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== Treatise ==
 
== Treatise ==
 
The text of the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow]] versions of Ott frequently refer to intended illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column for reference. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.
 
  
 
{{Special:RunQuery/Ott Jud}}
 
{{Special:RunQuery/Ott Jud}}
 
<h3 style="display: none;> Teachings of Ott Jud </h3>
 
<h3 style="display: none;> Teachings of Ott Jud </h3>
<div id="main1" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;">
+
<div id="main" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;">
 
<table class="master sortable" style="clear:right;">
 
<table class="master sortable" style="clear:right;">
 
<tr>
 
<tr>
 
<th id="MainIllustrations0">Illustrations<br/>from the Kraków</th>
 
<th id="MainIllustrations0">Illustrations<br/>from the Kraków</th>
<th id="MainMedvesek0">{{rating|start|Incomplete Translation (from the Rome)}}<br/>by [[Igor Sancin]] and [[Gregor Medvešek]]</th>
+
<th id="MainMedvesek0">{{rating|start|Incomplete Translation (from the Rome)}} (2011)<br/>by [[Igor Sancin]] and [[Gregor Medvešek]]</th>
 
<th id="MainGotha0">[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainGotha0">[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainRome0">[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainRome0">[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
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|  
 
|  
 
}}
 
}}
 
</table>
 
</div>
 
 
<h3 style="display: none;> Additional teachings attributed to Ott </h3>
 
<div id="main2" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;"><table class="master sortable" style="clear:right;">
 
<tr>
 
<th id="MainIllustrations00">Illustrations<br/>from the Kraków</th>
 
<th id="MainMedvesek00">{{rating|start|Incomplete Translation (from the Rome)}}<br/>by [[Igor Sancin]] and [[Gregor Medvešek]]</th>
 
<th id="MainGotha00">[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Version]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainRome00">[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Version]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainAugsburg00">[[Codex Lew (Cod.I.6.4º.3)|Augsburg Version]] (1460s){{edit index|Codex Lew (Cod.I.6.4º.3)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainViennaa00">[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Version Ⅰ]] (ca.1480){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainSalzburg00">[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainDresdena00">[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Version]] (1504-1519){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainGlasgowa00">[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Version Ⅰ]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainViennab00">[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Version Ⅱ]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>Transcribed by [[Dierk Hagedorn]]</th>
 
<th id="MainKrakow00">[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Version]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>Transcribed by [[Monika Maziarz]]</th>
 
<th id="MainWassmannsdorff00">[[Wassmannsdorff's Fechtbuch|Wassmannsdorff Version]] (1539){{edit index|Wassmannsdorff's Fechtbuch}}<br/>Transcribed by [[Karl Wassmannsdorff]] and [[Michael Chidester]]</th>
 
<th id="MainDresdenb00">[[Opus Amplissimum de Arte Athletica (MSS Dresd.C.93/C.94)|Dresden (Mair) Version]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (MS Dresd.C.94)}}<br/>Transcribed by [[Pierre-Henry Bas]]</th>
 
<th id="MainViennac00">[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna (Mair) German Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}<br/>Transcribed by [[Nicole&nbsp;Brynes]], [[Rebecca&nbsp;Garber]], [[Mark&nbsp;Millman]]</th>
 
<th id="MainMunicha00">[[Opus Amplissimum de Arte Athletica (Cod.icon. 393)|Munich (Mair) Version]] (1540s){{edit index|Opus Amplissimum de Arte Athletica (Cod.icon. 393 I)}}<br/>Transcription open for editing</th>
 
<th id="MainViennad00">[[Opus Amplissimum de Arte Athletica (Cod.10825/10826)|Vienna (Mair) Latin Version]] (1550s){{edit index|Opus Amplissimum de Arte Athletica (Cod.10826)}}<br/>Transcribed by [[Kendra&nbsp;Brown]], [[Rebecca&nbsp;Garber]]</th>
 
<th id="MainMunichb00">[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Version Ⅰ]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}</th>
 
<th id="MainNewYork00">[[Talhoffer Fechtbuch (MS 26.236)|New York Version]] (1500s){{edit index|Talhoffer Fechtbuch (MS 26.236)}}</th>
 
