Pseudo-Hans Döbringer/Michael Chidester LS 2022

This is the general preface of the unarmored fencing on foot, remember it well:

1	YOung knight learn onward,  For god have love, and ladies, honor,
2	Till your honor is earned,  Practice chivalry, and learn,
3	The art that in play adorns,  And brings victory in wars.
4	Wrestle well, grappler;  Lance, spear, sword, and dagger,
5	Wield them, be brazen,  In others' hands raze them.
6	Cut in and close fast,  Advance to meet, or let it past.
7	Earn the envy of the wise,  Win boundless praise before your eyes.
8	Now hold this lesson in your heart:  Measure and moderation are keys to all art.
ⅰ	And whatever you wish to do,  Should stay in the realm of good reason.
ⅱ	In earnest or in play,  Have a joyous spirit, but in moderation
ⅲ	So that you can pay attention  And perform with a good spirit
ⅳ	Whatever you will do  And whip up against him.
ⅴ	Because a good spirit with craft  Makes your resistance dauntless.
ⅵ	Thereafter, conduct yourself so that  You give no advantage with anything.
ⅶ	Avoid imprudence.  Don't engage four or six
ⅷ	In your overconfidence.  Be modest, that is good for you.
ⅸ	It's a brave man  Who dares to confront his equal,
ⅹ	But it's not shameful  To flee from four or six at hand.

This is a common lesson of the sword:

9	TO have the art within your sight,  Set left forth and cut with right,
10	You will find that left with right  Is the strongest way for you to fight.
11	He who waits for cuts and follows,  In this art finds naught but sorrow.
12	A nearing cut is good to do,  Your shield to stop him changing through.
ⅺ	† {Don't cut toward his sword,  But rather seek out his exposures.}
13	Toward head and body do assay,  From the skirmish shy not away.
14	With your whole body shall you fight,  For that is how you fence with might.
15	Another rule you should not slight:  Fence not from left when you are right.
16	If on your left is how you fight,  You'll fence much weaker on the right.
ⅻ	So always prefer to fence  Downward from the left side.
17	Before and After: these two things,  They are to all arts a wellspring.
18	Likewise there is Weak and Strong,  And the word 'Within', remember here on.
19	You can learn, then,  With skill, to work and defend.
20	If you easily are spooked,  Then fencing is a poor pursuit.
ⅹⅲ	Audacity and speed,  prudence, cunning and ingenuity,
ⅹⅳ	†† {Reason, stealth,  moderation, deliberation, readiness;}
ⅹⅴ	Fencing must have all of this  and carry a joyous spirit.

A general explanation follows here: First and foremost, notice and remember that the point of the sword is the center, the middle, and the core, which all fencing proceeds from and returns to. The hangers and the winds, which a lot of good fencing plays originate from, are the attaching and the revolving of the center and the core.

They were conceived and created so that if you cut or thrust exactly to the point, though you don't hit immediately, you might still hit your opponent with these plays: with cutting, thrusting, and slicing, and with stepping in and out, stepping around, and leaping.

If you mislay or overextend the point of your sword when shooting or lunging, you can recover and realign it by winding and stepping out, and thus come back to the reliable plays and rules of fencing, from which you can cut, thrust, or slice again. For all cutting, thrusting, and slicing can come from the plays and rules of the art of the sword, according to Liechtenauer's art.

(It's written further on how one play or rule results from another, and how to make one play out of another, so that as one of your strikes is defended, the next advances and succeeds.)

Moreover, notice and remember that no part of the sword was conceived or created without reason, so apply the point, both edges, the hilt and pommel, and everything which is on the sword, according to the specific role of each one in the art of fencing, and according to how you discover and embody the practice (as we will read in a more detailed manner hereafter).

Also notice and remember that when he says, "If you wish to see art", etc., he means to advance your left foot, and with that, cut straight toward the man with threatening strikes from your right side, just as soon as you see where you can take him and would certainly reach him by stepping.

