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Difference between revisions of "Paulus Kal Fechtbuch (MS KK5126)"
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− | ! <p>{{rating|start}}<br/>by [[ | + | ! <p>{{rating|start}}<br/>by [[Harisson Hohenweg]]</p> |
− | ! <p>Transcription<br/>by [[ | + | ! <p>Transcription<br/>by [[Dierk Hagedorn]]</p> |
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− | | | + | | <p>Note now when you use the pollaxe to fence, learn high and low binding-on as with the staff.<ref>It is unclear whether Paulus Kal left behind any staff treatises, but this indicates a clear connection between staff and pollaxe fighting.</ref></p> |
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− | | | + | | <p>Next you come to the first play If he holds his hammer above him, then hold your thumb underneath by the left leg across the body. If he strikes from above, then parry with the lower part of the axe held above, or let fly at him with a sweep and hook the axe inside the right knee to pull him down.</p> |
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− | | | + | | <p></p> |
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− | | | + | | <p>Next if he counters the play above, then come in with the axe and wind in upwards. Wrench at his neck from above and set him back over your left leg on the right, or over the right leg to the left, and throw him. The play works from both sides.</p> |
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− | | | + | | <p>Next, he binds on to you and both hammers stand upright. If he makes a peasant strike at you, sense and act as if you will parry, but let his strike go through forward so you can hook him by the nape, or strike him freely to the head, the shoulder or the arm.</p> |
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− | | | + | | <p>Next if he strikes at the same time as you and wants to pull your leading hand free, then give way and take his (hand) from him. If he sets his axe on to you, then set yours also onto him,<ref>Original appears to be nonsensical. With some consultation this is about as clear a translation I came across.</ref> and lengthen your your axe. Then pull the left leg backward and place your axe on your right side, thus you have over-extended him.</p> |
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− | | | + | | <p>Next, then lay the axe across the body with the hammer underneath and act as though you want to parry with the upper point, but seek to wrench<ref>“suech den vnttern rist”</ref> him from below, if he then strikes wide,<ref>Presumably since you are only acting as though you will parry, you are voiding, which could expose the armpit etc.</ref> seek the opening inside the hand or under the armpit and set upon<ref>Impalement is implied, probably with the queue.</ref> him.</p> |
− | + | | {{section|Page:MS KK5126 127r.jpg|8|lbl=-}} | |
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− | | | + | | <p>Next if you are performing the previous play and parry with the upper point,<ref>The point standing upwards happens to be the queue in this play, but likely does not matter.</ref> then guide all his strikes to the side, and the play goes like Hildebrand’s Cut<ref>Hildebrand’s Cut is described by Paurenfeyndt as a parry which allows the opponent’s attack to slide downward off the weapon and to the side.</ref> in the long sword, however<ref>“Indes” - most likely not in the fencing sense but used as it commonly is.</ref> it works with the axe as well as with other weapons.</p> |
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! <p>{{rating|B}}<br/>by [[Christian Henry Tobler]]</p> | ! <p>{{rating|B}}<br/>by [[Christian Henry Tobler]]</p> | ||
− | ! <p>Transcription<br/>by [[ | + | ! <p>Transcription<br/>by [[Dierk Hagedorn]]</p> |
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− | | Item, do thus with the long shield: learn to deliver the ''Oberhau'' and ''Unterhau'' and learn to bind well below and above, and in the techniques described hereafter you will learn the side wrenching. | + | | <p>Item, do thus with the long shield: learn to deliver the ''Oberhau'' and ''Unterhau'' and learn to bind well below and above, and in the techniques described hereafter you will learn the side wrenching.</p> |
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− | | Item, do thus the first technique behind the shield if you have a sword or mace: if you have a sword strike whatever opening you see; or cast [the mace] and call your marshal to give you another mace. | + | | <p>Item, do thus the first technique behind the shield if you have a sword or mace: if you have a sword strike whatever opening you see; or cast [the mace] and call your marshal to give you another mace.</p> |
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− | | Item, do this with the shield and with mace near to him and shoot with the point of the mace to his shield’s barb [?] so that he must expose himself; immediately strike or thrust. | + | | <p>Item, do this with the shield and with mace near to him and shoot with the point of the mace to his shield’s barb [?] so that he must expose himself; immediately strike or thrust.</p> |
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− | | Item, do this nearer to him and step with a foot on a point of his shield so that he is completely exposed, then strike to lame the wrist. | + | | <p>Item, do this nearer to him and step with a foot on a point of his shield so that he is completely exposed, then strike to lame the wrist.</p> |
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− | | Item, if you have used all of your maces, and stand freely with the shield and he also stands freely with his shield, see if you can go under his shield by the point and wrench it toward you, then take it and quickly cast it from you and work with your shield. | + | | <p>Item, if you have used all of your maces, and stand freely with the shield and he also stands freely with his shield, see if you can go under his shield by the point and wrench it toward you, then take it and quickly cast it from you and work with your shield.</p> |
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− | | Item, if you have no mace and he has none then wind against him and note, as you thrust, the feeling; this is called ‘finding’ or ‘weak and strong’. | + | | <p>Item, if you have no mace and he has none then wind against him and note, as you thrust, the feeling; this is called ‘finding’ or ‘weak and strong’.</p> |
− | | | + | | {{section|Page:MS KK5126 127r.jpg|15|lbl=-}} |
