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Sigmund ain Ringeck/Christian Trosclair 2015
Here begins the interpretation of the Recital
In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame[1] time known as[2] fencing master[3] to the highborn prince and noble Lord Albrecht, Pfalzgraf[4] of the Rhine and Herzog[5] of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured[6] here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.
The foreword of the Recital
| 1 | Young knight, learn; Loveth god; furthermore honor women |
| 2 | Thus cultivate your honor. Practice chivalry and learn[7] |
| 3 | Art which decorates you [and] In combat exalts with honor. |
| 4 | Wrestling's good fetters, Lance, spear, sword, and Messer |
| 5 | Manfully put to good use And make useless in other's hands.[7] |
| 6 | Hew therein, charge there; Rush onwards, hit or let drive. |
| 7 | Those maturing[8] in this wisdom[9], This one sees praises. |
| 8 | Hold yourself to this: All art has length and measure. |
This is the text of many good common lessons of the long sword
| 9 | If you wish to examine the art, Go left and right with hewing |
| 10 | And left with right that is, if you desire to fence strongly. |
Gloss. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.
The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.
Again, the text about a lesson
| 11 | Whoever chases after hews, They allow themselves to hardly enjoy the art. |
| 12 | Hew nearby, whatever you wish: No change comes in your shield; |
| 13 | To the head, to the body, Do not omit the fleshwounds.[10] |
| 14 | With the entire body fence Whatever you desire to conduct strongly.[11] |
Gloss. Note, this is[12] when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.
Item. You shall[13] note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).
Again, a lesson
| 15 | Hear what is bad for that: Do not fence from above left if you are right, |
| 16 | And if you are left, In the right [you] are also severely hindered. |
Gloss. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).
The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.
This is the text and a lesson about before and after
| 17 | Before and after, the two things Are the one origin of all art. |
| 18 | Weak and strong, In-the-moment; with that mark the word. |
| 19 | Thus, you may learn To work and ward with art. |
| 20 | If you frighten easily, Never learn any fencing. |
Gloss. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours.[14] Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.
Here note that which is called the after
Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play. Thus you have seized the before and he remains after.
You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist[15] when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.
This is the text of the five hews
| 21 | Learn five hews From the right hand against the defense.[16][17] |
| 22 | We happily consign[18] them To the rewards[19] in the Arts. |
Gloss.[1] Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews,[20] when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.[21])
This is the [text] of the plays of the Recital
| 23 | Wrath-hew, crooked, thwart Has squinter with parter |
| 24 | Fool displaces Following-after, run-over |
| 25 | Set the hew, change-through, yank Run-through, cut-off, press the hands |
| 26 | Hang and with openings Strike, catch, sweep, thrust with blows. |
Gloss. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.
Item. Now note the first hew called the wrath-hew
The second the crooked-hew
The third the thwart-hew
The fourth the squint-hew
The fifth the scalp-hew
The sixth they are the four guards
The seventh the four displacements
The eighth the following-after
The ninth the running-over
The tenth the setting-aside
The eleventh the changing-through
The twelfth the yanking
The thirteenth the running-through
The fourteenth the cutting-off
The fifteenth the hand-pressing
The sixteenth the hanging
The seventeenth they are the windings
And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.
This is the wrath-hew with its plays
| 27 | Whoever hews over[22] you, The wrath-hew point threatens him. |
Gloss. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your[23] right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).[24]
Again a play from the wrath-hew
| 28 | If he becomes aware of it, So take-off above without driving. |
Gloss. This is[25] when you shoot-in the point with the wrath-hew (as stands done before next to this):[24] if he then becomes aware of the point and displaces the thrust with strength, so back-off[26] your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).[24]
Again a play from the wrath-hew
| 29 | Be stronger back And thrust. If he sees it, take it down[27] |
Gloss. Note, this is[12] when you cleave-in with the wrath-hew (as stands done before next to this):[24] if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).[24]
Again a play from the wrath-hew
When you thrust-in high with the winding (as stands pictured[1] before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).[24]
A break against the taking-off
Note, when you bind with someone strongly on his[28] sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in[29] strongly with the long edge high to his head.
