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| <p>[1] {{red|b=1|All raise yourself here to the analysis and interpretation of the verses on the art of combat fencing}}</p>
 
| <p>[1] {{red|b=1|All raise yourself here to the analysis and interpretation of the verses on the art of combat fencing}}</p>
  
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<p>Those composed and devised by Johannes Liechtenawer, who was the one high master of the art and well respected and so that princes and gentlemen Knights and squires hear the art so that they then learn and shall know Thus the art has been allowed to be written with concealed and considered words This is so that not every man who hears it shall even understand it and if this is done through an irresponsible fightmaster's will then your art will be lessened because of it, similarly your art shall then not be open but vulgar, so direct the art that it not become widely heard as in hear the art and conceal the same and consider the words on combat fencing that stand after here and then are clarified In the comments and laid out so that any man can retain well and will understand if he knows other fencing.</p>
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<p>Those composed and devised by Johannes Liechtenawer, who was the one high master of the art and well respected and so that princes and gentlemen Knights and squires hear the art so that they then learn and shall know. Thus the art has been allowed to be written with concealed and considered words. This is so that not every man who hears it shall even understand it, and if this is done through an irresponsible fight-master's will then your art will be lessened because of it; similarly your art shall then not be open but vulgar, so direct the art that it not become widely heard, as in, hear the art and conceal the same, and consider the words on combat fencing that stand after here, and then are clarified in the comments and laid out so that any man can retain well and will understand if he knows other fencing.</p>
 
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<p>{{red|He who dismounts<br/>begins fencing on foot}}</p>
 
<p>{{red|He who dismounts<br/>begins fencing on foot}}</p>
  
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<p>Analysis: Mark this is a lesson one can fence in harness on foot and on horse And this is as you should both realise and also well know and when it happens that you shall strike or fence with one on horse and it appears to you that he will injure or overpower you. Then dismount onto your feet and fight him with the art described as follows.</p>
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<p>Analysis: Mark this is a lesson one can fence in harness on foot and on horse. And this is as you should both realise and also well know, and when it happens that you shall strike or fence with one on horse and it appears to you that he will injure or overpower you, then dismount onto your feet and fight him with the art described as follows.</p>
 
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<p>{{red|He places his spear<br/>two stances to wield weapons right}}</p>
 
<p>{{red|He places his spear<br/>two stances to wield weapons right}}</p>
  
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<p>Analysis: mark that when you step off of the horse Then at first you should keep to hand two stances The first stance is how you shall fight with the lance The second is how you shall resort to the sword Also you shall know two particular stances with the lance. The first stance is taken to oppose him who stays on his horse The second stance is taken to oppose him if he also dismounts against the two stances You should rightly know the plays to then deploy that which will be clarified next. </p>
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<p>Analysis: Mark that when you step off of the horse, then at first you should keep to hand two stances. The first stance is how you shall fight with the lance. The second is how you shall resort to the sword. Also, you shall know two particular stances with the lance. The first stance is taken to oppose him who stays on his horse. The second stance is taken to oppose him if he also dismounts against the two stances. You should rightly know the plays to then deploy that which will be clarified next.</p>
 
