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 them.
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 person  Who dares to confront their 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	They who wait for cuts and follow,  In this art find naught but sorrow.
12	A nearing cut is good to do,  Your shield to stop them changing through.
ⅺ	† {Don't cut toward their sword,  But rather seek out their 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 your opponent with threatening strikes from your right side, just as soon as you see where you can take them and would certainly reach them 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 their head and body (whatever you can get) rather than toward their sword. In fact, you should strike as though they 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 they 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 them more easily from there than from the front. When your cutting and thrusting goes directly toward their exposures (toward their head or body) while stepping or treading around them, 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 them, 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 their head or body, wherever you feel sure you can take them), boldly and fearlessly. In this way, you always win the Leading Strike, whether it goes well or poorly for them. 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 they defend against it, diverting your Leading Strike or otherwise defending with their sword, then as long as you remain on their 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 their covering and diverting of your cut or thrust).

Thus, you fully feel how the other fencer is in their action. If they're Hard and Strong Within it, then as you fully feel and notice this, become Soft and Weak during and Within it, and before their cover is complete, execute a Following Strike. In other words, you immediately strike while they're still defending themselves 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 their exposures.

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

This is why Liechtenauer says, "I say to you honestly, no one covers themselves without danger. If you have understood this, they 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 they're bold and win 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 their head or body.

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

If you do the first strike or Leading Strike and they succeed in defending, then in their defense and covering, they could always deliver a Following Strike faster than you (even though you had the first one). They could immediately cut, or drive in with their pommel, or send crosswise cuts (which are always reliable), or they could just throw their 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, they must defend with their sword, and in this way, they must always come onto your sword. If they're late and unready in their defense, then remain on their sword and immediately wind, and feel precisely and notice whether they want 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 they pulls themselves back, then before they can recover from your strike, immediately follow through with a good thrust toward their chest with your point (or otherwise forward toward the closest and surest place you can land) in such a way that they cannot escape from your sword without harm, because when you immediately follow like this you get closer and closer to them, and with that, you direct your point forward on their sword toward whatever's nearest and closest.

Thus, even if your opponent cuts or thrusts wildly around as they pull back, you can always come faster into the Following Strike (cutting or thrusting) before they come to their 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 they who execute the five words according to this lesson.

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

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

Because the harder and surer they push in and force with their sword while you're Soft and Weak against it, giving way to them and allowing your sword to go aside, then the more and the further their sword also goes aside, and they become quite exposed. Then you can meet and harry them however you want before they recovers from their cut or thrust.

However, if you feel and notice that they're Soft and Weak on your sword then be Hard and Strong against them, and charge forward with your point firmly on their sword and drive toward their 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 their nearest exposure.

With this thrust, you become well aware of whether they're Weak, letting their sword be pushed aside and letting themselves be hit, or they're Strong, defending and diverting your thrust.

If they're Strong on the sword, defending against your thrust and diverting the sword, then become Soft and Weak against it once again, giving way to them and letting your sword be pushed aside, and then swiftly seek their 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 person wins more surely with their art and cunning than a strong one with their 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 their sword, and you feel well whether they're Strong or Weak on your sword, then during and Within this, you can well consider and know what to do against them (according to the aforementioned art and lesson). For truly, they 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 they can never come to blows. If you come onto the sword with them, 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,  And glances at the part.
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 exposur them below and above,  Strike and catch, sweep, and thrust with a shove.

[No explanation]

This is about the wrathful cut, etc:

27	WHo cuts from above in any way,  The wrathful point keeps them at bay.
28	If they see and fend you off,  Be fearless, take it off above.
29	Wind and thrust if they hold strong so;  If they set you off, take it down below.
30	Now remember this part:  Cut and thrust, lay Soft or Hard;
31	Within the Before and the After,  Be careful: do not rush to 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 serve you;
35	Then whatever way you've bound,  Many masters you'll confound.
ⅺ	Do not cut toward their sword,  But rather seek their exposures.
ⅹⅵ	Toward their head, toward their body,  If you wish to remain unharmed.
ⅹⅶ	Whether you hit or you miss,  Always target their exposures.
ⅹⅷ	∗ {In every lesson that you learn,  Your point toward the exposure turns.
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 them 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 your opponent).