He also means that when you want to fence strongly, fence with your left side leading, and with your entire body and strength, toward his head and body (whatever you can get) rather than toward his sword. In fact, you should strike as though he had no sword, or as though you couldn't see it, and you shouldn't disdain the skirmish or harrying, but be always working and in motion so that he cannot come to blows.

He further means to not directly track and follow your cut with your feet, but rather move aside a little and curve around so that you come to your opponent's flank, since you can reach him more easily from there than from the front. When your cutting and thrusting goes directly toward his exposures (toward his head or body) while stepping or treading around him, then those strikes cannot be defended or diverted by changing through or other such plays.

Also notice and remember that when he says, "Before, after, these two things", etc., he means there are five keywords: 'Before', 'After', 'Weak', 'Strong', and 'Within'. On these words is built the entire art of Master Liechtenauer, and they're the core and the fixed foundation of all fencing (on horse or on foot, armored or unarmored).

With the word 'Before', he means to always take and win the Leading Strike, † {whether it lands or not. (As Liechtenauer says, "Cut here and step there; charge toward him, hit or move on".)} When you approach by stepping or running, just as soon as you see you can reach your opponent with a step or a leap, then drive joyously toward wherever you see an exposure (toward his head or body, wherever you feel sure you can take him), boldly and fearlessly. In this way, you always win the Leading Strike, whether it goes well or poorly for him. Also, be certain and measured in your steps, so that you don't step too short nor too far.

Now, when you execute the Leading Strike (be it cutting or thrusting), if it succeeds, then quickly follow through. But if he defends against it, diverting your Leading Strike or otherwise defending with his sword, then as long as you remain on his sword, while you're being led away from the exposure you had targeted, you should feel precisely and notice whether your opponent is Hard or Soft and Strong or Weak on your sword (in his covering and diverting of your cut or thrust).

Thus, you fully feel how the other fencer is in his action. If he's Hard and Strong Within it, then as you fully feel and notice this, become Soft and Weak during and Within it, and before his cover is complete, execute a Following Strike. In other words, you immediately strike while he's still defending himself and covering your Leading Strike (be it cutting or thrusting). Then seek out other plays and rules, and with those, again step and strike toward his exposures.

Thus, you're continually in motion and in contact, so that you confuse and cheat your opponent amid his covering and defense, and he has too much work covering himself and cannot win the Leading or Following Strikes. When he must cover himself and fixate on your strikes, he's always in greater danger than you: he must continue to defend himself or allow himself to be struck, and thus can only make his own strikes with great pain.

This is why Liechtenauer says, "I say to you honestly, no man covers himself without danger. If you have understood this, he cannot come to blows". You must thus fence according to the five words, which this statement and the whole of fencing are based on.

(Thus, a peasant can end up striking a master simply because he's bold and wins the Leading Strike, as this lesson describes.)

By the word 'Before', as we read earlier, he means to step in or charge, boldly and fearlessly, with a good Leading Strike (or with any initial strike) aiming toward the exposures of his head or body.

Whether you land it or not, you will still succeed at dazzling and frightening him so that he doesn't know what to do against this, and cannot recover or come to his senses before you immediately do a Following Strike, and thus you continually force him to defend and cover, so that he cannot come to his own blows.

If you do the first strike or Leading Strike and he succeeds in defending, then in his defense and covering, he could always deliver a Following Strike faster than you (even though you had the first one). He could immediately cut, or drive in with his pommel, or send crosswise cuts (which are always reliable), or he could just throw his sword forward crosswise (and with that, enter other plays), or begin something else before you get the chance to continue.

(It's written further on how one play grows from another such that your opponent cannot get away without being beaten, as long as you follow this lesson.)

† {So, perform the Leading Strike and the Following Strike as one idea and as though they were a single attack, one promptly and swiftly following the other.}

When it happens that someone defends against the Leading Strike, he must defend with his sword, and in this way, he must always come onto your sword. If he's late and unready in his defense, then remain on his sword and immediately wind, and feel precisely and notice whether he wants to pull back from your sword.

