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{{master begin
 
{{master begin
 
  | title = Poem
 
  | title = Poem
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{| class="floated master"
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{| class="master"
  
 
|-  
 
|-  
! style="width:3em;" |
 
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Version]] (1459)<br/>by [[Jens P. Kleinau]]</p>
+
! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Version]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>by [[Dieter Bachmann]]</p>
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491)<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Version]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p>
  
 
|-  
 
|-  
| <poem><small>[1]</small>
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| class="noline" |
 
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{| class="zettel"
 
+
|-
 
+
| <small>1</small><br/><br/><br/><br/><small>5</small><br/><br/><br/><br/><br/><small>10</small><br/><br/><br/><br/><br/><small>15</small><br/><br/><br/><br/><br/><small>20</small><br/><br/><br/><br/><br/><small>25</small><br/><br/><br/><br/><br/><small>30</small><br/><br/><br/><br/><br/><small>35</small><br/><br/><br/><br/><br/><small>40</small><br/><br/><br/><br/><br/><small>45</small>
<small>[5]</small>
+
| {{red|Descending cut is for thrust<br/>Rising cut breaks simply<br/>Lateral cut in the wide<ref>open space</ref><br/>Now ponder what this means<br/>In the switch cut, seek the gauche, <br/>Snipe for a displacement<br/>Plunge cut, therein you rotate<br/>If you wish to find the face uncovered<br/>Then from the part cut,<br/>Strike down their short edge<br/>Invert the plunge cut when down below<br/>Therein seek and learn<br/>In the Iron-point,<ref>usually ‘pfort’: port</ref> take watch.<br/>Rise up with your point.<br/>You deliver one more time into the unicorn<br/>'''''Your roses in the little wheel.'''''<br/>'''''Suddenly retract the hits to give good opportunities'''''<br/>Shield cut clashes together<br/>The wing accosts the ears}}<br/>Wrath-point, the chest to pierce<br/>Shooting over to both sides<br/>{{red|The waker will stay<br/>Driving strokes will go}}<br/>'''''Into the roses in the little wheel'''''<br/>'''''Suddenly retract the hits to give good opportunities'''''<br/>Crooked-hew to the mouth<ref>maw</ref><br/>If you have intwined him, do not rest<br/>In the war, so you apply grips<br/>Ox, plow: therein you do not soften<br/>Play<ref>Do not be serious, as in “jocamen, schimf oder scherz, vergnügen, spiel”</ref> with the carving<ref>in weiterer freierer anwendung. a) durch zerren, ziehen in schnelle bewegung versetzen.</ref> point<br/>In the barrier-point<ref>also trap, snare</ref> have a heart<br/>Avert<ref>Turn away, twist, steal away</ref> in the iron-gate.<br/>Perform a failing [upon] a buffalo, if you are agile<br/>{{red|Approaching first, [then] pursuing is the snare<br/>Bouncing, overrunning and the slice<br/>That is a general teaching<br/>Orient yourself thereupon<ref>lit. turn</ref><br/>This enables you to know,<br/>What this art claims to prize.}}<br/>If you wish to enjoy the Art,<br/>Then learn the doubled hews<br/>Whoever follows<ref>chases</ref> straight<ref>also simple</ref> hews,<br/>They permit their art little rejoicing<br/>Also [there] are the four guards<br/>That you shall always remember<br/>Do not fall strongly therein<br/>Lest<ref>lit. ‘or’</ref> he clash loudly, sounding over it.<br/>Whenever one wishes to bind-upon<br/>Then wind the short edge into forwards.
 
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|}
 
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| class="noline" |
 
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<br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>{{section|Page:MS Thott.290.2º 001r.jpg|1|lbl=1r}}
 
+
| class="noline" | {{section|Page:MS M.I.29 003r.jpg|1|lbl=3r}}
<small>[10]</small>
 
 
 
 
 
 
 
 
 
<small>[15]</small>
 
 
 
 
 
 
 
 
 
<small>[20]</small>
 
 
 
 
 
 
 
 
 
<small>[25]</small>
 
 
 
 
 
 
 
 
 
<small>[30]</small>
 
 
 
 
 
 
 
 
 
<small>[35]</small>
 
 
 
 
 
 
 
 
 
<small>[40]</small>
 
 
 
 
 
 
 
 
 
<small>[45]</small></poem>
 
| <poem>Over-hew is for the thrust
 
Under-hew smoothly breaks
 
Middle-hew at distance<ref>open space</ref>
 
Now see what this means
 
In the changing-hew seek the mad,  
 
Diligently observe according to the displacement
 
Plunging-hew, therein you wind
 
If you wish to find the face open
 
So, from the parter,
 
Strike the short edge there
 
To the bottom, invert the plunge-hew
 
Therein examine and learn
 
In the Iron-point,<ref>usually ‘pfort’: port</ref> take watch.
 
