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Difference between revisions of "Pseudo-Peter von Danzig/Christian Trosclair 2022"

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Gloss: Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling.<section end="58"/>
 
Gloss: Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling.<section end="58"/>
  
−
<section begin="59"/>Or fall into the slice with your sword across both their arms. In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is availble to you or whenever you wish.<section end="59"/>
+
<section begin="59"/>Or fall into the slice with your sword across both their arms. In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is available to you or whenever you wish.<section end="59"/>
  
 
<section begin="60"/>'''Here begins the cockeyed cut with it's plays'''
 
<section begin="60"/>'''Here begins the cockeyed cut with it's plays'''
Line 471: Line 471:
 
<section begin="68"/>'''Here begins the text and the gloss of the part cut'''<br/><br/>
 
<section begin="68"/>'''Here begins the text and the gloss of the part cut'''<br/><br/>
  
−
{{red|b=1|Text}}
+
<br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 495: Line 495:
 
When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge. Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.<section end="69"/>
 
When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge. Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.<section end="69"/>
  
−
<!--<section begin="70"/>{{red|b=1|This is the text and gloss on the Four Leaguers:}}
+
<section begin="70"/>'''This is the text and the gloss about the four positions'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>68</small>
 
| <small>68</small>
−
| {{red|Four Leaguers alone<br/>&emsp;Therefrom hold, and curse the common.}}
+
| Four positions alone<br/>Defend from those and eschew the common
 
|-  
 
|-  
 
| <small>69</small>
 
| <small>69</small>
−
| {{red|Ox, Plow, Fool,<br/>&emsp;From the Day, are not unpleasant to you.}}
+
| Ox, plow, fool,<br/>From-the-roof are not contemptible to you
 
|}
 
|}
−
Gloss: Mark the Four Leaguers, that is, the Four Guards from which you shall fence.<section end="70"/>
+
Gloss: Note the four positions. These are the four guards that you shall fence from.<section end="70"/>
  
−
<section begin="71"/>{{red|b=1|[This is the first guard:]}}
+
<section begin="71"/><br/>
  
−
The first guard is called the Ox, position yourself thus with it: stand with your left foot before and hold your sword near your right side, with the hilt before your head so that your thumb is under the sword, and hang the point in against his face.<section end="71"/>
+
The first guard is called the ox. Put yourself together like this here: stand with your left foot forwards and hold your sword next to your right side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face.<section end="71"/>
  
−
<section begin="72"/>{{red|b=1|Mark}}, on the left side position yourself thus in the Ox: stand with your right foot before and hold your sword near your left side, with the hilt before your head so that your thumb is below, and hang the point in against his face. That is the Ox on both sides.<section end="72"/>
+
<section begin="72"/>Note, Put yourself in ox on the left like this: stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face. This is the ox on both sides.<section end="72"/>
  
−
<section begin="73"/>{{red|b=1|This is the second guard:}}
+
<section begin="73"/>'''This is the second guard'''
  
−
Mark, the other guard is called the Plow, there position yourself thus with it: stand with your left foot before and hold your sword with crossed hands, with the pommel below you near your right side on your hip, so that the short edge is above and the point stands in against his face.<section end="73"/>
+
Note that the second guard is called the plow. Put yourself together like this here: Set up with the left foot forwards and hold your sword with crossed hands with the pommel down by your right side at the hip such that the short edge is above and your point against their face.<section end="73"/>
  
−
<section begin="74"/>{{red|b=1|Mark}}, on the left side position yourself thus in the Plow: stand with your right foot before and hold your sword near your left side, with the pommel below you on your hip, so that the long edge is above and the point stands in against the face. That is the Plow on both sides.<section end="74"/>
+
<section begin="74"/>Note. Put yourself in plow on the left side like this: stand with your right foot forwards and hold your sword by your right side with the pommel low at the hip such that the long edge is above and your point is in line with their face. This is the plow on both sides.<section end="74"/>
  
−
<section begin="75"/>{{red|b=1|This is the third guard:}}
+
<section begin="75"/>'''This is the third guard'''
  
−
Mark, position yourself thus in the guard called Fool: stand with your right foot before and hold your sword with stretched arms before you, with the point on the earth so that the short edge is turned above.<section end="75"/>
+
Note the third guard is called the fool. Put yourself together like this here: stand with your right foot forwards and hold your sword in front of you with extended arms with the point upon the ground with your short edge turned upwards<section end="75"/>
  
−
<section begin="76"/>{{Red|b=1|This is the fourth guard:}}
+
<section begin="76"/>'''This is the fourth guard'''
  
−
Mark, the guard is called From the Day, therein position yourself thus: stand with your left foot before and hold your sword on your right shoulder, or with up-stretched arms high over your head, and stand thus in the guard.<section end="76"/>
+
Note the fourth guard is called roof guard. Put yourself together like this here: stand with your left foot forwards and hold your sword on your right shoulder or with upstretched arms high over your head and stand in guard like this.<section end="76"/>
  
−
<section begin="77"/>{{red|b=1|This is the text and the gloss of the Four Forfendings:}}
+
<section begin="77"/>'''This is the text and the gloss of the four parries'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>70</small>
 
| <small>70</small>
−
| {{red|Four are the Forfendings<br/>&emsp;That also sorely injure the Leaguers.}}
+
| Four are the parries<br/>Which also severely disrupt the positions
 
|}
 
|}
−
Gloss: Mark, you have heard before that there are Four Guards. So you shall now also know the Four Forfendings that break the same Four Guards. Also hear that the Forfendings are nothing more than breaking with four hews.<section end="77"/>
+
Gloss: Note you have heard before that there are four guards. You shall also know this about the four parries: they break these same four guards. Furthermore, there is no actual parrying is called for in these, because the four parries are four cuts that break them.<section end="77"/>
  
−
<section begin="78"/>{{red|b=1|Mark}}, the first hew is the '''Crooked-hew''', which breaks the guard that is called the Ox.<section end="78"/>
+
<section begin="78"/>Note the first cut is the crooked cut which breaks the guard that here is called the ox.<section end="78"/>
  
−
<section begin="79"/>{{red|b=1|Mark}} the second hew, that is, the '''Thwart-hew''', which breaks the guard From the Day.<section end="79"/>
+
<section begin="79"/>Note the second cut. This is the crosswise cut which breaks the roof guard<section end="79"/>
  
−
<section begin="80"/>{{red|b=1|Mark}} the third hew, that is, the '''Squinter''', which breaks the guard that is called the Plow.<section end="80"/>
+
<section begin="80"/>Note the third cut. This is the cockeyed cut which breaks the guard that here is called the plow<section end="80"/>
  
−
<section begin="81"/>{{red|b=1|Mark}} the fourth hew, that is, the '''Parter''', which breaks the guard that is called the Fool.<section end="81"/>
+
<section begin="81"/>Note the fourth cut. This is the part cut which breaks the guard that here is called the fool<section end="81"/>
  
−
<section begin="82"/>And you shall find how you shall break the four guards with the hews before, in the descriptions of the same hews.<section end="82"/>
+
<section begin="82"/>And how you should break the four guards with the cuts shall be found written previously in these same cuts.<section end="82"/>
  
−
<section begin="83"/>{{red|b=1|This is the text and the gloss that one shall not parry:}}
+
<section begin="83"/>'''This is the text and the gloss about how one shall not parry'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>71</small>
 
| <small>71</small>
−
| {{red|Guard yourself against parrying.<br/>&emsp;If that happens it also sorely troubles you.}}
+
| Guard yourself from parrying<br/>If this happens, it also severely beleaguers you.
 
