least well understood.
  
Branch B, attested first in the [[Codex Danzig (Cod.44.A.8)|Rome version]] (1452), is found in only four manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs from Branch A in that three of the four known copies are illustrated to some extent, where none in the other branch are. The [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow version]] (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,<ref>Zabinski, pp 82-83</ref> while [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg II]] (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the [[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow version]] (1508), consisting solely of a nearly complete redaction of the short sword gloss (assigning it to Branch B), which is appended to the opening paragraphs of Ringeck's gloss of the same section; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck and tried to fill in the deficit with another similar text.
+
(A final text of interest is the gloss of [[Hans Medel|Hans Medel von Salzburg]], which was acquired by Mair in 1539<ref>Medel's section of the [[Hans Medel Fechtbuch (Cod.I.6..5)|Cod. I.6.2º.5]] is internally dated on [[page:Cod.I.6.2º.5 21r.jpg|folio 21r]].</ref> and bound into the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. I.6.2º.5]] after 1566.<ref>The record of the [[Marxbrüder]] in the manuscript ends on [[page:Cod.I.6..5 20r.jpg|folio 20r]] with the year 1566, so Mair couldn't have compiled it before then.</ref> Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, and his text often takes the form of a revision and expansion of the long sword glosses of Ringeck and Branch C. Because of the extent of original and modified content, no attempt has been made on either of those pages to associate Medel's gloss with the sources he was copying from.)
  
Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of the other branches together. The structure and contents of this branch very closely align with Branch B, lacking most of the unique plays of Branch A and including the gloss of the short sword, but the actual text is more consistent with that of Branch A (though not identical). The other substantial copy of Branch C is the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg version II]] (1553), which was created by Paulus Hector Mair based on the writings of [[Antonius Rast]], and which segues into the text of [[Ringeck]]'s gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm Hutter]]; one of these, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533) assigns the text a much earlier origin, stating that it was devised by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.
+
=== Modern HEMA ===
 +
 
 +
Very little attention has been paid to this text until very recently, even though five of the seven known copies were identified at least as far back as [[Martin Wierschin]]'s 1965 catalog ''Meister Johann Liechtenauers Kunst des Fechtens'' ([[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Ⅰ]], [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow]], [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅰ]], [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Ⅱ]], and [[Paulus Kal Fechtbuch (MS KK5126)|Vienna]]). Of the remaining two, [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ]] was listed by [[Hans-Peter Hils]] in his 1985 update ''Meister Johann Liechtenauers Kunst des langen Schwertes'', and [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel]] was identified in 2012 by [[Jay Acutt]].
 +
 
 +
In 2006, [[Carsten Lorbeer]], [[Julia Lorbeer]], [[Andreas Meier]], [[Marita Wiedner]], and [[Johann Heim]], working as part of the [[Gesellschaft für pragmatische Schriftlichkeit]], authored a complete transcription of the Vienna version as part of their [[Paulus Kal]] project (which was eventually posted on that site). In 2008, [[Filip Lampart]] and [[Martin Fabian]] transcribed [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅰ]] and posted it on Fecht-kunst.eu, and in 2009, [[Dierk Hagedorn]] likewise produced a transcription of Augsburg Ⅰ and posted it on Hammaborg (he eventually also re-transcribed the Vienna version in 2017); both of these transcriptions were made out of an interest in the teachings of [[Jörg Wilhalm]]. Finally, Augsburg Ⅱ was transcribed by [[Werner Ueberschär]] and posted on the Schwertbund Nurmberg site in 2012.
 +
 
 +
The first English translation was made by [[Christian Trosclair]] in 2014, based on the Wilhalm versions of the text, and donated to Wiktenauer; in 2020, he expanded his translation to include the two complete versions.
 +
 
 +
In 2021, Dierk Hagedorn produced a transcription and translation of Munich Ⅰ with his children [[Helen Hagedorn|Helen]] and [[Henri Hagedorn|Henri]]; it was published by Greenhill Books under the title ''Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523''.
  
 
== Treatise ==
 
== Treatise ==
  
While all branches were originally presented in a single concordance in the [[pseudo-Peter von Danzig]] article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of [[Jud Lew]], Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.
+
While all branches were originally presented in a single concordance in the [[pseudo-Peter von Danzig]] article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of [[Lew]], Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.
  
 
To allow easier comparison between the two complete versions, Augsburg II is presented in the column next to Vienna, before the earlier fragmentary versions.
 
To allow easier comparison between the two complete versions, Augsburg II is presented in the column next to Vienna, before the earlier fragmentary versions.
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}}
 
}}
 
<section begin="credits"/>
 
<section begin="credits"/>
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>{{rating|start}}<br/>by [[Christian Trosclair]]</p>
+
! <p>{{rating|C}}<br/>by [[Christian Trosclair]]</p>
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Transcription II]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p>
+
! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Version Ⅱ]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p>
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription I]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Version Ⅰ]] (1523){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p>
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Transcription I]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Filip Lampart]] and [[Martin Fabian]]</p>
+
! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Version Ⅰ]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>Transcribed by [[Filip Lampart]] and [[Martin Fabian]]</p>
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p>
+
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Version]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p>
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Transcription II]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
+
! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅱ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p>
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Transcription]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p>
+
! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Version]] (1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>Transcribed by [[Kevin Maurer]]</p>
 
<section end="credits"/>
 
<section end="credits"/>
 
|-  
 
|-  
| <p><ref name="cgm3712">In Cgm 3712, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref>High-hew, Wrath-hew, Wrath point, War-hew, Four openings, Crooked-hew, Thwart-hew, Ox and Plow, Squint-hew, Four Positions, Four Oppositions, Following-after, Passing-over, Setting-aside, Severing, Two hangings, Speaking-window, Crown. The devices of Johannes Liechtenauer’s sword.</p>
+
| <p>[A]<ref name="cgm3712">In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref> Descending cut<br/>Wrathcut<br/>Wrathpoint<br/>The Warcut<br/>The Four openings<br/>Crooked cut<br/>Cross cut<br/>Ox and plow<br/>Cockeyed cut<br/>Hair cut<br/>The Four positions<br/>The Four parries<br/>The Racing behind<br/>Overrunning<br/>Displacing<br/>Cutting off<br/>Two Hangers<br/>The Speaking window<br/>The Crown</p>
 +
 
 +
<p>The plays of the sword by Johannes Liechtenauer.</p>
 
|  
 
|  
 
|  
 
|  
 
| {{section|Page:Cod.I.6.2º.2 44r.jpg|3|lbl=44r}}
 
| {{section|Page:Cod.I.6.2º.2 44r.jpg|3|lbl=44r}}
 
| {{section|Page:Cgm 3711 45r.jpg|4|lbl=45r}}
 
| {{section|Page:Cgm 3711 45r.jpg|4|lbl=45r}}
| '''[171r]'''
+
| <p><small>[171r]</small> </p>
| '''[66r]'''
+
| <p><small>[66r]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|8|lbl=49v}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|8|lbl=49v}}
  
 
|-  
 
|-  
| <p><ref name="cgm3712"/>'''The 7 Master-hew'''</p>
+
| <p>[B]<ref name="cgm3712"/> '''The seven master cuts'''</p>
  
<p>Wrath-hew, Crooked-hew, Half-hew,<ref>Lecküchner (M) 46r, 66v; Cgm 3711 45r; Gunterrodt E1r. Possibly the Verkehrer in the Zwerch plays as noted in Rome</ref> Crossed-hew,<ref>Possibly the Ochs-Pflug transition in the Zwerch plays</ref> Thwart-Changing-hew,<ref>This may be a garbled 'Durchwechselhau'. Namely, a Schielhau or possibly the Ochs/Pflüg Zwerch</ref> Parting-hew, Crown-hew.</p>
+
<p>The Wrath cut<br/>The Crooked cut<br/>The Half cut<br/>The Crosswise cut<br/>The Cross Change cut<br/>The Hair cut<br/>The Crown cut</p>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
| <p>This is the text of the three windings: that is a hew, a stab, a slice, a sweep<ref>Seems garbled</ref> and is also the text of the long recital of the long sword of Liechtenauer’s Art and expository gloss.</p>
+
| <p>[C] This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.</p>
 
|  
 
|  
 
|  
 
|  
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|1|lbl=44v}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|1|lbl=44v}}
 
| {{section|Page:Cgm 3711 45v.jpg|1|lbl=45v}}
 
| {{section|Page:Cgm 3711 45v.jpg|1|lbl=45v}}
| '''[179r]'''
+
| <p><small>[179r]</small> </p>
 
|   
 
|   
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|1|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|1|lbl=50r}}
  
 
|-  
 
|-  
|  
+
| <p>[1] Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way…</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
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|-  
 
|-  
 +
| <p>[2]</p>
 +
{| class="zettel"
 +
|-
 +
| <small>1</small>
 +
| Young knight learn<br/>To have love for god, honor women and maidens
 +
|-
 +
| <small>2</small>
 +
| So that you expand your praise and honor.<br/>Practice Knighthood and learn
 +
|-
 +
| <small>3</small>
 +
| Art that decorates you<br/>And in war exalts you with honor.
 +
|-
 +
| <small>4</small>
 +
| Use the good grips of wrestling,<br/>Lance, spear, sword, and messer
 +
|-
 +
| <small>5</small>
 +
| Like a man<br/>And render them useless in other's hands.
 +
|-
 +
| <small>6</small>
 +
| Attack suddenly and storm in,<br/>Keep rolling, engage or let pass.
 +
|-
 +
| <small>7</small>
 +
| Whoever assaults in these ways,<br/>They see the spoils.
 +
|-
 +
| <small>8</small>
 +
| Hold yourself to this:<br/>All art has a time and place.
 +
|}
 
|  
 
|  
|  
+
| <p><br/></p>
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
+
 
 +
{{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
 
|  
 
|  
 
|  
 
|  
Line 133: Line 179:
  
 
|-  
 
|-  
|  
+
| <p>[3]</p>
 +
{| class="zettel"
 +
|-
 +
| <small>9</small>
 +
| If you wish to examine the art,<br/>Go left and right with cutting
 +
|-
 +
| <small>10</small>
 +
| And left with right,<br/>That is, if you desire to fence strongly.
 +
|}
 +
<p>Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is spurious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.</p>
 +
 
 +
<p>Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again spurious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|3|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|3|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>[4] '''This is the text of another lesson'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>11</small>
 +
| Whoever chases after cuts<br/>They permit themselves little opportunity for art.
 +
|}
 +
<p>Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to quite little opportunity for art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.</p>
 +
 
 
| {{section|Page:MS KK5126 106r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 106r.jpg|4|lbl=-}}
 
|  
 
|  
Line 157: Line 221:
  
 
|-  
 
|-  
| <p><ref>Here the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] is similar to [[Pseudo-Peter von Danzig]], whereas the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsberg version]] doesn't resemble any other gloss.</ref></p>
+
| <p>[5] '''Text. Another lesson'''</p>
 
+
{| class="zettel"
<p><br/><br/><br/><br/><br/><br/></p>
+
|-
 
+
| <small>12</small>
<p>Understand it like this: When you come to him with the onset, whatever you then wish to fence, do that with the entire strength of your body and with that, hew cleave in close by into his head and into his body and remain with the point in front of his face so that he cannot change through beforehand with the point. If he then displaces with strength and allows his point to go high or to one side and remains low with the hands, then beforehand give him a biter upon the arm. Or if he drives high up with the sword when he parries, then slash him with a free hew below to his body and immediately step back backwards with that, before he comes to his senses, thus he is defeated.</p>
+
| Cut from close proximity whatever you wish<br/>No changer gets past your shield
 +
|-
 +
| <small>13</small>
 +
| To the head, to the body<br/>Do not omit the biters
 +
|-
 +
| <small>14</small>
 +
| With the entire body<br/>Fence whatever you desire to conduct with strength.
 +
|}
 +
<p>Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cut in to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot change through before with<ref>Written "with before" in the text, which marks indicating that the words should be reversed.</ref> the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and immediately lunge back from that before they come to their senses. Thus, they are struck.<ref>Augsburg: "Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or chest, so that they cannot change through in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately dart back from that."</ref></p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|5|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|6|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|5|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|6|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>[6] </p>
 +
{| class="zettel"
 +
|-
 +
| <small>15</small>
 +
| Now hear what is bad<br/>Do not fence southpaw from above if you are orthodox
 +
|-
 +
| <small>16</small>
 +
| And if you are a southpaw<br/>You also quite awkward in orthodox
 +
|}
 +
<p>Gloss: Note this is a lesson that hits upon two people, an orthodox and a southpaw and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Understand it like this. When you come to the opponent with the initiation of fencing, if you are orthodox, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cut in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword. In the same way if you are southpaw, then also do not cut the first cut from the right side because it is quite undependable art for a southpaw to drive from the right side. It is also the same for an orthodox from the left side.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|8|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|8|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>[7] '''Text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>17</small>
 +
| Before and After, the two things<br/>Are the singular origin of the entire art.
 +
|-
 +
| <small>18</small>
 +
| Weak and strong<br/>Indes, note them with this word
 +
|-
 +
| <small>19</small>
 +
| So that you may learn<br/>To work and ward with art.
 +
|-
 +
| <small>20</small>
 +
| Whoever frightens easily<br/>Never learns to fence.
 +
|}
 +
<p>Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer<ref>Augsburg terminates here.</ref> and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.</p>
 
| {{section|Page:MS KK5126 106r.jpg|9|lbl=-}}
 
| {{section|Page:MS KK5126 106r.jpg|9|lbl=-}}
  
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|-  
 
|-  
|  
+
| <p>[8] '''Here note what is here called the before.'''</p>
 +
 
 +
<p>This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.</p>
 
| {{section|Page:MS KK5126 106v.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|2|lbl=-}}
 
|  
 
|  
Line 206: Line 304:
  
 
|-  
 
|-  
|  
+
| <p>[9] '''Note what is called the after.'''</p>
 +
 
 +
<p>This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.</p>
 
| {{section|Page:MS KK5126 106v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|2|lbl=-}}
Line 216: Line 316:
  
 
|-  
 
|-  
|  
+
| <p>[10] '''Now you should also know about the weak and the strong of the sword.'''</p>
 +
 
