Pseudo-Hans Döbringer/Thomas Stoeppler LS 2006

This is the general preface of the unarmored fencing on foot. Mark this well.

1	Young knight learn,  to love god and women,
2	so your honor may grow.  Practice chivalry and learn
3	arts that adorn you  as well as serving you in conflict.
4	Wrestle well,  bear glaive, spear, sword and knife
5	manfully and learn  to defeat these when in the hands of others.
6	Strike quick and hurry at him,  rush in, not caring for hit or miss.
7	So that you dishonour  him before the judges.
8	Be prepared for that:  All art has length and measure.
ⅰ	And whatever you want to do,  keep up a good common sense
ⅱ	Be it in earnest or in play,  have a light heart but don’t get overconfident.
ⅲ	So you may see  and observe with a high spirit
ⅳ	What you can use  and plan your next move against him.
ⅴ	Confronted with bravery and power,  every opponent will hesitate.
ⅵ	Never  give him any advantage on you.
ⅶ	Also avoid silly risks,  against four or six opponents don't advance
ⅷ	Don't be overconfident,  maintain balance, this will serve you well.
ⅸ	It is a brave man  who can stand against someone of his own kind.
ⅹ	And it is not a shame,  against four or six opponents run from the fight.

This is a general teaching for the sword.

9	If you want to show art,  move left and strike with right,
10	And strike left with right,  if you intend to fence strongly.
11	He who moves after strikes  may not enjoy any art
12	Strike at him as you like,  no Wechsler will harm you.
ⅺ	Never strike to the sword,  always wait for the openings.
13	to the head or to the body,  do not shun the Zeckrühr.
14	Fence with your whole body  if you want to fence strongly.
15	Hear this is bad,  do never fence from your upper left when you are right,
16	And if you are left,  you will lack severely at your right.
ⅻ	So better  fence down from your upper left.
17	Vor Nach these two things  are the source of all art.
18	Schwäche und Stärke,  Indes you must remember.
19	So you will learn  to defend yourself with art and work.
20	If you are frightened easily,  you will never understand fencing,
ⅹⅲ	Bravery and quickness,  carefulness wits and Intelligence
ⅹⅳ	Sense, stealth,  measure precognition grace skill
ⅹⅴ	Fencing needs all this  and a free and easy mind.

This is being followed by general comment: At first learn and know that the Ort of the sword is the centre and the means and the core of the sword. All techniques start and end with the Ort, thus the Hängen and Winden are the begin and the turnings around the centre and many good fencing techniques stem from this.

These have been invented so that a fencer, who immediately strikes at the Ort and yet does not hit instantly, may employ the before mentioned Techniques in combination with strikes thrusts and cuts, with stepping off or in, and with stepping around or jumping, in order to hit his adversary. And if someone has shot his Ort out too far, by thrusting or lunging, he can recover or shorten it by employing the Winden or stepping off, so that he again may use those appropriate techniques and principles of fencing. From there he again may strike thrust or cut, because according to Liechtenauer's art, strikes thrusts and cuts stem from all fencing techniques and principles. And later you will hear, how one technique and principle stems from the other and how they can be used in succession, so that if one method is being defended, the other hits and succeeds.

Secondly, you should learn that there is nothing about the sword that has been invented for without reason and that a fencer should make use of the Ort, of both edges, the hilt and the pommel. Each of these has its own special methods in the art of fencing. And how to practice this, you will see and hear later

Also know and learn, by the verse beginning with “If you want to show art etc” it is meant that an artful fencer should place his left foot in front and strike from the right side directly to the man, and with threatening strikes just as long as he sees where he may hit him and reach him with his stepping. And when he says “if you intend to fence strongly” so he says that you should fence upwards from the left side with the whole body and with all strength, to the head or to the body wherever he may hit. And never strike to the sword but just work like would not have a weapon or if you don't see it, and should not avoid Zeckrühr or taps, and permanently be in motion, work and contact, so the opponent may not come to strikes.

Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. Whatever he strikes to thrusts at his opponent, it will not be defended by any Durchwechsel or other techniques, if the strikes or thrusts are directed at the man and at the openings, to the head or to the body, with stepping around or other footwork.

Also know and learn when he speaks: “Vor Nach those two… etc” there he means the five words, Vor Nach Schwach Stark Indes and within these words lies all art of Master Liechtenauer and these are the basic foundation and the core of all fencing on foot or mounted, with armour and without.

