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Difference between revisions of "Joachim Meyer"

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{{master subsection begin
 
{{master subsection begin
  | title = Contents
+
  | title = Introduction
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
<section end="credits1"/>
 
<section end="credits1"/>
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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{{master subsection begin
 
{{master subsection begin
  | title = 2 - Of the Sword and its Divisions
+
  | title = 2 - Of the Sword and Its Divisions
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
| <p>'''Of the Sword and its Divisions'''</p>
+
| <p>'''Of the Sword and Its Divisions'''</p>
  
 
<p>Chapter 2</p>
 
<p>Chapter 2</p>
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| class="noline" | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
 
| class="noline" | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
 
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=Ⅰ.5r.6}}
 
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=Ⅰ.5r.6}}
 
  
 
|}
 
|}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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{{master subsection begin
 
{{master subsection begin
  | title = 4 - Of The Strikes
+
  | title = 4 - Of the Strikes
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|start|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|start}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
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{{master subsection begin
 
{{master subsection begin
  | title = 10 - How one shall fence to the four Openings
+
  | title = 10 - How One Shall Fence to the Four Openings
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating|start|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
+
! <p>{{rating|start}}<br/>by [[Mike Rasmusson]]</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
| '''Fencing from the Stances'''
+
| <p>'''Fencing from the Stances'''</p>
  
Chapter 11
+
<p>Chapter 11</p>
  
Since much now concerns the Stances, I will thus not keep you long in each for the same reason they were given still only half composed, but going onward, since you will need to know, when you present your sword and (while you are twitching off the guard he aimed to you) you would strike, as soon as you come out from the farthest point (where you have begun to pull back your sword), then from here on you should lead your sword against him again with agility, like how it will be handled from the Guard of the Roof, the Guard through which you bring about the Downstrike. Thus when you move to the Downstrike (to do such) you will then in the outermost point of this move come to be in the guard named Roof, you can now not only (just as you seek to strike) strike then and thus drive ahead with your Downstrike, but can also persist to stay. This is the reason, namely just that you not yet undertake any strike unplanned, but even as soon you have allowed the same considered strike to be drawn against them, you should now lead the strike on from even from here so that as you stay for only an eyeblink at the obvious outermost point, so consider ahead if your chosen strike can either still be led usably to fulfillment, or if through it you can attain a better opportunity applicable elsewhere, where you thus change to a second strike accordingly at the outermost point and thus conclude the Downstrike which you have drawn out with a Traverse. This is the underlying reason for the development of the Stances and is why you stay while in one Guard: to see what the other will take ahead (and then rightly know how to overtake his chosen part) and prevent such just by being certain to see here what his chosen part will be, and such waiting is a great art and experience. Because you now need to know onward how to engage your opponent’s oncoming strikes from the Roof with your Sword, I have set the following examples both of when he would strike, or stay and not strike.
+
<p>Since much now concerns the Stances, I will thus not keep you long in each for the same reason they were given still only half composed, but going onward, since you will need to know, when you present your sword and (while you are twitching off the guard he aimed to you) you would strike, as soon as you come out from the farthest point (where you have begun to pull back your sword), then from here on you should lead your sword against him again with agility, like how it will be handled from the Guard of the Roof, the Guard through which you bring about the Downstrike. Thus when you move to the Downstrike (to do such) you will then in the outermost point of this move come to be in the guard named Roof, you can now not only (just as you seek to strike) strike then and thus drive ahead with your Downstrike, but can also persist to stay. This is the reason, namely just that you not yet undertake any strike unplanned, but even as soon you have allowed the same considered strike to be drawn against them, you should now lead the strike on from even from here so that as you stay for only an eyeblink at the obvious outermost point, so consider ahead if your chosen strike can either still be led usably to fulfillment, or if through it you can attain a better opportunity applicable elsewhere, where you thus change to a second strike accordingly at the outermost point and thus conclude the Downstrike which you have drawn out with a Traverse. This is the underlying reason for the development of the Stances and is why you stay while in one Guard: to see what the other will take ahead (and then rightly know how to overtake his chosen part) and prevent such just by being certain to see here what his chosen part will be, and such waiting is a great art and experience. Because you now need to know onward how to engage your opponent’s oncoming strikes from the Roof with your Sword, I have set the following examples both of when he would strike, or stay and not strike.</p>
 
|  
 
|  
 
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/81|2|lbl=Ⅰ.30v.2|p=1}} {{pagetb|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf|82|lbl=Ⅰ.31r|p=1}}
 
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/81|2|lbl=Ⅰ.30v.2|p=1}} {{pagetb|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf|82|lbl=Ⅰ.31r|p=1}}
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|-  
 
|-  
 
|  
 
|  
| '''The First Part'''
+
| <p>'''The First Part'''</p>
And firstly when you come before your opponent and, while striking out or otherwise pulling your sword back (to downstrike) to bring it high above you, he strikes just then to your left at your head, then burst full away from his strike against his left and somewhat toward him, and strike with an outward flat against his incoming strike to meet his sword strongly on the strong so that the forward part of your blade will swing inward over his sword to his head, which is then certainly hit. When you slash at the same time as him and your sword comes to be over his, to hit or not on his strike, then twitch your sword off over yourself again, and strike diagonally upward from below to his right arm, in this strike step out with your left foot full against his right side and arc yourself with your head fully behind your sword’s blade, from there nimbly twitch again upward and flit the short edge to his left ear, if you see that he will wipe against this, then don’t let the impact fail or flow off, but soon cross your hands in the air (the right over the left) and slash him with the short edge deep to his right ear and then traverse over and pull out. Mark here when he would nimbly follow after the Understrike just taught and thus would be hard onto the roof so that you can’t come to flow off, then pay attention just then if he would twitch off from your sword, then follow after him with a cut to the arm.
+
 
 +
<p>And firstly when you come before your opponent and, while striking out or otherwise pulling your sword back (to downstrike) to bring it high above you, he strikes just then to your left at your head, then burst full away from his strike against his left and somewhat toward him, and strike with an outward flat against his incoming strike to meet his sword strongly on the strong so that the forward part of your blade will swing inward over his sword to his head, which is then certainly hit. When you slash at the same time as him and your sword comes to be over his, to hit or not on his strike, then twitch your sword off over yourself again, and strike diagonally upward from below to his right arm, in this strike step out with your left foot full against his right side and arc yourself with your head fully behind your sword’s blade, from there nimbly twitch again upward and flit the short edge to his left ear, if you see that he will wipe against this, then don’t let the impact fail or flow off, but soon cross your hands in the air (the right over the left) and slash him with the short edge deep to his right ear and then traverse over and pull out. Mark here when he would nimbly follow after the Understrike just taught and thus would be hard onto the roof so that you can’t come to flow off, then pay attention just then if he would twitch off from your sword, then follow after him with a cut to the arm.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/83|1|lbl=Ⅰ.31v.1}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/83|1|lbl=Ⅰ.31v.1}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''The Second Part'''
+
| <p>'''The Second Part'''</p>
However if he strikes at your left from below, then step quickly out to his left and strike with the long edge onto the strong of his sword, as soon as your sword moves or glides on his, twitch your sword high above yourself again and slash down with the short edge quickly and deeply to his left ear while stepping forward out to his left, he will then want to rush to displace and then drive above against it, so then strike nimbly with the long edge over again to his right ear and in this slashover step full against his right like before, yet stay with the cross high over your head, and mark as soon as he slashes over then fall further with a cut to his arm, if he is not hurt by this but would evade your work, then follow after him (staying on his arm), and when he makes the smallest extraction, then let fly to another opening and strike him away from you.
+
 
 +
<p>However if he strikes at your left from below, then step quickly out to his left and strike with the long edge onto the strong of his sword, as soon as your sword moves or glides on his, twitch your sword high above yourself again and slash down with the short edge quickly and deeply to his left ear while stepping forward out to his left, he will then want to rush to displace and then drive above against it, so then strike nimbly with the long edge over again to his right ear and in this slashover step full against his right like before, yet stay with the cross high over your head, and mark as soon as he slashes over then fall further with a cut to his arm, if he is not hurt by this but would evade your work, then follow after him (staying on his arm), and when he makes the smallest extraction, then let fly to another opening and strike him away from you.</p>
 
|  
 
|  
 
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/83|2|lbl=Ⅰ.31v.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/84|1|lbl=Ⅰ.32r.1|p=1}}
 
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/83|2|lbl=Ⅰ.31v.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/84|1|lbl=Ⅰ.32r.1|p=1}}
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|-  
 
|-  
 
|  
 
|  
| '''The Third Part'''
+
| <p>'''The Third Part'''</p>
However, if he strikes to your right as you come to be in the High Guard, then step nimbly with your left foot to his right out of his strike, and at the same time fall from above with the long edge onto the strong of his sword and, just as you fall on his sword, thrust your pommel under your right arm, so that you slash at his head with crossed hands fully over or near his sword, if he drives above against your right then let the half edge nearly flow off and step under it full out to his left side, and strike with the long edge directly to his head from above, but twitch nimbly upward again and slash with a traverse from below to his left ear with an off set with your left foot, and then strike him away from you.
+
 
 +
<p>However, if he strikes to your right as you come to be in the High Guard, then step nimbly with your left foot to his right out of his strike, and at the same time fall from above with the long edge onto the strong of his sword and, just as you fall on his sword, thrust your pommel under your right arm, so that you slash at his head with crossed hands fully over or near his sword, if he drives above against your right then let the half edge nearly flow off and step under it full out to his left side, and strike with the long edge directly to his head from above, but twitch nimbly upward again and slash with a traverse from below to his left ear with an off set with your left foot, and then strike him away from you.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/84|2|lbl=Ⅰ.32r.2}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/84|2|lbl=Ⅰ.32r.2}}
  
 
|-  
 
|-  
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
| '''The Fourth Part'''
+
| <p>'''The Fourth Part'''</p>
Mark in Pre-Fencing when you have come to hold your sword high above in the guard of the Roof to beware that he not then rush to strike, so that you can stay in the Before, cross your hands over your head, (the right over the left) so that it appears as if you would stab to his face, step under this toward him with your right foot and twitch your sword then to your left over your head and strike him thus with the short edge through a crafty traverse from your right to his left ear, twitch nimbly back off again and drive against his lower right opening with a long traverse, let it not stay but twitch above you again in the same flight and let the third flow off deep to his left ear with the short edge, and slash the short edge again with crossed hands into to his right ear, as soon as this hits, step back with the left foot and strike with the long edge from below to his left arm to be as shown by the figure fighting against the right in the left background of illustration G above, mark here when you step off in this Understrike if he would strike to your lower left opening, then step to him with your left foot and fall with crossed hands and the short edge onto his sword, strike him thus an Understrike as shown in the other figure fighting against the right in the just considered picture. Now mark further just as he then pulls his sword over himself again, then pull your sword with crossed hands full to your left and, just as he slashes again, take his oncoming strike from your left against his right with your outward flat, high traverse out strongly so that your sword flies overhead in full flight and your hands cross over each other in the air while your sword flies, then step full against his right, but still keep your hands high and let the half edge flow off in a twitch near his right ear (as this hits or grazes), and just then strike long with an off step. I have described this part in particular as still many good moves can be taken and be fought from here, therefore you should learn not just this alone, but think forward with diligence. Thus I will describe yet another part with a different start.
+
 
 +
<p>Mark in Pre-Fencing when you have come to hold your sword high above in the guard of the Roof to beware that he not then rush to strike, so that you can stay in the Before, cross your hands over your head, (the right over the left) so that it appears as if you would stab to his face, step under this toward him with your right foot and twitch your sword then to your left over your head and strike him thus with the short edge through a crafty traverse from your right to his left ear, twitch nimbly back off again and drive against his lower right opening with a long traverse, let it not stay but twitch above you again in the same flight and let the third flow off deep to his left ear with the short edge, and slash the short edge again with crossed hands into to his right ear, as soon as this hits, step back with the left foot and strike with the long edge from below to his left arm to be as shown by the figure fighting against the right in the left background of illustration G above, mark here when you step off in this Understrike if he would strike to your lower left opening, then step to him with your left foot and fall with crossed hands and the short edge onto his sword, strike him thus an Understrike as shown in the other figure fighting against the right in the just considered picture. Now mark further just as he then pulls his sword over himself again, then pull your sword with crossed hands full to your left and, just as he slashes again, take his oncoming strike from your left against his right with your outward flat, high traverse out strongly so that your sword flies overhead in full flight and your hands cross over each other in the air while your sword flies, then step full against his right, but still keep your hands high and let the half edge flow off in a twitch near his right ear (as this hits or grazes), and just then strike long with an off step. I have described this part in particular as still many good moves can be taken and be fought from here, therefore you should learn not just this alone, but think forward with diligence. Thus I will describe yet another part with a different start.</p>
 
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| '''A Second'''
+
| <p>'''A Second'''</p>
In the pre-fencing when you come into the Roof or High Guard, then let your blade sink down in front of you, as before, to your left side, and twitch over your head, step and strike a high traversing Middle Strike with the long edge against his left to his neck or throat, as soon as he withdraws, then twitch again over the head, and strike a second high Middle Strike traversing from your left against his right, again at his throat, as soon as it glides then strike the third, a high strike with the long edge direct from above. These three strikes shall go from one to another in a nimble flight. If you want more room then raise your pommel above to your left side, twitch thus overhead, and take your flat or short edge near your left from below through to his right against your right in a wrench out above him, so that your blade again flies over in the air, and strike with the half edge from above down with crossed hands feinting over near his right ear, you can reach further with the short edge by stepping ahead, thus let it engage and strike a strong wrath strike to his left side and following strike away from him. This is indeed a serious and strong sequence in that, since you have the Before, he can only defend.
+
 
 +
<p>In the pre-fencing when you come into the Roof or High Guard, then let your blade sink down in front of you, as before, to your left side, and twitch over your head, step and strike a high traversing Middle Strike with the long edge against his left to his neck or throat, as soon as he withdraws, then twitch again over the head, and strike a second high Middle Strike traversing from your left against his right, again at his throat, as soon as it glides then strike the third, a high strike with the long edge direct from above. These three strikes shall go from one to another in a nimble flight. If you want more room then raise your pommel above to your left side, twitch thus overhead, and take your flat or short edge near your left from below through to his right against your right in a wrench out above him, so that your blade again flies over in the air, and strike with the half edge from above down with crossed hands feinting over near his right ear, you can reach further with the short edge by stepping ahead, thus let it engage and strike a strong wrath strike to his left side and following strike away from him. This is indeed a serious and strong sequence in that, since you have the Before, he can only defend.</p>
 
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| '''Breaking the Roof Stance or Guard'''
+
| <p>'''Breaking the Roof Stance or Guard'''</p>
If you are aware that after striking outward one can, in a little flight up over the head, stay in the Guard of the Roof, then come in the pre-fencing into the Guard of the Key, from there raise both hands thus crosswise over your head, and at the same time step to him with your right foot, and while stepping strike with the short edge near your right thigh strongly from below through your opponent’s Vertex line up above you, so that the sword is above your head, flying off with an upstrike from your left to your right, keep your hands high in the displacement, just as it connects then step nimbly with your right foot to his left and strike with the short edge in a swing to his left ear. From there upstrike twice with a walk, follow the slash with a traverse to his right ear, and just then step at the same time with your right foot backward to your left, thus the Traverse goes deeper. When this happens you can strike as soon as he does.
+
 
 +
<p>If you are aware that after striking outward one can, in a little flight up over the head, stay in the Guard of the Roof, then come in the pre-fencing into the Guard of the Key, from there raise both hands thus crosswise over your head, and at the same time step to him with your right foot, and while stepping strike with the short edge near your right thigh strongly from below through your opponent’s Vertex line up above you, so that the sword is above your head, flying off with an upstrike from your left to your right, keep your hands high in the displacement, just as it connects then step nimbly with your right foot to his left and strike with the short edge in a swing to his left ear. From there upstrike twice with a walk, follow the slash with a traverse to his right ear, and just then step at the same time with your right foot backward to your left, thus the Traverse goes deeper. When this happens you can strike as soon as he does.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/87|2|lbl=Ⅰ.33v.2}}
 
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| Or if he comes ahead to you going high, then pay attention then if he will go to the low guard, then follow him nimbly with two strong understrikes from both sides out of whatever guard or stance suits you, just as long as you strike nimbly from below. One to the other with the half edge in a nimble walk from both sides deep to the head, after this bind nimbly into his blade, if he goes off then follow after. If he stays then wind, wrench out and make your work onward to the next.
+
| <p>Or if he comes ahead to you going high, then pay attention then if he will go to the low guard, then follow him nimbly with two strong understrikes from both sides out of whatever guard or stance suits you, just as long as you strike nimbly from below. One to the other with the half edge in a nimble walk from both sides deep to the head, after this bind nimbly into his blade, if he goes off then follow after. If he stays then wind, wrench out and make your work onward to the next.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/87|3|lbl=Ⅰ.33v.3}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/87|3|lbl=Ⅰ.33v.3}}
  
