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Difference between revisions of "Joachim Meyer"

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| <p>See that you are the first on the field;<br/>Before your opponent adopts a posture, lay on against him.</p>
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| <p>'''See that you are the first on the field;<br/>Before your opponent adopts a posture, lay on against him.'''</p>
  
 
<p>Thus note that when you wish to fight with someone, then see that you are the first to be in place so that you can act in a timely manner in your intended ''Stück'', then you shall forcefully continue against him with cuts that he cannot send himself into a guard or ''Stück'' But rather you shall show that you will rush over him with sudden stepping before he realizes it. How it is then further clarified by the following Rhyme.</p>
 
<p>Thus note that when you wish to fight with someone, then see that you are the first to be in place so that you can act in a timely manner in your intended ''Stück'', then you shall forcefully continue against him with cuts that he cannot send himself into a guard or ''Stück'' But rather you shall show that you will rush over him with sudden stepping before he realizes it. How it is then further clarified by the following Rhyme.</p>
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| <p>Pay heed to Instantly, understand me rightly,<br/>Hit him before he adopts his posture.</p>
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| <p>'''Pay heed to Instantly, understand me rightly,<br/>Hit him before he adopts his posture.'''</p>
  
 
<p>This is when you are in the ''Zufechten'' and he is just about to you, then note when he acts as if he will adopt a posture, then do not allow him to rest or come to it, but rather always attack first, and as he is choosing a posture, lay on at once to the next opening, and position yourself as if you would to cut strongly, but do not do this, rather allow it to fail or flit to another opening, then as soon as you are at the midway part of your sword on his Sword, do not await, but rather, Thwart, Strike Around, Wrench Out, Slice, Wind, and what other types of work there may be.</p>
 
<p>This is when you are in the ''Zufechten'' and he is just about to you, then note when he acts as if he will adopt a posture, then do not allow him to rest or come to it, but rather always attack first, and as he is choosing a posture, lay on at once to the next opening, and position yourself as if you would to cut strongly, but do not do this, rather allow it to fail or flit to another opening, then as soon as you are at the midway part of your sword on his Sword, do not await, but rather, Thwart, Strike Around, Wrench Out, Slice, Wind, and what other types of work there may be.</p>
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| <p>For you no guard will come so good<br/>In the After you strike out freely, boldly</p>
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| <p>'''For you no guard will come so good<br/>In the After you strike out freely, boldly.'''</p>
  
 
<p>But it makes you wonder, as such, how can there be still many good guards, and hence, you yourself have seen taught here many good techniques, answer, it is true, there are many good guards and will be fought from a number of good and beautiful techniques. As I have included several in this book for you. However this rhyme teaches you that it is always better to not settle into a guard. It guards you not at all, to show someone with your guard, what you will do amid the fight, that may your cutting through not be brought so far.</p>
 
<p>But it makes you wonder, as such, how can there be still many good guards, and hence, you yourself have seen taught here many good techniques, answer, it is true, there are many good guards and will be fought from a number of good and beautiful techniques. As I have included several in this book for you. However this rhyme teaches you that it is always better to not settle into a guard. It guards you not at all, to show someone with your guard, what you will do amid the fight, that may your cutting through not be brought so far.</p>
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| <p>'''The cuts you send powerfully from your body<br/>To the four openings carry out your work'''</p>
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| <p>'''The cuts you send powerfully from your body<br/>To the four openings carry out your work.'''</p>
  
 
<p>In this rhyme two things are realized, firstly, to the cutting secondly, to the four openings of the Man, to which the cuts will be cut, and note that you cut all cuts with outstretched arms, and with this reach far to the man, also as soon as a cut from one side fails, thus you should quickly cut to the opposite side.</p>
 
<p>In this rhyme two things are realized, firstly, to the cutting secondly, to the four openings of the Man, to which the cuts will be cut, and note that you cut all cuts with outstretched arms, and with this reach far to the man, also as soon as a cut from one side fails, thus you should quickly cut to the opposite side.</p>
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| <p>When you Crooked Cut go up quickly<br/>Throw the point with crossed hands</p>
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| <p>'''When you Crooked Cut go up quickly<br/>Throw the point with crossed hands.'''</p>
  
 
<p>Note the Crooked Cuts are many, and that all cuts that are done with hands put crosswise or crossed, will be known as Crooked Cuts.</p>
 
<p>Note the Crooked Cuts are many, and that all cuts that are done with hands put crosswise or crossed, will be known as Crooked Cuts.</p>
  
 
<p>Hence the one, Squinter is also counted among the Crooked Cuts and it applies equally to the long or short edges, thus it is a Crooked Cut when you hold your hands crosswise.</p>
 
<p>Hence the one, Squinter is also counted among the Crooked Cuts and it applies equally to the long or short edges, thus it is a Crooked Cut when you hold your hands crosswise.</p>
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<p>And firstly when one will cut straight to your head, from his right, thus step with your right foot well out from his strike, to his left, so that you avoid his strike with a spring to his left and likewise cut from your right with crossed hands, against his cut, thus you come with your blade between his head and sword, on his short edge, which is facing him, and when it connects, then step further around to his left side with your right foot, and displace or transfer your sword's blade from his, onto his arm, between his head and sword, in this you will have seen the opening, to which the you may cut and see that you don't wait long but rather allow your cuts to fly quickly to the openings.</p>
 
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{{section|Page:MS A.4º.2 11v.jpg|3|lbl=11v.3|p=1}} {{section|Page:MS A.4º.2 12r.jpg|1|lbl=12r.1|p=1}}
 
{{section|Page:MS A.4º.2 11v.jpg|3|lbl=11v.3|p=1}} {{section|Page:MS A.4º.2 12r.jpg|1|lbl=12r.1|p=1}}
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| <p>And firstly when one will cut straight to your head, from his right, thus step with your right foot well out from his strike, to his left, so that you avoid his strike with a spring to his left and likewise cut from your right with crossed hands, against his cut, thus you come with your blade between his head and sword, on his short edge, which is facing him, and when it connects, then step further around to his left side with your right foot, and displace or transfer your sword's blade from his, onto his arm, between his head and sword, in this you will have seen the opening, to which the you may cut and see that you don't wait long but rather allow your cuts to fly quickly to the openings.</p>
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| <p>'''Item''' Note when you approach him in the ''Zufechten'', then see when he shows his arm will strike, thus cross your hands while in the air yet that they remain high, and throw the point at his hand or arms, that is the weak or the furthest part of the blade, and that should happen when he goes up to strike, and before he is ready, thus be on his blade, with a Thwart Cut, for such techniques should fly and go quickly.</p>
 
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| {{section|Page:MS A.4º.2 12r.jpg|2|lbl=12r.2}}
<p>Item Note when you approach him in the ''Zufechten'', then see when he shows his arm will strike, thus cross your hands while in the air yet that they remain high, and throw the point at his hand or arms, that is the weak or the furthest part of the blade, and that should happen when he goes up to strike, and before he is ready, thus be on his blade, with a Thwart Cut, for such techniques should fly and go quickly.</p>
 
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{{section|Page:MS A.4º.2 12r.jpg|2|lbl=12r.2|p=1}}
 
 
 
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| [[File:MS A.4º.2 12v.jpg|400px|center]]
 
| [[File:MS A.4º.2 12v.jpg|400px|center]]
| <p>Allow the Circle to connect to the right<br/>Hold your hands high, you will deceive him</p>
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| <p>'''Allow the Circle to connect to the right<br/>Hold your hands high, you will deceive him.'''</p>
  
 
<p>The Circle also comes from the Crooked Cuts and is a particularly good technique for deception, compared to others, because it does not just run off, unlike other deceptive techniques, like Running Off and the like, but rather when one does it correctly and strikes the Circle very hard with the short edge in running by.</p>
 
<p>The Circle also comes from the Crooked Cuts and is a particularly good technique for deception, compared to others, because it does not just run off, unlike other deceptive techniques, like Running Off and the like, but rather when one does it correctly and strikes the Circle very hard with the short edge in running by.</p>
  
 
<p>This ''Stück'' goes thus, (after you have come under his sword in the attack) when your stay in the bind, and drive your sword over the head, as soon as he gives a little room, so that he is not binding on the sword, but rather drives his sword then high above you, then cross your hands in the air, and cut from above with the short edge thus put crosswise, down to his right ear, so that whether your blade hits or not, it runs around in a circle by his right arm, and in this keep your hands high above your head, as soon as he slips after the Circle, then step with your left foot well on to his right side, and cut in at his head with the Long edge, over his right arm, behind his blade, take your body and head well away from his strike with a step to your left side.</p>
 
<p>This ''Stück'' goes thus, (after you have come under his sword in the attack) when your stay in the bind, and drive your sword over the head, as soon as he gives a little room, so that he is not binding on the sword, but rather drives his sword then high above you, then cross your hands in the air, and cut from above with the short edge thus put crosswise, down to his right ear, so that whether your blade hits or not, it runs around in a circle by his right arm, and in this keep your hands high above your head, as soon as he slips after the Circle, then step with your left foot well on to his right side, and cut in at his head with the Long edge, over his right arm, behind his blade, take your body and head well away from his strike with a step to your left side.</p>
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| {{paget|Page:MS A.4º.2|13r|jpg}}
  
 
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<p>When you stand before one in this same work, how you have previously been taught, thus pay attention when your advantage will come, then step aside at once with your left foot out to your left side, and cut with a circle to his right while you are stepping but that in running past to the right, it grazes, and also with this Circle, step through with your right foot between you and him, in to his right side, with this stepping through, cut a Thwart Cut from your right to his left, forwards to the face ''Indes'' spring well out to his right and cut him long after to his head.</p>
 
<p>When you stand before one in this same work, how you have previously been taught, thus pay attention when your advantage will come, then step aside at once with your left foot out to your left side, and cut with a circle to his right while you are stepping but that in running past to the right, it grazes, and also with this Circle, step through with your right foot between you and him, in to his right side, with this stepping through, cut a Thwart Cut from your right to his left, forwards to the face ''Indes'' spring well out to his right and cut him long after to his head.</p>
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| {{section|Page:MS A.4º.2 13v.jpg|1|lbl=13v.1}}
  
