Sigmund ain Ringeck/Sandbox

Select one or more fencing styles using the checkboxes below to view the associated treatises.

The number in brackets at the beginning of each translation box is a paragraph number assigned by Wiktenauer; clicking it will take you to the translation page. The numbers in brackets in the transcriptions with an "r" or "v" are manuscript folio numbers; clicking them will take you to original page scan with the transcription alongside for comparison. If you want to sort a column by number, click the black triangles in the table headers.

Whenever the Glasgow version mentions an illustration, the scan is included in the illustration column whether it has a picture or not. The Rostock version has no illustrations at all in this section, so it is not pictured when it mentions them.

Long sword
Illustrations Glasgow Version	Translations Draft Translation (2022) by Christian Trosclair Featured Translation (all versions) (2015) by Christian Trosclair Draft Translation (Dresden only) (2010) by Keith Farrell Incomplete Translation (Dresden only) (1999-03) by Jörg Bellinghausen and David Rawlings	Transcriptions Salzburg Version (1491) by Dierk Hagedorn Dresden Version (1504-19) by Dierk Hagedorn Glasgow Version (1508) by Dierk Hagedorn Augsburg Version (1553) by Werner Ueberschär Rostock Version (1570) by Dierk Hagedorn
Short sword
Illustrations None	Translations Incomplete Translation (Dresden only) (2003) by David Rawlings Incomplete Translation (Dresden only) (1999) by Jörg Bellinghausen	Transcriptions Dresden Version (1504-19) by Dierk Hagedorn Vienna Version (1512) by Dierk Hagedorn Rostock Version (1570) by Dierk Hagedorn
Mounted fencing
Illustrations Glasgow Version	Translations Draft Translation (Glasgow only) (2020) by Stephen Cheney	Transcriptions Dresden Version (1504-19) by Dierk Hagedorn Glasgow Version (1508) by Dierk Hagedorn

Illustrations	Draft Translation (2022) by Christian Trosclair	Featured Translation (2015) by Christian Trosclair	Draft Translation (Dresden only) (2011) by Keith Farrell	Incomplete Translation (Dresden only) (2003) by David Rawlings	Incomplete Translation (Dresden only) (2001) by Jörg Bellinghausen	Salzburg Version (1491)  Transcribed by Dierk Hagedorn	Dresden Version (1504-19)  Transcribed by Dierk Hagedorn	Glasgow Version (1508)  Transcribed by Dierk Hagedorn	Augsburg Version (1553)  Transcribed by Werner Ueberschär	Rostock Version (1570)  Transcribed by Dierk Hagedorn
	[1] Here begins the interpretation of the recital. In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.	[1] 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 time known as fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of the Rhine and Herzog of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.	[1] Here begins the explanation of the epitome. In which lies recorded the knightly art of the longsword, composed and formed by Johannes Liechtenauer, who was a great master in the art, may God be merciful to him. He wrote the markverses with deep and hidden words, so that the art would not be widely known. And these deep and hidden words have been by Master Sigmund ain Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Count Palatine of Rhine and Duke of Bavaria, recorded and explained in this little book which now follows, so that every fighter who otherwise can fight, shall be able to take these and understand them.	[1] This is the beginning of the interpretation of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmeister of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phrasings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmeister of Albrecht, Count Palatine of Rhine and Duke of Bavaria.		[10v] Hie hept sich an die vßlegu~g der zedel In der geschriben stett die Ritterlich kunst des langes schwerts Die gedicht vnd gemacht hat Johannes lichtenawer der ain grosser maiste~ in der kunst gewesen ist dem gott genedig sÿ der hatt die zedel laußen schrÿbe~ mitt verborgen vñ verdeckte~ worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die selbige~ v°borgneñ vñ verdeckte wort hatt maister [11r] Sigmund ain ringeck der zÿt des hochgeborne~ fürsten vñ herreñ herñ aulbrecht pfalczgrauen bÿ Rin vñ herczog in baÿern schirmaiste~ Glosieret vñ außgelegt alß hie in disem biechlin her nach geschrÿben stät dz sÿ ain ÿede~ fechter wol verömen vnd vestan mag der da ande~st fechten kan etc~   ~	[22r] Merck die zettl / dar in geschribñ stett / die kunst des langen schwerch die Johannes liechtñawen hat lassen schreiben mit verporgen vnd verdachtñ wortñ / die w selbigñ wort hat Maist~ Sigmund Emring verklert vnd aus gelegt / als In diessem puech geschribñ stett vnd gemalt / vnd hat das gethon daru~b daz fu~rstñ vnd herrñ Ritter vnd knecht den die kunst zu gehõrt dester grosser lieb darzu habñ su~llen Anno dm~ 1508		[06r] Hie hebẽ sich an die Zedttel In den geschrieben stedt die Ritterlich kunst, des langen schwerdts die gedicht vnnd gemacht hat Johannes Liechtennaur der ein großer meister In der kunst gewesen ist. Dem gott gnedig sey, der hatt die Zedtel lasen schreiben mitt verborgen vnd verdackten wortten, darumb das die kunst nicht gemeyns solt werden, vnd dieselbigen verborgen vnd verdagkten worten der Zedtel, Die hat meister Sigmundt Einring zu derselbigenn zeit des hochgeboren fursten vnd herren herren Albrechts Pfaltzgraff bey Rein vnd hertzog in Bayernn schiermeister gewesen ist, also glossirt vnnd ausgelegtt, als sie den in diesem buchlein hernach geschrieben, vnd gemalt stehnn, das sie ein Jeder fechter wol vernemen vnd verstehen mag, der da anderß recht fechten kan.
	[2] The foreword of the recital. 1 Young knight learn  To have love for god, honor women 2 So that you expand your honor.  Practice Knighthood and learn 3 Art that decorates you  And in war exalts you with honor. 4 Use the good grips of wrestling,  Lance, spear, sword, and messer 5 Like a man  And render them useless in other's hands. 6 Attack suddenly and storm in,  Keep rolling, engage or let pass. 7 Thus the intellectuals hate him,  Yet this one sees glories. 8 Hold yourself to this:  All art has a time and place.	[2] The foreword of the Recital 1 Young knight, learn;  Loveth god; furthermore honor women 2 Thus cultivate your honor.  Practice chivalry and learn 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. 6 Hew therein, charge there;  Rush onwards, hit or let drive. 7 Those maturing in this wisdom,  This one sees praises. 8 Hold yourself to this:  All art has length and measure.	[2] Foreword to the epitome. 1 Young knight, learn  to always honour women, and love God, 2 so increase your honour.  Practice chivalry and learn 3 arts which improve you  and in the battle bring honour. 4 Wrestle well, understand the lance,  spear and sword and use the knife 5 like a man. 6 Cut fiercely!  Storm forwards: Hit or miss; 7 The well-experienced hate that  which seeks to cut them. 8 This you shall understand:  all arts have length and measure.	[2]		Die vor red der zedel ~ Jungk ritter lere Got liebhaben fröwen ia ere so wöchse dein are ere Kunst die dich ziert In kriegen zu° ern hoffiert [11v] Ringes gütt fesset Glefen sper schwert vnd messer / manlich bederben Haw drin hart dar Rausch hin triff ode~ las farñ daß in die wÿsen / hassen den man sicht brÿsen Daruff dich fasse / alle kunst haben lenge vñ masse ~~~  ·:·~			Das Ist die vorredt. Junckh Ritter lere got lieb haben, frauen so ehre so wechst dein Ehre vber Ritterschafft vnd lehre kunst, die dich ziertt vnd In kriegen Zw ehren hoffirt, Ringens gut Fesser Gleffen Spern schwerdt vnd messer manlich bederben, vnnd In andern henden verderben, Haw drein, vnnd huet dar rausch hin trieffe oder laß farenn das in die weissen hasen, den man sicht preisn darauff dich fasse, alle kunst hab ein leng vnd masse.
	[3] 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 cutting 10 And left with right  That is, if you desire to fence strongly. Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then accompany the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.	[3] 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.	[3] Many good general lessons about the longsword. 9 If you would like to see skill,  see that you go to the left then right with the cuts. 10 And left with right,  if you want to fight strongly. Glosa. This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight strongly and correctly. When you want to cut from the right side, stand with your left foot forwards; and when you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards the other side, in front of the left foot.	[3]  Note: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side.		Das ist der text von vil gu°tter gemainer lere des langen schwerts Willtu kunst schowen Sich linck gen vñ recht mitt hawen Vñ linck mitt rechtem / ist dz du starck gerst fechten :· Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du die hew võ baÿden sÿtten recht solt lernen hawen Ist dz du annders starck vñ gerecht fechten wilt Dz ver nÿm allso Wenn du wilt howe~ von der rechten sÿtten So sich dz dein k lincker fu°ß vor stee Vñ wenn du wilt howe~ võ der lincken sÿtten so sich dz dein rechter fu°ß vor stee Haw Häustu dann den ober haw° von der rechten sÿtten so folg dem haw nach mitt dem rechten fu°ß tu°st du dz nicht / so ist der how falsch vnd vngerecht wann dein [12v] rechte sÿten pleibpt dahinden Daru~ ist der haw zu° kurcz vñ mag sein rechten gang vndersich zu° der rechten sÿten andere~ sÿtten vor dem lincken fu°ß nicht gehaben			[06v] Das ist der Textt von viel gutten gemeinen lere des lang~ schwerdts. Wiltu kunst schauen sich lingck gehen vnd recht mit hauen vnd ling mitt rechten ist das du strackh [sic] begerst fechten. Glosa. Merck das ist die erste lere des langen schwerdts, das du die hew von beyden seitten recht solst lernen hauen, Ist das du anderst starck vnnd gerecht fechten wilt, das vernym also wen du wilt hauen, von der rechten seiten, so sich das dein lingker fueß vorstee, vnnd wen du wilt hauen, von der lincken seytten so sich das dein rechter fuß vorstee, hastu dan den vberhaw von der rechten seiten, so volge dem haw nach, mit dem rechten fuß, thustu das nicht so ist der haw falsch vnd vnrecht, wenn dein rechte seiten bleibet dahinden, darumb ist der haw zw kurtz vnd mag seinen rechten ganng vnder sich zw der andernn seiten vor dem lincken fueß nicht gehaben,
	[4] The same when you cut from the left side and [you] do not accompany the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you accompany the cut with the same foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.	[4] 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.	[4] Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of your techniques correctly and with strength. And in the same way should all the other cuts be performed.	[4] If you strike from the left side and you do not follow the blow, it too is wrong,. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.		Des glÿchen wenn du haw°st von der lyncken sÿtten vnd dem haw nicht nachfolgest mitt dem lincken fu°ß so ist der haw° och falsch Daru~ so merck von welcher sÿtten du haust / dz du mitt dem selbige~n fu°ß haw° nachfolgest so magstu mitt sterck alle dein stuck gerecht trÿbeñ Vnnd also süllen alle andere hew° [13r] och gehawen werden ~:·			deßgleichen wen du haust von der lincken seiten, vnd dem haw nicht nach volgest mit dem lincken fueß, So Ist der haw auch falsch, Darumb so merck von welcher seitten du hawest, das du mit dem selbig~ fueß, dem haw nachvolgest, so magstu mit stercke alle deine stucke gerecht treiben, vnd also sollen all ander hew auch gehauen werdenn.
	[5] Again, the text about a lesson 11 Whoever chases after cuts  They permit themselves little opportunity for art. 12 Cut from close proximity whatever you wish  No change gets past your shield 13 To the head, to the body  Do not omit the stingers 14 With the entire body  Fence whatever you desire to conduct with strength. Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themselves little opportunity from art because they often become struck with it.	[5] 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. 14 With the entire body fence  Whatever you desire to conduct strongly. Gloss. Note, this is 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.	[5] A further lesson 11 He who goes after the cut,  receives little joy from his skills. 12 Cut closely, then do what you want  so he cannot to change-through your defence. 13 Strike to the head, to the body,  do not refrain from swift strikes. 14 Fence with the whole body  if you want do this with strength. Glosa. When you come against him in Zufechten you shall not await his attack, and neither shall you wait to see what he is thinking about doing to you. All fencers who are hesitant and wait for the incoming attack, and do nothing other than to ward it away, they gain very little joy from this sort of practice because they are often beaten.	[5]  When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often.		Der text aber võ aine~ lere Wer nach gat haw°en / der darff sich kunst wenig fröwen Haw nachent waß du wilt kain wechsel kumpt in dein schilt Zu° koppff zu° lÿbe / die zeck nicht vermÿde / mitt ganczem lÿb ficht waß du strarck gerst zu° trÿben :· Glosa Wenn du mitt dem zu°fechten zu° im kumpst so solt du vff sein hew nicht sechen noch warten wie er die gegen dir trÿbt wann alle fechte~ die do sechen vñ warten vff aines anderen hew Vnnd wellend anderß nichtß nicht~ thon [13v] dañ verseczen die durffen sich söllicher kunst wenig fröwen wann sÿ werden do bÿ offt geschlagen			Der Textt aber von einer Lehre Wer nach gehet hauen der darff sich kunst nicht frewen Haw nahet was du wilt, kein wechseler kombt an den schildt zw kopff zw leib die zeckrur nicht vermeydt, mit gantzem leyb ficht was du starck begerest zw treybenn. [07r] Glosa. Mercke das ist wen du mit dem zufechten zw im kumbst, so soltu auff sein hew nicht sehen auch noch wartten, wie ehr die gegen dir treybtt wenn alle fechter die da sehen vnd wartten, vff eines andern hew, vnnd wöllen anderst nicht thun, wen versetzen die bedurffen sich solcher kunst wenig freuen wann sie werden dabey offtt geschlagen.
	[6] Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.	[6] Item. You shall 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).	[6] Always fight with the strength of the whole body! Cut close into him, to the head and to the body, so he cannot change-through in front of your point. And when the cut ends up in the bind you shall not hesitate but shall quickly and fluently make attacks against the nearest opening, using the five strikes and other techniques that will be described later.	[6] Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques.		Item du solt mercken alles dz du fechten wilt dz trüb mitt ganczer störck deines lÿbs Vnnd haw im do mitt nahent ein zu° kopff vñ zu° lÿb so mag er vor dinem ort nicht durch wechslen Vñ mitt dem haw° solt du im den anbinden des schwerts der zek zeckru°re nicht vermyden zu° der nächsten blöß di dir hernach in den fünff hewen vnd in anderen stucken vßgericht [14r] werden ~~ :·			Item merck alles was du fechten wilt, das treib mitt gantzer sterck deines leybes, vnnd haw im damit nahẽt zw dem kopff, vnd zu dem leyb, So mag ehr von deinem ort nicht durch gewechselnn vnd mit dem haw soltu in dem anbinden des schwerdts der Zweck rur nicht vermeydenn zẅ der negsten blöße die dir hernach in denn funff hewenn vnd In andern stucken ausgericht werdenn.
	[7] Again, a lesson. 15 Hear what is bad.  Do not fence lefty from above if you are a righty 16 And if you are lefty,  In the right [you] are also severely hindered. Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish.	[7] 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).	[7] Another lesson. 15 Hear what is bad,  do not fence from the left if you are right-handed, 16 and if you are left-handed,  you are weak from the right. Glosa. This lesson applies to two types of people: those who are left-handed and those who are right-handed. When you come against him in Zufechten, if you are right-handed and want to strike him, you must not throw your first cut from your left side. That is because this is weak and cannot bring strength to bear if he binds the strong of his blade against you. Therefore, cut from your right side, so you can be strong and skillful in the bind and can do as you will.	[7]  Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like.		aber ain lere Höre waß du schlecht ist / ficht nitt oben linck / so du recht bist Vñ ob du linck bist Im rechte~ auch ser hinckest ·: Glosa Mörck die lere trifft an zwu° personen aine~ lincken vnd ain grechten / vñ mainest den man zu° schlagen So haw° den ersten haw° Das vernÿm also.  Wann du mitt zu° fechten zu° im kumpst Bist du dann gerecht vñ mainest den man zu° schlachen So haw den erste~ haw° nicht von der lingen sÿtten Wann der ist schwach vnd magst damitt nicht [14v] wider gehalten wann man dir starck daruff bindt Darum so haw der rechten sÿtten / so magst du starck am schwert mitt kunst arbaÿten waß du wilt			Aber ein lehre. Hor was da schlecht ist ficht nit oben lingck so du recht bist, vnd ob du lingck bist im rechten auch sere hinckest, Glosa. Merck die lehre trifft an zwo p~son einem lingcken vnd einem rechten, vnd das vernym also wen du mit zufechten zw im kumbst, bistu den gerecht, vnd meinst, den man zu schlagen, so haw den ersten haw nicht, von der lincken seyten wan ehr ist schwach vnd magst damit nit wyderhalten wan man dir starck darauff bindt darumb so haw von der rechten seiten so magstu starck am schwerd mit kunst arbeiten was du wilt,
	[8] The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.	[8] 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.	[8] Similarly, if you are left handed, do not cut from the right, because the art is pointless when a left-hander tries to fence from the right side. Likewise this statement applies to a right-hander fencing from the left side.	[8] So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa.		Des gelichen Bist du linck so haw° och nitt von der rechtt~ wenn die kunst ist gar wild aine~ lincken ze triben von der rechten sÿtten Des glich ist es och aine~ rechten von der lincken sÿtten ~			desgleichen bistu linck So haw auch nicht von der rechten seiten, wann die kunst ist gar wildt einem lincken zu treyben, vor der rechten seiten desgleichen ist sie auch einen rechtem von der lincken hanndt.
	[9] This is the text and learn a lesson about before and after. 17 Before and After, the two things  Are the singular origin of the entire art. 18 Weak and strong  Indes, note them with this word 19 So that you may learn  To work and ward with art. 20 Whoever frightens easily  Never learns to fence. Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing. Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.	[9] 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. 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.	[9] A lesson about "Before" and "After". 17 "Before" and "After", these two things,  all other skills spring from these. 18 "Weak" and "Strong",  "Instantly", mark well these words. 19 So you can learn  to work skillfully and defend yourself. 20 If you become gentle and timid,  you will never learn anything about fencing. Glosa. Mark well that more than anything else you must understand "Before" and "After", because these two concepts are the grounding from which all fencing comes. Mark also: "Before" means that you shall always perform a strike or thrust against his openings, before he does the same to you. Then he must defend against you! And work deftly both in the defence and in moving your sword from one opening to another, so he cannot have the chance to perform his own techniques between yours. But if he rushes in close to you, deal with him through wrestling.	[9]  Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, preempting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling.		Daß ist der text vñ lere ain lere von vor und nach Vor vñ nach die zwaÿ dinck / sÿnd aller kunst ain vrsprimg Schwöch vñ störck /In/des/ daß wort domitt mörck So magst [15r] du leren mitt kunst arbaiten vñ wereñ Er schrickstu gern / kain fechten nim~er lern gelerñ ·: Glosa Merck dz ist dz du vor allen sachen wol solt verston daß vor und daß nach / wann die zwaÿ ding sind ain vrspru~g do alle kunst des fechtenß außgät Daß vernÿm also Daß for das vor daß ist dz du all weg solt vorkum~en mitt aine~ haw° ode~ mitt aine~ sch stich Im zu° der blöß Ee wann er dir zu der deinen so mu°ß er dir verseczen / so arbaÿt in der versachung behentlich für dich mitt dem schwert [15v] von ainer be blöß zu° der andere~ so mag er vor deiner arbaÿt zu° seine~ stucken nicht kom~en Aber laufft er dir ein eÿnn So kom~e fo vor mitt dem ringen ~~~≈~~~~~~~
	[10] Here note that which is called the after. Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you. Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play.	[10] 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.	[10] Mark, that which is called "After". Mark, that if you cannot come in the "Before", wait for the "After". This will defeat all techniques that he does against you. When he comes at you so that you must defend yourself against him, so work deftly "in the Instant" with your defence against his nearest opening, so strike him before he can finish his technique.	[10] "After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement "simultaneously" (Indes) and from the bind, strike immediately at his nearest opening.		Hie mörck was da haÿsst daß nach Mörck magstu zu° dem vor nitt kom~en So wart uff dz nach dz sÿnd die brüch uff allen stu°ck die er vff dich trÿbt Das vernÿm also Wann er vorkumpt daß du ihm verseczen mu°st So arbait mitt der versäczung / Indes behentlich für dich zu° der nächsten blöß So triffestdu in ee Wann [16r] er sein stuck verbringtt
	[11] Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword. And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.	[11] 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 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.	[11] Thus you win the "Before" and he is left in the "After". You shall also know how you can use "the Instant" against his "weak" and "strong" parts of the sword. From the hilt of the sword to the blade's centre the sword is "strong", and with this you can meet against his blade when you bind against it. And further, from the middle to the point the sword is "weak", which should not be brought against his blade. And when you really understand these things you can work skillfully and defend yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in play and earnest. But if you become frightened easily you should not learn fighting arts, because a weak and frightened heart—it does not help you—it defeats all of your skills.	[11] So you win the "before" and he remains in the "after". Also, you should – during the "before" and "after" – notice "simultaneously" (Indes) how you can "work" against the strong or the weak of his sword. This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well. Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated, regardless of all skill.		Also gewinstu aber dz f vor Vñ er blÿpt nach Auch soltu in dem vor vñ nach mörcken wie du mitt wort /in des/ arbaitten solt nach der schwech vnd nach der störck seines schwertß Vnd das vernÿm Also Von dem gehulcze des schwerts by biß in die mitten der clingen Hatt dz schwert fin sin störcke dar mitt du wol magst wide~ gehalten wann man dir dar an bindt Vñ fürbaß von der mitt biß an den ort hat es sein schwöch da magst nitt nicht wider [16v] gehalten Vñ wenn du die ding recht verstest So magstu mitt kunst wol arbaitten vñ dich darmitt wören vñ fürbaß lerne~ fürsten vñ her~eñ dz sÿ mitt der selbige~ kunst wol mügen besten In schim~pff vñ in ernst Aber erschrckstu gern so saltu die kunst des fechtens nitt lerne~ Wann ain blöds verzags hercz dz tu°t kain gu°t wann es wirt bÿ aller kunst geschlagen ~  ~  ~
	[12] The text of the five cuts 21 Learn five cuts  From the right hand, whoever invests in these, 22 We swear to them  To gladly pay them back in skills. Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themselves against you in defense. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.	[12] This is the text of the five hews 21 Learn five hews  From the right hand against the defense. 22 We happily consign them  To the rewards in the Arts. Gloss. 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, 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.)	[12] The Five cuts. 21 Learn five cuts from the right hand.  He who can defend himself with these, 22 he should be praised,  his skill rewards him well. Glosa. Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about. You will learn not to strike any other cuts when you come from the right side against one who stands against you in defence. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who can counter with these against an opponent without being hurt will be praised by the master of the markverses, and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.	[12]		Der text võ den fünf hewen Fünff hew° lere von der [17r] rechten hand Wer dz wäre dem wir geloben / in kunsten gern zu° lonen ~:· Merck die zedel seczt fünff verborgne hew° Da von vil maiste~ des schwerts nicht wissen zuo zu° sagen Die soltu anders nicht lerne~ hawen wann võ der rechten sÿtten gege~ dem der sich gegen dir stöllet zu° der were Vñ versu°ch öb du mitt aine~ haw vsß den fünffen den man mitt dem ersten schlag mügest treffen Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt Von dem maiste~ der zedeln daß im siner kunst [17v] bas gelonet soll werde~ dann aine~ andern fechtern der wÿde~ die funff hew nicht fechten kann Vñ wie du die fünff hew howen solt / dz fündest du in den selbigen funff hewen her nach geschriben /			[07v] Das ist der Text von denn funff hewenn. Funff hewe lehre von der rechten hanndt wyde[r] die wehre dem wir geloben in kunsten geren zu lohnn. Glosa. Merck die zedtel setz verbo[r]gen hew daruon viel meister des schwerdts nit wissen zu sagen die soltu anderst nicht lerne[n] hauen wan von der rechten seytten gegen de[n] der sich gegen dir stellet zur wehre vnnd ve[r]such ob du mitt einem haw aus denn funff[?] den man mit dem ersten schlag mugst treffe[n] wer dir die brechen kan, an sein schaden den soll wirt gelobett vonn dem meister der zetel da[s] im sein kunst böß gelonet sol werd~, wen einem anndernn fechter der wider die funff haw nit fechtenn kann, vnnd wie du die funf hew hawen solt, das vindestu hernach geschribenn.
