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Difference between revisions of "H. Beringer"

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{{infobox medieval text
 
{{infobox medieval text
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<!-- --------Name---------->
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<!-----------Name---------->
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| name                  = Moda Dimicandi
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| name                  = Modus Dimicandi
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| alternative title(s)  = Method of Fighting
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| alternative title(s)  = Method of Fighting
 
<!----------Image---------->
 
<!----------Image---------->
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| image                =  
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| image                = File:MS G.B.f.18a 123v.png
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| width                =  
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| width                = x200px
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| caption              =  
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| caption              =  
 
<!----------Information---------->
 
<!----------Information---------->
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| full title            =  
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| full title            =  
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| also known as        =  
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| also known as        =  
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| author(s)            =  
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| author(s)            =  
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| ascribed to          = [[name::H. Beringer]]{{#set:occupation=Fencing master}}
+
| ascribed to          = [[name::H. Beringer]]{{#set:occupation=Fencing master}}
−
| compiled by          =  
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| compiled by          =  
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| illustrated by        = Unknown
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| illustrated by        =  
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| patron                =  
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| patron                =  
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| dedicated to          =  
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| dedicated to          =  
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| audience              =  
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| audience              =  
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| language              = {{plainlist
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| language              = {{plainlist
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| [[language::Early New High German]]
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  | [[language::Early New High German]]
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| [[language::Renaissance Latin]]
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  | [[language::Renaissance Latin]]
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}}
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}}
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| date                  =  
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| date                  =  
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| state of existence    =  
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| state of existence    =  
 
<!----------Manuscript Information---------->
 
<!----------Manuscript Information---------->
−
| genre                = {{plainlist
+
| genre                = [[Fencing manual]]
−
  | [[Fencing manual]]
+
| archetype(s)          = [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (1416-44)
−
  | [[Wrestling manual]]
+
  | manuscript(s)        = [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479)
 +
| principal manuscript(s)=
 +
| first printed edition =
 +
  | wiktenauer compilation by=[[Michael Chidester]]
 +
| translations          = {{plainlist
 +
  | {{english translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/}}
 +
  | {{german translation|http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/|1}}
 +
}}
 +
| below                =
 
}}
 
}}
−
| archetype(s)          = [[Modus Dimicandi (MS G.B.f.18.a)|MS G.B.f.18.a]] (1418-28)
+
'''Magister H. Beringer''' was a [[century::15th century]] writer credited with recording a poem on fencing with some connection to the [[Recital]] of [[Johannes Liechtenauer]]. It is first recorded in the [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1416-44), and thus predates all records of Liechtenauer's teachings.<ref name="Kleinau">[[Jens P. Kleinau]]. "[https://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/ 1418 Modus Dimicandi Magistri H. Beringois of the Ms. G.B.f.18.a]". ''Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau'', 09 July 2013. Retrieved 20 November 2017.</ref> The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a last name and very common first initial, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.<ref name="Acutt">James Acutt. "[http://chivalry.org.uk/beringois.html Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)]". ''Chivalry''. 2 September 2014. Retrieved 20 November 2017.</ref>
−
| manuscript(s)        = [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479)
+
 
−
| principal manuscript(s)=
+
The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half<ref>113 of the 218 lines.</ref> of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. Rather, it may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or even that Beringer's verse represents just one of the teachings that Liechtenauer learned and compiled over the course of the journeys described by [[Pseudo-Hans Döbringer]].<ref>See MS 3227a, [[Page:MS 3227a 13v.jpg|fol. 13v]].</ref>
−
| first printed edition =
+
 
−
| wiktenauer compilation by=[[Michael Chidester]]
+
Beringer's verse was recapitulated by [[Hans Folz]] in the [[Die Meisterlieder des Hans Folz (MS Q.566)|MS Q.566]] (1479), but in an unattributed and garbled form which indicates that he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.<ref name="Acutt"/>
−
| translations          =
 