Here note a good lesson
| 30 | Note this precisely: Cut, thrust, leaguer; soft or hard, |
| 31 | In-the-moment[30] and drive-after[sic] Without hurry. Do not rush your war:[31] |
| 32 | Whoever's war aims Above, they become ashamed below. |
Gloss. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work[32] upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.
Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.
How one shall properly find hews and thrusts in all winding
| 33 | In all winding, Learn to properly find hew, thrust. |
| 34 | You shall also, with Testing, hew, thrust, or cut |
| 35 | In all hits If you wish to confound the masters. |
Gloss. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut.[33] Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut.[34]
And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm.[35] Remember this[1] in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.
About the four openings
| 36 | Know to target the four openings; Thus you strike wisely. |
| 37 | Go upon all Without doubt how he bares. |
Gloss. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is[36] the left side[36] above the girdle of the man. The other two are also the right and the left sides below the girdle.
In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and[37] with following-after, and also with the winding upon the sword,[24] and otherwise with all techniques, and do not pay attention[38] to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.
The text and the gloss about the doubling and about the mutating: how they break the four openings.
| 38 | If you wish to reckon yourself,[39] Artfully break the four openings: |
| 39 | Double above, Mutate right[40] below. |
| 40 | I say to you truthfully: No master defends themselves without danger. |
| 41 | If you have understood this properly, He may hardly come to blows. |
Gloss. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend[41] himself from that, and may neither come to strikes nor to thrusts.
The doubling
Item.[36] Note,[1] when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove[42] your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play[43] upon the head.
Note the mutating
Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.
|
Mörck daß mutiern
[24v] Daß mutiern treÿb also. Wenn du im mitt dem obern haw° ode~ sunst an daß schwert bindest So winde die kun kurcze~ schnide~ an sin schwert vñ far wol vff mit den armen vñ heng im dein schwerczs ? clingen vssen über sein schwert vñ stich v im zu° der vndern blösse vñ dz trÿb zu° baÿden sÿtten ~
The crooked-hew with its plays
| 42 | Crook on[44] swiftly, Throw the point upon the hands. |
Gloss.[45] This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your[46] right side to the opening[47] with over- or under-hews,[48] spring away from the hew with the right foot against him well to his left side, and strike him[49] with crossed[50] arms with the point[45] upon his[28] hands. And also conduct this play against him when he stands against you in the guard of the oxen.[51]
Again a play from the crooked-hew
| 43 | Crook whoever sets well With stepping, he sunders many hews. |
Gloss. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall][52] over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.
Again a play from the crooked-hew
| 44 | Hew crooked to the flats of The masters if you wish to weaken them. |
Gloss. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.
Again a play from the crooked-hew
| 45 | When it sparks above So stand aside, that I will laud. |
Gloss. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.
Again a play from the crooked-hew
| 46 | Do not crooked[-hew]; short-hew, With that seek the changing-through. |
Gloss. This is when he wishes to cleave-in above from his right shoulder:[53] so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew[54] and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.[24]
Again[55] a break against the crooked-hew[56]
Note, when[57] you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your[58] right side and drive well up over your[59] head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble[45] war. With that, you[45] confound him so completely that he does not know where he shall remain before you.[60]
Note how one shall break the crooked-hew
| 47 | Whoever foils you crooked, The noble war confounds them |
| 48 | That they do not truthfully know Where they are without danger. |
Gloss. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.
Another break above the crooked-hew[56]
Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest.[61] If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.
The thwart-hew with its plays
| 49 | The thwart takes away Whatever approaches from-the-roof. |
Gloss. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and[62] when he cleaves-in [an] over[-hew] to your head, so spring well[1] with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).[24]
A play from the thwart-hew
| 50 | Thwart with the strong With that note the work. |
Gloss. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind[63] strongly with the strong of your sword upon his. If he then holds strong against,[64] so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here),[24] or cut him with the play through the maw.
Again a play from the thwart-hew
Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it],[64] so shove his sword from you downward to your right side with your hilt (as is pictured here),[24] and strike back-around quickly with the thwart against his right side to his head.
Again a play from the thwart-hew
Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.
Another play
Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.
Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.