 
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| [[File:Meyer 1570 Longsword E.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword E.jpg|center|400px]]
| '''Wrath Guard'''
+
| <p>'''Wrath Guard'''</p>
When at the onset you come into the Wrath Guard, then step as soon as you can reach him and strike a quick Wrath Strike, which he must defend from, to his left ear. Nimbly follow the strike over with an Under Strike against his lower right opening, thus you have now attacked. Under this as and when he is reached for work and the arms show he will strike, then fall low with your sword onto his arm and behind his charge so that he can not come to work, as he will then not be able to rightly defend from this, then thrust to him with an incomplete shove from yourself, that he likewise shows that he would fall, and meanwhile slash to the next opening that you know you have, but if he reaches this and strikes you off, then be there again with the cut or displacement, and fall against his strike on the blade, if he goes off the blade again, then cut him on the arm again, but if he stays on your sword then thrust his sword aside with your hilt and nimbly let your sword fly again to the next opening and swing to him after your need. Thus now you shall fight with all elements of the sword to the body, and from the body to the sword, but where he would twitch or flow off from you, then always use the cut for help, and where you can’t cut, then there can be no useful fencing, but where you can do it rightly, then swing to him as you will. He who can break the cut himself, you will find less, but he who cannot rightly lead the cut will soon be broken.
+
 
 +
<p>When at the onset you come into the Wrath Guard, then step as soon as you can reach him and strike a quick Wrath Strike, which he must defend from, to his left ear. Nimbly follow the strike over with an Under Strike against his lower right opening, thus you have now attacked. Under this as and when he is reached for work and the arms show he will strike, then fall low with your sword onto his arm and behind his charge so that he can not come to work, as he will then not be able to rightly defend from this, then thrust to him with an incomplete shove from yourself, that he likewise shows that he would fall, and meanwhile slash to the next opening that you know you have, but if he reaches this and strikes you off, then be there again with the cut or displacement, and fall against his strike on the blade, if he goes off the blade again, then cut him on the arm again, but if he stays on your sword then thrust his sword aside with your hilt and nimbly let your sword fly again to the next opening and swing to him after your need. Thus now you shall fight with all elements of the sword to the body, and from the body to the sword, but where he would twitch or flow off from you, then always use the cut for help, and where you can’t cut, then there can be no useful fencing, but where you can do it rightly, then swing to him as you will. He who can break the cut himself, you will find less, but he who cannot rightly lead the cut will soon be broken.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/89|1|lbl=Ⅰ.34v.1}}
 
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| [[File:Meyer 1570 Longsword F.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword F.jpg|center|400px]]
| rowspan="2" | If you stand in the right Wrath stance and your opponent strikes from his right to your left, then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath, and the blade hanging below you somewhat to the ground, but as soon as in glides then step with the left foot to his right side, and wind the short edge under his sword inward to his head, as shown by the small middle figures in illustration L. When you have wound, then hold your sword with the short edge on his, and wrench the sword out following against your right above you, as shown by the small middle figures in illustration F, thus that your hands complete the wrench high in the air and crossed over, and slash in (keeping your hands high) with an inwinding flat to his lower right opening, as soon as he swipes against it in displacement, then don’t pull but twitch high again and strike a glide strike to his left ear, but in this strike let the blade swing in deep over your hands and fence quickly away from him.
+
| rowspan="2" | <p>If you stand in the right Wrath stance and your opponent strikes from his right to your left, then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath, and the blade hanging below you somewhat to the ground, but as soon as in glides then step with the left foot to his right side, and wind the short edge under his sword inward to his head, as shown by the small middle figures in illustration L. When you have wound, then hold your sword with the short edge on his, and wrench the sword out following against your right above you, as shown by the small middle figures in illustration F, thus that your hands complete the wrench high in the air and crossed over, and slash in (keeping your hands high) with an inwinding flat to his lower right opening, as soon as he swipes against it in displacement, then don’t pull but twitch high again and strike a glide strike to his left ear, but in this strike let the blade swing in deep over your hands and fence quickly away from him.</p>
 
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| rowspan="2" |  
 
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| [[File:Meyer 1570 Longsword A.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword A.jpg|center|400px]]
| If your counterpart strikes to you from above, then step and strike to him from your right with a high traversing Middle Strike, thus also through and away from his long edge strike in flight so that your blade flies over with the half edge against his left ear but, as soon as you near it, flow off and twitch over your head from your right to your left, step and slash him with an inverted flat from your left to his right ear, high traversing through the middle line shown on the larger figure on the right of illustration A.
+
| <p>If your counterpart strikes to you from above, then step and strike to him from your right with a high traversing Middle Strike, thus also through and away from his long edge strike in flight so that your blade flies over with the half edge against his left ear but, as soon as you near it, flow off and twitch over your head from your right to your left, step and slash him with an inverted flat from your left to his right ear, high traversing through the middle line shown on the larger figure on the right of illustration A.</p>
 
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| If it happens that he would not strike, then place yourself into the right Wrath stance and drive over your forward thigh thus: Stay standing with your left foot planted and strike seriously from your right over your left leg into the left Changer, from there travel over yourself again with the short edge through the strike line which you just travelled through from above so that your sword comes to your right shoulder again. Do this then once or thrice and, at the last when you see your opportunity, then drive the short edge in a move from your left above in the air over yourself and let it snap over thus into an upstrike to his lower right opening with your third step, and as this is then pulled right, then slash a deep one again with the short edge over your hand to his left ear, in this let your pommel snap full upward, thus letting it go deeper, then twitch over again and drive a strike to his lower right opening with two forward steps, and then as such is pulled right, then slash again over your hand with the short edge to his left ear, in this let your pommel snap upward thus making it go deeper, twitch over again and drive a strike to his right, yet still soon traverse again to his left with a back step and then pull out.
+
| <p>If it happens that he would not strike, then place yourself into the right Wrath stance and drive over your forward thigh thus: Stay standing with your left foot planted and strike seriously from your right over your left leg into the left Changer, from there travel over yourself again with the short edge through the strike line which you just travelled through from above so that your sword comes to your right shoulder again. Do this then once or thrice and, at the last when you see your opportunity, then drive the short edge in a move from your left above in the air over yourself and let it snap over thus into an upstrike to his lower right opening with your third step, and as this is then pulled right, then slash a deep one again with the short edge over your hand to his left ear, in this let your pommel snap full upward, thus letting it go deeper, then twitch over again and drive a strike to his lower right opening with two forward steps, and then as such is pulled right, then slash again over your hand with the short edge to his left ear, in this let your pommel snap upward thus making it go deeper, twitch over again and drive a strike to his right, yet still soon traverse again to his left with a back step and then pull out.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/90|3|lbl=Ⅰ.35r.3}}
 
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| In the pre-fencing strike into the the right Wrath and, as soon as your opponent goes off, then raise your hands high over your head and let your point shoot forward toward his face as if you would stab, but twitch off again and slash with inverted hands or reversed flat from your lower right out to his left ear or arm together with a retreating step. If he then strikes from above at the same time as you, then nimbly twitch over after the swords meet and slash diagonally deep to his upper right opening with an inward flat so that your hands become crossed, yet then pull out to yourself again as if you would strike to his left but don’t, rather twitch off again without engaging and strike thus with the short edge in a circle to his right ear so that the short edge grazes his ear. During this keep your hands high above you and step around with the circle then step back and strike a direct vertex strike to his head, then twitch nimbly upward again with a high traversing cross. That is, come over your head into the Crown, from there traverse to both sides, the first on the right with the long edge, the other to the left with the short edge, keeping your thumb always under the ricasso, and pull off.
+
| <p>In the pre-fencing strike into the the right Wrath and, as soon as your opponent goes off, then raise your hands high over your head and let your point shoot forward toward his face as if you would stab, but twitch off again and slash with inverted hands or reversed flat from your lower right out to his left ear or arm together with a retreating step. If he then strikes from above at the same time as you, then nimbly twitch over after the swords meet and slash diagonally deep to his upper right opening with an inward flat so that your hands become crossed, yet then pull out to yourself again as if you would strike to his left but don’t, rather twitch off again without engaging and strike thus with the short edge in a circle to his right ear so that the short edge grazes his ear. During this keep your hands high above you and step around with the circle then step back and strike a direct vertex strike to his head, then twitch nimbly upward again with a high traversing cross. That is, come over your head into the Crown, from there traverse to both sides, the first on the right with the long edge, the other to the left with the short edge, keeping your thumb always under the ricasso, and pull off.</p>
 
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/90|4|lbl=Ⅰ.35r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/91|1|lbl=Ⅰ.35v.1|p=1}}
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| '''Rule'''
+
| <p>'''Rule'''</p>
When you stand in the Right or Left Wrath, and one strikes to you from below committing to your right or left opening, then strike high outward with the long edge and, just as it engages, then shoot the point on his sword inward to his face, just then drive off with your hands and work to the next opening with elements of going before or after.
+
 
 +
<p>When you stand in the Right or Left Wrath, and one strikes to you from below committing to your right or left opening, then strike high outward with the long edge and, just as it engages, then shoot the point on his sword inward to his face, just then drive off with your hands and work to the next opening with elements of going before or after.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/91|2|lbl=Ⅰ.35v.2}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/91|2|lbl=Ⅰ.35v.2}}
  
 
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| '''Left Wrath Stance'''
+
| <p>'''Left Wrath Stance'''</p>
When at the onset you come into the Left Wrath stance, then drive over the right thigh, as above with the left, one strike, two, three, yet then step and strike from your low left out strongly through your right upward, so that your sword flies over in the air in an upstrike toward your right, then twitch over your head and strike a strong traverse to his left ear, onward quickly crosswise and high traverse to all four openings: to his left over the hand, be it high or low, that is reversed or inverted with the hand, and on his right with an inward flat, that is under the hand.
+
 
 +
<p>When at the onset you come into the Left Wrath stance, then drive over the right thigh, as above with the left, one strike, two, three, yet then step and strike from your low left out strongly through your right upward, so that your sword flies over in the air in an upstrike toward your right, then twitch over your head and strike a strong traverse to his left ear, onward quickly crosswise and high traverse to all four openings: to his left over the hand, be it high or low, that is reversed or inverted with the hand, and on his right with an inward flat, that is under the hand.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/91|3|lbl=Ⅰ.35v.3}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/91|3|lbl=Ⅰ.35v.3}}
  
 
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| rowspan="2" | [[File:Meyer 1570 Longsword Cuts.jpg|center]]
 
| rowspan="2" | [[File:Meyer 1570 Longsword Cuts.jpg|center]]
| '''With the Ox'''
+
| <p>'''With the Ox'''</p>
I hope you have taken and judged how you will apply your strikes and elements against your opponent’s four openings with sufficient guidance from the parts taught up to now, also how at times how you should apply a wind, cut, note the flowing off, circle, and flying off with stepping, which are not counted alone as such from this, indeed pre-fencing from all other stances shall also be understood. So now, because the Ox is an especially good stance to engage your opponent, I will give a short lesson and rules on how you shall engage your opponent in the Before, rush, and force displacement from it.
+
 
 +
<p>I hope you have taken and judged how you will apply your strikes and elements against your opponent’s four openings with sufficient guidance from the parts taught up to now, also how at times how you should apply a wind, cut, note the flowing off, circle, and flying off with stepping, which are not counted alone as such from this, indeed pre-fencing from all other stances shall also be understood. So now, because the Ox is an especially good stance to engage your opponent, I will give a short lesson and rules on how you shall engage your opponent in the Before, rush, and force displacement from it.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/92|1|lbl=Ⅰ.36r.1}}
 
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| And mark now the first, that you have four available attacks from either side, driven forth through the four leading lines as was explained and made apparent in the initial chapter, the lines being the correct paths for all strikes which would be driven and struck from you to your opponent.
+
| <p>And mark now the first, that you have four available attacks from either side, driven forth through the four leading lines as was explained and made apparent in the initial chapter, the lines being the correct paths for all strikes which would be driven and struck from you to your opponent.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/92|2|lbl=Ⅰ.36r.2}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/92|2|lbl=Ⅰ.36r.2}}
  
 
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| The first of two is when you approach against your opponent with the Plunge Strike, which plunges as you hold your point toward him, and hold it steady (as was taught above) so that your thrust is obviously indicated, from which as soon as you can reach your opponent to attack, be it from below or above, wrathful or high traverse, as is shown through the lines, you will now attack through them from one side striking either high traverse or diagonally against him, be it with long or short edge or with the flat. This you bring on forcefully and nimbly Before him, and must force unto him so that he can not come to other work without your leave, then if he would soon try to work against you, then you will already be at his throat with travelling after, cuts, hits, and similar work following, with which you let no work be accomplished, thus now from this lesson’s elementary basis, an example of how to judge this in both attacking and travelling after will be given:  
+
| <p>The first of two is when you approach against your opponent with the Plunge Strike, which plunges as you hold your point toward him, and hold it steady (as was taught above) so that your thrust is obviously indicated, from which as soon as you can reach your opponent to attack, be it from below or above, wrathful or high traverse, as is shown through the lines, you will now attack through them from one side striking either high traverse or diagonally against him, be it with long or short edge or with the flat. This you bring on forcefully and nimbly Before him, and must force unto him so that he can not come to other work without your leave, then if he would soon try to work against you, then you will already be at his throat with travelling after, cuts, hits, and similar work following, with which you let no work be accomplished, thus now from this lesson’s elementary basis, an example of how to judge this in both attacking and travelling after will be given:</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/92|3|lbl=Ⅰ.36r.3}}
 
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| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
| In the pre-fencing when you have come into the guard of the Ox through a plunge, then strike (as soon as you can reach him) a serious and forceful Wrath Strike from your right to his left ear with a long right foot step, as soon as the strike touches or hits, then almost twitch off again and strike over against his left arm, also with the long edge, but with this strike step with your left foot to his right and take your head out to the side behind your blade, just then he may be ready either to strike or otherwise with his sword stretched out ahead to displace, so at first let your blade hang behind you from your right arm, and meanwhile twitch your grip over your head to your right and take his blade (he is stretched out from striking or displacing) with your long edge or flat and strongly and forcefully high traverse out from your right to his left so that you break out fully with your blade, and in this outward stride let your blade fly above again in a traverse over your head against his left ear, from there twitch your sword over your head again and strike a strong strike swinging in to his right ear with the flat outward, in a flat strike as shown by the larger figure on the right hand side of illustration K, also mark diligently that you step fully out with the left foot to his right side in this strike, from this flatstrike or Bounce Strike twitch your sword high over your head, keeping your hands high, and let the blade fly over with the long edge to his right arm, and yet don’t impact, but traverse nimbly to his left ear while stepping back with the right foot, and sign off. This play, when you have arranged it thus, gives you thus the cut held (as taught above) in reserve, with which you can make more room, either in fencing the full play, or onward in taking another part.
+
| <p>In the pre-fencing when you have come into the guard of the Ox through a plunge, then strike (as soon as you can reach him) a serious and forceful Wrath Strike from your right to his left ear with a long right foot step, as soon as the strike touches or hits, then almost twitch off again and strike over against his left arm, also with the long edge, but with this strike step with your left foot to his right and take your head out to the side behind your blade, just then he may be ready either to strike or otherwise with his sword stretched out ahead to displace, so at first let your blade hang behind you from your right arm, and meanwhile twitch your grip over your head to your right and take his blade (he is stretched out from striking or displacing) with your long edge or flat and strongly and forcefully high traverse out from your right to his left so that you break out fully with your blade, and in this outward stride let your blade fly above again in a traverse over your head against his left ear, from there twitch your sword over your head again and strike a strong strike swinging in to his right ear with the flat outward, in a flat strike as shown by the larger figure on the right hand side of illustration K, also mark diligently that you step fully out with the left foot to his right side in this strike, from this flatstrike or Bounce Strike twitch your sword high over your head, keeping your hands high, and let the blade fly over with the long edge to his right arm, and yet don’t impact, but traverse nimbly to his left ear while stepping back with the right foot, and sign off. This play, when you have arranged it thus, gives you thus the cut held (as taught above) in reserve, with which you can make more room, either in fencing the full play, or onward in taking another part.</p>
 