−
| below                =
 
−
}}
 
−
'''Magister H. Beringer''' was a [[century::15th century]] writer credited with authoring a poem on fencing with some connection to the [[Recital]] of [[Johannes Liechtenauer]]. It is first recorded in the [[Modus Dimicandi (MS G.B.f.18.a)|MS G.B.f.18.a]] (ca. 1418-28), and thus predates all records of Liechtenauer's teachings. The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only a substantial fragment of one section of Liechtenauer's, makes a direct transmission from one master to the other seem unlikely. It may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or it may be that Beringer's verse represents just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in [[Nuremberg Hausbuch (MS 3227a)|MS 3227a]].<ref>See MS 3227a, fol. 13v. "There is just one art of the sword, and... Master Liechtenauer internalized and applied it quite completely and correctly—not that he discovered and conceived it himself, but rather, he traveled through many lands and sought the legitimate and truthful art for the sake of experiencing and knowing it."</ref>
 
  
 
== Treatise ==
 
== Treatise ==
 +
 +
In the presentation below, the teaching has been arranged in verses for clarity; line divisions are determined based on rhyme scheme and extrapolation from Liechtenauer. Hans Folz's verses have been rearranged to match the sequence given by Beringer, and the verses that are not found in Beringer have been inserted based on their positions in Folz and checked against Liechtenauer's verse.
  
 
{{master begin
 
{{master begin
 
  | title = Long Sword
 
  | title = Long Sword
−
  | width = 84em;
+
  | width = 93em;
 
}}
 
}}
−
{| class="wikitable floated master"
+
{| class="master"
 
|-   
 
|-   
−
! <p>{{rating|c}}<br/>by [[Jens P. Kleinau]]</p>
+
! style="width:33em;" | <p>{{rating|c|Draft Translation (from the Jena)}}<br/>by [[Jay Acutt]]</p>
−
! <p>[[Modus Dimicandi (MS G.B.f.18.a)|Jena Transcription]] (1418-28){{edit index|Modus Dimicandi (MS G.B.f.18.a)}}<br/>by [[Jens P. Kleinau]]</p>
+
! <p>[[Modus Dimicandi (MS G.B.f.18a)|Jena Version]] (1416-44){{edit index|Modus Dimicandi (MS G.B.f.18a)}}<br/>Transcribed by [[Jay Acutt]]</p>
−
! <p>[[Die Meisterlieder des Hans Folz (MS Q.566)|Weimar Version]] (1479){{edit index|Die Meisterlieder des Hans Folz (MS Q.566)}}<br/>by [[Andreas Meier]]</p>
+
! <p>[[Die Meisterlieder des Hans Folz (MS Q.566)|Weimar Version]] (1479){{edit index|Die Meisterlieder des Hans Folz (MS Q.566)}}<br/>Transcribed by [[Andreas Meier]]</p>
  
 
|-  
 
|-  
−
| <p>'''Here starts the good and true fencing mode of master H. Beringer, of blessed memory.'''</p>
+
| <p>'''Here follows Master Beringer’s (blessed memory) Good and True mode of Combat'''</p>
−
 