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 them. If they defend against your thrust, then swiftly take it away above and drive suddenly to the other side of their sword. But if they defend again, then be Hard and Strong against them on their sword, and swiftly and boldly wind and thrust. If they defend against this thrust, then take off again and quickly throw a cut below toward their legs (or wherever you can).

In this way, you continuously do one strike after another so that they cannot come to their 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 is made out of another according to the legitimate art, regardless of whether it be cutting, thrusting, or slicing.)

Don't cut toward their sword, but rather toward them (toward their head or 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 them", etc.

Simply act according to this lesson and always be in motion; either you hit or you miss, but they 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 they're constantly frustrated and concerned that you'll arrive faster than them because your path to them 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 their 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 they'll bring about.

Explanation: Here remember that Liechtenauer divides a person into four parts, as if he drew a line on their body from their part downward to between their legs, and another line on their body along their 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 let me assure:  No defense is for sure.
41	If this is well known,  Rarely will they come to blows.

[No explanation]

This is about the crooked cut, etc:

42	THrow the curve and don't be slow,  Over their hands the point you throw.
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	And when it clashes above,  I will praise them who step off.
46	Cut short, and curve not,  If the changing through is sought.
47	Who crookedly leads you astray,  The noble war will leave them dazed;
48	They'll have no way to know  Where they're 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 them with your cut, and cut in a curved manner, swiftly and well, and then throw or shoot your point over their hilt and over their hands.

Cut toward their^{with your} flat; if you hit the flat^{their 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 miss (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 their hilt, just as the curved cut does down from above.

53	Miss and mislead,  And harry low where you please.
54	Invert and constrain them;  Then run through, restrain them.
55	Take their elbow to bring  Them off balance, and spring.
56	Miss 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 explanation]

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 their 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 their sword, no matter how it happens, they 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 them, as soon as you see that you can reach them with a step or a leap, then cut across with your back edge, from above toward their head from your right side, and let your point shoot and then cross well so that your point goes well and winds or wraps around their head like a belt. Thus, if you cross well with a good leap or step to the side, they can only turn it away or cover themselves 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 they manage 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 them 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 they look short to you,  Defeat them by changing through.
61	To the point cock your eye,  Take the neck fearlessly.
62	Cock your eye high instead  To endanger 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, cockeyed 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 their changing through.

And boldly cock an eye well toward their 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 they defend, then pull back and thrust.
 If they defend, move into them.
The winding and the hanging,
 Learn to artfully bring forth.
And probe their intentions
 Test if they are Hard or Soft.
If they fight with strength
 Then be artfully prepared,
And if they attack wide or long,
 Shooting in defeats them.
If, with Hard strikes,
 They cover themselves, strike without fear.
Cut here and step there;
 Charge in, then hit or move on.
Do not cut toward their sword,
 But rather seek their exposures.
Whether you hit or you miss,
 Always target their exposures.
With both hands
 Learn to bring your point to their eyes
Fence with good sense,
 And always win the Leading Strike;
Whether you hit or miss,
 Strike immediately at their 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,  Endanger their face with art.
64	When it turns, it will set  On their 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 explanation]

Liechtenauer holds four lairs only, because they proceed from the upper and lower hangers and you can surely bring plays from them.

This is about the four lairs, etc:

68	LIe in four lairs,  And the others, forswear.
69	Ox and plow, and the fool too,  And the day should not be unknown to you.

Explanation, etc: Here he names the four lairs or four guards. There is little is to say about them; primarily, that you shouldn't lie in them for too long. This is why Liechtenauer has a particular proverb, "Whoever lies still, they are dead; whoever moves, they yet live". This applies to the lairs, that you should rouse yourself with techniques rather than wait in the guards and in this way miss your chance.

The first guard, the plow, is when you lay your point on the ground, in front of you or at your side. After setting off, this is also called the barrier guard or the iron gate.

The second guard, the ox, is the upper hanger from the shoulder.

ⅹⅹⅵ	The fool always counters  What someone cuts or thrusts
ⅹⅹⅶ	With hangers, sweeps,  Pursuit, and simultaneous parries.