|}
 
|}
−
Gloss: Mark, that is that you shall not parry as the common fencers do: when they parry they hold their points high or to the side, and that is to understand that they do not know to seek the Four Openings<ref>"the Four Openings" omitted from the Kraków.</ref> with the point with their parrying, therefore they often become struck. When you will parry, then parry with your hew or with your stab, and seek Meanwhile the nearest opening with the point; so may no Master strike at you without being injured.<section end="83"/>
+
Gloss. Note this is about how one shall not parry like the common fencers do. When they parry, they keep their point up in the air or to one side. This shows that they do not know to seek the four openings in the act of parrying. Therefore, they often become struck. But when you parry, parry with your cut or with your thrust and 'Indes' seek the nearest opening with the point so no master can strike you without their own harm.<section end="83"/>
  
−
<section begin="84"/>{{red|b=1|This is the text and the gloss on what you shall drive against him when one has parried you:}}
+
<section begin="84"/>'''This is the text and the gloss about when someone has parried you and what you should conduct against that.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>72</small>
 
| <small>72</small>
−
| {{red|If you are parried,<br/>&emsp;And how that there comes,}}
+
| If you are parried<br/>And as that is arriving
 
|-  
 
|-  
 
| <small>73</small>
 
| <small>73</small>
−
| {{red|Hear what I teach you:<br/>&emsp;Wrench off, hew quickly with threat.}}
+
| Heed what I advise:<br/>Break loose, cut quickly with violence.
 
|}
 
|}
−
Gloss: Mark, that is when one has parried you and will not withdraw from your sword, and means to not let you come to techniques: then wrench with your sword upwards on his sword’s blade, as if you would take off from his sword above, but remain on his sword and hew him, striking in with the long edge on his blade again, into his head.<section end="84"/>
+
Gloss. Note this is about when someone has parried you and will not withdraw themselves from your sword and intends to not allow you to come to any plays. In this case, rise up on their sword's blade with your sword as if you would abscond from their sword, but stay against their sword and cut back in against their blade directly at their head using your long edge.<section end="84"/>
  
−
<section begin="85"/> {{blue|b=1|This is the text and the gloss of the Four Settings-on:}}
+
<section begin="85"/>'''This is the text and the gloss about the four lodgings'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>74</small>
 
| <small>74</small>
−
| {{red|Set-on four ends;<br/>&emsp;Learn to remain thereon if you will end.}}
+
| Lodge against four regions<br/>Learn to remain upon them if you wish to finish
 
|}
 
|}
−
Gloss: Mark, there are Four Settings-on that you hear you shall drive in earnest when you will quickly strike or injure him. Drive them thus: when you come to him with the pre-fencing, then lie with your sword in the guard of the Ox or the Plow. If he will then hew above or stab below, then mark while he lifts up his sword and will strike, or pulls it to himself below and will stab, and then come Before and shoot the long point into the nearest opening before he brings ahead his hew or stab, and see if you may Set-on him. Likewise do that also when he hews to you with Under-hews: then shoot the point in before he comes up with the hew from below, and drive that to both sides. If he then becomes aware of the Setting-on, then remain with your sword on his and work in nimbly to the nearest opening.<section end="85"/>
+
Gloss. Note there are four lodgings that are called for in earnest combat. You shall conduct them when you wish to immediately slay or injure your opponent. Conduct them like this: When you initiate fencing with the opponent with your sword, move yourself with your sword into the guard of the ox or the guard of the plow. If they will then cleave in from above or initiate a thrust from below, note during the moment when they lift up their sword and will strike or will draw down toward themselves to thrust at you, that you go first and shoot in the long point to their nearest opening before they bring forth their cut or thrust and see if you can lodge against them. Do the same thing when they initiate an rising cut. When this happens, shoot in the point the moment before they go up with their rising cut. Conduct this to both sides. Then if they become aware of the lodging against, keep your sword against theirs and swiftly work to the nearest opening<section end="85"/>
  
−
<section begin="86"/>{{red|b=1|This is the text and the gloss of the Travelling-after:}}
+
<section begin="86"/>'''This is the text and the gloss of the pursuing'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>75</small>
 
| <small>75</small>
−
| {{red|Travelling-after learn<br/>&emsp;Twofold, or slice in the weapon.}}
+
| Learn to pursue<br/>Double or slice into the weapon
 
|-  
 
|-  
 
| <small>76</small>
 
| <small>76</small>
−
| {{red|Two Outside Conducts,<br/>&emsp;The work thereafter begins.}}
+
| Two enticements to the outside<br/>The work begins thereafter
 
|-  
 
|-  
 
| <small>77</small>
 
| <small>77</small>
−
| {{red|And prove the drivings,<br/>&emsp;If they are Soft or Hard.}}
+
| And gauge the application<br/>Whether they are soft or hard
 
|}
 
|}
−
Gloss: Mark, the Travelling-afters are many and multiple, and pertain to driving from hews and stabs with great prudence against the fencers that fence with free and long hews (and otherwise do not hold well to the correct Art of the Sword).<section end="86"/>
+
Gloss. Note pursuing is diverse and varied and is required to be conducted with great caution from cuts and thrusts against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<section end="86"/>
  
−
<section begin="87"/>{{red|b=1|Drive the Travelling-after thus:}}
+
<section begin="87"/>'''Conduct pursuing like this'''
  
−
When you come to him with the pre-fencing, then stand with your left foot before in the guard From the Day, and see well how he will fence against you. If he then hews long above in to you, then watch so that he does not reach you, and mark while his sword goes under you against the earth with the hew. Then spring to with your right foot and hew him above into the head before he comes up again with the sword; so is he struck.<section end="87"/>
+
When you come to the opponent with the initiation of fencing, do it with your left foot forwards in the roof guard and watch quite attentively to what they fence against you. If they cleave in long from above, take heed that they do not reach you with their cut and not during the cut when their sword goes toward the ground, then spring in with your right foot, cleave in at their head from above before they can come up with their sword so that they are stricken.<section end="87"/>
  
−
<section begin="88"/>{{red|b=1|This technique described hereafter<ref>K. "The Following Technique".</ref> is called the Outside Conduct:}}
+
<section begin="88"/>'''The play written hereafter is called enticement to the outside'''
  
−
Mark, when he fore-hews you, and you Travel-after him with the hew to the opening, if he then drives up quickly with the sword and comes below you on your sword, then remain strong thereon. If he then heaves fast upwards with the sword, then spring with your left foot behind his right and strike him with the Thwart (or otherwise to his head on his right side), and work quickly again around to his left side with the Doubling (or otherwise with other techniques thereafter, as you find if he is Soft or Hard on the sword).<section end="88"/>
+
Note when the opponent misses their attack and you pursue into the opening with their cut, if they then rise up with their sword and come against your sword from below, remain strong upon it. Then if they firmly lift your sword upwards with theirs, spring behind their right foot with your left and strike them on the right side of their head with the crosswise cut or whatever, immediately working back around to their left side or otherwise with other plays thereafter, as you sense whether they are soft or hard at the sword.<section end="88"/>
  
−
<section begin="89"/>{{red|b=1|Here mark a good Travelling-after on the sword from Under-hewing:}}
+
<section begin="89"/>'''Here note a good pursuing at the sword from rising cuts'''
  