	[13] This is the text of the plays of the recital 23 Wrathcut Crook and Cross,  If the Eye Cocker keeps with the Parter, 24 The Fool parries.  Pursuing, Overrunning, places the attack 25 Disengage, Suddenly withdraw,  Rush through, cut off, press the hands 26 Tilt and Turn to uncover with  Slash, catch, sweep, stab to clash with Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them. They are seventeen in number and begin with the five cuts	[13] 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.	[13] The techniques of the markverses. 23 Wrath strike, crooked strike, crosswise,  squinting, with Parting 24 breaking the Fool,  follow after, go over, 25 cut, change through, twitch,  rush in, slice, press the hands, 26 hanging guard, and with openings,  strike, catch, sweep and thrust with the point. Glosa. Here are listed the correct and most important techniques in fighting with the longsword, they are named specifically so that you may understand them better. They are seventeen in number and begin with the five cuts.	[13] Overview of The Fighting Techniques Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen techniques and they start with the five strikes.		Das ist der võ den stucken de~ zedeln Zorn haw · krump · zwerch hat Schiller / mitt schaittler Alber verseczt / nachraÿsen Vberlauff hav haw seczet Durch wechsel zuck durch lauff abschnide / hende dn druck / heng vñ mitt blössen schlach vach streÿch sch stich mitt stossen ~·:·~ Glosa [18r] Mörck hie werden genampt die rechten haüptstucke der kunst deß langen schwerts wie ÿettlichs besunde~ haist mit dem namen / daß du die dester baß ver sten kündest Der ist sibenzechen an der zal Vnd heben sich an den funff hewen an / ~~ Item num nun mörck der erst haw haist der zorn haw Der ander der krump haw Der drit der zwer haw Der viert der schill haw Der funfft der schaittel/haw Der sechst daß sind die vier
	[14] Another. Now note the first cut called the wrath-cut The second the crooked cut The third the crosswise cut The fourth the cockeyed cut The fifth the scalp-cut The sixth this is the four guards The seventh the four parries The eighth Pursuing The ninth the overrunnings The tenth the displacements The eleventh disengaging The twelfth yanking back The thirteenth the rush throughs The fourteenth the cut offs The fifteenth the hand presses The sixteenth the hangings The seventeenth this is the winds	[14] 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	[14] The first cut is called the wrath strike, the second is the crooked strike, the third is the crosswise strike, the fourth is the squinting strike, the fifth is the parting strike, the sixth: these are the four guards, the seventh is the four displacements, the eighth is travelling after, the ninth is the over reaching, the tenth is the setting aside, the eleventh is changing through, the twelfth is the twitching, the thirteenth is the running through, the fourteenth is the cutting], the fifteenth is the hand pressing, the sixteenth is the hanging, the seventeenth: this is the windings.	[14] 1. The first strike is the strike of wrath (Zornhau) 2. The second one is the "crooked strike" (Krumphau) 3. The third one is the Zwerchhau 4. The fourth one is the squinting strike (Schielhau) 5. And the fifth one is the "parting strike" (Scheitelhau) 6. Sixth there are the four basic guards 7. Seventh there are the four techniques of displacement (Versetzen) 8. Eighth there is the Nachreissen ("Traveling after") 9. Ninth there is the Overrunning (Ueberlaufen) 10. Tenth there is the setting aside (Absetzen) 11. Number eleven is the changing through (Durchwechseln) 12. The twitching (Zucken) 13. The running through (Durchlaufen) 14. The cutting off (Abschneiden) 15. The pressing of the hands 16. The "Hanging" 17. And finally there is the Winding		[18v] hütten Das sÿbent die vier verseczen Das acht die nachraisen Das neindt die überlauffen Das J zechend die abseczen Daß aÿlfft daß durchwechßlen Das zwülfft daß zucken Daß drÿzehend die durchläuffen :/ daß vierzehend die abschnÿden : daß funffzehend die hend trucken Daß sechzehend die hengen Daß sibenzehend · daß sind die winden
	[15] And how you shall uncover with the hanging and winding and how you shall conduct all the forenamed plays, you find that all written hereafter.	[15] 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.	[15] And how you will perform the hanging and windings, and how you shall perform all these named techniques, all this you will find written hereafter.	[15]		Vnnd wie du dich mitt den heng~ und winden enplösen solt Vnd wie du alle vorgenampte stuck trÿben solt daß vindestu alles her nach geschriben ~  ~ ~ ~ :·
	[16] This is the wrath-cut with its plays 27 Whoever cuts at you from above,  The wrath-cut point threatens them Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.	[16] This is the wrath-hew with its plays 27 Whoever hews over 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 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).	[16] Do the Zornhau with these techniques. 27 That which cuts from above,  the Zornhau threatens him with the point. Glosa. When someone cuts against you from above from their right side, so cut with a strong Zornhau (wrath strike) with the long edge from your right shoulder. If he is weak in the bind, thrust in with the point along his blade to his face, and threaten to stab him.	[16] The Fighting Techniques: The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade.		[19r] Das ist der zorn haw° mitt sinen stucken ~ Wer dir ober haw°et Zor haw ort im dröwet ·: Glosa Daß vernÿm also Wann dir ainer von siner rechten sÿtten oben oben [!] ein hawet so haw ainen zorn haw mitt der langen schnide~ och von diner rechte~ achslen mitt im starck ein Ist der dann waich am schwert / so schüß Im den ort für sich lang ein zu° dem gesicht Vnnd träw im zu° stechen ·~·:·~·			Das ist der Zornhaw mitt seinenn stuckenn. Wer die oberhawet Zornhaw ort dm~ trauwet. Glosa. Das vernim also, wenn dir einer vonn seiner Rechtenn seiten obin inhawet, So haw einenn Zorenhaw mit der lanngenn schneyden auch vonn der rechten achselnn mit Im starck, Ist er dann waich am schwert, So scheus im den ort fursich, lanng im zu dem gesicht, vnd dro Im zu stechenn, als hernach am nechsten gemachtt stehet.
	[17] Yet another play from the wrath-cut 28 If they become aware of it,  Then take off above without concern Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.	[17] Again a play from the wrath-hew 28 If he becomes aware of it,  So take-off above without driving. Gloss. This is when you shoot-in the point with the wrath-hew (as stands done before next to this): if he then becomes aware of the point and displaces the thrust with strength, so back-off 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).	[17] Another technique from the Zornhau. 28 If he recognises this,  so lift off above without danger. Glosa. When you thrust after a Zornhau and he becomes aware of the point and strongly defends against the thrust, twitch your sword up, over and away from his sword and cut him on the other side of his sword up into his head.	[17]  When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade.		Aber ain stuck vß dem zorn haw° Wirt er es gewar So nÿms [19v] oben ab an far :· Glosa Wann du mitt dem zorn haw den ort ein schüst wirt er dann deß orts gewar vñ verseczt den stich mit störcke So ruck dein schwert übersich oben ab von dem sinen Vñ haw im zu° der andren sÿtten an sine~ schwert wider oben ein zuo dem kopffe ~~			Aber ein stuck aus dem Zornhaw. [08r] Wirtt es gewar, so nim obenn abe onefar. Glosa. das ist, wenn du Im mit dem Zornhaw denn ortt inschust, als vor am nechstenn gemachtt stet, Wirt er dan des orttes gewar, vnnd versetzt denn stich mit sterck So ruck dein schwert vbersich oben ab von dem seinen vnnd haw im zu der Anndernn seitenn ann seinẽ schwert wider oben in zu dem kopff als hie gemachtt stett.
	[18] Yet another play from the wrath-cut 29 Be strong in turn  And thrust. If they see it, take it again[sic] Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.	[18] Again a play from the wrath-hew 29 Be stronger back  And thrust. If he sees it, take it down Gloss. Note, this is when you cleave-in with the wrath-hew (as stands done before next to this): 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).	[18] Another technique from the Zornhau. 29 Become stronger against  and thrust! If he marks this, take it below. Glosa. When you cut in against him with a Zornhau and he defends himself and holds backs, strong against you in the bind, so become strong again against him in the bind and push up with the "strong" of the sword against the "weak" of his sword, and wind your hilt high in front of your head, and thrust down from above into his face.	[18]  When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above.		Aber ein stuck vß de~ zornhaw° Biß störcker wider / vnd sch stich sicht erß so nÿm es wider ·: Glosa Wenn du im mitt dem zornhaw° Inhaw°st verseczt er dir daß vñ pleibt dir damitt [20r] starck am schwert So bÿß gen im wider starck am schwert Vñ far uff mit der störck dines schwerts in die schwöchi sines schwerts vnd wind am schwert de din gehülcz f~ vorne~ für dein hopt haupt vñ so stich in oben zu° dem gesichte ~			Aber ein stuck aus dem Zornhaw. Bis stercker wider, vnnd stich, sihet ers so nim es nider. Glosa. Merck das ist, wenn du Im mit dem Zorenn inhawest, als vorn am nechstenn gemacht stet, Versetzt er dir das, vnnd bleibt dir damit starck am schwert, So biß gen Im wider starck am schwert, Vnnd far auf mit der sterck deines schwerts, Inn die schweche seines schwerts, vnnd winde am schwerte dein gehiltz, vorn vor deinem haupt, vnnd stich Im oben in zu dem gesicht als hie gemalt stet.
	[19] Yet another play from the wrath-cut When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.	[19] Again a play from the wrath-hew When you thrust-in high with the winding (as stands pictured 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).	[19] Another technique from the Zornhau. When you use the winding against him and thrust down from above—as mentioned already—and he pushes up high with the hands and uses the hilt to defend against your upper thrust, so stand in the winding and thrust your point downwards between his arms and chest.	[19]  When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast.		Aber ain stuck vß dem zornhaw° Wann du Im mitt dem winden oben ein stichst / alß vor stett / fört er den hoch vff mitt den henden vñ versetzt mitt dem gehülcze den obern sttich stich so plÿb alst also sten in dem winden vnd setz im den ort [20v] niden zwischen sinen armen vñ der brust ~ ~~			Aber ein stuck aus dem Zornhaw. Wenn du Im mit dem winden obein instichst, als vor gemalt stet, fert er dann hoch auf mit den hendenn, Vnnd versetzt mit dem gehiltz den oberstich. So beleib also stehenn in dem winden, vnnd setz im den ortt niden zwischen seinen armen ann die brust, als hie vnden gemalt stet.
	[20] A break against the taking off Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind strongly with the long edge from high towards their head.	[20] A break against the taking-off Note, when you bind with someone strongly on his 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 strongly with the long edge high to his head.	[20] A counter to the taking-away. When you bind strongly against him and he twitches away his sword up and over your sword and in the bind cuts against you on the other side of your sword to your head, so bind (strike) strongly with the long edge in against his head.	[20]  Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head.		Ain bruch wide~ daß abneme~ Mörck wenn du mitt ainem starck am schwert bindest Ruckt er dan sein schwert übersich oben abe von dine~ schwert vñ haw~t dir zu° der andere~ sÿtten am schwert wider eÿn zuo dem kopffe So bind starck mitt der langen schnÿden Im oben eÿn zu° dem kopffe ~~			Ein bruch wider das abnemenn. [08v] Merck du wenn du mit einẽ starck an sein schwert bindest, ruckt er dann sein schwert vbersich oben ab, vonn deinem schwert, vnd hawt dir zu der anndern seitenn am schwert wider in zu dem kopff, So wind starck mit der lang~ schneiden im oben in zu dem kopff.
	[21] Here note a good lesson. 30 Note this precisely:  Cut, thrust, guard; soft or hard, 31 Indes and before after[sic]  Without rush, your war is not hasty. 32 Whoever hunts the war  Above, will be exposed below. Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.	[21] Here note a good lesson 30 Note this precisely:  Cut, thrust, leaguer; soft or hard, 31 In-the-moment and drive-after[sic]  Without hurry. Do not rush your war: 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 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.	[21] A good lesson. 30 Note to train this:  cut, thrusts, guards—soft and hard. 31 "Instant" and "Before", "After" without hurry.  Do not seek close combat prematurely. 32 Those who aim for close combat  before they are ready, are cut down. Glosa. When one binds against your sword with a cut or thrust or anything else, you must find out whether he is soft or hard in the bind. And when you find this, you will "Instantly" know what is best to do, to attack him with "Before" or "After". But in the attack you shall not be too hasty to go into close combat, because close combat is nothing other than the windings in the bind.	[21]  You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.		Hie mörck ain gu°tte lere Das öben mörck / Haw stich leger waÿch oder hört In des vñ fär nach / on hurt dein krieg sich [21r] nicht gäch Weß der krieg ri riempt oben nÿder wirt er beschämpt ·: Glosa Daß ist dz du gar eben mörcken solt wann du dir aine~ mitt ainem haw~ oder mit aine~ stich oder sunst an din schwert bintt bindet ob er am schwert waich oder hört ist vñ wenn du das enpfunden hast So solt du /In das/ wissen welchses dir am beste~ sÿ ob du mitt dem vor oder mitt dem nach an in hurten solt Abe~ du solt dir mitt dem an hurten nicht zu° gauch laussen sÿn mitt dem krieg wenn der krieg ist nicht anders dann die winden am [21v] schwert			Hie merck ein gute lehre. Das eben merck hew stich leger weich oder herte Jun ger [sic], vnd far nach an hürt dein krieg, sey nit goch, wes der krieg remet oben nider, wirt er beschemet. Glosa. Das ist, das du gar ebenn mercken solt, wẽ dir einer mit einem haw oder mit einem stich, oder sonst ann dein schwert bindet, ob er am schwert waich oder hert ist, vnnd wen du das empfunden hast, So solt in dan wissen, welches da am besten sey, ob du mit dem vor, oder mit dem nach arbeiten solt, aber du solt dir damit nit zu goch lassen sein, mit dem krieg, wen der krieg nit anderst ist, wen das windenn am Schwert.
	[22] Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.	[22] 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.	[22] Perform close combat like this: when you cut against him with a Zornhau, when he defends himself quickly, you shall go up in an orderly fashion with the arms and wind against his sword with your point in against the upper opening. If he defends against this thrust, stand in the winding and thrust with the point into the lower openings. If he follows further after the sword in self defence, go under his sword with the point through to the other side and hang your point over in against the other opening on his right side. In this way he will be cut down in close combat both above and below, because you (unlike he) can perform the movements correctly.	[22] In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under – "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.		Item den krieg trÿb also Wam [!] du Im mitt dem zorn haw~ In haw~est Alß bald er dann verseczt so far wol vff mitt den armen vñ wind im den ort am schwert ein zu° der obern blöß verseczt er denn den stich So blÿb sten in de~ winden vñ stich mitt dem ort die vnder blöß folgt er dann fürbaß mitt der versaczu~ge dem ss schwert nach so far mitt dem ort vnde~ sÿn schwert durch vñ heng im den ort oben ein zu° de~ andere~ blöß sine~ rechten sÿtten Also wirt er mitt dem krieg oben vñ vnden beschämpt Ist daß du die ge/ [22r] fört andrest recht kanst trÿben ~			Item denn krieg treib also, wenn du Im mit dem Zornhaw inhawest, als bald er denn versetzt, so far wol auf mit denn Armen, vnnd windt im den ort am schwert in zu der obern bloß, versetzt er dan den stich, so beleib sten in dem winden, vnnd such mit dem ort die vntern bloß. Volgt er dann furbas mit der versatzung deinem schwert nach, so far mit dem ortt vnter sein schwert durch, vnd heng Im denn ort oben [09r] in zu der anndern ploß seiner rechten seiten, also wirt er mit dem krieg oben vnd vnden beschemet, ist das du du [sic] gefert anders recht kannst treybenn.
	[23] How one shall properly find cuts and thrusts in all windings 33 In all winding  Learn to properly find cut, thrust. 34 You shall also with that gauge,  cut, thrust or slice 35 In all encounters  Of the masters, if you wish to dishonor them. Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themselves against you.	[23] 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. Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut. 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. Remember this in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.	[23] How one in all windings shall find correct cuts and thrusts. 33 In all windings  learn correctly to find the cut and the thrust. 34 You shall also test  with cut, thrust or slice, 35 in all fights  if you want to beat the masters. Glosa. That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind, you shall become immediately aware of which the three will work best for you to use. This is so that you do not cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also: if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves against you.	[23]		Wie man In allen winden hew° stich recht vinden sol ~ In allen winden hew stich recht lern finden Auch soltdu mit brüch brüffen / hew stich oder schnitt In allen treffen den maistern wilt du sÿ effen ·: Glosa Daß ist daß du in allen winden hew stich vñ schnitt recht finden solt Also wenn du windest dz du da mitt zu° handt solt brüffen weches dir vnder den de drÿen daß best sÿ zu° triben al also dz du nicht hav~est wann du steche~ solt vñ nit schnidest wañ du hawen solt vñ nicht stechest [22v] wann du schniden solt Vñ mörck wan man dir der aÿnes verseczt dz du in mitt dem andern treffest Also / versecz man dir den stich so trÿb treÿb den haw° Laufft man dir eÿnn so treÿb den vndern schnitt In sin arm des morck in allen treffen vñ anbinden der schwert wilt du anderst die maister effen die sich wider dich seczen ~~ : ~ :·			Wie mann in den winden hew, stich gerech[t] findenn sol. Inn allenn windenn hewen stich, schnit recht lere find[ẽ] auch soltu mit prufen hew, stich, oder schnit, in allen treffenn denn Meisten, wiltu sin effen. Glosa. Das ist, das du in allen windenn, hew stich vnnd schnit recht findenn solt, Also wenn du windest, das du damit zu hand prufen, welches dir vnter den treyẽ das beste sey zu treybenn, der hew, oder stich, od~ schnit, also das du nit hawest, wen du stechenn solt, Vnnd nit schneidest, wenn du hawen solt. Vnnd merck, wen man dir der eins versetzt, das du In mit dem andern triffest, das merck in allen treffen, vnnd anbinden der schwert, wiltu anders die meister effen die sich wider dich setzenn.
	[24] 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 opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themselves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.	[24] 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 the left side 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 with following-after, and also with the winding upon the sword, and otherwise with all techniques, and do not pay attention 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.	[24] The four openings. 36 Learn four openings,  aim to strike these with safety, 37 without any risk,  without doubt about what he can do. Glosa. Here you will learn about people's four openings, against which you will always fence. The first opening is on the right sight, the second on the left side, above the man's belt. The other two are likewise on the right and left sides under the belt. Always pay attention to the openings in Zufechten. His openings you shall skillfully seek without danger: with thrusts with the the outstretched point, with travelling after and with all other techniques. And do not pay heed to what he tries to do with his techniques against you, but fence with belief and throw strikes that are excellent and that do not allow him to come at you with his own techniques.	[24]  These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques.	[17r] Item du solt wissen welche ploß der man gegen dir entplost der selben ploß reme künlichen an var mit ÿn schissen des langen ortz vnd mit noch riessen vnd mit winden am schwertt [17v] vnd auch süns mit namen allen gefertenn vnd acht nicht wie er mit sinen gefertem gegen dir gebare so schlechstu In gewisß ~	Von den vier blossen Vier bloß wisse / rem so schlechstu gewisse an alle for / on zwifel wie er gebar ·: Glosa Hie soltu morcken die vier blossen an dem man da du all wegen zu° fechten [23r] solt Die erst bloß ist die recht sÿtt seÿtt die ander ist die link seÿtt oberhalben der girtel deß manß Die ander zwuo sind och die recht vnd die linck seÿtten vnderhalben der girtel Der blossen nÿm eben war in dem zu°fechten mitt welcher er sich gege~ dir enblösse der selbigen reme künstlichen on far mitt einschiessen des langen orts mit nachraisen vñ sunst mit allen geförten vñ acht nitt wie er mit sÿne~ geförten gegen dir bar gebar So vichtest du gewisß vnnd schlechst schlege daruß die do treffenlich sind vnd lau laust in domitt zu° seine~ stucken nitt komen ~~~ :  ~			Vonn denn vier blossenn. Vier blosse wiß reine [sic], so schlechstu gewiß ann aller var, one zweifel wirt er gewar. Glosa. Hie soltu merckenn die vier blossenn ann dem man da du alleweg zu fechtenn solt, die erste bloß ist, die recht seytenn, die ander die linck oberhalb der gürtel des mans, die anndernn zwo sind auch die recht, vnnd die linck seyt vnterhalb der gürtel. Der blossenn [09v] nim ebenn war in dem zufechtenn, mit welcher er sich gegenn dir emplöst, derselbenn reine [sic] kunlich an far mit inschiessenn des langenn orts mit nachreysenn, Vnd auch mit denn Winden am schwert, vnnd sonst mit allenn gefertenn, vnnd Achte nicht, wie er mit seinenn geferttenn gegenn dir gepar. So fichstu gewiß, vnnd schlechst schleg daraus die da treflich sindt, vnnd lest in damit zu seinenn stucken nicht kummenn.
	[25] The text and the gloss about the doubling and about the mutating. How they break the four openings. 38 If you wish estimate for yourself how  To artfully break the four openings 39 Double above  Mutate right below 40 I say to you truthfully  No one defends themselves without danger 41 If you have properly understood this,  They can scarcely come to blows, etc. Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themselves from that and can neither come to strikes nor to thrusts.	[25] 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,  Artfully break the four openings: 39 Double above,  Mutate right 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 himself from that, and may neither come to strikes nor to thrusts.	[25] Explanation of doubling and mutating: how these break the four openings. 38 If you would like to find revenge,  skillfully break up the four openings: 39 double over,  mutate below correctly. 40 Certainly I say this:  no master defends himself without risk. 41 If you have understood this,  he can hardly come to blows. Glosa. When you would like to skillfully break up the four openings for him, use the doubling against the upper openings and the mutating against the other openings. Certainly I say to you that he cannot defend himself against this, and can succeed with neither cut nor thrust.	[25] Mutieren and Duplieren against the four openings: If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust.		[23v] Der text vnd die gloß von de~ dupliern vnd von dem mutierñ Wie die brechen die vier blossen ~~ Wilt du rechen Die vier blossen künstlich brechen Oben duplir / vnden recht mutier Ich sag dir für war / sich scu schücz kain maiste~ an far Haustu es recht vernom~en zu° schlage mag er klain kom~en ·: Glosa Daß ist Wann du dich an eine~ rechen wilt also / dz du im die vier blossen mitt kunst wilt brechen d So trÿb dz dupliern zu° der oberen bo blössen gen de~ störcki seines schwerts vñ daß mutiern zu° der anderen blösß [24r] So sag ich dir für war daß er sich dar von nitt schüczen kan vnd mag weder zu° schlachen noch zu° stechen komen ~			Der text vnnd die gloss von dem dupliern vnnd von mutiern, wie die prechenn die vier blossenn. Wiltu dich rechenn, die vier blossenn künstlichenn brechenn, obenn dupliern, niden recht mutiern, Ich sag dir furwar, sich schutzt kein man an far, hastu vernommenn, zu schlag mag er klein kommenn. Glosa, das ist wenn du dich Rechen wilt, an einẽ, also das du Im die vier blossenn mit kunst balde wilt brechenn, So treib das dupliern zu der obernn bloß, gegenn der sterck seines schwerts, Vnnd das mutiern zu der Andernn bloß, So sag Ich dir fur war, das er sich darvor nicht behuetẽ kann, vnd mag weder zu schlegenn noch zu stichen kummenn.
	[26] The doubling Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.	[26] The doubling Item. Note, when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove 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 upon the head.	[26] Doubling When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so "Instantly" thrust your pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands, between the sword and the man. Or cut him with the sword in the head.	[26] Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head.		Daß dupliern Item wann du in mitt dem zorn haw° / oder sunst oben eÿn haw~st verseczt er dir mit stöck So stos /In des/ deines schwerts knopff vnder deine~ rechte~ arm mitt der lincken hand vñ schlach in mitt gecruczten henden am schwert hinder sines schwerts cli klingen zwischen de~ schwert Vñ dem mann vff durch daß maul Oder schlach im mit dem stück vff den kopff ~			Das dupliernn. Merck wenn du Im mit dem Zornhaw, oder sonst oben in hawest, versetzt er dir nit starck, So stos
	[27] Note the mutating Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.	[27] 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.	[27] Mutating When you bind against his sword with an Oberhau or something similar, so wind the short edge against his sword and go up in an orderly fashion with the arms; and hang your sword blade over his sword on the outside and thrust into him through the lower openings. This can be done on both sides.	[27] Mutieren: If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from 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 ~
	[28] The crooked cut with its plays 42 Crook up swiftly  Throw the point onto the hands Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.	[28] The crooked-hew with its plays 42 Crook on swiftly,  Throw the point upon the hands. Gloss. This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your right side to the opening with over- or under-hews, spring away from the hew with the right foot against him well to his left side, and strike him with crossed arms with the point upon his hands. And also conduct this play against him when he stands against you in the guard of the oxen.	[28] Do the Krumphau (crooked strike) with these techniques. 42 Strike the Krumphau deftly,  cast the point towards the hands. Glosa. This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left side; and cut with crossed arms with the point to the hands. And even try this technique against him when he stands against you in the Ox guard.	[28]  The "Krumphau": This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point.	[18v] daß ist wie du krumpt solt haulben zu den henden Daß stuck tribe also wan er dir von diner rechten siten mit dem ober haulb oder vnter haulb zu haulbett so spring vß dem haulb mit dem rechten fus gegen ym woll vff sin lincke siten vnd schlag in mit vß gestreckten armen mit dem vff sin hende	Der krumphaw° mitt sine~ stüken stucken Krump vff behende / wirff den ort vff die hende ·: Glosa Daß ist wie du krump solt haw°en zu° den henden vñ daß stuck trÿb also wenn er dir von deine~ recht~ sÿtten mitt aine~ obern ode~ vndern haw~ zu° der blöss haw~et So [25r] spring vsß dem haw° mitt dinem recht~ fu°ß gege~ im wol vff sin Lincke sÿtten vñ schlach in mit gecrüczenten arme~ mitt dem ort vff die hende vñ dz stuck trÿb och gem [!] im wenn er gen dir stätt staut In der hüt deß ochsen ~
	[29] Yet another play from the crooked cut 43 Crook. Whoever fully commits  Disrupts many cuts with stepping. Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.	[29] 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] 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.	[29] Another technique from the Krumphau. 43 He who uses the Krumphau well  with a step, he is able to defend against cuts. Glosa. This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your openings from his right side, step with your right foot out to his left side and throw your blade across his sword with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut him in the head.	[29]  This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head.		Aber ain stuck vß dem krumphaw° Krump wer wol seczet mitt schrÿtten er vil hew~ leczet ~·: Glosa Daß ist wie du mitt dem komp krump haw° die obern häw abseczen solt daß stuck trÿb also Wann er dir von sÿme sine~ rechten sÿtten oben ein hawet zu° der blosß so schrÿt mitt dem rechten fu°ß vff sÿn lincke sÿten v~ber sin schwert / mit dem ort [25v] vff die erden In die schranckhüte dz trÿb zu° baÿden sÿtten Och magstu In vß dem abseczen vff dz haupt schlachen ~
	[30] Yet another play from the crooked cut. 44 Hew crooked to the flats of  The masters if you wish to weaken them. Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.	[30] 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.	[30] Another technique from the Krumphau. 44 Cut crookedly against the flat side  of the masters, if you want to weaken them. Glosa. When you want to weak a master, use this technique: when he cuts in against you from above from his right side, strike crookedly with crossed hands against his cut above the sword.	[30]  If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword.		Aber ain stuck vsß dem krumhaw° Haw krump zu° den flechen / den maistern wiltu sÿ schwechen :· Glosa Daß ist Wenn du aine~ maiste~ schwechen wilt So trÿb dz stuck also weñ er dir oben einhawt võ sine~ rechten sÿtten So haw~ kru~ mit gekreucztem gekrentzten hende~ gege~ sime sine~ haw vff sin schwert ~
	[31] Yet another play from the crooked cut 45 When it sparks above  So stand aside, that I will laud. Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast.	[31] 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.	[31] Another technique from the Krumphau. 45 When it comes from above  stand back, this I shall praise. Glosa. When you cut a Krumphau onto his sword, so cut immediately back up from the sword with the short edge, in and down from above onto his head. Or wind the Krumphau with the short edge against his sword and thrust into his breast.	[31]  When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast.		Aber ain stuck vß dem krumhaw° Wenn es kluczt oben / so stand ab dz will ich loben ·: Glosa Dast ist wenn du im mitt dem krumphaw~ vff sin schwert hawst So schlache vom schwert mitt de~ kurczen schnide~ [26r] bald wider vff / im oben ein zu° dem kopff Oder windt Im mitt dem krumphaw° die kurczen schnÿden an sin schwert vñ stich im zu° der brust ~ ~
	[32] Yet another play from the crooked cut 46 Don't crook, cut short  Disengage and with that expose them Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.	[32] 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: so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew 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.	[32] Another technique from the Krumphau. 46 Do not Krump, cut short,  then see changing-through. Glosa. When he wants to cut in from his right shoulder, pretend that you want to bind against his sword with a Krumphau. Cut short; and go through with the point under his sword and wind your hilt to your right side over your head, and stab him in the face.	[32]  When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face.		Aber ain stuck vß dem krumphaw° Krum nicht kurcz haw° / durch wechsel dar mitt schow :· Glosa Das ist wenn er dir von siner rechten achseln oben ein will howen So tu° alß ob du mitt dem krumphaw° an sin schwert wöllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~ schwert durch vnd wind vff din rechte sÿttenn dein gehülcz über din höppt vnd stich im zu° dem gesicht ~ ~			[10r] oben In wilt hawenn, so thu als du Im mit dem krumphaw ann sein schwert wollest winden, vnd haw kurtz vnnd far mit dem ort vnter seinem schwertt durch, vnnd wind auf dein recht seit deinẽ gehiltz vber dein haupt, vnnd stich im zu dem gesicht, als hie gemalt stet, vnd das stuck bricht die.
