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Difference between revisions of "Johannes Liechtenauer"
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<!----------Image----------> | <!----------Image----------> | ||
| image = File:Johannes Liechtenauer.png | | image = File:Johannes Liechtenauer.png | ||
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| caption = | | caption = | ||
<!----------Information----------> | <!----------Information----------> | ||
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| dedicated to = | | dedicated to = | ||
| audience = | | audience = | ||
− | | language = [[language:: | + | | language = [[language::Early New High German]] |
− | | date = | + | | date = Fifteenth century (?) |
| state of existence = | | state of existence = | ||
<!----------Manuscript Information----------> | <!----------Manuscript Information----------> | ||
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| archetype(s) = Hypothetical | | archetype(s) = Hypothetical | ||
| manuscript(s) = {{collapsible list | | manuscript(s) = {{collapsible list | ||
− | | [[ | + | | [[Pol Hausbuch (MS 3227a)|MS 3227<sup>a</sup>]] (ca. 1400s) |
− | | [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] ( | + | | [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1448) |
− | | [[ | + | | [[Starhemberg Fechtbuch (Cod.44.A.8)|Cod.44.A.8]] (1452) |
| [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459) | | [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459) | ||
− | | [[Wolfenbüttel | + | | [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80) |
| [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470) | | [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470) | ||
| [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s) | | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s) | ||
− | | [[Codex Speyer (MS M.I.29)|MS M. | + | | [[Codex Speyer (MS M.I.29)|MS M.Ⅰ.29]] (1491) |
+ | | [[Ortenburg Fechtbuch]] (1400s) | ||
| [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19) | | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19) | ||
− | | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ. | + | | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.quart. 2020]] (1535-40) |
| [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512) | | [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512) | ||
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) | | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) | ||
− | | [[ | + | | [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.Ⅰ.6.2º.2]] (1523) |
| [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553) | | [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553) | ||
| [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) | | [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) | ||
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| wiktenauer compilation by=[[Michael Chidester]] | | wiktenauer compilation by=[[Michael Chidester]] | ||
| translations = {{collapsible list | | translations = {{collapsible list | ||
− | | {{French translation|http:// | + | | {{French translation|http://www.ffamhe.fr/sources/Tetraptyque.pdf|1}} |
− | | {{German translation|http://www.hammaborg.de/ | + | | {{German translation|http://www.hammaborg.de/de/transkriptionen/peter_von_danzig/index.php|1}} |
| {{Hungarian translation|Johannes Liechtenauer/Hungarian|2}} | | {{Hungarian translation|Johannes Liechtenauer/Hungarian|2}} | ||
− | | {{Slovenian translation|http://scholapugnatoria.si/ | + | | {{Slovenian translation|http://www.scholapugnatoria.si/clanki/merkversen-po-ringecku-von-danzigu/|1}} |
| {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/TETRAPTICOV.pdf|1}} | | {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/TETRAPTICOV.pdf|1}} | ||
}} | }} | ||
| below = | | below = | ||
}} | }} | ||
− | '''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[nationality::German]] [[fencing master | + | '''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[century::15th century]] [[nationality::German]] [[fencing master]]. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]], one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead. |
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]]. | Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]]. | ||
− | Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The | + | Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.<ref>[[Christian Henry Tobler]]. "Chicken and Eggs: Which Master Came First?" ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. p6</ref> However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by [[Hans Talhoffer]] in the [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (ca. 1448), which further supports this timeline.<ref>There is one version of the Recital that predates Talhoffer's, recorded in [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1418-28) and attributed to an [[H. Beringer]]; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in the Pol Hausbuch.</ref> |
== Treatise == | == Treatise == | ||
− | Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"). These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[ | + | Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[Lew]] wrote extensive [[gloss]]es that sought to clarify and expand upon these teachings. |
− | + | In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (''figuren'')—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtenauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse. | |
− | The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref> | + | Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of [[Pseudo-Hans Döbringer]], which contains almost twice as many verses as any other; however, given that the additional verses tend to either be repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only the much shorter version attributed to [[H. Beringer]] (which is also included in the writings of [[Hans Folz]]). |
+ | |||
+ | The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref>The figures are often given as a preamble for the [[gloss]] of [[Lew]], and a fragment of the short sword to the teachings of [[Martin Huntsfeld]], but those instances will not be included below and instead treated as part of those treatises.</ref> Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third. | ||
+ | |||
+ | ''Note: This article includes a prior (2010) version of Christian Tobler's translation. A revised version of the translation was published in 2021 by Freelance Academy Press as part of ''The Peter von Danzig Fight Book''; it can be purchased in [http://www.freelanceacademypress.com/ThePetervonDanzigFightBook.aspx hardcover].'' | ||
{{master begin | {{master begin | ||
| title = Long Sword | | title = Long Sword | ||
− | | width = | + | | width = 480em |
}} | }} | ||
− | + | {| class="master" | |
− | {| class=" | ||
|- | |- | ||
− | ! | + | ! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> |
− | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha | + | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen | + | ! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Version]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>Transcribed by [[Dieter Bachmann]]</p> |
− | ! <p>[[Wolfenbüttel | + | ! <p>[[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel Ⅰ Version]] (ca. 1465-80){{edit index|Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich | + | ! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich Ⅰ Version]] (ca. 1470){{edit index|Paulus Kal Fechtbuch (Cgm 1507)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna | + | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden | + | ! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] A (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow | + | ! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] B (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich | + | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Grzegorz Żabiński]]</p> |
− | ! <p>[[ | + | ! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅱ Version]] (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 | + | ! <p>[[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Ⅰ Version]] (1523){{edit index|Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <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 | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p> |
− | ! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel | + | ! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Ⅲ Version]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p><br/> |
− | + | ! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Ⅱ Version]] (ca. 1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>Transcribed by [[Kevin Maurer]]</p> | |
+ | |||
|- | |- | ||
− | | <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}</p> | + | | <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}<br/><br/></p> |
<p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p> | <p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p> | ||
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− | <section end="Hauptstücke"/><section begin="Zornhaw"/> | + | <section end="Hauptstücke"/><section begin="Zornhaw"/><section begin="Krieg"/> |
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| <p>{{red|b=1|The Wrath Stroke}}</p> | | <p>{{red|b=1|The Wrath Stroke}}</p> | ||
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| <small>31</small> | | <small>31</small> | ||
| Instantly, and Before and After.<br/> Your War should not be in haste. | | Instantly, and Before and After.<br/> Your War should not be in haste. | ||
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| <small>32</small> | | <small>32</small> | ||
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| In all encounters,<br/> if you want to fool the masters. | | In all encounters,<br/> if you want to fool the masters. | ||
|} | |} | ||
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| <p><br/></p> | | <p><br/></p> | ||
− | {{section|Page:Cod. | + | {{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|4|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|5|lbl=-|p=1}} |
| <p><br/></p> | | <p><br/></p> | ||
− | {{ | + | <br/>{{paget|Page:Cgm 1507|59r|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|59v|jpg|p=1}}<br/><br/>{{paget|Page:Cgm 1507|60r|jpg|p=1}} {{paget|Page:Cgm 1507|60v|jpg|p=1}} |
− | | | + | | |
− | + | {{section|Page:MS KK5126 104v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:MS KK5126 104v.jpg|6|lbl=-|p=1}} | |
− | {{section|Page: | ||
| | | | ||
+ | {{section|Page:MS Dresd.C.487 004v.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 005r.png|1|lbl=05r|p=1}}<br/>{{section|Page:MS Dresd.C.487 005r.png|2|lbl=-|p=1}} | ||
| <p><br/></p> | | <p><br/></p> | ||
− | {{section|Page:MS | + | {{section|Page:MS Dresd.C.487 055v.png|3|lbl=55v|p=1}} {{section|Page:MS Dresd.C.487 056r.png|1|lbl=56r|p=1}}<br/><br/><br/><br/><br/>{{section|Page:MS Dresd.C.487 056r.png|2|lbl=-|p=1}} |
− | | < | + | | {{section|Page:MS Germ.Quart.2020 001v.jpg|3|lbl=-}} |
− | {{section|Page:MS | + | {{section|Page:MS Germ.Quart.2020 002r.jpg|1|lbl=02r|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 002r.jpg|2|lbl=-|p=1}} |
− | + | | | |
− | + | {{section|Page:Cgm 3711 43r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cgm 3711 43r.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 43v.jpg|1|lbl=43v|p=1}} | |
− | {{section|Page:MS Germ.Quart.2020 002r.jpg|2|lbl=-}} | + | | |
− | | | + | {{section|Page:Cod.I.6.2º.2 42br.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cod.I.6.2º.2 42br.jpg|4|lbl=-|p=1}} |
− | + | | | |
− | {{section|Page:Cgm 3711 43r.jpg|4|lbl=-|p=1}} {{section|Page:Cgm 3711 43v.jpg|1|lbl=43v|p=1}} | + | | |
− | | | + | {{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|1|lbl=15r|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 015r.jpg|2|lbl=-|p=1}} |
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− | {{section|Page:Cod.I.6.2º.2 42br.jpg|4|lbl=-}} | ||
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− | | | + | {{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|4|lbl=-|p=1}} |
− | + | <section begin="Blossen"/> | |
− | {{section|Page:Cod.Guelf.38.21 Aug.2º 048r.jpg|4|lbl=-}} | ||
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|- | |- | ||