−
Mark, when you fence against him from Under-hewing, or from the slashing, or lie against him in the guard that is called Fool, if he then falls with his sword on yours before you therewith come up, then remain thus with your sword below on his and heave upwards. If he then Winds on the sword with the point into your face or breast, then do not let him off from the sword, and follow him thereafter, and work in with the point to the nearest opening. Or, if he strikes around from the sword, then follow him or Travel-after with the point as before.<section end="89"/>
+
Note when you fence against your opponent from rising cuts or from the sweeps or lay against them in the guard that is here called the fool. Then if they fall upon your sword with theirs before you can come upwards with something, stay against their sword like this with yours below and lift upwards. Then if they wind in their point into your face or breast while on your sword, do not let them get away from your sword and adhering to it and work with your point to their nearest opening. But if they strike around away from your sword then either follow behind or pursue them again with your point like before.<section end="89"/>
  
−
<section begin="90"/>{{red|b=1|Mark}}, you shall travel after him from all hews and from all guards<ref>"from all" omitted from the Kraków.</ref> as quickly as you can when he fore-hews from you or opens himself with the sword. And see that afterward you do not open yourself nor fore-hew with the Travelling-after, and mark that to both sides.<section end="90"/>
+
<section begin="90"/>Note you shall pursue them from all cuts and from all guards as soon as you recognize when they miss their attack or they open themselves with their sword. But take care that you neither open yourself up nor miss your attack with your pursuing. Note this on both sides.<section end="90"/>
  
−
<section begin="91"/>{{red|b=1|Here mark the text and the gloss of the Feeling and of the word that is called "Meanwhile":}}
+
<section begin="91"/>'''Precisely note here the text and the gloss about feeling and about the word that is here called Indes.'''
  
−
{{red|b=1|Text}}
+
<br/>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>78</small>
 
| <small>78</small>
−
| {{red|Learn the Feeling.<br/>&emsp;"Meanwhile", that word slices sorely.}}
+
| Learn to feel<br/>Indes, this word cuts sharply
 
|}
 
|}
−
Gloss: Mark, the Feeling and the word "Meanwhile" are the greatest and the best art with the sword, and who is a Master of the Sword (or wants to be), if he cannot understand the Feeling and the word "Meanwhile", then is he not a Master, but he is a Buffalo of the Sword. Therefore you shall, before all things, learn well these two things so that you understand them rightly.<section end="91"/>
+
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel and cannot perceive the term 'Indes' in it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall quite fully study the two things for all situations so that you correctly comprehend it.<section end="91"/>
  
−
<section begin="92"/>{{red|b=1|Here mark the lesson of the Feeling and of the word that is called "Meanwhile":}}
+
<section begin="92"/>'''Here note the lesson about feeling and about the word that is called Indes'''
  
−
Mark, when you come to him with the pre-fencing, and bind one another on the sword, then, as the swords clash together, you shall Feel with the hand simultaneously if he has bound Soft or Hard on you, and as quickly as you have found out, then think of the word "Meanwhile": that is, that simultaneously as you find the same, you shall nimbly work on the sword so he is struck before he becomes aware of it.<section end="92"/>
+
Note when you come to the opponent with the initiation of fencing and one binds the other on the sword, in this, immediately feel as the swords clash together whether they have bound on soft or hard and as soon as you have sensed this, then reflect on the Indes. This means that you shall work swiftly at the sword within that perception before the opponent comes to their senses.<section end="92"/>
  
−
<section begin="93"/>{{red|b=1|Here you shall mark…}}
+
<section begin="93"/>'''Here you shall note'''
  
−
That the Feeling and the word "Meanwhile" are one thing, and one may not be without the other, and undertake it thus: when you bind on his sword, then you must Feel with the hand (with the word "Meanwhile") if he is but Soft or Hard on the sword, and when you have Felt, then you must but work Meanwhile after the Soft and after the Hard on the sword; thus are they both naught than one thing. And the word "Meanwhile" is in all techniques previously, and that undertake thus:  
+
That feeling and the word Indes are one thing, for one cannot be without the other. Look at it like this: When you bind against their sword, you must immediately feel whether they are soft or hard at the sword using the word Indes. And when you have felt that, then you must work 'Indes' according to the soft and according to the hard. Like this, they are nothing but one thing. And the word Indes, this is for all plays from beginning to end. Look at it like this:
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
|  
 
|  
−
| "Meanwhile" Doubles,<br/>&emsp;"Meanwhile" Mutates,
+
| Indes doubles,<br/>Indes mutates,
 
|-  
 
|-  
 
|  
 
|  
−
| "Meanwhile" Changes through,<br/>&emsp;"Meanwhile" Runs through,
+
| Indes disengages,<br/>Indes rushes through,
 
|-  
 
|-  
 
|  
 
|  
−
| "Meanwhile" takes the slice,<br/>&emsp;"Meanwhile" wrestles with,<ref>"with" omitted from the Kraków.</ref>
+
| Indes takes the slice,<br/>Indes wrestles with,
 
|-  
 
|-  
 
|  
 
|  
−
| "Meanwhile" takes the sword;<br/>&emsp;"Meanwhile" does what your heart desires.
+
| Indes takes the sword,<br/>Indes does what your heart desires.
 
|}
 
|}
−
"Meanwhile": that is a sharp word wherewith all Masters of the Sword who know not to name this word become sliced. That is the key of the Art.<section end="93"/>
+
Indes, this is a sharp word. With it, all masters of the sword that neither know nor understand it will be carved up. This is the key of the art.<section end="93"/>
  
−
<section begin="94"/>{{red|b=1|Here mark the text and the gloss of yet a Travelling-after:}}
+
<section begin="94"/>'''Here again note the text and the gloss about pursuing'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>79</small>
 
| <small>79</small>
−
| {{red|Travel-after twofold.<br/>&emsp;One hits, make with the Ancient Slice.}}
+
| Pursuing twice,<br/>If one hits, make the old slice with it.
 
|}
 
|}
−
Gloss: Mark, that is that you shall drive the Travelling-after to both sides and you shall not forget the slice there. Undertake it thus: when he fore-hews in front of you (be it from the right or from the left side), then hew in boldly After to the opening. If he then drives up and binds below you on the sword, then mark as quickly as the swords clash on each other, and then slice him Meanwhile after his neck, or fall in with the long edge on his arms and slice fast.<section end="94"/>
+
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge and slice firmly.<section end="94"/>
  
−
<section begin="95"/>{{red|b=1|Here mark the text and the gloss of the Over-running:}}
+
<section begin="95"/>'''Here note the text and the gloss about the overrunning'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>80</small>
 
| <small>80</small>
−
| {{red|Whoever aims below,<br/>&emsp;Over-run, then he becomes ashamed.}}
+
| Whoever takes aim from below<br/>Overrun, then they will be shamed.
 
|-  
 
|-  
 
| <small>81</small>
 
| <small>81</small>
−
| {{red|When it clashes above,<br/>&emsp;Then strengthen, that I praise.}}
+
| When it clashes above,<br/>Strengthen, This I wish to praise.
 
|-  
 
|-  
 
| <small>82</small>
 
| <small>82</small>
−
| {{red|Your work make,<br/>&emsp;Or press hard twofold.}}
+
| Make your work<br/>Or press hard twice.
 
|}
 
|}
−
Gloss: Mark, that is when you come to him with the pre-fencing: if he then hews below to your lower opening, do not parry that, but hew in above strongly to his head. Or, if he hews to you with Under-hewing, then mark before he comes up with the Under-hew, and shoot the long point above into his face or his breast, and Set-on him above so he may not reach you below (since all upper Settings-on break and defeat the lower). If he then drives up and binds below on your sword, then remain with the long edge strongly on his sword, and work nimbly to the nearest opening, or let him work and come Meanwhile so that you hit him.<section end="95"/>
+
Gloss. Note that this is about when you come to the opponent with the initiation of fencing, if they then cut from below to the lower openings, do not parry that, rather cleave in strong at their head from above. Or if they initiate a cut with rising cuts, then before they come up with their rising cut, shoot in the point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<section end="95"/>
  
