Difference between revisions of "Sigmund ain Ringeck"

Sigmund Ain ringeck
Sigmund Ain ringeck
Period	15th century
Occupation	Fencing master
Nationality	German
Patron	Albrecht, Duke of Bavaria
Movement	Fellowship of Liechtenauer
Influences	Johannes Liechtenauer
Influenced	Hans Medel ; Joachim Meÿer ;
Genres	Fencing manual
Language	Early New High German
Archetype(s)	Hypothetical
Principal; manuscript(s)	MS Dresd.C.487 (1504-19) ; MS E.1939.65.341 (1508) ; MS Var.82 (ca. 1570) ;
Manuscript(s)	MS M.Ⅰ.29 (1491) ; MS 26-232 (1512) ; Reichstadt Nr. 82 (1553) ;
First printed; english edition	Tobler, 2001
Concordance by	Michael Chidester
Translations	Český Překlad ; Traduction française ; Magyar fordítás Terjemahan bahasa Indonesia ; Traduzione italiana ; Traducción castellano ; Traducción castellano ; svensk översättning ;

Latest revision as of 14:37, 29 October 2024

This article is about the master and his glosses. For the treatise on fencing from the sweeps sometimes ascribed to Ain ringeck, see Stuck im aufstreichen.

Sigmund Ain ringeck (Ainring, Amring, Einring, Sigmund Schining) was a 15th century German fencing master. While the meaning of the name "Schining" (assigned him by Hans Medel) is uncertain, the surname "Ainringck" may indicate that he came from the village of Ainring on the current German/Austrian border. He is named in the text as Schirmaister to Albrecht, Count Palatine of Rhine and Duke of Bavaria. This may signify Schirrmeister, a logistical officer charged with overseeing the wagons and horse-drawn artillery pieces, or potentially Schirmmeister, a title used by lower-class itinerant fencing masters in the Medieval period.^[1] Apart from his service to the duke, the only thing that can be determined about his life is that he was connected in some way to the tradition of Johannes Liechtenauer—his name was included by Paulus Kal in his roll of members of the Fellowship of Liechtenauer in ca. 1470.^[2]

The identity of Ain ringeck's patron remains unclear, as four men named Albrecht ruled Bavaria during the fifteenth century; assuming that Ain ringeck was a personal student of Johannes Liechtenauer further narrows the list down to just two. If the Pol Hausbuch is correctly dated to 1389, then Liechtenauer was a 14th century master and Ain ringeck's patron was Albrecht Ⅰ, who reigned from 1353 to 1404. If, on the other hand, Liechtenauer was an early 15th century master (an associate of H. Beringer), which seems more likely given the known careers of members of the Fellowship, then Ain ringeck's patron would have been Albrecht Ⅲ, who carried the title from 1438 to 1460.^[3] Albrecht Ⅳ claimed the title in 1460 and thus also could have been Ain ringeck's patron; this would probably signify that Ain ringeck was not a direct student of Liechtenauer at all, but a later inheritor of the tradition. That said, Albrecht Ⅳ lived until 1508 and so the Dresden, Glasgow, and Salzburg manuscripts were likely created during his reign.

Ain ringeck is often erroneously credited as the author of the MS Dresd.C.487. Ain ringeck was indeed the author of one of the core texts, a complete gloss of Liechtenauer's Recital on unarmored long sword fencing. However, the remainder of the manuscript contains an assortment of treatises by several different masters in the tradition, and it is currently thought to have been composed in the early 16th century^[4] (putting it after the master's presumed lifetime). Regardless, the fact that he was one of only a few known authors of a gloss of the Recital makes Ain ringeck one of the most important masters of the Liechtenauer tradition.

Textual History

Manuscript Stemma

While only one treatise bears Ain ringeck's name, a gloss of Liechtenauer's Recital on the long sword, he is also typically treated as the author of anonymous glosses on the short sword and mounted verses. The latter are associated with Ain ringeck largely due to the previously mentioned misattribution of the entire MS Dresd.C.487 (Dresden version), but in the case of these glosses, this is not entirely unreasonable attribution to make considering the three substantial versions of the long sword are accompanied by one or both of these other glosses.

All three gloss sections seem to have a common origin with that of the anonymous author known as "pseudo-Peter von Danzig", which is attested from the 1450s; it is also possible that Ain ringeck and pseudo-Danzig were the same person, and the gloss attributed to Ain ringeck is simply the only branch of the larger stemma that retained its author's name.

Compared to the pseudo-Danzig gloss, Ain ringeck's descriptions are often slightly shorter and contain fewer variations; Ain ringeck does, however, include a number of unique plays not discussed in the other. Unlike the 15th century versions of pseudo-Danzig, Ain ringeck's long sword gloss was probably extensively illustrated: both the MS E.1939.65.341 (Glasgow) and MS Var.82 (Rostock) frequently refer readers to these illustrations, and it appears that source for the Dresden did as well, though the scribe attempted to remove all such references as he copied it (one remains intact,^[5] one merely dropped the word "pictured",^[6] and one was inexplicably replaced by the word "gloss"^[7]).

Provisional stemma codicum

The earliest extant version of Ain ringeck's gloss (apart from the segments that are identical with the pseudo-Danzig) consists of just elevent paragraphs added by Hans von Speyer as addenda to certain sections of the Lew gloss in his 1491 manuscript M.Ⅰ.29 (Salzburg).^[8] A twelfth paragraph was integrated by Speyer into pseudo-Danzig's introduction to the Krummhaw, so that Ain ringeck's explanation of how to use the Krumm as a counter-cut complements pseudo-Danzig's explanation of how to use it to counter the guard Ochs.

The early 16th century saw three more versions created, two containing the majority of the text. Dresden, which has been by far the subject of the most previous research, has been dated by watermark analysis to 1504-19,^[4] and thus was likely created in or shortly after that time-frame. It is the most extensive version of Ain ringeck's work, but unfortunately it also seems to be a hasty, error-ridden copy with frequent deletions, insertions, spelling errors, word confusion, and critical omissions (including key words like subjects and verbs, and even whole lines of the Zettel); in the long sword, the majority of paragraphs also seem to have been shortened or truncated and most references to Ain ringeck's illustrations have been dropped (as detailed above), and in the mounted fencing, the gloss only includes Ain ringeck's first four plays before switching to the Pseudo-Danzig gloss for the remainder.

The 1508^[9] Glasgow, in contrast, is written in a clear and tidy hand and its long sword gloss includes 31 painted, if somewhat low-grade, illustrations (presumably copies of the originals). Its text is generally longer than equivalent passages in the Dresden, including additional information and variations, but like the Dresden it appears to be incomplete in its present form: the first 39 paragraphs of the long sword gloss from the Dresden have no equivalent in the extant manuscript, which begins in the middle of the Twerhaw, and it omits the short sword entirely. On the other hand, it contains the only full copy of the mounted fencing gloss.

The third version from this period, the MS 26-232 (Vienna), is found at the end of a manuscript attributed to the workshop of Albrecht Dürer; like all of Dürer's fencing material, appears to be connected with the visit of Emperor Maximilian Ⅰ to Dürer's home city of Nuremberg in 1512.^[10] This manuscript contains only a disordered but complete rendering of the short sword gloss; this is particularly strange because the manuscript also contains wrestling plays potentially derived from the Glasgow Fechtbuch (which omits the short sword and includes the other two).

The remaining two versions of Ain ringeck's text come from later in the 16th century. In 1553, Paulus Hector Mair produced the Reichstadt Nr. 82 (Augsburg) based on the papers of the late master Antonius Rast.^[11] Included in this manuscript was a version of Nicolaüs' long sword gloss that is largely complete up to couplet 95 of the Recital where, with no explanation, it switches over to Ain ringeck's gloss for the remainder of the text.

The final version, Rostock, is the third substantial one (along with Dresden and Glasgow); it was probably created in the 1560s and was owned by Freifechter Joachim Meÿer until his death in 1571.^[12] It contains nearly all of Ain ringeck's presumed gloss of the short sword verses, but only an abbreviated (thought still extensive) version of the long sword gloss. Rostock's long sword gloss only includes key passages and omits most of the follow-on plays to each of the Haupstucke; like Glasgow it directs readers to consult Ain ringeck's illustrations, but unlike Glasgow these illustrations were never added to the manuscript (nor was room left for them).

All six extant versions of Ain ringeck's gloss are thus fragmentary, but enough text remains in each to demonstrate a lack of interdependence—apart from Augsburg, which could conceivably derive from Glasgow if the scribe were particularly careless. Each of the other five manuscripts has a unique constellation of plays which can be authenticated from other versions as a group, but do not match any other single version to demonstrate copying. All appear therefore to proceed separately from the lost original, unless we suppose that someone gathered up multiple copies to compile a new one (but even that supposition could only account for Rostock, not the others).

Due to the fragmentary nature of the stemma at the moment and the lack of anything resembling an autograph or archetype, all versions, or at a minimum the three substantial versions, ought to be treated as co-authoritative (as in the featured translation of the long sword, below).

(A final text of interest with respect to Ain ringeck is the treatise of Hans Medel von Salzburg, which was acquired by Mair in 1539^[13] and bound into the Cod. Ⅰ.6.2º.5 after 1566.^[14] Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, including Nicolaüs and Hans Seydenfaden von Erfurt, but his text primarily takes the form of a revision and expansion of Ain ringeck's long sword gloss. While enough of Ain ringeck's original text survives Medel's editing that it too can be shown to not derive from any other surviving manuscript, the amount of unique and altered content is such that it is not included in the concordance below, nor used in the translation.)

Modern HEMA

Ain ringeck's gloss might be said to have kicked off the HEMA movement: a complete transcription of the Dresden manuscript was a substantial piece of Martin Wierschin's landmark Meister Johann Liechtenauers Kunst des Fechtens in 1965, which was the first "HEMA book". Only the Dresden and Salzburg manuscripts were included in Wierschin's catalog of German fencing treatises. When Hans-Peter Hils published his updated catalog as Meister Johann Liechtenauers Kunst des langen Schwertes in 1985, he added two more: the Vienna and Augsburg manuscripts. However, in the 20th century, none of these apart from Dresden were recognized as containing any writings of Ain ringeck. Conversely, the Dresden was proposed by Wierschin and Hils to be entirely the original work of Ain ringeck, including material that we now know to be Lignitzer's sword and buckler, Ott's wrestling, and pseudo-Danzig's mounted fencing, and this was accepted uncritically even by noted historians such as Sydney Anglo.

In the 1990s, Wierschin's transcription was translated to modern German by Christoph Kaindel, and a new transcription was authored by Dierk Hagedorn and posted on the Hammaborg site in 2008, forty years after the first.

The first English translation was produced in 1999 by Jörg Bellinghausen; a fragment of an early draft of Bellinghausen's translation was posted on the HACA (later ARMA) site, but Jörg Bellinghausen indicates that he completed the translation afterward and it was subsequently lost in a computer mishap. Instead, in 2003 David Rawlings continued his work by translating the remaining plays of the long sword and short sword sections. In this same period, another English translation was produced by Christian Tobler and published in 2001 by Chivalry Bookshelf in Secrets of German Medieval Swordsmanship, and a fourth English translation was produced by David Lindholm, illustrated by Peter Svärd, and published by Paladin Press in two volumes, Sigmund Ringeck's Knightly Art of the Longsword (2003) and Sigmund Ringeck's Knightly Arts of Combat: Sword-and-Buckler Fighting, Wrestling, and Fighting in Armor (2006).

Other translations of the long sword produced in the '00s include Philippe Errard, Antoine Fournier, Didier de Grenier, and Michaël Huber's French translation posted on the ARDAMHE site in 2002; Eugenio García-Salmones' Spanish translation posted on the AVEH site in 2006 (translated from the French); Gábor Erényi's partial Hungarian translation posted on the Schola Artis Gladii et Armorum site in 2009; and Andreas Engström's Swedish translation posted on the GHFS site. In 2010, Keith Farrell translated the Swedish into a fifth English version, and in 2013, Federico Malagutti translated Farrell's English into Italian.

All of these translations were based exclusively on the Dresden version, which was thought by many to be unique (perhaps even an autograph) until other versions began to be identified in the 21st.

The Glasgow Fechtbuch was identified in Sydney Anglo's 2000 opus as merely "[R. L.] Scott's Liechtenauer MS",^[15] but had been associated with Ain ringeck by 2008 when Rainer Leng published his catalog. In 2009, the first 24 folia were transcribed by Anton Kohutovič and posted on the Gesellschaft Liechtenauers site, and the complete manuscript was transcribed by Dierk Hagedorn and posted on Hammaborg. It's unclear when the Rostock manuscript was first identified as pertaining to Joachim Meyer, but it began circulating prior to 2009 and Kevin Maurer authored a partial transcription in 2011; Dierk Hagedorn posted a complete transcription on Hammaborg in 2015.

On the other hand, the Salzburg version was well-known and transcriptions were posted by Beatrix Koll on the Universitätsbibliothek Salzburg site in 2002 and by Dierk Hagedorn on the Hammaborg site in 2009; likewise, the Augsburg version was transcribed by Werner Ueberschär and posted on the Schwertbund Nurmberg site in 2012. However, the fact that these manuscripts included fragments of Ain ringeck's gloss was not realized until they were added to Wiktenauer in the 2010s. And, of course, the Vienna version has been known as a manuscript illustrated by Albrecht Dürer for centuries, but the attribution of the short sword teachings to Ain ringeck wasn't made until Dierk Hagedorn released a full transcription in 2016.

In 2015, Christian Trosclair authored a new translation of the long sword section for Wiktenauer, which was the first that incorporated all five known versions of that section; this translation was also published by Wiktenauer that year in The Recital of the Chivalric Art of Fencing of the Grand Master Johannes Liechtenauer. In 2017, Trosclair's translation was translated to Indonesian by Pradana Pandu Mahardhika. Trosclair later revised his translation in 2021.

Most recently, Stephen Cheney authored a seventh translation of the long sword section, based on Dresden and Glasgow, which he self-published in Ringeck · Danzig · Lew Longsword in 2020. He also authored the first translation of the Glasgow version of Ain ringeck's mounted fencing and donated it to Wiktenauer. In 2021, Rainer Welle's transcription of the Vienna version was published by Sublilium Schaffer in Albrecht Dürer und seine Kunst des Zweikampfes : auf den Spuren der Handschrift 26232 in der Albertina Wien, and Dierk Hagedorn's transcription and translation into modern German were published by VS-Books in Albrecht Dürer - Das Fechtbuch. In 2022, Dierk Hagedorn followed this up with an English translation, published (along with the transcription) by Greenhill Books in Dürer's Fight Book: The Genius of the German Renaissance and his Combat Treatise.

Treatise

Illustrations

Draft Translation (2022)
by Christian Trosclair

Featured Translation (2015)
by Christian Trosclair

Draft Translation (Dresden only) (2010)
by Keith Farrell

Incomplete Translation (Dresden only) (1999-03)
by Jörg Bellinghausen^[16] and David Rawlings^[17]

Salzburg Version (1491) [edit]
Transcribed by Dierk Hagedorn

Dresden Version (1504-19) [edit]
Transcribed by Dierk Hagedorn

Glasgow Version (1508) [edit]
Transcribed by Dierk Hagedorn

Augsburg Version (1553) [edit]
Transcribed by Werner Ueberschär

Rostock Version (1570) [edit]
Transcribed by Dierk Hagedorn

[1] Here begins the interpretation of the recital.

In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written^[18] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.

[1] Here begins the interpretation of the Recital

In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame^[19] time known as^[20] fencing master^[21] to the highborn prince and noble Lord Albrecht, Pfalzgraf^[22] of the Rhine and Herzog^[23] of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured^[24] here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.

[1] Here begins the explanation of the epitome.

In which lies recorded the knightly art of the longsword, composed and formed by Johannes Liechtenauer, who was a great master in the art, may God be merciful to him. He wrote the markverses with deep and hidden words, so that the art would not be widely known. And these deep and hidden words have been by Master Sigmund ain Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Count Palatine of Rhine and Duke of Bavaria, recorded and explained in this little book which now follows, so that every fighter who otherwise can fight, shall be able to take these and understand them.

[1] This is the beginning of the interpretation

of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmeister of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phrasings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmeister of Albrecht, Count Palatine of Rhine and Duke of Bavaria.

[10v.1] Hie hept sich an die vßlegu~g der zedel

In der geschriben stett die Ritterlich kunst des langes schwerts Die gedicht vnd gemacht hat Johannes lichtenawer der ain grosser maiste~ in der kunst gewesen ist dem gott genedig sÿ der hatt die zedel laußen schrÿbe~ mitt verborgen vñ verdeckte~ worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die selbige~ v°borgneñ vñ verdeckte wort hatt maister [11r.1] Sigmund ain ringeck der zÿt des hochgeborne~ fürsten vñ herreñ herñ aulbrecht pfalczgrauen bÿ Rin vñ herczog in baÿern schirmaiste~ Glosieret vñ außgelegt alß hie in disem biechlin her nach geschrÿben stät dz sÿ ain ÿede~ fechter wol verömen vnd vestan mag der da ande~st fechten kan etc~ ~

[22r.1] Merck die zettl /

dar in geschribñ stett / die kunst des langen schwerch die Johannes liechtñawen hat lassen schreiben mit verporgen vnd verdachtñ wortñ / die w selbigñ wort hat Maist~ Sigmund Emring verklert vnd aus gelegt / als In^[25] diessem puech geschribñ stett vnd gemalt / vnd hat das gethon daru~b daz fu~rstñ vnd herrñ Ritter vnd knecht den die kunst zu gehõrt dester grosser lieb darzu habñ su~llen Anno dm~ 1508

[06r.1] Hie hebẽ sich an die Zedttel

In den geschrieben stedt die Ritterlich kunst, des langen schwerdts die gedicht vnnd gemacht hat Johannes Liechtennaur der ein großer meister In der kunst gewesen ist. Dem gott gnedig sey, der hatt die Zedtel lasen schreiben mitt verborgen vnd verdackten wortten, darumb das die kunst nicht gemeyns solt werden, vnd dieselbigen verborgen vnd verdagkten worten der Zedtel, Die hat meister Sigmundt Einring zu derselbigenn zeit des hochgeboren fursten vnd herren herren Albrechts Pfaltzgraff bey Rein vnd hertzog in Bayernn schiermeister gewesen ist, also glossirt vnnd ausgelegtt, als sie den in diesem buchlein hernach geschrieben, vnd gemalt stehnn, das sie ein Jeder fechter wol vernemen vnd verstehen mag, der da anderß recht fechten kan.

[2] The foreword of the recital.

1	Young knight learn To have love for god, honor women
2	So that you expand your honor. Practice Knighthood and learn
3	Art that decorates you And in war exalts you with honor.
4	Use the good grips of wrestling, Lance, spear, sword, and messer
5	Like a man And render them useless in other's hands.
6	Attack suddenly and storm in, Keep rolling, engage or let pass.
7	Thus the intellectuals hate him, Yet this one sees glories.
8	Hold yourself to this: All art has a time and place.^[26]

[2] The foreword of the Recital

1	Young knight, learn; Loveth god; furthermore honor women
2	Thus cultivate your honor. Practice chivalry and learn^[27]
3	Art which decorates you [and] In combat exalts with honor.
4	Wrestling's good fetters, Lance, spear, sword, and Messer
5	Manfully put to good use And make useless in other's hands.^[27]
6	Hew therein, charge there; Rush onwards, hit or let drive.
7	Those maturing^[28] in this wisdom^[29], This one sees praises.
8	Hold yourself to this: All art has length and measure.

[2] Foreword to the epitome.

1	Young knight, learn to always honour women, and love God,
2	so increase your honour. Practice chivalry and learn
3	arts which improve you and in the battle bring honour.
4	Wrestle well, understand the lance, spear and sword and use the knife
5	like a man.
6	Cut fiercely! Storm forwards: Hit or miss;
7	The well-experienced hate that which seeks to cut them.
8	This you shall understand: all arts have length and measure.

[2]

[11r.2] Die vor red der zedel ~

Jungk ritter lere
Got liebhaben fröwen ia ere
so wöchse dein are ere

Kunst die dich ziert
In kriegen zu° ern hoffiert
[11v.1] Ringes gütt fesset
Glefen sper schwert vnd messer /
manlich bederben

Haw drin hart dar
Rausch hin triff ode~ las farñ
daß in die wÿsen /
hassen den man sicht brÿsen
Daruff dich fasse /
alle kunst haben lenge vñ masse ~~~ ·:·~

[06.2] Das Ist die vorredt.

Junckh Ritter lere
got lieb haben, frauen so ehre
so wechst dein Ehre
vber Ritterschafft vnd lehre
kunst, die dich ziertt
vnd In kriegen Zw ehren hoffirt,
Ringens gut Fesser
Gleffen Spern schwerdt vnd messer
manlich bederben,
vnnd In andern henden verderben,
Haw drein, vnnd huet dar
rausch hin trieffe oder laß farenn
das in die weissen
hasen, den man sicht preisn
darauff dich fasse,
alle kunst hab ein leng vnd masse.

[3] This is the text of many good common lessons of the long sword

9	If you wish to examine the art, Go left and right with cutting
10	And left with right That is, if you desire to fence strongly.

Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then accompany the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.

[3] This is the text of many good common lessons of the long sword

9	If you wish to examine the art, Go left and right with hewing
10	And left with right that is, if you desire to fence strongly.

Gloss. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.

[3] Many good general lessons about the longsword.

9	If you would like to see skill, see that you go to the left then right with the cuts.
10	And left with right, if you want to fight strongly.

Glosa. This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight strongly and correctly. When you want to cut from the right side, stand with your left foot forwards; and when you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards the other side, in front of the left foot.

[3]

Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well.

Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward.

If you strike an Oberhau from the right side then, follow the blow with your right foot.

If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side.

[11v.2] Das ist der text von vil gu°tter gemainer lere des langen schwerts

Willtu kunst schowen
Sich linck gen vñ recht mitt hawen
Vñ linck mitt rechtem /
ist dz du starck gerst fechten :·

Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du die hew võ baÿden sÿtten recht solt lernen hawen Ist dz du annders starck vñ gerecht fechten wilt Dz ver nÿm allso Wenn du wilt howe~ von der rechten sÿtten So sich dz dein k lincker fu°ß vor stee Vñ wenn du wilt howe~ võ der lincken sÿtten so sich dz dein rechter fu°ß vor stee Haw Häustu dann den ober haw° von der rechten sÿtten so folg dem haw nach mitt dem rechten fu°ß tu°st du dz nicht / so ist der how falsch vnd vngerecht wann dein [12v.1] rechte sÿten pleibpt dahinden Daru~ ist der haw zu° kurcz vñ mag sein rechten gang vndersich zu° der rechten sÿten andere~ sÿtten vor dem lincken fu°ß nicht gehaben

[06v.1] Das ist der Textt von viel gutten gemeinen lere des lang~ schwerdts.

Wiltu kunst schauen
sich lingck gehen vnd recht mit hauen
vnd ling mitt rechten
ist das du strackh [sic] begerst fechten.

Glosa. Merck das ist die erste lere des langen schwerdts, das du die hew von beyden seitten recht solst lernen hauen, Ist das du anderst starck vnnd gerecht fechten wilt, das vernym also wen du wilt hauen, von der rechten seiten, so sich das dein lingker fueß vorstee, vnnd wen du wilt hauen, von der lincken seytten so sich das dein rechter fuß vorstee, hastu dan den vberhaw von der rechten seiten, so volge dem haw nach, mit dem rechten fuß, thustu das nicht so ist der haw falsch vnd vnrecht, wenn dein rechte seiten bleibet dahinden, darumb ist der haw zw kurtz vnd mag seinen rechten ganng vnder sich zw der andernn seiten vor dem lincken fueß nicht gehaben,

[4] The same when you cut from the left side and [you] do not accompany the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you accompany the cut with the same foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.

[4] The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.

[4] Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of your techniques correctly and with strength. And in the same way should all the other cuts be performed.

[4] If you strike from the left side and you do not follow the blow, it too is wrong,. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.

[12v.2] Des glÿchen wenn du haw°st von der lyncken sÿtten vnd dem haw nicht nachfolgest mitt dem lincken fu°ß so ist der haw° och falsch Daru~ so merck von welcher sÿtten du haust / dz du mitt dem selbige~n fu°ß haw° nachfolgest so magstu mitt sterck alle dein stuck gerecht trÿbeñ Vnnd also süllen alle andere hew° [13r.1] och gehawen werden ~:·

[06v.2] deßgleichen wen du haust von der lincken seiten, vnd dem haw nicht nach volgest mit dem lincken fueß, So Ist der haw auch falsch, Darumb so merck von welcher seitten du hawest, das du mit dem selbig~ fueß, dem haw nachvolgest, so magstu mit stercke alle deine stucke gerecht treiben, vnd also sollen all ander hew auch gehauen werdenn.

[5] Again, the text about a lesson

11	Whoever chases after cuts They permit themselves little opportunity for art.
12	Cut from close proximity whatever you wish No change gets past your shield
13	To the head, to the body Do not omit the stingers^[30]
14	With the entire body Fence whatever you desire to conduct with strength.^[31]

Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themselves little opportunity from art because they often become struck with it.

[5] Again, the text about a lesson

11	Whoever chases after hews, They allow themselves to hardly enjoy the art.
12	Hew nearby, whatever you wish: No change comes in your shield;
13	To the head, to the body, Do not omit the fleshwounds.^[32]
14	With the entire body fence Whatever you desire to conduct strongly.^[33]

Gloss. Note, this is^[34] when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.

[5] A further lesson

11	He who goes after the cut, receives little joy from his skills.
12	Cut closely, then do what you want so he cannot to change-through your defence.
13	Strike to the head, to the body, do not refrain from swift strikes.
14	Fence with the whole body if you want do this with strength.

Glosa. When you come against him in Zufechten you shall not await his attack, and neither shall you wait to see what he is thinking about doing to you. All fencers who are hesitant and wait for the incoming attack, and do nothing other than to ward it away, they gain very little joy from this sort of practice because they are often beaten.

[5]

When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often.

[13r.2] Der text aber võ aine~ lere

Wer nach gat haw°en /
der darff sich kunst wenig fröwen
Haw nachent waß du wilt
kain wechsel kumpt in dein schilt
Zu° koppff zu° lÿbe /
die zeck nicht vermÿde /
mitt ganczem lÿb
ficht waß du strarck gerst zu° trÿben :·

Glosa Wenn du mitt dem zu°fechten zu° im kumpst so solt du vff sein hew nicht sechen noch warten wie er die gegen dir trÿbt wann alle fechte~ die do sechen vñ warten vff aines anderen hew Vnnd wellend anderß nichtß nicht~ thon [13v.1] dañ verseczen die durffen sich söllicher kunst wenig fröwen wann sÿ werden do bÿ offt geschlagen

[6v.2] Der Textt aber von einer Lehre

Wer nach gehet hauen
der darff sich kunst nicht frewen
Haw nahet was du wilt,
kein wechseler kombt an den schildt
zw kopff zw leib
die zeckrur nicht vermeydt,
mit gantzem leyb
ficht was du starck begerest zw treybenn.

[07r.1] Glosa. Mercke das ist wen du mit dem zufechten zw im kumbst, so soltu auff sein hew nicht sehen auch noch wartten, wie ehr die gegen dir treybtt wenn alle fechter die da sehen vnd wartten, vff eines andern hew, vnnd wöllen anderst nicht thun, wen versetzen die bedurffen sich solcher kunst wenig freuen wann sie werden dabey offtt geschlagen.

[6] Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.

[6] Item. You shall^[35] note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).

[6] Always fight with the strength of the whole body! Cut close into him, to the head and to the body, so he cannot change-through in front of your point. And when the cut ends up in the bind you shall not hesitate but shall quickly and fluently make attacks against the nearest opening, using the five strikes and other techniques that will be described later.

[6] Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques.

[13v.2] Item du solt mercken alles dz du fechten wilt dz trüb mitt ganczer störck deines lÿbs Vnnd haw im do mitt nahent ein zu° kopff vñ zu° lÿb so mag er vor dinem ort nicht durch wechslen Vñ mitt dem haw° solt du im den anbinden des schwerts der zek zeckru°re nicht vermyden zu° der nächsten blöß di dir hernach in den fünff hewen vnd in anderen stucken vßgericht [14r.1] werden ~~ :·

[07r.2] Item merck alles was du fechten wilt, das treib mitt gantzer sterck deines leybes, vnnd haw im damit nahẽt zw dem kopff, vnd zu dem leyb, So mag ehr von deinem ort nicht durch gewechselnn vnd mit dem haw soltu in dem anbinden des schwerdts der Zweck rur nicht vermeydenn zẅ der negsten blöße die dir hernach in denn funff hewenn vnd In andern stucken ausgericht werdenn.

[7] Again, a lesson.

15	Hear what is bad. Do not fence lefty from above if you are a righty
16	And if you are lefty, In the right [you] are also severely hindered.

Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish.

[7] Again, a lesson

15	Hear what is bad for that: Do not fence from above left if you are right,
16	And if you are left, In the right [you] are also severely hindered.

Gloss. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).

[7] Another lesson.

15	Hear what is bad, do not fence from the left if you are right-handed,
16	and if you are left-handed, you are weak from the right.

Glosa. This lesson applies to two types of people: those who are left-handed and those who are right-handed. When you come against him in Zufechten, if you are right-handed and want to strike him, you must not throw your first cut from your left side. That is because this is weak and cannot bring strength to bear if he binds the strong of his blade against you. Therefore, cut from your right side, so you can be strong and skillful in the bind and can do as you will.

[7]

Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like.

[14r.2] aber ain lere

Höre waß du schlecht ist /
ficht nitt oben linck / so du recht bist
Vñ ob du linck bist
Im rechte~ auch ser hinckest ·:

Glosa Mörck die lere trifft an zwu° personen aine~ lincken vnd ain grechten / vñ mainest den man zu° schlagen So haw° den ersten haw° Das vernÿm also. Wann du mitt zu° fechten zu° im kumpst Bist du dann gerecht vñ mainest den man zu° schlachen So haw den erste~ haw° nicht von der lingen sÿtten Wann der ist schwach vnd magst damitt nicht [14v.1] wider gehalten wann man dir starck daruff bindt Darum so haw der rechten sÿtten / so magst du starck am schwert mitt kunst arbaÿten waß du wilt

[07r.3] Aber ein lehre.

Hor was da schlecht ist
ficht nit oben lingck so du recht bist,
vnd ob du lingck bist
im rechten auch sere hinckest,

Glosa. Merck die lehre trifft an zwo p~son einem lingcken vnd einem rechten, vnd das vernym also wen du mit zufechten zw im kumbst, bistu den gerecht, vnd meinst, den man zu schlagen, so haw den ersten haw nicht, von der lincken seyten wan ehr ist schwach vnd magst damit nit wyderhalten wan man dir starck darauff bindt darumb so haw von der rechten seiten so magstu starck am schwerd mit kunst arbeiten was du wilt,

[8] The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.

[8] The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.

[8] Similarly, if you are left handed, do not cut from the right, because the art is pointless when a left-hander tries to fence from the right side. Likewise this statement applies to a right-hander fencing from the left side.

[8] So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa.

[14v.2] Des gelichen Bist du linck so haw° och nitt von der rechtt~ wenn die kunst ist gar wild aine~ lincken ze triben von der rechten sÿtten Des glich ist es och aine~ rechten von der lincken sÿtten ~

[07r.4] desgleichen bistu linck So haw auch nicht von der rechten seiten, wann die kunst ist gar wildt einem lincken zu treyben, vor der rechten seiten desgleichen ist sie auch einen rechtem von der lincken hanndt.

[9] This is the text and learn a lesson about before and after.

17	Before and After, the two things Are the singular origin of the entire art.
18	Weak and strong Indes, note them with this word
19	So that you may learn To work and ward with art.
20	Whoever frightens easily Never learns to fence.

Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing.

Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.

[9] This is the text and a lesson about before and after

17	Before and after, the two things Are the one origin of all art.
18	Weak and strong, In-the-moment; with that mark the word.
19	Thus, you may learn To work and ward with art.
20	If you frighten easily, Never learn any fencing.

Gloss. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours.^[36] Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.

[9] A lesson about "Before" and "After".

17	"Before" and "After", these two things, all other skills spring from these.
18	"Weak" and "Strong", "Instantly", mark well these words.
19	So you can learn to work skillfully and defend yourself.
20	If you become gentle and timid, you will never learn anything about fencing.

Glosa. Mark well that more than anything else you must understand "Before" and "After", because these two concepts are the grounding from which all fencing comes. Mark also: "Before" means that you shall always perform a strike or thrust against his openings, before he does the same to you. Then he must defend against you! And work deftly both in the defence and in moving your sword from one opening to another, so he cannot have the chance to perform his own techniques between yours. But if he rushes in close to you, deal with him through wrestling.

[9]

Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, preempting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling.

[14v.3] Daß ist der text vñ lere ain lere von vor und nach

Vor vñ nach die zwaÿ dinck /
sÿnd aller kunst ain vrsprimg
Schwöch vñ störck
/In/des/ daß wort domitt mörck
So magst [15r] du leren
mitt kunst arbaiten vñ wereñ
Er schrickstu gern /
kain fechten nim~er lern gelerñ ·:

Glosa Merck dz ist dz du vor allen sachen wol solt verston daß vor und daß nach / wann die zwaÿ ding sind ain vrspru~g do alle kunst des fechtenß außgät Daß vernÿm also Daß for das vor daß ist dz du all weg solt vorkum~en mitt aine~ haw° ode~ mitt aine~ sch stich Im zu° der blöß Ee wann er dir zu der deinen so mu°ß er dir verseczen / so arbaÿt in der versachung behentlich für dich mitt dem schwert [15v.1] von ainer be blöß zu° der andere~ so mag er vor deiner arbaÿt zu° seine~ stucken nicht kom~en Aber laufft er dir ein eÿnn So kom~e fo vor mitt dem ringen ~~~≈~~~~~~~

[10] Here note that which is called the after.

Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you.

Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play.

[10] Here note that which is called the after

Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play.

[10] Mark, that which is called "After".

Mark, that if you cannot come in the "Before", wait for the "After". This will defeat all techniques that he does against you. When he comes at you so that you must defend yourself against him, so work deftly "in the Instant" with your defence against his nearest opening, so strike him before he can finish his technique.

[10] "After" means:

If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement "simultaneously" (Indes) and from the bind, strike immediately at his nearest opening.

[15v.2] Hie mörck was da haÿsst daß nach

Mörck magstu zu° dem vor nitt kom~en So wart uff dz nach dz sÿnd die brüch uff allen stu°ck die er vff dich trÿbt Das vernÿm also Wann er vorkumpt daß du ihm verseczen mu°st So arbait mitt der versäczung / Indes behentlich für dich zu° der nächsten blöß So triffestdu in ee Wann [16r.1] er sein stuck verbringtt

[11] Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.

And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist^[37] when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.

[11] Thus you have seized the before and he remains after. You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist^[38] when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.

[11] Thus you win the "Before" and he is left in the "After". You shall also know how you can use "the Instant" against his "weak" and "strong" parts of the sword. From the hilt of the sword to the blade's centre the sword is "strong", and with this you can meet against his blade when you bind against it. And further, from the middle to the point the sword is "weak", which should not be brought against his blade. And when you really understand these things you can work skillfully and defend yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in play and earnest. But if you become frightened easily you should not learn fighting arts, because a weak and frightened heart—it does not help you—it defeats all of your skills.

[11] So you win the "before" and he remains in the "after". Also, you should – during the "before" and "after" – notice "simultaneously" (Indes) how you can "work" against the strong or the weak of his sword.

This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well.

Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated, regardless of all skill.

[16r.2] Also gewinstu aber dz f vor Vñ er blÿpt nach Auch soltu in dem vor vñ nach mörcken wie du mitt wort /in des/ arbaitten solt nach der schwech vnd nach der störck seines schwertß Vnd das vernÿm Also Von dem gehulcze des schwerts by biß in die mitten der clingen Hatt dz schwert fin sin störcke dar mitt du wol magst wide~ gehalten wann man dir dar an bindt Vñ fürbaß von der mitt biß an den ort hat es sein schwöch da magst nitt nicht wider [16v.1] gehalten Vñ wenn du die ding recht verstest So magstu mitt kunst wol arbaitten vñ dich darmitt wören vñ fürbaß lerne~ fürsten vñ her~eñ dz sÿ mitt der selbige~ kunst wol mügen besten In schim~pff vñ in ernst Aber erschrckstu gern so saltu die kunst des fechtens nitt lerne~ Wann ain blöds verzags hercz dz tu°t kain gu°t wann es wirt bÿ aller kunst geschlagen ~ ~ ~

[12] The text of the five cuts

21	Learn five cuts From the right hand, whoever invests in these,
22	We swear to them To gladly pay them back in skills.

Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themselves against you in defense. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.

[12] This is the text of the five hews

21	Learn five hews From the right hand against the defense.^[39]^[40]
22	We happily consign^[41] them To the rewards^[42] in the Arts.

Gloss.^[19] Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews,^[43] when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.^[44])

[12] The Five cuts.

21	Learn five cuts from the right hand. He who can defend himself with these,
22	he should be praised, his skill rewards him well.

Glosa. Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about. You will learn not to strike any other cuts when you come from the right side against one who stands against you in defence. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who can counter with these against an opponent without being hurt will be praised by the master of the markverses, and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.

[12]

[16v.2] Der text võ den fünf hewen

Fünff hew° lere
von der [17r] rechten hand Wer dz wäre
dem wir geloben /
in kunsten gern zu° lonen ~:·

Merck die zedel seczt fünff verborgne hew° Da von vil maiste~ des schwerts nicht wissen zuo zu° sagen Die soltu anders nicht lerne~ hawen wann võ der rechten sÿtten gege~ dem der sich gegen dir stöllet zu° der were Vñ versu°ch öb du mitt aine~ haw vsß den fünffen den man mitt dem ersten schlag mügest treffen Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt Von dem maiste~ der zedeln daß im siner kunst [17v.1] bas gelonet soll werde~ dann aine~ andern fechtern der wÿde~ die funff hew nicht fechten kann Vñ wie du die fünff hew howen solt / dz fündest du in den selbigen funff hewen her nach geschriben /

[07v.1] Das ist der Text von denn funff hewenn.

Funff hewe lehre
von der rechten hanndt wyde[r] die wehre
dem wir geloben
in kunsten geren zu lohnn.

Glosa. Merck die zedtel setz verbo[r]gen hew daruon viel meister des schwerdts nit wissen zu sagen die soltu anderst nicht lerne[n] hauen wan von der rechten seytten gegen de[n] der sich gegen dir stellet zur wehre vnnd ve[r]such ob du mitt einem haw aus denn funff[?] den man mit dem ersten schlag mugst treffe[n] wer dir die brechen kan, an sein schaden den soll wirt gelobett vonn dem meister der zetel da[s] im sein kunst böß gelonet sol werd~, wen einem anndernn fechter der wider die funff haw nit fechtenn kann, vnnd wie du die funf hew hawen solt, das vindestu hernach geschribenn.

[13] This is the text of the plays of the recital

23	Wrathcut Crook and Cross, If the Eye Cocker keeps with the Parter,
24	The Fool parries. Pursuing, Overrunning, places the attack
25	Disengage, Suddenly withdraw, Rush through, cut off, press the hands
26	Tilt and Turn to uncover with Slash, catch, sweep, stab to clash with

Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them.

They are seventeen in number and begin with the five cuts

[13] This is the [text] of the plays of the Recital

23	Wrath-hew, crooked, thwart Has squinter with parter
24	Fool displaces Following-after, run-over
25	Set the hew, change-through, yank Run-through, cut-off, press the hands
26	Hang and with openings Strike, catch, sweep, thrust with blows.

Gloss. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.

[13] The techniques of the markverses.

23	Wrath strike, crooked strike, crosswise, squinting, with Parting
24	breaking the Fool, follow after, go over,
25	cut, change through, twitch, rush in, slice, press the hands,
26	hanging guard, and with openings, strike, catch, sweep and thrust with the point.

Glosa. Here are listed the correct and most important techniques in fighting with the longsword, they are named specifically so that you may understand them better. They are seventeen in number and begin with the five cuts.

[13] Overview of The Fighting Techniques

Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen techniques and they start with the five strikes.

[17v.2] Das ist der võ den stucken de~ zedeln

Zorn haw · krump · zwerch
hat Schiller / mitt schaittler
Alber verseczt /
nachraÿsen Vberlauff hav haw seczet
Durch wechsel zuck
durch lauff abschnide / hende dn druck /
heng vñ mitt blössen
schlach vach streÿch sch stich mitt stossen ~·:·~

Glosa [18r.1] Mörck hie werden genampt die rechten haüptstucke der kunst deß langen schwerts wie ÿettlichs besunde~ haist mit dem namen / daß du die dester baß ver sten kündest Der ist sibenzechen an der zal Vnd heben sich an den funff hewen an / ~~

[14] Another. Now note the first cut called the wrath-cut
The second the crooked cut
The third the crosswise cut
The fourth the cockeyed cut
The fifth the scalp-cut
The sixth this is the four guards
The seventh the four parries
The eighth Pursuing
The ninth the overrunnings
The tenth the displacements
The eleventh disengaging
The twelfth yanking back
The thirteenth the rush throughs
The fourteenth the cut offs
The fifteenth the hand presses
The sixteenth the hangings
The seventeenth this is the winds

[14] Item. Now note the first hew called the wrath-hew
The second the crooked-hew
The third the thwart-hew
The fourth the squint-hew
The fifth the scalp-hew
The sixth they are the four guards
The seventh the four displacements
The eighth the following-after
The ninth the running-over
The tenth the setting-aside
The eleventh the changing-through
The twelfth the yanking
The thirteenth the running-through
The fourteenth the cutting-off
The fifteenth the hand-pressing
The sixteenth the hanging
The seventeenth they are the windings

[14] The first cut is called the wrath strike,
the second is the crooked strike,
the third is the crosswise strike,
the fourth is the squinting strike,
the fifth is the parting strike,
the sixth: these are the four guards,
the seventh is the four displacements,
the eighth is travelling after,
the ninth is the over reaching,
the tenth is the setting aside,
the eleventh is changing through,
the twelfth is the twitching,
the thirteenth is the running through,
the fourteenth is the cutting],
the fifteenth is the hand pressing,
the sixteenth is the hanging,
the seventeenth: this is the windings.

[14] 1. The first strike is the strike of wrath (Zornhau)
2. The second one is the "crooked strike" (Krumphau)
3. The third one is the Zwerchhau
4. The fourth one is the squinting strike (Schielhau)
5. And the fifth one is the "parting strike" (Scheitelhau)
6. Sixth there are the four basic guards
7. Seventh there are the four techniques of displacement (Versetzen)
8. Eighth there is the Nachreissen ("Traveling after")
9. Ninth there is the Overrunning (Ueberlaufen)
10. Tenth there is the setting aside (Absetzen)
11. Number eleven is the changing through (Durchwechseln)
12. The twitching (Zucken)
13. The running through (Durchlaufen)
14. The cutting off (Abschneiden)
15. The pressing of the hands
16. The "Hanging"
17. And finally there is the Winding

[18r.2] Item num nun mörck der erst haw haist der zorn haw
Der ander der krump haw
Der drit der zwer haw
Der viert der schill haw
Der funfft der schaittel/haw
Der sechst daß sind die vier [18v.1] hütten
Das sÿbent die vier verseczen
Das acht die nachraisen
Das neindt die überlauffen
Das J zechend die abseczen
Daß aÿlfft daß durchwechßlen
Das zwülfft daß zucken
Daß drÿzehend die durchläuffen :/
daß vierzehend die abschnÿden :
daß funffzehend die hend trucken
Daß sechzehend die hengen
Daß sibenzehend · daß sind die winden

[15] And how you shall uncover with the hanging and winding and how you shall conduct all the forenamed plays, you find that all written hereafter.

[15] And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.

[15] And how you will perform the hanging and windings, and how you shall perform all these named techniques, all this you will find written hereafter.

[15]

[18v.2] Vnnd wie du dich mitt den heng~ und winden enplösen solt Vnd wie du alle vorgenampte stuck trÿben solt daß vindestu alles her nach geschriben ~ ~ ~ ~ :·

[16] This is the wrath-cut with its plays

27	Whoever cuts at you from above, The wrath-cut point threatens them

Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.

[16] This is the wrath-hew with its plays

27	Whoever hews over^[45] you, The wrath-hew point threatens him.

Gloss. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your^[46] right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).^[47]

[16] Do the Zornhau with these techniques.

27	That which cuts from above, the Zornhau threatens him with the point.

Glosa. When someone cuts against you from above from their right side, so cut with a strong Zornhau (wrath strike) with the long edge from your right shoulder. If he is weak in the bind, thrust in with the point along his blade to his face, and threaten to stab him.

[16] The Fighting Techniques: The Strike of Wrath and the Winding

Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade.

[19r.1] Das ist der zorn haw° mitt sinen stucken ~

Wer dir ober haw°et
Zor haw ort im dröwet ·:

Glosa Daß vernÿm also Wann dir ainer von siner rechten sÿtten oben oben [!] ein hawet so haw ainen zorn haw mitt der langen schnide~ och von diner rechte~ achslen mitt im starck ein Ist der dann waich am schwert / so schüß Im den ort für sich lang ein zu° dem gesicht Vnnd träw im zu° stechen ·~·:·~·

[07v.2] Das ist der Zornhaw mitt seinenn stuckenn.

Wer die oberhawet
Zornhaw ort dm~ trauwet.

Glosa. Das vernim also, wenn dir einer vonn seiner Rechtenn seiten obin inhawet, So haw einenn Zorenhaw mit der lanngenn schneyden auch vonn der rechten achselnn mit Im starck, Ist er dann waich am schwert, So scheus im den ort fursich, lanng im zu dem gesicht, vnd dro Im zu stechenn, als hernach am nechsten gemachtt stehet.

[17] Yet another play from the wrath-cut

28	If they become aware of it, Then take off above without concern

Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.

[17] Again a play from the wrath-hew

28	If he becomes aware of it, So take-off above without driving.

Gloss. This is^[48] when you shoot-in the point with the wrath-hew (as stands done before next to this):^[47] if he then becomes aware of the point and displaces the thrust with strength, so back-off^[49] your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).^[47]

[17] Another technique from the Zornhau.

28	If he recognises this, so lift off above without danger.

Glosa. When you thrust after a Zornhau and he becomes aware of the point and strongly defends against the thrust, twitch your sword up, over and away from his sword and cut him on the other side of his sword up into his head.

[17]

When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade.

[19r.1] Aber ain stuck vß dem zorn haw°

Wirt er es gewar
So nÿms [19v.1] oben ab an far :·

Glosa Wann du mitt dem zorn haw den ort ein schüst wirt er dann deß orts gewar vñ verseczt den stich mit störcke So ruck dein schwert übersich oben ab von dem sinen Vñ haw im zu° der andren sÿtten an sine~ schwert wider oben ein zuo dem kopffe ~~

[07v.3] Aber ein stuck aus dem Zornhaw.

[08r.1] Wirtt es gewar,
so nim obenn abe onefar.

Glosa. das ist, wenn du Im mit dem Zornhaw denn ortt inschust, als vor am nechstenn gemachtt stet, Wirt er dan des orttes gewar, vnnd versetzt denn stich mit sterck So ruck dein schwert vbersich oben ab von dem seinen vnnd haw im zu der Anndernn seitenn ann seinẽ schwert wider oben in zu dem kopff als hie gemachtt stett.

[18] Yet another play from the wrath-cut

29	Be strong in turn And thrust. If they see it, take it again[sic]^[50]

Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.

[18] Again a play from the wrath-hew

29	Be stronger back And thrust. If he sees it, take it down^[51]

Gloss. Note, this is^[34] when you cleave-in with the wrath-hew (as stands done before next to this):^[47] if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).^[47]

[18] Another technique from the Zornhau.

29	Become stronger against and thrust! If he marks this, take it below.

Glosa. When you cut in against him with a Zornhau and he defends himself and holds backs, strong against you in the bind, so become strong again against him in the bind and push up with the "strong" of the sword against the "weak" of his sword, and wind your hilt high in front of your head, and thrust down from above into his face.

[18]

When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above.

[19v.2] Aber ein stuck vß de~ zornhaw°

Biß störcker wider /
vnd sch stich sicht erß so nÿm es wider ·:

Glosa Wenn du im mitt dem zornhaw° Inhaw°st verseczt er dir daß vñ pleibt dir damitt [20r.1] starck am schwert So bÿß gen im wider starck am schwert Vñ far uff mit der störck dines schwerts in die schwöchi sines schwerts vnd wind am schwert de din gehülcz f~ vorne~ für dein hopt haupt vñ so stich in oben zu° dem gesichte ~

[08r.2] Aber ein stuck aus dem Zornhaw.

Bis stercker wider,
vnnd stich, sihet ers so nim es nider.

Glosa. Merck das ist, wenn du Im mit dem Zorenn inhawest, als vorn am nechstenn gemacht stet, Versetzt er dir das, vnnd bleibt dir damit starck am schwert, So biß gen Im wider starck am schwert, Vnnd far auf mit der sterck deines schwerts, Inn die schweche seines schwerts, vnnd winde am schwerte dein gehiltz, vorn vor deinem haupt, vnnd stich Im oben in zu dem gesicht als hie gemalt stet.

[19] Yet another play from the wrath-cut

When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.

[19] Again a play from the wrath-hew

When you thrust-in high with the winding (as stands pictured^[19] before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).^[47]

[19] Another technique from the Zornhau.

When you use the winding against him and thrust down from above—as mentioned already—and he pushes up high with the hands and uses the hilt to defend against your upper thrust, so stand in the winding and thrust your point downwards between his arms and chest.

[19]

When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast.

[20r.2] Aber ain stuck vß dem zornhaw°

Wann du^Immitt dem winden oben ein stichst / alß vor stett / fört er den hoch vff mitt den henden vñ versetzt mitt dem gehülcze den obern sttich stich so plÿb alst also sten in dem winden vnd setz im den ort [20v.1] niden zwischen sinen armen vñ der brust ~ ~~

[08.3] Aber ein stuck aus dem Zornhaw.

Wenn du Im mit dem winden obein instichst, als vor gemalt stet, fert er dann hoch auf mit den hendenn, Vnnd versetzt mit dem gehiltz den oberstich. So beleib also stehenn in dem winden, vnnd setz im den ortt niden zwischen seinen armen ann die brust, als hie vnden gemalt stet.

[20] A break against the taking off

Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind ^[52]strongly with the long edge from high towards their head.

[20] A break against the taking-off

Note, when you bind with someone strongly on his^[53] sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in^[54] strongly with the long edge high to his head.

[20] A counter to the taking-away.

When you bind strongly against him and he twitches away his sword up and over your sword and in the bind cuts against you on the other side of your sword to your head, so bind (strike) strongly with the long edge in against his head.

[20]

Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head.

[20v.2] Ain bruch wide~ daß abneme~

Mörck wenn du mitt ainem starck am schwert bindest Ruckt er dan sein schwert übersich oben abe von dine~ schwert vñ haw~t dir zu° der andere~ sÿtten am schwert wider eÿn zuo dem kopffe So bind starck mitt der langen schnÿden Im oben eÿn zu° dem kopffe ~~

[08r.4] Ein bruch wider das abnemenn.

[08v.1] Merck du wenn du mit einẽ starck an sein schwert bindest, ruckt er dann sein schwert vbersich oben ab, vonn deinem schwert, vnd hawt dir zu der anndern seitenn am schwert wider in zu dem kopff, So wind starck mit der lang~ schneiden im oben in zu dem kopff.

[21] Here note a good lesson.

30	Note this precisely: Cut, thrust, guard; soft or hard,
31	Indes and before after[sic]^[55] Without rush, your war is not hasty.^[56]
32	Whoever hunts the war Above, will be exposed below.

Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush^[57] upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.

[21] Here note a good lesson

30	Note this precisely: Cut, thrust, leaguer; soft or hard,
31	In-the-moment^[58] and drive-after[sic] Without hurry. Do not rush your war:^[59]
32	Whoever's war aims Above, they become ashamed below.

Gloss. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work^[60] upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.

[21] A good lesson.

30	Note to train this: cut, thrusts, guards—soft and hard.
31	"Instant" and "Before", "After" without hurry. Do not seek close combat prematurely.
32	Those who aim for close combat before they are ready, are cut down.

Glosa. When one binds against your sword with a cut or thrust or anything else, you must find out whether he is soft or hard in the bind. And when you find this, you will "Instantly" know what is best to do, to attack him with "Before" or "After". But in the attack you shall not be too hasty to go into close combat, because close combat is nothing other than the windings in the bind.

[21]

You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.

[20v.3] Hie mörck ain gu°tte lere

Das öben mörck /
Haw stich leger waÿch oder hört
In des vñ fär nach /
on hurt dein krieg sich [21r] nicht gäch
Weß der krieg ri riempt
oben nÿder wirt er beschämpt ·:

Glosa Daß ist dz du gar eben mörcken solt wann du dir aine~ mitt ainem haw~ oder mit aine~ stich oder sunst an din schwert bintt bindet ob er am schwert waich oder hört ist vñ wenn du das enpfunden hast So solt du /In das/ wissen welchses dir am beste~ sÿ ob du mitt dem vor oder mitt dem nach an in hurten solt Abe~ du solt dir mitt dem an hurten nicht zu° gauch laussen sÿn mitt dem krieg wenn der krieg ist nicht anders dann die winden am [21v.1] schwert

[08v.2] Hie merck ein gute lehre.

Das eben merck
hew stich leger weich oder herte
Jun ger [sic], vnd far nach
an hürt dein krieg, sey nit goch,
wes der krieg remet
oben nider, wirt er beschemet.

Glosa. Das ist, das du gar ebenn mercken solt, wẽ dir einer mit einem haw oder mit einem stich, oder sonst ann dein schwert bindet, ob er am schwert waich oder hert ist, vnnd wen du das empfunden hast, So solt in dan wissen, welches da am besten sey, ob du mit dem vor, oder mit dem nach arbeiten solt, aber du solt dir damit nit zu goch lassen sein, mit dem krieg, wen der krieg nit anderst ist, wen das windenn am Schwert.

[22] Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.

[22] Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.

[22] Perform close combat like this: when you cut against him with a Zornhau, when he defends himself quickly, you shall go up in an orderly fashion with the arms and wind against his sword with your point in against the upper opening. If he defends against this thrust, stand in the winding and thrust with the point into the lower openings. If he follows further after the sword in self defence, go under his sword with the point through to the other side and hang your point over in against the other opening on his right side. In this way he will be cut down in close combat both above and below, because you (unlike he) can perform the movements correctly.

[22] In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under – "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.

[21v.2] Item den krieg trÿb also Wam [!] du Im mitt dem zorn haw~ In haw~est Alß bald er dann verseczt so far wol vff mitt den armen vñ wind im den ort am schwert ein zu° der obern blöß verseczt er denn den stich So blÿb sten in de~ winden vñ stich mitt dem ort die vnder blöß folgt er dann fürbaß mitt der versaczu~ge dem ss schwert nach so far mitt dem ort vnde~ sÿn schwert durch vñ heng im den ort oben ein zu° de~ andere~ blöß sine~ rechten sÿtten Also wirt er mitt dem krieg oben vñ vnden beschämpt Ist daß du die ge/ [22r.1] fört andrest recht kanst trÿben ~

[08v.3] Item denn krieg treib also, wenn du Im mit dem Zornhaw inhawest, als bald er denn versetzt, so far wol auf mit denn Armen, vnnd windt im den ort am schwert in zu der obern bloß, versetzt er dan den stich, so beleib sten in dem winden, vnnd such mit dem ort die vntern bloß. Volgt er dann furbas mit der versatzung deinem schwert nach, so far mit dem ortt vnter sein schwert durch, vnd heng Im denn ort oben [09r.1] in zu der anndern ploß seiner rechten seiten, also wirt er mit dem krieg oben vnd vnden beschemet, ist das du du [sic] gefert anders recht kannst treybenn.

[23] How one shall properly find cuts and thrusts in all windings

33	In all winding Learn to properly find cut, thrust.
34	You shall also with that gauge, cut, thrust or slice
35	In all encounters Of the masters, if you wish to dishonor them.

Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct^[61]. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themselves against you.

[23] How one shall properly find hews and thrusts in all winding

33	In all winding, Learn to properly find hew, thrust.
34	You shall also, with Testing, hew, thrust, or cut
35	In all hits If you wish to confound the masters.

Gloss. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut.^[62] Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut.^[63] And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm.^[64] Remember this^[19] in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.

[23] How one in all windings shall find correct cuts and thrusts.

33	In all windings learn correctly to find the cut and the thrust.
34	You shall also test with cut, thrust or slice,
35	in all fights if you want to beat the masters.

Glosa. That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind, you shall become immediately aware of which the three will work best for you to use. This is so that you do not cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also: if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves against you.

[23]

[22r.2] Wie man In allen winden hew° stich recht vinden sol ~

In allen winden
hew stich recht lern finden
Auch soltdu mit brüch
brüffen / hew stich oder schnitt
In allen treffen
den maistern wilt du sÿ effen ·:

Glosa Daß ist daß du in allen winden hew stich vñ schnitt recht finden solt Also wenn du windest dz du da mitt zu° handt solt brüffen weches dir vnder den de drÿen daß best sÿ zu° triben al also dz du nicht hav~est wann du steche~ solt vñ nit schnidest wañ du hawen solt vñ nicht stechest [22v.1] wann du schniden solt Vñ mörck wan man dir der aÿnes verseczt dz du in mitt dem andern treffest Also / versecz man dir den stich so trÿb treÿb den haw° Laufft man dir eÿnn so treÿb den vndern schnitt In sin arm des morck in allen treffen vñ anbinden der schwert wilt du anderst die maister effen die sich wider dich seczen ~~ : ~ :·

[09r.2] Wie mann in den winden hew, stich gerech[t] findenn sol.

