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Difference between revisions of "Pseudo-Hans Döbringer/David Lindholm LS 2005"

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|-  
 
|-  
 
| <small>12</small>
 
| <small>12</small>
−
| strike him wherever you wish,<br/>&emsp;and no changer will come within your shield.
+
| strike him wherever you wish,<br/>&emsp;and no changer<ref name="Wechsler">Wechsler</ref> will come within your shield.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
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|-  
 
|-  
 
| <small>13</small>
 
| <small>13</small>
−
| To the head, to the body<br/>&emsp;and do not forget the withdrawing.<ref>Zucken</ref>
+
| To the head, to the body<br/>&emsp;and do not forget the withdrawing.<ref name="Czucken">Czucken</ref>
 
|-  
 
|-  
 
| <small>14</small>
 
| <small>14</small>
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Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings and the turnings<ref name="Winden">Winden</ref> is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point [of the opponent's weapon] do not always hit well. But with these techniques striking,<ref>Hawende</ref> thrusting<ref>Stechende</ref> or cutting,<ref>Sneydende</ref> stepping in or out,<ref>Abe und czutreten</ref> stepping around<ref>Umbeschreiten</ref> or a leap,<ref>Springen</ref> will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings or stepping out. Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.<section end="2"/>
 
Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings and the turnings<ref name="Winden">Winden</ref> is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point [of the opponent's weapon] do not always hit well. But with these techniques striking,<ref>Hawende</ref> thrusting<ref>Stechende</ref> or cutting,<ref>Sneydende</ref> stepping in or out,<ref>Abe und czutreten</ref> stepping around<ref>Umbeschreiten</ref> or a leap,<ref>Springen</ref> will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings or stepping out. Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.<section end="2"/>
  
−
<section begin="3"/>Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,<ref>Ort</ref> both edges,<ref>Sneiden</ref> cross guard<ref>Gehilcze</ref> and pommel<ref>Klos</ref> and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.<section end="3"/>
+
<section begin="3"/>Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,<ref>Ort</ref> both edges,<ref>Sneiden</ref> cross guard<ref name="Gehilcze">Gehilcze</ref> and pommel<ref>Klos</ref> and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.<section end="3"/>
  
 
<section begin="4"/>Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he<ref>the opponent</ref> does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.<section end="4"/>
 
<section begin="4"/>Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he<ref>the opponent</ref> does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.<section end="4"/>
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<section begin="6"/>Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as.<ref name="Indes"/> On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour<ref>Harnusche</ref> or without.<ref>Blos</ref><section end="6"/>
 
<section begin="6"/>Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as.<ref name="Indes"/> On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour<ref>Harnusche</ref> or without.<ref>Blos</ref><section end="6"/>
  
−
<section begin="7"/> Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike.<ref name="Vorschlag">Vorschlag</ref> When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant<ref name="Indes"/> should you do the after strike<ref name="Nachschlag">Nachschlag</ref> before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.<section end="7"/>
+
<section begin="7"/> Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike.<ref name="Vorschlag">Vorschlag</ref> When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away<ref name="Abweisest or Abeleitest">Abweisest or Abeleitest</ref> and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant<ref name="Indes"/> should you do the after strike<ref name="Nachschlag">Nachschlag</ref> before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.<section end="7"/>
  
 
<section begin="8"/>Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike according to this teaching.<section end="8"/>
 
<section begin="8"/>Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike according to this teaching.<section end="8"/>
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|-  
 
|-  
 
| <small>24</small>
 
| <small>24</small>
−
| The Fool counters,<ref>Vorsatzt</ref><br/>&emsp;attack after, and run over hurt the strokes last.
+
| The Fool<ref name="Alber">Alber</ref> counters,<ref name="Vorsetzen">Vorsetzen</ref><br/>&emsp;attack after, and run over hurt the strokes last.
 
|-  
 
|-  
 
| <small>25</small>
 
| <small>25</small>
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<section begin="23"/>And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you.<section end="23"/>
 
<section begin="23"/>And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you.<section end="23"/>
  
−
<section begin="24"/>And if it happens that the opponent wins the first strike<ref name="Vorschlag"/> then you must be sure, precise and quick in the turning<ref name="Wenden">Wenden</ref> and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn<ref name="Winden"/> and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell<ref>30-40cm</ref> from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force.<section end="24"/>
+
<section begin="24"/>And if it happens that the opponent wins the first strike<ref name="Vorschlag"/> then you must be sure, precise and quick in the turning<ref name="Wenden">Wenden</ref> and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn<ref name="Winden"/> and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell<ref>30–40cm</ref> from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force.<section end="24"/>
  
 
<section begin="25"/>'''This is on the four openings'''<ref name="Blossen">Blossen</ref>
 
<section begin="25"/>'''This is on the four openings'''<ref name="Blossen">Blossen</ref>
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Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.<ref name="Twerhaw"/>. And it goes across<ref name="Twer"/> to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof,<ref>von dem tage</ref> that is the upper strike or what comes from above and goes down, that the cross strike<ref name="Twerhaw"/> will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant<ref name="Twer"/> in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning<ref name="Winden"/>. In the cross strike<ref name="Twerhaw"/> you turn the flat sides of the sword, one up and one down with the point horizontal,<ref name="Twer"/> one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike<ref name="Twerhaw"/>. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike.<ref name="Twerhaw"/> So when you make a cross strike,<ref name="Twerhaw"/> regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike<ref name="Twerhaw"/> with a certain amount of power.<section end="30"/>
 
Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.<ref name="Twerhaw"/>. And it goes across<ref name="Twer"/> to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof,<ref>von dem tage</ref> that is the upper strike or what comes from above and goes down, that the cross strike<ref name="Twerhaw"/> will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant<ref name="Twer"/> in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning<ref name="Winden"/>. In the cross strike<ref name="Twerhaw"/> you turn the flat sides of the sword, one up and one down with the point horizontal,<ref name="Twer"/> one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike<ref name="Twerhaw"/>. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike.<ref name="Twerhaw"/> So when you make a cross strike,<ref name="Twerhaw"/> regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike<ref name="Twerhaw"/> with a certain amount of power.<section end="30"/>
  
−
<section begin="31"/>And when you must fight for your neck,<ref>i.e. for your life</ref> then you shall use the earlier described teachings and seek and win the first strike<ref name="Vorschlag"/> with a good cross strike.<ref name="Twerhaw"/> When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike<ref name="Twerhaw"/> from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across<ref name="Twer"/> well so that you drive the point well and turn<ref name="Wind"/> or tightens it around the opponent’s head like a belt. So that when you do a cross strike<ref name="Twer"/> with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away. And when you thus win the first strike<ref name="Vorschlag"/> with the cross strike<ref name="Twerhaw"/> at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike <ref name="Nachschlag"/> with the cross strike<ref>Twerhaw</ref> to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike<ref name="Twer"/> to both sides, to the ox<ref name="Ochs">Ochs</ref> and to the plough<ref name="Pflug"/> that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike<ref name="Twerhaw"/> above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered.<section end="31"/>
+
<section begin="31"/>And when you must fight for your neck,<ref>i.e. for your life</ref> then you shall use the earlier described teachings and seek and win the first strike<ref name="Vorschlag"/> with a good cross strike.<ref name="Twerhaw"/> When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike<ref name="Twerhaw"/> from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across<ref name="Twer"/> well so that you drive the point well and turn<ref name="Wind"/> or tightens it around the opponent’s head like a belt. So that when you do a cross strike<ref name="Twer"/> with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away.<ref name="Abwenden">Abwenden</ref> And when you thus win the first strike<ref name="Vorschlag"/> with the cross strike<ref name="Twerhaw"/> at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike <ref name="Nachschlag"/> with the cross strike<ref>Twerhaw</ref> to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike<ref name="Twer"/> to both sides, to the ox<ref name="Ochs">Ochs</ref> and to the plough<ref name="Pflug"/> that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike<ref name="Twerhaw"/> above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered.<section end="31"/>
  
−
<section begin="32"/>{'''This is regarding the Squinting strike'''<ref name="Schilhaw">Schilhaw</ref>
+
<section begin="32"/>'''This is regarding the Squinting strike'''<ref name="Schilhaw">Schilhaw</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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Glossa. Here note and understand that the squinting strike<ref name="Schilhaw"/> is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way<ref name="schilende">schilende</ref> and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo<ref>a peasant, that is</ref> can strike from above to below, as they are wont to do. Just as the cross strike<ref name="Twerhaw"/> breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike.<ref name="Schilhaw"/> And you shall squint<ref name="Schilhaw"/> well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint<ref name="Schil"/> well with the point to the neck, courageously and without fear. And<section end="32"/>
 
Glossa. Here note and understand that the squinting strike<ref name="Schilhaw"/> is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way<ref name="schilende">schilende</ref> and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo<ref>a peasant, that is</ref> can strike from above to below, as they are wont to do. Just as the cross strike<ref name="Twerhaw"/> breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike.<ref name="Schilhaw"/> And you shall squint<ref name="Schilhaw"/> well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint<ref name="Schil"/> well with the point to the neck, courageously and without fear. And<section end="32"/>
  
−
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/>
+
<section begin="33"/>When you see that you both<br/>&emsp;pull<ref name="Czucken"/> the swords from the sheaths,<br/>then you shall be forceful<br/>&emsp;and note well the steps.<br/>Before and after these two things<br/>&emsp;try and learn with leaping off,<br/>follow all hits<br/>&emsp;if you want to humble the strong.<br/>If he defends then follow and withdraw<ref name="Czucken"/><br/>&emsp;thrust, if he defends then pull to him.<br/>The turning<ref name="Winden"/> and hanging<br/>&emsp;learn to artfully do<br/>and try the [opponent’s] intentions<br/>&emsp;whether they are soft or hard.<br/>And if he fights with strength,<br/>&emsp;then you are artfully prepared,<br/>if he grabs widely and far around,<br/>&emsp;then the shooting defeats him.<br/>With his strike,<br/>&emsp;he will hardly defend himself, hit without fear,<br/>strike and quickly rush in,<br/>&emsp;regardless if you hit or miss.<br/>Do not strike to the sword,<br/>&emsp;but always to the openings.<br/>Whether you hit or miss,<br/>&emsp;always seek the openings<br/>with both your hands<br/>&emsp;learn to bring the point to the eyes.<br/>Fence with good mind<br/>&emsp;and always win the first strike<ref>Vorschlag</ref><br/>if you hit or miss,<br/>&emsp;at once seek the after strike<ref>Nachschlag</ref><br/>to both sides,<br/>&emsp;to the right hand sidestep in to the opponent.<br/>Thus you can win<br/>&emsp;fencing or wrestling.<section end="33"/>
  