The third guard, the fool, is the lower hanger. With it, you can counter all cuts and thrusts well.

The fourth guard, from the day, is also the long point. Whoever leads it well with extended arms cannot be hit easily with cutting nor thrusting. It can also be called "the hanger above the head".

Also understand that you counter all the lairs and guards with cutting, so that as you cut boldly toward someone, they must flinch and cover themselves. This is why Liechtenauer doesn't say much about the lairs or guards, but rather maintains that you should be concerned with winning the Leading Strike before your opponent can (as was made clear above).

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

70	THe parries are four;  They trouble lairs, what's more.
71	Parrying protects you:  But it also can wreck you.
72	If parrying befalls you,  As it can happen to do,
73	Hear now what I say:  Sweep off, cut away!
74	Set upon to four extents;  Stay thereon if you want to end.
ⅹⅹⅷ	# {Many strikes you'll hurt and harry  If you fence with proper parries,
ⅹⅹⅸ	Because when you parry,  You come swiftly into the hangers.}

Explanation: Here remember that there are four parries to both sides, one upper and one lower to each side, and they counter or disrupt all lairs and guards. Any way that you divert or deflect someone's cut, thrust, or slice with your sword, from above or from below, could well be called parrying.

If you're the one parried, however that happens, swiftly pull back and cut again in a single advance.

If you parry or turn away someone's cut or thrust, immediately step in and follow through on their sword so that they cannot pull back. Then do whatever you can, but if you hesitate and delay, it will be harmful to you.

Also turn well and always turn your point against their chest so that they must constantly worry about it.

Learn to come onto the sword of your opponent, which you can do well with these parries, because they come from the four cuts (one over and one under each side) and become the four hangers. As soon as you parry above or below, you should immediately arrive in the hangers.

Just as you turn away all cuts and thrusts with the front edge, it's the same with parrying.

This is about pursuit, etc., etc:

75	LEarn the twofold pursuit,  And the guard, to slice through.
76	The ways to lead out are double;  From there, work and struggle.
77	Test the bind, I implore:  Hard or Soft, nothing more.
78	Learn to feel with discipline;  The word that cuts deepest is 'Within'.
79	The pursuit, learn it twice,  If it meets, make the same old slice.
ⅹⅹⅹ	In whatever way you've bound,  All the strong you will confound.
ⅹⅷ	In every lesson that you learn,  Your point toward the other's face will turn.
ⅹⅹⅺ	With your whole body shall you pursue  For that is how your point stays true.
ⅹⅹⅻ	Also learn to swiftly wrench,  So you can end well.

[No explanation]

This is about flowing over; fencer, notice it:

80	WHoever aims to take it below,  By overflowing, their folly show.
81	When it clashes above,  I will praise them who stay Strong.
82	See your work be done,  Or press doubly hard upon.
ⅹⅹⅹⅲ	Whoever presses you down,  Cross over them and strike sharply again.
ⅹⅹⅹⅳ	From both sides flow over,  And remember the slices.

[No explanation]

This is about setting off, learn this well:

83	THe setting off, learn to do,  That cuts and thrusts be ruined before you.
84	Whoever makes a thrust at you,  Your point meets theirs and breaks on through.
85	From the right and from the left,  Always meet them if you'll step.
ⅹⅷ	In every lesson that you learn,  Your point toward the other's face will turn.

[No explanation]

This is about changing through, etc., etc:

86	LEarn to change through,  And cruelly thrust on both sides, too.
87	All of those who seek the bind,  Changing through will surely find.
ⅹⅹⅹⅴ	† {When you have changed through,  strike, thrust, or wind, be not lax.
ⅹⅹⅹⅵ	Do not cut toward their sword,  change through and seek with that.}

Explanation: Here remember that the changing through goes directly to both sides (down from above and up from below) if you otherwise do it quickly.

If you want to change through from your right side (down from above), then cut from above directly toward them so that you shoot your point toward their left side, above their hilt, and aim for the little gap or window between their edge and their hilt. If you hit, you have won.