<th id="MainGottingen00">[[Talhoffer Fechtbuch (2º Col.MS.Philos.61)|Göttingen Version]] (1600s){{edit index|Talhoffer Fechtbuch (2º Col.MS.Philos.61)}}</th>
 
<th id="MainMunichc00">[[Talhoffer Fechtbuch (Cod.icon. 395)|Munich Version Ⅱ]] (ca. 1820){{edit index|Talhoffer Fechtbuch (Cod.icon. 395)}}</th>
 
</tr>
 
  
 
{{Ott row main|33
 
{{Ott row main|33
Line 1,973: Line 1,943:
 
</div>
 
</div>
  
{{master begin
+
<h3 style="display: none;> 16th century poetic rendering </h3>
| title = 16th century poetic rendering of Ott
+
<div id="poem" style="background:transparent; clear:both; font-weight:normal; padding:3px; text-align:left; width:0em; min-width:0em;">
| width = 60em
+
<table class="master sortable" style="clear:right;">
}}
+
<tr>
{| class="master" style="clear:right;"
+
<th id="PoemAcutt0"><p>{{rating|C}} (2016)<br/>by [[Jay Acutt]]</p></th>
|-
+
<th id="PoemWassmannsdorff0"><p>[[Wassmannsdorff's Fechtbuch|Wassmannsdorff Version]] (1539){{edit index|Wassmannsdorff's Fechtbuch}}<br/>Transcribed by [[Karl Wassmannsdorff]] and [[Jay Acutt]]</p></th>
! <p>{{rating|C}}<br/>by [[Jay Acutt]]</p>
+
</tr>
! <p>[[Wassmannsdorff's Fechtbuch|Wassmannsdorff Version]] (1539){{edit index|Wassmannsdorff's Fechtbuch}}<br/>Transcribed by [[Karl Wassmannsdorff]] and [[Jay Acutt]]</p>
 
  
|-
+
{{Ott row poem|1
| <p>'''A brief lesson and introduction on how to bring about advantage in wrestling, etc.'''</p>
 
 
 
<poem>If you want to be skillful in Knighthood
 
Then you must, before all else, learn wrestling.
 
When I say to you honestly,
 
Wrestling is indeed a foundation
 
for all Knightly activity<ref>play</ref>
 
Much more goes from it,
 
And though you are skilful/agile in body,
 
When you cannot therefore perform with advantage
 
For whilst you are young,
 
Strength is what one calls the ‘Golden Art’
 
And you can’t be helped any further,
 
by offering more advantage, etc.
 
A foundation in it for fencers,
 
that thereby a wrestler has,
 
Whether in sword, dagger, buckler,
 
Staff, halberd and long spear,
 
As well fighting with Messer: without wrestling
 
Much does evade your grasp
 
Also if you don’t throw with strength
 
the Javelin or heavy stones,
 
you don’t stand a chance in any duels -
 
Condemned then, if you cannot wrestle.
 
Accordingly I have told myself,
 
To abstract these to bestow upon you,
 
If by describing every fantasy,
 
Alive-and-well is Chivalry,
 
But I may not, at length, conclude,
 
Because many words do sprout disinterest,
 
Therefore, this alone I consider:
 
that the reason for such splendour
 
Is so you then have,
 
for yourself much decency, etc.</poem>
 
 
|  
 
|  
 
{{paget|Page:Wassmannsdorff's Fechtbuch|93a|png|p=1}}<br/>{{paget|Page:Wassmannsdorff's Fechtbuch|93b|png|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 94a.png|1|lbl=94a|p=1}}
 
{{paget|Page:Wassmannsdorff's Fechtbuch|93a|png|p=1}}<br/>{{paget|Page:Wassmannsdorff's Fechtbuch|93b|png|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 94a.png|1|lbl=94a|p=1}}
 +
}}
  
|-
+
{{Ott row poem|2
| <p>[47] '''Wrestling begins:'''</p>
 
 
 
<poem>Exalt it in God’s name
 
Observe whether your opponent moves high or low,
 
With the hands seize his left
 
Pull him from the right side
 
Stride with the right foot behind his right,
 
Push with your right arm on his left side
 
Then downward he must fall,
 
Gone over your right foot.</poem>
 
 
 