−
<section begin="34"/>{{red|b=1|This is about the part cut, etc.}}
+
<section begin="34"/>'''This is regarding the Scalp strike'''<ref name="Scheitelhaw">Scheitelhaw</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>63</small>
 
| <small>63</small>
−
| The part cut<br/>&emsp;Is dangerous to the face
+
| The scalp strike<ref name="Scheitler">Scheitler</ref><br/>&emsp;is a danger to your face.
 
|-  
 
|-  
 
| <small>64</small>
 
| <small>64</small>
−
| With its turn<br/>&emsp;And the breast is yet endangered.
+
| With its turn<br/>&emsp;it takes the breast fast
 
|-  
 
|-  
 
| <small>65</small>
 
| <small>65</small>
−
| Whatever comes from it<br/>&emsp;The crown removes it.
+
| and what comes from him<br/>&emsp;the crown<ref name="Kron">Kron</ref> will take.
 
|-  
 
|-  
 
| <small>66</small>
 
| <small>66</small>
−
| Slice through the crown<br/>&emsp;So that you break it beautifully and hard
+
| Cut through the crown,<ref name="Kron"/><br/>&emsp;that is how it is strongly broken.
 
|-  
 
|-  
 
| <small>67</small>
 
| <small>67</small>
−
| Press the sweeps<br/>&emsp;By slicing withdraw it
+
| Press the strike in there,<br/>&emsp;with cuts pull it away.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅴ</small>
 
| <small class="grey">ⅹⅹⅴ</small>
−
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.
+
| The scalp strike<ref>Scheitelhaw</ref> I praise,<br/>&emsp;if it does not come too slowly.
 
|}
 
|}
−
[No gloss]<section end="34"/>
+
<section end="34"/>
  
−
<section begin="35"/>{{grey|Liechtenauer hardly maintains anything about these four positions, only that they come from the over and under hangings from which one may surely deliver applications.}}<section end="35"/>
+
<section begin="35"/>{{grey|Liechtenauer holds only these four guards that come from the upper and lower hangings, and from these one can fence safely.}}<section end="35"/>
  
−
<section begin="36"/>{{red|b=1|This is about the four positions, etc.}}
+
<section begin="36"/>'''This is regarding the four guards'''<ref name="Vier Leger">Vier Leger</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>68</small>
 
| <small>68</small>
−
| Four positions alone<br/>&emsp;Defend from those and eschew the common
+
| Four guards only,<br/>&emsp;and leave the common ones alone.
 
|-  
 
|-  
 
| <small>69</small>
 
| <small>69</small>
−
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you
+
| The ox,<ref name="Ochs"/> plough,<ref name="Pflug"/> fool, <ref name="Alber"/>,<br/>&emsp;from above/the roof,<ref name="Vom Tag">Vom Tag</ref> these should not be unknown to you.
 
|}
 
|}
−
{{red|b=1|Gloss, etc}}. Here he names the four positions or four guards, about which there is something to be held.
+
Glossa. Here he mentions four guards<ref>Leger or Huten</ref> that are valuable. But before all things, remember that you should not remain too long in one guard. Liechtenauer has a saying “He who is still, is dead, he who moves will live”. And from these guards comes the understanding that you should move in swordplay, and not wait in a guard and thus waste your chance.<section end="36"/>
  
−
Yet a person shall absolutely not lay too long in them in any confrontation. For Liechtenauer has a particular proverb: "Whoever lays there, they are dead. Whoever sets themselves in motion, they yet live." And that pertains to those positions that a person shall preferably set themselves in motion with applications. Because if you idle in the guards, you might lose your moment to act by doing that.<section end="36"/>
+
<section begin="37"/>The first guard, the plough, is when you hold the point [of the sword] in front of you aimed at the ground or to the side. After a displacement<ref name="Absetzen">Absetzen</ref> it is called the barrier guard<ref name="Schranckhut">Schranckhut</ref> or simply the gate.<ref name="Pforte">Pforte</ref><section end="37"/>
  
−
<section begin="37"/>The first guard, plow, is this. When you lay the point forward, upon the earth. Or to the side after displacing, this is also called the barrier-guard or the gate.<section end="37"/>
+
<section begin="38"/>The second guard is the ox,<ref name="Ochs"/> or the upper hanging from the shoulder.<section end="38"/>
−
 
 
−
<section begin="38"/>The second guard, ox is the high hanging from the shoulder.<section end="38"/>
 
  
 
<section begin="39"/>
 
<section begin="39"/>
Line 407: Line 405:
 
|-  
 
|-  
 
| <small>ⅹⅹⅵ</small>
 
| <small>ⅹⅹⅵ</small>
−
| The Fool truly breaks<br/>&emsp;Whatever the opponent cuts or thrusts
+
| The fool<ref>Alber</ref> breaks<br/>&emsp;Wwhat<ref>your opponent</ref> strikes or thrusts.
 
|-  
 
|-  
 
| <small>ⅹⅹⅶ</small>
 
| <small>ⅹⅹⅶ</small>
−
| Sweep using hanging<br/>&emsp;Immediately place the pursuit
+
| From the hanging<ref>Hengen</ref> strike<br/>&emsp;Wand at once and follow by attacking after.<ref>Nochreizen</ref>
 
|}
 
|}
−
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<section end="39"/>
+
The third guard the fool<ref name="Alber"/> is the lower hanging, and with it you break all strikes and thrusts when it is done correctly.<section end="39"/>
−
 
 
−
<section begin="40"/>The fourth guard, the Roof, is long point.
 
−
 
 
−
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.
 
−
 
 
−
It can also aptly be called the hanging over the head.<section end="40"/>
 
  
−
<section begin="41"/>Also know that one breaks all positions and guards by attacking with these such that if you boldly initiate an attack, then the opponent must always come forwards and defend themselves.
+
<section begin="40"/>The fourth guard is from the roof,<ref name="Vom Tag"/> is also the long point.<ref name="Langen ort">Langen Ort</ref> He, who does it well with outstretched arms, is not easy to hit with strikes or thrusts. It can also be called the hanging above the head.<section end="40"/>
  
−
That is why Liechtenauer doesn't maintain much about the positions and guards, rather he prefers to craft it so that the opponent discourages themselves, thus he gains the Vorschlag, as has been shown above. <section end="41"/>
+
<section begin="41"/>Also know that you break all guards and positions with the strikes. You should strike bravely at the opponent so that he must move away and defend him. Therefore Liechtenauer does not hold the guards in such a high esteem; he is more interested in that you try to win the first strike.<ref name="Vorschlag"/><section end="41"/>
  
−
<section begin="42"/>{{red|b=1|This is about the four parries}}
+
<section begin="42"/>'''This is regarding the four displacements'''<ref name="Vorsetzen"/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>70</small>
 
| <small>70</small>
−
| Four are the parries<br/>&emsp;Which also severely disrupt the positions
+
| There are four displacements<br/>&emsp;that also hurt the guards seriously.
 
|-  
 
|-  
 
| <small>71</small>
 
| <small>71</small>
−
| Guard yourself from parrying<br/>&emsp;If this happens, it also severely beleaguers you.
+
| Displacing will protect you<br/>&emsp;but avoid doing parries,
 
|-  
 
|-  
 
| <small>72</small>
 
| <small>72</small>
−
| If you are parried,<br/>&emsp;And as it happens
+
| if they occur<ref>that is, when the opponent parries</ref><br/>&emsp;it helps you a lot.
 
|-  
 
|-  
 
| <small>73</small>
 
| <small>73</small>
−
| Heed what I advise:<br/>&emsp;Strike off, cut swiftly with violence
+
| If you are displaced,<br/>&emsp;then no matter how it happened,
 
|-  
 
|-  
 
| <small>74</small>
 
| <small>74</small>
−
| Lodge against four regions<br/>&emsp;Learn to remain upon them if you wish to finish.
+
| Set on at four ends;<br/>&emsp;remain there if you want to finish the teaching.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅷ</small>
 
| <small class="grey">ⅹⅹⅷ</small>
−
| Whoever parries well,<br/>&emsp;This fencer disrupts many cuts.
+
| He, who displaces well,<br/>&emsp;will hurt many strikes in the swordplay
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅸ</small>
 
| <small class="grey">ⅹⅹⅸ</small>
−
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.
+
| for you come handily<br/>&emsp;into the hangings from the displacements
 
|}
 
|}
−
{{red|b=1|Gloss}}. Note here that the four parries are on both sides, with one upper and one lower on each side and they disrupt or break all guards or positions.
+
Glossa. Note here that there are four displacements<ref name="Vorsetzen"/> to both sides, to each side one above and one below. They break all guards, and no matter how you set aside<ref name="Abweisest or Abeleitest"/> a strike or thrust from above or from below, this can well be called a displacement. If he displaces you, then no matter how he does it, leave [his sword] and strike quickly at him.<section end="42"/>
  
−
And however you carry off or dismiss the opponent's cut, thrust or slice with your sword, be it from above or below, can fully be termed parrying.
+
<section begin="43"/>If it happens that you displace the opponent’s strike or thrust, then you should at once step in and follow<ref>Nochvolgen</ref> at the sword so that he cannot move away from you. And if the other does the same when you are hanging again and gather yourself, then you will get hurt. You should also turn<ref name="Wenden"/> well and always aim your point at his breast so that he must consider this.<section end="43"/>
  
−
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.<section end="42"/>
+
<section begin="44"/>A good swordsman should also learn how to get at the opponent’s sword. And this you will do well from the displacements that comes from the four strikes, from each side an upper strike and an [Unterhaw] and into the four hangings. Since as soon as you can displace from above or below, then you shall come into the hangings at once. And as you turn aside<ref name="Abwenden"/> all strikes and thrusts with the foremost edge, that is also displacing.<section end="44"/>
  
−
<section begin="43"/>But if it happens that you parry someone or avert a cut or thrust, you must immediately step in and accompany them on the sword so that the opponent cannot withdraw from you and then you must do whatever you can.
+
<section begin="45"/>'''This is regarding attacking after'''<ref name="Nochreisen">Nochreisen</ref>
−
 
 
−
To the extent you hesitate and delay, you take harm.
 