Inn allenn windenn
hewen stich, schnit recht lere find[ẽ]
auch soltu mit
prufen hew, stich, oder schnit,
in allen treffenn
denn Meisten, wiltu sin effen.

Glosa. Das ist, das du in allen windenn, hew stich vnnd schnit recht findenn solt, Also wenn du windest, das du damit zu hand prufen, welches dir vnter den treyẽ das beste sey zu treybenn, der hew, oder stich, od~ schnit, also das du nit hawest, wen du stechenn solt, Vnnd nit schneidest, wenn du hawen solt. Vnnd merck, wen man dir der eins versetzt, das du In mit dem andern triffest, das merck in allen treffen, vnnd anbinden der schwert, wiltu anders die meister effen die sich wider dich setzenn.

[24] About the four openings

36	Know to target the four openings; Thus you strike wisely.
37	Go upon all Without doubt how he bares.

Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themselves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.

[24] About the four openings

36	Know to target the four openings; Thus you strike wisely.
37	Go upon all Without doubt how he bares.

Gloss. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is^[65] the left side^[65] above the girdle of the man. The other two are also the right and the left sides below the girdle. In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and^[66] with following-after, and also with the winding upon the sword,^[47] and otherwise with all techniques, and do not pay attention^[67] to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.

[24] The four openings.

36	Learn four openings, aim to strike these with safety,
37	without any risk, without doubt about what he can do.

Glosa. Here you will learn about people's four openings, against which you will always fence. The first opening is on the right sight, the second on the left side, above the man's belt. The other two are likewise on the right and left sides under the belt. Always pay attention to the openings in Zufechten. His openings you shall skillfully seek without danger: with thrusts with the the outstretched point, with travelling after and with all other techniques. And do not pay heed to what he tries to do with his techniques against you, but fence with belief and throw strikes that are excellent and that do not allow him to come at you with his own techniques.

[24]

These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes.

Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques.

[17r] Item du solt wissen welche ploß der man gegen dir entplost der selben ploß reme künlichen an var mit ÿn schissen des langen ortz vnd mit noch riessen vnd mit winden am schwertt [17v] vnd auch süns mit namen allen gefertenn vnd acht nicht wie er mit sinen gefertem gegen dir gebare so schlechstu In gewisß ~

[22v.2] Von den vier blossen

Vier bloß wisse /
rem so schlechstu gewisse
an alle for /
on zwifel wie er gebar ·:

Glosa Hie soltu morcken die vier blossen an dem man da du all wegen zu° fechten [23r] solt Die erst bloß ist die recht sÿtt seÿtt die ander ist die link seÿtt oberhalben der girtel deß manß Die ander zwuo sind och die recht vnd die linck seÿtten vnderhalben der girtel Der blossen nÿm eben war in dem zu°fechten mitt welcher er sich gege~ dir enblösse der selbigen reme künstlichen on far mitt einschiessen des langen orts mit nachraisen vñ sunst mit allen geförten vñ acht nitt wie er mit sÿne~ geförten gegen dir bar gebar So vichtest du gewisß vnnd schlechst schlege daruß die do treffenlich sind vnd lau laust in domitt zu° seine~ stucken nitt komen ~~~ : ~

[09r.3] Vonn denn vier blossenn.

Vier blosse wiß
reine [sic], so schlechstu gewiß
ann aller var,
one zweifel wirt er gewar.

Glosa. Hie soltu merckenn die vier blossenn ann dem man da du alleweg zu fechtenn solt, die erste bloß ist, die recht seytenn, die ander die linck oberhalb der gürtel des mans, die anndernn zwo sind auch die recht, vnnd die linck seyt vnterhalb der gürtel. Der blossenn [09v.1] nim ebenn war in dem zufechtenn, mit welcher er sich gegenn dir emplöst, derselbenn reine [sic] kunlich an far mit inschiessenn des langenn orts mit nachreysenn, Vnd auch mit denn Winden am schwert, vnnd sonst mit allenn gefertenn, vnnd Achte nicht, wie er mit seinenn geferttenn gegenn dir gepar. So fichstu gewiß, vnnd schlechst schleg daraus die da treflich sindt, vnnd lest in damit zu seinenn stucken nicht kummenn.

[25] The text and the gloss about the doubling and about the mutating. How they break the four openings.

38	If you wish estimate for yourself how To artfully break the four openings
39	Double above Mutate right below
40	I say to you truthfully No one defends themselves without danger
41	If you have properly understood this, They can scarcely come to blows, etc.

Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themselves from that and can neither come to strikes nor to thrusts.

[25] The text and the gloss about the doubling and about the mutating: how they break the four openings.

38	If you wish to reckon yourself,^[68] Artfully break the four openings:
39	Double above, Mutate right^[69] below.
40	I say to you truthfully: No master defends themselves without danger.
41	If you have understood this properly, He may hardly come to blows.

Gloss. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend^[70] himself from that, and may neither come to strikes nor to thrusts.

[25] Explanation of doubling and mutating: how these break the four openings.

38	If you would like to find revenge, skillfully break up the four openings:
39	double over, mutate below correctly.
40	Certainly I say this: no master defends himself without risk.
41	If you have understood this, he can hardly come to blows.

Glosa. When you would like to skillfully break up the four openings for him, use the doubling against the upper openings and the mutating against the other openings. Certainly I say to you that he cannot defend himself against this, and can succeed with neither cut nor thrust.

[25] Mutieren and Duplieren against the four openings:

If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust.

[23v] Der text vnd die gloß von de~ dupliern vnd von dem mutierñ Wie die brechen die vier blossen ~~

Wilt du rechen
Die vier blossen künstlich brechen
Oben duplir /
vnden recht mutier
Ich sag dir für war /
sich scu schücz kain maiste~ an far
Haustu es recht vernom~en
zu° schlage mag er klain kom~en ·:

Glosa Daß ist Wann du dich an eine~ rechen wilt also / dz du im die vier blossen mitt kunst wilt brechen d So trÿb dz dupliern zu° der oberen bo blössen gen de~ störcki seines schwerts vñ daß mutiern zu° der anderen blösß [24r.1] So sag ich dir für war daß er sich dar von nitt schüczen kan vnd mag weder zu° schlachen noch zu° stechen komen ~

[09v.2] Der text vnnd die gloss von dem dupliern vnnd von mutiern, wie die prechenn die vier blossenn.

Wiltu dich rechenn,
die vier blossenn künstlichenn brechenn,
obenn dupliern,
niden recht mutiern,
Ich sag dir furwar,
sich schutzt kein man an far,
hastu vernommenn,
zu schlag mag er klein kommenn.

Glosa, das ist wenn du dich Rechen wilt, an einẽ, also das du Im die vier blossenn mit kunst balde wilt brechenn, So treib das dupliern zu der obernn bloß, gegenn der sterck seines schwerts, Vnnd das mutiern zu der Andernn bloß, So sag Ich dir fur war, das er sich darvor nicht behuetẽ kann, vnd mag weder zu schlegenn noch zu stichen kummenn.

[26] The doubling

Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.

[26] The doubling

Item.^[65] Note,^[19] when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove^[71] your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play^[72] upon the head.

[26] Doubling

When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so "Instantly" thrust your pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands, between the sword and the man. Or cut him with the sword in the head.

[26] Duplieren:

When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head.

[24r.2] Daß dupliern

Item wann du in mitt dem zorn haw° / oder sunst oben eÿn haw~st verseczt er dir mit stöck So stos /In des/ deines schwerts knopff vnder deine~ rechte~ arm mitt der lincken hand vñ schlach in mitt gecruczten henden am schwert hinder sines schwerts cli klingen zwischen de~ schwert Vñ dem mann vff durch daß maul Oder schlach im mit dem stück vff den kopff ~

[09v.3] Das dupliernn.

Merck wenn du Im mit dem Zornhaw, oder sonst oben in hawest, versetzt er dir nit starck, So stos

[27] Note the mutating

Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.

[27] Note the mutating

Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.

[27] Mutating

When you bind against his sword with an Oberhau or something similar, so wind the short edge against his sword and go up in an orderly fashion with the arms; and hang your sword blade over his sword on the outside and thrust into him through the lower openings. This can be done on both sides.

[27] Mutieren:

If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides.

[24r.3] Mörck daß mutiern

[24v.1] Daß mutiern treÿb also. Wenn du im mitt dem obern haw° ode~ sunst an daß schwert bindest So winde die kun kurcze~ schnide~ an sin schwert vñ far wol vff mit den armen vñ heng im dein schwerczs ? clingen vssen über sein schwert vñ stich v im zu° der vndern blösse vñ dz trÿb zu° baÿden sÿtten ~

[28] The crooked cut with its plays

42	Crook up swiftly Throw the point onto the hands

Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.

[28] The crooked-hew with its plays

42	Crook on^[73] swiftly, Throw the point upon the hands.

Gloss.^[74] This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your^[75] right side to the opening^[76] with over- or under-hews,^[77] spring away from the hew with the right foot against him well to his left side, and strike him^[78] with crossed^[79] arms with the point^[74] upon his^[53] hands. And also conduct this play against him when he stands against you in the guard of the oxen.^[80]

[28] Do the Krumphau (crooked strike) with these techniques.

42	Strike the Krumphau deftly, cast the point towards the hands.

Glosa. This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left side; and cut with crossed arms with the point to the hands. And even try this technique against him when he stands against you in the Ox guard.

[28]

The "Krumphau": This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point.

[18v] daß ist wie du krumpt solt haulben zu den henden Daß stuck tribe also wan er dir von diner rechten siten mit dem ober haulb oder vnter haulb zu haulbett so spring vß dem haulb mit dem rechten fus gegen ym woll vff sin lincke siten vnd schlag in mit vß gestreckten armen mit dem vff sin hende

[24v.2] Der krumphaw° mitt sine~ stüken stucken

Krump vff behende /
wirff den ort vff die hende ·:

Glosa Daß ist wie du krump solt haw°en zu° den henden vñ daß stuck trÿb also wenn er dir von deine~ recht~ sÿtten mitt aine~ obern ode~ vndern haw~ zu° der blöss haw~et So [25r.1] spring vsß dem haw° mitt dinem recht~ fu°ß gege~ im wol vff sin Lincke sÿtten vñ schlach in mit gecrüczenten arme~ mitt dem ort vff die hende vñ dz stuck trÿb och gem [!] im wenn er gen dir stätt staut In der hüt deß ochsen ~

[29] Yet another play from the crooked cut

43	Crook. Whoever fully commits Disrupts many cuts with stepping.

Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.

[29] Again a play from the crooked-hew

43	Crook whoever sets well With stepping, he sunders many hews.

Gloss. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall]^[81] over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.

[29] Another technique from the Krumphau.

43	He who uses the Krumphau well with a step, he is able to defend against cuts.

Glosa. This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your openings from his right side, step with your right foot out to his left side and throw your blade across his sword with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut him in the head.

[29]

This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head.

[25r.2] Aber ain stuck vß dem krumphaw°

Krump wer wol seczet
mitt schrÿtten er vil hew~ leczet ~·:

Glosa Daß ist wie du mitt dem komp krump haw° die obern häw abseczen solt daß stuck trÿb also Wann er dir von sÿme sine~ rechten sÿtten oben ein hawet zu° der blosß so schrÿt mitt dem rechten fu°ß vff sÿn lincke sÿten v~ber sin schwert / mit dem ort [25v.1] vff die erden In die schranckhüte dz trÿb zu° baÿden sÿtten Och magstu In vß dem abseczen vff dz haupt schlachen ~

[30] Yet another play from the crooked cut.

44	Hew crooked to the flats of The masters if you wish to weaken them.

Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.

[30] Again a play from the crooked-hew

44	Hew crooked to the flats of The masters if you wish to weaken them.

Gloss. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.

[30] Another technique from the Krumphau.

44	Cut crookedly against the flat side of the masters, if you want to weaken them.

Glosa. When you want to weak a master, use this technique: when he cuts in against you from above from his right side, strike crookedly with crossed hands against his cut above the sword.

[30]

If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword.

[25v.2] Aber ain stuck vsß dem krumhaw°

Haw krump zu° den flechen /
den maistern wiltu sÿ schwechen :·

Glosa Daß ist Wenn du aine~ maiste~ schwechen wilt So trÿb dz stuck also weñ er dir oben einhawt võ sine~ rechten sÿtten So haw~ kru~ mit gekreucztem gekrentzten hende~ gege~ sime sine~ haw vff sin schwert ~

[31] Yet another play from the crooked cut

45	When it sparks above So stand aside, that I will laud.

Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast.

[31] Again a play from the crooked-hew

45	When it sparks above So stand aside, that I will laud.

Gloss. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.

[31] Another technique from the Krumphau.

45	When it comes from above stand back, this I shall praise.

Glosa. When you cut a Krumphau onto his sword, so cut immediately back up from the sword with the short edge, in and down from above onto his head. Or wind the Krumphau with the short edge against his sword and thrust into his breast.

[31]

When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast.

[25v.3] Aber ain stuck vß dem krumhaw°

Wenn es kluczt oben /
so stand ab dz will ich loben ·:

Glosa Dast ist wenn du im mitt dem krumphaw~ vff sin schwert hawst So schlache vom schwert mitt de~ kurczen schnide~ [26r.1] bald wider vff / im oben ein zu° dem kopff Oder windt Im mitt dem krumphaw° die kurczen schnÿden an sin schwert vñ stich im zu° der brust ~ ~

[32] Yet another play from the crooked cut

46	Don't crook, cut short Disengage and with that expose them

Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.

[32] Again a play from the crooked-hew

46	Do not crooked[-hew]; short-hew, With that seek the changing-through.

Gloss. This is when he wishes to cleave-in above from his right shoulder:^[82] so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew^[83] and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.^[47]

[32] Another technique from the Krumphau.

46	Do not Krump, cut short, then see changing-through.

Glosa. When he wants to cut in from his right shoulder, pretend that you want to bind against his sword with a Krumphau. Cut short; and go through with the point under his sword and wind your hilt to your right side over your head, and stab him in the face.

[32]

When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face.

[26r.2] Aber ain stuck vß dem krumphaw°

Krum nicht kurcz haw° /
durch wechsel dar mitt schow :·

Glosa Das ist wenn er dir von siner rechten achseln oben ein will howen So tu° alß ob du mitt dem krumphaw° an sin schwert wöllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~ schwert durch vnd wind vff din rechte sÿttenn dein gehülcz über din höppt vnd stich im zu° dem gesicht ~ ~

[10r.1] oben In wilt hawenn, so thu als du Im mit dem krumphaw ann sein schwert wollest winden, vnd haw kurtz vnnd far mit dem ort vnter seinem schwertt durch, vnnd wind auf dein recht seit deinẽ gehiltz vber dein haupt, vnnd stich im zu dem gesicht, als hie gemalt stet, vnd das stuck bricht die.

[33]

[33] Again^[84] a break against the crooked-hew^[85]

Note, when^[86] you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your^[87] right side and drive well up over your^[88] head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble^[74] war. With that, you^[74] confound him so completely that he does not know where he shall remain before you.^[89]

[33]

[20v] Item ein bruch wider den krümpt haulb

so du im den ortt vnter sin schwertt in schu^est zu siner brust druck er dan mit dem krümpt haulb din schwertt vnter sich zu der andern erden so wind gegen siner rechten siten vnd far mit dem arm woll vff vber dem hauptt vnd setz im den ortt oben an sin brust versetz er dir dz so pleib also stett mit dem gehultz vor dem hauptt vnd arbeitt behendeglich mit dem ort von eÿner plos zu der andern dz [21r] heist der krieg do mit verirrest In so gar dz er nit weiß wo er sich hutten soll ~

[10r.2] Aber ein bruch wider den krumphaw.

Merck wenn du Im den ort vnter seinẽ schwert ein scheust zu seiner brust, als vor geschriben vnd gemalt stet, druckt er dann mit dem krumphaw dein schwert vntersich zu der erdenn, So wind gen deiner rechtenn seittenn, vnnd far mit dem Arm wol auf vber dein haupt, vnd setz im den ort oben an die brust, Als hernach gemalt ist, versetzt er dir das, so beleib also stehenn mit dem gehiltz, vor dem haupt, vnd arbayt behentlich mit dem ort, vonn einer bloß zu der andernn, das heist der odel krieg, damit verwirrest du Inn so gar, das er nicht weis, wo er vor dir beleybenn sol.

[34] Note how one shall break the crooked cut.

47	Whoever foils you crooked, The noble war confounds them
48	That they do not truthfully knows Where they are without danger.

Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.

[34] Note how one shall break the crooked-hew

47	Whoever foils you crooked, The noble war confounds them
48	That they do not truthfully know Where they are without danger.

Gloss. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.

[34] How one should counter the Krumphau.

47	Krumps that foil you; the Noble War confuses him,
48	so that he truthfully does not know where he shall be without danger.

Glosa. When you cut against him from above or from below, from your right side; if he also cuts crookedly from him right side with crossed arms to your sword and thus foils your strike, so bind strongly with your sword. And shoot your point against his breast under the long edge of his sword.

[34]

This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended.

[26r.3] Mörck wie man den krumphaw° brechen sol ~

[26v.1] Krump wer dich Irret /
der edel krieg in verwü°ret
Daß er fürwar
nicht waÿst :wo er sÿ one far :·

Glosa Daß ist Wann du im von diner rechten sÿtten ober ode~ vnden zu° haw~est Hawt er dann och von sÿner rechten sÿtten mit gekreutzen armen krump vff din schwert Vñ verir°et dir do mitt dein hew~ So blÿb mitt dine~ schwert starck an dem sine~ Vnnd schüß im vnde~ dem schwert den ort lang ein zu° der brust etc~

[35] Another break for the crooked cut

Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above. Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.

[35] Another break above the crooked-hew^[85]

Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest.^[90] If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.

[35] Another counter against the Krumphau.

When you cut in against him from above from your right side and he also cuts crookedly from his right side with crossed arms onto your sword and thus presses it down towards the ground, wind towards your right side; go with your arms up over your head. And thrust with your point from above against his breast.

If he defends himself against this, stand with your hilt in front of your head, and work deftly with the point from one opening to the other, this is called "the Noble War." With this you will confuse him so totally that truthfully he will not know where he will find himself.

[35]

Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much, that he will not know how to defend himself against your attacks.

[26v.2] Ain andern brüch über den krumphaw° ~~

Mörck wenn du im von diner rechten sÿtten oben ein hawst Hawt er deñ och võ sine~ recht~ sÿtten mit gekrenczten armen _komp^[91] [27r.1] Vff dein schwert vnd drückt dir das da mit vnder sich gen der erden So wind ge deiner rechten syte~ vnd far mit den arme~ wol vff v~ber dein hau°pt vnd secze Im dein ort obe~ an dei die brust Glosa Versetzt er dir das so plÿb also sten mit dem gehu~lcz vo° dem hau~pt vnd arbait behendtlich mit dem ort von aine~ bloß zu° der andere~ Das hayset der edel krig Da mit verwirstü In so gar Das er nit waysst wo er vor dir blibe~ sol fur war

[36] The crosswise cut with its plays

49	The cross seizes Whatever arrives from the roof

Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this:^[92] When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.

[36] The thwart-hew with its plays

49	The thwart takes away Whatever approaches from-the-roof.

Gloss. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and^[93] when he cleaves-in [an] over[-hew] to your head, so spring well^[19] with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).^[47]

[36] Do the Zwerchau (crosswise strike) with these techniques.

49	The Zwerchau takes away that which comes from above.

Glosa. The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head, spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge against his left side. So you catch his strike with your hilt and strike him in the head.

[36] The Zwerchhau

The Zwerchhau counters^[94] all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head.

[27r.2] Der zwerhaw° mit sine~ stucken

Zwerch benÿmp
was võ tag her kümpt

Glosa Merck de~ zwe^rh^aw bricht alle hew die võ oben nÿde^r gehawe~ werde~ vnd den haw trÿb also We~ er dir oben In hawet zu° dem kopf So spring mit dem rechte~ fu°ß [27v.1] gen Im vß dem hawe Vff Sin lincken sytten vnd im springen verwent din schwert mit de~ gehu~ltz houch vor deine~ haupt das din dou~m vnnde~ kome vmd [!] schlach In mit der kurtze~ schnide~ zu° sine^r lincken sytten So vaschdü sine~ haw In din gehu~ltz vnd triffest In zu° dem kopff ~~

[10r.3] Der Twer haw.

+ Twer benimpt,
was vom tag herkompt.

Glosa. Merck denn Twer haw pricht alle hew, die vonn obenn nider gehawenn werden, vnnd denn haw treib also, Stehe mit dem linckenn fus vor, vnnd halt dein schwert an deiner rechtenn Achsel, vnnd [10v.1] wann er dir obenn inhawet zu dem kopf, so spring mit dem rechtenn fus gen Im wol aus dem haw auf sein lincke seittenn, vnnd im springenn verwendt dein schwerd mit dem gehiltz, hoch vor deinem haupt, das dein dawme vnden komme, vnd schlag in mit der kurtzenn schneidenn, zu seiner linckenn seytten, fechstu seinen haw in dem gehiltz, vnnd truckst in zu dem kopf, als hie gemalt ist.

[37] A play from the crosswise cut

50	Cross with the strong With that note the work

Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.^[95] then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.

[37] A play from the thwart-hew

50	Thwart with the strong With that note the work.

Gloss. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind^[96] strongly with the strong of your sword upon his. If he then holds strong against,^[97] so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here),^[47] or cut him with the play through the maw.

[37] A technique from the Zwerchau.

50	Zwerch with the "strong"; mark well your work with this.

Glosa. This is how you shall work with the "strong" from the Zwerchau. When you cut against him with the Zwerchau, think that you shall strike powerfully with the sword's "strong" against his. Hold him thus strongly in the bind then cut with crossed arms behind his sword blade, from above against the head, or cut him with the sword to the face.

[37]

This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him - at the sword - on the head behind his blade with your hands crossed. Or cut him trough the face.

[27v.2] Ain stuck vß dem zwerhaw°

Zwer mit der sto^erck
den arbait do mit mo^erck

Glosa Das ist wie dü mit der sto^erck auss der zwer arbaite~ solt vnd dem thu°n also / we~ dü Im mit der zwer zu° hauest So gedenck das dü Im mit de^r zwer sterck deines schwerts starck In das Sin Helt den er starck wyde^r So schlach In am schwert mit gekrütte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff den kopff [28r.1] oder schnÿd In mit dem stuck dürch das mau°l ~~

[10v.2] Ein stuck aus dem Twerhaw.

Twer mit der sterck,
den arbait domit merck.

Glosa. Das ist, wie du mit sterck aus der Twer arbaittenn solt, vnnd den thu also, wen du Im mit dem Twer zu hawest, So gedenck das du Im mit der sterck deines schwerts starck windest an das sein, helt er dann stark wider, so schlag in am schwert mit gecreutztenn Armen hin seines schwerts klingenn auf denn kopff, als hie ist gemacht, oder schneid im mit dem stuck durchs maul.

[38] Yet another play from the crosswise cut

Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,^[98], then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.

[38] Again a play from the thwart-hew

Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it],^[97] so shove his sword from you downward to your right side with your hilt (as is pictured here),^[47] and strike back-around quickly with the thwart against his right side to his head.

[38] Another technique from the Zwerchau.

When you bind against his sword from the Zwerchau with your sword's "Strong"; hold him strongly, then push his sword away from you with your hilt, down and out to your right side, and strike immediately round with the Zwerchau against his right side, against the head.

[38]

When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.

[28r.2] aber ain stuck vß dem zwerhaw°

Merck we~ du Im vß der zwer mit der sto^erck deines schwerts an sin Schwert bindest helt den er starck wÿde^r So stoss mit deine~ gehülcz sin schwert võ dir vnderisch vff dein rechte~ sytte~ vnd schlach bald mit der zwe^r wyderu~ gen siner rechte~ syten Im zu° dem kopffe ~

[10v.3] Aber ein stuck auf dem Twerhaw.

Merck wenn du im auß dem Twer mit der sterck deines schwerts ann sein schwert bindest, halt er dann starck bey dir, so stoß mit deinem gehiltz sein schwert vonn dir vntersich, auf dein rechte seyttenn, als hie gemalt stet, vnnd schlag balde mit [11r.1] der Twer wider vmb genn seiner rechtenn seyttenn im zu dem kopff.

[39] Yet another play from the crosswise cut

Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.

[39] Again a play from the thwart-hew

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.

[39] Another technique from the Zwerchau.

When you bind against his sword with the Zwerchau, if he is weak in the bind, so lay the short edge against the right side of his neck and spring with the right foot behind his left; and pull him over it with the sword.

[39]

If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword.

[28r.3] Aber/ain stuck vß dem zwerhaw°

Itm~ wan dü Im mit der zwer an sin schwert bindest Ist da er waich am schwert So leg Im die kurtze~ schnÿde~ zu° seine~ rechte~ sytten an den halß vnd spring mit dem rechte~ fu°ß hinde^r seine~ lincke~ vnd ru~cke In mit dem schwert daru~ber ~etc~

[40] Another play

Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.

[40] Another play

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.

[40] Another technique

When you bind against his sword with the Zwerchau, if he is weak in the bind, so press down on his sword with the Zwerchau; and lay the short edge behind his arms in front of his neck.

[40]

If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.

[28r.4] Ain ander stuck

[28v.1] Itm~ wen dü Im mit der zwer an sin schwert bindest Ist er dan waich am schwert So truck mit der zwer sin schwert nÿde° vnd leg Im die kurtze~ schnÿde~ hinde~ sinen arme~ vorne~ an den halß

[41] Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.

[41] Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.

[41]

[22v] Item nÿmpt dich eyner by dem hals zu diner rechten siten so loß din schwertt vß diner lincken hant vnd stos mit der rechten sin schwertt von dinem hals vnd schrit mit dinem lincken fus gegen siner rechten siten fur sin beide fus vnd far mit dinem lincken arm vber sin beide arm nohe by dem gehultz vnd fur in zu dem tantz oder stich im vnten zwuschen dinem beynen zu dem gemechtt ~

[42] Here note the break against the upper crosswise cut

Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themselves the same way with your sword.

[42] Here note the break against the upper thwart-hew

Item.^[99] Note,^[19] when you bind him from your right side with an over-hew (or otherwise^[100] on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew^[101] under his sword on his neck (as stands pictured hereafter next to this),^[102] such that he strikes himself the same with your sword.^[103]

[42] A counter against the upper Zwerchau

When you bind against his sword from the right side with an Oberhau or similar attack, if he strikes round with the Zwerchau against your other side, do the same back to him, throw a Zwerchau under his sword against his neck.

[42] A defense against the upper Zwerch:

When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword.

[21v] Item ein bruch wider den zwerch ober haulb

so du Im von diner rechten siten mit eynen ober haulb an sin schwertt bindest schlecht er mit der zwierch vmb sich so küm auch vor mit dem zwerch haulb vnter sin schwertt an den hals ~

[28v.2] ain bruch wider den obern zwerhaw°

Itm~ wã dü Im võ deine^r rechte~ sytte~ mit aine~ obere~ haw / ode~ sunst an sin schwert bindest Schlecht er dan mit der zwer vmb dir zu° der andere~ sytten so kom vor au~ch mit der zwerch vnder sin schwert Im an den halß ~~

[01r] Hie merck den pruch der wider den õbern twer haw

Merck wen du im von deiner reichtn seittñ mit ainem ober haw oder sunst an sein schwert pindest / schlecht er dan mit der twer vmb / dir zu der andern seittñ / so kum vor auch mit der twer vndter seinem schwert im an den hals / als am nãchstn hernach gemalt stett / so schlecht er sich selber mit deinem schwert /

[11r.2] Ein bruch wider den ober Twer haw.

Merck wenn du im von deiner rechtenn seytten, mit einem oberhaw, oder sonnst ann sein schwert windest, schlecht er denn mit dem mit der Twer vmb dir zu der anndernn seittenn, so kum vor auch mit der Twer vnter seinem schwert im an den hals als hie stet gemalt.

[43] Here note the break against the low cross strike

Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other^[104] opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.

[43] Here note the break against the low thwart-strike

Note, when you bind^[105] [against] him on his sword with the over-hew^[106] from your right side, if he then strikes-around from the sword with the thwart to the other^[107] opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to^[108] this).

[43]

[01v] Hie merck den pruch wider die vnderñ twer schleg /

Merck / wen du im von deiner rechtñ seittñ an sein schwert pindest / schlecht er dan vom schwert vmb mit der twer dir zu der andern plõs deiner rechtñ seittñ / so pleib mit deinem gehiltz vber deinem haubt / vnd verwendt dein schwertz kling vndter sich gegen seinem haw / vnd stich im zu der vndtern plõs / als am nachstñ hernach gemalt stet /

[11r.3] Ein stuck wider ein vnter Twerhaw.

Merck wenn du Im vonn deiner rechtenn seyttenn ann sein schwert windest mit einem oberhaw, schlecht er dann vom schwert vmb mit der Twer dir zu der vnternn bloß deiner rechtenn seittenn, So beleib mit deinem gehiltz ober deinem haupt, vnd verwẽdt dein schwert clingenn vntersich gen seinem haw, vnnd stich im zu der vntern bloß als hie gemalt stet.

[44] How one shall strike with the cross to the four openings

51	Cross to the plow Yoke hard to the ox

Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.

Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.

[44] This is the text and the gloss: How one shall strike with the thwart to the four openings

51	Thwart to the plow, Join hard to the oxen.

Gloss. This is how one shall strike going-to with the thwart to all^[53] four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).^[47] This is called "striking to the plow".

[44] How one shall strike against the four openings with the Zwerchau.

51	Zwerch against the plough, and strike powerfully against the ox.

Glosa. This is how you shall strike against the four openings with the Zwerchau when you go against someone. When you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the Zwerchau against the lower opening on his left side. This is called "to strike against the plough".

[44]

This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking towards the plow" ("zum Pflug schlagen").

[28v.3] Wie man zu° den vier blossen mitt der zwer schlache~ soll

Zwer zu° dem pflu°g /
zu° de~ ochsen hart gefu°ge

Glosa das ist wie dü In aine~ zu° gang [29r.1] mit der zwe^r zu° den vier blossen schlagen solt Das vernÿm also Wã dü mit dem zu°fechte~ zu° Im kompst So merck wan es dir eben ist So spring zu° Im vnd schlag In mit de^r zwer zu° der vndere~ bloß sine^r lincken sytte~ Das hayst zu° dem pflu°g geschlagen ~

[02r] Das ist der text vnd die glõß wie man mit der twer zu den vier plõssn schlachen sol /

Twer zu dem pflueg /
zu dem ochsen hat gefueg /

Glosa / das ist wie du in ainem zu gang mit der twer zu allen vier plõsn schlachen solt / das vernym also / wen du mit dem zu fechtn zu im kumbst / So merck wen es dir eben ist so spring zu im / vnd schlag im mit der twer zu der vndterñ plõs seiner lincken seittñ / als am nechstn gemalt stet / das haist zu dem pflug geschlagen /

[45] Yet another play from the crosswise cut

When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called striking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.

[45] Again a play from the thwart-hew

Note,^[19] when you have struck with the thwart to the lower opening (as stands pictured before next to this),^[47] so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike^[109] a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.

[45] Another technique from the Zwerchau.

When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau against the other side upwards into the head. This is called "to strike against the ox". And continue to strike quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And cut him after with an Oberhau in against the head and thus draw yourself back from him.

[45]

When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.

[29r.2] Aber ain stuck vß dem zwerhaw°

Wen dü Im mit der zwe^r zu° der vndere~ bloß geschlagen hast so schlag bald vff mit der zwe^r Im zu° der andere~ sytten oben In zu° dem kopff das haisst zu de~ ochse~ geschlage~ vnd schlach denn fürbas behendtlich ainen zwerch schlag zu° dem ochse~ vnd den andere~ zu° dem pflug cru~czwÿß võ aine^r sytte~ zu de^r andere~ vnd haw Im do mit aine~ obere~ haw obe~ ein zu° dem kopffe vnd zu~ch dich damit ab ~

[02v] Aber ein stuck auß dem twer haw /

Merck / wen du im mit der twer zu der vndterñ plõss geschlagen hast / als vor am nãchstn gemalt stet / so schlag pald auff mit der twer im zu der anderñ seittñ oben ein zu dem kopf / das haist zu dem ochssen geschlagen / vnd schlag den fu~rbas behentlich albeg ainen twer schlag zu dem ochsn / vnd den andern zu dem pflu~eg / creu~tz weis von ainer seittñ zu der andern / vnd haw im ein ober haw oben ein zu dem kopf / vnd zeuch dich damit ab /

[46]

52	Whoever crosses themselves well Threatens the head by springing.

Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.

[46] This is the text and a teaching thereof^[27]

52	Whoever thwarts themselves well With springing threatens the head.

Gloss. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his^[53] head, and be aware that you are fully covered above in the spring^[19] with your hilt in front of your head.

[46]

52	He who Zwerches well with a spring, threatens the head.

Glosa. That is to say, that in all of your Zwerchau strikes you shall take a proper spring out to the side where you want to strike him. So you can strike him well in the head. And see to it in the spring that you are properly protected from above with your hilt above and in front of your head.

[46]

When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.

[29v.1] Waß sich wol zwerch
mit springe~ dem haupt geferet

Glosa das ist das dü mit ainem yden zwerschlage wol vß solt springe~ Im vff die sytte~ / do dü Im zu° schlage~ wylt so mag stü In wol treffe~ zu° siene~ haupt vnd wart das dü In dem spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck sÿest

[03r] Das ist der text vnd ein ler dau~on

Was sich wol twer /
mit springen dem haubt gefert /

Glosa das ist / das du mit einem yeden twer schlag wol auß solst springen / Im auff die seittñ do du im zu schlagen wild / So magstu in wol zu dem haubt treffen / vnd wart das du in dem oben / vor deinem haupt mit dem gehiltz wol bedeckest seiest /

[47] This is the text and the gloss of yet another play from the crosswise cut and is called the failer.^[110]

53	Whoever credibly executes the failer They wound according to desire from below

Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.

[47] This is the text and the gloss of yet another play from the thwart-hew, and is called the failer

53	Whoever directs the failer well From below, he hits^[111] according to desire.

Gloss. Note,^[19] this is^[112] with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike^[113] with a free over-hew^[114] to his left side to the head, and steal-away^[115] your sword with the hew and strike him with the thwart to the lower opening of his right side or left^[116] (as stands pictured hereafter next to this).^[117] Thus is he contacted and struck below according to [your] desire.

[47] A further technique from the Zwerchau, and it is called the feint (Feler).

53	He who does a good feint, strikes from below how he wishes.

Glosa. With the feint all fencers who quickly leap to the defence are mislead and defeated. When you come against him in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can strike him underneath however you want and defeat him.

[47] The "Fault" (Feint):

All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

[29v.2] Hie nach mörck aber ain stuck vß der zwer vñ das haÿsset der feler

Feler wer wol furet
von vnde~ nach wunsch er ruret

Glosa Das ist mit dem feler werde~ alle fechter die da gern fersetze~ ver fyrt vnd geschlache~ das stu^ck trib also Wã du mit dem zu° fechte~ zu° Im kompst So thu° alß ob dü In mit aine~ fryen ober haw zu° sine^r lincke~ sÿtte~ So ist er vnnde~ nach [30r.1] wu°nsch geru~ret vnd geschlage~

[03v] Das ist der text vnd die gloß aber ains stucks auß dem twerhaw vnd haist der feler /

Feler wer wol fu~ret /
von vndten nach wunsch erru~ret /

Glosa Merck mit dem feler werñ alle vechter die da geren versetzn verfu~rt vnd geschlagen / das stuck treib also / wen du mit^demzu vechtn zu im kumbst / So thue als du mit eine~ freien twerhaw zu seiner lincken seittñ zu dem kopf wellest schlagen vnd verzugk mit dem haw dein schwert vnd schlag im mit der twer zu der vndterñ plõs / seiner rechtñ seittñ / als am nachstñ da hernach gemalt stet / So ist er vndten nach wunsch geru~rt vnd geschlagen /

[11r.4] Das ist aber ein stuck aus der Twer das heist der Feler.

Feler wer furet,
von vnden nach wunsch er ruret.

Glosa. Merck mit dem feler werenn al fechter die do gernn versetzenn verfurt vnnd geschlagen, das stuck treib also, wen du mit dem zu fechtenn zu Im kombst, So thu als du in mit einem [11v.1] freyenn oberhaw zu seiner linckenn seitten zu dem kopff wollest schlagenn, vnnd wend mit dem haw dein schwert, vnnd schlag in mit der Twer, zu der vndern bloß seiner rechtenn seyttenn oder linckenn als hie gemalet stet, so ist er vnten nach wunsch gerurt vnnd geschlagenn.

[48] Yet another play from the crosswise cut and this is called the inverter

54	The inverter constrains. The one who slips across also wrestles with it.
55	Take the elbow surely Spring into their stance.

Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find hereafter in the slipping through.

[48] This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter^[118]

54	The Inverter overwhelms, Running-through with wrestling as well;
55	The elbow wisely take Spring to him in the scales.

Gloss. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).^[47] Or run-through with the inverter and wrestle, as you will find written^[19] hereafter

[48] Another technique from the Zwerchau, and it is called the turner (Verkehrer).

54	The turner subdues, runs through and grapples.
55	Take the elbow certainly, spring against him in the movement.

Glosa. When you bind against his sword with an Oberhau or Underhau, turn your sword so that your thumb comes underneath, and thrust him down from above into the face. In this way you force him to defend himself. And in the defence, grip his right elbow with your left hand and spring with your left foot in front of his right, and stab him over it. Or use the turner to rush through and grapple, in the same way that you will be told for running through.

[48] The "Verkehrer":

If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.

[30r.2] aber ain stuck vsß dem zwerhaw° vnd daß haÿsst der verkerer ~~

Verkerer zwinget
durch la^effe~ au~ch mit ringet
den elenbogen gewisse nÿm
spring Im In die wage

Glosa Merck das stu~ck soltü also trÿbere~ wen dü In mit aine~ vnde~ oder oben haw an sin schwert bindest So verker dein schwert das din dou~me vnde kome vnd stich Im obe~ In zu° de~ gesichte So zwingstu In das er dir versetze~ mu°ß Vnd In der verseczung begriff mit de~ lincken hand sin rechte~ eleboge~ vnd spring mit dem lincken fu°sse für sine~ rechte~ vnd stosß In also daribe^r / Oder lauff In mit dem verkerre^r durch vnd ringe / alß dü In dem du^rch lauffen her nach wirst finde~

[04r] Das ist der text vnd die glos aber ains stucks aus dem twerhaw das haist der verkerer /

Verkerere zwing^et
durch lauffer auch mit ringet /
den elpogen / gewis nÿm
spring im in die wage~ /

Glosa / Merck das stuck solt du treiben also / Wen du im mit ainem vndter oder ober haw an sein schwert pindest / so verker dein schwert das dein dawm vndten kum vnd stich im oben ein zu dem gesicht / So zwingst du in das er dir versetzn mu°ß / vnd in der versatzung Begreiff mit der lincken hand sein rechten elpogen / vnd spring mit dem lincken / fues fu~r sein rechten / vnd stos in also daru~ber / als am nãchsten da hernach gemalt stet / oder lauff im mit dem verkerer durch vnd ring / als du in dem durchlauffen hernach geschriben wirst vinden /

[49] Yet another play from the failer

56	Double the failer If they make contact, make the slice with it

Gloss. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.

[49] This is the text and the gloss of a failer

56	Fail twice; If one hits then make the cut with [it].

Gloss. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right^[19] foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in^[119] to his right side onto his head (as stands pictured hereafter next to this).^[47]

[49] Another technique from the feint.

56	Feint twofold, strike him, thus do the cut.

Glosa. This is called the double feint, because in the Zufechten you shall be misleading two times. Do the first like this: when you come against him in Zufechten, take a spring with the foot against him and pretend that you will cut with a Zwerchau against the left side of his head. And change the direction of the cut, to the right side of his head.

[49] The Double Feint:

Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head.

[30v.1] Aber ain stuck von aine~ feler

Fele^r zwÿfach
trifft mã den schnit mit macht

Glosa Merck das haysst der zwÿfach fele^r darümbe das mã In aine~ zu° fechte~ zwaÿerlaÿ ferfÿrung daru~ß trÿbe~ sol die erste~ tryb also we~ dü mit dem zu° fechte~ zu° Im kompst So spring mit dem fu°ß ge~ Im vnd thu°n alß dü Im mit aine~ zwer schlage~ zu° sine^r lincken sÿtten zu° dem kopff schlage~ welest vnd ferzu~ck den schlag Im zu° sine^r rechte~ sÿtten an de~ kopff ~~

[04v] Das ist der text vnd die glos aber von ainem feler

Veler zwifach /
trifft man den schnit mit macht

Glosa Merck das haist der zwifach veler / daru~b das man in ainem zu vechtñ zwayerlay verfu~rung darauß treiben sol / die erst treib also / wen du mit dem zu vechtñ zu im kumbst / so spring mit dem rechtñ fu~es gegen im vnd thue als du im mit einem zwerschlag zu seiner lincken zu dem kopf schlagen welst / vnd verzuck den schlag vnd schlag in zu seiner rechtn seittn an den kopf / als am nãchstn da hernach gemalt stett /

[50] Yet another play from the failer

57	Double further Step in left and do not be lazy

Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below^[120] and immediately strike back around to the right side of their head and with that^[121] from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.

[50] This is the text and the gloss of yet another play from the failer

57	Double it further; Stride-in left and be not lazy.

Gloss. This is when you have struck the first misleading to his right side to his head (as stands^[122] pictured before^[19] next to this): so with that take the cut under his arms^[47] and strike quickly back-around to the left^[123] side to his head, and drive over his sword with the short edge from^[124] crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).^[47]

[50] Another technique from the feint.

57	Continue doubly with this, step to the left and do not be slow.

Glosa. That is to say, when you have struck to the right side of his head with the first misleading—about which has just been written—so strike immediately round to the other side of the head, and go with the short edge with outstretched crossed arms over his sword: and "Imlincke", that is to say on the left side, and cut in with the long edge over the face.

[50]

If you have attacked him on the right side of the head as described, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.

[30v.2] Aber ain stuck vß dem feler

Zwyfach es fyrbas
schryt In lunck vnd biß nit laß

Glosa Das ist wã dü Im mit der e^rste~ verfÿrunge zu° sine^r rechten sytte~ zu° dem kepff geschlage~ [31r.1] hau~st / alß am neste~ gemelt ist So schlach bald wyderu~mb Im zu° der rechte~ sytte~ zu° dem kopff vnd far mit der kurtze~ schnÿde~ mit auß gecru~tzten arme~ v~ber sin schwe^rt vnd spring Imlincke das ist auff dein lincke~ sÿtte~ vnd schnyd In mit der lange~ schnÿde~ durch das ma^ul ~~

[05r] Das ist der text vnd glos aber ains stucks aus dem feler /

Zwifach es fu~rbaß /
schreit ein linck vnd pis nit laß

Glosa / Das ist wen du in mit der erstñ verfu~ru~g zu seiner rechtñ seittñ zu dem kopf geschlagen hast / als vor am nachstn gemalt stet so nym damit den schnit vndten in sein arm~ / vnd schlag pald widerumb im zu der lincken seittñ zu dem kopf / vnd far mit der kurtzn schneid auß gekreutznt arme~ vber sein schwert vnd spring im linck das ist auf sein lincke seitt / vnd schneid in mit der langen schneid durch das maul / als da gemalt stet /

[51] The cockeyed cut with its plays

58	The cockeyed cut breaks inside Whatever the buffalo strikes or thrusts
59	Whoever threatens to change, The cockeyed cut robs them of it.

Gloss. Note here that the cockeyed cut is a cut that intrudes into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cuts in from above from their right side, then you also cut from your right against their cut with upright arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cut in this way when they stand against you in the guard of the plow or when they will thrust at you from below.

[51] This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them

58	The Squinter breaks-in^[125] Whatever the buffalo strikes or thrusts.
59	Whoever threatens to change, The squinter robs him of it.

Gloss. Note here^[126] that the squinter is a hew which breaks-in^[127] the hews and thrusts of the buffalo ([one] who acquires^[128] victory with power), and^[65] conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,^[129] with the short edge [and] with upright^[130] arms, and strike him upon his right shoulder;^[131] so you strike and displace with each other and hit him with the hew^[132] (as stands pictured hereafter next to this).^[133]^[47] If he changes-through, shoot with the hew long into his chest and^[134] also hew when he stands against you in the guard of the plow or when he will thrust you from below.^[64]

[51] Do the Schielhau (squinting strike) with these techniques.

58	The Schielhau counters that which a buffalo cuts or thrusts.
59	That which threatens with changing is robbed by the Schielhau.

Glosa. The Schielhau is a strike which counters cuts and thrusts from the buffalos—those who take their mastery through violent strength. Do the strike like this: when he cuts in against you from his right side, you should also cut from your right side with the short edge with the arms outstretched against his cut, against the "weak" of his sword and cut him on his right shoulder. If he changes through, shoot in with the cut, long edge against the breast. And you can also strike this, when he stands against you in the Plough guard [Pflug] or when he wants to thrust into you from below.

[51] The "Squinter":

The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you from his right side, strike from your right side with the short edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through, thrust him into his breast with your arms extended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below.

[31r.2] Der schilhaw° mitt sine~ stucken

Schille^r ein bricht
waß bufle^r schlecht orde^r stÿcht /
We^r wech sel trawet
schille^r In dar vß beraubet

Glosa Hie merck Der schille^r ist ain haw der dem buffle~ buffeln die sich mayste^rschafft an nem~e~ mit gwalt In bricht In hawe~ vnd steche~ vnd da den haw trÿb also Wã er dir obe~ ein hawet [31v.1] võ sine^r rechte~ sytte~ So haw och võ dene^r rechte~ sytte~ mit der kurtze~ schnÿde~ mit vff gerechte~ arme~ ge sine~ hawe In die schwech sinenes schwerts vnd schlag In vff sine~ rechte~ achsel Wechselt er du~rch So schyß In mit dem hawe lang In zu° der bru~st vnd also haw a^och wan er gen dir stat In der hu~tte de pflu~gs Oder we~ er dir vnde~ s zu° wyll steche~

[05v] Das ist der text vnd die glõs von dem Schilhaw vnd von den stucken die man darauß treiben sol /

Schiler ein pricht
was pu~ffl schlecht oder sticht /
wer wechsell dra[ut]
Schiller daraus in beraubt

Glosa / Wechssel Merck der schiler ist ain haw der dem pu~ff einpricht dy sich maisterschafft an nemen mit gewalt ein pricht in hew vnd in stich vnd den haw treib also / Wen er dir oben ein haut von seiner rechtñ seitten / So haw auch von deiner^[135] rechtñ mit der kurtzn schneid mit auff gerackten arme~ gegen seine~ haw in die schwech seins schwertz vnd schlag in auff sein rechte achsl / als am nãchstn da hernach gemalt stet / wechsselt er durch so scheu~s im mit dem haw langk ein zu der prust / Also haw auch wen er gegen dir stet in der hutt des pflu~gs / oder wen er dir vndten zu wil stechen /

[11v.2] Das ist der Schilhaw mit seinẽ stucken.

+ Schilherein [sic] pricht,
was puffel schlecht oder sticht,
Wechsel drewt,
Schilher daraus in beraubt.

Glosa. Merck der Schilher ist ein haw, der denn Pufflen die sich meisterschafft an nemen, mit gewalt ein pricht in hawenn vnnd in stechenn, den haw treib also, wenn er dir obenn ein hawt von seiner rechtenn seyttenn, so haw auch von deiner rechtenn, mit der kurtzen schneid, gegenn seinem haw, also schlechstu vnnd versetzt miteinander, vnnd trifst in mit dem hew, als hie gemalt stet.

[52] Yet another play from the cockeyed cut

60	Cock an eye, If they short change you, Disengaging defeats them

Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.

[52] This is the text and the gloss of yet another play from the squinter

60	Squint if he shortens upon you Changing-through defeats him.

Gloss. Note, this is a lesson that you^[19] shall squint with the visage and quite precisely see whether he fences short against you, because with that, [you] shall recognize when he begins to hew you and his arms do not extend long with the hew. So hew as well, and in the hew drive-through with the point under his sword, and wind your hilt to your right side above your head,^[47] and thrust him to the face (as stands pictured next to this).^[47]

[52] Another technique from the Schielhau.

60	Strike the Schielhau when he closes with you, change through, against his face.

Glosa. This is a lesson: you shall search with the look and notice carefully, if he fights close to you. This you shall mark when he cuts against you and his arm does not stretch out in the cut, so you will strike too. And in the strike go with the point under his blade to the other side, and thrust in against the face.

[52]

Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints). You will know this when he does not extend his arms when striking. You should strike then, too, move your point trough under his sword and thrust him into the face.

[31v.2] Aber ain stuck vß dem schill~

Schill kurßt er dich an
durch wechsel er sigt Im an

Glosa Merck das ist ain lerre Das schillern solt mit dem gesichte vnd gar ebe~ seche~ obe^r kurtz gen dir vicht Das solt bÿ de~ erkene~ wã er dir zu° hawet vnd sin arm mit dem haw nicht lanck streckt So haw / [32r.1] och Vnd far In dem haw mit dem ort vnder seine~ schwert du~rch vnd stiche In zu° de~ gesicht ~~

[06r.1] Das ist der text vnd die glos aber ains stucks aus dem schiler /

Schil kurtzt er dich an /
durch wegssel gesigt im an /

Glosa Merck das ist ain ler daz du schilen solt mit dem gesicht / vnd gar eben sehen ob er kurtz gegen dir ficht / das solt du pey dem erkennen / wen er dir zu haut vnd mit dem haw sein arm~ nicht lanck von im reckt / so haw auch vnd far in dem haw mit dem ort vndter seine~ schwert durch vnd windt auff dein rechte seytt dein gehiltz vber dein hau~bt vnd stich im zu dem gesicht / als am nãgstñ gemalt stett /

[53] Another. All fencers, which fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.

[53] Item. All fencers, they who fence short from the oxen, from the plow, and with all windings before the opponent: freely change-through [against] them out of hews and out of thrusts with the long-point. With that, you plant^[136] it upon the sword so that they must allow you to come to the binding-on^[137] and be struck.

[53]

[06r.2] Itm~ allen vechterñ die da kurtz fechtñ / auß dem ochsn / aus dem pflueg / vnd mit allen winden vor dem man / den wechsl frõlich durch / auß hawen vnd aüs stechñ mit dem langen ort / damit bestengistu~ (?) sy an dem schwert das sy dich mu~essñ zu dem abent lassen kume~ / vnd sy schlagen

[54] Yet another play from the cockeyed cut

61	Squint to the point And take the neck without fear.

Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.

[54] This is the text and the gloss of yet another play from the squint-hew

61	Squint to the point And take the neck without fear.

Gloss. Note, the squinter breaks the long-point ^{with a deceit of the visage} and conduct it thusly: When he stands against you and holds the point against the face or against^[138] the^[134] chest from extended arms, so stand with the left foot forward and squint with the visage to his point,^[139] and act as if you wish to hew to his point,^[140] and hew strongly onto his sword with the short edge, and with that, shoot the point long to his neck with a tread-in of the right foot (as stands pictured hereafter next to this).^[103]

[54] Another technique from the Schielhau.

61	Search with the point and take his neck without fear.

Glosa. Mark well; to strike the Schielhau breaks the long point; and then do this: when he stands against you and holds the point with outstretched arms towards the face or chest, so stand with the left foot forward and search with the gaze against the point, and pretend as if you want to strike against the point; and strike powerfully with the short edge above his sword, and thrust with the point along with the blade against the neck with a step towards him with the right foot.

[54] Note: The Squinter breaks the "long point" and this is done as follows:

When he faces you and points his point against your breast or face with extended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended.

[32r.2] Abe~ ain stuck uß dem schillhaw°

Schill zu° dem ort
Vnd nÿ den halß on forcht

Glosa Merck der schille^r bricht den lange~ ort vnd den tryb also we~ er ge dir stat vnd helt dir den ort usß gerachte~ arme~ ge~ dem gesÿchte oder der bru~st So stand mit de~ lincke~ fu°sß fu~r / Vnd schill mit de~ gesicht zu° dem ort vnd thu°n alß dü Im zu° dem ort hawe~ welest Vnd haw starck mit der kurtze~ schnÿde~ vff sin schwert vnd schu~ß Im den ort / darmit lang In zu° dem halß mit aine~ zu°trytt des rechte~ fu°ß ~:etc~

[06v] Das ist der text vnd die glos / Aber ains stucks aus dem schilhaw

Schil zu dem ort /
vnd nÿm den hals ane forcht /

Glosa / Merck der schiler pricht den langen ort^‡ vnd den treib also / wen er gegen dir stett vnd helt dir den ort aus gerackten arme~ gegen dem gesicht oder prust / So ste mit dem lincken fu~es vor vnd schil mit dem gesicht zu dem ort / vnd thue als du~ Im darzu hawen welst / vnd haw starck mit der kurtzn schneid auff sein schwert vnd schews im den ort da mit lanck ein zu dem lanck hals / mit aine~ zu tritt des rechten fu~eß / als am nãchstñ da hernach gemalt stett

^‡ mit ainer betrugnus des gesichtz

[11v.3] Aber ein stuck aus dem Schilher.

Schilh zu dem ort,
vnd nim den hals one forcht.

Glosa. Merck der Schilher pricht denn langenn ort, vnnd denn treib also. Wenn er gegenn dir stehet, vnnd helt dir denn ort aus gerechten armenn gegenn dem gesicht, oder gegen der brust, [12r.1] so stehe mit dem linckenn fus vor, vnnd schilh, mit dem gesicht, vnnd thu als du im zu dem ort wollest hawenn Vnnd haw starck, mit der kurtzenn schneid auff sein schwert, vnnd schewß im denn ort, damit langkem zu dem hals, mit einem zu trit des rechten fuß.

[55] Yet another play from the cockeyed cut

62	Squint to the top of the Head if you wish to ruin the hands.

Gloss. Note when the opponent wishes to cut in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.

[55] This is the text and the gloss of yet another play from the squint-hew

62	Squint to the top of the Head if you wish to ruin the hands.

Gloss. Note,^[141] when he wishes^[74] to cleave-in to you a free over-hew^[142] from above, so squint with the visage^[143] to his head^[144] (as if you wish to strike thereon^[145]), and then hew with the short edge against his hew, and strike him upon his sword's blade, with the point down^[138] on the hands (as stands pictured hereafter next to this).^[47]

[55] Another technique from the Schielhau.

62	Search against the head above if you want to damage the hands.

Gloss. When he wants to cut in against you from above, so search with the gaze as if you want to hit him above the head. And strike with the short edge against his cut, and strike along his blade with the point onto the hands.

[55]

When he strikes an Oberhau, look at his head, as if you intend to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade.

[27r] dz magstu auch thün wen er dir von oben eyn haulbet eynen fryhen ober haulb so schilch zu sinem hauptt als du wollest yn dar vff sclagen vnd haulb mit der kurtzen schniden gegen sinem haulb vnd schlag in an sines schwertz klingen nider mit dem ortt vff die hende ~

[32v.1] Aber ain stuck vß de~ schillhaw°

Schill zu° dem obere~
haupt hende wilt dü bedebren

Glosa Merck we~ er dir oben will In hawe~ So schill mit de~ gesicht alß dü In vff das haupt wylt schlage~ Vnd n haw mit de° kurtze~ schnÿde~ ge~ sine~ haw Vnd schlag In an sine^r schwertz klinge~ mit dem ort vff die hend ~~

[07r] Das ist der text vnd die glos aber ains stucks aus dem schiler /

Schil zu dem obern /
haubt hendt wildu bedoberñ

Glosa Merck Wen er dir oben ein wil hawen / So schil mit dem gesicht / als du in auff das haubt wellest schlagen / vnd haw mit der kurtzen schneid gegen seinem haw / vnd schlag in an seiner schwertzs klingen mit dem ort auff die hendt / als am nãchsten da hernach gemalt stett /

[56] This is the part cut with its plays

63	The part cut Is a threat to the face

Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.^[146]

[56] This is the text and the gloss about the parter, and about the plays thereof

63	The Parter Is a danger to the face.^[147]

Gloss.^[19] Here^[126] note the parter is really^[19] dangerous to the face and to the chest;^[64] conduct it^[148] thusly: When he stands against you in the guard [of] the^[19] fool,^[149] hew above with the long edge, down from your^[150] part to his head,^[151] and with the hew remain high with the arms and if he displaces,^[152] so hang-in^[153] to him with^[126] the point, with the long edge above his hilt, and thrust him^[154] to the face (as stands pictured hereafter next to this).^[47]

[56] Do the Scheitelhau (the parting strike) with these techniques.

63	The parter is a danger for the face.

The parter is dangerous for the face and the breast. When he stands against you in the fool's guard [Alber], cut with the long edge from the "long parting" from above and down; and keep the arms high in the cut, and hang with the point in against the face.

[56] The "Parting Strike"

Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face.

[32v.2] Der schaÿteler mitt sine~ stucken

Der schaytle^r /
dem antlytz ist gefer

Glosa Hie merck der schaÿtle^r ist dem antlÿtz vnd der bru~st gefa^erlich den tryb also We~ er gen dir stat In der hu°t a^ulber So haw mit der langen schnÿde võ der lange schaÿttlen obe~ nÿder vnd belÿb [33r.1] mit dem haw hoch mit de~ arme~ vnd heng Im mit de~ ort ein zu° dem gesÿchte

[07v] Das ist der text vnd die glos von dem schaittler / vnd von den stucken daraus

Der schaittler /
dem antlitz ist gefãr /

Glosa Merck der schaittler ist dem antlitz vnd der prust gar gefãrlich / den treib also / wen er gegen dir stett in der huet des albers / So haw mit der langen schneid von deiner schaittel oben nyder / vnd pleib mit dem haw hoch mit den armen / vnd heng im das ort ein zu dem gesicht / als am nãchstñ hernach gemalt stett /

[12r.2] Das ist der Schatler mit seinen stucken.