−
<section begin="96"/>{{red|b=1|Here mark, this is the text and the gloss on how one shall Set-off stabs and hews:}}
+
<section begin="96"/>'''Here note that this is the text and the gloss of how one shall displace thrust and cut'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>83</small>
 
| <small>83</small>
−
| {{red|Learn Setting-off,<br/>&emsp;Hews, stabs, artfully injure.}}
+
| Learn to displace<br/>Skillfully disrupt cuts and thrusts
 
|-  
 
|-  
 
| <small>84</small>
 
| <small>84</small>
−
| {{red|Whoever stabs on you,<br/>&emsp;Your point hits and his breaks.}}
+
| Whoever thrusts at you<br/>Your point hits and their's breaks
 
|-  
 
|-  
 
| <small>85</small>
 
| <small>85</small>
−
| {{red|From both sides<br/>&emsp;Hit all, if you will step.}}
+
| From both sides<br/>You will hit every time, if you step.
 
|}
 
|}
−
Gloss: Mark, drive the Setting-off thus: when you come to him with the pre-fencing, if he then stands against you as if he will stab, then set your left foot before and stand against him in the guard of the Plow on your right side, and give an opening with your left side. If he then stabs to that same opening, then Wind against his stab with your short edge on his sword (and your sword on your left side), and therewith Set-off, and therewith step to him with your right foot and stab him Meanwhile to the face or the chest.<section end="96"/>
+
Gloss. Note the displacing. Conduct it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, then advance your left foot and setup against them in the guard of plow from your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side, your short edge against their sword engaging their thrust and displace it with that and step in with your right foot with that and stab them Indes in their face or in their breast.<section end="96"/>
  
−
<section begin="97"/>{{red|b=1|Another technique:}}
+
<section begin="97"/>'''Another play'''
  
−
Mark, when you stand on your right side in the Plow, if he then hews into your left side above to your head, then drive up with the sword and Wind therewith on your left side against his hew with the hilt before your head, and step therewith to him with your right foot, and stab him to the face or breast. Drive this technique from the Plow on both sides.<section end="97"/>
+
Note when you setup in plow from your right side, if they then cleave in from above at your head on your left side, rise up with your sword, and with that wind to your left side against their cut such that your hilt is in front of your head and also step in with it with your right foot and stab them in their face or their breast. Conduct this play to both sides from the plow.<section end="97"/>
  
−
<section begin="98"/>{{red|b=1|This is the text with the gloss on how one shall Change-through:}}
+
<section begin="98"/>'''This is the text with the gloss about how one shall disengage'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>86</small>
 
| <small>86</small>
−
| {{red|Changing-through learn<br/>&emsp;From both sides with stabs sorely.}}
+
| Whoever binds upon you<br/>Disengaging surely finds them
 
|-  
 
|-  
 
| <small>87</small>
 
| <small>87</small>
−
| {{red|Whoever binds on you,<br/>&emsp;Changing-through closely finds him.}}
+
| Learn to disengage<br/>From both sides stabbing sharply with it
 
|}
 
|}
−
Gloss: Mark, the Changing-throughs are many and multiple; you shall drive them against the fencers that readily parry and that hew to the sword (and not to the openings of the body). You shall learn to drive it well with prudence, so that one cannot Set-on you or come in with something<ref>"with something" omitted from the Kraków.</ref> while you are Changing-through.<section end="98"/>
+
Gloss. Note disengaging is many and varied. You shall conduct it against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<section end="98"/>
  
−
<section begin="99"/>{{red|b=1|Drive the Changing-through thus:}}
+
<section begin="99"/>'''Conduct the disengaging like this'''
  
−
When you come to him with the pre-fencing, then hew in above strongly. If he then hews against your sword (and not to your body), then let the point go through his sword with the hew, below between you, before he binds on your sword, and stab into the other side to his breast. If he becomes aware of the stab, and drives quickly after the stab with parrying with the sword, then Change-through yet again, and always do that when he drives after the sword with parrying.<section end="99"/>
+
When you come to the opponent with the initiation of fencing, cleave in strongly from above. Then if they cut back at you but to your sword and not to your body, then during your cut, let your point rush through below their sword before they bind onto your sword and stab them in the breast on the other side. Then if they become aware of the thrust, and immediately chase that thrust with an act of parrying, then disengage again. Always do this when they move behind your sword with a parry.<section end="99"/>
  
−
<section begin="100"/>{{red|b=1|''Another''}}
+
<section begin="100"/>'''Or'''
  
−
When you come to him with the pre-fencing, then set your left foot before and hold the Long Point against his face. If he then hews to your sword down from above (or up from below), and will strike that away or bind strongly thereon, then let the point sink underneath and stab him to the other side. Drive that against all hews wherewith one hews to your sword.<section end="100"/>
+
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Conduct this against all cuts where the opponent strikes at your sword.<section end="100"/>
  
−
<section begin="101"/>{{red|b=1|That even mark…}}
+
<section begin="101"/>'''Precisely note,'''
  
−
How you shall Change-through so that one will not Set-on you while you are doing so, and undertake it thus: when he parries and lets his point go out near your side, then bravely Change-though and stab him to the other side. Or, if he remains with the point before your face (or otherwise against the opening), then do not Change-through but remain on the sword, and work therewith to the nearest opening so he may not Travel-after you with Setting-on.<section end="101"/>
+
How you should disengage in such a way that the opponent does not lodge against you while you disengage. Look at it like this: When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<section end="101"/>
  
−
<section begin="102"/>{{red|b=1|Here mark the text and the gloss of the Pulling on the sword:}}
+
<!--<section begin="102"/>{{red|b=1|Here mark the text and the gloss of the Pulling on the sword:}}
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  

Revision as of 21:26, 1 November 2022

Here the gloss and the explanation of the Zettel of the long sword begins,

which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had versified and produced. And that is the reason this art belongs to princes and lords, knights and squires that they should learn and know this. For this reason, he had allowed it to be written in cryptic and misleading words, so that no one could recognize and comprehend it. And he had this done in light of the half-baked masters of defense, whose art amounts to little, so that his art would not be revealed nor become coarsened by these masters. These same cryptic and misleading words of the Zettel are clarified and laid straight in the glosses hereafter in such a way that anyone that can already otherwise fence can recognize and comprehend them.

Here, precisely note whatever is written in red in the beginning of the written plays hereafter. This is the text of the cryptic words of the Zettel of the long sword. The subsequent black writing, this is the gloss and the explanation of the cryptic and misleading words of the Zettel.

This is the forward.

1 Young knight learn
To have love for god, honor women
2 So that you expand your honor.
Practice Knighthood and learn
3 Art that decorates you
And in war exalts you with honor.
4 Use the good grips of wrestling,
Lance, spear, sword, and messer
5 Like a man
And render them useless in other's hands.
6 Attack suddenly and charge in,
Flow onwards, engage or let pass.
7 Thus the intellectuals hate him,
Yet this one sees glories.
8 Hold yourself to this:
All art has a time and place.[1]

This is a general lesson of the long sword in which much good art is held

Text

9 If you wish to examine the art,
Go left and right with cutting
10 And left with right,
That is, if you desire to fence strongly.

Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with your left foot forwards and cut from your right side, if you then do not accompany the cut with the ingress of your right foot, then this cut is erroneous and incorrect. When your right side remains behind it, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.