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| Note that in the onset when you can reach your opponent from the Ox, as was just taught, then twitch your sword over your head and slash a strong and well aimed high traverse from your right with the flat outward to his left ear, yet from there twitch over your head and slash with an outward flat from the other side, also high traversing here. After these two strikes fence to what you think is a good opportunity. Thus you can always attack crosswise and against each other, which also leads out of fencing.
+
| <p>Note that in the onset when you can reach your opponent from the Ox, as was just taught, then twitch your sword over your head and slash a strong and well aimed high traverse from your right with the flat outward to his left ear, yet from there twitch over your head and slash with an outward flat from the other side, also high traversing here. After these two strikes fence to what you think is a good opportunity. Thus you can always attack crosswise and against each other, which also leads out of fencing.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/93|2|lbl=Ⅰ.36v.2}}
 
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| At times you can also, as opportunity allows, attack seriously from one side high traversing to the other, and this on one side somewhat with the long edge, on the other with the short edge or flat. At the last thus also mark where one would be rushed in this guard, so that you cannot bring any element into the before, then shoot forward just then into his face with a step forward in the long point, and in this shooting forward turn the long edge against his oncoming strike and, as soon as you engage, wind on his sword to the next opening.
+
| <p>At times you can also, as opportunity allows, attack seriously from one side high traversing to the other, and this on one side somewhat with the long edge, on the other with the short edge or flat. At the last thus also mark where one would be rushed in this guard, so that you cannot bring any element into the before, then shoot forward just then into his face with a step forward in the long point, and in this shooting forward turn the long edge against his oncoming strike and, as soon as you engage, wind on his sword to the next opening.</p>
 
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| [[File:Meyer 1570 Longsword C.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword C.jpg|center|400px]]
| '''Unicorn'''
+
| <p>'''Unicorn'''</p>
Note, come into the pre-fencing with your left foot forward and strike upward from your right with the short edge, one time, twice, through in front of your face, and the third time stay in the long point with your sword thus stretched out in front of you, turn the long edge above you toward your right so that your pommel goes through under your right arm and your hands cross over one another, drive thus upward with crossed hands, thus you stand in the Unicorn, as was told of before, from then strike ahead (seeing that your left foot stays forward) with two consecutive upstrikes, the first from your right, the other from your left, both hard upward near his body so that in the second upstrike your hands cross over again as before. Drive thus nimbly upward flying off again into the Unicorn, raise your left foot somewhat up, then soon set it quickly down again, with such faking and displays you pull him in so that he then strikes to your left opening, yet just as he strikes then let your blade sink down in front of you, and then twitch your sword over your head, strike thus with the long edge high traversing from your right (with an advancing step of the same foot) against his oncoming strike, such that you catch his strike in the high traverse on the strong of your sword, as soon as the swords glide together, then burst with your right foot still forward against his left side, and raise your sword above you rushing a bit from his blade. Yet while you (as was told) drive a bit above you, then thrust your pommel through under your right arm so that your hands become crossed, quickly and nimbly with an inward flat oe short edge (with the next intended step out to his left) behind his sword to his head, as the small figures on the left side of illustration C show, you thus expose your left opening, he will rush to do the same, thus do no more then pull your pommel out from under your right arm again, and wind your sword into the long point so that your long edge turns to stand against his blade, thus you stand in direct displacement, as is shown by the other smaller figures in the same illustration,  
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 +
<p>Note, come into the pre-fencing with your left foot forward and strike upward from your right with the short edge, one time, twice, through in front of your face, and the third time stay in the long point with your sword thus stretched out in front of you, turn the long edge above you toward your right so that your pommel goes through under your right arm and your hands cross over one another, drive thus upward with crossed hands, thus you stand in the Unicorn, as was told of before, from then strike ahead (seeing that your left foot stays forward) with two consecutive upstrikes, the first from your right, the other from your left, both hard upward near his body so that in the second upstrike your hands cross over again as before. Drive thus nimbly upward flying off again into the Unicorn, raise your left foot somewhat up, then soon set it quickly down again, with such faking and displays you pull him in so that he then strikes to your left opening, yet just as he strikes then let your blade sink down in front of you, and then twitch your sword over your head, strike thus with the long edge high traversing from your right (with an advancing step of the same foot) against his oncoming strike, such that you catch his strike in the high traverse on the strong of your sword, as soon as the swords glide together, then burst with your right foot still forward against his left side, and raise your sword above you rushing a bit from his blade. Yet while you (as was told) drive a bit above you, then thrust your pommel through under your right arm so that your hands become crossed, quickly and nimbly with an inward flat oe short edge (with the next intended step out to his left) behind his sword to his head, as the small figures on the left side of illustration C show, you thus expose your left opening, he will rush to do the same, thus do no more then pull your pommel out from under your right arm again, and wind your sword into the long point so that your long edge turns to stand against his blade, thus you stand in direct displacement, as is shown by the other smaller figures in the same illustration,</p>
 
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| [[File:Meyer 1570 Longsword D.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword D.jpg|center|400px]]
| or when you have crossed the half edge inward toward his head with crossed hands, so that you have given an opening on your left side, if he rushes (as described before) to fence the same way, then keep your hands crossed, pull your head full to the right, and shoot to him with your blade fully over his, the closer to his hilt the better, thus wrench his blade out to your left, as is shown by the small figures on the right hand side of illustration D, and, when this wrench out comes near your left side, drive out with your hands and slash over them with the hald edge deep to his left ear, after which you come nimbly with your long edge onto his sword after pulling out at your pleasure.
+
| <p>or when you have crossed the half edge inward toward his head with crossed hands, so that you have given an opening on your left side, if he rushes (as described before) to fence the same way, then keep your hands crossed, pull your head full to the right, and shoot to him with your blade fully over his, the closer to his hilt the better, thus wrench his blade out to your left, as is shown by the small figures on the right hand side of illustration D, and, when this wrench out comes near your left side, drive out with your hands and slash over them with the hald edge deep to his left ear, after which you come nimbly with your long edge onto his sword after pulling out at your pleasure.</p>
 
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/95|2|lbl=Ⅰ.37v.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/96|1|lbl=Ⅰ.38r.1|p=1}}
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| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
| Or when you thus come to be in the Unicorn in front of your opponent, then mark Just As he strikes from above to let your blade drive over your head and bind on his sword from your right high traversing to your left and, as soon as he goes off above from this, then let your blade snap over again so that your right hand comes over your left and fall forward to his arms with the short edge and crossed hands while he is still driving off, as is shown by the outermost figures on the right hand of illustration I, then thrust away forcefully out from your left side with your hilt and strike nimbly when he shows his next opening, or follow after him until you can have your advantage.
+
| <p>Or when you thus come to be in the Unicorn in front of your opponent, then mark Just As he strikes from above to let your blade drive over your head and bind on his sword from your right high traversing to your left and, as soon as he goes off above from this, then let your blade snap over again so that your right hand comes over your left and fall forward to his arms with the short edge and crossed hands while he is still driving off, as is shown by the outermost figures on the right hand of illustration I, then thrust away forcefully out from your left side with your hilt and strike nimbly when he shows his next opening, or follow after him until you can have your advantage.</p>
 
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| Note when you have flown out to both sides and come into the Unicorn above you, if your opponent then strikes from his right to the left of your head, then step with your right foot toward his left well away from his strike, and then drop onto the strong of his sword (such that your hands stay crosswise) with the short edge above. This requires an offstep every time which shall be completed at the same time as his oncoming strike, and just as the swords glide together in this way, just then let the short edge snap off again up from his sword, and hit him with it over his hands to his head, after this strike with the long edge and an outstep. From this Unicorn you can also fence and attack rightly and well with the understrike and the thwart, as many good plays shall also go onward similarly when you consider it afterward.
+
| <p>Note when you have flown out to both sides and come into the Unicorn above you, if your opponent then strikes from his right to the left of your head, then step with your right foot toward his left well away from his strike, and then drop onto the strong of his sword (such that your hands stay crosswise) with the short edge above. This requires an offstep every time which shall be completed at the same time as his oncoming strike, and just as the swords glide together in this way, just then let the short edge snap off again up from his sword, and hit him with it over his hands to his head, after this strike with the long edge and an outstep. From this Unicorn you can also fence and attack rightly and well with the understrike and the thwart, as many good plays shall also go onward similarly when you consider it afterward.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/96|3|lbl=Ⅰ.38r.3|p=1}}
 
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| '''Key'''
+
| <p>'''Key'''</p>
This guard is named the Key since all other elements and stances can be broken from this stance just as well as that which can happen from others where you will actually need more force to do so than in this one, and since a key is a small instrument which, without particular effort or force, can enter a big strong castle where otherwise a man must use great force, thus from this weak stance (as it may seem) all other elements will be broken artfully and delicately without special effort, and basically that’s the story. In the pre-fencing put yourself in this guard and, even as how to fence in such forms as the Unicorn was told before, it stands against your opponent’s guards, left or right, high or low, thus stab to him from the Key before yourself directly to his face into the Long Point, the stab of which he (if he doesn’t want to be hit) must defend from. On whichever side he then hits out from, then let your blade then swipe away with intent as he hits out to it, drive over your head and strike him to the same side that he struck out from, if he swipes after it, then don’t let it hit, but let it fly off to another opening, and strike away from him as he seeks for another opening.
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 +
<p>This guard is named the Key since all other elements and stances can be broken from this stance just as well as that which can happen from others where you will actually need more force to do so than in this one, and since a key is a small instrument which, without particular effort or force, can enter a big strong castle where otherwise a man must use great force, thus from this weak stance (as it may seem) all other elements will be broken artfully and delicately without special effort, and basically that’s the story. In the pre-fencing put yourself in this guard and, even as how to fence in such forms as the Unicorn was told before, it stands against your opponent’s guards, left or right, high or low, thus stab to him from the Key before yourself directly to his face into the Long Point, the stab of which he (if he doesn’t want to be hit) must defend from. On whichever side he then hits out from, then let your blade then swipe away with intent as he hits out to it, drive over your head and strike him to the same side that he struck out from, if he swipes after it, then don’t let it hit, but let it fly off to another opening, and strike away from him as he seeks for another opening.</p>
 
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| Don’t go to other stances with your opponent, but force them out from you by striking, if he strikes just then from above or from below, from the right or from the left, then mark just as he strikes in, then shoot your Long Point in front of you into his face, and at the same time as shooting forward twist your long edge against his oncoming strike, when you have caught his strike on the strong of your long edge, then stay hard on his blade and wind in nimbly outward to his head, but if he goes nimbly off from your sword striking to the other side, then strike or rush him (while his sword is still driving out) to his head or arms, hurry soon after this to bind again on his sword and think of travelling after, slices, wrenches out, and misleading.
+
| <p>Don’t go to other stances with your opponent, but force them out from you by striking, if he strikes just then from above or from below, from the right or from the left, then mark just as he strikes in, then shoot your Long Point in front of you into his face, and at the same time as shooting forward twist your long edge against his oncoming strike, when you have caught his strike on the strong of your long edge, then stay hard on his blade and wind in nimbly outward to his head, but if he goes nimbly off from your sword striking to the other side, then strike or rush him (while his sword is still driving out) to his head or arms, hurry soon after this to bind again on his sword and think of travelling after, slices, wrenches out, and misleading.</p>
 
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| Basically from this forward Guard you fence elements in the Before and shall attack through it, thus you can take off to the elements to which one breaks the High Guard acting from this Key.
+
| <p>Basically from this forward Guard you fence elements in the Before and shall attack through it, thus you can take off to the elements to which one breaks the High Guard acting from this Key.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/97|3|lbl=Ⅰ.38v.3}}
 
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| [[File:Meyer 1570 Longsword F.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword F.jpg|center|400px]]
| '''Hanging Point'''
+
| <p>'''Hanging Point'''</p>
In the pre-fencing strike forcefully from your left above you through toward his face in a sweep, once, twice, and the third time don’t let your sword swing out before your face but twist it into the Hanging Point, as shown on the right hand side of figure F and as taught before, and do this a number of times until you see your opportunity to attack with an element, but if your opponent strikes to you during this (while you stand thus in the Hanging Point) from above, or high traverse, or from below to your fingers, or against your head on the left, then step soon out to your left with the left foot behind the right, and twitch at the same time as he strikes, your sword thus hangs from above you against your right shoulder, from here step and strike at the same time as him left to his head, pull the pommel hard to your inward arm in this strike onto the flat, then swing your blade on forcefully to his head. hold your pommel thus hard on your arm and wrench thus out above you with outstretched blade to your left, let this wrench thus fly over your head and traverse strike strong to his left.
+
 
 +
<p>In the pre-fencing strike forcefully from your left above you through toward his face in a sweep, once, twice, and the third time don’t let your sword swing out before your face but twist it into the Hanging Point, as shown on the right hand side of figure F and as taught before, and do this a number of times until you see your opportunity to attack with an element, but if your opponent strikes to you during this (while you stand thus in the Hanging Point) from above, or high traverse, or from below to your fingers, or against your head on the left, then step soon out to your left with the left foot behind the right, and twitch at the same time as he strikes, your sword thus hangs from above you against your right shoulder, from here step and strike at the same time as him left to his head, pull the pommel hard to your inward arm in this strike onto the flat, then swing your blade on forcefully to his head. hold your pommel thus hard on your arm and wrench thus out above you with outstretched blade to your left, let this wrench thus fly over your head and traverse strike strong to his left.</p>
 
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| But if he strikes to your right side from above, then catch his strike on your blade’s flat and step out to his right, or stay with your blade (just as the blades have struck together) on the side and wind the short edge inwards to his head, twist nimbly with the sword into the Long Point from the wind, such that you smite his after work away from you, but if he fences in to you from below your blade to your right ear, away from what happens, then twist yet again into the long point with the long edge below, thus setting aside his blade, yet while you displace at the same time also step nimbly with the left foot to his right and thrust your pommel (just as the parry is about to engage) through under your right arm, thus raise your sword high with crossed hands, and hit again nimbly upward with the half edge to his right ear, if he displaces this then let the blade flow off near your right, and step back again with your left foot and meanwhile with your back step strike a forceful middle strike, traverse over to his left ear or arm, then pull out. What would be fenced further is easily taken onward from here.
+
| <p>But if he strikes to your right side from above, then catch his strike on your blade’s flat and step out to his right, or stay with your blade (just as the blades have struck together) on the side and wind the short edge inwards to his head, twist nimbly with the sword into the Long Point from the wind, such that you smite his after work away from you, but if he fences in to you from below your blade to your right ear, away from what happens, then twist yet again into the long point with the long edge below, thus setting aside his blade, yet while you displace at the same time also step nimbly with the left foot to his right and thrust your pommel (just as the parry is about to engage) through under your right arm, thus raise your sword high with crossed hands, and hit again nimbly upward with the half edge to his right ear, if he displaces this then let the blade flow off near your right, and step back again with your left foot and meanwhile with your back step strike a forceful middle strike, traverse over to his left ear or arm, then pull out. What would be fenced further is easily taken onward from here.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/99|2|lbl=Ⅰ.39v.2}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/99|2|lbl=Ⅰ.39v.2}}
  
 
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| '''Iron Door'''
+
| <p>'''Iron Door'''</p>
This Iron Door is actually (as said above) the Barrier Guard, from which you fence thus: if he strikes one from above, then drive thus out with crossed hands and catch his strike on the strong of your blade, just as he then takes his sword off your blade from this strike, then strike him (while his arms pull over himself) with a forceful upstrike to his arms, as soon as he tries to clear off then fence to his head.
+
 
 +
<p>This Iron Door is actually (as said above) the Barrier Guard, from which you fence thus: if he strikes one from above, then drive thus out with crossed hands and catch his strike on the strong of your blade, just as he then takes his sword off your blade from this strike, then strike him (while his arms pull over himself) with a forceful upstrike to his arms, as soon as he tries to clear off then fence to his head.</p>
 
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| Note, displace his high strike as before, and just as the swords glide together then wind the short edge nimbly inward to his right ear, then wind again to his left side nimbly over him with your pommel through below, and with a back step strike long to the left of his head. However where he would fence to you from below, then fall from above with the long edge onto his sword into the Long Point. The Iron Door or Barrier Guard breaks out the Key, namely stab toward his face forcing him above himself, and then fence after him (just as he drives overhead) from below.
+
| <p>Note, displace his high strike as before, and just as the swords glide together then wind the short edge nimbly inward to his right ear, then wind again to his left side nimbly over him with your pommel through below, and with a back step strike long to the left of his head. However where he would fence to you from below, then fall from above with the long edge onto his sword into the Long Point. The Iron Door or Barrier Guard breaks out the Key, namely stab toward his face forcing him above himself, and then fence after him (just as he drives overhead) from below.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/100|2|lbl=Ⅰ.40r.2}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/100|2|lbl=Ⅰ.40r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Close Guard'''
+
| <p>'''Close Guard'''</p>
From the Close Guard you will fence into the Arc Strike; as you have been struck to an opening when you hold yourself in the right Close Guard, then step springing with your right foot to his left well away from his strike, and strike with crossed hands above and behind his blade to his head, twitch nimbly (where you don’t want to wrench out to your left) above him with crossed hands and hit strongly with the outward flat from below to his left ear; however where he won’t strike, then fence such as you will learn from the Middle Guard following this.
+
 
