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Difference between revisions of "Joachim Meyer"

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| <p>Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord, The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent, Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''Stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''Stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one stuck is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''Stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''Stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
+
| <p>Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord, The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent, Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''Stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''Stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one ''Stuck'' is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''Stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''Stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
 
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{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
 
{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
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| <p>In order that the sword fencing and the following ''stuck'' are understandable, I will explain my following ''Zedel'', how I want the words to have understanding, according to the order N (namely) beginning, middle and end.</p>
+
| <p>In order that the sword fencing and the following ''Stuck'' are understandable, I will explain my following ''Zedel'', how I want the words to have understanding, according to the order N (namely) beginning, middle and end.</p>
 
| {{section|Page:MS Bibl. 2465 002r.jpg|1|lbl=2r.1}}
 
| {{section|Page:MS Bibl. 2465 002r.jpg|1|lbl=2r.1}}
  
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| <p>Therefore, I have for this reason slightly explained another, so that the following ''stuck'' are better understood, which are not only in the sword, but rather also in other weapons to be noted and understood.</p>
+
| <p>Therefore, I have for this reason slightly explained another, so that the following ''Stuck'' are better understood, which are not only in the sword, but rather also in other weapons to be noted and understood.</p>
 
| {{section|Page:MS Bibl. 2465 007v.jpg|4|lbl=7v.4}}
 
| {{section|Page:MS Bibl. 2465 007v.jpg|4|lbl=7v.4}}
  
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|  
 
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| <p>'''Follow the second part of the Sword Fencing in which it will be taught how to use the guards and cuts together with their associated work as taught in the first part and should also be brought into use'''</p>
+
| <p>'''Follow the second part of the Sword Fencing in which it will be taught how to use the guards and cuts together with their associated work as taught in the first part and should also be brought into use'''<ref>To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the [[Johannes Liechtenauer]] article and the various [[gloss]]es to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the only verses in this section are found in [[Christian Egenolff]]'s 1531 edition of [[Andre Paurenfeyndt]]'s treatise&mdash;except the "First Rhyme", verses 17-20. ~[[Michael Chidester]]</ref></p>
  
<p>I will tell you much more about the Cuts and school-related things, but I will explain the rhymes that were made with hidden words by the ancients so that the art did not become too common. And about the guards, binding, shooting off, remaining, winding, chasing after, running through, and those which are subsequently described in the ''Indes''.</p>
+
<p>I will tell you much more about the Cuts and school-related things, but I will explain the rhymes that were made with hidden words by the ancients so that the art did not become too common. And about the guards, binding, shooting off, remaining, winding, chasing after, running through, and those which are subsequently described in the ''Indes''.<ref>Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r</ref></p>
 
| {{section|Page:MS Bibl. 2465 014r.jpg|2|lbl=14r.2}}
 
| {{section|Page:MS Bibl. 2465 014r.jpg|2|lbl=14r.2}}
  
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|  
 
|  
 
| <p>'''The First Rhyme'''</p>
 
| <p>'''The First Rhyme'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>17</small>
 +
| '''Before and after these two things, <br/>are an Origin to all of the art'''
 +
|-
 +
| <small>18</small>
 +
| '''Weak and Strong, <br/>with it note the word ''Indes'''''
 +
|-
 +
| <small>19</small>
 +
| '''so you may learn the art, <br/>and with it you will know honor.'''
 +
|-
 +
| <small>20</small>
 +
| '''If you scare easily, <br/>don’t learn to fence.'''
 +
|}
 +
<p>Since I have taught sufficiently about the before and after, the weak and strong, I will solely explain the word ''Indes'', which word has no other in it than an earnest meaning to be kept and considered, For when I strike to an opening, without first considering how I should strike the next, but rather see a cut along with it to the most conducive opening.</p>
 +
| {{section|Page:MS Bibl. 2465 014v.jpg|1|lbl=14v.1}}
 +
 +
|-
 +
|
 +
| <p>'''''Indes'''''</p>
  
<p><strong>Before and after these two things, <br/>
+
<p>In the word ''Indes'' stands all the art of fencing, then it decides all things as Liechtenauer's old ''Zedel'' and other ''Zedel'' say of it. As can be seen hereafter in the rhymes.</p>
&emsp;are an Origin to all of the art <br/>
+
| {{section|Page:MS Bibl. 2465 014v.jpg|2|lbl=14v.2}}
Weak and Strong, <br/>
+
 
&emsp;with it note the word ''Indes'' <br/>
+
|-
so you may learn the art, <br/>
+
|
&emsp;and with it you will know honor. <br/>
+
| <p>''Indes'' counters, <br/>''Indes'' stabs, <br/>''Indes'' pushes, <br/>''Indes'' pulls, <br/>''Indes'' travels after, <br/>''Indes'' is not too high, <br/>''Indes'' tests out the danger, <br/>if he is hard or soft, <ref>These two lines are a paraphrase of verse 77 of Liechtenauer's ''Zedel''. ~[[Michael Chidester|MCC]]</ref><br/>''Indes'' goes in, <br/>''Indes'' seeks the opponent without fear, <br/>''Indes'' wrestles, <br/>''Indes'' constraints, <br/>''Indes'' does not bind on, <br/>''Indes'' deceives the opponent, <br/>''Indes'' strikes to the openings, <br/>''Indes'' thrusts with thrusting, <br/>''Indes'' with the slice<br/> a better work one will not find, <br/>''Indes'' takes the sword, <br/>''Indes'' does what your heart desires.<ref>This rhyming section is reminiscent of the eight-line ''Indes'' poem found in several the 15th century [[gloss]]es (despite not being part of Liechtenauer's ''Zedel''), but only the last two lines are the same. ~[[Michael Chidester|MCC]]</ref></p>
If you scare easily, <br/>
+
| {{section|Page:MS Bibl. 2465 014v.jpg|3|lbl=14v.3}}
&emsp;don’t learn to fence.</strong></p>
+
 