Once you're engaged with each other on the sword and have extended your points toward each other's exposures, if he pulls himself back, then before he can recover from your strike, immediately follow through with a good thrust toward his chest with your point (or otherwise forward toward the closest and surest place you can land) in such a way that he cannot escape from your sword without harm, because when you immediately follow like this you get closer and closer to him, and with that, you direct your point forward on his sword toward whatever's nearest and closest.

Thus, even if your opponent cuts or thrusts wildly around as he pulls back, you can always come faster into the Following Strike (cutting or thrusting) before he comes to his first one.

Now, with the word 'After', Liechtenauer means that when you have made the Leading Strike, you should deliver a Following Strike in the same movement (immediately and without pause), and be always in motion and in contact, and always do one after another. If your first strike fails, then the second, the third, or the fourth lands, and your opponent is never allowed to come to blows. No one can have greater advantage in fencing than he who executes the five words according to this lesson.

But if, once you have come onto his sword, your opponent remains on your sword with his defense and covering, and you also remain on his sword and haven't yet delivered a Following Strike, then stay on his sword and wind, and feel precisely and notice whether he's Strong or Weak on your sword.

If you feel and notice that he's Hard, Strong, and firm, and wants to press on your sword, then be Soft and Weak against him and give way to his strength, and allow your sword to be swept out and driven away by his pushing. Then quickly and rapidly divert and pull your sword back, and drive swiftly against his exposures, toward his head or body, with cutting, thrusting, and slicing (however you find the nearest and surest way).

Because the harder and surer he pushes in and forces with his sword while you're Soft and Weak against it, giving way to him and allowing your sword to go aside, the more and the further his sword also goes aside, and he becomes quite exposed. Then you can meet and harry him however you want before he recovers from his cut or thrust.

However, if you feel and notice that he's Soft and Weak on your sword then be Hard and Strong against him, and charge forward with your point firmly on his sword and drive toward his exposures (whichever is closest), just as though a cord or a thread were tied to the point of your sword which would lead it to his nearest exposure.

With this thrust, you become well aware of whether he's Weak, letting his sword be pushed aside and letting himself be hit, or he's Strong, defending and diverting your thrust.

If he's Strong on the sword, defending against your thrust and diverting the sword, then become Soft and Weak against it once again, giving way to him and letting your sword be pushed aside, and then swiftly seek his exposures with cutting, thrusting, and slicing (whichever it may be). This is what Liechtenauer means by the words 'Hard' and 'Soft'.

This is based on the classical authorities: as Aristotle wrote in his book Peri Hermeneias, "Opposites positioned near each other shine greater, and opposites which are adjoined are augmented". Thus, Strong against Weak, Hard against Soft, and vice versa. The stronger always wins when strength goes against strength, but Liechtenauer fences according to the true and correct art, so a weak man wins more surely with his art and cunning than a strong man with his strength. Otherwise, what's the point of art?

Therefore, fencer, learn to feel well; as Liechtenauer says, "Learn the feeling; 'Within', that word cuts sorely". When you're on his sword, and you feel well whether he's Strong or Weak on your sword, then during and Within this, you can well consider and know what to do against him (according to the aforementioned art and lesson). For truly, he can't pull back from the sword without harm: as Liechtenauer says, "Strike in so that it snaps at whoever pulls back in front of you".

If you act firmly according to this lesson, you will always take and win the Leading Strike, and as soon as you execute it, charge in with a Following Strike immediately and without delay (that is, the second, third, or fourth strike, whether it be a cut or a thrust), so that he can never come to blows. If you come onto the sword with him, be certain in your feeling and do as was written earlier. The foundation of fencing is to always be in motion and to not delay, and fencing is also based on feeling (as was made clear above).