By the word “Vor” he means that every good fencer should always gain the Vorschlag, may he hit or miss. And when Liechtenauer says “Strike and hurry to the man, rush in may it hit or miss”. This means, as soon he approaches his adversary by stepping or running, he should instantly attack as soon as he is sure he could reach him with either a step or a jump. Then he must attack to his head or to his body, without any fear to the opening which he can hit best. So he should gain the Vorschlag, and it is not impOrtant, if it directly hurts the adversary or not. He must also be sure with the correct measure of his steps, so that he may not step too short or too long.

If he now hits with the Vorschlag, so instantly follow through with the hit. However, if the defends the Vorschlag so that he turns aside or leads off the attack, be it a strike or a thrust, away from the intended opening with his sword, you should now, with the swords are still being in contact, feel or be aware whether he is soft or hard, weak or strong at the sword.

If he now feels how the adversary acts in his fencing, if he is strong or hard, in the very moment he realizes this he should, while the adversary is still protecting himself, become soft and weak and in the case of the adversary being weak, vice versa. To make sure that one cannot come to strikes, he should instantly execute the Nachschlag, that means that he attacks again while the other is still protecting himself from the Vorschlag, be it with a strike or a thrust. So he can employ different techniques for hurrying or rushing towards his openings and thus he is permanently in motion and very close to him and this should make him so irritated and confused that he is only busy protecting himself and cannot come to his own strikes. If one has to defend himself or has to be aware of the strikes which are directed against him, he is in much greater danger than the one who strikes at him, because he either can defend or be hit. And this makes it very difficult for him to gain the oppOrtunity for his own strikes. So Liechtenauer says: I tell you truthfully, no one defends without danger, if you understood this, he will not come to strikes.

If these five words, which this teaching and all other fencing is based upon, are not adhered,

then this is the reason why a brave peasant often defeats a master by winning the Vorschlag.

Now it has been said before that that Liechtenauer expresses he should bravely and without fear rush in with a good Vorschlag or the first strike to the head or body may he hit or miss, so that he strikes him just as stunning and frightening him so he does not know what he can do against him. Also it has been said that he should strike the Nachschlag before he recovers or might come to his own strikes. this also means this you should work in a manner that he is permanently busy with protecting and defending.

And if he defends against the Vorschlag, he instantly comes to the Nachschlag while the adversary is still defending for example, by rushing in with the pommel or transitioning into the Zwerchhau, which are generally good. He can generally transition into the Zwerch position, so he may use other technique which he may begin before the adversary can execute his own attack. And you will hear how you generate one technique from the other, if you follow this advice. That is he should execute with one thought and just as with one strike if possible the Vorschlag and the Nachschlag, quickly in succession.

It may happen that one has to defend the adversary's Vorschlag. So he would defend it by getting at his sword – and if he is a little slow or indecisive so he would want to stay at the sword and use the winden and feel if the adversary wants to pull back from the bind or not.

If one moves off, now that they were just bound at the sword, and the points are facing against each other to the openings, the skilled fencer has followed directly with the point, before the adversary can recover from his pulling-off, thereby executing a good thrust to the chest or anywhere where he could hit him best. And this is the method that the opponent cannot leave the bind unharmed, because with this following he gets nearer by thrusting the point forward at the sword, following the principle of the nearest and shortest target.

And if the opponent tries to attack newly with long strikes or thrusts after pulling off, he may always gain the Nachschlag or a thrust rather than with the first strike. Liechtenauer means this by the word “Nach”; if one has struck the Vorschlag so he should move in and without break strike the Nachschlag (in the same movement) and thus he should be permanently in movement and in contact, constantly using one technique after the other. So, if the first one fails, the second, the third or the fourth my hit not letting the opponent come to strikes because no one will ever have any significant advantage in fencing, except him who works according to this teaching and these five words.

Now if it happens that the opponent does stay at the sword after he displaced, and now it comes that he also stays at the sword – not having done the Nachschlag yet – so he shall wind and stand at the sword, and he should note and feel if the adversary is weak or strong at the sword.

