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Difference between revisions of "Johannes Liechtenauer"

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| {{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;}}
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| <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>
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first with the longsword, then with the lance and sword on horseback, and then with the half-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.
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<p>first with the longsword, then with the lance and sword on horseback, and then with the half-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|Page:MS Chart.A.558 018r.jpg|1|lbl=18r}}
 
| '''[3r] {{red|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 /}}'''
 
| '''[3r] {{red|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 {{red|/}} Dar nach mit der glefen {{red|/}} vnd mit dem swert zw roß {{red|/}} Dar nach mit dem kürtzen swert zw° champf {{red|/}} vnd dar umb dÿ kuñst fur~sten {{red|/}} vnd herren {{red|/}} Ritter vnd knechten zw gehört das sy dy wissen {{red|/}} vnd lernen sullen {{red|/}} So hat er die selbig kunst igleich besunder lassen schreiben mit verporgen {{red|/}} vnd verdackten wo°ten {{red|/}} Dar umb das sÿ nit yderman vernemen noch versteen sol {{red|/}} als du sÿ her nach geschriben wirst vinden {{red|/}} vnd hat das getan durch der leichtfertigen schirmaister willen {{red|/}} Dÿe Irr kunst gering wegen {{red|/}} das sein kunst von den selbigen maisterñ nicht gemain noch geoffenwart sol werden solichen lewten die {{red|/}} dye kunst In wirden nicht behalten als <del>an</del> dañ der kunst zw gehört {{red|~}}  
 
Des ersten mit dem langen swert {{red|/}} Dar nach mit der glefen {{red|/}} vnd mit dem swert zw roß {{red|/}} Dar nach mit dem kürtzen swert zw° champf {{red|/}} vnd dar umb dÿ kuñst fur~sten {{red|/}} vnd herren {{red|/}} Ritter vnd knechten zw gehört das sy dy wissen {{red|/}} vnd lernen sullen {{red|/}} So hat er die selbig kunst igleich besunder lassen schreiben mit verporgen {{red|/}} vnd verdackten wo°ten {{red|/}} Dar umb das sÿ nit yderman vernemen noch versteen sol {{red|/}} als du sÿ her nach geschriben wirst vinden {{red|/}} vnd hat das getan durch der leichtfertigen schirmaister willen {{red|/}} Dÿe Irr kunst gering wegen {{red|/}} das sein kunst von den selbigen maisterñ nicht gemain noch geoffenwart sol werden solichen lewten die {{red|/}} dye kunst In wirden nicht behalten als <del>an</del> dañ der kunst zw gehört {{red|~}}  
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| '''[2r] {{red|Dis ist die vorred. Hans liechtenawers fechter buoch.}}'''
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 +
[The subsequent preface is almost the same as in the [[Codex Danzig (Cod.44.A.8)|Rome Codex]], only with slightly different orthographics. At the bottom of the page is a short horizontal rule with knights fighting whilst riding on goats.]
 
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<small>8</small></poem>
 
<small>8</small></poem>
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| {{red|b=1|This is the Prologue}}<br/><br/>
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| <p>{{red|b=1|This is the Prologue}}</p>
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<poem>Young knight, learn  
+
 
−
:to love god and revere women;  
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<p>Young knight, learn<br/>
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thus your honor will grow.  
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&emsp;to love god and revere women;<br/>
−
:Practice knighthood and learn  
+
thus your honor will grow. <br/>
−
the Art that dignifies you,  
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&emsp;Practice knighthood and learn <br/>
−
:and brings you honor in wars.  
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the Art that dignifies you, <br/>
−
Be a good grappler in wrestling;  
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&emsp;and brings you honor in wars. <br/>
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:lance, spear, sword, and messer  
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Be a good grappler in wrestling; <br/>
−
handle manfully,  
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&emsp;lance, spear, sword, and messer <br/>
−
:and foil them in your opponent's hands.  
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handle manfully, <br/>
−
Strike in and hasten forth;  
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&emsp;and foil them in your opponent's hands. <br/>
−
:rush to, let it hit, or go by.  
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Strike in and hasten forth; <br/>
−
Thus those with wisdom, the ones who  
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&emsp;rush to, let it hit, or go by. <br/>
−
:are revered, will envy him.  
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Thus those with wisdom, the ones who <br/>
−
This you should grasp:  
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&emsp;are revered, will envy him. <br/>
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:All arts have length and measure.</poem>
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This you should grasp: <br/>
 +
&emsp;All arts have length and measure.</p>
 
