Pseudo-Hans Döbringer/David Lindholm LS 2005

This is the general foreword to the unarmoured fencing on foot, note this well.

1	Young knights learn  to love God and honour women
2	that your honour may grow.  Practice knightly things and learn
3	arts that help you  and grant you honour in war.
4	Wrestle well;  grab the lance, spear, sword and falchion.
5	Do this manly  and make it useless in other hands.
6	Strike threefold and hard in there,  rush in regardless if you hit or miss,
7	so that in understanding this  you will be known as a wise man.
8	This you shall know,  that all things have length and measure.
ⅰ	Do what you wish to do  with good understanding.
ⅱ	In earnest or in play  have good heart with measure.
ⅲ	Thus you beware  and look with good cheer;
ⅳ	this is what you shall do  and how you go against him.
ⅴ	For good heart and force  makes your opponent weak,
ⅵ	govern yourself after this;  never give an advantage for nothing.
ⅶ	Do not be rash;  do not first do four or six.
ⅷ	With your overconfidence  be moderate, which is good for you.
ⅸ	He is a brave man  who fights his own weaknesses.
ⅹ	It is no shame  to flee when four or six (foes) are at hand

This is a general teaching of the sword.

9	If you want to display skill,  go with the left and follow right with the strikes,
10	and left with right  is how you will fence with strength.
11	If you only strike after,  you will have little joy from his art,
12	strike him wherever you wish,  and no changer will come within your shield.
ⅺ	Do not strike to the sword;  instead go for the openings,
13	To the head, to the body  and do not forget the withdrawing.
14	Do with the entire body  what you wish to do firmly.
15	Hear what is bad;  do not fence above left if you are a right-hander.
16	And if you are a left-hander  then leave the right behind
ⅻ	and fence rather  from high left to low (on the right).
17	Before and after, from these two things  the whole art stem,
18	weak and strong,  in an instant, note that word well.
19	Thus you may learn  with work and defend artfully,
20	if you frighten easily,  do not learn how to fence.
ⅹⅲ	Knowledge and skill,  cunning, prudence and wisdom,
ⅹⅳ	reason, secrecy,  reach, foreknowing and readiness.
ⅹⅴ	this fencing desire  and cheerfully do.

Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings and the turnings is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point [of the opponent's weapon] do not always hit well. But with these techniques striking, thrusting or cutting, stepping in or out, stepping around or a leap, will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings or stepping out. Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.

Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point, both edges, cross guard and pommel and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.

Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.

He also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you strike or thrust at him, he will not be able to defend with other techniques and neither lead it away by changing through as long as the strikes or thrusts are to the man, to the openings to the head and the body with steps and leaps in from the side.

Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as. On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour or without.

Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike. When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant should you do the after strike before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.

Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike according to this teaching.

With the word before as has been told before, he means that you with a good first strike shall close in without fear or hesitation and strike at the openings, to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can gather himself and come back, you shall do the after strike so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike and the opponent defends against this, in the defence you will always be first to reach the after strike before the opponent. As soon as you can, you should go with the pommel to the head or come in with the cross strike that is always good to do, or you can throw the sword forward crosswise in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the first strike and the after strike quickly one after the other,

and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away turn and note and feel if the other gathers himself in order to move away or not.

If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings, then you shall – before the opponent has time to gather himself in order to strike or thrust – follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the sword, as close and as short as possible. Then if you move away to do another strike or thrust and you do a wide movement, then the opponent will always be able to beat you to the with a strike or thrust, then he can hit you with the first strike. And this is what Liechtenauer means with the word [Nach]. When you have done the first strike then you shall without any delay do the and you should also stay in motion and do one thing after another. If the first [attack] does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words.

But if it is so that the opponent remains on the sword after his defence and is on the sword, and it has occurred that you remain with him on the sword and he has not done the after strike then you shall turn and remain with him on the sword. And you shall notice straight away if the opponent is weak or strong.

If it is so that you feel and notice that the opponent is strong and hard and firm on the sword and intends to push your sword away, then you shall be weak and yielding and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his openings to the head and the body with strikes and thrusts or with cuts, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new strike or thrust.

