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Difference between revisions of "Pseudo-Peter von Danzig"
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'''"Pseudo-Peter von Danzig"''' is the name given to an anonymous late 14th or early [[century::15th century]] [[nationality::German]] [[fencing master]].<ref>This name stems from the false assumption of many 20th century writers identifying him with [[Peter von Danzig zum Ingolstadt]].</ref> Some time before the creation of the [[Codex Danzig (Cod.44.A.8)|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. | '''"Pseudo-Peter von Danzig"''' is the name given to an anonymous late 14th or early [[century::15th century]] [[nationality::German]] [[fencing master]].<ref>This name stems from the false assumption of many 20th century writers identifying him with [[Peter von Danzig zum Ingolstadt]].</ref> Some time before the creation of the [[Codex Danzig (Cod.44.A.8)|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. | ||
Revision as of 17:40, 12 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) |
|
| First Printed English Edition |
Tobler, 2010 |
| Concordance by | Michael Chidester |
| Translations | |
 |
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 17:40, 12 May 2016 (UTC). (Update) |
"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.
Contents
Treatise
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 (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. |
Images |
Rome Version (1452) |
Vienna Version (1480s) |
Krakow Version (1510-20) |
||
|---|---|---|---|---|---|
 |
Rome Version | Vienna Version (114r-117v) | Krakow Version |
Images |
Rome Version (1452) |
Vienna Version (1480s) |
Krakow Version (1510-20) |
Glasgow Version (1508) | |
|---|---|---|---|---|---|
All raise yourself here to the analysis and interpretation of the verses on the art of combat fencing Those composed and devised by Johannes Liechtenawer, who was the one high master of the art and well respected and so that princes and gentlemen Knights and squires hear the art so that they then learn and shall know Thus the art has been allowed to be written with concealed and considered words This is so that not every man who hears it shall even understand it and if this is done through an irresponsible fightmaster's will then your art will be lessened because of it, similarly your art shall then not be open but vulgar, so direct the art that it not become widely heard as in hear the art and conceal the same and consider the words on combat fencing that stand after here and then are clarified In the comments and laid out so that any man can retain well and will understand if he knows other fencing. |
For further information, including transcription and translation notes, see the discussion page.
| Work | Author(s) | Source | License |
|---|---|---|---|
| Krakow Images | Biblioteka Jagiellońska | Biblioteka Jagiellońska |  |
| Translation (Long Sword) | Cory Winslow | Wiktenauer |  |
| Translation (Short Sword) | Mike Rasmusson | Shielhau.org |  |
| Rome Transcription | Dierk Hagedorn | Index:Codex Danzig (Cod.44.A.8) |  |
| Vienna Transcription | Carsten Lorbeer, Julia Lorbeer, Andreas Meier, Marita Wiedner | Index:Paulus Kal Fechtbuch (MS KK5126) | |
| Glasgow Transcription | Dierk Hagedorn | Index:Glasgow Fechtbuch (MS E.1939.65.341) | |
| Krakow Transcription | Bartłomiej Walczak, Per Magnus Haaland | Index:Goliath (MS Germ.Quart.2020) |  |
| Augsburg Transcription I | Dierk Hagedorn | Index:Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2) | |
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.
