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| <p>{{red|b=1|Master Liechtenauer's Art}}<br/><br/></p>
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| <p>[1] {{red|b=1|Master Liechtenauer's Art}}<br/><br/></p>
 
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| <p>{{red|b=1|Here begins a good common lesson of the long sword, yet so very good secret art is therein locked.}}<br/><br/></p>
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| <p>[2] {{red|b=1|Here begins a good common lesson of the long sword, yet so very good secret art is therein locked.}}<br/><br/></p>
 
{| class="zettel"
 
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|-  
 
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| <small>9</small>
 
| <small>9</small>
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| If you will show art,<br/>Go yourself left, right with hewing,
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| {{red|If you will show art,<br/>Go yourself left, right with hewing,}}
 
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| <small>10</small>
 
| <small>10</small>
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| And left with right,<br/>If you most strongly will fence.
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| {{red|And left with right,<br/>If you most strongly will fence.}}
 
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The first lesson of the long sword is that you before all things shall rightly learn the hews, so that you will otherwise fence strongly, and undertake that thus: when you stand with the left foot before and hew from the right side, then the hew is false and incorrect since the right side remains there behind, thereby the hew becomes too short and may not have its correct going to the right side, etc.
 
The first lesson of the long sword is that you before all things shall rightly learn the hews, so that you will otherwise fence strongly, and undertake that thus: when you stand with the left foot before and hew from the right side, then the hew is false and incorrect since the right side remains there behind, thereby the hew becomes too short and may not have its correct going to the right side, etc.
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| <p>Or if you stand with the right foot before and hew from the left side, if you then do not follow after with the left foot, then the hew is but false. Therefore mark when you hew from the right side that you always follow after with the right foot. The same likewise do also when you hew from the left side. So put your body in the correct balance and thus the hews become long and correctly hewn, etc.
+
| <p>[3] Or if you stand with the right foot before and hew from the left side, if you then do not follow after with the left foot, then the hew is but false. Therefore mark when you hew from the right side that you always follow after with the right foot. The same likewise do also when you hew from the left side. So put your body in the correct balance and thus the hews become long and correctly hewn, etc.
 
</p>
 
</p>
 
| {{section|Page:Cod.I.6.4º.3 002r.jpg|2|lbl=2r}}
 
| {{section|Page:Cod.I.6.4º.3 002r.jpg|2|lbl=2r}}
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| <small>11</small>
 
| <small>11</small>
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| Who go hewing after,<br/>He deserves little joy in his art.
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| {{red|Who go hewing after,<br/>He deserves little joy in his art.}}
 
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That is when you come to the man with the pre-fencing, then you shall not stand still with your sword and wait after his hews until he hews to you. Know that all fencers that look there on another’s hews and will do nothing other than parry, they deserve little joy in their art since they become sorely struck thereby, etc.
 
That is when you come to the man with the pre-fencing, then you shall not stand still with your sword and wait after his hews until he hews to you. Know that all fencers that look there on another’s hews and will do nothing other than parry, they deserve little joy in their art since they become sorely struck thereby, etc.
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{{section|Page:MS Var.82 014r.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 014v.png|1|lbl=14v|p=1}}
 