| <p>{{red|b=1|The Four Openings}}</p> | | <p>{{red|b=1|The Four Openings}}</p> | ||
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| {{section|Page:MS Chart.A.558 019r.jpg|1|lbl=19r}} | | {{section|Page:MS Chart.A.558 019r.jpg|1|lbl=19r}} | ||
| {{section|Page:Cod.44.A.8 004r.jpg|4|lbl=-}} | | {{section|Page:Cod.44.A.8 004r.jpg|4|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 003r.jpg|1|lbl=3r}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS Dresd.C.487 005r.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 005v.png|1|lbl=05v|p=1}} | {{section|Page:MS Dresd.C.487 005r.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 005v.png|1|lbl=05v|p=1}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056r.png|3|lbl=-}} | ||
| | | | ||
{{section|Page:MS Germ.Quart.2020 002r.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 002v.jpg|1|lbl=02v|p=1}} | {{section|Page:MS Germ.Quart.2020 002r.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 002v.jpg|1|lbl=02v|p=1}} | ||
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| {{section|Page:MS Chart.A.558 019r.jpg|2|lbl=-}} | | {{section|Page:MS Chart.A.558 019r.jpg|2|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 004r.jpg|5|lbl=-}} | | {{section|Page:Cod.44.A.8 004r.jpg|5|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 003r.jpg|2|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS KK5126 104v.jpg|8|lbl=-}} | {{section|Page:MS KK5126 104v.jpg|8|lbl=-}} | ||
| {{section|Page:MS Dresd.C.487 005v.png|2|lbl=-}} | | {{section|Page:MS Dresd.C.487 005v.png|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056r.png|4|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 002v.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 002v.jpg|2|lbl=-}} | ||
| {{section|Page:Cgm 3711 43v.jpg|3|lbl=-}} | | {{section|Page:Cgm 3711 43v.jpg|3|lbl=-}} | ||
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{{section|Page:Cod.44.A.8 004r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|1|lbl=4v|p=1}} | {{section|Page:Cod.44.A.8 004r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|1|lbl=4v|p=1}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 003r.jpg|3|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS Dresd.C.487 005v.png|3|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 006r.png|1|lbl=06r|p=1}} | {{section|Page:MS Dresd.C.487 005v.png|3|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 006r.png|1|lbl=06r|p=1}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056r.png|5|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 056v.png|1|lbl=56v|p=1}} | ||
| | | | ||
{{section|Page:MS Germ.Quart.2020 002v.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 003r.jpg|1|lbl=03r|p=1}} | {{section|Page:MS Germ.Quart.2020 002v.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 003r.jpg|1|lbl=03r|p=1}} | ||
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| <small>52</small> | | <small>52</small> | ||
| He who thwarts well<br/> with springing he endangers the head. | | He who thwarts well<br/> with springing he endangers the head. | ||
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|- | |- | ||
| <small>53</small> | | <small>53</small> | ||
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| Twice further on,<br/> step to the left and do not be slow. | | Twice further on,<br/> step to the left and do not be slow. | ||
|} | |} | ||
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| | | | ||
− | {{section|Page:MS | + | {{section|Page:MS Chart.A.558 019r.jpg|4|lbl=-|p=1}}<br/>{{section|Page:MS Chart.A.558 019r.jpg|5|lbl=-|p=1}} |
| | | | ||
− | {{section|Page: | + | {{section|Page:Cod.44.A.8 004v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 004v.jpg|3|lbl=-|p=1}} |
| | | | ||
− | {{section|Page:MS | + | {{section|Page:MS Thott.290.2º 003v.jpg|1|lbl=3v|p=1}}<br/>{{section|Page:MS Thott.290.2º 003v.jpg|2|lbl=-|p=1}} |
+ | | <p><br/><br/></p> | ||
+ | |||
+ | {{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|9|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|1|lbl=Ⅲv|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|2|lbl=-|p=1}} | ||
+ | | <p><br/><br/></p> | ||
+ | |||
+ | <p><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>{{paget|Page:Cgm 1507|67r|jpg|p=1}}</p> | ||
+ | | | ||
+ | {{section|Page:MS KK5126 104v.jpg|10|lbl=-|p=1}}<br/>{{section|Page:MS KK5126 104v.jpg|11|lbl=-|p=1}}<br/>{{section|Page:MS KK5126 105r.jpg|1|lbl=105r|p=1}} | ||
+ | | | ||
+ | {{section|Page:MS Dresd.C.487 006r.png|2|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 006r.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 006v.png|1|lbl=06v|p=1}} | ||
+ | | <p><br/><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056v.png|2|lbl=-|p=1}}<br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Dresd.C.487 056v.png|3|lbl=-|p=1}} | ||
| | | | ||
− | {{section|Page: | + | {{section|Page:MS Germ.Quart.2020 003r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 003v.jpg|1|lbl=03v|p=1}} |
− | |||
| | | | ||
− | | {{section|Page: | + | {{section|Page:Cgm 3711 43v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cgm 3711 43v.jpg|6|lbl=-|p=1}}<br/>{{section|Page:Cgm 3711 44r.jpg|1|lbl=44r|p=1}} |
| | | | ||
− | | {{section|Page:Cod.Guelf.38.21 Aug.2º 048v.jpg|4|lbl=-}} | + | {{section|Page:Cod.I.6.2º.2 42bv.jpg|4|lbl=-|p=1}}<br/>{{section|Page:Cod.I.6.2º.2 42bv.jpg|5|lbl=-|p=1}} |
− | <section end=" | + | | |
+ | | | ||
+ | {{section|Page:Reichsstadt "Schätze" Nr. 82 015v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 015v.jpg|3|lbl=-|p=1}} | ||
+ | | | ||
+ | | | ||
+ | {{section|Page:Cod.Guelf.38.21 Aug.2º 048v.jpg|3|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.38.21 Aug.2º 048v.jpg|4|lbl=-|p=1}} | ||
+ | <section end="Twerhaw"/><section begin="Schilhaw"/> | ||
|- | |- | ||
| <p>{{red|b=1|The Squinting Stroke}}</p> | | <p>{{red|b=1|The Squinting Stroke}}</p> | ||
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| {{section|Page:Cod.44.A.8 004v.jpg|4|lbl=-}} | | {{section|Page:Cod.44.A.8 004v.jpg|4|lbl=-}} | ||
| | | | ||
− | {{section|Page: | + | {{section|Page:MS Thott.290.2º 003v.jpg|3|lbl=-|p=1}}<ref>Talhoffer adds an additional couplet: {{section|Page:MS Thott.290.2º 004r.jpg|1|lbl=4r|p=1}}</ref> |
| <p><br/></p> | | <p><br/></p> | ||
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| {{section|Page:MS KK5126 105r.jpg|2|lbl=-}} | | {{section|Page:MS KK5126 105r.jpg|2|lbl=-}} | ||
| {{section|Page:MS Dresd.C.487 006v.png|2|lbl=-}} | | {{section|Page:MS Dresd.C.487 006v.png|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056v.png|4|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 003v.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 003v.jpg|2|lbl=-}} | ||
| {{section|Page:Cgm 3711 44r.jpg|2|lbl=-}} | | {{section|Page:Cgm 3711 44r.jpg|2|lbl=-}} | ||
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{{section|Page:Cod.44.A.8 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005r.jpg|1|lbl=5r|p=1}} | {{section|Page:Cod.44.A.8 004v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005r.jpg|1|lbl=5r|p=1}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004r.jpg|2|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS Dresd.C.487 006v.png|3|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 007r.png|1|lbl=07r|p=1}} | {{section|Page:MS Dresd.C.487 006v.png|3|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 007r.png|1|lbl=07r|p=1}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056v.png|5|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 003v.jpg|3|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 003v.jpg|3|lbl=-}} | ||
Line 655: | Line 642: | ||
| {{section|Page:MS Chart.A.558 019v.jpg|3|lbl=-}} | | {{section|Page:MS Chart.A.558 019v.jpg|3|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 005r.jpg|2|lbl=-}} | | {{section|Page:Cod.44.A.8 005r.jpg|2|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004r.jpg|3|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
Line 664: | Line 651: | ||
| {{section|Page:MS KK5126 105r.jpg|4|lbl=-}} | | {{section|Page:MS KK5126 105r.jpg|4|lbl=-}} | ||
| {{section|Page:MS Dresd.C.487 007r.png|2|lbl=-}} | | {{section|Page:MS Dresd.C.487 007r.png|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056v.png|6|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 004r.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 004r.jpg|2|lbl=-}} | ||
| {{section|Page:Cgm 3711 44r.jpg|4|lbl=-}} | | {{section|Page:Cgm 3711 44r.jpg|4|lbl=-}} | ||
Line 694: | Line 684: | ||
| {{section|Page:MS Chart.A.558 019v.jpg|4|lbl=-}} | | {{section|Page:MS Chart.A.558 019v.jpg|4|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 005r.jpg|3|lbl=-}} | | {{section|Page:Cod.44.A.8 005r.jpg|3|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004r.jpg|4|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS Dresd.C.487 007r.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 007v.png|1|lbl=07v|p=1}} | {{section|Page:MS Dresd.C.487 007r.png|3|lbl=-|p=1}}<br/>{{section|Page:MS Dresd.C.487 007v.png|1|lbl=07v|p=1}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 056v.png|7|lbl=-|p=1}} {{section|Page:MS Dresd.C.487 057r.png|1|lbl=57r|p=1}} | ||
| {{section|Page:MS Germ.Quart.2020 004r.jpg|3|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 004r.jpg|3|lbl=-}} | ||
Line 734: | Line 727: | ||
| {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}} | | {{section|Page:MS Chart.A.558 019v.jpg|5|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 005r.jpg|4|lbl=-}} | | {{section|Page:Cod.44.A.8 005r.jpg|4|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004v.jpg|1|lbl=4v}} |
| <p><br/></p> | | <p><br/></p> | ||
Line 740: | Line 733: | ||
| <p><br/></p> | | <p><br/></p> | ||
− | {{paget|Page:Cgm 1507| | + | <br/><br/>{{paget|Page:Cgm 1507|69r|jpg|p=1}}<br/><br/><br/><br/><br/>{{paget|Page:Cgm 1507|65v|jpg|p=1}} |
| {{section|Page:MS KK5126 105r.jpg|6|lbl=-}} | | {{section|Page:MS KK5126 105r.jpg|6|lbl=-}} | ||
| {{section|Page:MS Dresd.C.487 007v.png|2|lbl=-}} | | {{section|Page:MS Dresd.C.487 007v.png|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 057r.png|2|lbl=-}} | ||
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{{section|Page:MS Germ.Quart.2020 004v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 005r.jpg|1|lbl=05r|p=1}} | {{section|Page:MS Germ.Quart.2020 004v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 005r.jpg|1|lbl=05r|p=1}} | ||
− | | {{section|Page:Cgm 3711 44r.jpg| | + | | {{section|Page:Cgm 3711 44r.jpg|6|lbl=-}} |
| {{section|Page:Cod.I.6.2º.2 43r.jpg|4|lbl=-}} | | {{section|Page:Cod.I.6.2º.2 43r.jpg|4|lbl=-}} | ||
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{{section|Page:Cod.44.A.8 005r.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005v.jpg|1|lbl=5v|p=1}} | {{section|Page:Cod.44.A.8 005r.jpg|5|lbl=-|p=1}}<br/>{{section|Page:Cod.44.A.8 005v.jpg|1|lbl=5v|p=1}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004v.jpg|2|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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{{section|Page:MS Dresd.C.487 008r.png|1|lbl=08r}} | {{section|Page:MS Dresd.C.487 008r.png|1|lbl=08r}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 057r.png|3|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 005r.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 005r.jpg|2|lbl=-}} | ||
| {{section|Page:Cgm 3711 44v.jpg|1|lbl=44v}} | | {{section|Page:Cgm 3711 44v.jpg|1|lbl=44v}} | ||
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{{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}} | {{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 005v.jpg|2|lbl=-}} | | {{section|Page:Cod.44.A.8 005v.jpg|2|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004v.jpg|3|lbl=-}} |
| <p><br/></p> | | <p><br/></p> | ||
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| {{section|Page:MS KK5126 105r.jpg|8|lbl=-}} | | {{section|Page:MS KK5126 105r.jpg|8|lbl=-}} | ||
| {{section|Page:MS Dresd.C.487 008r.png|2|lbl=-}} | | {{section|Page:MS Dresd.C.487 008r.png|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Dresd.C.487 057r.png|4|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 005r.jpg|3|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 005r.jpg|3|lbl=-}} | ||
| {{section|Page:Cgm 3711 44v.jpg|2|lbl=-}} | | {{section|Page:Cgm 3711 44v.jpg|2|lbl=-}} | ||