 
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| [[File:MS A.4º.2 14r.jpg|400px|center]]
 
| [[File:MS A.4º.2 14r.jpg|400px|center]]
| <p>With the Crooked step well if you want to displace<br/>The crossing over, does him harm</p>
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| <p>'''With the Crooked step well if you want to displace<br/>The crossing over, does him harm.'''</p>
  
 
<p>This is when you cut in Crooked at the same time as him, with your strike you should step well out from his strike, so that you have your head behind your blade, well from his strike. The second part teaches you that when you have bound on his sword with a Crooked cut, that you nimbly cross over where you have the opportunity and then snap around or wind the quick snap to his head, or wrench out, allow it to overrun.</p>
 
<p>This is when you cut in Crooked at the same time as him, with your strike you should step well out from his strike, so that you have your head behind your blade, well from his strike. The second part teaches you that when you have bound on his sword with a Crooked cut, that you nimbly cross over where you have the opportunity and then snap around or wind the quick snap to his head, or wrench out, allow it to overrun.</p>
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| {{section|Page:MS A.4º.2 13v.jpg|2|lbl=13v.2}}
  
 
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| [[File:MS A.4º.2 15r.jpg|400px|center]]
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| rowspan="2" | [[File:MS A.4º.2 15r.jpg|400px|center]]
 
| <p>'''A ''Stück'' from the Reversing'''</p>
 
| <p>'''A ''Stück'' from the Reversing'''</p>
  
 
<p>Note in ''Zufechten'' that you pay attention when he goes up before you, then step and cut a Crooked from your left to or above his right arm, with this Crooked Cut step well to him, and reverse your sword and wrench downwards and out to your right side If he may work further, thus drive with the pommel from inside, between both of his arms, allow your left hand to release from the grip and grab your sword blade and wrench out upwards, how this figure shows.</p>
 
<p>Note in ''Zufechten'' that you pay attention when he goes up before you, then step and cut a Crooked from your left to or above his right arm, with this Crooked Cut step well to him, and reverse your sword and wrench downwards and out to your right side If he may work further, thus drive with the pommel from inside, between both of his arms, allow your left hand to release from the grip and grab your sword blade and wrench out upwards, how this figure shows.</p>
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| {{section|Page:MS A.4º.2 14v.jpg|1|lbl=14v.1}}
  
 
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|
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| <p>'''Counter'''</p>
| <p>'''Counter''' - Let go the left hand, and allow him to wrench without avail, ''Indes'' drive after his upwards pressing, with your slice to his arms, do not allow him to come to any further work, nor to cut freely, when you see your advantage, at once, allow your sword to fly to the next opening.</p>
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<p>Let go the left hand, and allow him to wrench without avail, ''Indes'' drive after his upwards pressing, with your slice to his arms, do not allow him to come to any further work, nor to cut freely, when you see your advantage, at once, allow your sword to fly to the next opening.</p>
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| {{section|Page:MS A.4º.2 14v.jpg|2|lbl=14v.2}}
  
 
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| <p>Cut Crooked to his Flat<br/>And you will Weaken the Master</p>
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| <p>'''Cut Crooked to his Flat<br/>And you will Weaken the Master.'''</p>
  
 
<p>This is a lesson how you shall weaken one's incoming strike, and goes thus, In ''Zufechten'' pay attention when he cuts in at you from his right, then step well out from his strike and cut with crossed hands and the Long edge onto the strong of his sword's blade, on the Flat, thereby you weaken him, so that he can barely recover for another strike, then before he recovers you are on his head with winding and flicking.</p>
 
<p>This is a lesson how you shall weaken one's incoming strike, and goes thus, In ''Zufechten'' pay attention when he cuts in at you from his right, then step well out from his strike and cut with crossed hands and the Long edge onto the strong of his sword's blade, on the Flat, thereby you weaken him, so that he can barely recover for another strike, then before he recovers you are on his head with winding and flicking.</p>
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{{section|Page:MS A.4º.2 14v.jpg|3|lbl=14v.3|p=1}} {{section|Page:MS A.4º.2 15v.jpg|1|lbl=15v.1|p=1}}
  
<p>The Counter you should mark that when one meets you with a Crooked Cut, to your on coming strike, to weaken you, then change through nimbly under his blade and work to his side from which he sent his Crooked Cut.</p>
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| <p>'''Counter'''</p>
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<p>You should mark that when one meets you with a Crooked Cut, to your oncoming strike, to weaken you, then change through nimbly under his blade and work to his side from which he sent his Crooked Cut.</p>
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| {{section|Page:MS A.4º.2 15v.jpg|2|lbl=15v.2}}
  
 
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| <p>When first they connect and clash above<br/>Pull away to the openings you will confuse him</p>
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| <p>'''When first they connect and clash above<br/>Pull away to the openings you will confuse him.'''</p>
  
 
<p>This is a very good rhyme that admonishes you earnestly to pay attention to the openings that fall before you. For it is known that you go at him correctly in the After, thus you have very often whenever the swords connect or two strike and clash together above, there is an opening below. You will not fail to note this through several ''Stück''.</p>
 
<p>This is a very good rhyme that admonishes you earnestly to pay attention to the openings that fall before you. For it is known that you go at him correctly in the After, thus you have very often whenever the swords connect or two strike and clash together above, there is an opening below. You will not fail to note this through several ''Stück''.</p>
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| {{section|Page:MS A.4º.2 15v.jpg|3|lbl=15v.3}}
  
 
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| <p>Note in ''Zufechten'' send yourself into the Wrath Guard, as soon as you can get him, then step and cut in with him from your right a powerful High Cut, when this clashes, then strike around nimbly with a Thwart to his left ear, with a back-step of your left foot, behind your right, thus you likewise hit twice, or complete two strikes before he completes one.</p>
 
| <p>Note in ''Zufechten'' send yourself into the Wrath Guard, as soon as you can get him, then step and cut in with him from your right a powerful High Cut, when this clashes, then strike around nimbly with a Thwart to his left ear, with a back-step of your left foot, behind your right, thus you likewise hit twice, or complete two strikes before he completes one.</p>
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| {{section|Page:MS A.4º.2 15v.jpg|4|lbl=15v.4}}
  
 
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| <p>'''Item''' If one cuts at you from above like before, then cut from your lower left against his strike, so that you catch his High Cut up in the air, as soon as it connects then cut with the forward short edge and crossed hands in a Circle, to his right ear and that you swiftly go almost at the same time, namely that when the blades connect together, thus you shall hit down from above with the short edge.</p>
 
| <p>'''Item''' If one cuts at you from above like before, then cut from your lower left against his strike, so that you catch his High Cut up in the air, as soon as it connects then cut with the forward short edge and crossed hands in a Circle, to his right ear and that you swiftly go almost at the same time, namely that when the blades connect together, thus you shall hit down from above with the short edge.</p>
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| {{section|Page:MS A.4º.2 16r.jpg|1|lbl=16r.1}}
  
 
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| <p>'''Item''' In the Onset act as if you would cut from above; but as soon as you note that he slips upwards against your cut, at once turn your High Cut into a Low Cut before it actually connects above, this is the Simultaneous Failer.</p>
 
| <p>'''Item''' In the Onset act as if you would cut from above; but as soon as you note that he slips upwards against your cut, at once turn your High Cut into a Low Cut before it actually connects above, this is the Simultaneous Failer.</p>
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| {{section|Page:MS A.4º.2 16r.jpg|2|lbl=16r.2}}
  
 
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| <p>'''Item''' If he cuts from below, thus fall on it with your long edge from above when it clashes, then pull back nimbly and strike to the next opening in one motion, or strike around from his sword with the flat in a winding flick to the next opening.</p>
 
| <p>'''Item''' If he cuts from below, thus fall on it with your long edge from above when it clashes, then pull back nimbly and strike to the next opening in one motion, or strike around from his sword with the flat in a winding flick to the next opening.</p>
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| {{section|Page:MS A.4º.2 16r.jpg|3|lbl=16r.3}}
  
 
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| [[File:MS A.4º.2 16v.jpg|400px|center]]
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| rowspan="2" | [[File:MS A.4º.2 16v.jpg|400px|center]]
| <p>When you cut Crooked at his strong<br/>Be sure to wind through and overrun with it</p>
+
| <p>'''When you cut Crooked at his strong<br/>Be sure to wind through and overrun with it.'''</p>
  
 
<p>This is when you cut a Crooked Cut at one, and he holds off hard so that you cannot cross over, or have other work from above, thus wind under and through with the pommel, and cast the pommel to the other side over his blade or arm from the outside, and wrench downwards and strike in with the long edge deep to his head, or cast the pommel in between both of his hands, how this figure reveals.</p>
 
<p>This is when you cut a Crooked Cut at one, and he holds off hard so that you cannot cross over, or have other work from above, thus wind under and through with the pommel, and cast the pommel to the other side over his blade or arm from the outside, and wrench downwards and strike in with the long edge deep to his head, or cast the pommel in between both of his hands, how this figure reveals.</p>
 
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{{section|Page:MS A.4º.2 16r.jpg|4|lbl=16r.4|p=1}} {{section|Page:MS A.4º.2 17r.jpg|1|lbl=17r.1|p=1}}
  
 
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|
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| <p>'''The next is a counter to the Low Cut'''</p>
| <p><br/></p>
 
  
<p>The next is a counter to the Low Cut, if one cuts a Lot Cut to you low. Then cut with your long edge so that you have your hands Crooked or Crosswise, above on his strong. Then when this clashes, thrust the blade right in before you, and in thrusting forth, wind the short edge to flick it around at his face or head. If he drives up and defends against your flick, then drive up also, pull around your head, and strike him to another opening.</p>
+
<p>If one cuts a Lot Cut to you, then cut with your long edge so that you have your hands Crooked or Crosswise, above on his strong. Then when this clashes, thrust the blade right in before you, and in thrusting forth, wind the short edge to flick it around at his face or head. If he drives up and defends against your flick, then drive up also, pull around your head, and strike him to another opening.</p>
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| {{section|Page:MS A.4º.2 17r.jpg|2|lbl=17r.2}}
  