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| <p>[5] {{red|b=1|This is the first play}}</p>
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<p>Mark now the first play: place yourself thus when you have dismounted from the horse and he will not dismount. Then stand with the left foot forward, and stand your lance on the ground to your right side, and hold the point toward him to whichever side he rides to you. Always orient yourself toward him on that same side, and with your lance deflect his off and thus attack him.</p>
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<p>When you are dismounted from the horse [and on] foot: if he then stays on his horse then stand with your left foot forward and hold your lance in the middle with both hands out in front of you so that your forward end is longer than your butt end. If he rides to you with the lance, then strike close with the forward part of your lance onto the right side of his and attack him thus with a step out to one side.</p>
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<p>Mark when you are dismounted and on foot: if he then stays on his horse, then hold your lance near your right side in the low guard with the point toward him. If he then rides to you with his lance aimed at your left side, then set it aside with your lance also to your left side, and spring to your right side and attack him.</p>
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<p>Mark when you are dismounted and on foot: if he then rides to you with the sword, then stab to his openings with the lance and wait to see if you can hit him, and do this with springing out to one side.</p>
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<p>Mark when you are dismounted: if he then stays on the horse and rides to you with the sword, then hold the lance at the farthest length out in front of you with the point to the ground, and when he rides to you then drive the lance between his horse's front legs and spring to the side, and try to see if you can thus throw the horse over.</p>
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| <p>[10] {{red|b=1|This is the text and analysis of the second stance when both of you dismount to continue the fight again with lances on foot}}</p>
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<p>{{red|Spear and point<br/>then before stabs, stab without force}}</p>
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<p>Analysis: Mark that this is the second stance when he too has dismounted and wields his lance and you yours. Then place yourself thus against him standing with the left foot forward, and hold your lance near your right side in the low guard, and always wait so that you can stab him when he stab you.</p>
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| <p>[11] Or hold your lance with the right hand over your head to the shot, and then step to him and wait so that you shoot when he stabs, and follow soon after the shot with the sword against the lance, thus the second play will now be clarified to you.</p>
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| <p>[12] {{red|b=1|This is the text and the analysis of engaging and disengaging in fighting with the lance}}</p>
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<p>{{red|Spring wind attack him<br/>onward disengage to face him on}}</p>
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<p>Analysis: Mark that this is another when both of you have dismounted onto your feet and each has his lance and you will not shoot as described above Then hold your lance near your right side in the low guard and thus approach him and stab him skillfully with extended arms to the face If he then stabs at the same time as you Then drive your lance onto his in the high hanging and spring with it to him and attack him high If he drives up then with the arms and wards the high stab Then disengage and with your point attack the opening under his left shoulder or elsewhere as you can and force him ahead of you.</p>
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| <p>[13] {{red|b=1|This is the text and analysis from a lesson on how one shall disengage}}</p>
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<p>{{red|If you will stab ahead<br/>with disengaging break the defense}}</p>
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<p>Analysis: Mark, this is when you will stab ahead to him, as and when he comes ahead to you or otherwise with the stab: if he then displaces the stab, then you should know just then how you should change through or disengage so that he will not attack you while you are disengaging through, and this undertake thus if he displaces the stab strongly with the lance and lets the point go aside near you, then soon disengage and stab him on the other side.</p>
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| <p>[14] Or if he stays in the displacement with the point in front of your face then don't disengage through but stay with your lance on the side and work to the opening after you have found whether he has bound light or hard.</p>
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| <p>[15] {{red|b=1|This is the text and analysis on how one shall counter disengages}}</p>
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<p>{{red|Mark if he will pull back<br/>from injury and will fly<br/>Then you should close<br/>to wisely deploy blocks}}</p>
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<p>Analysis: Mark, that is if he comes forward with a stab so that you must displace: then displace so that your point does not go too far aside from him outward, but stay close to him in front of the face or chest. If he then disengages or changes through, then don't displace him but follow after him with the point, and meanwhile attack him as he disengages through. Step to his right, then with the attack then force him thus ahead and let him not come off of the point. If he would then fly from the point with backward steps or jumps, or will thus twist out of the stab and twists to you on one side, then spring to him and see that you do so wisely and rightly grapple with arm breaking or with other wrestling.</p>
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| <p>[16] {{red|b=1|This is the text and analysis on wrestling in combat}}</p>
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<p>{{red|If you would wrestle<br/>legs back rightly teach springing<br/>trap before shooting<br/>That you shoot front leg artfully}}</p>
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<p>Analysis: Mark, that is if you would wrestle: Then before all other things, you should know how you rightly should spring to him behind his forward foot, and you should first trap the same foot with art and locking; it will now be clarified to you.</p>
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<p>Mark when you approach him with wrestling and he also to you Then see whether he has set one foot forward or has neither forward Then pull him to you or thrust him from you so he must step if he then steps forward with the left foot then spring soon with the right foot behind his left and thrust your right knee cap and hit into his left knee hollow with it and with both hands pull him over.</p>
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<p>When you spring to him with the right foot behind his left, then stride with your left foot to him between both his feet and trap his left knee between both your knees, and thus hold it fast and thrust with the left hand ahead to his head, and with the right pull him behind and to the side so that he falls.</p>
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<p>Mark when you grapple him with wrestling and he also you: if he stands with the left foot forward, then spring with the right foot forward in front of both his feet, and drive with the right arm under his left through behind him around his body, and trap him on your right hip and throw him in front of you.</p>
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| <p>[20] Or if he stands with the right foot forward, then spring with the left foot in front of both his feet, and drive the left arm behind around his body, and throw him forward over your left hip.</p>
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| <p>[21] </p>
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<p>{{red|From both hands<br/>if you would conclude well with art}}</p>
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<p>Analysis: Mark, that is when you would artfully end the wrestling: Then you should deploy the wrestling from both sides, and undertake this thus: when he springs with the right foot behind his left, stand as written before. If he steps then in the springing, or while you are springing backward with the left foot, then stride soon after to him with the left foot behind his right and drive to trap, and then you have undertaken to lock him.</p>
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Revision as of 02:21, 20 May 2016