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| {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}} | | {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}} | ||
| {{section|Page:Cod.44.A.8 005v.jpg|3|lbl=-}} | | {{section|Page:Cod.44.A.8 005v.jpg|3|lbl=-}} | ||
− | | {{section|Page: | + | | {{section|Page:MS Thott.290.2º 004v.jpg|4|lbl=-}} |
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| | | | ||
{{section|Page:MS Germ.Quart.2020 006v.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 007r.jpg|1|lbl=07r|p=1}} | {{section|Page:MS Germ.Quart.2020 006v.jpg|3|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 007r.jpg|1|lbl=07r|p=1}} | ||
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|- | |- | ||
− | | Thus ends Master Liechtenauer's Art of the Long Sword | + | | class="noline" | Thus ends Master Liechtenauer's Art of the Long Sword |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | {{section|Page: | + | | class="noline" | {{section|Page:MS Thott.290.2º 005v.jpg|3|lbl=-}} |
− | | {{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|18|lbl=-}} | + | | class="noline" | {{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|18|lbl=-}} |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}} | + | | class="noline" | |
− | | {{section|Page:Cgm 3711 45r.jpg|3|lbl=-}} | + | | class="noline" | {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}} |
− | | {{section|Page:Cod.I.6.2º.2 44r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:Cgm 3711 45r.jpg|3|lbl=-}} |
− | | | + | | class="noline" | {{section|Page:Cod.I.6.2º.2 44r.jpg|2|lbl=-}} |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}} | + | | class="noline" | |
+ | | class="noline" | {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}} | ||
|} | |} | ||
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{{master begin | {{master begin | ||
| title = Mounted Fencing | | title = Mounted Fencing | ||
− | | width = | + | | width = 300em |
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! | + | ! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> |
− | ! <p>[[ | + | ! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Version]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha | + | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna | + | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg | + | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow | + | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Per Magnus Haaland]]</p> |
− | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna | + | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Version]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p> |
− | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock | + | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
|- | |- | ||
| {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}} | | {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}} | ||
− | | {{section|Page:MS 3227a 53r.jpg|1|lbl=53r | + | | {{section|Page:MS 3227a 53r.jpg|1|lbl=53r}} |
| {{section|Page:MS Chart.A.558 021av.jpg|1|lbl=21Av}} | | {{section|Page:MS Chart.A.558 021av.jpg|1|lbl=21Av}} | ||
| {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}} | | {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}} | ||
Line 1,205: | Line 1,224: | ||
| | | | ||
| {{section|Page:Reichsstadt "Schätze" Nr. 82 017r.jpg|5|lbl=-}} | | {{section|Page:Reichsstadt "Schätze" Nr. 82 017r.jpg|5|lbl=-}} | ||
+ | | | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | | {{paget|Page:MS 3227a|53v|jpg}} | ||
+ | | | ||
+ | | | ||
+ | | | ||
+ | | | ||
+ | | | ||
+ | | | ||
+ | | | ||
| | | | ||
Line 1,481: | Line 1,512: | ||
|- | |- | ||
− | | | + | | class="noline" | |
{| class="zettel" | {| class="zettel" | ||
|- | |- | ||
| <small>38</small> | | <small>38</small> | ||
| If you want to retain yourself<br/> From seizing | | If you want to retain yourself<br/> From seizing | ||
− | |||
|- | |- | ||
| <small>39</small> | | <small>39</small> | ||
| Then take him into custody without wrestling<br/> Without any rope | | Then take him into custody without wrestling<br/> Without any rope | ||
− | |||
|- | |- | ||
| <small>40</small> | | <small>40</small> | ||
| The Before Grip remember<br/> This indeed breaks his strength | | The Before Grip remember<br/> This indeed breaks his strength | ||
− | |||
|} | |} | ||
− | | {{section|Page:MS 3227a 59r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:MS 3227a 59r.jpg|2|lbl=-}} |
− | | {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}} | + | | class="noline" | {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}} |
− | | {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}} | + | | class="noline" | {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}} |
− | | {{section|Page:MS KK5126 105v.jpg|9|lbl=-}} | + | | class="noline" | {{section|Page:MS KK5126 105v.jpg|9|lbl=-}} |
− | | | + | | class="noline" | |
− | | {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}} |
− | | | + | | class="noline" | |
− | | {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}} |
− | | | + | | class="noline" | |
|} | |} | ||
{{master end}} | {{master end}} | ||
− | |||
{{master begin | {{master begin | ||
| title = Short Sword | | title = Short Sword | ||
− | | width = | + | | width = 300em |
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! | + | ! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> |
− | ! <p>[[ | + | ! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Version]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha | + | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna | + | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Version]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg | + | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow | + | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Michael Chidester]]</p> |
− | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna | + | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Version]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p> |
− | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock | + | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
|- | |- | ||
− | | <p>{{red|b=1|Here begins the Art with the Short Sword in Dueling, of Master Johannes Liechtenauer, God have mercy on him,}}< | + | | <p>{{red|b=1|Here begins the Art with the Short Sword in Dueling, of Master Johannes Liechtenauer, God have mercy on him,}}</p> |
+ | |||
+ | <p><br/></p> | ||
{| class="zettel" | {| class="zettel" | ||
Line 1,553: | Line 1,582: | ||
| Then approach him<br/> To surely attend to grasp | | Then approach him<br/> To surely attend to grasp | ||
|} | |} | ||
− | | <p | + | | <p><br/><br/></p> |
− | + | <p><br/></p> | |
+ | |||
+ | {{paget|Page:MS 3227a|60r|jpg|p=1}} | ||
| {{section|Page:MS Chart.A.558 048v.jpg|1|lbl=48v}} | | {{section|Page:MS Chart.A.558 048v.jpg|1|lbl=48v}} | ||
| {{section|Page:Cod.44.A.8 008v.jpg|1|lbl=08v}} | | {{section|Page:Cod.44.A.8 008v.jpg|1|lbl=08v}} | ||
| {{section|Page:MS KK5126 105v.jpg|10|lbl=105v}} | | {{section|Page:MS KK5126 105v.jpg|10|lbl=105v}} | ||
| | | | ||
− | |||
− | |||
− | |||
| | | | ||
− | | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|15|lbl=18v}} | + | {{paget|Page:MS Germ.Quart.2020|199r|jpg|p=1}} {{section|Page:MS Germ.Quart.2020 199v.jpg|1|lbl=199v|p=1}} |
− | + | | | |
− | {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|1|lbl=19r}} | + | | |
+ | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|15|lbl=18v|p=1}} {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|1|lbl=19r|p=1}} | ||
| | | | ||
Line 1,582: | Line 1,611: | ||
| <small>10</small> | | <small>10</small> | ||
| From both sides<br/> If you want to skillfully end | | From both sides<br/> If you want to skillfully end | ||
+ | |} | ||
+ | | {{paget|Page:MS 3227a|61v|jpg}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Chart.A.558 048v.jpg|2|lbl=-}} | ||
+ | | {{section|Page:Cod.44.A.8 008v.jpg|2|lbl=-}} | ||
+ | | {{section|Page:MS KK5126 105v.jpg|11|lbl=105v}} | ||
+ | | {{section|Page:MS M.I.29 129r.jpg|1|lbl=129r}} | ||
+ | | | ||
+ | {{section|Page:MS Germ.Quart.2020 199v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Germ.Quart.2020 200r.jpg|1|lbl=200r|p=1}} | ||
+ | | {{section|Page:MS 26-232 100v.png|4|lbl=100v}} | ||
+ | | {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|2|lbl=-}} | ||
+ | | <p><br/></p> | ||
+ | |||
+ | {{section|Page:MS Var.82 074v.png|5|lbl=74v|p=1}} {{section|Page:MS Var.82 075r.png|1|lbl=75r|p=1}} | ||
+ | |||
+ | |- | ||
+ | | | ||
+ | {| class="zettel" | ||
|- | |- | ||
| <small>11</small> | | <small>11</small> | ||
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| <small>19</small> | | <small>19</small> | ||
| In all teachings<br/> Turn the point against the openings | | In all teachings<br/> Turn the point against the openings | ||
+ | |} | ||
+ | | {{paget|Page:MS 3227a|59v|jpg}} | ||
+ | | {{section|Page:MS Chart.A.558 048v.jpg|3|lbl=-}} | ||
+ | | {{section|Page:Cod.44.A.8 008v.jpg|3|lbl=-}} | ||
+ | | {{section|Page:MS KK5126 105v.jpg|12|lbl=-}} | ||
+ | | | ||
+ | {{section|Page:MS M.I.29 129r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 129v.jpg|1|lbl=129v|p=1}} | ||
+ | | | ||
+ | {{section|Page:MS Germ.Quart.2020 200r.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 200v.jpg|1|lbl=200v|p=1}} | ||
+ | | {{section|Page:MS 26-232 100v.png|5|lbl=100v}} | ||
+ | | {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|3|lbl=-}} | ||
+ | | {{section|Page:MS Var.82 075r.png|2|lbl=-}} | ||
+ | |||
+ | |- | ||
+ | | class="noline" | | ||
+ | {| class="zettel" | ||
|- | |- | ||
| <small>20</small> | | <small>20</small> | ||
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| The forward foot<br/> With striking you must protect. | | The forward foot<br/> With striking you must protect. | ||
|} | |} | ||
− | | | + | | class="noline" | {{paget|Page:MS 3227a|60v|jpg}} |
− | + | | class="noline" | {{section|Page:MS Chart.A.558 048v.jpg|4|lbl=-}} | |
− | | | + | | class="noline" | |
− | + | {{section|Page:Cod.44.A.8 008v.jpg|4|lbl=-|p=1}} {{paget|Page:Cod.44.A.8|009r|jpg|1|lbl=09r|p=1}} | |
− | {{section|Page:MS Chart.A.558 048v.jpg| | + | | class="noline" | |
− | | | + | {{section|Page:MS KK5126 105v.jpg|13|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|1|lbl=106r|p=1}} |
− | {{section|Page:Cod.44.A.8 008v.jpg| | + | | class="noline" | |
− | | | + | {{section|Page:MS M.I.29 129v.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 130r.jpg|1|lbl=130r|p=1}} |
− | {{section|Page:MS KK5126 105v.jpg| | + | | class="noline" | |
− | | | + | {{section|Page:MS Germ.Quart.2020 200v.jpg|2|lbl=-|p=1}} {{section|Page:MS Germ.Quart.2020 201r.jpg|1|lbl=201r|p=1}} |
− | {{ | + | | class="noline" | {{section|Page:MS 26-232 100v.png|6|lbl=-}} |
− | | {{section|Page:MS Germ.Quart.2020 | + | | class="noline" | |
− | + | {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg|4|lbl=-|p=1}}<br/>{{section|Page:Reichsstadt "Schätze" Nr. 82 019v.jpg|1|lbl=19v|p=1}} | |
− | {{ | + | | class="noline" | {{section|Page:MS Var.82 075r.png|3|lbl=-}} |
− | |||
− | |||
− | |||
− | |||
− | | {{section|Page:MS 26-232 100v.png| | ||
− | | {{section|Page:Reichsstadt "Schätze" Nr. 82 019r.jpg| | ||
− | |||
− | {{section|Page:Reichsstadt "Schätze" Nr. 82 019v.jpg|1|lbl=19v}} | ||
− | | | ||
− | |||
− | {{section|Page:MS Var.82 | ||
|} | |} | ||
{{master end}} | {{master end}} | ||
− | |||
− | |||
− | |||
− | |||
{{master begin | {{master begin | ||
| title = Figures | | title = Figures | ||
− | | width = | + | | width = 210em |
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! <p>Images<br/>from the [[ | + | ! <p>Images<br/>from the [[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]]</p> |
− | ! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> | + | ! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> |
− | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] ( | + | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>by [[Dierk Hagedorn]]</p> | + | ! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>Transcribed by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] ( | + | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Per Magnus Haaland]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Version | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p> |
|- | |- | ||