If they defend against this by expelling your point and pressing it away with their sword, then let your point sink down under their sword, from that side around to the other. This shouldn't go widely around, but as closely as possible below their sword so that you can then drive in swiftly over their hilt with a good thrust. When you feel it land, follow through well. As you do on one side, from above and from below, do the same from the other side.

Also, when someone binds with you, charge forward on their sword with your point toward their exposure. If they defend, change through as before, or wind and feel whether their intention is Hard or Soft. Thereafter, seek their exposures with cutting, thrusting, or slicing.

This is about pulling back; fencer, remember:

88	STep up close into the bind,  Pull back, and what you seek, you'll find.
89	Pull back, and if they meet, pull more,  Work and find what makes them sore.
90	Pull back whenever you are bound,  And many masters you'll confound.
ⅹⅹⅹⅶ	Pull back from the sword  And carefully consider your way.

[No explanation]

This is about running through now:

91	RUn through, hang it to the floor  By the pommel, then bring grips for sure.
92	For those who strongly approach you,  Always remember the running through.
ⅹⅹⅹⅷ	Run through and shove.  Invert if they grab for the hilt.

[No explanation]

This is about slicing off, etc., etc:

93	WHen it's firm, slice away,  From below, you slice both ways.
94	And the slices number four,  Two below; above, two more.
ⅹⅹⅹⅸ	Slice whoever will cross you,  To eagerly avoid injury.
ⅹⅼ	Do not slice in fright,  First consider wrenching.
ⅹⅼⅰ	You can slice well in any crossing,  If you omit the wrenching.
ⅹⅼⅱ	If you wish to remain unharmed,  Then don't move with the slicing.

[No explanation]

This is about pressing the hands, etc., etc:

95	TUrn your edge just like that,  Press the hands to the flat.
ⅹⅼⅲ	One thing is turning,  Another is winding, the third is hanging.
ⅹⅼⅳ	If you want to make fencers despair,  Then always press while shoving.
ⅹⅼⅴ	Over their hands,  Cut and slice swiftly.
ⅹⅼⅵ	Also pull the slices  Above, over their head.
ⅹⅼⅶ	Whoever presses the hands  Pulls their fingers back without injury.

Know that as soon as you turn away their cut or thrust by turning, immediately step in and drive quickly toward them. If you wait and delay, you will suffer injury.

Also notice and remember that you turn away all cuts and thrusts with the forward edge of your sword, from the middle of the edge to the hilt. As soon as you have turned your forward edge into it, then the closer a cut or thrust comes to your hilt, the better and more powerfully you can turn away these cuts or thrusts: the closer to the hilt, the stronger and mightier, and the closer to the point, the weaker and feebler.

Therefore, if you want to be a good fencer, learn above all other things to turn away well, so that as you do so, you come immediately to the winds, from which you can perform the entire art and beauty of fencing.

The forward edge of the sword is called the true edge, and all cuts and thrusts are spoiled by its turning.

This is about hanging; fencer, learn this, etc:

96	THere are the two ways to hang:  From the ground, from your hand.
97	In every attack, whether cut or a thrust,  The Hard and the Soft lies within, you can trust.
98	In the window freely stand,  Watch their manner close at hand.
99	Whoever pulls back,  Strike in with a snap.
100	Now let me assure  No defense is for sure.
101	And if this is well-known,  Rarely will they come to blows.
ⅹⅼⅷ	As you remain,  On the sword, then also make
ⅹⅼⅸ	Cuts, thrusts, or slices.  Remember to feel into it
ⅼ	Without any preference.  Also do not flee from the sword
ⅼⅰ	Because masterful fencing  Is rightly at the sword.
ⅼⅱ	Whoever binds on you,  The war wrestles with them severely.
ⅼⅲ	The noble winding  Can also surely find them.
ⅼⅳ	With cutting, with thrusting,  And with slicing you surely find them.
[32]	Howsoever you will wind,  Cut, thrust, slice you seek to find.
ⅼⅴ	And the noble hanging  Should not be without the winding.
ⅼⅵ	Because from the hangers  You bring forth the winding.

Explanation, etc: Here notice and remember that there are two hangers from each side, one over and one underneath. With them, you can come onto your opponent's sword well, † {because they come from high and low cuts}.