−
 
 
−
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<section end="43"/>
 
−
 
 
−
<section begin="44"/>Also a good fencer shall fully learn how to come against the sword of the opponent and they must do that well with the parries, because they come from the four cuts (from each side, a descending cut and a rising cut) and move into the four hangings.
 
−
 
 
−
For as soon as one parries from above or below, so shall they immediately come into the hangings.
 
−
 
 
−
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/>
 
−
 
 
−
<section begin="45"/>{{red|b=1|This is about the pursuing, etc, etc}}
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>75</small>
 
| <small>75</small>
−
| Learn to pursue<br/>&emsp;Double or slice into the weapon
+
| Learn to attack after twofold or cut in the defence.
 
|-  
 
|-  
 
| <small>76</small>
 
| <small>76</small>
−
| Two enticements to the outside<br/>&emsp;The work begins thereafter
+
| Two outer takings<ref name="Ewsere nymme">Ewsere nymme</ref> let the work begin.
 
|-  
 
|-  
 
| <small>77</small>
 
| <small>77</small>
−
| And gauge the opponent's application<br/>&emsp;Whether they are soft or hard
+
| And try the contact, if it is weak, or hard
 
|-  
 
|-  
 
| <small>78</small>
 
| <small>78</small>
−
| Learn to feel<br/>&emsp;Indes, this word cuts sharply
+
| learn how to feel, at once<ref name="Indes"/> – that word cuts severely.
 
|-  
 
|-  
 
| <small>79</small>
 
| <small>79</small>
−
| Pursuing twice,<br/>&emsp;Make the old slice with it.
+
| Attack twofold, and also do the old cut well,
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹ</small>
 
| <small class="grey">ⅹⅹⅹ</small>
−
| Follow all hits<br/>&emsp;Then strengthen if you wish to dishonor the masters
+
| follow all hits if you wish to emulate the strong one.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅷ</small>
 
| <small class="grey">ⅹⅷ</small>
−
| In every lesson,<br/>&emsp;Turn the point against the opponent's face.
+
| In all teachings, turn the point into the face
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅺ</small>
 
| <small class="grey">ⅹⅹⅺ</small>
−
| With the entire body<br/>&emsp;Pursue, always keep your point there.
+
| and attack after with all your body then your point will do well.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅻ</small>
 
| <small class="grey">ⅹⅹⅻ</small>
−
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.
+
| Learn to attack with skill and you will make a good ending.
 
|}
 
|}
−
[No gloss]<section end="45"/>
+
<section end="45"/>
  
−
<section begin="46"/>{{red|b=1|This is about the overrunning. Fencer look into this.}}
+
<section begin="46"/>'''This is regarding the running over<ref name="Oberlawfen">Oberlawfen</ref> Swordsman, take notice.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>80</small>
 
| <small>80</small>
−
| Whoever takes aim from below Overrun,<br/>&emsp;then they will be shamed.
+
| He who seeks below, run over him above<br/>&emsp;and he will be ashamed.
 
|-  
 
|-  
 
| <small>81</small>
 
| <small>81</small>
−
| When it clashes above,<br/>&emsp; Strengthen, This I wish to praise.
+
| When it flashes above,<br/>&emsp;be strong, that I will praise.
 
|-  
 
|-  
 
| <small>82</small>
 
| <small>82</small>
−
| Make your work<br/>&emsp;Or press hard twice.
+
| Do your work,<br/>&emsp;or press strongly twofold.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹⅲ</small>
 
| <small class="grey">ⅹⅹⅹⅲ</small>
−
| Whoever presses you down,<br/>&emsp;Overrun them, slash sharply again.
+
| He who presses you down,<br/>&emsp;run him over and strike hard against him.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹⅳ</small>
 
| <small class="grey">ⅹⅹⅹⅳ</small>
−
| From both sides<br/>&emsp;Overrun and remember the slices.
+
| From both sides<br/>&emsp;run over and notice the edges.
 
|}
 
|}
−
[No gloss]<section end="46"/>
+
<section end="46"/>
  
−
<section begin="47"/>{{red|b=1|This is about displacing. Learn this well.}}
+
<section begin="47"/>'''This is regarding the setting aside, learn it well'''<ref>Abesetczen</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>83</small>
 
| <small>83</small>
−
| Learn to displace<br/>&emsp;Skillfully disrupt cuts and thrusts
+
| Learn to set aside, <br/>&emsp;to hurt strikes and thrusts with skill.
 
|-  
 
|-  
 
| <small>84</small>
 
| <small>84</small>
−
| Whoever thrusts at you<br/>&emsp;Your point hits and theirs breaks
+
| When he thrust at you, <br/>&emsp;your point will hit and break his.
 
|-  
 
|-  
 
| <small>85</small>
 
| <small>85</small>
−
| From both sides<br/>&emsp;You will hit every time, if you step.
+
| From both sides, <br/>&emsp;always step if you wish to hit.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅷ</small>
 
| <small class="grey">ⅹⅷ</small>
−
| In every lesson,<br/>&emsp;Turn the point against one's face.
+
| In all teachings <br/>&emsp;turn your point into his face.
 
|}
 
|}
−
[No gloss]<section end="47"/>
+
<section end="47"/>
  
−
<section begin="48"/>{{red|b=1|This is about the disengaging, etc, etc.}}
+
<section begin="48"/>'''This is regarding changing through'''<ref>Durchwechsel</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>86</small>
 
| <small>86</small>
−
| Learn to disengage<br/>&emsp;From both sides stabbing sharply with it
+
| Learn how to change through from both sides and thrust with intent.
 
|-  
 
|-  
 
| <small>87</small>
 
| <small>87</small>
−
| Whoever binds upon you<br/>&emsp;Disengaging surely finds them
+
| He who binds you [your sword] is found to be open by the changing through.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹⅴ</small>
 
| <small class="grey">ⅹⅹⅹⅴ</small>
−
| If you have disengaged,<br/>&emsp;Do not slash, thrust nor wind lazily.
+
| When you have “changed through”, strike, thrust or turn.<ref name="Wind"/>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹⅵ</small>
 
| <small class="grey">ⅹⅹⅹⅵ</small>
−
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.
+
| Do not strike at the sword but change through and do not wait for<ref>or with doing the changing through, do it at once</ref> it.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Here note that disengaging goes in completely straight on both sides, down from above and up from below if it is to be otherwise conducted swiftly.
+
Glossa. Note here that changing through goes straight forward on both sides, from above to below and from below upwards when done quickly. If you wish to change through from above to below on the right side, then strike an upper strike straight at him so that you shoot your point towards the left side in over his cross guard,<ref name="Gehilcze"/> so that you hit in that small opening between the edge and the cross guard. If you hit then you have won.
  
−
Now if you wish to disengage down from above on the right side, then make a descending cut straight at them then you shoot your point in over their hilt to their left side in such a way that you hit the same little hole and little window completely straight between the edges and the hilt.
+
If he defends against that and presses your point with his sword, then let the point sink down on the side that you are on, below his sword and around to the other side, do not make a wide movement around, but under his sword and the next thing that you do is to rush in with a good strong thrust over his cross guard. And when you feel that you hit, then follow well and as you do on one side over or under, do also on the other side.<section end="48"/>
  
−
If you connect, then you have won. If they ward it so that they lead off and press your point offline with their sword, then from that side let your point sink right around to the other side, under their sword, not wide around, rather, sink below against their sword so that you can keep close and from there move in quite swiftly over their hilt with a good, full thrust and when you feel that you connected, fully follow through.
+
<section begin="49"/>And if he binds with you, go in along his sword to the openings with your point and change through as before. Or turn<ref name="Wind"/> and feel what he is up to, if he is weak or strong, and then try strikes, thrusts or cuts to his openings. When you have changed through, then strike, thrust or cut, and do not strike at the sword, and do not wait with it.<section end="49"/>
  
−
And the way you execute it on one side, be it from below or above, you execute it on the other.<section end="48"/>
+
<section begin="50"/>'''This is regarding withdrawing,<ref name="Czucken"/> take note swordsman.'''
−
 
 
−
<section begin="49"/>And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.
 
−
 
 
−
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.
 
−
 
 
−
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/>
 
−
 
 
−
<section begin="50"/>{{red|b=1|This is about withdrawing suddenly. Fencer note.}}
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>88</small>
 
| <small>88</small>
−
| Tread close in binds,<br/>&emsp;So that withdrawing suddenly gives good opportunities.
+
| Step in close in the bind and then the withdrawing gives good findings.
 
|-  
 
|-  
 
| <small>89</small>
 
| <small>89</small>
−
| Suddenly withdraw. If they engage, suddenly withdraw more.<br/>&emsp;If they work, wind, that does them harm.  
+
| Withdraw, if it hits,<ref>or perhaps strike at you</ref> withdraw more and work him, wind that is trouble for him.
 
|-  
 
|-  
 
| <small>90</small>
 
| <small>90</small>
−
| Suddenly withdraw all engagements of the masters<br/>&emsp;If you wish to dishonor them  
+
| Withdraw in all encounters<br/>&emsp;with the masters if you wish to fool them.
 
|-  
 
|-  
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small>
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small>
−
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.
+
| Withdraw the sword<br/>&emsp;and consider your path.
 
|}
 
|}
−
[No gloss]<section end="50"/>
+
<section end="50"/>
  
−
<section begin="51"/>{{red|b=1|This is about rushing through. Look closely.}}
+
<section begin="51"/>'''This is regarding the running through,<ref name="Durchlawfen">Durchlawfen</ref> now look'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>91</small>
 
| <small>91</small>
−
| Rush through, let hang<br/>&emsp;Grab with the pommel if you wish to grapple.
+
| Run through and let the pommel hang,<br/>&emsp;take hold if you wish to wrestle.<ref>Rangen</ref>
 
|-  
 
|-  
 
| <small>92</small>
 
| <small>92</small>
−
| Whoever strengthens up against you,<br/>&emsp;Remember to rush through with it.
+
| If one presses at you,<br/>&emsp;run through and note.  
 