Der Schatler
dem antlitz ist geuer,
mit seiner ker,
der brust vast geuer.

Glosa. Merck denn Schaytler treyb also, Haw mit der langenn schneydt, oben nider vonn deiner Schaytel, Im zu dem kopff, versetzt er, so heng im denn ort, mit der langenn schneid, vber sein gehiltz, vnnd stich im zu dem gesicht, als hie gemalt stet.

[57] A play from the part cut

64	With their turn Firmly threatens the breast.

Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head using your hilt and set the point against their breast from below.^[155]^[156]

[57] Again a play from the parter

64	With its turn^[157] The chest is quickly^[158] threatened.^[159]

Gloss.^[160] Note,^[19] this is when you strike-in and hang^[161] the point^[162] to the face with the parter:^[163] if he then shoves the point^[164] firmly upward with his^[165] hilt in the displacement^[166] of the parter,^[167] invert your sword with the hilt high^[168] in front of your head (such that the thumb comes below),^[169] and set the point under his hands^[170] upon his chest (as stands pictured here).^[171]

[57] A technique from the parter.

64	With his turning, very dangerous for the breast.

Glosa. When you cut from above with the Scheitelhau and hang your point in his face, if he defends himself against your point by pushing it up and away with the hilt, then turn your sword with the hilt high in front of your head and stab him downwards into the chest.

[57]

If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down into the breast.

[28v] Item merck so du im mit dem schittler oben yn haulbest vnd gehengt zu dem gesicht stost er dan mit dem gehultz den ort vast vbersich so verkere din schwertt mit dem gehultz fast vber sich fur din hauptt vnd setz im den ortt vnten an sin brust ~

[33r.2] Ain stuck vß dem schaiteler

Mit sine^r ker /
der brust fast gefer

Glosa das ist wen dü Im den ort mit dem schaitle^r oben ein hengst zu° dem gesicht Stost er dich dir denn den ort In der versatzu~ng mit dem gehu~ltz vascht ybe^r sich So verker dein schwert mit de~ gehu~ltz hoch fyr din haupt vnd setz Im den ort vnde~ an die brust etc

[08r] Aber ain stuck aüs dem schaittler

Itm~ versetzt er dir mit dem gehu~ltz vast vbersich den schaittler / so verker dein schwert mit dem gehu~ltz hoch fu~r dein haubt vnd setz im dein ort vndten an die prüst / als dan da gemalt stet /

[12r.3] Item stost er dir denn ortt, mit seinem gehiltz fast vber sich, so verwendt dein schwert mit dem gehiltz, hoch für dein hauptt, das dein dawmen vnden kum, vnnd setz im den ort vnder seinen hendenn ann die prust, als hie gemaltt stet.

[58] How the crown breaks the part cut

65	Whatever comes from them, The crown takes that away

Gloss. Note when you cut in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.

[58] How the crown breaks the parter^[172]

65	Whatever comes from him, The crown takes it away.

Gloss. Note, when you cleave-in above with the parter: if he displaces with the hilt high over his head, this displacement is called the crown, and with it [he] runs-in to you.

[58] How the Crown counters the parter.

65	That which comes from him, the Crown takes away.

Glosa. When you cut in against him from above with the Scheitelhau, if he defends himself with the hilt over his head: this defence is called the Crown. And with that he can rush in close to you.

[58]

When you strike a parting strike and he displaces with the hilt high above his head, then this displacement is called "the crown". From there you can rush in.

[33r.3] Wie die kron den schaÿtler bricht

Waß võ Im komp /
die kron das abnÿmpt

Glosa Merck wan dü Im mit dem schai^ttle^r oben ein hawest / versetzt er mit de~ gehulcze hoch ob [33v.1] ob sine~ haupt Die versatzu~ng hayst die kron vnd laufft di^r do mit eÿm

[08v] Ain ander Stück

[12r.4] Ein annder Stuck.

Was vonn Im kumpt,
die kran das abnymptt,
Schneydt durch die kran,
so prichstu Sie hart schön,
die Stich truck,
mit schniten sie abzuck.

Glosa. Merck wenn du Im mit dem Schaytler, obenn einhawest, versetzt er mit dem gehiltz hoch ob seinem haupt, die versatzung heist die kran, vnd laufft dir damit ein,

[59] How the slice breaks the crown.

66	Slice through the crown So you break the hard beautifully
67	Press the thrust^[173] Withdraw it with slicing.

Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.

[59] This is the text and the gloss: how the cut breaks the crown

66	Cut through the crown, So you break the hard beautifully;^[174]
67	Press the strike,^[175] Withdraw it with cutting.

Gloss. Note, when he displaces the parter (or otherwise another hew) with the crown and with that runs in:^[149] so take the under-cut^[176] below his hands into his arm and press firmly upwards (as stands pictured next to this);^[177] so the crown is broken again,^[178] and wind your sword from the under-cut^[179] into the over-cut,^[138] and with that withdraw yourself.^[74]^[180]

[59] How the slice counters the Crown.

66	Slice through the Crown, so you break this guard quickly.
67	Press with the sword, with more slicing you draw backwards.

Glosa. When he defends against the Scheitelhau or some other cut with the Crown and tries to rush in against you, pull the slice under his hands in his arm and press hard upwards, to break the Crown. And turn your sword from the under slice to the over slice, and thus draw back.

[59]

If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.

[28v.1] Item merck wan er dir den schittler oder sünst ein haulb versetzt mit der kron vnd dir do mitt yn laufft so nym den schnitt vnder sin henden in sin arme vnd druck vast vber sich so ist die kron wol gebrochen vnd wind din schwertt in den obern schnidt vnd zuch do mit abe ~~

[33v.2] Wie der schnitt die kron bricht

Schnid du~rch die krone /
So brichest dü sÿ hart schon
Die stuch drucke
mit schnitte~ sÿ ab zu^cke

Glosa Merck we~ er dir den schailtle^r order su~nst aine~ haw vesetzt mit der kron / vnd dir da mit ein lau~fft / So nÿm de~ schnit vnder sin hende~ In sin arm Vnd tru~ck vast v~ber sich so ist die kron wyde^r gebroche~ Vnd wende din schwert vß de~ vndere~ schnit In den obere~ vnd zu~ch dich da mit abe

[09r] Das ist der text vnd die glos wie der schnidt pricht die kron

Schneid durch die kron /
So prichst du sÿ hart schon /
die strich druck
mit schnitten sy ab zugk

Glosa / Merck Wen er dir den schaittler oder sunst ain haw versetzt mit der kron / vnd dir damit einlaufft So nym den schnidt vnder seine~ henden an sein arm~ vnd truck vast vbersich / als am nachstñ gemalt statt / So ist die kron wider geprochen vnd wendt dein schwert auß dem vndterñ schnitt in den obern vnd zeuch dich damit ab /

[12r.5] so nim denn vnternn [12v.1] schnit, vnder sein hendenn in sein Arm, vnnd druck fast vbersich, so ist die kron wider gebrochenn.

[60] These are the four positions

68	Four positions alone Defend from those and eschew the common
69	Ox, plow, fool From-the-roof are not despised by you.

Gloss. This is about how you shall not operate from any other position than from these four that will be named here.

[60] This is the text and the gloss on the four leaguers

68	Four leaguers alone: Keep to those and flee^[181] the common;
69	Ox, plow, fool, From-the-roof are not disgusting^[182] to you.

Gloss. Note, this^[183] is that you^[134] shall not hold to any leaguer other^[19] than solely to the four which will be^[184] named here.

[60] The four guards.

68	Only four guards will you hold, and damn those that are commonly known.
69	"Ox", "Plough", "Fool", "From the Roof ", with these you will not be unfamiliar.

Glosa. This means that you shall not assume any other guards other than these four that are now to be described.

[60] The Four Guards

There are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.

[33v.3] Das sind die vier^vier leger

Vier leger allain
Da võ halt vnd flu~ch die gemaim
[34r.1] Ochs pflu°g / alber
võ tag / sÿ dir nit vnmer

Glosa Ist das dü võ kaine~ leger nicht halte~ solt / denn alain võ den viere~ die hie genãt worden sind ~~

[09v.1] Daz ist der text vnd die glos von den vier legerñ /

Vier leger allein /
daüon halt vnd fleu~ch die gemayn /
Ochs pflu[g] Alber /
vom tag seÿ dir nit vnmãr /

Glosa / Merck daz ist / das [du] sunst von chainem leger nichtz haltñ solt / dan allein von den firen (?) die dir hie genant werden

[61] The first guard The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.

[61] Item.^[19] The first guard is called^[185] the ox; arrange yourself thusly: Stand with the left foot forwards and hold your sword near your right side with the hilt^[186] in front of your head, and let the point hang^[134] against the face (as stands pictured next to this).^[47]

[61] The first guard. The Ox. Hold it like this: stand with the left foot forwards, and hold your sword beside and slightly in front of the right side of your head, and let the point hang towards his face.

[61] The first guard: Ochs (the Ox) Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face.

[34r.2] Die erst hu°tt Der ochß / do schick dich also mit stand mit dem lincke~ fu°ß vor vnd halt din schwert neben diner rechte~ sytte~ vir din haupt Vnd laß Im den ort gege~ de~ gesicht hange~

[09v.2] Itm~ / Dye erst huet haist der ochs / da schick dich also mit sten mit dem lincken fues vor / vnd halt d[ein] swert neben deiner rechten seitten mit dem gehiltz vor dem ha[ubt] vnd las im den ort gegen dem gesicht als am nãchstn gemalt stett

[62] The second guard The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.

[62] Item.^[19] The second guard is called^[185] the plow; arrange yourself thusly: Stand with the left foot forward and hold your sword with^[19] crossed hands near your right side over your knee such that the point stands against the face (as stands pictured hereafter next to this).^[47]

[62] The second guard. The Plough. Hold it like this: stand with the left foot forward, and hold your sword with crossed hands beside and slightly above your right knee, in such a way that the point is towards his face.

[62] The second guard: Pflug (the Plough) Stand with the left foot forward and hold your sword at your right side above your knee, with your hands crossed, your point directed at his face.

[34.3] Die ander hu°tt Der pflu°g do schick dich also mit stand mit dem lincken fu°ß vor vnd halt din schwert gecru~tzten hende~ nebe~ dine^r rechte~ sytte~ / ober dine~ knÿe Also das Im der ort gegen dem gesicht ste

[09v.3] Item / die ander hu~t haist der pflueg / da schick dich also mit sten mit dem lincken fues vor / vnd halt dein swert mit gekreutzten hendten neben deiner rechten seÿtten ob dem knye also das ym d[er] ort gegen dem gesicht stet / als am nãchstn hernach gemalt stet

[63] The third guard The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms.

[63] Item.^[19] The third guard is called^[185] the fool; arrange yourself thusly: Stand with the right foot forward and hold your sword with outstretched arms with the point upon the ground (as stands pictured hereafter next to this).^[47]

[63] The third guard. The Fool. Hold it like this: stand with your right foot forwards, and hold your sword with outstretched arms in front of you with the point towards the ground.

[63] The third guard: Alber (the Fool) Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground.

[34r.4] Die dritt hu°tt [34v.1] Der alber do schick dich also mit stand mit deine~ rechten fu°ß vo^r vnd halt din schwert mit vßgerechte~ arme~ võ dir mit de~ ort vff die erde~

[10r.1] Item / dye dritt hutt haist der Alber / da schick dich also mit sten / mit dem rechten fues vor / vnd halt dein schwert mit ausgerachkten armen vor dir mit dem ort auff der erden / als am nãchstñ hernach gemalt stett /

[64] The fourth guard From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.

[64] Item.^[19] The fourth guard is called^[185] from-the-roof; arrange yourself thusly: Stand with the left foot forwards and hold your sword upon your right shoulder (as stands pictured hereafter next to this),^[47] or hold it with outstretched^[187] arms over your head; and how you shall fence from the guards, you find it all^[188] written in this book.^[189]

[64] The fourth guard. From the Roof. Hold it like this: stand with the left foot forwards, and hold your sword at your right shoulder. Or hold it with outstretched arms above your head. And how you shall fence from these guards, you will find described in this book.

[64] The fourth guard: vom Tag ("From the Roof") Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended.

And in this book, you’ll find written down how to fence from these guards.

[34v.2] Die vierd hu°tt Võ tag do schick dich also / mit stand mit lincke~ fu°ß vor vnd halt din schwert an dine^r rechten achseln Oder halt es mit vßgerechte~ arme~ v~be~ din haup vnd wie dü vß der hu°tte~ fechte~ solt / das findest dü In dissem bu°ch geschrÿbe~ ~ ~

[10r.2] Item / die viert hu~t haist vom tag / da schick dich also mit sten / mit dem lincken fues vor / vnd halt dein schwert an deiner rechten achssel Als am nachsten hernach gemalt stet / oder halt es mit auß gestrackten armen vber dein hãubt / vnd wie du auß den hu~tten vechtñ solt das vindest alles geschriben /

[65] This is the text and the gloss of the four parries that break the four positions

70	Four are the parries That also severely disrupt the positions.
71	Guard yourself from parrying for two reasons If it happens by necessity, it hurts you

Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.

[65] This is the text and the gloss of the four displacements which break the four leaguers

70	Four are the displacements Which also severely injure the leaguers.
71	Guard yourself from displacing^[190] If it happens, it severely beleaguers you.

Gloss. Note, you have heard before that you shall fence solely from the four leaguers, so you should also just know^[191] that the same four [displacements] break the four leaguers. And the four settings,^[192] they are the four hews.

[65] These are the four displacements, which obstruct or break the four guards.

70	The displacements are four, that also greatly trouble the four guards.
71	Beware, for to defend, it becomes very difficult for you.

Glosa. You have earlier heard that you shall only fight from the four guards. So you shall now also know the four displacements. These are four strikes.

[65] 7. The Four Displacements (Versatzungen)

You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes.

[30r.5] Vor versetzen hut doch
Geschicht dir not es můt dich

[34v.3] Das sind die vier verseczen die die vier leger leczen oder brechen ~

Vie^r sind versetze~
Die die lege~ au~ch ser letze~
võ versetze~ hiet dich /
geschicht es se^r es [35r.1] mÿt dich

Glosa Merck dü hast vo^r geho^rt das dü alain vß viern legern vechte~ solt So solt dü och nu~n wyssen die vier versetzu~ng Das sind vier hew

[10v.1] Daz ist der text vnd die glos von den vier versetzñ / die die vier leger prechen /

Vier sind versetzen /
dy die leger auch ser letzen /
vor zwir ve°setzen hu~tt dich /
geschicht es mer es mu~et dich /

Glosa / Merck du hast vor gehõrt das dü allain aus vier legerñ vechten solt / So soltu auch nu wissen die vier versetzen die dy vier selbigen vier leger prechen / vnd die vier setzen das sind vier hew /

[66] The first cut^[134] is the crooked cut which breaks the guard of the ox.

[66] The first hew^[134] is the crooked-hew, which breaks the guard that is named the ox.^[193]

[66] The first strike is the crooked strike. This breaks the Ox guard.

[66] The first strike is the "crooked strike" (Krumphau). It counters^[194] the guard (Hut) ochs.

[35r.2] Der erst / haw° Ist der krumpfhaw der bricht die hu~t des ochsen

[10v.2] der erst ist der krumbhaw / der pricht die hu~et die da haist der ochs /

[67] The second is the crosswise cut which breaks the guard from-the-roof.

[67] Item.^[19] The second is the thwart-hew, which breaks the guard from-the-roof.

[67] The second strike is the crosswise strike. This breaks the Roof guard.

[67] The second strike is the Zwerchhau. It counters the guard Vom Tag.

[35r.3] der ander ist der zwe^rhaw der bricht die hu~tt vom tage

[10v.3] Item der ander ist der twerhaw / der pricht die hutt vom tag /

[68] The third is the cockeyed cut which breaks the guard of the plow.

[68] Item.^[19] The third is the squint-hew, which breaks the guard of the plow.

[68] The third strike is the squinting strike. This breaks the Plough guard.

[68] The third strike is the "squinter" (Schielhau). It counters the guard Pflug.

[35r.4] der dritt dr ist de^r schÿllhaw der bricht die hu~t deß pflu°gs

[10v.4] Itm~ die dritt ist der schiler / der pricht die hautt des pfluegs /

[69] The fourth is the part cut which breaks the guard, the fool.

[69] Item.^[19] The fourth is the parter, which breaks the guard that is named the fool.

[69] The fourth strike is the parting strike. This breaks the Fool's guard.

[69] The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber.

[35r.5] der vierdt ist der schaittle^r der bricht die hu°t albe^r /

[10v.5] Itm~ der viert daz ist der schaittler / der pricht die hutt die da haist der alber /

[70] And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing.

[70] And guard yourself from all displacements which the simple^[195] fencers conduct; they allow the point to go out before the man (low or high on a side), and whoever does that cannot seek the opening on the man. Therefore do not parry,^[196] and [instead] note when he hews, thus you also hew; and when he thrusts, so thrust as well; and how you shall hew and thrust, you find that written in the five hews and in the setting-aside.

[70] And beware of all displacements, when they are used by poor fencers. When he cuts, strike also, and when he thrusts, you thrust too. And how you shall strike and thrust, that you will find described for the five cuts and in this section.

[70] And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find written down how you shall strike and thrust.

[30r.6] Du solt dich hütten vor dem versetzen als yttlich vechter versetzen so lossen sie den ortt vor dem man nider oder hoch vff ein siten vß gan vnd wer dz thůtt kan der bloß am man nit suchen dar vmb versetz nit vnd merck wan er haut so haulb auch vnd wan er sticht so stich auch vnd wie du gegen sinen haulben haulben solt dz vindest in den fünff heulben geschrebenn [30v] vnd wie du gegen sinen stichen vechten solt dz vindestu in den ab setzen geschriben ~

[35r.6] Vnd hÿt dich võ alle~ versetze~ die die schlechte~ vechte^r trÿbe~ vnd merck we~ er hawt / So haw och / vnd we~ er sticht so stych och / Vnd wie dü hawe~ vnd stechen solt / das findest dü In de~ fünff hewe~ vnd In den absetze~ geschrybe~ ~etc ~

[10v.6] vnd hu~tt dich sunst vor allem versetzen / die dy schlechte~ fechter treiben / vnd merck wen er hawt / So haw auch vnd wen er sticht so stich auch / vnd wie du hau~en vnd stechen solt das vindestu in den fu~nff heu~en vnd in dem absetzen geschriben /

[71] A play against an act of parrying

72	If you are parried And however it has come to this
73	Hear what I advise Wrench off, cut quickly with haste

Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.

[71] This is the text and the gloss of a play against the displacement

72	If you are parried, And as it is arriving,
73	Hear what I advise: Rip off. Cut quickly with hurry.

Gloss.^[197] This is as it arrives that you are becoming parried: so note if one displaces an over-hew,^[198] go to him in the displacing with the pommel over^[199] his forward-placed^[200] hand, and with that wrench downwards, and with the wrenching strike him there^[201] on the head with the sword (as stands pictured hereafter next to this).^[177]

[71] A technique against the displacements.

72	If you are displaced and if it comes to this,
73	hear what I advise: go up, strike quickly and swiftly.

Glosa. If it has happened that you have been displaced, mark this well: if one of your Oberhau attacks becomes displaced, so go into the displacement with the pommel over his forward hand and tear downwards with that; and cut in the tearing in with the sword from above against the head.

[71] A Technique against a Displacement:

If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; and strike him on the head simultaneously.

[31r.1] Item ob dir der ober haulb versetzt ist vnd nohent an in chümpt so far mit dem knoff vber sin versetzte hantt vnd ri^eß do mit vndersich vnd mit dem reissen schlag in do mit dem schwertt vff din kopff ~

[35v.1] Ain stuck wide~ die versäczu~g

Ob dier versetzt ist /
vnd wie das dar kome~ ist /
ho^ere was ich rate /
rays abe / haw schnel mit dratte

Glosa das ist wie es dar zu° kome~ ist / das dir versetzt ist worde~ So mercke versetzt mã dir aine~ ober haw So var Im in der versaczu~g mit dem knopff vir sin vo^r gesetzte hand vnd rayse da mit vnder sich vnd mit dem raysse schlage In mit dem schwert vff den kopff ~~

[11r] Daz ist der text vnd die glos ains stucks wider die versatzung

Ob dir versetzet ist /
vnd wie das darkume~ ist ·
hõr was ich ratt /
raiß ab haw schnell mit drat /

Glosa / daz ist wie es darzu kumen ist / das dir versetzt ist worden / So merck / versetzt man dir^ainober haw / So far im in der versatzung mit dem knopf vber sein versetzte handt / vnd raiss damit vntersich / vnd mit dem reissen schlag in mit dem swert auff den kopf / als am nãchsten da hernach gemalt stett /

[12v.2] Das ist ein stuck wider das versetzenn.

Ob dir versatzt ist,
vnd wie das darkommen Ist,
hör was ich rath,
reys ab, haw schnel mit drat.

Glosa. Das ist, wenn dir einer versetzt ein oberhaw, so far im in der versatzung mit dem knopf, vber sein vorgesatzte handt, vnd reys damit vndersich, vnnd mit dem reyssenn, schlag in mit dem schwert auf denn kopff.

[72] Yet another play against an act of parrying

Note when you execute a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.

[72] Yet another play against the displacement

Item.^[138] Note, when you hew an under-hew from the right side: if he then falls with the sword onto yours so you cannot come up with it, swiftly drive over his sword with the pommel and wrench your blade from his [from] below^[202] and strike him with the snapping, with the long edge to the head^[203] (as stands pictured hereafter next to this);^[204] or,^[205] if he falls onto your sword against your left side, so strike him with the short edge.

[72] A technique against the displacements.

When you strike an Underhau from the right side, if he drops with his sword on top of yours do that you cannot come up with it, so go swiftly with the pommel over his sword and cut with powerful movement with the long edge against the head. Or if he drops onto your sword towards your left side, so cut him with the short edge.

[72] A Second Technique against a Displacement:

If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide).

[31r.2] alliud ~

Item merck so du haulbst ein vnter haulb von diner rechten siten felt er dir dan mit sinem schwert vff dz din dz du dar mit nit vff kümen magst so far behendlich mit dem knopff vber sin schwert vnd ri^eß din clingen vnten von der siner vnnd schlag in mit den schnappen mit der langen schniden züm felt er dir aber gegen dir der lincken siten vff dz schwert so schlag in mit der kurtzen schniden ~

[35v.2] Abe~ ain stuck wider die versäczung~ ~~

Merck we~ dü hawest aine~ vnder haw võ der rechte~ sytte~ fellet er dir dan da mit dem schwert vff das dine / das dü do mit nicht vff kome~ magst So far behendlich [36r.1] mit dem knopff v~ber sin schwe°t vnd schlag jn mit dem schnappe~ mit der lange~ schnÿde~ zu° dem kopffe Oder velt er dir gen diner lincke~ sytte~ vff das schwert so schlach In mit der ku~rtze~ schnÿde~

[11v] Aber ain stuck wider die versatzung

Merck / wen^duhawst ain vndterhaw von der rechten seitten / velt er dir dan mit dem schwert auff das dein / daz du da mit nit auff magst kumen / So far behentlich mit dem knopf vber sein swert / vnd schlag in mit dem schnappen mit der langen schneid zu dem kopf / als am nãchstñ hernach gemalt stet / oder velt er die gegen deiner lincken seitten auff das schwert so schlag in mit der kürtzen schneid /

[73] Yet another play against parrying.

74	Lodge against four regions Learn to remain upon them if you wish to finish

Gloss. When you cut in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.^[206]

[73] This is the text and the gloss of yet another play against the displacing

74	Set-upon four ends; Learn to remain thereupon if you wish to finish.

Gloss. This is^[48] when you cleave-in from your right shoulder: if you wish to quickly finish with him,^[207] so note when he displaces [and] strike quickly around with the thwart, and with the strike grasp your sword^[208] in the middle of the blade with the left hand, and set the point into the face (as stands pictured next),^[47] or set-upon him to the four openings to whichever you can^[209] best come.

[73] A technique against the displacements.

74	Attack four ends, therefore stop him, if you want to learn to finish.

Glosa. When you strike in against him from above from your right shoulder and want to end him quickly, mark this: when he displaces, immediately strike round with the Zwerchau. And grip your sword with your left hand in the middle of the blade, and thrust with the point into his face. Or attack him against the four openings, whichever you can come at best.

[73] A Third Technique against a Displacement:

If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best.

[36r.2] aber ain stuck wide~ die versaczu~g

Setz an vier ende~ /
blieb dar vff lere wiltu enden

Glosa We~ dü Im võ dene° rechte~ achselm oben ein ha^uwst / wilt dü denn bald mit Im ende~ So mo^erck we~ er versetzt So schlach bald vmb mit der zwer Vnd begru~ff mit dem schwe^rt mit der lincke~ hand mite~ In de^r klinge~ vnd setz Im den ort in das gesycht Ode~ setz Im an / zu° den vier blösse~ zu° weche welcher dü am baste~ kome~ kanst etc~

[12r] Das ist der text vnd die glos aber ains stucks wider das versetzen /

Setz an vier eñden /
pleib darauff ler wildü enden

Glosa / daz ist wen du im von deiner rechten achssel oben ein hawst / wil du dan pald mit in^{/dem schwert/} enden / So merck wen er versetzt / so schlag pald vmb mit der twer vnd begreiff mit dem schlag dein schwert mit der linken handt mitten in der klingen / vnd setz im das ort in das gesicht / als am nãchstn gemalt stett / oder setz im an zu den vier plössen zu welcher du am pesten kümen magst /

[74] Yet another play against parrying

Item.^[134] Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.

[74] This is the text and the gloss of yet another play against the displacement

Item.^[134] Note,^[19] when you set the point into his^[210] face with the half-sword (as stands done before next to this):^[47] if he displaces that, jab him with the pommel to the other side to his head, or spring with the right foot behind his left and with the pommel drive around his neck, over his right shoulder, [and] around the front of the neck, and with that, back him over your right leg (as stands pictured hereafter next to this).^[47]

[74] A technique against the displacements.

When you set the point to his face with the halfswording and he displaces this, so strike him with the pommel to the other side of his head. Or spring with the right foot behind his left, and go with the pommel over his right shoulder in front and round the neck and therefore pull him over your right leg.

[74] A Fourth Technique against a Displacement:

If you thrust at his face at the Halb Schwert (half-sword) and he displaces this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.

[36v.1] Abe~ ain stuck wider die versaczung~ ~

Itm~ wã dü Im mit dem halbe~ schwert den ort In sin gesicht setzest / versetz e^r dir das So stoß In mit de~ knopff zu° der an dere~ sytte~ zu° siene~ haupt Ode^r spring mit dem rechte~ fuosß hinde~ sin lincke~ vnd far Im mit dem knopff v~ber sin rechte~ achseln vorne~ vmb den halß vnd ru°ck In da mit v~ber din rechte bain ~~

[12v] Daz ist der text vnd die glos aber ains stucks wider daz v°setzen

Merck / wen du im dem halben schwert das ort in das gesichst setzest / als am nãchstñ vor gemalt stet / versetzt er dir das / so stõs in mit dem knopf zu der andern seytten zu seinem haubt / Oder spring mit deinem rechten fües hinter seinen lincken vnd far im mit dem knopf vber sein rechte achssel vorn vmb den hals / vnd ruck in da mit vber dein rechts pain als am nãchstñ hernach gemalt stett /

[75] About pursuing

75	Learn to pursue Double or slice into the weapon

Gloss. This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.^[211]

[75] This is about racing-after

75	Learn the racing-after, Doubly or cut into the weapon^[212]

Gloss. Note,^[19] this is so that you shall learn the racings-after quite well, because they are dual,^[149] and^[19] the first^[65] conduct thusly:^[19] when he wishes to cleave-in above him,^[65] so note while he yanks up the sword to the strike, [and] race-after him with a hew or with a thrust, and hit him^[213] to the upper^[65] opening before the moment^[214] he descends^[215] with the hew, or fall with the long edge above him onto his arm and with that, press him from you.^[216]

[75] About following-after.

75	Learn to follow after twofold, or cut in the defence.

Glosa. You shall learn well to follow after, and they are two in number. The first you do like this, when he tries to cut you from above. Wait until he draws the sword back and up for the strike, and follow after him with a cut or with a thrust and aim for the upper openings, before he can do his strike. Or fall with the long edge from above onto his arm and press him away from you with this.

[75] 8. The "Traveling After" (Nachreissen):

There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you.

[36v.2] Von Nachraÿßen

Nach raÿsse lere
zwÿfach oder schnÿd In die were

Glosa Das ist das dü die nach raysen wol lerne~ solt / wan sÿ sind zwayerlay Die erste~ trÿb / we~ er dir obe~ In will hawe~ So me^rck [37r.1] die wil er dz schwert vff zücht zu° dem schlag so raÿse im nach mitt dem hawe oder mitt aine~ stich vñ triff in zu° den^[217] obern blöß ee er mit de~ haw° wide~ kump ode~ fall im mitt de~ lange~ schnide~ oben in sin arm vñ truck in domitt von dir ~

[12v.3] Das ist vonn Nachreysenn.

Nachreyßen lehre,
Zwifach oder schneid in die wehre.

Glosa. Merck das ist das du die nachraysen gar wol lernenn solt, vnnd die treyb also, wen er dir obenn ein wil hawenn, so merck dieweil er das schwert aufzeucht zu dem schlag, so reys im nach, mit einem schlag haw oder mit einem stich, zu der bloß, ee wen er mit dem haw niderkumbt.

[76] Yet another pursuing

Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword.^[218]

[76] Yet another racing-after^[219]

Item.^[220] When he begins to hew you downward^[19] from above, and^[19] if he then^[221] allows his sword to go down to the earth with the hew: so^[19] race-after him with an over-hew^[222] to the head before the moment^[214] he comes-up with the sword, so is he struck.^[47]

[76] Another following-after.

When he cuts against you from above and he continues downwards towards the ground with his sword, follow after him with an Oberhau to the head, before he comes up with the sword. Or if he wants to thrust at you, pay attention for when he positions his sword against you for the thrust, and follow after him and thrust in, before can perform his thrust.

[76] Another Nachreisen

When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again.

[37r.2] Aber ain nachraisen

It~ wann er dir võ oben zu° hawst laß er dam [!] sein schwert mitt dem haw nider gen zu° der erden So raÿß im nach mitt aine~ haw oben ein zu° dem kopfe ee er mitt de~ schwert vff ku~pt

[12v.4] Oder hawt er von obenn nider, vnnd lest sein schwert mit dem haw nider gehenn zu der erden, so rays im nach mit einem oberhaw zu dem kopf, ee wenn er mit dem schwert aufkumbt, so ist er geschlagenn.

[77] Or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.

[77] Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.

[77] But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself.

[37r.3] Ode~ will er dich stechen so mörck die wil er dz schwert zu° im zücht zu° dem stich so raÿß im nach vñ stich in ee wan er sinen stich valbringt ~~~

[78] About the couplings to the outside

76	Two couplings to the outside Your work begins thereafter
77	And gauge the application Whether they are soft or hard

Gloss. Note the two couplings to the outside are the two racings behind against the sword. Conduct it like this: When the opponent over-commits themselves attacking before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and gauge whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.

[78] About the outer-cattle-drives

76	Two outer-cattle-drives,^[223] You work begins thereafter,
77	And test the attacks, Whether they are soft or hard.

Gloss. Note, the two outer-cattle-drives are the two racings-after upon the sword; conduct it thusly: When he mis-hews himself before you, race-after him. If he then displaces you, so remain with the sword upon his and test whether he is soft or hard with the attack. If he then, with the sword, lifts that of yours upwards with strength, then extend your sword outside over that of his and thrust to his low opening.

[78] About the outer takings.

76	Two outer takings. Thereafter you shall start your work.
77	And test the movements, if they are weak or strong.

Glosa. The two outer takings are two followings-after with the sword. When he cuts in front of you, travel after him. If he defends himself against this, and you are left with your sword against his, feel to see if he is weak or strong in the bind. If he then strongly lifts your sword up and away with it, reach your sword to the outside over his and thrust in against the lower openings.

[78] The "Abnahmen" from the outside

Note, there are two "Abnahmen" from the Outside, which are two "Nachreisen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword^[224] and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening.

[37v.1] Von der eu~ßern nÿm

Zwai eußren nÿnn
dein arbat dar nach beginn
Vnd brieffe die gefert /
Ob sÿ sind waych oder ho^rt

Glosa Merck die zwi eu~ssere mÿnn das sind zwai nachraise~ am schwert das trib also wã er sich vo^r dir verhawet So rayß Im nach Versetz er dir den das So plÿb mit dem schwert an de~ sine~ vnd brieff / ob er mit denn gefo^ert waich oder ho^rt ist Hept dan er mit dem schwert das dim mit sterck v~bersich sicht So lang din schwert vssen yber das sin vnd stich In zu° dem vndere~ blöß ~etc ~

[79] The other coupling to the outside

Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.

[79] The other outer-cattle-drives

Item. When you fence cautiously^[225] from the under-hews (or otherwise from the under-attacks): if he then lays over you and winds upon your sword before you come up with that, [and] then remains strong with your sword below upon his winding and works to your upper opening, so follow-after with the sword and take weak of his sword with the long edge, and press down and stab him in the face.

[79] The other outer taking.

When you fence against him with Underhau or with other techniques that come against him from below, if he overpowers you and winds from above against your sword before you can come up with, you are left with your sword under his and so hold strongly against it. If he winds and threatens your upper opening, so follow after with the sword and catch the weak of his sword with the long edge and push downwards, and thrust into his face.

[79] The second Abnahmen from the outside

Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain stronglcontact with his sword from below. If he then attacks yopur high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face.

[37v.2] Die ander eu~ßer nÿm

Itm~ wen du geim \ fichtest~ vß vnder hawe~ oder su~nst vß [38r.1] den vndere~ geferte~ v~berylet er dich den vnd windt dir vff da schwert /ee/ wã dü do mit vff komest So blieb mit dem schwert starck vnde~ an dem sine~ we~der den vnd arbait dir zu° dem obern blöß So volg mit dem schwert nach vnd mit der lange~ schnÿden nÿm Im die stich schwo^ech sines schwerts vnd truck nyder vnd stich Im zu° dem gesicht

[80] About the feeling and about the word Indes

78	Learn the feeling Indes, that word cuts sharply

Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing.

[80] This is the text and the gloss about the feeling and about the word "in-the-moment"

78	Learn the feeling; In-the-moment, that word hews severely.

Gloss. This is so that you properly learn the feeling and the word "in-the-moment", and shall understand that the two things belong to the same and are the greatest arts of fencing.

[80] About the Feeling and about the word "Instantly".

78	Learn to Feel. "Instantly" is a word which cuts sharply.

Glosa. You will learn this carefully, and understand, Feeling and the word "Instantly", because these two things go together and are the highest arts in the fencing.

[80] The "Fühlen" ("feeling") and the word "Indes" ("while" or "during")

You shall learn and understand both the word "Fühlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing.

[38r.2] Von dem fülen vnd von dem wort Indes

Das fule~ lere
In des das wõrt schnÿdet sere

Glosa das ist das dü das füle~ / vnd das wo^rt In das wol lerne~ / vnd verstan solt wan die zwÿ ding gehoeren zu° same~ vnd sind die gro^eßte ku~nste zu° de~ fechte~

[13r.1] Das ist der text vnd die glos von dem fu~len vnd von dem wort Inndes /

Das fu~len lere /
inndes das wort schneidet sere /

Glosa / daz ist / das du das fu~len vnd das wort indes wol lerñ vnd versten solt / wen die zway ding gehõrn zu samen / vnd sind die grõstn kunst in dem vechtñ

[81] And understand it like this: When one binds someone against their sword, in that, just as the swords spark together, you shall immediately feel, whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.

[81] Item.^[19] And^[226] understand it thusly:^[227] When you come to him with the onset and^[228] one binds another on the sword, so in that you shall feel with the hand (that is, perceive),^[204] just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that,^[229] think of the word "in-the-moment"; that is, in that same swift perceiving^[230] of the soft and of the hard, you shall work to the nearest opening,^[231] so [he] becomes struck before he will have his insight.^[232]

[81] When one binds the other with the sword, so you will, in the same moment that the swords strike together, already feel if he has bound soft or hard. And as soon as you have felt this, think of the word "Instantly": that is to say, that you in the same instant that you feel this, quickly work against the soft and against the hard with the sword towards the nearest opening. Thus he will be cut down before he understands what is happening.

[81] Therefore remember: if one binds against the others sword, you shall notice – right in the moment when the blades make contact - whether he has bound hard or soft. And as soon as you have noticed this, remember the word "Indes": this means that you should attack the next opening immediately and nimbly, hard or soft. So he will be defeated before he knows it himself.

[38r.1] Vnd das vernÿm also [38v.1] we~ aine^r dem andere~ an das schwert bindt / So soltü In dem alß de schweet zu° same~ glütz schon zu° hand fulle~ / ebe^r waych oder ho^rt angebunde~ hab / Vnd alß bald dü das empfindest hau~st So gedenck an das wort /In des/ das ist das dü In den selbe~ enpfinde~ behendtliche~ nach der waich vnd nach der ho^rt mit dem mit schwert solt arbaite~ zu° der nechste~ bloß So wirt er/geschlage~ ee wann er sin gewar wirt ~

[13r.2] Item / das vernÿm also / wen ainer dem anderñ an das schwert pindt so solt du in dem als die swert zesamen glischent ze hant fu~len das ist enpfinden ob er waich oder hert angepunden hat / vnd als pald du das enpfunden hast / so gedenck an das wort inndes / das ist daz du in dem selbigen enpfinden behentlich nach der waich vnd nach der hert mit dem schwert solst arbaittñ zu der nãchstñ plõs / so wirt er geschlagñ ee wen er sein gewar wirt

[82] Another. You shall think of the word Indes in all bindings of the sword because

Indes doubles,
Indes mutates,
Indes slips through
and
Indes takes the slice.
Indes wrestles.
With Indes, take the sword.
Indes puts whatever your heart desires into the art.

[82] Item. Note,^[233] you shall think of the word "in-the-moment" in all bindings of the sword, because

in-the-moment doubles
and^[134] in-the-moment mutates,
in-the-moment runs-through,
and^[134] in-the-moment changes-through,^[47]
in-the-moment takes the cut;
in-the-moment wrestles,
and with in-the-moment, take the sword.
In the art, In-the-moment does whatever your heart desires.

[82] In all bindings with the sword you shall think of the word "Instantly", because

"Instantly" doubles
and "Instantly" mutates,
"Instantly" runs through
and
"Instantly" takes the cut,
"Instantly" wrestles,
"Instantly" takes the sword from him,
"Instantly" does in the art all that your heart desires.

[82] Likewise, you shall remember the word "Indes" during all binds at the sword, because

"Indes" dupliert
and "Indes" mutiert,
"Indes" rushes through
and
"Indes" takes the ‚Schnitt‚,
"Indes" wrestles
and "Indes" disarms him,
"Indes" – in the art of fencing - does, what your heart desires.

[38v.2] Itm~ du solt an das wort /Indes/ In alle~ an binde~ des schwertz gedencken wann wan

/Indes/ dupliert
vñ /Indes/ muttiert
/Indes/ laufft durch
vñ
/Indes/ nimpt de~ schnitt
/Indes/ ringt mitt
vn /Indes/ nimpt im dz schwert
/Indes/ tu°t in de~ kunst [39r.1] waß dein hercz beger

[13r.3] Item Merck / du solt an das wort inndes in allen anpinden des schwertzs gedencken / wen

indes dupliert
indes mütiert /
indes laufft durch /
indes wechsselt durch /
indes nÿmbt den schnidt /
indes ringet mit /
indes nymbt im das schwert /
indes thuet in der kunst wes dein hertz begert /

[83] Indes is a sharp word. Consequently, any fencer that knows nothing of this word, becomes cut. And this word, Indes, is also the key with which every art of fencing becomes unlocked.

[83] In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes hew. And the word "in-the-moment" is also^[134] the key in which all of the art of fencing becomes unlocked.

[83] "Instantly" is a sharp word, which cuts all those fencers who do not know something about the word. And the word "Instantly" is also the key, whereby all fencing art is unlocked.

[83] "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes" is the key, which unlocks the art of fencing.

[39r.2] /Indes ist/ ein scharpffes wort damitt alle fechte~ verschnitten werden bÿ des wortz worts nichten wissen Vñ dz wort Indes ist och der schlissele damit alle kunst de fechtens vffgeschlossen wirt ~ ~ ~ ~ ~ ~ :·

[13r.4] inndes ist ein scharffs wort damit all vechter verschnytten werdent / die des worts nit wissen / vnd das wort indes ist der schlissl / da mit alle kunst des vechtns aus geslossen wirt /

[84] Pursuing

79	Pursue twice, If one hits, make the old slice from it.

Gloss. This is for when the opponent over-commits themselves attacking before you, pursue with a cut to their upper opening. Then if they rise up and bind against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you or slice from the sword through their jaw. Conduct this on both sides.

[84] This is yet another play text and gloss about racing-after

79	Traveling-after twice: If one joins, make the farewell cut with it.

Gloss. Note,^[19] this is when he mis-hews himself before you: so race after him with a hew to the upper opening; if he then drives up and binds^[234] under you upon the sword, so note just as soon as one sword sparks^[235] on the other, [and] so fall upon him from the sword with the long-edge over his arm, and also press him from you (as stands pictured next),^[47] or cut him from the sword through the mouth. Deploy this to both sides.

[84] Following after.

79	Follow after twofold, meet him as he does the old slice.

Glosa. When he cuts against you and his point passes you, so follow after him with a strike against the upper openings. If he goes up and winds against you from below with the sword, pay attention to the sword blades against each other, and fall with the long edge from the bind over his arm, and push him away from you. Or slice him from the bind in over the face. Do this to both sides.

[84] A third Nachreisen

When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.

[39r.3] Nachraÿsen ~~

Nachraisen zwifach /
trifft man de~ alten schnitt mitt macht ·:

Glosa Das ist wann er sich vor dir verhawet So raÿse im nach mitt aine~ hawe zu° der obern blöß fört er dann vff vñ windet dir vnde~ an dz schwert So merck aber so bald ain schwert vff dz ande~ blitzscht So val im vom schwert mitt der langen schw schnÿden übe~ sein arm^[236] vñ truck in also von dir Ode~ [39v.1] schnÿd in vom schwert durchs maul dz trÿb zu° beden sÿtten ~~

[13v] Das ist aber ain stuck text vnd glos von nach raÿssen /

Nach rayssen zwyfach /
trifft man den alten schnidt mit macht /

Glosa Merck / das ist wen er sich vor dir verhawt / So rays im nach mit einem haw zu der obern ploß / vert er den auff vnd pindt dir vndten an das schwert / So merck als pald ain swert auff das ander glischt so vall im vom schwert mit der langen schneid vber sein arm~ vnd druck in also von dir / als am nachstn gemalt stett / oder schneid im vom schwert durchs maul das treib zu paiden seyttñ /

[85] About overrunning

80	Whoever hunts below Overrun, then they will be shamed.
81	When it clashes above, Strengthen, This I will praise.
82	Make your work Or press hard twice.

Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the onset, you shall not parry them, rather await, such that you overrun them with a cut in at the head from above or lodge the point from above, so that they become shamed by you because all descending cuts and all lodgings against from above reach over the lower.

[85] This is the text and the gloss about running-over

80	Whoever aims below, Run-over, then they become shamed.
81	When it sparks above Then strengthen, this I will laud.
82	Make your work Or press hard twice.

Gloss. Note,^[19] this is when he targets the lower openings with a hew or with a thrust in the onset: you shall not displace him, rather await, such that you run-over with a hew above into the head or set-upon the point above (as stands pictured hereafter next to this)^[47] so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.

[85] About reaching-over.

80	The one who aims underneath, reach over him, so he will be defeated.
81	When it clashes above, be strong: that I will praise.
82	Do your work or strike hard twice.

Glosa. In Zufechten, when he aims for a lower opening with a cut or a thrust, do not defend yourself against it. Rather, wait until you can reach over him with a strike from above against the head or a thrust from above, so he will be defeated by you, because all Oberhau and all high attacks reach further than lower strikes.

[85] (9) The uberlaufen the overflowing.

If when coming in to attack, he strikes with a strike or cut to the lower opening, then do not deflect him. Instead, wait and cut or thrust with a strike, or a high cut to the head. This way you can defeat him, because the higher strikes or cuts have a longer range than the lower ones.

[39v.2] Von überlauffen ~

Wer vnden remet
überlan vberlauffenden / der wirt beschemet
Wenn es klutzscht oben /
so störck dz will ich loben
Dein arbait mach /
oder hert druck zwifach ·:

Glosa Das ist wann er dir in dem zu°fechten mitt ainem haw oder mitt ain stich remet der vndern bloß dz soltu im nicht verseczen Sonder wart dz du in überlauffest mitt aine~ haw° obe ein zu° dem kopffe oder im den ort oben anseczest so wirt er võ dir beschemet wann alle obe~ haw° vñ alle ober anseczen üblerlange~ die vndern ~ ~~

[14r] Das ist der text vnd die glos von vberlaüffen /

Der vndtenrembt /
vber lauff den der wirt peschemt /
Wen^esklischt oben /
So sterck das wil ich loben /
dein arbait mach /
oder herte drück zwifach /

Glosa / Merck das ist / wen er dir in dem zu fechten mit einem haw oder mit ainem stich rent der vndern plõß / das sol du im nicht v°setzñ Sunder wart das du in vber lauffest mit ainem haw oben ein zu dem kopf oder im das ort oben einsetzen / als am nãchstn gemalt stett So wirt er von dir beschemt / wen all ober hew / vnd all ober an setzen vberlengen die vnderñ /

[86] Another. How one shall displace cuts and thrusts

83	Learn to displace. Skillfully disrupt cut, thrust.
84	Whoever thrusts at you Such that your point hits and theirs breaks
85	From both sides You will hit every time, if you step.

Gloss. This is so that you shall learn to displace both cuts and thrusts alike with art such that your point hits them and theirs will be deflected and understand it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in turn against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and theirs fails to.

[86] ^[237]This is the text and the gloss: how one shall offset hews and thrusts

83	Learn to offset: Skillfully injure, hew, thrust
84	Whoever thrusts upon you, Such that your point hits and his breaks,
85	From both sides; Hit any time if you wish to step.

Gloss. This is so that you shall learn to offset hews and thrusts alike with art, such that your point hits him and, in that, his becomes broken, and^[19] understand^[238] it thusly: When someone stands against you and holds his sword as if he will stab you from below, so stand counter against him in the guard of the plow from your right side, and give yourself an opening with the left. If he then under-thrusts to the same opening, wind with the^[134] sword against his thrust to your left side and step into him with the right foot, so that your point hits and his fails (as stands pictured next).^[47]

[86] How one shall set aside cuts and thrusts.

83	Learn to set aside, skillfully arrest cuts and thrusts.
84	That which is thrust against you, meet him with your point and he is countered.
85	From both sides you always strike if you take a step.

Glosa. You shall learn to skillfully set aside cuts and thrusts, so that your point strikes him and he is countered. When someone stands against you and holds his sword as if he thinks to thrust at you from below, stand against him in the Plough guard on your right side and give yourself an opening on the left side. If he then thrusts from below to this opening, wind with your sword against his thrust, out to your left side, and step towards him with your right foot, so you can hit with your point as he misses.

[86] (10) The placing. (das absetzen).

You should learn to stop strikes and cuts correctly, so that his point is broken and yours hits. Practice it like this: when he stands in front of you as if he wants to aim(stab at) for the lower opening, then begin in the guard plug(plough) on your right side and open up your left side, if he then thrusts to your left hand side, twist/bind your sword against his on your left hand side and step with the right foot a step to him: This way your point strikes and his fails(misses).

[40r] Item wie man hew° und stich abseczen sol ~

Lern abseczen /
haw stich kunstlich leczen
Wer vff dich sticht /
dz din ort trifft / vñ sine~ prücht
Von baiden sÿtten /
triff alle mal wilt du schrÿtten ·:

Glosa Das ist dz du lerne~ solt hew° vnd stich also mitt kunst abseczen Dz dein ort In treffe vñ im der sin gebrochen werde Vñ Das vernÿm also Wenn aine~ gegen dir sticht steet vñ helt sein schwert alßer dir vnden zu° stechen wölle So stee wide~ gegen im in/der hu°t des pflu°gs von dine~ recht~ sÿtten vñ gib dich blöß mitt der [40v.1] lingen lincken Stich er denn dir vnden zu° der selbige~ blöß So wind mitt dem schwert gegen sÿne~ stich vff din lincke sÿtten vñ schrÿt zu° im mitt de~ recht~ fu°ß So trifft din ort vñ der sin fält ~ ~ ~ ~ :·

[14v] Das ist der text vnd die glos wie man haw vnd stich sol absetzen

Lern absetzen /
hew stich kunstlich letzen /
wer auff dich sticht /
vnd dein ort trifft vnd seinen pricht
von paÿden seitten /
trifft allemal wildu schreitten /

Glosa / das ist / das du lerñ solt hew vnd stich / also mit kunst absetzen das dein ort in treff / vnd der sein im geprochen werd / das merck also / Wen ainer gegen dir stett vnd helt sein swert als er dir vndten zu well stechen / so ste wider gegen im in der hutt des pfluegs von deiner rechten seÿtten / vnd gib dich plos mit der lincken / Sticht er dir den vndten zu der selben plõs / So wint mit swert gegen seine~ stich auff dein lincke seitten / vnd schreitt zu mit de~r lincken rechten fues / So trifft dein ort vnd das sein verfelt / als hernach gemalt stett /

[87] Yet another play about displacing

Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.

[87] Yet another play from setting-aside

Item.^[134] Note,^[19] when you stand against him in the guard of the plow from the left side: if he then hews to the upper opening of your left side, then drive up with the sword, and wind^[19] to the left side against his hew (such that the hilt is in front of your head), and step into him with your^[53] right foot and stab him in the face (as stands pictured hereafter next to this).^[47]

[87] Another technique for setting aside.

When you stand against him in the Plough guard [Pflug] on your left side: if he cuts at you towards the upper opening on your left side then go up and out to the left side with the sword against his cut, with the hilt in front of the head; and step towards him with the right foot and thrust at his face.

[87] The second placing.

When standing against him in the guard pflug (plough) on the left hand side, and he strikes to your upper left hand opening, then drive high to the left with the hilt before your head, take a step toward him with the right foot and stab him in the face.

[40v.2] Aber ain stuck von abseczen

It~ wann du gen im stäst In de~ hu°t de pflu°gs võ dine~ lincken sÿtten Hawt er dir dann zu° der obern blöß dine~ lincken sÿtten so far vff mitt dem schwert vnnd vff die lincken sÿtten gege~ sine~ haw / dz gehülcz für din haupt vñ schrÿt zu° im mitt dem rechte~ fu°ß vñ stich im in dz gesicht ~ ~ ~

[15r] Aber ain stuck von absetzen :~

Merck Wen du gegen im stest in der hutt des plugs von deiner lincken seitten / haut er dir dan zu der oberñ plõs deiner lincken seittñ / So far auff mit dem schwert / vnd wind auff dein lincke seitt gege~ seinem haw das gehiltz fu~r dein haubt / vnd schreitt zu im mit deinem rechtñ fues / vnd stich in in das gesicht / als am nãchstn da hernach gemalt stett /

[88] About Disengaging

86	Learn to disengage From both sides stabbing sharply with it
87	Whoever binds upon you Disengaging surely finds the them

Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cut or thrust in in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and rush through and with that, gravely thrust in on the other side, so that you immediately find the opening of the opponent as is pictured here.

[88] This is the text and the gloss about Changing-through

86	Learn to change-through From both sides; stab with violence
87	Whoever binds upon you, The Changing-through finds him swiftly.^[239]

Gloss. This is so that you shall learn the changing-through well, and conduct it thusly: When you cleave-in or thrust to him in the onset, if he will^[134] then bind on the sword with a hew or with a displacement, allow the point under his sword and slip through, and with that, thrust-in to him violently at the other side, thus you find the opening upon him swiftly (as stands pictured).^[47]

[88] About changing-through.

86	Learn to change-through on both sides, hurt him with thrusts.
87	He who binds against you the changing-through finds him quickly.

Glosa. You shall learn carefully to change-through. When you strike or thrust in against him in Zufechten and he tries to bind against the sword with a cut or a parry, let the point sweep through under his sword, and hurt him with a thrust to the other side, quickly find one of his openings.

[88] (11) The changing through. (durchwechseln).

Drive it so: when he wants to bind against a blow or cut , so let the point slide through under his sword: then you will find his opening.

[40v.3] Von durchwechslen

[41r.1] Durchwechslen lere /
võ baÿden sÿtten stich mitt sere
Wer vff dich bindet
durchwechsel in schier bin findet ·:

Glosa Daß ist daß du dz durchwechslen wol lerne~ solt vñ dz trÿb als Wenn du im in dem zu°fechten ? ein hawest oder zu° stichst will er dir denn mitt ainem hawe oder/^mitt /veseczen an daß schwert binden so lauß den ort vnde~ sinem schwert vn durch wischen Vnnd stich im do mitt sere ain eÿn zu° der anderen sÿtten so fündest du an im schier de blöß ~

[15v.1] Das ist der text vnd die glos von durch wechsseln /

Durch wechssel lere /
von paiden saitten stich mit sere /
wer auff dich pindt /
durch wechssel in schier vindet

Glosa / das ist / das du das durchwechssel wol lerñ solt / vnd das treib also / Wen du im in dem zu fechten ein haust oder zu stichst / pindt er dir den mit eine~ haw oder mit versetzñ an das schwert / So laß das ort vndter seine~ schwert durch wischen vnd stich im da mit ser ein zu der anderñ seitten / So vinst du an im schier die plõs / als da gemalt stett /

[89] Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.

[89] Item. If he then becomes aware of the thrust and drives after it with the displacing, then but change-through to the other side.

[89]

[15v.2] Itm~ wirt er dan des stichs war vnd fert im mit der versatzung nach / so wechsl aber durch zu der anderñ seÿttñ /

[90] Another. Another.

If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.

[90] Item. Another.

As you come to him, set your left foot forward and hold the long [point] against his face. If he then hews to the sword (over or under) and will strike it away, allow your point to sink downwards and stab him to the other opening of the other side, and do that against all hews.

[90]

[15v.3] Itm~ ein anders /

so du zu im kumbst / so setz dein lincke~ fueß vor vnd halt im dz lang gege~ de~ gesicht haut er dã obe~ oder vndte~ zu dem schwert / vnd wil das hin weg schlagñ / so laß dein ort vntersich sincken vnd stich in zu der andern plõs der anderñ seyttñ vnd thue das gegen allen hewen /

[91] About the yanking back

88	Tread close in binds, So that yanking back gives good opportunities.
89	Suddenly withdraw. If they engage, suddenly withdraw more. Uncover the work that does them harm.
90	Suddenly withdraw in all engagements If you wish to make a fool of the masters

Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.^[240]

[91] This is the text and the gloss about yanking

88	Tread near in binding;^[241] The yanking gives good opportunities.
89	Pull: if it connects, yank more. If he works, cut so that it does him woe.
90	Pull in all hits Of the masters if you wish to deceive them.

Gloss. This is when you come to him with the onset: so cleave-in strongly above from the right shoulder to the head. If he then binds you with displacing (or otherwise on the sword), so tread near to him in the bind on the sword^[242] and withdraw your sword from his above, and cleave-in again above to the other side to his head (as it stands pictured next to this).^[47] If he displaces that too a second time, so strike-in again above to the other side, and work swiftly according to the upper openings which may occur to you with the doublings^[243] (or otherwise with other plays to his nearest opening).^[244]

[91] About the twitching.

88	Step in closer in the bind, the twitching gives you a good deal.
89	Twitch! Meet it, then twitch again. Find openings to work: then give pain.
90	Twitch in all fights against the masters, if you want to trick them.

Glosa. When you come against him in Zufechten, strike powerfully from above from your right shoulder in against his head. If he binds against the sword with a parry or suchlike, step in closer to him in the bind and twitch your sword up and away from his and cut back down against him on the other side of the head. If he defends himself this second him, strike back to the first side from above and work deftly against the upper openings that open to you, with doubling and other techniques.

[91] (12) The Jerk (Das zucken)

When you come to fence, so hit him from the right with an oberhau to the head. If he binds at the sword, then step in close to him(still binding ), jerk your sword quickly from above his and hit from the other side to his head. If he deflects it again, then strike him again to the other side, and then work cleverly to the upper opening with duplieren and other pieces.

[41r.2] Von dem zucken

Tritt nahend In binden
daß zucken git gu°t fünden
Zuck trifft er [41v] zuck mer /
arbait erfinde dz tu°t we
Zuck in allen treffen /
den maistern wiltu sÿ effen ~ ·:

Glosa Das ist wenn du mitt dem zu°fechten zu° im kumst so haw võ der rechte~ achslen starck oben ein zu° dem kopff bindt er dir dann mitt verseczen ode~ sunst an dz schwert So tritt im bamd bande nahent zu° im vñ zuck dein schwert oben abe võ den sine~ vñ haw im zu° der andern sÿtten wide~ oben ein zu° dem kopff Verseczt er dir dz zu° dem andern male So schlach wide~ zu° der andern sÿtten oben ein vñ arbait behentlich nach der obern blöß die dir werden mag mitt den dem dupliernn vñ mitt andern stucken ~~ ~:·

[16r.1] Das ist der text vnd die glos von Zücken :~

Tritt nachentt Im pinden /
daz zucken gibt gutt finde /
zuck trifft er zück mer /
arbaitt er schnitte das thuet Im wee /
zuck in allen treffen
den maister wildu sy ãffen /

Glosa / daz ist wen du mit de~ zu fechten zu im kumbst / So haw im von der rechten achssel starck oben ein zu dem kopf / pindt er dir den mit versetzñ oder sunst an das schwert / So tritt im pand nachent zu im an das schwert / vnd zuck dein schwert oben ab von dem seinen vnd haw im zu der anderñ seitten wider oben ein zu dem kopf / als am nãchstn da gemalt stet / vnd arbait behentlich mit dem dupliern oder sunst mit anndern stucken im zu der nãchstn plõs /

[92] Or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.