Or if you stand with your right foot forwards and cut from the left side, if you do not then also accompany the cut with your left foot, then the cut is again erroneous. Therefore, see to it that when you cut from the right side that you always accompany the cut with the right foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.

This again is the text and the gloss about a lesson

11 Whoever chases after cuts
Allows themselves to enjoy little of the art.

Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is dismantled and they become struck for this reason.

This again is the text and the gloss about a lesson

12 Cut from close proximity whatever you wish
No changer gets past your shield
13 To the head, to the body
Do not omit the stingers
14 With the entire body
Fence whatever you desire to conduct with strength.

Gloss: Note this means when you come to the opponent with the initiation of fencing, from that point, whatever you wish to fence, conduct that with the entire strength of the body and in this fashion toward their head and toward their body from close proximity and remain with the point in front of their face or their breast so that they cannot disengage in front of the point. If they parry with strength and let their point go off away from you to the side, then give them a wound on the arm.

Or if they rise up high with the arms with an act of parrying, then strike below with a free cut to their body and with that, immediately step back. Thus are they struck before they become aware of it.

This again is the text and the gloss about a lesson

15 Now hear what is bad
Do not fence lefty from above if you are a righty
16 And if you are a lefty
You also quite awkward on the right

Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword. In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to initiate from the right side. It is also the same for a righty from the left side.

This again is the text and the gloss about a lesson

17 Before and After, the two things
Are the singular origin of the entire art.
18 Weak and strong
Indes, note them with this word
19 So that you may learn
To work and ward with art.
20 Whoever frightens easily
Never learns to fence.

Gloss: Note this means that you shall see and understand the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you correctly see and comprehend these things and have not forgotten the word Indes therein, in all plays that you conduct, then you are indeed a good master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in battle and in earnest.

Here note what is here called the before.

This means that you should always come before, be it with a cut or with a stab, before the opponent does. And when you preempt them with a cut or what have you so that they must parry you, then Indes work swiftly for yourself in their act of parrying with your sword or whatever, with other plays so that they cannot come to any work.

Here note what is here called the after.

The after, these are the breaks against all plays and cuts that one conducts upon you and look at it like this. When the opponent preempts you with a cut so that you must parry them, then Indes work swiftly to the nearest opening during your act of parrying using your sword so that you break their before with your after.

Here note the weak and the strong of the sword.

The weak and the strong, look at it like this. On the sword, from the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be explained to you hereafter.

This is the text and the gloss of the five cuts.

21 Learn five cuts
From the right hand against the weapon,
22 We swear upon this
To pay off in skills easily.

Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to hew these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall hew these cuts with their plays will be explained to you hereafter.



23 Wrathcut Crook and Cross,
If the Eye Cocker keeps with the Parter,
24 The Fool parries.
Pursuing and Overrunn, places the attack
25 Disengage, Suddenly withdraw,
Rush through, Cut off, Press the hands
26 Tilt and Turn to uncover with
Slash, catch, sweep, stab to clash with

Gloss: Note here the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better recognize and understand them. The first, these are the five cuts as they are specifically named:

Item: The first is called the wrathcut
Item: The second, the crooked cut
Item: The third, the crosswise cut
Item: The fourth, the cockeyed cut
Item: The fifth, the part cut

Now note the components

The first, these are the four guards
The second, the four parries
The third, the pursuing
The fourth, the overruning
The fifth, the displacing
The sixth, is the disengaging
the seventh, is the withdrawing suddenly
The eighth, the rushing through
The ninth, the cutting off
The tenth is the hand pressing
The eleventh, these are the hangings
The twelfth, these are the windings

And what you should fence from the components and how you should acquire yourself openings by hanging and the winding, you will find these written hereafter one after the other in the order above.

Here the text and the gloss begin

The first is about the wrathcut with its plays


27 Whoever makes a descending cut at you
The point of wrathcut threatens them

Gloss: Note the wrathcut interrupts any descending cut with the point and is yet nothing other than a simple peasant strike. Conduct it like this: when you come to the opponent with the initiation of fencing, if they subsequently cleave in at your head from high from their right side, then you wrathfully cleave in with them from high from your right side as well, atop their sword without any act of parrying. (marginalia: into the weakness of their sword) If they are then soft against your sword, then shoot the point in at them long, straight ahead and stab them in the face or breast, then lodge against them.

This is the text and the gloss of another play of the wrathcut

28 If they become aware of it
Then abscond above without concern

Gloss: Note this is when you cleave in with the wrathcut, then shoot the point in long into their face or breast as was written before. Then if they become aware of the point and parry strongly and press your sword to your side, then with your sword against their sword's blade, rise high off upwards, away from their sword and cut back in at the opponent's head again on the other side against their blade. This is called absconding above.

Break it like this

When they abscond above, then bind in against their sword from above with the long edge towards their head.

This is again the text and the gloss of the wrathcut

29 Be strong in turn
Wind. Stab. If they see it, then take it below

Gloss: Note that this is when you cleave in with the wrathcut. If they parry and remain strong against the sword with their act of parrying, then remain strongly in opposition with your sword against their sword and rise up high with your arms and wind against their sword with your hilt forwards, in front of your head and thrust into their face from above. If they become aware of the thrust and rise up with the arms high and parry with their hilt, then remain standing like this with your hilt in front of your head and set your point below onto their neck or onto their breast between both of their arms.

This is the text and the gloss of a lesson of the wrathcut

30 Precisely note this
Cut, stab, position, soft or hard
31 Indes and before and after
Without rush, your war is not hasty.

Gloss: Note this is when the opponent has bound against your sword with a cut or with a stab or however else. You should not let yourself be too hasty with the windings, because it is done this way: You precisely note first whether it is soft or hard when one sword clashes onto another. And after you have perceived that, then work Indes with the winding according to the soft and according to the hard, always to the nearest opening as will be explained and conveyed to you hereafter in the plays.

This is the text and the gloss of the war.

32 For the one whose war takes aim
Above, they will be shamed below.

Gloss: Note the war, these are the winds and the work which continues into the four openings with the point. Conduct it like this: When you cleave in with the wrathcut, then as soon as they parry, rise sufficiently up with your arms and against their sword "wind" in your point to the upper opening of their left side from above. Then, if they displace your upper thrust, remain standing in the winding like this with the hilt in front of your head and still to their left side, let your point sink down to the lower opening. Then if they chase your sword with an act of parrying, seek the lower opening of their right side with your point. Then if they chase your sword further with an act of parrying, then rise up with your sword to your left side and hang in your point to the upper opening of their right side. In this way they become shamed above and below via the war if you otherwise conduct it correctly.

This is again the text and the gloss of a lesson of the wrathcut

33 In all winds
Cut, stab, slice learn to apply
34 Also with that you shall
Gauge cut, stab or slice
35 In all encounters
Of the masters, if you wish to dishonor them.

Gloss: Note this is for when you cleave in with the wrathcut. You should be quite well practiced and quite polished with the windings because each winding has three particular plays, that is, a cut, a stab and a slice. And when you wind against the sword, then you should completely make sure that you do not conduct the incorrect play. Therefore you should not cut when you should stab and not slice when you should cut and not stab when you should slice. And you should always know which play to conduct that is rightfully called for in all encounters and binds of the sword else if you wish to dishonor or confound the masters that set themselves against you. And how you shall conduct the windings and how they are numbered, you can find that written in the last play of the Zettel that says: "Who fully commands and correctly breaks..."

This is the text and the gloss of the four openings

36 Know the four openings
Take aim so that you strike wisely
37 Into any movement
Without doubt however they are situated.