|-  
 
|-  
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅷ</small>
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅷ</small>
−
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.
+
| Run through, thrust<br/>&emsp;and turn<ref name="Vorkeren">Vorkeren</ref><ref>in this case inverting is also possible</ref> if he grabs the pommel.
 
|}
 
|}
−
[No gloss]<section end="51"/>
+
<section end="51"/>
  
−
<section begin="52"/>{{red|b=1|This is about cutting off, etc, etc}}
+
<section begin="52"/>'''This is regarding the cutting off.'''<ref>Abschneiden</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>93</small>
 
| <small>93</small>
−
| Cut off the hard ones<br/>&emsp;From below in both paths.
+
| Cut off the attacks<br/>&emsp;from below in both directions.
 
|-  
 
|-  
 
| <small>94</small>
 
| <small>94</small>
−
| Four are the slices<br/>&emsp;With two from below, two from above.
+
| Four are the cuts –<br/>&emsp;two below and also two above.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹⅹⅸ</small>
 
| <small class="grey">ⅹⅹⅹⅸ</small>
−
| Crosswise cut whoever would slice.<br/>&emsp;It easily evades the harm.
+
| If you cut well crosswise,<br/>&emsp;you will eagerly avoid injury.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼ</small>
 
| <small class="grey">ⅹⅼ</small>
−
| Do not slice in fright,<br/>&emsp;Always be wary of pursuing.
+
| Do not cut in haste,<br/>&emsp;first consider the attack.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅰ</small>
 
| <small class="grey">ⅹⅼⅰ</small>
−
| You can slice well<br/>&emsp;Any cross, just omit the pursuit.
+
| You can well cut against all crosses;<br/>&emsp;only leave the pulling [back/around].<ref>alone?</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅱ</small>
 
| <small class="grey">ⅹⅼⅱ</small>
−
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.
+
| If you wish to be without hurt,<br/>&emsp;then do not go as you cut off.<ref>a possible meaning is do not waste time stepping when you cut, but do it as a stationary movement</ref>
 
|}
 
|}
−
[No gloss]<section end="52"/>
+
<section end="52"/>
  
−
<section begin="53"/>{{red|b=1|This is about the hand pressing, etc, etc.}}
+
<section begin="53"/>'''This is regarding pressing the hands'''<ref>Hende drucken</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>95</small>
 
| <small>95</small>
−
| Turn your edge flat<br/>&emsp;Press the hands.
+
| Turn your edge;<br/>&emsp;push the hands to the flats.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅲ</small>
 
| <small class="grey">ⅹⅼⅲ</small>
−
| Another is turning<br/>&emsp;One's winding. The third, hanging.
+
| One thing is turning,<ref name="Wenden"/><br/>&emsp;another is winding,<ref name="Winden"/> the third the hanging.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅳ</small>
 
| <small class="grey">ⅹⅼⅳ</small>
−
| If you wish to make the fencers<br/>&emsp;Weary, then press with collision
+
| If you want to press the swordsman,<br/>&emsp;then press with a thrust.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅴ</small>
 
| <small class="grey">ⅹⅼⅴ</small>
−
| Over the hands,<br/>&emsp;If one cuts, slice swiftly.
+
| From above the hands<br/>&emsp;you strike the cuts well.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅵ</small>
 
| <small class="grey">ⅹⅼⅵ</small>
−
| Also draw your slices<br/>&emsp;Up out over the head.
+
| Pull around with the cuts as well,<br/>&emsp;above him, over the head.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅶ</small>
 
| <small class="grey">ⅹⅼⅶ</small>
−
| Whoever presses the hands<br/>&emsp;Without harm, suddenly retracts the forefinger.
+
| If you press the hands,<br/>&emsp;you will withdraw your fingers without injury.
 
|}
 
|}
−
Also know as soon as you avert the opponent's cut or thrust by turning, you must immediately step in and swiftly storm into the opponent
+
Also know that as soon as you turn a strike or thrust aside<ref name="Abwenden"/> then you shall at once step in and go quickly at him. Do not hold back again, because if you do, then you will cause yourself to be hurt.<section end="53"/>
−
 
 
−
To the extent you hesitate and delay yourself, you take harm.<section end="53"/>
 
−
 
 
−
<section begin="54"/>Also note and know that one with the forward edge of the sword, from the middle of that side to the hilt, averts all cuts and thrusts.
 
−
 
 
−
And the closer the opponent's cut or thrust comes to the hilt of your forward edge, the moment you have turned that edge, the better and the more powerfully you can avert those cuts or thrusts.
 
  
−
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.
+
<section begin="54"/>And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside<ref name="Abwenden"/> all strikes or thrusts. The closer to the cross guard<ref name="Gehilcze"/> a strike or thrust comes, the easier it will be to set these strikes and thrusts aside strongly. Since the closer to the cross guard<ref>you catch the attack</ref> the stronger you are, and the closer to the point the weaker you are. That is why if you wish to be a good swordsman before all things learn how to set aside<ref name="Abwenden"/> well, since if you set aside well you will come at once into the turning in<ref name="Winden"/> and from these you can perform artfully and courteously in the fencing.<section end="54"/>
  
−
Therefore, whoever wishes to be a good fencer, they shall first and foremost learn to avert well. For if they turn that away well with this, they come immediately into the windings. From them they can conduct the skill and beauty of the technique well.<section end="54"/>
+
<section begin="55"/>The foremost edge on the sword is called the right/true edge and all strikes or thrusts are wasted by the turning.<ref name="Wenden"/><section end="55"/>
  
−
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/>
+
<section begin="56"/>'''This is regarding the Hanging<ref>Hengen</ref> swordsman learn this.'''
−
 
 
−
<section begin="56"/>{{red|b=1|This is about the hanging. Fencer learn this, etc.}}
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>96</small>
 
| <small>96</small>
−
| Two hangings emerge<br/>&emsp;From the ground out of each hand
+
| These are the two hangings<br/>&emsp;from one hand towards the ground.
 
|-  
 
|-  
 
| <small>97</small>
 
| <small>97</small>
−
| In every application<br/>&emsp;Cut, Thrust, Position, Soft or Hard
+
| In all situations<br/>&emsp;you should strike, thrust, [hold] guards, [be] soft or hard.
 
|-  
 
|-  
 
| <small>98</small>
 
| <small>98</small>
−
| Make the speaking window<br/>&emsp;Stand freely, watch their situation.
+
| Do the talking window,<ref name="Sprechfenster">Sprechfenster</ref><br/>&emsp;stand joyfully and study the opponent’s intentions.
 
|-  
 
|-  
 
| <small>99</small>
 
| <small>99</small>
−
| Strike them so that it snaps<br/>&emsp;Whoever withdraws themselves before you.
+
| Strike so that he tries<br/>&emsp;to step away from you,
 
|-  
 
|-  
 
| <small>100</small>
 
| <small>100</small>
−
| I say to you truthfully<br/>&emsp;No one defends themselves without danger
+
| I say honestly<br/>&emsp;that no one defends without danger.
 
|-  
 
|-  
 
| <small>101</small>
 
| <small>101</small>
−
| If you have understood<br/>&emsp;They cannot come to blows
+
| If you have understood this,<br/>&emsp;then he will not come to blows.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅷ</small>
 
| <small class="grey">ⅹⅼⅷ</small>
−
| That is, if you remain<br/>&emsp;Against the sword, also conduct with it
+
| If it happens that you are<br/>&emsp;on the sword, then you should also do
 
|-  
 
|-  
 
| <small class="grey">ⅹⅼⅸ</small>
 
| <small class="grey">ⅹⅼⅸ</small>
−
| Cuts, thrusts or slices.<br/>&emsp;With that, note the feeling
+
| strikes, thrusts or cuts,<br/>&emsp;and remember to feel
 
|-  
 
|-  
 
| <small class="grey">ⅼ</small>
 
| <small class="grey">ⅼ</small>
−
| Without any preference.<br/>&emsp;You shall also not flee from the sword
+
| and not move away from the sword<br/>&emsp;without reason.
 
|-  
 
|-  
 
| <small class="grey">ⅼⅰ</small>
 
| <small class="grey">ⅼⅰ</small>
−
| Because master applications<br/>&emsp;Are against the sword by rights.
+
| A masterful technique<br/>&emsp;is done rightfully/correctly on the sword.
 
|-  
 
|-  
 
| <small class="grey">ⅼⅱ</small>
 
| <small class="grey">ⅼⅱ</small>
−
| Whoever binds against you<br/>&emsp;The war wrestles with them sharply.
+
| He who binds with you,<br/>&emsp;the war will wrestle him seriously.
 
|-  
 
|-  
 
| <small class="grey">ⅼⅲ</small>
 
| <small class="grey">ⅼⅲ</small>
−
| The noble winds<br/>&emsp;Can also surely find them
+
| The noble turning in<ref name="Winden"/><br/>&emsp;finds him for sure.
 
|-  
 
|-  
 
| <small class="grey">ⅼⅳ</small>
 
| <small class="grey">ⅼⅳ</small>
−
| With cuts, with thrusts,<br/>&emsp;With slices you tenaciously find them.
+
| With strikes, with thrusts<br/>&emsp;and with cuts you will find him.
 
|-  
 
|-  
 
| <small class="grey">[32]</small>
 
| <small class="grey">[32]</small>
−
| In all winds<br/>&emsp;You shall find cuts, stabs, slices.
+
| In all turning in,<ref name="Winden"/><br/>&emsp;strikes, thrusts and cuts should you find well.
 