	[33]	[33] Again a break against the crooked-hew Note, when 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 right side and drive well up over your 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 war. With that, you confound him so completely that he does not know where he shall remain before you.	[33]	[33]	[20v] Item ein bruch wider den krümpt haulb so du im den ortt vnter sin schwertt in schuest zu siner brust druck er dan mit dem krümpt haulb din schwertt vnter sich zu der andern erden so wind gegen siner rechten siten vnd far mit dem arm woll vff vber dem hauptt vnd setz im den ortt oben an sin brust versetz er dir dz so pleib also stett mit dem gehultz vor dem hauptt vnd arbeitt behendeglich mit dem ort von eÿner plos zu der andern dz [21r] heist der krieg do mit verirrest In so gar dz er nit weiß wo er sich hutten soll ~				Aber ein bruch wider den krumphaw. Merck wenn du Im den ort vnter seinẽ schwert ein scheust zu seiner brust, als vor geschriben vnd gemalt stet, druckt er dann mit dem krumphaw dein schwert vntersich zu der erdenn, So wind gen deiner rechtenn seittenn, vnnd far mit dem Arm wol auf vber dein haupt, vnd setz im den ort oben an die brust, Als hernach gemalt ist, versetzt er dir das, so beleib also stehenn mit dem gehiltz, vor dem haupt, vnd arbayt behentlich mit dem ort, vonn einer bloß zu der andernn, das heist der odel krieg, damit verwirrest du Inn so gar, das er nicht weis, wo er vor dir beleybenn sol.
	[34] Note how one shall break the crooked cut. 47 Whoever foils you crooked,  The noble war confounds them 48 That they do not truthfully knows  Where they are without danger. Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.	[34] 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.	[34] How one should counter the Krumphau. 47 Krumps that foil you;  the Noble War confuses him, 48 so that he truthfully  does not know where he shall be without danger. Glosa. When you cut against him from above or from below, from your right side; if he also cuts crookedly from him right side with crossed arms to your sword and thus foils your strike, so bind strongly with your sword. And shoot your point against his breast under the long edge of his sword.	[34]  This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended.		Mörck wie man den krumphaw° brechen sol ~ [26v] Krump wer dich Irret / der edel krieg in verwü°ret Daß er fürwar nicht waÿst :wo er sÿ one far :· Glosa Daß ist Wann du im von diner rechten sÿtten ober ode~ vnden zu° haw~est Hawt er dann och von sÿner rechten sÿtten mit gekreutzen armen krump vff din schwert Vñ verir°et dir do mitt dein hew~ So blÿb mitt dine~ schwert starck an dem sine~ Vnnd schüß im vnde~ dem schwert den ort lang ein zu° der brust etc~
	[35] Another break for the crooked cut Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above. Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.	[35] Another break above the crooked-hew 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. 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.	[35] Another counter against the Krumphau. When you cut in against him from above from your right side and he also cuts crookedly from his right side with crossed arms onto your sword and thus presses it down towards the ground, wind towards your right side; go with your arms up over your head. And thrust with your point from above against his breast. If he defends himself against this, stand with your hilt in front of your head, and work deftly with the point from one opening to the other, this is called "the Noble War." With this you will confuse him so totally that truthfully he will not know where he will find himself.	[35]  Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much, that he will not know how to defend himself against your attacks.		Ain andern brüch über den krumphaw° ~~ Mörck wenn du im von diner rechten sÿtten oben ein hawst Hawt er deñ och võ sine~ recht~ sÿtten mit gekrenczten armen  komp [27r] Vff dein schwert vnd drückt dir das da mit vnder sich gen der erden So wind ge deiner rechten syte~ vnd far mit den arme~ wol vff v~ber dein hau°pt vnd secze Im dein ort obe~ an dei die brust Glosa Versetzt er dir das so plÿb also sten mit dem gehu~lcz vo° dem hau~pt vnd arbait behendtlich mit dem ort von aine~ bloß zu° der andere~ Das hayset der edel krig Da mit verwirstü In so gar Das er nit waysst wo er vor dir blibe~ sol fur war
	[36] The crosswise cut with its plays 49 The cross seizes  Whatever arrives from the roof Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this: When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.	[36] 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 when he cleaves-in [an] over[-hew] to your head, so spring well 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).	[36] Do the Zwerchau (crosswise strike) with these techniques. 49 The Zwerchau takes away  that which comes from above. Glosa. The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head, spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge against his left side. So you catch his strike with your hilt and strike him in the head.	[36] The Zwerchhau The Zwerchhau counters all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head.		Der zwerhaw° mit sine~ stucken Zwerch benÿmp was võ tag her kümpt Glosa Merck de~ zwerhaw bricht alle hew die võ oben nÿder gehawe~ werde~ vnd den haw trÿb also We~ er dir oben In hawet zu° dem kopf So spring mit dem rechte~ fu°ß [27v] gen Im vß dem hawe Vff Sin lincken sytten vnd im springen verwent din schwert mit de~ gehu~ltz houch vor deine~ haupt das din dou~m vnnde~ kome vmd [!] schlach In mit der kurtze~ schnide~ zu° siner lincken sytten So vaschdü sine~ haw In din gehu~ltz vnd triffest In zu° dem kopff ~~			Der Twer haw. + Twer benimpt, was vom tag herkompt. Glosa. Merck denn Twer haw pricht alle hew, die vonn obenn nider gehawenn werden, vnnd denn haw treib also, Stehe mit dem linckenn fus vor, vnnd halt dein schwert an deiner rechtenn Achsel, vnnd [10v] wann er dir obenn inhawet zu dem kopf, so spring mit dem rechtenn fus gen Im wol aus dem haw auf sein lincke seittenn, vnnd im springenn verwendt dein schwerd mit dem gehiltz, hoch vor deinem haupt, das dein dawme vnden komme, vnd schlag in mit der kurtzenn schneidenn, zu seiner linckenn seytten, fechstu seinen haw in dem gehiltz, vnnd truckst in zu dem kopf, als hie gemalt ist.
	[37] A play from the crosswise cut 50 Cross with the strong  With that note the work Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours. then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.	[37] 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 strongly with the strong of your sword upon his. If he then holds strong against, so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here), or cut him with the play through the maw.	[37] A technique from the Zwerchau. 50 Zwerch with the "strong";  mark well your work with this. Glosa. This is how you shall work with the "strong" from the Zwerchau. When you cut against him with the Zwerchau, think that you shall strike powerfully with the sword's "strong" against his. Hold him thus strongly in the bind then cut with crossed arms behind his sword blade, from above against the head, or cut him with the sword to the face.	[37]  This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him - at the sword - on the head behind his blade with your hands crossed. Or cut him trough the face.		[27v] Ain stuck vß dem zwerhaw° Zwer mit der stoerck den arbait do mit moerck Glosa Das ist wie dü mit der stoerck auss der zwer arbaite~ solt vnd dem thu°n also / we~ dü Im mit der zwer zu° hauest So gedenck das dü Im mit der zwer sterck deines schwerts starck In das Sin Helt den er starck wyder So schlach In am schwert mit gekrütte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff den kopff [28r] oder schnÿd In mit dem stuck dürch das mau°l ~~			Ein stuck aus dem Twerhaw. Twer mit der sterck, den arbait domit merck. Glosa. Das ist, wie du mit sterck aus der Twer arbaittenn solt, vnnd den thu also, wen du Im mit dem Twer zu hawest, So gedenck das du Im mit der sterck deines schwerts starck windest an das sein, helt er dann stark wider, so schlag in am schwert mit gecreutztenn Armen hin seines schwerts klingenn auf denn kopff, als hie ist gemacht, oder schneid im mit dem stuck durchs maul.
	[38] Yet another play from the crosswise cut Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,, then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.	[38] 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], so shove his sword from you downward to your right side with your hilt (as is pictured here), and strike back-around quickly with the thwart against his right side to his head.	[38] Another technique from the Zwerchau. When you bind against his sword from the Zwerchau with your sword's "Strong"; hold him strongly, then push his sword away from you with your hilt, down and out to your right side, and strike immediately round with the Zwerchau against his right side, against the head.	[38]  When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.					Aber ein stuck auf dem Twerhaw. Merck wenn du im auß dem Twer mit der sterck deines schwerts ann sein schwert bindest, halt er dann starck bey dir, so stoß mit deinem gehiltz sein schwert vonn dir vntersich, auf dein rechte seyttenn, als hie gemalt stet, vnnd schlag balde mit [11r] der Twer wider vmb genn seiner rechtenn seyttenn im zu dem kopff.
	[39] Yet another play from the crosswise cut Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.	[39] 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.	[39] Another technique from the Zwerchau. When you bind against his sword with the Zwerchau, if he is weak in the bind, so lay the short edge against the right side of his neck and spring with the right foot behind his left; and pull him over it with the sword.	[39]  If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword.		Aber/ain stuck vß dem zwerhaw° Itm~ wan dü Im mit der zwer an sin schwert bindest Ist da er waich am schwert So leg Im die kurtze~ schnÿde~ zu° seine~ rechte~ sytten an den halß vnd spring mit dem rechte~ fu°ß hinder seine~ lincke~ vnd ru~cke In mit dem schwert daru~ber ~etc~
	[40] Another play Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.	[40] 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.	[40] Another technique When you bind against his sword with the Zwerchau, if he is weak in the bind, so press down on his sword with the Zwerchau; and lay the short edge behind his arms in front of his neck.	[40]  If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat.		Ain ander stuck [28v] Itm~ wen dü Im mit der zwer an sin schwert bindest Ist er dan waich am schwert So truck mit der zwer sin schwert nÿde° vnd leg Im die kurtze~ schnÿde~ hinde~ sinen arme~ vorne~ an den halß
	[41] Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.	[41] 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.	[41]	[41]	[22v] Item nÿmpt dich eyner by dem hals zu diner rechten siten so loß din schwertt vß diner lincken hant vnd stos mit der rechten sin schwertt von dinem hals vnd schrit mit dinem lincken fus gegen siner rechten siten fur sin beide fus vnd far mit dinem lincken arm vber sin beide arm nohe by dem gehultz vnd fur in zu dem tantz oder stich im vnten zwuschen dinem beynen zu dem gemechtt ~
	[42] Here note the break against the upper crosswise cut Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themselves the same way with your sword.	[42] Here note the break against the upper thwart-hew Item. Note, when you bind him from your right side with an over-hew (or otherwise on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew under his sword on his neck (as stands pictured hereafter next to this), such that he strikes himself the same with your sword.	[42] A counter against the upper Zwerchau When you bind against his sword from the right side with an Oberhau or similar attack, if he strikes round with the Zwerchau against your other side, do the same back to him, throw a Zwerchau under his sword against his neck.	[42] A defense against the upper Zwerch: When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword.	[21v] Item ein bruch wider den zwerch ober haulb so du Im von diner rechten siten mit eynen ober haulb an sin schwertt bindest schlecht er mit der zwierch vmb sich so küm auch vor mit dem zwerch haulb vnter sin schwertt an den hals ~	ain bruch wider den obern zwerhaw° Itm~ wã dü Im võ deiner rechte~ sytte~ mit aine~ obere~ haw / ode~ sunst an sin schwert bindest Schlecht er dan mit der zwer vmb dir zu° der andere~ sytten so kom vor au~ch mit der zwerch vnder sin schwert Im an den halß ~~	[01r] Hie merck den pruch der wider den õbern twer haw Merck wen du im von deiner reichtn seittñ mit ainem ober haw oder sunst an sein schwert pindest / schlecht er dan mit der twer vmb / dir zu der andern seittñ / so kum vor auch mit der twer vndter seinem schwert im an den hals / als am nãchstn hernach gemalt stett / so schlecht er sich selber mit deinem schwert /		Ein bruch wider den ober Twer haw. Merck wenn du im von deiner rechtenn seytten, mit einem oberhaw, oder sonnst ann sein schwert windest, schlecht er denn mit dem mit der Twer vmb dir zu der anndernn seittenn, so kum vor auch mit der Twer vnter seinem schwert im an den hals als hie stet gemalt.
	[43] Here note the break against the low cross strike Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.	[43] Here note the break against the low thwart-strike Note, when you bind [against] him on his sword with the over-hew from your right side, if he then strikes-around from the sword with the thwart to the other 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 this).	[43]	[43]			[01v] Hie merck den pruch wider die vnderñ twer schleg / Merck / wen du im von deiner rechtñ seittñ an sein schwert pindest / schlecht er dan vom schwert vmb mit der twer dir zu der andern plõs deiner rechtñ seittñ / so pleib mit deinem gehiltz vber deinem haubt / vnd verwendt dein schwertz kling vndter sich gegen seinem haw / vnd stich im zu der vndtern plõs / als am nachstñ hernach gemalt stet /		Ein stuck wider ein vnter Twerhaw. Merck wenn du Im vonn deiner rechtenn seyttenn ann sein schwert windest mit einem oberhaw, schlecht er dann vom schwert vmb mit der Twer dir zu der vnternn bloß deiner rechtenn seittenn, So beleib mit deinem gehiltz ober deinem haupt, vnd verwẽdt dein schwert clingenn vntersich gen seinem haw, vnnd stich im zu der vntern bloß als hie gemalt stet.
	[44] How one shall strike with the cross to the four openings 51 Cross to the plow  Yoke hard to the ox Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut. Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.	[44] 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 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). This is called "striking to the plow".	[44] How one shall strike against the four openings with the Zwerchau. 51 Zwerch against the plough,  and strike powerfully against the ox. Glosa. This is how you shall strike against the four openings with the Zwerchau when you go against someone. When you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the Zwerchau against the lower opening on his left side. This is called "to strike against the plough".	[44]  This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking towards the plow" ("zum Pflug schlagen").		Wie man zu° den vier blossen mitt der zwer schlache~ soll Zwer zu° dem pflu°g / zu° de~ ochsen hart gefu°ge Glosa das ist wie dü In aine~ zu° gang [29r] mit der zwer zu° den vier blossen schlagen solt Das vernÿm also Wã dü mit dem zu°fechte~ zu° Im kompst So merck wan es dir eben ist So spring zu° Im vnd schlag In mit der zwer zu° der vndere~ bloß siner lincken sytte~ Das hayst zu° dem pflu°g geschlagen ~	[02r] Das ist der text vnd die glõß wie man mit der twer zu den vier plõssn schlachen sol / Twer zu dem pflueg / zu dem ochsen hat gefueg / Glosa / das ist wie du in ainem zu gang mit der twer zu allen vier plõsn schlachen solt / das vernym also / wen du mit dem zu fechtn zu im kumbst / So merck wen es dir eben ist so spring zu im / vnd schlag im mit der twer zu der vndterñ plõs seiner lincken seittñ / als am nechstn gemalt stet / das haist zu dem pflug geschlagen /
	[45] Yet another play from the crosswise cut When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called striking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.	[45] Again a play from the thwart-hew Note, when you have struck with the thwart to the lower opening (as stands pictured before next to this), 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 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.	[45] Another technique from the Zwerchau. When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau against the other side upwards into the head. This is called "to strike against the ox". And continue to strike quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And cut him after with an Oberhau in against the head and thus draw yourself back from him.	[45]  When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.		Aber ain stuck vß dem zwerhaw° Wen dü Im mit der zwer zu° der vndere~ bloß geschlagen hast so schlag bald vff mit der zwer Im zu° der andere~ sytten oben In zu° dem kopff das haisst zu de~ ochse~ geschlage~ vnd schlach denn fürbas behendtlich ainen zwerch schlag zu° dem ochse~ vnd den andere~ zu° dem pflug cru~czwÿß võ ainer sytte~ zu der andere~ vnd haw Im do mit aine~ obere~ haw obe~ ein zu° dem kopffe vnd zu~ch dich damit ab ~	[02v] Aber ein stuck auß dem twer haw / Merck / wen du im mit der twer zu der vndterñ plõss geschlagen hast / als vor am nãchstn gemalt stet / so schlag pald auff mit der twer im zu der anderñ seittñ oben ein zu dem kopf / das haist zu dem ochssen geschlagen / vnd schlag den fu~rbas behentlich albeg ainen twer schlag zu dem ochsn / vnd den andern zu dem pflu~eg / creu~tz weis von ainer seittñ zu der andern / vnd haw im ein ober haw oben ein zu dem kopf / vnd zeuch dich damit ab /
	[46]  52 Whoever crosses themselves well  Threatens the head by springing. Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.	[46] This is the text and a teaching thereof 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 head, and be aware that you are fully covered above in the spring with your hilt in front of your head.	[46]  52 He who Zwerches well with a spring, threatens the head. Glosa. That is to say, that in all of your Zwerchau strikes you shall take a proper spring out to the side where you want to strike him. So you can strike him well in the head. And see to it in the spring that you are properly protected from above with your hilt above and in front of your head.	[46]  When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.		[29v] Waß sich wol zwerch mit springe~ dem haupt geferet Glosa das ist das dü mit ainem yden zwerschlage wol vß solt springe~ Im vff die sytte~ / do dü Im zu° schlage~ wylt so mag stü In wol treffe~ zu° siene~ haupt vnd wart das dü In dem spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck sÿest	[03r] Das ist der text vnd ein ler dau~on Was sich wol twer / mit springen dem haubt gefert / Glosa das ist / das du mit einem yeden twer schlag wol auß solst springen / Im auff die seittñ do du im zu schlagen wild / So magstu in wol zu dem haubt treffen / vnd wart das du in dem oben / vor deinem haupt mit dem gehiltz wol bedeckest seiest /
	[47] This is the text and the gloss of yet another play from the crosswise cut and is called the failer. 53 Whoever credibly executes the failer  They wound according to desire from below Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.	[47] 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 according to desire. Gloss. Note, this is 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 with a free over-hew to his left side to the head, and steal-away your sword with the hew and strike him with the thwart to the lower opening of his right side or left (as stands pictured hereafter next to this). Thus is he contacted and struck below according to [your] desire.	[47] A further technique from the Zwerchau, and it is called the feint (Feler). 53 He who does a good feint,  strikes from below how he wishes. Glosa. With the feint all fencers who quickly leap to the defence are mislead and defeated. When you come against him in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can strike him underneath however you want and defeat him.	[47] The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.		Hie nach mörck aber ain stuck vß der zwer vñ das haÿsset der feler Feler wer wol furet von vnde~ nach wunsch er ruret Glosa Das ist mit dem feler werde~ alle fechter die da gern fersetze~ ver fyrt vnd geschlache~ das stuck trib also Wã du mit dem zu° fechte~ zu° Im kompst So thu° alß ob dü In mit aine~ fryen ober haw zu° siner lincke~ sÿtte~ So ist er vnnde~ nach [30r] wu°nsch geru~ret vnd geschlage~	[03v] Das ist der text vnd die gloß aber ains stucks auß dem twerhaw vnd haist der feler / Feler wer wol fu~ret / von vndten nach wunsch erru~ret / Glosa Merck mit dem feler werñ alle vechter die da geren versetzn verfu~rt vnd geschlagen / das stuck treib also / wen du mit dem zu vechtn zu im kumbst / So thue als du mit eine~ freien twerhaw zu seiner lincken seittñ zu dem kopf wellest schlagen vnd verzugk mit dem haw dein schwert vnd schlag im mit der twer zu der vndterñ plõs / seiner rechtñ seittñ / als am nachstñ da hernach gemalt stet / So ist er vndten nach wunsch geru~rt vnd geschlagen /		Das ist aber ein stuck aus der Twer das heist der Feler. Feler wer furet, von vnden nach wunsch er ruret. Glosa. Merck mit dem feler werenn al fechter die do gernn versetzenn verfurt vnnd geschlagen, das stuck treib also, wen du mit dem zu fechtenn zu Im kombst, So thu als du in mit einem [11v] freyenn oberhaw zu seiner linckenn seitten zu dem kopff wollest schlagenn, vnnd wend mit dem haw dein schwert, vnnd schlag in mit der Twer, zu der vndern bloß seiner rechtenn seyttenn oder linckenn als hie gemalet stet, so ist er vnten nach wunsch gerurt vnnd geschlagenn.