 
+
|-
<p>Since I have taught sufficiently about the before and after, the weak and strong, I will solely explain the word ''Indes'', which word has no other in it than an earnest meaning to be kept and considered, For when I strike to an opening, without first considering how I should strike the next, but rather see a cut along with it to the most conducive opening.</p>
+
|
| {{section|Page:MS Bibl. 2465 014v.jpg|1|lbl=14v.1}}
+
| <p>'''''Indes'' pay attention understand me correctly <br/>Hit him before he is in a Guard'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/13|page 4v]].</ref></p>
 +
 
 +
<p>'''Interpretation'''</p>
 +
 
 +
<p>This is a fairly good rhyme when you are in the ''Zufechten'', thus pay attention to when he is nearly close to you, and will position himself in a guard, don’t allow him to rest, but rather fight through to the first opening while he is taking up his guard, then act as if you would strike strongly, but don’t do it, fly away after and boldly attack once your blade is nearly halfway on his or you have it at his shoulders, now thwart strike around, wrench out and slice through the arms and whatever other work my become you, don’t forget the stepping, let your body go well, when you threaten to cut, then the same will deceive the opponent.</p>
 +
| {{section|Page:MS Bibl. 2465 014v.jpg|4|lbl=14v.4}}
 +
 
 +
{{section|Page:MS Bibl. 2465 015r.jpg|1|lbl=15r.1}}
 +
 
 +
|-
 +
|
 +
| <p>Thus it is true there are many good guards, but it is better to not lay in a guard at all because you can notice how one wants to fence from the same, that in the striking it may not be seen.</p>
 +
| {{section|Page:MS Bibl. 2465 015r.jpg|2|lbl=15r.2}}
 +
 
 +
|-
 +
|
 +
| <p>Ox, Plow, Fool, from the Roof, are the best guards, but the Side Guard from both sides is most safe but do not try to long with it. If you are to overtake one, then it is shadowed by the old ''Zedel''.</p>
 +
| {{section|Page:MS Bibl. 2465 015r.jpg|3|lbl=15r.3}}
 +
 
 +
|-
 +
|
 +
| <p>'''No Guard is worth it to you<br/>In the after you hit him from free courage<br/>With it you come quickly to the work<br/>So wait until I first bind you.'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/18|page 7r]].</ref></p>
 +
| {{section|Page:MS Bibl. 2465 015r.jpg|4|lbl=15r.4}}
 +
 
 +
|-
 +
|
 +
| <p>'''Of the Parrying'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>71</small>
 +
| '''Guard yourself from displacing, <br/>if it occurs it hurts you'''<ref>Note: gesechen = may be gesehen ENHG</ref>
 +
|}
 +
<p>In the whole of the ''Zedel'' there is no rhyme that is more true than this; For those who like to Parry, will be gladly defeated, a proper fencer does not parry. However from this it is taught in the first part.</p>
 +
| {{section|Page:MS Bibl. 2465 015r.jpg|5|lbl=15r.5}}
 +
 
 +
{{section|Page:MS Bibl. 2465 015v.jpg|1|lbl=15v.1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>36</small>
 +
| '''Know the four openings, <br/>aim your strikes confidently,'''
 +
|-
 +
| <small>37</small>
 +
| '''without any danger, <br/>however he acts.'''
 +
|}
 +
<p>'''Of the 4 Openings'''</p>
 +
 
 +
<p>Although I have written in the first part extensively about the 4 openings, I want to explain the contents and make them explicit. The rhyme stands in the old ''Zedel'' and the Frankfurt ''Zedel'' but there is no interpretation about what are the 4 openings, what is taking aim*, what is; to drive on against everyone, what is; how he bears, When one reads the rhymes already for so long, then one knows much about it afterwards, when he interprets the rhymes, and is showed freely with a sword, I thought a lot about it, I would like to see a master who can tell me the truth about aiming. But you should then understand the rhyme. The four openings are two above by the head and shoulders, and two by the elbows, But aiming* is when you strike to the upper openings and soon you see that the man has noticed, and does not slip after, then throw your sword in a Loop, or circle, you don’t lay on though, but rather to an opening on the arm, which you certainly have, that is called aiming. But what is; without any danger, that is when the opponent has not seen that you should strike, what is; however he acts, that is to all openings, then would the ''Zedel'' say, you hit him when his defense becomes open, he who knows well the four openings, can make wonder out of them, but the noble work can not be written in the books, one must prove it with iron.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 015v.jpg|2|lbl=15v.2|p=1}} {{section|Page:MS Bibl. 2465 016r.jpg|1|lbl=16r.1|p=1}}
 +
 
