H. Beringer

Modus Dimicandi
Method of Fighting
Ascribed to	H. Beringer
Genre	Fencing manual
Language	Early New High German Renaissance Latin
Archetype(s)	MS G.B.f.18a (1418-28)
Manuscript(s)	MS Q.566 (1479)
Concordance by	Michael Chidester
Translations	Alternate English translation Deutsch-Übersetzung

Magister H. Beringer was a 15th century writer credited with recording a poem on fencing with some connection to the Recital of Johannes Liechtenauer. It is first recorded in the MS G.B.f.18a (ca. 1418-28), and thus predates all records of Liechtenauer's teachings. The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a very common initial and last name, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.

The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. It may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or it may be that Beringer's verse represents just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in MS 3227a.

Beringer's verse was recapitulated by Hans Folz in the MS Q.566 (1479), but in an unattributed and garbled form indicates he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.

Treatise

In the presentation below, the teaching has been arranged in verses for clarity; line divisions are determined based on rhyme scheme and extrapolation from Liechtenauer. Hans Folz's verses have been rearranged to match the sequence given by Beringer, and the verses that are not found in Beringer have been inserted based on their positions in Folz and checked against Liechtenauer's verse.

Long Sword

Draft Translation (from the Jena) by Jens P. Kleinau	Jena Transcription (1418-28)  by Jens P. Kleinau	Weimar Transcription (1479)  by Andreas Meier
Here starts the good and true fencing mode of master H. Beringer, of blessed memory. 1 Young knight learn to love God and honor women. 2 Practice knighthood and learn 3 the thing that dignifies you, and serves you in wars. 4 Glaive, wrestling, spear, sword and knife 5 requires a righteous man’s hands and contain harm in other’s. 6 Wrath-Strike, Crook-Strike, Cross-Strike has Slant-Strike with Parting-Strike	[123v-a] Sequitur bonus et verus modus dimicandi magistri h Beringois pie memorie. Jung ritt° lere god lieb haben frauwen io ere vbe ritter s schaff / vnde lere ding das dich ziret und in krigē sere hofferitiret Glebingen. sper Swert und messer menliche bederfen und das in andirn handen vorderben / zorn hawe krump twer had schiler mid schitiler	[147v] vnde verso aber haw do her kump auff jn die zwer krump schiler mit scheitler
The War 7 Who strikes at you above, is threatened by Wrath-Strike’s point. 8 If he becomes aware of it, take it off without danger. 9 If you are stronger wind again and thrust. If he sees it, take it down. 10 Draw, what is above from superiority, such ends the war. 11 Crook, do not strike short, the Changer lurks within. 12 Crook, upwards fast, throw the point on the hands. 13 Crook, who judges well, with steps will hurt many strikes. 14 Crook, who confuses you, the noble war bewilders you. 15 Cross receives what comes from the sky above. 16 Cross to the point, take the throat/neck without fear. 17 Slant in high above, if you want to impress him. 18 The parting-strike with his turn, is a menace to the face.	der krig  wer obir dich hawed zorn hawe ort deme drawed wyrt ers ge war nyms oben abe ane var Biß sterker wedder wint stich sicht ers nyms nider Czuck de sind oben uß obirhaybt so geyt der krieg uß krump nicht kortz howe der wēchsel damede shauw krump uf behende wyrf den ord of dye hende krump wer wol setzt med schretn vel hauwe letzt krump wer dich irred der edel krieg dich vor wirret Twere benymbt was von himel her abe kumet Twere czu dem orte nym dē hals ane fortte Schil in dem obn° iß daz du wylt be dobern Der scheyteler myt sinen kere deme ātlitze ist gar gewere	[147v] wer uber dich hawt zorn haw ort dem draw + wirt ers gewar nyms oben ab anefar pis fil sterker wider wind sich sicht ers nims nider he[…]ch den schnit oben auß ober haupt get der krig auß kumpt nicht kreuczhaw durch wechsel dar mit schaw krumpt auff mit langen wirff den ort auff die hende [148r] krump wer wol verseczt mit schritten fil hew leczt krump wer verirret der edel krig dz verwirret Tewr nimpt waz vom himel herab kimpt Tewre zu dem orte nym den halz ane forchte Schil zu den obern ist daz du jn wilt bedekern der schaitler mit seynen korn deinß antlicz ist geforn
Here are the precepts 19 Do you startle easily you will never learn to fight. 20 Inbetween, 21 Before and After, those two things are all things' origin. 22 Inbetween, Before and After without rush do not be after the War. 23 What the War intends above, below he will be embarrassed. 24 Hear what is bad, do not fence left if you are a righty, 25 and as a lefty with the right, listen you will limp. 26 I say truly, no man will guard himself without danger. 27 If you remarked it, he will not come to any strikes.	Hec sī cautele Erschrigkestu gern kain fechtn saltu nym° ge lerne In deß vor und nach die swei ding sind aller dīge on erspring In des vor und nach an höite dem krige sy nicht mach weß der krieg romet oben ūnden werd er beschemet Hore waz da secht yst ficht nicht lingkz ab du recht bist und lingkest in dem rechtn ouch here hingkest Ich sage vor war keyn mā schutz sich ane var hastuß vornomē [123v-b] czu slage mag er kleine komē	[148r] der schrikstu gern kein fechten ni[m] er mer gelern Ez wert vnd schlecht jn des vor nach vnd diese zwey ding Sint diser kunst ein vrsprung jn des vor vnd nach an hute dein krig sey nit gach wer der krige remet oben vnten wirt er beschemet hor wj de schlecht ist fecht nit link wen du recht pist [147v] Biß das du lintest in dem fechten du sere hinkest jch sag dir für war keiner schuczt seich sic ane var hastu dz vernomen sozu schlag mag er kleine komen