 +
<p>From the Close Guard you will fence into the Arc Strike; as you have been struck to an opening when you hold yourself in the right Close Guard, then step springing with your right foot to his left well away from his strike, and strike with crossed hands above and behind his blade to his head, twitch nimbly (where you don’t want to wrench out to your left) above him with crossed hands and hit strongly with the outward flat from below to his left ear; however where he won’t strike, then fence such as you will learn from the Middle Guard following this.</p>
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/100|3|lbl=Ⅰ.40r.3}}
 
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/100|3|lbl=Ⅰ.40r.3}}
  
Line 1,702: Line 1,717:
 
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/104|4|lbl=Ⅰ.42r.3|p=1}} '''[XLIIv]''' damit zwingestu jhn das er gehlingen ubersich fehrt / als bald er solch es thut / so lasse dein Lincke hand vom knopff ab / und laß dein klingen gegen seiner Rechten von Unden auff in einer hand umb schnappen / und setze jhm den vordern ort an sein Brust / greiff in des dein knopff wider an / wie du solches an den kleinern Bilder zur Rechten hand mit dem F. hievor sehen kanst / stoß jhn also mit verkehrter hand von dir / laß als bald dein knopff wider ab / und dein Schwerdt umb dein Kopff fahren / und hauwe lang mit angreiffung des knopffs nach / dergleichen stuck soltu gegen die welche gern einlauffen gebrauchen.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/104|4|lbl=Ⅰ.42r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/105|1|lbl=Ⅰ.42v.1|p=1}}
  
 
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|  
 
|  
| Item vermerckestu das dein gegenfechter gern und bald hoch aufffehrt / so streich abermal gewaltig vor jm auf / und als bald du gewahr wirst das er ubersich fehrt / so hauwe jhm dieweil er noch im auffziehen ist / uberzwerch von deiner Rechten gegen seinem lincken Arm / so bald der antrifft / so bald schlage widerumb mit inwendiger flech zu seinem Rechten ohr / in einem schwung gar dieff.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/105|2|lbl=Ⅰ.42v.2}}
  
 
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| '''Brechfenster.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/105|3|lbl=Ⅰ.42v.3}}
ISt eigendtlich der Oberhut zugetheilt / welche wirt allein im bundt (nach dem du dem Mann under sein Schwerdt komen bist) gebraucht / von der lenge aber dieweil du des Manns orthe und klingen noch für dir sihest / solt du der hut müssig gehen / dann du bist niergen sicher darinen / aber so bald du dem Mann under sein Schwerdt komen bist / so ist es der fürnemsten Huten eine / der brauch dich also.
 
  
 
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|  
| Wann du nun under des Manns Schwerdt komen / also das du dein Schwerdt uber deinem Kopff in gemeltem Brechfenster führen must / damit du dann beide deine Arm unnd finger Blos dargibst / derhalben so bald er von Oben dir zu den fingern hauwet / so trit wol aus seinem streich / einer seiten zu / gilt gleich zu welcher es sey / und hauwe mit einer Zwirch gegen seinem herfliegenden streich / also wirstu jhm nicht allein sein Hauw nach bey deinem Schilt auff die sterck deiner klingen aufffangen / sondern (wo er anders sein Hauw unabgezuckt volführen will) triffest jhn auch mit dem eusseren theil deiner klingen zugleich sein Kopff / Hauwet er dir aber zu deiner Armen einem / so hauwe abermals von derselbigen seiten gegen welchem Arm er dir hauwen will / mit einer Zwirch von Unden / ubersich gegen seinem herfliegenden Hauw / und merck fleissig in dem er sein Schwerdt wider '''[XLIIIrv]''' wider auffzeucht / so hauwe ihm dieweil mit Zwirchhäuwen ubersich oder uberzwerch in sein Arm / als bald er wider herab felt / so fang ihm sein klingen wider auff dein uberzwerche klingen / oder schilt auff.
+
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 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/105|4|lbl=Ⅰ.42v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/106|1|lbl=Ⅰ.43r.1|p=1}}
  
 
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| Zwircht er aber oder hauwet von Unden / so hauwe jhm oben auff sein klingen / oder schauw das du jhm mit der Zwirch zu voren under sein klingen komest / wo er dir aber mit der Zwirch under die deine komen wehre / so laß dein klingen wol uber seiner abhangen / und truck die also mit deinem Schildt undersich von dir / magst jhn also hinder seiner klingen mit halber schneid seinen Kopff erlangen / oder nach dem du jhm sein klingen undersich von dir gestossen umbschlagen / auch kanstu jm ubergreiffen also.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/106|2|lbl=Ⅰ.43r.2}}
  
 
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| rowspan="3" | [[File:Meyer 1570 Longsword M.jpg|center|400px]]
 
| rowspan="3" | [[File:Meyer 1570 Longsword M.jpg|center|400px]]
 
|  
 
|  
| Hauwet einer von Oben so hauwe demselbigen von deiner Lincken von Unden entgegen mit Langer schneide / und in dem er sein Schwerdt wider von dem deinen abnimpt / und also mit seinen Armen ubersich fehrt / so greiffe dieweil mit deinen fingern uber dein kreutz in die klingen / und fahr jhm mit deiner klingen uber beide arm / wie du solches an den zweyen under Bildern in hienach getruckter Figur sihest / seiss also auff dein Rechte seiten aus / wiltu so magst du jhn werffen also / Trit mit deinem Rechten hinder seinen Rechten / unnd faß jhn mit deiner kurtzen schneide bey seinem hals / unnd stosse in des deinen knopff oberhalb deinem rechten Arm / gegen deiner Rechten von dir / wirff jhn also gegen deiner Lincken uber dein recht bein an rucken.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/106|3|lbl=Ⅰ.43r.3}}
  
 
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| Item Zwircht dir einer zu deinem Lincken ohr / so fall jhm mit Langer schneid oben auff die mitte seiner klingen / in dem du aber also darauff fellest / so greiff mit deinen fingern obermal uber deinem kreutz in die klingen / und leg jhm die kurtz schneid hinder seiner klingen auff sein Kopff / davon besihe die grossern Bilder in jetzgedachter Figur / stoß also dein knopff von dir / auff das du jhn haltest das er nicht ledig werde / du habest jhn dann gewundt / reist er sich aber under deiner klingen herfür / so flog jhm behendiglich nach / und greiff jhm abermals uber sein beide arm wie vor / Oder in dem er her Zwircht / so fang jhm sein Zwirch auff dein hangete klingen / unnd greiff mit deiner Lincken hand in sein Schilt und kreutz / winde jhm die von dir aus / wie dir solches die kleinern obern bossen auch in jetz gedachter Figur zur rechten Handt anzeigen.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/106|4|lbl=Ⅰ.43r.4}}
  
 
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|  
 
|  
| Und letzlich so mercke / so offt du mit einer Zwirch gegen einem Oberhauw anbindest / so winde jhm die kurtz schneid einwerts zum Kopff / her widerumb so dir aber einer also einwinden würde / so merck eben in dem er die kurtz schneid aus der Zwirch einwerts wendet gegen deinem Lincken ohr / so wende die Lang schneid ubersich gegen seiner klingen / so stehestu im alten Schilhauw davon oben gemelt / und triffestu jhn auff sein Kopff / das geht wie '''[XLIIIIr]''' die andern stuck all zu beiden seiten / dann er wende gegen deiner Rechten oder Lincken hinein / so blöst er sein ander seiten / derhalben kanstu jhm den Kopff mit gegen winden leichtlich treffen / dann wan er einwerts windet / so winde du auswerts / so triffestu und fehlet er / merck so du also einem einwindest / und wirst under des gewahr das er dir wie nechst gelehrt gegen winden will / so wende gleichwol furt / im winden aber reiss mit deiner halben schneide auff die seiten gegen welcher du eingewunden hast aus / laß dein klingen umbschnappen / oder ficht ander stuck / Dieser winden seindt achterley welche hin unnd wider in stucken gnugsam angeregt / was aber weiter von gemelten winden an einem andern ort weiter gehandelt werden.
+
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 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/106|5|lbl=Ⅰ.43r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/108|1|lbl=Ⅰ.44r.1|p=1}}
  
 
|-  
 
|-  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
| class="noline" | Also bistu nun bißher in disen ersten und andern theils disses Schwerdt fechtens / eigentlichen underrichtet worden / beide von des Manns und denn auch von des Schwerdts theilung / folgents vom zufechten / Mittelarbeiten und Abziehen / neben andern notwendigen stucken und lehren / sampt den Exempeln im andern theil so aus dem ersten gezogen / was ferner andere hie zu notwendige stuck belanget / wirstu im folgenden Buch vom Schwerdt fechten gnugsam bescheidt finden / sovil ich dißmal zuschreiben für hab.
+
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/108|2|lbl=Ⅰ.44r.2}}
  
 
|}
 
|}
Line 1,761: Line 1,777:
 
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|-  
 
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|  
 +
| <p>'''Sword Fencing'''</p>
 +
 +
<p>Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. In the Sword this is namely attacking, followed by the withdrawal or other than to the first to reach it, send your attacks through the Guards and Hew like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. Onwards to the last, or the withdrawal, how orderly each one will hereafter be diligently written and taught.</p>
 
|  
 
|  
| '''[XLIIIIv] Das dritte theil vom Schwerdt / in welchem der folgende Zedel mit vil schönen und geschwinden stucken erklert wirt / welchen dan ein kunst liebender Fechter mit nutz lesen und sich darinnen üben kann.'''
 
Merck wiltu künstlich Fechten lehrn /<br/>
 
Solt du mit fleiß den Zedel hörn /<br/>
 
Ein Fechter sol sich halten fein / <br/>
 
Kein Rumer / spiler / sauffer sein /<br/>
 
Auch nit Gottslestern noch Schweren /<br/>
 
Unnd sich nit schemen zu lehren /<br/>
 
Gottsfürchtig / Züchtig / darzu still /<br/>
 
Sonderlich den tag er Fechten will /<br/>
 
Sey messig / erzeig den Alten ehr /<br/>
 
Unnd dem Weibs bild / auch weiter hör /<br/>
 
Aller tugendt ehr und manlichheit /<br/>
 
Der solt dich fleissen alle zeit /<br/>
 
Auff das du dienen könst mit ehren /<br/>
 
Keyser / König / Fürsten und Herren /<br/>
 
Auch nützlich seyest dem Vatterlandt /<br/>
 
Und nicht der Edlen kunst ein schandt /<br/>
 
Indes / das wort / auch Schwech und Sterck /<br/>
 
Das Vor und Nach auch fleissig merck /<br/>
 
Brieff Weich und Hert / das fühlen lern /<br/>
 
Trit mit streich / es sey nach oder fern /
 
 
Die theilung halt in guter hut /<br/>
 
Vor grossen zorn auch dich behut /<br/>
 
Der Huten und der Häuw nim war /<br/>
 
Das jhr Bruch dir sey offenbar /<br/>
 
Ober / Zorn / Mittel / auch Under /<br/>
 
Aus den treib all deine wunder /<br/>
 
Als Schieler / Scheidler / Krump / und Zwer /<br/>
 
Unnd was mehr stuck nach deim beger /<br/>
 
Schauw das der erst seyst auff dem Blan /<br/>
 
Ehe sich dein Mann legt / greiff jhn an /<br/>
 
Indes nim war / versteh mich recht /<br/>
 
Ihn triff / ehe er sein Leger schlecht /<br/>
 
Es kom dir für was Leger gut /<br/>
 
Im Nach jhn triffst aus freyem muth /<br/>
 
Dein Häuw führ gewaltig von deim leib /<br/>
 
Zu den vier Blöß dein arbeit threib /<br/>
 
So du Krumphauwst / fahr auff behend /<br/>
 
Geschrenckt den ort wirff auff sein hend /<br/>
 
Den Zürckel laß zur Rechtenrühren /<br/>
 
Halt dein hend hoch / wilt jhn verführen /
 
 
'''[XLVr]''' Wann du ihm hauwest Krump zur sterck /<br/>
 
Durchwendt / Uberlauff damit merck /<br/>
 
Des knopffs verführen solt gedenken /<br/>
 
Mit Zeckrur / Schnellen werft ihn krencken /<br/>
 
Mit krump trit wol / wilt du versetzen /<br/>
 
Das uberschrenken thüt ihn letzen<br/>
 
Krump zun flechen wilt dich stercken /<br/>
 
Wiet ihn schwechst / solt fleissig mercken /<br/>
 
Als baldts rührt und glützet Oben /<br/>
 
Zuck ab zur Blöß / wilt ihn betoben<br/>
 
Auch so du recht durchiessen wilt /<br/>
 
Krump / Kurtz / durchwechßle an sein Schilt /<br/>
 
Merck so er dich mit Krump wolt irren /<br/>
 
Bleib am Schwerdt / recht den krieg thü füren/<br/>
 
Mit Winden / Schneiden / und was mehr /<br/>
 
Mit verfliegen laß dich nit zu ferr? /<br/>
 
Auch schnell die schwech zum rechten dar /<br/>
 
Zwifach schnellen / mit Schilt dich bewar /<br/>
 
Und deins Mans Schilt sterck verwindt /<br/>
 
Indes stoß ab / und schlag geschwindt /<br/>
 
Den Schielhauw soltu weißlich machen /<br/>
 
Mit Winden kanst ihn auch zwifachen /<br/>
 
Die Zwürch solt du auch halten werdt /<br/>
 
Damit gantz wirt dein kunst im Schwerdt /<br/>
 
Dann alles was er ficht vom tag /<br/>
 
Solchs dir die Zwürch versetzen mag /
 
 
Im angriff treib die Zwürch mit sterck /<br/>
 
Verführen / Fellen / auch mit merck /<br/>
 
Zum Pflug und Ochssen sey behendt /<br/>
 
Ihm trauw die Zwürch bald wider endt /<br/>
 
Merck was für Zwürch mitsprung wirt gfürt /<br/>
 
Auch fehlest mit / noch wünschen rürht /<br/>
 
Doppel solt den Fehler machen /<br/>
 
Deßgleichen Trit und Schnit zwifachen /<br/>
 
Vom Schwerdt zum Leib / damit verkehr /<br/>
 
Zweymal oder Schnit in die Wehr /<br/>
 
Nachreisen ist außbindig güt /<br/>
 
Mit Schneiden / Winden dich behnt /<br/>
 
Bey zweymal / oder darint?en / <br/>
 
Verfliegen laß / damit begüne /<br/>
 
Und zu all vier enden treib die treffen /<br/>
 
Die zucken lern / wilt du sie effen /<br/>
 
Abschneiden / Schlaudern / bring auch mit /<br/>
 
Die herten gfehrt weiß ab mit Schnit /<br/>
 
Verlaß dich nit zuvil auf d Kron /<br/>
 
Du bringst sonst von ihr spot und hon /<br/>
 
Den Langen ort durch streich mit gewalt /<br/>
 
Damit all harte gfert auff halt /<br/>
 
Sich thu all Hauw und stuck recht brechen /<br/>
 
Ob du dich an deim part wilt rechen<br/>
 
Die hengen thu weißlichen bringen /<br/>
 
Greiff nit zur unzeit wiltu Ringen /
 
 
'''[XLVv]''' Wilt du auch wissen der Meyster kern /<br/>
 
Zu allen stucken recht tretten lern.
 
 
Versetzest nit vil / ist desta freyer /<br/>
 
Darvor verwarndt dich Joachim Meyer.
 
 
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 +
| <p>Secondly one should note the Vor and Nach (Before and After), Weak and Strong. The Before is when you drive with your Stücken so that he cannot come to his senses, especially by positioning yourself close, and how he defends before your Stücken and these same would like to break and bar, with this, he runs off the Vor to you.</p>
 
|  
 
|  
| '''Eingang in das dritte Buch.'''
 