 +
|-
 +
|
 +
| <p>'''More about the four openings'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>38</small>
 +
| '''Will you rely on yourself, <br/>to break the four openings with skill,'''
 +
|-
 +
| <small>39</small>
 +
| '''double above, <br/>transmute below correctly,'''
 +
|-
 +
| <small>40</small>
 +
| '''I say to you truthfully, <br/>no one can defend himself without danger.'''
 +
|-
 +
| <small>41</small>
 +
| '''Have you understood me, <br/>he may not even be able to strike.'''
 +
|}
 +
<p>The rhyme is fair and nowhere in the old ''Zedel'' are any interpretations of it, also one knows not of it in the list. Is he the one who it is done to, or is he the one who should strike, or is he the one who shall break the four openings, the word Break is written first, then after that, no one can defend, and may not even be able to strike, but I would like to hear one, who lays out the saying correctly, so you should know that the rhyme is made for the one who should strike or start his ''Stuck'' and fight it out. Then it reads: “Will you rely on yourself”, this means, you will search out the opponent with striking, “the four openings artfully break,” that is striking artfully and freely flying to all four openings, “Doubling above” that is search both openings above it goes quickly in a double, “transmute below correctly” that is striking at both elbows, that is to transmute the upper work and reverse it to the lower, when you have heard it, it is a stealthy word that many fencers do not understand, as if the ''Zedel'' would say, understand it correctly, do it correctly, so your resistance to strike may not come willingly.</p>
 +
| {{section|Page:MS Bibl. 2465 016r.jpg|2|lbl=16r.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>42</small>
 +
| '''Crooked cut quickly, <br/>throw the point at the hands'''
 +
|}
 +
<p>That is when someone cuts at you from the Roof guard, thus you have gone against him and in the air turned the edge crosswise and struck at both his hands, step with both feet well to his left side, this is how the ''Stuck'' starts.</p>
 +
| {{section|Page:MS Bibl. 2465 016v.jpg|1|lbl=16v.1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>43</small>
 +
| '''Who cuts crooked well<br/>With stepping many cuts are hindered'''
 +
|}
 +
<p>This you must understand when one cuts at you from his upper right, then cut against him and step with your right foot well to his left side, now turn the sword crosswise with arms crossed thus you come over his sword in the Barrier guard, now slice ''Indes'' to his jaw and neck with the long edge, hence it has noble and good works and goes with the correct ''Indes''.</p>
 +
| {{section|Page:MS Bibl. 2465 016v.jpg|2|lbl=16v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>44</small>
 +
| '''Cut crooked to the flats<br/>You will weaken the Masters'''
 +
|}
 +
<p>Understand this when one cuts from above at you from the Guard of the Roof, thus also cut against him from your right side but with crossed arms, thus you come with your short edge onto his flat and weaken his strike, now cut ''Indes'' the upper slice between his sword and the man, thus you come however to the previous work, and do not forget to step with the right foot to his left side, thus the higher the ''Stuck'' goes the better it is and you are parrying well.</p>
 +
| {{section|Page:MS Bibl. 2465 016v.jpg|3|lbl=16v.3}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>45</small>
 +
| '''When it clashes above,<br/>move away, this will I praise'''
 +
|}
 +
<p>This is the best saying in the whole ''Zedel'', for he who understands it correctly, is a fencer, as soon as or as often as it clashes or flashes above, that is, when you see the strike is coming or has come on your sword, so move off, that is searching wrathfully, and once he is open, strike a thwart to the left ear, correctly with the long edge, that is what drives all of fencing, when someone strikes on to your sword blade, that you move off, search for openings with the Thwarter, Slice, Strike around, wrench out into the snapping, slice secretly, ''Indes'' fly away or fail, and what openings he gives you should be considered, do not forget to step.</p>
 +
| {{section|Page:MS Bibl. 2465 017r.jpg|1|lbl=17r.1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>46</small>
 +
| '''Cut crooked with short cut<br/>Show with it the Changing through'''
 +
|}
 +
Note when someone cuts at you from his right shoulder, so do as if you would bind onto his sword with the Short cut, that is with the half edge, but do not do it, rather cast your sword short and through in under his, it is a good and secret going through, now thrust to his right breast, so you must go well to his right, the long edge comes upwards with the thrust, now search for an opening, allowing the sword to fly low, if the opponent is close to you, then push his hands, slice ''Indes'', wrench away, if someone fails at your opening, then cut that strongly away, do not forget to step.</p>
 +
| {{section|Page:MS Bibl. 2465 017r.jpg|2|lbl=17r.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>47</small>
 +
| '''Cut Crooked to he who wanders into you<br/>The Noble war will deceive him'''
 +
|-
 +
| <small>48</small>
 +
| '''That he in truth<br/>Will not know where to go without danger'''
 +
|}
 +
<p>That ''stuck'' is nearly like the previous, then when you cut in at him from above or below, and he will do a crooked cut to your strike, but fails halfway to you above your sword, then position your sword under his with a thrust to his breast, step well to his right side, now seek to work from the previous ''stuck'', that both ''stuck'' give nearly the same understanding.</p>
 +
| {{section|Page:MS Bibl. 2465 017r.jpg|3|lbl=17r.3}}
 +
 
