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Difference between revisions of "Pseudo-Peter von Danzig"
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| − | | [1] {{red|b=1|Here begins the gloss and the interpretation of the Epitome of the Long Sword}} | + | | <p>[1] {{red|b=1|Here begins the gloss and the interpretation of the Epitome of the Long Sword}}</p> |
| − | This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them. | + | |
| + | <p>This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them.</p> | ||
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Revision as of 20:32, 10 May 2016
| Gloss and Interpretation of the Recital on the Long Sword | |
|---|---|
| die gloss und die auslegung der zettel des langen schwert | |
| Author(s) | Unknown |
| Ascribed to | Pseudo-Peter von Danzig |
| Illustrated by | Unknown |
| Date | before 1452 |
| Genre | |
| Language | Early New High German |
| Archetype(s) | Hypothetical |
| Principal Manuscript(s) |
|
| Manuscript(s) |
MS 26-232 (1512)
|
| First Printed English Edition |
Tobler, 2010 |
| Concordance by | Michael Chidester |
| Translations | |
"Pseudo-Peter von Danzig" is the name given to an anonymous late 14th or early 15th century German fencing master.[1] Some time before the creation of the Codex 44.A.8 in 1452, he authored a gloss of Johannes Liechtenauer's Recital (Zettel) which would go on to become the most widespread in the tradition. While his identity remains unknown, it is possible that he was in fact Jud Lew or Sigmund Schining ein Ringeck, both of whose glosses show strong similarities to the work. On the other hand, the introduction to the Rome version of the text—the oldest currently extant—might be construed as attributing it to Liechtenauer himself.
Treatise
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Caution: Scribes at Work This article is in the process of updates, expansion, or major restructuring. Please forgive any broken features or formatting errors while these changes are underway. To help avoid edit conflicts, please do not edit this page while this message is displayed. Stay tuned for the announcement of the revised content! This article was last edited by Michael Chidester (talk| contribs) at 20:32, 10 May 2016 (UTC). (Update) |
Early on in its history, this text seems to have split into two primary branches. The first branch, found in the Rome (1452), Krakow (1510-20), and Augsburg II (1564) versions, has slightly longer descriptions for many devices and is always accompanied by illustrations. The second branch, appearing first in the Augsburg I (1450s) and used in all extant versions except the three listed above, has shorter descriptions but a number of additional devices.
In order to achieve a greater degree of organization and readability, Liechtenauer's verse has been separated into its proper couplets in this presentation. The verse is laid out this way in the Augsburg I and Salzburg versions, but in most of the other manuscripts it is included inline.
Images |
Rome Version (1452) |
Vienna Version (1480s) |
Krakow Version (1510-20) |
Augsburg Version II (1564) | |
|---|---|---|---|---|---|
 |
[1] Here begins the gloss and the interpretation of the Epitome of the Long Sword This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them. |
Additional Resources
- Hull, Jeffrey, with Maziarz, Monika and Żabiński, Grzegorz. Knightly Dueling: The Fighting Arts of German Chivalry. Boulder, CO: Paladin Press, 2007. ISBN 1-58160-674-4
- Tobler, Christian Henry. In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-1-6
- Żabiński, Grzegorz. The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript. Poland: Adam Marshall, 2010. ISBN 978-83-7611-662-4
- Anzeiger für Kunde der deutschen Vorzeit. Nuremberg: Verlag der Artistisch-literarischen Anstalt des Germanischen Museums, 1854.
References
- ↑ This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt.
