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Difference between revisions of "Andre Paurenfeyndt"

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(→‎Treatise: All headers for Messer done in French.)
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| <p>'''From the flight'''</p>
 
| <p>'''From the flight'''</p>
  
<p>Take the high point and from the high guard: the first, attack high towards the left ear. The other with a step to the left side. The third, strike behind the head.</p>
+
<p>Take the high point and from the high guard: the first draws high towards the left ear. The other with a step to the left side. The third, strike behind the head.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/11|3|lbl=4.3}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/11|3|lbl=4.3}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/6|7|lbl=3r.7}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/6|7|lbl=3r.7}}
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<p>Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.</p>
 
<p>Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.</p>
| <p>'''Drag from the long cut'''</p>
+
| <p>'''Launching the long cut'''</p>
  
 
<p>Take the high guard. Take the long cut against him towards the left ear. If he parries, act as if you would like to pull back and remain with the short cut to the left ear. Pull back, and strike the flat to the right ear.</p>
 
<p>Take the high guard. Take the long cut against him towards the left ear. If he parries, act as if you would like to pull back and remain with the short cut to the left ear. Pull back, and strike the flat to the right ear.</p>
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|  <p>'''Break'''</p>
 
|  <p>'''Break'''</p>
  
<p>When someone drags the long cut at you, let the first run downwards and parry the other from high to low with your long cut. Thus you may beat or strike it.</p>
+
<p>When someone launches the long cut at you, let the first run downwards and parry the other from high to low with your long cut. Thus you may beat or strike it.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/15|4|lbl=8.4}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/15|4|lbl=8.4}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/8|5|lbl=4r.5}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/8|5|lbl=4r.5}}
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| <p>'''Break the strong cut.'''</p>
 
| <p>'''Break the strong cut.'''</p>
  
<p>When you are in high guard and someone strikes after you with the work, if you strike inside with the soured<ref>Lit. turned as in “soured” or “embittered”.</ref> or anger cut<ref>Zornhau.</ref> to him, and if he wants to strike around with the work, then put it in front of his neck after. So too you can do all the pieces that are like the drag.</p>
+
<p>When you are in high guard and someone strikes after you with the work, if you strike inside with the soured<ref>Lit. turned as in “soured” or “embittered”.</ref> or anger cut<ref>Zornhau.</ref> to him, and if he wants to strike around with the work, then put it in front of his neck after. So too you can do all the pieces that are like the launches.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/41|5|lbl=34.5}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/41|5|lbl=34.5}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/24|6|lbl=12r.6}}
 
| {{section|Page:Der Altenn Fechter anfengliche kunst (Christian Egenolff) 1531-1537.pdf/24|6|lbl=12r.6}}
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| <p>'''Battle piece.'''</p>
 
| <p>'''Battle piece.'''</p>
  
<p>Thrust in at him towards his face and touch him with the sword. If he defends himself, pull back and thrust him to the other side. If he too defends this and drags downward to your ear, advance with your pommel beyond his shoulders around his neck, springing with your right foot behind his left, and make him fall over.</p>
+
<p>Thrust in at him towards his face and touch him with the sword. If he defends himself, pull back and thrust him to the other side. If he too defends this and launches descending to your ear, advance with your pommel beyond his shoulders around his neck, springing with your right foot behind his left, and make him fall over.</p>
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/45|3|lbl=38.3}}
 
| {{section|Page:Ergrundung Ritterlicher Kunst der Fechterey (Andre Paurenfeyndt) 1516.pdf/45|3|lbl=38.3}}
 
|  
 
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Revision as of 17:30, 16 February 2022

Andre Paurenfeyndt
Born 15th century
Died 16th century
Occupation
Nationality German
Patron Matthäus Lang von Wellenburg
Movement Liechtenauer Tradition
Influences Johannes Liechtenauer
Influenced
Genres
Language Early New High German
Notable work(s) Ergrundung Ritterlicher Kunst der
Fechterey
(1516)
Manuscript(s)
Concordance by Michael Chidester
Translations Deutsch-Übersetzung

Andre Paurenfeyndt (Paurñfeyndt, Paurñfeindt) was a 16th century German Freifechter. He seems to have been a resident of Vienna, although he mentions in his introduction that he served as a bodyguard to Cardinal Matthäus Lang von Wellenburg (1468 - 1540).[1] In 1516, he wrote and published a fencing manual entitled Ergrundung Ritterlicher Kunst der Fechterey ("Founding of the Chivalric Art of Swordplay"), which Sydney Anglo notes may have been the first illustrated fencing treatise ever published.[2] Little else is known about the life of this master, but he describes himself as a Freifechter and the contents of his book make it clear that he was associated with the tradition of Johannes Liechtenauer. His treatise diverges significantly from the earlier teachings of the Liechtenauer tradition, which may be due to his stated purpose of writing for beginning fencers.