And if he now feels that the opponent is strong, hard and rigid at the sword and only plans to press into him with his sword, so he should become weak and soft and completely give up his strength against the opponent. And thus he should let go of the opponent's sword, so it may whip and move off with the pressure. And now he can slide and pull off his sword quickly and then go for the opponent's openings quickly and nimbly, to the head or to the body, with strikes, thrusts and cuts, wherever he may hit surest and most direct.

Because the harder the opponent presses with the sword, the farther his sword is flung aside when he suddenly becomes soft and lets the sword slide off. So the opponent will be left open so that he can touch or hit as he wishes before the opponent may recover and come to his own strike or thrust.

If the opponent now is weak and soft at the sword and he feels and notices this, so he should be strong and hard at the sword and should rush in quickly forcefully at the sword, directly and frontal to the next best accessible opening. Just like as a string would be attached to the point which would pull and turn his point to the nearest opening, as to achieve the thrust.

Now if the opponent is strong and defends the thrust and displaces it by becoming strong at the sword, so that the opponent presses into the sword again, so again he should become weak and soft and let his sword slide off. And in this evading he should seek the openings quickly with strikes thrusts or cuts, as he wishes. And this is what Liechtenauer means with the words “soft and hard”.

And this concept is from the auctoritas when Aristoteles says in the book peyarmenias: Oppositions shine more clearly if placed next to each other than directly opposing them

Weak against strong, hard against weak and vice versa. If it should be only strong against strong, the stronger will always win. That is the reason why Liechtenauer's fencing is real and correct art, so that a weak man can win with his art and wits in the same manner a strong man can do with his strength and it would be no art otherwise.

Because of this fencing teaches the feeling well as Liechtenauer says: “Learn the feeling, Indes is a word that cuts” because if you are at the sword with someone, and you are now skilled at feeling whether your opponent is weak or strong at the sword, indes or while you are in the bind, you may very well observe and plan what you should do against him. And according to this teaching and art, he may not pull off from the sword without being hurt, because Liechtenauer says: Strike that he is confused when he pulls off.

Now, according to this teaching you understand well that you should try to gain the Vorschlag and as soon as you execute it, so do in one rush instantly and without break the Nachschlag, and that can also be the second, third or fourth strike or thrust. So your opponent may not come to strikes. If you now bind with him so be skilled at the feeling and do as it has been written before, because this is the foundation of fencing so that you are permanently in motion and never pause or hesitate. And if it now comes to the feeling, so also do what is written before.

And what you begin to do, always have measure and control. When you have won the Vorschlag so don't do it too fast or too committed as you will be unable to recover yourself to do the Nachschlag. That is why Liechtenauer says: Be ready for this, all things need measure and control. And this also remember when doing steps and also before all other techniques and principles of fencing.

This is the text where he explains the five strikes and other techniques of fencing

21	Learn five strikes  from the right hand against the weapons
23	Wrath strike, Bent strike, transversal  strike, Squinting strike with vertex strike
24	Fool defends,  adheres, overreaching defeats strikes
25	Changing through, pulling,  running through, cutting off, pressing the hands
26	Hang, wind to the openings,  strike, catch, swipe, thrust repeatedly

This is about the Zornhau

27	Whoever strikes at you from above,  the point of the Zornhau endangers him.
28	If he sees it,  take it up and off without danger
29	hold against him, wind,  and thrust again. If he sees it, strike him low.
30	Remember this,  Strikes, thrusts and guards, be weak or be strong.
31	Indes, Vor und Nach,  take your time and analyze the Krieg.
32	Whoever takes the Krieg  too high, he will be hit below.
33	In all windings  learn how to find Strikes thrusts and cuts.
34	Also you should  feel spontaneously if it has to be a strike, a cut or a thrust.
35	In all binds  learn to pull and jerk against the skilled fencers if you wish to fool them.
ⅺ	Never attack his sword,  always strike the openings
ⅹⅵ	To the head, to the body,  never forget the tick.
ⅹⅶ
ⅹⅷ	Learn  to turn the Ort to the openings.
ⅹⅸ	The one who swings strikes around and wide,  will usually be defeated
ⅹⅹ	With Strikes and thrusts  aim for the nearest and closest.
ⅹⅺ	Also you should step  to his right side
ⅹⅻ

Comment: Here learn and know that Liechtenauer strikes an Oberhau from his shoulder which is called the Zornhau. For someone who is angered and wrathful, no other strike comes as ready as the Zornhau, because this Oberhau strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an Oberhau against you, you should strike the Zornhau against him so that your point thrusts forward quickly. If he now defends against your point, pull the sword up and off from his blade and move to the other side of his sword. If he also defends against this, be strong against the sword and wind the point in for the thrust. If he defends this thrust, so take the sword away and strike low to his legs.