With the point, Drive up.
 
Sometimes delivering<ref>darbringen</ref> in the unicorn
 
'''''Your roses in the little wheel.'''''
 
'''''Withdraw the hits gives [a] good sense'''''
 
Squint-hew with a hit<ref>trifft is 3rd person indicative: ‘he hits’. ‘with’ in this case is likely temporal. ie: ‘Squint-hew when he(or it) hits’</ref>
 
The wing angers the ears
 
Wrath-point, the chest to pierce
 
Shooting over to both sides
 
The waker will stay
 
Deploying strokes will go
 
'''''In the roses in the little wheel.'''''
 
'''''Withdraw the hits gives [a] good sense'''''
 
Crooked-hew to the mouth<ref>maw</ref>
 
If you have intwined him, do not rest
 
In the war, so you apply grips
 
Ox, plow: therein you do not soften
 
Play<ref>Do not be serious, as in “jocamen, schimf oder scherz, vergnügen, spiel”</ref> with the carving<ref>in weiterer freierer anwendung. a) durch zerren, ziehen in schnelle bewegung versetzen.</ref> point
 
In the barrier-point<ref>also trap, snare</ref> have a heart
 
Avert<ref>Turn away, twist, steal away</ref> in the iron-gate.
 
Perform a failing [upon] a buffalo, if you are agile
 
Approaching before, racing after is the snare
 
Quickening, running-over and the slice
 
That is a general teaching
 
Orient yourself thereupon<ref>lit. turn</ref>
 
Because if the wise perform,
 
The Art proclaims glories.
 
If you wish to enjoy the Art,
 
Then learn the doubled hews
 
Whoever follows<ref>chases</ref> straight<ref>also simple</ref> hews,
 
They permit their art little rejoicing
 
Also [there] are the four guards
 
That you shall always remember
 
Do not fall strongly therein
 
Lest<ref>lit. ‘or’</ref> he clash loudly, sounding over it.
 
Whenever one wishes to bind-upon
 
Then wind the short edge into forwards.</poem>
 
| <br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/><br/>
 
<poem>'''[1r]''' Zorn ort Der brust zu bort
 
zu baiden siten vber schiessen
 
Wecker wil stan
 
tr[e]ib[e]n str{e}ichen wil gan
 
'''''In Der rosen Im rädlin'''''
 
'''''zuck Die treffen gi[b]t gu[o]te sinn'''''
 
Krump how dem mu[e]l zu
 
Im eyn flechten hab nit ru[o]
 
Im krieg so machstu griffen
 
ochß pflug Darinn du nit wyche[n]
 
Mit dem Reiß ort schertz
 
Im schra[n]ck ort hab ain hertz
 
Im ysen [p]ort v[er]wend
 
ain biffler tu[e] fälen biß[t] behend
 
E komen nach reissen ist d[er] sitt
 
Schnellen vber louffen und den schnit
 
Daz ist ain gemaine lere
 
Daran Dich kere
 
Daz tun[<del>d</del>] die wysen
 
Die kunst kunden brysen
 
Wiltu Dich kunst fräwen
 
So lern Die toplirten höwen
 
wer nach gaut slechten höwen
 
Der mag sich kunst wenig fröwen
 
Auch so sind vier leger
 
Die soltu mercken eben
 
tu[e] Dar In nit starck vallen
 
od[er] er laut darüber schallen
 
wa[s] ma[n] [<del>Dir</del>] anbind[en] will [Dir]
 