But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit,

or if he is strong and defends and displaces the thrust. If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with strikes, thrusts or cuts in any way you can. This is what Liechtenauer means by the words soft and strong. And this comes from the authorities as Aristotle said in the book Peri Hermanias; opposed near him set wise men shine forth or abandon opposition. Weak against strong, hard against soft and vice versa. Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be?

Therefore learn well to feel in the swordplay. As Liechtenauer says, "learn how to feel. In an instant/just as is a sharp word". Thus when you find yourself on another’s sword and feel well if he is weak or strong at the sword, then at once follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”.

After this teaching you understand how you will win the first strike and as soon as you have done this, then quickly and without any delay do the after strike that is the second, third or fourth strike, cut or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on feeling, so do as it is stated above.

No matter what you do or attempt to do, always have measure and length. If you have won the first strike then do not perform it too slowly, but move fast so that you can gather yourself for the after strike as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship.

This is the text where the five strikes and other pieces are mentioned.

21	Five strikes learn  to do from the right side against the defence.
23	Rage strike, crooked, cross,  squinting, with the scalp strike.
24	The Fool counters,  attack after, and run over hurt the strokes last.
25	Change through, withdraw,  running through, cutting away, pressing the hands.
26	Hanging, turning with the openings,  strike, grasp thrust with thrusts

This is regarding the Rage strike

27	When someone strikes at you from above,  strike a rage strike and draw the point at him,
28	If he notices this,  take away from above without fear,
29	be stronger, turn against it,  and take it down. If he notices this, then go down.
30	Note this;  strike, thrust, guards, soft or hard.
31	At once and the before the after –  do not haste into war,
32	what the war strikes from  above, is ashamed from below.
33	In all turnings,  strikes, thrusts and cuts learn to find.
34	You shall also  try strikes, thrusts or cuts
35	in all meetings  with the masters if you wish to fool them.
ⅺ	Do not strike at the sword,  but always to the openings,
ⅹⅵ	to the head, the body  if you wish to remain unharmed.
ⅹⅶ	If you hit or miss,  always search for the openings,
ⅹⅷ	in all teachings  turn the point to the openings.
ⅹⅸ	He who strikes widely around,  he will often become seriously shamed.
ⅹⅹ	Always strike and thrust  at the closest openings.
ⅹⅺ	and you shall also step  towards the right side.
ⅹⅻ

Glossa. Here note that Liechtenauer strikes an upper strike from the shoulder, it is called the rage strike.

When you are angry and raging, then no strike is as ready as this upper strike struck from the shoulder at the opponent. That is why Liechtenauer means that when someone strikes an upper strike against you, then you shall strike a rage strike at him; that is you move quickly in towards him with your point leading. If he defends against your point, then go quickly up and over to the other side of his sword. If he defends against that as well, then be hard and strong in your sword and turn quickly and skillfully. If he defends against your thrust then throw and strike quickly below and you will hit him in the legs. That is you should always try one after the other so that he never has a chance to come to blows himself. And the aforesaid words – Before, after, at once, weak, Strong, strike, thrust, and Cut, these you should think on well and never forget in your swordplay.

And you should not rush into war, since if you fail above were you aim, then you will hit below as you will hear how to do one out of the other according to the true art, regardless if it is a strike, thrust or cut.

And you shall not strike at the sword, but at the man himself, to the head or the body anywhere you can. One can also understand the first passage so that when you strike from above with the rage strike, then you are also using the point of the rage strike. Just act according to this teaching, and always be in motion, whether you hit him or not, so that he cannot come to blows. And always step well out to the side with the strikes.

And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you.

And if it happens that the opponent wins the first strike then you must be sure, precise and quick in the turning and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force.

This is on the four openings

36	If you know how to seek the four openings,  then you should strike true
37	and without any danger,  without concern for what he intends to do.

Note here that Liechtenauer divides a man into four parts. That is as if a line was drawn from his forehead to his groin down the body and the other line along his belt. Thus you will have four openings in quarters. A left and right opening above the belt and the same openings below the belt. These are the four openings and each has its own fencing. Always seek these and never the sword.,

How to break the four openings;

38	If you wish to take revenge,  then artfully break the four openings.
39	Above double  and below rightfully change.
40	I say truly that  no man can defend himself without danger
41	and if you have understood this  then he cannot come to blows.