 
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| <p>The pommel deception, you shall remember<br/>With Flicking and Quickening you will vex him</p>
+
| <p>'''The pommel deception, you shall remember<br/>With Flicking and Quickening you will vex him.'''</p>
  
 
<p>This is when you cut in with a Crooked Cut to his strong, if he opposes or displaces high, then wind through below with the pommel, and act as if you would grab over with the pommel, as I have already taught; and before he realizes it, then quickly flick the short edge back in at him, again on the same line, to whichever side you first did the Crooked Cut.</p>
 
<p>This is when you cut in with a Crooked Cut to his strong, if he opposes or displaces high, then wind through below with the pommel, and act as if you would grab over with the pommel, as I have already taught; and before he realizes it, then quickly flick the short edge back in at him, again on the same line, to whichever side you first did the Crooked Cut.</p>
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| {{section|Page:MS A.4º.2 17r.jpg|3|lbl=17r.3}}
  
 
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| <p>'''Item''' In the ''Zufechten'', lay on against your opponent with a powerful horizontal Middle Cut strongly at his left ear. Quickly pull your pommel around your head, and threaten him with it as if you would thrust at his other side with the pommel, and if he wishes to slip after and displace the thrust then flick back at his left ear with the short edge, and in flicking, step with your left foot back behind your right.</p>
 
| <p>'''Item''' In the ''Zufechten'', lay on against your opponent with a powerful horizontal Middle Cut strongly at his left ear. Quickly pull your pommel around your head, and threaten him with it as if you would thrust at his other side with the pommel, and if he wishes to slip after and displace the thrust then flick back at his left ear with the short edge, and in flicking, step with your left foot back behind your right.</p>
 
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{{section|Page:MS A.4º.2 17r.jpg|4|lbl=17r.4|p=1}} {{section|Page:MS A.4º.2 17v.jpg|1|lbl=17v.1|p=1}}
  
 
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| <p>Also you will then correctly shoot through<br/>Crooked, Short, change through on his shield</p>
+
| <p>'''Also you will then correctly shoot through<br/>Crooked, Short, change through on his shield.'''</p>
  
 
<p>This is a proper master's technique, when you are in the ''Zufechten'', then send yourself into the right Wrath; as soon as he brings his sword in the air, then strike a free High Cut at him, and in the air, cross your hands so that the right hand comes crosswise over the left, and cut then through Crooked with the short edge against his cut, in this, step with a double step well out to his right, and cut with the long edge at his right ear, or use changing through to come onto his shield against his right; then work with winding, slicing, and whatever other work arises for you.</p>
 
<p>This is a proper master's technique, when you are in the ''Zufechten'', then send yourself into the right Wrath; as soon as he brings his sword in the air, then strike a free High Cut at him, and in the air, cross your hands so that the right hand comes crosswise over the left, and cut then through Crooked with the short edge against his cut, in this, step with a double step well out to his right, and cut with the long edge at his right ear, or use changing through to come onto his shield against his right; then work with winding, slicing, and whatever other work arises for you.</p>
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| {{section|Page:MS A.4º.2 17v.jpg|2|lbl=17v.2}}
  
 
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<p>Take heed in the ''Zufechten'' of he who pulls up his sword to strike, thus cut through quickly and freely before him how it is taught above, so that you come to his right on to his shield. And as soon as it connects, then wind again with the short edge in at his head, and in this winding, jerk your pommel well upward, so that your blade again snaps around, so that in your cut, your right hand comes back over your left, hit then with crossed hands, and thus in snapping around, wind in below to his right ear, and step at the same time, quickly with your left foot well out to his right. Then at once Thwart to his left ear with a step out, deeply wind your short edge inwards and again outwards to his left ear, and then cut away from him.</p>
 
<p>Take heed in the ''Zufechten'' of he who pulls up his sword to strike, thus cut through quickly and freely before him how it is taught above, so that you come to his right on to his shield. And as soon as it connects, then wind again with the short edge in at his head, and in this winding, jerk your pommel well upward, so that your blade again snaps around, so that in your cut, your right hand comes back over your left, hit then with crossed hands, and thus in snapping around, wind in below to his right ear, and step at the same time, quickly with your left foot well out to his right. Then at once Thwart to his left ear with a step out, deeply wind your short edge inwards and again outwards to his left ear, and then cut away from him.</p>
|  
+
| {{section|Page:MS A.4º.2 17v.jpg|3|lbl=17v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>Note when he would confuse you with the Crooked,<br/>Remain rightly on the sword; carry out the Krieg<br/>With winding, slicing, and what’s more;<br/>With flitting let yourself not go too far.</p>
+
| <p>'''Note when he would confuse you with the Crooked,<br/>Remain rightly on the sword; carry out the Krieg<br/>With winding, slicing, and what’s more;<br/>With flitting let yourself not go too far.'''</p>
  
 
<p>In these rhymes you learn how you should hold yourself against one who binds Crooked on your sword, and reports to you, as well, two techniques. Namely the remaining and the War, this is when one binds you Crooked on your sword, thus you should not pull away at once, but remain and feel what kind of work you will need, like for example, if he withdraws you chase after;</p>
 
<p>In these rhymes you learn how you should hold yourself against one who binds Crooked on your sword, and reports to you, as well, two techniques. Namely the remaining and the War, this is when one binds you Crooked on your sword, thus you should not pull away at once, but remain and feel what kind of work you will need, like for example, if he withdraws you chase after;</p>
 +
| {{section|Page:MS A.4º.2 18r.jpg|1|lbl=18r.1}}
  
'''Item''' If he remains, then you wind. For winding, slicing, wrenching out, and reversing is called the War, through which one to the other always counters the opponent's ''Stücken''. And one counter follows one from another, for if he wards off one, then with this he gives you occasion or helps you to another technique that conveniently follows after it, thus you both make War. Also this same you should note, when an opponent lays on against you with a Crooked Cut, that you shall not fly around from one opening to another, for as soon as you go away from the Crooked Cut, then you are totally open to him, where he will correctly step.
+
|-
 
|  
 
|  
 +
| <p>'''Item''' If he remains, then you wind. For winding, slicing, wrenching out, and reversing is called the War, through which one to the other always counters the opponent's ''Stücken''. And one counter follows one from another, for if he wards off one, then with this he gives you occasion or helps you to another technique that conveniently follows after it, thus you both make War. Also this same you should note, when an opponent lays on against you with a Crooked Cut, that you shall not fly around from one opening to another, for as soon as you go away from the Crooked Cut, then you are totally open to him, where he will correctly step.</p>
 +
| {{section|Page:MS A.4º.2 18r.jpg|2|lbl=18r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Stuck'''
+
| <p>'''Stuck'''</p>
  
If one strikes a Crooked Cut at you from his right, then set off his cut upward with the long edge and when it clashes, then remain with the bind on his blade, wind ''Indes'' your pommel up toward his left and the blade down toward his left, the short edge at his left ear, that all this shall occur at the same time as one step. Thus surely you hit, but if he is shrewd and turns the Crooked Cut into the Long point, then wind the short edge with a flick inward at his head, then at once wind through again underneath with the pommel on your left side, thus cast over his blade or arm with the pommel, and wrench out, or whatever the situation will be, then undertake another ''Stück''.
+
<p>If one strikes a Crooked Cut at you from his right, then set off his cut upward with the long edge and when it clashes, then remain with the bind on his blade, wind ''Indes'' your pommel up toward his left and the blade down toward his left, the short edge at his left ear, that all this shall occur at the same time as one step. Thus surely you hit, but if he is shrewd and turns the Crooked Cut into the Long point, then wind the short edge with a flick inward at his head, then at once wind through again underneath with the pommel on your left side, thus cast over his blade or arm with the pommel, and wrench out, or whatever the situation will be, then undertake another ''Stück''.</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 18r.jpg|3|lbl=18r.3|p=1}} {{section|Page:MS A.4º.2 19r.jpg|1|lbl=19r.1|p=1}}
  
 
|-  
 
|-  
 
| [[File:MS A.4º.2 18v.jpg|400px|center]]
 
| [[File:MS A.4º.2 18v.jpg|400px|center]]
| <p>Quickly flick the weak to the right,<br/>Double flick, protect yourself with the shield</p>
+
| <p>'''Quickly flick the weak to the right,<br/>Double flick, protect yourself with the shield.'''</p>
  
 
<p>Note in the ''Zufechten'', come into the right Change; from there, slash up through his face, so that your sword runs around your head above in a loop. Step with your left foot well to his right and strike with the outside flat from your left against his right athwart to his ear, with this, take your head well out of the way how it is previously stated here and when it clashes, then thrust your pommel through under your right arm and wind with the inside flat, in a flick, up from below again to his right ear. In this winding around remain hard on his shield and press hard from you. If he resists then let your sword go away and pull around your head, strike with the outside flat a strong Clashing Cut over your hand Wind through with the pommel back under your arm and flick from inside behind his blade at his head. Remain hard on his shield and wind rapidly back out, thus you stand back in the Clashing Cut as before. Work further as you will to the four openings, such as the need be and is previously taught here.</p>
 