− | | rowspan=" | + | | class="noline" rowspan="29" | {{double page|Cod.44.A.8 7v.jpg|Cod.44.A.8 8r.jpg|x288px|x288px}} |
+ | |||
+ | {{double page|MS Chart.A.558 022v.jpg|MS Chart.A.558 023r.jpg|200px|200px}} | ||
| <p>'''Figures of the Fight on Horseback'''</p> | | <p>'''Figures of the Fight on Horseback'''</p> | ||
| | | | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|1|lbl=74r}} | | {{section|Page:MS E.1939.65.341 074r.jpg|1|lbl=74r}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|2|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|2|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|2|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|3|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|3|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|3|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|3|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|4|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|4|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|4|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|4|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|5|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|5|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|5|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|5|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|6|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|6|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|6|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|6|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|7|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|7|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|7|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|7|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|8|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|8|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|8|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|8|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|9|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|9|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|9|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|9|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|10|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|10|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|11|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|11|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|11|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|11|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|10|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|10|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|12|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|12|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074r.jpg|12|lbl=-}} | | {{section|Page:MS E.1939.65.341 074r.jpg|12|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|13|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|13|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|1|lbl=74v}} | | {{section|Page:MS E.1939.65.341 074v.jpg|1|lbl=74v}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|14|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|14|lbl=-}} | ||
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|- | |- | ||
− | |||
| <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p> | | <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p> | ||
| {{section|Page:MS Chart.A.558 023r.jpg|1|lbl=23r}} | | {{section|Page:MS Chart.A.558 023r.jpg|1|lbl=23r}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|2|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|2|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 165v.jpg|15|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 165v.jpg|15|lbl=-}} | ||
− | | {{ | + | | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|1|lbl=18v}} |
|- | |- | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|3|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|3|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|1|lbl=166r}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|1|lbl=166r}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|4|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|4|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|2|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|2|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|6|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|6|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|3|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|3|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|5|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|5|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|4|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|4|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|7|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|7|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|5|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|5|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|8|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|8|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|6|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|6|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|9|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|9|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|7|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|7|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|10|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|10|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|8|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|8|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|11|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|11|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|9|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|9|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 074v.jpg|12|lbl=-}} | | {{section|Page:MS E.1939.65.341 074v.jpg|12|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|10|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|10|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 075r.jpg|1|lbl=75r}} | | {{section|Page:MS E.1939.65.341 075r.jpg|1|lbl=75r}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|11|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|11|lbl=-}} | ||
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| {{section|Page:MS E.1939.65.341 075r.jpg|2|lbl=-}} | | {{section|Page:MS E.1939.65.341 075r.jpg|2|lbl=-}} | ||
| {{section|Page:MS Germ.Quart.2020 166r.jpg|12|lbl=-}} | | {{section|Page:MS Germ.Quart.2020 166r.jpg|12|lbl=-}} | ||
− | | | + | | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|13|lbl=-}} |
|- | |- | ||
− | | <p>{{red|If you want to grasp, you should not fail to ride beside him. Execute the Sun Pointer to the left sleeve if you want to bend.}}</p> | + | | class="noline" | <p>{{red|If you want to grasp, you should not fail to ride beside him. Execute the Sun Pointer to the left sleeve if you want to bend.}}</p> |
<p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p> | <p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p> | ||
− | | | + | | class="noline" | |
− | | {{section|Page:Cod.44.A.8 008r.jpg|14|lbl=08r}} | + | | class="noline" | {{section|Page:Cod.44.A.8 008r.jpg|14|lbl=08r}} |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | {{section|Page:Reichsstadt "Schätze" Nr. 82 018v.jpg|14|lbl=-}} |
|} | |} | ||
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{{sourcebox | {{sourcebox | ||
| work = Translation | | work = Translation | ||
− | | authors = [[Christian Tobler]] | + | | authors = [[translator::Christian Tobler]] |
| source link = http://www.freelanceacademypress.com/insaintgeorgesname.aspx | | source link = http://www.freelanceacademypress.com/insaintgeorgesname.aspx | ||
| source title= ''In Saint George's Name: An Anthology of Medieval German Fighting Arts'' | | source title= ''In Saint George's Name: An Anthology of Medieval German Fighting Arts'' | ||
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}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] |
| authors = [[Dierk Hagedorn]] | | authors = [[Dierk Hagedorn]] | ||
− | | source link = | + | | source link = |
− | | source title | + | | source title= [[Index:Talhoffer Fechtbuch (MS Chart.A.558)]] |
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
| license = copyrighted | | license = copyrighted | ||
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] |
− | | authors = [[Dierk Hagedorn]] | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Starhemberg Fechtbuch (Cod.44.A.8)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen | + | | work = [[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Transcription]] |
| authors = [[Dieter Bachmann]] | | authors = [[Dieter Bachmann]] | ||
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Talhoffer Fechtbuch (MS Thott.290.2º)]] |
| license = public domain 0 | | license = public domain 0 | ||
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel Ⅰ Transcription]] |
| authors = [[Dierk Hagedorn]] | | authors = [[Dierk Hagedorn]] | ||
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)]] |
| license = copyrighted | | license = copyrighted | ||
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Paulus Kal Fechtbuch (MS 1825)|Bologna Transcription]] |
− | | authors = [[Dierk Hagedorn]] | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Paulus Kal Fechtbuch (MS 1825)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[Paulus Kal Fechtbuch (Cgm 1507)|Munich | + | | work = [[Paulus Kal Fechtbuch (Cgm 1507)|Munich Ⅰ Transcription]] |
− | | authors = [[Dierk Hagedorn]] | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Paulus Kal Fechtbuch (Cgm 1507)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] |
− | | authors = [[ | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Paulus Kal Fechtbuch (MS KK5126)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] |
− | | authors = [[ | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] |
− | | authors = [[ | + | | authors = [[Per Magnus Haaland]], [[Grzegorz Żabiński]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Goliath Fechtbuch (MS Germ.Quart.2020)]] |
− | | license = | + | | license = various |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅱ Transcription]] |
− | | authors = [[ | + | | authors = [[Filip Lampart]], [[Martin Fabian]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Ⅰ Transcription]] |
− | | authors = [[Dierk Hagedorn]] | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | + | | source title= [[Index:Wilhalm/Sollinger Fechtbuch (Cod.I.6.2º.2)]] | |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] |
− | | authors = | + | | authors = |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Gregor Erhart Fechtbuch (MS E.1939.65.354)]] |
− | | license = | + | | license = |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = | + | | work = [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Transcription]] |
− | | authors = [[ | + | | authors = [[Werner Ueberschär]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)]] |
− | | license = noncommercial | + | | license = noncommercial |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = | + | | work = [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Ⅲ Transcription]] |
− | | authors = | + | | authors = |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Maister Liechtenawers Kunstbuech (Cgm 3712)]] |
− | | license = | + | | license = |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Ⅱ Transcription]] |
− | | authors = [[ | + | | authors = [[Kevin Maurer]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)]] |
− | | license = | + | | license = noncommercial |
}} | }} | ||
+ | |||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]] |
− | | authors = [[Dierk Hagedorn]] | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Pol Hausbuch (MS 3227a)]] |
− | | license = copyrighted | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Codex Speyer (MS M.I.29)|Salzburg Transcription]] |
− | | authors = | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Codex Speyer (MS M.I.29)]] |
− | | license = | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription Ⅱ]] |
− | | authors = [[ | + | | authors = [[Dierk Hagedorn]] |