So constantly do one after the other thus he may not come to strikes. And always have the already mentioned words, Vor and Nach Indes Schwach Stark and strikes thrusts and cuts, in your mind and never forget these in fencing.

Furthermore, you should not hurry too much in the Krieg because if you aim above and miss so you will hit below. And how you execute one after the other, according to real art with special strikes thrusts and cuts you will hear later.

And you should not strike at someone's sword but directly to him, to the head or to the body wherever you wish.

Alternatively, you may understand the first verse as if you strike a wrath strike from above, the adversary is being endangered by the point of the wrath strike.

Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes.

Also know that there are only two strikes all others are based upon. And these are the Oberhau and the Unterhau from both sides, which are the main strikes and the foundation if all other strikes. And these again are based on the point of the sword which is the core and the centre of all other techniques as it has been written before. And from the same strikes come the four displacements from both sides, with these you break and defeat all strikes thrusts or guards and these also lead to the hangings which can very well be used for artful techniques as you will hear later. And however you fence, always turn the point against the face or the chest of the adversary, so he has always to watch out that you do not move prior to him.

And if it happened, that the adversary got the Vorschlag so he should be well practiced and quick with the Abwenden and as soon as he has turned off the (attacks of) the adversary, he should move quickly as soon as possible, and his point should always aim for the chest as you will hear now. And the point should, as soon as he comes at the adversary's sword, be always within a half Elle of either chest or face. Also he should be well aware if he can move in boldly for the next opening. And he should never move too far around so that the adversary cannot come forward before him, which will surely happen if the adversary comes forwards and is not hesitating, slow or moves too far.

This is about the four openings

36	Know the four openings,  target these and you will hit for sure.
37	Go for them,  do not bother about hitting or missing.

Comment: Here learn that Liechtenauer would part a man in four parts, just as he would draw a line down from the vertex on his body to the groin.

And another line horizontally along the girdle on the body, and so there are four quarters, one right and left above the girdle, and also below the girdle and these are the four openings of which each has its own technique which never go for the sword, but always to the openings.

38	If you want to defeat him  and hit the openings with art,
39	Duplieren against the upper opening  and Mutieren against the lower one.
40	I tell you truthfully,  no man can defend safely.
41	If you have understood it,  he may not come to strikes.

This is about the Krumphau

42	Krump quickly  and throw the Ort on his hands.
43	The Krumphau with correct steps  defends against many strikes
44	Strike the Krump to the flat  of the skilled fencer, this will weaken him.
45	As soon as the swords hit high above,  strike to the man, this will be honored.
46	Never strike the Krump too short  otherwise your Opponent can change through.
47	Against a man who feints a lot,  use the Krump and confuse him in the Krieg
48	So he may not know  where he can be without danger.

Comment: Here learn and know that the Krumphau is an Oberhau which is done in a bent manner with a good step to one side.

This is why Liechtenauer says whoever wants to execute this strike, should step well to the right side while striking and shall throw or thrust the point over the hilt of the adversary onto his hands. And he should strike with the flat if he hits the blade and should stay strong against the sword and press forcefully. From there he may see what he can do best, in the most direct and surest manner, be it with strikes, thrusts or cuts. And he should not strike too short and should not forget the changing-through if it is appropriate.

One strike is called the Fehler and comes from the Krumphau and yet it is written after the Zwerchhau (where the mark is set) and it should be placed before the Zwerchhau. And this is done from below in a bent curve over the hilt, in the same manner as the Krumphau which comes down from above.

53	The Zwerch Fehler misleads  and hits below
54	The Verkehrer forces  the running through so you can wrestle.
55	Take the elbow,  leap into his balance to throw him down.
56	Double the Fehler,  if he binds execute the old cut.
57	Double instantly,  step to the left do not be slow.
ⅹⅹⅲ	Because all fencing  requires speed
ⅹⅲ	and also bravery  caution and wits.