 +
{{section|Page:MS Bibl. 2465 017v.jpg|1|lbl=17v.1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>49</small>
 +
| '''Thwart takes<br/>What comes from the Roof Guard'''
 +
|}
 +
<p>That is an epitome from a saying, then where the Thwart does not defend, so it would happen from half fencing, what comes from the Roof, that takes them freely away, but there is more to it than that, as it is written hereafter in the ancient ''Zedel''.</p>
 +
| {{section|Page:MS Bibl. 2465 017v.jpg|2|lbl=17v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>50</small>
 +
| '''Thwart with the strong<br/>Note your work with it'''
 +
|}
 +
<p>That is when you have bravely Thwarted, then at once search above with the strong or Reverser, now slice, ''Indes'' push, ''Indes'' nearly in the ancient Slice or Remaining</p>
 +
 
 +
<p>''Indes'' takes the sword,<br/>''Indes'' does what your heart desires.</p>
 +
| {{section|Page:MS Bibl. 2465 017v.jpg|3|lbl=17v.3}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>52</small>
 +
| '''Thwart to the Plow<br/>To the Ox hard together'''
 +
|}
 +
<p>When someone is positioned in the Plow, then Thwart at his Plow, so he must Get Up!</p>
 +
| {{section|Page:MS Bibl. 2465 017v.jpg|4|lbl=17v.4}}
 +
 
 +
|-
 +
|
 +
| <p>'''To the Ox hard together'''</p>
 +
 
 +
<p>When someone stands in the ox, so do it (thwart) until he must start fencing from the guard, and when he first starts to work he stays in the ox and does not want to get out of the Side Guard, thus he must defend and attack, when he has attacked, then hold yourself to the saying, “When it clashes above, move away, That I will Praise” When coming from below strike to strike, thwart to thwart, step to step, slice to slice, that moves forth.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 017v.jpg|5|lbl=17v.5|p=1}} {{section|Page:MS Bibl. 2465 018r.jpg|1|lbl=18r.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>53</small>
 +
| '''What you will Thwart well, <br/>his mind is easily deceived by jumping'''
 +
|}
 +
<p>That is when you spring well in the Thwarter, so is your Thwart strike to the head of the man who fights with you, nearly dangerous, for it goes deep to the Ox.</p>
 +
| {{section|Page:MS Bibl. 2465 018r.jpg|2|lbl=18r.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>54</small>
 +
| '''The Failer deceives<br/>And hits how you desire'''
 +
|}
 +
<p>Which then the long Failer takes correctly and steps secretly in the triangle with the right foot to the opponent’s right side, allow the failure to fly well, to hit or fail according to your wishes, because it is seldom that someone will break it or parry it.</p>
 +
 
 +
| {{section|Page:MS Bibl. 2465 018r.jpg|3|lbl=18r.3}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>55</small>
 +
| '''Reverser constrains<br/>Running through so you may wrestle'''
 +
|}
 +
<p>That is called Reversing when your sword is between his sword and his body, your pommel is upwards, your short edge is on his short edge, thus you constrain the opponent so that he may not work, if you will then run through, that is, after his cut or through his right arm running forth, that is after his cut, thus you may simultaneously begin to wrestle and grab at the elbow and thereafter the man is winning, then you must take to wrestling for you then you can’t always allow yourself to wrestle and fence, like it is written in the books, because much more often happens, and therefore you must be aware of it.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 018r.jpg|4|lbl=18r.4|p=1}} {{section|Page:MS Bibl. 2465 018v.jpg|1|lbl=18v.1|p=1}}
 +
 