− | | source link = | + | | source link = |
− | | source title= | + | | source title= [[Index:Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)]] |
− | | license = | + | | license = copyrighted |
}} | }} | ||
{{sourcebox | {{sourcebox | ||
− | | work = [[ | + | | work = [[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Ⅱ Transcription]] |
− | | authors = | + | | authors = [[Dierk Hagedorn]] |
| source link = | | source link = | ||
− | | source title | + | | source title= [[Index:Glasgow Fechtbuch (MS E.1939.65.341)]] |
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== Additional Resources == | == Additional Resources == | ||
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== References == | == References == | ||
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[[Category:Longsword]] | [[Category:Longsword]] | ||
[[Category:Mounted Fencing]] | [[Category:Mounted Fencing]] | ||
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+ | [[Category:New format]] | ||
+ | [[Category:Modular display candidate]] |
Latest revision as of 19:29, 26 August 2024
Die Zettel | |
---|---|
The Recital | |
![]() | |
Full Title | A Recital on the Chivalric Art of Fencing |
Ascribed to | Johannes Liechtenauer |
Illustrated by | Unknown |
Date | Fifteenth century (?) |
Genre | |
Language | Early New High German |
Archetype(s) | Hypothetical |
Manuscript(s) |
Cod.44.A.8 (1452)
|
First Printed English Edition |
Tobler, 2010 |
Concordance by | Michael Chidester |
Translations |
Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a 15th century German fencing master. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the Pol Hausbuch, one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zettel ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive glosses (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on Paulus Kal's roll of the Fellowship of Liechtenauer were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter.
Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.[1] However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by Hans Talhoffer in the MS Chart.A.558 (ca. 1448), which further supports this timeline.[2]
Contents
Treatise
Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the Zettel ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as Sigmund ain Ringeck, Peter von Danzig zum Ingolstadt, and Lew wrote extensive glosses that sought to clarify and expand upon these teachings.
In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (figuren)—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtenauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse.
Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of Pseudo-Hans Döbringer, which contains almost twice as many verses as any other; however, given that the additional verses tend to either be repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only the much shorter version attributed to H. Beringer (which is also included in the writings of Hans Folz).
The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.[3] Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third.
Note: This article includes a prior (2010) version of Christian Tobler's translation. A revised version of the translation was published in 2021 by Freelance Academy Press as part of The Peter von Danzig Fight Book; it can be purchased in hardcover.
Gotha Version (1448) |
Rome Version (1452) |
Copenhagen Version (1459) |
Wolfenbüttel Ⅰ Version (ca. 1465-80) |
Munich Ⅰ Version (ca. 1470) |
Vienna Version (1480s) |
Dresden Version A (ca. 1504-19) |
Dresden Version B (ca. 1504-19) |
Krakow Version (1535-40) |
Munich Ⅱ Version (1523) |
Augsburg Ⅰ Version (1523) |
Glasgow Version (1533) |
Augsburg Ⅱ Version (1553) |
Munich Ⅲ Version (1556) |
Wolfenbüttel Ⅱ Version (ca. 1588) | |||||||||||||||||||||||||||||
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Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him; first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due. |
[18r] Hye hebt sich an meister liechtenawers chunst Deß lengen swerts Anno domini xlviij Jar etc |
[3r] Alhÿe hebt sich an dye zedel der Ritterlichen kunst des fechtens dye do geticht vnd gemacht hat Johans Liechtenawer der ain hocher maister In den künsten gewesen ist dem got genadig seÿ Des ersten mit dem langen swert Dar nach mit der glefen vnd mit dem swert zw roß Dar nach mit dem kürtzen swert zw° champf vnd dar umb dÿ kuñst fur~sten vnd herren Ritter vnd knechten zw gehört das sy dy wissen vnd lernen sullen So hat er die selbig kunst igleich besunder lassen schreiben mit verporgen vnd verdackten wo°ten Dar umb das sÿ nit yderman vernemen noch versteen sol als du sÿ her nach geschriben wirst vinden vnd hat das getan durch der leichtfertigen schirmaister willen Dÿe Irr kunst gering wegen das sein kunst von den selbigen maisterñ nicht gemain noch geoffenwart sol werden solichen lewten die dye kunst In wirden nicht behalten als dañan der kunst zw gehört ~ |
[104v] [A]lhie hebt sich an die zetl der ritterlichen chunst des fechtens die geticht vnd gemacht hat hanns liechtenauer der ein hocher maister in den künsten gewessenn ist dem got genadig sey des ersten mit dem lanngen swert darnach mit dem spies vnd darnach mit dem swert zw ross vnd darnach mit dem kurczen swert zw ross kampf vnd dar vmb das die kunnst fürsten vnd herrenn rittern vnd chnechten zw gehort das sy wissenn vnd lernen sullenn so hat er die ritterlichen chunst yedleich pesunder lassen schreibenn mit verporgen vnd verdackten worten dar vmb das Sy yeder man nit versten müg vnd hat das getan durch der schirmmaister willen die ir chunst ring wegen das von den selbm sein chunst nit geoffenwart werd lewtten die die chunst nicht in wierden chünen haldenn als den chunnsten zue gehört |
[03r] IN sant Jörgen namen höbt an die kunst deß fechtens die gedicht vnd gemacht hat Johanns liechtnawer der ain hocher maister In den kunste~ gewesen ist dem gott genädig sÿ Deß ersten mitt dem langen schwert Dar nach mitt dem spieß Vnnd dem schwert zu° roß Vnnd och mitt dem kurczen schwert zu° dem kampf als her nach geschriben stat ~ ~ ~ ~ ~~ |
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This is the Prologue
|
Junck ritter lere |
Das ist dy vor red Junck ritter lere |
[Ⅲr] Junck ritt° leren [4] |
[45r] Junger Ritter lern |
Jüngk ritte~ lere / |
||||||||||||||||||||||||||||||||||||||
This is a general teaching of the long sword
|
Das ist eyn gemeine ler des swertz etc wiltu kunst schawen |
Das Ist ein gemaine ler des langen Swerttes ·:~Wildu kunst schauen |
[2r] Hie lert der talhofer ain gemaine ler in dem langen Schwert von der zetel etc. Wiltu kunst schowen |
¶ Wiltu kunst schawe~ |
Ain gemaine lere Wildw kunst schawn |
Das ist ein gemaine ler des langenn Swercz vnnd ist das die vor redt [W]Ild dw chunnst schauen |
Das ist ain gemain lere des langen schwerts Wilt du kunst schawen |
[01r] Ein gemeyne ler des lanngen Schwertz Wildu kunst schauen, |
[43r] Ein gutt gemain for des langen schwerts Wilstu kunst schawen |
[42br] Ein gutt gemain ler des langen schwertz Wilttu kunst schawen |
[48r] Ein gutte gemaine lesr des langen schwerts Wiltu kunst schauwen | ||||||||||||||||||||||||||||||||
This is the text:
|
Das ist der text an dy außlegu~g Zoren hawe kru~p twirg |
Das Ist der text Zorñ haw krump twer |
Tarnhaw kru~phaw thwere |
[Z]orn haw twer |
Das ist der texte Zorn hawe krumpt were |
Text von denn Stucken der Zetl Zornnhaw, Krump, Zwir, |
Das ist der text und die auslagung der schaittler Zornhaw krumphaw zwerch |
+ Das ist der text vnd die auslegung der schaitler Zornhaw krumphaw zwerch |
Das ist der tex und die aus richtung der schaitter Zornhauw, krumhauw, Zwerch | ||||||||||||||||||||||||||||||||||
The Wrath Stroke
|
Das ist võ czorn hawe dÿ außrichtu~g Wer dir obñ hawt |
Der zorñ haw ·W·er dir öberhäwt |
Das ist von dem zornhow der underschid wer dier uberhowt |
wen dir oben hauwz |
|
Zorn haw Wer dier oberhaut |
Der zorn haw° Wer dir ober haw°et |
[55v] Wer dir aber haw°et |
-Zornhaw Volgt- [02r] Wer dir oberhaut |
Das ist die ausrichtung vom Zornhaw Wilstu merckhen wer dir oberhawtt |
+ Das ist die ausrichtung vom zornhaw Wilttu merckhen wer dir oberhawtt |
[15r] Der zornhaw Wer dir vberhaut, |
Das ist die ausrichtung vom Zornhauw Wiltu merckhen wan dir oben haut | ||||||||||||||||||||||||||||||
The Four Openings
|
[19r] Das ist võ den vier ploßenn Vier ploß wiß |
Dÿe vier plossen Vier plössen wisse |
[3r] von den vir plößen vier plöß wisse |
¶ Veyr blos dey wisse |
[62r] Vier blosse wisze |
die vier plossenn [V]Ier plosse wisse |
Die vier blossen zu° breche~ Vier blossen wisse |
Vier blöß wiß |
Die vir Ples Vier Plossen wisse |
Das ist von den vier blössen Die einer blöss wis |
Die vier plössen, Vier plösse,,,,wisse |
Das ist von den 4 blossen Die 4 blos wiss | |||||||||||||||||||||||||||||||
To Counter the Four Openings
|
Das ist wie mã dÿ vier ploßenn sol prechñ Wiltu dich rechenn |
Dye vier plossen zw prechen Wildu dich rechen |
Die vier plöß brechen wiltu dich rechen |
wiltu dich rechen |
wild dich rechen |
Die vier blossen zu° brechen Wilt du dich rechen |
Wilt du dich rechen / |
Die vir Plossen zu prechen Wildu dich rechen |
Das ist wie man die vier blöss brechne sol Wilstu dich Rechen |
+ Das ist wie man die 4 blöss brechen sol Wilttu dich Rechen |
Die vier plössen zubrechen Wiltdu dich rechen |
Das ist wie man die 4 blos brechen soll. Wiltu dich rechen, | |||||||||||||||||||||||||||||||
The Crooked Stroke
|
Das ist vom chrump haw dÿ außrichtu~g chru~p auff behendt |
Der krump haw Krump auff behende |
von krumen // wie die schnyd da kummen werff. krum uff sin hende |
¶ krum uff bohe~de |
[66v] krumpf auf Behende |
[K]rump auf Behende |
Der Km Krumphaw° Krump vff behende |
Krump vff behende / |
Krumphau Krump auff behende |
Das ist die ausrichtung vom krumphaw Krumphaw auff behend |
+ Das ist die ausrichtung vom krumphaw Krumphaw auff behend |
Der krumbhaw Krumb auff behende |
Das ist die ausrichtung vom krummhauw[23] Krum hauw auf behend, | ||||||||||||||||||||||||||||||
The Thwart Stroke
|
Das ist võ twi°g haw dye außrichtu~g Twirg benymet |
Der twer haw Twer benympt |
[3v] Die tailung der kunst nach dem text den Rechten weg und die uß richtung der zwierhin Die zwierh benympt |
Twirch bonimpt |
|
Der twer haw [T]wer[24] benimpt |
Der zwerchhaw° Zwerch benimpt |
Zwerch benimpt / |
Zwerhaw TWer benimpt |
Die ausrichtung vom Zwerchhaw Die Zwerchhaw benimptt |
+ Die ausrichtung vom zwerchhaw Die zwerchhaw benimpt |
Der Twer haw Twer benymbt, |
Die ausrichtung vom zwerchauw Die zwerchauw nimpt | ||||||||||||||||||||||||||||||
The Squinting Stroke
|
[19v] Das ist võ schilhaw dy außrichtu~g Schiler enpricht |
Der schilhaw Schiler ain pricht |
Daz ist die uß richtung von der schillherin Schylher ain bricht |
Scheller ein bricht |
der schilhaw [Sch]ilcher ein pricht |
Der schilhaw° Schiller In bricht |
Schiller bricht / |
Schilhaw Schiler am pricht |
Die ausrichtung vom schilthaw Schilchr ein bricht |
+ Die ausrichtung vom schilthaw Schilcher enibricht |
Der von schilhaw Schiller einpricht, |
Die ausrichtung vom schilthauw Scheleher einbricht | |||||||||||||||||||||||||||||||
The Scalp Cut
|
Das ist võ dem schilthaw dy außrichtu~g Der scheÿtler |
Der schaittelhaw Der scheitlar |
Daz ist von dem schaittler Die ussrichtung etc. Der schaittler |
Der scheitler |
[D]er schaitler |
Der schaittelhaw° Der schille~ |
Der schaittler |
Schaittelhau [04r] Der scheitler |
Die ausrichtung von dem schaitelhaw Der schaitler |
[43r] + Die ausrichtung von dem schaitelhaw Der schaitler |
Der scheitler Der [sc]heitler |
Die ausrichtung vom schaitelhauw. Der schaitler | |||||||||||||||||||||||||||||||
The Four Guards
|
Das ist von den vier leger dÿ außrichtung Vier leger alben |
Dÿe vier leger Vier leger allain |
von den vier leger Vier leger alain |
¶ veir leger alleyn |
[58r] Die erste hute haist der ochse |
Die vier leger [V]ier leger allain |
Die vier leger Vier leger allain |
Vier leger alain |
Vir leger Vir leger allain |
Die ausrichtung von den vier legern Die vier leger allain |
+ Die ausrichtung von den vier legern Die vier leger allain |
Die vier leger Vier Leger allein, |
Die ausrichtung von den 4 legern Die 4 leger allain | ||||||||||||||||||||||||||||||
The Four Oppositions
|
Das ist võ den vier versetze~ dy außrichtung Vier sint der vor seczen |
Dye vier vor Setzen Vier sind vor setzen |