This is about the Zwerchhau

49	The Zwerch defends  what comes from Tag
50	Use the Zwerch with strength  and remember its work.
51	Zwerch strike to the Ochs  then to the Pflug works well.
52	If you want to Zwerch correctly,  jump to hit the head.

Comment: Here learn and know that of all fencing techniques with the sword, there is no strike that is as fair, forceful, perfected and good as the Zwerchhau. And this strike is done just horizontal to both sides with both edges, the back and front edge, to all openings above and below. It also defends against any strikes from “vom Tag” wich are all strikes from high above or anything that comes down from above, and this all is defended with the Zwerchhau.

If one wishes to execute these well, the sword should be thrown horizontally before the head to whichever side he wishes, just as he would intend to get into the hanging or winding positions, save the edge being oriented horizontally and the flat vertically.

And with these Zwerchhau it is easy to get at the sword of the adversary. And as soon this has happened, it is difficult for the adversary get away and will be struck at both sides by the Zwerchhau.

And wherever one wants to aim for with the Zwerchhau, to whichever side above or below, always the sword is held with the inverted hand and with the hilt high in front of the head so that he is well secured and covered. And he should bring the Zwerchau with some strength.

And if someone has to fight for his life he should see to it that he gains the Vorschlag with a good Zwerchhau, as in the teaching written above. When approaching the adversary, as soon as he sees he could reach him with a step or a leap, he should strike with the Zwerchhau from his upper right side, with the back edge directly to the head. And he should let the point shoot and should well lean so that that the point is directed, and turn or sling around the adversaries sword just like a leather strap, because if one can do the Zwerch in combination with a good step outwards or a leap, an adversary will find it very difficult to defend or turn aside.

And if he gained the Vorschlag with the Zwerchhau and hits or misses to one side, he should immediately, in one motion and without pause do the 'Nachschlag with the Zwerchhau to the other side with the front edge, before the adversary recovers from the strike, as it has already been taught.

And one should Zwerch to both sides and to Ochs and Pflug, which is to the upper and lower openings, going from one side to the other, high and low, permanently without hesitation, so that he is always in motion and does not let the adversary come to strikes. And again, if he does a Zwerchhau, he should lean and hold the sword inverted in front of his head, so that he remains well-covered.

This is about the Schielhau

58	The squinting strikes defends  against a peasant's strikes or thrusts.
59	And whoever threatens with a change through,  the squinting strike will take him out.
60	Look, if he shortens himself,  the changing through defeats him.
61	Squint to the point  and cut the neck without fear.
62	And squint to the head  if you wish to cut his hands.
ⅹⅹⅳ	Squint at the right side,  if you wish to fence well.
ⅹⅹⅴ	I praise the Squinting strike,  if he does not come too silently.

Comment: Here learn and know that a Schielhau is a strike from above from the right side with back edge of the sword, which is also called the left side. And this strike moves just as a squint-eyed person to the left side while stepping off to the right, with inverted sword and hand.

And this strike breaks all strikes of a Buffalo – which means peasant – that come downwards from above, as most peasants usually do.

The Zwerchhau breaks the same strikes as it has been written before. And whoever threatens with a change-through will be ashamed by the Schielhau and one should well strike long enough with the strike and shoot in the point quickly, so that the adversary will be stopped in his changing through. And one should squint with the point, to the neck bravely without fear.

Where you see blades
 being drawn by both
you should steady yourself
 and your steps and remember
Before, after the two things,
 gauge and with skill leap off
Follow all hits
 from the strong if you intend to fool them,
If he defends, so pull,
 thrust, he defends so move to him.
learn to artfully execute
 the windings and hangings.
And sense the attacks
 be they soft or hard.
If he attacks with long and far steps,
 the thrust defeats him.
If he defends with hard strikes
 you hit without fear.
Strike and hurry forward,
 rush into him whether you hit or miss
Never strike to the sword,
 always wait for the openings
If you hit or miss,
 always aim for the openings
With both hands
 learn to bring the point to his eyes
Fence with sense
 and try to gain the Vorschlag
May he hit or miss,
 move in with the 'Nachschlag
to both sides,
 step to his right side
So you may safely begin
 fencing or wrestling.

This is about the Scheitelhau

63	The Scheitler  endangers the face
64	And with its turning  the chest.
65	The Kron defends  against the Scheitler
66	Cut through the Kron  so it is already broken
67	Press the swipes  and move off with cuts
ⅹⅹⅴ	I praise the Scheitelhau,  if he does not come too silently.