This is on the Crooked strike

42	Go crooked with skill  and throw the point at the hands,
43	strike crooked at he who sets well,  with steps you will hurt many strokes.
44	Strike crooked to the flat  of the master when you wish to weaken him.
45	When it flashes above  step away that I will applaud.
46	Do not crooked short strikes,  changing through and then do a crooked strike,
47	whoever wishes to deceive you  the noble war will confuse him,
48	so that he does not know  if he is out of danger.

Glossa. Here note that the crooked strike is an upper strike that goes out well to the side with a step, and then goes in a crooked manner to one side. Therefore Liechtenauer means that if you wish to do this strike well, you shall step well out to the right side as you strike. And you shall throw or shoot your point in over the cross guard at the (opponent’s) hands. And you shall strike with your flat, and when you hit the flat (of the opponent’s sword?) you shall remain on it with strength and push firmly and see where you can easiest and straightest hit him with strikes or thrusts or cuts and you shall not strike too short and not forget the changing through, where it is suitable to do it.

A strike is called the feint/error and it comes from the crooked strike and it is described after the cross strike which is described firstly and it shall be before the cross strike. And it goes crooked from below and is shot in over the cross guard at him by shooting the point just as the [Krumphaw] from above and down.

53	He who lead the feint/error,  hits from below as he wishes,
54	[Vorkerer] forces,  runs through and wrestles
55	take the elbow  with skill, jump him in the scale.
56	Feint twofold  and if you hit do the cut as well.
57	Twofold further on  step to the left and do not be slow.
ⅹⅹⅲ	Since all fencing desires  quickness from the right,
ⅹⅲ	and also courage,  caution and understanding

This is on the cross strike

49	The cross strike takes away  what comes from the roof,
50	do the cross strike with the strong  and note your work.
51	Cross strike to the plough  and follow hard to the ox
52	he who does the cross strike well  with a leap will hit the head.

Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.. And it goes across to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof, that is the upper strike or what comes from above and goes down, that the cross strike will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning. In the cross strike you turn the flat sides of the sword, one up and one down with the point horizontal, one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike. So when you make a cross strike, regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike with a certain amount of power.

And when you must fight for your neck, then you shall use the earlier described teachings and seek and win the first strike with a good cross strike. When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across well so that you drive the point well and turn or tightens it around the opponent’s head like a belt. So that when you do a cross strike with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away. And when you thus win the first strike with the cross strike at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike with the cross strike to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike to both sides, to the ox and to the plough that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered.

This is regarding the Squinting strike

58	The squinting strike breaks  what the “buffalo” strikes or thrusts,
59	he who tries to change,  the squinting strike robs him of it.
60	Do a squinting strike if he comes too short,  the changing through defeats him.
61	Do a squinting strike to the point  and take the neck without fear.
62	Do a squinting strike to the upper  head if you wish to endanger the hands.
ⅹⅹⅳ	Strike a squinting strike to the right,  this is how you wish to fence.
ⅹⅹⅴ	The squinting strike I do praise,  if it does not come too slowly.

Glossa. Here note and understand that the squinting strike is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo can strike from above to below, as they are wont to do. Just as the cross strike breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike. And you shall squint well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint well with the point to the neck, courageously and without fear. And

When you see that you both
 pull the swords from the sheaths,
then you shall be forceful
 and note well the steps.
Before and after these two things
 try and learn with leaping off,
follow all hits
 if you want to humble the strong.
If he defends then follow and withdraw
 thrust, if he defends then pull to him.
The turning and hanging
 learn to artfully do
and try the [opponent’s] intentions
 whether they are soft or hard.
And if he fights with strength,
 then you are artfully prepared,
if he grabs widely and far around,
 then the shooting defeats him.
With his strike,
 he will hardly defend himself, hit without fear,
strike and quickly rush in,
 regardless if you hit or miss.
Do not strike to the sword,
 but always to the openings.
Whether you hit or miss,
 always seek the openings
with both your hands
 learn to bring the point to the eyes.
Fence with good mind
 and always win the first strike
if you hit or miss,
 at once seek the after strike
to both sides,
 to the right hand sidestep in to the opponent.
Thus you can win
 fencing or wrestling.