<p>Note in the ''Zufechten'', come into the right Change; from there, slash up through his face, so that your sword runs around your head above in a loop. Step with your left foot well to his right and strike with the outside flat from your left against his right athwart to his ear, with this, take your head well out of the way how it is previously stated here and when it clashes, then thrust your pommel through under your right arm and wind with the inside flat, in a flick, up from below again to his right ear. In this winding around remain hard on his shield and press hard from you. If he resists then let your sword go away and pull around your head, strike with the outside flat a strong Clashing Cut over your hand Wind through with the pommel back under your arm and flick from inside behind his blade at his head. Remain hard on his shield and wind rapidly back out, thus you stand back in the Clashing Cut as before. Work further as you will to the four openings, such as the need be and is previously taught here.</p>
|  
+
| {{section|Page:MS A.4º.2 19r.jpg|2|lbl=19r.2}}
  
 
|-  
 
|-  
Line 869: Line 877:
 
| <p>'''Item''' If one again cuts a High Cut at you from his right then likewise cut a High Cut in against his at the same time. When it clashes, then rapidly thrust your pommel through under your arm and flick back inward to his head, before it rightly connects pull both your arms crossed upwards to your left and wrench upward around on his blade, flick back around at his left ear from below, thus again with the outside flat, how it is presented above, this double flicking shall happen quickly because it is a particularly nimble technique I have thus properly given to you. For when you bind from one side on his sword and remain hard on it and wind at him inwards and outwards in a flick, doubly on one side to the upper and lower part of his head, then when he parries the flicks, you will surely have an opening on the other side that you may connect with a Circle or by flicking around in a single motion.</p>
 
| <p>'''Item''' If one again cuts a High Cut at you from his right then likewise cut a High Cut in against his at the same time. When it clashes, then rapidly thrust your pommel through under your arm and flick back inward to his head, before it rightly connects pull both your arms crossed upwards to your left and wrench upward around on his blade, flick back around at his left ear from below, thus again with the outside flat, how it is presented above, this double flicking shall happen quickly because it is a particularly nimble technique I have thus properly given to you. For when you bind from one side on his sword and remain hard on it and wind at him inwards and outwards in a flick, doubly on one side to the upper and lower part of his head, then when he parries the flicks, you will surely have an opening on the other side that you may connect with a Circle or by flicking around in a single motion.</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 19r.jpg|3|lbl=19r.3|p=1}} {{section|Page:MS A.4º.2 19v.jpg|1|lbl=19v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>Also wind forcefully against his shield,<br/>Instantly shove him away and strike swiftly.</p>
+
| <p>'''Also wind forcefully against his shield,<br/>Instantly shove him away and strike swiftly.'''</p>
  
 
<p>That is when an opponent would defend off your double flicks and sets you off, thus catch his shield with yours and shove out; away from you sideways, ''Indes'' let your short edge snap around deep at his other opposite opening.</p>
 
<p>That is when an opponent would defend off your double flicks and sets you off, thus catch his shield with yours and shove out; away from you sideways, ''Indes'' let your short edge snap around deep at his other opposite opening.</p>
|  
+
| {{section|Page:MS A.4º.2 19v.jpg|2|lbl=19v.2}}
  
 
|-  
 
|-  
 
| [[File:MS A.4º.2 21r.jpg|400px|center]]
 
| [[File:MS A.4º.2 21r.jpg|400px|center]]
| <p><br/></p>
+
| <p>If one cuts a powerful Buffel at you, so that you may not come at him with such subtle work, then cut the first at the same time as him and mark now when he pulls his arms back toward him, then drive at him from underneath with horizontal blade on both his arms and in driving under, let go with your left hand from the pommel and grip your blade in the middle, how this figure here after shows. Wrench out besides you both his arms with your shield and cross and as you shove or wrench release your left hand and quickly cut after, either short or long.</p>
 
 
<p>If one cuts a powerful Buffel at you, so that you may not come at him with such subtle work, then cut the first at the same time as him and mark now when he pulls his arms back toward him, then drive at him from underneath with horizontal blade on both his arms and in driving under, let go with your left hand from the pommel and grip your blade in the middle, how this figure here after shows. Wrench out besides you both his arms with your shield and cross and as you shove or wrench release your left hand and quickly cut after, either short or long.</p>
 
  
 
<p>Therefore note when a Roof Guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p>
 
<p>Therefore note when a Roof Guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p>
|  
+
| {{section|Page:MS A.4º.2 19v.jpg|3|lbl=19v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>The Squinting Cut you shall do wisely<br/>With winding you can also double him</p>
+
| <p>'''The Squinting Cut you shall do wisely<br/>With winding you can also double him.'''</p>
  
 
<p>There are three Squinters, namely two Squinting Cuts; one from the right, the second from your left with crossed hands not unlike the Crooked Cut, how I have reported above concerning the Crooked Cuts. The third is a Squinter with the face, when I focus on a point and act as if I intended to strike there but I do not do this to him, rather I cut in elsewhere.</p>
 
<p>There are three Squinters, namely two Squinting Cuts; one from the right, the second from your left with crossed hands not unlike the Crooked Cut, how I have reported above concerning the Crooked Cuts. The third is a Squinter with the face, when I focus on a point and act as if I intended to strike there but I do not do this to him, rather I cut in elsewhere.</p>
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|-  
 
|-  
| [[File:MS A.4º.2 22v.jpg|400px|center]]
+
| rowspan="2" | [[File:MS A.4º.2 22v.jpg|400px|center]]
 
| <p>The Second is the Old Squinting Cut, that goes thus; In the ''Zufechten'' send yourself into the right Wrath Guard, if he cuts then at your head from above, thus step from your right and strike to his cut by turning the short edge over his sword in to his head with outstretched arms, how the figures hereafter show.</p>
 
| <p>The Second is the Old Squinting Cut, that goes thus; In the ''Zufechten'' send yourself into the right Wrath Guard, if he cuts then at your head from above, thus step from your right and strike to his cut by turning the short edge over his sword in to his head with outstretched arms, how the figures hereafter show.</p>
|  
+
| {{section|Page:MS A.4º.2 21v.jpg|3|lbl=21v.3}}
{{section|Page:MS A.4º.2 21v.jpg|3|lbl=21v.3|p=1}} {{section|Page:MS A.4º.2 22r.jpg|1|lbl=22r.1|p=1}}
 
  
 
|-  
 
|-  
|
+
| <p>'''Note''' When one does a Squinting Cut against your long cut, thus he opens his right side, therefore do not allow him to come onto your sword but rather change through below and cut him to his right long in from your left after driving through.</p>
| <p><br/></p>
+
| {{section|Page:MS A.4º.2 22r.jpg|1|lbl=22r.1}}
 
 
<p>'''Note''' When one does a Squinting Cut against your long cut, thus he opens his right side, therefore do not allow him to come onto your sword but rather change through below and cut him to his right long in from your left after driving through.</p>
 
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p><br/></p>
+
| <p>'''Item''' If one changes through under your Squinting Cut to your right side, then remain nevertheless with the point right before his face and turn the long edge against his blade, allow ''Indes'' your pommel to go through under your right arm and step with your left foot well to his right side. Thus he has changed through in vain, for you come at his head with the first Squinting Cut and crossed hands, At once allow it to run off by his right side using the Circle and Thwart to his left.</p>
 
+
| {{section|Page:MS A.4º.2 22r.jpg|2|lbl=22r.2}}
<p>'''Item''' If one changes through under your Squinting Cut to your right side, then remain nevertheless with the point right before his face and turn the long edge against his blade, allow ''Indes'' your pommel to go through under your right arm and step with your left foot well to his right side. Thus he has changed through in vain, for you come at his head with the first Squinting Cut and crossed hands, At once allow it to run off by his right side using the Circle and Thwart to his left.</p>
 
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|-  
 
|-  
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<p>Note when an opponent comes before you in the guard of the Plow, then attack happily with the Squinting Cut, As soon as he drives out, then work to his lower openings and further to all four openings.</p>
 
<p>Note when an opponent comes before you in the guard of the Plow, then attack happily with the Squinting Cut, As soon as he drives out, then work to his lower openings and further to all four openings.</p>
|  
+
| {{section|Page:MS A.4º.2 22r.jpg|3|lbl=22r.3}}
  
 
|-  
 
|-  
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<p>Item if one stands before you in the Long Point, thus position yourself with the gesture that you would cut in with a long High Cut to his left ear, do not do this, but rather turn in the air and cut a strong Squinting Cut to his sword, when it clashes, then slice the point forward into his face so that he must displace. When he drives upwards then pull your sword around your head in a flight and cut with the short edge and crossed hands; athwart to his right ear, allow the left hand to go well out and thus the short edge goes deep. Pull again around your head and wrench out his blade with the flat from your right athwart to his left, so that your sword again flies around above your head and allow the short edge to shoot in deep to his left ear, at once cut two Low Cuts to his right and left, ''Indes'' cut away.</p>
 
<p>Item if one stands before you in the Long Point, thus position yourself with the gesture that you would cut in with a long High Cut to his left ear, do not do this, but rather turn in the air and cut a strong Squinting Cut to his sword, when it clashes, then slice the point forward into his face so that he must displace. When he drives upwards then pull your sword around your head in a flight and cut with the short edge and crossed hands; athwart to his right ear, allow the left hand to go well out and thus the short edge goes deep. Pull again around your head and wrench out his blade with the flat from your right athwart to his left, so that your sword again flies around above your head and allow the short edge to shoot in deep to his left ear, at once cut two Low Cuts to his right and left, ''Indes'' cut away.</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 22r.jpg|4|lbl=22r.4|p=1}} {{section|Page:MS A.4º.2 23r.jpg|1|lbl=23r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><br/></p>
+
| <p>Item If an opponent comes before you who will gladly bind long on to you from above or sends his first stroke long at you from the Roof, then when you are near to him or have come to him, slash through before him, up and out to your left, so that your sword's blade shoots around over your head in the Plunge to his left, ''Indes'' allow your sword to snap around back over your head, the right hand over the left and strike in at his right ear with the short edge at the same time as his strike, how it is taught above, do this correctly and step well there to him thus you will hit. So then this ''Stück'' is only on going, if he displaces however and drives out how he then (when he will displace) must drive out, at once pull around your head and cut him with the Long Edge from below athwart to his left radial forearm, close to his pommel to the wrist. Of these two openings, one will be apparent to you, Pull your hilt again upwards around your head and cut long with a strong cut to his upper left head, in these three strikes, step well with both your feet, in a double, step around his left side, thus the cuts go on well, this a good and earnest ''Stück'', when you will seek to send it home.</p>
 