<p>Firstly you should, in any wrestling, fighting and duelling ask God and the Holy Ghost with total humility, when beginning any of the Art, be God-fearing. Then embark on wrestling, and seize, at first, his left hand with both hands, and pull him onto your right side, and stride with your right foot behind his right foot, and reach with your right arm on his left side, and throw him over your right foot.</p>
 
 
|  
 
|  
 
{{section|Page:Wassmannsdorff's Fechtbuch 94a.png|2e|lbl=-|p=1}} {{section|Page:Wassmannsdorff's Fechtbuch 94b.png|1|lbl=94b|p=1}}<ref>Compare play 50.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 94a.png|2e|lbl=-|p=1}} {{section|Page:Wassmannsdorff's Fechtbuch 94b.png|1|lbl=94b|p=1}}<ref>Compare play 50.</ref>
 +
}}
  
|-
+
{{Ott row poem|3
| <p>[48] '''The other [2nd] wrestle'''</p>
 
 
 
<poem>But should someone with cunning
 
ensnares you with both hands
 
locked under both your arms
 
Therefore don’t give up
 
Especially with both your arms
 
Do wrap up around outside his elbows
 
Shove them well together
 
Over both his elbows
 
Lift him upward with strength
 
Thus his arm does break.</poem>
 
 
 
<p>If someone has you with both arms around underneath both your arms, then seize him underneath with both arms, wrapping around the outside of his elbows and squeeze your arms together, under his elbows and lift upward with strength, and break him by the arm.</p>
 
 
|  
 
|  
 
{{section|Page:Wassmannsdorff's Fechtbuch 94b.png|2e|lbl=-|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 95a.png|1e|lbl=95a|p=1}}<ref>Compare play 51.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 94b.png|2e|lbl=-|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 95a.png|1e|lbl=95a|p=1}}<ref>Compare play 51.</ref>
 +
}}
  
|-
+
{{Ott row poem|4
| <p>[50] '''The 3rd Wrestle'''
 
 
 
<poem>Then you are at him with both arms
 
Notice what is said to you
 
Hold him high by the throat,
 
Or quickly at the jaw-bone,
 
do the neck-punch to him
 
pressing him well over the back,
 
But must with your arm,
 
Reach well through his.</poem>
 
 
 
<p>Item: if you are up-most with both your arms, then you may, up high, grab by the throat, or by the jaw-bone, and, penetrating, wrap around the neck or over the back or you may at the same time, reach your arm through his arm.</p>
 
 
| {{section|Page:Wassmannsdorff's Fechtbuch 95a.png|2e|lbl=-}}
 
| {{section|Page:Wassmannsdorff's Fechtbuch 95a.png|2e|lbl=-}}
  
 
{{section|Page:Wassmannsdorff's Fechtbuch 95b.png|1|lbl=95b}}<ref>Compare play 52.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 95b.png|1|lbl=95b}}<ref>Compare play 52.</ref>
 +
}}
  
|-
+
{{Ott row poem|5
| <p>[51] '''The fourth'''</p>
+
| {{section|Page:Wassmannsdorff's Fechtbuch 95b.png|2e|lbl=-}}
 
 
<poem>Then you have your left hand underneath,
 
and may, with it behind his right foot, he fall
 
With the right on the throat
 
Act by stepping quickly,
 
By him about the neck,
 
Throw him, gripping him outside once-more,
 
to whichever side you want,
 
he would fall being bravely,
 
so you have gone rightly
 
He would not to shoot upon it</poem>
 
 
 
<p>You are with your left arm underneath, then drop him with the right hand on the throat and stride with yours behind his right foot, and press him therefore by his neck,</p>
 
|
 
{{section|Page:Wassmannsdorff's Fechtbuch 95b.png|2e|lbl=-}}
 
  
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|1|lbl=96a}}<ref>Compare play 53.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|1|lbl=96a}}<ref>Compare play 53.</ref>
 +
}}
  
|-
+
{{Ott row poem|6
| <p>[52] and throw him over the foot, to both sides.</p>
 
 
|  
 
|  
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|2|lbl=-|p=1}}<ref>Compare play 54.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|2|lbl=-|p=1}}<ref>Compare play 54.</ref>
 +
}}
  
|-
+
{{Ott row poem|7
| <p>[53] '''The fifth'''</p>
 
 
 
<poem>When you take someone with both hands,
 
He be threatened by the sides,
 
And is as if you, or a wrestler.
 