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− | | Item, if you have come from the mace and shield, then remember the “murder grips”: with the bottom of the feet pressing to the shin and stepping on the knee, grasping the genitals, the wrestling at the hip, the punch to the heart, the arm break, to the neck and the nose, to the eyes, under the ears, or the Sun Pointer. | + | | <p>Item, if you have come from the mace and shield, then remember the “murder grips”: with the bottom of the feet pressing to the shin and stepping on the knee, grasping the genitals, the wrestling at the hip, the punch to the heart, the arm break, to the neck and the nose, to the eyes, under the ears, or the Sun Pointer.</p> |
− | | | + | | {{section|Page:MS KK5126 127v.jpg|1|lbl=127v}} |
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Revision as of 18:30, 20 April 2017
Paulus Kal Fechtbuch | |||||
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MS KK5126, Kunsthistorisches Museum Vienna, Austria | |||||
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Type | |||||
Date | ca. 1480s | ||||
Language(s) | Early New High German | ||||
Author(s) | |||||
Compiler | Unknown | ||||
Illustrator(s) | Unknown | ||||
Material | Paper, in a wood and leather binding | ||||
Size | 129 folia | ||||
Format | Double-sided; one uncaptioned illustration per side (ff 1r-100r), unillustrated (ff 104v-129r) | ||||
Script | Bastarda | ||||
Exemplar(s) | Cgm 1507 (ca. 1470) | ||||
Treatise scans | Digital scans (thumbs) |
Allerley Kampf zur Roß und Fueß in und an Harnisch ("All Manner of Combat on Horse and on Foot, Both Armored and Unarmored", MS KK5126) is a German fencing manual probably created in the 1480s.[citation needed] The original currently rests in the holdings of the Kunsthistorisches Museum in Vienna, Austria. Though Paulus Kal was in the service of Archduke Sigismund of Austria at the time that this manuscript was likely created, it bears the same dedication to Ludwig IV "the Rich" of Wittelsbach (1417-1479),[1] Duke of Bavaria-Landshut, as the other two contemporary manuscripts (perhaps providing evidence that this is an unaltered copy commissioned by someone other than Kal).
Kal's writings (exemplified in the Cgm 1507 consist of a redaction of some of the teachings of Johannes Liechtenauer on mounted fencing, armored fencing, and unarmored fencing, as well as Kal's own teachings on a variety of other weapons. It differs from the works of other followers of Liechtenauer in that instead of offering extensive glosses of the high master's verse, Kal relies on detailed illustrations. Unlike the earlier manuscripts containing Kal's works, this is a much larger compilation incorporating material from several other masters within the tradition of Johannes Liechtenauer. At the same time, the text of Kal's own work is omitted (apart from the preface) and the art is somewhat inferior to that of the Cgm 1507.[2]
Contents
Provanance
Contents
1r - 8v | Blank pages | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
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9r - 10r | Introductory material by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
10v - 23r | Mounted fencing illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
23v - 40v | Short sword fencing illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
41v - 46v | Armored poleaxe illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
47v - 52v | Longshield illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
53v - 55v | Duel between a man and a woman by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
56v - 61r | Sword and buckler illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
62r - 75v | Long sword illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
76v - 79v | Messer illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
80v - 85r | Dagger illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
86r - 100r | Grappling illustrations by Paulus Kal | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
104v - 106r | Recital by Johannes Liechtenauer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
106r - 114r | Gloss of Liechtenauer's Recital on long sword fencing by Pseudo-Peter von Danzig | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
114r - 117v | Gloss of Liechtenauer's Recital on mounted fencing by Pseudo-Peter von Danzig | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
117v - 122v | Gloss of Liechtenauer's Recital on short sword fencing by Pseudo-Peter von Danzig | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
122v - 124v | Grappling by Ott Jud | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
124v - 125v | Short sword fencing by Martin Huntfeltz | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
125v - 126r | Armored grappling by Martin Huntfeltz | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
126r - 127r | Mounted fencing by Martin Huntfeltz | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
127r |
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127r - 127v |
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127v | Sword and buckler by Andre Liegniczer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
127v - 128r | Dagger by Andre Liegniczer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
128v - 129r |
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Gallery
Additional Resources
- Jaquet, Daniel; Walczak, Bartłomiej. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings". Acta Periodica Duellatorum 2(1): 105-148. 2014. doi:10.1515/apd-2015-0015.
- 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
- Tobler, Christian Henry. In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal. Highland Village, TX: Chivalry Bookshelf, 2006. ISBN 978-1-891448-25-0
References
- ↑ See folio 9r
- ↑ Tobler, Christian Henry. In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. p79.
- ↑ It is unclear whether Paulus Kal left behind any staff treatises, but this indicates a clear connection between staff and pollaxe fighting.
- ↑ Original appears to be nonsensical. With some consultation this is about as clear a translation I came across.
- ↑ “suech den vnttern rist”
- ↑ Presumably since you are only acting as though you will parry, you are voiding, which could expose the armpit etc.
- ↑ Impalement is implied, probably with the queue.
- ↑ The point standing upwards happens to be the queue in this play, but likely does not matter.
- ↑ Hildebrand’s Cut is described by Paurenfeyndt as a parry which allows the opponent’s attack to slide downward off the weapon and to the side.
- ↑ “Indes” - most likely not in the fencing sense but used as it commonly is.
- ↑ i mit 2 Punkten
- ↑ aim
- ↑ ain
Copyright and License Summary
For further information, including transcription and translation notes, see the discussion page.
Work | Author(s) | Source | License |
---|---|---|---|
Images | Kunsthistorisches Museum | ||
Translation | Christian Henry Tobler | Freelance Academy Press | |
Transcription | Dierk Hagedorn | Index:Paulus Kal Fechtbuch (MS KK5126) |