von den vir versetzen vier sind versetzen |
¶ veir sint vorsetzen |
Die vier verseczenn [V]Ier seind der verseczen |
Die vier verseczen Vier sind verseczten |
Vier sÿnd der vorseczen / |
Vier vörsetzen [04v] Vir seind vorsetzen |
Die ausrichtung von den vier versetsen Vier sind der versetsen |
+ Die ausrichtung von den vier versetzenn Vier sind der versetzen |
Die vier versecz[en] Vier sind verseczen, |
[49r] Die ausrichtung von den 4 versetzen Vier seind der versetzen, | |||||||||||||||||||||||||||||||
Chasing
|
Das ist võ dem nach reÿse~ dÿ außrichtu~g Nach reyßenn lere |
Von Nach Reÿsen N·ach raisen lere |
[4v] Daz ist von dem nach raisen Nach raisen lere |
nachreisen lere |
|
von nachraisen nach raissenn lern |
Von Nachraÿsen Nachraÿsen lere / |
Nachraÿsen lere / |
Nachraisen Nachraisen lere |
Von dem Nachraisenn Nachraisen lere |
+ Von dem nachRaisen Nachraisen lere |
Von Nachraisen, Nachraisen Leere, |
Von dem nachraisen Nachraisen lehren | ||||||||||||||||||||||||||||||
Overrunning
|
[20r] Von vber lauff dy außrichtu~g ~Wer vndenn remet |
von überlauffen ·W·er vnnden rempt |
von dem überlouffen wer des lybß unden remet |
wer vnde~ ramz // |
Von vberlauffenn er vnden rempt |
Von v°berlauffen ~ [08r] Wer vnden rempt / |
Wer vnden remet / |
Uberlauffen Wer unden rempt |
[44v] Das die ausrichtung von dem uberlauffen Der unden Remet |
Die ausrichtung von dem l vberlauffen Der vnden Römett |
Von vberlauffen, Wer vnnden remet |
Die ausrichtung von dem uberlauffen Der unden renet | |||||||||||||||||||||||||||||||
Setting Aside
|
leren abseczenn |
Von absetzen Lere absetzen |
vom absetzen kanstu die rechtn absetzen |
ler aff setze~ // |
von abseczenn Lern ab seczenn |
Von abseczen Lere abseczen |
Lern abseczen / |
Absetzen Lere absetzen |
Die ausrichtung von dem absetsen Lere absetsen |
+ Die ausrichtung von dem absetzen Lere absetzen |
[16v] Von abseczen, Leere abseczen, |
Die ausrichtung von dem absetzen Lehren absetzen | |||||||||||||||||||||||||||||||
Changing Through
|
Das ist võ durch wechsel dy außrichtu~g Durch wechsel lere |
Von durchwechselñ Durchwechsel lere |
vom durch wechsel Durchwechsel lere |
Dorch wessel lere |
[66r] Dúrchwechsel lere |
Vom durchwechsl Durch wechsel lere |
Von durchwechslen Durchwechslen lere / |
Durchwechsel lere / |
[05v] Durchwechseln Durchwechsell lerre |
Von dem durchwechsell Der durchwechsel lere |
[43v] + Von dem durchwechsel Der durchwechsel lere |
Von Durchwechsel, Durchwechsel Leere, |
Von dem durchwechsel Der durchwechsel lehren | ||||||||||||||||||||||||||||||
Pulling
|
Das ist võ zuckenn dy außrichtu~g Trit nahent In bunde |
von zucken Trit nahent Inn pinden |
vom zucken alle treffen tuo nahet eyn binden |
Drit nachet i~ binden |
Von zuckenn drit nachet in punndenn |
[08v] von Zucken Tritt nahent Inbinden / |
|
Zucken Trit nahent in pinden |
Die ausrichtung von dem Treffn und Zuckn Dritt mein die binden |
Die ausrichtung von dem treffen vnd zuckhe[n] Dritt nein die binden |
Von zucken, Trit nahendt in pinde, |
Die ausrichtung von treffen, treffe und zukhen Tritt man die binden | |||||||||||||||||||||||||||||||
Running Through
|
Das ist võ Durch lauffung dy außrichtu~g Truckdurch//lauffñ |
von Durchlauffen Durchlauff las hangen |
vom durch louff Durch louff lauß hengen |
Dorloff das hange~ |
von durchlauffenn durchlauf laß hangen |
von durchlau°ffen Durchlauff laß hangen |
|
Durchlauffen [06r] Durchlauffen las hangen |
Die ausrichtung von dem durchlauffen Durchlauff las hengen |
+ Die ausrichtung von dem durchlauffen Durchlaüff lass hengen |
Von Durchlauffen, Durchlauff laß hangen, |
Die ausrichtung von dem durchlauffen [49v] Durchlauffen las langen | |||||||||||||||||||||||||||||||
Slicing Off
|
Das ist võ ab sneydenn dÿe außrichtu~g Sneyd ab dy hertt |
von abschneiden Schneid ab dÿ herten |
vom abschniden Schnid ab die hörte |
Snid aff dei hertzen |
sneid ab die herten |
von abschnÿden Schnid ab die hertt~ / |
Schnÿd ab die hört |
Abschneiden Schneit ab die hertten, |
Die ausrichtung von dem abschneiden Sschneidt ab die hertte |
Die ausrichtung von dem abschneiden Schneid ab die hörtte |
Von abschneiden Schneid ab die hannd, |
Die ausrichtung von dem abschneiden Schneid die hänte | |||||||||||||||||||||||||||||||
Pressing Hands
|
Das ist võ hent truckñ dy außrichtu~g Den snyt wint |
von hend drucken [6r] Dein schneid wende |
vom hennd trucken Din schnyd ver wende |
Dyne snyden went |
dein snidt wend |
[09r] von hende trucken Dein schnÿde wende |
Hend druckhen. Dein schneiden wennt |
Von dem hend truckhen |
+ Von dem hendt truckhen [31]von di[r] dein schneid wend |
Von hennd truckhen, Dein schneid wennde |
Von den hend trucken [32]von dir dein schneid wend | ||||||||||||||||||||||||||||||||
Two Hangings
|
Das ist võ czweÿen henge~ dy außrichtu~g Czweÿ hengñ werdenn |
von tzwaien hengen Zwaÿ hengen werden |
von den zwain hengen [33]zwey hengen werden |
Tzwe~ hengen w°den |
von zwain hengen von durchlauffen [Z]wai henngen wern |
von zwaÿen hengen Zwaÿ hengen werden / |
[06v] Zwei henngen Zwey henngen werden |
Von den zwaien hengen die ausrichtung Zwaÿ hengen werden |
[17r] Von zwayen hengen Zway hengen werden, |
Von den 2 hengen die ausrichtung Zwai hengen werden | |||||||||||||||||||||||||||||||||
The Speaking Window
|
[20v] Das ist võ sprech fenster dy außrichtu~g Sprech venster mach |
von sprechfenster Sprechfenster mach |
von sprech venster Sprechfenster mache |
¶ Spreck vinster mache |
[70v] Sprechfinster[!] mach |
sprechfenster mache |
von sprechfenster Sprechfenste~ mach |
Sprechfennster Sprechfennster mach. |
Von dem sprechfenstr~ die ausrichtgung Das sprechfenster machen |
Von Sprechvenster Sprechvenster machen, |
Von den sprechfenster die ausrichtung Das sprechfenster mach | ||||||||||||||||||||||||||||||||
This is the Conclusion of the Epitome
|
Das ist dy beslißu~g der gancze~ kunst Wer wol pricht |
Das ist die beschliessung der zedel Wer wol fürt vnd recht pricht |
Die besliessung der zetel wer wol bricht |
wer wol bricht // |
besliessúnge der gantzen zettel |
der zetl pesliessung [W]er wol fueret vnd recht pricht |
[09v] Die beschliessung der zedel Wer wol füret Vñ recht bricht |
Besliessung der Zetl. Wer woll furt, unnd recht bricht |
Das ist die ausrichtung und die beschliesung der grunsn kunst wer vol sicht |
Das ist die ausrichtung vnd bschliesung der gantzen kunst wer wol sicht |
Das ist die beschliessung der zetl Wer wol furet vnd recht bricht, |
Das ist die ausrustung und die beschliessung de gantzen kunst, wer wol ficht | |||||||||||||||||||||||||||||||
Thus ends Master Liechtenauer's Art of the Long Sword | spricht hannß talhofer got lauß unnß aller schwer |
Et[c] & finis |
ennd des text der Fechtzetl |
also endett sich maister Liechtnauers kunst des langen schwertts |
also endett sich maistr~ liechtnauers kunst des langen Schwertz |
also ender sich Maister Liechtenauers kunst des langen schwerts. |
Nuremberg Version (1400s) |
Gotha Version (1448) |
Rome Version (1452) |
Vienna Ⅰ Version (1480s) |
Salzburg Version (1491) |
Krakow Version (1535-40) |
Vienna Ⅱ Version (1512) |
Augsburg Ⅱ Version (1553) |
Rostock Version (1570-71) | |||||||||||||||||||||||||||||
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This is Master Johannes Liechtenauer’s Fighting on Horseback | [53r] Hie hebt sich nu an das fechten czu Rosse in harnuesche / mit sper vnd sw°te etc JVng / Ritter lere · |
[21Av] Alhye hebt sich an dy chunst deß langñ swerts deß Roß vechtenn |
[06r] Das Ist Maister Johansen liechtenäwer ross vechten |
[105r] Maister hannsen liechtenauers ross fechtenn |
[17r] Das ist das Ross fechten das junger Ritter leern |
||||||||||||||||||||||||||||||||
|
DEyn sper berichte · |
Dein sper bericht |
[06v] Dein sper bericht |
[105v] dein Sper bericht |
[163r] Dein sper bericht, |
Dein sper berichte, |
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[53v] ¶ Voer allen sachen · |
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|
[55r] Ab sichs vorwandelt · |
ab sich verwandelt |
Ob es es sich vor wandelt |
ob sich verwandelt |
ob es sich vor wandelt |
[17v] Ob sich verwanndlt, |
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|
An setze ane vare · |
An secz anevare |
An setz an far |
secz an fare |
Ansetz an far |
Ansecz on vare, |
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¶ Auch merke dy seiten · |
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¶ wer of dich syñet · |
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¶ Vebe dy ku~st czu vorne · |
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|
[57v] DEr schofgrif weret · |
Der Schaff griff weret |
Der schaff grif weret |
der schafgriff weret |
der schaffgriff weret |
Der schaffgriff wöhret, |
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|
[58r] Ab du wilt reiten · |
ab du wilt reytñ |
Ab du° wilt reitñ |
ob dw wild rewten |
ab do wilt reitn |
ob du wilt Reitten, |
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|
[58v] Iagt man rechtens · |
iagt man rechtens= |
Jagt man rechtens |
Jagt man rechtens |
iagt man rechtens- |
Jait man rechtens, |
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|
Dy messer nemen · |
dÿ [22r] messer neme~ |
Dÿe messer nemen |
die messer nemen |
Die messer nemen |
Die messer nehmen, |
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|
[59r] UIltu[38] an fassen · |
wiltu a |
wiltu anfassen |
wildw an wassenn |
wiltu ann fassn |
[18r] Wilt du ane fassen, |
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|
Wilt aber dy masen · |
wiltu aber dich maßenn |
wiltu aber dich massen |
wild dw dich aber massen |
wiltu aber dich massen |
Wiltdu aber die maassen, |
Nuremberg Version (1400s) |
Gotha Version (1448) |
Rome Version (1452) |
Vienna Ⅰ Version (1480s) |
Salzburg Version (1491) |
Krakow Version (1535-40) |
Vienna Ⅱ Version (1512) |
Augsburg Ⅱ Version (1553) |
Rostock Version (1570-71) | |||||||||||||||||||||
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Here begins the Art with the Short Sword in Dueling, of Master Johannes Liechtenauer, God have mercy on him,
|
[60r] WEr abesynnet · |
[48v] Kampffechten hebt sich Hye an
Wer absynnet |
[08v] Hye hebt sich an Maister Johansen Liechtenawers kunst Dem got genädig sey mit dem kurtzen swert zu° kampff
Wer absynt |
[105v] Das seind maister hansen liechtenauers fechtenn im harnasch zum champf
wer absinnet |
[199r] Hye hebt sich an der Text unnd die Auslegung des Kampffechtn Text Wer absinet |
[18v] Fechten Im Harnasch zu fussen
Wer aber synnet |
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This is the wrestling in dueling
|
[61v] Das ist nü von Ringen / etc etc AB du wilt ringen · |
ab du wilt ringñ |
Das sind dye ringen zu° champff Ob dw wild ringen |
[105v] Das seind die Ringen zu dem champf [O]b dw wild ringenn |
[129r] Die zÿttel weist ringen züm kanff zu fuß Ob du wilt ringen |
Das sein die Ringenn zu Kampf. Ob dw willt ringen, |
[100v] Ein anders Ob du wilt ringen |
Von Ringen, Ob du wilt ringen, |
[74v] Ob du wilt ringenn, | ||||||||||||||||||||
|
[59v] Ab sich vorrukt · |
ab sich verruckt |
Ob es sich vor ruckt |
ob es sich ver ruckt |
Ab es sich ver rucket |
ob es sich ver ruckht, |
[100v] Ob es sich verruckest |
Ob sich verruckht |
Ob es sich verrucket, | ||||||||||||||||||||
|
[60v] WO man von scheiden · |
wo mã võ scheyden |
Wo man von schaiden |
wo man von schaiden |
Wie man von scheydenn |
Wo man von der schaiden, |
wie man von scheiden / |
Wo man von schaiden, |
wie man von schaiden, |
Images |
Gotha Version (1448) |
Rome Version (1452) |
Glasgow Version (1508) |
Krakow Version (1535-40) |
Augsburg Ⅱ Version (1553) | |||||
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Figures of the Fight on Horseback |
[165v] Figuren des rossfechtens |
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Direct your spear etc, If it falls etc, Strike in, don't pull, etc. Gloss: Pull to his left, grasp in his right, so you catch him there without fencing. |
[07v] Dein Sper bericht etc Ob es emphal etc Haw dreyn nichtt Zuckch etcettera Glosa lingck zu Im ruck • Greyff in sein rechten • so vechst du In ane vechttenn |
[18r] dein sper bericht [zu man?] wer es entfal[le], de[in] end im abschnalle. hau drein nicht zuckhe, [glest] linkh [so] vnd fach sein rechte. | ||||||||
The 1st Figure: Charge from the breast to his right hand. |
[22v] [1] Jag võ der prust zu seiner rechtñ hant |
Die erst figur Jag von der prust zu seiner rechten hand |