If it happens that you bind with someone, or otherwise come onto their sword, then remain on their sword and wind, and stay with them on the sword like that, boldly and in good spirit, without any fear.

Quite precisely wait, watch for, and notice well whatever they want to do, or whatever they have in mind which they will perform against you. Liechtenauer calls remaining on the sword like this an open window. As you stay with them on the sword, feel well and notice their intention, whether it be Hard or Soft, and orient yourself accordingly (as it has often been written earlier).

If they happen to pull back from your sword before you actually begin, then immediately follow through and send cuts or thrusts at them (whichever you can perform in the surest way, before they come to anything else); † {since you're closer to them as you remain on their sword, merely extend your point against them. Then when they pull back, immediately follow them in with your point before they can perform a strike.} But if they remain with you on the sword, then test well and notice whether they're Hard or Soft on your sword.

If they're Soft and Weak, then swiftly and boldly go forth and attack with your Strength, pressing and pushing away their sword. Then seek their exposures, toward their head or body (whatever you can get).

But if they're Hard and Strong on your sword and want to press and push you aside firmly, then be Soft and Weak against their Strength, and weaken their Strength and pressure with your sword.

As you weaken and their sword goes aside (as was also written earlier), then before they can recover, seek their exposures with cutting, thrusting, or slicing (however you can get to them in the surest manner), swiftly, rapidly, and boldly (in accordance with the lesson written earlier), so that they cannot cut nor thrust, nor otherwise come to blows.

This is why Liechtenauer says, "I say to you honestly, no one covers themselves without danger. If you have understood this, they cannot come to blows." By this, they mean that no one can protect themselves from you without fear or injury, if you act according to the lesson written earlier: if you take and win the Leading Strike, then they must either continually defend themselves or let themselves be struck.

If you deliver the Leading Strike, whether you land it or not, then quickly deliver a Following Strike in a single advance, before they can come to blows. Indeed, if you want to deliver the Leading Strike, you must also deliver a Following Strike as if in one thought and intention, as though you would deliver them simultaneously if that weren't impossible.

This is what Liechtenauer means by, "Before and after, these two things", etc. If you deliver the Leading Strike, whether you land it or not, then also do a Following Strike at once, swiftly and rapidly, so that they cannot come to blows. In this way, you can preempt them in all matters of fencing.

Now, as soon as you get to them first and win the Leading Strike, immediately deliver a Following Strike. Don't deliver the Leading Strike if you don't have an intended Following Strike in mind; be always in motion and never idling nor delaying. Always do one after another, swiftly and rapidly, so that they come to nothing. If you do this correctly, then anyone who gets away from you without being hit must be very good indeed.

With this art or this advantage, it often happens that a peasant or untrained person beats a good master, because they deliver the Leading Strike and charge in boldly; it might be lightly overlooked, but it hits Within and thus strikes them and puts them to shame. This is because it's more dangerous to wait—to receive strikes and defend—than to attack and win the Leading Strike. Therefore, arrange to be first in all matters of fencing, and to come well to the right side of your opponent, and then you can be more sure of everything than them.

108	ON both sides this applies:  Learn to step with eight winds.
106	And each wind of the blade  Into three can be made:
107	Twenty-four can be named,  Though they're one and the same.
105	And eight winds there are,  If you rightly regard.
lxiii	And learn to lead them well,  So you can harry the four exposures.
lxiv	Because each exposure  Can be harried in six ways.

Explanation: Notice here that the winds are the correct art and the foundation of all the fencing with the sword, from which all other techniques and plays come.

It's difficult to be a good fencer without the winds, though certain dancing masters dismiss them and say that what comes from the winds is quite weak, and call it "from the shortened sword", because they are simple and go naively. They mean that techniques from the long sword should be done with extended arms and extended sword, and that they come aggressively and strongly with full strength of body but lacking good stance, and it's terrible to watch when someone stretches themselves out as if they were trying to chase a rabbit.

If there were no art then the strong would always win, but this is not the way, neither in winding nor in the art of Liechtenauer, because this art doesn't require great strength.