+
{| class="zettel"
−
<p>Young knight learn<br/>
+
|-
−
to love God and honor women.<br/>
+
| <small>1</small>
−
Practice knighthood and learn<br/>
+
| Young knight study <br/>to love God and to treat women with dignity.<ref>The word “Ere” may be aligned with the modern German “Ehre” meaning “honour”. I have aimed to use a translation which rhymes, but have also suggested the term stemming from the Latin term for honour: dignitas. Dignity and Honour in this context are therefore captured as synonyms. Bailey (1675), seems to agree “Dignity (dignité, F. of Dignitas, L) Honour, Reputation</ref>
−
the thing that dignifies you,<br/>
+
|-
−
and serves you in wars.<br/>
+
| <small>2</small>
−
Glaive, wrestling,<br/>
+
| <br/>Practice knighthood and study,
−
spear, sword and knife<br/>
+
|-
−
requires a righteous man’s hands<br/>
+
| <small>3</small>
−
and contain harm in other’s.<br/>
+
| the material<ref>Aristotle’s Res (material, or “thing”). HS3227a, Wolfenbüttel record “Matter” (Dingen), whereas Talhoffer (1443), Rome (1452), Ringeck Dresden (1504) record “Art” (Kunst), Aristotle’s Ars.Wachter (169-170) suggests “Dinghen” means “to contend” (contendere), whilst “to ding” is to “give a great blow”.</ref> that exalts you, <br/>and in battle truly glorifies you.
−
Wrath-Strike, Crook-Strike, Cross-Strike<br/>
+
|-
−
has Slant-Strike with Parting-Strike</p>
+
| <small>4</small>
−
| {{section|Page:MS G.B.f.18.a 123v.png|1|lbl=123v}}
+
| Lance,<ref>I offer “Lance” in accordance with the aforementioned dialect (Schiller & Lübben (1875, 119) Mittelniederdeutsches Wörterbuch. (1863, 136) Urkunderbuch des Historischen Vereins für Niedersachsen, Volumes 6-8. von der Hagen, FH (1843, 62) Germania, Volumes 5-6;). Kleinau suggests “Glaive, wrestling, spear,” (Glevringen . sper)</ref><br/>Spear, Sword and Machete,
 +
|-
 +
| <small>5</small>
 +
| Manfully wield<br/>and be a threat in another’s hands.
 +
|-
 +
| <small>6</small>
 +
| Wrathful cuts Crumple, Across<br/>with Scalps<ref>Kleinau offers “Wrath-Strike, Crook-Strike, Cross-Strike has Slant-Strike with Parting-Strike” although the use of the term “strike” is a modern extrapolation which does not appear in the source. I have offered a pseudo- sentence in a bid to suggest that the couplet means something different to the uninitiated; whereas the initiated would understand the keywords as names for strikes.</ref> has Squints.
 +
|}
 +
| {{section|Page:MS G.B.f.18a 123v.png|1|lbl=123v-a}}
 
|  
 
|  
 
<p>{{section|Page:MS Q566 147v.jpg|2|lbl=147v|p=1}}<br/><br/></p>
 
<p>{{section|Page:MS Q566 147v.jpg|2|lbl=147v|p=1}}<br/><br/></p>
  
−
<br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Q566 147v.jpg|9|lbl=147v|p=1}}
+
<br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Q566 147v.jpg|9|lbl=-|p=1}}
  
 
|-  
 
|-  
 
| <p>'''The War'''</p>
 
| <p>'''The War'''</p>
−
 
+
{| class="zettel"
−
<p>Who strikes at you above,<br/>
+
|-
−
is threatened by Wrath-Strike’s point.<br/>
+
| <small>7</small>
−
If he becomes aware of it,<br/>
+
| Whoever cuts above you, <br/>Wrathful cuts-point threatens.
−
take it off without danger.<br/>
+
|-
−
If you are stronger<br/>
+
| <small>8</small>
−
wind again and thrust. If he sees it, take it down.<br/>
+
| Should he defend, <br/>Take it over without risk.
−
Draw, what is above from superiority,<br/>
+
|-
−
such ends the war.<br/>
+
| <small>9</small>
−
Crook, do not strike short,<br/>
+
| Against stronger <br/>then turn the point, if he spots that aim it low.
−
the Changer lurks within.<br/>
+
|-
−
Crook, upwards fast,<br/>
+
| <small>10</small>
−
throw the point on the hands.<br/>
+
| Pull up high overhead,<br/>thus resolves the battle.<ref>Read: Trial by battle.</ref>
−
Crook, who judges well,<br/>
+
|-
−
with steps will hurt many strikes.<br/>
+
| <small>11</small>
−
Crook, who confuses you,<br/>
+
| Crumple not, with the shift,<br/>the short cut is evident:
−
the noble war bewilders you.<br/>
+
|-
−
Cross receives<br/>
+
| <small>12</small>
−
what comes from the sky above.<br/>
+
| Crumple up lithely, <br/>throw the point over the [his] hands:
−
Cross to the point,<br/>
+
|-
−
take the throat/neck without fear.<br/>
+
| <small>13</small>
−
Slant in high above,<br/>
+
| Crumple whoever wants to position <br/>with stepping, many cuts are harmed:
−
if you want to impress him.<br/>
+
|-
−
The parting-strike with his turn,<br/>
+
| <small>14</small>
−
is a menace to the face.</p>
+
| Crumple who confuses you, <br/>with the noble war you confuse,
−
| {{section|Page:MS G.B.f.18.a 123v.png|2|lbl=-}}
+
|-
 +
| <small>15</small>
 +
| The Cross escorts<br/>what comes from Heaven,<ref>I believe the wording here lends a clue to the meanings, by referencing the double-meaning of “Cross” as crucifix, the scribe suggests that Christ welcomes that which comes from God, a reference inevitably to the trial by combat as a Judgement of God.</ref>
 +
|-
 +
| <small>16</small>
 +
| Cross to the point <br/>to take the neck without fear,
 +
|-
 +
| <small>17</small>
 +
| Squint from on high, <br/>so that you will be in command,
 +
|-
 +
| <small>18</small>
 +
| The scalper at his angle <br/>is a threat to the face.
 +
|}
 +
| {{section|Page:MS G.B.f.18a 123v.png|2|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 103: Line 130:
  