 
<p>Item If an opponent comes before you who will gladly bind long on to you from above or sends his first stroke long at you from the Roof, then when you are near to him or have come to him, slash through before him, up and out to your left, so that your sword's blade shoots around over your head in the Plunge to his left, ''Indes'' allow your sword to snap around back over your head, the right hand over the left and strike in at his right ear with the short edge at the same time as his strike, how it is taught above, do this correctly and step well there to him thus you will hit. So then this ''Stück'' is only on going, if he displaces however and drives out how he then (when he will displace) must drive out, at once pull around your head and cut him with the Long Edge from below athwart to his left radial forearm, close to his pommel to the wrist. Of these two openings, one will be apparent to you, Pull your hilt again upwards around your head and cut long with a strong cut to his upper left head, in these three strikes, step well with both your feet, in a double, step around his left side, thus the cuts go on well, this a good and earnest ''Stück'', when you will seek to send it home.</p>
 
 
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|  
 +
{{section|Page:MS A.4º.2 23r.jpg|2|lbl=23r.2|p=1}} {{section|Page:MS A.4º.2 23v.jpg|1|lbl=23v.1|p=1}}
  
 
|-  
 
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Line 944: Line 945:
  
 
<p>In ''Zufechten'', when you come close to him, then position yourself as if you would cut a long High Cut at him, when he drives out to meet you, thus turn the short edge from your right, in the air, against his left and jerk your pommel upwards, cut him with the short edge over his arm or hand, step well to his left side, allow this to run forth over in a circle and cut long after to the next opening, or fight to him with the under cuts.</p>
 
<p>In ''Zufechten'', when you come close to him, then position yourself as if you would cut a long High Cut at him, when he drives out to meet you, thus turn the short edge from your right, in the air, against his left and jerk your pommel upwards, cut him with the short edge over his arm or hand, step well to his left side, allow this to run forth over in a circle and cut long after to the next opening, or fight to him with the under cuts.</p>
|  
+
| {{section|Page:MS A.4º.2 23v.jpg|2|lbl=23v.2}}
  
 
|-  
 
|-  
Line 951: Line 952:
  
 
<p>Item At the Start, thus cut against his cut from your right, with a Squinter to his sword, when this clashes, then reverse your sword on his blade and slide off to your left, step out with the right, continuing towards his left side, allow your blade to drive around your head and cut the next Squinter to his head, also from your right above and in deep to his left. Then cut a double squinter, nimbly, one into the other, stepping to his left, this is a very swift ''Stück'' against slow fencers who fight with their arms far from themselves.</p>
 
<p>Item At the Start, thus cut against his cut from your right, with a Squinter to his sword, when this clashes, then reverse your sword on his blade and slide off to your left, step out with the right, continuing towards his left side, allow your blade to drive around your head and cut the next Squinter to his head, also from your right above and in deep to his left. Then cut a double squinter, nimbly, one into the other, stepping to his left, this is a very swift ''Stück'' against slow fencers who fight with their arms far from themselves.</p>
 +
| {{section|Page:MS A.4º.2 23v.jpg|3|lbl=23v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>'''The Third Squinter is a deceiving with the Face'''</p>
+
| <p>'''The Third Squinter is a deceiving with the face'''</p>
  
 
<p>In ''Zufechten'' slash up so that you come into the guard of the Roof, as soon as you can reach him, at once wind the short edge to him, while its still in the air, squint with your face as if you would cut to his left with the Squinting Cut, don't do this, but rather allow the Squinter to fall past by his left and work to his right, or work him to the right and cut quickly again to his left, take your body well after with it, for this is a fine and good work that can't be written as well as it can be shown with the living body.</p>
 
<p>In ''Zufechten'' slash up so that you come into the guard of the Roof, as soon as you can reach him, at once wind the short edge to him, while its still in the air, squint with your face as if you would cut to his left with the Squinting Cut, don't do this, but rather allow the Squinter to fall past by his left and work to his right, or work him to the right and cut quickly again to his left, take your body well after with it, for this is a fine and good work that can't be written as well as it can be shown with the living body.</p>
|  
+
| {{section|Page:MS A.4º.2 24r.jpg|1|lbl=24r.1}}
  
 
|-  
 
|-  
Line 965: Line 967:
 
<p>When you come close to him, then Wing up by him, so that you come with crossed hands into the Unicorn. In this Winging up, lift your left foot somewhat upwards, after you come through the Unicorn with crossed hands, thus you stand as if you would shoot through, as soon as he extends his sword out, thus cut then with crossed hands and the short edge from above again to his right, on to the forward portion of his sword's blade and before it connects, turn your short edge around and cut with the Squinter, that is with the short edge from your right to his left side, to his arm or face, not with crossed hands and with a step of your right foot, towards his left, in hitting, allow your blade to run off from his left only slightly besides and along with this, thrust through at once with your pommel, under your right arm, then cross your hands so that your short edge snaps around again to his left, over to his head or arm thus with crossed hand from your right to your left or bar him over both of his arms, if he holds you again so that you cannot wrench out or suppress from above, then allow the pommel to run through below and grab him over his right arm, drive the wrestling to him.</p>
 
<p>When you come close to him, then Wing up by him, so that you come with crossed hands into the Unicorn. In this Winging up, lift your left foot somewhat upwards, after you come through the Unicorn with crossed hands, thus you stand as if you would shoot through, as soon as he extends his sword out, thus cut then with crossed hands and the short edge from above again to his right, on to the forward portion of his sword's blade and before it connects, turn your short edge around and cut with the Squinter, that is with the short edge from your right to his left side, to his arm or face, not with crossed hands and with a step of your right foot, towards his left, in hitting, allow your blade to run off from his left only slightly besides and along with this, thrust through at once with your pommel, under your right arm, then cross your hands so that your short edge snaps around again to his left, over to his head or arm thus with crossed hand from your right to your left or bar him over both of his arms, if he holds you again so that you cannot wrench out or suppress from above, then allow the pommel to run through below and grab him over his right arm, drive the wrestling to him.</p>
 
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 +
{{section|Page:MS A.4º.2 24r.jpg|2|lbl=24r.2|p=1}} {{section|Page:MS A.4º.2 24v.jpg|1|lbl=24v.1|p=1}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:MS A.4º.2 25r.jpg|400px|center]]
 
| rowspan="2" | [[File:MS A.4º.2 25r.jpg|400px|center]]
| <p><br/></p>
+
| <p>'''From Changing Through.'''</p>
  
 
<p>Changing through is useful against those who fight with the Squinter or Crooked Cuts. Note this also, if he does not extend his hands far from him in his cuts but rather holds them close by himself in fighting, you may readily change through far from him.</p>
 
<p>Changing through is useful against those who fight with the Squinter or Crooked Cuts. Note this also, if he does not extend his hands far from him in his cuts but rather holds them close by himself in fighting, you may readily change through far from him.</p>
|  
+
| {{section|Page:MS A.4º.2 24v.jpg|2|lbl=24v.2}}
  
 
|-  
 
|-  
 
| <p>'''Item''' If he fights with winding, reversing, Crooked Cuts, Squinting Cuts or any other ''Stück'' with it he shortens his strike or cannot fight long from himself, how it then goes in such ''Stücken'' in which you shall also (before they bring their technique to the halfway) change through against him, to the other side which he opens with this shortening, thus you force him to displace and he allows the Before to pass to you.</p>
 
| <p>'''Item''' If he fights with winding, reversing, Crooked Cuts, Squinting Cuts or any other ''Stück'' with it he shortens his strike or cannot fight long from himself, how it then goes in such ''Stücken'' in which you shall also (before they bring their technique to the halfway) change through against him, to the other side which he opens with this shortening, thus you force him to displace and he allows the Before to pass to you.</p>
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+
| {{section|Page:MS A.4º.2 24v.jpg|3|lbl=24v.3}}
  
 
|-  
 
|-  
Line 983: Line 986:
 
<p>Also thus note this Rule in all cutting, when you connect or catch his blade with your strong, in the bind, as soon as it clashes, you shall cut at once with the weak (that is with the forward part) to the body or next opening cut at, so that then your sword cuts likewise at his blade and body, or as soon as your strong connects with his sword, then as they clash together you shall turn the weak to the nearest opening with flicking, snapping and winding.</p>
 
<p>Also thus note this Rule in all cutting, when you connect or catch his blade with your strong, in the bind, as soon as it clashes, you shall cut at once with the weak (that is with the forward part) to the body or next opening cut at, so that then your sword cuts likewise at his blade and body, or as soon as your strong connects with his sword, then as they clash together you shall turn the weak to the nearest opening with flicking, snapping and winding.</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 24v.jpg|4|lbl=24v.4|p=1}} {{section|Page:MS A.4º.2 25v.jpg|1|lbl=25v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>Further you should take from these lessons, when you will execute these techniques against someone who knows how to change through against you, for example when you send your sword into the air for a Squinting Cut or Crooked Cut.</p>
 
| <p>Further you should take from these lessons, when you will execute these techniques against someone who knows how to change through against you, for example when you send your sword into the air for a Squinting Cut or Crooked Cut.</p>
|  
+
| {{section|Page:MS A.4º.2 25v.jpg|2|lbl=25v.2}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>'''Item''' To the Crossing over, Falling and others which are similar, as soon as you realize that he will change through, then fall from such work into the Long Slice, to the opening that he gives you by changing through. For often when he changes through he opens himself, And when you travel after to his opening, then watch for his sword with the long edge, if it would come too near to you, that you turn the strong against him and at the same time, remain on his opening with the short edge, as soon as you have connected, then remain no longer but rather let it quickly fly away from one opening to another.</p>
 
| <p>'''Item''' To the Crossing over, Falling and others which are similar, as soon as you realize that he will change through, then fall from such work into the Long Slice, to the opening that he gives you by changing through. For often when he changes through he opens himself, And when you travel after to his opening, then watch for his sword with the long edge, if it would come too near to you, that you turn the strong against him and at the same time, remain on his opening with the short edge, as soon as you have connected, then remain no longer but rather let it quickly fly away from one opening to another.</p>
|  
+
| {{section|Page:MS A.4º.2 25v.jpg|3|lbl=25v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>The Thwart you shall also consider valuable,<br/>With it your skill in the sword becomes great.</p>
+
| <p>'''The Thwart you shall also consider valuable,<br/>With it your skill in the sword becomes great.'''</p>
  