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|  
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| {{section|Page:MS Chart.A.558 018r.jpg|1|lbl=18r}}
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| <p><br/></p>
 +
 
 +
{{section|Page:MS Chart.A.558 018r.jpg|2|lbl=-}}
 
| {{red|b=1|Das ist dy vor red /}}
 
| {{red|b=1|Das ist dy vor red /}}
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<poem>
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<poem>Junck ritter lere {{red|/}}
−
 
 
−
Junck ritter lere {{red|/}}
 
 
Got lieb haben frawen Jo ere {{red|/}}
 
Got lieb haben frawen Jo ere {{red|/}}
 
So wechst dein ere {{red|/}}
 
So wechst dein ere {{red|/}}
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| '''[2r] {{red|Dis ist die vorred. Hans liechtenawers fechter buoch.}}'''
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|  
−
 
 
−
[The subsequent preface is almost the same as in the [[Codex Danzig (Cod.44.A.8)|Rome Codex]], only with slightly different orthographics. At the bottom of the page is a short horizontal rule with knights fighting whilst riding on goats.]
 
 
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<small>22</small></poem>
 
<small>22</small></poem>
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| {{red|b=1|This is a general teaching of the longsword}}<br/><br/>
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| <p>{{red|b=1|This is a general teaching of the longsword}}<br/><br/></p>
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<poem>If you want to behold the art,
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:See that you go on the left and strike with the right.
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<p>If you want to behold the art,<br/>
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And left to right,
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&emsp;See that you go on the left and strike with the right.<br/>
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:is how you strongly want to fight.
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And left to right,<br/>
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He who follows the strokes,
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&emsp;is how you strongly want to fight.<br/>
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:should rejoice little in his art.
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He who follows the strokes,<br/>
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Strike close whatever you will,
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&emsp;should rejoice little in his art.<br/>
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:no Changer will come into your shield.
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Strike close whatever you will,<br/>
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To the head, to the body
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&emsp;no Changer will come into your shield.<br/>
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:do not shun the Tag-Hits.
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To the head, to the body<br/>
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Fight with the entire body,
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&emsp;do not shun the Tag-Hits.<br/>
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:What you powerfully want to do.
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Fight with the entire body,<br/>
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Listen to what is wrong,
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&emsp;What you powerfully want to do.<br/>
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:do not fight above on the left if you are righthanded;
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Listen to what is wrong,<br/>
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and if you are lefthanded,
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&emsp;do not fight above on the left if you are righthanded;<br/>
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:on the right you limp as well.
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and if you are lefthanded,<br/>
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Before and After, these two things,
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&emsp;on the right you limp as well.<br/>
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:are to all skill a well-spring.
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Before and After, these two things,<br/>
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Weak and Strong,
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&emsp;are to all skill a well-spring.<br/>
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:Always remember the word Instantly.
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Weak and Strong,<br/>
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So you may learn
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&emsp;Always remember the word Instantly.<br/>
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:To work and defend with skill.
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So you may learn<br/>
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If you are easily intimidated,
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&emsp;To work and defend with skill.<br/>
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:no fencing should you learn.
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If you are easily intimidated,<br/>
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Learn five strokes
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&emsp;no fencing should you learn.<br/>
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:from the right side against the opposition.
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Learn five strokes<br/>
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Then we promise
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&emsp;from the right side against the opposition.<br/>
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:that your arts will be rewarded.
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Then we promise<br/>
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</poem>
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&emsp;that your arts will be rewarded.</p>
 
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{{section|Page:MS Chart.A.558 018r.jpg|2|lbl=-|p=1}}<br/>{{section|Page:MS Chart.A.558 018v.jpg|1|lbl=18v|p=1}}
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{{section|Page:MS Chart.A.558 018r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Chart.A.558 018v.jpg|1|lbl=18v|p=1}}
 
| {{red|b=1|Das Ist ein gemaine ler des langen Swerttes /}}
 
| {{red|b=1|Das Ist ein gemaine ler des langen Swerttes /}}
 
<poem>
 
<poem>
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:hit every time if you want to step.</poem>
 