 
|-  
 
|-  
−
| <p>'''Here are the precepts'''</p>
+
| <p>'''Here are precautions'''</p>
−
 
+
{| class="zettel"
−
<p>Do you startle easily<br/>
+
|-
−
you will never learn to fight.<br/>
+
| <small>19</small>
−
Inbetween, Before and After,<br/>
+
| If you’re easy to flight,<br/>never shall you learn to fight.
−
those two things are all things origin.<br/>
+
|-
−
Inbetween, Before and After<br/>
+
| <small>20</small>
−
without rush do not be after the War.<br/>
+
| <br/>Now,
−
What the War intends above,<br/>
+
|-
−
below he will be embarrassed.<br/>
+
| <small>21</small>
−
Hear what is bad,<br/>
+
| Before and After, those two things<br/>are the origin of all things.
−
do not fence left if you are a righty,<br/>
+
|-
−
and as a lefty with the right,<br/>
+
| <small>22</small>
−
listen you will limp.<br/>
+
| Now, Before and After<br/>into the battle, do not be last;
−
I say truly,<br/>
+
|-
−
no man will guard himself without danger.<br/>
+
| <small>23</small>
−
If you remarked it,<br/>
+
| if the battle roams up high,<br/>then down below may he be shamed.
−
he will not come to any strikes.</p>
+
|-
−
| {{section|Page:MS G.B.f.18.a 123v.png|3|lbl=-}}
+
| <small>24</small>
 +
| Hear what is worst:<br/>don’t fight from the left when you are right,  
 +
|-
 +
| <small>25</small>
 +
| since left instead of right,<br/>also hear, lags behind.
 +
|-
 +
| <small>26</small>
 +
| I say veritably,<br/>no man may protect himself without risk,
 +
|-
 +
| <small>27</small>
 +
| so you have been told&mdash;<br/>do not let him come to blows.
 +
|}
 +
|
 +
{{section|Page:MS G.B.f.18a 123v.png|3|lbl=-|p=1}}<br/>{{section|Page:MS G.B.f.18a 123v.png|4|lbl=123v-b|p=1}}
 
| <p><br/></p>
 
| <p><br/></p>
  
Line 127: Line 167:
  
 
|-  
 
|-  
−
| <p>'''Of the Hangings'''</p>
+
| <p>'''On the inclines'''<ref>Trajectories/planes.</ref></p>
 +
{| class="zettel"
 +
|-
 +
| <small>28</small>
 +
| Two inclines:<br/>down from both hands, up from the ground.
 +
|-
 +
| <small>29</small>
 +
| Whoever pulls his blow<br/>quickly away from you,
 +
|-
 +
| <small>30</small>
 +
| then so the master<br/>strikes at the flat
 +
|-
 +
| <small>31</small>
 +
| firmly, at the Plough, <br/>at the Ox.
 +
|-
 +
| <small>32</small>
 +
| He who cuts afterwards:<br/>his skill cuts with little joy<ref>Avail.</ref>,
 +
|-
 +
| <small>33</small>
 +
| and cut whatever you wish,<br/>so that no shifts<ref>''Wechseler''.</ref> may penetrate your defence.<ref>''Schilt''.</ref>
 +
|-
 +
| <small>34</small>
 +
| <br/><br/>
  
−
<p>Two hang down&mdash;<br/>
+
|}
−
of both hands&mdash;up from the earth.<br/>
+
| {{section|Page:MS G.B.f.18a 123v.png|5|lbl=-}}
−
Who withdraws before you,<br/>
 