Gloss and Interpretation of
the Recital on the Long Sword
die gloss und die auslegung der zettel
des langen schwert
Author(s) Unknown
Ascribed to Pseudo-Peter von Danzig
Illustrated by Unknown
Date before 1452
Genre
Language Early New High German
Archetype(s) Hypothetical
Principal
Manuscript(s)
Manuscript(s)
First Printed
English Edition 		Tobler, 2010
Concordance by Michael Chidester
Translations
MS Thott.290.2º 011r.jpg

Caution: Scribes at Work

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This article was last edited by Michael Chidester (talk| contribs) at 02:21, 20 May 2016 (UTC). (Update)

"Pseudo-Peter von Danzig" is the name given to an anonymous late 14th or early 15th century German fencing master.[1] Some time before the creation of the Codex 44.A.8 in 1452, he authored a gloss of Johannes Liechtenauer's Recital (Zettel) which would go on to become the most widespread in the tradition. While his identity remains unknown, it is possible that he was in fact Jud Lew or Sigmund Schining ein Ringeck, both of whose glosses show strong similarities to the work. On the other hand, the introduction to the Rome version of the text—the oldest currently extant—might be construed as attributing it to Liechtenauer himself.

Treatise

Early on in its history, Pseudo-Peter von Danzig's gloss seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund Schining ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.

Branch A, appearing first in the Augsburg version (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive Salzburg version of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and in lieu of a gloss of Liechtenauer's short sword it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz. Apart from containing the most content, the Salzburg version is notable for including nine paragraphs of text that are not found in any other version of Pseudo-Peter von Danzig but do appear in Ringeck; this predates all known copies of Ringeck's text, but is another indicator of some connection between the works. Branch A was later used by Johannes Lecküchner as a source when he compiled his own gloss of a Recital on the Messer.

Branch B, appearing first in the Rome version (1452), is found in only four manuscripts; it has slightly longer descriptions than Branch A, but fewer devices overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also different from Branch A in that three of the four known copies are illustrated to some extent where none in the other branch are. The Krakow version (1510-20) seems to be an incomplete (though extensively illustrated) copy taken directly from the Rome, while Augsburg II (1564) is taken from the Krakow but only includes the six illustrated devices of wrestling from the Krakow and their respective captions. Even more anomalous is the Glasgow version, which only consists of a sizeable fragment of the short sword gloss (hence its assignation to Branch B), and this is appended to a fragment of Ringeck's short sword gloss; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck's short sword gloss and tried to fill in the deficit with another similar text.

There is one version of the Pseudo-Peter von Danzig gloss that defies categorization into either branch, namely the Vienna version included in a 1480 manuscript along with Paulus Kal's work (Kal's personal level of involvement is unknown). The text of this version is more consistent with the generally shorter descriptions of Branch A, but the overall contents more closely match Branch B, lacking most of the unique devices of Branch A and including the gloss of the short sword. The Vienna version may therefore be a copy of the original gloss before it split into these branches (or it may merely be an odd attempt by a scribe to synthesize the two branches into a single, shorter work).

While Branches A and B were formerly presented in a single concordance in this article, the differences between them were revealed thereby to be extensive enough that they merit separate consideration. Thus Branch A has been placed on the page of Jud Lew, to whom is seemingly attributed the gloss on mounted fencing, while Branch B has been retained here. As the Vienna version cannot be cleanly assigned to one branch or the other, it appears in both concordances for comparative purposes.

Temporary

Additional Resources

References

  1. ↑ This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt.
  2. ↑ Könnte auch als »thun« gelesen werden.
  3. ↑ Squint here means "an askew glance", referring to both the sword's direction of travel and also the use of deception with the eyes with this hew.
  4. ↑ Letter erased and overwritten.
  5. ↑ This text is a repetition of the first paragraph on folio 68r, but this is the illustration that corresponds to the text in Goliath (folio 54v).
  6. ↑ Korrigiert aus »das«.
  7. ↑ 7.0 7.1 Indecipherable due to an ink blotch.
  8. ↑ Steht nach der nächsten Zeile.
  9. ↑ Steht nach der nächsten Zeile.
Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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