[92] Or act as if you will yank and [then] remain upon the sword, and quickly thrust-in again upon the sword to the face. If you then do not quite hit him with the thrust, so work with the doubling or otherwise with other plays.

[92]

[16r.2] Oder thue als ob du wellest zucken / vnd pleib am schwert vnd stich pald am schwert wider ein zu dem gesicht / triffst du in dan nicht recht mit de~ stich / so arbait mit dem duplierñ oder sunst mit anderñ stucken /

[93] About Slipping through

91	Rush through, let hang Grab with the pommel if you wish to grapple.
92	Whoever strengthens against you, Remember to rush through with it.

Gloss. Note this is for when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back^[245] and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.

[93] This is the text and the gloss about running-through

91	Run-through, allow to hang With the pommel, grasp if you wish to wrestle.
92	Whoever strengthens against you, Run-through. With that note.

Gloss. Note, this is when one runs-in to the other: if he then drives up with the arms and wishes to overwhelm you above with strength, so drive up as well with the arms, and hold your sword with the left hand near the pommel over your head and allow the blade to hang behind over your back,^[246] and run-through with your head under his right arm and spring with the right foot behind his right, and with the spring, drive him well forward with the right arm around the body, and clasp him thusly to the right hip and throw him in front of you (as stands pictured here).^[247]^[47]

[93] About running-through.

91	Run-through! Let it hang with the pommel, grip if you want to grapple.
92	When someone is strong against you: remember to run-through.

Glosa. When one rushes in closer to the other and goes up with the arms and wants to overpower you above with the strong; go up with your own arms and hold your sword by the pommel with the left hand over your head, and let the blade hang behind over your back. And run with your head through under his right arm and spring with the right foot behind his right foot. And as you spring, go with your right arm in front of and around his chest, and catch him around the side with your right hip and cast down him in front of you.

[93] (13) The running through (durchlaufen).

Notice: when he runs in, driving high with the arms and wants to subdue you with force from above, then drive high with your arms also and hold the pommel over your head with the left hand , so that the blade hangs down behind your back. Duck under his right arm and spring through with the right foot (Place it behind his right foot). In the spring grasp him around the breast and throw him over your hip.

[42r] Von durchlauffen ~

Durchlauff lauß hangen :
mitt dem knopffe grÿff wilt du range~
Wer gegen dir störcke /
durchlauff damitt mörcke :·

Glosa Mörck dz ist Wann aine~ dem andern einlauffe : fört er dann vff mitt den armen vñ will dich oben mitt störck überdringen So far och vff mitt den arme~ / vñ halt din schwert mitt de~ lincken hand bÿ dem knopff ober dine~ havpt haupt Vñ lauß die clinge~ hinden v~ber deine~ rucken Ruck hange~ Vñ lauff mitt dinem haupt durch vnde~ sine~ rechte~ arm vñ spring mitt de~ rechte~ fu°ß hinder sine~ rechten / vñ mitt dem sprünge far im mitt dem [42v.1] rechten arm vorne~ wol vm den lÿb vñ fasse in also vff dem rechten hüffe vñ wirff in für dich ~ ~ ~ :·

[16v] Das ist der text vnd die glos von dürch laüffen /

Durch lauff las hangen /
mit dem knopff greÿff wildü rÿngen /
wer gegen dir sterck /
durch lauff da mit merck /

Glosa / Merck das ist wen einer dem anderñ einlaufft fert er dan auff mit den armen / vnd wil dich mit sterck vber dringen / So far auch^auffvnd far halt dein schwert mit der lincken hant pey dem knopf / vber deinem haubt / vnd las dein kling hinden vber deine~ ruck hangen / vnd lauff mit dem haubt durch vndter seinem^rechtñarm~ / vnd spring mit dem rechtñ fu~eß hintter seinen rechten / vnd mit dem sprung far im mit dem rechten arm~ vorñ wol vmb den leib / vnd faß in also auff dein rechte hu~ff vnd wirff in fu~r dich als am nãchstn gemalt stett

[12v.5] Das ist vonn Ringenn.

[13r.1] Durchlauff las hanngenn,
mit dem knopf greif wiltu rangenn,
wer gegenn dir sterck,
durch lauf damit merck.

Glosa. Merck das ist, wen einer dem anndernn einlaufft, fert er dann auf mit den armen vnnd wil dich obenn mit sterck vberdringen, so far auch auf mit denn Armen, so halt dein schwert mit der linckenn handt, bey dem knopf, vber deinem haupt, vnnd las die kling hinter dir nider hanngenn, vnd lauf im mit dem haupt durch, vnder seinen rechtenn Arm, vnnd spring mit dem rechtenn fus hinter sein rechtenn, vnnd mit dem spring vor im, mit dem rechten arm, vornn wol vmb den leyb, vnd fas in also auf dein rechte hüf, vnnd wirf in fur dich als hie gemalt stet.

[94] Yet another slipping through

Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword, hold your sword by the pommel with the left hand and let the blade hang over your back. Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.

[94] This is yet another play about running-through

Item.^[126] Note,^[19] when he wishes to overpower you with strength by running-in with the sword high:^[248] so hold your sword with the left hand near the pommel and let the blade hang over your back.^[246] Run-through with the head under his right arm, and remain with the right foot forward^[138] before his right and drive in^[66] well behind him with the right arm around the body, and clasp him upon your right hip and throw him behind you (as stands pictured here).^[134]^[47]

[94] Another running-through.

When he rushes in towards you and powerfully tries to overpower you above with the sword, hold your sword by the pommel with the left hand and let the blade hang behind over your back, and run with the head through under his right arm and stand med with right foot in front of his right foot, and go with the right arm behind and around his chest, and catch him with the right hip and cast him down behind you.

[94] A second running through:

If while you are running through, he wishes to subdue you with strength from above, then hold the pommel with the left hand and let the blade hang down behind your back. Duck under his right arm, but leave your right leg in front of his. Grab him around the back with your right hand and throw him over your hip, behind you.

[42v.2] Aber ain durchlauffen

It~ wann er dich in dem einlauff~ mitt de~ schwert oben mitt störck über dringen will So halt dein schwert mitt der lincken hannd bÿ dem knopff vñ lauß die clinge~ über deine~ Ruck hang~ vñ lauff mitt dem haüpt durch vnder sine~ rechten arm vñ blib mitt de~ rechten fu°ß vor sine~ rechten / vñ far mitt dem rechte~ arme hinden wol im vmb den lÿb vñ fasß in vff din rechte hüff vnn wirff in hinder dich ~ ~ ~ ~ ~ ~ ~ :·

[17r] Das ist ein stuck aber von durchlauffen /

Merck / wen er dich in dem ein lauffen mit dem schwert oben mit sterck wil vber dringen / So halt dein schwert mit der lincken handt pey dem knopf / vnd las dein kling vber deinen rücke~ hangen / vnd h laufft mit dem haubt durch vnder seine~ rechtñ arm~ / vnd pleib mit dem rechten fu~es vor seine~ rechten / vnd far Im mit dem rechten arm~ hindten wol vmb den leib / vnd fas in auff dein rechte hu~ff / vnd wu~rff in hintter dich / als gemalt stett ~

[13r.2] Aber ein Ringenn.

Merck wenn er in dem einlauffenn auch auffert mit denn armenn, so halt dein schwert mit der linckenn handt, bey dem knopf, vnd las die kling hinter dir nider hangenn, vnd lauf mit dem haupt durch vnter dem rechten armenn, vnnd bleyb mit dem rechtenn fus vorn fur seinem rechtenn, vnnd far mit dem Rechten arm Im hindenn wol vmb denn leib, vnnd fas in auf dein rechte huf vnnd wirf in hinter dich als hie gemalt stet.

[95] A wrestling at the sword

Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side using your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you.

Though watch that it does not fail you.^[249]

[95] A wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it with the right, and shove his sword from you to your right side with your hilt, and spring with the left foot in front of his right and drive him well back with your left arm around the body, and clasp him to your left hip and throw him in front of you.

Though watch that it does not fail you.

[95] A wrestle with the sword.

When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot in front of his right foot, and go with the left arm behind and around his chest, and catch him with the left hip and cast him down in front of you.

But watch out so that it does not go wrong for you.

[95] A battle in the sword.

If he tries to run in, then let go of the sword with the left hand and hold it in the right. Knock his sword to the right to your right with your cross guard. Spring with the left foot in front of his right foot grab him around the middriff, take him onto your left hip and throw him to the floor.

Though make sure that you do not fail.

[42v.3] Ain Ringen im schwert

[43r.1] It~ wann aine~ dem andern einlaufft so lauß dein schwert vß der k lincken hand vñ halt es in der rechten vñ stoß sein schwert mitt dine~ gehültze vff din rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß für sine~ rechte~ vñ far im mitt dem lincken arm hinden wol vm de~ lÿb vñ fasse in vff din lincke hüffe vñ wirff in für dich etc~

☞ Doch lu°g dz es dir nit fel ~

[96] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.

[96] Yet another wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it in the right, and shove his sword from you to your right side with the hilt, and spring with the left foot behind his right and drive him forward with the left arm under his chest (well around the body), and throw him backward over your foot.

[96] Another wrestle with the sword.

When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot behind of his right foot, and go with the left arm in front of and under his chest, and catch him with the left hip and cast him backwards over your foot.

[96] A second battle in the sword.

If he tries to run in, then let go of the sword with the left hand, and hold it in the right hand, knock his sword to your right side with your cross guard. spring with your left foot behind his right, grab him around the chest with your left arm and throw him behind you over your leg.

[43r.2] Aber ain ringen im schwert

It~ wann aine~ dem andern ein laufft so lauß din schwert vsß der lincken hand vñ halt es in der rechten vñ stoß mitt dem ghültz sein schwert vff din^[250] rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß hinder [43v.1] seine~ rechten vñ far im mitt dem lincken arme vornen vnde~ sin brüste wol vm den lÿb vñ wirff vñ vff dein fu°ß hindersich ~

[97] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm using your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.

[97] Yet another wresting at the sword

Item.^[134] Note,^[19] when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside^[134] with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand^[134] and spring with the left foot in front of his right, and back him thusly over the foot to your right side (as stands pictured next to this).^[47]

[97] Another wrestle with the sword.

When you rush in towards another, release your sword with the left hand and hold it with the right. And go with the pommel outside and over his right arm, and thus twitch it downwards. And grip his right elbow with your left hand and spring with the left foot in front of his right foot, and pull him over the foot out to your right side.

[97] A third battle in the sword.

If you run in, then let go of the sword with your left hand and hold it in your right, then raise the pommel from the out side over his right arm, and pull him down, then grab his right elbow with your left hand, spring with your left foot in front of his right, and pull him to the right over your leg.

[43v.2] Aber ain ringen im schwert

It~ wann du mitt aine~ eÿnlauffest so lauß dein schwert vß der lincken hannd vñ halt es in der rechten Vñ far im mitt dem knopff vssen über seine~ rechte~ arm vnnd züch domitt vnde~sich vñ mitt der lincken hannd begrÿff sein rechte elnbogen vñ spring mitt de~ lincken fu°ß für seinen rechten vñ ruck in also über den fu°ß vff din rechte sÿtten ~~~~~

[17v] Aber ain ringen Im schwert

Merck / wan du ainem ein lauffst / So laß dein schwert auß der lincken hant / vnd halt es in der rechten / Vnd far Im mit dem knopf oben vber sein rechten arm~ / vnd zeuch damit vndtersich / vnd mit der lincken begreiff seinen rechten Eelpogen / vnd spring mit dem lincken füeß für sein rechtñ / vnd ruck in alzo vber den füeß / auff dein rechte seytten als am nãchstn da gemalt stett /

[98] Yet another wresting at the sword

Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip.^[251]

[98] Yet another wresting at the sword^[252]

Item.^[134] Note,^[19] when one runs-in to the other: so drive with the left arm^[253] over his right, and with that seize his^[254] right arm with an inverted hand^[255] and press his left^[123] over your left with your^[210] right arm, and spring with your^[210] right foot behind his right and turn yourself away from him to your^[256] left side, and^[19] thus you^[257] throw him over your^[256] right hip (as stands pictured next to this).^[47]

[98] Another wrestle with the sword.

When one rushes in towards the other, so go with the reversed left hand over his right arm and grip your right arm; and push his right arm over his left with your right arm, and spring with your right foot behind his right foot, and turn away from him to your left side, and so cast him over your right hip.

[98] A fourth battle in the sword.

If he runs in, then drive with the left hand reversed over his right arm and grabs your own right arm. Push with your right arm his right over your left, and spring with the right foot behind his right and turn to the left. This enables you to throw him over your right hip.

[43v.3] Abe~ ain ringe~ im schwert

Item wenn ainer dem andern [44r.1] eÿnlaufft So far mitt lincker verkörter hand über sine~ rechten arm Vñ begrÿff da mitt dinem rechten^[258] arm vñ d druck mitt dinem rechten arm sine~ rechten über dine~ lincken vñ spring mitt dine~ rechten fu°ß hinder sinen^[259] rechten Vñ wende dich von im vff dine lincke sÿtten So wirffestu in über din rechten hüffe ~

[18r.1] Merck / Wan ainer dem andern einlaufft / So far mit dem lincken arm vber sein rechtñ / vnd begreiff damit sein rechtñ arm mit verkerter hant / vnd druck mit dem rechtñ arm~ sein lincken vber dein lincken / vnd spring mit dem rechten füeß hindter sein rechten / vnd went dich von Im auff sein lincke seytñ / vnd würff In vber sein rechte hiff / als am nechstñ da gemalt stet /

[99] Yet another wresting

Another. When someone rushes in inside your sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left using your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.

[99] Yet another wresting

Item. When someone runs-in at the sword, etc.: so let your sword fall and invert your right hand, and with that seize his right hand outside and clasp it near the right elbow with the left, and spring with the left foot in front of his right and shove his right arm over your left with the right hand, and with that lift it upwards; thus is he locked and thus [you] may break the arm, or throw him in front of you over the leg.

[99]

[18r.2] Aber ain ander ringen

Item wan dir ainer ein laufft im schwert / etc so laß dein schwert fallen / vnd verker dein rechte hant / vnd begreiff damit sein rechte außwendig / vnd mit der lincken fas in peÿ dem rechtn Elpogeñ / vnd sprin[g] mit dem lincken füeß für sein rechtñ / vnd stos mit der rechten han[t] sein rechtn arm~ / vber dein lincken / vnd heb in damit vbersich / also is[t] er uerrieglt / vnd magst Im also den arm~ prechen / oder für dich vbe[r] das pain werffen

[100] One other wrestling at the sword

Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them.

This will vex them badly.^[260]

[100] A sword taking^[261]

Item.^[134] Note,^[19] when one runs-in to the other: so invert your left hand and with that drive over his right arm, and with that seize his sword by the grip between both hands, and back to your left side (as stands pictured next to this);^[47] so you take the sword from him.^[262]

This will vex him badly.^[263]

[100] Another wrestle with the sword.

When one rushes in towards the other, turn your left hand and go with it over his right arm; and grip his sword's handle between his two hands, and pull it out to your left side, and so you will take the sword from him.

This will be very bad for him.

[100] A fifth battle at the sword.

If he runs in, then reverse your left hand and drive it over his right arm, grab his sword by the grip, between his hands and pull to your left hand side

and he will suffer.

[44r.2] Ain ande~ ringe~ Im schwert

It~ wann aine~ dem andern eÿnlaufft So verkör dein lincke hannd vnnd far domitt übe~ sine~ rechten arm vñ begriffe domitt sÿn schwert bÿ der handhäbe zwischen sine~ baiden henden vñ rucke vff dein lincke sÿtten So nimest du im dz schwert etc

Das wurd in übel kÿen ~~

[18v] Ein schwert nemen

Merck / wan ainer dem andern ein laufft / so verker dein lincke hant / vnd far da mit vber sein rechten arm~ / vnd begreifft damit sein schwert peÿ der hant heb / zwischen seinen baÿden hendtñ / vnd ruck auff sein lincke seytñ / als am nechsten da gemalt stet

[101] A sword disarm

Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades^[264] with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.

[101] This is yet another sword taking^[265]

Item.^[134] Note,^[19] when he binds on your sword (with displacing or otherwise): so seize both swords in the middle^[19] of the blade with the left hand inverted^[134] and hold them tightly together, and drive through below with the pommel with the right hand against the left side over both his hands, and with that back yourself upward to the right side. So you keep both swords (as stands pictured next to this).^[47]

[101] A sword capture.

When he parries or in another manner binds against your sword, grip with a turned left hand both the swords by the blades. And hold them tightly together and go with the right hand out to your left side with the pommel from below round to the other side over both his hands; and pull upwards out to your right side; you will hold both swords.

[101] A sword captures.

If he displaces or in some other way binds your sword, then grab the swords in the middle of with your left hand (turned down). Hold them tightly together and drive your right hand underneath to your left side, over his hands. Then, pull upwards, to your right hand side, this way you get both swords.

[44v.1] Ain schwert nemen

It~ wenn er mitt verseczten oder sunst an din schwert bindet So begrüff begrÿff mitt lincker verkörter hand baÿde schwert In den clingen vñ halt sÿ veste zu° samen / vñ far mitt der rechten hand gegen dine~ lincken sÿtten mitt dem knopff vnden durch im über sein baÿde hende vñ ruck do mitt übersich vff din rechte sÿtten So belÿben dir baÿde schwert ~ :·

[19r] Das ist aber ain schwert nemen

Merck / wan Er mit versetzen / oder sunst an dein swert pindts so greyff mit der linckn hant peyde swert mitten in den klingen / vnd halt sÿ vest zu samen / vnd far mit der rechten hant gegen deiner lincken seytñ / vndtñ durch mit dem knopf / vber sein pede hent / vnd ruck da mit vber sich auff dein rechte seytt / so peleiben dir bayde swert / als am nechstñ da gemalt stet /

[102] About cutting off

93	Cut off the hard ones From below in both paths
94	Four are the slices With two from below, two from above.

Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop^[266] into their arms using the short edge and press upwards as before.

[102] This is the text and gloss about cutting-off

93	Cut away the hard [ones] From below in both drivings.^[267]
94	Four are the cuts: With two below, two above.

Gloss. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will^[134] overpower you above against your left side with strength,^[268] so twist your sword and fall^[269] under his hilt, into his arms with the long edge with crossed hands, and press-upward with the cut (as stands pictured next to this);^[47] or, if he runs-in against your right side, fall^[269] into his arm with the short edge and press upwards as before.

[102] About slicing.

93	Slice by the obstacles, from below threaten him.
94	Four are the slices, two below and two above.

Glosa. There are four slices. Understand this: when he rushes in towards you and goes high up with the arms and wants to overpower you with strength from above against your left side, wind your sword and fall with the long edge with crossed hands under his hilt against his arm; and press upwards with the slice. Or if he rushes in towards your right side, fall with the short edge against his arm and press upwards as before.

[102] (14) The cutting aside.

Note, there are four slices, two lower and two upper. Do the first like this: If he runs in from your left side, driving up with both arms and wants to overpower you from above. Then twist your sword and drop with the long edge under his hilt into his arm and press him upwards with the cut. But if he runs in from your right, then drop the false edge under and into his arm and press him up as before.

[44v.2] Von abschniden ~

Schÿde ab die hörten /
von vnde~ in baÿden geferten
Vier sind der schnitt /
zwen vnden zwen oben mit ·:

Glosa Mörck [45r.1] es sind vier schnitt Den ersten trÿb also Wann er dir einlaufft vñ hauch vff fört mitt de~ armen vñ dich oben gege~ dine~ lincken sÿten überdringe~ will mitt störck So verwend din schwert vnd fall im mitt der lange~ schniden mitt ge crützen henden vnnde~ sinem gehülcze In sin arm vnd truck mitt dem schnitt übersich Ode~ laufft er dir ein gege~ dine~ recht~ sÿtten So fall Im mitt de~ kurczen schniden in sin arm vñ truck übersich alß vor ~~:·

[19v] Das ist der text vnd glos von abschneidñ

Schneid ab die hartn /
von vndtñ in baÿdñ gefertñ /
vier sind der schnit /
zwen vndtñ / zwen oben mit /

Glosa / Merck es sind vier schnit / den Erstñ treib also Wan Er dir ein laufft / vnd hoch auch fart mit den arme~ / vnd wil dich oben gegen deiner lincken seitñ vber dringen / So verwent dein schwert / vnd far Im mit der langen schneid mit gekreutztn hendtñ / vndter seinem gehu~ltz Im sein arm~ / vnd truck mit dem schnidt vbersich / als am nechstn da gemalt stet Oder laufft er dir entgegen deiner rechtñ seÿtñ / so far Im mit der kürtzñ schneid in sein arm~ / vnd druck vbersich als vor /

[103] Yet another slice

Another. When you bind strongly on their sword using a cut or otherwise, then if the opponent allows their sword to bounce away from yours and strikes at your head from above, then hang off your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.

[103] Yet another cut

Item. When you bind strongly on his sword (with a hew or otherwise): if he then allows his sword to snap-away from yours and strikes you above to the head, so twist your sword with the hilt in front of your head and cut-through his arm below, and with the cut, set the point below upon his chest.

[103] Another slice.

When with a strike or in some other manner you bind strongly with his sword; let him pull his sword away from you and strike from above to your head. Then wind your sword with the hilt in front of your head and slice his arm from below; and thrust the point in the slice down into his breast.

[103] The second cut.

If you bind strongly against his sword, with a blow or otherwise, and he then jerks his sword away and tries to hit your head from above, then twist your sword, work through with the cross guard in front of your head and cut him under his arm. With this cut place the point underneath against his breast.

[45r.2] Aber ain schnitt

It~ wann du im mitt aine~ haw oder sunst starck vff sin schwert [45v.1] bindest laust er/dann sein schwert abschnappen võ dem dine~ vmd [!] schlecht dir oben zu° dem kopff So verwende din schwert mitt dem gehültz für dein haupt vñ schiy schnÿd im vnden durch sin arm vñ secz im mitt dem schnitt vnde~ den ort vnden an sin brust ~

[104] Yet another slice

Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above using your long edge. Conduct this on both sides.

[104] This is the over-cut^[270]

Item.^[65] Note,^[19] conduct the cut thusly: when one binds on the sword against your left side, and^[65] he then^[271] strikes around from the sword to the right side (with the thwart or otherwise),^[149] so spring from the hew with the left foot to his right side, and fall with the long edge above over both arms and press him from you (as stands pictured here).^[272] Deploy this to both sides.^[64]

[104] Another slice.

When someone binds your sword to your left side and strikes round from the sword with the Zwerchau or suchlike to your right side, spring with the left foot out to his right side away from the strike, and fall with the long edge from above over both arms. Do this on both sides.

[104] The third and fourth cuts.

If he binds with your sword from the left and then tries to strike around to your right with a zwerchhau or some other technique, then spring with your left foot out of the blow, to his right hand side and drop with the long edge from above, over both arms. Practise this from both sides.

[45v.2] Aber ain schnitt

It~ den schnidt trÿb also Wenn dir aine~ an dz schwert bindt gege~ dine~ lincken sÿtten vnd schlecht vmb vom schwert mitt der zwerche oder sunst dir zuo der rechten sÿtten So spring mitt dem lincken fu°ß vß dem haw° vff sin rechte sÿttenn vñ fall im mitt der langen schniden oben uber baÿde arm Das tr trÿb zu [46r.1] baiden sÿttenn ~

[13v.1] Das ist der oberschnit.

Merck denn schnit treib also, wenn dir einer an des schwert pindt, gegenn deiner linckenn seitten, schlecht er dann vmb vom schwerdt, dir zu der rechtenn seittenn, so spring mit dem lincken fus aus dem haw, auf sein rechte seittenn, vnd fal im mit der langenn schneydt oben vber Pede Arm, vnd druck von dir, als hie gemalt stet.

[105] About the transformation of the slice

95	Turn your edges To flatten, press your hands

Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side and with that press their arms away from you.^[273]

[105] This is the text and the gloss about the transformation of the cut

95	Turn the edge To flatten; press the hands.

Gloss. Note,^[19] this is when you come in your running-in with the under-cut below^[19] into his arm (such that your point goes out against his^[274] right side): so with that,^[275] press firmly upwards with the cut,^[276] and amid the pressing spring with the left foot to his right side, and turn your sword with the long edge above over his arms (such that your point goes-out against his left side), and with that, press his arm from you.^[277] Thus have you transformed the under-cut into the over; conduct this to both sides.^[278]

[105] About the transforming of the slice.

95	Wind the edge, to avoid, press the hands.

Glosa. When you can come with an under-slice to his arm when he rushes in, so that your point goes out to his right side; press upwards with the slice. And in the pressing, spring with the left foot out to his right side, and wind your sword with the long edge from above over his arms so that your point goes out to his left side; and press his arms away from you.

[105] (15) The press with the hands.

The change of the cut: If you can run in then cut him under the arm, so that your point is pointing to his right, then push up strongly with the cut. Simultaneously spring with your left foot to his right side, and wrap the long edge of your sword up over his arms so that your point is pointing to his left, then press his arms away from you.

[46r.2] Von der verwandlung der schnitt

Die schnÿde wende /
zu° flechen druck die hende :·

Glosa Daß ist wann du im in dein einlauffen kanst mitt dem vndern schnitt vnden in sin arm daß dein ort gege~ sinenr rechten sÿtten außgät So tuck mitt dem schnitt vast übersich / vñ mitt dem trucken spring mitte de~ lincken fu°ß vff sÿn rechte sÿtten vñ wende din schwert mitt der lange~ schniden oben über sein arme dz din ort gege~ siner lincken sÿtten vß gee vñ truck sin arm domitt von dir ~

[20r.1] Das ist der text vnd glos von der verwandlung der schnÿdtt

Dein schneyd wendt /
zu flachen druck die hendt

Glosa / Merck daz ist / wen du im in dem ein lauffen kümbst mit dem vnderñ schnit vndten in sein arm~ daz dein ortt gegen deiner rechtñ seyttñ aus gett / So druck damit vast vbersich / vnd mit dem drucken spring mit dem lincken fueß auff sein rechte seittñ / vnd wendt dein schwert mit d~ langen schneid oben ober sein arm~ das dein ort gegen seiner lincke~ seÿttñ ausgee / also hastu~ verwandelt den vndterñ schnid in den oberñ das treib zu paiden seÿttñ

[13r.4] Text.

Dein schneid wend.
zu der flech druck in die hend.

Glosa. merck das ist. wenn du Im in dem einlauffen kumbst mit den vndern schnit vnden in sein arm. das dein ort. gegen deiner rechten seitten auß/geet. so druckh damit vast vbersich. vnd mit dem drucken spring. mit dem linckhen fuß. auff sein rechte seitten. vnd wende dein schwert mit der lange schneid ob seinem arm. das dein ort gegen [13v.1] seiner lincken seitten auß gee. also hastu verwandlet. den vndern schnit. in dem obern. das treib zu baiden seiten. ~

[106] About the two hangings

96	Two hangings emerge From the ground out of each hand
97	In every application Cut, Thrust, Position, Soft or Hard

Gloss. Note there are hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.^[279]

[106] This is the text and the gloss about the two hangings

96	The two hangings happen From one hand from the earth.
97	In every drive, Hew, thrust, leaguer; soft or hard.

Gloss. Note, there are two hangings from one hand and from one side from the earth; conduct it thusly: When you bind onto his sword against your left side with the lower setting-aside, so hang your sword's^[134] pommel against the earth, and thrust-up to him from below out of the hanging to the face. If he then shoves your point upward with the displacing, so remain thusly upon the sword and also^[19] drive up with him,^[280] and hang the point from above down to the face, and in the two hangings you shall swiftly conduct hew, thrust, and cut [with] every drive. Thereafter, as you [are] in the binding-on of the sword, with that, perceive (or test)^[281] whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)^[282]

[106] About the two hangings.

96	There are two hangings from each hand to the ground.
97	In all movements: strikes, thrusts, guards—soft or hard.

Glosa. There are two hangings from each hand and on each side towards the ground. When you bind against his sword with a lower setting-aside to your left side; hang your pommel to the ground and thrust him from below up into the face from the hanging. If he pushes your point upwards with a parry, stay in the bind and go up with him, and hang the point from above downwards towards his face. And in the two hangings you shall deftly use all techniques: strikes, thrusts and slice; in the binding against the sword notice if he is soft or hard.

[106] (16) The hanging.

Note: There are two hangings from the same side: Drive them as follows: If you bind against his sword on the left while absetzen (setting aside) an attack to the lower opening, let your sword pommel hang to the ground and stab to his face from beneath. If he then deflects your point upwards, remain on the sword and drive high also. and let the point hang into his face from above. And learn all techniques from both hangings:Blows, thrusts and cuts, depending, on whether you feel he is soft or hard in the bind.

[46r.3] Von zwaÿen hengen

Zwaÿ hengen werden /
vß ainer hand von der erden
In allem [46v] gefert /
hew stich Leger ode~ waich oder hert ·:

Glosa Mörck eß sind zwaÿ hengen vß ainer hand vñ võ ainer sÿtten von der erden die trÿb also Wann du im mit dem vndern abseczen gege~ dine~ lincken sÿtten an sin schwert bindest So heng dinen schwert knopff gegen der erden vñ stich im von vnde~ auff vß dem henge~ zu° dem gesichte stost er dann mitt verseczeñ dinen ort übersich uff So blÿb also am schwert vñ far mitt im vff vñ heng im den ort võ oben nider zu° dem gesicht Vñ in den zwaÿen henge~ solt du alle gefert behentlich trÿben Hew° stich vñ schnitt Darnach alß du in dem anbinden der schwert enpfindest ober damitt waich oder hört sÿ ist ~~~~

[20r.2] Das ist der text vnd dÿ glos von zwaÿen henngen

Zway hengen werden /
aus einer hand von der erden /
in allem gefertt /
hew stich leger waich oder hertt /

Glosa / Merck es sind zway hengen aus eyner hendt vnd von ainer seitten von der erden / die treib also / wen du im mit dem vnden absetzñ gegñ deiner lincken seÿttñ an sein schwert pindest / So heng dein knopf gegen der erden / vnd stich im von vnden auff aus dem hengen zu dem gesicht / Stost er denn mit versetzñ dein ortt vber sich auff / So pleib also am schwert vnd far auch auff vnd heng Im dein ort von oben nÿder zu dem gesicht / vnd in den zwaÿen hengen solt du alle gefert behentlich treibñ / hew stich / vnd schnitt darnach / als du in dem an pinden der schwert enpfindest oder pru~effest / ob er damit waich oder hertt ist / die hengen von paidñ seÿttñ das ist der pflu~g von paidñ seÿttñ

[13v.2] Text.

Zway hengen werden
auß jeden ort auff die erden
in allem gefert.
haw. stich. leger. waich oder hert.

Glosa. Merckh es seind zway henge(n) auß ainer hend vnd von ainer seiten von der erden die treib also: Wenn du Im mit dem vndern gegen deiner linckhen seitten an sein schwert pindest. so heng deinen knopff gegen der Erd. vnd stich Im von vnden auff. auß dem hengen zu dem gesicht. stoßt Er dir denn mit verseczen deinen ort über sich auff. so bleib also am schwert. vnd var auch auff. vnd heng Im den ort von oben nider zu dem gesicht. vnd in den zwain hengen soltu alle gevert. behendigclich treiben. haw. stich vnd schnit. darnach als du dann in dem anpind(en) der schwert empfindest. oder prüfest. ob Er damit waich oder hert ist.

[107] About the speaking window

98	Make the speaking window Stand freely, watch their situation.
99	Strike them so that it snaps. Whoever withdraws themselves before you,
100	I say to you truthfully No one defends themselves without danger
101	If you have understood They cannot come to blows

Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or parrying, remain strong against their sword using your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.

[107] This is the text and the gloss about the speaking-window

98	Make the speaking-window; Stand freely, seek out his thing,^[283]
99	Strike him such that it snaps Whoever withdraws before you.
100	I say to you in truth: No one protects themselves without danger.
101	If you have correct understanding, He may barely come to strikes.

Gloss. Note,^[284] this called the speaking-window: when he binds you on the sword with hews or^[285] with^[286] displacing, so remain strong from extended arms with the long edge upon the sword, with the point in front of the face, and stand freely and seek out his thing (whatever he will conduct against you).

[107] About the speaking window.

98	Doing the speaking window: stand straight, observe what he does.
99	Strike in, when he twitches. About the one who draws himself away from you,
100	truly I say this to you: no man can truly defend himself without danger!
101	If you have understood this correctly, he can rarely come to blows.

Glosa. It is called the "speaking window": when he binds against the sword with a strike or parry, hold strongly with the long edge against his sword with outstretched arms, with the point in front of his face, and stand calmly and observe what he tries to do against you.

[107] (17) The sprechfenster.

Note: this is the sprechfenster: If he binds with your sword with a strike or defection, so remain strongly on the sword with the long edge, with the point in front of his face, stand calmly and pay attention, to what his next move is.

[47r.1] Von dem sprechfenste~

Sprechfenste~ mach
stand frÿlich besiche sin sach
Schlage in dz er schnappe
wer sich vor dir zühet abe
Ich sag dir für ware /
sich schüczt kain man one fare
Haustu recht vernom~en
zu° schlage mag er klain kum~en ·:

Glosa Mörck dz haisset dz sprechfenster Wenn er dir mitt hewen ode~ verseczenn an dz schwert bindet So belib starck auß gerechtenn armen mitt der lange~ schniden am schwert mitt dem ort im vor dem gesichte vñ stand freÿlich vnd besich sin sach was er gege~ dir trÿben wöll

[20v.1] Das ist der text vnd die glos von dem sprechvenster

Sprech venster mache
stand freÿleich besich sein sache /
slach In das es^[287] schnapp /
wer sich vor dir zuechet ab /
Ich sag dir fu~rwar /
sich schu~tzt kain man anefar /
Glosa hastu vernumen /
zu schlag mag er klain kum~en /

Glosa / das sprech venster mach also / wen er dir mit hawen oder mit versetzñ an das schwert pindt So pleib starck mit ausgestrackten arme~ mit der langen schneid am schwert / mit dem ort Im vor dem gesicht / vnd stee frõlich vnd besich sein sach / was er gegen dir treiben wil /

[13v.3] Spirch vester [sic].
stand froelich besich sein sach.
schlach in das Er schnabe.
wer sich vor dir zeuchet abe.
Jch sag dir fürwar.
sich schüczet kain man ane vare.
hastu es vernimmen.
zu schlag mag Er klain komen.

Glosa. Das spirchvenster mach also. wenn Er dir mit hawen vnd verseczen. an das schwert pindt. so bleib starckh auß geräckhten armen mit der langen schneid am swert. mit dem ort Im vor dem gesicht. vnd stee frölichen vnd besich sein sach. was Er gegen dir treiben will.

[108] Another. If the opponent strikes around from the sword to your other side with a descending cut, then bind in from above with strength in accordance with their cut^[288] using your long edge.

[108] Item.^[289] If he strikes-around from the sword with an over-hew to the other side, so bind-after^[290] with the long edge^[291] against^[19] his hew with strength, above into the head.

[108] If he strikes round with the sword in an Oberhau against you to your other side, follow after and bind powerfully on his cut with the long edge from above in to the head.

[108] If he strikes around the sword to the other side with an oberhau, then stay strongly in the bind and follow his strike, with the long edge, to his head.

[47r.2] It~ schlecht er vom schwert vmb mitt aine~ oberhaw° dir zu° der andere~ sÿtten So bind mitt storck sine~ haw mitt nach [47v.1] mitt der langen schniden im oben ein zu° dem kopff

[20v.2] Item Schlet er vom schwert vmb mit einem oberhaw dir zu der andern seÿtten / so pindt^imgegen seinem haw mit sterck ein oben zu dem kopf /

[13v.4] schlecht Er vom schwert vmb mit einem Oberhaw dir zu. der andern seiten. so pind gegen seinem haw mit sterckh ein Im oben zu dem kopff.

[109] Or if they strike around using the crosswise cut, then drop into their arms using the upper slice.

[109] Or^[289] if he strikes-around from the sword^[292] with the thwart, so fall into his arms with the over-cut.

[109] Or if he strikes round in a Zwerchau, fall with the upper slice against his arms.

[109] Or if he strikes around with the zwerch, then fall on his arms with the overcut.

[47v.2] Oder schlecht er vmb mitt de~ zwer So fall im mitt dem obern schnitt in die arme

[20v.3] Oder schlecht er vom schwert vmb mit der twer so vall im mit dem obern schnidt in die arm~ /

[13v.5] slecht Er vom schwert vmb mit der twir. so vall Im mit dem obern schnit in die arm

[110] Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword and lodge against them from above.

[110] Or^[289] if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point,^[293] and set-upon him above.

[110] Or if he twitches the sword and thinks to stab you from below, follow after him in the bind, and thrust into him from above.

[110] Or if he pulls his sword back and tries to stab you in the lower opening. Then then follow his thrust and stab him over the sword.

[47v.3] Oder zuckt er sin schwert an sich vñ will dir vnnden zu° stechen So raise im nach an dem schwerte vñ secz im oben an

[20v.4] Oder zuckt er sein schwert an sich vnd wil dir vndten zu stechñ so raÿß im nach mit dem ort am schwertt / vnd setz im oben an /

[13v.6] zuckht Er sein schwert an sich. vnd will dir vnden zustechen. so raiß jm nach mit dem ort am schwert. vnd secz Im oben an.

[111] Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.

[111] Item.^[284] Note,^[294] if he does not wish to withdraw^[295] nor strike-around from the sword, so work upon the sword with the doubling (or otherwise with other plays) as you thereafter perceive the soft and the hard upon the sword.

[111] Or if he does not draw back from the sword, nor strikes round, work in the bind with the doubling and with other techniques—all because you mark if he is soft or hard in the bind.

[111] But if he wants neither to pull away or strike around, then work at the sword with duplieren and other techniques. Depending on whether or not you feel he is hard or soft at the sword.

[47v.4] It~ oder will er sich vom schwert nicht abziechen noch umbschlachen So arbait du am schwert mitt dem duplieren vñ sunst mitt andere~ stucken darnach alß du enpfindest die waich vnd die hört am schwert etc

[20v.5] Merck / wil er sich vom schwert nit abziechñ noch vmb schlagñ so arbeit dw am schwert mit dem dzplierñ vnd sunst mit anderñ gefertñ / darnach als du enpindest die weich vnd die hert am sch[wert]

[13v.7] will Er sich vom schwert nit ab ziechenn noch vmbschlachen. so arbait dir am schwert mit dem tuplir(n) vnd sonst mit andern geverten. darnach als du empfindest die waich vnd die hert am schwert. ~

[112] Hereafter note what is called here, the long point.

Note the moment before you arrive too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.^[296]

[112] Here note how you shall stand in the long-point and what plays you shall conduct from it

Item.^[138] Note,^[297] when you come just near^[298] to him with the onset: so set your left foot forward before when he binds you on the sword,^[299] and hold your^[300] point long with^[286] extended arms against the face or against^[286] the chest. If he then hews-in from above^[301] to your head, so wind against his hew with the sword and thrust into his face.

[112] That which is called the "long point".

Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards him with outstretched arms towards the face or the chest. If he cuts at you from above and down towards your head, wind with the sword against his cut and stab him in the face.

[112] The long point

Note: If coming in to fence, then your left point forward and place your point (with outstretched arms) against his breast or face. Or if he strikes to your head wind your sword against his blow and stab him to the face.

[47v.5] Hie nach mörck waß do haÿsset der lang ort

Mörck Ee wenn du mitt dem zu°fechten zu° nahent an In kümst So secze dine~ lincken fu°ß vor vnd halt Im den ort auß gerächten [123r.1] armen lang gegen dem gesicht oder der bru~st Hawt er denn dir oben nider zu° dem kopffe So wind mitt dem schwert gegen sine~ haw° vñ stich im zu° dem gesicht

[20v.6] Hie merck wie du solst sten in dem langen ort vnd was stuck du daraus treiben solst /

Merck / wen du mit dem schwert zu fechtñ zu im kumbst / So setz den lincken fues vor ee wen er dir an das schwert pindt vnd halt im dein ort lanck mit ausgeracktñ^[302] armen gegen dem gesicht / oder gegen der prust / hautt er dir dan denn oben ein zu dem gesicht / oder haut er dir kopf / So wint mit dem schwert gegen seinem haw / vnd stich im zu dem gesicht /

[14r.1] Item merckh wenn du mit dem zu vechten zu Im kumbst. so secz dein lincken fuß vor. ee wann Er dir an das schwert pindt. vnd halt Im den ort lanckh auß geräckten armen gegen dem gesicht. oder der prust. hawt Er dir denn oben ein zu dem kopff. so wind mit schwert gegen sein haw. vnd stich jm oben zu dem gesicht.

[113] Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.

[113] Or if he hews from above to below, or from below up into the sword, and wishes to strike the point away, so change-through and thrust to the other opening or side.^[303]

[113] Or if he cuts from above or from below against your sword and tries to knock the point away, change through and stab him on the other side into the opening.

[113] Or if he strikes you from above or beneath and wants to beat your blade to the side, then change through and thrust to the opening on the other side.

[123r.2] Oder hawt er võ oben nider ode~ võ vnde~ auff dir zu° dem schwert vñ will dir de~ ort wegk schlachen So wechsel durch vñ stich im zu° der andere~ sÿtten zu° der blöß

[20v.7] oder hawt er von oben nÿder oder von vndten auff dir zu dem schwert vnd wil dir dein ortt weg schlagen / so wechsl durch vnd [21r.1] stich im zu der anderñ plõs oder seyttñ /

[14r.2] oder hawt er von oben nider. oder von vnden auff. dir zu dem schwert. vnd will dir den ort wegkhschlach(en) so wechsell durch. vnd stich jm zu der andern seiten. zu der plöß.

[114] Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.

[114] Or if he hits your sword with strength with the hew, so allow your sword^[304] to snap-around, so you hit him in the head.

[114] Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head.

[114] But if he hits your sword with strength, snap it around and hit to his head.

[123r.3] Oder trifft er dir mitt dem haw° dz schwert mit störcke so lauß din schwert vmb schnappen So triffest du in zu° dem kopff

[21r.2] oder trifft er dir mit de~ haw das schwert mit sterck so las vmb schnappen so trifst du in zu dem kopf /

[14r.3] oder trifft Er dir mit dem haw das schwert mit sterckh. so laß vmb schnappen. so triffstu in zu dem kopff.

[115] If the opponent rushes in, then conduct the wrestling or the slice.

Watch that it does not fail you.^[305]

[115] Or^[286] if he runs-in, so conduct the cut or await^[19] the wrestling.

Watch that it does not fail you.^[306]

[115] If he rushes in towards you, grapple or slice him.

Watch out so that it does not go wrong for you!

[115] If he runs in then wrestle or cut.

Always make sure you do not fail.

[123.4] Laufft er dir ein So trÿb die ringen oder den schnitt ~ ~ ~ ~ ~ etc

Lu°g dz es dir nitt fel

[21r.3] Oder laufft er dir ein so treib den schnit oder wart der ringen /

[14r.4] laufft Er dir ein. so treib den schnit. oder wart der Ringen. ~

[116] The text about the distillation of the recital

102	Who fully commands and correctly breaks And makes complete irrefutable judgement
103	And breaks each one individually Into three wounders
104	Who hangs consummately and correctly And carries out windings with it
105	And considers the eight winds With correct judgement
106	And unites them. The windings, I differentiate trebly
107	Thus they are twenty And four counting them individually.
108	From both sides Learn eight windings with steps
109	And gauge these applications Nothing more than soft or hard

Gloss. This is a lesson in which the recital is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to execute your break against their play, so that you can complete your work from any particular break using the three wounders.^[307]

[116] This is the text about the conclusion of the entire Recital

102	Whoever commands well and properly breaks, And tenaciously corrects completely,
103	And breaks apart, Each into three wounders;
104	Whoever properly hangs well, And with that brings the winding,
105	And considers the eight windings, With proper movement^[308];
106	And yet I mean your one Of the windings are triple,
107	So are they simply counted Twenty and four.
108	From both sides Learn eight windings with stepping,
109	And test the drives [for] Nothing more than soft or hard.

Gloss. This is a lesson, therein the art of^[309] the record is skillfully understood.^[310] It is taught thusly so that you shall be quite well^[311] practiced and accomplished^[312] in the art. Also, so that you can appropriately command any attack and play^[313] according to that which you fence with, so that you therefore correctly^[19] know to conduct your break against his plays, so that you may work with three wounders from each particular break.

[116] The summary of the markverses.

102	He who does well, who counters correctly and diligently and who understands completely,
103	and especially who counters everyone by the three wounders,
104	he who lets go completely and takes it into the wind
105	by eight windings, and who understands correctly
106	that each of the windings are threefold, so I mean
107	that there are twenty and four,
108	counted on both sides. Learn the eight windings with steps.
109	And test all techniques no more than you test for weak or hard.

Glosa. This is a lesson, which summarises the markverses so that they are comprehensible for you. Learn also: that you shall acquaint yourself well with and train the art by which you fence, so that you know to use your counters against his techniques. Especially that you can work with the three wounders from every counter.

[116] The closing lesson. In the following it is taught briefly.

Note: In the art of fencing you should always be practised and ready, so that from each break you are able to operate, with blows, with trusts, and with cuts.

[123v] Der text von der beschliessung der zedel ~~

Wer wol fürett / vñ recht bricht /
vnd entlich garbericht
Vñ bricht besunnde~
ÿgclichs im drew° wu~der
Wer recht wol henget /
vnd winden do mitt brenget
Vnd winden acht /
mitt rechten wegen etracht /
Vnd Jo Ir aÿne /
der winden selb dritt ich maÿne So
So sind ir zwinczig /
vñ fürzel sÿ einzigen
Von baÿden sÿttenn /
acht winden ler mit schritten
Vnnd brieff da die gefert /
nicht mer dann waich ode~ hert ~ ~

Glosa Das ist ain lere do die zedel kurcz Inen begriffen ist die lert also Daß du in de~ kunst gar wol gern bericht vñ geüpbt [124r.1] solt sin gegen den do du mitt fech fichtest daß du dine brüch gegen sine~ stucken also wisset zü trÿben Daß du vß aine~ ÿeden bruch besunde~ magst gearbaitten mitt drÿ dreÿen wunden

[21r.4] Das ist der text von der verschliessüng der gantze~ zettl :~

Wer wol fu~ert vnd recht pricht /
vnd entlich gar bericht /
vnd pricht besunder /
yedlichs in dren wunder /
wer recht woll hengt /
vnd winden damit pringt /
vnd winden acht /
mit rechten wegen betracht /
vnd doch ir aine
der winden selb tritt / Ich maÿn
so sind ir zwaintzigk /
vnd vier zell sÿ aÿntzick
von paiden seittñ /
acht winden ler mit schreittñ /
vnd pru~eff die gefert /
nicht mer dan waich oder hert /

Glosa / Das ist ain ler / darin die kunst der zetl kuntzlich begriffen ist die lest / also das du in der kunst gar wol geu~bt vnd bericht solst sein / also das du alle gefertt vnd stuck behentlich daraus kundest fu~ren gegen dem da du mit fichst / das du deine pru~ch gegen seinenn stucken also gerecht wist zu treibñ / das du~ aus einem yeden pru~ch besünder mu~gst gearbeittñ mit dreÿe~ wunderñ

[14r.5] Text.

Wer wol furet vnd recht pricht.
vnd endtlich gar bericht.
vnnd be sunder.
yedlichs in drey wunder.
wer recht wol hengt.
vnd winden damit pringt.
vnd winden acht.
mit rechten wegen betracht.
vnd Ie Jr aine.
der winden selb drit Ich maine.
so sind Ir zwainczig.
vnd vier zel sy ainczig.
von baiden seitten.
acht winden lern mit schreiten.
vnd prueff die geferrte.
nicht mer nur waich oder herte.

Glosa. Das ist ein ler. da die kunst der zetell kurcz jnn begriffen ist. die lert also. Das du in der kunst geuebt. vnd bericht solt sein. also das du alle gefert vnd stuckh behendigclich darauß kündest fueren. gegen dem da du mit vichst. das du deinen pruch gegen seinen stucken also gerecht wissest zetreiben. Das du auß ainem Jeden pruch be/sunder mügst gearbaiten mit drey wundern.

[13v.2] Das ist die beschliessung der gantzen Zedtl.

Wer wol fürt vnnd recht bricht,
vnd entlich gar pericht,
vnnd pricht besunder,
iglichs in drey wunder,
wer recht wol hengt,
vnnd winden domit pringt,
vnnd winden acht,
mit rechten wegenn betracht,
Vnnd yo ir eine
der winden selb drit Ich meine,
So sindt Ir zwantzig,
vnd vier zel sie embzig.
Von beiden Seiten,
die acht windenn ler mit schreittenn,
vnd pruf die geuert
nicht mer, ob sie sind waich oder hert.

[117] Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to execute.

[117] Item.^[286] You shall also properly hang upon the sword and from the hangings you shall bring eight windings, and you shall also consider and properly estimate^[314]^[315] the windings, so that you know to conduct which one of the said three.

[117] You shall also hang well in the bind, and from the hangings you will use eight windings, and you will study these windings, so that you know to use all of the three methods.

[117] You should be able to use the hanging at the sword. And to wind from the hanging. And from the hanging you are likewise to be able to strike and cut.

[124r.2] Auch solt du wol henge~ am schwert Vñ auß den hengen solt du bringe~ acht windeñ vñ die windeñ solt du also betrachten daß du der aines selbs dritt wissest zu° treÿben ~

[21r.5] Item auch solt du woll hengen am schwert / vnd aus dem hengen solt du pringen acht winden / vnd die winden solt du also betrachtñ / vnd recht wegen / das du der ains selb dritt wist zetreibñ /

[14r.6] auch soltu wol hengen am schwert. vnd auß dem hengen soltu pringen. acht winden. vnd die winden soltu betrachten also vnd recht wegen. Das du der ains selb drit wissen zutreibenn ~

[118] Here note how you shall conduct the hangings and the windings

Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only execute two specific windings from each binding of the sword.

[118] Here note how you shall conduct the hangings and the windings

Item.^[19] Understand it thusly: there are four bindings-on of the sword, two over and^[289] two under. You shall only conduct two particular windings from each binding-on of the sword.^[316]

[118] How you shall use the hanging and the windings.

There are four bindings with the sword, two over and two under. Now in every binding with the sword you will use two specific windings.

[118] The hanging and the winding.

There are four sword binds, two upper and two lower. From each bind you should control two winds.

[124r.3] Hie mörck wie du hengen vnd die winde~ treÿben solt

Das vernÿm also Es sind vier anbinden der schwert Zwaÿ obere vñ zwaÿ vndere Nun solt du vß ÿedem anbinden der schwert zwaÿ obere besund besunde~ tr trÿbenn zwaÿ windeñ

[21v.1] Hie merck / wie du die hengen vnd die winden treibñ solst /

Item das vernym also / es sind vier an pinden der schwert zwaÿ obere vnd zwaÿ vndre / nu soltu aus yedem an pinden pesunder treiben zwaÿ winnden /

[14r.7] Item das vernymb also. es seind vier anpinden der schwert. zway oben. zway vnden. nu soltu auß jedem anpinden be/sunder treiben. zway winden.

[119] Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.

[119] Item.^[286] Do^[317] it thusly: When you come to him with the onset,^[47] if he then binds-on to you above against your left side, so wind the short edge upon his sword and drive well up with the arms, and hang-in your point to him above and thrust into his face. If he displaces the thrust with strength,^[318] allow your point to hang-in above upon the sword, and wind to your right side and thrust.^[319] These are two windings on one side of the^[320] sword.

[119] If he binds above on your left side, wind the short edge against his sword and go upwards with the arms; and hang the point in from above towards him and stab him in the face. If he defends against the thrust, let the point hang in from above in the bind and wind out to you right side. There are two windings around the side of the sword.

[119] So if he binds high to your left hand side, lift your arms and wind the short edge at his sword, leave the point hanging and thrust to his face. If he sets aside the thrust, wind to your right side and let the point hang.

[124r.4] Das vernÿm also [124v.1] Bindt er dir oben an gegen deiner lincken sÿtten So winde die kucz kurcz schnide an sin schwert Vñ far wol vff mitt den arme~ vñ heng im den ort oben ein Vñ stich im zu° dem gesicht Verseczt er den stich So lauß den ort am schwert oben ein hangen vñ wind vff dein rechte sÿtten Daß sind zwaÿ winden an aine~ sÿtten des schwerts ~ ~~

[21v.2] Item / dem thue also / wen du mit dem zu fechtñ zu im kumbst / pindt er dir denn oben an gegen deiner lincken seyttñ / So wint die kurtz schneid an seinem schwert / vnd far wol auff mit den armen / vnd heng im dein ort oben ein / vnd stich im zu dem gesicht / versetzt er den stich mit sterck / So las im dein ort am schwert oben ein hangen / vnd wint auff dein rechte seytt vnd stich das sind zwaÿ winden an einer seÿttñ schwertz /

[14r.8] dem thue also. Wenn du mit [14v.1] dem zuvechten zu Im kumbst. pindt Er dir den oben an gegen deiner linckhen seiten. so wind die kurcz schneid an sein schwert vnd var wol auff mit den armen. vnd heng jm den ort oben en. vnd stich jm zu dem gesicht. verseczt Er den stich mit sterckh. so laß Im den ort am schwert obenn ein hangen. vnd wind auff dein rechte seiten. vnd stich. dz seind zway winden an ainer seiten des schwerts.

[120] Or if the opponent binds against your right side from above, also wind your long edge against their sword toward your right side and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides.

[120] Item.^[284] Or^[289] if he binds-on above against your right side, wind the long edge upon his sword also against your right side and drive well up with the arms, and hang-in your point to him above, and thrust-in the point above^[321] into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your left side and thrust. These are four windings from the two over-bindings-on, from^[322] the left and from^[134] the right sides.

[120] Or if he binds above to your right side, wind the long edge against his sword towards your right side. And up with the arms and hang the point in from above and thrust him in the face. If he parries the thrust powerfully, so in the binding let the point hang in towards him from above and wind out to your left side and thrust. There are four windings from the two high bindings on the left and right sides.

[120] Likewise if he binds high to your right side, then also wind to your right, with the long edge at his sword, lift up your arms let the point hang and thrust to his face. If he sets aside the thrust with strength then let his point rest on your sword above the hanging, wind to the left and thrust. These are the four windings from bindings to the upper left and upper right side.

[124v.2] Item oder d bind er dir oben an gen diner rechten sÿtten So wind och gege~ dine~ rechte~ sÿtten die langen schnid an sin schwert vñ far wol vff mitt den armen vnd heng im den ort oben ein vnd stich im zu° dem gesicht verseczt er den stich mitt störck [48r.1] so lauß im den ort am schwert oben ein hangen Vñ wind vff din lincke sÿtten vñ stich Daß sind vier winden vß den obern zwaÿen anbinden von der lincken vnd von der rechtten sÿtten ~

[21v.3] Oder pindt er dir oben an gegen deiner rechtñ seyttñ / So wint auch gegñ deiner rechtñ seÿttñ die lang schneid an sein schwert / vnd far wol auff / mit den armen vnd heng Im dein ort obenn ein / vnd stich im zu dem gesicht / versetzt er den stich mit sterck / so las im dein ort am schwert oben ein hangen / vnd windt auff dein lincke seÿtt vnd stich / das sind vier winden aus den obern zwaÿn an pinden von der lincken vnd der rechtñ seÿtten /

[14v.2] pindt Er dir oben an gegen deiner rechten seiten. so wind auch gegenn deiner rechten seiten. die lang schneid an sein schwert. vnd var wol auff mit den armen. vnd heng jm den ort oben ein. vnd stich Im den ort oben ein zu dem gesicht. verseczt Er den stich mit sterckh. so laß jm den ort am schwert oben ein hangen. vnd wind auff dein linckhe seitten. vnd stich das seind vier winden. auß den obern zwayen anpinden vnd der linckhen vnd rechten seitten.

[121] Another. Now you shall know that you shall also execute four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall execute one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play into the winding that is called for. If you do not do this, all windings become a means to be struck.^[323]

[121] Item.^[289] Now you shall know that you shall also conduct four windings from the two under-bindings-on with all attacks, as from the over[-bindings-on]. Thus the windings, over and under, become eight. And^[134] remember that you shall conduct one particular hew, or^[284] one^[19] cut, or^[324] one thrust, from each winding. And^[284] this is called the^[284] three wounders. From those, one can and shall^[325] conduct them from the eight windings into twenty-four instances. And you shall properly learn to conduct the eight windings from both sides, so that you step in^[326] with each winding,^[327] and you test his attack, no more than^[284] if he is soft or hard upon the sword. And when you have sensed these two things, conduct the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.

[121] Now you shall know that from the two low bindings also you shall use four windings with all techniques you use from the over bindings: thus there are eight windings above and below. And think that from every winding you can use a strike, a slice and a thrust. And these are called the \three wounders", which of the twenty four methods one can and should use from the eight windings. And the eight windings you shall learn well on both sides, so that with every wounder you can feel precisely if he is soft or hard in the bind, and no more. And when you have felt these two things, use the correct techniques that are companion to the windings. If you do not do this then you will be beaten despite all windings.

[121] Likewise you should control four windings from the lower bindings. just as above. This totals eight, and imagine that you can strike, thrust and cut, from each winding, so that twenty four techniques can come from one winding. And you are to learn the eight winds in this way, from both sides. So that with each strike you test whether he is hard or soft at the sword. And you have learnt to drive through all pieces that lead to winding, if not you will be hit within each winding.