 +
<p>Get the sense of it like this.  From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|3|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[11] '''Now hear the text of the five cuts'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>21</small>
 +
| Learn five cuts<br/>From the right hand, whoever invests in these,
 +
|-
 +
| <small>22</small>
 +
| We swear to them<br/>To gladly pay them back in skills.
 +
|}
 +
<p>Gloss: Note there are five concealed cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.</p>
 
| {{section|Page:MS KK5126 106v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|3|lbl=1v}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|3|lbl=1v}}
Line 236: Line 347:
  
 
|-  
 
|-  
|  
+
| <p>[12] '''This is the text about the components of the recital'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>23</small>
 +
| Wrathcut Crook and Cross,<br/>If the Squinter keeps with the Hair cut,
 +
|-
 +
| <small>24</small>
 +
| The Fool parries.<br/>Racing behind, Overrunning, places the attack
 +
|-
 +
| <small>25</small>
 +
| Change through, Yank,<br/>Slip through, cut off, press the hands
 +
|-
 +
| <small>26</small>
 +
| Tilt and Turn to uncover with<br/>Slash, catch, sweep, thrust to clash with
 +
|}
 +
<p>These are the correct chief components of the recital of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.<ref>Augsburg II: "Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side."</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|4|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[13] '''This first are the five concealed cuts as they are designated each in particular'''</p>
 +
 
 +
<p>Item The first the wrathcut<br/>crooked cut<br/>cross cut<br/>cockeyed cut<br/>hair cut</p>
 +
 
 +
<p>'''Item note the plays'''</p>
 +
 
 +
<p>Of these: The four guards<br/>The four parries<br/>The racing behind<br/>The overrunning<br/>The displacing<br/>The changing through<br/>The yanking<br/>The slipping through<br/>The cutting off<br/>The hand pressing<br/>The hangings<br/>The windings</p>
 +
 
 +
<p>And what you should fence from the components and how you should give yourself openings with the hangings and the windings, you will find those one after the other hereafter.<ref>Vienna: "those will be clarified.</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|7|lbl=-}}
 
|  
 
|  
Line 257: Line 391:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[14] '''Text'''</p>
  
<p><br/></p>
+
<p>'''The wrathcut with its plays'''</p>
 
+
{| class="zettel"
<p><br/><br/><br/><br/></p>
+
|-
 
+
| <small>27</small>
<p>Note the wrath-hew breaks any mis-turned-hew with the point and is yet nothing other than a simple peasant strike. Work it like this: When he hews high to your head from your right side, then you also cleave in identically with him from your right side from high without any displacement, wrathfully atop his sword and let the point shoot in long forwards into his face or his chest.</p>
+
| Whoever makes a descending cut at you<br/>The point of wrathcut threatens them
 +
|-
 +
| <small>28</small>
 +
| If they become aware of it<br/>Then abscond above without concern
 +
|}
 +
<p>Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsburg II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or chest. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 107r.jpg|1|lbl=197r|p=1}}
 
{{section|Page:MS KK5126 106v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 107r.jpg|1|lbl=197r|p=1}}
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|-  
 
|-  
| <p><br/></p>
+
| <p>[15] '''The second play of the wrathcut text'''</p>
 
+
{| class="zettel"
<p><br/><br/></p>
+
|-
 
+
| <small>29</small>
<p>Mark how you shall work with the point from the wrath-hew and understand this like this: When you wrathfully cleave-in with him, if he then holds-against strongly with the displacement, if you then do not wish to take above as before, then be strong again upon the sword and drive up with the arms and wind on his sword and stab him in above into the face. If he becomes aware of the stab and drives up high and displaces, then remain standing like this in the winding and hold your hilt before your head and impale him with the point.</p>
+
| Be strong in turn<br/>Wind. Stab. If they see it, then take it below
| {{section|Page:MS KK5126 107r.jpg|2|lbl=-}}
+
|}
 +
<p>Note this is how you shall work with your point form the wrathcut and understand it like this. When you cut in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and pin your point upon them below.</p>
 +
| {{section|Page:MS KK5126 107r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|5|lbl=-}}
 
|  
 
|  
Line 290: Line 431:
  
 
|-  
 
|-  
|  
+
| <p>[16] '''One more play from the wrathcut text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>30</small>
 +
| Precisely note this:<ref>Line is omitted from the Vienna</ref><br/>Cut, thrust, position, soft or hard
 +
|-
 +
| <small>31</small>
 +
| Indes and before and after<br/>Without collision your war is not to be hasty
 +
|}
 +
<p>This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.</p>
 
| {{section|Page:MS KK5126 107r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 107r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003r.jpg|1|lbl=3r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003r.jpg|1|lbl=3r}}
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|-  
 
|-  
|  
+
| <p>[17] '''The text of the war'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>32</small>
 +
| Whoever hunts the war<br/>Above, will be exposed below.
 +
|}
 +
<p>Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cut in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry<ref>Augsburg II: displace. (Matches the Lew)</ref> the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.</p>
 
| {{section|Page:MS KK5126 107r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 107r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003r.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[18] '''This is the text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>33</small>
 +
| In all windings<br/>Cut, thrust, slice learn to apply
 +
|-
 +
| <small>34</small>
 +
| Also with that you shall<br/>Inspect cut, thrust or slice
 +
|-
 +
| <small>35</small>
 +
| In all encounters<br/>Of the masters, if you wish to dishonor them.
 +
|}
 +
<p>Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely inspect and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you.</p>
 
| {{section|Page:MS KK5126 107r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 107r.jpg|5|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
Line 322: Line 490:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[19] And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the recital which says, "Whoever hangs well and delivers windings with it…"</p>
 
 
<p><br/><br/><br/><br/></p>
 
 
 
<p>You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to slash or hew it surely.</p>
 
 
 
<p>When you come upon him with the onset, then select one of those openings at that moment and initiate a hew skillfully to that opening and not to the sword and do not pay attention to whatever he fences against you. If he then parries your hew, then immediately work in the displacement with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword and how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Set upon four ends, remain thereupon to learn winding".</p>
 
 
| {{section|Page:MS KK5126 107r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 107r.jpg|6|lbl=-}}
 
{{section|Page:MS KK5126 107v.jpg|1|lbl=107v}}
 
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|2|lbl=-}}
 
|  
 
|  
Line 340: Line 500:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[20] '''The text of the four openings'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>36</small>
 +
| Know the four openings<br/>Hunt so that you strike quite wisely
 +
|-
 +
| <small>37</small>
 +
| Without any fear<br/>Without doubt however they are situated.
 +
|}
 +
<p>You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut<ref>Augsburg II omits: or cut</ref> it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and not of the sword<ref>Vienna omits "not"</ref> with all cuts and thrusts<ref>Vienna omits "with all cuts and thrusts"</ref></p>
 +
| {{section|Page:MS KK5126 107r.jpg|7|lbl=-}}
  
<p><br/><br/><br/><br/><br/><br/><br/><br/></p>
+
{{section|Page:MS KK5126 107v.jpg|1|lbl=107v}}
 
 
<p>This is when one cleaves you in earnestly. If you wish to then wreak yourself onto him and take-on and break his opening with art so that he must allow himself to be slain without his thought, then drive the doubling against the strong of his sword and the mutating against the weak, for I say to you truthfully that he can not situate nor defend himself before blows and may therefore not come to strike.</p>
 
| {{section|Page:MS KK5126 107v.jpg|2|lbl=-}}
 
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|3|lbl=-}}
 
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 +
| <p>[21] And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Pin the four extremities, remain thereupon to learn winding".<ref>The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, on [[Page:MS K5126 105r.jpg|folio 105r]].</ref></p>
 +
| {{section|Page:MS KK5126 107v.jpg|2|lbl=-}}
 
|  
 
|  
| {{section|Page:MS KK5126 107v.jpg|3|lbl=-}}
 
|
 
{{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|4|lbl=-|p=1}} {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|1|lbl=4r|p=1}}
 
 
|  
 
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|-  
 
|-  
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+
| <p>[22] '''The text of the breaking of the four openings'''</p>
|  
+
{| class="zettel"
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|2|lbl=-}}
+
|-
 +
| <small>38</small>
 +
| If you wish estimate how<br/>To artfully break the four openings
 +
|-
 +
| <small>39</small>
 +
| Double above<br/>Mutate right below
 +
|-
 +
| <small>40</small>
 +
| I say to you truthfully<br/>No one defends themselves without danger
 +
|-
 +
| <small>41</small>
 +
| If you have understood this,<br/>They can barely come to strike, etc.
 +
|}
 +
<p>This is for when the opponent cuts in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.</p>
 +
| {{section|Page:MS KK5126 107v.jpg|3|lbl=-}}
 +
| {{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|4|lbl=-}}
 
|  
 
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|  
 
|  
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|-  
 
|-  
 +
| <p>[23] '''Here note how you shall conduct the doubling on both sides.'''</p>
 +
 +
<p>When the opponent initiates a cut from above from their right shoulder, cut in from above with<ref>Vienna omits with</ref> them with<ref>Augsburg II omits with</ref> strength at their head with your right as well. If they parry and stay strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge<ref>Augsburg II omits: with the short edge</ref> to their head.</p>
 +
| {{section|Page:MS KK5126 107v.jpg|4|lbl=-}}
 
|  
 
|  
| {{section|Page:MS KK5126 107v.jpg|4|lbl=-}}
+
{{section|Page:Reichsstadt "Schätze" Nr. 82 003v.jpg|5|lbl=-|p=1}} {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|1|lbl=4r|p=1}}
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|3|lbl=-}}
 
 
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|-  
 
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 +
| <p>[24] Item. If you cut in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.</p>
 
|  
 
|  
| {{section|Page:MS KK5126 107v.jpg|5|lbl=-}}
+
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|2|lbl=-}}
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|4|lbl=-}}
 
 
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|-  
 
|-  
 +
| <p>[25] '''Note how you shall conduct the mutating from both sides'''</p>
 +
 +
<p>Item. When you cut in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms<ref>Vienna omits: and with that, drop back down with your arms</ref> and thrust into their lower opening.</p>
 +
| {{section|Page:MS KK5126 107v.jpg|5|lbl=-}}
 +
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|3|lbl=-}}
 
|  
 
|  
 
|  
 
|  
{{section|Page:MS KK5126 107v.jpg|6|lbl=-|p=1}} {{section|Page:MS KK5126 108r.jpg|1|lbl=108r|p=1}}
 
 
|  
 
|  
{{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|5|lbl=-|p=1}} {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|1|lbl=4v|p=1}}
+
|
 +
|
 +
 