Nach dem ich guthertziger Leser bewilliget / disen meinen Fecht zedel welchen ich auß rechtem grunde der Alten zusamen gesetzt / gebessert un in ein rechte ordnung gebracht / hab ich den (damit meniglich dester mehr nutz darauß haben möcht) durch vil schöner und geschwinder stuck und Exempel auch etwas zu erkleren / unnd den zu verstehn ein kleine anleitung geben wollen / dan sie dermassen reich von stucken / un aller hand geschwindigkeit / also das wo du sie nach solcher anleitung erwigest / jhe lenger ihe mehr stuck hierauß erlernen wirst können / dan das die Reimen ohn außlegung nicht vil nutzen / ist offenbar an andern außgangenen Fechtbüchlein / und solt aber wissen das der erste theil solcher Reimen in meinem bishergelehrten Fechten gnugsam erklärt / derwegen an disem meinen anhab nemen / also.
 
 
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|-  
 
|  
 
|  
| '''Sword Fencing'''
+
| <p>The after is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond Indes quickly with convenient work, with this, you are strongest on his Stücken, when you lay on with your work in the Vor, and in this you are crowded so that you must displace him after, thus is a constant changing with the Vor and Nach, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.</p>
 
 
Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. In the Sword this is namely attacking, followed by the withdrawal or other than to the first to reach it, send your attacks through the Guards and Hew like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. Onwards to the last, or the withdrawal, how orderly each one will hereafter be diligently written and taught.
 
 
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Line 1,885: Line 1,797:
 
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| Secondly one should note the Vor and Nach (Before and After), Weak and Strong. The Before is when you drive with your Stücken so that he cannot come to his senses, especially by positioning yourself close, and how he defends before your Stücken and these same would like to break and bar, with this, he runs off the Vor to you.
+
| <p>'''Divisions of the sword to the Weak and Strong'''</p>
 +
 
 +
<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the Blade which is known as the Strong, from the middle to the most forward, is the Weak furthermore is the sword divided in four parts how the figure below this shows.</p>
 
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Line 1,891: Line 1,805:
 
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| The after is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond Indes quickly with convenient work, with this, you are strongest on his Stücken, when you lay on with your work in the Vor, and in this you are crowded so that you must displace him after, thus is a constant changing with the Vor and Nach, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.
+
| <p>With the inward part, that is the haft, and [with it] the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
 
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+
| rowspan="2" | [[File:MS A.4º.2 06v.jpg|400px|center]]
| '''Divisions of the sword to the Weak and Strong'''
+
| <p>'''Hard and Soft'''</p>
  
The Sword is firstly divided in two parts, namely from the grip to the middle of the Blade which is known as the Strong, from the middle to the most forward, is the Weak furthermore is the sword divided in four parts how the figure below this shows.
+
<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.</p>
 
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+
| <p>Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen. With this however the Sword fencing and the following written stuck is more understandable thus as I explain my Zedel according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.</p>
| With the inward part, that is the haft, and [with it] the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.
 
 
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Line 1,911: Line 1,824:
 
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| '''Hard and Soft'''
+
| <p>'''Follow the Sword Zedel'''</p>
  
Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.
+
<p>'''The Four Main guards'''</p>
 +
 
 +
<p>From the Roof, Fool, Ox, Plow</p>
 
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Line 1,919: Line 1,834:
 
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| Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen. With this however the Sword fencing and the following written stuck is more understandable thus as I explain my Zedel according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.
+
| <p>'''The Eight Secondary Guards'''</p>
 +
 
 +
<p>Long-point, Iron-door, Hanging Point, Speak-window, Key, Side Guard, Barrier Guard, Wrath Guard</p>
 
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| '''Follow the Sword Zedel'''
+
| <p>'''The Five Master-Cuts'''</p>
  
'''The Four Main guards'''
+
<p>Wrath Cut, Crooked cut, Thwart Cut, Squinter cut, Scalper</p>
 
 
From the Roof, Fool, Ox, Plow
 
 
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|-  
 
|  
 
|  
| '''The Eight Secondary Guards'''
+
| <p>'''The Six Covert Cuts'''</p>
  
Long-point, Iron-door, Hanging Point, Speak-window, Key, Side Guard, Barrier Guard, Wrath Guard
+
<p>Blinding cut, Bouncing cut, Short cut, Knuckle cut, Clashing cut, Wind cut</p>
 
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|-  
 
|-  
 
|  
 
|  
| '''The Five Master-Cuts'''
+
| <p>'''Handworks in the Sword'''</p>
  
Wrath Cut, Crooked cut, Thwart Cut, Squinter cut, Scalper
+
<p>Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing</p>
 
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|-  
 
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|  
| '''The Six Covert Cuts'''
+
| <p>'''From the Four Openings and Divisions'''</p>
  
Blinding cut, Bouncing cut, Short cut, Knuckle cut, Clashing cut, Wind cut
+
<p>Firstly will the opponent be divided in two sections, namely left and Right, how the Lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow.</p>
 
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|-  
 
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|  
| '''Handworks in the Sword'''
+
| <p>Whose use should one should thus firstly note, in which division he leads his sword under or above, to the right or the Left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:</p>
 
 
Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing
 
 
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|-  
 
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|  
| '''From the Four Openings and Divisions'''
+
| <p>In Zufechten, thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath-guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinter cut.</p>
 +
|
 +
|
 +
 
 +
|-
 +
|
 +
| <p>'''Another'''</p>
  
Firstly will the opponent be divided in two sections, namely left and Right, how the Lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow.
+
<p>Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity.</p>
 
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|-  
 
|  
 
|  
| Whose use should one should thus firstly note, in which division he leads his sword under or above, to the right or the Left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:
+
| <p>It is every fencer's [desire] that he quickly knows from all strikes, to which opening the cut is coming, Indes quickly there and follow after, if I however can decide, then I want to instruct about the displacing upwards in hanging.</p>
 
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|-  
 
|  
 
|  
| In Zufechten, thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath-guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinter cut.
+
| <p>It is stated in the ancient Verses, who often displaces, will often be injured.</p>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
 
|  
 
|  
| '''Another'''
+
| <p>'''Item''' Liechtenauer said in his secret verses, that displacing hurts you, if you wish it on yourself, therefore shall every fencer know that he is to be the first with attacking and following, then to every fencer that is known to watch and wait on another, from this he shall come to no harm, or at the least, if he does not fight much.</p>
 +
|
 +
|
  
Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity.
+
|-
 +
|
 +
| <p>A proper fencer, who does not displace much, will have the greatest advantage. Thus, when he strikes you also strike, when he thrusts you also thrust, when he steps you also step. Where two equal strikes come together, thus they bring you to displacing, when however one will cut from above, and then next he goes against with a Thwart, thus he sets off, and steps with one another, thus simultaneously should one have a step out, with the same cut and therein with advantage also pay attention to his openings. Thus should every fencer know that he is soon attentive how it is also shown above, that where two good fencers have come together, which I have attentively married together in the illustrations.</p>
 
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|  
| It is every fencer's [desire] that he quickly knows from all strikes, to which opening the cut is coming, Indes quickly there and follow after, if I however can decide, then I want to instruct about the displacing upwards in hanging.
+
| <p>Thus have I put forth a short and summary knowledge of sword-fighting and all noteworthy devices and also the translations of which the divisions that are obscured, are clarified in measure and thereafter it enters and then next goes in three divisions, namely how it was previously reported, Onset or Attacking, Pressing After or the middle work, the last is to Withdraw or end and therefore so that one may better understand I will shortly reiterate.</p>
 
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|  
| It is stated in the ancient Verses, who often displaces, will often be injured.
+
| <p>Thus, to the attacks have I put forth the Guards in which one should not delay, or wait in them, but rather as a result must your necessary courage with whose reported cuts, go once or twice to your opportunity, so that he must then engage and that the Vor has escaped Him, thus to another opening should one work after with various offensive handworks, beholding with the Vor, as such handworks are stated above as a three in one handwork, thus to crowd and close so that one may come to the withdraw without shame.</p>
 
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|-  
 
|  
 
|  
| '''Item''' Liechtenauer said in his secret verses, that displacing hurts you, if you wish it on yourself, therefore shall every fencer know that he is to be the first with attacking and following, then to every fencer that is known to watch and wait on another, from this he shall come to no harm, or at the least, if he does not fight much.
+
| <p>'''Of this, I will give an example'''</p>
 +
 
 +
<p>If one fights against you in the Guard of the Roof, thus you come in Zufechten into the Side Guard, you must above all not wait in that long, then when he bears witness to the strike and as soon as he brings his sword into the air, thus lay on against him with a Thwart strike, instantly as it clashes, thus cut quickly again around with the long Thwart, to the other side of his sword, that is now attacking, if he strikes around, thus you cut after, if he displaces, then deceive him with the weak, so that you cut him in the after.</p>
 
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|  
| A proper fencer, who does not displace much, will have the greatest advantage. Thus, when he strikes you also strike, when he thrusts you also thrust, when he steps you also step. Where two equal strikes come together, thus they bring you to displacing, when however one will cut from above, and then next he goes against with a Thwart, thus he sets off, and steps with one another, thus simultaneously should one have a step out, with the same cut and therein with advantage also pay attention to his openings. Thus should every fencer know that he is soon attentive how it is also shown above, that where two good fencers have come together, which I have attentively married together in the illustrations.
+
| <p>If he is hard thus you are soft<br/>If he cuts, so you counter,<br/>If he displaces, then you cut</p>
 +
 
 +
<p>Thirdly; also have instant attention for your opportunity to Withdraw.</p>
 
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|-  
 
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|  
| Thus have I put forth a short and summary knowledge of sword-fighting and all noteworthy devices and also the translations of which the divisions that are obscured, are clarified in measure and thereafter it enters and then next goes in three divisions, namely how it was previously reported, Onset or Attacking, Pressing After or the middle work, the last is to Withdraw or end and therefore so that one may better understand I will shortly reiterate.
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/109|1|lbl=Ⅰ.44v.1}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| Thus, to the attacks have I put forth the Guards in which one should not delay, or wait in them, but rather as a result must your necessary courage with whose reported cuts, go once or twice to your opportunity, so that he must then engage and that the Vor has escaped Him, thus to another opening should one work after with various offensive handworks, beholding with the Vor, as such handworks are stated above as a three in one handwork, thus to crowd and close so that one may come to the withdraw without shame.
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/109|2|lbl=Ⅰ.44v.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''Of this, I will give an example'''
+
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/110|1|lbl=Ⅰ.45r.1}}
 +
|
  
If one fights against you in the Guard of the Roof, thus you come in Zufechten into the Side Guard, you must above all not wait in that long, then when he bears witness to the strike and as soon as he brings his sword into the air, thus lay on against him with a Thwart strike, instantly as it clashes, thus cut quickly again around with the long Thwart, to the other side of his sword, that is now attacking, if he strikes around, thus you cut after, if he displaces, then deceive him with the weak, so that you cut him in the after.
+
|-
 +
|
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/110|2|lbl=Ⅰ.45r.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| If he is hard thus you are soft<br/>If he cuts, so you counter,<br/>If he displaces, then you cut
+
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/111|1|lbl=Ⅰ.45v.1}}
 +
|
  
Thirdly; also have instant attention for your opportunity to Withdraw.
+
|-
 
|  
 
|  
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/111|2|lbl=Ⅰ.45v.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''See that you are the first on the field;<br/>Before your opponent adopts a posture, lay on against him.'''
+
| <p>See that you are the first on the field;<br/>Before your opponent adopts a posture, lay on against him.</p>
  
Thus note that when you wish to fight with someone, then see that you are the first to be in place so that you can act in a timely manner in your intended Stück, then you shall forcefully continue against him with cuts that he cannot send himself into a guard or Stück But rather you shall show that you will rush over him with sudden stepping before he realizes it. How it is then further clarified by the following Rhyme.
+
<p>Thus note that when you wish to fight with someone, then see that you are the first to be in place so that you can act in a timely manner in your intended Stück, then you shall forcefully continue against him with cuts that he cannot send himself into a guard or Stück But rather you shall show that you will rush over him with sudden stepping before he realizes it. How it is then further clarified by the following Rhyme.</p>
| '''Shauw das der erst seist auff dem plan /<br/>Ehe er sich Legert greiff ihn an.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/111|3|lbl=Ⅰ.45v.3}}
 
Das ist / wann du mit einem Fechten wilt / so schauw das du der erst bey ihm seyest auff dem blatz / damit du dich in deim fürgenomene stuck bey zeyt schicken mögest / als dann soltu mit Häuwen und in triten dermassen anhalten / das er nit zeit oder Blatz möge haben sich in ein Leger oder stuck zuschicken nach seinem gefallen / unnd solt in also ehe und denn ers gewar wirt mit verborgenen tritten ubereilen / wie du denn solches in nachfolgenden Reimen / wie es zuwegen zubringen gnugsam kanst abnemen.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''Pay heed to Instantly, understand me rightly,<br/>Hit him before he adopts his posture.'''
+
| <p>Pay heed to Instantly, understand me rightly,<br/>Hit him before he adopts his posture.</p>
  
This is when you are in the Zufechten and he is just about to you, then note when he acts as if he will adopt a posture, then do not allow him to rest or come to it, but rather always attack first, and as he is choosing a posture, lay on at once to the next opening, and position yourself as if you would to cut strongly, but do not do this, rather allow it to fail or flit to another opening, then as soon as you are at the midway part of your sword on his Sword, do not await, but rather, Thwart, Strike Around, Wrench Out, Slice, Wind, and what other types of work there may be.
+
<p>This is when you are in the Zufechten and he is just about to you, then note when he acts as if he will adopt a posture, then do not allow him to rest or come to it, but rather always attack first, and as he is choosing a posture, lay on at once to the next opening, and position yourself as if you would to cut strongly, but do not do this, rather allow it to fail or flit to another opening, then as soon as you are at the midway part of your sword on his Sword, do not await, but rather, Thwart, Strike Around, Wrench Out, Slice, Wind, and what other types of work there may be.</p>
| '''In des hab acht / versteh mich recht /<br/>Ihn Triff ehe er sein Leger schlecht.'''
+
|
 
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/111|4|lbl=Ⅰ.45v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/112|1|lbl=Ⅰ.46r.1|p=1}}
Solches solt du also verstehn / wenn du im zufechten bist / so hab acht wann er sich stelt als wöll er sich Legern / '''[XLVIr]''' so laß in nit Ruhen oder dazu komen / sondern ficht immer furt vor im durch / in dem er aber seines Legers wil acht und war nemen / so greiff ahn / stracks der nechsten Blös zu / und stelle dich als ob du starck hauwen wollest / laß aber fehl gahn / oder verfliegen / und greiff zu einer andern Blöß an / als bald du dann mit deiner klingen zum halben theil darinen / oder an sein Schwerdt komen bist / so feyre nit / sonder Zwirch oder schlag umb / oder reiss aus / oder Schneid / oder Windt / oder threib was für arbeit dir mögen am füglichsten zu handen komen.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
| '''For you no guard will come so good<br/>In the after you strike out freely, boldly'''
+
| <p>For you no guard will come so good<br/>In the after you strike out freely, boldly</p>
  
But it makes you wonder, as such, how can there be still many good Guards, and hence, you yourself have seen taught here many good techniques, answer, it is true, there are many good Guards and will be fought from a number of good and beautiful techniques. As I have included several in this book for you. However this rhyme teaches you that it is always better to not settle into a guard. It guards you not at all, to show someone with your guard, what you will do amid the fight, that may your cutting through not be brought so far.  
+
<p>But it makes you wonder, as such, how can there be still many good Guards, and hence, you yourself have seen taught here many good techniques, answer, it is true, there are many good Guards and will be fought from a number of good and beautiful techniques. As I have included several in this book for you. However this rhyme teaches you that it is always better to not settle into a guard. It guards you not at all, to show someone with your guard, what you will do amid the fight, that may your cutting through not be brought so far.</p>
  
In this, learn from the rhyme, when you should do it. Namely in the After that is when you should take him, when he keeps his guard, or stays in a guard, then cut him to the opposite opening, as soon as he goes towards your strike with his displacing, and is out of his Guard, and whether it connects or doesn’t connect, then pull around your head and strike, especially to the part or quarter Line from where he has struck from.
+
<p>In this, learn from the rhyme, when you should do it. Namely in the After that is when you should take him, when he keeps his guard, or stays in a guard, then cut him to the opposite opening, as soon as he goes towards your strike with his displacing, and is out of his Guard, and whether it connects or doesn’t connect, then pull around your head and strike, especially to the part or quarter Line from where he has struck from.</p>
  
'''Of this I will give to you an example'''
+
<p>Of this I will give to you an example:</p>
  