[48r.2] Ittem nun solt du wissen dz du vß den vnndern zwaÿen anbind~ auch solt trÿben vier winden mitt allen gefertenn alß vß den obern also worden der winden oben vñ vnden acht Vnd gedenck dz du vß ÿedem winden besonnde~ triben solt aine~ haw oder schnitt vnd ain stich Vnd dz haissen die drÿ drew wunder Daru~b daß man sÿ zu° viervnndzwinczig malen vß den acht winden trÿben soll [48v.1] vñ mag Vñ die ach winde~ solt du wol lerne~ trÿben võ baiden· sÿtten Also daß du mitt ÿedem Wu°nder brieffest sin gefört Nicht mer wann dann öb er damitt waich ode~ hert am schwert sÿ Vnnd wenn du die zwaÿ ding enpfundenn hast haüst So trÿb die stuck gerecht die zu° dem winde~ gehören Wo du dz nicht tu°st So wirst du bÿ allen winden geschlagen ~~

[21v.4] Itm~ Nu solt du wissen / das du aus den vnderñ zwaÿn an pinden auch solst treiben vier winden mit allen gefertñ als aus den oberñ Also werden der winden oben vnd vndten acht / gedenck das du auß yedem winden besunder solst treibñ ain haw / ein stich / ein schnitt / das haist dreÿ wunder / darumb das man sÿ zu viervndzayntzigk malen aus den acht winden treibñ mag / vnd die acht winden solt du woll lerñ treibñ von paÿden seÿttñ / also das du mit yedem winden zu schreittest / vnd damit pru~eff sein gefert nit mer ob er damit waich oder hert am schwert ist / vnd wen du die zwaÿ ding enpfunden hast so treib die stuck gerecht die zu den winden gehõren ob du es des nit thuest / so wirst du peÿ allen winden geschlagñ /

[14v.3] Nu soltu wissenn. das du auß den vndern zwayen anpinden. auch solt treibe(n) vier winden. in allen geferten. als auß den obern. also wer/dort der winden oben vnd vnden acht. vnd gedenckh das du auß winden besunder solt teiben ein haw. ein stich. einen schnit. das haissent drey wunder. darumb das mans zu vier vnnd zwainczig malen auß den acht winden treiben mag. vnd die acht winden soltu wol lernen treiben von bede(n) seitten. also das du mit jedem winden zu schreitest. vnd das man prueff sein gefert. nit mer ob Er damit waich oder hert am schwert ist. vnd wenn du dis zwayding enpfinde(n) hast. so treib die stuckh gerecht die zu den winden gehören. ob du das nit thuest. so wirstu bey allen winden geschlage(n)

Incomplete Translation (Dresden only) (2003) by David Rawlings	Incomplete Translation (Dresden only) (1999) by Jörg Bellinghausen	Dresden Version (1504-19) [edit] Transcribed by Dierk Hagedorn	Vienna Version (1512) [edit] Transcribed by Dierk Hagedorn	Rostock Version (1570) [edit] Transcribed by Dierk Hagedorn
[1] The earnest fight on horse and foot. In St George's name here begins the art. Here begins the earnest fight on horse and foot. It begins here with Mr. Johann Liechtenauer's fence in the mail coat. This he has put down in secret words. That stands now laid out and explained, therefore every fencer can understand the art, who already understands how to fence.	[1] Here begins the true fighting on horseback and on foot. Meister Johann Liechtenauers duelling in armour begins here, that he permitted it to be written down with secret words. That is now clarified and laid out in this book, so that every fighter of the art (who already understands duelling) can understand it.	[089r.1] Hie höpt sich an der ernstlich kampff zu° roß vnd fu°ß Alhie hept sich ann Maiste~ Johannsen Liechtennawers vechten Im harnash zu° kampff Daß er hät laussen schriben mitt verborgen worten Das stet hie nach in disem biechlin glosiert vnnd vßgelegt Das ain ÿede~ fechte~ vernem~en mag die kunst de~ and anderst vechten kan ~	[105r.1] Hie hebt Sich an Meinster Johannes Liechtenawers vechtenn In harnachs [!] zw kampff das Er hatt lassen Schreybenn mitt verborgen worten Das Stett Hie In disem puch glosirett vnd außlegt Das Ein Iglicher vechter vernemen mag der anders vechten kan	[098r.2] Hie hebt sich ann meister Joannes Liechtenawers vechtenn Im harnasch tzu kampf das er hat lassenn schreiben mit verborgen vnnd verdecktenn wortten das stet hie in diesem buch glosiert vnd ausgelegt das ein ietlicher vechter vernemen mag der annders vechtenn kann.
[2] Fight with the spear. When two fight together in coats of mail, then each of them will have three different weapons: A spear, a sword and a dagger. And the beginning of the fight will occur with the spear. So you should prepare yourself with two ground positions, just as is now explained.	[2] Fighting with the Spear If two armoured men fight with each other on foot, then each should have three weapons: a spear, a sword and a dagger. And the fight should begin with the spear. So you should prepare for the first attack with two basic positions, as it is now explained.	[089r.2] Die vor red mitt dem text Wer absinnet / fi vechten zu° fu°ssen beginnet / Der schick sin sper / Zwaÿ sten an heben recht [1] wer ·: Glosa Mörck daß solt du also versten Weñ zwen zu° fu°ssen in hamasch mitt ain ander fechten wollen So soll ÿeder man haben drÿerlaÿ wär / ain sper ain schwert vnd ain degenn Vnd daß erste anheben soll geschechen mitt dem lang langen sper Domitt solt du dich mitt rechter wer schicken In dem anheben In zwaÿen stendt alß du hernach hörn wirst ~ ~ ~~	[105r.2] Das Ist die vorred mit disem text Wer absinnet vechtens zw fus beginnett der Schickt Sein sper Zwey sten an hebenn recht wer Glosa merck das Soltu also vernemen wen zwen zw fuß In harnachs mitt ein ander vechten wollen So soll Jeder man haben dreyerley wer Ein sper ein Schwertt ein degen vnnd das Erst anhebenn soll geschehenn mit dem Sper damitt soltu dich mitt rechter wer In dem anheben zw Schickenn In zwen Stend Als dw hernach horen wirdest	[098r.3] Das ist die vorred mit dem Texte. Wer absinnet, fechtens zu Fuss beginnt, der schick sein Sper, zwei sten anheben recht wer. Glosa. Merk das solstu also vernemen, wenn zween zu fuss in Harnisch mit ein ander fechten wollen, so sol Jedern haben dreierlei wher, ein Sper, ein schwerdt und ein degen und das erst anheben sol geschehen mit dem Sper, damit solstu dich mit verhser wehr [098v.1] in dem anhebenn zu schickenn, in tzwen steendt als du hernach horenn würdest.
[3] The first ground position. When you are both down from the horses, Then stand with your left foot forward and hold the spear ready to throw. And close to him thus; so that the left foot always stays in front. And wait, so that you can throw before him. And follow on at once shooting forward with the sword, then he cannot safely cast against you, and grip the sword.	[3] The First Basic Position If you are both dismounted from your horses, then stand with the left foot forward and hold the spear ready. And approach him in such a way that your left foot always remains forward. And wait so that you can throw before him. And follow the shot immediately with the sword, then he cannot aim a safe throw against you. And grasp to the sword.	[089v.2] Der text von zwaien stend~ Sper vnd ort / den vorstich Stich on forcht Springe winde secz recht an / wert er zucke daß gesigt im an ·: Glosa Daß ist der erst stand mitt dem sper [090r.1] Wann ir baÿde von den rossen abgetretten sind So stand mitt dem lincken fu°ß vor vnd halt din sper zu° dem schuß / vñ tritt also zu° im daß allweg din lincker fu°ß vor blÿb Vñ wart dz du ee schüsst den er vñ folg bald dem schuss nach zu° im mitt dem schwert So kan er kaine~ gewissen schuß vff dich haben Vñ grÿff zu° dem schwert ~	[105r.3] Das Ist der text von den zwen Stendenn Sper vnnd ortt den vorstich Stich an vorcht spring vnd wend setz recht an wert er zuck das gesigt Im an Glosa merck das erst Stand mitt mutt [!] dem Sper wen Ire beid von den Rossen abgedrettenn seitt So stee mit dem linken fus vor vnd halt vnnd haltt [!] dein Sper mit dem Schus vnd dritt also zw Ime das albeg dein linker fuß vor bleib vnd [105v.1] wartt das dw Ee Scheust dan er vnd volg bald dem Schuß nach zw Ime mitt dem Schwertt So kan er keynen gewissen Schus auff dich habenn vnnd zw Ime mitt dem Schwertt	[098v.2] Das ist der Text von den tzwen stendenn. Sper vnnd ort, den vorstich stich one forcht. Spring, wind setz recht an, wert er tzuck das gesigt im an. Glosa. Merck das ist der erst stand mit dem Sper, Wenn ir baid vonn den Roßen abgetrettenn seitt so stehe mit dem linckenn fus vor, vnd halt dein sper tzu dem schus, vnd trit also tzu im, das alweg dein lincker fus vor bleib, vnd wart das du ee scheust dan er, vnnd volg bald dem schus nach tzu im mit dem schwert, so kan er keinenn gewisenn schuß auff dich habenn, vnnd greif tzu dem schwert.
[4] The second ground position. When you would not shoot^[328] your spear, then hold it next to your right side in the lower guard and go to him thus. And stab him bravely from underneath at his face, before he does it [to you]. If he jabs at the same time or sets aside, then drive up in the high guard. So that his point remains on your left arm. Stab him at once with the point over his arm into his face. If he then drives up and sets aside with his left arm then jerk down and set the point in the opening of his left arm pit.	[4] The Second Basic Position If you don't want to shoot your spear, then hold him near your right side in the lower guard and in that manner approach him. And thrust bravely from below to his face, before he does it. If he thrusts at the same time or deflects your thrust, then drive high in the high guard. Thus his point will remain on your left arm. Thrust immediately with your point over his arm into his face. If he drives high and deflects with his left arm, then jerk away downwards and set your point under his left shoulder in his opening.	[090r.2] Der ander stand im sper Mörck ob du din sper nitt verschiessen wilt So halt es nebe~ dine~ rechten sÿtten zu° der vndern hu°tt vñ gee also zu° im Vnnd stich im ku~nlich von vnde~ vff zu° de~ gesicht Ee wann er dir Sticht er a dann mitt dir glich ein oder versectzt [090v.1] So far vff mitt dem sper in die obern hu°t So blÿpt dir sin ort vff dinem lincken arm Vnd mitt dem so heng im den ort über sine~ arm in sin gesicht / fört er dann vff vnd versetzt mitt dem lincken arm So züch vnd secz im den ort vnde~ sin lincke v~chsen in die blöß ~	[105v.2] Merck dw ob dw dein Sper nit verschiessenn wild So haltt Es nebenn deyner rechten seyten In der vndern hutt vnnd gee also zw Ime vnd Stich in kunlich von vnnden auff zw dem gesicht Ee wen er dir \| sticht er den… [107v.3] …mit der gleich ein (?) oder versetzt So far auff mit dem Sper In die obern hutt so Bleibt dir sein ort auff deynem linken arm in seim gesicht fert er auff vnd versetzt mit dem linken arm so zuckt vnd setzt Im den ortt vnter sein links vchssen In die Blose	[098v.3] Das ist der ander standt mit dem Sper. Merck ob du dein Sper nit verschießenn wilt, so halt es nebenn deiner Rechtenn seitten. In der vnternn hut, vnnd gehe also tzu im, vnnd stich Im künlich von vntenn auf tzu dem gesicht, ee wen er dir. sticht er denn. … [109r.4] …Mit dir gleich ein oder versetzt, So far auf mit dem Sper in die obernn hut, so bleibt dir sein ortt [109v.1] auf deinem linckenn arm, vnnd mit dem so heng im denn ort vber seinenn arm in sein gesicht, fert er denn auf vnnd versetzet, mit dem linckenn arm, so tzuck vnnd setz im den ort vnter sein lincke vchsenn in die plos.
[5] The jerk with the spear. When you stab from the lower guard, and he sets [it] aside with his spear, and his point to the side and goes beyond you,^[329] then jerk through and stab him to the other side. Or if he stays with the point before his face, then don't jerk. But remain with the spear on his and wind to the next opening, that he opens to you.	[5] The Jerking Away with the Spear When you thrust out of the lower guard and he sets it aside with his spear, then his point goes past yours, then twitch through and thrust him to the other side. Or if he stays with the second setting aside with the point in front of the face then don't twitch, stay with the spear on his and wind to the next opening that offers itself.	[090v.2] Der text wie man zucken soll Wilt du mitt stechen / mitt zucken lern vor brechen ·: Glosa Mörck daß ist / daß du wol lernen solt daß du also zuckest Vnnd vernÿm daß also wann du im vß der vndern hu°t zu° stichst Versectz er mitt dem sper / dz sin ort besÿzt besÿtz neben dir vß gat So zuck durch vnd stich im zu° der andere~ sÿtten Oder pleibt er dir mitt der andern [091r.1] versaczüng mitt dem ort vor de~ gesicht So zucke nicht / vñ pleÿb mitt de~ sper an dem sÿnen / vñ arbait mitt dem winden zu° der nechsten blöß die dir werden mag ~ ~	[107v.4] Das Ist der text wie man zuckenn Soll Wiltu zuckenn vonn Stechenn mit zuckenn lere wer Brechenn Glosa merke also das Ist das wol lernenn solt das dw also zwckes das man dir Icht an setz dieweill dw durch zwckes das vernim also wen du Im auß der vntern hutt zw Stichs versetzt er mit dem Sper das sein ortt nebenn dir beseitt auß gett so zuck durch vnd Stich Ime zw der andern seyten Oder pleibtt er dir mit der andern versatzung mit dem ortt vor dem gesicht so zuck nicht vnd Bleib mit dem Sper an dem Seynenn vnd arbeitt mitt dem windenn zw der nechsten plose die dir werdenn mag	[109v.2] Das ist der Text wie mann tzuckenn sol. Wiltu vonn stechen mit tzucken, lere were prechen. Glosa. Merck also, das ist das du wol lernenn solt, das du also tzuckest das man dir nicht ansetze, dieweil du durchtzuckst. Das vernim also wenn du im aus der vnternn hut zu stichst, versetzt er mit dem sper, das sein ort neben dir beseit ausgehet, so tzuck durch, vnnd stich im tzu der andernn seittenn, Oder bleibt er dir mit der andernn versatzung mit dem ort vor dem gesicht, so tzuck nicht, vnnd pleib mit dem sper an dem seinenn, vnnd arbeit mit dem winden zu der nechstenn plos, die dir werdenn mag.
[6] The traveling after with the spear. When you stab and he sets aside and loosens himself from the bind, then follow quickly with the point. Strike him with it. Then press^[330] him in that way back. If he now wishes to flee backwards before the stab and turns aside close to you. Then run in on this side and grip him with such wrestling grips and arm breaks, just as you find described in the following.	[6] Nachreisen with the Spear. If you thrust towards him and he sets it aside and wants to free himself from the bind. then follow immediately with the point. If you hit him with it then shove him back with it. If he wants to fly backwards in front of your thrust and winds you to one side then walk into that side, grab him with such wrestling techniques and arm-holds as you find in the following descriptions.	[091r.2] Der text Mörch will er ziechen / võ schaid~ vñ will fliechenn Solt solt du im nachen : Ja wÿßlich wart deß fachen ·: Glosa Merck daß ist wie du solt nachraisen mitt dem sper Mörck wañ du vorkumst mitt de~ stich verseczt er vñ will sich am sper abziechen So volg im nach mitt de~ ort / triftest du in do mitt So dring in für dich Will er dañ vß dem ort hindersich fliechen vnd wendt dir zu° ein sÿtten So wart dz du im zu° derselben sÿtten ein lauffest Vnd in wÿsslich begrÿffest mitt ringe~ [091v.1] vñ mitt armbrüchen alß du hernach geschriben fündest ~	[108r.1] Das Ist der text Merck will er ziehenn von scheydenn vnnd will er fliehenn so soltu Im nahen Ja werflich ward des vahenn Glosa merck das Ist das dw solt nachreysenn mit dem Sper merck wen dw vor komst mit dem stich versetzt er vnnd will sich vom Sper abziehenn So volg Ime nach mit dem ortt Triffstu In damit So tring In fur dich will Er dan auß dem ortt hinter sich fliehenn vnd meint dir zw ein seytten So wartt das dw Ime zw der selbigen seytten ein lawffest vnd In weißlich begreiffest mit ring vnnd mit arm pruchenn als dw her nach geschribenn vindest	[110r.1] Das ist der Text Merck wil er ziehen, von schaiden und wil er slishen, so soldtu ihm nahen ja weislich wart des fahen. Glosa. Merck das ist wie du solt nachreissen mit dem sper, merck wenn du vor kumbst mit dem stich, versetz er und wil sich von Sper abziehen so volg ihm nach mit dem ort trittsdu in damit, so tring in fur dich, wil er denn aus dem ort hintersich fliehen, und wendt dir zu ein seitten. So wart das du im zu derselbigen seitten, einlauffst und in weislich begreiffest mit ring, und mit armbruchen, als du hernach geschrieben findet.
[7] The battle wrestle. The throw behind over behind the leg. When you come in to fight him, then you should know, just as you should step in front or behind his leg, you should no longer need to step.	[7]	[091v.2] Der text von ringen zu° kampffe Ob du wilt ringen / hinder pein recht lern springe~ Rigel für schiessen daß vorbain künstlich beschliessen ·: Glosa Daß ist Wenn du mitt im kumst zu° ringe~ So solt du wissen wie du forne~ oder hinden für daß bain springe~ solt Vñ soll gescheche~ nicht mer dañ mit aine~ zu° tritt	[108r.2] Das Ist der text vonn Ringenn zw kampff Ob dw wilt ringen hinter pein Recht lere Springen rigel fur schiessenn das vorpein kunstlich beschliessen Glosa merck das Ist wen dw mit Ime komest zw Ringenn So soltu wissen wie dw von oder hinden fur das pein springenn solt das er hatt vor gesetzt vnd das sol geschehenn vnnd nit mer dan mit eynem zw dritt	[110r.2] Das ist der text von ringen zu Kampf Ob du wilst ringen, hinter bein recht lere springen Regel fur shiessen, das vorbein kunstlich beschliessen Glosa. Merck das ist wenn du mit ihm kombst zu ringen, so soldtu wissen, wie du vorn oder linken fur das bein springen. … [103r.2] …Solt das er hat vorgesetzt, vnnd das sol geschehenn nit mer denn mit einem zu trit.
[8] When you [come to] each other, then be aware which foot he sets forward, then strike him to the left side with your right [foot]. From the beating aside, spring to him with your right foot behind his left, and press behind his knee joint with your right knee, and using both hands tear him backwards over your knee.	[8]	[091v.3] Item mörck de~ thu° also Wenn du in angriffest mitt ringen / vnd er dich wide~ / Welche~ fu°ß vor secz / hat er den lincken vor so schlach im sin lincke hand vß mitt diner rechten Vnnd mitt dem vßschlage~ so spring mitt dine~ rechten fu°ß hinden sine~ lincken [092r.1] vnd truck in mitt dem rechte~ knÿ hinde~ hinden In sin linck knÿckel vñ ruck in mitt baiden henden über daß selbig knÿ	[108r.3] Item merck dem thw also wen dw Ine angreiffest mit Ringenn vnd er dich wider So sich welchenn fus er vorsetzt hatt er den linkenn fus vor so schlag So schlag Im den linken fus auß hand auß mit deyner Rechten vnd mit dem auß schlahenn so spring mit deynem rechten hinter seynen linken fus vnnd druck In mit deynem rechten knye In sein linke [108v.1] kniekyl vnnd Ruck Im\|mit beiden hennden vber das selbig knye	[103r.3] Item merck den thu also, wenn du in angreiffest mit ringen, vnnd er dich wider, so sihe welchen fus er vorsetzt. Hatt er denn linckenn fus vor, so schlag im sein lincke handt aus, mit deiner Rechtenn, vnd mit dem auschlag so spring mit dem Rechtenn fus hinter sein linckenn, vnnd druck in mit dem Rechten knie, in sein lincke kniekel, vnnd Ruck in mit baiden hendenn, vber daßelbig knie.
[9] Or try the following. When you spring with your right foot behind his left, then go with your left foot between his legs. Clamp his left knee between both of your legs and hold it firmly. Push/thrust him in front against his forehead with your left hand, and with your right draw him backwards to behind him.	[9]	[092r.2] Item mörck ain anderß wenn du springst mitt de.~ rechten fu°ß hinder sine~ lincken So schrÿtt mitt dem lincken hin nach zwischen sine baide bain vñ faß sin linckes knÿ zwischen din baÿde knÿ vñ halt es domitt föst Vnnd stoß in mitt der lincken hand vorne~ an die haw~ben vñ mitt de~ rechtz zeüch in hinden vff die sÿtten ~	[108v.2] Item merck ein anders wen dw Springst mit dem Rechten fus hinter sein linkenn so schreit mit deim linken hinnoch zwischenn sein Beyde beynen vnnd fas sein linckes knie dein beyde knye vnnd halt es damit vest vnnd Stoß Inn mit der linckenn hand fornn an die hawbenn mit der Rechten zeuch In hinten auff die seyten	[103r.4] Item merck ein anders, wenn du springst mitt dem Rechtenn fus hinter sein lincken, so schreit mit dem lincken hinach zwischen sein baiden painenn, vnd fas sein lincks knie, vnd halt es damit fest, vnd stos in mit der linckenn handt, vorn an die hauben, mit der Rechten zeuch in hintẽ auf ein seitten.
[10] You should control all wrestling techniques on both sides. Therefor you'll counter all that he attempts against you. When you have sprung with your right foot behind his left foot and he climbs back with his left foot, then follow him quickly to the other side with your left foot to behind his right foot. And throw him over over your knee with or lock his knee with both of your legs, as described earlier.	[10]	[092r.3] Der text Von baÿden henden / ob du mitt kunst gerst zu° enden ·: Glosa Daß ist daß du alle ringen solt wissen zu° tribenn võ baiden sÿtten Ist daß du mitt kunst enden wilt dar nach [092v.1] alß du an in kumst Vnd dz vernÿm also Wañ du mitt dem rechte~ fu°ß springst hinder sine~ lincken Tritt er dann im spru~g mitt sine~ lincken fu°ß zu° rucke So volg im bald nach zu° der andern sÿtten mitt dine~ lincken fu°ß hinder sine~ recht~ vñ wirff in über dz knÿ Oder verschlaiß im dz sin knÿ mitt dine~ bain alß vor geschriben stät ~	[108v.3] Das Ist der text Von beydenn hendenn ob dw mit kunst gerest zw endenn Glosa das Ist das dw das Ringenn solt wissen zw treybenn von beydenn seyttenn Ist das dw mit kunst endenn wild darnach als dw an dich kumst vnd das vernim also wen dw mit dem Rechten fus Springst hinter seynen linkenn fus zw Ruck So volg Im bald nach zw der andern seytten mit dem linkenn hinter seynen Rechten vnnd wurff Ine vber das knye oder beschleus Im sein knie mit denn beynenn als vor geschribenn Stett	[103r.5] Das ist der Text. [103v.1] Vonn baiden henden, ob du mit kunst gerest zu endenn. Glosa. Das ist, das du das Ringen solt wissen zu treibenn vonn baidenn seittenn, Ist das du mit kunst endenn wilt, darnach als du ann Inn kumbst, Vnnd das vernim also. wen du mitt dem Rechtenn fus springst hinter sein linckenn, trit er dan im sprung mit dem lincken fus tzu Ruck, so folge im bald nach zu der andernn seittenn mit dem lincken fus hinter sein Rechten vnnd wirf in vber das knie, oder verschleus im sein knie mit denn painenn als vorgeschriben stehet.
[11] Sword against spear. Parry with the half-sword. When you have thrown^[331] your spear and he has kept his, then place yourself in the following position: Grip your sword in the middle of the blade and place it before your left knee in the guard. Or hold it next to your right side in the lower guard.	[11] Sword against Spear. Parry with the half-sword. When you have lost your spear, and he has kept his, then set yourself in the following position. Grab your sword with the left hand in the middle of the blade and lay it in front of yourself over the left knee in the guard or else hold it on the right side in the low guard.	[092v.2] Daß ist der text wie man sich sol schicken mitt dem sper wide~ daß schwert ~~ Ob er sich ver ruckt / daß schwert gegen sper wu~rd gezu~ckt Der stÿch war nÿm Spring fahe ringens eÿl zu° im :· Glosa Mörck daß ist wann du din gleffen ver schosse~ hãst Vnd er behelt die sinen So [093r.1] schick dich also gegen im mitt de~ schwert Griff mitte der lincken hand mitte~ in die clingen vñ leg das schwert für dich mitten vff dz knÿ din linckes knÿ In die hu°t oder halt es neben diner rechten sÿtten In der vndern hu°t ~~~ ~ :· ~	[108v.4] Das ist der text wie man sich soll Schickenn mit dem Sper wider das Schwertt Ob es sich verruckt das Schwert gegenn sperr wirt gezuckt der Stich warnim Spring vach ringe eyl zw Im Glosa merck das Ist wen dw dein gleffen verschossenn hast vnnd er behelt dye seynenn So Nim eben war wie er sye gefast hab ob er den ortt lanck oder kurtz sein vorgesatzte hand lest fur gen oder ob er dir damit oben oder vnnden will zw Stechenn hatt er sye dan kurtz geuast vnd will [109r.1] In die obern hutt so leg das Schwertt fur dich auff dein lincks knye In die hutt	[103v.2] Das ist der Text wie man sich sol schicken mit dem Sper wider das schwert. Ob es sich verruckt, das schwert gegenn sper wirt getzuckt, der stich war nim, spring, fahe ringens eil tzu im. Glosa. Merck das ist, wenn du dein glefen verschoßenn hast, vnnd er behelt die seinen, So nim ebenn war, wie er sie gefast hab, ob er denn ortt [104r.1] langk oder kurtz fur sein vorgesatzte handt lest fur gehenn, vnnd ob er dir damit obenn oder vntenn, wil tzu stechenn, hat er sie dann kurtz gefast, vnd wil damit in die obernn hut, so leg das schwert fur dich auf dein lincks knie in die hut.
[12]	[12]		[109r.2] Item oder Sticht er dir vnndenn zw So setz den Stich ab vor deyner linkenn hand vnd Spring mit dem Rechten hinter seynen linkenn vnd far Im mit dem knopff forn vber sein Rechte achssell vmb den hals vnd wurff In vbers knye	[104r.2] Item oder sticht er dich vntenn tzu, so setz denn stich ab vor deiner linckenn handt, vnnd spring mit dem Rechten fus hinter sein linckenn, vnnd far im mit dem knopf vornn vber sein Rechte achsel vmb den hals, vnnd wirf in vbers knie.
[13] If he then jabs with the spear, drive high and parry the stab before your left hand with sword the on the left side, and spring to him and set the point on him. If this is not possible, then let your sword fall^[332] and go over in the wrestle.	[13] If he thrusts high with the spear, then drive high and parry the thrust in front of your left hand with the sword on your left side and spring towards him and set your point towards him. If thats not possible then let your side fall and go under with wrestling.	[093r.2] Item mörck Sticht er dir dann mitt der gleffen oben eÿn zu° So far vff vñ secz im den stich ab vor diner lincken hand mitt de~ schwert vff din lincke sÿtten vñ spring zu° im vnd wart des anseczents Magst du deñ zu° nicht komen So lauß din schwert fallen vnnd wart der ringen	[109r.3] Sticht er dir dan mit der gleuen oben zw so far auff vnd setz Im den Stich ab vor deyner linkenn hand mit dem Schwertt auff linke seytten vnd Spring zw Im vnd wartt des ansetzenn magstu dar zw nit kumen So las dein Schwertt vallen vnnd wartt der Ringen	[104r.3] Sticht er dir dann mit der glefenn oben tzu, so far auf, vnnd setz im denn stich ab, vor deiner linckenn handt mit dem schwert auf sein lincke seittenn vnnd spring tzu im, vnnd wart des ansetzen, magstu dartzu nit kummenn, so las dein schwert fallenn vnnd wart der ringenn.
[14] When he jabs towards you and you stand in the lower guard, then set [aside] his stab from with the sword before your left hand on his right side, and go over in setting aside or the wrestle.	[14] If he thrusts towards you and you are standing in the lower guard then set his thrust aside with the sword in front of your left hand on his right side and go over with the attack or wrestling.	[093r.3] Item sticht er dir zu° mitt der glefen wañ du stäst in der vndern hu°t So secz im den stich ab mitt dem schwert vor [093v.1] diner lincken hand vff sin rechte sÿtten vnd wart deß anseczents oder der Ringen ~ ~ ~
[15] Parry with the open hand. When you stand in the lower guard, and he jabs above to you, and he holds the spear, so that the point in front broadly juts over the hands. Then strike his spear down to the side with your left hand, and spring to him setting the point on him.	[15]	[093v.2] Der text võ abseczen mitt lerer hand ~~ Lincke lanck von hand schlache Spring wÿßlich vnd den fache Ob er will zucken võ schaiden / fa^uch vnd truck in · Daß in die blöß / mitt schwertes ort verdröß ~:· Glosa Wenn du stau~st in der vndern hu°t Sticht er dir an oben zu° mitt dem sper vñ hat dz gefasst daß im der ort lang für die hand vsß gat vnd sticht dir domitt oben zu° So schlach in mitte der lincken hand sin sper beseÿcz abe / vnd begrÿff din schwert bald wide~ mitt der lincken hand mitten in der clingen vnd spring zu° im vñ secz im an etc	[109r.4] Das ist der text vonn absetzenn mit lerer hannd Linck lanck von hand Spring weyßlich vnnd den vach Ob er will zuckenn von scheydenn vach vnd druck In das In die plos mit Schwertes ortt verdroß Glosa Merck das Ist wen dw steest In der vntern hutt Sticht er dir dan obenn zw mit dem Sper vnd hatt das gefast das Im der ortt fur die hanndt auß geet So Schlag Inne mit der Schwert beseyt ab vnd begreiff dein Schwertt bald wider mit der linkenn hand mitten In der clingenn vnd Spring zw Im vnd setz Im ann	[104r.4] Das ist der Text vonn absetzen mit lerer handt. Linck lang vonn handt schlag, spring weislich vnnd denn fahe, ob er wil tzuckenn von schaiden, fahe vnd druck in, das in die ploß, mit schwertes ort verdroß. [104v.1] Glosa. Merck das ist, wenn du stehest in der vnternn hut, Sticht er dir denn oben tzu mit dem Sper, vnnd hat das gefast das im der ort langk fur die hanndt ausgehet, so schlag im mit der schwer beseit ab vnnd begreif dein schwert bald wider mit der linckenn handt, mittenn in der klingenn, vnd spring zu im vnd setz im an.
[16] When he stabs underneath with his spear, to your guts. Then grab his spear with your left hand and hold it firmly. At the same time stab him underneath in the gut. And if he then wants to pull strongly on the spear and jerk it from your hand, then press the spear up over and let him go. So that he gives you an opening. Grab your sword at once with your left hand, follow to him and set the point on him.	[16]	[094r.1] Item sticht er dir mitt dem sper vnden zu° dem gemächt So fahe sin sper in die lincken hand vñ halt es domitt vast vñ stich im mitt der rechte~ vnde~ zu° den gemächt Vnd ruckt er dañ sin sper fast an sich vñ will dir daß vsß der hand rÿssen So lauß daß sper über in vß der hand far So gibt er sich blöß So begriff din schwert bald mitt der lincken hand wide~ mitten in der dingen vñ volg im bald nach vnd secz im an ~~~	[109r.5] Item oder Sticht er dir mit dem Sper vndenn zw dem gemecht So vach sein Sper In die linkenn hand vnd halt es damit vaste vnd Sticht Im mit der Rechtenn vnnden zw dem gemecht vnd Ruck er dan sein Sper vast an sich vnd will dir das auß der hand reyssen So las das Sper vrbering auß der hand farn So gibt er sich plos So begreiffe sein Schwertt bald mit der linkenn hand wider mitten In der klingenn [109v.1] vnd volg Im Bald nach vnd Setz Ime ann	[104v.2] Item oder sticht er dir mit dem sper, vntenn tzu dem gemecht so fahe sein sper in die lincken handt vnnd halt es damit fast, vnnd stich im mit der Rechtenn vntenn tzu dem gemecht, vnnd Ruckt er den sein sper fast ansich, vnnd wil dir das aus der hanndt reissenn, so las das sper urbering aus der hanndt farenn, so gibt er sich plos, so begreif dein schwert baldt mit der lincken hannd wider mittenn in der clingenn, vnnd volge im bald nach vnd setz im ann.
[17] When you set the point to an equipped^[333] man. Then you must quickly recognise his openings. At first try and strike him in the face, but also in the armpits, in the palms of the hands, or in from behind the gloves, or in the knee pits, between the legs and on all the limbs, where the coat of mail joins inside. Because these are the best place in which to strike him. And you should know precisely, how you can strike these openings. Therefore you will not aim at a more remote one, when you could hit a closer one with greater ease. Practice with all the arms, that pertain to the fight.	[17] The openings of one who is armed If you want to place an attack at a place on a prepared man, then you must detect his openings quickly. First attempt to attack him in the face, but also under the shoulders, in the palms of the hands or from the rear in the gloves, or in the hollows of the knee, between his legs and to all the members there, where the armour has his joints inside. Because it is best to attack him at these places. And you should know exactly how you can attack those openings, so that you do not aim at a further one if you can attack a closer one more easily. Practice that with all weapons which belong to the fight.	[094r.2] Der text von den blossen Leder vnnd handschüch Vnnd den augen die blöß recht su°ch ·: Glosa Das ist wañ du aine~ gewapnete~ man an seczen wilt So solt du der blöß eben war nemen Der ersten [94v.1] In daß gesicht / oder vnder den v°chsen / oder in den teñern / ode~ hinden in die handtschu°ch Oder in die knÿkeln oder zwischen den bainen oder in allen glidern da der harnosch sin gelenck iñen hat Wann an den stetten ist de~ man am besten zegewinnen vñ die blossen solt du recht wissen zu° su°chen / dz du nach aine~ nicht wÿt griffen solt wañ dir ain nächere werden mag / Daß tu° mitt aller were die zu° dem kanpff gehörent etc	[109v.2] Das ist der text vonn den Blossen Leder hantschuch nter den augenn die ploeß recht such Glosa Das ist wan dw eynen gewappetten man ansetzenn wild So soltu der Bloeß eben war nemen des Erstenn In das gesicht oder vnter den vchssenn oder In den tener oder In den hantschuch oder In dye knyekelen oder zwischenn den peinen oder In allen glidern do der harnasch sein gelenck Innen hatt wen an den Stellen Ist der mann am besten zw gewinnen vnd der Bloessen Soltu Recht wissenn zw Suchenn das dw nach einer nit weitt greiffen Solt wen dir ein nehere werden mag das thu mit aller wer die zw dem kampff gehorenn	[104v.3] Das ist der Text vonn denn plossenn. [105r.1] Leder vnnd hantschuch, vnter denn augen die ploß recht such. Glosa. Das ist wenn du einem gewappenden man ansetzẽ wilt, so soltu der plöß ebenn war nemen, des ersten in das gesicht, oder vnter die vchsenn, oder in denn tener, oder hintenn in denn handschuch, oder in die kniekel, oder tzwischenn denn painenn, oder in allenn glidernn, da der harnasch sein gelenck Innen hatt, wenn an denn stettenn ist der man am bestenn zugewinnenn, vnnd die blössenn soltu recht wissen zu suchenn, das du nach einer nit weit greiffenn solt, wenn dir ein nehere werdenn mag, das thu mit aller wer die tzu dem kampf gehorenn.
[18] Secret wrestling techniques. When he runs in, then drop your sword and use carefully the wrestling, that belong to the battle fight. These shall not be taught or shown in publicly accessible fencing schools, so is it from all to show sword mastery closed. Because he will to the earnest fight to use dignity, and there are arm breaks, leg pieces, testicle thrusts, death strikes, knee thrusts, finger breaks and eye grips^[334] and more.	[18]	[094v.2] Der text von dem verborgnen ringen Verbotten Ringen / wÿßlich zu° lern bringen / Zu° schlissen finde die starcken domitt über winde ~ Glosa Das ist wañ ainer dem andern andern ein laufft So lauß din schwert fallen vñ wardt [095r.1] domitt wÿßlich der ringen die zu° dem kampff gehören / vñ verbotte~ sin von allen wÿsen maistern des schwerts Daß man die vff offenbare~ schu°len nÿemancz lernen noch seche~ lasen sol daru~ daß sÿ zu° dem kampff fechten gehörn vñ daß sind die armbrüch / Bainbruch / hoden stoß / mortstoß / knÿstoß / vinger laus^unge / äugen griff / vnd dar zu° mer ~ ~ ~ :·	[109v.3] Das ist der text mit den verpotten zw Ringen Verpottenn Ringen weyßlich zw lere bringenn zw schliessenn vnd die Starcken damit vber wind Glosa merck das Ist wen einer dem andern ein lawfft So las dein Schwertt zw hand fallen vnd wart damit weyßlich der ringenn die zw dem kampff gehorenn die verbotten sein von alten weissen meinster des schwertz das man auff offenbaren Schulen nyemantz lernen noch sehenn soll lassenn Darumb das sye zw dem kampff fechten gehorenn das sein die arm bruch vnd pein bruch zw hodenn stosß vnd mortt Stosß vnnd knye [110r.1] Stoeß vnd vinger losung vnd augenn greyffung vnd dar zw mer	[105r.2] Das ist der Text vonn denn verpotnenn Ringenn. Verpottenn Ringen, weislich tzu lere bringenn zu schliessenn finde, die starcken damit vberwinde. Glosa. Merck das ist wenn einer dem andern einlauft, so las dein schwert zu handt fallenn, vn[d] [105v.1] wart damit weislich der ringens, die zi dem kampf gehoren, die verbotten sein, vom alten weisens Meistern des Schwerts, das man die auff offen waren schulen niemandts lernen nach ~sehen lassen darumb das sie zu° dem kampff fechten gehörn. Das sein die armbrüch / Bainbruch / hoden stoß / mortstoß / kniestoß / finger losing und äugen greiffen und darzu° mehr.
[19] The first technique. The cast over the leg to behind: When he seizes you you above and then draws you to him with strength to him or will thrust you from him, then strike the right arm outside over his left hand, just behind his hand. Press his arm with both hands at the breast, spring with your right foot behind his left and throw him over your knee.	[19]	[095r.2] Hie solt du morcken die ringen Item grifft dich an ainer oben mitt ringen vñ will dich mitt störck zu° im rucken oder võ im stossen So schlach den rechten arm vssen über sin lincken forne~ vorne~ bÿ siner hand vnnd truck den mitt baiden henden an din brüst vñ spring mitt dim [095v.1] rechten fu°ß hinde~ sinen lincken Vñ wirff in über dz knÿ vß dem füß ~	[110r.2] Hie merck die ringenn Item gerifft er dich obenn an mit ringen vnnd will dich mit Sterck zw Ime Ruckenn oder von Ime Stossenn So Schlag den Rechtenn arm aussenn vber sein glinckenn forn bey seyner hand vnnd truckt den mit beyden hendenn an dein Brust vnd Spring mit dem Rechten fus hinter sein linken vnd wurff In vber das knye auß dem fus	[105v.2] Hie merckt die Ringen Item greifft er dich oben an mitt ringen und will dich mitt sterck zu° im rucken oder von im stossen So schlag den rechten arm aussen über sein lincken vorm bei seiner hand vnnd truck den mitt baiden henden an dein brüst und spring mitt dem rechten fuss hinter seine lincken und wirf ihn uber das Knie aus dem fuss.
[20] Cast over the leg in front, and break the arm when he seizes you above but doesn't grip firmly. Then grab his right hand with your right, draw him to you with your left hand and grab his elbow. Step with your left foot in front of his right and pull him over that. Or fall with your breast onto his arm and break it so.	[20]	[095v.2] Item grifft er dich an mitt ringen vñ halt er dich dann nitt fast vast So begrÿff sin rechte hand mitt dine~ rechten vñ ruck in zu° dir mitt der lincken begrÿff im den elnbogen vñ schrÿtt mitt de~ lincken fu°ß für sinen rechten Vñ ruck in also darüber Oder fall im mitt der brust vff den arm vñ brich im den also	[110r.3] Item greiff er dich an mit ringenn helt er dich den nit fast So begreiff sein Rechte hand mit deyner Rechtenn vnd Ruck In zw dir mit der linkenn greiff Im den Elebogenn vnd Schreytt mit dem linken fus fur seynen Rechten vnd Ruck In also daruber vnnd vall Im mit der prust auff den arm vnd brich Im denn also	[105v.3] Item greift er dich an mit ringen, helt er dich dem nit fast so begreif sein rechte handt mitt [106r.1] deiner Rechtenn, vnnd ruck in tzu dir mit der lincken begreif im denn Elnpogenn, vnnd schreit mit dem linckenn fus für, seinenn Rechtenn, vnnd ruck in also daruber, oder fal im mit der prust auff denn arm, vnd brich im denn also.
[21] Grip his left hand with your left hand, just above the hand, and tear him to you. Strike your right arm strongly over his left arm (in the bend) and break it over your right using your left. Spring with your right foot behind his right and throw him over that.	[21]	[095v.3] It~ grÿff mitt der lincken hand sin lincke vorne~ bÿ der hand vñ ruck in zu° dir vñ schlach din rechte~ arm mitt störck über sin lincken In das glenck der armbu~ge vnd brich mitt der lincke hannd sin lincke v~ber sin rechte~ vnd spring [096r.1] mitt dem rechte~ fu°ß hinde~ sinen rechten vñ wirff in also darüber etc~	[110r.4] Item begreifft mit der linkenn hand sein linken forn pey der hand vnd Ruck In zw dir vnd Schlag den Rechten arm mit sterck vber seynen linken In das glenck der armpug vnnd [p]rich mit der linkenn vber den Rechten vnd Spring mitt dem Rechten fus hinter sein Rechten vnd wurff In als das vber	[106r.2] Item begreif mit der linckenn handt sein lincken, vorn bey der hanndt, vnnd ruck in tzu dir, vnnd schlag den Rechtenn arm mit sterck vber seinenn lincken, in das gelenck der armpug, vnnd prich mit der linc[k]enn handt sein linckenn vber dein Rechtenn, vnnd spring mit dem Rechten fus hinter sein Rechtenn vnd wirf in also daruber.
[22] When he drives through under your right arm with his left arm and wants to catch you around the body, then strike with your right arm strongly from above and outside into his left elbow joint and turn away from him.	[22]	[096r.2] Item fört er dir mitt de~ lincken arm vnde~ dinen rechten durch vmb din lÿbe So schlach in mitt dem rechten arm starck von oben nÿde~ vsswendig in das glenck sins lincken elbog elnbogens vñ wend dich do mitt von Im ~ ~~	[110r.5] Item fertt er dir mit deynem linkenn arm vnter dem Rechtenn durch vmb den leib So schlag In mit dem rechtenn arm starck von oben nyder außwendig an das glenck seins linken elpogens vnd wend dich da mit von Im	[106r.3] Item fert er dir mit dem linckenn arm, vnnter deinenn Rechtenn durch vmb denn leib, so schlag in mit dem rechtenn arm starck vonn obenn nider, auswendig in das gelenck seins lincken elnpogens vnnd wend dich damit vonn im.
[23] When he has you gathered in his arms and you also have him in the same way, and he stands with a straight leg. Then stamp against his straight leg, so you break his leg.	[23]	[096r.3] Item wann er dich fasst bÿ den armen vñ du in wider / stat er dañ gestrackts mitt dem fu°ß So stoß in vff daß selbig knÿ So brichst im den fu°ß ~ ~ ~ ~ ~ ~ ~	[110r.6] Item wen er dich fast bey den armen vnd er dich wider Stett er den Starck gestrackt mit dem fus den er hatt fur [110v.1] gesetzt So stoß In mit dem fus auff das selbig knye So prichstu Ime den fus	[106r.4] Item wenn er dich fast bey denn armen, vnnd er dich wider, stet er denn gestrackt mit dem fus denn er hatt furgesetzt, So stos in mitt dem [106v.1] fus, auff dasselbige knie, so brichstu im den fus.
[24] You will also thrust with the knee or foot into the testicles. But be aware that he does not catch your leg.	[24]	[096r.4] Item du magst im och mitt dem knÿ ode~ mitt dem fu°ß zu° den gemächten stossen / wenn es dir eben ist Aber du solt dich für sechen daß er dich bÿ dem fu°sse nitt begrÿffe etc	[110v.2] Item dw magst In auch mit dem knye oder mit dem fus zw dem gemecht stossenn wen es dir Ebenn Ist Oder sich dich fur das er dich bey dem fus begreifft	[106v.2] Item du magst im auch mit dem knie, oder mit dem fus zu dem gemecht stossenn wenn es dir ebenn ist, Oder sihe dich fur, das er dich bey dem fus nicht begreiffe.
[25] When he approaches you with an open hand or outstretched fingers, then try to seize a finger. Break it above, then you'll lead him to the edge of the arena, also weaken him on this side and win ever more advantage.	[25]	[096v.1] Item wann er nach dir grÿfft mitt offen henden oder mitt gerackten fingern So wart ob du im ainen finger begrüffen mügst Vñ brüch im den übersich Vnd für in domitt zu° dem kraÿß ~ ~~ Auch gewinst du Im do mitt die sÿtten an vñ sunst vill ander grosser vortail ~	[110v.3] Item wen er nach dir greifft mit offen henden oder mit gerackten vingern So wart ob dw Im ein vinger begreiffenn ma[g]st vnd prich Im den vbersich vnd fur In da mit In den K[r]eiß auch gewinstu In damit die seytten an vnd sunst vil groß vorteill	[106v.3] Item wenn er nach dir greift mit offen hendenn oder mit geräcktenn fingernn, So wart ob du im ein finger begreiffenn magst, vnnd prich im denn vbersich vnnd fur in damit tzu dem krais auch gewinstu in damit die seittenn ann, vnnd sonnst vil groß vortail.
[26]	[26]	[096v.2] Der text võ aine~ lere Item aller lere / den ort gege~ der blöß köre ·: Glosa Daß ist daß du mitt allen drÿ wörn die zu° dem kampff gehörn allweg mitt dem ort zu° den blossen stechen solt die dir vorgenant sind / vnd sunst nicht / anders es bringt dir schaden etc~~ ~	[110v.4] Das ist der text vor [!] einer lere Item aller lere denn ortt gegen der Bloß kere Glosa merck das Ist das du mit allen treuen weren die zw dem kamppff keren alweg mit dem ortt zw denn plosen Stechenn soltt die dir vorgenant sein vnd sust nit oder es pringt dir schaden	[106v.4] Das ist der Text von einer lere. Item alle lere, den ort gegen der plos kere. Glosa. Merck das ist das du mit allenn trewenn werenn, die zu dem kampf gehornn, alweg mit dem ort zu denn ploßenn stechenn, solt, die dir vorgenant sein, vnnd sonnst nit oder es bringt dir schadenn.
[27] The serious fight sword vs sword When both javelins have been thrown and the sword fight begins, then you should before all things pay attention to the four guards with the half sword. From them stab always to his upper opening. If he then jabs or binds with your sword. Then your should immediately notice if he is hard or soft at the sword. And when you have noted that, then use the strong against him, as is described in the following.	[27]	[97r] Der text wie man soll fecht~ Im schwert gegen schwert zu° kampff ~~ Wo man von schaiden / schwert zucken sieht von^Inbaiden / So soll mã stercken Die schutten eben recht eben merken mörcken ·: Glosa Daß ist öb sÿ baid^de die sper verschossen hetteñ vnd solten fechten vechten mitt den schwertern So salt du vor allen dingen mörcken vñ wissen daß die vier hu°ten mitt dem kurczen schwert / vnd daruß stich im allweg zu° der obern blöß Sticht er dañ mitt dir glich ein ode~ bindt dir an dz schwert So salt du zu° hand mercken ob er hert oder waich am schwert ist Vñ wenn du enpfunnden hau~st So trÿb die [097v.1] störck gegen im die du hernach geschriben wirst sechen ~~~ :·	[110v.5] Das Ist der text wie man soll vechten mit dem Schwertt gegen dem Schwertt Wo man von scheyden zw schwertt zuckenn sicht vonn Ir beyden so sol man streckenn die schutten rechte eben mercken Glosa Das ist ob wir beyde die Sper verschossenn habend vnd wollen vechten mit den Schwerten So soltu vor allen dingen wissenn die vier huten mit dem kurtzen Schwert vnd darauß stich Im alwegenn zw den obern bloeß Sticht er den mit dir gleich ein oder bind dir an das Schwert so soltu zw hand merckenn ob er hert oder weich am [111r.1] Schwertt Ist vnd wen dw das Empffunden hast So treib die Stuck gegen Ime die gegen der weich oder gegen der hert gehorenn	[106v.5] Das ist der Text wie man sol fechten mit dem schwert gegen dem schwert. [107r.1] Wo mann vonn schaidenn, schwert zuckenn sicht von in baidenn, so sol mann sterckenn, die schutten recht ebenn merckenn. Glosa, das ist ob wir beide die Sper verschossenn hettenn, vnnd soltenn fechtenn mit denn schwertten so soltu vor allenn dingenn wissenn die vier huttenn mit dem kurtzenn schwert, vnd daraus stich im alwegen zu der obernn plos, Sticht er denn mit dir gleich ein oder pint dir an das schwert, so soltu zu hanndt merckenn, ob er hert oder waich am schwert ist, vnnd wen du das empfundenn hast, so treib die stuck gegenn im, die gegenn der waich oder gegen der hert gehornn.
[28] The first guard from the half sword. Holding your sword with the right hand on the grip and the left in the middle of your sword, keeping it on your right side above your head and let the point hang down towards his face.	[28]	[097v.2] Die erst hu°t In dem ha^lben schwert ~~ Item halt din schwert mitt de~ rechten hand bÿ der händhäbe vñ mitt de~ lincken grÿff mitten in die clingen vñ halt es neben dine~ rechten sÿtten über din haüpt vñ laß den ort vndersich hang~ dem man gegen dem gesicht etc	[111r.2] Hie merck die Erst hutt mit dem halben Schwertt Item halt dein Schwertt mit der Rechten hand pey der hand hab vnd mit der linkenn greiff mittenn In die klingenn vnd halt es nebenn deyner Rechten seittenn vber dein haubt vnd los den ortt vntersich hangenn dem man gegenn dem gesicht	[107r.2] Hie merck die erst hut mit dem halbenn schwert. Item halt dein schwert mit der rechtenn handt bey der handhab, vnnd mit der linckenn greif mittenn in die clingenn, vnnd halt es neben deiner Rechtenn seittenn, vber dein haupt, vnd las denn ort [107v.1] vnntersich hangenn, dem mã gegen dem gesicht.
[29] If he then stands in the lower guard and wants to stab you underneath, then stab down from above between the sword and his closest hand. Press the pommel underneath, wind the point on his sword under and through to his right side and set the point on him.	[29]	[097v.3] Item stätt er dañ gegen dir In der vndern hu°t Vnd will dir vnden zu° stechen So stich durch võ oben nider zwischen dem schwert vñ siner vorgesäczner hand Vñ truck den knopff vndersich vnd wind im den ort am schwert vnde~ durch gege~ sine~ recht~ sÿtten vñ secz im an ~~~~ ~ ~ ~ :·~	[111r.3] Item merck Stett er dan gegen dir In der vndern hutt vnd will dir vnnden zw Stechen von oben nyder zwyschen dem Schwertt vnd seyner vorgesatzten handt vnnd truck den knopff vntersich vnd wind Im den ortt vnden am Schwertt durch gegen seyner Rechten seÿtten vnd setz Im ann	[107v.2] Item merck stet er dann gegenn dir in der vntern hut, vnnd wil dir vntenn tzu stechenn vonn obenn nider tzwischenn dem schwert, vnd seiner vorgesatztenn handt, vnnd truck denn knopf vntersich, vnnd wind im denn ort am schwert vntenn durch gegenn seiner Rechtenn seittenn, vnd setz im an.
[30] Stab him in the face from the first guard. If he fends that off then jerk or go through with the point to the other side, just as before. When you have set the point against him then put your sword under your right armpit with the hilt on your breast and push him from you.	[30]	[098r.1] Item stich Im vß der ersten hu°t zu° dem gesicht wert ers So zuck oder ge du~rch mitt dem stich alß vor zu° der anderen sÿtten Vñ weñ du Im hau~st angeseczt So schlach din schwert vnde~ din rechte v°chsen mitt demgehu~ltz an die brüst vñ dring in also von dir hin ~	[111r4] Item Stich Im aus der Ersten hutt zw dem gesicht wert ers weitt So zuck oder gee durch mit Stich als vor zw der andern seytten vnd wen dw Im hast angesetzt So Schlag dein Schwertt vnter dein recht vchssenn mit dem gehultz an die prust vnd dring In also von dir hin	[107v.3] Item stich im aus der erstenn hut zu dem gesichtt, wert ers weit so tzuck, so tzuck [!] oder gehe durch mit dem stich als vor, zu der andernn seittenn vnnd wenn du im hast angesetzt, so schlag dein schwert vnter dein Rechte vchsenn, mit dem gehiltz an die brust, vnd dring in also von dir hin.
[31] Second assault from the first guard Stab him in the face from the first guard, just as before. If he puts the sword in front of him with the left hand in front and keeps the point in front of the face, and sets it around to you. Then grip with the left hand the point of his sword and hold it tight. With your right hand stab him hard in the face.	[31]	[098r.2] Item mörck ain aid anders Stich im zu° alß vor / verseczt er vor siner lincken hannd mitt dem schwert vñ blipt dir mitt dem ort vor dem [098v.1] gesicht vñ will diner dir anseczen so begrÿff mitt de~ lincken hand sÿn schwert bÿ dem ort vnd halt daß föst vñ mitt de~ kerechten hand stich im kröffticlichen zu° den gemächten	[111r.5] Item merck ein anders Stich Im zw als vor versetzt er vonn seiner linkenn hand mit dem Schwertt vnnd pleibt dir mit dem ortt vor dem gesicht vnd will dir ansetzenn So greiff mit der linken hand sein Schwertt bey dem ortt vnd halt es vest vnd mit dem Rechten Stich Im krefftiglich zw dem gemecht	[107v.4] Item merck ein annders, Stich im tzu als vor, versetzt er vor seiner linckenn handt mit dem schwert vnnd pleibt dir mit dem ort vor dem gesicht, vnd wil dir ansetzenn, so begreif mit der linckenn hanndt sein schwert bey dem ortt, vnnd halt das [108r.1] fest, vnnd mit der Rechtenn stich im kreftiglichenn tzu dem gemecht
[32] If he then wants to jerk on the sword and pull it from your hand, then suddenly let it go, so he gives you an opening. Straight away grip your sword again in the middle with your left hand and follow straight away to him.	[32]	[098v.2] Zuckt er dann sÿn schwerst vast an sich vñ will dir daß vß der hand rissen So laß im dz schert / Vrbringe faren So gibt er sich bloß So begriff sin schwert bald mitt de~ lincken hand wider mitten in der clingen vñ folg im nach etc	[111r.6] zuckt er dan sein Schwertt vast an sich vnnd will dir das auß der hand Reyssenn So las Im das Schwertt [111v.1] vrbering farn so gibt er sich plos So begreiff dein Schwertt bald mit der linken hand wider mitten In der clingen vnd volge Im nach	[108r.2] tzuckt er dann sein schwert fast ann sich, vnnd wil dir das aus der handt reissenn so las im das schwert vrbering farn, so gibt er sich plos, so begreif dein schwert bald mit der lincken hanndt, wider mittenn in der clingenn, vnnd volge im nach.
[33] Second defence from the first guard If you grab his sword and he grabs yours, then let go of his sword and grip yours again in the middle with your left hand, wind the point out and over his left hand and set the point at him.	[33]	[098v.3] Item ain anders Begrÿffstu sin schwert vñ er das din So [099r.1] wirff sin schwert vß de~ lincken hand Vnd do mitt begrÿff daß din wide~ mitten inder clingen vnd wind im den ort ausen über sin lincke hand vñ secz im an ~ ~	[111v.2] Item Aber ein anders begreiffstu sein Schwertt…	[108r.3] Item aber ein anders, begreifstu sein schwert, vnnd er das dein, so wirf sein schwert aus der linckenn hanndt, vnd begreif das dein damit wider mittenn in der clingenn, vnnd wind im denn ort außenn vber sein lincke handt, vnd setz im ann.
[34] Or throw the sword in front of his feet. Grab his left hand with your left hand and set an arm break, or some other wrestle on.	[34]	[099r.2] Item oder wirff im din schwertt für die füsß vñ begriff sin lincke hand mit dine~ lincken vñ trÿb den arm bruch oder sunst ander Ringen etc		[108r.4] Item oder wirf im dein schwert fur sein fus, vnnd begreif sein lincke handt mit deiner lincken, vnnd treib denn armpruch, oder sonnst ander ringenn.
[35] When you stab him to the face from the upper guard. And he with his left hand seizes your sword between your hands, then drives through with his pommel outside or inside above his left hand. Tear to your right side and set the point on him. When you do, you'll also strike him with the pommel from the upper guard.	[35]	[099r.3] Item wann du Im vß der obern hu°t zu° stichst fölt er dir dann mitt der lincken hannd in din schwert zwischen dine~ baid~ henden So far im mitt dem [099v.1] kr knopff vsswendig oder Inwendig über sin lincke hannd vñ reÿß vff din rerchte sÿtten vnd secz im an au~ch magst du vsß der obern hu°t mitt dem knopff wol schlachen wann es dir eben ist ~~		[108r.5] Item wenn du im aus der obernn hut zu stichst felt er dir dann mit der linckenn handt in dein schwert, zwischenn deinenn beidenn hennden, so far im mit dem knopf auswendig oder inwendig, vber sein [108v.1] lincke hanndt, vnnd reiß auf dein Rechte seittenn, vnnd setz im ann, auch magstu aus der obernn hut mit dem knopf wol schlagen wẽ es dir ebẽ ist.
[36] The second guard with the half sword Hold your sword with both hands, down to your right side, with the grip next to your knee. Your left foot will stand forward and the point shall be directed at the face of your opponent.	[36]	[099v.2] Die ander hu°tt mitt dem kurczen schwert zu° kampff Merck halt din schwert mitt baiden henden vnd halt daß vndersich zu° dine~ rechten sÿtten mitt der handhäben neben dine~ rechten knÿ vñ dz din lincker fu°ß vor stee vñ din ort dem man gege~ din ge gesicht ~ ~ ~ : ~		[108v.2] Das ist die ander hut mit dem kurtzen schwert zu kampff. Merck halt dein schwert mit baiden hendenn, vnnd halt es vntersich, tzu deiner Rechten seittenn, mit der handhab nebenn deinem Rechtenn knie vnnd das dein lincker fus vor stehe, vnnd der ort dem man gegen dem gesicht.
[37] When you stand in this guard and he faces you in the upper guard and wants to set it in from above.^[335] Then stab him first and set the point on his forward hand in the opening of the flat of the hand. Or stab through over his forward hand, press down with your pommel and set him to the other side.	[37]	[100r.1] It~ wenn du also steest In de~ hu°t Stet er dann gegen dir in der obern hu°t vñ will dir oben anseczen So stich du vor vñ secz im den ort für sin fürgeseczte hand zu° der blöß des teners v oder stich im über sin vorgeseczte~ hand durch vñ vnd din schwert vñ truck dine~ knopff gegen der erden vnd secz im an zu° der andern sÿtten ~		[108v.3] Item wenn du also stehest, in der hut, stehet er den gegenn dir in der obernn hut, vnnd wil dir obenn ansetzenn, So stich du vor, vnd setz im den ort, vnter sein lincke vchsenn in die plos, oder stich im tzu seiner vorgesatzenn handt, zu der plos des teners. Oder stich im vber seiner vorgesatzten handt durch, vnnd dem schwert, vnd truck denn knopf, gegenn der erdenn, vnd setz im an zu der andern seitten.
[38] When he jabs at you from above, grab his sword with your left hand in front of his left hand, place the hilt on your breast and set the point against him.	[38]	[100r.2] Item wañ er dir oben zu° sticht So grÿffe mitt der lincken hand sin schwert vor sine~ lincken vñ mitt der rechten secz I din schwert mitt dem gehülcz [100v.1] an din brüst vnnd secz im an etc		[109r.1] Item wenn er dir obenn tzu sticht, so begreif mitt der linckenn handt sein schwert vor seiner lincken vnnd mit der Rechtenn setz dein schwert mit dem gehiltz an dein prust, vnd setz im ann.
[39] A break against the setting through When you stab him from the lower guard and he stabs you from the upper guard between your forward hand and your sword and pushes his pommel down. Then go in to the upper guard and set on him at once.	[39]	[100v.2] Ain bruch wide~ daß durchseczen Item wañ du im vß der vnder hu°t zu° stichst Stich^ts er dir vß der obern hu°t durch zwischen dine~ vorgesäczteñ hand vnd dem schwert So mörck die wil er den knopff nide~ truckt / so far vff zu° der obern hu°t vñ secz im an ~~		[109r.2] Item das ist ein pruch, wider das durchstechen, wen du im aus der vnternn hut zu stichst, Sticht er dir aus der obernn hut durch, zwischenn deiner vorgesatztenn handt vnnd dem schwert, so merck dieweil er denn knopf nider truckt, so far auf, Inn die obernn hut, vnnd setz im ann.
[40] When you want to stab at him from the lower guard and he wants to drive through with the pommel under your sword and thus parry, then keep the point strong in front of his face and press his right hand down…^[336]	[40]	[100v.3] Item stich im zu° vß der vndern hu°t fert er dann durch mitt dem knopff vnde~ din schwert vnd will domitt abseczen So blÿb im mitt dem ort starck vor dem gesicht vnd truck Im sin gerechte hand also vnder [122r.1] die wil wÿl er durch windt vñ secz im an ~~ ~~	[111v.3] …vnnter dein Schwertt vnd will damit absetzen oder Reyssenn So pleib Im mit dem ortt Starck vor dem gesicht vnd truck Ime sein Rechte handt also vntersich dieweyl er durch windett vnd setze Ime ann	[109r.3] Item stich im tzu, aus der vnternn hut, fertt er dan durch mit dem knopf, vnter dem schwert, vnnd wil damit absetzenn oder reissenn, so bleib im mit dem ort starck vor dem gesicht, vnd truck im sein Rechte hanndt also vntersich, dieweil er durchwindet, vnd setz im an…
[41]	[41]	[122r.2] Item stich im starck vß der vndern hu°t zu° dem gesicht Sticht er dann mitt dir glÿch ÿn So begrÿff sin schwert in der mitte zu° dem dine~ mitt lincker ver korter hand vnd halt sÿ baÿde föst zu° samen vnd far mitt dem knopff vnden durch sin schwert vnd mitt dem rechten arm rück ubersich vff din rechten sÿtten so nÿmpst du im sÿn schwert ~ ~~	[111v.4] Item Stich Im Starck auß der vntern hutt zwm gesicht Sticht er dan mit dir gleich ein / so begreiff sein Schwertt In der mitt zw dem deynen mit linker verkerter hand vnd halt sie bede vest zw samen vnd far mit dem knopff vnder durch sein Schwertt vnd mit dem Rechten arm Ruck versich [!] auff dein Rechte seyttenn So nimst Im das Schwertt	[099r.1] …Item stich im starck aus der vntern hut zum gesicht, sticht er dann mit dir geleich ein, so begreif sein schwert In der mit zu dem deinen mit lincke[r] vekerter hanndt, vnnd halt sie baide fest tzusamen vnnd far mit dem knopf vntenn durch sein schwert, vnnd mit dem Rechtenn arm Ruck vber sich auf dein Rechte seiten, so nimbst im das schwert.
[42]	[42]	[122r.3] Item also brich daß Wenn dir aine~ mitt sine~ lincken hand begrÿfft din schwert In der [122v.1] mitten zu° dem sinen Vñ will dir daß vsßrissen So mörck die wil er dir daß schwert fasst in die lincken hand zu° dem sine~ So far vff in die obern hu°t vnd secz im an ~ ~~	[111v.5] Item Also prich das wen dir eyner mit seyner linken hand begreifft dein Schwertt In der mitt zw seynem vnd will dir das außreissenn So merck wen er dein Schwertt vast In die linck hand zw dem seynen so far auff In die ober hutt vnd setz Im ann	[099r.2] Item also prich das, wenn dir einer mit seiner linckenn hanndt begreift dein schwert in der mitt, tzu dem seinenn vnd wil dir das außrayßenn, So merck dieweil er dein schwert fast in der linck[en] handt, zu dem seinen, so far auf in die oberhut vnnd setz im ann.
[43]	[43]	[122v.2] Item stich im vsß der vndern hu°t in wendig zu° dem gesicht / verseczt er So zuch zuck vñ schu stich im vß zu° dem gesicht / verseczt er fürbaß So far im mitt dem knopff vornen über sin rechte achseln vmb den halß vñ spring mitt dem rechten fu°ß hinder sin lincken vñ ruck in mitt dem knopff über daß bain so fölt er etc~	[111v.6] Item Stich Im auß der vndern hutt In wendig zwm gesicht versetzt er so zuck vnnd Stich Im aussenn zwm gesicht versetzt er furpas so far Im mit dem knopff vorn vber sein rechte achsseln vmb den hals vnd Spring mit deim Rechtenn fus hinter sein linkenn vnd Ruck In mit dem knopff vber das pein So felt er	[099r.3] Item stich im aus der vntern hut inwendig tzum gesicht, versetzt er so tzuck vnnd stich im außenn tzum gesicht, versetzt er furbas, so far im mit dem knopf, vorn vber sein Rechte achseln vmb den hals vnd spring mit dem Rechtenn fus hinter sein lincken, vnd ruck in mit dem knopf vber das [099v.1] pain so felt er.
[44]	[44]	[125r.1] Item also brich daß wer dir mitt dem knopff vorne~ vmb den halß fört vñ mitt dem rechte~ fu°ß springt hinde~ din lincken So begrÿff im sin lincke hand vñ truck die fast an die bru~st / vnd wend dich von im an die rechte~ sÿtten vñ fass in vff din lincke hu~ffe vnd wirff in für dich etc~	[111v.7] Item Also prich das wer dir mit dem knopff forn vmb dein hals fert vnd mit dem Rechten fus Springt hinter den linken [112r.1] So greiff sein rechtenn arm mit deyner linkenn handt vnd truck den vast an dein prust vnd wend dich von Im auf dein prust rechte seitten vnd faß In auff dein Rechte hufft vnd wurff In fur dich	[099v.2] Item also prich das. wer dir mit dem knopf, vornn vmb denn hals fert, vnnd mit dem Rechten fus spri~gt hinter dein linckenn, So begreif sein Rechten arm mit deiner lincken handt, vnd truck den fast an dein brust, vnnd wend dich von im auf dein Rechte seittenn, vnd fas in auf dein lincke huf, vnd wirf in fur dich.
[45]	[45]	[125r.2] Item och magstu du im vß der vndern hu°t wol zu° schlachen weñ es dir eben ist ~~	[112r.2] Item Auch magstü In auß der vnntern hutt auch zw Schlagenn mit dem knopff wen es dir Eben Ist	[099v.3] Item auch magstu im aus der vnternn hut auch tzuschlagenn mit dem knopf, wen es dir ebenn ist.
[46]	[46]	[125r.3] Die dritt hu°tt mitt dem kurczen schwert Item halt din schwert mitt baÿden henden alß vor geschriben stät vñ leg es über [125v.1] din linckes knÿ Vñ daruff brich im alle sine stuck mitt verseczen etc	[112r.3] Das ist die dritt hutt mit dem kurtzenn Schwertt zw kempffenn Halt dein Schwertt mitt beiden henndenn als vorgestriben [!] steet vnd leg es vber dein linkes knye vnd daraüß prich Im alle sein Stuck mit versetzenn	[099v.4] Das ist die drit hut mit dem kurtzen schwert zu kempffenn. Halt dein schwert mit beiden henden, als vorgeschribenn stet, vnnd leg es vber dein linckes knie vnd daraus prich im al sein stuck mit versetzen.
[47]	[47]	[125v.2] Item sticht er dir vß der obern hu°t zu° dem gesicht vñ seczt den stich abe mitt dem schwert vor dine~ lincken hand gege~ sine~ rechten sÿtten So far^far vff mitt dem schwert in die obern hu°t vnd secz im an ~~	[112r.4] Item Sticht er dir aus der obern hutt zwm gesicht vnd setzt den Stich ab mit dem Schwertt vor deyner linken handt gegenn seyner rechten seytten vnd far auff In die obern hutt vnd setz Im an	[099v.5] Item sticht er dir aus der obernn hut zum gesicht vnnd setzt denn stich ab mit dem schwert vor deiner lincken handt, gegen seiner Rechten seitenn vnd far auf in die oberhut, vnd setz im an.
[48]	[48]	[125v.3] Item oder far vff mitt de~ schwert vñ versecz den obern stich zwischen dine~ baiden henden vñ far im mitt dem knopff über sin vor geseczte hand vñ ruck domitt vndersich vñ secz im an ~~	[112r.5] Item oder far auff mit dem Schwertt vnd versetz den obern stich zwischen deinen beyden hendenn vnd far Im mitt dem knopff vber sein versatzte hand vnd Ruck da mit vntersich vnd setz Im ann	[100r.1] Item oder far auf mit dem schwert, vnd setz denn obernstich zwischenn deinen baiden henden, vnd far im mit dem knopf…
[49] …(underneath) then set upon him.	[49]	[125v.4] Item far vnden durch mitt dem knopff über sin vorgeseczte hand vñ ruck domitt [101r.1] vndersich vñ secz im an Au~ch magst du vnden durch wechlen mitt dem knopff vñ im den stich abseczen ~~~~ : ~
[50]	[50]	[101r.2] Item du vindest och hernach geschriben wie du vß der drÿtten hu°t die schläg die man schlächt mitt dem knopff verseczen soll	[112r.6] Item auch vinstu hernach geschribenn wie dw auß der dritten hutt die Schleg die man Schlecht mit dem knopff versetzen solt
[51] The fourth guard with the half sword As above hold your sword with both hands - holding it with the grip under the right armpit and place the hilt (in) on your breast on the right, so that the point sticks out to your opponent. [In this guard you should come from all previous mentioned.] Also when you have stabbed him to the opening and fixed the point in his armour then wind the hilt constantly in front of your breast and push him from you. And don't let him detach from your point. So he can neither stand still, hew or stab.	[51]	[101r.3] Die vierd hu°tt mitt dem kurczen schwert zu° kampff Item halt dz schwert mitt baiden henden alß vor geschribe~ stät vñ halt es mitt der handhäbe vnder din rechte v°chsen vnd secz daß gehülcz vorne~ an die rechte bru~st daß der ort gege~ dem man stee Vnd in die hu°t solt du vff allen drÿen vorgenãpten [101v.1] hu°tten kumen Also weñ du im stichst zu° der blöß vñ dz de~ ort hafft in dem harnasch So winde allwege~ din gehu~lcz an din brust vnd dring in also von dir hinweg vnl vnd lauß in nitt von dem ort abkomen So mag er weder stechen noch haw°en noch schlachen ~~~ : ~	[112r.7] Das ist die vierd hutt mit dem kurtzen schwertt zw kempffenn Halt das Schwertt mit beyden henndenn als vorgestriben [!] steet vnd halt es mit der hand hab vnter dein Rechte vchssenn vnd setz das gehultz forn an die Brust das der [112v.1] ortt gegenn dem man Stee vnnd In die hutt soltu auß allenn dreien hutten kumen Also wen dw Im Stichst zw der ploes vnd das der ortt hafft In dem harnaschs So wind alweg dein gehultz an dein prust vnd dring In also von dir hinweg vnd las In nicht abkomenn von dem ortt So mag er weder Stechen noch Schlagen
[52] When you have applied it and he has a longer reach than you, then push him thus from you, so that the point sticks out above and is set well into the rings of the chain mail.	[52]	[101v.2] Item wañ du im hast angeseczt Ist er dañ lenger wann/du bist So dring in also von dir daß din ort übersich vff gee vñ im wol in die ringe geseczt sÿ	[112v.2] merck alles das dw wild ansetzen das setz an das gesicht oder an den hals oder an sein linke achsseln oder vnter sein linke vchsseln vnd wen dw Im hast angesetzt Ist er den lenger den dw pist so dring In also von dir hin das dein ortt vbersich auff gee vnd Im wol In die ring gesetzt sey
[53] If he has a shorter reach than you let the pommel of your sword drop to your right hip and the point will jut out above and stick in the rings, just as above. Thus press him away from you and don't release him from the sword.	[53]	[101v.3] Ist er aber kürczer dañ du bist So lauß din schwert mitt dem knopff zu° diner rechten [102r.1] sÿtten vnder sich ab sincken bisß vff die rechten hüffe vnd daß din ort übersich stande Vnd im in die ring wol geseczt sÿ alß vor vnd dring in also für dich vñ lauß in von dem schwert nicht abkomen ~ ~ ~~ : ~	[112v.3] Item Oder Ist er kurtzer wen dw pist So las dein Schwertt mit dem knopff zw deiner Rechten seytten vntersich ab sincken bis auff die Rechten huff vnd das dein ortt vber sich Stee vnd Im In die ring wol gesetzt sey als vor vnnd dring In also fur dich vnd las In von dem Schwertt nit abkomen
[54] The before and the after in the fight/fence You should in all things know the before and after. Because all skill in the fight comes from it. Take note, that you come before him with strikes and stabs, then he must move. And straight away, when he binds with his sword, set your techniques on, so he cannot get his techniques through your assault. This is the before.	[54]	[102r.2] Der text von den vor vñ nach Vor vnd nach die zwaÿ ding / brieffe wÿßliche~ lere mitt ab spring ·: Glosa Das ist dz du vor allen sachen solt wissen daß vor vnd daß nach wañ vß den zwaÿen digne~ gätt gett alle kunst zu° kampffe Doch So gedenck daß du allweg y for vor [102v.1] komest ee dañ er Es sÿ mitt aine~ schlag ode~ mitt aine~ stich So mu°ß er dir verseczen vnd alß balde alß er mitt der vez versaczu~g an daß schwert bindt So trÿbe din stuck behentlich So mag er vor ^{# sinen}#dine~ stucken vor dine~ arbaÿt nicht komen Vnd daß haisst daß vor ~~~	[112v.4] Das ist der text vonn dem vor vnd von Nach Vor vnnd nach die zwey ding pruff weißlich lere mit abspring Glosa das Ist das dw von allen Sachenn solt wissenn das vor vnd das nach wen auß denn weyenn dingen gett alle kunst… [105v] …zw kampff Doch So gedenck das dw alweg vor kompst den er es sey mitt eynem Slag oder mit eynem Stich So muß er dir versetzen vnnd als bald er mit der versatzung an das Swertt bindt So treib dein stuck behendiglich So mag er vor deyner arbeitt zw seynen Stucken nit komen vnd das heist das vor	[102r.2] …zu kampf, doch so gedennck das du alweg vor kumbst es den er es sey mit einem schlag oder mit einem stich, so mus er dir versetzenn, vnnd als bald er mit der versatzung an das schwert bindt, so treib deine stuck behendiglich so mag er vor deiner arbeit tzu seinenn stuckenn nit kummen, vnd das heist das vor.
[55] The after. The after are all breaks^[337] against the techniques that he sets against you. When it occurs, that you must set him aside. Then from that setting aside immediately use your point to find his next opening. So you go straight away from being defensive to being offensive. This is the after.	[55]	[102v.2] Item hie mörck daß nach Daß sind die/brüch wide~ alle stuck die er vff dich trÿbt trÿpt Vnd daß ver nem nÿm also kumpt v er vor dz du im verseczen mu°st So su°ch zu° hand mitt de~ versäczüng mitt dem ort die nechsten blöß So gewinst du [103r.1] mitt dine~ versaczüng die arbait Vnnd dz haisst daß nach ~~	[105v.4] Item hie merck was da heist das nach das sind die bruch wider alle Stuck die er auff dich treibt vnnd das vernim also kompt er vor das dw Ime versetzen must So such zw hand mit der versatzung mit dem ortt die nachst Blos so gewinstu die arbeitt mit deyner versatzung vnd das heist das nach	[102r.3] Item hie merck was da heist das nach das sind die prüch wider alle stuck die er auf dich treibt, vnnd das vernim also, kumbt er vor das du im versetzen must, so such tzu handt mit der versatzung mit dem ort die nechst plöß, so gewinstu die arbeit mitt deiner versatzung, vnd das heist das nach.
[56] You should therefore respect that in the fight/fence you take no more than a step towards or away from him. When he is faster than you and you can no longer set him aside, then go backwards one step only with your left foot and be aware that you can step back in with the left foot and set in again or seize him with the wrestle.	[56]	[103r.2] Item hie solt du mörcken daß in dem kampff fechten nicht mer soll sin wann ain abtritt vnd ain zu°tritt Vnd daß vernÿm also v~berilt er dich überÿlt er dich daß du zu° kainer versaczung komen magst So solt du nur ain tritt zu° ruck thon mitt lincken fu°ß vnd wart wÿßlich daß du im mitt aine~ zu° tritt deß lincken fu°ß wider an seczest ode~ mitt ringen begrÿffest ~~~~~	[105v.5] Item hie soltu merckenn das In dem kampff vechten nicht mer soll sein denn ein arbeitt vnd ein zw tritt vnd das vermein also vbereilt er dich das dw zw keyner versatzung komen magst So soltu newer Ein tritt zw Ruck thün mit dem linkenn fus vnd wartt weyßlich das dw Ime mit eynem zw tritt des linkenn fus wider ansetzest oder begreiffest mitt Ringen	[102r.4] Item hie soltu merckenn, das in dem kampfechtenn nicht mer sol sein den ein abdrit, vnd ein tzu trit, vnnd das vernim also. Vbereilt er dich das du tzu keiner versatzung kummen magst, so soltu nur ein drit zu Ruck thun mit dem lincken fus, vnn[d] Wart weislich das du im mit einem tzu trit des [102v] linckenn fus, wider ansetzest oder begreiffest mitt ringenn.
[57] The travelling after with the sword in the battle fence. You should use the travelling after against the strong fencer, that with outstretched arms, long reach fights. But otherwise possesses nothing else from the art.	[57]	[103v] Der text von Nachraÿsen mitt dem schwert zu° kampff Volge allen treffen / den starcken wilt du sÿ treffen Wört er so zucke / stich wert er zu° im rucke Öb er langk sicht / So bÿß du künstlich bericht : Glosa Daß ist die nachraÿsen solt du tr trÿben gege~ den starcken die do lang vñ wÿt fachten fecht~ vnd wöllend sunst võ rechter kunst nicht halten ~	[105v.6] Das Ist der text von nach Reyssen mit dem Swert zw kempffen [106r.1] Volg allem treffen \ denn Starcken wiltw sie effen wertt er So zuck stich wertt er io zw Im Ruck Ob er lanck ficht So bistu kunstlich bericht Glosa Merck die nachreÿsen soltẅ treibenn gegen den Starcken die da lanck vnd weitt vechten vnnd wollen sunst von rechter kunst nit halten	[102v.2] Das ist der Text vonn Nachreissen mit dem schwert tzu kampf. Folg allen treffenn, den starcken wiltu sie effenn Wert er so tzuck, stich wert er Jo zu im ruck, ob er lanngk ficht, so bistu kinstlich bericht. Glosa. Merck die Nachraysenn soltu treiben gegen denn starckenn, die da lang vnnd weit fechtenn, vnnd wollenn sonst vonn Rechter kunst nit halten,
[58] Position yourself against him in a guard. Stands he also in a guard opposite. That if he pulls his sword, if he wants to rake or lift up to strike, then go with your point to his next opening before he can complete his strike or stab. If he comes really early before with the sword^[338] at the same time without aiming for your opening. Then you can jerk through suddenly. And always set the jerk on, when he only strikes at the sword. So you come to the arm breaks and to other breaks^[339] and this is the art against those.	[58]	[103v.2] Item gegen den schick dich also Leg dich gege~ im in ain hu°t Legt er sich dann och in aine So mörck eben wann [104r] er sin schwert an sich zücht / will stechen oder vff hept vñ will schlachen So folg im bald bald nach mitt dem ort zu° der nechsten blösse Ee wenn er den stich oder den schlag verbringt Wirt er dañ des anseczens gewar / vñ verseczt aber wÿt mitt de~ schwert vñ su°cht an dir kain blösß mitt dem ort So zuck aber durch vñ daß zuchen trÿb allwegen alß offt er dir mitt versäczung nach dem schwert fert / Do mitt so kumst kompst du och zu° den arm brüchen [104v.1] vnd zu° andren brüchen Vnnd daß ist die kunst wide~ alle die / die do lang vñ wÿt fecht~ zu° dem schwert vñ nicht zu° dem man ~~~~~ :· ~	[106r.2] Item Gegen dem Schick dich also \| leg dich gegen Ime In ein Hut legt er sich dan auch In ein \| So merck eben wen Er sein swertt an sich zeucht vnd will Stechenn oder auff hebt vnnd will Schlagen \| so volg Im bald nach mit dem ortt zw der nechsten plose Ee wen er Sticht oder den Slag verbringt Wirt Er dan des ansetzens gewar vnd versetzt aber weytt mit dem Swertt \| vnd sucht an dir kein bloß mit dem ort So zuck aber durch vnd das zücken treib alweg \| als offt er dir mit versatzung nach dem Swert sleitt damit kümstü auch zw denn arm bruchenn vnd zw andern Stückenn vnd das Ist die kunst die wider die lanck vechten zw dem Swertt vnd nicht zw dem mann	[102v.3] Item gegenn denn schick dich also, leg dich gegen Im in ein hut, legt er sich den auch in ein, so merck ebenn, wenn er sein schwert an sich tzeucht, vnnd wil stechenn oder aufhebt, vnnd wil schlagen so folg im bald nach mit dem ort, tzu der nechsten ploß ee wenn er denn stich oder den schlag verpringt, Wirt er denn des ansetzens gewar, vnnd versetzt aber weit mit dem schwert, vnnd sucht ann dir kein ploß mit dem ort, so tzuck aber durch, vnnd das tzuckenn treib alweg, als oft er dir mit der [103r] versatzung nach dem schwert fert, damit kumbstu au[ch] tzu denn armpruchenn vnd tzu andern stucken, vnnd das ist die kunst, wider alle, die da lang vnd weit fechtenn tzu dem schwert, vnd nicht tzu dem man. …
[59] The set to When he has set to you and pushes you back, then stab him in the palm of the hand, which holds the sword in the middle. When he the hands reversed, then stab up from below again in the same guard.	[59]	[104v.2] Der text von anseczen Grÿfft er och starcke an / daß schiessen sigt im an :· Glosa Das ist wenn weñ dir ainer hat angeseczt vñ dich dringet So stich In in den tener der hand do er daß schwert in de~ mitti bÿ helt oder hat er die hand vmb gewändt So stich võ oben nÿde~ aber in die selbige~ hu°t	[106r.3] Das Ist der text vom Ansetzenn Greifft Er auch sterck an \| das schiessen gesigt Im an Glosa Merck wenn dir eyner hatt angesetzt vnd dich druckt \| So stich In den tener der hand do Er das Swertt In der mit behelt oder hatt Er die hand vmbgewant so Stich von oben nider aber In die selbig hand	[101r.1] …Das ist der Text vonn ansetzenn. Greift er auch starck an, das schießen gesigt im an. Glosa. Merck wenn dir einer hat angesetzt, vnnd dich dringt, so stich in in den tener der handt, da er das schwert In der mitt bey helt, Oder hat er die handt vmbgewant, so stich vonn obenn nider aber in die selbig hanndt.
[60] Or stab him into the arm, in from behind the glove,^[340] and when the stab fits, then step to the front, then you open this side and moreover win the advantage.	[60]	[104v.3] Oder [105r.1] stich v im vff sine~ arm hinde~ in den händschu°ch Vñ wann der stich hafft So lauff für dich So gewinst du im die sÿtten an vñ sunst ain groß vortel	[106r.4] \| oder stich In auff seynen arm [106v.1] Hinden an der hantschüch vnd wan der stich hafft \| So lauff fur dich so gewinstu Ime die Seyten an vnnd süst grossen ain forteill	[101r.2] Oder stich in auf seinenn Arm, hintenn in denn handtschuch, vnnd wen der stich hafft, so lauf fur dich, so gewinstu im die seitten, an, vnd sonst ein groß vortail.
[61] Or stab through over his forward hand and press down from above. Place your hilt on your breast and set to him.	[61]	[105r.2] Oder stich im durch über sin vorgesaczte~ hand vñ din schwert von oben nide~ vñ secz din gehülcz an din bru~st vñ secz im an etc	[106v.2] Oder stich In durch vber seyner vngesatztenn hanndt vnd dem Swert von oben nider vnd setz dein gehultz an dein prust vnnd setz Ime ann	[101r.3] Oder stich in durch vber seiner vorgesatzenn hand vnnd dem schwertt vonn oben nider, vnd setz dein gehiltz an dein brust vnnd setz im ann. [Illegible deletion.]
[62] When he has set to your left armpit, then step back with the left foot, therefore his point goes under with it. But yours stays fixed. You can also increase your sword's reach, when you set your pommel against your breast.	[62]	[105r.3] Item hat er dir dann angeseczet an din lincke achsel So tritt zu° rucke mitt dem lincken fu°ß / So gatt sin ort abe Vnd der din haffte Auch magst du din schwert erlenge~ wann du mitt dem ringen dinem [105v.1] knopff für dich zuckest an din bru~st ~ ~ ~ ~ :· ~~ : ~	[106v.3] Item Hatt er dir denn angesetzt an dein lincke achßelnn so trit zw Rück mit dem lincken fus So get sein ort ab vnd der dein der hafft aüch magstü dein Swert Erlengenn wen dw mit dem dringen deinenn knopff fur dich Ruckst an dein brust	[101r.4] Item hat er dir denn angesetzt, an dein lincke achselnn so trit tzu Ruck mit dem lincken fus, so gehet sein ort ab, vnd der dein hafft. Auch magstu dein schwer[t] erlengenn wenn du mit dem dringenn, deinenn knopf fur dich ruckst an dein prust.
[63] The strike with the pommel. Defence against the strike with the pommel. The "percussive point" is the strike with the pommel. When he comes over with a strong strike in this way, then hold the sword over your left knee in the lower guard. If he then strikes to your head - and is a strong man - then strike his strike with your sword in front of your left hand over to his right. And drive in with the sword in the upper guard.	[63]	[105v.2] Der text wie man die schlege verseczen soll ~ Mitt sinem schlachende~ ort / schüczt er sich trifft one forcht Mitt baiden henden / den ort zu° den au°gen lere wenden ·: ~ Glosa Mörck der knopff ist der schlachent ort / Will er dich domitt überlauffen mitt starcken schlegen So halt din schwert über din lincke knÿ vñ in der hu°t Schlecht er dir dañ zu° dem haupt Vñ ist ain starcker mañe So streÿch im den schlag ab mitt dem schwert vor dine~ lincken hand [106r.1] gegen sine~ rechten sÿtten / Vñ far vff am schwert in die öbern hu°t	[106v.4] Das Ist der text wie man die versetzen sol Mitt Seinem Slaendenn ortt \| schützt Er sich trifft on forcht mit beyden hendenn denn ortt \| zw den augen ler wenden Glosa Merck der knopf der Slagend ortt will er dich damit vberlawffenn mit Starckenn slegenn So halt dein Schwert vber dein linkes knie vnd stee In der hutt Slecht er dir dann zw dem hawbt vnd Ist ein Starck man So streich Im den Slag ab mit dem schwert von deyner linken hand gegen seyner Rechten Seyten vnd far auff am Schwert In die aber hutt	[101r.5] Das ist der Text wie mann die schleg Versetzenn sol. [101v.1] Mit seinem schlagendenn ort, schutzt er sich trif one forcht, mit baiden henden, denn ort tzu den augen lere wendenn. Glosa. Merck der knopf der schlagendt ort, will er dich damit vberlauffenn mit starcken schlegen, so halt dein schwert vber dein linckes knie, vnd stee in der hut, schlecht er dir denn tzu dem haupt, vnd ist ein starck mann, so streich im den schlag ab, mit dem schwert vonn deiner linckenn handt, gegenn seiner Rechtenn seittenn, vnnd far auff am schwert in die oberhut.
[64] If he is as weak as you, then step into him, catch the strike on your sword between your hands and set your point at his face.	[64]	[106r.2] Oder ist er schweche~ dann du bist So tritt im frischlich ein vñ fach den schlach zwische~ baÿden henden in din schwert vñ secz im den ort Inn daß gesicht ~~ ~~	[106v.5] oder Ist er Schwecher denn dw so tritt Im kunlich Ein vnd vach den Schlag zwischen beyden henden In dem Schwertt vnd setz Im den ort In das gesicht	[101v.2] Oder ist er schwecher dann du, so trit im künlich ein, vnd fahe denn schlag tzwischenn baiden henden in dein schwertt vnd setz im den ort in das gesicht.
[65] When you catch the pommel strike in the middle of your sword under the hilt, then tear over with your pommel to your right side, then you'll take his sword.^[341]	[65]	[106r.3] It~ wenn du den schlag mitt dem knopff fächst mitten in din schwert so far mitt dem knopff über sin schwert vorne~ bÿ dem gehülcz vñ ruck domit übersich vff din rechte sÿtten So nÿmst du Im im im sin schwert ~ ~	[106v.6] Item wenn dw denn schlag mit dem knoppff vechst mitten In dem Swertt so var mit dem knopff vber sein Swertt [107r.1] vorn bey dem gehultze vnd Rucke damit vnter sich auff dein Rechte Seytenn So Nimstu Im sein Swertt	[101v.3] Item wenn du denn schlag mit dem knopf fechst mittenn in dem schwert, so far mit dem knopf vber sein schwert vornn bey dem gehiltz, vnnd ruck damit vntersich auf dein Rechte seittenn, So nimbstu im sein schwert.
[66] If he strikes to your left knee, then catch the strike between your hands so that your pommel juts down and drive the pommel through under his sword and tear it up on your right side, so you tear the sword from his hands.	[66]	[106r.4] It~ schlecht er dir zu° dem [106v.1] kopff mit dem lincken knÿ So fach den schlag zwischen dine~ henden In daß schwert daß der knopff zu° der erde~ hang Vñ far mitt de~ knopff vnden durch sin schwert vorne~ bÿ dem gehülcz vñ ruck übersich vff din rechten sÿtten So ruck ruckst im sin schwert vsß den henden ~ ~	[107r.2] Item Slecht er dir mit dem knopff zw dem linken knye So vach den Schlag zwyschenn deynen hendenn In das Schwert das der knoppff zw der Erden hange vnd far mit dem knopff vnden durch sein Swertt vorn bey dem gehultze vnd Ruck vbersich auff dein Rechte seytten So Ruckstu Im sein Schwertt aus den henden	[102r.1] Item schlecht er dir mit dem knopf zu dem lincken knie so fahe denn schlag zwischenn… [100r.2] …deinenn hendenn in das schwert, da[s] der knopf tzu der erdenn hange, vnd far mit dem knopf vntenn durch sein schwert, vorn bey dem gehiltz vnnd ruck vbersich auf dein Rechte seittenn, So ruckstu im sein schwerdt aus denn hendenn.
[67] If he strikes underneath at your foot then strike down against his strike with your pommel. Then jump to him and wrestle.	[67]	[106v.2] Item oder schlecht er er dir mitt dem knopff / vñ nach dem fu°ß wirff din schwert mitt dem knopff zu° diner lincken sÿtten in die erden gegen sine~ schlag vñ spring do mitt zu° im Vnnd wart der [107r.1] ringen ~ ~~	[107r.3] Item oder Schlecht er dir mit dem knopff vnden nach dem fus So wirff dein Schwertt mit dem knopff zw deyner linkenn seytten Inn die Erden gegen seynem Schlag vnd Spring damit zw Ime wartt der ringen	[100r.3] Item oder schlecht er dir mit dem knopf, vnten nach dem fus, so wirf dein schwert mit dem knopff, tzu deiner linckenn seittenn, in die erdenn gegenn seinem schlag, vnd spring damit zu im, vnd wart der ringenn.
[68] When you hold your sword on your right side in the lower guard, and he strikes with the pommel to your point, and takes it out wide. Then straight way jump near to him, so that he strikes over beyond you - at the same time you cannot pass - and set the point on him.	[68]	[107r.2] Item wañ du häst din schwert neben dine~ rechten sÿtten In der vndern hu°t Schlecht er dir dañ mitt dem knopff nach dem ort vñ lausst in wÿt vmb dich lauffen So spring die wil künlich zu° im So schlecht er mitt dem knopff überdich daß ist dir nicht schädlich Vnd secz Im an ~~	[107r.4] Item wenn dw hast dein Schwertt neben deyner Rechten seitten In der vntern hutt schlecht er dir dann mit dem knopff nach dem ortt vnd lest Inn weitt vmb sich lawffen So springe dieweille kunlich zw Ime So Schlecht er mit dem knopff vber dich das ist dir nit schedlich vnd setz Im an	[100r.4] Item wen du hast dein schwert neben deiner Rechtenn seitten in der vntern hut, schlecht er dir dan mit dem knopf nach dem ort, vnd lest inn weit vmb sic[h] laufen, so spring dieweil künlich tzu im, so schlecht er mit dem knopf vber dich, das ist dir nit schedlich vnd setz im an.
[69] You will always use travelling after and setting in, whilst he draws out with the pommel.	[69]	[107r.3] Item och magst du Im nach raÿsen vñ an secze~ wo du wilt die wil er den knopff also wÿt lasst vmb sich lauffen ~ ~ ~	[107r.5] Item auch magstu Im nachreisen vnd an Setzen wo dw wilt dieweil er den knopff also weit lest vm sich lawffen	[100r.5] Item auch magstu im nachraißen vnd ansetzen, wo d[u] wilt, dieweil er den knopf also weit lest vmbsich lauffenn.
[70] Assault with the pommel When you strike with the pommel, then you should aim at all his extremities that he sets forward. When you would strike, then hold your sword in the guard over your head and do so, as if you where going to stab him in the face. Then release the sword with your right hand and grab the blade next to your left. Strike with the pommel to his forward foot or his forward hand, whilst he holds the sword on the blade. You will also strike from the right lower guard.	[70]	[107v] Der text von de~ schlege~ mitt dem knopff ~ Deß^ß fordern fu°ß / mitt schlegen du hietten müst Glosa Weñ du mitt dem knopff schlachen wilt So solt du do mitt gar eben remen siner vorgesäczten glider Vñ daß vernÿm also Wann du schlachen wilt So halt din schwert in der hu°t über din hau~pt vñ thu° alß du im in daß gesicht an wöllest seczen Vnnd lauß din schwert farn vß der rechten hannd / vñ kom do mitt de~ lincken zu° hilff mitte~ in die clingen vñ schlach in mitt dem knopff zu° dem [108r.1] fürgeseczten fu°ß oder zu° siner fürgeseczter hand do er daß schwert in der mitte da mitt helt Also magst du vß der vndere hu°t von der rechten sÿtten auch schlachen ~~ ~ ~	[107r.6] Das hiernach Ist der text von den Schlegen mit dem knopff Des fordern fus mit schlegen dw huetten must Glosa Merck das Ist wenn dw mit dem knopff Schlagen wild So Soltu da mit gar ebenn remenn seyner vorge satzten glieder vnd das vernim also wen dw Slagen wild [107v.1] do halt dein Schwert In der hutt vber dem haubt vnd thü als dw Im In das gesicht wollest ansetzen vnnd las dein Schwert vorn auß der Rechten hand vnnd kom domit der linken zw hilff mitten In die klingenn vnnd Schlag Ime mit dem knopff zw dem vorgesatzten fus oder zw seyner vorgesatzten hanndt do er das Schwert In der mitt mit helt also magstu auß der vndern hutt von der selben Rechten seyten auff Schlagen	[100v.1] Das hiernach ist der Text von den schlegen mit dem knopf Des fordern fus, mit schlegen du huten must. Glosa. Merck das ist, wenn du mit dem knopf schlagenn wilt, so solstu damit gar ebenn remen seiner vorgesatztenn glider, vnnd das vernim also, wenn du schlagenn wilt, so halt dein schwert in der hut vber dein haupt, vnnd thu als du im in das gesicht wollest ansetzenn, vnnd las dein schwert farn aus der Rechtenn hanndt, vnnd kum damit der linckenn tzu hilf mittenn in die clingen. vnnd schlag in mit dem knopf zu dem vorgesatzten fus, oder zu seiner vorgesatztenn handt, da er das schwert in der mitt mit helt, Also magstu aus der vnternn hut, von der Rechten seitten auch schlagen.
[71] Beware therefore if he strikes to your forward knee or forward hand and set him aside with the pieces described earlier so that he cannot hurt you.	[71]	[108r.2] Item du solt och gar eben fürsechen wann er dir mitt dem knopff zu° dine~ vorgesaczten knÿ oder zu° dine~ fürgesäczter hand schlecht Daß du im den schlag also versecztest mitt den vor geschribne~ brüche~ daß er dir nitt schaden müge etc	[107v.2] Item Aüch soltu dich gar ebenn fursehenn wen er dir mit dem knopff schlecht zw deynem vorgesatzten knye oder zw deyner vor gesatzten hand das dw In dem Schlag also versetzt mit den vor geschribenn Bruchenn das er dir nicht schaden mag…	[100v.2] Item auch soltu dich gar eben fürsehen, wen er dir mit dem knopf schlecht tzu deinem vorgesatzten knie, oder tzu deiner vorgesatztenn handt, das du im denn schlag also versetzt mit denn vorgeschriben pruchen, das er dir nicht schadenn mug.

