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Difference between revisions of "Pseudo-Peter von Danzig"

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| <p>[93] {{red|b=1|This is the text and analysis on two things which are named the before and the after}}</p>
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<p>{{red|Before and after the two things<br/>teach testing wisely with springing away}}</p>
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<p>Analysis mark that the first principle you should know before all others is the before and the after that from these two things come all arts in combat and mark that the before is that you should always come before he does Be it with the stab or with the strike so he must displace and as soon as he binds with displacement or otherwise on your sword Then skillfully deploy your play just then After you judge if he is weak or hard on your sword Thus he can come to no counter.</p>
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| <p>[94] {{red|b=1|Mark here that which is called the after}}</p>
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<p>The after is to counter against all plays the man deploys to you Undertake it thus when he comes before you with a stab or strike so that you must displace him Then mark as soon as the sword connects with his in displacement Then seek just then for the next opening with the point or wait to wrestle Thus with the displacement you win his before with your after.</p>
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| <p>[95] {{red|b=1|Mark here how a man should withdraw in the fight}}</p>
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<p>Know that in the fight there is nothing more than one step back and one step ahead and otherwise standing fast Onward so that one shall not become tired in the harness undertake it thus when he has over reached you with the sword or otherwise so that you can't come to displace Then step soon backward with the forward foot and wait just then so that you soon can attack again or grapple with wrestling with a step forward of the same foot Then you become before through withdrawing.</p>
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| <p>[96] {{red|b=1|This is the text and analysis on following after in the fight}}</p>
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<p>{{red|Follow all hits<br/>with strength if you will weaken him<br/>If he guards then disengage<br/>stab as he goes backward}}</p>
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<p>Analysis mark if you will strongly overtake or touch when you fence far and long and would reach and wind over him with strength and with proper art not be stopped you should rush him with following after and with disengages through as will be clarified to you in the next play. Mark the play here.</p>
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| <p>[97] {{red|b=1|Here mark the play}}</p>
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<p>When you shall fight strive to reach your fighter with strength So hold your sword in a guard and step artfully to him and mark well when he pulls his sword to himself and would stab or strike with the pommel, just then follow him soon after and rush him with the point and attack him as and when he moves to stab or strike if he becomes aware of the attack and drives far ahead with the sword and displaces so that your point goes out to the side near you Then disengage through and stab him to the other side if he defends himself a second time Then disengage through again and do this as often as he displaces and quickly pull or rush through to him with it as you can. If you can't hit him well with an attack Then you should resort to wrestling Know that this is the art against all fencers who displace long and far and fence to the sword and not to the body's openings.</p>
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{{section|Page:Cod.44.A.8 068v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 069r.jpg|1|lbl=69r|p=1}}
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| <p>[98] {{red|b=1|This is the text and analysis on how you you should extract from the sword when one has engaged and forces you with it}}</p>
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<p>{{red|If he grabs on strong<br/>in the shot face him on}}</p>
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<p>Analysis: mark this is when he has engaged you and you to him if he will then force you over with strength Then grab his left hand by the fingers with your left on his sword's blade and hold it fast and with the right hand stab the sword up through his forward hand and his sword and push the pommel down and aim the point toward the right side of his face and with your left hand break his left hand on your sword's blade.</p>
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{{section|Page:Cod.44.A.8 069r.jpg|2|lbl=-|p=1}} {{section|Page:Cod.44.A.8 069v.jpg|1|lbl=69v|p=1}}
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| <p>[99] {{red|b=1|Another}}</p>
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<p>Or stab with both hands high through between his sword and his forward hand and push the pommel toward the ground and wind the point on his sword against his right side and attack him.</p>
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| <p>[100] {{red|b=1|Yet a release}}</p>
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<p>When he has engaged you and forces Then stab down to the hollow of the hand holding his sword's middle.</p>
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| <p>[101] Or if he has twisted his hand around then stab down to it from above and when the stab sticks Then go forward with it to the ring.</p>
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| <p>[102] {{red|b=1|Another}}</p>
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<p>Or stab his arm outward to the glove the one he holds the sword's middle with and when the stab sticks Then walk with the hand ahead to the ring thus you also win his side and other great advantage.</p>
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| <p>[103] {{red|b=1|Yet a release}}</p>
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<p>Mark if he attacks to your right shoulder and you against his Then step backward with the left foot and also twist your left side from him then raise your point and his misses.</p>
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| <p>[104] Or if he has attacked your right shoulder and you also to his Then step backward with the right foot then raise your point and his misses.</p>
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| <p>[105] {{red|b=1|Yet a release}}</p>
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<p>Mark when he has attacked to your left shoulder and you also to his Then wrench your pommel forward onto your chest and force it thus ahead of you then you have over reached him.</p>
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| <p>[106] {{red|b=1|This is the text and the analysis on displacing against pommel strikes}}</p>
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<p>{{red|If he shoots with the striking point<br/>Meet without force<br/>Teach to twist the point<br/>with both hands to the eyes}}</p>
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<p>Analysis: mark that the striking point is the pommel If he will shoot before you with it and will overrun you with large strikes then you should displace all force skillfully with the sword and in displacing always wind or thrust your point with both hands to his face and wrench with the pommel as will now be clarifed in the next plays.</p>
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| <p>[107] {{red|b=1|This is the first displacement against strikes with the pommel}}</p>
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<p>Mark if one is strong and means to strike you down with the pommel Then stand against him and hold your sword in the guard over your left knee If he strikes with the pommel then from his right shoulder above to your head Then strike his strike away with your sword ahead of your left hand from your left to his right and drive up into the high guard and attack his face with the point.</p>
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| <p>[108] Or if he strikes with the pommel from his left side high to your head Then strike his strike away with the sword in front of your left hand from your right side toward his left and attack him.</p>
 