 +
|-
 +
| <p>[26] When you initiate a cut from your left side to the opponent's head<ref>Vienna: pommel</ref>, then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.</p>
 +
| {{section|Page:MS KK5126 107v.jpg|6|lbl=-}}
 +
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|4|lbl=-}}
 
|  
 
|  
 
|  
 
|  
Line 407: Line 601:
  
 
|-  
 
|-  
 +
| <p>[27] '''The crooked cut with the text of it's play'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>42</small>
 +
| Crook up swiftly<br/>Throw the point onto the hands
 +
|-
 +
| <small>43</small>
 +
| Crook. Whoever parries well<br/>Disrupts many cuts with stepping.
 +
|}
 +
<p>Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard at your right shoulder dart with the right, well to your right side, and strike them across their hands with the long edge from crossed arms.</p>
 +
|
 +
{{section|Page:MS KK5126 107v.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 108r.jpg|1|lbl=108r|p=1}}
 +
|
 +
{{section|Page:Reichsstadt "Schätze" Nr. 82 004r.jpg|5|lbl=-|p=1}} {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|1|lbl=4v|p=1}}
 +
|
 +
|
 +
|
 +
|
 
|  
 
|  
 +
 +
|-
 +
| <p>[28] Likewise. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold<ref>Augsburg II omits holding</ref> your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cut in high into your opening, then dart away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.</p>
 
| {{section|Page:MS KK5126 108r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 108r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[29] Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then dart to your left side with your left foot well away from the cut and strike them while darting over their hands with the short edge.</p>
 
| {{section|Page:MS KK5126 108r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 108r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|3|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[30] '''Text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>44</small>
 +
| Cut crooked to the flats<br/>Of the masters if you wish to weaken them
 +
|-
 +
| <small>45</small>
 +
| When it clatters above<br/>Then dismount, that I will praise
 +
|}
 +
<p>Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it at your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.<ref>Abridged from pPvD</ref></p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 004v.jpg|4|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[31] '''The text from one of the plays of the crooked cut'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>46</small>
 +
| Don't crook, cut short<br/>Change through and with that expose them
 +
|}
 +
<p>This is a break against the guard of the ox. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and during that changing through below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.</p>
 
| {{section|Page:MS KK5126 108r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 108r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005r.jpg|1|lbl=5r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005r.jpg|1|lbl=5r}}
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|-  
 
|-  
|  
+
| <p>[32] '''Text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>47</small>
 +
| Crook whoever misleads you<br/>The noble war baffles them
 +
|-
 +
| <small>48</small>
 +
| Such that they do not truthfully know<br/>Where they are without danger.
 +
|}
 +
<p>Note whenever you conduct the crooked cut, you'll always make yourself open with it. Understand it like this, when you cut in or bind up their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and mislead you with swiftness, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which spots they should shield themself from your cuts and your thrusts.</p>
 
| {{section|Page:MS KK5126 108r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 108r.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005r.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[33] '''Here begins the cross cut with its plays'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>49</small>
 +
| The cross seizes<br/>Whatever arrives from the roof
 +
|}
 +
<p>Gloss: Note the cross cut breaks the roof guard and any cut that is cut from above to low. Execute the cross cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cut in from above and come before yours,<ref>Augsburg II omits: "threatens to cut in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew</ref> then advance your left foot and hold your sword with the flat at your right shoulder and dart well to your right side with your right foot and wind your sword in front of your face by the hilt while darting such that your thumb goes underneath and strike them on the left side of their head with your short edge.</p>
 +
 
 +
<p>But if they go forwards with their cut before you do, then dart away from the cut well to your right side with your right foot using the same afore written parrying movement such that you catch their cut in their hilt and then strike in with the cross cut in the afore named place.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 108r.jpg|6|lbl=-|p=1}} {{section|Page:MS KK5126 108v.jpg|1|lbl=108v|p=1}}
 
{{section|Page:MS KK5126 108r.jpg|6|lbl=-|p=1}} {{section|Page:MS KK5126 108v.jpg|1|lbl=108v|p=1}}
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|-  
 
|-  
| <p><ref>Here the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] is similar to [[Pseudo-Peter von Danzig]], whereas the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsberg version]] resembles [[Jud Lew]].</ref></p>
+
| <p>[34]<ref>Here the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] is similar to [[Pseudo-Peter von Danzig]], whereas the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsberg version]] resembles [[Lew]].</ref> </p>
 +
{| class="zettel"
 +
|-
 +
| <small>50</small>
 +
| Cross with the strong<br/>Note your work with it.
 +
|}
 +
<p>This is: when you strike via the cross cut, you should strike with the entire strength of your body, because you pressure the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the cross cut, if the opponent parries and binds strong against your sword with it, then either execute doubling or from your cross cut drive their sword away with your hilt and strike them on the other side of their head.</p>
 +
 
 +
<p>When you initiate a cut via the cross cut and the opponent parries and binds soft against the sword, then execute mutating into their lower opening or drive your sword to the other side against their neck and dart behind their left foot with your right an drag them over it with your sword.<ref>Augsburg II: "Gloss: This is When you initiate a cut via the cross cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the cross cut. Or if they will rush in, then take the slice under their arms or await the wrestling.</ref></p>
 
|  
 
|  
 
{{section|Page:MS KK5126 108v.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 108v.jpg|3|lbl=-|p=1}}
 
{{section|Page:MS KK5126 108v.jpg|2|lbl=-|p=1}} {{section|Page:MS KK5126 108v.jpg|3|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>[35] </p>
 +
{| class="zettel"
 +
|-
 +
| <small>51</small>
 +
| Cross to the plow<br/>Yoke hard to the ox
 +
|-
 +
| <small>52</small>
 +
| Whoever crosses themselves well<br/>Endangers the head with darting
 +
|}
 +
<p>Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.</p>
 
| {{section|Page:MS KK5126 108v.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 108v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005v.jpg|3|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[36] '''Here note the cross strikes to the four openings.'''</p>
 +
 
 +
<p>When you come to the opponent with the initiation of fencing, advance your left foot and dart well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a cross cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always dart out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 005v.jpg|4|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[37] '''This is the text of the play that here is called the failer'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>53</small>
 +
| The failer misleads the believer<br/>Wounding from below according to desire
 +
|}
 +
<p>Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the opponent<ref>Augsburg II: body</ref> become confused and wounded according to desire.</p>
 
| {{section|Page:MS KK5126 108v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 108v.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006r.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[38] '''Execute the failer like this'''</p>
 +
 
 +
<p>When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their chest with it, so that they must parry. Then immediately dart to their right side with your left foot and act as if you will strike them on that side with the cross cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side.</p>
 
| {{section|Page:MS KK5126 108v.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 108v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006r.jpg|3|lbl=-}}
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|-  
 
|-  
| <p><br/></p>
+
| <p>[39] '''This is the text of the play which here is called the inverter.'''</p>
 
+
{| class="zettel"
<p><br/><br/><br/><br/></p>
+
|-
 
+
| <small>54</small>
<p>Gloss The inverter. This is the half-hew. You shall deliver it suspiciously with the onset when you want to overwhelm the opponent so that you may run-through him and correctly clasp him with wrestling.</p>
+
| The inverter compels<br/>Slipping through and also wrestles with it.
 +
|-
 +
| <small>55</small>
 +
| Take the elbow surely<br/>Dart into their stance
 +
|}
 +
<p>Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you slip through him and hold them correctly with wrestling.</p>
 
| {{section|Page:MS KK5126 108v.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 108v.jpg|7|lbl=-}}
 
|  
 
|  
Line 537: Line 816:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[40] '''Execute the inverter like this'''</p>
 
 
<p>When you have gone halfway to him with the onset, then take the second half further on to him, over and over with the left foot forwards and hew an under-hew after each tread in accordance with the left foot. and with the hew, turn always turn the long edge upwards on the sword and hew after with the long edge back downwards and as soon as you bind on his sword, then hang in the point high and stab him in the face. If he displaces the stab and drives high with the arms then run-through.</p>
 
 
 
...
 
  
<p>Or if you do not wish to shove him over the foot, then drive him with the left arm behind his body and throw him over your left hip.</p>
+
<p>When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind up against their sword with that, Indes, angle your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then slip through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and dart in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.</p>
 
| {{section|Page:MS KK5126 108v.jpg|8|lbl=-}}
 
| {{section|Page:MS KK5126 108v.jpg|8|lbl=-}}
  
Line 555: Line 830:
  
 
|-  
 
|-  
| <p>You shall find how you shall run-through written hereafter in the play that says it like this: "Run through, let hang; with the pommel grab if you wish to wrangle"</p>
+
| <p>[41] Likewise. And how you shall slip through, you shall find that written hereafter in the part which says: "Slip through, let the pommel hang if you wish to grapple".</p>
 
| {{section|Page:MS KK5126 109r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 109r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 006v.jpg|3|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[42] '''The text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>56</small>
 +
| Double the failer<br/>If one hits then make the slice with [it]
 +
|-
 +
| <small>57</small>
 +
| Double further<br/>Stride in left and be not lax
 +
|}
 +
<p>Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right<ref>Vienna: left</ref> shoulder and when it is right for you, dart well out to your right side with your left foot counter to them and act as if you will make a free cross cut to the left side of their head, abort the cut and dart all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice.</p>
 
| {{section|Page:MS KK5126 109r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 109r.jpg|3|lbl=-}}
 
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Line 576: Line 860:
  
 
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|-  
|  
+
| <p>[43] You can also just as well execute the failer from descending cuts as you would from the cross strikes.</p>
 
| {{section|Page:MS KK5126 109r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 109r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|2|lbl=-}}
Line 584: Line 868:
 
|  
 
|  
 
|  
 
|  
 
+
<section begin="Schilhaw"/>
 +
|-
 +
| <p>[44] '''Here begins the text of the cockeyed cut with it's plays'''<br/><br/></p>
 +
{| class="zettel"
 +
|-
 +
| <small>58</small>
 +
| The cockeyed cut breaks inside<br/>Whatever the buffalo cuts or thrusts
 
|-  
 
|-  
|  
+
| <small>59</small>
 +
| Whoever threatens to change,<br/>The cockeyed cut robs them of it.
 +
|}
 +
<p>Gloss: Know that the cockeyed cut is a good<ref>Vienna omits</ref>, strange and grim<ref>Augsburg II: notable</ref> play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.</p>
 
| {{section|Page:MS KK5126 109r.jpg|5|lbl=}}
 
| {{section|Page:MS KK5126 109r.jpg|5|lbl=}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|3|lbl=-}}
Line 596: Line 889:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[45] '''Likewise. Execute the cockeyed cut like this'''</p>
  
<p>When you come to him with the onset, set the left foot forwards and hold your sword on your right shoulder. If he then hews you from high at your head, twist your sword and hew long against his hew with the short edge from outstretched arms high over his sword into his face or his chest. If he is then also deceptive and withholds his sword with the hew and changes through below, let the hew shoot forwards and remain like this with the point in front of his face or chest so that he may not come through below.</p>
+
<p>The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstretched arms with your short edge against their cut up over their sword, into their face or chest. If they are then crafty in this way and halts the cut of their sword<ref>Augsburg II: aborts during the cut of your sword</ref> and change through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.</p>
 
| {{section|Page:MS KK5126 109r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 109r.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007r.jpg|4|lbl=-}}
Line 608: Line 901:
  
 
|-  
 
|-  
|  
+
| <p>[46] '''Likewise. Another play'''</p>
 +
 
 +
<p>When you stand opposite the opponent and hold your sword at your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the chest of the opponent in such a way that they cannot reach you with their thrust.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 109r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 109v.jpg|1|lbl=109v|p=1}}
 
{{section|Page:MS KK5126 109r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 109v.jpg|1|lbl=109v|p=1}}
Line 618: Line 913:
 
|  
 
|  
  
<section begin="Schilhaw"/>
 
 
|-  
 
|-  
| <p>'''This is the text on the Squint-hew'''</p>
+
| <p>[47] '''The text of yet another play from the cockeyed cut'''</p>
 
+
{| class="zettel"
<p><br/><br/></p>
+
|-
 
+
| <small>60</small>
<p>Learn: When you enter with the Onset, then you shall Squint<ref>leer, scowl, make a secret or subtle glance.</ref> with the face whether he fences short against you. With that, You shall discern when he strikes directly toward you. If he does not then stretch the arms long from him with the sword’s hew, then the sword is shortened before him. When you lay before him in the guard the Fool: if he wishes to fall thereupon with his sword, then it is short. If he is Positioned in the guard of the Oxen or of the Plows, then it is again shortened. Know as well that all windings with the sword before the opponent are short and shorten the sword and everything which thus fences against you. In that case, change freely with the long point throughout hewing and throughout thrusting so that you force them so they must parry and let themselves become struck.</p>
+
| Cock an eye. If they short change you,<br/>Changing through defeats them.
 +
|}
 +
<p>When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are retracted. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again retracted. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again retracted. Also know that all winds before the opponent are short and retract the sword and freely change through out of cuts and thrusts using long point against all that fence against you in this way, with this you pressure them so that they must parry or allow themselves to be struck.</p>
 
| {{section|Page:MS KK5126 109v.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 109v.jpg|2|lbl=-}}
 
|  
 
|  
Line 630: Line 926:
 
| {{section|Page:Cod.I.6.2º.2 45r.jpg|2|lbl=45r}}
 
| {{section|Page:Cod.I.6.2º.2 45r.jpg|2|lbl=45r}}
 
| {{section|Page:Cgm 3711 46r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 46r.jpg|2|lbl=-}}
| '''[180v]'''
+
| <small>[180v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|5|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|5|lbl=50r}}
 +
 +
<p><br/><br/></p>
  
 
{{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|1|lbl=50v}}
 
{{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|1|lbl=50v}}
<p>Lehren wañ du mit dem zuvechten zugangest so soltu schilchñ mit dem gsicht, ob er kurtz gegen dir ficht, das solttu beÿ dem erkennen wañ er dir zu hawt, raicht er den die arm mit dem schwertt, dem uberlauffen, so ist es aber vekürtzt er sich den gegen dir in die huet des ochsens oder des pfluegs, so ist es aber vekürtzt, auch wiss das alle winden mit dem schwertt vor dem man kurtz seind und vekürtzen das kurtz schwertt, vnd alle die also gegen dir fe[] den wechsel frölich durch aus hauwen, unnd stechen, mit dem schwert, damit zwingestu sÿ das sÿ das miessen vesetzen unnd schlagen lassen</p>
 
  
 
|-  
 
|-  
| <p><br/><br/></p>
+
| <p>[48] '''This is the text of how you shall break long point with the cockeyed cut'''</p>
 
+
{| class="zettel"
<p>Squint to the point<br/>and take the neck without fear.</p>
+
|-
 