|-  
 
|-  
 
| <small class="grey">ⅼⅴ</small>
 
| <small class="grey">ⅼⅴ</small>
−
| The noble hanging<br/>&emsp;Cannot exist without the winds.
+
| The noble hanging<br/>&emsp;would not exist without the turning in,<ref name="Winden"/>
 
|-  
 
|-  
 
| <small class="grey">ⅼⅵ</small>
 
| <small class="grey">ⅼⅵ</small>
−
| Because from the hangings<br/>&emsp;You shall bring the winds.
+
| since out of the hanging<br/>&emsp;you shall make the turning in.<ref name="Winden"/>
 
|}
 
|}
−
{{red|b=1|Gloss, etc}}. Here note and know that there are two hangings on each side: one downward hanging and one upward hanging. With them, you can come against the sword well, because they arise from the descending cuts and the rising cuts.
+
Glossa. Note and understand that there are two hangings on each side. One upper and one lower hanging and with these you can come well on the sword of the opponent, they originate from the upper<ref>Ober</ref> and lower strikes. When it happens that you bind with the opponent, or when you find yourself on his sword then you should remain on his sword. And you shall turn<ref name="Winden"/> and thus joyfully and without fear remain on his sword. You shall see, await and understand what it is that he intends to do against you. And to remain thus on the sword Liechtenauer calls this the talking window.<ref name="Sprechfenster"/> When you stand thus with him on your sword, then you should feel and follow his movement if it is soft or strong. Then you should adapt in such a way as has been explained earlier. In the case that prior to everything else, even before you can do anything, he moves off the sword, then you should follow at once and strike or thrust as well as you can before he has the chance to do anything. You have a shorter way if you remain on the sword and aim your point in at him than he has if he tries to move away [from your sword]. Before he can gather himself and close in with a strike, go at once at him using your point. But if he remains with you on the sword, then try and feel if he is soft or hard on the sword. If he is soft and weak, then you should quickly and courageously go forward with the strong part of your sword and push back and press his sword and seek all openings to the head or the body wherever you have a chance. If the other is strong and hard on the sword and intends to push you away and thrust at you, then you should be weak and soft against his strength and yield to move away with your sword from the strong pressure he is applying and in this weakness, while he is pressing [you] and shoots his sword away from him<ref>away from his body since he is pushing yours</ref>, as has been described, then at once<ref name="Indes"/> that it happens but before he can gather himself again, so that he can’t strike or thrust, you should attack his openings with strikes, thrusts and cuts. Do this in the easiest way as has been described in this teaching, quickly and boldly and briskly so that he can’t come to blows. That is why Liechtenauer says “I say in all honesty that no man can defend himself without danger, if you have understood this he will not be able to come to blows”. With that he means that it is not possible to defend without being in danger or without getting hurt if you act according to this teaching. If you win and do the first strike<ref name="Vorschlag"/> then he can either defend himself or let himself get struck. When you do the first strike, regardless if you hit or miss then you should quickly and briskly do the after strike<ref name="Nachschlag"/> before he can come to blows. So when you wish to do the first strike then you should also do the quickly and speedily so that he cannot come to blows himself. And you should also make sure that in all things concerning swordsmanship that you act before your opponent does. And as soon as you move before him and win the first strike, at once do the after strike. You should never do the first strike if you do not have the in mind at the same time, meaning that you are always in motion<ref>In motu seist</ref> and do not rest or hold yourself back but does one thing after another quickly and decisively so that your opponent can’t do anything at all. If you do this, then he must indeed be a good one if he can manage to get away without being struck by you. So with this art or advantage it often happens that a peasant will beat up a good master if the peasant does the [Vorschlag] and boldly pushes forward. Thus when you understand the word at once/in an instant<ref name="Indes"/> hits, shames and defeats your opponent. One who hesitates and wants to wait in order to defend himself against the strike is in greater danger than the one who strikes at him and thus wins the first strike. Therefore in all things concerning swordsmanship make sure that you are the first and come at the opponent on your right-hand side. Then you will be safer than him no matter what comes.<section end="56"/>
−
 
 
−
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword and you shall wind and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.
 
−
 
 
−
And you must quite precisely see, recognize and consider whatever they will do or what their situation is, which they will let fly against you.
 
−
 
 
−
And standing in this manner against the sword, Liechtenauer calls this a speaking window.
 
−
 
 
−
And just when you stand with the opponent against the sword, you must quite precisely note and feel whether their application is soft or hard.
 
−
 
 
−
Thereafter, you shall then orient yourself as is often spoken before.
 
−
 
 
−
Then if it happens that the opponent for whatever reasons withdraws themselves from your sword just a bit before you act, then you must immediately pursue and must execute cuts or thrusts whichever you can most surely deliver, before they come to anything at all,
 
−
 
 
−
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.
 
−
 
 
−
If the opponent withdraws with their [cut or thrust], immediately come forward with your point, before they can recover themselves from or carry out their strike.
 
−
 
 
−
But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.
 
−
 
 
−
If it happens to be that they are soft and weak, then you shall swiftly and boldly go all in and storm in with your strong and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.
 
−
 
 
−
If the opponent is subsequently hard and strong against the sword and intends to force and shove you firmly out, you must then be soft and weak against their strength and yield to their force with your sword.
 
−
 
 
−
And in that yielding as their sword drives and glides out, as was written about before, in that or while that happens, before they can recover themselves again, so that they cannot come to any strikes or thrusts, you must take advantage of their openings with cuts, thrusts or slices wherever you can most surely take control of them, according to the afore written lore swiftly, boldly and quickly so that they can never come to blows.
 
−
 
 
−
That's why Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they can scarcely come to blows". By this he means that no one can defend themselves without danger or harm if you do this according to the written precepts.
 
−
 
 
−
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.
 
−
 
 
−
For when you execute the Vorschlag, whether you hit or miss; you must swiftly execute the Nachschlag in one fluid motion before the opponent comes to any blows.
 
−
 
 
−
For whenever you wish to execute the Vorschlag, you must execute the Nachschlag in one thought and mind in the same way, just as if you intended to execute them as one thing, if it were possible.
 
−
 
 
−
That's why Liechtenauer says: "The Before, The After the two things, etc". Because if you execute the Vorschlag, whether you hit or miss, you then always execute the Nachschlag in one fluid motion, swiftly and quickly so that the opponent cannot come to blows with anything and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.
 
−
 
 
−
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.
 
−
 
 
−
If you are obligated to not execute the Vorschlag, you always have the Nachschlag available in the sense and in the spirit that you are always in motion and do not either dawdle nor hesitate with anything. Rather, you always conduct one after the other swiftly and quickly, so that the opponent cannot possibly come to anything.
 
−
 
 
−
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.
 
−
 
 
−
For with this skill or with this advantage, it often happens that a peasant or someone unlearned strikes a good master by it because they execute the Vorschlag and boldly storm in.
 
−
 
 
−
Because however briefly the Vorschlag is overlooked, the opponent hits Indes and they wound and kill in this way. Because if you focus on the blows and will attend to the defense of them, you are always in greater danger than the one who attacks you and wins the Vorschlag.
 
−
 
 
−
Therefore orchestrate it that you are the first in all confrontations of fencing and arrive on the right side of someone, where you are robustly surer of everything than the opponent.<section end="56"/>
 
  
 
<section begin="57"/>
 
<section begin="57"/>
Line 756: Line 674:
 
|-  
 
|-  
 
| <small>108</small>
 
| <small>108</small>
−
| From both sides<br/>&emsp;Learn eight winds with stepping.
+
| From both sides<br/>&emsp;learn eight turning in<ref name="Winden"/> with steps.
 
|-  
 
|-  
 
| <small>106</small>
 
| <small>106</small>
−
| And always unite them.<br/>&emsp;Combine the winds with three plays
+
| And one turning in<ref name="Winden"/> with three pieces<br/>&emsp;I mean thus
 
|-  
 
|-  
 
| <small>107</small>
 
| <small>107</small>
−
| So are they twenty<br/>&emsp;And four. Simply count them.
+
| it is twenty-<br/>&emsp;four if you count them one by one.
 
|-  
 
|-  
 
| <small>105</small>
 
| <small>105</small>
−
| Fencer, mind this<br/>&emsp;And consider the winds correctly
+
| Swordsmen notice it<br/>&emsp;and note the turning in<ref name="Winden"/> correctly.
 
|-  
 
|-  
 
| <small class="grey">lxiii</small>
 
| <small class="grey">lxiii</small>
−
| And learn to command them well<br/>&emsp;So you can attack the four openings
+
| And learn to do them well<br/>&emsp;and you will be able to hit the four openings
 
|-  
 
|-  
 
| <small class="grey">lxiv</small>
 
| <small class="grey">lxiv</small>
−
| Because each opening<br/>&emsp;Objectively has six wounders.
+
| since each opening<br/>&emsp;surely has six ways to be hit.
 
|}
 
|}
−
{{red|b=1|Gloss}}. Here note and know that the winds are the rightful art and foundation of all fencing of the sword. From them, all other applications and plays come. And one might tediously be a good fencer without the winds, exactly like many ungrounded masters, who dismiss it and say whatever comes from the winds is quite weak and deem it "from the shortened sword". About this, they are simpletons and approach it naively and sing paeans about how they fight "from the long sword". Whoever goes about with extended arms and with extended sword and with the utter fiendishness and strength fueled by the entire power of their body, they will unlikely stay lively throughout and that is agonizing to behold when they stretch themselves out like this just as if they would run down a hare.
+
Glossa. Note here that the turning in<ref name="Winden"/> is the rightful art and foundation of all fencing with the sword. From these stem all other fencings and techniques and it is impossible to be a good swordsman [without knowing] the turning in.<ref name="Winden"/> There are many play masters <ref name="Leychmeistere">Leychmeistere</ref> who despise it and say that what comes out of the turning<ref name="Winden"/> is very weak and calls it “of the shortened sword” since it is so easy and uncomplicated. And look at those who use the long sword and who goes about it with outstretched arms and outstretched sword in order to look dangerous and to look good, using all the strength of the body. It is terribly embarrassing to see someone thus stretched out as if he wanted to run after a hare. And this has nothing to do with turning in<ref name="Winden"/> or Liechtenauer’s art, since this art does not require strength. If it was not an art, then the strong would always win.<section end="57"/>
−
 
 
−
And that is completely against the winds and against Liechtenauer's art because there is no strength to respond. Why would anyone's art differ? You should always prioritize strength.<section end="57"/>
 
−
-->
 

Revision as of 22:16, 18 October 2022

This is the general foreword to the unarmoured[1] fencing on foot, note this well.