This is about the four Leger

68	Four guards alone,  keep these and forget the others.
69	Ochs Pflug Alber  and vom Tag should not be unknown to you.

Comment: Here he mentions the four guards, which he considers useful. But first of all, one should not lie in these for too long, because Liechtenauer has a proverb: “Who lies there, is dead and who moves is still alive.” And this relates to the guards – a man should rather move with fencing attacks and techniques than waiting in the guards, which he may use to leave the Schanze.

The first guard is the plough when someone puts the point in the ground in front of himself or to the sides. If you do this after the Absetzen then it is called differently: namely Schrankhut or the gate.

The second guard Ochs is the upper hanging from the shoulder.

ⅹⅹⅵ	Alber breaks,  what is being struck or thrust
ⅹⅹⅶ	And with hangings break swipes,  the travelling after should follows instantly.

The third guard fool, is the low hanging with which you can break all strikes and thrusts if you know to do it correctly.

The fourth guard, from Tag is also the long point. Who practices it with extended arms cannot be hit with strikes or thrusts. It may also hit the hanging over the head.

Also know, that all guards are broken with strikes, by courageously striking, so he must move up and defend. That is why Liechtenauer does not hold the guards in high regard but prefers to let his students try to gain the Vorschlag.

This is about the four displacements

70	There are four displacements  that also open the guards.
71	Beware the displacements,  if they happen, you have to work hard.
72	If you have been displaced  and how it could happen
73	Listen to my advice,  swipe off and strike back quickly
74	Set the point onto four openings  and stay on it, learn this if you wish to end.
ⅹⅹⅷ	Who displaces well  can defend against many strikes
ⅹⅹⅸ	because with the displacements  you get quickly into the hangings.

Comment: Here learn that there are four displacements to both sides, one high and one low, and these break or open all guards. And how you lead away or defends against strikes thrusts or cuts from above or below this may be called displacing. And if you have been displaced however this may have happened, so move off with the sword quickly and strike quickly again while you move in towards him. Now if it happens that you displace or turn off a strike or thrust, so you should move in and follow at his sword so that he cannot move away. And then you can do as you wish – the more you hesitate the more you will receive damage.

Also you should wind well and aim for his chest with the point, so he has to worry.

Also a good fencer should well learn to bind at his sword and this can be done with the displacements, because these come from the four strikes, Oberhau and Unterhau from both sides and these move into the four hangings.

If one defends from above or below he should move in and get into the hangings, and should see to it that he turns away or leads off all strikes and thrusts with the front edge as it is done with all displacements.

This is from the Nachreissen

75	Learn the Nachreissen  twice and cut into the weapons
76	Two outside takings  and begin with your work
77	Test the attacks  if they are soft or hard
78	Learn the feeling  Indes, the word, cuts sharply
79	Nachreissen twice  and do the old cut
ⅹⅹⅹ	Follow all binding  of the strong if you wish to fool them
ⅹⅷ	Always learn  to turn the point against the face
ⅹⅹⅺ	use the whole body with the  Nachreissen' and keep the point on line
ⅹⅹⅻ	Also learn to do the Nachreissen  quickly so you may well end.

This is about the Überlaufen, fencer observe this!

80	Who aims below  will be hit above with your overreaching
81	If the swords bind high  so be strong and I will praise that
82	Do your work  or double press
ⅹⅹⅹⅲ	Those who try to force you down,  overreach them and strike hard again
ⅹⅹⅹⅳ	Overreach from both sides  and remember the edges.

This is from Absetzen, this learn well

83	Learn to artfully defeat  strikes and thrusts with the Absetzen
84	So that who thrusts you,  his point is broken and yours does hit
85	Hit from both sides  if you step correctly
ⅹⅷ	Learn  to turn the point against one's face

This is from the Durchwechsel

86	Learn the changing through  from both sides and deliver a good thrust
87	The changing through will find an opening  in anyone who binds you.
ⅹⅹⅹⅴ	As soon as you have changed through,  strike thrust or wind strongly
ⅹⅹⅹⅵ	Do not strike the sword,  if he does it to you, do not let him wait for your changing-through.