:hit every time if you want to step.</poem>
 
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|  
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| {{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}}
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| <p><br/></p>
 +
 
 +
{{section|Page:MS Chart.A.558 020r.jpg|2|lbl=-}}
 
| {{red|b=1|Von absetzen /}}
 
| {{red|b=1|Von absetzen /}}
 
<poem>Lere absetzen {{red|/}}
 
<poem>Lere absetzen {{red|/}}
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<small>87</small></poem>
 
<small>87</small></poem>
 +
| {{red|b=1|Changing Through}}
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 +
Learn the changing through<br/>
 +
from both sides, thrust with intent.<br/>
 +
Whoever binds to you,<br/>
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changing through will find him indeed.
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| {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}}
 
| {{section|Page:MS Chart.A.558 020r.jpg|3|lbl=-}}
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|
 
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| '''Das ist võ durch wechsel dy außrichtu~g'''
 
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<poem>Durch wechsel lere
 
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võ paydenn seytenn stich mit sere
 
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wer auff dich bindet
 
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durch wechslñ in schier vindet</poem>
 
 
| {{red|b=1|Von durchwechselñ /}}
 
| {{red|b=1|Von durchwechselñ /}}
 
<poem>Durchwechsel lere {{red|/}}
 
<poem>Durchwechsel lere {{red|/}}
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|  
 
|  
 
<section end="Zucken"/><section begin="Durchlaufen"/>
 
<section end="Zucken"/><section begin="Durchlaufen"/>
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| '''von durchlauffen ab seczen'''
 
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<poem>lern[e] ab seczenn
 
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haw stich
 
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dein ort trifft vnd seinen pricht
 
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von paiden seyten
 
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triff alle mal wild dw schreiten</poem>
 
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|-  
 
|-  
 
| &nbsp;
 
| &nbsp;
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:the running through then remember.</poem>
 
:the running through then remember.</poem>
 
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|  
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| {{section|Page:MS Chart.A.558 020r.jpg|4|lbl=-}}
+
| {{section|Page:MS Chart.A.558 020r.jpg|5|lbl=-}}
 
| {{red|b=1|von Durchlauffen /}}
 
| {{red|b=1|von Durchlauffen /}}
 
<poem>Durchlauff las hangen {{red|/}}
 
<poem>Durchlauff las hangen {{red|/}}
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:two below and two above.</poem>
 
:two below and two above.</poem>
 
|  
 
|  
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| '''Das ist võ ab sneydenn dÿe außrichtu~g'''
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| {{section|Page:MS Chart.A.558 020r.jpg|6|lbl=-}}
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<poem>Sneyd ab dy hertt
 
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võ vnde~ In beyden gevert
 
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vier sint der snit
 
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czwen vnd czwen obñ mit</poem>
 
 
| {{red|b=1|von abschneiden}}
 
| {{red|b=1|von abschneiden}}
 
<poem>Schneid ab dÿ herten {{red|/}}
 
<poem>Schneid ab dÿ herten {{red|/}}
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zwen vnden zwen oben mit</poem>
 
zwen vnden zwen oben mit</poem>
 
|  
 
|  
−
| {{section|Page:MS Chart.A.558 020r.jpg|5|lbl=-}}
+
|  
 
| '''Abschneiden'''
 
| '''Abschneiden'''
 
<poem>Schneit ab die hertten,  
 
<poem>Schneit ab die hertten,  
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:press the hands to the flats.</poem>
 
:press the hands to the flats.</poem>
 
|  
 
|  
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| {{section|Page:MS Chart.A.558 020r.jpg|6|lbl=-}}
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| {{section|Page:MS Chart.A.558 020r.jpg|7|lbl=-}}
 
| {{red|b=1|von hend drucken /}}<br/><br/><br/>
 
| {{red|b=1|von hend drucken /}}<br/><br/><br/>
 
<poem>'''[6r]''' Dein schneid wende {{red|/}}
 
<poem>'''[6r]''' Dein schneid wende {{red|/}}
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:strike, thrust, posture—soft or hard.</poem>
 