{{section|Page:MS Var.82 014r.png|3|lbl=-|p=1}} {{section|Page:MS Var.82 014v.png|1|lbl=14v|p=1}}
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| <p>[5] </p>
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| <small>12</small>
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| {{red|Hew approaching what you will;<br/>No change comes on your shield.}}
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| <small>13</small>
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| {{red|To the head, to the body,<br/>The strikes do not shun.}}
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| <small>14</small>
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| {{red|With the entire body<br/>Fight so that you most strongly drive.}}
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<p>Undertake that thus; When you come to the man with the pre-fencing, what you then wish to fence, that you shall drive with the entire strength of your body, and hew approaching therewith in to his head. Therewith you force him so that he must parry and come to no Changing-through, when you come approaching to him with the point. If he comes then with the parrying strongly on your sword, then give him a touch on his left arm and step backwards therewith before he comes in.</p>
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{{section|Page:Cod.I.6.4º.3 003r.jpg|1|lbl=3r|p=1}} {{section|Page:Cod.I.6.4º.3 003v.jpg|1|lbl=3v|p=1}}
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{{section|Page:MS M.I.29 010v.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 011r.jpg|1|lbl=11r|p=1}}
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| <small>15</small>
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| {{red|Hear what is bad there:<br/>Fight not left if you are right,}}
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| <small>16</small>
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| {{red|And if you are left,<br/>In the fencing you also sorely limp.}}
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<p>That is a good lesson and touches upon a left-hander and a right-hander. And know how you shall hew so that one does not win the Weak of your sword with the first hew, and undertake that thus: when you come to the man with the pre-fencing , if you are then right and will strongly fence, then hew the first hew with purpose not from the left side. Then he is weak and may not hold against when you bind strongly on him, or, if you hew from the right side, then you may well strongly hold against and work on the sword what you wish.</p>
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{{section|Page:Cod.I.6.4º.3 003v.jpg|2|lbl=-|p=1}} {{section|Page:Cod.I.6.4º.3 004r.jpg|1|lbl=4r|p=1}}
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| <p><br/></p>
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{{section|Page:MS M.I.29 011r.jpg|2|lbl=-|p=1}} {{section|Page:MS M.I.29 011v.jpg|1|lbl=11v|p=1}}
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| <p>[7] Likewise, if you are left-handed, then also hew the first hew not from the right side, hew respectively from the left side, since it is rightly quite wild and again tame, to drive art from the left side. Likewise is it also a left-hander from the right side, etc.</p>
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| {{section|Page:Cod.I.6.4º.3 004r.jpg|2|lbl=-}}
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| <p>[8] </p>
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{| class="zettel"
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| <small>17</small>
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| {{red|Before and after, these two things,<br/>Are to all art a well-spring.}}
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| <small>18</small>
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| {{red|Weak and strong,<br/>Meanwhile, mark with that word,}}
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| <small>19</small>
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| {{red|So you may learn<br/>Working and defending with art.}}
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| <small>20</small>
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| {{red|If you frighten easily<br/>No fencing learn, evermore.}}
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<p>This is that you shall before all things correctly undertake and understand the two things, that is the Before and the After, and Weak and Strong, and the word Meanwhile. When therefrom come the entire foundation of all the Art of Fencing, when you rightly undertake and understand these things. And going forward do not forget the word Meanwhile in all techniques that you drive, so you are well a good Master of the Sword and may well teach princes and lords, that they may be best with correct Art of the Sword in play and in earnest, etc.</p>
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{{section|Page:Cod.I.6.4º.3 004v.jpg|1|lbl=4v|p=1}} {{section|Page:Cod.I.6.4º.3 005r.jpg|1|lbl=5r|p=1}}
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| <p><br/></p>
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{{section|Page:MS M.I.29 011v.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 012r.jpg|1|lbl=12r|p=1}}
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| <p>[9] Item, when you come ere with the hew or such that he must parry you, then work Meanwhile quickly ahead of you with the sword or such with other techniques, and let him come to no further work, etc.</p>
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| {{section|Page:Cod.I.6.4º.3 005r.jpg|2|lbl=-}}
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| <p>[10] Item, when he comes ere with the hew, then you must parry that, then work Meanwhile with parrying quickly with the sword or such, so you take the Before with the After. That is called Before and After, etc.</p>
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{{section|Page:Cod.I.6.4º.3 005r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.4º.3 005v.jpg|1|lbl=5v|p=1}}