 +
|-
 +
|
 +
| <p>'''Failer Twice'''</p>
 +
 
 +
<p>In ''Zufechten'', fail in deep enough at his left ear with the long edge, if he slips after, and will parry, so cast your sword in a circle and present it at his right ear, as soon as you see that you have touched swords, or hit, then you may use the ancient Slice,<ref>This is a reference to Liechtenauer verses 56 and 79. ~[[Michael Chidester|MCC]]</ref> that is doing the (handwork) Remaining, you push your sword over both his arms with the long edge so that he cannot defend it, However, what is the saying: “Double Failer, Step left until not allowed”.<ref>Liechtenauer verse 57. ~[[Michael Chidester|MCC]]</ref> It is all in a ''stuck'', and relies on one another, that when you slice or push to the arms, then you must continue it twice, that is, you must step around well to the opponent with the left foot, That is called Stepping in Left, until not allowed, with it the rhyme means that you must go quickly, so that the opponent doesn’t also veer away, and this is called Doubling.</p>
 +
| {{section|Page:MS Bibl. 2465 018v.jpg|2|lbl=18v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>58</small>
 +
| '''Squinter breaks <br/>what the Buffel strikes or thrusts'''
 +
|}
 +
<p>This is when someone strikes a Buffel strike at you, it is a long and hard peasant’s strike from the Roof Guard, you then strike around from your right shoulder against him, however you turn your sword and strike in part together to his head and sword, now you have broken the Buffel with the Squinter, and hit with it. Now further, the ''stuck'' has just begun.</p>
 +
| {{section|Page:MS Bibl. 2465 019r.jpg|1|lbl=19r.1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>59</small>
 +
| '''Who threatens the change through<br/>The Squinter robs him of it'''
 +
|}
 +
<p>So understand that one who is so lively and makes as if he would Buffel, but doesn’t do it, and rather changes or goes through, that you don’t let yourself change through in error, but he trusts his changing through, and hopes to gain something, however you have in the meantime hit him with the Squinter to the head because his changing through made him completely open, that is known as The robbing from the Squinter, from those who change through before you.</p>
 +
| {{section|Page:MS Bibl. 2465 019r.jpg|2|lbl=19r.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>60</small>
 +
| '''Squint when he is short against you<br/>Changing through defeats him'''
 +
|}
 +
<p>The saying is made for he who wants to change through against one who will use the Squinter cut, that is, if he extends his arms short away from himself, so he may not well reach you, then you may easily change through, thus you come to him with stepping and thrust to his right side, that is called overcoming, it is much talked about, you come to him, and bring him out of his work and take him.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 019r.jpg|3|lbl=19r.3|p=1}} {{section|Page:MS Bibl. 2465 019v.jpg|1|lbl=19v.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>61</small>
 +
| '''Squint to the point<br/>And take the neck without fear'''
 +
|}
 +
<p>When an opponent extends his point long out towards you, which quite a few fencers have in use, so put your point at him, and position yourself as if you would cut from there, long and from above at him. but don’t do that, instead cut short and strongly thereafter, now step at once and thrust him to the neck, this is a good old thrust which also serves you well in battle, the ancient fencers have fenced much using these things, but nowadays the thrust is not favored, because of the running in, that is.</p>
 +
| {{section|Page:MS Bibl. 2465 019v.jpg|2|lbl=19v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>66</small>
 +
| '''Slice through the Crown<br/>Thus you will certainly break them'''
 +
|}
 +
<p>This is when the opponent holds his sword out before you, and runs against your strike with his long edge, and thus you should note, when he will strike you, then you slice through under his sword, this is almost like changing through, thus he has crowned in vain, but you must in good time change through or slice, for then he comes to you amidst the sword, he never allows you through the crown.</p>
 +
 
 +
<p>It is good for the fencers who want to use their heads and their work will quickly be brought about, if he runs too high with the Crown, then slice him with the lower slice to both fists, is still better.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 019v.jpg|3|lbl=19v.3|p=1}} {{section|Page:MS Bibl. 2465 020r.jpg|1|lbl=20r.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>75</small>
 +
| '''Learn to Double the Chasing After, <br/>Slice to his weapon
 +
|-
 +
| <small>76</small>
 +
| '''Twice, or in it, <br/>With it your work begins'''
 +
|}
 +
<p>Chasing after is an exceptionally good work, however very few are the fencers who do it correctly, Now note that this is the chasing after, when one will cut in at you from above, and as he draws up his sword to strike, so rush to him before he brings his strike, the work is all good against those who cut around too wide in the onset, then because they have their sword so far away, thus they are easier to reach, but the word Doubled means that you shall overtake me, when I have allowed my sword to fall or go nearly to the ground after the strike, so you must be cautious against the man who gladly allows his sword to fall nearly to the ground, then you must cut in at his head with the head strike, that is Doubling after shrewdly, In summation; when the opponent brings his sword in the air, then Chase after when he goes too far behind himself, ''Indes'' cut in the onset, then commit yourself to the chasing after, because the saying is made so well for the traveling after.</p>
 +
|
 +
{{section|Page:MS Bibl. 2465 020r.jpg|2|lbl=20r.2|p=1}} {{section|Page:MS Bibl. 2465 020v.jpg|1|lbl=20v.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| colspan="2" | What is the Saying
 +
|-
 +
| <small>76</small>
 +
| '''Two also within<br/>With it Your work begins'''
 +
|}
 +
<p>So that you shall also understand the ''Zedelfechter'' who laid out the saying for me, when you are chasing after, then go henceforth with a thrust or a winding to the face, thereafter travel into a high cut then thrust or wind to the face or chest, do the same when you chase after one who has thrust too low and cuts, those are the “two within,” then the opponent will snap after the thrust and then wants to displace, so in the meantime you stifle his sword and just work to another opening, that is a good and masterful thing, now fall on him with the cut.</p>
 +
| {{section|Page:MS Bibl. 2465 020v.jpg|2|lbl=20v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>78</small>
 +
| '''Learn the feeling,<br/>''Indes'' is a word that cuts severely'''
 +
|}
 +
<p>Feeling is nothing more than testing, binding on, or searching, so that feeling, testing and binding on is a thing, then the feeling is a simple word in all fencing, test whether the opponent fights hard or soft, if he cuts or pushes hard after, then pull your sword fine and softly, thus you will certainly find an opening, because the hard fencers reveal it themselves, But why is there a saying right after this “''Indes'' the word cuts severely”, therefore, one is a gentle and fast swordsman who cuts around at once so you are there with the slices, thus it is broken.</p>
 +
|  
 +
{{section|Page:MS Bibl. 2465 020v.jpg|3|lbl=20v.3|p=1}} {{section|Page:MS Bibl. 2465 021r.jpg|1|lbl=21r.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
{| class="zettel"
 +
|-
 +
| <small>93</small>
 +
| '''Slice off the hard ones<br/>From both attacks'''
 +
|}
 +
<p>The hard ones are nothing other than Hard strikes, both attacks are nothing other than hard strikes from both sides. So when you go in against a strong strike with the slice, and if he is skillful and strikes around to the other side however strong, then slice his strike down or away from you, some people think that this is already the ''Indes'', and allow themselves to beat, and cut away the strike with slicing, however this is not the ''Indes'', it is more like long edge, but some people rely on it, so if you like to cut, you must use failing, or changing through or Crooked cutting, thus you force him to defend against other thrusts.</p>
 +
| {{section|Page:MS Bibl. 2465 021r.jpg|2|lbl=21r.2}}
 +
 