So wind die kurtz schnid für</poem>
 
|  
 
<p>'''[3r]''' {{red|Ober haülb ist für stich<br/>
 
Vnter haulb schlecht bricht<br/>
 
Mittel haulb in die weÿtte<br/>
 
Nü lüg was dz bedüte<br/>
 
Im wechsell haülb süch die geüche<br/>
 
Noch der versatzüng spee<br/>
 
Stürtz haülb dar in dü winde~<br/>
 
Wiltü Im dz antlütz ploß finden<br/>
 
So aüß dem scheittler<br/>
 
Schlag die kurtz schnid dar<br/>
 
Im vnter stürtz haülb verkere<br/>
 
Dar In sich vnd lere<br/>
 
Im ÿssen ort nÿm war<br/>
 
Mit dem ort vff far<br/>
 
Bringst auch moll Ins einhorn dar<br/>
 
'''''Din rosen Im redlin'''''<br/>
 
'''''Zück die treffen gen gute~ sin'''''<br/>
 
Schilt haulb mit trifft<br/>
 
Flÿgell oren gift<br/>
 
<br/>
 
<br/>
 
Wecker will ston<br/>
 
Triben strichen wil gañ<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
<br/>
 
E komen noch reissen ist der sytt<br/>
 
Schnellen vberlouff vnd die schnidtt<br/>
 
Daß ist ein gemeÿne lere<br/>
 
Dar an dich kere<br/>
 
Daß thüntt wÿssen<br/>
 
Dÿ künst kündent prÿssen}}</p>
 
 
 
 
|}
 
|}
 
{{master end}}
 
{{master end}}
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{{sourcebox
 
{{sourcebox
 
  | work        = [[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Version]]
 
  | work        = [[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Version]]
  | authors    = [[Jens P. Kleinau]]
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  | authors    = [[Dieter Bachmann]]
 
  | source link =  
 
  | source link =  
 
  | source title= [[Index:Talhoffer Fechtbuch (MS Thott.290.2º)]]
 
  | source title= [[Index:Talhoffer Fechtbuch (MS Thott.290.2º)]]
  | license    = linkware
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  | license    = public domain 0
 
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{{Liechtenauer tradition}}
 
{{Liechtenauer tradition}}
  
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[[Category:Research/Background Information]]
 
[[Category:Research/Background Information]]
 
[[Category:Orphan]]
 
  
 
[[Category:German Translation]]
 
[[Category:German Translation]]
  
 
[[Category:Longsword]]
 
[[Category:Longsword]]
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[[Category:New format]]

Revision as of 21:11, 27 December 2020

Anonymous 15th century poem
Author(s) Unknown
Ascribed to
Date mid 1400s (?)
Genre Fencing manual
Language Early New High German
Archetype(s) Hypothetical
Manuscript(s)
First Printed
English Edition
Hull, 2008
Concordance by Michael Chidester
Translations

This anonymous poem appears in fragmentary form in both Hans Talhoffer's personal fencing manual of 1459[1] and Hans von Speyer's 1491 anthology.[2] It shares concepts and terminology with the writings of Martin Syber and follows his New Zettel ("New Record") in Speyer's work,[3] but is absent from other presentations of his work. Its presence in Talhoffer's writings over thirty years earlier would also suggest that Syber is not the original author (or potentially that his career was much earlier than currently thought).

It is worth mentioning that the justification for considering the two poems to be parts of the same greater work is not as strong as we might wish. Out of 30 lines in the Copenhagen version and 27 in the Salzburg, only ten are common to both poems. This is a much smaller degree of overlap than we generally see in different renditions of the same work, though it is still substantial enough to reasonably conclude that the two are related in some way.

Treatise

The couplet in bold text appears out of sequence between the two versions. Its proper location cannot be determined from available information.

Additional Resources

  • Hull, Jeffrey. "The Longsword Fight Lore of Mertin Siber." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3

References

  1. Talhoffer, Hans. Untitled [manuscript]. MS Thott.290.2º. Copenhagen, Denmark: Det Kongelige Bibliotek, 1459.
  2. Liechtenauer, Johannes, et al. Untitled [manuscript]. MS M.I.29. Comp. Hans von Speyer. Salzburg, Austria: Universitätsbibliothek Salzburg, 1491.
  3. Hull, Jeffrey. "Mertin Siber’s Longsword Fight-Lore of 1491 AD: a thesis on the Fechtlehre from Handschrift M I 29 (Codex Speyer) at the University of Salzburg in Austria". The Association for Renaissance Martial Arts, 2005. Retrieved 30 November 2010.
  4. open space
  5. usually ‘pfort’: port
  6. maw
  7. Do not be serious, as in “jocamen, schimf oder scherz, vergnügen, spiel”
  8. in weiterer freierer anwendung. a) durch zerren, ziehen in schnelle bewegung versetzen.
  9. also trap, snare
  10. Turn away, twist, steal away
  11. lit. turn
  12. chases
  13. also simple
  14. lit. ‘or’