 
<p>The Thwart is one of the chief master techniques with the sword. For you should know, if the Thwart did not exist, then it would be like "half fencing", especially when you are under the opponent’s sword and therein you can no longer attack with long cuts through the Cross, and if I have already written enough about the Thwart such that if someone knows how to fight, he could have a sufficient understanding from it, but meanwhile I write not great of great Fencers or Artists, also I have not intended to write historically of fencing, as the art is drawn from memory. But rather solely, I've attempted to write an instruction book, therefore I will not only repeat the Thwart here, but also write more fully about it, for the instruction of those that love such art.</p>
 
<p>The Thwart is one of the chief master techniques with the sword. For you should know, if the Thwart did not exist, then it would be like "half fencing", especially when you are under the opponent’s sword and therein you can no longer attack with long cuts through the Cross, and if I have already written enough about the Thwart such that if someone knows how to fight, he could have a sufficient understanding from it, but meanwhile I write not great of great Fencers or Artists, also I have not intended to write historically of fencing, as the art is drawn from memory. But rather solely, I've attempted to write an instruction book, therefore I will not only repeat the Thwart here, but also write more fully about it, for the instruction of those that love such art.</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 25v.jpg|4|lbl=25v.4|p=1}} {{section|Page:MS A.4º.2 26r.jpg|1|lbl=26r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>In ''Zufechten'' take note if your opponent will attack at you from the Day, (that is from above) then slash up from the right Change toward your opponent's face, when he will strike or cut, then let your blade drive towards your left and around your head, so that your flat stands upward and your thumb is underneath on your shield, step with your right foot well around his left side toward him, simultaneous with the step, cut with the short edge from your right to his left ear, so that together your hilt and with the thumb underneath, stands high above your head to the displacing, so then if he strikes, you will catch his stroke on the strong of your sword and at the same time with the forward short, you cut athwart from below to his left ear, how the second figure shows, as soon as the swords connect together or clash, then strike with the long Thwart deep at his right ear, such that your thumb remains underneath, perpendicular.</p>
 
| <p>In ''Zufechten'' take note if your opponent will attack at you from the Day, (that is from above) then slash up from the right Change toward your opponent's face, when he will strike or cut, then let your blade drive towards your left and around your head, so that your flat stands upward and your thumb is underneath on your shield, step with your right foot well around his left side toward him, simultaneous with the step, cut with the short edge from your right to his left ear, so that together your hilt and with the thumb underneath, stands high above your head to the displacing, so then if he strikes, you will catch his stroke on the strong of your sword and at the same time with the forward short, you cut athwart from below to his left ear, how the second figure shows, as soon as the swords connect together or clash, then strike with the long Thwart deep at his right ear, such that your thumb remains underneath, perpendicular.</p>
|  
+
| {{section|Page:MS A.4º.2 26r.jpg|2|lbl=26r.2}}
  
 
|-  
 
|-  
Line 1,010: Line 1,015:
 
| <p>Secondly, Note when you strike in with a Thwart at the same time as him, or bind on, then from this same, at once search above and below for the openings, with reversing, snapping around again, or Thwarts, fearless Traveling after, then as soon as One will cut from above at you, thus displace him with the Thwart, so that with this, the swords clash together, then reverse, set off upwards, seek the openings and fight with the types of works that have been reported here previously. Wherein Liechtenauer speaks correctly in his cryptic verses,</p>
 
| <p>Secondly, Note when you strike in with a Thwart at the same time as him, or bind on, then from this same, at once search above and below for the openings, with reversing, snapping around again, or Thwarts, fearless Traveling after, then as soon as One will cut from above at you, thus displace him with the Thwart, so that with this, the swords clash together, then reverse, set off upwards, seek the openings and fight with the types of works that have been reported here previously. Wherein Liechtenauer speaks correctly in his cryptic verses,</p>
  
:''The Thwart takes<br/>All that come from above,<br/>Thwart with the strong<br/>Mark your work with it''
+
:''The Thwart takes<br/>All that come from above,<br/>Thwart with the strong<br/>Mark your work with it.''
  
 
<p>that is; all high strikes, displace with the Thwart, or how I have here set forth with my Rhymes:</p>
 
<p>that is; all high strikes, displace with the Thwart, or how I have here set forth with my Rhymes:</p>
 
|  
 
|  
 +
{{section|Page:MS A.4º.2 26r.jpg|3|lbl=26r.3|p=1}} {{section|Page:MS A.4º.2 26v.jpg|1|lbl=26v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>For everything that comes from the Roof<br/>The thwart may displace this<br/>In the Onset drive the thwart strongly<br/>Note also you Reverse and Fail with it</p>
+
| <p>'''For everything that comes from the Roof<br/>The thwart may displace this<br/>In the Onset drive the thwart strongly<br/>Note also you Reverse and Fail with it.'''</p>
  
 
<p>If one cuts at you from above, thus Thwart strongly against his strike, you force him to fall so much lower with his cut, when it connects you must then thrust your pommel through under your right, reverse, press downwards, let the blade snap around again with the short edge in his face, yet such that in the reversing and snapping around you remain with the slice on his arms.</p>
 
<p>If one cuts at you from above, thus Thwart strongly against his strike, you force him to fall so much lower with his cut, when it connects you must then thrust your pommel through under your right, reverse, press downwards, let the blade snap around again with the short edge in his face, yet such that in the reversing and snapping around you remain with the slice on his arms.</p>
|  
+
| {{section|Page:MS A.4º.2 26v.jpg|2|lbl=26v.2|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>This stuck goes well when you do it quickly. However, if he escapes you upward too quickly with his arms, then allow your blade drive around your head, so that your long edge comes forward on his arms, athwart through with an under cut, how the figure here after shows, however do not let go with your left hand from the hilt, rather thrust him from you with crossed hands.</p>
 
| <p>This stuck goes well when you do it quickly. However, if he escapes you upward too quickly with his arms, then allow your blade drive around your head, so that your long edge comes forward on his arms, athwart through with an under cut, how the figure here after shows, however do not let go with your left hand from the hilt, rather thrust him from you with crossed hands.</p>
|  
+
| {{section|Page:MS A.4º.2 26v.jpg|3|lbl=26v.3|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>To Plow and ox you are quick<br/>Threaten the cut at once against the target</p>
+
| <p>'''To Plow and ox you are quick<br/>Threaten the cut at once against the target.'''</p>
  
 
<p>This verse is very clear, how the others also are, namely that you should quickly cut the Thwart to the Ox and Plow, to the lower and upper opening, to the left and right, nimbly crosswise, diagonally opposite to all four parts, how with other names, thus you will see the four openings, further reported hereafter, extensively.</p>
 
<p>This verse is very clear, how the others also are, namely that you should quickly cut the Thwart to the Ox and Plow, to the lower and upper opening, to the left and right, nimbly crosswise, diagonally opposite to all four parts, how with other names, thus you will see the four openings, further reported hereafter, extensively.</p>
|  
+
| {{section|Page:MS A.4º.2 26v.jpg|4|lbl=26v.4|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>Next you will learn from the rhyme, how with the High Cuts you shall deceive, thus you step forth, then position yourself with comportment and cut a powerful Thwart to his left, if he would go against your sword, whether from above or below, do not allow it to connect, but pull away again and Thwart Cut to his right, against his head, you may also threaten him with the thwart to his lower left, then thwart from above.</p>
 
| <p>Next you will learn from the rhyme, how with the High Cuts you shall deceive, thus you step forth, then position yourself with comportment and cut a powerful Thwart to his left, if he would go against your sword, whether from above or below, do not allow it to connect, but pull away again and Thwart Cut to his right, against his head, you may also threaten him with the thwart to his lower left, then thwart from above.</p>
|  
+
| {{section|Page:MS A.4º.2 27r.jpg|1|lbl=27r.1}}
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>'''Item''' Threaten to the lower right, and cut to the lower left with this Thwart, thus you can also note that then when you go at his left with the Thwart, then at once to the right threaten but strike back to the left, where you firstly intended, from this knowledge you can pull the Thwart to both sides, crosswise and diagonally opposite. Threaten, then strike after your advantage how it pleases you and in the rough ''Zufechten'' there is no cut as safe as the Thwart.</p>
 
| <p>'''Item''' Threaten to the lower right, and cut to the lower left with this Thwart, thus you can also note that then when you go at his left with the Thwart, then at once to the right threaten but strike back to the left, where you firstly intended, from this knowledge you can pull the Thwart to both sides, crosswise and diagonally opposite. Threaten, then strike after your advantage how it pleases you and in the rough ''Zufechten'' there is no cut as safe as the Thwart.</p>
|  
+
| {{section|Page:MS A.4º.2 27r.jpg|2|lbl=27r.2}}
|  
 
  
 
|-  
 
|-  
 
|  
 
|  
| <p>Note when the Thwart is executed with a spring,<br/>And you execute failing with it, it connects at your will</p>
+
| <p>'''Note when the Thwart is executed with a spring,<br/>And you execute failing with it, it connects at your will.'''</p>
  
 
<p>Note in the Onset when you will deliver a Thwart to the upper left opening, then spring well out with it and also let your pommel go well upward, thus the Thwart goes deep at his head, especially when you disguise the gesture, you can also when he likewise does not perceive the spring until it has happened, and the Thwart has hit, but if he sees it and defends or parries you, then you shall cut to the lower and opposite corner.</p>
 