 +
|-
 +
|
 +
| <p>'''From the Stepping'''</p>
 +
 
 +
<p>Stepping breaks, what one fights, he who does not do it, it fights one to the ground as he wills it, if he does not do it correctly, he is unsuccessful, therefore the saying in the twelve rules is made and understood:</p>
 +
 
 +
:'''Whoever steps after cutting<br/>Shall have little joy in his Art.'''<ref>This is the fourth of Paurnfeyndt's Twelve Rules for the Beginner Fencer, found on [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/12|page 4r]] of Egenolff 1531. This is particularly odd because the first line comes from Egenolff, but the second line seems to be from Liechtenauer verse 11, which the rule was based on. The version in the fourth rule is ''Der darff sich kunst nit frewen.''</ref>
 +
 
 +
<p>Every cut must have its step, they must go together, otherwise the ''stuck'' will not work, for much relies on stepping, then if you step too soon or too late, thus you (will be responsible for your own loss). The stepping makes it so that the opponent’s work cannot go on, but that yours’ can, you must attack the opponent in a stance or wide position, so he thinks he has you for sure but that you are further from him than you have presented yourself, if on the other hand the opponent thinks you want to step in at him, then do not hurry to the attack. There is great art and cunning in the stepping, and the right measure lies in it, About it, all fencers say, so notice when you are close to the man, then let yourself note with the cutting as if you were treading with great, wide steps, but remain with your feet near to each other, meanwhile, strike off the man secretly like one who wants to steal a step, once you think it is time, then step further with your feet and boldly attack.</p>
 +
| {{paget|Page:MS Bibl. 2465|021v|jpg|lbl=21v}}
 +
 
 +
|}
 +
{{master subsubsection end}}
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{{master subsection end}}
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{{master subsection begin
 +
| title = Dusack
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}</p>
 +
! <p>[[Joachim Meyers Fechtbuch (MS Bibl. 2465)|Munich Version]]{{edit index|Joachim Meyers Fechtbuch (MS Bibl. 2465)}}<br/>Transcribed by [[Olivier Dupuis]]</p>
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|-  
 
|-  
 
|  
 
|  
| <p>'''''Indes'''''</p>
 
 
<p>In the word ''Indes'' stands all the art of fencing, then it decides all things as Liechtenauer's old ''Zedel'' and other ''Zedel'' say of it. As can be seen hereafter in the rhymes.</p>
 
| {{section|Page:MS Bibl. 2465 014v.jpg|2|lbl=14v.2}}
 
 
|-
 
 
|  
 
|  
| <p>''Indes'' counters, ''Indes'' stabs, ''Indes'' pushes, ''Indes'' pulls, ''Indes'' travels after, ''Indes'' is not too high, ''Indes'' tests out the danger, if he is hard or soft, ''Indes'' goes in, ''Indes'' seeks the opponent without fear, ''Indes'' wrestles, ''Indes'' constraints, ''Indes'' does not bind on, ''Indes'' deceives the opponent, ''Indes'' strikes to the openings, ''Indes'' thrusts with thrusting, ''Indes'' with the slice is a better work which one will not find, ''Indes'' takes the sword, ''Indes'' does what your heart desires.</p>
 
| {{section|Page:MS Bibl. 2465 014v.jpg|3|lbl=14v.3}}
 
 
|-
 
 
|  
 
|  
| <p>'''''Indes'' pay attention understand me correctly <br/>Hit him before he is in a Guard'''<ref>Quoted from Egenolff, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/13|page 4v]]. ~[[user:michael Chidester|Michael Chidester]]</ref></p>
 
| {{section|Page:MS Bibl. 2465 014v.jpg|4|lbl=14v.4}}
 
  
 
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{{master subsection begin
 
| title = Dusack
 
| width = 90em
 
}}
 
{| class="master"
 
|-
 
! <p>Figures</p>
 
! <p>{{rating}}</p>
 
! <p>[[Joachim Meyers Fechtbuch (MS Bibl. 2465)|Munich Version]]{{edit index|Joachim Meyers Fechtbuch (MS Bibl. 2465)}}<br/>Transcribed by [[Olivier Dupuis]]</p>
 
  
 