Grasps them with nothing less,
 
Lock your hands firmly together
 
Outside his back and lift him
 
upon your left side [hip],
 
Abide upon all effort
 
You do to your break of his back
 
He will hardly be able to save himself</poem>
 
 
 
<p>Notice when you have reached someone through with both arms on his arm, and he is also a little like you, or a wrestler, then seize him around the waist and slip your hands firmly together around his back and lift him up on your left side. And when you manage to have swung him, then push him down on the left, and break his back towards yours.</p>
 
 
|  
 
|  
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|3e|lbl=-|p=1}} {{section|Page:Wassmannsdorff's Fechtbuch 96b.png|1|lbl=96b|p=1}}<ref>Compare play 55.</ref>
 
{{section|Page:Wassmannsdorff's Fechtbuch 96a.png|3e|lbl=-|p=1}} {{section|Page:Wassmannsdorff's Fechtbuch 96b.png|1|lbl=96b|p=1}}<ref>Compare play 55.</ref>
 +
}}
  
|-
+
{{Ott row poem|8
| class="noline" | <p>'''The wrestling concludes'''<ref>In the manuscript, the remaining plays of Ott are included without a poetic rendering before this concluding section. It cannot be determined from the transcription whether space was left for those paragraphs to be rendered into verse.</ref></p>
+
|  
 
 
<poem>Thus you have the basics,
 
Now I will give you the end,
 
This knighthood,
 
The other exercises that they do,
 
That has wrestling also be named,
 
That I shall signify,
 
Creating fewer words is useful,
 
Therefore I will let you get underway,
 
When with many words and yapping,
 
He will not be like me,
 
So I did not choose any more,
 
Because uncouth people,
 
Have everything chosen already in hand,
 
Thinking nothing more about it,
 
Also they be ridiculed in many things,
 
Before people, then they shall submit,<ref>Lit: ‘lie down’</ref>
 
Because you have enough for wrestling
 
And made a good start thereon,
 
the techniques twenty and nine,
 
How the charging and wrestling should be.</poem>
 
| class="noline" |  
 
 
{{section|Page:Wassmannsdorff's Fechtbuch 100b.png|2|lbl=-|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 101a.png|1|lbl=101a|p=1}}
 
{{section|Page:Wassmannsdorff's Fechtbuch 100b.png|2|lbl=-|p=1}}<br/>{{section|Page:Wassmannsdorff's Fechtbuch 101a.png|1|lbl=101a|p=1}}
 +
}}
  
|}
+
</table>
{{master end}}
+
</div>
  
{{master begin
+
<!--{{master begin
 
  | title = Other teachings related to Ott
 
  | title = Other teachings related to Ott
 
  | width = 210em
 
  | width = 210em
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|}
 
|}
 
{{master end}}
 
{{master end}}
 
+
-->
 
{{master begin
 
{{master begin
 
  | title = Copyright and License Summary
 
  | title = Copyright and License Summary
Line 3,015: Line 2,868:
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[translator::Igor Sancin]], [[translator::Gregor Medvesek]]
+
  | authors    = [[translator::Gregor Medvesek]]
 
  | source link = http://www.scholapugnatoria.si/en/master-otts-wrestling/
 
  | source link = http://www.scholapugnatoria.si/en/master-otts-wrestling/
 
  | source title= Schola Pugnatoria
 
  | source title= Schola Pugnatoria
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  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
{{sourcebox
+
<!--{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
 
  | authors    = [[translator::Per Magnus Haaland]]
 
  | authors    = [[translator::Per Magnus Haaland]]
Line 3,033: Line 2,886:
 
  | source title= Private communication
 
  | source title= Private communication
 
  | license    = copyrighted
 
  | license    = copyrighted
}}
+
}}-->
 
{{sourcebox
 
{{sourcebox
 
  | work        = [[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]]
 
  | work        = [[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]]

Revision as of 19:28, 24 April 2023

Ott Jud
Born date of birth unknown
Died 1448-52 (?)
Occupation Wrestling master
Ethnicity Jewish
Patron princes of Austria
Movement Fellowship of Liechtenauer
Genres Wrestling manual
Language Early New High German
Manuscript(s)
First printed
english edition
Tobler, 2010
Concordance by Michael Chidester
Translations