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{{section|Page:MS M.I.29 012r.jpg|3|lbl=-|p=1}} {{section|Page:MS M.I.29 012v.jpg|1|lbl=12v|p=1}}
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| <p>[11] Item, Now you shall before all things know the Weak and Strong of the sword, undertake that thus: from the hilt on to the middle is the Strong, from the middle on to the point is the Weak. And how you shall work after the Weak and with the Strong, all that you will find hereafter written, etc.</p>
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| {{section|Page:Cod.I.6.4º.3 005v.jpg|2|lbl=-}}
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| <p>[12] </p>
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{| class="zettel"
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| <small>21</small>
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| {{red|Five hews learn<br/>From the right hand against the weapons.}}
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| <small>22</small>
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| {{red|Then we praise<br/>Your Arts to teach well.}}
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<p>Mark, there are Five hidden Hews. Who with correct art can break them without injury, he becomes praised by other masters, and shall become rewarded more inexpensively in his art than another. And how you shall hew the hews with three techniques, that you will all find described hereafter, etc.</p>
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| <p><br/></p>
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{{section|Page:Cod.I.6.4º.3 006r.jpg|1|lbl=6r}}
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{{section|Page:MS M.I.29 012v.jpg|3|lbl=-}}
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| <p>[13] </p>
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{| class="zettel"
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| <small>23</small>
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| {{red|Wrath hew, Crooked, Thwart,<br/>Have Squinter with Parter.}}
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| <small>24</small>
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| {{red|Fool, parries,<br/>Travelling-after, Over-running, Off-setting,}}
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| <small>25</small>
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| {{red|Changing-through, Pull,<br/>Run-through, Slice-off, Press hands,}}
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| <small>26</small>
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| {{red|Hang, Wind,with openings,<br/>Blows, grasp, strike, stab with thrusting.}}
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<p>Mark, here become named to you the correct Chief-Techniques of the Art of the Sword, how each are called with their names. Therefore you can further undertake and understand them.</p>
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{{section|Page:Cod.I.6.4º.3 006v.jpg|1|lbl=6v}}
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{{section|Page:MS M.I.29 013r.jpg|1|lbl=13r}}
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| <p>[14] {{red|b=1|Mark, of the first, the Five Hews.}}</p>
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<p>The first is called the Wrath-hew.<br/>The second the Crooked-hew.<br/>The third the Thwart-hew.<br/>The fourth the Squinting-hew.<br/>The fifth the Parter-hew.</p>
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| {{section|Page:Cod.I.6.4º.3 006v.jpg|2|lbl=-}}
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{{section|Page:Cod.I.6.4º.3 007r.jpg|1|lbl=7r}}
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<p>The first are the Four Guards.<br/>The second, the Four Preemptings.<br/>The third, the Travelling-after.<br/>The fourth, Over-running.<br/>The fifth, the Setting-off.<br/>The sixth, the Changing-through.<br/>The seventh, the Pulling.<br/>The eighth, the Running-through.<br/>The ninth, the Slicing-off.<br/>The tenth, the Hand Pressing.<br/>The eleventh, they are the Hangings.<br/>The twelfth, they are the Windings.</p>
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| {{section|Page:Cod.I.6.4º.3 007r.jpg|2|lbl=-}}
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{{section|Page:MS M.I.29 013r.jpg|3|lbl=-|p=1}}<br/>{{section|Page:MS M.I.29 013v.jpg|1|lbl=13v|p=1}}
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| <p>[16] Thus seventeen are the hews and the techniques. You will find them likewise after one-another described hereafter, and what you shall fence therefrom, etc.</p>
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| {{section|Page:Cod.I.6.4º.3 007v.jpg|1|lbl=7v}}
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| <p>[17] {{red|b=1|Here begins the Art of the Long Sword, firstly the Wrath-hew, etc.}}</p>
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| <small>23</small>
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| {{red|Who Over-hews you,<br/>Threaten with the Wrath-hew point.}}
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| <small>23</small>
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| {{red|If he becomes aware,<br/>Take off above without danger.}}
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<p>Item, the Wrath-hew with the point breaks all Over-hews and is yet nothing more than a simple peasant strike, and drive that thus. When he hews above from the right side to the head, then hew from your right side also from above with him, likewise wrathfully without any parrying, above onto his sword, and let the point shoot in straight ahead of you to the face or the breast. If he then becomes aware of the point and parries with strength, then tear up over yourself with your sword on his sword’s blade, above off from his sword, and hew in to the other side, on his sword’s blade, again in to the head. That is called taking off above, etc.</p>
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Revision as of 18:54, 28 June 2016