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|  
| <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}}
 
| {{section|Page:MS A.4º.2 26v.jpg|3|lbl=26v.3|p=1}}
  

Revision as of 22:06, 1 April 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. Up to this point, the text matches the Lund manuscript, folia 6r to 7r.
  15. Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words mit Glitschen = to slither, to slide, to glide, to move with sliding.
  16. A number in the margin refers to the illustration in page number 13.
  17. The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.
  18. Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?
  19. The "l" appears to be written over another letter, perhaps a "b".
  20. Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”
  21. Note: the image shows the opponent on the left in Barrier guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.
  22. 22.0 22.1 22.2 22.3 Torn page on left.
  23. 23.0 23.1 Torn page on right.
  24. To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the Johannes Liechtenauer article and the various glosses to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the only verses in this section are found in Christian Egenolff's 1531 edition of Andre Paurenfeyndt's treatise—except the "First Rhyme", verses 17-20. ~Michael Chidester
  25. Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r
  26. These two lines are a paraphrase of verse 77 of Liechtenauer's Zedel. ~MCC
  27. This rhyming section is reminiscent of the eight-line Indes poem found in several the 15th century glosses (despite not being part of Liechtenauer's Zedel), but only the last two lines are the same. ~MCC
  28. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 4v.
  29. Unclear.
  30. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 7r.
  31. Note: gesechen = may be gesehen ENHG
  32. Unclear.
  33. This is a reference to Liechtenauer verses 56 and 79. ~MCC
  34. Liechtenauer verse 57. ~MCC
  35. This is the fourth of Paurnfeyndt's Twelve Rules for the Beginner Fencer, found on page 4r of Egenolff 1531. This is particularly odd because the first line comes from Egenolff, but the second line seems to be from Liechtenauer verse 11, which the rule was based on. The version in the fourth rule is Der darff sich kunst nit frewen.
  36. 36.0 36.1 36.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  37. orig. ararmschirleinn
  38. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  39. orig. Armschiene - seemingly a part of the armour
  40. orig. geordinirtt
  41. orig. schießen; see here
  42. orig. findt
  43. orig. spis
  44. orig. schwertt
  45. orig. sebell
  46. 46.0 46.1 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
  47. 47.0 47.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  48. orig. zimlich
  49. alt. "endure"
  50. 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.
  51. orig. noch eines Idenn woll gefalen
  52. orig. Reren; cf. Rohre/Röhre
  53. orig. lest
  54. orig. Schranckenn
  55. 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
  56. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  57. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  58. A blunt strike, as opposed to a cut or slice. See here.
  59. orig. versezen; alt. "parrying"
  60. Unclear.
  61. 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
  62. orig. erlang
  63. see nachreissen
  64. 64.0 64.1 64.2 64.3 64.4 64.5 64.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  65. orig. uchsen
  66. 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
  67. orig. greifest
  68. 68.0 68.1 68.2 68.3 orig. brich
  69. orig. anbrichen
  70. 70.00 70.01 70.02 70.03 70.04 70.05 70.06 70.07 70.08 70.09 70.10 70.11 orig. stos
  71. orig. goch
  72. 72.0 72.1 72.2 72.3 72.4 72.5 72.6 orig. schlag
  73. 73.0 73.1 73.2 see absetzen
  74. orig. drissel; cf. thrissel
  75. 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".
  76. orig. Achsell
  77. 77.0 77.1 see Ringen
  78. 78.0 78.1 see arbeiten
  79. 79.0 79.1 79.2 79.3 79.4 79.5 orig. streich, cf. schlag
  80. 80.0 80.1 80.2 80.3 80.4 80.5 80.6 80.7 orig. inndes
  81. alt. "attacks"
  82. orig. last Er dür die seitten
  83. 83.0 83.1 orig. Ring; alt. lists
  84. orig. vergesezsten
  85. 85.0 85.1 85.2 see abzucken
  86. orig. fies
  87. 87.0 87.1 see gleich
  88. unclear transcription; possibly nim, ergo "take the weight"
  89. Unclear.
  90. orig. zwerchs
  91. 91.0 91.1 orig. degen; see kempffdegen
  92. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  93. 93.0 93.1 93.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  94. orig. klos
  95. orig. Stuck
  96. orig. knefftiglich, interpreted as krefftiglich
  97. 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
  98. orig. entgehenn
  99. orig. faren/auffaren; cf. fahren
  100. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  101. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  102. 102.0 102.1 102.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  103. Possibly "hauberk"(?).
  104. 104.0 104.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  105. orig. verzoblen; cf. verzögern
  106. lit. oben hutt; contrast Oberhutt
  107. orig. heutt; possible verb form of hutt
  108. orig. überwegest
  109. 109.0 109.1 orig. schlagen. Probably means "place" in this context.
  110. orig. sez; no accompanying adposition but I assume he means ansezen
  111. listen
  112. orig. Bundtschlag, lit. "grip strike"
  113. orig. fertt
  114. orig. wie nechst
  115. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  116. orig. wendt
  117. orig. Reüb
  118. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  119. orig. steßen
  120. orig. abgewünnen
  121. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  122. orig. feder
  123. orig. spietzen
  124. Reference in the left margin to picture on page 61.
  125. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  126. orig. Wappenrock
  127. Unclear whether die refers to the dagger or the heart, here
  128. orig. kurz halbenn; alt. "short edge"
  129. orig. concordiren