Ott Jud was a 15th century German wrestling master. His name signifies that he was a Jew, and several versions of his treatise (including the oldest one) state that he was baptized Christian.[1] In 1470, Paulus Kal described him as the wrestling master to the princes of Austria, and included him in the membership of the Fellowship of Liechtenauer.[2] While Ott's precise lifetime is uncertain, he may have still been alive when Hans Talhoffer included the Gotha version in his fencing manual in ca. 1448, but seems to have died some time before the creation of the Rome version in 1452.[3]

Ott's treatise on grappling is repeated throughout all of the early German treatise compilations and seems to have become the dominant work on the subject within the Liechtenauer tradition.

Stemma

It is difficult to say when Ott's treatise was written, and the original is certainly lost at present. The oldest extant copy is the Gotha version, which was included in a manuscript in the 1440s alongside works by Johannes Hartlieb, Hans Talhoffer, and others. The Gotha version is decidedly incomplete compared to other early renditions, suggesting that Ott was not directly involved despite its proximity to his career. Gotha was copied into several further manuscripts, including the New York (16th century), the Göttingen (17th century), and the Munich II (ca. 1820); since these are all direct copies, they offer little additional help in understanding Ott's work (apart from evidence of its continued transmission).

Two copies of Ott's work date to the 1450s, the Augsburg and Rome versions. Here we see the art of

Treatise

The text of the Krakow version frequently refers to intended illustrations that were never added to the manuscript. The appropriate blank pages are included in the illustration column for reference. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the blank pages will be replaced.

Select one or more fencing styles using the checkboxes below to view the associated treatises.

The number in brackets at the beginning of each translation box is a paragraph number assigned by Wiktenauer; clicking it will take you to the translation page. The numbers in brackets in the transcriptions with an "r" or "v" are manuscript folio numbers; clicking them will take you to original page scan with the transcription alongside for comparison. If you want to sort a column by number, click the black triangles in the table headers.