+
| <small>61</small>
<p>Gloss. Note this is a counter against the long point with a expression of the face and execute it thusly: When you approach with the Onset, if he then stands and holds his point against your face or chest, then hold you sword in the right Ox and Squint to<ref>Leer at</ref> his point and act as if you wish to strike it and strike strongly from the Squint-hew with the short edge upon his sword and from there shoot the point long to the neck with a step of the right foot.</p>
+
| Cock and eye at the point<br/>Take the neck without fear
 +
|}
 +
<p>Note this is a play versus the long point using a deception of the face. Execute it like this<ref>Vienna: omits this line</ref> When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or chest, hold your sword at your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a lunge forwards of your right foot.</p>
 
| {{section|Page:MS KK5126 109v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 109v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007v.jpg|2|lbl=-}}
Line 651: Line 950:
  
 
{{section|Page:Cgm 3711 46r.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 46v.jpg|1|lbl=46v|p=1}}
 
{{section|Page:Cgm 3711 46r.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 46v.jpg|1|lbl=46v|p=1}}
| '''[181r]'''
+
| <small>[181r]</small>
 
|  
 
|  
|  
+
| <p><br/><br/></p>
<p>Schilch zu dem ort<br/>unnd nim den hals on forcht,</p> <p>das is ein bruch mit dem langen ort, mit einer betreibtnus des ge sichts den treib also, weñ du mit zufechten kumbst, stat er den unnd halt den ort geg[] dem gsicht oder brust, so halt das shwert in den rechten ochsen, unnd schilch mit dem gsich[] zu dem ort, unnd thu als du in darzu hauwen wöllest, und hauw starck aus d[] schilchr mit den kurtzen schneid an sein schwert, und scheub im den ort damit lang ein zu</p>
 
|-
 
| <p>'''This is the text.'''</p>
 
  
<p>Squint-hew deftly to the<br/>forehead if you wish to ruin.</p>
+
{{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|2|lbl=-}}
  
<p>Gloss. Note this is another counter for when he stands against you in the long point. If you wish to strike the hands, then Squint<ref>Leer</ref> at him with your face to his head and act as if you wish to strike there and strike him out of the Squint-hew with the point to the hands.</p>
+
|-
 +
| <p>[49] '''The text of yet another play of the cockeyed cut'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>62</small>
 +
| Cock and eye at the top of the head<br/>If you wish to ruin the hands
 +
|}
 +
<p>Likewise. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.</p>
 
| {{section|Page:MS KK5126 109v.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 109v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 007v.jpg|3|lbl=-}}
Line 671: Line 974:
 
<section end="Schilhaw"/><section begin="Scheitelhaw"/>
 
<section end="Schilhaw"/><section begin="Scheitelhaw"/>
 
|-  
 
|-  
| <p>'''This is the text on the Parting-hew'''</p>
+
| <p>[50] '''The text of the hair cut'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>63</small>
 +
| The hair cut<br/>Is a threat to the face
 +
|-  
 +
| <small>64</small>
 +
| With it's turn<br/>The chest is yet endangered.
 +
|-
 +
| <small>65</small>
 +
| Whatever comes from them<br/>The crown removes.
 +
|-
 +
| <small>66</small>
 +
| Slice through the crown<br/>So that you break it beautifully and hard
 +
|-
 +
| <small>67</small>
 +
| Press the sweeps<br/>By slicing withdraw it
 +
|}
 +
<p>Gloss: The hair cut breaks the fool's guard and is quite threatening to the face and chest with it's turn.</p>
  
<p>The Parter<br/>threatens the face.<br/>With it’s turn,<br/>the chest is firmly threatened.<br/>Whatever comes from it,<br/>the Crown takes away.<br/>It slices through the Crown,<br/>so that you counter. Be firm<br/>and really press the strong.<br/>Exit with slicing.</p>
+
<p>Execute the hair cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and dart into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or chest. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and drive your slice using pressing and withdraw yourself with it.</p>
 
 
<p>Gloss. The Parter counters the guard of the Fool and threatens the face and the chest with its turn quite perilously. Execute it thusly: When you approach with the Onset, if he Positions himself in the guard of the Fool, then advance your left foot and hold your sword with arms stretched high above your head in the guard From-the-day and leap toward him and hew down strongly with the long edge from above and remain high with the arms and such that one’s hilt stands upward, binds upon his sword, that is called the crown, and rises with that and shoves your point. So wind through your sword and his crown with the edge below the pommel to his arms and press. Thus the crown is broken again and with the down pressing edge and withdraw yourself with that.</p>
 
 
| {{section|Page:MS KK5126 109v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 109v.jpg|5|lbl=-}}
 
|  
 
|  
Line 683: Line 1,002:
 
{{section|Page:Cgm 3711 46v.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 47r.jpg|1|lbl=47r|p=1}}
 
{{section|Page:Cgm 3711 46v.jpg|3|lbl=-|p=1}} {{section|Page:Cgm 3711 47r.jpg|1|lbl=47r|p=1}}
 
|  
 
|  
<br/>'''[181v]'''
+
<br/><small>[181v]</small>
| '''[92v]'''
+
| <small>[92v]</small>
 
|  
 
|  
 
<section end="Scheitelhaw"/><section begin="Leger"/>
 
<section end="Scheitelhaw"/><section begin="Leger"/>
 
|-  
 
|-  
| <p>'''This is the text of the Positions or guards'''</p>
+
| <p>[51] '''This is the text about the four positions or guards'''</p>
 
+
{| class="zettel"
<p>Therefore hold the four Positions<br/>and flee the common.<br/>Ox, Plow, Fool,<br/>From-the-Day are not to be despised by you.</p>
+
|-
 
+
| <small>68</small>
<p>Gloss: Note. The four Positions are the four guards that you shall fence from. The first guard is called the Ox. Arrange yourself thusly: Stand with your left foot forward and hold your sword next to your right side with the hilt before your head such that the short edge stands against you and the point against his face.</p>
+
| Four positions alone<br/>Defend from those and chase away the common
 +
|-
 +
| <small>69</small>
 +
| Ox, plow, fool,<br/>From-the-roof are not despised by you
 +
|}
 +
<p>Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.</p>
 
| {{section|Page:MS KK5126 109v.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 109v.jpg|6|lbl=-}}
  
Line 700: Line 1,024:
 
| {{section|Page:Cgm 3711 47r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 47r.jpg|2|lbl=-}}
 
|  
 
|  
'''[182r]'''
+
<small>[182r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051v.jpg|1|lbl=51v}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051v.jpg|1|lbl=51v}}
Line 707: Line 1,031:
  
 
|-  
 
|-  
| <p>Item. Arrange yourself thusly in the Ox to your left side: Stand with your right foot forward and hold your sword next to your left side with the hilt before your head such that the long edge stands against you and with the point against his face. This is the Ox to both sides.</p>
+
| <p>[52] Likewise. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.</p>
 
| {{section|Page:MS KK5126 110r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|3|lbl=-}}
Line 717: Line 1,041:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[53] '''The second is called the plow.'''</p>
  
<p>Item. The second guard is called the Plow so, arrange yourself thusly. Place your left foot forward and hold your sword with turned hands with the pommel downward next to the right side toward the hip and such that the short edge is above and the point against the face.</p>
+
<p>Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed<ref>Munich I: inverted/twisted</ref> hands such that the short edge is up and your point is against the opponent's face.</p>
 
| {{section|Page:MS KK5126 110r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|4|lbl=-}}
Line 726: Line 1,050:
 
| <p><br/></p>
 
| <p><br/></p>
  
<p><br/><br/><br/>'''[182v]''' </p>
+
<p><br/><br/><br/><small>[182v]</small> </p>
| <p>'''[93r]''' </p>
+
| <p><small>[93r]</small> </p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 733: Line 1,057:
  
 
|-  
 
|-  
|  
+
| <p>[54] '''Likewise on the left side.'''</p>
 +
 
 +
<p>The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.</p>
 
| {{section|Page:MS KK5126 110r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|4|lbl=-}}
 
|  
 
|  
Line 743: Line 1,069:
  
 
|-  
 
|-  
| <p>Item. To the left side arrange yourself thusly in the Plow: Place your right foot forward and hold your sword next to your left side with the pommel downward [toward] the hip and such that the long edge is above and the point to the face. This is the Plow to both sides.</p>
+
| <p>[55] Likewise. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.</p>
 
| {{section|Page:MS KK5126 110r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008r.jpg|5|lbl=-}}
Line 753: Line 1,079:
  
 
|-  
 
|-  
| <p>Item. The third is called the Fool. Array yourself with it thusly: Place your right foot forward and hold your sword with your right arm before you with the point pointing to the earth and the short edge is turned above.</p>
+
| <p>[56] The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of<ref>Vienna and Augsburg II omits</ref> your point upon the ground and such that the short edge is turned<ref>Vienna omits</ref> up.</p>
 
| {{section|Page:MS KK5126 110r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|6|lbl=-}}
 
|  
 
|  
Line 765: Line 1,091:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[57] '''This is the text about If the opponent is parrying you, as that is arriving'''</p>
  
<p>Item. The fourth guard is called From-the-Day. Array yourself with it thusly: Place your left foot forward and hold your sword with outstretched arms with the point high above your head and stand thusly in the guard.</p>
+
<p>The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword at your right shoulder<ref>"at your right shoulder" omitted from Augsburg II.</ref> or with your point<ref>"or with your point" omitted from Vienna and Augsburg II.</ref> high over your head with extended arms and stand in the guard like this.</p>
 
| {{section|Page:MS KK5126 110r.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|7|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
Line 785: Line 1,111:
 
<section end="Leger"/><section begin="Vorsetzen"/>
 
<section end="Leger"/><section begin="Vorsetzen"/>
 
|-  
 
|-  
| <p>'''This is the text of the four Oppositions'''<ref>Versetzen. To parry, transpose.</ref></p>
+
| <p>[58] '''This is the text about the parries'''</p>
 
+
{| class="zettel"
<p>Four are the Oppositions<br/>that severely beleaguer the Masters or Positions.<br/>Be aware of the Oppositions.<br/>If it happens to you, it vexes you.</p>
+
|-
 
+
| <small>70</small>
<p>Gloss. Note that you have heard about the guards before, so you shall now know which hew breaks the four guards in the Opposition. Know that the Crown Opposition does not belong to this, rather it is the four hews that break them.</p>
+
| Four are the parries<br/>That severly disrupt the positions
 +
|-
 +
| <small>71</small>
 +
| Guard yourself from parrying<br/>If it happens by necessity, it hurts you
 +
|}
 +
<p>Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break.</p>
 
| {{section|Page:MS KK5126 110r.jpg|8|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|8|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
Line 797: Line 1,128:
 
| {{section|Page:Cgm 3711 47v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 47v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/>'''[183r]'''
+
<br/><br/><small>[183r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052r.jpg|7|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052r.jpg|7|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. The first hew is the Crooked-hew that breaks the guard from the Ox.</p>
+
| <p>[59] The first is the crooked cut which breaks the guard of the ox.</p>
 
| {{section|Page:MS KK5126 110r.jpg|9|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|9|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|4|lbl=-}}
Line 812: Line 1,143:
  
 
|-  
 
|-  
| <p>Item. The second hew is the Thwart. It breaks the guard From the Day.</p>
+
| <p>[60] Likewise the second is the cross cut which breaks the roof guard.</p>
 
| {{section|Page:MS KK5126 110r.jpg|10|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|10|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|5|lbl=-}}
Line 822: Line 1,153:
  
 
|-  
 
|-  
| <p>Item. The third hew is the Squinter that breaks the guard that is called the Plow.</p>
+
| <p>[61] Likewise the third, this is the cockeyed cut, which breaks the guard of the plow.</p>
 
| {{section|Page:MS KK5126 110r.jpg|11|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|11|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|6|lbl=-}}
Line 832: Line 1,163:
  
 
|-  
 
|-  
| <p>Item. The fourth hew is the Parter that breaks the guard that is called the Fool and how the four guards are broken with the hews you shall find them written with the hews. So therefore restrain yourself such that you do not Oppose extensively, if you wish to otherwise not become struck.</p>
+
| <p>[62] The fourth, this is the hair cut, which breaks the guard here called the fool, and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.</p>
 
| {{section|Page:MS KK5126 110r.jpg|12|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|12|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|7|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 008v.jpg|7|lbl=-}}
Line 843: Line 1,174:
  
 
|-  
 
|-  
| <p>'''This is the text of the Opposition'''</p>
+
| <p>[63] '''This is the text'''</p>
 
+
{| class="zettel"
<p>If you are Opposed<br/>and as it comes to be,<br/>listen to what I advise for you.<br/>Wrench away. Hew quickly with stepping.</p>
+
|-
 
+
| <small>72</small>
<p>Gloss. Note that if one has Opposed you and wishes to not remove themselves from your sword and intends to let you entirely come to no device, then act as if you wish to commit and pull the sword toward you until the mid-part of the blade and from there ascend quickly upon the sword and hew him quickly with the Doubling or with the short edge to the head...</p>
+
| If the opponent is parrying you,<br/>Note as it arrives.
 +
|-
 +
| <small>73</small>
 +
| Heed what I advise:<br/>Break loose quickly, cut with threat.
 +
|}
 +
<p>Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you yourself will draw off, away from their sword and yank your sword to you, just to the mid-part of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.</p>
 
| {{section|Page:MS KK5126 110r.jpg|13|lbl=-}}
 
| {{section|Page:MS KK5126 110r.jpg|13|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
Line 856: Line 1,192:
 