−
strike quickly so that he snorts.<br/>
 
−
Strike to the {sides|flutes}<br/>
 
−
if you want to play a trick on the master.<br/>
 
−
Strike to the Plough,<br/>
 
−
join firmly to the Ox.<br/>
 
−
Who follows the strikes,<br/>
 
−
cannot have joy in the art.<br/>
 
−
Strike what you want,<br/>
 
−
no Changer will reach your shield.<br/>
 
−
Four are the Displacements,<br/>
 
−
which hurts the Guards sore.<br/>
 
−
Set on the four Ends,<br/>
 
−
stay on it if you want to end.<br/>
 
−
Of displacing beware,<br/>
 
−
if it happens,<br/>
 
−
it will troubles you much.<br/>
 
−
If it happens, how it happens,<br/>
 
−
hear what I advise,<br/>
 
−
sweep off, quick, strike with a step.</p>
 
−
| {{section|Page:MS G.B.f.18.a 123v.png|4|lbl=-}}
 
 
| <p><br/></p>
 
| <p><br/></p>
  
−
{{section|Page:MS Q566 147v.jpg|4|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|5|lbl=148r|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|8|lbl=148r|p=1}}<br/><br/><br/>{{section|Page:MS Q566 147v.jpg|7|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 147v.jpg|5|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 147v.jpg|6|lbl=147v|p=1}}
+
{{section|Page:MS Q566 147v.jpg|4|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|5|lbl=148r|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
−
<p>Thereafter-Riding learn,<br/>
+
{| class="zettel"
−
step forward and cut into the weapon/defense.<br/>
+
|-
−
Speaking-Window do,<br/>
+
| <small>35</small>
−
stand steady, observe his doing,<br/>
+
| <br/><br/>
−
without any danger,<br/>
+
|-  
−
how much remorse he bears.<br/>
+
| <small>36</small>
−
In all Winding<br/>
+
| Whoever does fore-stall,<br/>severely damages the Postures.
−
strikes, thrusts, and cuts learn to find.<br/>
+
|-
−
That is to remark above,<br/>
+
| <small>37</small>
−
if the guards are soft or hard.<br/>
+
| Set upon the four extremities,<br/>and remain there if you wish to stop.<ref>Read: Stop the fight.</ref>
−
Jerk/redraw, if he jerks, jerk more&mdash;<br/>
+
|-
−
work he will find, the step into.<br/>
+
| <small>38</small>
−
Change two times,<br/>
+
| Guard yourself from Fore-stalling,<br/>since if it’s done to you,
−
the old cut do with it.<br/>
+
|-
−
Who wields the Miss from below,<br/>
+
| <small>39</small>
−
will hit wherever he wants.<br/>
+
| it is difficult to defend. <br/>Thus it is that you fore-stall, however he comes at you.
−
Two times forward,<br/>
+
|-
−
step into your guard and do not be lazy.<br/>
+
| <small>40</small>
−
If it comes that it glistens above,<br/>
+
| Heed my advice:<br/>quickly strike cuts away<ref>Read: Away from you.</ref> with diligence.
−
I happily praise stand-off.<br/>
+
|-
−
Who thrusts at you,<br/>
+
| <small>41</small>
−
his point with the defense meet and break.<br/>
+
| Learn ''terminus''<ref>''Nach rysen''.</ref><br/>tread forwards, and slice in defence.
−
I you want to avenge yourself,<br/>
+
|-  
−
four openings break artfully:<br/>
+
| <small>42</small>
−
above double,<br/>
+
| Do the ‘Speaking-Window’<br/>to stand bravely and observe his form.
−
below mutate.<br/>
+
|-
−
If you know (to use) the four openings,<br/>
+
| <small>43</small>
−
you beat him for sure.<br/>
+
| Without any risk<br/>regardless of how he persists.
−
Let the point hang low,<br/>
+
|-
−
grab the pommel, if you want to wrestle.<br/>
+
| <small>44</small>
−
Four are the cuts,<br/>
+
| In all rotations<br/>learn to find the cut, stab, slice.
−
two below and with them two above.</p>
+
|-
−
| {{section|Page:MS G.B.f.18.a 123v.png|5|lbl=-}}
+
| <small>45</small>
 +
| That should you note above,<br/>if the Postures are flexible or firm.
 +
|-
 +
| <small>46</small>
 +
| Pull if he pulls, pull moreso,<br/>[then] he will work to step toward you.
 +
|}
 +
|
 +
<br/><br/>{{section|Page:MS G.B.f.18a 123v.png|6|lbl=-|p=1}}
 