This is regarding the Scalp strike

63	The scalp strike  is a danger to your face.
64	With its turn  it takes the breast fast
65	and what comes from him  the crown will take.
66	Cut through the crown,  that is how it is strongly broken.
67	Press the strike in there,  with cuts pull it away.
ⅹⅹⅴ	The scalp strike I praise,  if it does not come too slowly.

Liechtenauer holds only these four guards that come from the upper and lower hangings, and from these one can fence safely.

This is regarding the four guards

68	Four guards only,  and leave the common ones alone.
69	The ox, plough, fool, ,  from above/the roof, these should not be unknown to you.

Glossa. Here he mentions four guards that are valuable. But before all things, remember that you should not remain too long in one guard. Liechtenauer has a saying “He who is still, is dead, he who moves will live”. And from these guards comes the understanding that you should move in swordplay, and not wait in a guard and thus waste your chance.

The first guard, the plough, is when you hold the point [of the sword] in front of you aimed at the ground or to the side. After a displacement it is called the barrier guard or simply the gate.

The second guard is the ox, or the upper hanging from the shoulder.

ⅹⅹⅵ	The fool breaks  Wwhat strikes or thrusts.
ⅹⅹⅶ	From the hanging strike  Wand at once and follow by attacking after.

The third guard the fool is the lower hanging, and with it you break all strikes and thrusts when it is done correctly.

The fourth guard is from the roof, is also the long point. He, who does it well with outstretched arms, is not easy to hit with strikes or thrusts. It can also be called the hanging above the head.

Also know that you break all guards and positions with the strikes. You should strike bravely at the opponent so that he must move away and defend him. Therefore Liechtenauer does not hold the guards in such a high esteem; he is more interested in that you try to win the first strike.

This is regarding the four displacements

70	There are four displacements  that also hurt the guards seriously.
71	Displacing will protect you  but avoid doing parries,
72	if they occur  it helps you a lot.
73	If you are displaced,  then no matter how it happened,
74	Set on at four ends;  remain there if you want to finish the teaching.
ⅹⅹⅷ	He, who displaces well,  will hurt many strikes in the swordplay
ⅹⅹⅸ	for you come handily  into the hangings from the displacements

Glossa. Note here that there are four displacements to both sides, to each side one above and one below. They break all guards, and no matter how you set aside a strike or thrust from above or from below, this can well be called a displacement. If he displaces you, then no matter how he does it, leave [his sword] and strike quickly at him.

If it happens that you displace the opponent’s strike or thrust, then you should at once step in and follow at the sword so that he cannot move away from you. And if the other does the same when you are hanging again and gather yourself, then you will get hurt. You should also turn well and always aim your point at his breast so that he must consider this.

A good swordsman should also learn how to get at the opponent’s sword. And this you will do well from the displacements that comes from the four strikes, from each side an upper strike and an [Unterhaw] and into the four hangings. Since as soon as you can displace from above or below, then you shall come into the hangings at once. And as you turn aside all strikes and thrusts with the foremost edge, that is also displacing.

This is regarding attacking after

75	Learn to attack after twofold or cut in the defence.
76	Two outer takings let the work begin.
77	And try the contact, if it is weak, or hard
78	learn how to feel, at once – that word cuts severely.
79	Attack twofold, and also do the old cut well,
ⅹⅹⅹ	follow all hits if you wish to emulate the strong one.
ⅹⅷ	In all teachings, turn the point into the face
ⅹⅹⅺ	and attack after with all your body then your point will do well.
ⅹⅹⅻ	Learn to attack with skill and you will make a good ending.

This is regarding the running over Swordsman, take notice.

80	He who seeks below, run over him above  and he will be ashamed.
81	When it flashes above,  be strong, that I will praise.
82	Do your work,  or press strongly twofold.
ⅹⅹⅹⅲ	He who presses you down,  run him over and strike hard against him.
ⅹⅹⅹⅳ	From both sides  run over and notice the edges.

This is regarding the setting aside, learn it well

83	Learn to set aside,  to hurt strikes and thrusts with skill.
84	When he thrust at you,  your point will hit and break his.
85	From both sides,  always step if you wish to hit.
ⅹⅷ	In all teachings  turn your point into his face.