Comment: Here learn that the changing-through goes from both sides down and up again and is very direct, if done quickly. If you now wish to change through from your right downwards, so strike an Oberhau directly at him. Aim for the little hole or window above and behind his hilt and shoot the point to his left opening. So that you may hit between the blade and the hilt; if you hit, you have won.

If he now defends against this by turning aside your point and pushes against your blade, so let your point sink down from the same side and move it around under his sword to the other side. And this should not be done wide around but as close to his sword as possible. And then move your point quickly in above his hilt, with a good and perfect thrust. And if you feel you hit, so follow well through. And you should do the same from the other side, low or high, as you do it on this side.

Whoever binds you, so move at his sword against him and he defends, so change through as before, or wind and feel his technique if it is soft or hard. Then seek strikes thrusts and cuts against the openings.

This is from the Zucken fencer learn this

88	Step close in bindings,  the Zucken will well find [him open]
89	Pull and should he hit, pull more,  create your work and wind, this will hurt him.
90	Zuck in all meetings with the masters  if you wish to fool them
ⅹⅹⅹⅶ	Pull off from the sword  and consider your techniques.

This is from the running-through, now see:

91	Run through and let your pommel hang,  grab if you intend to wrestle
92	Whoever presses with strength against you,  remember the running through
ⅹⅹⅹⅷ	Run through and ram him,  invert your hand if he grabs after the pommel.

This is about Abschneiden

93	Cut off the hands  from below from both sides
94	There are four cuts,  two low and two high.
ⅹⅹⅹⅸ	Against the Zwerch,  cut well to avoid damage
ⅹⅼ	Do not cut too soon,  observe your chances carefully
ⅹⅼⅰ	You may well cut  all crossings, just avoid the Nachreissen
ⅹⅼⅱ	If you wish to remain uninjured,  do not stand but move with the cutting.

This is about Hände drücken

95	Turn your edge to flat  for pressing the hands
ⅹⅼⅲ	The second is turning aside,  one is winding and the third is hanging
ⅹⅼⅳ	If you wish to despair the fencers,  press with pushing
ⅹⅼⅴ	and quickly cut  over the hands
ⅹⅼⅵ	Also take off the cuts  and strike to the head
ⅹⅼⅶ	Whoever presses hands  without damage protects his fingers

Also know, as soon as you defend a strike or a thrust with the turning-aside, so you should step sideways and move quickly to him; the slower you are the more damage you sustain.

Also know and learn that you turn aside all strikes and thrusts with the front edge of the sword, from its middle to the hilt. And the closer to the hilt a strike or a cut comes on the front edge which you have used to turn aside, the slower and stronger you can defend. This is because the closer you bind at the hilt, the stronger you can defend and the closer to the point the weaker you are. Now whoever wants to be a good fencer should firstly learn to turn-aside well, because by turning aside well he can get into the winding from which he can practice all art and grace of fencing.

The front edge at the sword is called the true edge and all strikes or thrusts are ruined by the turning-aside.

This is from the Hängen, fencer learn this

96	Two hangings  from one side from the ground
97	in all techniques  strikes thrusts cuts guards soft or hard
98	Do the Sprechfenster  stand happily and observe him
99	Strike that he falters  when he pulls off from you
100	I tell you truthfully  no one defends without danger
101	Have you understood this,  he may not come to strikes
ⅹⅼⅷ	Be it that you stay  at the sword so you can do
ⅹⅼⅸ	strikes thrusts and cuts,  learn the feeling
ⅼ	without all hesitation,  and you should not flee from the sword
ⅼⅰ	because a master's fencing  is rightfully at the sword
ⅼⅱ	those who bind you  will be forced with the Krieg
ⅼⅲ	The noble winding  may also find him open
ⅼⅳ	With strikes with thrusts  with cuts you find him defenseless
[32]	In all windings  you should learn to find strikes thrusts and cuts
ⅼⅴ	the noble hanging  cannot be without the hanging
ⅼⅵ	because from the hanging  you should practice the winding.

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.

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.

108	From both sides  Learn eight winds with stepping.
106	And always unite them.  Combine the winds with three plays
107	So are they twenty  And four. Simply count them.
105	Fencer, mind this  And consider the winds correctly
lxiii	And learn to command them well  So you can attack the four openings
lxiv	Because each opening  Objectively has six wounders.

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.

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.

-->