:strike, thrust, posture—soft or hard.</poem>
 
|  
 
|  
−
| {{section|Page:MS Chart.A.558 020r.jpg|7|lbl=-}}
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| {{section|Page:MS Chart.A.558 020r.jpg|8|lbl=-}}
 
| {{red|b=1|von tzwaien hengen /}}<br/><br/><br/>
 
| {{red|b=1|von tzwaien hengen /}}<br/><br/><br/>
 
<poem>Zwaÿ hengen werden {{red|/}}
 
<poem>Zwaÿ hengen werden {{red|/}}
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|-  
 
|-  
−
| <small>110</small>
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| Thus ends Master Liechtenauer's Art of the Long Sword
 
| Thus ends Master Liechtenauer's Art of the Long Sword
 
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|  

Revision as of 03:04, 12 March 2017

Die Zettel
The Recital
Johannes Liechtenauer.png
Full Title A Recital on the Chivalric
Art of Fencing
Ascribed to Johannes Liechtenauer
Illustrated by Unknown
Date Fourteenth century (?)
Genre
Language Middle High German
Archetype(s) Hypothetical
Manuscript(s)
First Printed
English Edition 		Tobler, 2010
Concordance by Michael Chidester
Translations

Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a German fencing master in the 14th or 15th century. 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 MS 3227a, 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 MS 3227a, 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 MS 3227a, 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 3227a may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the early 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring 3227a as being of indeterminate date, the oldest version of the Recital appears in the MS G.B.f.18.a, dating to ca. 1418-28 and attributed to an H. Beringer, which both conforms to this timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teaching rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts).

Treatise

Liechtenauer's teachings are preserved in a brief poem of rhyming couplets called the Zettel ("Recital"). These "secret and hidden words" were intentionally cryptic, probably 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 Schining ain Ringeck, Peter von Danzig zum Ingolstadt, and Jud Lew wrote extensive glosses that sought to clarify and expand upon these teachings.

Twenty-one manuscripts contain a presentation of the Recital as a separate (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 found in the gloss from MS 3227a, which contains almost twice as many verses as any other. However, given that the additional verses tend to either consist of 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 standard 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 version attributed to H. Beringer (which is also included in the writings of Hans Folz).

The following tables include only those manuscripts that quote Liechtenauer's Recital in an unglossed form. Note that in the case of Beringer and Folz, the verse is presented in an alternative sequence; they have been reordered to match the others in this rendition, but you can find the original layout in their articles.

In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six figuren ("figures")—single line abbreviations of the longer couplets, generally drawn in circles, which seem to sum up the most important points. The precise reason for the existence of these figures remains unknown, as does the reason why there are no equivalents for the armored fencing or unarmored fencing verses.

One clue to their significance may be a parallel set of teachings first recorded by Andre Paurñfeyndt in 1516, called the "Twelve Teachings for the Beginning Fencer".[17] These teachings are also generally abbreviations of longer passages in the Bloßfechten, and are similarly repeated in many treatises throughout the 16th century. It may be that the figures are a mnemonic that represent the initial stage of mounted fencing instruction, and that the full verse was taught only afterward.

Additional Resources

References

  1. ↑ 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
  2. ↑ Kein eindeutiges z.
  3. ↑ The first letter has been corrected so that the word is ambiguous to identify.
  4. ↑ Written larger than normal.
  5. ↑ In the Bavarian dialect: freien = freuen, a freit = eine Freude.
  6. ↑ Gotha inserts the title Das ist der krieck in this position, but no other version separates it in that way.
  7. ↑ Between "Dupliere" and "doniden" there is a lack of space, possibly the "d" was added later.
  8. ↑ Corrected from »Im«.
  9. ↑ There is probably a missing letter here, making it "durchwechseln".
  10. ↑ W has been corrected to V.
  11. ↑ Erster Buchstabe schwer zu lesen. Eve. Könnte auch "in" heißen.
  12. ↑ This appears in place of the Durchwechseln verse.
  13. ↑ "oder"
  14. ↑ The meaning is unknown, but may be a part of the bridle.
  15. ↑ There are dots above the e, but it is not clear whether it really is an umlaut.
  16. ↑ "Vecht" (sound shift b→v)
  17. ↑ Andre Paurñfeyndt, et al. Ergrundung Ritterlicher Kunst der Fechterey. Hieronymus Vietor: Vienna, 1516.
Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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