1 Young knights learn
 to love God and honour women
2 that your honour may grow.
 Practice knightly things and learn
3 arts that help you
 and grant you honour in war.
4 Wrestle well;
 grab the lance, spear, sword and falchion.
5 Do this manly
 and make it useless in other hands.
6 Strike threefold and hard in there,
 rush in regardless if you hit or miss,
7 so that in understanding this
 you will be known as a wise man.
8 This you shall know,
 that all things have length and measure.
ⅰ Do what you wish to do
 with good understanding.
ⅱ In earnest or in play
 have good heart with measure.
ⅲ Thus you beware
 and look with good cheer;
ⅳ this is what you shall do
 and how you go against him.
ⅴ For good heart and force
 makes your opponent weak,
ⅵ govern yourself after this;
 never give an advantage for nothing.
ⅶ Do not be rash;
 do not first do four or six.[2]
ⅷ With your overconfidence
 be moderate, which is good for you.
ⅸ He is a brave man
 who fights his own weaknesses.
ⅹ It is no shame
 to flee when four or six (foes) are at hand

This is a general teaching of the sword.

9 If you want to display skill,
 go with the left and follow right with the strikes,
10 and left with right
 is how you will fence with strength.
11 If you only strike after,
 you will have little joy from his art,
12 strike him wherever you wish,
 and no changer[3] will come within your shield.
ⅺ Do not strike to the sword;
 instead go for the openings,
13 To the head, to the body
 and do not forget the withdrawing.[4]
14 Do with the entire body
 what you wish to do firmly.
15 Hear what is bad;
 do not fence above left if you are a right-hander.
16 And if you are a left-hander
 then leave the right behind
ⅻ and fence rather
 from high left to low (on the right).
17 Before and after, from these two things
 the whole art stem,
18 weak and strong,
 in an instant,[5] note that word well.
19 Thus you may learn
 with work and defend artfully,
20 if you frighten easily,
 do not learn how to fence.
ⅹⅲ Knowledge and skill,
 cunning, prudence and wisdom,
ⅹⅳ reason, secrecy,
 reach, foreknowing and readiness.
ⅹⅴ this fencing desire
 and cheerfully do.

Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings and the turnings[6] is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point [of the opponent's weapon] do not always hit well. But with these techniques striking,[7] thrusting[8] or cutting,[9] stepping in or out,[10] stepping around[11] or a leap,[12] will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings or stepping out. Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.

Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,[13] both edges,[14] cross guard[15] and pommel[16] and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.

Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he[17] does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.

He[18] also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you strike or thrust at him, he will not be able to defend with other techniques and neither lead it away by changing through as long as the strikes or thrusts are to the man, to the openings to the head and the body with steps and leaps in from the side.

Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as.[5] On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour[19] or without.[20]

Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike.[21] When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away[22] and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant[5] should you do the after strike[23] before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.

Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike according to this teaching.

With the word before as has been told before, he[24] means that you with a good first strike shall close in without fear or hesitation and strike at the openings, to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can gather himself and come back, you shall do the after strike so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike and the opponent defends against this, in the defence you will always be first to reach the after strike before the opponent. As soon as you can, you should go with the pommel to the head or come in with the cross strike[25] that is always good to do, or you can throw the sword forward crosswise[26] in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the first strike and the after strike quickly one after the other,

and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away turn[27] and note and feel if the other gathers himself in order to move away or not.

If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings, then you shall – before the opponent has time to gather himself in order to strike or thrust – follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the[28] sword, as close and as short as possible. Then if you move away to do another strike or thrust and you do a wide movement, then the opponent will always be able to beat you to the with a strike or thrust, then he can hit you with the first strike. And this is what Liechtenauer means with the word [Nach]. When you have done the first strike then you shall without any delay do the and you should also stay in motion and do one thing after another. If the first [attack] does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words.

But if it is so that the opponent remains on the sword after his defence and is on the sword, and it has occurred that you remain with him on the sword and he has not done the after strike then you shall turn[27] and remain with him on the sword. And you shall notice straight away if the opponent is weak or strong.

If it is so that you feel and notice that the opponent is strong and hard and firm[29] on the sword and intends to push your sword away, then you shall be weak and yielding[30] and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his openings to the head and the body with strikes and thrusts or with cuts, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new strike or thrust.

But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit,

or if he is strong and defends and displaces the thrust.[31] If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with strikes, thrusts or cuts in any way you can. This is what Liechtenauer means by the words soft and strong. And this comes from the authorities as Aristotle said in the book Peri Hermanias; opposed near him set wise men shine forth or abandon opposition. Weak against strong, hard against soft and vice versa. Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be?

Therefore learn well to feel in the swordplay. As Liechtenauer says, "learn how to feel. In an instant/just as is a sharp word". Thus when you find yourself on another’s sword and feel well if he is weak or strong at the sword, then at once[5] follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”.

After this teaching you understand how you will win the first strike and as soon as you have done this, then quickly and without any delay do the after strike that is the second, third or fourth strike, cut or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on feeling, so do as it is stated above.

No matter what you do or attempt to do, always have measure[32] and length.[33] If you have won the first strike then do not perform it too slowly, but move fast so that you can gather yourself for the after strike as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship.

This is the text where the five strikes and other pieces are mentioned.

21 Five strikes learn
 to do from the right side against the defence.
23 Rage strike, crooked, cross,
 squinting, with the scalp strike.
24 The Fool[34] counters,[35]
 attack after, and run over hurt the strokes last.
25 Change through, withdraw,[36]
 running through, cutting away, pressing the hands.
26 Hanging, turning[27] with the openings,
 strike, grasp thrust with thrusts

This is regarding the Rage strike[37]

27 When someone strikes at you from above,
 strike a rage strike and draw[38] the point at him,
28 If he notices this,
 take away from above without fear,
29 be stronger, turn against it,
 and take it down. If he notices this, then go down.
30 Note this;
 strike, thrust, guards, soft or hard.
31 At once[5] and the before the after –
 do not haste into war,
32 what the war strikes from
 above, is ashamed from below.
33 In all turnings,
 strikes, thrusts and cuts learn to find.
34 You shall also
 try strikes, thrusts or cuts
35 in all meetings
 with the masters if you wish to fool them.
ⅺ Do not strike at the sword,
 but always to the openings,
ⅹⅵ to the head, the body
 if you wish to remain unharmed.
ⅹⅶ If you hit or miss,
 always search for the openings,
ⅹⅷ in all teachings
 turn the point to the openings.
ⅹⅸ He who strikes widely around,
 he will often become seriously shamed.
ⅹⅹ Always strike and thrust
 at the closest openings.
ⅹⅺ and you shall also step
 towards the right side.
ⅹⅻ

Glossa. Here note that Liechtenauer strikes an upper strike[39] from the shoulder, it is called the rage strike.

When you are angry and raging, then no strike is as ready as this upper strike struck from the shoulder at the opponent. That is why Liechtenauer means that when someone strikes an upper strike against you, then you shall strike a rage strike at him; that is you move quickly in towards him with your point leading. If he defends against your point, then go quickly up and over to the other side of his sword. If he defends against that as well, then be hard and strong in your sword and turn[27] quickly and skillfully. If he defends against your thrust then throw and strike quickly below and you will hit him in the legs. That is you should always try one after the other so that he never has a chance to come to blows himself. And the aforesaid words – Before, after, at once, weak, Strong, strike, thrust, and Cut, these you should think on well and never forget in your swordplay.

And you should not rush into war, since if you fail above were you aim, then you will hit below as you will hear how to do one out of the other according to the true art, regardless if it is a strike, thrust or cut.

And you shall not strike at the sword, but at the man himself, to the head or the body anywhere you can. One can also understand the first passage so that when you strike from above with the rage strike, then you are also using the point of the rage strike. Just act according to this teaching, and always be in motion, whether you hit him or not, so that he cannot come to blows. And always step well out to the side with the strikes.

And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you.

And if it happens that the opponent wins the first strike[21] then you must be sure, precise and quick in the turning[40] and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn[6] and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell[41] from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force.

This is on the four openings[42]

36 If you know how to seek the four openings,
 then you should strike true
37 and without any danger,
 without concern for what he intends to do.

Note here that Liechtenauer divides a man into four parts. That is as if a line was drawn from his forehead to his groin down the body and the other line along his belt. Thus you will have four openings in quarters. A left and right opening above the belt and the same openings below the belt. These are the four openings and each has its own fencing. Always seek these and never the sword.,

How to break the four openings;

38 If you wish to take revenge,
 then artfully break the four openings.
39 Above double[43]
 and below rightfully change[44].
40 I say truly that
 no man can defend himself without danger
41 and if you have understood this
 then he cannot come to blows.

This is on the Crooked strike[45]

42 Go crooked[46] with skill
 and throw the point at the hands,
43 strike crooked[46] at he who sets well,
 with steps you will hurt many strokes.
44 Strike crooked[46] to the flat
 of the master when you wish to weaken him.
45 When it flashes above
 step away that I will applaud.
46 Do not crooked[46] short strikes,
 changing through and then do a crooked strike,[46]
47 whoever wishes to deceive you
 the noble war will confuse him,
48 so that he does not know
 if he is out of danger.

Glossa. Here note that the crooked strike[45] is an upper strike that goes out well to the side with a step, and then goes in a crooked manner to one[47] side. Therefore Liechtenauer means that if you wish to do this strike well, you shall step well out to the right side as you strike. And you shall throw or shoot your point in over the cross guard at the (opponent’s) hands. And you shall strike with your flat, and when you hit the flat (of the opponent’s sword?) you shall remain on it with strength and push firmly and see where you can easiest and straightest hit him with strikes or thrusts or cuts and you shall not strike too short and not forget the changing through, where it is suitable to do it.

A strike is called the feint/error[48] and it comes from the crooked strike[45] and it is described after the cross strike[25] which is described firstly and it shall be before the cross strike. And it goes crooked[46] from below and is shot in over the cross guard at him by shooting the point just as the [Krumphaw] from above and down.

53 He who lead the feint/error[48],
 hits from below as he wishes,
54 [Vorkerer] forces,
 runs through and wrestles
55 take the elbow
 with skill, jump him in the scale.
56 Feint twofold
 and if you hit do the cut as well.
57 Twofold further on
 step to the left and do not be slow.
ⅹⅹⅲ Since all fencing desires
 quickness from the right,
ⅹⅲ and also courage,
 caution and understanding

This is on the cross strike[25]

49 The cross strike[26] takes away
 what comes from the roof,
50 do the cross strike[26] with the strong
 and note your work.
51 Cross strike[26] to the plough[49]
 and follow hard to the ox[50]
52 he who does the cross strike[26] well
 with a leap will hit the head.

Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.[25]. And it goes across[26] to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof,[51] that is the upper strike or what comes from above and goes down, that the cross strike[25] will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant[26] in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning[6]. In the cross strike[25] you turn the flat sides of the sword, one up and one down with the point horizontal,[26] one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike[25]. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike.[25] So when you make a cross strike,[25] regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike[25] with a certain amount of power.

And when you must fight for your neck,[52] then you shall use the earlier described teachings and seek and win the first strike[21] with a good cross strike.[25] When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike[25] from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across[26] well so that you drive the point well and turn[27] or tightens it around the opponent’s head like a belt. So that when you do a cross strike[26] with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away.[53] And when you thus win the first strike[21] with the cross strike[25] at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike [23] with the cross strike[54] to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike[26] to both sides, to the ox[55] and to the plough[49] that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike[25] above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered.

This is regarding the Squinting strike[56]

58 The squinting strike[57] breaks
 what the “buffalo”[58] strikes or thrusts,
59 he who tries to change,[59]
 the squinting strike[57] robs him of it.
60 Do a squinting strike[60] if he comes too short,
 the changing through defeats him.
61 Do a squinting strike[60] to the point
 and take the neck without fear.
62 Do a squinting strike[60] to the upper
 head if you wish to endanger the hands.
ⅹⅹⅳ Strike a squinting strike[60] to the right,[61]
 this is how you wish to fence.
ⅹⅹⅴ The squinting strike[56] I do praise,
 if it does not come too slowly.

Glossa. Here note and understand that the squinting strike[56] is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way[62] and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo[63] can strike from above to below, as they are wont to do. Just as the cross strike[25] breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike.[56] And you shall squint[56] well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint[60] well with the point to the neck, courageously and without fear. And

When you see that you both
 pull[4] the swords from the sheaths,
then you shall be forceful
 and note well the steps.
Before and after these two things
 try and learn with leaping off,
follow all hits
 if you want to humble the strong.
If he defends then follow and withdraw[4]
 thrust, if he defends then pull to him.
The turning[6] and hanging
 learn to artfully do
and try the [opponent’s] intentions
 whether they are soft or hard.
And if he fights with strength,
 then you are artfully prepared,
if he grabs widely and far around,
 then the shooting defeats him.
With his strike,
 he will hardly defend himself, hit without fear,
strike and quickly rush in,
 regardless if you hit or miss.
Do not strike to the sword,
 but always to the openings.
Whether you hit or miss,
 always seek the openings
with both your hands
 learn to bring the point to the eyes.
Fence with good mind
 and always win the first strike[64]
if you hit or miss,
 at once seek the after strike[65]
to both sides,
 to the right hand sidestep in to the opponent.
Thus you can win
 fencing or wrestling.

This is regarding the Scalp strike[66]

63 The scalp strike[67]
 is a danger to your face.
64 With its turn
 it takes the breast fast
65 and what comes from him
 the crown[68] will take.
66 Cut through the crown,[68]
 that is how it is strongly broken.
67 Press the strike in there,
 with cuts pull it away.
ⅹⅹⅴ The scalp strike[69] I praise,
 if it does not come too slowly.

Liechtenauer holds only these four guards that come from the upper and lower hangings, and from these one can fence safely.

This is regarding the four guards[70]

68 Four guards only,
 and leave the common ones alone.
69 The ox,[55] plough,[49] fool, [34],
 from above/the roof,[71] these should not be unknown to you.

Glossa. Here he mentions four guards[72] that are valuable. But before all things, remember that you should not remain too long in one guard. Liechtenauer has a saying “He who is still, is dead, he who moves will live”. And from these guards comes the understanding that you should move in swordplay, and not wait in a guard and thus waste your chance.

The first guard, the plough, is when you hold the point [of the sword] in front of you aimed at the ground or to the side. After a displacement[73] it is called the barrier guard[74] or simply the gate.[75]

The second guard is the ox,[55] or the upper hanging from the shoulder.

ⅹⅹⅵ The fool[76] breaks
 Wwhat[77] strikes or thrusts.
ⅹⅹⅶ From the hanging[78] strike
 Wand at once and follow by attacking after.[79]

The third guard the fool[34] is the lower hanging, and with it you break all strikes and thrusts when it is done correctly.

The fourth guard is from the roof,[71] is also the long point.[80] He, who does it well with outstretched arms, is not easy to hit with strikes or thrusts. It can also be called the hanging above the head.

Also know that you break all guards and positions with the strikes. You should strike bravely at the opponent so that he must move away and defend him. Therefore Liechtenauer does not hold the guards in such a high esteem; he is more interested in that you try to win the first strike.[21]

This is regarding the four displacements[35]

70 There are four displacements
 that also hurt the guards seriously.
71 Displacing will protect you
 but avoid doing parries,
72 if they occur[81]
 it helps you a lot.
73 If you are displaced,
 then no matter how it happened,
74 Set on at four ends;
 remain there if you want to finish the teaching.
ⅹⅹⅷ He, who displaces well,
 will hurt many strikes in the swordplay
ⅹⅹⅸ for you come handily
 into the hangings from the displacements

Glossa. Note here that there are four displacements[35] to both sides, to each side one above and one below. They break all guards, and no matter how you set aside[22] a strike or thrust from above or from below, this can well be called a displacement. If he displaces you, then no matter how he does it, leave [his sword] and strike quickly at him.

If it happens that you displace the opponent’s strike or thrust, then you should at once step in and follow[82] at the sword so that he cannot move away from you. And if the other does the same when you are hanging again and gather yourself, then you will get hurt. You should also turn[40] well and always aim your point at his breast so that he must consider this.

A good swordsman should also learn how to get at the opponent’s sword. And this you will do well from the displacements that comes from the four strikes, from each side an upper strike and an [Unterhaw] and into the four hangings. Since as soon as you can displace from above or below, then you shall come into the hangings at once. And as you turn aside[53] all strikes and thrusts with the foremost edge, that is also displacing.

This is regarding attacking after[83]

75 Learn to attack after twofold or cut in the defence.
76 Two outer takings[84] let the work begin.
77 And try the contact, if it is weak, or hard
78 learn how to feel, at once[5] – that word cuts severely.
79 Attack twofold, and also do the old cut well,
ⅹⅹⅹ follow all hits if you wish to emulate the strong one.
ⅹⅷ In all teachings, turn the point into the face
ⅹⅹⅺ and attack after with all your body then your point will do well.
ⅹⅹⅻ Learn to attack with skill and you will make a good ending.

This is regarding the running over[85] Swordsman, take notice.

80 He who seeks below, run over him above
 and he will be ashamed.
81 When it flashes above,
 be strong, that I will praise.
82 Do your work,
 or press strongly twofold.
ⅹⅹⅹⅲ He who presses you down,
 run him over and strike hard against him.
ⅹⅹⅹⅳ From both sides
 run over and notice the edges.

This is regarding the setting aside, learn it well[86]

83 Learn to set aside,
 to hurt strikes and thrusts with skill.
84 When he thrust at you,
 your point will hit and break his.
85 From both sides,
 always step if you wish to hit.
ⅹⅷ In all teachings
 turn your point into his face.

This is regarding changing through[87]

86 Learn how to change through from both sides and thrust with intent.
87 He who binds you [your sword] is found to be open by the changing through.
ⅹⅹⅹⅴ When you have “changed through”, strike, thrust or turn.[27]
ⅹⅹⅹⅵ Do not strike at the sword but change through and do not wait for[88] it.

Glossa. Note here that changing through goes straight forward on both sides, from above to below and from below upwards when done quickly. If you wish to change through from above to below on the right side, then strike an upper strike straight at him so that you shoot your point towards the left side in over his cross guard,[15] so that you hit in that small opening between the edge and the cross guard. If you hit then you have won.

If he defends against that and presses your point with his sword, then let the point sink down on the side that you are on, below his sword and around to the other side, do not make a wide movement around, but under his sword and the next thing that you do is to rush in with a good strong thrust over his cross guard. And when you feel that you hit, then follow well and as you do on one side over or under, do also on the other side.

And if he binds with you, go in along his sword to the openings with your point and change through as before. Or turn[27] and feel what he is up to, if he is weak or strong, and then try strikes, thrusts or cuts to his openings. When you have changed through, then strike, thrust or cut, and do not strike at the sword, and do not wait with it.

This is regarding withdrawing,[4] take note swordsman.

88 Step in close in the bind and then the withdrawing gives good findings.
89 Withdraw, if it hits,[89] withdraw more and work him, wind that is trouble for him.
90 Withdraw in all encounters
 with the masters if you wish to fool them.
ⅹⅹⅹⅶ Withdraw the sword
 and consider your path.

This is regarding the running through,[90] now look

91 Run through and let the pommel hang,
 take hold if you wish to wrestle.[91]
92 If one presses at you,
 run through and note.
ⅹⅹⅹⅷ Run through, thrust
 and turn[92][93] if he grabs the pommel.

This is regarding the cutting off.[94]

93 Cut off the attacks
 from below in both directions.
94 Four are the cuts –
 two below and also two above.
ⅹⅹⅹⅸ If you cut well crosswise,
 you will eagerly avoid injury.
ⅹⅼ Do not cut in haste,
 first consider the attack.
ⅹⅼⅰ You can well cut against all crosses;
 only leave the pulling [back/around].[95]
ⅹⅼⅱ If you wish to be without hurt,
 then do not go as you cut off.[96]

This is regarding pressing the hands[97]

95 Turn your edge;
 push the hands to the flats.
ⅹⅼⅲ One thing is turning,[40]
 another is winding,[6] the third the hanging.
ⅹⅼⅳ If you want to press the swordsman,
 then press with a thrust.
ⅹⅼⅴ From above the hands
 you strike the cuts well.
ⅹⅼⅵ Pull around with the cuts as well,
 above him, over the head.
ⅹⅼⅶ If you press the hands,
 you will withdraw your fingers without injury.

Also know that as soon as you turn a strike or thrust aside[53] then you shall at once step in and go quickly at him. Do not hold back again, because if you do, then you will cause yourself to be hurt.