This is regarding changing through

86	Learn how to change through from both sides and thrust with intent.
87	He who binds you [your sword] is found to be open by the changing through.
ⅹⅹⅹⅴ	When you have “changed through”, strike, thrust or turn.
ⅹⅹⅹⅵ	Do not strike at the sword but change through and do not wait for it.

Glossa. Note here that changing through goes straight forward on both sides, from above to below and from below upwards when done quickly. If you wish to change through from above to below on the right side, then strike an upper strike straight at him so that you shoot your point towards the left side in over his cross guard, so that you hit in that small opening between the edge and the cross guard. If you hit then you have won.

If he defends against that and presses your point with his sword, then let the point sink down on the side that you are on, below his sword and around to the other side, do not make a wide movement around, but under his sword and the next thing that you do is to rush in with a good strong thrust over his cross guard. And when you feel that you hit, then follow well and as you do on one side over or under, do also on the other side.

And if he binds with you, go in along his sword to the openings with your point and change through as before. Or turn and feel what he is up to, if he is weak or strong, and then try strikes, thrusts or cuts to his openings. When you have changed through, then strike, thrust or cut, and do not strike at the sword, and do not wait with it.

This is regarding withdrawing, take note swordsman.

88	Step in close in the bind and then the withdrawing gives good findings.
89	Withdraw, if it hits, withdraw more and work him, wind that is trouble for him.
90	Withdraw in all encounters  with the masters if you wish to fool them.
ⅹⅹⅹⅶ	Withdraw the sword  and consider your path.

This is regarding the running through, now look

91	Run through and let the pommel hang,  take hold if you wish to wrestle.
92	If one presses at you,  run through and note.
ⅹⅹⅹⅷ	Run through, thrust  and turn if he grabs the pommel.

This is regarding the cutting off.

93	Cut off the attacks  from below in both directions.
94	Four are the cuts –  two below and also two above.
ⅹⅹⅹⅸ	If you cut well crosswise,  you will eagerly avoid injury.
ⅹⅼ	Do not cut in haste,  first consider the attack.
ⅹⅼⅰ	You can well cut against all crosses;  only leave the pulling [back/around].
ⅹⅼⅱ	If you wish to be without hurt,  then do not go as you cut off.

This is regarding pressing the hands

95	Turn your edge;  push the hands to the flats.
ⅹⅼⅲ	One thing is turning,  another is winding, the third the hanging.
ⅹⅼⅳ	If you want to press the swordsman,  then press with a thrust.
ⅹⅼⅴ	From above the hands  you strike the cuts well.
ⅹⅼⅵ	Pull around with the cuts as well,  above him, over the head.
ⅹⅼⅶ	If you press the hands,  you will withdraw your fingers without injury.

Also know that as soon as you turn a strike or thrust aside then you shall at once step in and go quickly at him. Do not hold back again, because if you do, then you will cause yourself to be hurt.

And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside all strikes or thrusts. The closer to the cross guard a strike or thrust comes, the easier it will be to set these strikes and thrusts aside strongly. Since the closer to the cross guard the stronger you are, and the closer to the point the weaker you are. That is why if you wish to be a good swordsman before all things learn how to set aside well, since if you set aside well you will come at once into the turning in and from these you can perform artfully and courteously in the fencing.

The foremost edge on the sword is called the right/true edge and all strikes or thrusts are wasted by the turning.

This is regarding the Hanging swordsman learn this.

96	These are the two hangings  from one hand towards the ground.
97	In all situations  you should strike, thrust, [hold] guards, [be] soft or hard.
98	Do the talking window,  stand joyfully and study the opponent’s intentions.
99	Strike so that he tries  to step away from you,
100	I say honestly  that no one defends without danger.
101	If you have understood this,  then he will not come to blows.
ⅹⅼⅷ	If it happens that you are  on the sword, then you should also do
ⅹⅼⅸ	strikes, thrusts or cuts,  and remember to feel
ⅼ	and not move away from the sword  without reason.
ⅼⅰ	A masterful technique  is done rightfully/correctly on the sword.
ⅼⅱ	He who binds with you,  the war will wrestle him seriously.
ⅼⅲ	The noble turning in  finds him for sure.
ⅼⅳ	With strikes, with thrusts  and with cuts you will find him.
[32]	In all turning in,  strikes, thrusts and cuts should you find well.
ⅼⅴ	The noble hanging  would not exist without the turning in,
ⅼⅵ	since out of the hanging  you shall make the turning in.