Here note the break against the upper thwart-hew
Item.[65] Note,[1] when you bind him from your right side with an over-hew (or otherwise[66] on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew[67] under his sword on his neck (as stands pictured hereafter next to this),[68] such that he strikes himself the same with your sword.[69]
Here note the break against the low thwart-strike
Note, when you bind[70] [against] him on his sword with the over-hew[71] from your right side, if he then strikes-around from the sword with the thwart to the other[72] opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to[73] this).
This is the text and the gloss: How one shall strike with the thwart to the four openings
| 51 | Thwart to the plow, Join hard to the oxen. |
Gloss. This is how one shall strike going-to with the thwart to all[28] four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).[24] This is called "striking to the plow".
Again a play from the thwart-hew
Note,[1] when you have struck with the thwart to the lower opening (as stands pictured before next to this),[24] so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike[74] a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.
This is the text and a teaching thereof[7]
| 52 | Whoever thwarts themselves well With springing threatens the head. |
Gloss. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his[28] head, and be aware that you are fully covered above in the spring[1] with your hilt in front of your head.
This is the text and the gloss of yet another play from the thwart-hew, and is called the failer
| 53 | Whoever directs the failer well From below, he hits[75] according to desire. |
Gloss. Note,[1] this is[76] with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike[77] with a free over-hew[78] to his left side to the head, and steal-away[79] your sword with the hew and strike him with the thwart to the lower opening of his right side or left[80] (as stands pictured hereafter next to this).[81] Thus is he contacted and struck below according to [your] desire.
This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter[82]
| 54 | The Inverter overwhelms, Running-through with wrestling as well; |
| 55 | The elbow wisely take Spring to him in the scales. |
Gloss. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).[24] Or run-through with the inverter and wrestle, as you will find written[1] hereafter
This is the text and the gloss of a failer
| 56 | Fail twice; If one hits then make the cut with [it]. |
Gloss. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right[1] foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in[83] to his right side onto his head (as stands pictured hereafter next to this).[24]
This is the text and the gloss of yet another play from the failer
| 57 | Double it further; Stride-in left and be not lazy. |
Gloss. This is when you have struck the first misleading to his right side to his head (as stands[84] pictured before[1] next to this): so with that take the cut under his arms[24] and strike quickly back-around to the left[85] side to his head, and drive over his sword with the short edge from[86] crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).[24]
This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them
| 58 | The Squinter breaks-in[87] Whatever the buffalo strikes or thrusts. |
| 59 | Whoever threatens to change, The squinter robs him of it. |
Gloss. Note here[88] that the squinter is a hew which breaks-in[89] the hews and thrusts of the buffalo ([one] who acquires[90] victory with power), and[36] conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,[91] with the short edge [and] with upright[92] arms, and strike him upon his right shoulder;[93] so you strike and displace with each other and hit him with the hew[94] (as stands pictured hereafter next to this).[95][24] If he changes-through, shoot with the hew long into his chest and[96] also hew when he stands against you in the guard of the plow or when he will thrust you from below.[35]
- ↑ 1.00 1.01 1.02 1.03 1.04 1.05 1.06 1.07 1.08 1.09 1.10 1.11 1.12 Word omitted from the Dresden.
- ↑ "Known as" omitted from the Dresden.
- ↑ D. schirmaiste~, R. schiermeister.
- ↑ Count Palatine
- ↑ Duke
- ↑ "and pictured" omitted from the Dresden.
- ↑ 7.0 7.1 7.2 Line omitted from the Dresden.
- ↑ lit: hastening. hasten, maturare, accelerare, see Grimm
- ↑ alt: instruction
- ↑ D. Zeck: Tick; R. Zeckruhr: Insect bites.
- ↑ Possibly "strongly desire to conduct".
- ↑ 12.0 12.1 "Note, this is" omitted from the Dresden.
- ↑ "You shall" omitted from the Rostock.
- ↑ Lit: "Before the moment he comes with his to you".
- ↑ wiederhalten: lit. "hold against"; to withstand, resist.
- ↑ Alternately: weapons.
- ↑ D. Wer dz wäre: "Whoever defends these".
- ↑ Alternately: avow, legally promise.