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{{section|Page:Cod.44.A.8 070r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 070v.jpg|1|lbl=70v|p=1}}
 
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| <p>[109] {{red|b=1|Yet a displacement}}</p>
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<p>Mark when you have your sword in the guard over your left knee If he is does strong and strikes high with the pommel Then step skillfully to him and parry the strike in the middle of the sword's blade between your hands and drive up into the high guard and attack him. Or drive the pommel over his forward hand and pull him to you and attack him.</p>
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| <p>[110] {{red|b=1|Mark a displacement and a sword taking}}</p>
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<p>Mark when you have your sword in the guard over your left knee If he then is not strong and strikes with the pommel to your head then parry the strike in the middle of the blade and drive your pommel out over his sword behind the hilt and wrench it below to your right side Thus you take his sword and then attack him.</p>
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| <p>[111] {{red|b=1|Mark yet a displacement and a sword taking}}</p>
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<p>When you have your sword over your left knee in the guard If he then strikes to your left knee with the pommel Then twist your pommel toward the ground and your point upward and parry the strike in the middle of the sword's blade and with the pommel below drive through over his sword near his hilt and pull upward to your right side Thus you take his sword.</p>
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| <p>[112] {{red|b=1|Yet a displacement}}</p>
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<p>Mark when you have your sword in the guard over your left knee or else stand in another guard If he strikes with his pommel below to the bones of your left foot Then hold your sword fast in your left hand and throw the pommel from the right hand against his strike to the ground on his left side and spring with it to him and resort to the arm break or other wrestling.</p>
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| <p>[113] </p>
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| <p>[114] {{red|b=1|This is the text and analysis on how one shall strike with the pommel}}</p>
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<p>{{red|You must guard<br/>the forward foot with the strike}}</p>
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<p>Analysis mark the striking point is the sword's pommel which which you strike to his forward limbs this you should plan well that you hit properly with it and you should bring the strike on thus: hold your sword in the high guard over your head and act as if you would stab or attack to his face with it, drive your sword with the right hand and bring your left hand in the middle of the blade to help and strike with the pommel to the knuckles of his forward hand with which he is holding the sword You can also strike with it to the head or elbows or to the shoulders when it suits you.</p>
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| <p>[115] {{red|b=1|Mark here the work with the dagger in combat}}</p>
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<p>Now you should know that almost all parts of combat fencing in harness come at last to dagger fencing and to the wrestling Onward then mark when you advance to him do not wait when he wrestles but let your dagger stab to injure if you don't want him to injure you through the harness while he stands before you and your hand is behind you when you trap him with wrestling or when you have thrown him and at first he is powerful, then work with the dagger to the openings as will be clarified to you next and are clarified now.</p>
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<p>Mark when you come to him to Wrestle, if you throw him on his back Then fall on him with your body over his face and trap his neck under an arm Then he is pinned and cannot come up well with whichever hand he grasps to you so stab him to the opening of the palm or stab him under the armpit Or work the dagger below to the plates and to all joints where you can best touch him to win.</p>
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<p>Mark if you wrestle to throw him on his belly Then soon sit on him and with your right hand grab his right and pull it behind onto his back and hold it fast with your left hand and with the right stab him in the opening of the palm or under the armpit.</p>
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| <p>[118] Or when he falls you can grab him by one foot Then stab him with the dagger below to the sole of that foot.</p>
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Revision as of 21:48, 21 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 21:48, 21 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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