Have measure and moderation in all that you begin and do. If you win the Leading Strike, don't deliver it so impetuously or aggressively that you can't deliver a Following Strike afterward. This is why Liechtenauer says, "Thus you will see, all things have measure and moderation". You should also understand this when stepping, and in all other plays and rules of fencing, etc.

This is the text in which he names the five cuts and the other pieces of his fencing:

21	LEarn five strikes,  To the guard from the right.
23	Wrath cut curves athwart,  Has glancing apart.
24	While the fool will parry,  Pursue, overrun, stab and harry.
25	Pull back and disengage,  Run through, press hands, and slice away.
26	Hang and wind to exposures below and above,  Strike and catch, sweep, and thrust with a shove.

[No gloss]

This is about the wrathful cut, etc:

27	WHo cuts from above in any way,  The wrathful cut's point keeps him at bay.
28	If he sees and fends you off,  Be fearless, take it off above.
29	Wind and thrust if he holds strong so;  If he sets you off, take it below.
30	Now remember this part:  Cut and thrust, lay Soft or Hard;
31	Within the Before and the After,  Be careful, and do not rush to the war.
32	Those who rashly seek the bind,  Shame above and below is all they'll find.
33	Howsoever you will wind,  Cut, thrust, slice you seek to find.
34	Further, you should learn to choose  Which of them should best suit you.
35	In whatever way you've bound,  Many masters you'll confound.
ⅺ	Do not cut toward his sword,  But rather seek his exposures.
ⅹⅵ	Toward his head, toward his body,  If you wish to remain unharmed.
ⅹⅶ	Whether you hit or you miss,  Always target his exposures.
ⅹⅷ	∗ {In every lesson,  Turn your point against his exposures.
ⅹⅸ	Whoever swings around widely,  He will often be shamed severely.
ⅹⅹ	Toward the nearest exposure,  Cut and thrust with suddenness.
ⅹⅺ	And also step always  Toward your right side with it,
ⅹⅻ	So you can begin  Fencing or wrestling with advantage.}

Explanation: Here notice and remember that when you cut over him straight from your shoulder, Liechtenauer calls this the wrathful cut, because when you're in your fury and wroth, there's no other cut as ready as this blow (straight from your shoulder toward the man).

By this, Liechtenauer means that when someone begins to cut over you, counter it by cutting wrathfully in and then firmly shoot your point against him. If he defends against your thrust, then swiftly take it away above and drive suddenly to the other side of his sword. But if he defends again, then be Hard and Strong against him on his sword, and swiftly and boldly wind and thrust. If he defends against this thrust, then take off again and quickly throw a cut below toward his legs (or wherever you can).

In this way, you continuously do one strike after another so that he cannot come to his own plays. Always keep the earlier keywords in mind ('Before' and 'After', 'Within', 'Strong' and 'Weak'), as well as cutting, stabbing, and slicing, and by no means forget them in your fight.

Also, don't rush with the war, because if an attack that you aim above fails then you should land below.

(It's written further on how one strike makes itself out of another according to the legitimate art, regardless of whether it be cutting, thrusting, or slicing.)

Don't cut toward his sword, but rather toward him (toward his head or toward his body, wherever you can, etc.), and consider that the first verse could state, "Whomever you cut over wrathfully, the point of the wrathful cut threatens him", etc.

Simply act according to this lesson and always be in motion; either you hit or you miss, but he cannot come to blows (and with your cutting, always step out well to the side).

Also remember that there are only two cuts (that is, over and under both sides), and all other cuts come from them regardless of how they're named.

These are the pinnacle and the foundation of all other cuts, and they, in turn, come from and depend on the point of the sword, which is the center and the core of all other plays (as was written well earlier).

# {From these same cuts come the four parries from both sides, with which you disrupt and counter all cutting and thrusting, and all guards. From them, you also come into the four hangers, from which you can perform the art well (as is written further on).}

However you fence, your point should ever and always be turned against your opponent's face or chest, so that he's constantly frustrated and concerned that you'll arrive faster than him because your path to him is shorter.