When one stands before you in the right Wrath guard in the Zufechten, as soon as you note that he will remain in the Wrath guard, thus cut through to him, still that you are not too close, and in cutting through, allow your sword to fly around in the air, so that you would come into the right Ochs, but before you complete this, or when you have sent this gesture, then step quickly, before he will properly defend, and cut to his left, from under so that your hands remain high, with this you force him, that he must leave his guard to displace, or with a step back, cut in at the same time as you, as soon as the swords connect, pull around the head and cut with crossed hands to his right ear with a Schielhau, in an arc, to where his departure has made him open, how the Figure shows, it is a lofty attack or onset, in which you should take great heed to the steps, and the body should well follow the cuts.
+
<p>When one stands before you in the right Wrath guard in the Zufechten, as soon as you note that he will remain in the Wrath guard, thus cut through to him, still that you are not too close, and in cutting through, allow your sword to fly around in the air, so that you would come into the right Ochs, but before you complete this, or when you have sent this gesture, then step quickly, before he will properly defend, and cut to his left, from under so that your hands remain high, with this you force him, that he must leave his guard to displace, or with a step back, cut in at the same time as you, as soon as the swords connect, pull around the head and cut with crossed hands to his right ear with a Schielhau, in an arc, to where his departure has made him open, how the Figure shows, it is a lofty attack or onset, in which you should take great heed to the steps, and the body should well follow the cuts.</p>
  
When you threaten to cut to a place, then you can readily deceive him, therefore in such attacks you must take the ground, as it were, and in your approach act as if you would step small and tight and before he is aware step broadly forth to the attack, allow yourself at first to be seen taking large steps, in this he takes notice, and will meet you quickly in earnest, to get there before you, thus withhold your step and do it moderately, so that he is otherwise in this you take your advantage, and as soon as you see it, that you are quickly at him again with broad stepping.
+
<p>When you threaten to cut to a place, then you can readily deceive him, therefore in such attacks you must take the ground, as it were, and in your approach act as if you would step small and tight and before he is aware step broadly forth to the attack, allow yourself at first to be seen taking large steps, in this he takes notice, and will meet you quickly in earnest, to get there before you, thus withhold your step and do it moderately, so that he is otherwise in this you take your advantage, and as soon as you see it, that you are quickly at him again with broad stepping.</p>
| '''Für dich kein Leger kompt so gut /<br/>Im Nach jhn triffst aus freyem muth.'''
+
|
Hie möchte einer fragen wie solches zuverstehn / dieweil sovil guter Leger seindt / unnd auch hin unnd wider vil stuck aus denselbigen angezeigt und gelehrt worden / hierauff solt du mercken ob schon vil guter Leger seind / und auch schöne und gute stuck aus etlichen Legern gefochten werden können / wie jhr denn etlich auch hierin angezeigt und begriffen / so lehrest du doch aus disen Reimen / das allweg besser sey es Leger sich einer gar nit / sintemal aus den Legern leichtlich dein gegenmann kann abnehmen / was für stuck du zufechten im sinn habest / welches aber aus den häuwen nit mag also vermerckt werden / uber das lernestu hieraus wie du (wenn einer vor dir in einem Leger stehet) jhn treffen oder zur Blös komen solt / welches alles durch das Nach mag zuwegen bracht werden / das versteh also / Wenn dein gegenfechter in einem Leger stehet / so hauw gegen uber zur andern Blös / als bald er (dein hauw zuversetzen) aus seinem Leger gehet / so zuck ehe es recht rührt (oder welches besser gar nit rührt) umb den Kopff / und schlag eben zu disem theil oder quatier hinein / von welchem er dir zubegegnen abgangen / aber auff das solches noch desto leichter sey / will ich dir des ein Exempel setzen / Nemlich so bald du im zufechten merckest das er sich in die Zornhut legert / so hauw von deiner Lincken gegen deiner Rechten vor jm durch / doch das du jm nit so nach seiest / im durchhauwen aber laß dein Schwerdt in der lufft umbschiessen / sam du aus dem rechten Ochssen stechen wollest / ehe du aber solches recht zeigest / und mit geberden dich dazu schickest / so trit in eil / und hauw von Unden zu seiner Lincken ein / das deine hend hoch bleiben / damit zwingestu jn das er dir eintweder auß seinem Leger versetzen / oder mit einem abtrit zugleich einhauwen muß / hauwet er denn / so merck als bald die Schwerdter zusamen rühren / so zuck umb den Kopff / und hauw in einem schwung mit geschrecnkten henden die kurtz schneid zu seinem rechten ohr '''[XLVIIr]''' ein / wie diese Figur außseiset / in disem angreiffen oder Fechten / welches gar ein lustig stuck ist / soltu der trit gar wol warnemen / und den leib den häuwen nach wol mit gehen lassen / wann du in einem ort truwest zuschlagen / denn dardurch kanstu ein gar bald verführen / must derowegen in solchem angreiffen jhm das erdtrich abstehlen / und im zugang dich stellen als trettest du nahe und enge trit / ehe erß denn gewar wirt / so trittest du weit zum angreiffen / hergegen laß dich anfencklichen mit grossen tritten mercken / so es denn dein widerpart acht nimpt / und will dir mit ernst begegnen in eil dir vor zukommen / so verhalt als denn dein trit und thu gemach / biß er sich vergebens verzabelt / in dem nimstu deines vortheils war / so bald du dein vorthel ersihest / so bistu in eil mit weiten triten bei jm.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/112|2|lbl=Ⅰ.46r.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/114|1|lbl=Ⅰ.47r.1|p=1}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''The cuts you send powerfully from your body<br/>To the four openings carry out your work'''
+
| <p>The cuts you send powerfully from your body<br/>To the four openings carry out your work</p>
  
In this rhyme two things are realized, firstly, to the cutting secondly, to the four openings of the Man, to which the cuts will be cut, and note that you cut all cuts with outstretched arms, and with this reach far to the man, also as soon as a cut from one side fails, thus you should quickly cut to the opposite side.
+
<p>In this rhyme two things are realized, firstly, to the cutting secondly, to the four openings of the Man, to which the cuts will be cut, and note that you cut all cuts with outstretched arms, and with this reach far to the man, also as soon as a cut from one side fails, thus you should quickly cut to the opposite side.</p>
| '''Die Häuw führ gewaltig von dem leib /<br/>Zu den vier Blös dein arbeit threib.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/114|2|lbl=Ⅰ.47r.2}}
In disen Reimen wirt gelehrt wie du deine häuw gewaltig unnd lang / zu allen vier enden das ist zu allen vier Blössen frey fliegent / sampt dem Leib welchen du wol mit wie oben gemelt nehmen / führen solt.
 
 
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| '''Item''' If however you step up and are going strong, thus cut quickly around to the other side, also when you will cut to an opening, thus note that as soon as he goes to displace your cut, thus do not allow them to connect, (where it is useful to you) but rather pull free your sword and let it fly around again and strike to another opening, reach far from you with the cuts, and you must step correctly with this, thus fine changing and changing through on the shield comes to you, and so you won’t be harmed see that you cut to the body and not to the sword, from the Second part of this rhyme the verses teach this, also I will write further of this in 38 rhymes, and still more of the same.
+
| <p>'''Item''' If however you step up and are going strong, thus cut quickly around to the other side, also when you will cut to an opening, thus note that as soon as he goes to displace your cut, thus do not allow them to connect, (where it is useful to you) but rather pull free your sword and let it fly around again and strike to another opening, reach far from you with the cuts, and you must step correctly with this, thus fine changing and changing through on the shield comes to you, and so you won’t be harmed see that you cut to the body and not to the sword, from the Second part of this rhyme the verses teach this, also I will write further of this in 38 rhymes, and still more of the same.</p>
 
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Line 2,099: Line 2,030:
 
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| '''When you Krumphau go up quickly<br/>Throw the point with crossed hands'''
+
| <p>When you Krumphau go up quickly<br/>Throw the point with crossed hands</p>
  
Note the Crooked cuts are many, and that all cuts that are done with hands put crosswise or crossed, will be known as Crooked cuts.
+
<p>Note the Crooked cuts are many, and that all cuts that are done with hands put crosswise or crossed, will be known as Crooked cuts.</p>
  
Hence the one, Schieler is also counted among the Crooked Cuts and it applies equally to the long or short edges, thus it is a Krumphau when you hold your hands crosswise.
+
<p>Hence the one, Schieler is also counted among the Crooked Cuts and it applies equally to the long or short edges, thus it is a Krumphau when you hold your hands crosswise.</p>
| '''So du Krumphauwst far auff behendt /<br/>Geschrenckt / den ort wirff auff die hendt.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/114|3|lbl=Ⅰ.47r.3}}
Die Krumphäuw werden auff mancherley art gefochten / denn alle Häuw so mit geschrenckten oder gekreutzigten henden gehauwen / werden Krumphäuw genent / daher denn auch der eine Schieler zun Krumphäuwen gezelt wirt / es gilt auch gleich sie geschehen mit halber oder gantzer schneid / wann du die hend kreutzweiß fürest.
 
 
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| And firstly when one will cut straight to your head, from his right, thus step with your right foot well out from his strike, to his left, so that you avoid his strike with a spring to his left and likewise cut from your right with crossed hands, against his cut, thus you come with your blade between his head and sword, on his short edge, which is facing him, and when it connects, then step further around to his left side with your right foot, and displace or transfer your sword's blade from his, onto his arm, between his head and sword, in this you will have seen the opening, to which the you may cut and see that you don't wait long but rather allow your cuts to fly quickly to the openings.
+
| <p>And firstly when one will cut straight to your head, from his right, thus step with your right foot well out from his strike, to his left, so that you avoid his strike with a spring to his left and likewise cut from your right with crossed hands, against his cut, thus you come with your blade between his head and sword, on his short edge, which is facing him, and when it connects, then step further around to his left side with your right foot, and displace or transfer your sword's blade from his, onto his arm, between his head and sword, in this you will have seen the opening, to which the you may cut and see that you don't wait long but rather allow your cuts to fly quickly to the openings.</p>
| Erstlichen aber merck wann dir einer von seiner Rechten von Oben stracks zum Kopff hauwet / so trit mit dem Rechten fuß / wol auß seinem streich auff sein Lincke / das du seinen streich in einem sprung auff seine lincke seiten erwischest / und Hauw mit geschrenckten henden von deiner Rechten gegen seinem Hauw / so komstu mit deiner Schwerdts klingen zwischen sein Haupt und Schwerdt auff sein halbe schneid / die dann gegen jhm stehet / in dem es rührt / so trit fürbaß mit deinem Rechten gegen seiner Lincken seiten umb unnd versetz / oder transferier mit deiner klingen von seiner klingen / zwischen seinem Kopff und Schwerdt auff sein Arm / truck also mit geschrenckten henden in einem ruck sein Arm undersich / under disen wirstu gewißlich ein Blöß finden zu welcher du hauwe
+
 
 +
<p>Item Note when you approach him in the Zufechten, then see when he shows his arm will strike, thus cross your hands while in the air yet that they remain high, and throw the point at his hand or arms, that is the weak or the furthest part of the blade, and that should happen when he goes up to strike, and before he is ready, thus be on his blade, with a Thwart cut, for such techniques should fly and go quickly.</p>
 +
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 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/114|4|lbl=Ⅰ.47r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/115|1|lbl=Ⅰ.47v.1|p=1}}
 
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| <br/>
 
'''Item''' Note when you approach him in the Zufechten, then see when he shows his arm will strike, thus cross your hands while in the air yet that they remain high, and throw the point at his hand or arms, that is the weak or the furthest part of the blade, and that should happen when he goes up to strike, and before he is ready, thus be on his blade, with a Thwart cut, for such techniques should fly and go quickly.
 
| '''[XLVIIv] SEITENWECHSEL'''
 
magst nach gelegenheit / und solt dich hiemit so bald du die Blöß ersehen nicht lang saumen. Ferner wann du im zufechten zu deinem widerpart kommest / so schauw in dem er seine Arm auffzeucht zum streich / so verschrenck dieweil deinen hend in der lufft / und wirff ihm den ort das ist die schwech oder eussertheil deiner klingen auff sein hendt oder Arm / diß aber merck wie bemelt / sol geschehen in dem er zum streich auffzeucht / und ehe er damit fertig soltu ihm mit einer Zwirch schon wider an seiner klingen sein / denn solche stuck sollen fliegend und geschwindt zugehen.
 
 
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| [[File:MS A.4º.2 12v.jpg|400px|center]]
 
| [[File:MS A.4º.2 12v.jpg|400px|center]]
| '''Allow the Circle to connect to the right<br/>Hold your hands high, you will deceive him'''
+
| <p>Allow the Circle to connect to the right<br/>Hold your hands high, you will deceive him</p>
  
The Circle also comes from the Crooked Cuts and is a particularly good technique for deception, compared to others, because it does not just run off, unlike other deceptive techniques, like ablauffen and the like, but rather when one does it correctly and strikes the Circle very hard with the short edge in running by.
+
<p>The Circle also comes from the Crooked Cuts and is a particularly good technique for deception, compared to others, because it does not just run off, unlike other deceptive techniques, like ablauffen and the like, but rather when one does it correctly and strikes the Circle very hard with the short edge in running by.</p>
  
This Stück goes thus, (after you have come under his sword in the attack) when your stay in the bind, and drive your sword over the head, as soon as he gives a little room, so that he is not binding on the sword, but rather drives his sword then high above you, then cross your hands in the air, and cut from above with the short edge thus put crosswise, down to his right ear, so that whether your Blade hits or not, it runs around in a circle by his right arm, and in this keep your hands high above your head, as soon as he slips after the Circle, then step with your left foot well on to his right side, and cut in at his head with the Long edge, over his right arm, behind his blade, take your body and head well away from his strike with a step to your left side.
+
<p>This Stück goes thus, (after you have come under his sword in the attack) when your stay in the bind, and drive your sword over the head, as soon as he gives a little room, so that he is not binding on the sword, but rather drives his sword then high above you, then cross your hands in the air, and cut from above with the short edge thus put crosswise, down to his right ear, so that whether your Blade hits or not, it runs around in a circle by his right arm, and in this keep your hands high above your head, as soon as he slips after the Circle, then step with your left foot well on to his right side, and cut in at his head with the Long edge, over his right arm, behind his blade, take your body and head well away from his strike with a step to your left side.</p>
| '''Den Zürckel laß zur Rechten rührn /<br/>Bhalt hoch dein hendt / wilt jhn verführn.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/115|2|lbl=Ⅰ.47v.2}}
 
 
Zürckel kompt auch auß den Krumphäuwen / unnd ist ein sonderlich gut stuck zum verführen für andern / damit es nit lehr oder vergebens und ungerührt (wie ander verführende stuck / als da ist Ablauffen Verfliegen und dergleichen ablaufft) sonder so man jn recht macht / trifft der Zürckel mit der halben schneid im fürlauff sehr hart. Diß stuck aber treib also / wenn du (nach dem du mit dem ahngriff under sein Schwerdt komen) vor einem im bund stehest / und dein Schwerdt in der höhe ob dem Haupt führest / so bald er dir blatz lasset und dir nit nach deim Schwerdt bindt / sonder füret sein Schwerdt mit dem ort auch hoch / so verschrenck dein hendt in der lufft / und Hauwe mit kurtzer schneid also geschrenckt von oben nider zu seinem rechten Ohr / das demnach dein klinge sie treff oder nit / neben seinem rechten arm furuber in einem zirckel herumb lauff / und behalt in dessen gleichwol die hend hoch uber deinem Haupt / so bald er dem Zirckel nachwischt / so trit mit deinem Lincken fuß wol auff sein rechte seiten auß / unn Hauw mit Langerschneid hinder seiner klingen uber sein Rechten arm zum Kopff / nim den leib sampt dem trit wol auß / auff dein lincke seiten / mit deim Haupt auß seinem streich.
 