Jud Lew
Born before ca. 1440s
Died date of death unknown
Occupation Fencing master
Ethnicity Jewish
Movement Liechtenauer Tradition
Genres
Language Early New High German
Principal
manuscript(s)
Manuscript(s)
Concordance by Michael Chidester
Translations Traducción castellano
MS Thott.290.2º 011r.jpg

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 18:54, 28 June 2016 (UTC). (Update)

Jud Lew was a 15th century German fencing master. His name signifies that he was Jewish, and some sources state that he was baptized Christian. He seems to have stood in the tradition of Johannes Liechtenauer, though he was not included in Paulus Kal's ca. 1470 list of the members of the Fellowship of Liechtenauer.[1]

Lew is often erroneously credited with authoring the Cod.I.6.4º.3, a compilation of various fencing treatises created in the 1450s. In fact, his name is only associated with a single section of that book, a gloss of Johannes Liechtenauer's Recital on mounted fencing that is a branch of the so-called Pseudo-Peter von Danzig gloss. Though some versions of Martin Huntfeltz's treatise on armored fencing are also attributed to Lew, but this seems to be an error.

Treatises

Early on in its history, the Pseudo-Peter von Danzig gloss seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund Schining ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive Salzburg version of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and in lieu of a gloss of Liechtenauer's short sword it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz. Apart from containing the most content, the Salzburg version is notable for including nine paragraphs of text that are not found in any other version of Pseudo-Peter von Danzig, but do appear in Ringeck (and constitute almost 10% of that gloss); this predates all known copies of Ringeck's text, but is another indicator of some connection between the works. Branch A was later used by Johannes Lecküchner as a source when he compiled his own gloss of a Recital on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only four manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer devices overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also different from Branch A in that three of the four known copies are illustrated to some extent, where none in the other branch are. The Krakow version (1510-20) seems to be an incomplete (though extensively illustrated) copy taken directly from the Rome,[2] while Augsburg II (1564) is taken from the Krakow but only includes the six illustrated devices of wrestling and their respective captions. Even more anomalous is the Glasgow version, consisting solely of a sizeable fragment of the short sword gloss (hence its assignation to Branch B) which is appended to the opening paragraphs of Ringeck's gloss of the same section; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck and tried to fill in the deficit with another similar text.

There is one version of the Pseudo-Peter von Danzig gloss that defies categorization into either branch, namely the Vienna version (included in a 1480 manuscript along with Paulus Kal's work, though Kal's personal level of involvement is unknown). The text of this copy is more consistent with the generally shorter descriptions of Branch A, but the overall contents much more closely align with Branch B, lacking most of the unique devices of Branch A and including the gloss of the short sword. The Vienna version may therefore be a copy of the original gloss before it split into these branches (or it may merely be an odd attempt by a scribe to synthesize the two branches into a single, shorter work).

While Branches A and B were originally presented in a single concordance on the Pseudo-Peter von Danzig page, the differences between them were revealed thereby to be extensive enough that they merit separate consideration. Thus Branch A has been moved here to Jud Lew's page, to whom is seemingly attributed the gloss on mounted fencing, while Branch B has been retained on the page of Pseudo-Danzig. As the Vienna version cannot be cleanly assigned to one branch or the other, it will appear in both concordances for comparative purposes.

Temporary break

Additional Resources

References

  1. ↑ The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1570 (ca. 1470), and MS KK5126 (1480s).
  2. ↑ Zabinski, pp 82-83


Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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