  130. This word overwrites an initial die.
  131. 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.
  132. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  133. The first letter corrected from “w” by cancelling the first bow of the letter.
  134. The first letter could also read as an “l", but “b” seems more probable here.
  135. The first letter corrected from “b” by overwriting.
  136. 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.
  137. The writer first wrote hawst but the “s” has been cancelled afterwards.
  138. Recte: und.
  139. The writer first wrote arms but the final “s” has been cancelled afterwards.
  140. The letter “s” has ben cancelled just before the word den.
  141. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  142. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  143. 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.
  144. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  145. The “h” is writen above a “e”.
  146. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  147. The words und oder after this word are cancelled.
  148. 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.
  149. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  150. 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.
  151. 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.
  152. The letter “d” is cancelled just before the “b” of this word.
  153. The initial letter “b” is written above another letter, maybe a “g”.
  154. This first two letters are written above the letter “k”.
  155. A letter “b” or “l” has been written after this word but has ben cancelled.
  156. The first letter seems to superscribe an initial “I”.
  157. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  158. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  159. This word is written above a previous one, which is unreadable now.
  160. The first letters are difficult to make out due to a (water?) damage.
  161. The first letter of this word has been written above another, now illegible one.
  162. A letter “h” was written in the second position to begin with but cancelled afterwards.
  163. The first letter is curiously composed, but seems to have been readen as a "v".
  164. The second letter has been canceled and corrected by "o" above the line.
  165. The original text is derholhalben derhalben, which seems to be an unnecessary repetition.
  166. Doubling of the word handt, a probable mistake as the first is written a the end of the line. Same mistake as 17r.
  167. Doubling of the words den andern, probable mistake, only it is conserved here.
  168. A lone letter "h" is writen here, perhaps a beginning for “hew”, which was finally written after the digit “4”. Corrected in this edition.
  169. This sentence can be found in the printed book: « und merck wann du zur rechten undern Blöß schlechst, es sey flech, lang oder kurtz » (plate XXIXv from the 1570 edition)
  170. The third letter “h” was cancelled by overwriting it with an “l”.
  171. The letter “a” is crossed out in the beginning of the word.
  172. The first letter was first written in lower case but was corrected with an upper-case letter.
  173. Unclear reading. It appears as if the scribe first intended to write “halber” but noticed his error in the middle of the word. The reverse may be true also.
  174. The "R." has been inserted at the end of the line afterwards.
  175. Right of this place a large blank space remains until the end of the line.
  176. The written put a "n" between sch and enckel and canceled it.
  177. Linck and seitten are reversed in the manuscript but superscribed with “1” and “2” respectively in order to indicate the correct order.
  178. Corrected from Im, the first stroke of the “m” has been cancelled.
  179. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  180. Correction done on sticht by canceling the last letter.
  181. This entire paragraph is justified on the right by a vertical line, unique in the manuscript.
  182. Corrected on Ⅲ.47v.
  183. Corrected on Ⅲ.47v.
  184. The "st" ligature is inverted.
  185. Typo, should be "wolt, könne".
  186. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  187. Originally printed "verhauren", but corrected on Ⅲ.47v.
  188. The "t" is inverted.
  189. 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.
  190. Originally printed "mim", but corrected on Ⅲ.47v.
  191. Originally printed "Higur", but corrected on Ⅲ.47v.
  192. Originally printed "Fellen", but corrected on Ⅲ.47v.
  193. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  194. Originally printed "allo", but corrected on Ⅲ.47v.
  195. Originally printed "Atm", but corrected on Ⅲ.47v.
  196. The first 't' is inverted.
  197. Terminal 'e' is inverted.
  198. Originally printed "bleiden", but corrected on Ⅲ.47v.
  199. Originally printed "klnie", but corrected on Ⅲ.47v.
  200. Originally printed "duch", but corrected on Ⅲ.47v.
  201. The second "e" is inverted.
  202. Originally printed "fein", but corrected on Ⅲ.47v.
  203. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  204. Misnumbered 87r.
  205. 205.00 205.01 205.02 205.03 205.04 205.05 205.06 205.07 205.08 205.09 205.10 205.11 205.12 205.13 205.14 205.15 205.16 205.17 205.18 205.19 205.20 205.21 205.22 205.23 205.24 205.25 205.26 205.27 205.28 205.29 205.30 205.31 indes
  206. palm up
  207. Illegible deletion.
  208. oberhauw
  209. ‘right’ is originally written, ‘left’ is written above it
  210. short edge
  211. “Degen”, lit. dagger, could either refer to a sword or dagger.
  212. short edge
  213. Unleserliche Streichung. Illegible deletion.
  214. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  215. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  216. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  217. Leicht unleserlich. Slightly illegible.
  218. Überschriebens »vom«. Overwritten “vom”.
  219. Inserted by means of a special mark.
  220. Word inserted next to the text.
  221. Inserted nest to the text.
  222. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  223. Wort am Seitenrand nachgetragen. Word inserted at the margin.