<p>Note in the Onset when you will deliver a Thwart to the upper left opening, then spring well out with it and also let your pommel go well upward, thus the Thwart goes deep at his head, especially when you disguise the gesture, you can also when he likewise does not perceive the spring until it has happened, and the Thwart has hit, but if he sees it and defends or parries you, then you shall cut to the lower and opposite corner.</p>
|  
+
| {{section|Page:MS A.4º.2 27r.jpg|3|lbl=27r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
 
| <p>'''Item''' When you thus strike with the Thwart high at your opponent with a spring, and however you do not let it hit, but rather fail and run off beside his left and you strike in rapidly with the Thwart at another opening, then you will hit at your will. For before he thinks to parry the Thwart, you have hit elsewhere.</p>
 
| <p>'''Item''' When you thus strike with the Thwart high at your opponent with a spring, and however you do not let it hit, but rather fail and run off beside his left and you strike in rapidly with the Thwart at another opening, then you will hit at your will. For before he thinks to parry the Thwart, you have hit elsewhere.</p>
|  
+
| {{section|Page:MS A.4º.2 27r.jpg|4|lbl=27r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>Double shall your Failer be done<br/>Likewise double the step and slice</p>
+
| <p>'''Double shall your Failer be done<br/>Likewise double the step and slice.'''</p>
  
 
<p>The Failer is a good technique against the fencers who will gladly displace like in the previous ''Stück'' concerning the Thwart, then when you cut to an opening and note that he wishes to parry after, then allow your cut to fail and go by, and cut diagonal to another opening, Double failing is an artful technique and requires an experienced fighter as well, however I will present and describe here to you several double and single techniques from which you can learn many kinds of Failers.</p>
 
<p>The Failer is a good technique against the fencers who will gladly displace like in the previous ''Stück'' concerning the Thwart, then when you cut to an opening and note that he wishes to parry after, then allow your cut to fail and go by, and cut diagonal to another opening, Double failing is an artful technique and requires an experienced fighter as well, however I will present and describe here to you several double and single techniques from which you can learn many kinds of Failers.</p>
Line 1,131: Line 1,135:
 
|-  
 
|-  
 
|  
 
|  
| <p>From the sword to the body, reverse with it,<br/>Twice, or slice on the weapon.</p>
+
| <p>'''From the sword to the body, reverse with it,<br/>Twice, or slice on the weapon.'''</p>
  
 
<p>This is the correct gloss for the previous verses, which tells you to wind twice or slice on the weapon.</p>
 
<p>This is the correct gloss for the previous verses, which tells you to wind twice or slice on the weapon.</p>
Line 1,140: Line 1,144:
 
|-  
 
|-  
 
|  
 
|  
| <p>Chasing is extremely good,<br/>With slicing and winding protect yourself</p>
+
| <p>'''Chasing is extremely good,<br/>With slicing and winding protect yourself.'''</p>
  
 
<p>Chasing is multiple and varied, and should be done with great cautiousness against fencers who fight with long and free cuts, and have no proper art.</p>
 
<p>Chasing is multiple and varied, and should be done with great cautiousness against fencers who fight with long and free cuts, and have no proper art.</p>
Line 1,160: Line 1,164:
 
|-  
 
|-  
 
|  
 
|  
| <p>Some twice or more<br/>Let it fly, begin with it'''
+
| <p>'''Some twice or more<br/>Let it fly, begin with it.'''</p>
  
 
<p>That is, you should pay attention, when you are laying on against him with the slice, that you shall not allow him free, but rather once or twice follow after with the slice and with this hinder him in his work and intentions, then when he least expects it, thus you should artfully fly away to the nearest opening before he realizes it. This is a true master’s ''Stück''; and begin with it, that is:</p>
 
<p>That is, you should pay attention, when you are laying on against him with the slice, that you shall not allow him free, but rather once or twice follow after with the slice and with this hinder him in his work and intentions, then when he least expects it, thus you should artfully fly away to the nearest opening before he realizes it. This is a true master’s ''Stück''; and begin with it, that is:</p>
Line 1,167: Line 1,171:
 
|-  
 
|-  
 
|  
 
|  
| <p>Send the hits to all four targets,<br/>Learn the pullings, you will deceive them</p>
+
| <p>'''Send the hits to all four targets,<br/>Learn the pullings, you will deceive them.'''</p>
  
 
<p>You must be well versed in the four openings, if you will fight certainly, then you fight with whatever ''Stücken'' and cuts, as good as they may be, if you do not know how to cut off with each one to every quarter, and to mutate the intended ''Stück'', by transforming it into other convenient work, from what he fights against you and how he meets your ''Stücken'', then it can happen that you will take forth with one ''Stück'' to a particular opening, and yet he sends himself against you such that you can have another closer opening, this opportunity will escape you, if you execute your intended ''Stücken'' without happening to notice other opportunities, therefore be diligent where you may at once fight by flying freely to the four openings. Because you have only three ways to cut and strike, that is with the long and short edge, and with the flat, from which together, all fencing is composed of, and targeting to the four divisions of the opponent; from which are given all other fortuitous techniques, like pulling, doubling, running off. Thus take note of the following divisions and cuts, that you correctly make your cuts opposite and crosswise to each other.</p>
 
<p>You must be well versed in the four openings, if you will fight certainly, then you fight with whatever ''Stücken'' and cuts, as good as they may be, if you do not know how to cut off with each one to every quarter, and to mutate the intended ''Stück'', by transforming it into other convenient work, from what he fights against you and how he meets your ''Stücken'', then it can happen that you will take forth with one ''Stück'' to a particular opening, and yet he sends himself against you such that you can have another closer opening, this opportunity will escape you, if you execute your intended ''Stücken'' without happening to notice other opportunities, therefore be diligent where you may at once fight by flying freely to the four openings. Because you have only three ways to cut and strike, that is with the long and short edge, and with the flat, from which together, all fencing is composed of, and targeting to the four divisions of the opponent; from which are given all other fortuitous techniques, like pulling, doubling, running off. Thus take note of the following divisions and cuts, that you correctly make your cuts opposite and crosswise to each other.</p>
Line 1,212: Line 1,216:
 
|-  
 
|-  
 
| rowspan="2" | [[File:MS A.4º.2 38r.jpg|400px|center]]
 
| rowspan="2" | [[File:MS A.4º.2 38r.jpg|400px|center]]
| <p>Do not rely too much on the Crown,<br/>You will tend to get harm and shame from it</p>
+
| <p>'''Do not rely too much on the Crown,<br/>You will tend to get harm and shame from it.'''</p>
  
 
<p>Note when you displace with the horizontal crossguard, high up over your head, that is called the Crown. When you see that an opponent will run under your High Cut with the Crown, then do not let your High Cut actually connect, but rather pull the cut from him, that he drives out in vain, and cut with the long edge a Middle Cut athwart to his arm or wrist, this same thing thus you mark that when one who will gladly drive out and displace high, thus conduct yourself with comportment like you would cut high, do not complete this, but rather strike nimbly around to the lower openings with the Thwart, using flat or long edge or behind his arms to the ears you have it known.</p>
 
<p>Note when you displace with the horizontal crossguard, high up over your head, that is called the Crown. When you see that an opponent will run under your High Cut with the Crown, then do not let your High Cut actually connect, but rather pull the cut from him, that he drives out in vain, and cut with the long edge a Middle Cut athwart to his arm or wrist, this same thing thus you mark that when one who will gladly drive out and displace high, thus conduct yourself with comportment like you would cut high, do not complete this, but rather strike nimbly around to the lower openings with the Thwart, using flat or long edge or behind his arms to the ears you have it known.</p>
Line 1,228: Line 1,232:
 
|-  
 
|-  
 
|  
 
|  
| <p>Strike powerfully through with the Long point<br/>Therewith hold off all hard dangers</p>
+
| <p>'''Strike powerfully through with the Long point<br/>Therewith hold off all hard dangers.'''</p>
  
 
<p>Stand with the left foot forwards and strike him from your right through his face, that the half edge goes forth once to four times nimbly one after another, thus you drive on to him, then attack to him from under and whether it is with Thwart or Long edge, mark when you thus have slashed up to him, thus take heed when he strikes at you from above and from his right side, then wind him by slashing out your long edge against his blade so that it stays somewhat athwart, your point upwards and to his left. step at once with the left foot to his left and thrust the pommel instantly under your arm, cut in with the short edge with skidding behind his blade to his head step likewise with your right foot after and around his left and jerk the pommel again therefore, so that you stand with the sword in the Thwart or in Hanging point.</p>
 
<p>Stand with the left foot forwards and strike him from your right through his face, that the half edge goes forth once to four times nimbly one after another, thus you drive on to him, then attack to him from under and whether it is with Thwart or Long edge, mark when you thus have slashed up to him, thus take heed when he strikes at you from above and from his right side, then wind him by slashing out your long edge against his blade so that it stays somewhat athwart, your point upwards and to his left. step at once with the left foot to his left and thrust the pommel instantly under your arm, cut in with the short edge with skidding behind his blade to his head step likewise with your right foot after and around his left and jerk the pommel again therefore, so that you stand with the sword in the Thwart or in Hanging point.</p>
Line 1,252: Line 1,256:
 
|-  
 
|-  
 
|  
 
|  
| <p>The Blind Cut you should let rebound<br/>Cast around the Thwart, have diligence to the flicking</p>
+
| <p>'''The Blind Cut you should let rebound<br/>Cast around the Thwart, have diligence to the flicking.'''</p>
  
 
<p>Slash him with the Long-point in his face, step and pull your sword around your head and strike with the inside flat from your right to his left through the Middle Line, take your head well out and wind around nimbly again on his Sword with the outside flat also to his left ear.</p>
 
<p>Slash him with the Long-point in his face, step and pull your sword around your head and strike with the inside flat from your right to his left through the Middle Line, take your head well out and wind around nimbly again on his Sword with the outside flat also to his left ear.</p>

Revision as of 23:39, 27 March 2024

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Heinrich von Eberst
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der... Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing. In addition to his fencing practice, Meyer was a Burgher and a master cutler.[2]

Meyer was born in Basel,[3] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[4]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a Fechtschule was granted. He would repeat this in 1563, 1566, 1567 and 1568;[5] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,[6] and his second (MS A.4º.2) in 1568 for Otto (later Count of Solms-Sonnewalde).[7] Both of these manuscripts contain a series of lessons on training with long sword, dusack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), written between 1563 and 1571 and containing a dedication at the end to Heinrich, Count of Eberstein, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet ("A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,[6] and illustrated at the workshop of Tobias Stimmer.[8] It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[5]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 MS A.4º.2 (Lund), dedicated to Otto von Solms; and the MS Var. 82 (Rostock), including notes on teachings from Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. Dwarfing these works is the massive book he published in 1570 entitled Gründtliche Beschreibung der ...Kunst des Fechtens ("A Thorough Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.