	[48] Yet another play from the crosswise cut and this is called the inverter 54 The inverter constrains.  The one who slips across also wrestles with it. 55 Take the elbow surely  Spring into their stance. Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find hereafter in the slipping through.	[48] This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter 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). Or run-through with the inverter and wrestle, as you will find written hereafter	[48] Another technique from the Zwerchau, and it is called the turner (Verkehrer). 54 The turner subdues,  runs through and grapples. 55 Take the elbow certainly,  spring against him in the movement. Glosa. When you bind against his sword with an Oberhau or Underhau, turn your sword so that your thumb comes underneath, and thrust him down from above into the face. In this way you force him to defend himself. And in the defence, grip his right elbow with your left hand and spring with your left foot in front of his right, and stab him over it. Or use the turner to rush through and grapple, in the same way that you will be told for running through.	[48] The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.		aber ain stuck vsß dem zwerhaw° vnd daß haÿsst der verkerer ~~ Verkerer zwinget durch laeffe~ au~ch mit ringet den elenbogen gewisse nÿm spring Im In die wage Glosa Merck das stu~ck soltü also trÿbere~ wen dü In mit aine~ vnde~ oder oben haw an sin schwert bindest So verker dein schwert das din dou~me vnde kome vnd stich Im obe~ In zu° de~ gesichte So zwingstu In das er dir versetze~ mu°ß Vnd In der verseczung begriff mit de~ lincken hand sin rechte~ eleboge~ vnd spring mit dem lincken fu°sse für sine~ rechte~ vnd stosß In also dariber / Oder lauff In mit dem verkerrer durch vnd ringe / alß dü In dem durch lauffen her nach wirst finde~	[04r] Das ist der text vnd die glos aber ains stucks aus dem twerhaw das haist der verkerer / Verkerere zwinget durch lauffer auch mit ringet / den elpogen / gewis nÿm spring im in die wage~ / Glosa / Merck das stuck solt du treiben also / Wen du im mit ainem vndter oder ober haw an sein schwert pindest / so verker dein schwert das dein dawm vndten kum vnd stich im oben ein zu dem gesicht / So zwingst du in das er dir versetzn mu°ß / vnd in der versatzung Begreiff mit der lincken hand sein rechten elpogen / vnd spring mit dem lincken / fues fu~r sein rechten / vnd stos in also daru~ber / als am nãchsten da hernach gemalt stet / oder lauff im mit dem verkerer durch vnd ring / als du in dem durchlauffen hernach geschriben wirst vinden /
	[49] Yet another play from the failer 56 Double the failer  If they make contact, make the slice with it Gloss. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.	[49] 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 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 to his right side onto his head (as stands pictured hereafter next to this).	[49] Another technique from the feint. 56 Feint twofold,  strike him, thus do the cut. Glosa. This is called the double feint, because in the Zufechten you shall be misleading two times. Do the first like this: when you come against him in Zufechten, take a spring with the foot against him and pretend that you will cut with a Zwerchau against the left side of his head. And change the direction of the cut, to the right side of his head.	[49] The Double Feint: Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head.		[30v] Aber ain stuck von aine~ feler Feler zwÿfach trifft mã den schnit mit macht Glosa Merck das haysst der zwÿfach feler darümbe das mã In aine~ zu° fechte~ zwaÿerlaÿ ferfÿrung daru~ß trÿbe~ sol die erste~ tryb also we~ dü mit dem zu° fechte~ zu° Im kompst So spring mit dem fu°ß ge~ Im vnd thu°n alß dü Im mit aine~ zwer schlage~ zu° siner lincken sÿtten zu° dem kopff schlage~ welest vnd ferzu~ck den schlag Im zu° siner rechte~ sÿtten an de~ kopff ~~	[04v] Das ist der text vnd die glos aber von ainem feler Veler zwifach / trifft man den schnit mit macht Glosa Merck das haist der zwifach veler / daru~b das man in ainem zu vechtñ zwayerlay verfu~rung darauß treiben sol / die erst treib also / wen du mit dem zu vechtñ zu im kumbst / so spring mit dem rechtñ fu~es gegen im vnd thue als du im mit einem zwerschlag zu seiner lincken zu dem kopf schlagen welst / vnd verzuck den schlag vnd schlag in zu seiner rechtn seittn an den kopf / als am nãchstn da hernach gemalt stett /
	[50] Yet another play from the failer 57 Double further  Step in left and do not be lazy Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below and immediately strike back around to the right side of their head and with that from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.	[50] 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 pictured before next to this): so with that take the cut under his arms and strike quickly back-around to the left side to his head, and drive over his sword with the short edge from 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).	[50] Another technique from the feint. 57 Continue doubly with this,  step to the left and do not be slow. Glosa. That is to say, when you have struck to the right side of his head with the first misleading—about which has just been written—so strike immediately round to the other side of the head, and go with the short edge with outstretched crossed arms over his sword: and "Imlincke", that is to say on the left side, and cut in with the long edge over the face.	[50]  If you have attacked him on the right side of the head as described, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.		Aber ain stuck vß dem feler Zwyfach es fyrbas schryt In lunck vnd biß nit laß Glosa Das ist wã dü Im mit der erste~ verfÿrunge zu° siner rechten sytte~ zu° dem kepff geschlage~ [31r] hau~st / alß am neste~ gemelt ist So schlach bald wyderu~mb Im zu° der rechte~ sytte~ zu° dem kopff vnd far mit der kurtze~ schnÿde~ mit auß gecru~tzten arme~ v~ber sin schwert vnd spring Imlincke das ist auff dein lincke~ sÿtte~ vnd schnyd In mit der lange~ schnÿde~ durch das maul ~~	[05r] Das ist der text vnd glos aber ains stucks aus dem feler / Zwifach es fu~rbaß / schreit ein linck vnd pis nit laß Glosa / Das ist wen du in mit der erstñ verfu~ru~g zu seiner rechtñ seittñ zu dem kopf geschlagen hast / als vor am nachstn gemalt stet so nym damit den schnit vndten in sein arm~ / vnd schlag pald widerumb im zu der lincken seittñ zu dem kopf / vnd far mit der kurtzn schneid auß gekreutznt arme~ vber sein schwert vnd spring im linck das ist auf sein lincke seitt / vnd schneid in mit der langen schneid durch das maul / als da gemalt stet /
	[51] The cockeyed cut with its plays 58 The cockeyed cut breaks inside  Whatever the buffalo strikes or thrusts 59 Whoever threatens to change,  The cockeyed cut robs them of it. Gloss. Note here that the cockeyed cut is a cut that intrudes into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cuts in from above from their right side, then you also cut from your right against their cut with upright arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cut in this way when they stand against you in the guard of the plow or when they will thrust at you from below.	[51] 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  Whatever the buffalo strikes or thrusts. 59 Whoever threatens to change,  The squinter robs him of it. Gloss. Note here that the squinter is a hew which breaks-in the hews and thrusts of the buffalo ([one] who acquires victory with power), and 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, with the short edge [and] with upright arms, and strike him upon his right shoulder; so you strike and displace with each other and hit him with the hew (as stands pictured hereafter next to this). If he changes-through, shoot with the hew long into his chest and also hew when he stands against you in the guard of the plow or when he will thrust you from below.	[51] Do the Schielhau (squinting strike) with these techniques. 58 The Schielhau counters  that which a buffalo cuts or thrusts. 59 That which threatens with changing  is robbed by the Schielhau. Glosa. The Schielhau is a strike which counters cuts and thrusts from the buffalos—those who take their mastery through violent strength. Do the strike like this: when he cuts in against you from his right side, you should also cut from your right side with the short edge with the arms outstretched against his cut, against the "weak" of his sword and cut him on his right shoulder. If he changes through, shoot in with the cut, long edge against the breast. And you can also strike this, when he stands against you in the Plough guard [Pflug] or when he wants to thrust into you from below.	[51] The "Squinter": The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you from his right side, strike from your right side with the short edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through, thrust him into his breast with your arms extended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below.		Der schilhaw° mitt sine~ stucken Schiller ein bricht waß bufler schlecht order stÿcht / Wer wech sel trawet schiller In dar vß beraubet Glosa Hie merck Der schiller ist ain haw der dem buffle~ buffeln die sich maysterschafft an nem~e~ mit gwalt In bricht In hawe~ vnd steche~ vnd da den haw trÿb also Wã er dir obe~ ein hawet [31v] võ siner rechte~ sytte~ So haw och võ dener rechte~ sytte~ mit der kurtze~ schnÿde~ mit vff gerechte~ arme~ ge sine~ hawe In die schwech sinenes schwerts vnd schlag In vff sine~ rechte~ achsel Wechselt er du~rch So schyß In mit dem hawe lang In zu° der bru~st vnd also haw aoch wan er gen dir stat In der hu~tte de pflu~gs Oder we~ er dir vnde~ s zu° wyll steche~	[05v] Das ist der text vnd die glõs von dem Schilhaw vnd von den stucken die man darauß treiben sol / Schiler ein pricht was pu~ffl schlecht oder sticht / wer wechsell dra[ut] Schiller daraus in beraubt Glosa / Wechssel Merck der schiler ist ain haw der dem pu~ff einpricht dy sich maisterschafft an nemen mit gewalt ein pricht in hew vnd in stich vnd den haw treib also / Wen er dir oben ein haut von seiner rechtñ seitten / So haw auch von deiner rechtñ mit der kurtzn schneid mit auff gerackten arme~ gegen seine~ haw in die schwech seins schwertz vnd schlag in auff sein rechte achsl / als am nãchstn da hernach gemalt stet / wechsselt er durch so scheu~s im mit dem haw langk ein zu der prust / Also haw auch wen er gegen dir stet in der hutt des pflu~gs / oder wen er dir vndten zu wil stechen /		Das ist der Schilhaw mit seinẽ stucken. + Schilherein [sic] pricht, was puffel schlecht oder sticht, Wechsel drewt, Schilher daraus in beraubt. Glosa. Merck der Schilher ist ein haw, der denn Pufflen die sich meisterschafft an nemen, mit gewalt ein pricht in hawenn vnnd in stechenn, den haw treib also, wenn er dir obenn ein hawt von seiner rechtenn seyttenn, so haw auch von deiner rechtenn, mit der kurtzen schneid, gegenn seinem haw, also schlechstu vnnd versetzt miteinander, vnnd trifst in mit dem hew, als hie gemalt stet.
	[52] Yet another play from the cockeyed cut 60 Cock an eye, If they short change you,  Disengaging defeats them Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.	[52] This is the text and the gloss of yet another play from the squinter 60 Squint if he shortens upon you  Changing-through defeats him. Gloss. Note, this is a lesson that you shall squint with the visage and quite precisely see whether he fences short against you, because with that, [you] shall recognize when he begins to hew you and his arms do not extend long with the hew. So hew as well, and in the hew drive-through with the point under his sword, and wind your hilt to your right side above your head, and thrust him to the face (as stands pictured next to this).	[52] Another technique from the Schielhau. 60 Strike the Schielhau when he closes with you,  change through, against his face. Glosa. This is a lesson: you shall search with the look and notice carefully, if he fights close to you. This you shall mark when he cuts against you and his arm does not stretch out in the cut, so you will strike too. And in the strike go with the point under his blade to the other side, and thrust in against the face.	[52]  Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints). You will know this when he does not extend his arms when striking. You should strike then, too, move your point trough under his sword and thrust him into the face.		Aber ain stuck vß dem schill~ Schill kurßt er dich an durch wechsel er sigt Im an Glosa Merck das ist ain lerre Das schillern solt mit dem gesichte vnd gar ebe~ seche~ ober kurtz gen dir vicht Das solt bÿ de~ erkene~ wã er dir zu° hawet vnd sin arm mit dem haw nicht lanck streckt So haw / [32r] och Vnd far In dem haw mit dem ort vnder seine~ schwert du~rch vnd stiche In zu° de~ gesicht ~~	[06r] Das ist der text vnd die glos aber ains stucks aus dem schiler / Schil kurtzt er dich an / durch wegssel gesigt im an / Glosa Merck das ist ain ler daz du schilen solt mit dem gesicht / vnd gar eben sehen ob er kurtz gegen dir ficht / das solt du pey dem erkennen / wen er dir zu haut vnd mit dem haw sein arm~ nicht lanck von im reckt / so haw auch vnd far in dem haw mit dem ort vndter seine~ schwert durch vnd windt auff dein rechte seytt dein gehiltz vber dein hau~bt vnd stich im zu dem gesicht / als am nãgstñ gemalt stett /
	[53] Another. All fencers, which fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.	[53] Item. All fencers, they who fence short from the oxen, from the plow, and with all windings before the opponent: freely change-through [against] them out of hews and out of thrusts with the long-point. With that, you plant it upon the sword so that they must allow you to come to the binding-on and be struck.	[53]	[53]			Itm~ allen vechterñ die da kurtz fechtñ / auß dem ochsn / aus dem pflueg / vnd mit allen winden vor dem man / den wechsl frõlich durch / auß hawen vnd aüs stechñ mit dem langen ort / damit bestengistu~ (?) sy an dem schwert das sy dich mu~essñ zu dem abent lassen kume~ / vnd sy schlagen
	[54] Yet another play from the cockeyed cut 61 Squint to the point  And take the neck without fear. Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.	[54] This is the text and the gloss of yet another play from the squint-hew 61 Squint to the point  And take the neck without fear. Gloss. Note, the squinter breaks the long-point with a deceit of the visage and conduct it thusly: When he stands against you and holds the point against the face or against the chest from extended arms, so stand with the left foot forward and squint with the visage to his point, and act as if you wish to hew to his point, and hew strongly onto his sword with the short edge, and with that, shoot the point long to his neck with a tread-in of the right foot (as stands pictured hereafter next to this).	[54] Another technique from the Schielhau. 61 Search with the point  and take his neck without fear. Glosa. Mark well; to strike the Schielhau breaks the long point; and then do this: when he stands against you and holds the point with outstretched arms towards the face or chest, so stand with the left foot forward and search with the gaze against the point, and pretend as if you want to strike against the point; and strike powerfully with the short edge above his sword, and thrust with the point along with the blade against the neck with a step towards him with the right foot.	[54] Note: The Squinter breaks the "long point" and this is done as follows: When he faces you and points his point against your breast or face with extended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended.		Abe~ ain stuck uß dem schillhaw° Schill zu° dem ort Vnd nÿ den halß on forcht Glosa Merck der schiller bricht den lange~ ort vnd den tryb also we~ er ge dir stat vnd helt dir den ort usß gerachte~ arme~ ge~ dem gesÿchte oder der bru~st So stand mit de~ lincke~ fu°sß fu~r / Vnd schill mit de~ gesicht zu° dem ort vnd thu°n alß dü Im zu° dem ort hawe~ welest Vnd haw starck mit der kurtze~ schnÿde~ vff sin schwert vnd schu~ß Im den ort / darmit lang In zu° dem halß mit aine~ zu°trytt des rechte~ fu°ß ~:etc~	[06v] Das ist der text vnd die glos / Aber ains stucks aus dem schilhaw Schil zu dem ort / vnd nÿm den hals ane forcht / Glosa / Merck der schiler pricht den langen ort vnd den treib also / wen er gegen dir stett vnd helt dir den ort aus gerackten arme~ gegen dem gesicht oder prust / So ste mit dem lincken fu~es vor vnd schil mit dem gesicht zu dem ort / vnd thue als du~ Im darzu hawen welst / vnd haw starck mit der kurtzn schneid auff sein schwert vnd schews im den ort da mit lanck ein zu dem lanck hals / mit aine~ zu tritt des rechten fu~eß / als am nãchstñ da hernach gemalt stett ^‡ mit ainer betrugnus des gesichtz		Aber ein stuck aus dem Schilher. Schilh zu dem ort, vnd nim den hals one forcht. Glosa. Merck der Schilher pricht denn langenn ort, vnnd denn treib also. Wenn er gegenn dir stehet, vnnd helt dir denn ort aus gerechten armenn gegenn dem gesicht, oder gegen der brust, [12r] so stehe mit dem linckenn fus vor, vnnd schilh, mit dem gesicht, vnnd thu als du im zu dem ort wollest hawenn Vnnd haw starck, mit der kurtzenn schneid auff sein schwert, vnnd schewß im denn ort, damit langkem zu dem hals, mit einem zu trit des rechten fuß.
	[55] Yet another play from the cockeyed cut 62 Squint to the top of the  Head if you wish to ruin the hands. Gloss. Note when the opponent wishes to cut in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.	[55] This is the text and the gloss of yet another play from the squint-hew 62 Squint to the top of the  Head if you wish to ruin the hands. Gloss. Note, when he wishes to cleave-in to you a free over-hew from above, so squint with the visage to his head (as if you wish to strike thereon), and then hew with the short edge against his hew, and strike him upon his sword's blade, with the point down on the hands (as stands pictured hereafter next to this).	[55] Another technique from the Schielhau. 62 Search against the head above  if you want to damage the hands. Gloss. When he wants to cut in against you from above, so search with the gaze as if you want to hit him above the head. And strike with the short edge against his cut, and strike along his blade with the point onto the hands.	[55]  When he strikes an Oberhau, look at his head, as if you intend to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade.	[27r] dz magstu auch thün wen er dir von oben eyn haulbet eynen fryhen ober haulb so schilch zu sinem hauptt als du wollest yn dar vff sclagen vnd haulb mit der kurtzen schniden gegen sinem haulb vnd schlag in an sines schwertz klingen nider mit dem ortt vff die hende ~	[32v] Aber ain stuck vß de~ schillhaw° Schill zu° dem obere~ haupt hende wilt dü bedebren Glosa Merck we~ er dir oben will In hawe~ So schill mit de~ gesicht alß dü In vff das haupt wylt schlage~ Vnd n haw mit de° kurtze~ schnÿde~ ge~ sine~ haw Vnd schlag In an siner schwertz klinge~ mit dem ort vff die hend ~~	[07r] Das ist der text vnd die glos aber ains stucks aus dem schiler / Schil zu dem obern / haubt hendt wildu bedoberñ Glosa Merck Wen er dir oben ein wil hawen / So schil mit dem gesicht / als du in auff das haubt wellest schlagen / vnd haw mit der kurtzen schneid gegen seinem haw / vnd schlag in an seiner schwertzs klingen mit dem ort auff die hendt / als am nãchsten da hernach gemalt stett /
	[56] This is the part cut with its plays 63 The part cut  Is a threat to the face Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.	[56] This is the text and the gloss about the parter, and about the plays thereof 63 The Parter  Is a danger to the face. Gloss. Here note the parter is really dangerous to the face and to the chest; conduct it thusly: When he stands against you in the guard [of] the fool, hew above with the long edge, down from your part to his head, and with the hew remain high with the arms and if he displaces, so hang-in to him with the point, with the long edge above his hilt, and thrust him to the face (as stands pictured hereafter next to this).	[56] Do the Scheitelhau (the parting strike) with these techniques. 63 The parter  is a danger for the face. The parter is dangerous for the face and the breast. When he stands against you in the fool's guard [Alber], cut with the long edge from the "long parting" from above and down; and keep the arms high in the cut, and hang with the point in against the face.	[56] The "Parting Strike" Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face.		Der schaÿteler mitt sine~ stucken Der schaytler / dem antlytz ist gefer Glosa Hie merck der schaÿtler ist dem antlÿtz vnd der bru~st gefaerlich den tryb also We~ er gen dir stat In der hu°t aulber So haw mit der langen schnÿde võ der lange schaÿttlen obe~ nÿder vnd belÿb [33r] mit dem haw hoch mit de~ arme~ vnd heng Im mit de~ ort ein zu° dem gesÿchte	[07v] Das ist der text vnd die glos von dem schaittler / vnd von den stucken daraus Der schaittler / dem antlitz ist gefãr / Glosa Merck der schaittler ist dem antlitz vnd der prust gar gefãrlich / den treib also / wen er gegen dir stett in der huet des albers / So haw mit der langen schneid von deiner schaittel oben nyder / vnd pleib mit dem haw hoch mit den armen / vnd heng im das ort ein zu dem gesicht / als am nãchstñ hernach gemalt stett /		Das ist der Schatler mit seinen stucken. Der Schatler dem antlitz ist geuer, mit seiner ker, der brust vast geuer. Glosa. Merck denn Schaytler treyb also, Haw mit der langenn schneydt, oben nider vonn deiner Schaytel, Im zu dem kopff, versetzt er, so heng im denn ort, mit der langenn schneid, vber sein gehiltz, vnnd stich im zu dem gesicht, als hie gemalt stet.
	[57] A play from the part cut 64 With their turn  Firmly threatens the breast. Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head using your hilt and set the point against their breast from below.	[57] Again a play from the parter 64 With its turn  The chest is quickly threatened. Gloss. Note, this is when you strike-in and hang the point to the face with the parter: if he then shoves the point firmly upward with his hilt in the displacement of the parter, invert your sword with the hilt high in front of your head (such that the thumb comes below), and set the point under his hands upon his chest (as stands pictured here).	[57] A technique from the parter. 64 With his turning,  very dangerous for the breast. Glosa. When you cut from above with the Scheitelhau and hang your point in his face, if he defends himself against your point by pushing it up and away with the hilt, then turn your sword with the hilt high in front of your head and stab him downwards into the chest.	[57]  If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down into the breast.	[28v] Item merck so du im mit dem schittler oben yn haulbest vnd gehengt zu dem gesicht stost er dan mit dem gehultz den ort vast vbersich so verkere din schwertt mit dem gehultz fast vber sich fur din hauptt vnd setz im den ortt vnten an sin brust ~	Ain stuck vß dem schaiteler Mit siner ker / der brust fast gefer Glosa das ist wen dü Im den ort mit dem schaitler oben ein hengst zu° dem gesicht Stost er dich dir denn den ort In der versatzu~ng mit dem gehu~ltz vascht yber sich So verker dein schwert mit de~ gehu~ltz hoch fyr din haupt vnd setz Im den ort vnde~ an die brust etc	[08r] Aber ain stuck aüs dem schaittler Itm~ versetzt er dir mit dem gehu~ltz vast vbersich den schaittler / so verker dein schwert mit dem gehu~ltz hoch fu~r dein haubt vnd setz im dein ort vndten an die prüst / als dan da gemalt stet /		Item stost er dir denn ortt, mit seinem gehiltz fast vber sich, so verwendt dein schwert mit dem gehiltz, hoch für dein hauptt, das dein dawmen vnden kum, vnnd setz im den ort vnder seinen hendenn ann die prust, als hie gemaltt stet.
	[58] How the crown breaks the part cut 65 Whatever comes from them,  The crown takes that away Gloss. Note when you cut in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.	[58] How the crown breaks the parter 65 Whatever comes from him,  The crown takes it away. Gloss. Note, when you cleave-in above with the parter: if he displaces with the hilt high over his head, this displacement is called the crown, and with it [he] runs-in to you.	[58] How the Crown counters the parter. 65 That which comes from him,  the Crown takes away. Glosa. When you cut in against him from above with the Scheitelhau, if he defends himself with the hilt over his head: this defence is called the Crown. And with that he can rush in close to you.	[58]  When you strike a parting strike and he displaces with the hilt high above his head, then this displacement is called "the crown". From there you can rush in.		Wie die kron den schaÿtler bricht Waß võ Im komp / die kron das abnÿmpt Glosa Merck wan dü Im mit dem schaittler oben ein hawest / versetzt er mit de~ gehulcze hoch ob [33v] ob sine~ haupt Die versatzu~ng hayst die kron vnd laufft dir do mit eÿm	[08v] Ain ander Stück		Ein annder Stuck. Was vonn Im kumpt, die kran das abnymptt, Schneydt durch die kran, so prichstu Sie hart schön, die Stich truck, mit schniten sie abzuck. Glosa. Merck wenn du Im mit dem Schaytler, obenn einhawest, versetzt er mit dem gehiltz hoch ob seinem haupt, die versatzung heist die kran, vnd laufft dir damit ein,
	[59] How the slice breaks the crown. 66 Slice through the crown  So you break the hard beautifully 67 Press the thrust  Withdraw it with slicing. Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.	[59] This is the text and the gloss: how the cut breaks the crown 66 Cut through the crown,  So you break the hard beautifully; 67 Press the strike,  Withdraw it with cutting. Gloss. Note, when he displaces the parter (or otherwise another hew) with the crown and with that runs in: so take the under-cut below his hands into his arm and press firmly upwards (as stands pictured next to this); so the crown is broken again, and wind your sword from the under-cut into the over-cut, and with that withdraw yourself.	[59] How the slice counters the Crown. 66 Slice through the Crown,  so you break this guard quickly. 67 Press with the sword,  with more slicing you draw backwards. Glosa. When he defends against the Scheitelhau or some other cut with the Crown and tries to rush in against you, pull the slice under his hands in his arm and press hard upwards, to break the Crown. And turn your sword from the under slice to the over slice, and thus draw back.	[59]  If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.	[28v] Item merck wan er dir den schittler oder sünst ein haulb versetzt mit der kron vnd dir do mitt yn laufft so nym den schnitt vnder sin henden in sin arme vnd druck vast vber sich so ist die kron wol gebrochen vnd wind din schwertt in den obern schnidt vnd zuch do mit abe ~~	Wie der schnitt die kron bricht Schnid du~rch die krone / So brichest dü sÿ hart schon Die stuch drucke mit schnitte~ sÿ ab zucke Glosa Merck we~ er dir den schailtler order su~nst aine~ haw vesetzt mit der kron / vnd dir da mit ein lau~fft / So nÿm de~ schnit vnder sin hende~ In sin arm Vnd tru~ck vast v~ber sich so ist die kron wyder gebroche~ Vnd wende din schwert vß de~ vndere~ schnit In den obere~ vnd zu~ch dich da mit abe	[09r] Das ist der text vnd die glos wie der schnidt pricht die kron Schneid durch die kron / So prichst du sÿ hart schon / die strich druck mit schnitten sy ab zugk Glosa / Merck Wen er dir den schaittler oder sunst ain haw versetzt mit der kron / vnd dir damit einlaufft So nym den schnidt vnder seine~ henden an sein arm~ vnd truck vast vbersich / als am nachstñ gemalt statt / So ist die kron wider geprochen vnd wendt dein schwert auß dem vndterñ schnitt in den obern vnd zeuch dich damit ab /		so nim denn vnternn [12v] schnit, vnder sein hendenn in sein Arm, vnnd druck fast vbersich, so ist die kron wider gebrochenn.