|  
 
|  
−
<br/><br/>{{section|Page:MS Q566 147v.jpg|8|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|7|lbl=148r|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|3|lbl=148r|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|6|lbl=148r|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|4|lbl=148r|p=1}}
+
{{section|Page:MS Q566 148r.jpg|8|lbl=-|p=1}}<br/><br/><br/>{{section|Page:MS Q566 147v.jpg|7|lbl=147v|p=1}}<br/>{{section|Page:MS Q566 147v.jpg|5|lbl=-|p=1}}<br/>{{section|Page:MS Q566 147v.jpg|6|lbl=-|p=1}}<br/><br/><br/>{{section|Page:MS Q566 147v.jpg|8|lbl=-|p=1}}
  
 
|-  
 
|-  
−
| <p>'''And this is the end of the art.'''</p>
 
−
| {{section|Page:MS G.B.f.18.a 123v.png|6|lbl=-}}
 
 
|  
 
|  
 +
{| class="zettel"
 +
|-
 +
| <small>47</small>
 +
| <br/><br/>
 +
|-
 +
| <small>48</small>
 +
| Shifting twofold,<br/>the Ancient Slice shall you perform.
 +
|-
 +
| <small>49</small>
 +
| Feint who is below,<br/>afterwards flow where you want.
 +
|-
 +
| <small>50</small>
 +
| March forward twice <br/>into your guard, and don’t be sluggish.
 +
|-
 +
| <small>51</small>
 +
| If you clash above,<br/>then going to a stand-off I do condone.
 +
|-
 +
| <small>52</small>
 +
| Whoever goes to strike you,<br/>hit transversely, and a break
 +
|-
 +
| <small>53</small>
 +
| will you reckon:<br/>four openings skilfully broken.
 +
|-
 +
| <small>54</small>
 +
| High duplicate,<br/>Low mutate&mdash;
 +
|-
 +
| <small>55</small>
 +
| know four openings,<br/>thus you may strike with certainty.
 +
|-
 +
| <small>56</small>
 +
| Allow the point to hang, <br/>seize the pommel so that you may grapple,
 +
|-
 +
| <small>57</small>
 +
| four are the slices:<br/>with two low, two high, etc.
 +
|}
 +
|
 +
<br/><br/>{{section|Page:MS G.B.f.18a 123v.png|7|lbl=-|p=1}}
 +
|
 +
{{section|Page:MS Q566 148r.jpg|7|lbl=148r|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|6|lbl=-|p=1}}<br/>{{section|Page:MS Q566 148r.jpg|4|lbl=-|p=1}}
 +
 +
|-
 +
| class="noline" | <p>'''And here is the Art at an End.'''</p>
 +
| class="noline" | {{section|Page:MS G.B.f.18a 123v.png|8|lbl=-}}
 +
| class="noline" |
  
 
|}
 
|}
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<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
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| work        = Translation
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| work        = Translation
−
| authors    = [[Jens P. Kleinau]]
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| authors    = [[translator::Jay Acutt]]
−
| source link = http://talhoffer.wordpress.com/2013/07/04/ms-g-b-f-18-a-modus-dimicandi-magistri-h-beringois/
+
| source link = http://chivalry.org.uk/beringois.html
−
| source title= Hans Talhoffer ~ as seen by Jens P. Kleinau
+
| source title= "Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)"
−
| license    = linkware
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| license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Jena Transcription
 
  | work        = Jena Transcription
−
  | authors    = [[Jens P. Kleinau]]
+
  | authors    = [[Jay Acutt]]
 
  | source link =  
 
  | source link =  
−
  | source title= [[Index:Modus Dimicandi (MS G.B.f.18.a)]]
+
  | source title= [[Index:Modus Dimicandi (MS G.B.f.18a)]]
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  | license    = linkware
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  | license    = copyrighted
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
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  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
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{{sourcebox footer}}
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{{sourcebox footer}}<section end="sourcebox"/>
 