Of the Hangings 28 Two hang down— of both hands—up from the earth. 29 Who withdraws before you, strike quickly so that he snorts. 30 flutes} if you want to play a trick on the master. 31 Strike to the Plough, join firmly to the Ox. 32 Who follows the strikes, cannot have joy in the art. 33 Strike what you want, no Changer will reach your shield. 34	Von hengen Czwei hengen nyder van beydn handē uf von der d erdin Wer sich vor dir zhucht abe hauw snel daz daz er snabe hauw czu dem fleytin den meyst° wiltu an strechen hauw czuden phlugz czu den ochsen hartte. vugz fuge wer nach god hauwen der sich kunst kleyne vreuwen haw und was du wilt kein wesßeler kom an den schilt	[147v] zwei hengen werden von peden henden auff erden wer sich vor dir zewet abe how schnell daz er schnabe hawe zu den flechen den meistern willtu sie swechen Haw zu den pfluge zu den nesten vngefuge wer nach get hawen der dorff sich ge kunst […] frewen hort vnd waß du willt kein wechsler kum an dein schiltt [148r] Nin ficht mit ganczen leibe gerstu stet […]
35 36 Four are the Displacements, which hurts the Guards sore. 37 Set on the four Ends, stay on it if you want to end. 38 Of displacing beware, if it happens, 39 it will troubles you much. If it happens, how it happens, 40 hear what I advise, sweep off, quick, strike with a step. 41 Thereafter-Riding learn, step forward and cut into the weapon/defense. 42 Speaking-Window do, stand steady, observe his doing, 43 without any danger, how much remorse he bears. 44 In all Winding strikes, thrusts, and cuts learn to find. 45 That is to remark above, if the guards are soft or hard. 46 Jerk/redraw, if he jerks, jerk more— work he will find, the step into.	wer sind vōsztin die dye legere ouch sere letzin Setzt an vir enden blyb dar uf wiltu enden vor setzens hut dich gescict daz sere mu°t dich Ist daz du vor satzt yß dich wy her da her komē yst Hore waß ich rate strigh abe snel hauwe midde drate Nach reysen lere trid vorbaß und snid in dy were sprech fenstir mach stand konlich sich syne sach one alle var an twivel roye her gebar In allen winden heuwe stiche snyte lerne vinden Das saltu oben merkē ab dye leyger snit weych oder herte Czugke zcugket her zcugke me er be vint arbeyt die am trid	4 leger allein nym vnd fleuch die gemein [147v] Secz an fier end pleib dar auff wiltu enden verseczens hut dich geschicht ez sere mut dich ist daz dir verseczt ist slach wie ez dir komen ist hor wi ich rate drit ab schnel hawe mit drate Sprech fenster mache stand freilich sich sein sache an alle vare an zweifel wie er gepor daz eben merk ob dein beger sint weich oder hert zuk zukler zuk[…] mer er besint orbt die drit jm we
47 48 Change two times, the old cut do with it. 49 Who wields the Miss from below, will hit wherever he wants. 50 Two times forward, step into your guard and do not be lazy. 51 If it comes that it glistens above, I happily praise stand-off. 52 Who thrusts at you, his point with the defense meet and break. 53 I you want to avenge yourself, four openings break artfully: 54 above double, below mutate. 55 If you know (to use) the four openings, you beat him for sure. 56 Let the point hang low, grab the pommel, if you want to wrestle. 57 Four are the cuts, two below and with them two above.	wessellir zcwifagh den alden snit midde mach. ffellir wer de sint von under nach wonche rurt Czwifach furbaß drid dyn hud und biß nicht laß kome iß glichtzet obene so stradet abe daz ger ich lobe wer uf dich stight sine ord mit twere trift und bricht wiltu dich rechen vier bloße konstlichen brechen Oben duplire dar ūden recht mutire vir bloße wiße So slestu ge wisse llaß den ort hangen Be griff den knauf wiltu midde rangen vier sind dar snidde Czwene unde czwene oben middē etc	[148r] vor kerer twingz durch lauff werff auch mit ringz failer zwifachen den allten snit mitte mache feiler ver firet von vnten nach wunsche rurt zweifachz furbaz drit jn hut nit pis laß wan ez gliczt oben so drit ab dz ger ich loben wer auff dich sticht seyne seinen ort mit twer driff vnd prich wiltu die rechten 4 plez kunstlich prechen oben duplir vnd recht mutire 4 ploz reme so schlechstu gewiß las den ort hangen greif den knauf wildu rangen 4 sint der schnit 2 oben 2 vnden
And this is the end of the art.	Et sic est finis huius artis

Copyright and License Summary

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source	License
Translation	James Acutt	Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)
Jena Transcription	James Acutt	Index:Modus Dimicandi (MS G.B.f.18a)
Weimar Transcription	Andreas Meier	Index:Die Meisterlieder des Hans Folz (MS Q.566)