Glossa. Note and understand that there are two hangings on each side. One upper and one lower hanging and with these you can come well on the sword of the opponent, they originate from the upper and lower strikes. When it happens that you bind with the opponent, or when you find yourself on his sword then you should remain on his sword. And you shall turn and thus joyfully and without fear remain on his sword. You shall see, await and understand what it is that he intends to do against you. And to remain thus on the sword Liechtenauer calls this the talking window. When you stand thus with him on your sword, then you should feel and follow his movement if it is soft or strong. Then you should adapt in such a way as has been explained earlier. In the case that prior to everything else, even before you can do anything, he moves off the sword, then you should follow at once and strike or thrust as well as you can before he has the chance to do anything. You have a shorter way if you remain on the sword and aim your point in at him than he has if he tries to move away [from your sword]. Before he can gather himself and close in with a strike, go at once at him using your point. But if he remains with you on the sword, then try and feel if he is soft or hard on the sword. If he is soft and weak, then you should quickly and courageously go forward with the strong part of your sword and push back and press his sword and seek all openings to the head or the body wherever you have a chance. If the other is strong and hard on the sword and intends to push you away and thrust at you, then you should be weak and soft against his strength and yield to move away with your sword from the strong pressure he is applying and in this weakness, while he is pressing [you] and shoots his sword away from him, as has been described, then at once that it happens but before he can gather himself again, so that he can’t strike or thrust, you should attack his openings with strikes, thrusts and cuts. Do this in the easiest way as has been described in this teaching, quickly and boldly and briskly so that he can’t come to blows. That is why Liechtenauer says “I say in all honesty that no man can defend himself without danger, if you have understood this he will not be able to come to blows”. With that he means that it is not possible to defend without being in danger or without getting hurt if you act according to this teaching. If you win and do the first strike then he can either defend himself or let himself get struck. When you do the first strike, regardless if you hit or miss then you should quickly and briskly do the after strike before he can come to blows. So when you wish to do the first strike then you should also do the quickly and speedily so that he cannot come to blows himself. And you should also make sure that in all things concerning swordsmanship that you act before your opponent does. And as soon as you move before him and win the first strike, at once do the after strike. You should never do the first strike if you do not have the in mind at the same time, meaning that you are always in motion and do not rest or hold yourself back but does one thing after another quickly and decisively so that your opponent can’t do anything at all. If you do this, then he must indeed be a good one if he can manage to get away without being struck by you. So with this art or advantage it often happens that a peasant will beat up a good master if the peasant does the [Vorschlag] and boldly pushes forward. Thus when you understand the word at once/in an instant hits, shames and defeats your opponent. One who hesitates and wants to wait in order to defend himself against the strike is in greater danger than the one who strikes at him and thus wins the first strike. Therefore in all things concerning swordsmanship make sure that you are the first and come at the opponent on your right-hand side. Then you will be safer than him no matter what comes.

108	From both sides  learn eight turning in with steps.
106	And one turning in with three pieces  I mean thus
107	it is twenty-  four if you count them one by one.
105	Swordsmen notice it  and note the turning in correctly.
lxiii	And learn to do them well  and you will be able to hit the four openings
lxiv	since each opening  surely has six ways to be hit.

Glossa. Note here that the turning in is the rightful art and foundation of all fencing with the sword. From these stem all other fencings and techniques and it is impossible to be a good swordsman [without knowing] the turning in. There are many play masters who despise it and say that what comes out of the turning is very weak and calls it “of the shortened sword” since it is so easy and uncomplicated. And look at those who use the long sword and who goes about it with outstretched arms and outstretched sword in order to look dangerous and to look good, using all the strength of the body. It is terribly embarrassing to see someone thus stretched out as if he wanted to run after a hare. And this has nothing to do with turning in or Liechtenauer’s art, since this art does not require strength. If it was not an art, then the strong would always win.