	[60] These are the four positions 68 Four positions alone  Defend from those and eschew the common 69 Ox, plow, fool  From-the-roof are not despised by you. Gloss. This is about how you shall not operate from any other position than from these four that will be named here.	[60] This is the text and the gloss on the four leaguers 68 Four leaguers alone:  Keep to those and flee the common; 69 Ox, plow, fool,  From-the-roof are not disgusting to you. Gloss. Note, this is that you shall not hold to any leaguer other than solely to the four which will be named here.	[60] The four guards. 68 Only four guards  will you hold, and damn those that are commonly known. 69 "Ox", "Plough", "Fool",  "From the Roof ", with these you will not be unfamiliar. Glosa. This means that you shall not assume any other guards other than these four that are now to be described.	[60] The Four Guards There are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.		Das sind die viervier leger Vier leger allain Da võ halt vnd flu~ch die gemaim [34r] Ochs pflu°g / alber võ tag / sÿ dir nit vnmer Glosa Ist das dü võ kaine~ leger nicht halte~ solt / denn alain võ den viere~ die hie genãt worden sind ~~	[09v] Daz ist der text vnd die glos von den vier legerñ / Vier leger allein / daüon halt vnd fleu~ch die gemayn / Ochs pflu[g] Alber / vom tag seÿ dir nit vnmãr / Glosa / Merck daz ist / das [du] sunst von chainem leger nichtz haltñ solt / dan allein von den firen (?) die dir hie genant werden
	[61] The first guard The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.	[61] Item. The first guard is called the ox; arrange yourself thusly: Stand with the left foot forwards and hold your sword near your right side with the hilt in front of your head, and let the point hang against the face (as stands pictured next to this).	[61] The first guard. The Ox. Hold it like this: stand with the left foot forwards, and hold your sword beside and slightly in front of the right side of your head, and let the point hang towards his face.	[61] The first guard: Ochs (the Ox) Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face.		Die erst hu°tt Der ochß / do schick dich also mit stand mit dem lincke~ fu°ß vor vnd halt din schwert neben diner rechte~ sytte~ vir din haupt Vnd laß Im den ort gege~ de~ gesicht hange~	Itm~ / Dye erst huet haist der ochs / da schick dich also mit sten mit dem lincken fues vor / vnd halt d[ein] swert neben deiner rechten seitten mit dem gehiltz vor dem ha[ubt] vnd las im den ort gegen dem gesicht als am nãchstn gemalt stett
	[62] The second guard The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.	[62] Item. The second guard is called the plow; arrange yourself thusly: Stand with the left foot forward and hold your sword with crossed hands near your right side over your knee such that the point stands against the face (as stands pictured hereafter next to this).	[62] The second guard. The Plough. Hold it like this: stand with the left foot forward, and hold your sword with crossed hands beside and slightly above your right knee, in such a way that the point is towards his face.	[62] The second guard: Pflug (the Plough) Stand with the left foot forward and hold your sword at your right side above your knee, with your hands crossed, your point directed at his face.		Die ander hu°tt Der pflu°g do schick dich also mit stand mit dem lincken fu°ß vor vnd halt din schwert gecru~tzten hende~ nebe~ diner rechte~ sytte~ / ober dine~ knÿe Also das Im der ort gegen dem gesicht ste	Item / die ander hu~t haist der pflueg / da schick dich also mit sten mit dem lincken fues vor / vnd halt dein swert mit gekreutzten hendten neben deiner rechten seÿtten ob dem knye also das ym d[er] ort gegen dem gesicht stet / als am nãchstn hernach gemalt stet
	[63] The third guard The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms.	[63] Item. The third guard is called the fool; arrange yourself thusly: Stand with the right foot forward and hold your sword with outstretched arms with the point upon the ground (as stands pictured hereafter next to this).	[63] The third guard. The Fool. Hold it like this: stand with your right foot forwards, and hold your sword with outstretched arms in front of you with the point towards the ground.	[63] The third guard: Alber (the Fool) Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground.		Die dritt hu°tt [34v] Der alber do schick dich also mit stand mit deine~ rechten fu°ß vor vnd halt din schwert mit vßgerechte~ arme~ võ dir mit de~ ort vff die erde~	[10r] Item / dye dritt hutt haist der Alber / da schick dich also mit sten / mit dem rechten fues vor / vnd halt dein schwert mit ausgerachkten armen vor dir mit dem ort auff der erden / als am nãchstñ hernach gemalt stett /
	[64] The fourth guard From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.	[64] Item. The fourth guard is called from-the-roof; arrange yourself thusly: Stand with the left foot forwards and hold your sword upon your right shoulder (as stands pictured hereafter next to this), or hold it with outstretched arms over your head; and how you shall fence from the guards, you find it all written in this book.	[64] The fourth guard. From the Roof. Hold it like this: stand with the left foot forwards, and hold your sword at your right shoulder. Or hold it with outstretched arms above your head. And how you shall fence from these guards, you will find described in this book.	[64] The fourth guard: vom Tag ("From the Roof") Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended. And in this book, you’ll find written down how to fence from these guards.		Die vierd hu°tt Võ tag do schick dich also / mit stand mit lincke~ fu°ß vor vnd halt din schwert an diner rechten achseln Oder halt es mit vßgerechte~ arme~ v~be~ din haup vnd wie dü vß der hu°tte~ fechte~ solt / das findest dü In dissem bu°ch geschrÿbe~ ~ ~	Item / die viert hu~t haist vom tag / da schick dich also mit sten / mit dem lincken fues vor / vnd halt dein schwert an deiner rechten achssel Als am nachsten hernach gemalt stet / oder halt es mit auß gestrackten armen vber dein hãubt / vnd wie du auß den hu~tten vechtñ solt das vindest alles geschriben /
	[65] This is the text and the gloss of the four parries that break the four positions 70 Four are the parries  That also severely disrupt the positions. 71 Guard yourself from parrying for two reasons  If it happens by necessity, it hurts you Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.	[65] This is the text and the gloss of the four displacements which break the four leaguers 70 Four are the displacements  Which also severely injure the leaguers. 71 Guard yourself from displacing  If it happens, it severely beleaguers you. Gloss. Note, you have heard before that you shall fence solely from the four leaguers, so you should also just know that the same four [displacements] break the four leaguers. And the four settings, they are the four hews.	[65] These are the four displacements, which obstruct or break the four guards. 70 The displacements are four,  that also greatly trouble the four guards. 71 Beware, for to defend,  it becomes very difficult for you. Glosa. You have earlier heard that you shall only fight from the four guards. So you shall now also know the four displacements. These are four strikes.	[65] 7. The Four Displacements (Versatzungen) You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes.	[30r] Vor versetzen hut doch Geschicht dir not es můt dich	Das sind die vier verseczen die die vier leger leczen oder brechen ~ Vier sind versetze~ Die die lege~ au~ch ser letze~ võ versetze~ hiet dich / geschicht es ser es [35r] mÿt dich Glosa Merck dü hast vor gehort das dü alain vß viern legern vechte~ solt So solt dü och nu~n wyssen die vier versetzu~ng Das sind vier hew	[10v] Daz ist der text vnd die glos von den vier versetzñ / die die vier leger prechen / Vier sind versetzen / dy die leger auch ser letzen / vor zwir ve°setzen hu~tt dich / geschicht es mer es mu~et dich / Glosa / Merck du hast vor gehõrt das dü allain aus vier legerñ vechten solt / So soltu auch nu wissen die vier versetzen die dy vier selbigen vier leger prechen / vnd die vier setzen das sind vier hew /
	[66] The first cut is the crooked cut which breaks the guard of the ox.	[66] The first hew is the crooked-hew, which breaks the guard that is named the ox.	[66] The first strike is the crooked strike. This breaks the Ox guard.	[66] The first strike is the "crooked strike" (Krumphau). It counters the guard (Hut) ochs.		Der erst / haw° Ist der krumpfhaw der bricht die hu~t des ochsen	der erst ist der krumbhaw / der pricht die hu~et die da haist der ochs /
	[67] The second is the crosswise cut which breaks the guard from-the-roof.	[67] Item. The second is the thwart-hew, which breaks the guard from-the-roof.	[67] The second strike is the crosswise strike. This breaks the Roof guard.	[67] The second strike is the Zwerchhau. It counters the guard Vom Tag.		der ander ist der zwerhaw der bricht die hu~tt vom tage	Item der ander ist der twerhaw / der pricht die hutt vom tag /
	[68] The third is the cockeyed cut which breaks the guard of the plow.	[68] Item. The third is the squint-hew, which breaks the guard of the plow.	[68] The third strike is the squinting strike. This breaks the Plough guard.	[68] The third strike is the "squinter" (Schielhau). It counters the guard Pflug.		der dritt dr ist der schÿllhaw der bricht die hu~t deß pflu°gs	Itm~ die dritt ist der schiler / der pricht die hautt des pfluegs /
	[69] The fourth is the part cut which breaks the guard, the fool.	[69] Item. The fourth is the parter, which breaks the guard that is named the fool.	[69] The fourth strike is the parting strike. This breaks the Fool's guard.	[69] The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber.		der vierdt ist der schaittler der bricht die hu°t alber /	Itm~ der viert daz ist der schaittler / der pricht die hutt die da haist der alber /
	[70] And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing.	[70] And guard yourself from all displacements which the simple fencers conduct; they allow the point to go out before the man (low or high on a side), and whoever does that cannot seek the opening on the man. Therefore do not parry, and [instead] note when he hews, thus you also hew; and when he thrusts, so thrust as well; and how you shall hew and thrust, you find that written in the five hews and in the setting-aside.	[70] And beware of all displacements, when they are used by poor fencers. When he cuts, strike also, and when he thrusts, you thrust too. And how you shall strike and thrust, that you will find described for the five cuts and in this section.	[70] And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find written down how you shall strike and thrust.	Du solt dich hütten vor dem versetzen als yttlich vechter versetzen so lossen sie den ortt vor dem man nider oder hoch vff ein siten vß gan vnd wer dz thůtt kan der bloß am man nit suchen dar vmb versetz nit vnd merck wan er haut so haulb auch vnd wan er sticht so stich auch vnd wie du gegen sinen haulben haulben solt dz vindest in den fünff heulben geschrebenn [30v] vnd wie du gegen sinen stichen vechten solt dz vindestu in den ab setzen geschriben ~	Vnd hÿt dich võ alle~ versetze~ die die schlechte~ vechter trÿbe~ vnd merck we~ er hawt / So haw och / vnd we~ er sticht so stych och / Vnd wie dü hawe~ vnd stechen solt / das findest dü In de~ fünff hewe~ vnd In den absetze~ geschrybe~ ~etc ~	vnd hu~tt dich sunst vor allem versetzen / die dy schlechte~ fechter treiben / vnd merck wen er hawt / So haw auch vnd wen er sticht so stich auch / vnd wie du hau~en vnd stechen solt das vindestu in den fu~nff heu~en vnd in dem absetzen geschriben /
	[71] A play against an act of parrying 72 If you are parried  And however it has come to this 73 Hear what I advise  Wrench off, cut quickly with haste Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.	[71] This is the text and the gloss of a play against the displacement 72 If you are parried,  And as it is arriving, 73 Hear what I advise:  Rip off. Cut quickly with hurry. Gloss. This is as it arrives that you are becoming parried: so note if one displaces an over-hew, go to him in the displacing with the pommel over his forward-placed hand, and with that wrench downwards, and with the wrenching strike him there on the head with the sword (as stands pictured hereafter next to this).	[71] A technique against the displacements. 72 If you are displaced  and if it comes to this, 73 hear what I advise:  go up, strike quickly and swiftly. Glosa. If it has happened that you have been displaced, mark this well: if one of your Oberhau attacks becomes displaced, so go into the displacement with the pommel over his forward hand and tear downwards with that; and cut in the tearing in with the sword from above against the head.	[71] A Technique against a Displacement: If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; and strike him on the head simultaneously.	[31r] Item ob dir der ober haulb versetzt ist vnd nohent an in chümpt so far mit dem knoff vber sin versetzte hantt vnd rieß do mit vndersich vnd mit dem reissen schlag in do mit dem schwertt vff din kopff ~	[35v] Ain stuck wide~ die versäczu~g Ob dier versetzt ist / vnd wie das dar kome~ ist / hoere was ich rate / rays abe / haw schnel mit dratte Glosa das ist wie es dar zu° kome~ ist / das dir versetzt ist worde~ So mercke versetzt mã dir aine~ ober haw So var Im in der versaczu~g mit dem knopff vir sin vor gesetzte hand vnd rayse da mit vnder sich vnd mit dem raysse schlage In mit dem schwert vff den kopff ~~	[11r] Daz ist der text vnd die glos ains stucks wider die versatzung Ob dir versetzet ist / vnd wie das darkume~ ist · hõr was ich ratt / raiß ab haw schnell mit drat / Glosa / daz ist wie es darzu kumen ist / das dir versetzt ist worden / So merck / versetzt man dir ain ober haw / So far im in der versatzung mit dem knopf vber sein versetzte handt / vnd raiss damit vntersich / vnd mit dem reissen schlag in mit dem swert auff den kopf / als am nãchsten da hernach gemalt stett /		Das ist ein stuck wider das versetzenn. Ob dir versatzt ist, vnd wie das darkommen Ist, hör was ich rath, reys ab, haw schnel mit drat. Glosa. Das ist, wenn dir einer versetzt ein oberhaw, so far im in der versatzung mit dem knopf, vber sein vorgesatzte handt, vnd reys damit vndersich, vnnd mit dem reyssenn, schlag in mit dem schwert auf denn kopff.
	[72] Yet another play against an act of parrying Note when you execute a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.	[72] Yet another play against the displacement Item. Note, when you hew an under-hew from the right side: if he then falls with the sword onto yours so you cannot come up with it, swiftly drive over his sword with the pommel and wrench your blade from his [from] below and strike him with the snapping, with the long edge to the head (as stands pictured hereafter next to this); or, if he falls onto your sword against your left side, so strike him with the short edge.	[72] A technique against the displacements. When you strike an Underhau from the right side, if he drops with his sword on top of yours do that you cannot come up with it, so go swiftly with the pommel over his sword and cut with powerful movement with the long edge against the head. Or if he drops onto your sword towards your left side, so cut him with the short edge.	[72] A Second Technique against a Displacement: If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide).	[31r] alliud ~ Item merck so du haulbst ein vnter haulb von diner rechten siten felt er dir dan mit sinem schwert vff dz din dz du dar mit nit vff kümen magst so far behendlich mit dem knopff vber sin schwert vnd rieß din clingen vnten von der siner vnnd schlag in mit den schnappen mit der langen schniden züm felt er dir aber gegen dir der lincken siten vff dz schwert so schlag in mit der kurtzen schniden ~	Abe~ ain stuck wider die versäczung~ ~~ Merck we~ dü hawest aine~ vnder haw võ der rechte~ sytte~ fellet er dir dan da mit dem schwert vff das dine / das dü do mit nicht vff kome~ magst So far behendlich [36r] mit dem knopff v~ber sin schwe°t vnd schlag jn mit dem schnappe~ mit der lange~ schnÿde~ zu° dem kopffe Oder velt er dir gen diner lincke~ sytte~ vff das schwert so schlach In mit der ku~rtze~ schnÿde~	[11v] Aber ain stuck wider die versatzung Merck / wen du hawst ain vndterhaw von der rechten seitten / velt er dir dan mit dem schwert auff das dein / daz du da mit nit auff magst kumen / So far behentlich mit dem knopf vber sein swert / vnd schlag in mit dem schnappen mit der langen schneid zu dem kopf / als am nãchstñ hernach gemalt stet / oder velt er die gegen deiner lincken seitten auff das schwert so schlag in mit der kürtzen schneid /
	[73] Yet another play against parrying. 74 Lodge against four regions  Learn to remain upon them if you wish to finish Gloss. When you cut in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.	[73] This is the text and the gloss of yet another play against the displacing 74 Set-upon four ends;  Learn to remain thereupon if you wish to finish. Gloss. This is when you cleave-in from your right shoulder: if you wish to quickly finish with him, so note when he displaces [and] strike quickly around with the thwart, and with the strike grasp your sword in the middle of the blade with the left hand, and set the point into the face (as stands pictured next), or set-upon him to the four openings to whichever you can best come.	[73] A technique against the displacements. 74 Attack four ends,  therefore stop him, if you want to learn to finish. Glosa. When you strike in against him from above from your right shoulder and want to end him quickly, mark this: when he displaces, immediately strike round with the Zwerchau. And grip your sword with your left hand in the middle of the blade, and thrust with the point into his face. Or attack him against the four openings, whichever you can come at best.	[73] A Third Technique against a Displacement: If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best.		aber ain stuck wide~ die versaczu~g Setz an vier ende~ / blieb dar vff lere wiltu enden Glosa We~ dü Im võ dene° rechte~ achselm oben ein hauwst / wilt dü denn bald mit Im ende~ So moerck we~ er versetzt So schlach bald vmb mit der zwer Vnd begru~ff mit dem schwert mit der lincke~ hand mite~ In der klinge~ vnd setz Im den ort in das gesycht Ode~ setz Im an / zu° den vier blösse~ zu° weche welcher dü am baste~ kome~ kanst etc~	[12r] Das ist der text vnd die glos aber ains stucks wider das versetzen / Setz an vier eñden / pleib darauff ler wildü enden Glosa / daz ist wen du im von deiner rechten achssel oben ein hawst / wil du dan pald mit in/dem schwert/ enden / So merck wen er versetzt / so schlag pald vmb mit der twer vnd begreiff mit dem schlag dein schwert mit der linken handt mitten in der klingen / vnd setz im das ort in das gesicht / als am nãchstn gemalt stett / oder setz im an zu den vier plössen zu welcher du am pesten kümen magst /
	[74] Yet another play against parrying Item. Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.	[74] This is the text and the gloss of yet another play against the displacement Item. Note, when you set the point into his face with the half-sword (as stands done before next to this): if he displaces that, jab him with the pommel to the other side to his head, or spring with the right foot behind his left and with the pommel drive around his neck, over his right shoulder, [and] around the front of the neck, and with that, back him over your right leg (as stands pictured hereafter next to this).	[74] A technique against the displacements. When you set the point to his face with the halfswording and he displaces this, so strike him with the pommel to the other side of his head. Or spring with the right foot behind his left, and go with the pommel over his right shoulder in front and round the neck and therefore pull him over your right leg.	[74] A Fourth Technique against a Displacement: If you thrust at his face at the Halb Schwert (half-sword) and he displaces this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.		[36v] Abe~ ain stuck wider die versaczung~ ~ Itm~ wã dü Im mit dem halbe~ schwert den ort In sin gesicht setzest / versetz er dir das So stoß In mit de~ knopff zu° der an dere~ sytte~ zu° siene~ haupt Oder spring mit dem rechte~ fuosß hinde~ sin lincke~ vnd far Im mit dem knopff v~ber sin rechte~ achseln vorne~ vmb den halß vnd ru°ck In da mit v~ber din rechte bain ~~	[12v] Daz ist der text vnd die glos aber ains stucks wider daz v°setzen Merck / wen du im dem halben schwert das ort in das gesichst setzest / als am nãchstñ vor gemalt stet / versetzt er dir das / so stõs in mit dem knopf zu der andern seytten zu seinem haubt / Oder spring mit deinem rechten fües hinter seinen lincken vnd far im mit dem knopf vber sein rechte achssel vorn vmb den hals / vnd ruck in da mit vber dein rechts pain als am nãchstñ hernach gemalt stett /
	[75] About pursuing 75 Learn to pursue  Double or slice into the weapon Gloss. This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.	[75] This is about racing-after 75 Learn the racing-after,  Doubly or cut into the weapon Gloss. Note, this is so that you shall learn the racings-after quite well, because they are dual, and the first conduct thusly: when he wishes to cleave-in above him, so note while he yanks up the sword to the strike, [and] race-after him with a hew or with a thrust, and hit him to the upper opening before the moment he descends with the hew, or fall with the long edge above him onto his arm and with that, press him from you.	[75] About following-after. 75 Learn to follow after  twofold, or cut in the defence. Glosa. You shall learn well to follow after, and they are two in number. The first you do like this, when he tries to cut you from above. Wait until he draws the sword back and up for the strike, and follow after him with a cut or with a thrust and aim for the upper openings, before he can do his strike. Or fall with the long edge from above onto his arm and press him away from you with this.	[75] 8. The "Traveling After" (Nachreissen): There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you.		Von Nachraÿßen Nach raÿsse lere zwÿfach oder schnÿd In die were Glosa Das ist das dü die nach raysen wol lerne~ solt / wan sÿ sind zwayerlay Die erste~ trÿb / we~ er dir obe~ In will hawe~ So merck [37r] die wil er dz schwert vff zücht zu° dem schlag so raÿse im nach mitt dem hawe oder mitt aine~ stich vñ triff in zu° den obern blöß ee er mit de~ haw° wide~ kump ode~ fall im mitt de~ lange~ schnide~ oben in sin arm vñ truck in domitt von dir ~			Das ist vonn Nachreysenn. Nachreyßen lehre, Zwifach oder schneid in die wehre. Glosa. Merck das ist das du die nachraysen gar wol lernenn solt, vnnd die treyb also, wen er dir obenn ein wil hawenn, so merck dieweil er das schwert aufzeucht zu dem schlag, so reys im nach, mit einem schlag haw oder mit einem stich, zu der bloß, ee wen er mit dem haw niderkumbt.
	[76] Yet another pursuing Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword.	[76] Yet another racing-after Item. When he begins to hew you downward from above, and if he then allows his sword to go down to the earth with the hew: so race-after him with an over-hew to the head before the moment he comes-up with the sword, so is he struck.	[76] Another following-after. When he cuts against you from above and he continues downwards towards the ground with his sword, follow after him with an Oberhau to the head, before he comes up with the sword. Or if he wants to thrust at you, pay attention for when he positions his sword against you for the thrust, and follow after him and thrust in, before can perform his thrust.	[76] Another Nachreisen When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again.		Aber ain nachraisen It~ wann er dir võ oben zu° hawst laß er dam [!] sein schwert mitt dem haw nider gen zu° der erden So raÿß im nach mitt aine~ haw oben ein zu° dem kopfe ee er mitt de~ schwert vff ku~pt			Oder hawt er von obenn nider, vnnd lest sein schwert mit dem haw nider gehenn zu der erden, so rays im nach mit einem oberhaw zu dem kopf, ee wenn er mit dem schwert aufkumbt, so ist er geschlagenn.