Gloss: Note whoever wishes to be a master of the sword, they shall know how one shall seek the openings with art, if they otherwise wish fence correctly and wisely. Above the girdle, the first opening is the right side, the second the left. Below the girdle the other two are the right and left sides. It follows that there are just two applications from which one may seek the openings. In the first one can seek them from the initiation of fencing by pursuing and by the shooting in of the long point. In the second, one shall seek them with the eight winds when one has bound the opponent against the sword. You shall understand it like this. When you come to the opponent with the initiation of fencing, you shall boldly, without any fear, with a cut or a stab, target whichever one of the four openings that you may best get to. And do not heed whatever it is that they conduct or fence against you. By doing this, you constrain your opponent so that they must parry you. And when they have parried, then immediately seek the nearest opening again by winding against their sword in the act of parrying. Always target the openings of the opponent in this fashion and not to the sword like in the play here which says "Lodge against four regions, Learn to remain upon them if you wish to finish"

(marginalia: with the shooting in of the long point and with pursuing, seek the openings)

This is the text and the gloss of how one shall break the four openings.

38 If you wish arrange yourself
To artfully break the four openings
39 Double high
Mutate down below
40 I say to you truthfully
No one defends themselves without danger
41 If you have understood this,
They can scarcely come to blows, etc.

Gloss: Note when opponent cleaves in at you, if you then wish to set yourself up against them and secure the opening from them with art so that they must allow themselves to be struck without their consent, then conduct the doubling against the strong of their sword and conduct the mutating when they are weak against the sword. For I say to you truthfully, that when facing you they cannot protect themselves from strikes nor can they come to blows themselves.

Here note how you shall conduct doubling to both sides

Note when they initiate a cut from their right shoulder, then also cleave in strongly from above with them at the same time from your right to their head. If they parry and stay strong against the sword, then 'Indes', rise up with your arms and thrust your sword's pommel under your right arm using your left hand and strike them on their head with the long edge and crossed arms and from behind their sword's blade.


Note, if they cleave in from above to your head with their long edge and you do it back to them the same way, if they then stay strong against the sword, then immediately rise up with your arms and strike them on their head using your short edge and from behind their sword's blade.

(marginalia: I have taught it and war with the sword and crossing under to the other side)

Here note how one shall conduct the mutating to both sides

Note when you cleave in strongly from your right shoulder and they parry and are soft against your sword, then "wind" the short edge against their sword to your left side and rise up sufficiently with your arms and pass over their sword with your sword's blade and stab them in their lower opening.

Another

Note when when you cleave in at their head up from your left side, if they parry and are soft against your sword, then rise up with your arms and hang your point down from up over their sword and stab them in their lower opening. You may also conduct these two plays from any attack from after the point you sense weak and strong against their sword.

These are the trials of the sword and whoever wins them is worthy of praise.

This is the text and the gloss of the crooked cut with its plays

42 Crook up swiftly
Throw the point onto the hands
43 Whoever waits well crooked
Disrupts many cuts with stepping.

Note the crooked cut is one of the four parries against the four guards because with them one breaks the guards that are called the ox here and also rising and descending cuts. Conduct it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and spring facing them well to your right side with your right foot and strike them across their hands with the long edge from crossed arms.

Another

Note you can also conduct the crooked cut from the barrier guard on both sides. Take yourself into the guard like this. When you come to the opponent with the initiation of fencing, then stand with your left foot forwards and hold your sword such that the long edge is above with your point on the ground by your right side and present yourself open with your left side. Then, if they cut into your opening, spring away from the cut, facing them, with the right foot well to your right side and from the long edge strike them with crossed hands on their hands with your point.

Item

Take yourself to your left side with the barrier guard like this. When you come to the opponent with the initiation of fencing, do it with your right foot forwards and hold your sword upon the ground by your left side with crossed hands such that the short edge is up and present yourself open with your right side. Then if they cut into your opening, then spring away from the cut, facing them, with your left foot well to their right side and strike them in the spring with the short edge across their hands.

This is the text and the gloss of a good play from the crooked cut

44 Cut crooked to the flats
Of the masters if you wish to weaken them
45 When it sparks above
Then dismount, that I will praise

Gloss: Note you shall conduct this play against the masters from the bind of the sword. Conduct it like this. When you come to the opponent with the initiation of fencing, then either lay down your sword to the right side into the barrier guard and stand with your left foot forwards or hold it on your right shoulder. Then if they cut at the opening from above, cut across their cut with your long edge from criss-crossed arms. And as soon as the swords spark together, then 'Indes', wind your short edge against their sword facing your left side and stab them in the face. Or if you don't want to thrust, then 'Indes', cut to their head or to their body with your short edge.

This is again the text and the gloss of one from the crooked cut

46 Don't crook, short cut
With that, look for the disengage.

Gloss: Note this is for when the opponent cleaves in from their right side from above. So rise up with your hands high and act as if you wish to bind against their sword with the crooked cut and pass through below their sword with your point and stab them in the face or in the breast on the other side and take care that you are well covered with your hilt in front of your face. You can also break the guard of the ox with this play. Conduct it like this. When you go to them with the initiation of fencing, if they then stand facing you and hold their sword with their hilt in front of their head on their left side, then throw your sword on your right shoulder and act as if you wish to bind against their sword with the crooked cut and cut short and with that disengage below their sword and shoot your point in long to the other side under their sword into their throat so they must parry. With this you come to strikes and other work with the sword.

[Marginal note in a different hand:] against the ox

[Marginal note in a different hand:] crooked cut w. Which breaks the guard of the ox

This is again the text and the gloss of one of the plays from the crooked cut

47 Crook whoever bewilders you
The noble war bewilders them
48 For they truthfully
Do not know where they are without danger

Gloss: Note whenever you conduct the crooked cut, you will always make yourself open with it. Look at it like this, when you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from your sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions that they should shield themselves from your cuts and thrusts.

Here begins the text and the gloss of the crosswise cut with its plays

49 The crosswise cut seizes
Whatever arrives from the roof

Gloss: Note the crosswise cut breaks the roof guard and any cut that is hewn down from above. Conduct the crosswise cut like this, when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they stand facing you and hold their sword with outstretched arms high over their head and threaten to cleave in from above, come with your cut before they do and spring well to your right side with your right foot and in that spring, wind your sword with your hilt in front of your head such that your thumb comes under and strike them with the short edge against their left side in the head

Or if they come before you do with their cut down from above, then spring away from their cut with your right foot, well to your right side with the previously mentioned act of parrying so that you catch their cut in your hilt and strike them with the crosswise cut on the left side of their head

Here note the break against the crosswise cut

Note when you stand facing the opponent in the roof guard, boldly cleave in at their head from above. Then if they spring away from your cut and intend to arrive first with the crosswise cut and strike you with it on the left side of your head, fall upon their sword with your long edge. Then if they strike around to your other side with the crosswise cut, 'Indes' you go forth ahead of them under their sword and in front of yourself against their neck so that they slash themselves with your sword.


Note when you have bound the opponent against your sword, if they then strike from your sword around to the other side with the crosswise cut, then fall into their hands or upon their arms with your long edge and press their arms away from you with everything you've got with a slice, and from that slice of their arms strike them on their head with your sword.

Here note the break against the upper slice into the arm

Note when you strike the opponent with the crosswise cut to their right side, if they then fall into your arm with a slice, then strike them in their mouth with your short edge from behind their sword's blade by doubling.