Illustrations

Draft Translation (Glasgow only) (2020)
by Stephen Cheney

Dresden Version (1504-19) [edit]
Transcribed by Dierk Hagedorn

Glasgow Version (1508) [edit]
Transcribed by Dierk Hagedorn

[1] 1. Hunt from your chest to his right hand

[74r.1] 1 Jag von deiner prust zw seiner rechten handt

[2] 2. Turn around with the horse / pull his right hand with your left

[74r.2] 2 Vmb ker mit dem roß / zeuch sein rechte handt mit deiner lincken

[3] 3. With brushing,^[342] takes saddle rim / or weapon

[74r.3] 3 Mit Straÿffen satel riem / oder wer nymbt

[4] 4. Plant high, swing, go through, or break sword

[74r.4] 4 Setz an hoch / schwing / durchfar / oder schwert prich

[5] 5. The compelling, goes before all hits, hewing, stabbing

[74r.5] 5 Das schutten / vor geng allen treffen / hawen stechen

[6] 6. Grip at the strong with both hands

[74r.6] 6 Greyff an mit paiden henden die sterck

[7] 7. Here one begins to search for the tasset hew

[74r.7] 7 Hie heb an den man taschen haw zw suechen

[8] 8. Turn the right hand to him, set your point to his face

[74r.8] 8 Went im die recht handt setz dein ortt zw seinem gesicht

[9] 9. Defend against the stab, turn to it, catch his right hand in the left

[74r.9] 9 Wer den stich went dem vach sein rechte handt in dem glincke /

[10] 10. Press firmly, shove from the reins and search for his knife

[74r.10] 10 Drück vast stoß vom zaüm vnd suech sein messer

[11] 11. Search for the opening, arms, leather, glove, under the eyes

[74r.11] 11 Suech die plos arm~ leder handt schuech vndter den augen

[12] 12. With empty hand, learn to sweep against all weapons

[74r.12] 12 Mit lerer handt lern straich gegen aller were /

[13] 13. The sheep hold defends against all holds, wrestle under eyes^[343]

[74v.1] 13 Der Schaffgriff werdt alle griff ringes vndter auge~

[14] 14. At the length, turn around, so the horse hurries back

[74v.2] 14 An der weidt ker vmb / so die roß hyn hurttñ /

[15] 15. In the near, catch the hand, invert his face, there is the nape

[74v.3] 15 In der nech fach die handt verker sein antlutz do der nacke ist

[16] 16. Catch the weapon, in the length, when riding against

[74v.4] 16 Die weer fach in der weitt in dem wider reÿttñ

[17] 17. Hunt to the right hand, with your^[344] art

[74v.5] 17 Jag zw der rechtñ handt / mit irñ kunstñ

[18] 18. If you hunt left, fall upon the sword’s pommel, bash under eyes

[74v.6] 18 Jagstu linck fall aüfs schwertz knopf stos vndter augen

[19] 19. Plant the point against the face

[74v.7] 19 Setz an den ortt gegen dem gesicht

[20] 20. Compel against all hits, which always will be

[74v.8] 20 Schutt gegen allen treffen die ym~er werdñ

[21] 21. The strength in the wielding, correctly arrange yourself in it

[74v.9] 21 Die stercke in dem an hebñ daryn dich recht schick /

[22] 22. This is now the spear, run it to the other encounters under eyes

[74v.10] 22 Das ist nun der sper lauff der dem anderñ begegnet vndter augen /

[23] 23. The unnamed hold takes weapon or fells him

[74v.11] 23 Der vngenant griff weer ny~t oder felt in

[24] 24. If one hunts you from both sides, turn around left, so he comes right

[74v.12] 24 Ob man dich jagt von paidñ seÿttñ ker vmb linck so er recht kumbt

[25] 25. Take the knife, and think about holding

[75r.1] 25 Der messer nemen vnd behalden gedenck

[26] 26. Grip over whoever attacks you, or do to him when riding against

[75r.2] 26 Vber greÿff wer dich an felt oder thue im wider reÿttens /

[27]

Here begins Master Johannes Liechtenauer’s mounted fencing, which he has allowed to be written with obscure and disguised words, which is interpreted and glossed here in this book, so that any fencer may well hear it, if he can otherwise fence.

[109r.1] Hie hept sich an die ritte~lich kunst das fechten zuo roß ~

·Hie hept sich an maiste~ Johannsen Liechtennawers fechten zu° roß Das er hat lassen schriben mitt verborgen vnd verdöcten worte~ Vnnd stät her nach glosiert vnnd vßgelegt daß es ain ÿettliche~ fechte~ wol verneme~ mag der anderst fechten kan ode~ waisst ~ ~ ~

[75r.3] Hye hebt sich an Maister Johannes Liechtenawers Roß vechten / das er hat lassen schreibeñ mit verporgen wortñ vnd verdackten das stett alhÿe in diesem puech also auß gelegt vnd glosiert das es ein yegklicher vechter wol vernemen mag der anderst vechten kan /

[28] This is the text

1	Direct your spear Against riding, make useless

Gloss: Note, this is when you have a lance, and another also has one, and wants to ride together with you, you shall therefore know to arrange yourself with your lance so that, with it, you divert^[345] his and hit him with the stab, and he does not hit you, and you shall know to drive the plays with the lance from two guards, which will be named to you hereafter.

[109r.2] Din sper berichte /
gege~ rÿtten macht zu° nichte ·:

Glosa Daß ist Wann du hast ain glefen [109v.1] vñ ain anderer och aine vnd mitt dir zu° samen will tretten rÿttenn So solt du dich mitt dine~ glefen also wissen zu° schicken faß daß du im die sine~ ablaÿtest vñ treffest mitt dem stich vnnd er dich nitt nicht Vnd die stucke solt du wissen zu° trÿben mitt dem sper Vß zwaÿen hu°ten die dir her nach genennt werd etc

[75r.4] Das ist der text

Dein sper bericht
gegen reytten mach zu nicht /

Glossa Merck das ist wen dw hast ein gläffen / vnd ain ander auch aine / vnd mit dir zw samen wil reyttñ / so soltu dich mit deiner gleffen also wissen zw schicken / das dw im da mit die sein ableyttest vnd in trefst / mit dem stich / vnd er dich nit / vnd die stuck soltu wissen zw treibñ mit der gleffen auß zwein huettñ / die dir hernach genant werdñ /

[29] The 21st figure speaks about this: The strength in the wielding, etc.

[75r.5] darumb spricht die xxj figur / die sterck in dem an hebñ etc

[30] This is the text about the play from the first guard

2	If it recommends Your end to him, unbuckle

Gloss: Note, this is the play from the first guard: When you ride together with him, hold your lance under the arm to the stab, and when it comes to the meeting,^[346] do as if it is too heavy for you, and let it sink with the point low forward against your left side. If he then rides upon you with a stab, raise up your lance upwards with strength at his, so you hit him, and he does not hit you, because his lance goes away next to the side.

[109v.2] Der text von den stucken vß der ersten hu°tt ~

Ob es enpfalle /
dem ende Im abschnalle

Daß ist weñ du mitt zu° samen rÿttest So halt din glefen vnder dine~ arm zu° dem stich vñ wenn es kumpt zu° dem treffen So thu° alß sÿ dir [110r.1] ze schwer sÿ vñ lauß sÿ mitt dem ort vorne~ nider sincken vff din lincke sÿtten Rÿtt er dann vff dich mitt aine~ stich so heb din glefen übersich mitt störck an die sinen So triffst du in mitt vnnd er dich nitt Wann sin glefe get neben dir besÿcz ab / etc

[75v.1] Das ist der text von dem Stuck auß der erstñ huet

Ob es empfall /
dein endt im ob schnall/

Glosa Merck das ist das stuck auß der erstñ huet / wen du mit Im zu samen reyttest / so halt dein gleffen vndter dem arm zw dem stich / vnd wen es kumbt zw dem treffñ so thue als sÿ dir zw schwer seÿ / vnd laß sy mit dem ort vorñ nÿder sincken gegen deiner lincken seyttñ / Reytt er dan auff dich mit einem stich / so heb dein gleffen vber sich mit sterck auff an die sein / so trifstu in / vnd er dich nit / wen sein gleffñ get nebñ die seytt ab /

[31] The first figure speaks about this: Hunt from the chest, etc.

[75v.2] dar vmb sprich die erst figur / Jag von der prust etc

[32] This is the play from the second guard

Note, when you ride together with him, hold your lance with both hands in the middle in front of you athwart on the saddle bow. If he then rides upon you with a stab, then strike his lance away with the front part of your lance onto your right side from you, and wind your lance with it under your right arm, so you hit him and he does not hit you.

[110r.2] Ain stuck vß de~ andere~ hu°tt

Item wann du mitt zu° samen rÿttest So halt din glefen mitt baÿden henden in der mitten Rÿtt er dañ vff dich mitt ainem stich So schlach mitt dem ford vordem tail dine~ gleffen die sine vff din rechte sÿtten von dir/abe vnd wind din glefen [110v.1] do mitt/vnnder dinen rechten arm So triffest du in vñ er dich nitt ~ ~~

[75v.3] Das ist das stuck auß der andern huett

Merck / Wen du mit im zw sammen reyttest / so halt dein gleffen mit baidñ henden in der mitt fur dich twergs auff dem satelpogñ / reytt er dan auff dich mit einem stich / so schlag mit dem vorder tail deiner gleffen die sein / auff dein rechte seyttñ von dir ab vnd windt dein gleffen da mit vndter dein rechtñ arm~ / so trifstu in vnd er dich nit /

[33] The 17th figure speaks about this: Hunt to the, etc.

[75v.4] daru~b vmb spricht die xvij figur / Jag zw d° etc

[34] This is the text

3	Hew in, don’t draw From scabbard jolt to him left
4	Grip to his right So you catch him without fencing

Gloss: This is if both fail with the lance while riding, let yours fall from your hand, and draw neither sword nor knife, and ride to him, and turn yourself with your left side to his right, and drive the wrestles described hereafter:

[75v.5] Das ist der text

Haw drein nicht zuck /
von schaiden linck zw im ruck /
Greyff in sein rechten /
so fechst du in ane fechten /

Glosa / Das ist ob in in dem an reÿttñ bede verfelt mit der gleffen so laß zw hant die dein fallñ / vnd zeüch weder swert noch messer [76r.1] vnd reit an in vnd wendt dich mit deiner lincken seyttñ an sein rechte vnd treib die hernach geschribñ ringeñ

[35] Item: When you come with the left side at his right, if he then grips at you with the right hand forward and wants to wrestle, grip his right arm forward by the hand with your right, and drive the unnamed hold, or the secret.

[76r.2] Item Wen du kumbst mit der linckñ seÿttñ an sein rechte greifft er dich den mit der rechtñ handt vorñ an / vnd wil ringen / So begreiff mit der rechtñ seinen rechtñ arm~ vorn peÿ der handt / vnd treib den vngenantñ grieff / oder den verporgñ

[36] Item: Or, if he has drawn his sword and rises with it and wants to strike, grip his right elbow with the left hand, and shove him from you with it, and raise his right foot with your left foot, so he falls. Or, when you have gripped his right elbow with the left hand, grip his sword pommel with the right, and jolt to you with it, so you take his sword.

[76r.3] Item / oder hat er sein schwert gezogñ vnd fert damit auff / vnd wil schlagñ / so begreyff mit der linckñ handt sein rechten Elpogen vnd stos in damit von dir / vnd mit dem linckñ fueß erheb seinen rechtñ so felt er / oder wen du Im mit der lincken handt seinen rechtñ elpogñ begriffñ hast / so begreiff mit der rechtñ sein schwert knopf vnd ruck da mit zu dir so nÿmbstu Im das swert

[37] Here note another

This is if you may not come to his right side with the left side, hold yourself with the right at his right. If he then grips to you with wrestling, drive the sheep hold,^[347] or the sun showing.

[76r.4] Hye merck ein anders /

das ist / ob du mit der linckñ seyttñ nicht magst kumen an sein rechte / so halt dich mit der rechtñ an sein rechte greyfft er dich dan an / mit ringen / so treib den schaff grieff / oder das sunen zaichen

[38] Item: When you come with your right side at his right, if he then has drawn his sword and rises with it and wants to strike, then move with your right arm down from above outwards over his right, and press the arm to the right side, and ride forward, so you take his sword, or rise with the right arm from inwards over his right, and press the arm forward to your chest, and ride forward, so you again take his sword.

[76r.5] Item / Wenn du kümbst mit deiner rechtñ seÿttñ an sein rechte / hat er den sein schwert gezogñ vnd fert da mit auff / vnd wil schlagñ / so far mit deinem rechtñ arm~ / von oben nÿder auswendig vber sein rechtñ / vnd drück den|arm in dein rechte seÿttñ / vnd reyt fur dich / so ny~bst du im schwert / Oder far mit dem rechtñ arm von inwendig auff vber seinen rechtñ / vnd drück den arm~ vorn an dein prust / vnd reyt fur dich / so nÿmbstu im aber sein schwert /

[39] The 12th figure speaks about this: With empty hand…

[76r.6] Daru~b sprich die xij figur / mit lerrer hant

[40] Item: Grip his right hand with your left and jolt it in front of your chest, and turn your horse from him, so he falls.

[76v.1] Item / Begreiff sein rechte handt mit deiner lincken vnd ruck sÿ fur dein prust / vnd wen dein Roß von im so felt er /

[41] Item: Or, grip his right elbow with the right hand, and raise his right foot with your right foot, so he must fall.

[76v.2] Item / Oder begreÿff mit der rechtñ handt / sein rechtñ Elpogñ vnd mit dem rechtñ fueß erheb im sein rechtñ fueß / so mueß erfallen /

[42] The second figure speaks about this: Turn around with the horse, etc.

[76v.3] Darub spricht die Ander figür / vmb ker mit dem roß etc

[43] This is the text

5	The lance stabbing, fencing Learn to break moderately without hurry

Gloss: When someone rides upon you with a lance, you shall quite moderately^[348] ride against him, and with hurrying with the horse, so you may make all of his ridings upon you worthless with the previously written plays. Or, when you hurry or run, you can’t come to the art or to the play, and are similarly insecure on the horse.

[76v.4] Das ist der text

Das gleffen Stechen vechten /
sÿtigkleich an hurt lere prechen

Glosa / Wen ainer auff dich reitt / mit einer gleffen / so soltu gar sytigklich gegen im reyttñ / vnd nit hurrttñ mit dem Roß so magstu mit den vorgeschribñ stucken Im alle seins an reÿttñ wol zu nicht machen / Oder wend du hurts od° renst / so kanstu zu der kunst od° zu den stucken nit kumen / vnd pist selber vnsicher auff dem roß /

[44] The 22nd figure speaks about this: This is now the spear, run, etc.

[76v.5] daru~b spricht die xxij figure / das ist nu~ der sper lauff / etc

[45] This is the text about the tasset^[349] hew

6	If it converts itself So that sword will be dealt against sword
7	Correctly grasp the strong You search and note the tasset hew

Gloss: This is if you both have come from the lance, and shall fence with swords, lay your sword on^[350] the left arm in the guard, and ride directly to him under eyes to his right side. If he then hews an over hew upon you, rise with the sword and parry the hew strongly with the long edge, and stab him to the face. If he parries the stab and rises high, hew with the long edge to the left hand, or to the reins,^[351] and if the horse tricks you,^[352] then hew him to the right leg in the running away.

[76v.6] Das ist der text von dem Taschn haw

Ob es sich verwandlt
das Schwert gegen schwert wirt gehandlt /
Recht fast dye sterck /
Taschn haw du suech vnd merck /

Glosa / Das ist ob ir pede von der gleffen kumen seyt / vnd solt fechtñ mit schwertñ / So leg dein schwert auß den lenckñ arm~ in die huet vnd reÿt Im gerad vndter augen zu seiner rechtñ seÿttñ hawt er dan auff dich ein oberñ haw / so far auff mit dem swert / vnd versetz den haw starck mit der langñ schneid / vnd stich im zw dem gesicht / versetzt er den stich vnd fert hoch auff / so haw im mit der langñ schneid / nach der lincken handt / oder nach dem zwi zawm / vnd ob dich das roß vertrueg so haw im nach dem rechtñ pain in dem hin rennen /

[46] The 7th figure speaks about this: Here begins, etc.

[76v.7] daru~b spricht dye vij figur / Hie Heb an etc

[47] This is the text

8	Learn to compel^[353] well strong All hits without danger, distress him with it
9	Plant without danger Whoever brushes, hang to his hair

Gloss: Note, that is, that you always shall bind on artfully with the sword, be it with hews or with stabs, and don’t withdraw yourself from the sword, and force him with the point to the plays written hereafter.

[77r.1] Das ist der text

Ler wol starck schüttñ
allen treffen an far domit nott in
Setz an angefar /
wer strayfft henng Im zu dem har

Glosa Merck das ist / Das du albeg künlich mit dem schwert solt anpinden / Es sey mit haweñ oder^mitstechen / vnd dich von dem schwert nit abziechñ / vnd in zwingñ mit dem ort zu den hernach geschribñ stuckñ /

[48] The 20th figure speaks about this: Compel against, etc.

[77r.2] Daru~b spricht die xx figur / schut gegñ etc

[49] Item: Assess if you may plant to him with the sword. If he parries onto his left side and rides to you, rise with the pommel from below, through his sword, around his neck, and come with the left to the pommel to help, and jolt him to you onto the side.

[77r.3] Item wart ob du im mit dem schwert magst an setzñ / versetzt er auff sein lincke seÿttñ / vnd reytt an dich / so far mit dem knopf von vndten auff / durch sein schwert im vmb den hals / vnd kumb mit der linckñ dem knopf zu hilff / vnd ruck in zu dir auff die seÿttñ

[50] The 6th figure speaks about this: Grip at with both hands, etc.