 
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| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
| '''A good Stück from the Circle'''
+
| <p>'''A good Stück from the Circle'''</p>
  
When you stand before one in this same work, how you have previously been taught, thus pay attention when your advantage will come, then step aside at once with your left foot out to your left side, and cut with a circle to his right while you are stepping but that in running past to the right, it grazes, and also with this Circle, step through with your right foot between you and him, in to his right side, with this stepping through, cut a Zwerchhau from your right to his left, forwards to the face Indes spring well out to his right and cut him long after to his head.
+
<p>When you stand before one in this same work, how you have previously been taught, thus pay attention when your advantage will come, then step aside at once with your left foot out to your left side, and cut with a circle to his right while you are stepping but that in running past to the right, it grazes, and also with this Circle, step through with your right foot between you and him, in to his right side, with this stepping through, cut a Zwerchhau from your right to his left, forwards to the face Indes spring well out to his right and cut him long after to his head.</p>
| '''Ein gut stuck auß dem Zürckel.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/115|3|lbl=Ⅰ.47v.3}}
 
 
Wann du wie vor bemelt in gleicher arbeti vor dem Mann stehest / so hab acht wenn dir die gelegenheit wirt / so trit mit deinem Lincken fuß auff dein lincke seiten beseits auß / und Hauw zugleich mit dem trit ein Zirckel zu seinem Rechten furuber / doch das es im furuber lauffen zur Rechten anschürff und treffe / und trit zugleich in solchem Zirckel mit deinem rechten fuß zwischen dir und jhm auff sein Rechte seiten durch / unnd im durchtreten Hauw ein Zwirchhaw von deiner Rechten gegen seiner Lincken vornen zum gesicht / wie du an den obern bossen in dieser Figur so mit dem K. verzeichnet sehen kanst / in des spring wol auß auff sein Rechte / und Haw jm lang nach zu seim Kopff.
 
 
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| [[File:MS A.4º.2 14r.jpg|400px|center]]
 
| [[File:MS A.4º.2 14r.jpg|400px|center]]
| '''With the Crooked step well if you want to displace<br/>The crossing over, does him harm'''
+
| <p>With the Crooked step well if you want to displace<br/>The crossing over, does him harm</p>
  
This is when you cut in Crooked at the same time as him, with your strike you should step well out from his strike, so that you have your head behind your blade, well from his strike. The second part teaches you that when you have bound on his sword with a Crooked cut, that you nimbly cross over where you have the opportunity and then snap around or wind the quick snap to his head, or wrench out, allow it to overrun.
+
<p>This is when you cut in Crooked at the same time as him, with your strike you should step well out from his strike, so that you have your head behind your blade, well from his strike. The second part teaches you that when you have bound on his sword with a Crooked cut, that you nimbly cross over where you have the opportunity and then snap around or wind the quick snap to his head, or wrench out, allow it to overrun.</p>
| '''[XLVIIIrv] Mit Krump trit wol wiltu versetzen /<br/>Das uberschrencken thut jhn letzen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/117|1|lbl=Ⅰ.48v.1}}
 
 
Solches soll also verstanden werden / wenn du Krump mit einhauwest / so trit zugleich mit dem Hauw wol auß seinem streich / das du dein Kopff hinder deiner klingen auß seinem streich entziehest. Zum andern wenn du also mit einem Krumphauw an sein Schwerdt gebunden hast / das du behend (wo du gelegenheit darzu haben magst) uberschrenckest / folgends umbschnappest / oder die schnellen nach seinem Kopff windest / oder ausreissest / oder lassest uberlauffen und dergleichen.
 
 
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| [[File:Meyer 1570 Longsword O.jpg|center|400px]]
+
| rowspan="2" | [[File:Meyer 1570 Longsword O.jpg|center|400px]]
| '''A Stück from the Reversing'''
+
| <p>'''A Stück from the Reversing'''</p>
  
Note in Zufechten that you pay attention when he goes up before you, then step and cut a Crooked from your left to or above his right arm, with this Crooked cut step well to him, and reverse your sword and wrench downwards and out to your right side If he may work further, thus drive with the pommel from inside, between both of his arms, allow your left hand to release from the grip and grab your sword blade and wrench out upwards, how this figure shows.
+
<p>Note in Zufechten that you pay attention when he goes up before you, then step and cut a Crooked from your left to or above his right arm, with this Crooked cut step well to him, and reverse your sword and wrench downwards and out to your right side If he may work further, thus drive with the pommel from inside, between both of his arms, allow your left hand to release from the grip and grab your sword blade and wrench out upwards, how this figure shows.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/117|2|lbl=Ⅰ.48v.2}}
 +
|
  
'''Counter''' - let go the left hand, and allow him to wrench without avail, Indes drive after his upwards pressing, with your slice to his arms, do not allow him to come to any further work, nor to cut freely, when you see your advantage, at once, allow your sword to fly to the next opening.
+
|-
| '''Ein fein stuck aus dem verkeren.'''
+
| <p>'''Counter''' - Let go the left hand, and allow him to wrench without avail, Indes drive after his upwards pressing, with your slice to his arms, do not allow him to come to any further work, nor to cut freely, when you see your advantage, at once, allow your sword to fly to the next opening.</p>
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/117|3|lbl=Ⅰ.48v.3}}
MErck im zufechten hab acht / wenn dein widerpart für dir auffgehet / so trit unnd Hauw von deiner Lincken mit kurtzer schneid und geschrenckten henden zu oder uber den Rechten arm / aber in disem Krumphauw trit wol zu jhm / verkehr dein Schwerdt / unnd reiss undersich auß / auff dein Rechte seiten / arbeitet er ubersich mit den Armen also das du jhn nit undersich zwingen magst / so fahr mit dem knopff von inwendig zwischen sein beide Arm / laß dein Lincke hand vom Hefft / greiff damit dein Schwerdts klingen und reiss ubersich auß wie die Figur mit dem O. anzeiget. Des Bruch also / laß die Linckhand ledig also das er vergeblich außreißt / in des fahr seinem ubersich rucken nach / mit dem Schnit auff sein Arm / und laß jhn ferner zu keiner arbeit kommen noch ledig werden / du habst dann deinen vortheil ersehen / demnach so laß zur nechsten Blöß fliegen.
 
 
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| [[File:MS A.4º.2 15r.jpg|400px|center]]
 
| [[File:MS A.4º.2 15r.jpg|400px|center]]
| '''Cut Crooked to his Flat<br/>And you will Weaken the Master'''
+
| <p>Cut Crooked to his Flat<br/>And you will Weaken the Master</p>
  
This is a lesson how you shall weaken one's incoming strike, and goes thus, In Zufechten pay attention when he cuts in at you from his right, then step well out from his strike and cut with crossed hands and the Long edge onto the strong of his sword's blade, on the Flat, thereby you weaken him, so that he can barely recover for another strike, then before he recovers you are on his head with winding and flicking.
+
<p>This is a lesson how you shall weaken one's incoming strike, and goes thus, In Zufechten pay attention when he cuts in at you from his right, then step well out from his strike and cut with crossed hands and the Long edge onto the strong of his sword's blade, on the Flat, thereby you weaken him, so that he can barely recover for another strike, then before he recovers you are on his head with winding and flicking.</p>
  
The Counter you should mark that when one meets you with a crooked cut, to your on coming strike, to weaken you, then change through nimbly under his blade and work to his side from which he sent his Crooked cut.
+
<p>The Counter you should mark that when one meets you with a crooked cut, to your on coming strike, to weaken you, then change through nimbly under his blade and work to his side from which he sent his Crooked cut.</p>
| '''Krump zun flechen wilt dich stercken /<br/>Wie du jhn schwechst solt fleissig mercken.'''
+
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+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/117|4|lbl=Ⅰ.48v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|1|lbl=Ⅰ.49v.1|p=1}}
Solchs ist ein lehr wie du dem Mann sein herkommenden streich schwechen solt / diß soltu aber also treiben / im zufechten hab acht wann dein gegenfechter dir von seiner Rechten zuhauwet / so trit wol auß seinem streich / und Hauw mit geschrenckten henden und Langer schneid auff die sterck seiner klingen in die flech / damit schwechest du '''[XLIXrv]''' jhn also / das er sich kaum zu einem andern erholen mag / denn ehe er sich erholet kanstu jhm mit verwenden oder schnellen / auff seinem Kopff sein. Den Bruch aber soltu hierin also machen / Merckestu das dir einer mit einem Krumphauw begegnet / auff dein herkomenden streich dich zuschwechen / so Wechsel behend udner seiner klingen durch / und arbeit jhm zu der seiten / von welcher er den Krumphauw her bracht hat.
 
 
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| '''When first they connect and clash above<br/>Pull away to the openings you will confuse him'''
+
| <p>When first they connect and clash above<br/>Pull away to the openings you will confuse him</p>
 
 
This is a very good rhyme that admonishes you earnestly to pay attention to the openings that fall before you. For it is known that you go at him correctly in the After, thus you have very often whenever the swords connect or two strike and clash together above, there is an opening below. You will not fail to note this through several Stück.
 
| '''Als bald es rührt und glützt oben /<br/>Zuck ab zur Blöß wilt jhn betoben.'''
 
  
Dise vers seind sehr notwendig zumercken / sintemal sie dich ernstlich acht zuhaben vermahnen auff die fürfallende Blöß / dann hie ist gewiß wann du der sachen recht nachgehest / das du so offt es rührt oder zwen streich oben zusamen gliitzen / du unden ein Blöß ereilen kanst / solches wirt dir nit fehlen / diß aber damit du es desto baß verstehn könnest / so merck solchs durch diese nachfolgende exempel und stuck also.
+
<p>This is a very good rhyme that admonishes you earnestly to pay attention to the openings that fall before you. For it is known that you go at him correctly in the After, thus you have very often whenever the swords connect or two strike and clash together above, there is an opening below. You will not fail to note this through several Stück.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|2|lbl=Ⅰ.49v.2}}
 
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| Note in Zufechten send yourself into the Wrath Guard, as soon as you can get him, then step and cut in with him from your right a powerful high cut, when this clashes, then strike around nimbly with a Thwart to his left ear, with a back-step of your left foot, behind your right, thus you likewise hit twice, or complete two strikes before he completes one.
+
| <p>Note in Zufechten send yourself into the Wrath Guard, as soon as you can get him, then step and cut in with him from your right a powerful high cut, when this clashes, then strike around nimbly with a Thwart to his left ear, with a back-step of your left foot, behind your right, thus you likewise hit twice, or complete two strikes before he completes one.</p>
| Im zufechten als bald du dir trauwest den Mann zuerlangen / so trit und Hauw mit jhm von deiner Rechten ein gewaltigen Oberhauw hinein / in dem es gliitzt so schlag behend umb wider zu seinem Lincken ohr / unnd trit under des mit deinem Lincken fuß hinder dein Rechten / so triffst du gleich zweymal / oder volbringest zwen streich auff einer seiten ehe denn er einen.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|3|lbl=Ⅰ.49v.3}}
 
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| '''Item''' If one cuts at you from above like before, then cut from your lower left against his strike, so that you catch his High cut up in the air, as soon as it connects then cut with the forward short edge and crossed hands in a Circle, to his right ear and that you swiftly go almost at the same time, namely that when the blades connect together, thus you shall hit down from above with the short edge.
+
| <p>'''Item''' If one cuts at you from above like before, then cut from your lower left against his strike, so that you catch his High cut up in the air, as soon as it connects then cut with the forward short edge and crossed hands in a Circle, to his right ear and that you swiftly go almost at the same time, namely that when the blades connect together, thus you shall hit down from above with the short edge.</p>
| Deßgleichen Hauwet einer von Oben wie vor auf dich / so Hauw von deiner Lincken von Unden gegen seinem streich / das du sein Oberhauw hoch in der lufft mit geschrenckten henden auff dein Schwerdt fangest / als bald es gliitzt / so Hauw mit dem vordern kurtzen ort / also mit geschrenckten henden von seinem Schwerdt / in einem Zürckel zu seinem rechten Ohr / diß aber soll geschwindt schier zugleich geschehen / also das in dem die klingen zusamen rühren / auch gleich mit die halb schneid von Oben nider treffen.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|4|lbl=Ⅰ.49v.4}}
 
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| '''Item''' In the Onset act as if you would cut from above; but as soon as you note that he slips upwards against your cut, at once turn your High Cut into a Low Cut before it actually connects above, this is the Simultaneous Failer.
+
| <p>'''Item''' In the Onset act as if you would cut from above; but as soon as you note that he slips upwards against your cut, at once turn your High Cut into a Low Cut before it actually connects above, this is the Simultaneous Failer.</p>
| Ferner stell dich im zugang mit geberden sam du von Oben wollest Hauwen / so bald du aber vermerckest das er dem Hauw ubersich entgegen wischet / so verwindt dein Oberhauw in ein Underhaw / ehe denn es oben recht rühret / welches ein rechter fehler ist / und triffest jhm also das Linck ohr ehe ers gewahr wirt.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|5|lbl=Ⅰ.49v.5}}
 
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| '''Item''' If he cuts from below, thus fall on it with your long edge from above when it clashes, then pull back nimbly and strike to the next opening in one motion, or strike around from his sword with the flat in a winding flick to the next opening.
+
| <p>'''Item''' If he cuts from below, thus fall on it with your long edge from above when it clashes, then pull back nimbly and strike to the next opening in one motion, or strike around from his sword with the flat in a winding flick to the next opening.</p>
| Letzlich Hauwet dein widerpart von Unden / so fall mit deiner Langen schneid oben darauff / in dem es gliitzt so schlag behend der nechsten Blöß zu in einem flug / oder schlag mit der flech von seinem Schwerdt umb / in einem gewundenen schnall auch der nechsten Blöß zu.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/119|6|lbl=Ⅰ.49v.6}}
 
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| [[File:MS A.4º.2 16v.jpg|400px|center]]
 
| [[File:MS A.4º.2 16v.jpg|400px|center]]
| rowspan="2" | '''When you cut crooked at his strong<br/>Be sure to wind through and overrun with it'''
+
| rowspan="2" | <p>When you cut crooked at his strong<br/>Be sure to wind through and overrun with it</p>
  
This is when you cut a Crooked cut at one, and he holds off hard so that you cannot cross over, or have other work from above, thus wind under and through with the pommel, and cast the pommel to the other side over his blade or arm from the outside, and wrench downwards and strike in with the long edge deep to his head, or cast the pommel in between both of his hands, how this figure reveals.
+
<p>This is when you cut a Crooked cut at one, and he holds off hard so that you cannot cross over, or have other work from above, thus wind under and through with the pommel, and cast the pommel to the other side over his blade or arm from the outside, and wrench downwards and strike in with the long edge deep to his head, or cast the pommel in between both of his hands, how this figure reveals.</p>
 
+
| rowspan="2" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/120|1|lbl=Ⅰ.50r.1}}
The next is a counter to the under-cut, if one cuts an under-cut to you low. Then cut with your long edge so that you have your hands crooked or crosswise, above on his strong. Then when this clashes, thrust the blade right in before you, and in thrusting forth, wind the short edge to flick it around at his face or head. If he drives up and defends against your flick, then drive up also, pull around your head, and strike him to another opening.
 
| rowspan="2" | '''[Lr] Wann du jhm Hauwest Krump zur sterck /<br/>Durchwendt / Uberlauff damit merck.'''
 