Again, this is the text and the gloss of a play from the crosswise cut

50 Cross with the strong
Remember your work with it

Gloss: Note when you wish to strike the crosswise cut, you shall strike with the entire strength of the body and you shall always bind against their sword with the strong of your sword. With that, you secure their opening. Look at it like this: When you make a crosswise cut from your right side, if they parry and bind strongly against your sword with it, then conduct the doubling or right from of crosswise cut, knock their sword off to the side with your hilt and strike them on the other side with it.

Yet another

When you make a strong crosswise cut from your right side, if they parry and are soft against the sword, then either drive the short edge of your sword against their neck on their right side and spring behind their left foot with your right foot and drag them over it like this with your sword's blade or conduct the mutating into their lower opening.

Break it like this

When the opponent drives their sword against your neck, rise up inside of their sword with your pommel and let your blade hang down and shove their sword away from your neck and strike in at their head from above by snapping. Or strike them by doubling with your right hand up over their sword and beneath their face while they have their sword against your neck.

This is the text and the gloss of the crosswise strike to the four openings

51 Cross to the plow
Yoke it hard to the ox
52 Whoever crosses themselves well
Threatens the head by spinging

Gloss: Note you have heard before that the ox and the plow are either two positions or two guards, but here they indicate the four openings. The ox, which are the upper two openings, the right and the left side of the head and the plow which are the two lower, the right and the left side below the belt of the opponent. You shall turn to each of these four openings with the crosswise strike in one sortie.[2]

You should also remember that in broad terms, you should always spring out off to one side facing the opponent with each and every crosswise strike so that you can fully connect to the head and take care that you are fully covered the entire time with your hilt up in front of your head.

Here note a break against the lower crosswise strikes

Note when the opponent strikes at your head with the crosswise from their right side to your left side, parry with the long edge and keep your point in front of their breast. Then if they strike around from your sword to your lower right opening using the crosswise strike, then you also make a crosswise strike down through between you and them also against their right side and with that bind against their sword and staying in the bind, stab them 'Indes' in the lower opening

This is the text and the gloss of a play that is called the failer

53 The failer misleads
It wounds according to desire from below

Gloss: The failer is a play whereby many fencers that like to parry and also those that fence to the sword and not to the openings become deceived and wounded according to desire and and are beaten.

Note when you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free descending cut and suddenly withdraw the cut and strike at the lower openings of their left or right side, whichever you wish, with the crosswise strike. And take care that you are fully covered by your hilt over your head. You can also conduct crosswise cut like this.

This is the text and the gloss of a play that is here called the inverter

54 The inverter constrains.
The one who rushes through also wrestles with it.
55 Take the elbow surely
Spring into their stance.

Gloss: Note the inverter is called the halfcut or the hand-turner. With it, one constrains the opponent so that you can rush through and capture with wrestling.

Conduct it like this:

When you go toward the opponent with the initiation of fencing, go with the left foot forwards and hew the halfcut from the right side with an inverted long edge over and over, up and down in time with your left foot until you arrive at the opponent. And as soon as you bind against their sword with it, then 'Indes' hang your point inward from above and stab them in the face. If they parry the thrust and rise up high with there arms, then rush through. Or if they remain with their hands low with their act of parrying, then seize their right elbow with your left hand and hold them firmly and spring in front of their right with your left foot and shove them over your foot like this.

Or if you do not wish to shove them over your foot by the elbow with your left hand as was written above, then pass your left hand back around their body and throw them in front of you across your left hip.

This is again the text and the gloss about the failer

56 The failer doubles.
If they make contact, make the slice with it.
57 Double it further
Step in left and do not be lazy

Gloss: Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling.

Or fall into the slice with your sword across both their arms. In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is available to you or whenever you wish.

Here begins the cockeyed cut with it's plays


58 The cockeyed cut breaks into
Whatever the buffalo cuts or thrusts
59 Whoever threatens to change,
The cockeyed cut robs them of it.

Gloss: Note the cockeyed cut breaks the guard here called the plow and is a good, strange and grim cut because it breaks into cuts and into thrusts with violence and goes forth with an inverted sword. This is why many masters of the sword have nothing to say about this cut.

Here note how one shall conduct the cockeyed cut

Note when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they cleave in at the head from above, twist your sword and hew against their cut up over their sword at their head with your short edge, long with extended arms. Then if they are also cunning and aborts during the cut of your sword and will disengage below, let the point shoot in forward and long during the cut so that they cannot disengage below.

Another

When you stand facing the opponent holding your sword on your right shoulder, if they then stand facing you in the guard of the plow and will initiate a thrust from below, cleave in with the cockeyed cut long from above and shoot in the point long into their breast so they cannot reach you below with their thrust.

This is the text and the gloss on a lesson from the cockeyed cut

60 Cock an eye. If they short change you,
Disengaging defeats them.

Gloss: Note this lesson. When you come to the opponent with the initiation of fencing, you shall sneak a glance and see whether they fence short against you. You can recognize this whenever they initiate a cut and do not extend their arms out away from themselves while cutting. Thus their sword is shortened.

Or if you lie in the guard of the fool and they will then fall upon you with their sword crooked, their sword is again shortened.

Or if they move themselves against you into the guard of the ox or the plow, their sword is again shortened. Also know that all windings of the sword ahead of the opponent are short and withdraw the sword. And against whichever fencers that conduct the windings in this way, freely disengage from your cuts and thrusts and shoot in the long point to the closest opening from this, thereby pressuring them so that they must parry and you come to your proper work.

This is the text and the gloss of how one breaks long point with the cockeyed cut

61 Cock an eye at the point
And take the neck without fear

Gloss: Note when you come to the opponent with the initiation of fencing, if they then stand facing you and hold the long point toward your face or breast, hold your sword on your right shoulder and focus your gaze on their point and act as if you will strike at it and cut strongly against their sword with your short edge using the cockeyed cut. And with that, shoot in your point into their neck using an entrance of your right foot.

This is again the text and the gloss of a play from the cockeyed cut

62 Cock an eye at the top of the head
If you wish to ruin the hands

Gloss: Note this is another break for when your opponent stands in the long point facing you. Focus your gaze upon their head and act as if you will strike them there and strike them on their hands with your point from the cockeyed cut.

Here begins the text and the gloss of the part cut


63 The part cut
Is a threat to the face
64 With it's turn
The breast is yet endangered.
65 Whatever comes from them
The crown removes.
66 Slice through the crown
So that you break it beautifully and hard
67 Press the sweeps
By slicing withdraw it

Gloss: Note the part cut breaks the guard that is here called the fool and to that end, it is quite dangerous to the face and with it's turn, the breast.

Conduct it like this

When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge. Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.

This is the text and the gloss about the four positions

68 Four positions alone
Defend from those and eschew the common
69 Ox, plow, fool,
From-the-roof are not contemptible to you

Gloss: Note the four positions. These are the four guards that you shall fence from.


The first guard is called the ox. Put yourself together like this here: stand with your left foot forwards and hold your sword next to your right side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face.

Note, Put yourself in ox on the left like this: stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face. This is the ox on both sides.

This is the second guard

Note that the second guard is called the plow. Put yourself together like this here: Set up with the left foot forwards and hold your sword with crossed hands with the pommel down by your right side at the hip such that the short edge is above and your point against their face.

Note. Put yourself in plow on the left side like this: stand with your right foot forwards and hold your sword by your right side with the pommel low at the hip such that the long edge is above and your point is in line with their face. This is the plow on both sides.

This is the third guard

Note the third guard is called the fool. Put yourself together like this here: stand with your right foot forwards and hold your sword in front of you with extended arms with the point upon the ground with your short edge turned upwards

This is the fourth guard

Note the fourth guard is called roof guard. Put yourself together like this here: stand with your left foot forwards and hold your sword on your right shoulder or with upstretched arms high over your head and stand in guard like this.