	[77] Or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.	[77] Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.	[77] Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.	[77] But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself.		Ode~ will er dich stechen so mörck die wil er dz schwert zu° im zücht zu° dem stich so raÿß im nach vñ stich in ee wan er sinen stich valbringt ~~~
	[78] About the couplings to the outside 76 Two couplings to the outside  Your work begins thereafter 77 And gauge the application  Whether they are soft or hard Gloss. Note the two couplings to the outside are the two racings behind against the sword. Conduct it like this: When the opponent over-commits themselves attacking before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and gauge whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.	[78] About the outer-cattle-drives 76 Two outer-cattle-drives,  You work begins thereafter, 77 And test the attacks,  Whether they are soft or hard. Gloss. Note, the two outer-cattle-drives are the two racings-after upon the sword; conduct it thusly: When he mis-hews himself before you, race-after him. If he then displaces you, so remain with the sword upon his and test whether he is soft or hard with the attack. If he then, with the sword, lifts that of yours upwards with strength, then extend your sword outside over that of his and thrust to his low opening.	[78] About the outer takings. 76 Two outer takings.  Thereafter you shall start your work. 77 And test the movements,  if they are weak or strong. Glosa. The two outer takings are two followings-after with the sword. When he cuts in front of you, travel after him. If he defends himself against this, and you are left with your sword against his, feel to see if he is weak or strong in the bind. If he then strongly lifts your sword up and away with it, reach your sword to the outside over his and thrust in against the lower openings.	[78] The "Abnahmen" from the outside Note, there are two "Abnahmen" from the Outside, which are two "Nachreisen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening.		[37v] Von der eu~ßern nÿm Zwai eußren nÿnn dein arbat dar nach beginn Vnd brieffe die gefert / Ob sÿ sind waych oder hort Glosa Merck die zwi eu~ssere mÿnn das sind zwai nachraise~ am schwert das trib also wã er sich vor dir verhawet So rayß Im nach Versetz er dir den das So plÿb mit dem schwert an de~ sine~ vnd brieff / ob er mit denn gefoert waich oder hort ist Hept dan er mit dem schwert das dim mit sterck v~bersich sicht So lang din schwert vssen yber das sin vnd stich In zu° dem vndere~ blöß ~etc ~
	[79] The other coupling to the outside Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.	[79] The other outer-cattle-drives Item. When you fence cautiously from the under-hews (or otherwise from the under-attacks): if he then lays over you and winds upon your sword before you come up with that, [and] then remains strong with your sword below upon his winding and works to your upper opening, so follow-after with the sword and take weak of his sword with the long edge, and press down and stab him in the face.	[79] The other outer taking. When you fence against him with Underhau or with other techniques that come against him from below, if he overpowers you and winds from above against your sword before you can come up with, you are left with your sword under his and so hold strongly against it. If he winds and threatens your upper opening, so follow after with the sword and catch the weak of his sword with the long edge and push downwards, and thrust into his face.	[79] The second Abnahmen from the outside Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain stronglcontact with his sword from below. If he then attacks yopur high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face.		Die ander eu~ßer nÿm Itm~ wen du geim \ fichtest~ vß vnder hawe~ oder su~nst vß [38r] den vndere~ geferte~ v~berylet er dich den vnd windt dir vff da schwert /ee/ wã dü do mit vff komest So blieb mit dem schwert starck vnde~ an dem sine~ we~der den vnd arbait dir zu° dem obern blöß So volg mit dem schwert nach vnd mit der lange~ schnÿden nÿm Im die stich schwoech sines schwerts vnd truck nyder vnd stich Im zu° dem gesicht
	[80] About the feeling and about the word Indes 78 Learn the feeling  Indes, that word cuts sharply Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing.	[80] This is the text and the gloss about the feeling and about the word "in-the-moment" 78 Learn the feeling;  In-the-moment, that word hews severely. Gloss. This is so that you properly learn the feeling and the word "in-the-moment", and shall understand that the two things belong to the same and are the greatest arts of fencing.	[80] About the Feeling and about the word "Instantly". 78 Learn to Feel.  "Instantly" is a word which cuts sharply. Glosa. You will learn this carefully, and understand, Feeling and the word "Instantly", because these two things go together and are the highest arts in the fencing.	[80] The "Fühlen" ("feeling") and the word "Indes" ("while" or "during") You shall learn and understand both the word "Fühlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing.		Von dem fülen vnd von dem wort Indes Das fule~ lere In des das wõrt schnÿdet sere Glosa das ist das dü das füle~ / vnd das wort In das wol lerne~ / vnd verstan solt wan die zwÿ ding gehoeren zu° same~ vnd sind die groeßte ku~nste zu° de~ fechte~	[13r] Das ist der text vnd die glos von dem fu~len vnd von dem wort Inndes / Das fu~len lere / inndes das wort schneidet sere / Glosa / daz ist / das du das fu~len vnd das wort indes wol lerñ vnd versten solt / wen die zway ding gehõrn zu samen / vnd sind die grõstn kunst in dem vechtñ
	[81] And understand it like this: When one binds someone against their sword, in that, just as the swords spark together, you shall immediately feel, whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.	[81] Item. And understand it thusly: When you come to him with the onset and one binds another on the sword, so in that you shall feel with the hand (that is, perceive), just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that, think of the word "in-the-moment"; that is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening, so [he] becomes struck before he will have his insight.	[81] When one binds the other with the sword, so you will, in the same moment that the swords strike together, already feel if he has bound soft or hard. And as soon as you have felt this, think of the word "Instantly": that is to say, that you in the same instant that you feel this, quickly work against the soft and against the hard with the sword towards the nearest opening. Thus he will be cut down before he understands what is happening.	[81] Therefore remember: if one binds against the others sword, you shall notice – right in the moment when the blades make contact - whether he has bound hard or soft. And as soon as you have noticed this, remember the word "Indes": this means that you should attack the next opening immediately and nimbly, hard or soft. So he will be defeated before he knows it himself.	[33v] Item daß fullen werck also wan du mit dem zu vechten zu im kümpst vnd einen den den andern an sind schwertt bind so soltu in dem dÿ schwertt zů samen glitzen zu hant fullen ob er weich oder hert ist an gebünden halt vnd als bald du wiech oder hart entphindest so gedenck an dz wort Indes dz ist dz du In dem fullen behendiglichen mit arbeiten solt mit dem schwertt so wirtt er geschlagen Ee wan er sin ÿnnen wůrtt	Vnd das vernÿm also [38v] we~ ainer dem andere~ an das schwert bindt / So soltü In dem alß de schweet zu° same~ glütz schon zu° hand fulle~ / eber waych oder hort angebunde~ hab / Vnd alß bald dü das empfindest hau~st So gedenck an das wort /In des/ das ist das dü In den selbe~ enpfinde~ behendtliche~ nach der waich vnd nach der hort mit dem mit schwert solt arbaite~ zu° der nechste~ bloß So wirt er/geschlage~ ee wann er sin gewar wirt ~	Item / das vernÿm also / wen ainer dem anderñ an das schwert pindt so solt du in dem als die swert zesamen glischent ze hant fu~len das ist enpfinden ob er waich oder hert angepunden hat / vnd als pald du das enpfunden hast / so gedenck an das wort inndes / das ist daz du in dem selbigen enpfinden behentlich nach der waich vnd nach der hert mit dem schwert solst arbaittñ zu der nãchstñ plõs / so wirt er geschlagñ ee wen er sein gewar wirt
	[82] Another. You shall think of the word Indes in all bindings of the sword because Indes doubles, Indes mutates, Indes slips through and Indes takes the slice. Indes wrestles. With Indes, take the sword. Indes puts whatever your heart desires into the art.	[82] Item. Note, you shall think of the word "in-the-moment" in all bindings of the sword, because in-the-moment doubles and in-the-moment mutates, in-the-moment runs-through, and in-the-moment changes-through, in-the-moment takes the cut; in-the-moment wrestles, and with in-the-moment, take the sword. In the art, In-the-moment does whatever your heart desires.	[82] In all bindings with the sword you shall think of the word "Instantly", because "Instantly" doubles and "Instantly" mutates, "Instantly" runs through and "Instantly" takes the cut, "Instantly" wrestles, "Instantly" takes the sword from him, "Instantly" does in the art all that your heart desires.	[82] Likewise, you shall remember the word "Indes" during all binds at the sword, because "Indes" dupliert and "Indes" mutiert, "Indes" rushes through and "Indes" takes the ‚Schnitt‚, "Indes" wrestles and "Indes" disarms him, "Indes" – in the art of fencing - does, what your heart desires.		Itm~ du solt an das wort /Indes/ In alle~ an binde~ des schwertz gedencken wann wan /Indes/ dupliert vñ /Indes/ muttiert /Indes/ laufft durch vñ /Indes/ nimpt de~ schnitt /Indes/ ringt mitt vn /Indes/ nimpt im dz schwert /Indes/ tu°t in de~ kunst [39r] waß dein hercz beger	Item Merck / du solt an das wort inndes in allen anpinden des schwertzs gedencken / wen indes dupliert indes mütiert / indes laufft durch / indes wechsselt durch / indes nÿmbt den schnidt / indes ringet mit / indes nymbt im das schwert / indes thuet in der kunst wes dein hertz begert /
	[83] Indes is a sharp word. Consequently, any fencer that knows nothing of this word, becomes cut. And this word, Indes, is also the key with which every art of fencing becomes unlocked.	[83] In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes hew. And the word "in-the-moment" is also the key in which all of the art of fencing becomes unlocked.	[83] "Instantly" is a sharp word, which cuts all those fencers who do not know something about the word. And the word "Instantly" is also the key, whereby all fencing art is unlocked.	[83] "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes" is the key, which unlocks the art of fencing.		/Indes ist/ ein scharpffes wort damitt alle fechte~ verschnitten werden bÿ des wortz worts nichten wissen Vñ dz wort Indes ist och der schlissele damit alle kunst de fechtens vffgeschlossen wirt ~ ~ ~ ~ ~ ~ :·	inndes ist ein scharffs wort damit all vechter verschnytten werdent / die des worts nit wissen / vnd das wort indes ist der schlissl / da mit alle kunst des vechtns aus geslossen wirt /
	[84] Pursuing 79 Pursue twice,  If one hits, make the old slice from it. Gloss. This is for when the opponent over-commits themselves attacking before you, pursue with a cut to their upper opening. Then if they rise up and bind against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you or slice from the sword through their jaw. Conduct this on both sides.	[84] This is yet another play text and gloss about racing-after 79 Traveling-after twice:  If one joins, make the farewell cut with it. Gloss. Note, this is when he mis-hews himself before you: so race after him with a hew to the upper opening; if he then drives up and binds under you upon the sword, so note just as soon as one sword sparks on the other, [and] so fall upon him from the sword with the long-edge over his arm, and also press him from you (as stands pictured next), or cut him from the sword through the mouth. Deploy this to both sides.	[84] Following after. 79 Follow after twofold,  meet him as he does the old slice. Glosa. When he cuts against you and his point passes you, so follow after him with a strike against the upper openings. If he goes up and winds against you from below with the sword, pay attention to the sword blades against each other, and fall with the long edge from the bind over his arm, and push him away from you. Or slice him from the bind in over the face. Do this to both sides.	[84] A third Nachreisen When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.		Nachraÿsen ~~ Nachraisen zwifach / trifft man de~ alten schnitt mitt macht ·: Glosa Das ist wann er sich vor dir verhawet So raÿse im nach mitt aine~ hawe zu° der obern blöß fört er dann vff vñ windet dir vnde~ an dz schwert So merck aber so bald ain schwert vff dz ande~ blitzscht So val im vom schwert mitt der langen schw schnÿden übe~ sein arm vñ truck in also von dir Ode~ [39v] schnÿd in vom schwert durchs maul dz trÿb zu° beden sÿtten ~~	[13v] Das ist aber ain stuck text vnd glos von nach raÿssen / Nach rayssen zwyfach / trifft man den alten schnidt mit macht / Glosa Merck / das ist wen er sich vor dir verhawt / So rays im nach mit einem haw zu der obern ploß / vert er den auff vnd pindt dir vndten an das schwert / So merck als pald ain swert auff das ander glischt so vall im vom schwert mit der langen schneid vber sein arm~ vnd druck in also von dir / als am nachstn gemalt stett / oder schneid im vom schwert durchs maul das treib zu paiden seyttñ /
	[85] About overrunning 80 Whoever hunts below  Overrun, then they will be shamed. 81 When it clashes above,  Strengthen, This I will praise. 82 Make your work  Or press hard twice. Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the onset, you shall not parry them, rather await, such that you overrun them with a cut in at the head from above or lodge the point from above, so that they become shamed by you because all descending cuts and all lodgings against from above reach over the lower.	[85] This is the text and the gloss about running-over 80 Whoever aims below,  Run-over, then they become shamed. 81 When it sparks above  Then strengthen, this I will laud. 82 Make your work  Or press hard twice. Gloss. Note, this is when he targets the lower openings with a hew or with a thrust in the onset: you shall not displace him, rather await, such that you run-over with a hew above into the head or set-upon the point above (as stands pictured hereafter next to this) so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.	[85] About reaching-over. 80 The one who aims underneath,  reach over him, so he will be defeated. 81 When it clashes above,  be strong: that I will praise. 82 Do your work  or strike hard twice. Glosa. In Zufechten, when he aims for a lower opening with a cut or a thrust, do not defend yourself against it. Rather, wait until you can reach over him with a strike from above against the head or a thrust from above, so he will be defeated by you, because all Oberhau and all high attacks reach further than lower strikes.	[85] (9) The uberlaufen the overflowing. If when coming in to attack, he strikes with a strike or cut to the lower opening, then do not deflect him. Instead, wait and cut or thrust with a strike, or a high cut to the head. This way you can defeat him, because the higher strikes or cuts have a longer range than the lower ones.		Von überlauffen ~ Wer vnden remet überlan vberlauffenden / der wirt beschemet Wenn es klutzscht oben / so störck dz will ich loben Dein arbait mach / oder hert druck zwifach ·: Glosa Das ist wann er dir in dem zu°fechten mitt ainem haw oder mitt ain stich remet der vndern bloß dz soltu im nicht verseczen Sonder wart dz du in überlauffest mitt aine~ haw° obe ein zu° dem kopffe oder im den ort oben anseczest so wirt er võ dir beschemet wann alle obe~ haw° vñ alle ober anseczen üblerlange~ die vndern ~ ~~	[14r] Das ist der text vnd die glos von vberlaüffen / Der vndtenrembt / vber lauff den der wirt peschemt / Wen es klischt oben / So sterck das wil ich loben / dein arbait mach / oder herte drück zwifach / Glosa / Merck das ist / wen er dir in dem zu fechten mit einem haw oder mit ainem stich rent der vndern plõß / das sol du im nicht v°setzñ Sunder wart das du in vber lauffest mit ainem haw oben ein zu dem kopf oder im das ort oben einsetzen / als am nãchstn gemalt stett So wirt er von dir beschemt / wen all ober hew / vnd all ober an setzen vberlengen die vnderñ /
	[86] Another. How one shall displace cuts and thrusts 83 Learn to displace.  Skillfully disrupt cut, thrust. 84 Whoever thrusts at you  Such that your point hits and theirs breaks 85 From both sides  You will hit every time, if you step. Gloss. This is so that you shall learn to displace both cuts and thrusts alike with art such that your point hits them and theirs will be deflected and understand it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in turn against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and theirs fails to.	[86] This is the text and the gloss: how one shall offset hews and thrusts 83 Learn to offset:  Skillfully injure, hew, thrust 84 Whoever thrusts upon you,  Such that your point hits and his breaks, 85 From both sides;  Hit any time if you wish to step. Gloss. This is so that you shall learn to offset hews and thrusts alike with art, such that your point hits him and, in that, his becomes broken, and understand it thusly: When someone stands against you and holds his sword as if he will stab you from below, so stand counter against him in the guard of the plow from your right side, and give yourself an opening with the left. If he then under-thrusts to the same opening, wind with the sword against his thrust to your left side and step into him with the right foot, so that your point hits and his fails (as stands pictured next).	[86] How one shall set aside cuts and thrusts. 83 Learn to set aside,  skillfully arrest cuts and thrusts. 84 That which is thrust against you,  meet him with your point and he is countered. 85 From both sides  you always strike if you take a step. Glosa. You shall learn to skillfully set aside cuts and thrusts, so that your point strikes him and he is countered. When someone stands against you and holds his sword as if he thinks to thrust at you from below, stand against him in the Plough guard on your right side and give yourself an opening on the left side. If he then thrusts from below to this opening, wind with your sword against his thrust, out to your left side, and step towards him with your right foot, so you can hit with your point as he misses.	[86] (10) The placing. (das absetzen). You should learn to stop strikes and cuts correctly, so that his point is broken and yours hits. Practice it like this: when he stands in front of you as if he wants to aim(stab at) for the lower opening, then begin in the guard plug(plough) on your right side and open up your left side, if he then thrusts to your left hand side, twist/bind your sword against his on your left hand side and step with the right foot a step to him: This way your point strikes and his fails(misses).		[40r] Item wie man hew° und stich abseczen sol ~ Lern abseczen / haw stich kunstlich leczen Wer vff dich sticht / dz din ort trifft / vñ sine~ prücht Von baiden sÿtten / triff alle mal wilt du schrÿtten ·: Glosa Das ist dz du lerne~ solt hew° vnd stich also mitt kunst abseczen Dz dein ort In treffe vñ im der sin gebrochen werde Vñ Das vernÿm also Wenn aine~ gegen dir sticht steet vñ helt sein schwert alßer dir vnden zu° stechen wölle So stee wide~ gegen im in/der hu°t des pflu°gs von dine~ recht~ sÿtten vñ gib dich blöß mitt der [40v] lingen lincken Stich er denn dir vnden zu° der selbige~ blöß So wind mitt dem schwert gegen sÿne~ stich vff din lincke sÿtten vñ schrÿt zu° im mitt de~ recht~ fu°ß So trifft din ort vñ der sin fält ~ ~ ~ ~ :·	[14v] Das ist der text vnd die glos wie man haw vnd stich sol absetzen Lern absetzen / hew stich kunstlich letzen / wer auff dich sticht / vnd dein ort trifft vnd seinen pricht von paÿden seitten / trifft allemal wildu schreitten / Glosa / das ist / das du lerñ solt hew vnd stich / also mit kunst absetzen das dein ort in treff / vnd der sein im geprochen werd / das merck also / Wen ainer gegen dir stett vnd helt sein swert als er dir vndten zu well stechen / so ste wider gegen im in der hutt des pfluegs von deiner rechten seÿtten / vnd gib dich plos mit der lincken / Sticht er dir den vndten zu der selben plõs / So wint mit swert gegen seine~ stich auff dein lincke seitten / vnd schreitt zu mit de~r lincken rechten fues / So trifft dein ort vnd das sein verfelt / als hernach gemalt stett /
	[87] Yet another play about displacing Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.	[87] Yet another play from setting-aside Item. Note, when you stand against him in the guard of the plow from the left side: if he then hews to the upper opening of your left side, then drive up with the sword, and wind to the left side against his hew (such that the hilt is in front of your head), and step into him with your right foot and stab him in the face (as stands pictured hereafter next to this).	[87] Another technique for setting aside. When you stand against him in the Plough guard [Pflug] on your left side: if he cuts at you towards the upper opening on your left side then go up and out to the left side with the sword against his cut, with the hilt in front of the head; and step towards him with the right foot and thrust at his face.	[87] The second placing. When standing against him in the guard pflug (plough) on the left hand side, and he strikes to your upper left hand opening, then drive high to the left with the hilt before your head, take a step toward him with the right foot and stab him in the face.		Aber ain stuck von abseczen It~ wann du gen im stäst In de~ hu°t de pflu°gs võ dine~ lincken sÿtten Hawt er dir dann zu° der obern blöß dine~ lincken sÿtten so far vff mitt dem schwert vnnd vff die lincken sÿtten gege~ sine~ haw / dz gehülcz für din haupt vñ schrÿt zu° im mitt dem rechte~ fu°ß vñ stich im in dz gesicht ~ ~ ~	[15r] Aber ain stuck von absetzen :~ Merck Wen du gegen im stest in der hutt des plugs von deiner lincken seitten / haut er dir dan zu der oberñ plõs deiner lincken seittñ / So far auff mit dem schwert / vnd wind auff dein lincke seitt gege~ seinem haw das gehiltz fu~r dein haubt / vnd schreitt zu im mit deinem rechtñ fues / vnd stich in in das gesicht / als am nãchstn da hernach gemalt stett /
	[88] About Disengaging 86 Learn to disengage  From both sides stabbing sharply with it 87 Whoever binds upon you  Disengaging surely finds the them Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cut or thrust in in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and rush through and with that, gravely thrust in on the other side, so that you immediately find the opening of the opponent as is pictured here.	[88] This is the text and the gloss about Changing-through 86 Learn to change-through  From both sides; stab with violence 87 Whoever binds upon you,  The Changing-through finds him swiftly. Gloss. This is so that you shall learn the changing-through well, and conduct it thusly: When you cleave-in or thrust to him in the onset, if he will then bind on the sword with a hew or with a displacement, allow the point under his sword and slip through, and with that, thrust-in to him violently at the other side, thus you find the opening upon him swiftly (as stands pictured).	[88] About changing-through. 86 Learn to change-through  on both sides, hurt him with thrusts. 87 He who binds against you  the changing-through finds him quickly. Glosa. You shall learn carefully to change-through. When you strike or thrust in against him in Zufechten and he tries to bind against the sword with a cut or a parry, let the point sweep through under his sword, and hurt him with a thrust to the other side, quickly find one of his openings.	[88] (11) The changing through. (durchwechseln). Drive it so: when he wants to bind against a blow or cut , so let the point slide through under his sword: then you will find his opening.		Von durchwechslen [41r] Durchwechslen lere / võ baÿden sÿtten stich mitt sere Wer vff dich bindet durchwechsel in schier bin findet ·: Glosa Daß ist daß du dz durchwechslen wol lerne~ solt vñ dz trÿb als Wenn du im in dem zu°fechten ? ein hawest oder zu° stichst will er dir denn mitt ainem hawe oder/ mitt /veseczen an daß schwert binden so lauß den ort vnde~ sinem schwert vn durch wischen Vnnd stich im do mitt sere ain eÿn zu° der anderen sÿtten so fündest du an im schier de blöß ~	[15v] Das ist der text vnd die glos von durch wechsseln / Durch wechssel lere / von paiden saitten stich mit sere / wer auff dich pindt / durch wechssel in schier vindet Glosa / das ist / das du das durchwechssel wol lerñ solt / vnd das treib also / Wen du im in dem zu fechten ein haust oder zu stichst / pindt er dir den mit eine~ haw oder mit versetzñ an das schwert / So laß das ort vndter seine~ schwert durch wischen vnd stich im da mit ser ein zu der anderñ seitten / So vinst du an im schier die plõs / als da gemalt stett /
	[89] Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.	[89] Item. If he then becomes aware of the thrust and drives after it with the displacing, then but change-through to the other side.	[89]	[89]			Itm~ wirt er dan des stichs war vnd fert im mit der versatzung nach / so wechsl aber durch zu der anderñ seÿttñ /
	[90] Another. Another. If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.	[90] Item. Another. As you come to him, set your left foot forward and hold the long [point] against his face. If he then hews to the sword (over or under) and will strike it away, allow your point to sink downwards and stab him to the other opening of the other side, and do that against all hews.	[90]	[90]			Itm~ ein anders / so du zu im kumbst / so setz dein lincke~ fueß vor vnd halt im dz lang gege~ de~ gesicht haut er dã obe~ oder vndte~ zu dem schwert / vnd wil das hin weg schlagñ / so laß dein ort vntersich sincken vnd stich in zu der andern plõs der anderñ seyttñ vnd thue das gegen allen hewen /
	[91] About the yanking back 88 Tread close in binds,  So that yanking back gives good opportunities. 89 Suddenly withdraw. If they engage, suddenly withdraw more.  Uncover the work that does them harm. 90 Suddenly withdraw in all engagements  If you wish to make a fool of the masters Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.	[91] This is the text and the gloss about yanking 88 Tread near in binding;  The yanking gives good opportunities. 89 Pull: if it connects, yank more.  If he works, cut so that it does him woe. 90 Pull in all hits  Of the masters if you wish to deceive them. Gloss. This is when you come to him with the onset: so cleave-in strongly above from the right shoulder to the head. If he then binds you with displacing (or otherwise on the sword), so tread near to him in the bind on the sword and withdraw your sword from his above, and cleave-in again above to the other side to his head (as it stands pictured next to this). If he displaces that too a second time, so strike-in again above to the other side, and work swiftly according to the upper openings which may occur to you with the doublings (or otherwise with other plays to his nearest opening).	[91] About the twitching. 88 Step in closer in the bind,  the twitching gives you a good deal. 89 Twitch! Meet it, then twitch again.  Find openings to work: then give pain. 90 Twitch in all fights  against the masters, if you want to trick them. Glosa. When you come against him in Zufechten, strike powerfully from above from your right shoulder in against his head. If he binds against the sword with a parry or suchlike, step in closer to him in the bind and twitch your sword up and away from his and cut back down against him on the other side of the head. If he defends himself this second him, strike back to the first side from above and work deftly against the upper openings that open to you, with doubling and other techniques.	[91] (12) The Jerk (Das zucken) When you come to fence, so hit him from the right with an oberhau to the head. If he binds at the sword, then step in close to him(still binding ), jerk your sword quickly from above his and hit from the other side to his head. If he deflects it again, then strike him again to the other side, and then work cleverly to the upper opening with duplieren and other pieces.		Von dem zucken Tritt nahend In binden daß zucken git gu°t fünden Zuck trifft er [41v] zuck mer / arbait erfinde dz tu°t we Zuck in allen treffen / den maistern wiltu sÿ effen ~ ·: Glosa Das ist wenn du mitt dem zu°fechten zu° im kumst so haw võ der rechte~ achslen starck oben ein zu° dem kopff bindt er dir dann mitt verseczen ode~ sunst an dz schwert So tritt im bamd bande nahent zu° im vñ zuck dein schwert oben abe võ den sine~ vñ haw im zu° der andern sÿtten wide~ oben ein zu° dem kopff Verseczt er dir dz zu° dem andern male So schlach wide~ zu° der andern sÿtten oben ein vñ arbait behentlich nach der obern blöß die dir werden mag mitt den dem dupliernn vñ mitt andern stucken ~~ ~:·	[16r] Das ist der text vnd die glos von Zücken :~ Tritt nachentt Im pinden / daz zucken gibt gutt finde / zuck trifft er zück mer / arbaitt er schnitte das thuet Im wee / zuck in allen treffen den maister wildu sy ãffen / Glosa / daz ist wen du mit de~ zu fechten zu im kumbst / So haw im von der rechten achssel starck oben ein zu dem kopf / pindt er dir den mit versetzñ oder sunst an das schwert / So tritt im pand nachent zu im an das schwert / vnd zuck dein schwert oben ab von dem seinen vnd haw im zu der anderñ seitten wider oben ein zu dem kopf / als am nãchstn da gemalt stet / vnd arbait behentlich mit dem dupliern oder sunst mit anndern stucken im zu der nãchstn plõs /
	[92] Or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.	[92] Or act as if you will yank and [then] remain upon the sword, and quickly thrust-in again upon the sword to the face. If you then do not quite hit him with the thrust, so work with the doubling or otherwise with other plays.	[92]	[92]			Oder thue als ob du wellest zucken / vnd pleib am schwert vnd stich pald am schwert wider ein zu dem gesicht / triffst du in dan nicht recht mit de~ stich / so arbait mit dem duplierñ oder sunst mit anderñ stucken /
	[93] About Slipping through 91 Rush through, let hang  Grab with the pommel if you wish to grapple. 92 Whoever strengthens against you,  Remember to rush through with it. Gloss. Note this is for when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.	[93] This is the text and the gloss about running-through 91 Run-through, allow to hang  With the pommel, grasp if you wish to wrestle. 92 Whoever strengthens against you,  Run-through. With that note. Gloss. Note, this is when one runs-in to the other: if he then drives up with the arms and wishes to overwhelm you above with strength, so drive up as well with the arms, and hold your sword with the left hand near the pommel over your head and allow the blade to hang behind over your back, and run-through with your head under his right arm and spring with the right foot behind his right, and with the spring, drive him well forward with the right arm around the body, and clasp him thusly to the right hip and throw him in front of you (as stands pictured here).	[93] About running-through. 91 Run-through! Let it hang  with the pommel, grip if you want to grapple. 92 When someone is strong against you:  remember to run-through. Glosa. When one rushes in closer to the other and goes up with the arms and wants to overpower you above with the strong; go up with your own arms and hold your sword by the pommel with the left hand over your head, and let the blade hang behind over your back. And run with your head through under his right arm and spring with the right foot behind his right foot. And as you spring, go with your right arm in front of and around his chest, and catch him around the side with your right hip and cast down him in front of you.	[93] (13) The running through (durchlaufen). Notice: when he runs in, driving high with the arms and wants to subdue you with force from above, then drive high with your arms also and hold the pommel over your head with the left hand , so that the blade hangs down behind your back. Duck under his right arm and spring through with the right foot (Place it behind his right foot). In the spring grasp him around the breast and throw him over your hip.		[42r] Von durchlauffen ~ Durchlauff lauß hangen : mitt dem knopffe grÿff wilt du range~ Wer gegen dir störcke / durchlauff damitt mörcke :· Glosa Mörck dz ist Wann aine~ dem andern einlauffe : fört er dann vff mitt den armen vñ will dich oben mitt störck überdringen So far och vff mitt den arme~ / vñ halt din schwert mitt de~ lincken hand bÿ dem knopff ober dine~ havpt haupt Vñ lauß die clinge~ hinden v~ber deine~ rucken Ruck hange~ Vñ lauff mitt dinem haupt durch vnde~ sine~ rechte~ arm vñ spring mitt de~ rechte~ fu°ß hinder sine~ rechten / vñ mitt dem sprünge far im mitt dem [42v] rechten arm vorne~ wol vm den lÿb vñ fasse in also vff dem rechten hüffe vñ wirff in für dich ~ ~ ~ :·	[16v] Das ist der text vnd die glos von dürch laüffen / Durch lauff las hangen / mit dem knopff greÿff wildü rÿngen / wer gegen dir sterck / durch lauff da mit merck / Glosa / Merck das ist wen einer dem anderñ einlaufft fert er dan auff mit den armen / vnd wil dich mit sterck vber dringen / So far auch auff vnd far halt dein schwert mit der lincken hant pey dem knopf / vber deinem haubt / vnd las dein kling hinden vber deine~ ruck hangen / vnd lauff mit dem haubt durch vndter seinem rechtñ arm~ / vnd spring mit dem rechtñ fu~eß hintter seinen rechten / vnd mit dem sprung far im mit dem rechten arm~ vorñ wol vmb den leib / vnd faß in also auff dein rechte hu~ff vnd wirff in fu~r dich als am nãchstn gemalt stett		Das ist vonn Ringenn. [13r] Durchlauff las hanngenn, mit dem knopf greif wiltu rangenn, wer gegenn dir sterck, durch lauf damit merck. Glosa. Merck das ist, wen einer dem anndernn einlaufft, fert er dann auf mit den armen vnnd wil dich obenn mit sterck vberdringen, so far auch auf mit denn Armen, so halt dein schwert mit der linckenn handt, bey dem knopf, vber deinem haupt, vnnd las die kling hinter dir nider hanngenn, vnd lauf im mit dem haupt durch, vnder seinen rechtenn Arm, vnnd spring mit dem rechtenn fus hinter sein rechtenn, vnnd mit dem spring vor im, mit dem rechten arm, vornn wol vmb den leyb, vnd fas in also auf dein rechte hüf, vnnd wirf in fur dich als hie gemalt stet.