[74r] 1 Jag von deiner prust zw seiner rechten handt |
[1] Jag vorn der rechten brust zu seinen rechten hannt |
[1] Jag von derr prust zu seiner recht handt | |||||
The 2nd Figure: Turn around with the horse, pull his right hand with your left. |
[2] vmbker mit roß sein rechte hant mit deyner lincken |
Die ander figur Vmbkere mitt dem Rozz Zewch sein rechte handt mitt deiner lingken |
2 Vmb ker mit dem roß / zeuch sein rechte handt mit deiner lincken |
[2] Umbkere mit dem ross zeuch sein rechte hannt mit deiner lincken |
[2] Vmbker mit dem Roß zeuch sein recht hand mit deiner linkh(en) | |||||
The 3rd Figure: Upon the encounter, take the stirrup-strap or the weapon. |
[3] mit stechñ satel In oder ver plent |
Die dritt figur Mitt strayffen Satel ryem • oder wer nymbe |
3 Mit Straÿffen satel riem / oder wer nymbt |
[3] Mit straiffenn sattel ryem oder wer nimpt |
[3] mit [s]treffen satel rien[g] oder were Nymbt, | |||||
The 4th Figure: Plant upon him high, swing, go through or break the sword. |
[4] Secz an hoch swenck durch var oder swert pricht |
Die vyerdt figur Setz an hoch swing durch var • oder Swert prich |
4 Setz an hoch / schwing / durchfar / oder schwert prich |
[4] Setz ann hoch schwing durch var oder schwert prich |
[4] secz an, hoch st[rai]g durch vor oder schwert pricht | |||||
The 5th Figure: The defense precedes all meetings, striking, or thrusting. |
[5] des schute~ vorgeng allen treffenn hawe~ stechen |
Die funfft figur Daz schuten vorgeñgk allen treffenn hawen vnnd stechen |
5 Das schutten / vor geng allen treffen / hawen stechen |
[5] Das schutten vorgenngk allenn greffenn hauenn und stechenn |
[5] das Schutten volg genckh allen treffen hawen vnd stech(en) | |||||
The 6th Figure: Take the strong with both hands. |
[6] Greiff mit peyde~ henden an dye strick |
Die sechst figur Greyff an mitt payden henndten die sterck |
6 Greyff an mit paiden henden die sterck |
[6] Greiff ann mit paiden henden die sterck |
[6] Greiff an mit baiden, henden, die sterkh, | |||||
The 7th Figure: Now begin to seek the opponent with the Slapping Stroke. |
[9] Hye hebt mã den tasche~ hawe czu such |
Die sybendt figur Hie heb an den mañ taschen haw zu suechen |
7 Hie heb an den man taschen haw zw suechen |
[7] Hie heb ann dem mann taschenn hau zu suchenn |
[7] hie heb an, den mann dass er fare zu s[eid(en)] | |||||
The 8th Figure: Turn his right hand, set the point to his eyes. |
[7] Went Im dy recht hant secz dein ort czu seine~ gesicht |
Die Achtt figur Wenndt Im die recht hanndt • setze den ortt zu den augen sein |
8 Went im die recht handt setz dein ortt zw seinem gesicht |
[8] Wennt im die recht hannt setz den ort zu denn augenn sein |
[8] Wend jm die recht hannd secz im den ort zu [d]en [au]gen [sein] | |||||
The 9th Figure: Who defends against the thrust, grasp his right hand in your left. |
[8] weyl der stich wert den vahe sey~ rechte hant dey~ lincke |
Die Newnt figur Wer den stich wertt dem vach sein rechte handt in dein lincken |
9 Wer den stich went dem vach sein rechte handt in dem glincke / |
[9] Wer denn stich weret dem vach sein rechte hannt mit deiner linckn |
[9] Wer den stich wert dem fach sein rechten hand in dein linckhe, | |||||
The 10th Figure: Seek the openings: arms, leather, gauntlets, under the eyes. |
[11] such dy ploß arm dÿ hant scheuch vnter dÿ auge~ |
Die Zechent figur Suechee die ploss arm leder hanndtschuech vndtir den augen |
11 Suech die plos arm~ leder handt schuech vndter den augen |
[10] Such die plös arm leder handschuh unnther den augenn |
[10] such die ploß arm le[?]rt hand stich vnder die augen | |||||
The 11th Figure: Press hard, push from the reins and seek his messer. |
[10] truck vast stoß von czam vnd such sey~ meßer |
Die ayndlifft figur Druck vast stoss von tzawm • sueche sein Messer |
10 Drück vast stoß vom zaüm vnd suech sein messer |
[11] Druck vast stoss vonn zaum suche sein messer |
[11] Druckh vast stoß vom zaum vnd [fach] sein messer | |||||
The 12th Figure: With the empty hand learn two strokes against all weapons. |
[12] mit lerer hant lere czwen stich gege~ aller wer |
Die Zwolfft figur Mitt lerer hanndt lere zwen strich gegen aller were |
12 Mit lerer handt lern straich gegen aller were / |
[12] Mit lerer hand lere zwen streich gegen der wer |
[12] mit leerer hand leer zwen straich gen allen wöhr, | |||||
The 13th Figure: The Sheep Grip defends against all wrestling grips under the eyes. |
[13] Der schaff griff weret alle griff rings vnt° augñ etc |
Die dreitzechent figur Der schaf grif wertt • alle griff Ringens vndter augenn |
[74v] 13 Der Schaffgriff werdt alle griff ringes vndter auge~ |
[13] Der schopfgrif weret alle grif ringenns unther augenn |
[13] der schaffgriff w[ö]rt alle griff ringens vnder augen, | |||||
The 14th Figure: Turn around again to where the horses hasten. |
[23r] [14] Anderweyt kere vmb so dy roß hin hurtñ |
Die viertzendt figur Anderwayd kere vmb • so die Rozz hynn hurtten |
14 An der weidt ker vmb / so die roß hyn hurttñ / |
[14] An der weit kere umb so die ros hin hurtenn |
[18v] [14] Ander weit ker vmb so dir Ross hin hurtten, | |||||
The 15th Figure: Up close, catch the hand, turn over his face to where the nape is. |
[15] In der auch so vach dy hant v°ber sein antlicz do der nack ist |
Die funfftzend figur In der nech vach die hanndt • verkere sein anttlitz da der nack ist |
15 In der nech fach die handt verker sein antlutz do der nacke ist |
[166r] [15] Inn der hehe vach die hant verker sein antslig do der nack ist |
[15] Im der nch vach die hand, verker sein antlicz do sein nackh ist, | |||||
The 16th Figure: Catch the weapon from afar while you ride against him. |
[16] dye wer fach in der weyt in dem wider treibñ |
Die sechtzechend figur Die were vach in der weytt • In dem wider Reytten |
16 Die weer fach in der weitt in dem wider reÿttñ |
[16] Die were vach in der weit inn dem widerreittenn |
[16] Die wöhr vach jm der [writ?] Im dem [wieder] raiten | |||||
The 17th Figure: If you charge to the left, then fall to the sword pommel, jab under the eyes. |
[20] Jagstu linck so greiff auff des swertes ploß stoß In vntter augenn |
Daz sybentzechend figur Jagst du lingk so vall auf Swertes Kloss • stoss vndter augenn |
18 Jagstu linck fall aüfs schwertz knopf stos vndter augen |
[17] Jagsts du lingk so vall auf schwerts kloss stos unnther augen |
[17] jagstu linckh so fall auf schwerts Glos, stoß vnder augen, | |||||
The 18th Figure: Charge to the right side with its skill. |
[19] Jag czu seiner rechte~ hant mit Irenn chunstenn |
Die achttzechendt figur Jage Zu der rechtten hanndt mitt Iren Kunsten |
17 Jag zw der rechtñ handt / mit irñ kunstñ |
[18] Jag zu der rechten hannt mit yrenn kunnsten |
[18] jag zu der rechten [haw] mit jren kunsten | |||||
The 19th Figure: Plant the point upon him to the face. |
[17] Secz Im dein ort gege~ dem gesicht |
Die Nëwntzechent figur Setz an den ortt gegen dem gesichtte |
19 Setz an den ortt gegen dem gesicht |
[19] Setz ann denn ort gegen dem gesichterr |
[19] secz an den ort geg(en) dem gesicht, | |||||
The 20th Figure: Shatter against all hits that ever happen. |
[18] Schut gege~ allenn treffenn dye ÿmer werdenn |
Die tzwaintzigist figur Schutt gegen allen treffen • Diee ymmer werdenn |
20 Schutt gegen allen treffen die ym~er werdñ |
[20] Schut gegen allenn treffenn di ymer werdenn |
[20] sch[u]t gegen allen treffen die jm(m)er merkch | |||||
The 21st Figure: The strong in the beginning position yourself therein correctly. |
[23] dÿ strich zum anhebñ dar Inn schick dich recht |
Die ain vnd tzwayntzigist figur Die sterck in dem anheben • Dar Inn dich rechtt schicke |
21 Die stercke in dem an hebñ daryn dich recht schick / |
[21] Die sterck in dem anheben darin dich rest schick |
[21] die sterch jm dem anheb(en) dar jm du dich recht schickh | |||||
The 22nd Figure: He who rushes the spear to the other is met beneath the eyes. |
[24] das ist nwe der sper lauff der de~ andñ begege~t vnt° augñ |
Die tzwo vnd tzwaintzigst figur Das ist nun der sper lawff • der dem andern begegendt vndter augen |
22 Das ist nun der sper lauff der dem anderñ begegnet vndter augen / |
[22] Das is nunn der sperr lauff der dem anndern begegnet unther augen |
[22] Das ist [inn] der sper lauf der dem andern begegnet vnder augen, | |||||
The 23rd Figure: The Unnamed Grip takes the weapon or fells him. |
[21] dye vngnnten griff wer nym oder fell In |
Die drey vnd tzwaintzigist figur Der vngenant griff • wer nymbtt oder velt In |
23 Der vngenant griff weer ny~t oder felt in |
[23] Der ungenant griff wer nymbt oderr velt in |
[23] Der vngenant griff wer nymbt oder felt jn, | |||||
The 24th Figure: If an opponent charges you to both sides, turn around left and thus he rightly comes. |
[22] ob mã dich jagt võ peyde~ seÿte~ ker linck vmb so er rech ku~pt |
Die vier vnd tzwaintzigist figur ob man dich Jagt zu° bayden seytten kere vmb lingk so er rechtte kumbt |
24 Ob man dich jagt von paidñ seÿttñ ker vmb linck so er recht kumbt |
[24] Ob mann dich iagt zu veidenn seitenn kere umb linck so er recht kumbt |
[24] Ob man dich jagt von baiden seiten, ker umb linkh so er recht kun[st] | |||||
The 25th Figure: Be mindful to take and hold the messer. |
[25] Der meßer neme~ vnd behaltñ gedenck |
Die funff vnd tzwaintzigist figur Der Mezzer nemenn • vnd behalden gedenck |
[75r] 25 Der messer nemen vnd behalden gedenck |
[25] Der messer nemen unnd behaltenn gedenck |
[25] Der messer [nehmen] vnd behalten gedenckh, | |||||
The 26th Figure: Grasp over an opponent who falls upon you or ride against him. |
[26] vber greiff wer dich an velt thue In wider treyben |
Die sechßvndtzwaintzigist figur vbergreif wer dich anvelet • oder thue Im wider Reyttens |
26 Vber greÿff wer dich an felt oder thue im wider reÿttens / |
[26] Übergreiff werr dich ann vellet oder thue im widerreittenns |
[26] Vbergriff wer dich [an]fellt, oder thue jm vnderreittens | |||||
If you want to grasp, you should not fail to ride beside him. Execute the Sun Pointer to the left sleeve if you want to bend. Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle. |
[08r] Wild du anfazzen neben reittens nit solt du lasen daz sunnen tzaigen lingk ermel treib wildu naygen Wer dir daz rembt vbergreifft den der wierd beschämbt druck arm zu haubt der griff offt sattel berawbett |
Wilt du anfassen, neben raiten nicht soltu lassen, das zum [lengck] Werr dir das remt [so] druck arm zu haubt, [d(er)] grif oft selten beraubt. |
For further information, including transcription and translation notes, see the discussion page.
Additional translation notes: In Saint George's Name: An Anthology of Medieval German Fighting Arts ©2010 Freelance Academy Press, Inc.
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.
- Alte Armature und Ringkunst: The Royal Danish Library Ms. Thott 290 2º (2020). Trans. by Rebecca L. R. Garber. Ed. by Michael Chidester and Dieter Bachmann. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-04-5.
- Kunst und Zettel im Messer: Bavarian State Library Cgm 582 (2021). Ed. by Michael Chidester. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-16-8.
- Acutt, Jay (2019). Swords, Science, and Society: German Martial Arts in the Middle Ages. Glasgow: Fallen Rook Publishing. ISBN 978-0-9934216-9-3.
- Ain ringeck, Sigmund (2003). Sigmund Ringeck's Knightly Art of the Longsword. Trans. by David Lindholm. Boulder, CO: Paladin Press. ISBN 978-1-58160-410-8.
- Ain ringeck, Sigmund (2006). Sigmund Ringeck's Knightly Arts of Combat. Trans. by David Lindholm. Boulder, CO: Paladin Press. ISBN 978-1-58160-499-3.
- Alderson, Keith (2010). "On the Art of Reading: An Introduction to Using the Medieval German 'Fightbooks'." In the Service of Mars: Proceedings from the Western Martial Arts Workshop, 1999-2009: 251-286. Wheaton, IL: Freelance Academy Press. ISBN 978-0-9825911-5-4.
- Alderson, Keith (2014). "Arts and Crafts of War: die Kunst des Schwerts in its Manuscript Context." Can These Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation 1: 24-29. Wheaton, IL: Freelance Academy Press. ISBN 978-1-937439-13-2.
- Bauer, Matthias Johannes (2014). "Fechten lehren 'mitt verborgen vnd verdeckten worten'. Fachsprache, Dialekt, Verballhornung und Geheimsprache in frühneuhochdeutschen Zweikampftraktaten." Das Schwert – Symbol und Waffe: 163-172. Ed. by Lisa Deutscher; Mirjam Kaiser and Sixt Wetzler. Rahden: Verlag Marie Leidorf GmbH. ISBN 978-3-89646-795-9.