This is the text and the gloss of the four parries

70 Four are the parries
Which also severely disrupt the positions

Gloss: Note you have heard before that there are four guards. You shall also know this about the four parries: they break these same four guards. Furthermore, there is no actual parrying is called for in these, because the four parries are four cuts that break them.

Note the first cut is the crooked cut which breaks the guard that here is called the ox.

Note the second cut. This is the crosswise cut which breaks the roof guard

Note the third cut. This is the cockeyed cut which breaks the guard that here is called the plow

Note the fourth cut. This is the part cut which breaks the guard that here is called the fool

And how you should break the four guards with the cuts shall be found written previously in these same cuts.

This is the text and the gloss about how one shall not parry

71 Guard yourself from parrying
If this happens, it also severely beleaguers you.

Gloss. Note this is about how one shall not parry like the common fencers do. When they parry, they keep their point up in the air or to one side. This shows that they do not know to seek the four openings in the act of parrying. Therefore, they often become struck. But when you parry, parry with your cut or with your thrust and 'Indes' seek the nearest opening with the point so no master can strike you without their own harm.

This is the text and the gloss about when someone has parried you and what you should conduct against that.

72 If you are parried
And as that is arriving
73 Heed what I advise:
Break loose, cut quickly with violence.

Gloss. Note this is about when someone has parried you and will not withdraw themselves from your sword and intends to not allow you to come to any plays. In this case, rise up on their sword's blade with your sword as if you would abscond from their sword, but stay against their sword and cut back in against their blade directly at their head using your long edge.

This is the text and the gloss about the four lodgings

74 Lodge against four regions
Learn to remain upon them if you wish to finish

Gloss. Note there are four lodgings that are called for in earnest combat. You shall conduct them when you wish to immediately slay or injure your opponent. Conduct them like this: When you initiate fencing with the opponent with your sword, move yourself with your sword into the guard of the ox or the guard of the plow. If they will then cleave in from above or initiate a thrust from below, note during the moment when they lift up their sword and will strike or will draw down toward themselves to thrust at you, that you go first and shoot in the long point to their nearest opening before they bring forth their cut or thrust and see if you can lodge against them. Do the same thing when they initiate an rising cut. When this happens, shoot in the point the moment before they go up with their rising cut. Conduct this to both sides. Then if they become aware of the lodging against, keep your sword against theirs and swiftly work to the nearest opening

This is the text and the gloss of the pursuing

75 Learn to pursue
Double or slice into the weapon
76 Two enticements to the outside
The work begins thereafter
77 And gauge the application
Whether they are soft or hard

Gloss. Note pursuing is diverse and varied and is required to be conducted with great caution from cuts and thrusts against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.

Conduct pursuing like this

When you come to the opponent with the initiation of fencing, do it with your left foot forwards in the roof guard and watch quite attentively to what they fence against you. If they cleave in long from above, take heed that they do not reach you with their cut and not during the cut when their sword goes toward the ground, then spring in with your right foot, cleave in at their head from above before they can come up with their sword so that they are stricken.

The play written hereafter is called enticement to the outside

Note when the opponent misses their attack and you pursue into the opening with their cut, if they then rise up with their sword and come against your sword from below, remain strong upon it. Then if they firmly lift your sword upwards with theirs, spring behind their right foot with your left and strike them on the right side of their head with the crosswise cut or whatever, immediately working back around to their left side or otherwise with other plays thereafter, as you sense whether they are soft or hard at the sword.

Here note a good pursuing at the sword from rising cuts

Note when you fence against your opponent from rising cuts or from the sweeps or lay against them in the guard that is here called the fool. Then if they fall upon your sword with theirs before you can come upwards with something, stay against their sword like this with yours below and lift upwards. Then if they wind in their point into your face or breast while on your sword, do not let them get away from your sword and adhering to it and work with your point to their nearest opening. But if they strike around away from your sword then either follow behind or pursue them again with your point like before.

Note you shall pursue them from all cuts and from all guards as soon as you recognize when they miss their attack or they open themselves with their sword. But take care that you neither open yourself up nor miss your attack with your pursuing. Note this on both sides.

Precisely note here the text and the gloss about feeling and about the word that is here called Indes.


78 Learn to feel
Indes, this word cuts sharply

Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel and cannot perceive the term 'Indes' in it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall quite fully study the two things for all situations so that you correctly comprehend it.

Here note the lesson about feeling and about the word that is called Indes

Note when you come to the opponent with the initiation of fencing and one binds the other on the sword, in this, immediately feel as the swords clash together whether they have bound on soft or hard and as soon as you have sensed this, then reflect on the Indes. This means that you shall work swiftly at the sword within that perception before the opponent comes to their senses.

Here you shall note

That feeling and the word Indes are one thing, for one cannot be without the other. Look at it like this: When you bind against their sword, you must immediately feel whether they are soft or hard at the sword using the word Indes. And when you have felt that, then you must work 'Indes' according to the soft and according to the hard. Like this, they are nothing but one thing. And the word Indes, this is for all plays from beginning to end. Look at it like this:

Indes doubles,
Indes mutates,
Indes disengages,
Indes rushes through,
Indes takes the slice,
Indes wrestles with,
Indes takes the sword,
Indes does what your heart desires.

Indes, this is a sharp word. With it, all masters of the sword that neither know nor understand it will be carved up. This is the key of the art.

Here again note the text and the gloss about pursuing

79 Pursuing twice,
If one hits, make the old slice with it.

Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge and slice firmly.

Here note the text and the gloss about the overrunning

80 Whoever takes aim from below
Overrun, then they will be shamed.
81 When it clashes above,
Strengthen, This I wish to praise.
82 Make your work
Or press hard twice.

Gloss. Note that this is about when you come to the opponent with the initiation of fencing, if they then cut from below to the lower openings, do not parry that, rather cleave in strong at their head from above. Or if they initiate a cut with rising cuts, then before they come up with their rising cut, shoot in the point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.

Here note that this is the text and the gloss of how one shall displace thrust and cut

83 Learn to displace
Skillfully disrupt cuts and thrusts
84 Whoever thrusts at you
Your point hits and their's breaks
85 From both sides
You will hit every time, if you step.

Gloss. Note the displacing. Conduct it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, then advance your left foot and setup against them in the guard of plow from your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side, your short edge against their sword engaging their thrust and displace it with that and step in with your right foot with that and stab them Indes in their face or in their breast.

Another play

Note when you setup in plow from your right side, if they then cleave in from above at your head on your left side, rise up with your sword, and with that wind to your left side against their cut such that your hilt is in front of your head and also step in with it with your right foot and stab them in their face or their breast. Conduct this play to both sides from the plow.

This is the text with the gloss about how one shall disengage

86 Whoever binds upon you
Disengaging surely finds them
87 Learn to disengage
From both sides stabbing sharply with it

Gloss. Note disengaging is many and varied. You shall conduct it against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.

Conduct the disengaging like this

When you come to the opponent with the initiation of fencing, cleave in strongly from above. Then if they cut back at you but to your sword and not to your body, then during your cut, let your point rush through below their sword before they bind onto your sword and stab them in the breast on the other side. Then if they become aware of the thrust, and immediately chase that thrust with an act of parrying, then disengage again. Always do this when they move behind your sword with a parry.

Or

When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Conduct this against all cuts where the opponent strikes at your sword.

Precisely note,

How you should disengage in such a way that the opponent does not lodge against you while you disengage. Look at it like this: When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.

  1. ↑ lit: All art has length and measure
  2. ↑ lit: zufechten
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