- ↑ Possibly "wages".
- ↑ Lit: "hew other hews".
- ↑ "In the same five hews" omitted from the Rostock.
- ↑ ober is an adjective, oben is an adverb.
- ↑ R. "the".
- ↑ 24.00 24.01 24.02 24.03 24.04 24.05 24.06 24.07 24.08 24.09 24.10 24.11 24.12 24.13 24.14 24.15 24.16 24.17 Clause omitted from the Dresden.
- ↑ "This is" omitted from the Dresden.
- ↑ abrucken: "removere" (remove), "absetzen" (offset).
- ↑ D. wider[sic]: "again".
- ↑ 28.0 28.1 28.2 28.3 D. "the".
- ↑ D. bind: "bind-in".
- ↑ R. Jun ger [sic].
- ↑ R. dem krieg: "the war".
- ↑ D. hurten: "to rush".
- ↑ "The hew, or thrust, or cut" omitted from the Dresden.
- ↑ "Nor thrust… cut" omitted from the Rostock.
- ↑ 35.0 35.1 Sentence omitted from the Rostock.
- ↑ 36.0 36.1 36.2 36.3 Word omitted from the Rostock.
- ↑ Word omitted from the Dresden and the Rostock.
- ↑ Alternately: ponder, weigh, calculate, estimate, consider.
- ↑ Alternately: avenge, take full legal retribution.
- ↑ Alternately: straight, upright, properly.
- ↑ D. schüczen, R. behuetẽ.
- ↑ Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.
- ↑ Alternately: part, piece.
- ↑ aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .
- ↑ 45.0 45.1 45.2 45.3 Word omitted from the Salzburg.
- ↑ Likely a scribal error and should be "his".
- ↑ "The opening" omitted from the Salzburg.
- ↑ S. "the over- or under-hew".
- ↑ Possibly "it".
- ↑ S. vß gestreckten: "outstretched".
- ↑ Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.
- ↑ This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.
- ↑ Rostock begins again at this point.
- ↑ "Cut" omitted from the Dresden.
- ↑ S. "Item".
- ↑ 56.0 56.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).
- ↑ S. "if".
- ↑ S. "his".
- ↑ S. "the".
- ↑ S. "where he shall guard himself".
- ↑ D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.
- ↑ "Stand with… shoulder, and" omitted from the Dresden.
- ↑ D. "thwart".
- ↑ 64.0 64.1 Alternately, wiederhalten: to struggle or resist.
- ↑ Word omitted from the Glasgow, the Rostock, and the Salzburg.
- ↑ "Or otherwise" omitted from the Salzburg.
- ↑ "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.
- ↑ Clause omitted from the Dresden; struck out in the Rostock.
- ↑ Clause omitted from the Dresden and the Rostock.
- ↑ R. "wind".
- ↑ "With the over-hew" omitted from the Glasgow.
- ↑ R. unternn: "lower".
- ↑ "Next to" omitted from the Rostock.
- ↑ Glasgow adds albeg: "always, continually".
- ↑ Or "connects"; alternately: rouses, stirs (ostensibly your opponent).
- ↑ "This is" omitted from the Glasgow and the Rostock.
- ↑ "Will strike" omitted from the Dresden.
- ↑ G. twerhaw: "thwart-hew".
- ↑ R. "wind".
- ↑ "Or left" omitted from the Glasgow.
- ↑ Everything from "and steal away" to the end of the sentence is omitted from the Dresden.
- ↑ Alternately: to turn around.
- ↑ "And strike in" omitted from the Dresden.
- ↑ D. "is".
- ↑ D. "right".
- ↑ D. mit auß: "with from".
- ↑ As a thief would break into a house.
- ↑ Word omitted from the Glasgow and the Rostock.
- ↑ Word is doubled in the Glasgow.
- ↑ annehmen: receive, accept, take up, assume, claim, obtain, etc.
- ↑ "Into the weak of his sword" omitted from the Rostock
- ↑ "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".
- ↑ "With upright arms… right shoulder" omitted from the Rostock.
- ↑ Clause omitted from the Dresden and the Glasgow.
- ↑ R. "pictured here".
- ↑ Word omitted from the Glasgow.