The first section of Meyer's treatise is devoted to the long sword (the sword in two hands), which he describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dusack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[11] Meyer's dusack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[12] combines the old Messer teachings of Johannes Lecküchner and the dusack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dusack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section of Meyer's treatise is omitted in the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds several plays of armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo,[13] but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.

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Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. 1.0 1.1 1.2 1.3 Dupuis, Olivier. Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat. Dijon: AEDEH, 2006.
  2. Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
  3. According to his wedding certificate.
  4. The influence of Achilles Marozzo's printed treatise is, however, apparent in the rapier illustrations of his 1561 manuscript and the dagger plays in his book.
  5. 5.0 5.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
  6. 6.0 6.1 Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.
  7. Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
  8. Whose members included Christoph Maurer and Hans Christoffel Stimmer.
  9. Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
  10. Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
  11. Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
  12. Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
  13. Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
  14. 14.0 14.1 14.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  15. orig. ararmschirleinn
  16. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  17. orig. Armschiene - seemingly a part of the armour
  18. orig. geordinirtt
  19. orig. schießen; see here
  20. orig. findt
  21. orig. spis
  22. orig. schwertt
  23. orig. sebell
  24. 24.0 24.1 orig. kempff degen; it can mean either “combat sword” or “combat dagger” (Source 1, Source 2). See here for a painting with kempffdegen in its caption
  25. 25.0 25.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  26. orig. zimlich
  27. alt. "endure"
  28. Ittem has many potential meanings: "further", "likewise", "the same as", and also simply as a means of 'bullet-pointing' numerous items. I've found that "likewise" works as an apt translation most of the time, but for clarity I will leave it untranslated. See this article.
  29. orig. noch eines Idenn woll gefalen
  30. orig. Reren; cf. Rohre/Röhre
  31. orig. lest
  32. orig. Schranckenn
  33. orig. dringen/thringen; refers to pressing one's point into an opponent['s armour/mail], cf. modern sense of "pushing through a crowd". See this glossary for more information
  34. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  35. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  36. A blunt strike, as opposed to a cut or slice. See here.
  37. orig. versezen; alt. "parrying"
  38. Unclear.
  39. orig. ansezen; most likely means "pinned", "planted" (in the sense of placing your weapon or hand against an opponent, in a grappling sense); alt. "attacking" (cf. modern ansetzen). See this glossary for more information
  40. orig. erlang
  41. see nachreissen
  42. 42.0 42.1 42.2 42.3 42.4 42.5 42.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  43. orig. uchsen
  44. orig. Gelenck. Refers to joints in armour, but also body parts - in the context of armoured fencing, it is most likely referring to the joints in the armour
  45. orig. greifest
  46. 46.0 46.1 46.2 46.3 orig. brich
  47. orig. anbrichen
  48. 48.00 48.01 48.02 48.03 48.04 48.05 48.06 48.07 48.08 48.09 48.10 48.11 orig. stos
  49. orig. goch
  50. 50.0 50.1 50.2 50.3 50.4 50.5 50.6 orig. schlag
  51. 51.0 51.1 51.2 see absetzen
  52. orig. drissel; cf. thrissel
  53. orig. schlag dein beidt vnder dein Recht achsell. From interpretation, the word schlag here doesn't make much sense: it's possible that beidt was intended to be said or written as bindt, as in "put your grip under your right shoulder".
  54. orig. Achsell
  55. 55.0 55.1 see Ringen
  56. 56.0 56.1 see arbeiten
  57. 57.0 57.1 57.2 57.3 57.4 57.5 orig. streich, cf. schlag
  58. 58.0 58.1 58.2 58.3 58.4 58.5 58.6 58.7 orig. inndes
  59. alt. "attacks"
  60. orig. last Er dür die seitten
  61. 61.0 61.1 orig. Ring; alt. lists
  62. orig. vergesezsten
  63. 63.0 63.1 63.2 see abzucken
  64. orig. fies
  65. 65.0 65.1 see gleich
  66. unclear transcription; possibly nim, ergo "take the weight"
  67. Unclear.
  68. orig. zwerchs
  69. 69.0 69.1 orig. degen; see kempffdegen
  70. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  71. 71.0 71.1 71.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  72. orig. klos
  73. orig. Stuck
  74. orig. knefftiglich, interpreted as krefftiglich
  75. orig. verfelen - described earlier in 1561 as a feint whereby you wait for your opponent to react to a strike, then change the direction of the strike
  76. orig. entgehenn
  77. orig. faren/auffaren; cf. fahren
  78. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  79. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  80. 80.0 80.1 80.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  81. Possibly "hauberk"(?).
  82. 82.0 82.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  83. orig. verzoblen; cf. verzögern
  84. lit. oben hutt; contrast Oberhutt
  85. orig. heutt; possible verb form of hutt
  86. orig. überwegest
  87. 87.0 87.1 orig. schlagen. Probably means "place" in this context.
  88. orig. sez; no accompanying adposition but I assume he means ansezen
  89. listen
  90. orig. Bundtschlag, lit. "grip strike"
  91. orig. fertt
  92. orig. wie nechst
  93. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  94. orig. wendt
  95. orig. Reüb
  96. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  97. orig. steßen
  98. orig. abgewünnen
  99. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  100. orig. feder
  101. orig. spietzen
  102. Reference in the left margin to picture on page 61.
  103. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  104. orig. Wappenrock
  105. Unclear whether die refers to the dagger or the heart, here
  106. orig. kurz halbenn; alt. "short edge"
  107. orig. concordiren
  108. This word overwrites an initial die.
  109. The first 10 lines of this paragraph are shorter of 30% than the last four, as if there is a left place here for a picture or a diagram.
  110. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  111. The first letter corrected from “w” by cancelling the first bow of the letter.
  112. The first letter could also read as an “l", but “b” seems more probable here.
  113. The first letter corrected from “b” by overwriting.
  114. The ink is a bit blurred, particularly in the beginning of the word which results in an ambiguous reading; stucken would be more plausible in this context but does not fit with the appearance of the first couple of letters at all.
  115. The writer first wrote hawst but the “s” has been cancelled afterwards.
  116. Recte: und.
  117. The writer first wrote arms but the final “s” has been cancelled afterwards.
  118. The letter “s” has ben cancelled just before the word den.
  119. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  120. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  121. Setzen has been written afterwards just under ver- and looks like a catchword; however, the following page does not start with the same word. It could be a mistake of the scribe.
  122. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  123. The “h” is writen above a “e”.
  124. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  125. The words und oder after this word are cancelled.
  126. At this place is a sign that commonly indicates a line break or an end of a paragraph. Here, however, the following text continues in the same line.
  127. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  128. The end of this word, sicht is inserted below the line at the right, like a catchword. However, the following written page, fol. 23r, does not start with the same word. Could be a mistake by the scribe or a clue for a missing page.
  129. After this word a large circle is drawn and its only meaning seems to complete the line to the right and avoid a big default in the right alignment.
  130. The letter “d” is cancelled just before the “b” of this word.
  131. The initial letter “b” is written above another letter, maybe a “g”.
  132. This first two letters are written above the letter “k”.
  133. A letter “b” or “l” has been written after this word but has ben cancelled.
  134. The first letter seems to superscribe an initial “I”.
  135. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  136. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  137. Corrected from Im, the first stroke of the “m” has been cancelled.
  138. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  139. Corrected on Ⅲ.47v.
  140. Corrected on Ⅲ.47v.
  141. The "st" ligature is inverted.
  142. Typo, should be "wolt, könne".
  143. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  144. Originally printed "verhauren", but corrected on Ⅲ.47v.
  145. The "t" is inverted.
  146. Ⅲ.47v indicates that this was printed "erbangen" and needed to be corrected to "erlangen", but that's not true in any copy available for consult.
  147. Originally printed "mim", but corrected on Ⅲ.47v.
  148. Originally printed "Higur", but corrected on Ⅲ.47v.
  149. Originally printed "Fellen", but corrected on Ⅲ.47v.
  150. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  151. Originally printed "allo", but corrected on Ⅲ.47v.
  152. Originally printed "Atm", but corrected on Ⅲ.47v.
  153. The first 't' is inverted.
  154. Terminal 'e' is inverted.
  155. Originally printed "bleiden", but corrected on Ⅲ.47v.
  156. Originally printed "klnie", but corrected on Ⅲ.47v.
  157. Originally printed "duch", but corrected on Ⅲ.47v.
  158. The second "e" is inverted.
  159. Originally printed "fein", but corrected on Ⅲ.47v.
  160. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  161. Misnumbered 87r.
  162. 162.00 162.01 162.02 162.03 162.04 162.05 162.06 162.07 162.08 162.09 162.10 162.11 162.12 162.13 162.14 162.15 162.16 162.17 162.18 162.19 162.20 162.21 162.22 162.23 162.24 162.25 162.26 162.27 162.28 162.29 162.30 162.31 indes
  163. palm up
  164. Illegible deletion.
  165. oberhauw
  166. ‘right’ is originally written, ‘left’ is written above it
  167. short edge
  168. “Degen”, lit. dagger, could either refer to a sword or dagger.
  169. short edge
  170. Unleserliche Streichung. Illegible deletion.
  171. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  172. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  173. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  174. Leicht unleserlich. Slightly illegible.
  175. Überschriebens »vom«. Overwritten “vom”.
  176. Inserted by means of a special mark.
  177. Word inserted next to the text.
  178. Inserted nest to the text.
  179. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  180. Wort am Seitenrand nachgetragen. Word inserted at the margin.