H. Beringer

Modus Dimicandi
Method of Fighting
Ascribed to	H. Beringer
Genre	Fencing manual
Language	Early New High German Renaissance Latin
Archetype(s)	MS G.B.f.18a (1418-28)
Manuscript(s)	MS Q.566 (1479)
Concordance by	Michael Chidester
Translations	Alternate English translation Deutsch-Übersetzung

Magister H. Beringer was a 15th century writer credited with recording a poem on fencing with some connection to the Recital of Johannes Liechtenauer. It is first recorded in the MS G.B.f.18a (ca. 1418-28), and thus predates all records of Liechtenauer's teachings. The opening of the verse includes a blessing indicating that Beringer was deceased at the time of writing. With only a very common first initial and last name, it is difficult to identify Beringer as any historical person; James Acutt suggests that he may have been Heinrich Beringer of Wismar, thereby placing both Beringer and Liechtenauer as priests, but there is no strong corroborating evidence.

The extreme difference in the order of verses between Beringer and Liechtenauer, along with the fact that Beringer's text includes only half of one section of Liechtenauer's Recital, makes a direct transmission from one master to the other seem unlikely. It may be that both men were heritors of an older oral tradition in which the exact sequence of verses was not set, or it may be that Beringer's verse represents just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in MS 3227a.

Beringer's verse was recapitulated by Hans Folz in the MS Q.566 (1479), but in an unattributed and garbled form which indicates that he did not copy from the MS G.B.f.18a. The fact that this version includes four couplets recognizable from Liechtenauer but omitted from the Beringer version suggests that Folz's source may have been a more complete version.

Treatise

In the presentation below, the teaching has been arranged in verses for clarity; line divisions are determined based on rhyme scheme and extrapolation from Liechtenauer. Hans Folz's verses have been rearranged to match the sequence given by Beringer, and the verses that are not found in Beringer have been inserted based on their positions in Folz and checked against Liechtenauer's verse.