[77r.4] Daru~b spricht die vj figur / Greyff an mit paidñ hendtñ etc

[51] Item: When he parries your hew, move with your crossguard^[354] under [his] jawbone, and grip him with the left hand by the helmet, and pull to yourself with it, and shove^[355] from you with the crossguard, so he falls.

[77r.5] Item Wen er dir den^hawversetzt / so far im mit dein gehultz vndter kunpackñ vnd mit der linckñ handt begreiff in hindtñ pey dem Eÿsnhuet / vnd zeuch damit zu dir / vnd mit dem gehultz stoß von dir so felt er

[52] Item: If he parries your hew or stab, and hurries to you, grip his right hand with the left, and with the right, set your point into his face.

[77r.6] Item Versetzt er dir ein haw oder stich / vnd hürt an dich / so begreyff sein rechte hant mit der linckñ / vnd mit der rechtñ setz im dein ort in das gesicht /

[53] The 8th figure speaks about this: Turn the right hand to him, etc.

[77r.7] darub spricht die viij figur / Went im die recht hant etc

[54] Item: If he parries your over hew with the lateral,^[356] rise high with the right hand, and [hang]^[357] with the point over top of his sword to his face or chest, and plant to him.

[77r.8] Item Versetzt er dir ein oberhaw mit der twer / so far hoch auff mit der rechtñ handt / vndt mit dem ort vber sein schwert zu seinem geschsicht oder prust vnd setz im an /

[55] The 4th figure speaks about this: Plant high, swing, etc.

[77r.9] daru~b spricht die iiij figur / Setz an hoch schwing etc

[56] This is the text

10	If you want to touch Long hunting, that severely hurts
11	Whoever wards that So wind that, also hurts
12	If he will continue it Catch reins, and let the bit guard

Gloss: Hold your sword next to your right leg in the guard, and ride to him as such, and stab him to the face with long outstretched arm. If he parries the stab, rise with the right hand and wind at the sword, and remain with the point in front of his face.

[77r.10] Das ist der text

Wiltu geruet^[358]
lanck jagen das seer mutt
wer dir das wert
so windt das aug versert /
Wert ers furpaß /
fach [77v.1] zawm vnd wer piß laß /

Glossa Halt dein swert nebñ deinem rechtñ pain in der huet / vnd reyt also zu im / vnd stich im zu dem gesicht mit lanck auß gerechtñ arm~ Versetzt er den stich / so far auff mit der rechtñ handt / vnd wind am swert / vnd pleib im mit dem ort vor dem gesicht /

[57] The 4th speaks about this: Plant high, etc.

[77v.2] daru~b spricht die iiij Setz an hoch etc

[58] Item: If he then parries with the sword and hurries to you, rise with your hand inwards over his right arm, and grip your reins with left inverted hand under his arm, therefore you engulf^[359] his hand with the reins.

[77v.3] Item versetzt er den mit dem swert / vnd hurt an dich so far mit deiner handt inwenidig auff uber sein rechtñ arm~ / vnd begreyff deine~ zawm mit lincker v~kertter handt / vndter seinem arm~ / also verschlingst du Im dy handt mit dem zawm /

[59] The 10th figure speaks: Press firm, etc.

[77v.4] die x figur spricht / druck vast etc

[60] Here note the set-asides with the sword on horseback

Note, when you ride to the man, and have your sword in a guard, note to which side he hews to you. If he hews to you from above to your left side, wind also onto your left side against his hew. Or, if he hews to you to your right side, wind also onto your right, so that your thumb always comes under, and with the parry, always set the point into his face, and drive this out against the lance also as such.

[77v.5] Hye merck die absetzen mit dem swert zw roß

Merck / wen du reyttest an den man / vnd hast dein swert in einer huett / So merck zu welicher seyttñ er dir zw hawt / Hawt er dir von obñ zw deiner linckñ seyttñ so windt auch auff dein lincke seÿttñ gegen seine~ haw / Oder hawt er dir zw deiner rechtñ seyttñ / so wint auch auff dein rechte / das dein dawm albeg vndten kumb / vnd mit der versatzu~g setz im deñ ort albeg in das ge / gesicht / vnd das treib gegñ der gleffñ auß auch also /

[61] The 19th figure speaks about this: Plant the point, etc.

[77v.6] darvmb spricht die xix figur / Setz an den ort etc

[62] Item: When he parries your hew,^[360] if he then remains by you as such, move with the pommel outside over top of his right hand, and shove the hand in front of you with the crossguard to your saddle bow, and with your left, grip his sword’s pommel, and ride forward, so you take his sword.

[77v.7] Item Wen er dir ain hawt versetzt / pleibt er dan also pey dir / so far mit knopf aussen vber sein rechte hant / vnd stoß die handt mit dem gehultz fur dich zu deinem satelpogñ / vnd mit deiner linckñ begreyff seinen swertzknopf vnd reyt fur dich so nÿmbstu Im das swert /

[63] This is the text

13	Think about the opening Search for knife, don’t ward pommel

Gloss: This is when you shall fence with someone in armor, you shall, before all cases, know to which side you may best defeat him.

[78r.1] Das ist der text

Bedenck dye plos /
suech messer nicht wart kloß

Glosa / das ist / Wen du mit ainem vechtñ solt in harnasch / so soltu vor allen sachñ wissen an welchen stettñ du in am besten gewiñen magst

[64] Item: That is, under the face, or under the armpit, or outwards on the hand in the glove, or inwards into the hand of the palm, and in all joints of the armor at arms and at legs, and search for all the openings with stabs, and not with strikes. And if you may not quite work with the sword, when you come too near to him, work with the dagger, and if you may not come to your dagger, then assess if you may take his, and work with it to the opening.

[78r.2] Item / das ist vndter dem gesicht / od° vndter den vchsñ / oder ausswendig auff der handt in den hantschuechen / oder inwendig in dye hendt / des taners / vnd in allen gelencken des harnasch an armen vnd an paynen / vnd dye ploß suech alle mit Stechñ / vnd nit mit schlagñ / Vnd ob du mit dem swert / wen du zu nahent an in kunpst nicht gera arbayttñ magst / so arbait mit dem tegen / vnd ob dw zu deinem degen nicht kumeñ magst / so wart ob dw im den seinen genemen magst / vnd arbait domit zu der ploß /

[65] The 11th figure speaks: Search for the opening, arm, leather, etc.

[78r.3] Spricht die xj figure / Such die ploß arm~ leder etc

[66] This is the text

14	Learn two sweeps With empty hand against the weapons

Gloss: That is, that you, before all cases, shall know and learn to take, how you shall work with free hand on horseback, and most importantly^[361] with the wrestling. Therefore, you shall address the reins as such, so that you may shift from one hand to the other, and therefore search for your advantage with it, and that is the greatest art on horseback.

[78r.4] Das ist der text

Zwen strich lere /
mit lerer handt gegen der were /

Glosa das ist / das du vor allen sachen wissen solt / vnd ler nemen / wie dw mit ledigen hendtñ solst arbayttñ zw Roß / Vnd zu vor auß mit den ringen / daru~b solt dw den zawm also an richtñ das dw in magst gewechsln / von ainer handt in dye ander / vnd also dein vortail damit suechñ / vnd das ist die grost kunst zu roß /

[67] The 12th figure speaks about this: With empty hand, learn, etc.

[78r.5] darumb spricht die xij figur / Mit lerer handt lere / etc

[68] This is the text about the sheep hold

15	The sheep hold teaches Whoever turns themselves wrestling to you
16	As under eyes Grip him correctly with striking

Gloss: This is the best wrestling of one on horseback, drive it as follows: When you want to wrestle, ride equally to the man under eyes to his right side, and engage him with wrestling. If he then attacks^[362] against you, grip his right arm forward by the hand with your left inverted hand, and jolt it under your chest, and move over it with your right arm, and grip the saddle bow with it, and ride forward, so he must fall.

[78r.6] Das ist der text von dem Schaff griff

Der schaff griff lert
wer sich ringes zu dir kertt
Als vndter augen /
greyff in recht mit schlaugen /

[78v.1] Glosa / das ist der pestn ringen ains zu roß / das treirb [!] also / Wen dw ringñ wilt / reyt dem man gleich vndteraügen zw seiner rechtñ seÿttñ / vnd greyff yn an mit ringen / velt er dich dan wider an / so begreiff im sein rechtñ arm~ vorn peÿ der handt mit deiner lincken verkerttñ handt / vnd ruck den vndter dein prust / vnd far mit deine~ rechtñ arm~ dar vber vnd pegreyff damit den satl pogñ / vnd reÿt fur dich so muß erfallñ /

[69] The 13th figure speaks about this: The sheep hold wards…

[78v.2] Daru~b sprich dye xiij figure / der schaff griff wert

[70] This is the text about wrestling

17	Whoever attacks you Against riding, he will be joined
18	Hanging to the earth Over grip him correctly with conduct

Gloss: That is, when you ride together with someone, if he then comes with his right side to yours, and falls with the right arm forward into your neck, move also around his as such, and move with the left hand behind around him, and come with it to your right to help, and jolt him to you onto the side, or strike your right arm above over his right, and throw him with the sheep hold.

[78v.3] Das ist der text von ringen

Wer dich anfellet /
wider reÿttens der wirt gesellet /
hanngen[?] zw der Erdñ
vber greyff In recht mit geparñ

Glosa Das ist / Wen du mit ainem zu samen reyttest / kumbt er dan mit seiner rechtñ seyttñ / an|die dein / vnd felt dir mit dem rechtñ arm~ vorn In den halß / so far Im auch also vmb dein sein vnd far mit der lincken handt hindtñ vmb in / vnd kumb da mit deiner rechtñ zu hilff / vnd ruck in zw dir auff dye seÿttñ / Oder schlag den rechtñ arm~ oben vber sein rechtñ vnd wirff in mit dem schaffgriff

[71] Another^[363]

Item: When you ride together with someone, if he then comes with his left side to your right, and if he falls with the left hand behind around your neck, rise with the right arm behind you strong over his left, and come with the left hand to the right hand to help, and press his left arm to him tight behind into your nape. If he then swerves with the arm, grip his left hand with the left, and drive the unnamed hold, or the forbidden hold.

[78v.4] Aliud

Item / Wen du mit ainem zu samen reytest / kumb er dan mit seiner lincken seÿttñ / an dein rechte / vnd felt er dir mit der lincken hant hyndten vmb den hals / so far mit dem rechtñ arm~ hindter dich starck auff / vber sein lincken vnd kumb mit der linckñ der rechtñ hant zu hilff / vnd druck im sein lincken arm~ vast hindtn in deinen nacken Weicht er dan ab mit dem arm~ / so begreyff mit der lincken handt sein lincke / vnd treib den vngenanttñ griff / oder den verporgen grieff /

[72] Item: Or, if he grips behind around with the left hand and wants to wrestle, strike with the right arm outwards strong down from above into the joint of his left arm, and ride forward.

[78v.5] Item / Oder greÿfft er hindten vmb dich mit der linckñ [79r.1] handt vnd wil ringñ / so schlag mit dem rechtñ arm~ auswendig starck von oben nÿder / in das gelenck seins lincken arms / vnd reytt fur dich /

[73] The 26th figure: Over grip, etc.

[79r.2] Dÿ xxvj figur vber greyff etc

[74] This is the text about a lesson

19	To both sides You learn all ridings against him

Gloss: That is, to whichever side you come to the man, you shall hold yourself near to him, and drive the art as follows: If you come upon him with your right side, drive the previous plays, which pertain to the right side. Or, if you come upon him with the left side, drive also what pertains to the left side, so he may not come to his plays.

[79r.3] Das ist der text von ainer lerr

Zu payden seyttñ /
du in an ker^lere alle wider reÿttñ

Glosa / das ist / zw welcher seÿttñ dw zw dem man kumbst / so soltu dich nachent zu Im haltñ / vnd treyb dye kunst also / kumbst du mit deiner rechtñ seÿttñ an in / so treib die stück behendtlich die zu der rechtñ seyttñ gehorñ / Oder kumbst du mit der linckñ seyttñ an in / so treib auch waß zu der linckñ seÿttñ ghort / so mag er zu seine~ stuckñ nit komen /

[75] This is the text to the left side

20	If you want to ride Horse runs to the other side
21	Compel the strong Plant with it, distress
22	In weapon which is valuable to you Wide sword, catch, carry, near the hand hate

Gloss: That is, if you want to ride to someone to his left side, you shall also bind on strong with the sword, be it with hewing or with stabbing, and always aim for the openings with the point, as you have done to the right side. With it, you force him to the plays which pertain to the left side, because there are several plays which one drives to the left side, which one cannot drive to the right.

[79r.4] Das ist der text zw der linckñ seÿttñ

Ob du wild reÿttn /
roß lauffens zu der andern seyttñ
dye sterck schut
an setz damit / Not
in wer wertt dir das /
weyt swert fach trag nachent der handt haß /

Glossa / das ist / ob du ainem zu seiner linckñ seyttñ wilst zu reÿttñ / so solstu im auch starck an pinden mit dem swert / es sey mit hawen oder mit stechñ / vnd albeg der plosñ remen mit dem ort / als du zu der rechtñ seyttñ hast gethon / da mit zwingstu in zü den stückñ die zu der linckñ seyttñ gehorn / Wen es seind ettlich stuck die man zu der lincken seyttñ treibt / die man zu der rechtñ nit getreibñ kan /

[76] The fifth figure speaks about this: The compelling, going before all, etc.

[79r.5] daru~b sprich die funfft figur / das schuttñ vor geng allñ etc

[77] Item: That is, when you ride to him to the left side, hew in an over hew strong. If he then also hews in strong and wants to plant to you, you shall parry him while he is far from you with the sword. Or, if he comes near to you, grip his right hand with your left.

[79r.6] Item das ist / wen du im zu der linckñ seyttñ zu reytst / so haw Im ein oberhaw starck ein / Hawt er dan auch starck ein vnd wil dir ansetzñ / so solt du im versetzñ / die weil er weit von dir ist mit dem swert / Oder ku~bt er nahent an dich so begreif sei~ rechte hant mit deine~ linckñ /

[78] The 16th figure speaks: Catch the weapon, etc.

[79r.7] Die xvj figur spricht / die weer fach etc

[79] This is the text about a lesson

23	Or turn around Rested, defended to hunting
24	With all arts He hunts, he sends as is good

Gloss: That is, if your horse carries you away in front of him, so that you can drive no play upon him, turn yourself to him to the side, there you may best drive the advantage.

[79v.1] Das ist der text von ainer ler

Oder vmker /
gerutt zu jagen gewertt /
Mit allen kunste
der jagt der schick nach gunste /

Glosa / das ist / ob dich dein roß fur In hin weck trug / das dw kain stuck auff In getreibñ kunest / So went dich zu im / zu der seÿttñ do du den vortail am pestñ getreibñ magst /

[80] The 14th figure speaks about this: In the length, turn around, etc.

[79v.2] Daru~b sprich die xiiij figur / In der weit ker vmb etc /

[81] This is the text

25	If you pass And go left against your will
26	Touch upon your sword And wrestle, strike, not firmly

Gloss: That is, if your horse tricks you, or how that happened, that you must ride to his left side against your will, lay your sword upon the left arm. If he then hews to the head, rise with the sword, and parry with the long edge. If you then come near to him with the parry, then move with the left arm over his right hand, and press it firmly as such into your left side, and bash him with the pommel under the face.

[79v.3] Das ist der text

Ob du vergagst
vnd an danck linck gagst /
sein schwert auff tast /
vnd ring stos nit vast /

Glosa das ist / Ob dich dein roß vertrueg / oder wie das geschach / das dw an danck an sein lincke seÿttñ must reÿttñ / So leg dein schwert auff den lincken arm~ / Hawt er dir dan zu dem kopf / so far auff mit dem swert / vnd versetz mit der langen schneid / Kumbst dw dan mit der versatzüng nache~t an in / so far mit dem lincken arm vber sein rechte handt vnd trück die also vast in dein lincke seÿttñ / vnd stos in mit dem knopf vndter das gesicht /

[82] The 18th figure speaks about this: If you hunt left, fall upon it, etc.

[79v.4] Daru~b sprich die xviij figur / Jagst du linck fall aufs etc

[83] Note

Or, when you press his right arm into his^[364] left side, and ride away next to him, you take his sword. You may also catch with the reins into the hand with the move-over if you want.

[79v.5] Nota

Oder wen du im sein rechtñ arm~ in sein lincke seyttñ drückst / vnd so reytt neben im hin wegk / so nymbst du im sein schwert / ~Auch magst du mit dem vberfarñ in die handt mit dem zawm fachen ob du wilt /

[84] Item: When you parry his over hew as is written before, hew in a free over hew above to the head.

[79v.6] Item wen du im den ober haw versetzt als vor geschribñ stett / so haw im einen freyen ober haw oben ein zu dem kopff /

[85] Item: When you have your sword on the left arm in the guard, if one then rides upon you with a lance to your left side, rise well with the pommel and let the blade hang to the left side, and set aside his lance with it as such, and hew to his head, or plant to him. Or, if he rides to you with the lance to your right side, sweep straight up with the sword to his lance, and wind into the over hanging, and plant to him.

[79v.7] Item / wen du dein schwert hast auff dem linckñ arm~ [80r.1] in der hut / reyt dan ainer auff dich mit ainer gleffñ zu deiner glincken seyttñ / so far wol auff mit dem knopf / vnd laß die klingñ hangñ zu deiner lincken seyttñ / vnd setz im die gleffñ also damit ab / vnd haw Im zu dem kopf / oder setz im an / Oder reytt er dir mit der gleffñ zu deiner rechtñ seÿttñ / so streich schlett auff mit dem swert an sein gleffen / vnd wint In das ober gehenng / vnd setz Im an /

[86] This is the text

27	Hunt one to the right Half turn around, ward fencing
28	Catching with arm So may no harm near you

Gloss: That is, if you become forced to flee, and you were armed,^[365] and have nothing but a sword, and then one plants with the lance behind to your right side, turn yourself out of the stab against him upon your left side, and turn yourself with the sword against his lance, and plant to him. Or, if he plants to you behind to your left side, turn yourself onto your right against him, and wind with the sword as before, and plant to him.

[80r.2] Das ist der text

Jagt man rechtens /
halb ker vmb wart vechtens /
Mit arm~ vachen /
so mag dir kain schad nachen /

Glosa das ist / ob du gedrungen wirst zu der flucht / vnd du warst gewappent / vnd hest nichtz denn ain swert / vnd setzt dir dan ainer mit der gleffñ hindten an dein rechte seyttñ / so wen dich auß dem stich gegen Im auff dein lincke seyt / vnd wendt dich mit dem swert gegen seiner gleffen / vnd setz im an / Oder setzt er dir hindtñ an dein lincke seÿt / so went dich auff dein rechte gegen im / vnd wind mit dem schwert als vor vnd setz im an /

[87] The 24th figure speaks about this: If one hunts you from both sides, etc.

[80r.3] Daru~b spricht die xxiiij figur / ob mã dich jagt von paid seyttñ etc

[88] Item: While you flee, you shall also know to nimbly turn yourself around in the saddle from one side to the other, and stab behind you, and set-aside sword and lance to both sides.

[80r.4] Item du solst auch in der flücht behennttigklich dich wissen vmb zu wenden in dem sat°l von ainer seÿttñ zu der anderñ / vnd hindter dich stechen / vnd absetzñ zu paidñ seÿttñ schwert vnd gleffen

[89] Note a nimbleness with the lance

When you are hunted,^[366] and have a lance, if someone hunts towards you, and also has one, hold your lance with the right hand on the right shoulder, and when you see that he is nearly behind at you, raise the lance over the head upon your left shoulder, and let your point remain behind you, and turn yourself against him upon your left side, and strike your lance with it under the arm, so you come equally with him under the eyes.

[80r.5] Merck ein behendigkait mit der gleffen

Wen du vor jagst vnd hast ein gleffen / jagt dir ainer [80v.1] nach / vnd hat auch aine / So halt dein gleffñ mit der rechtñ handt auff der rechtñ achsel / vnd wen du sichst das er schier hindtñ an dir ist / so heb die gleffñ vber das haubt / auff dein lincke s achsel / vnd laß dein ort hindter dir pleibñ / vnd wendt dich gegñ im auff dein lincke seÿttñ / vnd schlach damit dein gleffñ vndter den arm~ / so kumbst du im da mit geleich vnder die augen /

[90] This is the text

29	The knife taking Learn to hold without shame

Gloss: Here note, how [you] shall take his sword or his knife or the dagger: Ride to his right side, and search for the opening, however you may, with hew or with stab. If he parries and comes near to you, grab his right arm behind his right hand with your left inverted hand, and jolt it in front of you, and hold him firmly by it, and bend your left arm outwards at the handle of his sword, so he must drop his sword.^[367] And when you hold him by the arm as such, you may strike him with the sword, or throw him with the sheep hold.

[80v.2] Das ist der text

Der messer nemen /
behaltñ ler an schemen /

Glosa Hie merck / wie ainem sein swert nemen solt oder sein messer / oder den tegen / Reyt eim zu der rechten seÿttñ vnd suech die ploß wie du magst mit hawe~ oder mit stechen / versetzt er vnd kumbt nache~t an dich / so begreiff sein rechtñ arm~ hindter seiner rechtñ handt / mit deiner lincken verkerttñ hant / vnd rück den fur dich vnd halt in vest da peÿ / vnd peug deine~ lincken arm~ auß wendig an dem pundt seins swertz so muß er das swert fallñ lassñ / Vnd wen du in also peÿ dem arm~ haltest / so magstu In mit dem schwert schlagñ / oder mit dem schaff griff werffñ

[91] The 25th figure speaks about this: The knife taking, etc.

[80v.3] Daru~b sprich die xxv figur / der messer nemen etc

[92] This is about the unnamed hold

30	The unnamed Turn the strong, they stab
31	They strike Destroyed without any reach

Gloss: Note, this is the unnamed hold: When you come to him with the left side, if he then has drawn his weapon and wants to strike you, or grabs you with the right hand in front with wrestling, grab his right arm with your right hand in front by the hand, and jolt it under your chest, and lie yourself upon it with the body, and ride forward, so you break his arm.

[80v.4] Das ist der text von dem vngenattñ griff

Den vngenanttñ
den starcken verwendt Ir stechen /
Ir schlagen
verdirbt on alles recheñ

Glosa Merck das ist der vngenant grieff / Wen du mit dei~er [81r.1] lincken seÿttñ kumbst an in / hat er dan sein wer gezogen vnd wil dich schlagñ / oder greyfft dich mit der rechtñ handt vorñ an mit ringñ / so begreyff mit deiner rechten handt sein rechtñ arm~ vorn pey der hant / vnd ruck den vndter dein prust / vnd leg dich mit dem leib darauff / vnd reÿt fur dich so prichstu im den arm~

[93] Item: If you don’t want to break the arm, when you have jolted him in front of your chest, grab his right elbow with your left hand, and shove him from you with it, and grab his sword by the pommel with your right hand, and jolt to you with it, so you take his sword.

[81r.2] Item wildu im den arm~ nit prechñ / wen du in hast geruck fur dei~ prust / so greÿff mit deiner lincken hant an sein rechtñ Elpogen / vnd stoß in damit von dir vnd begreyff mit deiner rechtñ hant sein swert pey dem knopf vñ ruck da mit an dich so nymbst du im das schwert

[94] The 23rd figure speaks about this: The unnamed hold, etc.

[81r.3] Daru~b sprich die xxiij figur / der vngenant griff etc

[95] This is the text about the sun showing

32	If you want to grapple You shall not allow riding next to you
33	The sun showing If you want to bend the left arm
34	The front head touches Against after press very firmly
35	So that he sinks himself And rarely lengthens again on

Gloss: Note, this is the best wrestling of one on horseback. When you ride together with him, if you then come with your right side to his right, hold yourself near to him, and grip behind around him with your left hand, and grab him with it by his left arm, and pull it tight around to you, and with your right hand, grip him below at his jawbone, and shove it firmly at you, upwards up, against his left side, so you turn his face against the sun. With it, you win his momentum, so that he may not hold himself.

[81r.4] Das ist der text von dem suñen zeichen

Wil du an fassen /
neben reittens nicht solt du lassñ /
das sunen zaigen /
^denlincken arm~ wil du naigen /
das vorhaubt tascht
gegen nach druck sere vast
das er sich sencket /
vnd selten wider auff lencket /

Glosa Merck / das ist der pestn ringen ains / zu roß / wen du mit im zu samen reÿtest / kumbst du den mit deiner rechtñ seÿttñ an sein rechte / so halt dich nachet zu im / vnd greyff mit deiner lincken hinden handt hinten vmb in / vnd pegreyff in do mit pey seine~ lincken arm~ / vnd zeuch in vast her vmb zu dir / vnd mit deiner rechtñ hant greyff im vndtñ an sein kindpackn vnd stos in vast an dir / vber sich auff / gegñ seine~ linckñ seÿttñ / [81v.1] so kerstu im sein antlutz gegen der sunen / da mit gewinst du im den schwunck an / das er sich nit mag gehaltñ /

[96] Item: Or, if you come with the left side to his right, grab him as before, and throw him behind you onto your left side, and that wrestle is called the sun showing.

[81v.2] Item oder kumbstu mit der linckn seyttñ an sein gerechte / so begreÿff in als vor vnd wirff in hindter dich auff dei~ lincke seÿttñ / vnd das ringñ haist das sune~ zaichen /

[97] The 15th figure speaks about this: In the after, catch the hand, etc.

[81v.3] Daru~b sprich dÿ xv figur In der nach fach die hant etc

[98]

36	Whoever aims that Grip over, then he will be shamed
37	Press arm to head The grip has often robbed saddle

Gloss: Here note, this is the break against the sun showing. If someone comes with his right side to your right and wants to throw you with the sun showing, note when he grabs you with the right hand at the jawbone, then strike the right arm over his right, and jolt it firmly to your chest, and lie yourself upon it with the body, and ride forwards, so you throw him, or throw him with the sheep hold.

[81v.4] Wer dir das remet /
vber greyff den der wirt beschemet
druck arm~ zu hawbt
der griff hat offt sat~l beraubt

Glosa hye merck / das ist der pruch wider das sunen zaichñ / kumbt ainer mit seiner rechtñ seyttñ an dein rechte / vnd wil dich werffñ mit dem suñen zaichñ / so merck / wen er dich greyfft mit der rechtñ handt an / an den kinpackñ / so schlag den rechtñ arm~ vber sein rechtñ / vnd ruck In vast an dein prüst / vnd leg dich mit dem leib darauff / vnd reyt fur dich / so wirfstu in / oder wirff in mit dem schaff griff /

[99] Item: If he comes with his left side to your right and grabs with his left hand behind around you towards your left arm, rise from below backward over his left arm and press him tight behind in the nape. If he then weasels away with the arm, grab his left hand with the left hand, and throw him with the unnamed hold.

[81v.5] Item / kumbt er mit seiner lincke seyttñ an dein rechte / vnd greyft mit seine~ lingken hant hindtñ vmb dich nach deine~ linckñ arm~ / so far von vndtñ auff hint~ [?] dich / vber sein linckñ arm~ / vnd truck im den vast hindtn in den nackñ / weicht er den ab mit dem arm~ so begreÿff mit der linckñ hant sein lincke / vnd wirff in mit dem vngenanttñ griff /

[100] The fourth figure speaks about this: Whoever wards the stab, catch to him, etc.

[81v.6] daru~b spricht die ix figur / Wer den stich wert dem vach etc

[101] Another text

38	Yet if you want to moderate^[368] yourself Of the catching, light letting go from you
39	Then lead wrestling Caught without laces^[369]

Gloss: Note, this is called the secret wrestle, if you want to make it common, and allow to be evidently seen, drive it as follows: Ride with your left side at his right. If he grips you in front with wrestling, with your right hand, grip his right arm in front by the hand, and jolt it forward, and with the left hand, grip his right elbow, and shove it upwards, and shove his right arm above over the left arm with the right hand, and raise his right arm upwards as such with the left arm. Therefore you have caught him and bound without any bind, and drive this to both sides.

[81v.7] Ein ander text

[82r.1] Wil du aber dich massen
des fachens liecht von dir lassñ
Ringens dan fure /
gefangen an schünre [!] /

Glosa / Merck / das haist das verporgñ ringñ / wil du das gemain machñ / vnd offenpard sechen lassñ / So treib es also / Reÿtt mit deiner linckñ seÿttñ an sein rechte / greyfft er dich vorn an mit ringñ / so begreÿff mit der rechtñ hant / sein rechten arm vorn pey der hant / vnd ruck den fur dich / vnd greyff mit der linckñ hant han sein rechtñ elpogn / vnd stos den vber sich / vnd mit der rechtñ hant stos sein rechtn arm~ obñ vber den linckñ arm~ / vnd heb also mit dem lincken arm~ seine~ rechtñ arm~ vber sich also hastu In gefangñ vnd gepundñ an alle pandt / vnd das treib zu paidñ seÿttñ /

[102]

40	Note the before-hold It continually breaks his strength

Gloss: That is, you shall always come before, sooner than he, with the grappling and wrestling which you have heard, and most importantly with the four chief wrestles,^[370] with which you let him come to no plays, that is the sheep hold, the unnamed hold, the sun showing, and the secret hold, and of the catches with the reins, you shall not forget with, and when you can do the wrestles well, no one may throw you hard from the horse without harm.

[82r.2] Der vorgriff merck /
die pricht furbaß me sein sterck

Glosa das ist / das albeg soltest vor kume~ ee den er / mit den greiffñ vnd ringñ die du wol vernume~ hast / vnd zu vor auß mit den vier haubt ringñ / do lest du in mit zu kaine~ stuck kume~ / das ist der schaffgriff / der vngenant griff / das sünen zaichñ / vnd der verporgñ griff / vnd des vachens mit dem zaim solstest du mit nicht vergessñ / vnd wen du dye ringñ wol kanst / so mag dich hart nymat an schadñ von dem roß gewerffñ

Explicit

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

Work	Author(s)	Source
Glasgow Illustrations	Unknown
Translation (Long Sword)	Christian Trosclair	Wiktenauer
Translation (Long Sword)	Keith Farrell	Academy of Historical Arts (AHA)
Translation (Long and Short Sword)	David Rawlings	Historical European Martial Arts Coalition (HEMAC)
Translation (Long and Short Sword)	Jörg Bellinghausen	Association for Renaissance Martial Arts (ARMA)
Translation (Mounted)	Stephen Cheney	Wiktenauer
Salzburg Transcription	Dierk Hagedorn	Index:Codex Speyer (MS M.I.29)
Dresden Transcription	Dierk Hagedorn	Index:Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)
Glasgow Transcription	Dierk Hagedorn	Index:Glasgow Fechtbuch (MS E.1939.65.341)
Vienna Transcription	Dierk Hagedorn	Index:Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)
Augsburg Transcription	Werner Ueberschär	Index:Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)
Rostock Transcription	Dierk Hagedorn	Index:Fechtbuch zu Ross und zu Fuss (MS Var.82)

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.

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.
Cheney, Stephen (2020). Ringeck • Danzig • Lew Longsword. Self-published. ISBN 979-8649845441.
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; Timothy Dawson. Leiden and Boston: Brill. ISBN 978-90-04-31241-8.
Hagedorn, Dierk (2021). Albrecht Dürer. Das Fechtbuch. Herne: VS-Books. ISBN 9783932077500.
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.
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; Kelly DeVries. Leiden: Brill. doi:10.1163/9789004306455_007.
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; Nikolaus Staubach. München: Fink.
Tobler, Christian Henry (2001). Secrets of German Medieval Swordsmanship. Union City, CA: Chivalry Bookshelf. ISBN 978-1-891448-07-2.
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; Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_008. ISBN 978-90-04-31241-8.
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.

References

↑ Jens P. Kleinau. "Schirrmeister, Schermeister, Schirmmeister". Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau], 2011. Retrieved 20 June 2015.
↑ The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1507 (ca. 1470), and MS KK5126 (1480s).
↑ For a different perspective, see 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.
↑ ^4.0 ^4.1 Werner J. Hoffmann. "Mscr.Dresd.C.487: Siegmund am Ringeck, Fechtlehre". Tiefenerschließung und Digitalisierung der deutschsprachigen mittelalterlichen Handschriften der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek (SLUB) Dresden. Retrieved 26 May 2015.
↑ Dresden fol. 31r.
↑ Dresden fol. 20r.
↑ Dresden fol. 27r.
↑ MS M.Ⅰ.29 is signed and internally dated on folio 158r.
↑ MS E.1939.65.341 is internally dated on folio 22r.
↑ Friedrich Dörnhöffer. Albrecht Dürers Fechtbuch. Vienna: F. Tempsky, 1910.
↑ The origin of Reichstadt Nr. 82 is detailed on folio Ⅱr.
↑ The only date, 1570, is given on folio 123 (between the first and second sections of Meyer's rapier text); the rest of the manuscript shows a few different hands and was likely compiled prior to its acquisition by Meyer. See Joachim Meyer. The Art of Combat. A German Martial Arts Treatise of 1570. Trans. Jeffrey L. Forgeng. London: Frontline Books, 2014. pp 32-33.
↑ Medel's section of the Cod. Ⅰ.6.2º.5 is internally dated on folio 21r.
↑ The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have acquired it before then.
↑ Sydney Anglo. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. pp 312-315.
↑ Paragraphs 1-84.
↑ Paragraphs 85-121.
↑ Rostock adds: and pictured
↑ ^19.00 ^19.01 ^19.02 ^19.03 ^19.04 ^19.05 ^19.06 ^19.07 ^19.08 ^19.09 ^19.10 ^19.11 ^19.12 ^19.13 ^19.14 ^19.15 ^19.16 ^19.17 ^19.18 ^19.19 ^19.20 ^19.21 ^19.22 ^19.23 ^19.24 ^19.25 ^19.26 ^19.27 ^19.28 ^19.29 ^19.30 ^19.31 ^19.32 ^19.33 ^19.34 ^19.35 ^19.36 ^19.37 ^19.38 ^19.39 ^19.40 ^19.41 ^19.42 ^19.43 ^19.44 ^19.45 ^19.46 ^19.47 ^19.48 ^19.49 ^19.50 ^19.51 ^19.52 ^19.53 ^19.54 ^19.55 Word omitted from the Dresden.
↑ "Known as" omitted from the Dresden.
↑ D. schirmaiste~, R. schiermeister.
↑ Count Palatine
↑ Duke
↑ "and pictured" omitted from the Dresden.
↑ Corrected from »am«.
↑ lit: All art has length and measure
↑ ^27.0 ^27.1 ^27.2 Line omitted from the Dresden.
↑ lit: hastening. hasten, maturare, accelerare, see Grimm
↑ alt: instruction
↑ Zeck: Tick. (Rostock)Zeckruhr: Insect bites
↑ possibly: 'strongly desire to conduct'
↑ D. Zeck: Tick; R. Zeckruhr: Insect bites.
↑ Possibly "strongly desire to conduct".
↑ ^34.0 ^34.1 "Note, this is" omitted from the Dresden.
↑ "You shall" omitted from the Rostock.
↑ Lit: "Before the moment he comes with his to you".
↑ wiederhalten: lit. 'hold against'. To withstand, resist
↑ wiederhalten: lit. "hold against"; to withstand, resist.
↑ Alternately: weapons.
↑ D. Wer dz wäre: "Whoever defends these".
↑ Alternately: avow, legally promise.
↑ Possibly "wages".
↑ Lit: "hew other hews".
↑ "In the same five hews" omitted from the Rostock.
↑ ober is an adjective, oben is an adverb.
↑ R. "the".
↑ ^47.00 ^47.01 ^47.02 ^47.03 ^47.04 ^47.05 ^47.06 ^47.07 ^47.08 ^47.09 ^47.10 ^47.11 ^47.12 ^47.13 ^47.14 ^47.15 ^47.16 ^47.17 ^47.18 ^47.19 ^47.20 ^47.21 ^47.22 ^47.23 ^47.24 ^47.25 ^47.26 ^47.27 ^47.28 ^47.29 ^47.30 ^47.31 ^47.32 ^47.33 ^47.34 ^47.35 ^47.36 ^47.37 ^47.38 ^47.39 ^47.40 ^47.41 ^47.42 ^47.43 ^47.44 Clause omitted from the Dresden.
↑ ^48.0 ^48.1 "This is" omitted from the Dresden.
↑ abrucken: "removere" (remove), "absetzen" (offset).
↑ Rostock: 'nider' => 'down'
↑ D. wider[sic]: "again".
↑ Rostock: "wind stark..." => "twist strongly"
↑ ^53.0 ^53.1 ^53.2 ^53.3 ^53.4 D. "the".
↑ D. bind: "bind-in".
↑ Rostock garbles Indes with 'Jun ger'
↑ Rostock: "dem krieg"
↑ Rostock: has "arbaiten(to work)" instead of "hurten"
↑ R. Jun ger [sic].
↑ R. dem krieg: "the war".
↑ D. hurten: "to rush".
↑ Rostock adds: "der heúe, oder stich, od shnit"
↑ "The hew, or thrust, or cut" omitted from the Dresden.
↑ "Nor thrust… cut" omitted from the Rostock.
↑ ^64.0 ^64.1 ^64.2 ^64.3 Sentence omitted from the Rostock.
↑ ^65.0 ^65.1 ^65.2 ^65.3 ^65.4 ^65.5 ^65.6 ^65.7 ^65.8 Word omitted from the Rostock.
↑ ^66.0 ^66.1 Word omitted from the Dresden and the Rostock.
↑ Alternately: ponder, weigh, calculate, estimate, consider.
↑ Alternately: avenge, take full legal retribution.
↑ Alternately: straight, upright, properly.
↑ D. schüczen, R. behuetẽ.
↑ Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.
↑ Alternately: part, piece.
↑ aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .
↑ ^74.0 ^74.1 ^74.2 ^74.3 ^74.4 ^74.5 Word omitted from the Salzburg.
↑ Likely a scribal error and should be "his".
↑ "The opening" omitted from the Salzburg.
↑ S. "the over- or under-hew".
↑ Possibly "it".
↑ S. vß gestreckten: "outstretched".
↑ Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.
↑ This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.
↑ Rostock begins again at this point.
↑ "Cut" omitted from the Dresden.
↑ S. "Item".
↑ ^85.0 ^85.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).
↑ S. "if".
↑ S. "his".
↑ S. "the".
↑ S. "where he shall guard himself".
↑ D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.
↑ "Komp" added below the line in a different hand.
↑ Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."
↑ "Stand with… shoulder, and" omitted from the Dresden.
↑ literally "breaks"
↑ Rostock: supplies the missing verb, 'windest'
↑ D. "thwart".
↑ ^97.0 ^97.1 Alternately, wiederhalten: to struggle or resist.
↑ alternately, wiederhalten: to struggle or resist
↑ Word omitted from the Glasgow, the Rostock, and the Salzburg.
↑ "Or otherwise" omitted from the Salzburg.
↑ "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.
↑ Clause omitted from the Dresden; struck out in the Rostock.
↑ ^103.0 ^103.1 Clause omitted from the Dresden and the Rostock.
↑ Rostock: "unternn" => "lower"
↑ R. "wind".
↑ "With the over-hew" omitted from the Glasgow.
↑ R. unternn: "lower".
↑ "Next to" omitted from the Rostock.
↑ Glasgow adds albeg: "always, continually".
↑ The Rostock title matched the Dresden
↑ Or "connects"; alternately: rouses, stirs (ostensibly your opponent).
↑ "This is" omitted from the Glasgow and the Rostock.
↑ "Will strike" omitted from the Dresden.
↑ G. twerhaw: "thwart-hew".
↑ R. "wind".
↑ "Or left" omitted from the Glasgow.
↑ Everything from "and steal away" to the end of the sentence is omitted from the Dresden.
↑ Alternately: to turn around.
↑ "And strike in" omitted from the Dresden.
↑ omitted in Dresden
↑ mit omitted in the Glasgow
↑ D. "is".
↑ ^123.0 ^123.1 D. "right".
↑ D. mit auß: "with from".
↑ As a thief would break into a house.
↑ ^126.0 ^126.1 ^126.2 ^126.3 Word omitted from the Glasgow and the Rostock.
↑ Word is doubled in the Glasgow.
↑ annehmen: receive, accept, take up, assume, claim, obtain, etc.
↑ "Into the weak of his sword" omitted from the Rostock
↑ "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".
↑ "With upright arms… right shoulder" omitted from the Rostock.
↑ Clause omitted from the Dresden and the Glasgow.
↑ R. "pictured here".
↑ ^134.00 ^134.01 ^134.02 ^134.03 ^134.04 ^134.05 ^134.06 ^134.07 ^134.08 ^134.09 ^134.10 ^134.11 ^134.12 ^134.13 ^134.14 ^134.15 ^134.16 ^134.17 ^134.18 ^134.19 ^134.20 ^134.21 ^134.22 ^134.23 ^134.24 ^134.25 Word omitted from the Glasgow.
↑ Corrected from »seiner«.
↑ S. bestetigstu: "to plant".
↑ G. abent: "evening", clearly an error; Medel: anwinden: "winding-upon".
↑ ^138.0 ^138.1 ^138.2 ^138.3 ^138.4 ^138.5 Word omitted from the Dresden and the Glasgow.
↑ "To his point" omitted from the Rostock.
↑ "To his point" omitted from the Glasgow.
↑ S. "You may also do this".
↑ "A free over-hew" omitted from the Dresden and the Glasgow.
↑ "With the visage" omitted from the Salzburg.
↑ "To his head" omitted from the Dresden and the Glasgow.
↑ D., G. "the head".
↑ Rostock:The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cut in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.
↑ R. includes couplet 64 with this gloss.
↑ R. denn Schaytler: "the parter".
↑ ^149.0 ^149.1 ^149.2 ^149.3 Clause omitted from the Rostock.
↑ D. der lange: "long, high, tall, or lofty".
↑ "To his head" omitted from the Dresden and the Glasgow.
↑ "If he displaces" omitted from the Dresden and the Glasgow.
↑ einhangen: to adhere, stick to, cleave to, hold on to, engage deeply.
↑ "With the long… and thrust him" omitted from the Dresden and the Glasgow.
↑ Glasgow: Another. If the opponent firmly shoves your point upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.
↑ Rostock: One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust [in pPvD, this is 'strich' not 'stich'. So: "press the strike"], withdraw it with slicing. Gloss. Note when you cut in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.
↑ Kehr has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.
↑ Alternately: strongly, firmly, steadfastly.
↑ R. includes this couplet with the previous gloss.
↑ G., R., S. "Item".
↑ D. "hang-in"; "strike-in and" omitted.
↑ "The point" omitted from the Salzburg.
↑ Sentence omitted from the Glasgow and the Rostock.
↑ D., G., R. "you".
↑ D., G., S. "the".
↑ "In the displacement" omitted from the Salzburg and the Rostock.
↑ "Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.
↑ S. fast vber sich: "firmly upward".
↑ Clause omitted from the Dresden, the Glasgow, and the Salzburg.
↑ "His hands" omitted from the Dresden, the Glasgow, and the Salzburg.
↑ G. "since".
↑ Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.
↑ in pPvD, this is 'strich' not 'stich'. So: "press the strike"
↑ D., G. Schon, lit. "already", "yet".
↑ D. stuch, R. stich: "press the thrust".
↑ D., G., S. "cut".
↑ ^177.0 ^177.1 Clause omitted from the Dresden, the Rostock, and the Salzburg.
↑ S. "well broken".
↑ "From the under-cut" omitted from the Salzburg.
↑ "And wind your sword… withdraw yourself" omitted from the Rostock.
↑ Imperative of fliehen.
↑ alt: unpleasant, repugnant
↑ "Note, this" omitted from the Dresden.
↑ "Will be" omitted from the Glasgow.
↑ ^185.0 ^185.1 ^185.2 ^185.3 "Is called" omitted from the Dresden
↑ "With the hilt" omitted from the Dresden.
↑ G. auß gestrackten: "upstretched".
↑ "It all" omitted from the Dresden.
↑ "In this book" omitted from the Glasgow.
↑ G. "Guard yourself displacing crossed in front".
↑ D. instead continues "that the four displacings, they are the four hews".
↑ Setzen", possibly a shortening of versetzen, "displaces".
↑ D. "oxen".
↑ literally "breaks"
↑ S. other.
↑ "they allow the... do not parry" omitted from the Dresden and Glasgow.
↑ S. Item
↑ R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".
↑ D. "in front of".
↑ G., S. versetzte: "shifted, misplaced, displaced, parried".
↑ Word omitted from the Dresden, the Glasgow, and the Rostock.
↑ "And wrench… his below" omitted from the Dresden and the Glasgow.
↑ "The head" omitted from the Salzburg.
↑ ^204.0 ^204.1 Clause omitted from the Dresden and the Salzburg.
↑ S. "also".
↑ Glasgow: This is the text and the gloss of yet another one of the plays against the parry.
Lodge against four regions
Learn to remain upon them if you wish to finish
Gloss. This is for when you cut in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.
↑ G. mit dem schwert: "with the sword".
↑ D. "grasp with the sword".
↑ G. magst: "may".
↑ ^210.0 ^210.1 ^210.2 G. "the".
↑ This is about pursuing.
Learn to pursue
Double or slice into the weapon
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.
↑ Alternately: defense.
↑ "And hit him" omitted from the Rostock.
↑ ^214.0 ^214.1 "The moment" omitted from the Dresden.
↑ D. wieder-kommen: to meet, to encounter, to run into".
↑ "Or fall… from you" omitted from the Rostock.
↑ Corrected from »dem«.
↑ Or if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.
↑ Line omitted from the Rostock.
↑ R. "or".
↑ "If he then" omitted from the Rostock".
↑ D. haw: "hew".
↑ Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.
↑ maintain blade contact
↑ geim: "watchfully, to observe, cautiously, with foresight".
↑ Word omitted from the Glasgow and the Salzburg.
↑ S. "the feeling work thusly".
↑ "You come… onset and" omitted from the Dresden and the Glasgow.
↑ S. "soft or hard".
↑ S. "feeling".
↑ "To the nearest opening" omitted from the Salzburg.
↑ D., G. gewar, S. ÿnnen.
↑ Word omitted from the Dresden and the Salzburg.
↑ D. "winds".
↑ D. blitzscht: "flashes".
↑ Corrected from »arnn«.
↑ D. "Item".
↑ G. "note".
↑ Schier has the sense of approaching quickly and closely.
↑ Glasgow: This is the text and the gloss about yanking back
Tread close in binds,
So that yanking back gives good opportunities.
Suddenly withdraw. If they engage, suddenly withdraw more.
If they work, slice so that it does them woe.
Suddenly withdraw in all engagements
If you wish to make a fool of the masters
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head as it is pictured next to this, and work swiftly to their nearest opening by doubling or otherwise by other plays.
↑ Zucken has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.
↑ "On the sword" omitted from the Dresden.
↑ Beginning of sentence in Glasgow reads "and work swiftly with the doubling.
↑ D. "(and with other plays)".
↑ Rostock: "and allow the blade to hang down behind you"
↑ ^246.0 ^246.1 R. "hang down behind you".
↑ G. "next to this".
↑ R. "when in the running-in he also drives-up with the arms".
↑ This last sentence is highlighted and a drawn hand is pointing to it.
↑ Corrected from »dim«.
↑ Glasgow: Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left using your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.
↑ Line omitted from the Glasgow.
↑ D. "left hand inverted".
↑ D. "your".
↑ "With an inverted hand" omitted from the Dresden.
↑ ^256.0 ^256.1 G. "his".
↑ "Thus you" omitted from the Glasgow.
↑ Corrected from »rechtem«.
↑ Corrected from »sinem«.
↑ This sentence is underlined
↑ D. "One other wrestling at the sword".
↑ Clause omitted from the Glasgow.
↑ Sentence omitted from the Glasgow.
↑ Glasgow adds: in the middle of the blade
↑ D. "A sword taking".
↑ Glasgow: traverse
↑ Read: "attacks".
↑ "With strength" omitted from the Glasgow.
↑ ^269.0 ^269.1 G. far: "drive".
↑ D. "Yet another cut".
↑ "He then" omitted from the Dresden.
↑ "And press… pictured here" omitted from the Dresden.
↑ Glasgow: This is the text and the gloss about the transformation of the slice
Turn your edge
To flatten, press the hands
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.
↑ G. "your".
↑ "With that" omitted from the Dresden.
↑ "With the cut" omitted from the Augsburg and the Glasgow.
↑ Clause omitted from the Augsburg and the Glasgow.
↑ Sentence omitted from the Dresden.
↑ Rostock: This is the text and the gloss about the two hangings the sword
Two hangings emerge
From the ground out of each hand
In every application
Cut, Thrust, Position, Soft or Hard
Gloss. Note there are two hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you either perceive or recognize in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.
↑ "With him" omitted from the Augsburg and the Glasgow.
↑ "Or test" omitted from the Dresden.
↑ Sentence omitted from the Augsburg and the Dresden.
↑ sach: thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.
↑ ^284.0 ^284.1 ^284.2 ^284.3 ^284.4 ^284.5 ^284.6 Word omitted from the Augsburg and the Glasgow.
↑ A. "and".
↑ ^286.0 ^286.1 ^286.2 ^286.3 ^286.4 ^286.5 Word omitted from the Augsburg and the Dresden.
↑ The word »es« is almost illegible.
↑ G: against their cut
↑ ^289.0 ^289.1 ^289.2 ^289.3 ^289.4 ^289.5 Word omitted from the Augsburg.
↑ nachbinden: "attach to the end or behind something".
↑ "With the long edge" omitted from the Augsburg and the Glasgow.
↑ "From the sword" omitted from the Dresden.
↑ "With the point" omitted from the Dresden.
↑ D. "or"; word omitted from the Augsburg.
↑ abziechen.
↑ Glasgow: Here note how you shall stand in the long point and what plays you shall conduct from it.
Note. When you come to the opponent with the initiation of fencing, advance your left foot the moment before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts in from above at your head, then wind against their cut with your sword and thrust into their face.
↑ D. Mörck Ee: "Note, before".
↑ "just near" omitted from the Augsburg and the Glasgow.
↑ "When he… the sword" omitted from the Dresden.
↑ A., D. "the".
↑ D. "hews from above to below".
↑ Corrected from »ausgerattñ«.
↑ D. "to the other side to the opening".
↑ "Your sword" omitted from the Augsburg and the Glasgow.
↑ This last sentence is highlighted.
↑ Sentence omitted from the Augsburg and the Glasgow.
↑ Glasgow: This is a lesson in which the art of the recital is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to execute your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.
↑ shifting, balance
↑ "Art of" omitted from the Dresden.
↑ A., D. "shortened for you to understand".
↑ "Quite well" omitted from the Augsburg.
↑ Dresden reverses these.
↑ "Also so that… play" omitted from the Dresden.
↑ wägen: "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.
↑ "And properly estimate" omitted from the Dresden.
↑ "The sword" omitted from the Augsburg and the Glasgow.
↑ D. "understand".
↑ "With strength" omitted from the Dresden.
↑ "And thrust" omitted from the Dresden.
↑ "Of the" omitted from the Glasgow.
↑ "-In the point above" omitted from the Dresden and the Glasgow.
↑ A. "and".
↑ Glasgow: Another. Now you shall know that you shall also execute four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall execute one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, in such a way that you step in with each winding and with that consider their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play that is called for in that winding. Whenever you do not do this, you will become struck by all windings.
↑ D. "and"; omitted from the Augsburg and the Glasgow.
↑ "And shall" omitted from the Augsburg and the Glasgow.
↑ "You step towards" omitted from the Dresden.
↑ D. "wounder".
↑ Throw
↑ Pushes out
↑ Push
↑ Verchossen
↑ Drop it
↑ Armoured
↑ Gouges
↑ Stab at you
↑ The transcription David was translating from didn't have 122rv and 125rv in their proper place, so he assumed that content was missing.
↑ Pieces
↑ Pulls out
↑ Pieces
↑ Gauntlet
↑ Tear on the right, I think this means step in from your right, as opposed to turning to your right.
↑ Original: “streyffen”, modernized “streifen”, to brush, streak, graze, lightly touch.
↑ Original: “undter augen”, this phrase appears numerous times throughout the text, is likely some kind of idiom or turn of phrase, but not sure exactly what it means.
↑ Original: “iren”, formal “you”, rather than the informal (dein-) which is almost always used. Could also be “their”.
↑ Original: “ableyttest,” - “ableiten,” literally to lead away, also to derive, deduce, divert, drain, deflect, channel off.
↑ “Zu dem treffen,” could be in the sense of the two fencers meeting each other, or one lance connecting to the other, or a lance landing a hit. Context indicates that it is the first for this one.
↑ “Schaff griff,” the translation “sheep hold” is not conclusive, it may also refer to a type of water carrier that is held in a similar way to the hold. It may also be related to how one would carry a sheep when shearing or otherwise.
↑ Original: “sytigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.
↑ Original: “taschn haw.” A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg. This translation is not conclusive.
↑ Original: “auß,” however the Dresden version says “vff” here, and “aus” does not make sense.
↑ “Zawm,” - “zaum,” literally “bridle,” context continually indicates that they are talking about the reins.
↑ Original: “ob dich das roß vertrueg,” literally “if the horse make a fool out of you.” Likely means something like if the horse moves in a way that you don’t expect, or if the horse runs away while you’re trying to do something.
↑ Original: “schütten”.
↑ Original: “gehultz,” could be modernized to “hilt,” which is a term that could mean multiple parts of the sword today, but they are talking about the crossguard.
↑ “Stoss,” could also mean push, strike, or bash.
↑ “Twer,” also often translated as thwart, cross, crosswise.
↑ The verb is missing in this sentence, in the Dresden version “heng” (hang) is used here.
↑ Corrected from »geradt«.
↑ “Verschlingst” - “verschlingen,” to devour, engulf, scarf, etc.
↑ Unclear, could be “when he hews in to you, parry…” Unclear because “hawt” is used instead of “haw,” also the construction of the sentence is not typical. The Dresden version is much clearer that you are the one hewing in and he is parrying.
↑ “Zu vor auß,” in the sense of bringing something to the forefront.
↑ Engages - “greyff… an,” (angreiffen), attacks - “velt… an” (anfallen), these words have roughly the same meaning. You are both engaging in wrestling against each other.
↑ “Aliud,” Latin.
↑ Likely an error intending “your,” as it is in the previous passage.
↑ “Gewappent,” - “gewappnet,” wearing armor.
↑ “Jagen,” to hunt, seems to mean when someone is riding behind another, rather than “gleich” (equally) or “zusammen” (together), when both riders ride toward one another.
↑ “Muß er das swert fallñ lassñ,” literally “he must let the sword fall.”
↑ Original: “dich massen,” to measure or moderate yourself, different original word from “moderately” early in the text, which was translated from “sittiglich.”
↑ Original: “schünre,” translated as “schnüre,” meaning “laces” or “cords.”
↑ “vier haubt ringñ”

[1] Jens P. Kleinau. "Schirrmeister, Schermeister, Schirmmeister". Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau], 2011. Retrieved 20 June 2015.

[2] The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1507 (ca. 1470), and MS KK5126 (1480s).

[3] For a different perspective, see 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.

[Hoffman-4] 4.0 ^4.1 Werner J. Hoffmann. "Mscr.Dresd.C.487: Siegmund am Ringeck, Fechtlehre". Tiefenerschließung und Digitalisierung der deutschsprachigen mittelalterlichen Handschriften der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek (SLUB) Dresden. Retrieved 26 May 2015.

[5] Dresden fol. 31r.

[6] Dresden fol. 20r.

[7] Dresden fol. 27r.

[8] MS M.Ⅰ.29 is signed and internally dated on folio 158r.

[9] MS E.1939.65.341 is internally dated on folio 22r.

[Dornhoffer-10] Friedrich Dörnhöffer. Albrecht Dürers Fechtbuch. Vienna: F. Tempsky, 1910.

[11] The origin of Reichstadt Nr. 82 is detailed on folio Ⅱr.

[12] The only date, 1570, is given on folio 123 (between the first and second sections of Meyer's rapier text); the rest of the manuscript shows a few different hands and was likely compiled prior to its acquisition by Meyer. See Joachim Meyer. The Art of Combat. A German Martial Arts Treatise of 1570. Trans. Jeffrey L. Forgeng. London: Frontline Books, 2014. pp 32-33.

[13] Medel's section of the Cod. Ⅰ.6.2º.5 is internally dated on folio 21r.

[14] The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have acquired it before then.

[15] Sydney Anglo. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. pp 312-315.

[16] Paragraphs 1-84.

[17] Paragraphs 85-121.

[18] Rostock adds: and pictured

[word-d-19] 19.00 ^19.01 ^19.02 ^19.03 ^19.04 ^19.05 ^19.06 ^19.07 ^19.08 ^19.09 ^19.10 ^19.11 ^19.12 ^19.13 ^19.14 ^19.15 ^19.16 ^19.17 ^19.18 ^19.19 ^19.20 ^19.21 ^19.22 ^19.23 ^19.24 ^19.25 ^19.26 ^19.27 ^19.28 ^19.29 ^19.30 ^19.31 ^19.32 ^19.33 ^19.34 ^19.35 ^19.36 ^19.37 ^19.38 ^19.39 ^19.40 ^19.41 ^19.42 ^19.43 ^19.44 ^19.45 ^19.46 ^19.47 ^19.48 ^19.49 ^19.50 ^19.51 ^19.52 ^19.53 ^19.54 ^19.55 Word omitted from the Dresden.

[20] "Known as" omitted from the Dresden.

[21] D. schirmaiste~, R. schiermeister.

[22] Count Palatine

[23] Duke

[24] "and pictured" omitted from the Dresden.

[25] Corrected from »am«.

[26] t: All art has length and measure

[line-d-27] 27.0 ^27.1 ^27.2 Line omitted from the Dresden.