If it happens that you win the Leading Strike, then be secure, certain, and quick with this turning, and as soon as you have thus turned, immediately begin to drive agilely and courageously.

Your point should always seek your opponent's chest, turning and positioning itself against it (as is written better further on). As soon as you come onto someone's sword, your point should never be more than three hand-breadthsaway from his face or chest, and take care that it will arrive on the most direct path and not travel widely around, so that your opponent cannot arrive first.

Don't allow yourself to become relaxed or hesitant, nor defend too lazily, nor be willing to go too widely or too far around.

This is about the four exposures, etc., etc:

36	FOur exposures know,  To truly guide your blow.
37	Without fear or doubt,  For what he'll bring about.

Explanation: Here remember that Liechtenauer divides a man into four parts, as if he drew a line on his body from his part downward to between his legs, and another line on his body along his belt. In this way, four quarters arise: one right and one left above the belt, and the same below the belt. These are the four exposures, which each have their particular techniques.

Never target the sword, only the exposures.

How to break the four exposures:

38	REdeem yourself by taking  Four exposures by their breakings.
39	To above, you redouble,  Transmute low without trouble.
40	Now do not forget,  No one defends without a threat.
41	If this is well known,  Rarely will he come to blows.

[No gloss]

This is about the crooked cut, etc:

42	THrow the curve, and don't be slow,  Onto his hands your point should go.
43	Many strikes you will offset,  With a curve and with good steps.
44	Cut the curve to the flat,  Weaken masters with that.
45	When it clashes above,  Step off, that I will love.
46	Cut short, and curve not,  If the changing through is sought.
47	Curve who'd distress you,  Confuse, bind, and press him,
48	Give him no way to know  Where he's safe from your blow.

Explanation: Here notice and remember that the crooked cut comes down from above and goes in a curved way with a good step outward to one side.

This is why Liechtenauer says that if you want to bring this cut well, step well to your right, fully flanking him with your cut, and cut in a curved manner, swiftly and well, and then throw or shoot your point over his hilt and over his hands.

Cut toward his^{with your} flat; if you hit the flat^{his sword}, then remain strongly on it and press firmly, and see what you can bring in the quickest and most decisive way, with cutting, thrusting, or slicing.

By no means should you cut too shortly, but if you do, then don't forget the changing through.

There's a cut called the avoidance (as it's written after the crosswise cut, where the hand is drawn), which comes from the curved cut and should come before the crosswise cut, and it attacks crookedly and obliquely from below and shoots the point in over his hilt, just as the curved cut does down from above.

53	Avoid and mislead,  And hit low where you please.
54	The inverter equips you,  To run through and grip, too.
55	Take the elbow to bring  Him off balance, and spring.
56	Avoid twice;  If you touch, make a slice.
57	Double it and on it goes,  Step in left and don't be slow.
ⅹⅹⅲ	Because all fencing  Will by rights have speed,
ⅹⅲ	And also audacity,  Prudence, cunning, and ingenuity.

[No gloss]

This is about the crosswise cut, etc:

49	WHat comes from the sky,  The cross takes in its stride.
50	Cut across with the strong,  And be sure to work on.
51	To the plow drive across,  Yoke it hard to the ox.
52	Take a leap and cross well,  And his head is imperiled.

Explanation: Here notice and remember that out of the whole art of the sword, no cut is as good, as honest, as ready, and as fierce as the crosswise cut. It goes across to both sides, with both edges (the front and the back), to all exposures (upper and lower), and when you cut across correctly, you counter and defend against everything that comes from above (meaning the high cuts and whatever else goes downward from above).

When you bring or throw the sword forward well, it crosses in front of your head to whichever side you want, just as if you were to come into the upper hangers or winds, except that when you cut across, the flats of the sword are what turns: the one above or upward, and the other downward or below, and the edges go to the sides, one crossing to the right side and the other to the left side.