Long Sword

Draft Translation (from the Jena) by James Acutt	Jena Transcription (1418-28)  by James Acutt	Weimar Transcription (1479)  by Andreas Meier
Here follows Master Beringer’s (blessed memory) Good and True mode of Combat 1 Young knight study to love God and to treat women with dignity. 2 Practice knighthood and study, 3 the material that exalts you, and in battle truly glorifies you. 4 Lance, Spear, Sword and Machete, 5 Manfully wield and be a threat in another’s hands. 6 Wrathful cuts Crumple, Across with Scalps has Squints.	[123v-a] Sequitur bonus et verus modus dimicandi magistri h Beringois pie memorie. Jung ritt° lere god lieb haben frauwen io ere vbe ritter s schaff / vnde lere ding das dich ziret und in krigē sere hofferitiret Glebingen. sper Swert und messer menliche bederfen und das in andirn handen vorderben / zorn hawe krump twer had schiler mid schitiler	[147v] vnde verso aber haw do her kump auff jn die zwer krump schiler mit scheitler
The War 7 Whoever cuts above you, Wrathful cuts-point threatens. 8 Should he defend, Take it over without risk. 9 Against stronger then turn the point, if he spots that aim it low. 10 Pull up high overhead, thus resolves the battle. 11 Crumple not, with the shift, the short cut is evident: 12 Crumple up lithely, throw the point over the [his] hands: 13 Crumple whoever wants to position with stepping, many cuts are harmed: 14 Crumple who confuses you, with the noble war you confuse, 15 The Cross escorts what comes from Heaven, 16 Cross to the point to take the neck without fear, 17 Squint from on high, so that you will be in command, 18 The scalper at his angle is a threat to the face.	der krig  wer obir dich hawed zorn hawe ort deme drawed wyrt ers ge war nyms oben abe ane var Biß sterker wedder wint stich sicht ers nyms nider Czuck de sind oben uß obirhaybt so geyt der krieg uß krump nicht kortz howe der wēchsel damede shauw krump uf behende wyrf den ord of dye hende krump wer wol setzt med schretn vel hauwe letzt krump wer dich irred der edel krieg dich vor wirret Twere benymbt was von himel her abe kumet Twere czu dem orte nym dē hals ane fortte Schil in dem obn° iß daz du wylt be dobern Der scheyteler myt sinen kere deme ātlitze ist gar gewere	[147v] wer uber dich hawt zorn haw ort dem draw + wirt ers gewar nyms oben ab anefar pis fil sterker wider wind sich sicht ers nims nider he[…]ch den schnit oben auß ober haupt get der krig auß kumpt nicht kreuczhaw durch wechsel dar mit schaw krumpt auff mit langen wirff den ort auff die hende [148r] krump wer wol verseczt mit schritten fil hew leczt krump wer verirret der edel krig dz verwirret Tewr nimpt waz vom himel herab kimpt Tewre zu dem orte nym den halz ane forchte Schil zu den obern ist daz du jn wilt bedekern der schaitler mit seynen korn deinß antlicz ist geforn
Here are precautions 19 If you’re easy to flight, never shall you learn to fight. 20 Now, 21 Before and After, those two things are the origin of all things. 22 Now, Before and After into the battle, do not be last; 23 if the battle roams up high, then down below may he be shamed. 24 Hear what is worst: don’t fight from the left when you are right, 25 since left instead of right, also hear, lags behind. 26 I say veritably, no man may protect himself without risk, 27 so you have been told— do not let him come to blows.	Hec sī cautele Erschrigkestu gern kain fechtn saltu nym° ge lerne In deß vor und nach die swei ding sind aller dīge on erspring In des vor und nach an höite dem krige sy nicht mach weß der krieg romet oben ūnden werd er beschemet Hore waz da secht yst ficht nicht lingkz ab du recht bist und lingkest in dem rechtn ouch here hingkest Ich sage vor war keyn mā schutz sich ane var hastuß vornomē [123v-b] czu slage mag er kleine komē	[148r] der schrikstu gern kein fechten ni[m] er mer gelern Ez wert vnd schlecht jn des vor nach vnd diese zwey ding Sint diser kunst ein vrsprung jn des vor vnd nach an hute dein krig sey nit gach wer der krige remet oben vnten wirt er beschemet hor wj de schlecht ist fecht nit link wen du recht pist [147v] Biß das du lintest in dem fechten du sere hinkest jch sag dir für war keiner schuczt seich sic ane var hastu dz vernomen sozu schlag mag er kleine komen
On the inclines 28 Two inclines: down from both hands, up from the ground. 29 Whoever pulls his blow quickly away from you, 30 then so the master strikes at the flat 31 firmly, at the Plough, at the Ox. 32 He who cuts afterwards: his skill cuts with little joy, 33 and cut whatever you wish, so that no shifts may penetrate your defence. 34	Von hengen Czwei hengen nyder van beydn handē uf von der d erdin Wer sich vor dir zhucht abe hauw snel daz daz er snabe hauw czu dem fleytin den meyst° wiltu an strechen hauw czuden phlugz czu den ochsen hartte. vugz fuge wer nach god hauwen der sich kunst kleyne vreuwen haw und was du wilt kein wesßeler kom an den schilt	[147v] zwei hengen werden von peden henden auff erden wer sich vor dir zewet abe how schnell daz er schnabe hawe zu den flechen den meistern willtu sie swechen Haw zu den pfluge zu den nesten vngefuge wer nach get hawen der dorff sich ge kunst […] frewen hort vnd waß du willt kein wechsler kum an dein schiltt [148r] Nin ficht mit ganczen leibe gerstu stet […]
35 36 Whoever does fore-stall, severely damages the Postures. 37 Set upon the four extremities, and remain there if you wish to stop. 38 Guard yourself from Fore-stalling, since if it’s done to you, 39 it is difficult to defend. Thus it is that you fore-stall, however he comes at you. 40 Heed my advice: quickly strike cuts away with diligence. 41 Learn terminus tread forwards, and slice in defence. 42 Do the ‘Speaking-Window’ to stand bravely and observe his form. 43 Without any risk regardless of how he persists. 44 In all rotations learn to find the cut, stab, slice. 45 That should you note above, if the Postures are flexible or firm. 46 Pull if he pulls, pull moreso, [then] he will work to step toward you.	wer sind vōsztin die dye legere ouch sere letzin Setzt an vir enden blyb dar uf wiltu enden vor setzens hut dich gescict daz sere mu°t dich Ist daz du vor satzt yß dich wy her da her komē yst Hore waß ich rate strigh abe snel hauwe midde drate Nach reysen lere trid vorbaß und snid in dy were sprech fenstir mach stand konlich sich syne sach one alle var an twivel roye her gebar In allen winden heuwe stiche snyte lerne vinden Das saltu oben merkē ab dye leyger snit weych oder herte Czugke zcugket her zcugke me er be vint arbeyt die am trid	4 leger allein nym vnd fleuch die gemein [147v] Secz an fier end pleib dar auff wiltu enden verseczens hut dich geschicht ez sere mut dich ist daz dir verseczt ist slach wie ez dir komen ist hor wi ich rate drit ab schnel hawe mit drate Sprech fenster mache stand freilich sich sein sache an alle vare an zweifel wie er gepor daz eben merk ob dein beger sint weich oder hert zuk zukler zuk[…] mer er besint orbt die drit jm we
47 48 Shifting twofold, the Ancient Slice shall you perform. 49 Feint who is below, afterwards flow where you want. 50 March forward twice into your guard, and don’t be sluggish. 51 If you clash above, then going to a stand-off I do condone. 52 Whoever goes to strike you, hit transversely, and a break 53 will you reckon: four openings skilfully broken. 54 High duplicate, Low mutate— 55 know four openings, thus you may strike with certainty. 56 Allow the point to hang, seize the pommel so that you may grapple, 57 four are the slices: with two low, two high, etc.	wessellir zcwifagh den alden snit midde mach. ffellir wer de sint von under nach wonche rurt Czwifach furbaß drid dyn hud und biß nicht laß kome iß glichtzet obene so stradet abe daz ger ich lobe wer uf dich stight sine ord mit twere trift und bricht wiltu dich rechen vier bloße konstlichen brechen Oben duplire dar ūden recht mutire vir bloße wiße So slestu ge wisse llaß den ort hangen Be griff den knauf wiltu midde rangen vier sind dar snidde Czwene unde czwene oben middē etc	[148r] vor kerer twingz durch lauff werff auch mit ringz failer zwifachen den allten snit mitte mache feiler ver firet von vnten nach wunsche rurt zweifachz furbaz drit jn hut nit pis laß wan ez gliczt oben so drit ab dz ger ich loben wer auff dich sticht seyne seinen ort mit twer driff vnd prich wiltu die rechten 4 plez kunstlich prechen oben duplir vnd recht mutire 4 ploz reme so schlechstu gewiß las den ort hangen greif den knauf wildu rangen 4 sint der schnit 2 oben 2 vnden
And here is the Art at an End.	Et sic est finis huius artis

Copyright and License Summary

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source	License
Translation	James Acutt	"Magister H. Beringois: An investigation into ThULB Jena: Ms.G.B.f.18a (Bl. 123va-b)"
Jena Transcription	James Acutt	Index:Modus Dimicandi (MS G.B.f.18a)
Weimar Transcription	Andreas Meier	Index:Die Meisterlieder des Hans Folz (MS Q.566)