{{section|Page:Cgm 3711 47v.jpg|8|lbl=-|p=1}} {{section|Page:Cgm 3711 48r.jpg|1|lbl=48r|p=1}}
 
{{section|Page:Cgm 3711 47v.jpg|8|lbl=-|p=1}} {{section|Page:Cgm 3711 48r.jpg|1|lbl=48r|p=1}}
 
|  
 
|  
<br/><br/>'''[183v]'''
+
<br/><br/><small>[183v]</small>
| '''[93v]'''
+
| <small>[93v]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[64] '''Likewise another one'''</p>
  
<p>...against his point as if you wish to take [away] and remain upon the sword and hew him again directly upon the blade with the long edge to the head.</p>
+
<p>When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 882: Line 1,218:
 
<section end="Vorsetzen"/>
 
<section end="Vorsetzen"/>
 
|-  
 
|-  
| <p>'''This is the text of the four Impalings'''<ref>Ansetzen. to plant or position something in a specific place.</ref></p>
+
| <p>[65] '''This is the text of the four pins'''</p>
 
+
{| class="zettel"
<p>Impale four ends.<br/>Remain thereupon. Learn if you wish to conclude.</p>
+
|-
 
+
| <small>74</small>
<p>Gloss. Note that Impaling is a earnest device if it seeks the Four Openings and is called to execute if you wish to give a quick ending.</p>
+
| Pin the four extremities<br/>Learn to remain upon them if you wish to finish
 +
|}
 +
<p>Gloss: Pinning is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to execute where you wish to deliver an immediate end with your sword.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 110r.jpg|15|lbl=-|p=1}} {{section|Page:MS KK5126 110v.jpg|1|lbl=110v|p=1}}
 
{{section|Page:MS KK5126 110r.jpg|15|lbl=-|p=1}} {{section|Page:MS KK5126 110v.jpg|1|lbl=110v|p=1}}
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|2|lbl=-}}
+
| <p><br/></p>
 +
 
 +
{{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|3|lbl=-}}
Line 897: Line 1,237:
  
 
|-  
 
|-  
| <p><ref>Here the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] is similar to [[Jud Lew]], whereas the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsberg version]] resembles [[Pseudo-Peter von Danzig]].</ref>Item. The Impaling executes thusly: When you approach with the sword with the Onset, Position yourself with your sword in the guard of the Ox or of the Plow. If he then wishes to hew or thrust from his right side, then pre-empt with the Opposition and shoot the long point to his left side opening and await whether you are allowed to Impale him. Or, if he hews from his left side, then shoot the point to his right side opening.</p>
+
| <p>[66] Likewise. Execute the pinning like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cut in from above or initiate a thrust from their right side, then come forwards with a parrying movement, shoot in the long point to the nearest opening of their left side, and see if you can pin them. But if they cut in from their left side, shoot in your point to the opening of their right side.<ref>Vienna: "And pinning is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cut in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you pin them."</ref></p>
| rowspan="2" | {{section|Page:MS KK5126 110v.jpg|2|lbl=-}}
+
| {{section|Page:MS KK5126 110v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 48r.jpg|4|lbl=-}}
| <br/><br/><br/>'''[184r]'''
+
| <br/><br/><br/><small>[184r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|5|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. Whoever hews toward you from below from their left side, shoot your point and impale him in exactly the same way as when he hews from the left side below. If he anticipates the impaling, then Parry and remain with your sword upon his and deftly work to the nearest Opening. Thus you allow him to come to no art.</p>
+
| <p>[67] Likewise. When the opponent initiates a cut up from below from their right side, shoot in your point and pin them. Also do the same when they cut up from below from their left side. Then if they become aware of the pin and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.<ref>Vienna: "Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your pinning and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play. Then if they withdraw themselves from your sword, execute the racing behind which will be explained to you hereafter."</ref></p>
 +
| {{section|Page:MS KK5126 110v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|5|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 46v.jpg|5|lbl=-}}
Line 916: Line 1,257:
  
 
|-  
 
|-  
 +
| <p>[68] '''This is the text about how you shall race behind'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>75</small>
 +
| Learn to race behind<br/>Double or slice into the weapon
 +
|-
 +
| <small>76</small>
 +
| Two outside yokes<br/>The work begins thereafter
 +
|-
 +
| <small>77</small>
 +
| Inspecting the application<br/>Whether they are soft or hard
 +
|}
 +
<p>Gloss. Note racing behind is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.</p>
 +
| {{section|Page:MS KK5126 110v.jpg|4|lbl=-}}
 +
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|5|lbl=-}}
 
|  
 
|  
| {{section|Page:MS KK5126 110v.jpg|3|lbl=-}}
+
{{section|Page:Cod.I.6.2º.2 46v.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.I.6.2º.2 48r.jpg|1|lbl=48r|p=1}}
|
 
|
 
|
 
|
 
|
 
|
 
 
 
|-
 
| <p>'''This is the text of the Following-after'''</p>
 
 
 
<p>Learn to Follow-after:<br/>Duplicate or slice into the weapon.<br/>After the two outer captures,<br/>Your work begins.<br/>Examine whether the threats<br/>are soft or hard.</p>
 
 
 
<p>Gloss. Note: The Followings-after are various and many and are held to execute with great prudence against the fencer that ventures out and fences in long hews and otherwise does not have the rightful art of the sword.</p>
 
| {{section|Page:MS KK5126 110v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 009r.jpg|5|lbl=-}}
 
|
 
{{section|Page:Cod.I.6.2º.2 46v.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.I.6.2º.2 48r.jpg|1|lbl=48r|p=1}}
 
 
|  
 
|  
 
{{section|Page:Cgm 3711 48r.jpg|6|lbl=-|p=1}}
 
{{section|Page:Cgm 3711 48r.jpg|6|lbl=-|p=1}}
Line 940: Line 1,279:
 
{{section|Page:Cgm 3711 48v.jpg|1|lbl=48v|p=1}}
 
{{section|Page:Cgm 3711 48v.jpg|1|lbl=48v|p=1}}
 
|  
 
|  
<br/><br/><br/>'''[184v]'''
+
<br/><br/><br/><small>[184v]</small>
| '''[94r]'''
+
| <small>[94r]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|7|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 052v.jpg|7|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. The first device from the Following-after executes thusly: When you approach with the Onset, advance your left foot and stand in the guard From-the-day and watch quite attentively what he will fence against you. If he hews high leftward from his shoulder, do not Parry him and wait such that he does not pass with the hew and Press. Note that as his sword goes downward against the earth with the hew, leap forth to his right side Opening before he comes up with his sword, thus he is struck.</p>
+
| <p>[69] Execute the first play of racing behind like this: When you come to the opponent with the initiation of fencing, then advance your left foot and setup in the roof guard, quite precisely observing what your opponent fences against you. Then if they cut in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then dart into them with your right foot and cut in from above into the opening of their right side. When they come back up with their sword, they are struck.</p>
 
| {{section|Page:MS KK5126 110v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 110v.jpg|5|lbl=-}}
 
|  
 
|  
Line 957: Line 1,296:
  
 
|-  
 
|-  
| <p>'''The device called the Iron Gate'''</p>
+
| <p>[70] '''The is the outer yoke'''<ref>Wolfenbüttel: Broken gate to the outside</ref></p>
  
<p>Item. When he is himself hewing and you hew into him, if he then quickly rises with the sword and Parries, then remain strong with the long edge upon the sword. If he then begins to lift the sword upward, then spring with your left foot behind his right and strike him with the Thwart-hew or else to the right side to his head and thereafter work to his left with the Doubling or else with other devices thereafter as you sense whether he is hard or weak in the sword.</p>
+
<p>When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then dart well behind their right foot with your left and strike them on the right side of their head with a cross cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 967: Line 1,306:
 
| {{section|Page:Cgm 3711 48v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 48v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/><br/><br/>'''[185r]'''
+
<br/><br/><br/><br/><small>[185r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| <p>'''This is another device'''</p>
+
| <p>[71] '''Likewise. Yet another play.'''</p>
  
<p>Item. When he is himself hewing before you and you hew into him, if you then bind upon his sword against his left side and he then strikes quickly out of the Opposition and with the Thwart-hew to your right side, then Simultaneously come with the Thwart-hew from below his sword against his left side upon his neck or spring with the left foot to his right side and also hew into his hew to his right side or execute the Slice above his arms to his head.</p>
+
<p>When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them<ref>Vienna omits</ref> below their sword and toward<ref>Augsburg II omits</ref> their left side with a cross cut across their neck or dart to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 983: Line 1,322:
 
{{section|Page:Cgm 3711 48v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 49r.jpg|1|lbl=49r|p=1}}
 
{{section|Page:Cgm 3711 48v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 49r.jpg|1|lbl=49r|p=1}}
 
|  
 
|  
| '''[94v]'''
+
| <small>[94v]</small>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| <p>'''Here note a good Following-after'''</p>
+
| <p>[72] '''A good racing behind'''</p>
  
<p>Item. When you fence against him from the Low Hews or from the Sweeps or lay in the guard[of the Fool]. If he then falls upon it with the sword before you rise, remain below upon the sword and start upward. If he wishes to hew down your parrying out or wind upon the sword, then do not allow him to exit from the sword and thereupon follow after and work from there to his nearest opening.</p>
+
<p>When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you<ref>Augsburg and the others follow the lew: "either cut in from the act of parrying or wind in against your sword"</ref>, then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 110v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 111r.jpg|1|lbl=111r|p=1}}
 
{{section|Page:MS KK5126 110v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 111r.jpg|1|lbl=111r|p=1}}
Line 996: Line 1,335:
 
| {{section|Page:Cgm 3711 49r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 49r.jpg|2|lbl=-}}
 
|  
 
|  
<br/>'''[185v]'''
+
<br/><small>[185v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 053r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. Note you shall from all guards and with all guards Follow-after. Thus arrive quickly when he is himself hewing or uncovers with the sword.</p>
+
| <p>[73] Likewise. Note, you shall race behind the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you<ref>The others follow the lew: "either misfires or ..."</ref> or uncovers themselves in front of you with their cut.</p>
 
| {{section|Page:MS KK5126 111r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|1|lbl=10r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|1|lbl=10r}}
Line 1,011: Line 1,350:
  
 
|-  
 
|-  
| <p>'''This is the text of the Sensing and of the word that is called “Instantly”'''</p>
+
| <p>[74] '''This is the text about feeling and about the word Indes'''</p>
 
+
{| class="zettel"
<p>[When] the Sensing teaches<br/>“Instantly”, the sword slices well.</p>
+
|-
 
+
| <small>78</small>
<p>Gloss. Note that the sensing in the sword and the word “Instantly” is the greatest art and when one is a master or wishes to be and cannot sense the Sensing and thereby cannot understand the word “Instantly”, then he is not a master. Rather, he is a Buffalo of the sword, therefore you shall learn to embody these two things well in all engagements.</p>
+
| Learn to feel it<br/>Indes, this word cuts sharply
 +
|}
 +
<p>Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.</p>
 
| {{section|Page:MS KK5126 111r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|2|lbl=-}}
Line 1,021: Line 1,362:
 
| {{section|Page:Cgm 3711 49r.jpg|4|lbl=-}}
 
| {{section|Page:Cgm 3711 49r.jpg|4|lbl=-}}
 
| <br/><br/>
 
| <br/><br/>
<br/><br/><br/><br/><br/><br/>'''[186r]'''
+
<br/><br/><br/><br/><br/><br/><small>[186r]</small>
 
|  
 
|  
 
|  
 
|  
  
 
|-  
 
|-  
| <p>'''Item. Note the Sensing thusly:'''</p>
+
| <p>[75] '''Note feeling like this:'''</p>
  
<p>When you approach with the Onset and one binds another upon the sword, you shall Sense whether it is Soft or Hard within in your hand as the swords spark together and if you have been bound and as soon as you Sense it, then think of the word “Instantly”. That is, when you adequately Sense in that moment, you should work with the sword so he becomes struck before he becomes aware.</p>
+
<p>Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound up soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.</p>
 
| {{section|Page:MS KK5126 111r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|3|lbl=-}}
Line 1,040: Line 1,381:
 
| <p><br/></p>
 
| <p><br/></p>
  
'''[95r]'''
+
<small>[95r]</small>
|  
+
| <p><br/></p>
 +
 
 +
{{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|3|lbl=50v}}
  
 
|-  
 
|-  
| <p>Item. Here you shall note that of Sensing and the word Instantly, one cannot be without the other and understand this thusly: When you bind upon his sword, you must feel Soft or Hard with the word Instantly and when you have felt, you must again work with Instantly. Thus are they always with each other. When the word Instantly is in all devices, understand it thusly: Instantly Run-through from the Doubling and Instantly Mutate, Instantly Change-through, Instantly Run-through , Instantly take the Sword, Instantly do what your heart desires. Instantly is a sharp word. With it all masters of the sword’s woundings become accomplished.</p>
+
| <p>[76] Likewise. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this: </p>
 +
 