	[94] Yet another slipping through Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword, hold your sword by the pommel with the left hand and let the blade hang over your back. Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.	[94] This is yet another play about running-through Item. Note, when he wishes to overpower you with strength by running-in with the sword high: so hold your sword with the left hand near the pommel and let the blade hang over your back. Run-through with the head under his right arm, and remain with the right foot forward before his right and drive in well behind him with the right arm around the body, and clasp him upon your right hip and throw him behind you (as stands pictured here).	[94] Another running-through. When he rushes in towards you and powerfully tries to overpower you above with the sword, hold your sword by the pommel with the left hand and let the blade hang behind over your back, and run with the head through under his right arm and stand med with right foot in front of his right foot, and go with the right arm behind and around his chest, and catch him with the right hip and cast him down behind you.	[94] A second running through: If while you are running through, he wishes to subdue you with strength from above, then hold the pommel with the left hand and let the blade hang down behind your back. Duck under his right arm, but leave your right leg in front of his. Grab him around the back with your right hand and throw him over your hip, behind you.		Aber ain durchlauffen It~ wann er dich in dem einlauff~ mitt de~ schwert oben mitt störck über dringen will So halt dein schwert mitt der lincken hannd bÿ dem knopff vñ lauß die clinge~ über deine~ Ruck hang~ vñ lauff mitt dem haüpt durch vnder sine~ rechten arm vñ blib mitt de~ rechten fu°ß vor sine~ rechten / vñ far mitt dem rechte~ arme hinden wol im vmb den lÿb vñ fasß in vff din rechte hüff vnn wirff in hinder dich ~ ~ ~ ~ ~ ~ ~ :·	[17r] Das ist ein stuck aber von durchlauffen / Merck / wen er dich in dem ein lauffen mit dem schwert oben mit sterck wil vber dringen / So halt dein schwert mit der lincken handt pey dem knopf / vnd las dein kling vber deinen rücke~ hangen / vnd h laufft mit dem haubt durch vnder seine~ rechtñ arm~ / vnd pleib mit dem rechten fu~es vor seine~ rechten / vnd far Im mit dem rechten arm~ hindten wol vmb den leib / vnd fas in auff dein rechte hu~ff / vnd wu~rff in hintter dich / als gemalt stett ~		Aber ein Ringenn. Merck wenn er in dem einlauffenn auch auffert mit denn armenn, so halt dein schwert mit der linckenn handt, bey dem knopf, vnd las die kling hinter dir nider hangenn, vnd lauf mit dem haupt durch vnter dem rechten armenn, vnnd bleyb mit dem rechtenn fus vorn fur seinem rechtenn, vnnd far mit dem Rechten arm Im hindenn wol vmb denn leib, vnnd fas in auf dein rechte huf vnnd wirf in hinter dich als hie gemalt stet.
	[95] A wrestling at the sword Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side using your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.	[95] A wresting at the sword Item. When one runs-in to the other: so release your sword from the left hand and hold it with the right, and shove his sword from you to your right side with your hilt, and spring with the left foot in front of his right and drive him well back with your left arm around the body, and clasp him to your left hip and throw him in front of you. Though watch that it does not fail you.	[95] A wrestle with the sword. When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot in front of his right foot, and go with the left arm behind and around his chest, and catch him with the left hip and cast him down in front of you. But watch out so that it does not go wrong for you.	[95] A battle in the sword. If he tries to run in, then let go of the sword with the left hand and hold it in the right. Knock his sword to the right to your right with your cross guard. Spring with the left foot in front of his right foot grab him around the middriff, take him onto your left hip and throw him to the floor. Though make sure that you do not fail.		Ain Ringen im schwert [43r] It~ wann aine~ dem andern einlaufft so lauß dein schwert vß der k lincken hand vñ halt es in der rechten vñ stoß sein schwert mitt dine~ gehültze vff din rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß für sine~ rechte~ vñ far im mitt dem lincken arm hinden wol vm de~ lÿb vñ fasse in vff din lincke hüffe vñ wirff in für dich etc~ ☞   Doch lu°g dz es dir nit fel ~
	[96] Yet another wresting at the sword Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.	[96] Yet another wresting at the sword Item. When one runs-in to the other: so release your sword from the left hand and hold it in the right, and shove his sword from you to your right side with the hilt, and spring with the left foot behind his right and drive him forward with the left arm under his chest (well around the body), and throw him backward over your foot.	[96] Another wrestle with the sword. When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot behind of his right foot, and go with the left arm in front of and under his chest, and catch him with the left hip and cast him backwards over your foot.	[96] A second battle in the sword. If he tries to run in, then let go of the sword with the left hand, and hold it in the right hand, knock his sword to your right side with your cross guard. spring with your left foot behind his right, grab him around the chest with your left arm and throw him behind you over your leg.		Aber ain ringen im schwert It~ wann aine~ dem andern ein laufft so lauß din schwert vsß der lincken hand vñ halt es in der rechten vñ stoß mitt dem ghültz sein schwert vff din rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß hinder [43v] seine~ rechten vñ far im mitt dem lincken arme vornen vnde~ sin brüste wol vm den lÿb vñ wirff vñ vff dein fu°ß hindersich ~
	[97] Yet another wresting at the sword Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm using your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.	[97] Yet another wresting at the sword Item. Note, when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand and spring with the left foot in front of his right, and back him thusly over the foot to your right side (as stands pictured next to this).	[97] Another wrestle with the sword. When you rush in towards another, release your sword with the left hand and hold it with the right. And go with the pommel outside and over his right arm, and thus twitch it downwards. And grip his right elbow with your left hand and spring with the left foot in front of his right foot, and pull him over the foot out to your right side.	[97] A third battle in the sword. If you run in, then let go of the sword with your left hand and hold it in your right, then raise the pommel from the out side over his right arm, and pull him down, then grab his right elbow with your left hand, spring with your left foot in front of his right, and pull him to the right over your leg.		Aber ain ringen im schwert It~ wann du mitt aine~ eÿnlauffest so lauß dein schwert vß der lincken hannd vñ halt es in der rechten Vñ far im mitt dem knopff vssen über seine~ rechte~ arm vnnd züch domitt vnde~sich vñ mitt der lincken hannd begrÿff sein rechte elnbogen vñ spring mitt de~ lincken fu°ß für seinen rechten vñ ruck in also über den fu°ß vff din rechte sÿtten ~~~~~	[17v] Aber ain ringen Im schwert Merck / wan du ainem ein lauffst / So laß dein schwert auß der lincken hant / vnd halt es in der rechten / Vnd far Im mit dem knopf oben vber sein rechten arm~ / vnd zeuch damit vndtersich / vnd mit der lincken begreiff seinen rechten Eelpogen / vnd spring mit dem lincken füeß für sein rechtñ / vnd ruck in alzo vber den füeß / auff dein rechte seytten als am nãchstn da gemalt stett /
	[98] Yet another wresting at the sword Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip.	[98] Yet another wresting at the sword Item. Note, when one runs-in to the other: so drive with the left arm over his right, and with that seize his right arm with an inverted hand and press his left over your left with your right arm, and spring with your right foot behind his right and turn yourself away from him to your left side, and thus you throw him over your right hip (as stands pictured next to this).	[98] Another wrestle with the sword. When one rushes in towards the other, so go with the reversed left hand over his right arm and grip your right arm; and push his right arm over his left with your right arm, and spring with your right foot behind his right foot, and turn away from him to your left side, and so cast him over your right hip.	[98] A fourth battle in the sword. If he runs in, then drive with the left hand reversed over his right arm and grabs your own right arm. Push with your right arm his right over your left, and spring with the right foot behind his right and turn to the left. This enables you to throw him over your right hip.		Abe~ ain ringe~ im schwert Item wenn ainer dem andern [44r] eÿnlaufft So far mitt lincker verkörter hand über sine~ rechten arm Vñ begrÿff da mitt dinem rechten arm vñ d druck mitt dinem rechten arm sine~ rechten über dine~ lincken vñ spring mitt dine~ rechten fu°ß hinder sinen rechten Vñ wende dich von im vff dine lincke sÿtten So wirffestu in über din rechten hüffe ~	[18r] Merck / Wan ainer dem andern einlaufft / So far mit dem lincken arm vber sein rechtñ / vnd begreiff damit sein rechtñ arm mit verkerter hant / vnd druck mit dem rechtñ arm~ sein lincken vber dein lincken / vnd spring mit dem rechten füeß hindter sein rechten / vnd went dich von Im auff sein lincke seytñ / vnd würff In vber sein rechte hiff / als am nechstñ da gemalt stet /
	[99] Yet another wresting Another. When someone rushes in inside your sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left using your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.	[99] Yet another wresting Item. When someone runs-in at the sword, etc.: so let your sword fall and invert your right hand, and with that seize his right hand outside and clasp it near the right elbow with the left, and spring with the left foot in front of his right and shove his right arm over your left with the right hand, and with that lift it upwards; thus is he locked and thus [you] may break the arm, or throw him in front of you over the leg.	[99]	[99]			Aber ain ander ringen Item wan dir ainer ein laufft im schwert / etc so laß dein schwert fallen / vnd verker dein rechte hant / vnd begreiff damit sein rechte außwendig / vnd mit der lincken fas in peÿ dem rechtn Elpogeñ / vnd sprin[g] mit dem lincken füeß für sein rechtñ / vnd stos mit der rechten han[t] sein rechtn arm~ / vber dein lincken / vnd heb in damit vbersich / also is[t] er uerrieglt / vnd magst Im also den arm~ prechen / oder für dich vbe[r] das pain werffen
	[100] One other wrestling at the sword Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them. This will vex them badly.	[100] A sword taking Item. Note, when one runs-in to the other: so invert your left hand and with that drive over his right arm, and with that seize his sword by the grip between both hands, and back to your left side (as stands pictured next to this); so you take the sword from him. This will vex him badly.	[100] Another wrestle with the sword. When one rushes in towards the other, turn your left hand and go with it over his right arm; and grip his sword's handle between his two hands, and pull it out to your left side, and so you will take the sword from him. This will be very bad for him.	[100] A fifth battle at the sword. If he runs in, then reverse your left hand and drive it over his right arm, grab his sword by the grip, between his hands and pull to your left hand side and he will suffer.		Ain ande~ ringe~ Im schwert It~ wann aine~ dem andern eÿnlaufft So verkör dein lincke hannd vnnd far domitt übe~ sine~ rechten arm vñ begriffe domitt sÿn schwert bÿ der handhäbe zwischen sine~ baiden henden vñ rucke vff dein lincke sÿtten So nimest du im dz schwert etc  Das wurd in übel kÿen ~~	[18v] Ein schwert nemen Merck / wan ainer dem andern ein laufft / so verker dein lincke hant / vnd far da mit vber sein rechten arm~ / vnd begreifft damit sein schwert peÿ der hant heb / zwischen seinen baÿden hendtñ / vnd ruck auff sein lincke seytñ / als am nechsten da gemalt stet
	[101] A sword disarm Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.	[101] This is yet another sword taking Item. Note, when he binds on your sword (with displacing or otherwise): so seize both swords in the middle of the blade with the left hand inverted and hold them tightly together, and drive through below with the pommel with the right hand against the left side over both his hands, and with that back yourself upward to the right side. So you keep both swords (as stands pictured next to this).	[101] A sword capture. When he parries or in another manner binds against your sword, grip with a turned left hand both the swords by the blades. And hold them tightly together and go with the right hand out to your left side with the pommel from below round to the other side over both his hands; and pull upwards out to your right side; you will hold both swords.	[101] A sword captures. If he displaces or in some other way binds your sword, then grab the swords in the middle of with your left hand (turned down). Hold them tightly together and drive your right hand underneath to your left side, over his hands. Then, pull upwards, to your right hand side, this way you get both swords.		[44v] Ain schwert nemen It~ wenn er mitt verseczten oder sunst an din schwert bindet So begrüff begrÿff mitt lincker verkörter hand baÿde schwert In den clingen vñ halt sÿ veste zu° samen / vñ far mitt der rechten hand gegen dine~ lincken sÿtten mitt dem knopff vnden durch im über sein baÿde hende vñ ruck do mitt übersich vff din rechte sÿtten So belÿben dir baÿde schwert ~ :·	[19r] Das ist aber ain schwert nemen Merck / wan Er mit versetzen / oder sunst an dein swert pindts so greyff mit der linckn hant peyde swert mitten in den klingen / vnd halt sÿ vest zu samen / vnd far mit der rechten hant gegen deiner lincken seytñ / vndtñ durch mit dem knopf / vber sein pede hent / vnd ruck da mit vber sich auff dein rechte seytt / so peleiben dir bayde swert / als am nechstñ da gemalt stet /
	[102] About cutting off 93 Cut off the hard ones  From below in both paths 94 Four are the slices  With two from below, two from above. Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop into their arms using the short edge and press upwards as before.	[102] This is the text and gloss about cutting-off 93 Cut away the hard [ones]  From below in both drivings. 94 Four are the cuts:  With two below, two above. Gloss. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will overpower you above against your left side with strength, so twist your sword and fall under his hilt, into his arms with the long edge with crossed hands, and press-upward with the cut (as stands pictured next to this); or, if he runs-in against your right side, fall into his arm with the short edge and press upwards as before.	[102] About slicing. 93 Slice by the obstacles,  from below threaten him. 94 Four are the slices,  two below and two above. Glosa. There are four slices. Understand this: when he rushes in towards you and goes high up with the arms and wants to overpower you with strength from above against your left side, wind your sword and fall with the long edge with crossed hands under his hilt against his arm; and press upwards with the slice. Or if he rushes in towards your right side, fall with the short edge against his arm and press upwards as before.	[102] (14) The cutting aside. Note, there are four slices, two lower and two upper. Do the first like this: If he runs in from your left side, driving up with both arms and wants to overpower you from above. Then twist your sword and drop with the long edge under his hilt into his arm and press him upwards with the cut. But if he runs in from your right, then drop the false edge under and into his arm and press him up as before.		Von abschniden ~ Schÿde ab die hörten / von vnde~ in baÿden geferten Vier sind der schnitt / zwen vnden zwen oben mit ·: Glosa Mörck [45r] es sind vier schnitt Den ersten trÿb also Wann er dir einlaufft vñ hauch vff fört mitt de~ armen vñ dich oben gege~ dine~ lincken sÿten überdringe~ will mitt störck So verwend din schwert vnd fall im mitt der lange~ schniden mitt ge crützen henden vnnde~ sinem gehülcze In sin arm vnd truck mitt dem schnitt übersich Ode~ laufft er dir ein gege~ dine~ recht~ sÿtten So fall Im mitt de~ kurczen schniden in sin arm vñ truck übersich alß vor ~~:·	[19v] Das ist der text vnd glos von abschneidñ Schneid ab die hartn / von vndtñ in baÿdñ gefertñ / vier sind der schnit / zwen vndtñ / zwen oben mit / Glosa / Merck es sind vier schnit / den Erstñ treib also Wan Er dir ein laufft / vnd hoch auch fart mit den arme~ / vnd wil dich oben gegen deiner lincken seitñ vber dringen / So verwent dein schwert / vnd far Im mit der langen schneid mit gekreutztn hendtñ / vndter seinem gehu~ltz Im sein arm~ / vnd truck mit dem schnidt vbersich / als am nechstn da gemalt stet Oder laufft er dir entgegen deiner rechtñ seÿtñ / so far Im mit der kürtzñ schneid in sein arm~ / vnd druck vbersich als vor /
	[103] Yet another slice Another. When you bind strongly on their sword using a cut or otherwise, then if the opponent allows their sword to bounce away from yours and strikes at your head from above, then hang off your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.	[103] Yet another cut Item. When you bind strongly on his sword (with a hew or otherwise): if he then allows his sword to snap-away from yours and strikes you above to the head, so twist your sword with the hilt in front of your head and cut-through his arm below, and with the cut, set the point below upon his chest.	[103] Another slice. When with a strike or in some other manner you bind strongly with his sword; let him pull his sword away from you and strike from above to your head. Then wind your sword with the hilt in front of your head and slice his arm from below; and thrust the point in the slice down into his breast.	[103] The second cut. If you bind strongly against his sword, with a blow or otherwise, and he then jerks his sword away and tries to hit your head from above, then twist your sword, work through with the cross guard in front of your head and cut him under his arm. With this cut place the point underneath against his breast.		Aber ain schnitt It~ wann du im mitt aine~ haw oder sunst starck vff sin schwert [45v] bindest laust er/dann sein schwert abschnappen võ dem dine~ vmd [!] schlecht dir oben zu° dem kopff So verwende din schwert mitt dem gehültz für dein haupt vñ schiy schnÿd im vnden durch sin arm vñ secz im mitt dem schnitt vnde~ den ort vnden an sin brust ~
	[104] Yet another slice Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above using your long edge. Conduct this on both sides.	[104] This is the over-cut Item. Note, conduct the cut thusly: when one binds on the sword against your left side, and he then strikes around from the sword to the right side (with the thwart or otherwise), so spring from the hew with the left foot to his right side, and fall with the long edge above over both arms and press him from you (as stands pictured here). Deploy this to both sides.	[104] Another slice. When someone binds your sword to your left side and strikes round from the sword with the Zwerchau or suchlike to your right side, spring with the left foot out to his right side away from the strike, and fall with the long edge from above over both arms. Do this on both sides.	[104] The third and fourth cuts. If he binds with your sword from the left and then tries to strike around to your right with a zwerchhau or some other technique, then spring with your left foot out of the blow, to his right hand side and drop with the long edge from above, over both arms. Practise this from both sides.		Aber ain schnitt It~ den schnidt trÿb also Wenn dir aine~ an dz schwert bindt gege~ dine~ lincken sÿtten vnd schlecht vmb vom schwert mitt der zwerche oder sunst dir zuo der rechten sÿtten So spring mitt dem lincken fu°ß vß dem haw° vff sin rechte sÿttenn vñ fall im mitt der langen schniden oben uber baÿde arm Das tr trÿb zu [46r] baiden sÿttenn ~			[13v] Das ist der oberschnit. Merck denn schnit treib also, wenn dir einer an des schwert pindt, gegenn deiner linckenn seitten, schlecht er dann vmb vom schwerdt, dir zu der rechtenn seittenn, so spring mit dem lincken fus aus dem haw, auf sein rechte seittenn, vnd fal im mit der langenn schneydt oben vber Pede Arm, vnd druck von dir, als hie gemalt stet.
	[105] About the transformation of the slice 95 Turn your edges  To flatten, press your hands Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side and with that press their arms away from you.	[105] This is the text and the gloss about the transformation of the cut 95 Turn the edge  To flatten; press the hands. Gloss. Note, this is when you come in your running-in with the under-cut below into his arm (such that your point goes out against his right side): so with that, press firmly upwards with the cut, and amid the pressing spring with the left foot to his right side, and turn your sword with the long edge above over his arms (such that your point goes-out against his left side), and with that, press his arm from you. Thus have you transformed the under-cut into the over; conduct this to both sides.	[105] About the transforming of the slice. 95 Wind the edge,  to avoid, press the hands. Glosa. When you can come with an under-slice to his arm when he rushes in, so that your point goes out to his right side; press upwards with the slice. And in the pressing, spring with the left foot out to his right side, and wind your sword with the long edge from above over his arms so that your point goes out to his left side; and press his arms away from you.	[105] (15) The press with the hands. The change of the cut: If you can run in then cut him under the arm, so that your point is pointing to his right, then push up strongly with the cut. Simultaneously spring with your left foot to his right side, and wrap the long edge of your sword up over his arms so that your point is pointing to his left, then press his arms away from you.		Von der verwandlung der schnitt Die schnÿde wende / zu° flechen druck die hende :· Glosa Daß ist wann du im in dein einlauffen kanst mitt dem vndern schnitt vnden in sin arm daß dein ort gege~ sinenr rechten sÿtten außgät So tuck mitt dem schnitt vast übersich / vñ mitt dem trucken spring mitte de~ lincken fu°ß vff sÿn rechte sÿtten vñ wende din schwert mitt der lange~ schniden oben über sein arme dz din ort gege~ siner lincken sÿtten vß gee vñ truck sin arm domitt von dir ~	[20r] Das ist der text vnd glos von der verwandlung der schnÿdtt Dein schneyd wendt / zu flachen druck die hendt Glosa / Merck daz ist / wen du im in dem ein lauffen kümbst mit dem vnderñ schnit vndten in sein arm~ daz dein ortt gegen deiner rechtñ seyttñ aus gett / So druck damit vast vbersich / vnd mit dem drucken spring mit dem lincken fueß auff sein rechte seittñ / vnd wendt dein schwert mit d~ langen schneid oben ober sein arm~ das dein ort gegen seiner lincke~ seÿttñ ausgee / also hastu~ verwandelt den vndterñ schnid in den oberñ das treib zu paiden seÿttñ	[13r] Text. Dein schneid wend. zu der flech druck in die hend. Glosa. merck das ist. wenn du Im in dem einlauffen kumbst mit den vndern schnit vnden in sein arm. das dein ort. gegen deiner rechten seitten auß/geet. so druckh damit vast vbersich. vnd mit dem drucken spring. mit dem linckhen fuß. auff sein rechte seitten. vnd wende dein schwert mit der lange schneid ob seinem arm. das dein ort gegen [13v] seiner lincken seitten auß gee. also hastu verwandlet. den vndern schnit. in dem obern. das treib zu baiden seiten. ~
	[106] About the two hangings 96 Two hangings emerge  From the ground out of each hand 97 In every application  Cut, Thrust, Position, Soft or Hard Gloss. Note there are hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.	[106] This is the text and the gloss about the two hangings 96 The two hangings happen  From one hand from the earth. 97 In every drive,  Hew, thrust, leaguer; soft or hard. Gloss. Note, there are two hangings from one hand and from one side from the earth; conduct it thusly: When you bind onto his sword against your left side with the lower setting-aside, so hang your sword's pommel against the earth, and thrust-up to him from below out of the hanging to the face. If he then shoves your point upward with the displacing, so remain thusly upon the sword and also drive up with him, and hang the point from above down to the face, and in the two hangings you shall swiftly conduct hew, thrust, and cut [with] every drive. Thereafter, as you [are] in the binding-on of the sword, with that, perceive (or test) whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)	[106] About the two hangings. 96 There are two hangings  from each hand to the ground. 97 In all movements:  strikes, thrusts, guards—soft or hard. Glosa. There are two hangings from each hand and on each side towards the ground. When you bind against his sword with a lower setting-aside to your left side; hang your pommel to the ground and thrust him from below up into the face from the hanging. If he pushes your point upwards with a parry, stay in the bind and go up with him, and hang the point from above downwards towards his face. And in the two hangings you shall deftly use all techniques: strikes, thrusts and slice; in the binding against the sword notice if he is soft or hard.	[106] (16) The hanging. Note: There are two hangings from the same side: Drive them as follows: If you bind against his sword on the left while absetzen (setting aside) an attack to the lower opening, let your sword pommel hang to the ground and stab to his face from beneath. If he then deflects your point upwards, remain on the sword and drive high also. and let the point hang into his face from above. And learn all techniques from both hangings:Blows, thrusts and cuts, depending, on whether you feel he is soft or hard in the bind.		Von zwaÿen hengen Zwaÿ hengen werden / vß ainer hand von der erden In allem [46v] gefert / hew stich Leger ode~ waich oder hert ·: Glosa Mörck eß sind zwaÿ hengen vß ainer hand vñ võ ainer sÿtten von der erden die trÿb also Wann du im mit dem vndern abseczen gege~ dine~ lincken sÿtten an sin schwert bindest So heng dinen schwert knopff gegen der erden vñ stich im von vnde~ auff vß dem henge~ zu° dem gesichte stost er dann mitt verseczeñ dinen ort übersich uff So blÿb also am schwert vñ far mitt im vff vñ heng im den ort võ oben nider zu° dem gesicht Vñ in den zwaÿen henge~ solt du alle gefert behentlich trÿben Hew° stich vñ schnitt Darnach alß du in dem anbinden der schwert enpfindest ober damitt waich oder hört sÿ ist ~~~~	Das ist der text vnd dÿ glos von zwaÿen henngen Zway hengen werden / aus einer hand von der erden / in allem gefertt / hew stich leger waich oder hertt / Glosa / Merck es sind zway hengen aus eyner hendt vnd von ainer seitten von der erden / die treib also / wen du im mit dem vnden absetzñ gegñ deiner lincken seÿttñ an sein schwert pindest / So heng dein knopf gegen der erden / vnd stich im von vnden auff aus dem hengen zu dem gesicht / Stost er denn mit versetzñ dein ortt vber sich auff / So pleib also am schwert vnd far auch auff vnd heng Im dein ort von oben nÿder zu dem gesicht / vnd in den zwaÿen hengen solt du alle gefert behentlich treibñ / hew stich / vnd schnitt darnach / als du in dem an pinden der schwert enpfindest oder pru~effest / ob er damit waich oder hertt ist / die hengen von paidñ seÿttñ das ist der pflu~g von paidñ seÿttñ	Text. Zway hengen werden auß jeden ort auff die erden in allem gefert. haw. stich. leger. waich oder hert. Glosa. Merckh es seind zway henge(n) auß ainer hend vnd von ainer seiten von der erden die treib also: Wenn du Im mit dem vndern gegen deiner linckhen seitten an sein schwert pindest. so heng deinen knopff gegen der Erd. vnd stich Im von vnden auff. auß dem hengen zu dem gesicht. stoßt Er dir denn mit verseczen deinen ort über sich auff. so bleib also am schwert. vnd var auch auff. vnd heng Im den ort von oben nider zu dem gesicht. vnd in den zwain hengen soltu alle gevert. behendigclich treiben. haw. stich vnd schnit. darnach als du dann in dem anpind(en) der schwert empfindest. oder prüfest. ob Er damit waich oder hert ist.