It's very good to come onto your opponent's sword with this crosswise cut, and when you get onto his sword, no matter how it happens, he can only escape from you with great difficulty.

You can also strike toward both sides with crosswise cuts, and as you bring the crosswise cut to either side, above or below, your sword should go up with the hilt above you and with your hands thrown forward in front of your head, so that you're well covered and defended.

Now, you should bring the crosswise cut with a certain strength, and when you must fight for your neck, win the Leading Strike with a good crosswise cut (using the lesson written earlier).

When you approach him, as soon as you see that you can reach him with a step or a leap, then cut across with your back edge, from above toward his head from your right side, and let your point shoot and then cross well so that your point goes well and winds or turns around his head like a belt. Thus, if you cross well with a good leap or step to the side, he can only turn it away or cover himself with difficulty.

Once you win the Leading Strike with a crosswise cut to one side, no matter whether you hit or miss, immediately win the Following Strike in a single advance, at once and with no delay, with a crosswise cut to the other side (with the forward edge), before he manages to recover and come to blows (according to the lesson written earlier).

Also, cross to both sides, toward the ox and toward the plow (that is, toward the upper and lower exposures), from one side to the other, above and below, continuously and without delay, so that you're always in motion and don't let him come to blows.

As often as you cut across, above or below, you should strike well and throw the sword crosswise high in front of your head so that you're well covered.

This is about the cockeyed cut:

58	THe cockeye disrupts  What the buffalo cuts or thrusts.
59	The cockeye endangers  Whoever threatens the changer.
60	If he looks short to you,  Defeat him by changing through.
61	To the point cock your eye,  Take his neck fearlessly.
62	Cock your eye high instead  To endanger his hands and head.
ⅹⅹⅳ	# {Cock your eye to the right,  If you want to fence well.
ⅹⅹⅴ	The cockeyed cut I prize,  If it doesn't come too lazily.}

Explanation: Here notice and remember that the cockeyed cut comes down from your right side with the back edge. It goes to the left side, aslant or askew, while stepping out to the right side with turned sword and overturned hand.

This same cut counters everything that a buffalo (that is, a peasant) will cut down from above, as they often do, and also counters the same as the crosswise cut (as was described earlier).

Whoever threatens to change through will be put to shame by the cockeyed cut. But cut cockeyed well and long enough, and shoot the point firmly, otherwise you will be hindered by his changing through.

And boldly cock an eye well toward his throat with your point without fear.

And…

When you see that, from scabbards,
 Swords are being pulled,
Steady yourself therein,
 And truly remember your steps.
Before and After: these two things
 Explore, and also learn to leap away.
Pursue in all encounters
 If you wish to dupe the strong.
If he defends, then pull back and thrust.
 If he defends, move into him.
The winding and the hanging,
 Learn to artfully bring forth.
And probe his intentions
 Test if he is Hard or Soft.
If he fights with strength
 Then be artfully prepared,
And if he attacks wide or long,
 Shooting in defeats him.
If, with Hard strikes,
 He covers himself, strike without fear.
Cut here and step there;
 Charge in, then hit or move on.
Do not cut toward his sword,
 But rather seek his exposures.
Whether you hit or you miss,
 Always target his exposures.
With both hands
 Learn to bring your point to his eyes
Fence with good sense,
 And always win the Leading Strike;
Whether you hit or miss,
 Strike immediately at his exposure with the Following Strike.
And also step always
 Toward the right-hand side with it,
So you can begin
 Fencing or wrestling with advantage.

This is about the part cut, etc:

63	Strike from your part  And threaten his face with art.
64	When it turns it will set  On his chest with great threat.
65	What the parter brings forth,  The crown drives it off,
66	So slice through the crown,  And you break it well down.
67	Press the sweeping attacks,  With a slice and pull back.
ⅹⅹⅴ	The part cut I prize,  If it doesn't come too lazily.

[No gloss]