- Bauer, Matthias Johannes (2014). "Ein Zedel Fechter ich mich ruem/Im Schwert un Messer ungestuem. Fechtmeister als protagonisten und als (fach)literarisches Motiv in den deutschsprachigen Fechtlehren des ittelalters und der frühen Neuzeit." Das Mittelalter 19(2): 302-325. Ed. by Christian Jaser and Uwe Israel. doi:10.1515/mial-2014-0018.
- Bauer, Matthias Johannes (2016). 'Der Alten Fechter gründtliche Kunst' – Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition. München: Herbert Utz Verlag. ISBN 978-3-8316-4559-6.
- Bergner, Ute; Johannes Gießauf (2006). Würgegriff und Mordschlag. Die Fecht- und Ringlehre des Hans Czynner (1538). Graz: Akademische Druck- u. Verlagsanstalt. ISBN 978-3-201-01855-5.
- Burkart, Eric (2016). "The Autograph of an Erudite Martial Artist: A Close Reading of Nuremberg, Germanisches Nationalmuseum, Hs. 3227a." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 451-480. Ed. by Daniel Jaquet; Karin Verelst and Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_017. ISBN 978-90-04-31241-8.
- Burkart, Eric (2020). "Informationsverarbeitung durch autographe Notizen: Die ältesten Aufzeichnungen zur Kampfkunst des Johannes Liechtenauer als Spuren einer Aneignung praktischen Wissens." Mittelalter. Interdisziplinäre Forschung und Rezeptionsgeschichte S2: 117-158. doi:10.26012/mittelalter-25866.
- Cheney, Stephen (2020). Ringeck • Danzig • Lew Longsword. Self-published. ISBN 979-8649845441.
- Chidester, Michael (2021). The Long Sword Gloss of GNM Manuscript 3227a. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-13-7.
- Chidester, Michael; Dierk Hagedorn (2021). 'The Foundation and Core of All the Arts of Fighting': The Long Sword Gloss of GNM Manuscript 3227a. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-05-2.
- Finley, Jessica (2021). "'What's in a Name?' A Comparative Analysis of the Nomenclature of Johannes Lecküchner and Johannes Liechtenauer." Kunst und Zettel im Messer: Bavarian State Library Cgm 582: 157-174. Ed. by Michael Chidester. Somerville, MA: HEMA Bookshelf. ISBN 978-1-953683-16-8.
- Finley, Jessica; Christian Henry Tobler (2022). "Warp and Weft: The Bauman Fight Book's Place in the Tapestry of German Fectkunst." Bauman's Fight Book: Augsburg University Library Ⅰ.6.4º 2: 85-102. Ed. by Michael Chidester. Medford, MA: HEMA Bookshelf. ISBN 978-1-953683-27-4.
- Gaite, Pierre (2018). "Exercises in Arms: the Physical and Mental Combat Training of Men-at-Arms in the Fourteenth and Fifteenth Centuries." Journal of Medieval Military History XVI. Ed. by Kelly DeVries; John France and Clifford J. Rogers. Woodbridge: Boydell Press. ISBN 9781783273102.
- Hagedorn, Dierk (2008). Transkription und Übersetzung der Handschrift 44 A 8. Herne: VS-Books. ISBN 978-3-932077-34-0.
- Hagedorn, Dierk (2016). "German Fechtbücher from the Middle Ages to the Renaissance." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 247-279. Ed. by Daniel Jaquet; Karin Verelst and Timothy Dawson. Leiden and Boston: Brill. ISBN 978-90-04-31241-8.
- Hagedorn, Dierk (2017). Jude Lew: Das Fechtbuch. Herne: VS-Books. ISBN 978-3-932077-46-3.
- Hagedorn, Dierk (2021). Albrecht Dürer. Das Fechtbuch. Herne: VS-Books. ISBN 9783932077500.
- Hagedorn, Dierk; Helen Hagedorn and Henri Hagedorn (2021). Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523. Barnsley: Greenhill Books. ISBN 978-1-78438-656-6.
- Hagedorn, Dierk; Christian Henry Tobler (2021). The Peter von Danzig Fight Book. Wheaton, IL: Freelance Academy Press. ISBN 978-1-937439-53-8.
- Hagedorn, Dierk; Daniel Jaquet (2022). Dürer's Fight Book: The Genius of the German Renaissance and his Combat Treatise. Barnsley: Greenhill Books. ISBN 978-1-784438-703-7.
- Hagedorn, Dierk (2023). Das Ortenburger Fechtbuch. Herne: VS-Books. ISBN 978-3-932077-53-1.
- Hergsell, Gustav; Hans Talhoffer (1889). Talhoffers Fechtbuch (Gothaer Codex) aus dem Jahre 1443. Prague: J.G. Calve.
- Hergsell, Gustav; Hans Talhoffer (1893, 1901). Livre d'escrime de Talhoffer (codex Gotha) de l'an 1443. Prague: Chez L'Auteur.
- Hils, Hans-Peter (1985). Meister Johann Liechtenauers Kunst des langen Schwertes. Frankfurt am Main: P. Lang. ISBN 978-38-204812-9-7.
- Hull, Jeffrey; Grzegorz Żabiński and Monika Maziarz (2007). Knightly Dueling: The Fighting Arts of German Chivalry. Boulder, CO: Paladin Press. ISBN 978-1-581606744.
- Kellett, Rachel E. (2015). "'...Vnnd schuß im vnder dem schwert den ort lang ein zu der brust': The Placement and Consequences of Sword-blows in Sigmund Ringeck's Fifteenth-Century Fencing Manual." Wounds and wound repair in Medieval culture: 128-150. Ed. by Larissa Tracy and Kelly DeVries. Leiden: Brill. doi:10.1163/9789004306455_007.
- Lecküchner, Johannes (2015). The Art of Swordsmanship by Hans Lecküchner. Trans. by Jeffrey L. Forgeng. Woodbridge: Boydell Press. ISBN 9781783270286.
- Müller, Jan-Dirk (1992). "Bild – Verse – Prosakommentar am Beispiel von Fechtbüchern. Probleme der Verschriftlichung einer schriftlosen Praxis." Pragmatische Schriftlichkeit im Mittelalter. Erscheinungsformen und Entwicklungsstufen: 251-282. Ed. by Hagen Keller; Klaus Grubmüller and Nikolaus Staubach. München: Fink.
- R., Harry (2019). Peter von Danzig. Self-published. ISBN 978-0-36-870245-7.
- Tobler, Christian Henry (2001). Secrets of German Medieval Swordsmanship. Union City, CA: Chivalry Bookshelf. ISBN 978-1-891448-07-2.
- Tobler, Christian Henry (2006). In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal. Highland Village, TX: Chivalry Bookshelf. ISBN 978-1-8914482-5-6.
- Tobler, Christian Henry (2010). In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press. ISBN 978-0-9825911-1-6.
- Tobler, Christian Henry (2011). Captain of the Guild: Master Peter Falkner's Art of Knightly Defense. Wheaton, IL: Freelance Academy Press. ISBN 978-1-937439-09-5.
- Verelst, Karin (2016). "Finding a Way through the Labyrinth: Some Methodological Remarks on Critically Editing the Fight Book Corpus." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 117-188. Ed. by Daniel Jaquet; Karin Verelst and Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_008. ISBN 978-90-04-31241-8.
- Vodička, Ondřej (2019). "Origin of the oldest German Fencing Manual Compilation (GNM Hs. 3227a)." Waffen- und Kostümkunde 61(1): 87-108.
- Wallhausen, James (2010). Knightly Martial Arts: An Introduction to Medieval Combat Systems. Self-published. ISBN 978-1-4457-3736-2.
- Welle, Rainer (2017). "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?." Codices manuscripti & impressi S12. Purkersdorf: Verlag Brüder Hollinek. ISBN 0379-3621.
- Welle, Rainer (2021). Albrecht Dürer und seine Kunst des Zweikampfes: auf den Spuren der Handschrift 26232 in der Albertina Wien. Kumberg: Sublilium Schaffer, Verlag für Geschichte, Kunst & Buchkultur. ISBN 9783950500806.
- Wierschin, Martin (1965). Meister Johann Liechtenauers Kunst des Fechtens. München: C. H. Beck.
- Żabiński, Grzegorz (2008). "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." Masters of Medieval and Renaissance Martial Arts: 59-116. Ed. by John Clements. Boulder, CO: Paladin Press. ISBN 978-1-58160-668-3.
- Żabiński, Grzegorz (2010). The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the 'Goliath' Manuscript. Poland: Adam Marshall. ISBN 978-83-7611-662-4.
References
- ↑ Christian Henry Tobler. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. p6
- ↑ There is one version of the Recital that predates Talhoffer's, recorded in MS G.B.f.18a (ca. 1418-28) and attributed to an H. Beringer; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in the Pol Hausbuch.
- ↑ The figures are often given as a preamble for the gloss of Lew, and a fragment of the short sword to the teachings of Martin Huntsfeld, but those instances will not be included below and instead treated as part of those treatises.
- ↑ The text diverges here, omitting Liechtenauer's couplet and inserting this quatrain instead:
- Dagge swert stãge lãse schon
Messer bockler has vñ rõken
Taegñ darde vnd schilt
Miden allen zu ringe~ uff du wilt
- Dagge swert stãge lãse schon
- ↑ First letter almost illegible.
- ↑ First letter illegible.
- ↑ Talhoffer adds the following couplet: "Nun merck aber furbaß / und verstand ouch gar rechte daz".
- ↑ Text terminates at this point. The leaves with the rest of the text are gone, probably lost.
- ↑ kam
- ↑ deinen
- ↑ faler
- ↑ Talhoffer breaks up the Haupstucke differently, and inserts the following additional couplet: "überlouffen bind wol an / nit stand luog waß er kan".
- ↑ Gotha inserts the title Das ist der krieck in this position, but no other version separates it in that way.
- ↑ Text adds an additional couplet: "hastu es vernomen zu kain / schlag mag er komen".
- ↑ Text adds an additional couplet: "hast dus vernomen / zu kaim schlag mag er komen".
- ↑ Text adds an additional couplet: "hastu es vernomen / zu kainen schlag mag er komen."
- ↑ Talhoffer expands upon Liechtenauer's couplet and adds two additional lines: "und erschrick ab kainem man / stand und sich in ernstlich an".
- ↑ Text adds an additional line: "das son ich vernomen".
- ↑ Text adds an additional line: "ha das han ich vernomen".
- ↑ There is no space between "Dupliere" and "doniden", the "D" was possibly added later.
- ↑ Text adds an additional line: "dz haw ich vermunen??".
- ↑ Corrected from »Im«.
- ↑ The text doubles the title of this section.
- ↑ 24.0 24.1 Corrected from »Twir«.
- ↑ haust
- ↑ Talhoffer adds an additional couplet: [4r] "So machst du in wol betöwben / Die faller in kunst berowben"
- ↑ Hier hat der Schreiber offensichtlich ein Häkchen vergessen.
- ↑ should be "dreffen"
- ↑ This section is followed by one titled "Von durchlauffen ab seczen", which repeat the verse on Absetzen.
- ↑ Talhoffer adds four additional verses: "und gang nach an den man / stoss mit dem ghiltz schon / wiltu denn nit schallen / so hastu zway eynfallen".
- ↑ Text adds an additional couplet: "Das schwertt bind / zu der fleche truck in die hend".
- ↑ Text adds an additional couplet: "Das schwert binden / zu der flech trukh in die hand"
- ↑ Talhoffer begins this section with two additional verses: "wer dir zestarck welle sin / heng fall im oben eyn".
- ↑ Text adds an additional couplet: "thutt er sich gegen dir greisen / schlagen das er seisse".
- ↑ Text adds an additional couplet: "thutt er sich gegen dir greifen / schlagen das er Seise".
- ↑ Text adds an additional couplet: "thuet er sich gegen dir raisen / schlagen dz er seisse."
- ↑ ";" in a circle
- ↑ A guide letter “w” is visible under the “U” (apparently ignored by the rubricator), making the intended word “Wer”.
- ↑ Hier ist anscheinend dem Schreiber das Leerzeichen verrutscht.