	[107] About the speaking window 98 Make the speaking window  Stand freely, watch their situation. 99 Strike them so that it snaps.  Whoever withdraws themselves before you, 100 I say to you truthfully  No one defends themselves without danger 101 If you have understood  They cannot come to blows Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or parrying, remain strong against their sword using your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.	[107] This is the text and the gloss about the speaking-window 98 Make the speaking-window;  Stand freely, seek out his thing, 99 Strike him such that it snaps  Whoever withdraws before you. 100 I say to you in truth:  No one protects themselves without danger. 101 If you have correct understanding,  He may barely come to strikes. Gloss. Note, this called the speaking-window: when he binds you on the sword with hews or with displacing, so remain strong from extended arms with the long edge upon the sword, with the point in front of the face, and stand freely and seek out his thing (whatever he will conduct against you).	[107] About the speaking window. 98 Doing the speaking window:  stand straight, observe what he does. 99 Strike in, when he twitches.  About the one who draws himself away from you, 100 truly I say this to you:  no man can truly defend himself without danger! 101 If you have understood this correctly,  he can rarely come to blows. Glosa. It is called the "speaking window": when he binds against the sword with a strike or parry, hold strongly with the long edge against his sword with outstretched arms, with the point in front of his face, and stand calmly and observe what he tries to do against you.	[107] (17) The sprechfenster. Note: this is the sprechfenster: If he binds with your sword with a strike or defection, so remain strongly on the sword with the long edge, with the point in front of his face, stand calmly and pay attention, to what his next move is.		[47r] Von dem sprechfenste~ Sprechfenste~ mach stand frÿlich besiche sin sach Schlage in dz er schnappe wer sich vor dir zühet abe Ich sag dir für ware / sich schüczt kain man one fare Haustu recht vernom~en zu° schlage mag er klain kum~en ·: Glosa Mörck dz haisset dz sprechfenster Wenn er dir mitt hewen ode~ verseczenn an dz schwert bindet So belib starck auß gerechtenn armen mitt der lange~ schniden am schwert mitt dem ort im vor dem gesichte vñ stand freÿlich vnd besich sin sach was er gege~ dir trÿben wöll	[20v] Das ist der text vnd die glos von dem sprechvenster Sprech venster mache stand freÿleich besich sein sache / slach In das es schnapp / wer sich vor dir zuechet ab / Ich sag dir fu~rwar / sich schu~tzt kain man anefar / Glosa hastu vernumen / zu schlag mag er klain kum~en / Glosa / das sprech venster mach also / wen er dir mit hawen oder mit versetzñ an das schwert pindt So pleib starck mit ausgestrackten arme~ mit der langen schneid am schwert / mit dem ort Im vor dem gesicht / vnd stee frõlich vnd besich sein sach / was er gegen dir treiben wil /	Spirch vester [sic]. stand froelich besich sein sach. schlach in das Er schnabe. wer sich vor dir zeuchet abe. Jch sag dir fürwar. sich schüczet kain man ane vare. hastu es vernimmen. zu schlag mag Er klain komen. Glosa. Das spirchvenster mach also. wenn Er dir mit hawen vnd verseczen. an das schwert pindt. so bleib starckh auß geräckhten armen mit der langen schneid am swert. mit dem ort Im vor dem gesicht. vnd stee frölichen vnd besich sein sach. was Er gegen dir treiben will.
	[108] Another. If the opponent strikes around from the sword to your other side with a descending cut, then bind in from above with strength in accordance with their cut using your long edge.	[108] Item. If he strikes-around from the sword with an over-hew to the other side, so bind-after with the long edge against his hew with strength, above into the head.	[108] If he strikes round with the sword in an Oberhau against you to your other side, follow after and bind powerfully on his cut with the long edge from above in to the head.	[108] If he strikes around the sword to the other side with an oberhau, then stay strongly in the bind and follow his strike, with the long edge, to his head.		It~ schlecht er vom schwert vmb mitt aine~ oberhaw° dir zu° der andere~ sÿtten So bind mitt storck sine~ haw mitt nach [47v] mitt der langen schniden im oben ein zu° dem kopff	Item Schlet er vom schwert vmb mit einem oberhaw dir zu der andern seÿtten / so pindt im gegen seinem haw mit sterck ein oben zu dem kopf /	schlecht Er vom schwert vmb mit einem Oberhaw dir zu. der andern seiten. so pind gegen seinem haw mit sterckh ein Im oben zu dem kopff.
	[109] Or if they strike around using the crosswise cut, then drop into their arms using the upper slice.	[109] Or if he strikes-around from the sword with the thwart, so fall into his arms with the over-cut.	[109] Or if he strikes round in a Zwerchau, fall with the upper slice against his arms.	[109] Or if he strikes around with the zwerch, then fall on his arms with the overcut.		Oder schlecht er vmb mitt de~ zwer So fall im mitt dem obern schnitt in die arme	Oder schlecht er vom schwert vmb mit der twer so vall im mit dem obern schnidt in die arm~ /	slecht Er vom schwert vmb mit der twir. so vall Im mit dem obern schnit in die arm
	[110] Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword and lodge against them from above.	[110] Or if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point, and set-upon him above.	[110] Or if he twitches the sword and thinks to stab you from below, follow after him in the bind, and thrust into him from above.	[110] Or if he pulls his sword back and tries to stab you in the lower opening. Then then follow his thrust and stab him over the sword.		Oder zuckt er sin schwert an sich vñ will dir vnnden zu° stechen So raise im nach an dem schwerte vñ secz im oben an	Oder zuckt er sein schwert an sich vnd wil dir vndten zu stechñ so raÿß im nach mit dem ort am schwertt / vnd setz im oben an /	zuckht Er sein schwert an sich. vnd will dir vnden zustechen. so raiß jm nach mit dem ort am schwert. vnd secz Im oben an.
	[111] Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.	[111] Item. Note, if he does not wish to withdraw nor strike-around from the sword, so work upon the sword with the doubling (or otherwise with other plays) as you thereafter perceive the soft and the hard upon the sword.	[111] Or if he does not draw back from the sword, nor strikes round, work in the bind with the doubling and with other techniques—all because you mark if he is soft or hard in the bind.	[111] But if he wants neither to pull away or strike around, then work at the sword with duplieren and other techniques. Depending on whether or not you feel he is hard or soft at the sword.		It~ oder will er sich vom schwert nicht abziechen noch umbschlachen So arbait du am schwert mitt dem duplieren vñ sunst mitt andere~ stucken darnach alß du enpfindest die waich vnd die hört am schwert etc	Merck / wil er sich vom schwert nit abziechñ noch vmb schlagñ so arbeit dw am schwert mit dem dzplierñ vnd sunst mit anderñ gefertñ / darnach als du enpindest die weich vnd die hert am sch[wert]	will Er sich vom schwert nit ab ziechenn noch vmbschlachen. so arbait dir am schwert mit dem tuplir(n) vnd sonst mit andern geverten. darnach als du empfindest die waich vnd die hert am schwert. ~
	[112] Hereafter note what is called here, the long point. Note the moment before you arrive too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.	[112] Here note how you shall stand in the long-point and what plays you shall conduct from it Item. Note, when you come just near to him with the onset: so set your left foot forward before when he binds you on the sword, and hold your point long with extended arms against the face or against the chest. If he then hews-in from above to your head, so wind against his hew with the sword and thrust into his face.	[112] That which is called the "long point". Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards him with outstretched arms towards the face or the chest. If he cuts at you from above and down towards your head, wind with the sword against his cut and stab him in the face.	[112] The long point Note: If coming in to fence, then your left point forward and place your point (with outstretched arms) against his breast or face. Or if he strikes to your head wind your sword against his blow and stab him to the face.		Hie nach mörck waß do haÿsset der lang ort Mörck Ee wenn du mitt dem zu°fechten zu° nahent an In kümst So secze dine~ lincken fu°ß vor vnd halt Im den ort auß gerächten [123r] armen lang gegen dem gesicht oder der bru~st Hawt er denn dir oben nider zu° dem kopffe So wind mitt dem schwert gegen sine~ haw° vñ stich im zu° dem gesicht	Hie merck wie du solst sten in dem langen ort vnd was stuck du daraus treiben solst / Merck / wen du mit dem schwert zu fechtñ zu im kumbst / So setz den lincken fues vor ee wen er dir an das schwert pindt vnd halt im dein ort lanck mit ausgeracktñ armen gegen dem gesicht / oder gegen der prust / hautt er dir dan denn oben ein zu dem gesicht / oder haut er dir kopf / So wint mit dem schwert gegen seinem haw / vnd stich im zu dem gesicht /	[14r] Item merckh wenn du mit dem zu vechten zu Im kumbst. so secz dein lincken fuß vor. ee wann Er dir an das schwert pindt. vnd halt Im den ort lanckh auß geräckten armen gegen dem gesicht. oder der prust. hawt Er dir denn oben ein zu dem kopff. so wind mit schwert gegen sein haw. vnd stich jm oben zu dem gesicht.
	[113] Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.	[113] Or if he hews from above to below, or from below up into the sword, and wishes to strike the point away, so change-through and thrust to the other opening or side.	[113] Or if he cuts from above or from below against your sword and tries to knock the point away, change through and stab him on the other side into the opening.	[113] Or if he strikes you from above or beneath and wants to beat your blade to the side, then change through and thrust to the opening on the other side.		Oder hawt er võ oben nider ode~ võ vnde~ auff dir zu° dem schwert vñ will dir de~ ort wegk schlachen So wechsel durch vñ stich im zu° der andere~ sÿtten zu° der blöß	oder hawt er von oben nÿder oder von vndten auff dir zu dem schwert vnd wil dir dein ortt weg schlagen / so wechsl durch vnd [21r] stich im zu der anderñ plõs oder seyttñ /	oder hawt er von oben nider. oder von vnden auff. dir zu dem schwert. vnd will dir den ort wegkhschlach(en) so wechsell durch. vnd stich jm zu der andern seiten. zu der plöß.
	[114] Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.	[114] Or if he hits your sword with strength with the hew, so allow your sword to snap-around, so you hit him in the head.	[114] Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head.	[114] But if he hits your sword with strength, snap it around and hit to his head.		Oder trifft er dir mitt dem haw° dz schwert mit störcke so lauß din schwert vmb schnappen So triffest du in zu° dem kopff	oder trifft er dir mit de~ haw das schwert mit sterck so las vmb schnappen so trifst du in zu dem kopf /	oder trifft Er dir mit dem haw das schwert mit sterckh. so laß vmb schnappen. so triffstu in zu dem kopff.
	[115] If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.	[115] Or if he runs-in, so conduct the cut or await the wrestling. Watch that it does not fail you.	[115] If he rushes in towards you, grapple or slice him. Watch out so that it does not go wrong for you!	[115] If he runs in then wrestle or cut. Always make sure you do not fail.		Laufft er dir ein So trÿb die ringen oder den schnitt ~ ~ ~ ~ ~ etc  Lu°g dz es dir nitt fel	Oder laufft er dir ein so treib den schnit oder wart der ringen /	laufft Er dir ein. so treib den schnit. oder wart der Ringen. ~
	[116] The text about the distillation of the recital 102 Who fully commands and correctly breaks  And makes complete irrefutable judgement 103 And breaks each one individually  Into three wounders 104 Who hangs consummately and correctly  And carries out windings with it 105 And considers the eight winds  With correct judgement 106 And unites them.  The windings, I differentiate trebly 107 Thus they are twenty  And four counting them individually. 108 From both sides  Learn eight windings with steps 109 And gauge these applications  Nothing more than soft or hard Gloss. This is a lesson in which the recital is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to execute your break against their play, so that you can complete your work from any particular break using the three wounders.	[116] This is the text about the conclusion of the entire Recital 102 Whoever commands well and properly breaks,  And tenaciously corrects completely, 103 And breaks apart,  Each into three wounders; 104 Whoever properly hangs well,  And with that brings the winding, 105 And considers the eight windings,  With proper movement; 106 And yet I mean your one  Of the windings are triple, 107 So are they simply counted  Twenty and four. 108 From both sides  Learn eight windings with stepping, 109 And test the drives [for]  Nothing more than soft or hard. Gloss. This is a lesson, therein the art of the record is skillfully understood. It is taught thusly so that you shall be quite well practiced and accomplished in the art. Also, so that you can appropriately command any attack and play according to that which you fence with, so that you therefore correctly know to conduct your break against his plays, so that you may work with three wounders from each particular break.	[116] The summary of the markverses. 102 He who does well, who counters correctly  and diligently and who understands completely, 103 and especially who counters  everyone by the three wounders, 104 he who lets go completely  and takes it into the wind 105 by eight windings,  and who understands correctly 106 that each of  the windings are threefold, so I mean 107 that there are  twenty and four, 108 counted on both sides.  Learn the eight windings with steps. 109 And test all techniques  no more than you test for weak or hard. Glosa. This is a lesson, which summarises the markverses so that they are comprehensible for you. Learn also: that you shall acquaint yourself well with and train the art by which you fence, so that you know to use your counters against his techniques. Especially that you can work with the three wounders from every counter.	[116] The closing lesson. In the following it is taught briefly. Note: In the art of fencing you should always be practised and ready, so that from each break you are able to operate, with blows, with trusts, and with cuts.		[123v] Der text von der beschliessung der zedel ~~ Wer wol fürett / vñ recht bricht / vnd entlich garbericht Vñ bricht besunnde~ ÿgclichs im drew° wu~der Wer recht wol henget / vnd winden do mitt brenget Vnd winden acht / mitt rechten wegen etracht / Vnd Jo Ir aÿne / der winden selb dritt ich maÿne So So sind ir zwinczig / vñ fürzel sÿ einzigen Von baÿden sÿttenn / acht winden ler mit schritten Vnnd brieff da die gefert / nicht mer dann waich ode~ hert ~ ~ Glosa Das ist ain lere do die zedel kurcz Inen begriffen ist die lert also Daß du in de~ kunst gar wol gern bericht vñ geüpbt [124r] solt sin gegen den do du mitt fech fichtest daß du dine brüch gegen sine~ stucken also wisset zü trÿben Daß du vß aine~ ÿeden bruch besunde~ magst gearbaitten mitt drÿ dreÿen wunden	Das ist der text von der verschliessüng der gantze~ zettl :~ Wer wol fu~ert vnd recht pricht / vnd entlich gar bericht / vnd pricht besunder / yedlichs in dren wunder / wer recht woll hengt / vnd winden damit pringt / vnd winden acht / mit rechten wegen betracht / vnd doch ir aine der winden selb tritt / Ich maÿn so sind ir zwaintzigk / vnd vier zell sÿ aÿntzick von paiden seittñ / acht winden ler mit schreittñ / vnd pru~eff die gefert / nicht mer dan waich oder hert / Glosa / Das ist ain ler / darin die kunst der zetl kuntzlich begriffen ist die lest / also das du in der kunst gar wol geu~bt vnd bericht solst sein / also das du alle gefertt vnd stuck behentlich daraus kundest fu~ren gegen dem da du mit fichst / das du deine pru~ch gegen seinenn stucken also gerecht wist zu treibñ / das du~ aus einem yeden pru~ch besünder mu~gst gearbeittñ mit dreÿe~ wunderñ	Text. Wer wol furet vnd recht pricht. vnd endtlich gar bericht. vnnd be sunder. yedlichs in drey wunder. wer recht wol hengt. vnd winden damit pringt. vnd winden acht. mit rechten wegen betracht. vnd Ie Jr aine. der winden selb drit Ich maine. so sind Ir zwainczig. vnd vier zel sy ainczig. von baiden seitten. acht winden lern mit schreiten. vnd prueff die geferrte. nicht mer nur waich oder herte. Glosa. Das ist ein ler. da die kunst der zetell kurcz jnn begriffen ist. die lert also. Das du in der kunst geuebt. vnd bericht solt sein. also das du alle gefert vnd stuckh behendigclich darauß kündest fueren. gegen dem da du mit vichst. das du deinen pruch gegen seinen stucken also gerecht wissest zetreiben. Das du auß ainem Jeden pruch be/sunder mügst gearbaiten mit drey wundern.	Das ist die beschliessung der gantzen Zedtl. Wer wol fürt vnnd recht bricht, vnd entlich gar pericht, vnnd pricht besunder, iglichs in drey wunder, wer recht wol hengt, vnnd winden domit pringt, vnnd winden acht, mit rechten wegenn betracht, Vnnd yo ir eine der winden selb drit Ich meine, So sindt Ir zwantzig, vnd vier zel sie embzig. Von beiden Seiten, die acht windenn ler mit schreittenn, vnd pruf die geuert nicht mer, ob sie sind waich oder hert.
	[117] Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to execute.	[117] Item. You shall also properly hang upon the sword and from the hangings you shall bring eight windings, and you shall also consider and properly estimate the windings, so that you know to conduct which one of the said three.	[117] You shall also hang well in the bind, and from the hangings you will use eight windings, and you will study these windings, so that you know to use all of the three methods.	[117] You should be able to use the hanging at the sword. And to wind from the hanging. And from the hanging you are likewise to be able to strike and cut.		Auch solt du wol henge~ am schwert Vñ auß den hengen solt du bringe~ acht windeñ vñ die windeñ solt du also betrachten daß du der aines selbs dritt wissest zu° treÿben ~	Item auch solt du woll hengen am schwert / vnd aus dem hengen solt du pringen acht winden / vnd die winden solt du also betrachtñ / vnd recht wegen / das du der ains selb dritt wist zetreibñ /	auch soltu wol hengen am schwert. vnd auß dem hengen soltu pringen. acht winden. vnd die winden soltu betrachten also vnd recht wegen. Das du der ains selb drit wissen zutreibenn ~
	[118] Here note how you shall conduct the hangings and the windings Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only execute two specific windings from each binding of the sword.	[118] Here note how you shall conduct the hangings and the windings Item. Understand it thusly: there are four bindings-on of the sword, two over and two under. You shall only conduct two particular windings from each binding-on of the sword.	[118] How you shall use the hanging and the windings. There are four bindings with the sword, two over and two under. Now in every binding with the sword you will use two specific windings.	[118] The hanging and the winding. There are four sword binds, two upper and two lower. From each bind you should control two winds.		Hie mörck wie du hengen vnd die winde~ treÿben solt Das vernÿm also Es sind vier anbinden der schwert Zwaÿ obere vñ zwaÿ vndere Nun solt du vß ÿedem anbinden der schwert zwaÿ obere besund besunde~ tr trÿbenn zwaÿ windeñ	[21v] Hie merck / wie du die hengen vnd die winden treibñ solst / Item das vernym also / es sind vier an pinden der schwert zwaÿ obere vnd zwaÿ vndre / nu soltu aus yedem an pinden pesunder treiben zwaÿ winnden /	Item das vernymb also. es seind vier anpinden der schwert. zway oben. zway vnden. nu soltu auß jedem anpinden be/sunder treiben. zway winden.
	[119] Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.	[119] Item. Do it thusly: When you come to him with the onset, if he then binds-on to you above against your left side, so wind the short edge upon his sword and drive well up with the arms, and hang-in your point to him above and thrust into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your right side and thrust. These are two windings on one side of the sword.	[119] If he binds above on your left side, wind the short edge against his sword and go upwards with the arms; and hang the point in from above towards him and stab him in the face. If he defends against the thrust, let the point hang in from above in the bind and wind out to you right side. There are two windings around the side of the sword.	[119] So if he binds high to your left hand side, lift your arms and wind the short edge at his sword, leave the point hanging and thrust to his face. If he sets aside the thrust, wind to your right side and let the point hang.		Das vernÿm also [124v] Bindt er dir oben an gegen deiner lincken sÿtten So winde die kucz kurcz schnide an sin schwert Vñ far wol vff mitt den arme~ vñ heng im den ort oben ein Vñ stich im zu° dem gesicht Verseczt er den stich So lauß den ort am schwert oben ein hangen vñ wind vff dein rechte sÿtten Daß sind zwaÿ winden an aine~ sÿtten des schwerts ~ ~~	Item / dem thue also / wen du mit dem zu fechtñ zu im kumbst / pindt er dir denn oben an gegen deiner lincken seyttñ / So wint die kurtz schneid an seinem schwert / vnd far wol auff mit den armen / vnd heng im dein ort oben ein / vnd stich im zu dem gesicht / versetzt er den stich mit sterck / So las im dein ort am schwert oben ein hangen / vnd wint auff dein rechte seytt vnd stich das sind zwaÿ winden an einer seÿttñ schwertz /	dem thue also. Wenn du mit [14v] dem zuvechten zu Im kumbst. pindt Er dir den oben an gegen deiner linckhen seiten. so wind die kurcz schneid an sein schwert vnd var wol auff mit den armen. vnd heng jm den ort oben en. vnd stich jm zu dem gesicht. verseczt Er den stich mit sterckh. so laß Im den ort am schwert obenn ein hangen. vnd wind auff dein rechte seiten. vnd stich. dz seind zway winden an ainer seiten des schwerts.
	[120] Or if the opponent binds against your right side from above, also wind your long edge against their sword toward your right side and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides.	[120] Item. Or if he binds-on above against your right side, wind the long edge upon his sword also against your right side and drive well up with the arms, and hang-in your point to him above, and thrust-in the point above into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your left side and thrust. These are four windings from the two over-bindings-on, from the left and from the right sides.	[120] Or if he binds above to your right side, wind the long edge against his sword towards your right side. And up with the arms and hang the point in from above and thrust him in the face. If he parries the thrust powerfully, so in the binding let the point hang in towards him from above and wind out to your left side and thrust. There are four windings from the two high bindings on the left and right sides.	[120] Likewise if he binds high to your right side, then also wind to your right, with the long edge at his sword, lift up your arms let the point hang and thrust to his face. If he sets aside the thrust with strength then let his point rest on your sword above the hanging, wind to the left and thrust. These are the four windings from bindings to the upper left and upper right side.		[124v] Item oder d bind er dir oben an gen diner rechten sÿtten So wind och gege~ dine~ rechte~ sÿtten die langen schnid an sin schwert vñ far wol vff mitt den armen vnd heng im den ort oben ein vnd stich im zu° dem gesicht verseczt er den stich mitt störck [48r] so lauß im den ort am schwert oben ein hangen Vñ wind vff din lincke sÿtten vñ stich Daß sind vier winden vß den obern zwaÿen anbinden von der lincken vnd von der rechtten sÿtten ~	Oder pindt er dir oben an gegen deiner rechtñ seyttñ / So wint auch gegñ deiner rechtñ seÿttñ die lang schneid an sein schwert / vnd far wol auff / mit den armen vnd heng Im dein ort obenn ein / vnd stich im zu dem gesicht / versetzt er den stich mit sterck / so las im dein ort am schwert oben ein hangen / vnd windt auff dein lincke seÿtt vnd stich / das sind vier winden aus den obern zwaÿn an pinden von der lincken vnd der rechtñ seÿtten /	pindt Er dir oben an gegen deiner rechten seiten. so wind auch gegenn deiner rechten seiten. die lang schneid an sein schwert. vnd var wol auff mit den armen. vnd heng jm den ort oben ein. vnd stich Im den ort oben ein zu dem gesicht. verseczt Er den stich mit sterckh. so laß jm den ort am schwert oben ein hangen. vnd wind auff dein linckhe seitten. vnd stich das seind vier winden. auß den obern zwayen anpinden vnd der linckhen vnd rechten seitten.
	[121] Another. Now you shall know that you shall also execute four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall execute one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play into the winding that is called for. If you do not do this, all windings become a means to be struck.	[121] Item. Now you shall know that you shall also conduct four windings from the two under-bindings-on with all attacks, as from the over[-bindings-on]. Thus the windings, over and under, become eight. And remember that you shall conduct one particular hew, or one cut, or one thrust, from each winding. And this is called the three wounders. From those, one can and shall conduct them from the eight windings into twenty-four instances. And you shall properly learn to conduct the eight windings from both sides, so that you step in with each winding, and you test his attack, no more than if he is soft or hard upon the sword. And when you have sensed these two things, conduct the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.	[121] Now you shall know that from the two low bindings also you shall use four windings with all techniques you use from the over bindings: thus there are eight windings above and below. And think that from every winding you can use a strike, a slice and a thrust. And these are called the \three wounders", which of the twenty four methods one can and should use from the eight windings. And the eight windings you shall learn well on both sides, so that with every wounder you can feel precisely if he is soft or hard in the bind, and no more. And when you have felt these two things, use the correct techniques that are companion to the windings. If you do not do this then you will be beaten despite all windings.	[121] Likewise you should control four windings from the lower bindings. just as above. This totals eight, and imagine that you can strike, thrust and cut, from each winding, so that twenty four techniques can come from one winding. And you are to learn the eight winds in this way, from both sides. So that with each strike you test whether he is hard or soft at the sword. And you have learnt to drive through all pieces that lead to winding, if not you will be hit within each winding.		Ittem nun solt du wissen dz du vß den vnndern zwaÿen anbind~ auch solt trÿben vier winden mitt allen gefertenn alß vß den obern also worden der winden oben vñ vnden acht Vnd gedenck dz du vß ÿedem winden besonnde~ triben solt aine~ haw oder schnitt vnd ain stich Vnd dz haissen die drÿ drew wunder Daru~b daß man sÿ zu° viervnndzwinczig malen vß den acht winden trÿben soll [48v] vñ mag Vñ die ach winde~ solt du wol lerne~ trÿben võ baiden· sÿtten Also daß du mitt ÿedem Wu°nder brieffest sin gefört Nicht mer wann dann öb er damitt waich ode~ hert am schwert sÿ Vnnd wenn du die zwaÿ ding enpfundenn hast haüst So trÿb die stuck gerecht die zu° dem winde~ gehören Wo du dz nicht tu°st So wirst du bÿ allen winden geschlagen ~~	Itm~ Nu solt du wissen / das du aus den vnderñ zwaÿn an pinden auch solst treiben vier winden mit allen gefertñ als aus den oberñ Also werden der winden oben vnd vndten acht / gedenck das du auß yedem winden besunder solst treibñ ain haw / ein stich / ein schnitt / das haist dreÿ wunder / darumb das man sÿ zu viervndzayntzigk malen aus den acht winden treibñ mag / vnd die acht winden solt du woll lerñ treibñ von paÿden seÿttñ / also das du mit yedem winden zu schreittest / vnd damit pru~eff sein gefert nit mer ob er damit waich oder hert am schwert ist / vnd wen du die zwaÿ ding enpfunden hast so treib die stuck gerecht die zu den winden gehõren ob du es des nit thuest / so wirst du peÿ allen winden geschlagñ /	Nu soltu wissenn. das du auß den vndern zwayen anpinden. auch solt treibe(n) vier winden. in allen geferten. als auß den obern. also wer/dort der winden oben vnd vnden acht. vnd gedenckh das du auß winden besunder solt teiben ein haw. ein stich. einen schnit. das haissent drey wunder. darumb das mans zu vier vnnd zwainczig malen auß den acht winden treiben mag. vnd die acht winden soltu wol lernen treiben von bede(n) seitten. also das du mit jedem winden zu schreitest. vnd das man prueff sein gefert. nit mer ob Er damit waich oder hert am schwert ist. vnd wenn du dis zwayding enpfinde(n) hast. so treib die stuckh gerecht die zu den winden gehören. ob du das nit thuest. so wirstu bey allen winden geschlage(n)