And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside[53] all strikes or thrusts. The closer to the cross guard[15] a strike or thrust comes, the easier it will be to set these strikes and thrusts aside strongly. Since the closer to the cross guard[98] the stronger you are, and the closer to the point the weaker you are. That is why if you wish to be a good swordsman before all things learn how to set aside[53] well, since if you set aside well you will come at once into the turning in[6] and from these you can perform artfully and courteously in the fencing.

The foremost edge on the sword is called the right/true edge and all strikes or thrusts are wasted by the turning.[40]

This is regarding the Hanging[99] swordsman learn this.

96 These are the two hangings
 from one hand towards the ground.
97 In all situations
 you should strike, thrust, [hold] guards, [be] soft or hard.
98 Do the talking window,[100]
 stand joyfully and study the opponent’s intentions.
99 Strike so that he tries
 to step away from you,
100 I say honestly
 that no one defends without danger.
101 If you have understood this,
 then he will not come to blows.
ⅹⅼⅷ If it happens that you are
 on the sword, then you should also do
ⅹⅼⅸ strikes, thrusts or cuts,
 and remember to feel
ⅼ and not move away from the sword
 without reason.
ⅼⅰ A masterful technique
 is done rightfully/correctly on the sword.
ⅼⅱ He who binds with you,
 the war will wrestle him seriously.
ⅼⅲ The noble turning in[6]
 finds him for sure.
ⅼⅳ With strikes, with thrusts
 and with cuts you will find him.
[32] In all turning in,[6]
 strikes, thrusts and cuts should you find well.
ⅼⅴ The noble hanging
 would not exist without the turning in,[6]
ⅼⅵ since out of the hanging
 you shall make the turning in.[6]

Glossa. Note and understand that there are two hangings on each side. One upper and one lower hanging and with these you can come well on the sword of the opponent, they originate from the upper[101] and lower strikes. When it happens that you bind with the opponent, or when you find yourself on his sword then you should remain on his sword. And you shall turn[6] and thus joyfully and without fear remain on his sword. You shall see, await and understand what it is that he intends to do against you. And to remain thus on the sword Liechtenauer calls this the talking window.[100] When you stand thus with him on your sword, then you should feel and follow his movement if it is soft or strong. Then you should adapt in such a way as has been explained earlier. In the case that prior to everything else, even before you can do anything, he moves off the sword, then you should follow at once and strike or thrust as well as you can before he has the chance to do anything. You have a shorter way if you remain on the sword and aim your point in at him than he has if he tries to move away [from your sword]. Before he can gather himself and close in with a strike, go at once at him using your point. But if he remains with you on the sword, then try and feel if he is soft or hard on the sword. If he is soft and weak, then you should quickly and courageously go forward with the strong part of your sword and push back and press his sword and seek all openings to the head or the body wherever you have a chance. If the other is strong and hard on the sword and intends to push you away and thrust at you, then you should be weak and soft against his strength and yield to move away with your sword from the strong pressure he is applying and in this weakness, while he is pressing [you] and shoots his sword away from him[102], as has been described, then at once[5] that it happens but before he can gather himself again, so that he can’t strike or thrust, you should attack his openings with strikes, thrusts and cuts. Do this in the easiest way as has been described in this teaching, quickly and boldly and briskly so that he can’t come to blows. That is why Liechtenauer says “I say in all honesty that no man can defend himself without danger, if you have understood this he will not be able to come to blows”. With that he means that it is not possible to defend without being in danger or without getting hurt if you act according to this teaching. If you win and do the first strike[21] then he can either defend himself or let himself get struck. When you do the first strike, regardless if you hit or miss then you should quickly and briskly do the after strike[23] before he can come to blows. So when you wish to do the first strike then you should also do the quickly and speedily so that he cannot come to blows himself. And you should also make sure that in all things concerning swordsmanship that you act before your opponent does. And as soon as you move before him and win the first strike, at once do the after strike. You should never do the first strike if you do not have the in mind at the same time, meaning that you are always in motion[103] and do not rest or hold yourself back but does one thing after another quickly and decisively so that your opponent can’t do anything at all. If you do this, then he must indeed be a good one if he can manage to get away without being struck by you. So with this art or advantage it often happens that a peasant will beat up a good master if the peasant does the [Vorschlag] and boldly pushes forward. Thus when you understand the word at once/in an instant[5] hits, shames and defeats your opponent. One who hesitates and wants to wait in order to defend himself against the strike is in greater danger than the one who strikes at him and thus wins the first strike. Therefore in all things concerning swordsmanship make sure that you are the first and come at the opponent on your right-hand side. Then you will be safer than him no matter what comes.

108 From both sides
 learn eight turning in[6] with steps.
106 And one turning in[6] with three pieces
 I mean thus
107 it is twenty-
 four if you count them one by one.
105 Swordsmen notice it
 and note the turning in[6] correctly.
lxiii And learn to do them well
 and you will be able to hit the four openings
lxiv since each opening
 surely has six ways to be hit.

Glossa. Note here that the turning in[6] is the rightful art and foundation of all fencing with the sword. From these stem all other fencings and techniques and it is impossible to be a good swordsman [without knowing] the turning in.[6] There are many play masters [104] who despise it and say that what comes out of the turning[6] is very weak and calls it “of the shortened sword” since it is so easy and uncomplicated. And look at those who use the long sword and who goes about it with outstretched arms and outstretched sword in order to look dangerous and to look good, using all the strength of the body. It is terribly embarrassing to see someone thus stretched out as if he wanted to run after a hare. And this has nothing to do with turning in[6] or Liechtenauer’s art, since this art does not require strength. If it was not an art, then the strong would always win.

  1. ↑ blossfechten
  2. ↑ I believe Döbringer is referring to strikes. But it might also be opponents
  3. ↑ Wechsler
  4. ↑ 4.0 4.1 4.2 4.3 Czucken
  5. ↑ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 Indes
  6. ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 6.11 6.12 6.13 6.14 6.15 6.16 6.17 Winden
  7. ↑ Hawende
  8. ↑ Stechende
  9. ↑ Sneydende
  10. ↑ Abe und czutreten
  11. ↑ Umbeschreiten
  12. ↑ Springen
  13. ↑ Ort
  14. ↑ Sneiden
  15. ↑ 15.0 15.1 15.2 Gehilcze
  16. ↑ Klos
  17. ↑ the opponent
  18. ↑ Liechtenauer
  19. ↑ Harnusche
  20. ↑ Blos
  21. ↑ 21.0 21.1 21.2 21.3 21.4 21.5 Vorschlag
  22. ↑ 22.0 22.1 Abweisest or Abeleitest
  23. ↑ 23.0 23.1 23.2 Nachschlag
  24. ↑ Liechtenauer
  25. ↑ 25.00 25.01 25.02 25.03 25.04 25.05 25.06 25.07 25.08 25.09 25.10 25.11 25.12 25.13 25.14 Twerhaw
  26. ↑ 26.00 26.01 26.02 26.03 26.04 26.05 26.06 26.07 26.08 26.09 26.10 Twer
  27. ↑ 27.0 27.1 27.2 27.3 27.4 27.5 27.6 Wind
  28. ↑ his
  29. ↑ Veste
  30. ↑ Weich
  31. ↑ pushes you aside
  32. ↑ Limpf
  33. ↑ Masse
  34. ↑ 34.0 34.1 34.2 Alber
  35. ↑ 35.0 35.1 35.2 Vorsetzen
  36. ↑ Zuckt
  37. ↑ Zornhaw
  38. ↑ or slide?
  39. ↑ Oberhaw
  40. ↑ 40.0 40.1 40.2 40.3 Wenden
  41. ↑ 30–40cm
  42. ↑ Blossen
  43. ↑ Duplier
  44. ↑ Mutier
  45. ↑ 45.0 45.1 45.2 Krumphaw
  46. ↑ 46.0 46.1 46.2 46.3 46.4 46.5 Krum
  47. ↑ the other
  48. ↑ 48.0 48.1 Veller
  49. ↑ 49.0 49.1 49.2 Pflug
  50. ↑ Ochsen
  51. ↑ von dem tage
  52. ↑ i.e. for your life
  53. ↑ 53.0 53.1 53.2 53.3 53.4 Abwenden
  54. ↑ Twerhaw
  55. ↑ 55.0 55.1 55.2 Ochs
  56. ↑ 56.0 56.1 56.2 56.3 56.4 Schilhaw
  57. ↑ 57.0 57.1 Schiler
  58. ↑ or a fool
  59. ↑ Wechsel
  60. ↑ 60.0 60.1 60.2 60.3 60.4 Schil
  61. ↑ probably the opponent’s right side, but it could be your own as well
  62. ↑ schilende
  63. ↑ a peasant, that is
  64. ↑ Vorschlag
  65. ↑ Nachschlag
  66. ↑ Scheitelhaw
  67. ↑ Scheitler
  68. ↑ 68.0 68.1 Kron
  69. ↑ Scheitelhaw
  70. ↑ Vier Leger
  71. ↑ 71.0 71.1 Vom Tag
  72. ↑ Leger or Huten
  73. ↑ Absetzen
  74. ↑ Schranckhut
  75. ↑ Pforte
  76. ↑ Alber
  77. ↑ your opponent
  78. ↑ Hengen
  79. ↑ Nochreizen
  80. ↑ Langen Ort
  81. ↑ that is, when the opponent parries
  82. ↑ Nochvolgen
  83. ↑ Nochreisen
  84. ↑ Ewsere nymme
  85. ↑ Oberlawfen
  86. ↑ Abesetczen
  87. ↑ Durchwechsel
  88. ↑ or with doing the changing through, do it at once
  89. ↑ or perhaps strike at you
  90. ↑ Durchlawfen
  91. ↑ Rangen
  92. ↑ Vorkeren
  93. ↑ in this case inverting is also possible
  94. ↑ Abschneiden
  95. ↑ alone?
  96. ↑ a possible meaning is do not waste time stepping when you cut, but do it as a stationary movement
  97. ↑ Hende drucken
  98. ↑ you catch the attack
  99. ↑ Hengen
  100. ↑ 100.0 100.1 Sprechfenster
  101. ↑ Ober
  102. ↑ away from his body since he is pushing yours
  103. ↑ In motu seist
  104. ↑ Leychmeistere
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