[28] t: hastening. hasten, maturare, accelerare, see Grimm

[29] t: instruction

[30] Zeck: Tick. (Rostock)Zeckruhr: Insect bites

[31] ssibly: 'strongly desire to conduct'

[32] D. Zeck: Tick; R. Zeckruhr: Insect bites.

[33] Possibly "strongly desire to conduct".

[mdi-d-34] 34.0 ^34.1 "Note, this is" omitted from the Dresden.

[35] "You shall" omitted from the Rostock.

[36] Lit: "Before the moment he comes with his to you".

[37] wiederhalten: lit. 'hold against'. To withstand, resist

[38] wiederhalten: lit. "hold against"; to withstand, resist.

[39] Alternately: weapons.

[40] D. Wer dz wäre: "Whoever defends these".

[41] Alternately: avow, legally promise.

[42] Possibly "wages".

[43] Lit: "hew other hews".

[44] "In the same five hews" omitted from the Rostock.

[45] ober is an adjective, oben is an adverb.

[46] R. "the".

[clause-d-47] 47.00 ^47.01 ^47.02 ^47.03 ^47.04 ^47.05 ^47.06 ^47.07 ^47.08 ^47.09 ^47.10 ^47.11 ^47.12 ^47.13 ^47.14 ^47.15 ^47.16 ^47.17 ^47.18 ^47.19 ^47.20 ^47.21 ^47.22 ^47.23 ^47.24 ^47.25 ^47.26 ^47.27 ^47.28 ^47.29 ^47.30 ^47.31 ^47.32 ^47.33 ^47.34 ^47.35 ^47.36 ^47.37 ^47.38 ^47.39 ^47.40 ^47.41 ^47.42 ^47.43 ^47.44 Clause omitted from the Dresden.

[di-d-48] 48.0 ^48.1 "This is" omitted from the Dresden.

[49] abrucken: "removere" (remove), "absetzen" (offset).

[50] Rostock: 'nider' => 'down'

[51] D. wider[sic]: "again".

[52] Rostock: "wind stark..." => "twist strongly"

[the-d-53] 53.0 ^53.1 ^53.2 ^53.3 ^53.4 D. "the".

[54] D. bind: "bind-in".

[55] Rostock garbles Indes with 'Jun ger'

[56] Rostock: "dem krieg"

[57] Rostock: has "arbaiten(to work)" instead of "hurten"

[58] R. Jun ger [sic].

[59] R. dem krieg: "the war".

[60] D. hurten: "to rush".

[61] Rostock adds: "der heúe, oder stich, od shnit"

[62] "The hew, or thrust, or cut" omitted from the Dresden.

[63] "Nor thrust… cut" omitted from the Rostock.

[sentence-r-64] 64.0 ^64.1 ^64.2 ^64.3 Sentence omitted from the Rostock.

[word-r-65] 65.0 ^65.1 ^65.2 ^65.3 ^65.4 ^65.5 ^65.6 ^65.7 ^65.8 Word omitted from the Rostock.

[word-dr-66] 66.0 ^66.1 Word omitted from the Dresden and the Rostock.

[67] Alternately: ponder, weigh, calculate, estimate, consider.

[68] Alternately: avenge, take full legal retribution.

[69] Alternately: straight, upright, properly.

[70] D. schüczen, R. behuetẽ.

[71] Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.

[72] Alternately: part, piece.

[73] aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .

[word-s-74] 74.0 ^74.1 ^74.2 ^74.3 ^74.4 ^74.5 Word omitted from the Salzburg.

[75] Likely a scribal error and should be "his".

[76] "The opening" omitted from the Salzburg.

[77] S. "the over- or under-hew".

[78] Possibly "it".

[79] S. vß gestreckten: "outstretched".

[80] Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.

[81] This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.

[82] Rostock begins again at this point.

[83] "Cut" omitted from the Dresden.

[84] S. "Item".

[Note_on_32-35-85] 85.0 ^85.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).

[86] S. "if".

[87] S. "his".

[88] S. "the".

[89] S. "where he shall guard himself".

[90] D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.

[91] "Komp" added below the line in a different hand.

[92] Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."

[93] "Stand with… shoulder, and" omitted from the Dresden.

[94] terally "breaks"

[95] Rostock: supplies the missing verb, 'windest'

[96] D. "thwart".

[wiederhalten-97] 97.0 ^97.1 Alternately, wiederhalten: to struggle or resist.

[98] ternately, wiederhalten: to struggle or resist

[word-grs-99] Word omitted from the Glasgow, the Rostock, and the Salzburg.

[100] "Or otherwise" omitted from the Salzburg.

[101] "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.

[102] Clause omitted from the Dresden; struck out in the Rostock.

[clause-dr-103] 103.0 ^103.1 Clause omitted from the Dresden and the Rostock.

[104] Rostock: "unternn" => "lower"

[105] R. "wind".

[106] "With the over-hew" omitted from the Glasgow.

[107] R. unternn: "lower".

[108] "Next to" omitted from the Rostock.

[109] Glasgow adds albeg: "always, continually".

[110] The Rostock title matched the Dresden

[111] Or "connects"; alternately: rouses, stirs (ostensibly your opponent).

[di-gr-112] "This is" omitted from the Glasgow and the Rostock.

[113] "Will strike" omitted from the Dresden.

[114] G. twerhaw: "thwart-hew".

[115] R. "wind".

[116] "Or left" omitted from the Glasgow.

[117] Everything from "and steal away" to the end of the sentence is omitted from the Dresden.

[118] Alternately: to turn around.

[119] "And strike in" omitted from the Dresden.

[120] tted in Dresden

[121] t omitted in the Glasgow

[122] D. "is".

[right-d-123] 123.0 ^123.1 D. "right".

[124] D. mit auß: "with from".

[125] As a thief would break into a house.

[word-gr-126] 126.0 ^126.1 ^126.2 ^126.3 Word omitted from the Glasgow and the Rostock.

[127] Word is doubled in the Glasgow.

[128] annehmen: receive, accept, take up, assume, claim, obtain, etc.

[129] "Into the weak of his sword" omitted from the Rostock

[130] "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".

[131] "With upright arms… right shoulder" omitted from the Rostock.

[clause-dg-132] Clause omitted from the Dresden and the Glasgow.

[133] R. "pictured here".

[word-g-134] 134.00 ^134.01 ^134.02 ^134.03 ^134.04 ^134.05 ^134.06 ^134.07 ^134.08 ^134.09 ^134.10 ^134.11 ^134.12 ^134.13 ^134.14 ^134.15 ^134.16 ^134.17 ^134.18 ^134.19 ^134.20 ^134.21 ^134.22 ^134.23 ^134.24 ^134.25 Word omitted from the Glasgow.

[135] Corrected from »seiner«.

[136] S. bestetigstu: "to plant".

[137] G. abent: "evening", clearly an error; Medel: anwinden: "winding-upon".

[word-dg-138] 138.0 ^138.1 ^138.2 ^138.3 ^138.4 ^138.5 Word omitted from the Dresden and the Glasgow.

[139] "To his point" omitted from the Rostock.

[140] "To his point" omitted from the Glasgow.

[141] S. "You may also do this".

[142] "A free over-hew" omitted from the Dresden and the Glasgow.

[143] "With the visage" omitted from the Salzburg.

[144] "To his head" omitted from the Dresden and the Glasgow.

[145] D., G. "the head".

[146] Rostock:The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cut in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.

[147] R. includes couplet 64 with this gloss.

[148] R. denn Schaytler: "the parter".

[clause-r-149] 149.0 ^149.1 ^149.2 ^149.3 Clause omitted from the Rostock.

[150] D. der lange: "long, high, tall, or lofty".

[151] "To his head" omitted from the Dresden and the Glasgow.

[152] "If he displaces" omitted from the Dresden and the Glasgow.

[153] einhangen: to adhere, stick to, cleave to, hold on to, engage deeply.

[154] "With the long… and thrust him" omitted from the Dresden and the Glasgow.

[155] Glasgow: Another. If the opponent firmly shoves your point upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.

[156] Rostock: One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust [in pPvD, this is 'strich' not 'stich'. So: "press the strike"], withdraw it with slicing. Gloss. Note when you cut in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.

[157] Kehr has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.

[fast-158] Alternately: strongly, firmly, steadfastly.

[159] R. includes this couplet with the previous gloss.

[160] G., R., S. "Item".

[161] D. "hang-in"; "strike-in and" omitted.

[162] "The point" omitted from the Salzburg.

[sentence-gr-163] Sentence omitted from the Glasgow and the Rostock.

[164] D., G., R. "you".

[165] D., G., S. "the".

[166] "In the displacement" omitted from the Salzburg and the Rostock.

[167] "Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.

[168] S. fast vber sich: "firmly upward".

[clause-dgs-169] Clause omitted from the Dresden, the Glasgow, and the Salzburg.

[170] "His hands" omitted from the Dresden, the Glasgow, and the Salzburg.

[171] G. "since".

[172] Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.

[173] PvD, this is 'strich' not 'stich'. So: "press the strike"

[174] D., G. Schon, lit. "already", "yet".

[175] D. stuch, R. stich: "press the thrust".

[176] D., G., S. "cut".

[clause-drs-177] 177.0 ^177.1 Clause omitted from the Dresden, the Rostock, and the Salzburg.

[178] S. "well broken".

[179] "From the under-cut" omitted from the Salzburg.

[180] "And wind your sword… withdraw yourself" omitted from the Rostock.

[181] Imperative of fliehen.

[182] t: unpleasant, repugnant

[md-d-183] "Note, this" omitted from the Dresden.

[184] "Will be" omitted from the Glasgow.

[haist-r-185] 185.0 ^185.1 ^185.2 ^185.3 "Is called" omitted from the Dresden

[186] "With the hilt" omitted from the Dresden.

[187] G. auß gestrackten: "upstretched".

[188] "It all" omitted from the Dresden.

[189] "In this book" omitted from the Glasgow.

[190] G. "Guard yourself displacing crossed in front".

[191] D. instead continues "that the four displacings, they are the four hews".

[192] Setzen", possibly a shortening of versetzen, "displaces".

[193] D. "oxen".

[194] terally "breaks"

[195] S. other.

[196] "they allow the... do not parry" omitted from the Dresden and Glasgow.

[197] S. Item

[198] R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".

[199] D. "in front of".

[200] G., S. versetzte: "shifted, misplaced, displaced, parried".

[word-dgr-201] Word omitted from the Dresden, the Glasgow, and the Rostock.

[202] "And wrench… his below" omitted from the Dresden and the Glasgow.

[203] "The head" omitted from the Salzburg.

[clause-ds-204] 204.0 ^204.1 Clause omitted from the Dresden and the Salzburg.

[205] S. "also".

[206] Glasgow: This is the text and the gloss of yet another one of the plays against the parry.
Lodge against four regions
Learn to remain upon them if you wish to finish
Gloss. This is for when you cut in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.

[207] G. mit dem schwert: "with the sword".

[208] D. "grasp with the sword".

[209] G. magst: "may".

[the-g-210] 210.0 ^210.1 ^210.2 G. "the".

[211] This is about pursuing.
Learn to pursue
Double or slice into the weapon
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.

[212] Alternately: defense.

[213] "And hit him" omitted from the Rostock.

[moment-d-214] 214.0 ^214.1 "The moment" omitted from the Dresden.

[215] D. wieder-kommen: to meet, to encounter, to run into".

[216] "Or fall… from you" omitted from the Rostock.

[217] Corrected from »dem«.

[218] Or if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.

[line-r-219] Line omitted from the Rostock.

[220] R. "or".

[221] "If he then" omitted from the Rostock".

[222] D. haw: "hew".

[223] Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.

[224] tain blade contact

[225] geim: "watchfully, to observe, cautiously, with foresight".

[word-gs-226] Word omitted from the Glasgow and the Salzburg.

[227] S. "the feeling work thusly".

[228] "You come… onset and" omitted from the Dresden and the Glasgow.

[229] S. "soft or hard".

[230] S. "feeling".

[231] "To the nearest opening" omitted from the Salzburg.

[232] D., G. gewar, S. ÿnnen.

[word-ds-233] Word omitted from the Dresden and the Salzburg.

[234] D. "winds".

[235] D. blitzscht: "flashes".

[236] Corrected from »arnn«.

[237] D. "Item".

[238] G. "note".

[239] Schier has the sense of approaching quickly and closely.

[240] Glasgow: This is the text and the gloss about yanking back
Tread close in binds,
So that yanking back gives good opportunities.
Suddenly withdraw. If they engage, suddenly withdraw more.
If they work, slice so that it does them woe.
Suddenly withdraw in all engagements
If you wish to make a fool of the masters
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head as it is pictured next to this, and work swiftly to their nearest opening by doubling or otherwise by other plays.

[241] Zucken has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.

[242] "On the sword" omitted from the Dresden.

[243] Beginning of sentence in Glasgow reads "and work swiftly with the doubling.

[244] D. "(and with other plays)".

[245] Rostock: "and allow the blade to hang down behind you"

[back-r-246] 246.0 ^246.1 R. "hang down behind you".

[247] G. "next to this".

[248] R. "when in the running-in he also drives-up with the arms".

[249] This last sentence is highlighted and a drawn hand is pointing to it.

[250] Corrected from »dim«.

[251] Glasgow: Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left using your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.

[line-g-252] Line omitted from the Glasgow.

[253] D. "left hand inverted".

[your-d-254] D. "your".

[255] "With an inverted hand" omitted from the Dresden.

[his-g-256] 256.0 ^256.1 G. "his".

[257] "Thus you" omitted from the Glasgow.

[258] Corrected from »rechtem«.

[259] Corrected from »sinem«.

[260] This sentence is underlined

[261] D. "One other wrestling at the sword".

[clause-g-262] Clause omitted from the Glasgow.

[sentence-g-263] Sentence omitted from the Glasgow.

[264] Glasgow adds: in the middle of the blade

[265] D. "A sword taking".

[266] Glasgow: traverse

[267] Read: "attacks".

[268] "With strength" omitted from the Glasgow.

[far-g-269] 269.0 ^269.1 G. far: "drive".

[270] D. "Yet another cut".

[271] "He then" omitted from the Dresden.

[272] "And press… pictured here" omitted from the Dresden.

[273] Glasgow: This is the text and the gloss about the transformation of the slice
Turn your edge
To flatten, press the hands
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.

[274] G. "your".

[275] "With that" omitted from the Dresden.

[276] "With the cut" omitted from the Augsburg and the Glasgow.

[clause-ag-277] Clause omitted from the Augsburg and the Glasgow.

[sentence-d-278] Sentence omitted from the Dresden.

[279] Rostock: This is the text and the gloss about the two hangings the sword
Two hangings emerge
From the ground out of each hand
In every application
Cut, Thrust, Position, Soft or Hard
Gloss. Note there are two hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you either perceive or recognize in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.

[280] "With him" omitted from the Augsburg and the Glasgow.

[281] "Or test" omitted from the Dresden.

[sentence-ad-282] Sentence omitted from the Augsburg and the Dresden.

[283] sach: thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.

[word-ag-284] 284.0 ^284.1 ^284.2 ^284.3 ^284.4 ^284.5 ^284.6 Word omitted from the Augsburg and the Glasgow.

[285] A. "and".

[word-ad-286] 286.0 ^286.1 ^286.2 ^286.3 ^286.4 ^286.5 Word omitted from the Augsburg and the Dresden.

[287] The word »es« is almost illegible.

[288] G: against their cut

[word-a-289] 289.0 ^289.1 ^289.2 ^289.3 ^289.4 ^289.5 Word omitted from the Augsburg.

[290] nachbinden: "attach to the end or behind something".

[291] "With the long edge" omitted from the Augsburg and the Glasgow.

[292] "From the sword" omitted from the Dresden.

[293] "With the point" omitted from the Dresden.

[294] D. "or"; word omitted from the Augsburg.

[295] abziechen.

[296] Glasgow: Here note how you shall stand in the long point and what plays you shall conduct from it.
Note. When you come to the opponent with the initiation of fencing, advance your left foot the moment before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts in from above at your head, then wind against their cut with your sword and thrust into their face.

[297] D. Mörck Ee: "Note, before".

[298] "just near" omitted from the Augsburg and the Glasgow.

[299] "When he… the sword" omitted from the Dresden.

[300] A., D. "the".

[301] D. "hews from above to below".

[302] Corrected from »ausgerattñ«.

[303] D. "to the other side to the opening".

[304] "Your sword" omitted from the Augsburg and the Glasgow.

[305] This last sentence is highlighted.

[sentence-ag-306] Sentence omitted from the Augsburg and the Glasgow.

[307] Glasgow: This is a lesson in which the art of the recital is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to execute your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.

[308] shifting, balance

[309] "Art of" omitted from the Dresden.

[310] A., D. "shortened for you to understand".

[311] "Quite well" omitted from the Augsburg.

[312] Dresden reverses these.

[313] "Also so that… play" omitted from the Dresden.

[314] wägen: "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.

[315] "And properly estimate" omitted from the Dresden.

[316] "The sword" omitted from the Augsburg and the Glasgow.

[317] D. "understand".

[318] "With strength" omitted from the Dresden.

[319] "And thrust" omitted from the Dresden.

[320] "Of the" omitted from the Glasgow.

[321] "-In the point above" omitted from the Dresden and the Glasgow.

[322] A. "and".

[323] Glasgow: Another. Now you shall know that you shall also execute four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall execute one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, in such a way that you step in with each winding and with that consider their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play that is called for in that winding. Whenever you do not do this, you will become struck by all windings.

[324] D. "and"; omitted from the Augsburg and the Glasgow.

[325] "And shall" omitted from the Augsburg and the Glasgow.

[326] "You step towards" omitted from the Dresden.

[327] D. "wounder".

[328] Throw

[329] Pushes out

[330] Push

[331] Verchossen

[332] Drop it

[333] Armoured

[334] Gouges

[335] Stab at you

[336] The transcription David was translating from didn't have 122rv and 125rv in their proper place, so he assumed that content was missing.

[337] Pieces

[338] Pulls out

[339] Pieces

[340] Gauntlet

[341] Tear on the right, I think this means step in from your right, as opposed to turning to your right.

[342] Original: “streyffen”, modernized “streifen”, to brush, streak, graze, lightly touch.

[343] Original: “undter augen”, this phrase appears numerous times throughout the text, is likely some kind of idiom or turn of phrase, but not sure exactly what it means.

[344] Original: “iren”, formal “you”, rather than the informal (dein-) which is almost always used. Could also be “their”.

[345] Original: “ableyttest,” - “ableiten,” literally to lead away, also to derive, deduce, divert, drain, deflect, channel off.

[346] “Zu dem treffen,” could be in the sense of the two fencers meeting each other, or one lance connecting to the other, or a lance landing a hit. Context indicates that it is the first for this one.

[347] “Schaff griff,” the translation “sheep hold” is not conclusive, it may also refer to a type of water carrier that is held in a similar way to the hold. It may also be related to how one would carry a sheep when shearing or otherwise.

[348] Original: “sytigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.

[349] Original: “taschn haw.” A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg. This translation is not conclusive.

[350] Original: “auß,” however the Dresden version says “vff” here, and “aus” does not make sense.

[351] “Zawm,” - “zaum,” literally “bridle,” context continually indicates that they are talking about the reins.

[352] Original: “ob dich das roß vertrueg,” literally “if the horse make a fool out of you.” Likely means something like if the horse moves in a way that you don’t expect, or if the horse runs away while you’re trying to do something.

[353] Original: “schütten”.

[354] Original: “gehultz,” could be modernized to “hilt,” which is a term that could mean multiple parts of the sword today, but they are talking about the crossguard.

[355] “Stoss,” could also mean push, strike, or bash.

[356] “Twer,” also often translated as thwart, cross, crosswise.

[357] The verb is missing in this sentence, in the Dresden version “heng” (hang) is used here.

[358] Corrected from »geradt«.

[359] “Verschlingst” - “verschlingen,” to devour, engulf, scarf, etc.

[360] Unclear, could be “when he hews in to you, parry…” Unclear because “hawt” is used instead of “haw,” also the construction of the sentence is not typical. The Dresden version is much clearer that you are the one hewing in and he is parrying.

[361] “Zu vor auß,” in the sense of bringing something to the forefront.

[362] Engages - “greyff… an,” (angreiffen), attacks - “velt… an” (anfallen), these words have roughly the same meaning. You are both engaging in wrestling against each other.

[363] “Aliud,” Latin.

[364] Likely an error intending “your,” as it is in the previous passage.

[365] “Gewappent,” - “gewappnet,” wearing armor.

[366] “Jagen,” to hunt, seems to mean when someone is riding behind another, rather than “gleich” (equally) or “zusammen” (together), when both riders ride toward one another.

[367] “Muß er das swert fallñ lassñ,” literally “he must let the sword fall.”

[368] Original: “dich massen,” to measure or moderate yourself, different original word from “moderately” early in the text, which was translated from “sittiglich.”

[369] Original: “schünre,” translated as “schnüre,” meaning “laces” or “cords.”

[370] “vier haubt ringñ”

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@@ Line 1: / Line 1: @@
 {{infobox writer
-| name                 = [[name::Sigmund ain Ringeck]]
+| name                 = [[name::Sigmund Ain ringeck]]
 | image                = File:Sigmund ain Ringeck.png
 | imagesize            = 250px
@@ Line 58: / Line 58: @@
   | [http://gwaithimegyr.wordpress.com/tag/ringeck/ Terjemahan bahasa Indonesia]
   | {{Italian translation|http://fedemalablog.wordpress.com/sigmund-ringeck/|1}}
+ | {{Spanish translation|http://sites.google.com/view/brenstark-esgrima-antigua/p%C3%A1gina-principal/traduccion-y-correlacion-de-la-obra-de-ringeck|1}}
   | {{Spanish translation|http://www.aveh.eu/documentos/EdadMedia/Ringekcas.pdf|1}}
   | {{Swedish translation|http://www.ghfs.se/langsvard/#tab-id-3|1}}
@@ Line 63: / Line 64: @@
 | below                =
 }}
-{{about|the master and his glosses|the treatise on fencing from the sweeps sometimes ascribed to Ringeck|Stuck im aufstreichen}}
+{{about|the master and his glosses|the treatise on fencing from the sweeps sometimes ascribed to Ain ringeck|Stuck im aufstreichen}}
-'''Sigmund ain Ringeck''' (Ainring, Amring, Einring, Sigmund Schining) was a [[century::15th century]] [[nationality::German]] [[fencing master]]. While the meaning of the name "Schining" (assigned him by [[Hans Medel]]) is uncertain, the surname "Ainringck" may indicate that he came from the village of Ainring on the current German/Austrian border. He is named in the text as ''Schirmaister'' to Albrecht, Count Palatine of Rhine and Duke of Bavaria. This may signify ''Schirrmeister'', a logistical officer charged with overseeing the wagons and horse-drawn artillery pieces, or potentially ''Schirmmeister'', a title used by lower-class itinerant fencing masters in the Medieval period.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/schirrmeister-schermeister-schirmmeister/ Schirrmeister, Schermeister, Schirmmeister]". '' Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau], 2011. Retrieved 20 June 2015.</ref> Apart from his service to the duke, the only thing that can be determined about his life is that he was connected in some way to the tradition of [[Johannes Liechtenauer]]—his name was included by [[Paulus Kal]] in his roll of members of the [[Fellowship of Liechtenauer]] in ca. 1470.<ref>The Fellowship of Liechtenauer is recorded in three versions of [[Paulus Kal]]'s treatise: [[Paulus Kal Fechtbuch (MS 1825)|MS 1825]] (1460s), [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1570]] (ca. 1470), and [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>
+'''Sigmund Ain ringeck''' (Ainring, Amring, Einring, Sigmund Schining) was a [[century::15th century]] [[nationality::German]] [[fencing master]]. While the meaning of the name "Schining" (assigned him by [[Hans Medel]]) is uncertain, the surname "Ainringck" may indicate that he came from the village of Ainring on the current German/Austrian border. He is named in the text as ''Schirmaister'' to Albrecht, Count Palatine of Rhine and Duke of Bavaria. This may signify ''Schirrmeister'', a logistical officer charged with overseeing the wagons and horse-drawn artillery pieces, or potentially ''Schirmmeister'', a title used by lower-class itinerant fencing masters in the Medieval period.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/schirrmeister-schermeister-schirmmeister/ Schirrmeister, Schermeister, Schirmmeister]". '' Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau], 2011. Retrieved 20 June 2015.</ref> Apart from his service to the duke, the only thing that can be determined about his life is that he was connected in some way to the tradition of [[Johannes Liechtenauer]]—his name was included by [[Paulus Kal]] in his roll of members of the [[Fellowship of Liechtenauer]] in ca. 1470.<ref>The Fellowship of Liechtenauer is recorded in three versions of [[Paulus Kal]]'s treatise: [[Paulus Kal Fechtbuch (MS 1825)|MS 1825]] (1460s), [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca. 1470), and [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref>
-The identity of Ringeck's patron remains unclear, as four men named Albrecht ruled Bavaria during the fifteenth century; assuming that Ringeck was a personal student of [[Johannes Liechtenauer]] further narrows the list down to just two. If the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]] is correctly dated to 1389, then Liechtenauer was a 14th century master and Ringeck's patron was [[wikipedia:Albert I, Duke of Bavaria|Albrecht Ⅰ]], who reigned from 1353 to 1404. If, on the other hand, Liechtenauer was an early 15th century master (an associate of [[H. Beringer]]), which seems more likely given the known careers of members of the Fellowship, then Ringeck's patron would have been [[wikipedia:Albert III, Duke of Bavaria|Albrecht Ⅲ]], who carried the title from 1438 to 1460.<ref>For a different perspective, see [[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.</ref> [[wikipedia:Albert IV, Duke of Bavaria|Albrecht Ⅳ]] claimed the title in 1460 and thus also could have been Ringeck's patron; this would probably signify that Ringeck was not a direct student of Liechtenauer at all, but a later inheritor of the tradition. That said, Albrecht Ⅳ lived until 1508 and so the Dresden, Glasgow, and Salzburg manuscripts were likely created during his reign.
+The identity of Ain ringeck's patron remains unclear, as four men named Albrecht ruled Bavaria during the fifteenth century; assuming that Ain ringeck was a personal student of [[Johannes Liechtenauer]] further narrows the list down to just two. If the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]] is correctly dated to 1389, then Liechtenauer was a 14th century master and Ain ringeck's patron was [[wikipedia:Albert I, Duke of Bavaria|Albrecht Ⅰ]], who reigned from 1353 to 1404. If, on the other hand, Liechtenauer was an early 15th century master (an associate of [[H. Beringer]]), which seems more likely given the known careers of members of the Fellowship, then Ain ringeck's patron would have been [[wikipedia:Albert III, Duke of Bavaria|Albrecht Ⅲ]], who carried the title from 1438 to 1460.<ref>For a different perspective, see [[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.</ref> [[wikipedia:Albert IV, Duke of Bavaria|Albrecht Ⅳ]] claimed the title in 1460 and thus also could have been Ain ringeck's patron; this would probably signify that Ain ringeck was not a direct student of Liechtenauer at all, but a later inheritor of the tradition. That said, Albrecht Ⅳ lived until 1508 and so the Dresden, Glasgow, and Salzburg manuscripts were likely created during his reign.
-Ringeck is often erroneously credited as the author of the [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]]. Ringeck was indeed the author of one of the core texts, a complete [[gloss]] of Liechtenauer's [[Recital]] on unarmored [[long sword]] fencing. However, the remainder of the manuscript contains an assortment of treatises by several different masters in the tradition, and it is currently thought to have been composed in the early 16th century<ref name="Hoffman">Werner J. Hoffmann. [http://www.manuscripta-mediaevalia.de/dokumente/html/obj31600186 "Mscr.Dresd.C.487: Siegmund am Ringeck, Fechtlehre"]. ''Tiefenerschließung und Digitalisierung der deutschsprachigen mittelalterlichen Handschriften der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek (SLUB) Dresden''. Retrieved 26 May 2015.</ref> (putting it after the master's presumed lifetime). Regardless, the fact that he was one of only a few known authors of a gloss of the Recital makes Ringeck one of the most important masters of the Liechtenauer tradition.
+Ain ringeck is often erroneously credited as the author of the [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]]. Ain ringeck was indeed the author of one of the core texts, a complete [[gloss]] of Liechtenauer's [[Recital]] on unarmored [[long sword]] fencing. However, the remainder of the manuscript contains an assortment of treatises by several different masters in the tradition, and it is currently thought to have been composed in the early 16th century<ref name="Hoffman">Werner J. Hoffmann. [http://www.manuscripta-mediaevalia.de/dokumente/html/obj31600186 "Mscr.Dresd.C.487: Siegmund am Ringeck, Fechtlehre"]. ''Tiefenerschließung und Digitalisierung der deutschsprachigen mittelalterlichen Handschriften der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek (SLUB) Dresden''. Retrieved 26 May 2015.</ref> (putting it after the master's presumed lifetime). Regardless, the fact that he was one of only a few known authors of a gloss of the Recital makes Ain ringeck one of the most important masters of the Liechtenauer tradition.
 == Textual History ==
@@ Line 74: / Line 75: @@
 === Manuscript Stemma ===
-While only one treatise bears Ringeck's name, a gloss of Liechtenauer's Recital on the long sword, he is also typically treated as the author of anonymous glosses on the short sword and mounted verses. The latter are associated with Ringeck largely due to the previously mentioned misattribution of the entire [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (Dresden version), but in the case of these glosses, this is not entirely unreasonable attribution to make considering the three substantial versions of the long sword are accompanied by one or both of these other glosses.
+While only one treatise bears Ain ringeck's name, a gloss of Liechtenauer's Recital on the long sword, he is also typically treated as the author of anonymous glosses on the short sword and mounted verses. The latter are associated with Ain ringeck largely due to the previously mentioned misattribution of the entire [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (Dresden version), but in the case of these glosses, this is not entirely unreasonable attribution to make considering the three substantial versions of the long sword are accompanied by one or both of these other glosses.
-All three gloss sections seem to have a common origin with that of the anonymous author known as "[[pseudo-Peter von Danzig]]", which is attested from the 1450s; it is also possible that Ringeck and pseudo-Danzig were the same person, and the gloss attributed to Ringeck is simply the only branch of the larger stemma that retained its author's name.
+All three gloss sections seem to have a common origin with that of the anonymous author known as "[[pseudo-Peter von Danzig]]", which is attested from the 1450s; it is also possible that Ain ringeck and pseudo-Danzig were the same person, and the gloss attributed to Ain ringeck is simply the only branch of the larger stemma that retained its author's name.
-Compared to the pseudo-Danzig gloss, Ringeck's descriptions are often slightly shorter and contain fewer variations; Ringeck does, however, include a number of unique plays not discussed in the other. Unlike the 15th century versions of pseudo-Danzig, Ringeck's long sword gloss was probably extensively illustrated: both the [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (Glasgow) and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]] (Rostock) frequently refer readers to these illustrations, and it appears that source for the Dresden did as well, though the scribe attempted to remove all such references as he copied it (one remains intact,<ref>Dresden fol. [[page:MS Dresd.C.487 031r.png|31r]].</ref> one merely dropped the word "pictured",<ref>Dresden fol. [[page:MS Dresd.C.487 020r.png|20r]].</ref> and one was inexplicably replaced by the word "gloss"<ref>Dresden fol. [[page:MS Dresd.C.487 027r.png|27r]].</ref>).
+Compared to the pseudo-Danzig gloss, Ain ringeck's descriptions are often slightly shorter and contain fewer variations; Ain ringeck does, however, include a number of unique plays not discussed in the other. Unlike the 15th century versions of pseudo-Danzig, Ain ringeck's long sword gloss was probably extensively illustrated: both the [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (Glasgow) and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var.82]] (Rostock) frequently refer readers to these illustrations, and it appears that source for the Dresden did as well, though the scribe attempted to remove all such references as he copied it (one remains intact,<ref>Dresden fol. [[page:MS Dresd.C.487 031r.png|31r]].</ref> one merely dropped the word "pictured",<ref>Dresden fol. [[page:MS Dresd.C.487 020r.png|20r]].</ref> and one was inexplicably replaced by the word "gloss"<ref>Dresden fol. [[page:MS Dresd.C.487 027r.png|27r]].</ref>).
 [[file:Ringeck stemma.png|300px|left|thumb|Provisional stemma codicum]]
-The earliest extant version of Ringeck's gloss (apart from the segments that are identical with the pseudo-Danzig) consists of just elevent paragraphs added by [[Hans von Speyer]] as addenda to certain sections of the [[Lew]] gloss in his 1491 manuscript [[Codex Speyer (MS M.I.29)|M.Ⅰ.29]] (Salzburg).<ref>[[Codex Speyer (MS M.I.29)|MS M.Ⅰ.29]] is signed and internally dated on [[page:MS M.I.29 158r.jpg|folio 158r]].</ref> A twelfth paragraph was integrated by Speyer into pseudo-Danzig's introduction to the ''Krummhaw'', so that Ringeck's explanation of how to use the ''Krumm'' as a counter-cut complements pseudo-Danzig's explanation of how to use it to counter the guard ''Ochs''.
+The earliest extant version of Ain ringeck's gloss (apart from the segments that are identical with the pseudo-Danzig) consists of just elevent paragraphs added by [[Hans von Speyer]] as addenda to certain sections of the [[Lew]] gloss in his 1491 manuscript [[Codex Speyer (MS M.I.29)|M.Ⅰ.29]] (Salzburg).<ref>[[Codex Speyer (MS M.I.29)|MS M.Ⅰ.29]] is signed and internally dated on [[page:MS M.I.29 158r.jpg|folio 158r]].</ref> A twelfth paragraph was integrated by Speyer into pseudo-Danzig's introduction to the ''Krummhaw'', so that Ain ringeck's explanation of how to use the ''Krumm'' as a counter-cut complements pseudo-Danzig's explanation of how to use it to counter the guard ''Ochs''.
-The early 16th century saw three more versions created, two containing the majority of the text. Dresden, which has been by far the subject of the most previous research, has been dated by watermark analysis to 1504-19,<ref name="Hoffman"/> and thus was likely created in or shortly after that time-frame. It is the most extensive version of Ringeck's work, but unfortunately it also seems to be a hasty, error-ridden copy with frequent deletions, insertions, spelling errors, word confusion, and critical omissions (including key words like subjects and verbs, and even whole lines of the ''Zettel''); in the long sword, the majority of paragraphs also seem to have been shortened or truncated and most references to Ringeck's illustrations have been dropped (as detailed above), and in the mounted fencing, the gloss only includes Ringeck's first four plays before switching to the Pseudo-Danzig gloss for the remainder.
+The early 16th century saw three more versions created, two containing the majority of the text. Dresden, which has been by far the subject of the most previous research, has been dated by watermark analysis to 1504-19,<ref name="Hoffman"/> and thus was likely created in or shortly after that time-frame. It is the most extensive version of Ain ringeck's work, but unfortunately it also seems to be a hasty, error-ridden copy with frequent deletions, insertions, spelling errors, word confusion, and critical omissions (including key words like subjects and verbs, and even whole lines of the ''Zettel''); in the long sword, the majority of paragraphs also seem to have been shortened or truncated and most references to Ain ringeck's illustrations have been dropped (as detailed above), and in the mounted fencing, the gloss only includes Ain ringeck's first four plays before switching to the Pseudo-Danzig gloss for the remainder.
 The 1508<ref>[[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] is internally dated on [[page:MS E.1939.65.341 022r.jpg|folio 22r]].</ref> Glasgow, in contrast, is written in a clear and tidy hand and its long sword gloss includes 31 painted, if somewhat low-grade, illustrations (presumably copies of the originals). Its text is generally longer than equivalent passages in the Dresden, including additional information and variations, but like the Dresden it appears to be incomplete in its present form: the first 39 paragraphs of the long sword gloss from the Dresden have no equivalent in the extant manuscript, which begins in the middle of the Twerhaw, and it omits the short sword entirely. On the other hand, it contains the only full copy of the mounted fencing gloss.
@@ Line 90: / Line 91: @@
 The third version from this period, the [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (Vienna), is found at the end of a manuscript attributed to the workshop of [[Albrecht Dürer]]; like all of Dürer's fencing material, appears to be connected with the visit of Emperor Maximilian Ⅰ to Dürer's home city of Nuremberg in 1512.<ref name="Dornhoffer">[[Friedrich Dörnhöffer]]. ''[http://archive.lib.msu.edu/DMC/fencing/albrecht.pdf Albrecht Dürers Fechtbuch].'' Vienna: F. Tempsky, 1910.</ref> This manuscript contains only a disordered but complete rendering of the short sword gloss; this is particularly strange because the manuscript also contains wrestling plays potentially derived from the Glasgow Fechtbuch (which omits the short sword and includes the other two).
-The remaining two versions of Ringeck's text come from later in the 16th century. In 1553, [[Paulus Hector Mair]] produced the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichstadt Nr. 82]] (Augsburg) based on the papers of the late master [[Antonius Rast]].<ref>The origin of [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichstadt Nr. 82]] is detailed on [[page:Reichsstadt "Schätze" Nr. 82 IIr.jpg|folio Ⅱr]].</ref> Included in this manuscript was a version of [[Nicolaüs]]' long sword gloss that is largely complete up to couplet 95 of the Recital where, with no explanation, it switches over to Ringeck's gloss for the remainder of the text.
+The remaining two versions of Ain ringeck's text come from later in the 16th century. In 1553, [[Paulus Hector Mair]] produced the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichstadt Nr. 82]] (Augsburg) based on the papers of the late master [[Antonius Rast]].<ref>The origin of [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichstadt Nr. 82]] is detailed on [[page:Reichsstadt "Schätze" Nr. 82 IIr.jpg|folio Ⅱr]].</ref> Included in this manuscript was a version of [[Nicolaüs]]' long sword gloss that is largely complete up to couplet 95 of the Recital where, with no explanation, it switches over to Ain ringeck's gloss for the remainder of the text.
-The final version, Rostock, is the third substantial one (along with Dresden and Glasgow); it was probably created in the 1560s and was owned by Freifechter [[Joachim Meÿer]] until his death in 1571.<ref>The only date, 1570, is given on [[page:MS Var.82 123r.png|folio 123]] (between the first and second sections of Meyer's rapier text); the rest of the manuscript shows a few different hands and was likely compiled prior to its acquisition by Meyer. See [[Joachim Meyer]]. ''The Art of Combat. A German Martial Arts Treatise of 1570.'' Trans. [[Jeffrey L. Forgeng]]. London: Frontline Books, 2014. pp 32-33.</ref> It contains nearly all of Ringeck's presumed gloss of the short sword verses, but only an abbreviated (thought still extensive) version of the long sword gloss. Rostock's long sword gloss only includes key passages and omits most of the follow-on plays to each of the Haupstucke; like Glasgow it directs readers to consult Ringeck's illustrations, but unlike Glasgow these illustrations were never added to the manuscript (nor was room left for them).
+The final version, Rostock, is the third substantial one (along with Dresden and Glasgow); it was probably created in the 1560s and was owned by Freifechter [[Joachim Meÿer]] until his death in 1571.<ref>The only date, 1570, is given on [[page:MS Var.82 123r.png|folio 123]] (between the first and second sections of Meyer's rapier text); the rest of the manuscript shows a few different hands and was likely compiled prior to its acquisition by Meyer. See [[Joachim Meyer]]. ''The Art of Combat. A German Martial Arts Treatise of 1570.'' Trans. [[Jeffrey L. Forgeng]]. London: Frontline Books, 2014. pp 32-33.</ref> It contains nearly all of Ain ringeck's presumed gloss of the short sword verses, but only an abbreviated (thought still extensive) version of the long sword gloss. Rostock's long sword gloss only includes key passages and omits most of the follow-on plays to each of the Haupstucke; like Glasgow it directs readers to consult Ain ringeck's illustrations, but unlike Glasgow these illustrations were never added to the manuscript (nor was room left for them).
-All six extant versions of Ringeck's gloss are thus fragmentary, but enough text remains in each to demonstrate a lack of interdependence—apart from Augsburg, which could conceivably derive from Glasgow if the scribe were particularly careless. Each of the other five manuscripts has a unique constellation of plays which can be authenticated from other versions as a group, but do not match any other single version to demonstrate copying. All appear therefore to proceed separately from the lost original, unless we suppose that someone gathered up multiple copies to compile a new one (but even that supposition could only account for Rostock, not the others).
+All six extant versions of Ain ringeck's gloss are thus fragmentary, but enough text remains in each to demonstrate a lack of interdependence—apart from Augsburg, which could conceivably derive from Glasgow if the scribe were particularly careless. Each of the other five manuscripts has a unique constellation of plays which can be authenticated from other versions as a group, but do not match any other single version to demonstrate copying. All appear therefore to proceed separately from the lost original, unless we suppose that someone gathered up multiple copies to compile a new one (but even that supposition could only account for Rostock, not the others).
 Due to the fragmentary nature of the stemma at the moment and the lack of anything resembling an autograph or archetype, all versions, or at a minimum the three substantial versions, ought to be treated as co-authoritative (as in the featured translation of the long sword, below).
-(A final text of interest with respect to Ringeck is the treatise of [[Hans Medel|Hans Medel von Salzburg]], which was acquired by Mair in 1539<ref>Medel's section of the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. Ⅰ.6.2º.5]] is internally dated on [[page:Cod.I.6.2º.5 21r.jpg|folio 21r]].</ref> and bound into the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. Ⅰ.6.2º.5]] after 1566.<ref>The record of the [[Marxbrüder]] in the manuscript ends on [[page:Cod.I.6.2º.5 20r.jpg|folio 20r]] with the year 1566, so Mair couldn't have acquired it before then.</ref> Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, including Nicolaüs and [[Hans Seydenfaden von Erfurt]], but his text primarily takes the form of a revision and expansion of Ringeck's long sword gloss. While enough of Ringeck's original text survives Medel's editing that it too can be shown to not derive from any other surviving manuscript, the amount of unique and altered content is such that it is not included in the concordance below, nor used in the translation.)
+(A final text of interest with respect to Ain ringeck is the treatise of [[Hans Medel|Hans Medel von Salzburg]], which was acquired by Mair in 1539<ref>Medel's section of the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. Ⅰ.6.2º.5]] is internally dated on [[page:Cod.I.6.2º.5 21r.jpg|folio 21r]].</ref> and bound into the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. Ⅰ.6.2º.5]] after 1566.<ref>The record of the [[Marxbrüder]] in the manuscript ends on [[page:Cod.I.6.2º.5 20r.jpg|folio 20r]] with the year 1566, so Mair couldn't have acquired it before then.</ref> Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, including Nicolaüs and [[Hans Seydenfaden von Erfurt]], but his text primarily takes the form of a revision and expansion of Ain ringeck's long sword gloss. While enough of Ain ringeck's original text survives Medel's editing that it too can be shown to not derive from any other surviving manuscript, the amount of unique and altered content is such that it is not included in the concordance below, nor used in the translation.)
 === Modern HEMA ===
-Ringeck's gloss might be said to have kicked off the HEMA movement: a complete transcription of the Dresden manuscript was a substantial piece of [[Martin Wierschin]]'s landmark ''Meister Johann Liechtenauers Kunst des Fechtens'' in 1965, which was the first "HEMA book". Only the Dresden and Salzburg manuscripts were included in Wierschin's catalog of German fencing treatises. When [[Hans-Peter Hils]] published his updated catalog as ''Meister Johann Liechtenauers Kunst des langen Schwertes'' in 1985, he added two more: the Vienna and Augsburg manuscripts. However, in the 20th century, none of these apart from Dresden were recognized as containing any writings of Ringeck. Conversely, the Dresden was proposed by Wierschin and Hils to be entirely the original work of Ringeck, including material that we now know to be Lignitzer's sword and buckler, Ott's wrestling, and pseudo-Danzig's mounted fencing, and this was accepted uncritically even by noted historians such as Sydney Anglo.
+Ain ringeck's gloss might be said to have kicked off the HEMA movement: a complete transcription of the Dresden manuscript was a substantial piece of [[Martin Wierschin]]'s landmark ''Meister Johann Liechtenauers Kunst des Fechtens'' in 1965, which was the first "HEMA book". Only the Dresden and Salzburg manuscripts were included in Wierschin's catalog of German fencing treatises. When [[Hans-Peter Hils]] published his updated catalog as ''Meister Johann Liechtenauers Kunst des langen Schwertes'' in 1985, he added two more: the Vienna and Augsburg manuscripts. However, in the 20th century, none of these apart from Dresden were recognized as containing any writings of Ain ringeck. Conversely, the Dresden was proposed by Wierschin and Hils to be entirely the original work of Ain ringeck, including material that we now know to be Lignitzer's sword and buckler, Ott's wrestling, and pseudo-Danzig's mounted fencing, and this was accepted uncritically even by noted historians such as Sydney Anglo.
 In the 1990s, Wierschin's transcription was translated to modern German by Christoph Kaindel, and a new transcription was authored by [[Dierk Hagedorn]] and posted on the Hammaborg site in 2008, forty years after the first.
-The first English translation was produced in 1999 by [[Jörg Bellinghausen]]; a fragment of an early draft of Bellinghausen's translation was posted on the ARMA site, but Jörg Bellinghausen indicates that though he completed the translation afterward, it was lost in a computer mishap and he never reconstructed it. Instead, in 2003 [[David Rawlings]] continued his work by translating the remaining plays of the long sword and short sword sections. In this same period, another English translation was produced by [[Christian Tobler]] and published in 2001 by [[Chivalry Bookshelf]] in ''Secrets of German Medieval Swordsmanship'', and a fourth English translation was produced by [[David Lindholm]] and published in 2005 by [[Paladin Press]] in two volumes, ''Sigmund Ringeck's Knightly Art of the Longsword'' and ''Sigmund Ringeck's Knightly Arts of Combat: Sword-and-Buckler Fighting, Wrestling, and Fighting in Armor''.
+The first English translation was produced in 1999 by [[Jörg Bellinghausen]]; a fragment of an early draft of Bellinghausen's translation was posted on the HACA (later ARMA) site, but Jörg Bellinghausen indicates that he completed the translation afterward and it was subsequently lost in a computer mishap. Instead, in 2003 [[David Rawlings]] continued his work by translating the remaining plays of the long sword and short sword sections. In this same period, another English translation was produced by [[Christian Tobler]] and published in 2001 by [[Chivalry Bookshelf]] in ''Secrets of German Medieval Swordsmanship'', and a fourth English translation was produced by [[David Lindholm]], illustrated by [[Peter Svärd]], and published by [[Paladin Press]] in two volumes, ''Sigmund Ringeck's Knightly Art of the Longsword'' (2003) and ''Sigmund Ringeck's Knightly Arts of Combat: Sword-and-Buckler Fighting, Wrestling, and Fighting in Armor'' (2006).
-Other translations of the long sword produced in the '00s include [[Philippe Errard]], [[Didier de Grenier]], and [[Michaël Huber]]'s French translation posted on the ARDAMHE site; [[Eugenio García-Salmones]]' Spanish translation posted on the AVEH site in 2006 (translated from the French); Gábor Erényi's partial Hungarian translation posted on the Schola Artis Gladii et Armorum site in 2009; and [[Andreas Engström]]'s Swedish translation posted on the GHFS site. In 2010, [[Keith Farrell]] translated the Swedish into a fifth English version, and in 2013, Federico Malagutti translated Farrell's English into Italian.
+Other translations of the long sword produced in the '00s include [[Philippe Errard]], [[Antoine Fournier]], [[Didier de Grenier]], and [[Michaël Huber]]'s French translation posted on the ARDAMHE site in 2002; [[Eugenio García-Salmones]]' Spanish translation posted on the AVEH site in 2006 (translated from the French); Gábor Erényi's partial Hungarian translation posted on the Schola Artis Gladii et Armorum site in 2009; and [[Andreas Engström]]'s Swedish translation posted on the GHFS site. In 2010, [[Keith Farrell]] translated the Swedish into a fifth English version, and in 2013, Federico Malagutti translated Farrell's English into Italian.
 All of these translations were based exclusively on the Dresden version, which was thought by many to be unique (perhaps even an autograph) until other versions began to be identified in the 21st.
-The Glasgow Fechtbuch was identified in [[Sydney Anglo]]'s 2000 opus as merely "[R. L.] Scott's Liechtenauer MS",<ref>Sydney Anglo. ''The Martial Arts of Renaissance Europe''. New Haven and London: Yale University Press, 2000. pp 312-315.</ref> but had been associated with Ringeck by 2008 when [[Rainer Leng]] published his catalog. In 2009, the first 24 folia were transcribed by [[Anton Kohutovič]] and posted on the Gesellschaft Liechtenauers site, and the complete manuscript was transcribed by [[Dierk Hagedorn]] and posted on Hammaborg. It's unclear when the Rostock manuscript was first identified as pertaining to [[Joachim Meyer]], but it began circulating prior to 2009 and [[Kevin Maurer]] authored a partial transcription in 2011, after which Ringeck's section was recognized; [[Dierk Hagedorn]] posted a complete transcription on Hammaborg in 2015.
+The Glasgow Fechtbuch was identified in [[Sydney Anglo]]'s 2000 opus as merely "[R. L.] Scott's Liechtenauer MS",<ref>Sydney Anglo. ''The Martial Arts of Renaissance Europe''. New Haven and London: Yale University Press, 2000. pp 312-315.</ref> but had been associated with Ain ringeck by 2008 when [[Rainer Leng]] published his catalog. In 2009, the first 24 folia were transcribed by [[Anton Kohutovič]] and posted on the Gesellschaft Liechtenauers site, and the complete manuscript was transcribed by [[Dierk Hagedorn]] and posted on Hammaborg. It's unclear when the Rostock manuscript was first identified as pertaining to [[Joachim Meyer]], but it began circulating prior to 2009 and [[Kevin Maurer]] authored a partial transcription in 2011; [[Dierk Hagedorn]] posted a complete transcription on Hammaborg in 2015.
-On the other hand, the Salzburg version was well-known and transcriptions were posted by [[Beatrix Koll]] on the [[Universitätsbibliothek Salzburg]] site in 2002 and by [[Dierk Hagedorn]] on the Hammaborg site in 2009; likewise, the Augsburg version was transcribed by [[Werner Ueberschär]] was posted on the Schwertbund Nurmberg site in 2012. However, the fact that these manuscripts included fragments of Ringeck's gloss was not realized until they were added to Wiktenauer in the 2010s. Likewise, the Vienna version has been known as a manuscript illustrated by [[Albrecht Dürer]] for centuries, but the attribution of the short sword teachings to Ringeck wasn't made until [[Dierk Hagedorn]] released a full transcription in 2016.
+On the other hand, the Salzburg version was well-known and transcriptions were posted by [[Beatrix Koll]] on the [[Universitätsbibliothek Salzburg]] site in 2002 and by [[Dierk Hagedorn]] on the Hammaborg site in 2009; likewise, the Augsburg version was transcribed by [[Werner Ueberschär]] and posted on the Schwertbund Nurmberg site in 2012. However, the fact that these manuscripts included fragments of Ain ringeck's gloss was not realized until they were added to Wiktenauer in the 2010s. And, of course, the Vienna version has been known as a manuscript illustrated by [[Albrecht Dürer]] for centuries, but the attribution of the short sword teachings to Ain ringeck wasn't made until [[Dierk Hagedorn]] released a full transcription in 2016.
 In 2015, [[Christian Trosclair]] authored a new translation of the long sword section for Wiktenauer, which was the first that incorporated all five known versions of that section; this translation was also published by Wiktenauer that year in ''The Recital of the Chivalric Art of Fencing of the Grand Master Johannes Liechtenauer''. In 2017, Trosclair's translation was translated to Indonesian by Pradana Pandu Mahardhika. Trosclair later revised his translation in 2021.
-Most recently, [[Stephen Cheney]] authored a seventh translation of the long sword section, based on Dresden and Glasgow, which he self-published in ''Ringeck{{middot}} Danzig{{middot}} Lew Longsword'' in 2020. He also authored the first translation of the Glasgow version of Ringeck's mounted fencing and donated it to Wiktenauer. In 2021, [[Rainer Welle]]'s transcription of the Vienna version was published by Sublilium Schaffer in ''Albrecht Dürer und seine Kunst des Zweikampfes : auf den Spuren der Handschrift 26232 in der Albertina Wien'', and [[Dierk Hagedorn]]'s transcription and translation into modern German were published by [[VS-Books]] in ''Albrecht Dürer - Das Fechtbuch''.
+Most recently, [[Stephen Cheney]] authored a seventh translation of the long sword section, based on Dresden and Glasgow, which he self-published in ''Ringeck{{middot}}Danzig{{middot}}Lew Longsword'' in 2020. He also authored the first translation of the Glasgow version of Ain ringeck's mounted fencing and donated it to Wiktenauer. In 2021, [[Rainer Welle]]'s transcription of the Vienna version was published by Sublilium Schaffer in ''Albrecht Dürer und seine Kunst des Zweikampfes : auf den Spuren der Handschrift 26232 in der Albertina Wien'', and [[Dierk Hagedorn]]'s transcription and translation into modern German were published by [[VS-Books]] in ''Albrecht Dürer - Das Fechtbuch''. In 2022, Dierk Hagedorn followed this up with an English translation, published (along with the transcription) by Greenhill Books in ''Dürer's Fight Book: The Genius of the German Renaissance and his Combat Treatise''.
 == Treatise ==
@@ Line 134: / Line 135: @@
    <th id="LSSalzburg0"><p>[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
    <th id="LSDresden0"><p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] (1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
-   <th id="LSGlasgow0"><p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
+   <th id="LSGlasgow0"><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></th>
    <th id="LSAugsburg0"><p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Version]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>Transcribed by [[Werner Ueberschär]]</p></th>
    <th id="LSRostock0"><p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Version]] (1570){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
@@ Line 150: / Line 151: @@
 {{ringeck row LS|2
-| [[File:MS E.1939.65.341 035r.jpg|300px|center]]
+|
 |
 |
@@ Line 1,924: / Line 1,925: @@
 | {{section|Page:MS 26-232 107r.png|2|lbl=107r.2}}
 |
-{{section|Page:MS Var.82 102r.png|1|lbl=102r|p=1}} {{section|Page:MS Var.82 100r.png|2|lbl=100r.2|p=1}}
+{{section|Page:MS Var.82 102r.png|1|lbl=102r.1|p=1}} {{section|Page:MS Var.82 100r.png|2|lbl=100r.2|p=1}}
 }}
@@ Line 1,975: / Line 1,976: @@
    <th id="MFCheney0"><p>{{translation rating|C|Draft Translation (Glasgow only)}} (2020)<br/>by [[Stephen Cheney]]</p></th>
    <th id="MFDresden0"><p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] (1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
-   <th id="MFGlasgow0"><p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version]] (1508)}}<br/>Transcribed by [[Dierk Hagedorn]]</p></th>
+   <th id="MFGlasgow0"><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></th>
   </tr>
@@ Line 2,113: / Line 2,114: @@
 {{Ringeck row MF rsb|27
 | {{section|Page:MS Dresd.C.487 109r.png|1|lbl=109r.1}}
-| <p><br/></p>
+| <p><br/><br/></p>
 {{section|Page:MS E.1939.65.341 075r.jpg|3|lbl=75r.3}}
@@ Line 2,684: / Line 2,685: @@
 == Additional Resources ==
-* [[Stephen Cheney|Cheney, Stephen]]. ''Ringeck &middot; Danzig &middot; Lew Longsword''. Self-published, 2020. ISBN 978-8649845441
+{{bibliography}}
-* [[Dierk Hagedorn|Hagedorn, Dierk]] (in German). ''Albrecht Dürer. Das Fechtbuch.'' [[VS-Books]], 2021. ISBN 9783932077500
-* [[Dierk Hagedorn|Hagedorn, Dierk]] and Daniel Jaquet. ''Dürer's Fight Book: The Genius of the German Renaissance and his Combat Treatise.'' Barnsley, UK: Greenhill Books, 2022. ISBN: 978-1-784438-703-7
-* Kellett, Rachel E. "'... 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. Larissa Tracy and Kelly DeVries. Leiden: Brill, 2015. {{doi|10.1163/9789004306455_007}}
-* [[David Lindholm|Lindholm, David]] and Svard, Peter. ''Sigmund Ringeck's Knightly Art of the Longsword''. Boulder, CO: [[Paladin Press]], 2003. ISBN 978-1-58160-410-8
-* [[David Lindholm|Lindholm, David]] and Svard, Peter. ''Sigmund Ringeck's Knightly Arts of Combat: Sword-and-Buckler Fighting, Wrestling, and Fighting in Armor''. Boulder, CO: [[Paladin Press]], 2006. ISBN 978-1-58160-499-3
-* [[Christian Henry Tobler|Tobler, Christian Henry]]. ''Secrets of German Medieval Swordsmanship''. Highland Village, TX: [[Chivalry Bookshelf]], 2001. ISBN 1-891448-07-2
-* Verelst, Karin. "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.  Daniel Jaquet, Karin Verelst, and Timothy Dawson. History of Warfare 112. Leiden/Boston: Brill, 2016. {{doi|10.1163/9789004324725_008}}
-* [[Rainer Welle|Welle, Rainer]] (in German). ''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, 2021. ISBN 9783950500806
-* [[Martin Wierschin|Wierschin, Martin]] (in German). ''Meister Johann Liechtenauers Kunst des Fechtens''. München: Beck, 1965.
 == References ==
@@ Line 2,703: / Line 2,695: @@
 [[Category:Masters]]
-[[Category:Translation]]
 [[Category:German]]
@@ Line 2,713: / Line 2,703: @@
 [[Category:New format]]
+[[Category:Modular display]]

Difference between revisions of "Sigmund ain Ringeck"

Latest revision as of 14:37, 29 October 2024

Contents

Textual History

Manuscript Stemma

Modern HEMA

Treatise

Long sword

Short sword

Mounted fencing

Long Sword

Short Sword

Mounted Fencing

Copyright and License Summary

Additional Resources

References

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