 +
<p><br/>
 +
<br/>
 +
Indes changes through, <br/>
 +
Indes slips through. <br/>
 +
Indes takes the slice, <br/>
 +
Indes wrestles with. <br/>
 +
Indes takes the sword, <br/>
 +
Indes does what the heart desires. </p>
 +
 
 +
<p>Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.</p>
 
| {{section|Page:MS KK5126 111r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010r.jpg|4|lbl=-}}
Line 1,051: Line 1,405:
 
|  
 
|  
 
{{section|Page:Cgm 3711 49r.jpg|6|lbl=-|p=1}} {{section|Page:Cgm 3711 49v.jpg|1|lbl=49v|p=1}}
 
{{section|Page:Cgm 3711 49r.jpg|6|lbl=-|p=1}} {{section|Page:Cgm 3711 49v.jpg|1|lbl=49v|p=1}}
| <br/><br/><br/><br/><br/><br/><br/>'''[186v]'''
+
| <br/><br/><br/><br/><br/><br/><br/><small>[186v]</small>
|
 
 
|  
 
|  
 +
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
| <p>'''This is the text'''</p>
+
| <p>[77] '''This is the text<ref>Vienna: The text about overrunning</ref></p>
 
+
{| class="zettel"
<p>Follow-after twice.<br/>Apply the old Slice upon him with power.</p>
+
|-
 
+
| <small>79</small>
<p>Gloss. Note. This is how you shall execute the the Following-after to both sides and also bring the Slice therein. Understand it thusly: When he himself is hewing before you from the left or right sides, hew into him freely to the opening. If he then drives up as well and binds below you upon the sword, then note as soon as one sword sparks the other, Slice into his neck or fall and take the Slice.</p>
+
| Racing behind twice,<br/>If one hits, make the parting slice with it.
 +
|}
 +
<p>Gloss. Note this is about how you shall not forget to conduct the racing behind to both sides nor the slices therein. Understand it like this: When the opponent misfires in front of you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.<ref>The others: "and take the slice"</ref></p>
 
| {{section|Page:MS KK5126 111r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|6|lbl=-}}
 
|  
 
|  
Line 1,069: Line 1,425:
 
|  
 
|  
 
<br/><br/><br/><br/><br/><br/><br/><br/>[End of page]
 
<br/><br/><br/><br/><br/><br/><br/><br/>[End of page]
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|1|lbl=51r}}
+
|  
 +
{{section|Page:Cod.Guelf.38.21 Aug.2º 050v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|1|lbl=51r|p=1}}
  
 
|-  
 
|-  
| <p>'''This is the text of the Passing-over'''</p>
+
| <p>[78] '''The text about overrunning'''</p>
 
+
{| class="zettel"
<p>Whoever aims below<br/>and Passes-over, they become shamed above.<br/>When it sparks above,<br/>Strengthen yourself. That I desire to praise<br/>your powerful work. Soft<br/>or Hard and Press it, Double.</p>
+
|-
 
+
| <small>80</small>
<p>Gloss. Note this is how when one fences to you low, you shall Pass-over him. Understand it thusly: When you approach with the Onset, if he then hews to you low, do not Parry. Rather, note when his Low-hew goes against you, hew him high and long from your right shoulder and shoot the point to his face or breast and Impale him so he cannot reach you below. If he then arises from below and Parries, then remain with the long edge Strong upon the sword and work properly to the nearest Opening.</p>
+
| Whoever takes target from below<br/>Overrun, then they will be shamed.
 +
|-
 +
| <small>81</small>
 +
| When it clashes above,<br/>Strengthen, This I wish to praise.
 +
|-
 +
| <small>82</small>
 +
| Make your work<br/>press<ref>Vienna: through, Wolfenbüttel: "press it"</ref> twice, soft or hard.
 +
|}
 +
<p>Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cut in long from above from your right shoulder and shoot in your point into their face or chest long from above and pin them from above so they cannot reach you below. Because all of the upper pins break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.</p>
 
| {{section|Page:MS KK5126 111r.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|7|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010v.jpg|2|lbl=-}}
Line 1,082: Line 1,447:
 
| {{section|Page:Cgm 3711 49v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 49v.jpg|3|lbl=-}}
 
|  
 
|  
<br/><br/><br/><br/>'''[187r]'''
+
<br/><br/><br/><br/><small>[187r]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. Notice when you have bound upon his sword Strongly. If he then strikes around from the Parrying to the other side, then bind upwards, over him Strongly with the long edge upon the Weak of his sword to his head and work it to the Opening. Also execute again around to both sides.</p>
+
| <p>[79] Likewise. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.</p>
 
| {{section|Page:MS KK5126 111r.jpg|8|lbl=-}}
 
| {{section|Page:MS KK5126 111r.jpg|8|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 010v.jpg|3|lbl=-}}
Line 1,098: Line 1,463:
  
 
|-  
 
|-  
| <p>'''This is the text on how you shall Set-aside stab and hew'''</p>
+
| <p>[80] '''How you shall displace cut and thrust'''</p>
 
+
{| class="zettel"
<p>Learn to Set-aside.<br/>Stab. Artfully injure.<br/>Whoever thrusts upon you,<br/>your point hits and his breaks.<br/>Hit from both sides<br/>every time if you wish to step.</p>
+
|-
 
+
| <small>83</small>
<p>Gloss. Note the Setting-aside executes thusly: When you approach with the Onset. If he then places against himself against you as if he wishes to stab, then advance your left foot and stand against him in the guard of the Plow to your right side and give an Opening to your left. If he then thrusts to the Opening, then wind with the sword towards your left side against his thrust, the short edge upon his sword and Set him Aside such that your point always remains against him. Stay and stride ahead with the right foot and stab him to the face or chest.</p>
+
| Learn to displace<br/>Skillfully disrupt cuts and thrusts
 +
|-
 +
| <small>84</small>
 +
| Whoever thrusts at you<br/>Your point hits and their's breaks
 +
|-
 +
| <small>85</small>
 +
| From both sides<br/>You will hit every time, if you step.
 +
|}
 +
<p>Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displace it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their chest.<ref>The others omit "opening of"</ref></p>
 
| {{section|Page:MS KK5126 111v.jpg|1|lbl=111v}}
 
| {{section|Page:MS KK5126 111v.jpg|1|lbl=111v}}
 
| <p><br/></p>
 
| <p><br/></p>
Line 1,111: Line 1,484:
 
| {{section|Page:Cgm 3711 50r.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|2|lbl=-}}
 
|  
 
|  
'''[187v]'''
+
<small>[187v]</small>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 051r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. Another device.</p>
+
| <p>[81] '''Likewise. Another play.'''</p>
  
<p>When you stand in the Plow to your right side and he then hews high to your left side Opening, then rise with the sword and wind with it towards the left side against his hilt before yours in the Ox and step toward with the right foot and thrust into his face or chest and the device executes from the left side as well, also from the Plow, except from the right side.</p>
+
<p>When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and during that winding your hilt in front of your head in the ox on your left side and against their cut and with that step toward the right foot and stab them in their face or chest. This play is also conducted from the plow from your left side in the same way as from your right.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,125: Line 1,498:
 
| {{section|Page:Cod.I.6.2º.2 47v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 47v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 50r.jpg|3|lbl=-}}
| <br/><br/><br/>'''[188r]'''
+
| <br/><br/><br/><small>[188r]</small>
 
|  
 
|  
 
|  
 
|  
  
 
|-  
 
|-  
| <p>'''This is the text on how you shall Change-through'''</p>
+
| <p>[82] '''The text about changing through.'''</p>
 
+
{| class="zettel"
<p>Learn to Change-through<br/>from both sides. Do not thrust violently.<br/>Whoever binds upon,<br/>Change-through, find him askance.</p>
+
|-
 
+
| <small>86</small>
<p>Gloss. Note that the Changing-through are various and many that you may execute from all Hews against the fencer that Parries against them, that Hews to them and not to the Openings of the body. You shall learn them quite well, executing them with prudence so that one cannot impale you or otherwise approach while you Change-through.</p>
+
| Learn to change through<br/>From both sides thrusting sharply with it
 +
|-
 +
| <small>87</small>
 +
| Whoever binds upon you<br/>Changing through surely finds them
 +
|}
 +
<p>Gloss. Note the changings through are many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not pin you nor otherwise come in while you change through.</p>
 
| {{section|Page:MS KK5126 111v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 111v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 011r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 011r.jpg|3|lbl=-}}
Line 1,145: Line 1,523:
  
 
|-  
 
|-  
| <p>'''Item. The Changing-through executes thusly:'''</p>
+
| <p>[83] '''And you execute changing through like this'''</p>
  
<p>When you approach with the Onset, hew high and long to the head. If he then hews against you to the sword and not to the body, then allow your point to Change-through below with the hew before he binds upon your sword and stab him to the other side. If he becomes aware of the thrust and pursues the thrust with Parrying quickly with the sword, then again Change-through to the other side. Always execute when he pursues the sword with Parrying and this executes to both sides.</p>
+
<p>When you come to the opponent with the initiation of fencing, cut in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point slip through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then change through above<ref>Others: again</ref> to the other side. And always execute this when the opponent moves towards your sword with an attempt to parry. The is executed on both sides.</p>
 
| {{section|Page:MS KK5126 111v.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 111v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 011r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 011r.jpg|4|lbl=-}}
Line 1,161: Line 1,539:
  
 
|-  
 
|-  
| <p>Item. Another.</p>
+
| <p>[84] '''Likewise, another.'''</p>
  
<p>When you approach with the Onset, advance your left foot and hold the long point against his face. If he then hews from high or low to the sword and wishes to strike it away or bind Strongly, then let the point sink downward and stab him to the other side and this executes against all hews that one hews to the swords and not to the Openings of the body.</p>
+
<p>When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind up against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword and not to the openings of the body.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,176: Line 1,554:
  
 
|-  
 
|-  
| <p>Item. Note this device especially</p>
+
| <p>[85] '''Likewise, quite precisely note this play'''</p>
  
<p>when he Parries before you and allows the point to already run.</p>
+
<p>When the opponent parries you and allow their point to go off to your side, boldly change through and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not change through. Remain on the sword and work with that to the nearest opening such that they cannot race behind, nor pin you.<ref>Vienna omits: "nor pin you"</ref><ref>All Hutter copies end with: "When he Parries before you and allows the point to already run…"</ref></p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,190: Line 1,568:
  
 
|-  
 
|-  
|  
+
| <p>[86] '''This is the text of how you shall yank'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>88</small>
 +
| Tread close in binds,<br/>So that yanking gives good opportunities.
 +
|-
 +
| <small>89</small>
 +
| Yank. If they engage, yank more.<br/>Uncover the work that does them harm.
 +
|-
 +
| <small>90</small>
 +
| Yank all engagements<ref>Augsburg II introduces scribal error. "Thut im we" became "thut ime be…"</ref><br/>If you wish to make a fool of the masters
 +
|}
 +
<p>Know that yanking is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off<ref>bind you down</ref><ref>Augsburg omits</ref> or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the yanking against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then yank your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 111v.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 112r.jpg|1|lbl=112r|p=1}}
 
{{section|Page:MS KK5126 111v.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 112r.jpg|1|lbl=112r|p=1}}
Line 1,201: Line 1,591:
  
 
|-  
 
|-  
|  
+
| <p>[87] '''Likewise. Another yanking.'''</p>
 +
 
 +
<p>When the opponent has bound you up against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will yank and stay at the sword and yank your sword towards yourself just to the mid-part of the blade and suddenly thrust back against their sword into their face or chest. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,213: Line 1,605:
  
 
|-  
 
|-  
|  
+
| <p>[88] '''This is the text about slipping through and about wrestling'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>91</small>
 +
| Slip through, let hang<br/>Grab with the pommel if you wish to grapple.
 +
|-
 +
| <small>92</small>
 +
| Whoever strengthens up against you,<br/>Remember to slip through during that.
 +
|}
 +
<p>Gloss. Slipping through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and during that: rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head by the pommel with your left hand and let your blade angle down back across your back and slip beneath their arms to their right side with your head and dart behind their right foot with your right and during the dart move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.</p>
 
| {{section|Page:MS KK5126 112r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 112r.jpg|3|lbl=-}}
 
|  
 
|  
Line 1,224: Line 1,625:
  
 
|-  
 
|-  
|  
+
| <p>[89] '''Another wrestling'''</p>
 +
 
 +
<p>Likewise. When the opponent rushes in on you with up-stretched arms and you do the same, then slip through them with your head to their right side and let your sword angle back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. These two wrestlings go to both sides.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,236: Line 1,639:
  
 
|-  
 
|-  
|  
+
| <p>[90] '''Likewise. Yet another wrestling'''</p>
 +
 
 +
<p>Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shove their arm and their sword away from you with your hilt and dart ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face.</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012r.jpg|3|lbl=-}}
Line 1,246: Line 1,651:
  
 
|-  
 
|-  
|  
+
| <p>[91] '''Likewise. Yet another wrestling'''</p>
 +
 
 +
<p>Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and dart behind their right foot with your left and pass your left arm down through in front of their chest to their left side and fasten them to your left hp and throw them behind you. Execute the two wrestlings on both sides.</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012r.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012r.jpg|4|lbl=-}}
Line 1,256: Line 1,663:
  