{{master end}}
 
{{master end}}
  
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== References ==
 
== References ==
  
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{{reflist}}
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{{reflist|2}}
 
{{DEFAULTSORT:Beringer, H}}
 
{{DEFAULTSORT:Beringer, H}}
 
{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
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[[Category:Longsword]]
 
[[Category:Longsword]]
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[[Category:New format]]

Latest revision as of 23:25, 25 January 2024

Modus Dimicandi
Method of Fighting
MS G.B.f.18a 123v.png
Ascribed to H. Beringer
Genre Fencing manual
Language
Archetype(s) MS G.B.f.18a (1416-44)
Manuscript(s) MS Q.566 (1479)
Concordance by Michael Chidester
Translations

Magister H. Beringer was a 15th century writer credited with recording a poem on fencing with some connection to the Recital of Johannes Liechtenauer. It is first recorded in the MS G.B.f.18a (ca. 1416-44), and thus predates all records of Liechtenauer's teachings.[1] The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a last name and very common first initial, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.[2]

The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half[3] of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. Rather, it may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or even that Beringer's verse represents just one of the teachings that Liechtenauer learned and compiled over the course of the journeys described by Pseudo-Hans Döbringer.[4]

Beringer's verse was recapitulated by Hans Folz in the MS Q.566 (1479), but in an unattributed and garbled form which indicates that he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.[2]

Treatise

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

Additional Resources

References

  1. ↑ Jens P. Kleinau. "1418 Modus Dimicandi Magistri H. Beringois of the Ms. G.B.f.18.a". Hans Talhoffer ~ A Historical Martial Arts blog by Jens P. Kleinau, 09 July 2013. Retrieved 20 November 2017.
  2. ↑ 2.0 2.1 James Acutt. "Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)". Chivalry. 2 September 2014. Retrieved 20 November 2017.
  3. ↑ 113 of the 218 lines.
  4. ↑ See MS 3227a, fol. 13v.
  5. ↑ The word “Ere” may be aligned with the modern German “Ehre” meaning “honour”. I have aimed to use a translation which rhymes, but have also suggested the term stemming from the Latin term for honour: dignitas. Dignity and Honour in this context are therefore captured as synonyms. Bailey (1675), seems to agree “Dignity (dignité, F. of Dignitas, L) Honour, Reputation
  6. ↑ Aristotle’s Res (material, or “thing”). HS3227a, Wolfenbüttel record “Matter” (Dingen), whereas Talhoffer (1443), Rome (1452), Ringeck Dresden (1504) record “Art” (Kunst), Aristotle’s Ars.Wachter (169-170) suggests “Dinghen” means “to contend” (contendere), whilst “to ding” is to “give a great blow”.
  7. ↑ I offer “Lance” in accordance with the aforementioned dialect (Schiller & Lübben (1875, 119) Mittelniederdeutsches Wörterbuch. (1863, 136) Urkunderbuch des Historischen Vereins für Niedersachsen, Volumes 6-8. von der Hagen, FH (1843, 62) Germania, Volumes 5-6;). Kleinau suggests “Glaive, wrestling, spear,” (Glevringen . sper)
  8. ↑ Kleinau offers “Wrath-Strike, Crook-Strike, Cross-Strike has Slant-Strike with Parting-Strike” although the use of the term “strike” is a modern extrapolation which does not appear in the source. I have offered a pseudo- sentence in a bid to suggest that the couplet means something different to the uninitiated; whereas the initiated would understand the keywords as names for strikes.
  9. ↑ Read: Trial by battle.
  10. ↑ I believe the wording here lends a clue to the meanings, by referencing the double-meaning of “Cross” as crucifix, the scribe suggests that Christ welcomes that which comes from God, a reference inevitably to the trial by combat as a Judgement of God.
  11. ↑ Difficult to read, could also be jn.
  12. ↑ Trajectories/planes.
  13. ↑ Avail.
  14. ↑ Wechseler.
  15. ↑ Schilt.
  16. ↑ Hard to read because the word is crossed out.
  17. ↑ Word illegible.
  18. ↑ Read: Stop the fight.
  19. ↑ Read: Away from you.
  20. ↑ Nach rysen.
Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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