Original Teaching

16th Century Poetic Rendering

Teachings of Ott Jud

16th century poetic rendering

Additional Resources

References

  1. The Gotha version, as well as the Augsburg, Vienna, and Glasgow versions, all use the term tauffter Jud, "baptized Jew".
  2. The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1570 (ca. 1470), and MS KK5126 (1480s).
  3. His name lacks the traditional blessing on the dead in Talhoffer, but receives it in the Rome (see folio 100v).
  4. ll corrected from u.
  5. vor ringen
  6. mit ringen
  7. nach ringen
  8. This column is not a true transcription of the first fragment of Ott in Wassmannsdorff's manuscript. It is, instead, Wassmannsdorff's transcription of the Augsburg version, modified according to the differences he notes in his apparatus. It is placed here to offer a rough idea of the contents of this section in the absence of the actual manuscript or complete transcription. Note that the terminus at paragraph 22 isn't definitely the end of the fragment, but rather the final paragraph with relevant footnotes.
  9. das Wort »auf« ist nachträglich in anderer Handschrift klein über der Zeile zwischen den Wörtern eingefügt worden.
  10. Corrected from »deinem«.
  11. Corrected from »dein«.
  12. Korrigiert aus »rechtenn«.
  13. Korrigiert aus »rechtz«.
  14. Corrected from »dein«.
  15. There is obviously a mistake in the text. This is evident from the von Speyer version of the Ott text, which says to hold his left arm with your right. In the Goliath manuscript the relevant text says: "grab his right arm with your left hand firmly and come with your right hand to help your left". Taking into consideration the subsequent instruction on the direction of the turning through, the last record of Ott’s teaching seems to be the most logical and credible.
  16. wendt dich durch
  17. German has vallen - may be intended as "speciem".
  18. This play is placed before the previous counter in Rome and Krakow, but following Augsburg, it appears to be a second counter to the same action.
  19. This is clearly a scribal error for unndter. However, it is also clear that the text reads “vindter”. In this case, note that the following title “Unndten durchfarn” is spelled correctly.
  20. The phrase "seinen linngen arm auß, mit deiner rechten hannd, von oben nider, vnnd begreif ime damit" is struck through on MS Dresd.C.94 118r, but this manuscript's scribe seems to have not recognized that.
  21. Corrected.
  22. Corrected.
  23. corrected from »sein«
  24. nym Im das gewicht
  25. The Rome version places this text before the previous play.
  26. This is clearly a scribal error for unndter. However, it is also clear that the text reads “vindter”.
  27. Ribs.
  28. Corrected.
  29. This is the title given in Dresden. Gotha and Rome have Ein pruch wider das schrencken or "a counter to the barrier", while Glasgow gives Ein pruch wider Sterck, "a counter against strength".
  30. jam his right foot probably with your left
  31. The words "In sein" are transposed, with marking indicating that they should be reversed.
  32. leaning on the neck, letting him take all your wieght
  33. Schranck
  34. Should be "his right side" (against your left), which follows the preceding rhyme.
  35. Corrected from »seinem«
  36. Corrected from seiner.
  37. The manuscript only says “vnd”.
  38. push the chin up and back
  39. The above word “reiben” (rub, as in “drehen”, ‘turn’, ‘twist’) is clarified by the word “prechen”.
  40. both
  41. Append: “linken Bein”.
  42. “deine”.
  43. judge correct
  44. An dieser Stelle bricht der Text ab.
  45. “klein (groβ).”
  46. Missing word, error: “Seite”.
  47. r corrected from n.
  48. hold
  49. hold
  50. Dresden differs here
  51. “kannst du”.
  52. lapel grab
  53. lapels
  54. t skipped and then added into the space between words.
  55. Possibly “und erfahe”, or simply “und fahe”.
  56. rechte is written in the same script as the rest of the paragraph but runs into the margin. It may have been omitted by mistake and then added after the rest was written.
  57. The words "seitten oder" are probably because of carelessness of the scribe.
  58. Interpret as “ihn”.
  59. Interpret as “Linken”.
  60. Read: “oberhalb des”.
  61. “Eile ihm”.
  62. play
  63. Talhoffer mentions “stainwerffen vnd stainschüben” in his list of exercises within his own Vorrede.
  64. Possibly: für was (wofür)?
  65. ‘ohne’.
  66. ‘Stangenwerfen (== schieben) und Steinstoβen’.
  67. Could this be a reference to the oldest printed Fightbook, Paurnfeindt’s Ergrundung Ritterlicher kunst der Fechterey (Vienna 1516), whose author concludes with ‘auszug dizer Ritterlichen kunst’?
  68. ‘beiwohnt’.
  69. Paurenfeindt offers his students his Fechtbuch in the same hope, that “von tag czu tag czu merren vnd bessern” (from day to day, to increase and improve).
  70. Auerswald and the Berlin and Munich Ringbücher all begin with this affirmation: “In Sant Jorgen namen heb an. Und schaw zum ersten ob der man hoch oder nider gange das ist des ringens anefang.”
  71. Should be "his right side" (against your left), which follows the preceding rhyme.
  72. Compare play 50.
  73. Missing “umb”, as in “Dich umfangen ist – dich umfängt.”
  74. The manuscript only says “vnd”.
  75. Compare play 51.
  76. Should be read as “Aber”.
  77. The above word “reiben” (rub, as in “drehen”, ‘turn’, ‘twist’) is clarified by the word “prechen”.
  78. Compare play 52.
  79. Should be read as “gan”.
  80. Append: “linken Bein”.
  81. “deine”.
  82. Compare play 53.
  83. Compare play 54.
  84. That is: ‘durch die seitten’.
  85. “Beiten”, is the dialect of the text for “warten”. In Rückert’s Makamen, the Schoolmaster from Hims (Schulmeister von Hims) states “beaten ist ein Wort für weilen, alt und gut; wähle nach Gefallen zwischen beiden”.
  86. “können”.
  87. “klein (groβ).”
  88. Missing word, error: “Seite”.
  89. Compare play 55.
  90. In the manuscript, the remaining plays of Ott are included without a poetic rendering before this concluding section. It cannot be determined from the transcription whether space was left for those paragraphs to be rendered into verse.
  91. Lit: ‘lie down’
  92. Should be “denn”.
  93. Should be “euch”.
  94. “Wollen”.