 
|-  
 
|-  
|  
+
| <p>[92] '''Here note arm wrestling in the sword'''</p>
 +
 
 +
<p>Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then dart behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.</p>
 
| {{section|Page:MS KK5126 112r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 112r.jpg|5|lbl=-}}
 
|  
 
|  
Line 1,267: Line 1,676:
  
 
|-  
 
|-  
|  
+
| <p>[93] '''Likewise. Another.'''</p>
 +
 
 +
<p>Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left<ref>Vienna: right</ref> hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and dart in front of their right foot with your left and pushing them over it.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,279: Line 1,690:
  
 
|-  
 
|-  
|  
+
| <p>[94] '''Likewise. Another wrestling.'''</p>
 +
 
 +
<p>When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and dart in front of their right foot with your left and shove with your right hand.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,291: Line 1,704:
  
 
|-  
 
|-  
|  
+
| <p>[95] When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<ref>Augsburg II keeps this with the previous play like in the Lew.</ref></p>
 
| {{section|Page:MS KK5126 112v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 112v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012v.jpg|4|lbl=-}}
Line 1,301: Line 1,714:
  
 
|-  
 
|-  
|  
+
| <p>[96] '''Likewise. Yet another.'''</p>
 +
 
 +
<p>When the opponent rushes in on you at the sword, invert your right<ref>Augsburg II has left as in the Rome</ref> hand and pass over their left<ref>Augsburg II has right as in the Rome</ref> arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,313: Line 1,728:
  
 
|-  
 
|-  
|  
+
| <p>[97] '''Likewise. Yet another.'''</p>
|  
+
 
 +
<p>Note when the opponent parries you or otherwise binds up against your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.<ref>This paragraph appears after 98 in the Vienna, which seems to be an error.</ref></p>
 +
| {{section|Page:MS KK5126 112v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 012v.jpg|6|lbl=-}}
 
|  
 
|  
Line 1,323: Line 1,740:
  
 
|-  
 
|-  
| <p><br/></p>
+
| <p>[98] '''The text about severing'''</p>
 
+
{| class="zettel"
<p><br/><br/></p>
+
|-
 
+
| <small>93</small>
<p>This is a break against the falling-across of your sword</p>
+
| Sever the hard ones<br/>From below with both applications
 +
|}
 +
<p>This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Understand it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneath with your sword against their sword's blade, away form their sword and immediately cut back in against their sword from above at their mouth.<ref>Vienna repeats "vnd haw im am swert", a scribal error.</ref></p>
 
| {{section|Page:MS KK5126 112v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 112v.jpg|5|lbl=-}}
 
|  
 
|  
Line 1,338: Line 1,757:
  
 
|-  
 
|-  
|  
+
| <p>[99] '''Likewise. Another.'''</p>
| {{section|Page:MS KK5126 112v.jpg|6|lbl=-}}
 
|
 
|
 
|
 
|
 
|
 
|
 
  
|-
+
<p>When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.</p>
|
 
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 1,360: Line 1,771:
  
 
|-  
 
|-  
|  
+
| <p>[100] '''The text about the four slices'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>94</small>
 +
| Four are the slices<br/>Two from below, two from above together.
 +
|}
 +
<p>Likewise. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a cross cut, dart to their right side with your left foot, away from their cut and fall across both their arms from above<ref>This is the end of the Augsburg II Nicolaus gloss. The remainder of the gloss in Augsburg II is taken from [[Sigmund ain Ringeck]].</ref> with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.</p>
 
| {{section|Page:MS KK5126 112v.jpg|8|lbl=-}}
 
| {{section|Page:MS KK5126 112v.jpg|8|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 013r.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 013r.jpg|3|lbl=-}}
Line 1,370: Line 1,787:
  
 
|-  
 
|-  
|  
+
| <p>[101] The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind up against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.</p>
 +
 
 +
<p>Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.</p>
 
| {{section|Page:MS KK5126 112v.jpg|9|lbl=-|p=1}} {{section|Page:MS KK5126 113r.jpg|1|lbl=113r|p=1}}
 
| {{section|Page:MS KK5126 112v.jpg|9|lbl=-|p=1}} {{section|Page:MS KK5126 113r.jpg|1|lbl=113r|p=1}}
 
|  
 
|  
Line 1,380: Line 1,799:
  
 
|-  
 
|-  
|  
+
| <p>[102] '''The text about the transformation of the slice'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>95</small>
 +
| Turn your slice<br/>To escape, press your hands
 +
|}
 +
<p>This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and during that step to their right side, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.</p>
 +
 
 +
<p>Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.</p>
 
| {{section|Page:MS KK5126 113r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 113r.jpg|2|lbl=-}}
 
|  
 
|  
Line 1,390: Line 1,817:
  
 
|-  
 
|-  
|  
+
| <p>[103] '''The text about the two lower hangings'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>96</small>
 +
| Two ways of hanging emerge<br/>From the ground from one hand
 +
|-
 +
| <small>97</small>
 +
| In every clash<br/>Cut, Thrust, Position, Soft or Hard
 +
|}
 +
<p>Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.</p>
 +
 
 +
<p>You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.</p>
 
| {{section|Page:MS KK5126 113r.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 113r.jpg|3|lbl=-}}
 
|  
 
|  
Line 1,400: Line 1,838:
  
 
|-  
 
|-  
|  
+
| <p>[104] '''The text about the speaking window'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>98</small>
 +
| Make the speaking window<br/>Stand freely, watch their situation.
 +
|-
 +
| <small>99</small>
 +
| Strike them so that it snaps<br/>Whoever withdraws themselves before you.
 +
|-
 +
| <small>100</small>
 +
| I say to you truthfully<br/>No one defends themselves without danger
 +
|-
 +
| <small>101</small>
 +
| If you have understood<br/>They cannot come to blows
 +
|}
 +
<p>Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they pressure their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.</p>
 
| {{section|Page:MS KK5126 113r.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 113r.jpg|4|lbl=-}}
 
|  
 
|  
Line 1,410: Line 1,863:
  
 
|-  
 
|-  
|  
+
| <p>[105] '''Make the speaking window like this'''</p>
 +
 
 +
<p>When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or chest before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then change through and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or slip through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.</p>
 
| {{section|Page:MS KK5126 113r.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 113r.jpg|5|lbl=-}}
 
|  
 
|  
Line 1,420: Line 1,875:
  
 
|-  
 
|-  
|  
+
| <p>[106] '''Another of the long point's'''</p>
 +
 
 +
<p>Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their chest during your cut. With that you pressure them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they withdraw themselves back away from your sword then follow after them with your point to their chest. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.</p>
 
| {{section|Page:MS KK5126 113r.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 113r.jpg|6|lbl=-}}
 +
 +
{{section|Page:MS KK5126 113v.jpg|1|lbl=113v}}
 
|  
 
|  
 
|  
 
|  
Line 1,430: Line 1,889:
  
 
|-  
 
|-  
|  
+
| <p>[107] '''This is the text of the Instruction of the four hangers and the eight hangings'''</p>
| {{section|Page:MS KK5126 113r.jpg|7|lbl=-}}
+
{| class="zettel"
 
+
|-
 +
| <small>102</small>
 +
| Whoever fully commands and correctly breaks<br/>And continually and completely stays in line
 +
|-
 +
| <small>103</small>
 +
| And breaks each in particular<br/>Into three wounders,
 +
|-
 +
| <small>104</small>
 +
| Whoever hangs consumately and correctly<br/>And delivers the winding with it
 +
|-
 +
| <small>105</small>
 +
| And considers the eight winds<br/>With correct judgement
 +
|-
 +
| <small>106</small>
 +
| And to them make singular,<br/>The winds, I differentiate trebly
 +
|-  
 +
| <small>107</small>
 +
| Thus they are twenty<br/>And four counting them each.
 
|-  
 
|-  
|  
+
| <small>108</small>
| {{section|Page:MS KK5126 113r.jpg|8|lbl=-}}
+
| From both sides<br/>Learn eight winds with steps
 
 
{{section|Page:MS KK5126 113v.jpg|1|lbl=113v}}
 
|
 
|
 
|
 
|
 
|
 
|
 
 
 
 
|-  
 
|-  
| <p><br/><br/></p>
+
| <small>109</small>
 
+
| And inspect these applications<br/>Nothing more than soft or hard
<p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/></p>
+
|}
 
+
<p>Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.</p>
<p>Gloss. This is a lesson and exhortation of the hangings and the windings of the sword that you shall be quite well practiced and fluent with them so that you can drive them swiftly and from those, to drive the plays and breaks against his breaks correctly. Because the hangings are four. Two belong below and two above. They are the ox and the plow. from those, you shall bring eight winds. You shall also consider and correctly weigh these eight winds such that you shall deploy the three wounders (that is, a hew, a stab, a cut) from each one of the winds in particular.</p>
 
 
| {{section|Page:MS KK5126 113v.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 113v.jpg|2|lbl=-}}
 
|  
 
|  
Line 1,460: Line 1,926:
  
 
|-  
 
|-  
| <p>Deploy them like this: When you come to him with the onset, stand in the ox from the right side. If he then cleaves-in high to your left side, then wind the short edge against his hew into his sword into the ox and stab him high into the face. This is one winding.</p>
+
| <p>[108] Note here how you shall execute four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Execute them like this: When you come to the opponent with the initiation of fencing, then if they cut in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding.</p>
  
<p>If he then parries the stab, then remain in the sword and wind the short edge above to your right side into the ox on his sword and thrust him high into the face. These are two winds on the sword from the over-hanging from the right side.</p>
+
<p>Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.
 +
</p>
 
| {{section|Page:MS KK5126 113v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 113v.jpg|3|lbl=-}}
 
|  
 
|  
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|2|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|2|lbl=-}}
| <p><br/><br/><br/><br/><br/>'''[179v]''' </p>
+
| <p><br/><br/><br/><br/><br/><small>[179v]</small> </p>
| <p>'''[91v]''' </p>
+
| <p><small>[91v]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=50r}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=50r}}
  
 
|-  
 
|-  
| <p>Item: The second upper hanging deploys thusly. When you approach with the Onset, stand in the Ox on the left side. If he then strikes high to your right side, wind the long edge against his strike upon his sword and thrust high to the face. That is one winding.</p>
+
| <p>[109] Likewise The second upper hangers execute like this: When you come to the opponent with the initiation of fencing, stand in the ox on your left side. Then if they cut in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding.</p>
  
<p>If he lowers the thrust, remain upon his sword and wind the long edge again high to the face into the Ox on the left side upon his sword. Those are four winding out of the two upper hangings.</p>
+
<p>If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 113v.jpg|4|lbl=-|p=1}} {{section|Page:MS KK5126 114r.jpg|1|lbl=114r|p=1}}
 
{{section|Page:MS KK5126 113v.jpg|4|lbl=-|p=1}} {{section|Page:MS KK5126 114r.jpg|1|lbl=114r|p=1}}
Line 1,480: Line 1,947:
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.I.6.2º.2 44v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|3|lbl=-}}
 
| {{section|Page:Cgm 3711 45v.jpg|3|lbl=-}}
| <p><br/><br/><br/>'''[180r]''' </p>
+
| <p><br/><br/><br/><small>[180r]</small> </p>
 
|  
 
|  
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| <p>Now know that there are also two lower hangings form the plow. You shall deploy four winds with all their applications like the upper hangings. Thus, the windings become eight and note each time you wind, then in each individual winding, you shall think to deploy to the hew, to the stab and cut. Like this 24 come from winding and how you shall deploy hew, stab and cut, you shall find that as is written in the plays before this.</p>
+
| <p>[110] Likewise. Now you shall know that you shall execute the four winds from the plow from both sides (these are the two lower hangers) with all of their techniques just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall execute cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly execute the eight winds with stepping on both sides. And note as soon as you wind, you shall analyze each particular winden with nothing more than whether the two applications are soft or hard against your sword. Thereafter execute the play that subsequently becomes clear to you in the previous statement.</p>
 
 
<p>You shall also expertly learn the eight winds with stepping to both sides before all things and note as soon as you wind, you shall do nothing more than: in each individual wind, test the two applications whether they are soft or hard on the sword. then, thereafter deploy the play that subsequently becomes clear to you.</p>
 
 
| {{section|Page:MS KK5126 114r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 114r.jpg|2|lbl=-}}
 
|  
 
|  
Line 1,495: Line 1,960:
 
{{section|Page:Cgm 3711 45v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 46r.jpg|1|lbl=46r|p=1}}
 
{{section|Page:Cgm 3711 45v.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 46r.jpg|1|lbl=46r|p=1}}
 
|  
 
|  
| <p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>'''[92r]''' </p>
+
| <p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><small>[92r]</small> </p>
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|3|lbl=-}}
 
| {{section|Page:Cod.Guelf.38.21 Aug.2º 050r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| <p>Item. Here ends the text from the recital of the long sword as one shall guard themself in the sword: To impede all strides and measure, and thrust and hew, sweep amid blows and also all Openings and when one is soft, so you are Strong and when one is Strong, so you are soft, thus you find Weak and Strong with each other well in the Guard.</p>
+
| <p>[D] Likewise. Here ends the text from the recital of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slamm together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.</p>
 
|  
 
|  
 
|  
 
|  
Line 1,506: Line 1,971:
 
|  
 
|  
 
{{section|Page:MS E.1939.65.354 188v.jpg|4|lbl=-|p=1}} {{section|Page:MS E.1939.65.354 189r.jpg|1|lbl=189r|p=1}}
 