Treatise

Please note that only the first edition (1516) has the complete set of illustrations, and all later versions are disorganized and incomplete; this article follows the order of plays and illustrations laid out in the original, and the variant sequences can be viewed on the transcription pages. Egenolff's illustrations are rather different from Paurenfeyndt's, and smaller thumbnails are included where applicable. Furthermore, the illustrations on pages 57 and 59 of the 1516 don't seem to relate to the plays described on 58 and 60, since they show pairs of fencers with dussacks while the text indicates that one of them should be unarmed. They are included here for reference, but the Egenolff illustrations (which are original and not based on Paurenfeyndt) are the ones that seem to depict something similar to the plays as described. While the Twelve Rules for the Beginning Fencer are unillustrated in Paurenfeyndt's work, this presentation includes the illustrations for six of the twelve found in the MS B.200 (1524).

Rather than presenting the treatise transcriptions chronologically, this concordance groups the three complete German texts together (including Lienhart Sollinger's 1564 copy), followed by the 1538 French translation. There are three shorter manuscript fragments of the German text, and these have been added in additional columns on the far end of the table in only the sections where they appear.

Additional Resources

  • Bauer, Matthias Johannes. “Der Alten Fechter gründtliche Kunst” – Das Frankfurter oder Egenolffsche Fechtbuch. Untersuchung und Edition. Coll. Geschichtswissenschaften 37. München: Utz Verlag, 2016. ISBN 978-3-8316-4559-6
  • Bauer, Matthias Johannes. "Economising Early Prints on Fight Books by Multiple Using Movable Half Page Woodcuts". Acta Periodica Duellatorum 4(2): 99–116, 2016. doi:10.36950/apd-2016-015
  • Bergner, U. and Giessauf, J. Würgegriff und Mordschlag. Die Fecht- und Ringlehre des Hans Czynner (1538). Graz: Akademische Druck- u. Verlagsanstalt, 2006. ISBN 978-3-201-01855-5
  • Roelofsen, Mathijs. "La Noble Science des Joueurs d’Espée: Fight Book and Commercial Product". Acta Periodica Duellatorum 8(1): 73-88, 2020. doi:10.36950/apd-2020-005
  • Welle, Rainer. "Ein unvollendetes Meisterwerk der Fecht- und Ringkampfliteratur des 16. Jahrhunderts sucht seinen Autor: der Landshuter Holzschneider und Maler Georg Lemberger als Fecht- und Ringbuchillustrator?" Codices manuscripti & impressi. Supplementum 12. Purkersdorf: Verlag Brüder Hollinek, 2017.

References

  1. Ott, Michael. "Matthew Lang." The Catholic Encyclopedia, Vol. 8. New York: Robert Appleton Company, 1910.
  2. Anglo, Sydney. The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. p 46. ISBN 978-0-300-08352-1
  3. lit: foot, but can and often mean the leg
  4. alt: flesh wounds, tag hits.
  5. Likely an error. Crombe is a northern Middle French word for “hunched” (e.g. a person) or “crooked”.
  6. literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN
  7. Text cut off; added from Paurnfeindt: er nit kumeñ
  8. This is likely a typo as "passer dessoubz" is only used once. "Passer oultre" is used more frequently.
  9. the word "hocs" means "hooks", but I believe it is meant to be a loanword for "ox" instead.
  10. This is likely another synonym for "passer oultre".
  11. Text cut off; added from Paurnfeindt: Wan dir ainer die kurcz schneid vberscheust so wendt den straich ab, so kumpt dir straich wider straich, vnd gleiche arbait
  12. Text cut off; added from Paurnfeindt: so entplest er sich
  13. Text cut off; added from Paurnfeindt: zuck vnd haw mit langer schneid nach
  14. alt: points, ends
  15. Bottom cut off; added from Paurnfeindt: schwert mit dem knopf vnter dein recht uxñ
  16. Bottom cut off; added from Paurnfeindt: schon, die stich trucke mit schnitten sy ab czucke
  17. This is the zwerch.
  18. This is the sprechfenster.
  19. Lit. “Pass in change.”
  20. Pflug based on the German.
  21. Likely translating “verkerer” as “bailiff”.
  22. Lit. turned as in “soured” or “embittered”.
  23. Zornhau.
  24. Top cut off; added from Paurnfeindt: yglichs in dreu wunder
  25. Corrected from »lanngem«
  26. Possibly referring to the dussack.
  27. Text cut off; added from Paurnfeindt: vmbsunst vrsach halben er mag kain folling straich auff dich habñ
  28. Erreur d'impression?
  29. Bottom cut off; added from Paurnfeindt: dar uber
  30. Bottom cut off; added from Paurnfeindt: arm
  31. Rephrasing of Ovid's "Cunctis qui placeat non credo quomodo vivat".
  32. Rephrasing of the proverb from Pliny, "ne supra crepidam sutor iudicaret".
  33. Hieronymous Büttner