{{section|Page:MS E.1939.65.354 188v.jpg|4|lbl=-|p=1}} {{section|Page:MS E.1939.65.354 189r.jpg|1|lbl=189r|p=1}}
| <p>'''[95v]''' </p>
+
| <p><small>[95v]</small>Item hie hat der tehzt ain endt von dem zettell des langen schwerts wie man sÿ halten soll im schwert alle drit und mas und stich und haŵ lezen straich stich mit stossen und alle blossen und wan ainer waich oder ist so bis du stark so wann ainer stark ist so bis du waich so vindstu schwech und stark mit ainander guet in der huet</p>
 
|  
 
|  
  
 
|-  
 
|-  
| <p>Item. It is to be known that the nearing<ref> closing-in</ref> and the two hangings and the sliding<ref>shifting</ref> and the concave<ref>curved, hollow, empty, concave, bowed, arched</ref> parrying, and the golden Art breaks the Art. These five devices that break the record. Also, if one properly manifests that breaks it with one or two plays, then it breaks a hew [with] another and a play [with] another and one thrust breaks the other. Gloss. Note.</p>
+
| <p>[E] Likewise. It is to be known that the "neche"<ref>unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context</ref>. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the recital. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.</p>
 
|  
 
|  
 
|  
 
|  
Line 1,516: Line 1,981:
 
| {{section|Page:Cgm 3711 51r.jpg|1|lbl=51r}}
 
| {{section|Page:Cgm 3711 51r.jpg|1|lbl=51r}}
 
| {{section|Page:MS E.1939.65.354 189r.jpg|2|lbl=-}}
 
| {{section|Page:MS E.1939.65.354 189r.jpg|2|lbl=-}}
|  
+
| <p> Item es ist zuwissen das die nechte die kunst bricht und die zwaÿ hengen unnd das verschieben und die holl versatzung und die guldin kunst die fünf stuck dem brechen den zetell auch vindt man wol ain der bricht mit ain oder der in bricht in mit ain oder zwaÿ stuck den es bricht ain haŵ ain anderen und ains stuck das ander und ains stich bricht ains anderen glossmerck</p>
 
|  
 
|  
  
 
|-  
 
|-  
| <p>Thanks to God, amen. Nicolaus did this in the year 1489 in the vigil of the Virgin Mary of reason.</p>
+
| <p>[F] Thanks to God, amen. Nicolaus did this in the year 1489 in the vigil of the Virgin Mary of reason.</p>
 
|  
 
|  
 
|  
 
|  
Line 1,530: Line 1,995:
  
 
|-  
 
|-  
| <p>Here ends Jörg Wilhalm Hütter's Art of the sword of Augsburg, etc.</p>
+
| class="noline" | <p>[G] Here ends Jörg Wilhalm Hütter's Art of the sword of Augsburg, etc.</p>
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:Cod.I.6.2º.2 49r.jpg|6|lbl=-}}
+
| class="noline" | {{section|Page:Cod.I.6.2º.2 49r.jpg|6|lbl=-}}
| {{section|Page:Cgm 3711 51r.jpg|2|lbl=-}}
+
| class="noline" | {{section|Page:Cgm 3711 51r.jpg|2|lbl=-}}
|  
+
| class="noline" |  
| <p>Jorgens Wilhalms Huters khunst zu augsurg des langen schwerts</p>
+
| class="noline" | <p>Jorgens Wilhalms Huters khunst zu augsurg des langen schwerts</p>
  
 
<p>1556<br/>~ ~ ~ ~</p>
 
<p>1556<br/>~ ~ ~ ~</p>
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 1,553: Line 2,018:
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[Christian Trosclair]]
+
  | authors    = [[translator::Christian Trosclair]]
 
  | source link =  
 
  | source link =  
 
  | source title= Wiktenauer
 
  | source title= Wiktenauer
Line 1,573: Line 2,038:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription I]]
+
  | work        = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription I]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
+
  | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
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== Additional Resources ==
 
== Additional Resources ==
  
 
+
{{bibliography}}
  
 
== References ==
 
== References ==
  
{{reflist|2}}
+
{{reflist}}
 
{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
 
__FORCETOC__
 
__FORCETOC__
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[[Category:Longsword]]
 
[[Category:Longsword]]
 +
 +
[[Category:New format]]
 +
[[Category:Modular display candidate]]

Latest revision as of 13:42, 4 August 2024

Nicolaüs
Died after 1489
Occupation Fencing master
Movement Augsburg tradition
Influences Johannes Liechtenauer
Influenced Jörg Wilhalm
Genres Fencing manual
Language Early New High German
Archetype(s) Currently lost
Principal
manuscript(s)
Manuscript(s)
Concordance by Michael Chidester

Nicolaüs was a 15th century German fencing master, presumably from Augsburg.[1] Nothing is known about this master outside of his treatise, but he seems to have been an initiate of the tradition of Johannes Liechtenauer (his treatise always appears coupled with a repetition of the grand master's Recital). On or around 2 July 1489,[2] he seems to have completed some version of a gloss on fencing with the long sword, apparently based on the anonymous pseudo-Peter von Danzig gloss of Liechtenauer's Recital.

Stemma

Early on in its history, the prototype of the Pseudo-Peter von Danzig gloss seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered a fourth branch).

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of Andre Lignitzer and Martin Huntsfeld (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the Lew gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the Salzburg version (1491), which was copied independently[3] and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by Paulus Hector Mair (three mss., 1540s), Lienhart Sollinger (1556), and Joachim Meyer (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for Johannes Lecküchner's gloss on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only five manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs in that three of the four known copies are illustrated to some extent, where none in the other branches are. Branch B is the one most commonly identified with pseudo-Danzig, because it is entirely anonymous and lacks any clues for other attribution. The Krakow version (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,[4] while Augsburg II (1564) collects only the six illustrated wrestling plays from the Krakow. The other substantial version of Branch B is the Vienna, which includes the mounted and short sword sections but omits the long sword in favor of Branch C. Most anomalous are the Glasgow version (1508), consisting solely of a nearly-complete redaction of the short sword gloss which begins with seven paragraphs of unknown origin, and the Dresden version, consisting of a redaction of the first half of the mounted fencing gloss which begins with four paragraphs from Ringeck. A final manuscript, the Falkner Turnierbuch, is known to have once existed but seems to have been destroyed in the Siege of Strasbourg.

Branch C is first attested in the Vienna version (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of those two branches together. The structure and contents of this branch align closely with Branch B, lacking most of the unique plays of Branch A, but the actual text is more consistent with that of Branch A (though not identical). The other mostly-complete copy of Branch C is the Augsburg version II (1553), which was created by Paulus Hector Mair based on the writings of Antonius Rast, and which segues into the text of Ringeck's gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of Jörg Wilhalm; one of these, Glasgow II (1533) assigns the text a much earlier origin, stating that it was devised by Nicolaüs in 1489. This branch has received the least attention and is currently the least well understood.

(A final text of interest is the gloss of Hans Medel von Salzburg, which was acquired by Mair in 1539[5] and bound into the Cod. I.6.2º.5 after 1566.[6] Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, and his text often takes the form of a revision and expansion of the long sword glosses of Ringeck and Branch C. Because of the extent of original and modified content, no attempt has been made on either of those pages to associate Medel's gloss with the sources he was copying from.)

Modern HEMA

Very little attention has been paid to this text until very recently, even though five of the seven known copies were identified at least as far back as Martin Wierschin's 1965 catalog Meister Johann Liechtenauers Kunst des Fechtens (Augsburg Ⅰ, Glasgow, Munich Ⅰ, Munich Ⅱ, and Vienna). Of the remaining two, Augsburg Ⅱ was listed by Hans-Peter Hils in his 1985 update Meister Johann Liechtenauers Kunst des langen Schwertes, and Wolfenbüttel was identified in 2012 by Jay Acutt.

In 2006, Carsten Lorbeer, Julia Lorbeer, Andreas Meier, Marita Wiedner, and Johann Heim, working as part of the Gesellschaft für pragmatische Schriftlichkeit, authored a complete transcription of the Vienna version as part of their Paulus Kal project (which was eventually posted on that site). In 2008, Filip Lampart and Martin Fabian transcribed Munich Ⅰ and posted it on Fecht-kunst.eu, and in 2009, Dierk Hagedorn likewise produced a transcription of Augsburg Ⅰ and posted it on Hammaborg (he eventually also re-transcribed the Vienna version in 2017); both of these transcriptions were made out of an interest in the teachings of Jörg Wilhalm. Finally, Augsburg Ⅱ was transcribed by Werner Ueberschär and posted on the Schwertbund Nurmberg site in 2012.

The first English translation was made by Christian Trosclair in 2014, based on the Wilhalm versions of the text, and donated to Wiktenauer; in 2020, he expanded his translation to include the two complete versions.

In 2021, Dierk Hagedorn produced a transcription and translation of Munich Ⅰ with his children Helen and Henri; it was published by Greenhill Books under the title Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523.

Treatise

While all branches were originally presented in a single concordance in the pseudo-Peter von Danzig article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of Lew, Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.

To allow easier comparison between the two complete versions, Augsburg II is presented in the column next to Vienna, before the earlier fragmentary versions.

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. His work is only associated with treatises by Aurgsubrg residents.
  2. The date of the Visitation of Mary, the feast day mentioned in the Glasgow version of his treatise.
  3. Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.
  4. Zabinski, pp 82-83
  5. Medel's section of the Cod. I.6.2º.5 is internally dated on folio 21r.
  6. The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have compiled it before then.
  7. 7.0 7.1 In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.
  8. Vienna: cleave closely behind
  9. Vienna: completely wrong
  10. Written "with before" in the text, which marks indicating that the words should be reversed.
  11. Augsburg: "Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or chest, so that they cannot change through in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately dart back from that."
  12. Könnte auch als »thun« gelesen werden.
  13. Augsburg terminates here.
  14. Vienna: threats
  15. Augsburg II: You will learn about this hereafter
  16. Augsburg II: "Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side."
  17. Vienna: "those will be clarified.
  18. Augsburg II: descending cut
  19. sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsburg II conserves this mistake
  20. Augsburg II: when the opponent strikes for your head from your right side from above
  21. Line is omitted from the Vienna
  22. Augsburg II: displace. (Matches the Lew)
  23. Augsburg II omits: or cut
  24. Vienna omits "not"
  25. Vienna omits "with all cuts and thrusts"
  26. The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, on folio 105r.
  27. Vienna omits with
  28. Augsburg II omits with
  29. Augsburg II omits: with the short edge
  30. Vienna omits: and with that, drop back down with your arms
  31. Vienna: pommel
  32. Augsburg II omits holding
  33. Abridged from pPvD
  34. Augsburg II omits: "threatens to cut in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew
  35. Here the Vienna version is similar to Pseudo-Peter von Danzig, whereas the Augsberg version resembles Lew.
  36. Augsburg II: "Gloss: This is When you initiate a cut via the cross cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the cross cut. Or if they will rush in, then take the slice under their arms or await the wrestling.
  37. Augsburg II: body
  38. Vienna: left
  39. Vienna omits
  40. Augsburg II: notable
  41. Augsburg II: aborts during the cut of your sword
  42. Vienna: omits this line
  43. Munich I: inverted/twisted
  44. Obviously the writer left out a part here because it starts with the right Plfug and ends with the left.
  45. Vienna and Augsburg II omits
  46. Vienna omits
  47. "at your right shoulder" omitted from Augsburg II.
  48. "or with your point" omitted from Vienna and Augsburg II.
  49. Vienna: "And pinning is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cut in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you pin them."
  50. Vienna: "Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your pinning and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play. Then if they withdraw themselves from your sword, execute the racing behind which will be explained to you hereafter."
  51. kainer
  52. Wolfenbüttel: Broken gate to the outside
  53. Vienna omits
  54. Augsburg II omits
  55. Augsburg and the others follow the lew: "either cut in from the act of parrying or wind in against your sword"
  56. The others follow the lew: "either misfires or ..."
  57. Vienna: The text about overrunning
  58. The others: "and take the slice"
  59. Vienna: through, Wolfenbüttel: "press it"
  60. The others omit "opening of"
  61. Others: again
  62. Vienna omits: "nor pin you"
  63. All Hutter copies end with: "When he Parries before you and allows the point to already run…"
  64. Augsburg II introduces scribal error. "Thut im we" became "thut ime be…"
  65. bind you down
  66. Augsburg omits
  67. Vienna: right
  68. Augsburg II keeps this with the previous play like in the Lew.
  69. Augsburg II has left as in the Rome
  70. Augsburg II has right as in the Rome
  71. This paragraph appears after 98 in the Vienna, which seems to be an error.
  72. Vienna repeats "vnd haw im am swert", a scribal error.
  73. Korrigiert aus »das«.
  74. This is the end of the Augsburg II Nicolaus gloss. The remainder of the gloss in Augsburg II is taken from Sigmund ain Ringeck.
  75. unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context