 
 
Wann du einem ein Krumphauw zuhauwest / und er hart widerhalt / also das du jhn mit uberschrencken oder anderer arbeit Oben nichts haben magst / so wend mit dem knopff unden durch / und greiff mit demselben jm auff der andern seiten aussen uber sein klingen oder Arm / unnd reiss undersich / schlag jhn mit Langer schneid im riss auff sein Kopff / oder greiff mit dem knopff zwischen sein beide hend / wie in der Figur hievor getruckt an den zwen bossen gegen der Lincken hand zu sehen. Bruch. Hauwet einer ein Underhauw auff dich / so Hauw mit Langer schneid / das du dein hendt krum oder kreutzweiß habest / oben auff die sterck seiner klingen / in dem es dan gliitzt so schieb die kling gerichts für dir hin / unnd im fürtscheiben so winde die kurtze schneid in einem schnall umb zu seinem gesicht oder auff sein Kopff / fehret er auff und wehrt dir dein schnall / so fahr auch auff / unnd zuck umb dein Kopff / und schlag jhm zu seiner undern Blöß.
 
 
| rowspan="2" |  
 
| rowspan="2" |  
  
Line 2,229: Line 2,145:
 
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| '''The Pommel deception, you shall remember<br/>With Flicking and Quickening you will vex him'''
+
| <p><br/></p>
  
This is when you cut in with a Crooked Cut to his strong, if he opposes or displaces high, then wind through below with the pommel, and act as if you would grab over with the pommel, as I have already taught; and before he realizes it, then quickly flick the short edge back in at him, again on the same line, to whichever side you first did the Crooked Cut.
+
<p>The next is a counter to the under-cut, if one cuts an under-cut to you low. Then cut with your long edge so that you have your hands crooked or crosswise, above on his strong. Then when this clashes, thrust the blade right in before you, and in thrusting forth, wind the short edge to flick it around at his face or head. If he drives up and defends against your flick, then drive up also, pull around your head, and strike him to another opening.</p>
| '''Des Knopffs verführens solt gedencken /<br/>Mit Zeckrur / Schnellen würst jhn krenken.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/120|2|lbl=Ⅰ.50r.2}}
 
 
Ist sovil / wenn du in einem Krumphauw einhauwest zu seiner Rechte / und er widerhelt oder versetzt hoch / so windt mit dem knopff unden durch / und stelle dich mit geberden als wolstu wie vor gelehrt / mit dem knopff ubergreiffen / ehe und denn er sich solches versicht / so Schnell jhm die kurtze schneide daselbst wider hinein / zu welcher seiten du erst den Krumphauw gethan hast.
 
 
|  
 
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|-  
 
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|  
| '''Item''' In the Zufechten, lay on against your opponent with a powerful horizontal Middle Cut strongly at his left ear. Quickly pull your pommel around your head, and threaten him with it as if you would thrust at his other side with the pommel, and if he wishes to slip after and displace the thrust then flick back at his left ear with the short edge, and in flicking, step with your left foot back behind your right.
+
| <p>The Pommel deception, you shall remember<br/>With Flicking and Quickening you will vex him</p>
| Item greiff im zufechten dein gegenmann mit einem gewaltigen uberzwerch Mittelhauw / starck zum Lincken ohr an / zuck behend dein knopff umb dein Kopff / und trauw jhm damit / als ob du jhm mit dem Knopff zur andern seiten stossen wolst / und in dem er dir hie entgegen wischt den stoß zuversetzen / so schnell jhn mit der kurtzen schneid wider zu seinem Lincken ohr / und im schnall trit mit deinem Lincken fuß zu ruck hinder dein Rechten / und Hauwe dich von jhm.
+
 
 +
<p>This is when you cut in with a Crooked Cut to his strong, if he opposes or displaces high, then wind through below with the pommel, and act as if you would grab over with the pommel, as I have already taught; and before he realizes it, then quickly flick the short edge back in at him, again on the same line, to whichever side you first did the Crooked Cut.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/120|3|lbl=Ⅰ.50r.3}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''Also you will then correctly shoot through<br/>Crooked, Short, change through on his shield'''
+
| <p>'''Item''' In the Zufechten, lay on against your opponent with a powerful horizontal Middle Cut strongly at his left ear. Quickly pull your pommel around your head, and threaten him with it as if you would thrust at his other side with the pommel, and if he wishes to slip after and displace the thrust then flick back at his left ear with the short edge, and in flicking, step with your left foot back behind your right.</p>
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/120|4|lbl=Ⅰ.50r.4}}
This is a proper master's technique, when you are in the Zufechten, then send yourself into the right Wrath; as soon as he brings his sword in the air, then strike a free High Cut at him, and in the air, cross your hands so that the right hand comes crosswise over the left, and cut then through crooked with the short edge against his cut, in this, step with a double step well out to his right, and cut with the long edge at his right ear, or use changing through to come onto his shield against his right; then work with winding, slicing, and whatever other work arises for you.
 
| '''[Lv] Auch so du recht durchschiessen wilt /<br/>Krumb / Kurtz / Durchwechsel an sein Schilt.'''
 
 
 
Diß ist ein recht artig Meister stücklein / wenn du im zufechten bist so schick dich in rechten Zorn / als bald er sein Schwerdt in die lufft bringt / so Hauw ein freyen Oberhauw zu jhm / volführe den aber nit / sonder verschrenck in der lufft deine hend / das die Rechte hand uber die Lincke kom / und Hauw also mit kurtzer schneid Krump gegen seinem Hauw listiglich durch / in dessen trit wol mit einem zwifachen trit auff sein Rechte aus / unnd Hauw mit Langer schneid zu seinem Rechten ohr / oder kom mit dem durchwechseln an sein Schilt gegen seiner Rechten / alda arbeit mit Winden / Schneiden und was dir für arbeit werden mag.
 
 
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|  
| '''A free running Stuck from the Shooting through'''
+
| <p>Also you will then correctly shoot through<br/>Crooked, Short, change through on his shield</p>
  
Take heed in the Zufechten of he who pulls up his sword to strike, thus cut through quickly and freely before him how it is taught above, so that you come to his right on to his shield. And as soon as it connects, then wind again with the short edge in at his head, and in this winding, jerk your pommel well upward, so that your blade again snaps around, so that in your cut, your right hand comes back over your left, hit then with crossed hands, and thus in snapping around, wind in below to his right ear, and step at the same time, quickly with your left foot well out to his right. Then at once Thwart to his left ear with a step out, deeply wind your short edge inwards and again outwards to his left ear, and then cut away from him.
+
<p>This is a proper master's technique, when you are in the Zufechten, then send yourself into the right Wrath; as soon as he brings his sword in the air, then strike a free High Cut at him, and in the air, cross your hands so that the right hand comes crosswise over the left, and cut then through crooked with the short edge against his cut, in this, step with a double step well out to his right, and cut with the long edge at his right ear, or use changing through to come onto his shield against his right; then work with winding, slicing, and whatever other work arises for you.</p>
| '''Ein stuck aus dem durchschiessen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/121|1|lbl=Ⅰ.50v.1}}
 +
|
 +
 
 +
|-
 +
|
 +
| <p>'''A free running Stuck from the Shooting through'''</p>
  
HAb im zufechten acht / so bald dein gegenfechter sein Schwerdt zum streich auffziehet / so Hauw dieweil behend und listig vor jhm Krump durch (wie oben gemelt) damit du zu seiner Rechten aussen an seinen Schilt komest / und als geschwindt es nur rührt so winde jhm die kurtze schneid einwerts zum Kopff / unnd ruck in solchem winden dein knopff wol ubersich / das die kurtze schneid dest dieffer kom / fehrt er dann auff zu versetzen / so laß dein kling wider umbschnappen das dein Rechte hand wider uber die Lincke kome / und schnell jhm also im umbschnappen wider unden zu seinem Rechten ohr hinein / in solchem aber trit mit dem Lincken fuß wol auß auff sein Rechte / Zwirch dann bald wider mit einem abtrit zu seinem Lincken ohr dieff / unnd wind an seinem Schwerdt dein kurtze schneid wider unden heraus / zu seinem Lincken ohr / demnach Hauwe dich von jm / und solches alles soll durch das winden behendiglich volbracht werden.
+
<p>Take heed in the Zufechten of he who pulls up his sword to strike, thus cut through quickly and freely before him how it is taught above, so that you come to his right on to his shield. And as soon as it connects, then wind again with the short edge in at his head, and in this winding, jerk your pommel well upward, so that your blade again snaps around, so that in your cut, your right hand comes back over your left, hit then with crossed hands, and thus in snapping around, wind in below to his right ear, and step at the same time, quickly with your left foot well out to his right. Then at once Thwart to his left ear with a step out, deeply wind your short edge inwards and again outwards to his left ear, and then cut away from him.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/121|2|lbl=Ⅰ.50v.2}}
 
|  
 
|  
  
 
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|-  
 
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|  
| '''Note when he would confuse you with the Crooked,<br/>Remain rightly on the sword; carry out the Krieg<br/>With winding, slicing, and what’s more;<br/>With flitting let yourself not go too far.'''
+
| <p>Note when he would confuse you with the Crooked,<br/>Remain rightly on the sword; carry out the Krieg<br/>With winding, slicing, and what’s more;<br/>With flitting let yourself not go too far.</p>
  
In these rhymes you learn how you should hold yourself against one who binds crooked on your sword, and reports to you, as well, two techniques. Namely the remaining and the War, this is when one binds you crooked on your sword, thus you should not pull away at once, but remain and feel what kind of work you will need, like for example, if he withdraws you chase after;
+
<p>In these rhymes you learn how you should hold yourself against one who binds crooked on your sword, and reports to you, as well, two techniques. Namely the remaining and the War, this is when one binds you crooked on your sword, thus you should not pull away at once, but remain and feel what kind of work you will need, like for example, if he withdraws you chase after;</p>
  
 
'''Item''' If he remains, then you wind. For winding, slicing, wrenching out, and reversing is called the War, through which one to the other always counters the opponent's devices. And one counter follows one from another, for if he wards off one, then with this he gives you occasion or helps you to another technique that conveniently follows after it, thus you both make War. Also this same you should note, when an opponent lays on against you with a Crooked Cut, that you shall not fly around from one opening to another, for as soon as you go away from the Crooked Cut, then you are totally open to him, where he will correctly step.
 
'''Item''' If he remains, then you wind. For winding, slicing, wrenching out, and reversing is called the War, through which one to the other always counters the opponent's devices. And one counter follows one from another, for if he wards off one, then with this he gives you occasion or helps you to another technique that conveniently follows after it, thus you both make War. Also this same you should note, when an opponent lays on against you with a Crooked Cut, that you shall not fly around from one opening to another, for as soon as you go away from the Crooked Cut, then you are totally open to him, where he will correctly step.
| '''Merck so er dich mit Krumpwolt irren /<br/>Am Schwerdt recht bleib / den krieg thu führen /<br/>Mit Winden / Schnieden und was mehr /<br/>Mit verfliegen laß dich nit zu ferr.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/121|3|lbl=Ⅰ.50v.3}}
  
'''[LIr]''' Auß disen versen lernestu wie sich zuverhalten sey / gegen dem der dir krump an dein Schwerdt bindt / es werden aber hie zu zwey stuck dienstlich vermeldet / nemlich das Bleiben und der Krieg / welches sich also halt / Wenn dir einer krump an dein Schwerdt bindet / so zuck nit bald ab / sonder bleib an seinem Schwerdt / zu fülen was dir für arbeit hie nötig sein werde / als wenn er abgieng das du Nachreisest / oder so er bleibt du windest / dann Winden Schneiden / Verkeren / Außreissen heist hie der krieg / dardurch jmmer einer dem andern sein stuck bricht / unnd ein Bruch aus dem andern volget / dann wehret er dir eines so verursacht er dich oder hilfft dir zum andern / und kriegen also beide umb das Vor / auch soltu mercken wenn dir einer mit Krumphäuwen zuficht / das du gar nit verfliegen lassest von einer Blöß zur andern / dann als bald du vom Krumphauw abgehest / so bistu jhm gantz bloß / wo er sich ein wenig weiß darein zuschicken.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/122|1|lbl=Ⅰ.51r.1}}
 
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Line 2,282: Line 2,200:
 
| <br/>
 
| <br/>
  
Hieraus merck nun ein gut stuck / Hauwet einer von seiner Rechten ein Krumphauw auff dich so setz jhm den Hauw mit Langer schneid ubersich ab von dir / in dem es gliitzt / so bleib mit dem Bandt an seiner klingen / winde in des dein knopff ubersich gegen deiner Lincken / unnd die kling undersich gegen seiner Lincken / die kurtze Schneid an sein Linck ohr / Diß aber alles soll zugleich in einem trit zugehn / so triffestu gewiß / ob er aber so gescheid wer und auch den Krumphauw in das Langort verwenden würde / so winde in einem schnall die kurtze schneid einwerts zu seinem Kopff / winde demnach behend mit dem knopff wider unden durch auff dein Lincke seiten / greiff also mit dem knopff uber sein kling oder arm unnd reiss aus / oder so dir das gewendt / so nim andere stuck so du hie am tüglichen ersihest für die hand.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/122|2|lbl=Ⅰ.51r.2}}
 
|  
 
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|-  
 
|  
 
|  
| '''Quickly flick the weak to the right,<br/>Double flick, protect yourself with the shield'''
+
| <p>Quickly flick the weak to the right,<br/>Double flick, protect yourself with the shield</p>
  
Note in the Zufechten, come into the right Change; from there, slash up through his face, so that your sword runs around your head above in a loop. Step with your left foot well to his right and strike with the outside flat from your left against his right athwart to his ear, with this, take your head well out of the way how it is previously stated here and when it clashes, then thrust your pommel through under your right arm and wind with the inside flat, in a flick, up from below again to his right ear. In this winding around remain hard on his shield and press hard from you. If he resists then let your sword go away and pull around your head, strike with the outside flat a strong Clashing Cut over your hand Wind through with the pommel back under your arm and flick from inside behind his blade at his head. Remain hard on his shield and wind rapidly back out, thus you stand back in the Clashing Cut as before. Work further as you will to the four openings, such as the need be and is previously taught here.
+
<p>Note in the Zufechten, come into the right Change; from there, slash up through his face, so that your sword runs around your head above in a loop. Step with your left foot well to his right and strike with the outside flat from your left against his right athwart to his ear, with this, take your head well out of the way how it is previously stated here and when it clashes, then thrust your pommel through under your right arm and wind with the inside flat, in a flick, up from below again to his right ear. In this winding around remain hard on his shield and press hard from you. If he resists then let your sword go away and pull around your head, strike with the outside flat a strong Clashing Cut over your hand Wind through with the pommel back under your arm and flick from inside behind his blade at his head. Remain hard on his shield and wind rapidly back out, thus you stand back in the Clashing Cut as before. Work further as you will to the four openings, such as the need be and is previously taught here.</p>
| '''Bald schnell die schwech zur Rechten dar /<br/>Zwifach schnellen / mit Schilt dich bewar.'''
+
|
Merck kom im zufechten in rechten Wechsel / von dannen streich auff durch sein gesicht / das dein Schwerdt uber dein Haupt umblauff in einder Rinde / trit mit deinem Lincken wol auff sein Rechte / und schlag mit der außwendigen flech von deiner Lincken gegen seiner Rechten / uberzwerch zum ohr / nim den Kopff wol mit / wie hievor gemelt / aber in dem es gliitzt / so stoß behend dein knopff under dein Rechten arm durch / und schnell jhm also mit '''[LIv]''' inwendiger flech in einem schnall / von unden auff wider zu seinem rechten Ohr / in solchem winden bleib hart an seim Schilt mit deinem Schwerdt / und truck zugleich hart von dir / helt er wider / so laß dein Schwerdt leiß auß / und zuck umb den Kopff / schlag also mit außwendiger flech zu seinem Lincken / ein starcken Gliitzhauw uber dein hand / das dein knopff wol ubersich gang / so gehet der Hauw dester dieffer / windt mit dem knopffwider under deinem Arm durch / und schnell von inwendig hinder seiner klingen zum Kopff / bleib alwegen hart an seinem schilt unnd windt in eyl wider herauß / so stehestu wider im Gliitzhauw wie vor / arbeit weiter waß du wilt / nach den vier Blössen.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/122|3|lbl=Ⅰ.51r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/123|1|lbl=Ⅰ.51v.1|p=1}}
 
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| '''Item''' If one again cuts a High Cut at you from his right then likewise cut a High Cut in against his at the same time. When it clashes, then rapidly thrust your pommel through under your arm and flick back inward to his head, before it rightly connects pull both your arms crossed upwards to your left and wrench upward around on his blade, flick back around at his left ear from below, thus again with the outside flat, how it is presented above, this double flicking shall happen quickly because it is a particularly nimble technique I have thus properly given to you. For when you bind from one side on his sword and remain hard on it and wind at him inwards and outwards in a flick, doubly on one side to the upper and lower part of his head, then when he parries the flicks, you will surely have an opening on the other side that you may connect with a Circle or by flicking around in a single motion.
+
| <p>'''Item''' If one again cuts a High Cut at you from his right then likewise cut a High Cut in against his at the same time. When it clashes, then rapidly thrust your pommel through under your arm and flick back inward to his head, before it rightly connects pull both your arms crossed upwards to your left and wrench upward around on his blade, flick back around at his left ear from below, thus again with the outside flat, how it is presented above, this double flicking shall happen quickly because it is a particularly nimble technique I have thus properly given to you. For when you bind from one side on his sword and remain hard on it and wind at him inwards and outwards in a flick, doubly on one side to the upper and lower part of his head, then when he parries the flicks, you will surely have an opening on the other side that you may connect with a Circle or by flicking around in a single motion.</p>
| Item Hauwet einer ein Oberhauw auff dich von seiner Rechten / so Hauw auch ein Oberhauw / gegen seinem zugleich mit jhm hinein / in dem es gliitz / so stoß in eil dein knopff under deinem arm durch / und schnell also wider einwerts zum Kopff / ehe das recht rühret zuck deine beid Arm also geschrenckt ubersich gegen deiner Lincken / und reiss an seiner klingen ubersich umb / schnell also wider mit außwendiger oder letzer flech zu seinem Lincken ohr von Unden / wie nechst hie oben / Diß zwifach schnellen soll behendt zugohn / und weil es ein sonderlich behendt stuck ist / hab ich dirs also eigentlichen dargeben / dann gewiß ist / wann du von einer seiten ihm an sein Schwerdt bindest / und bleibest hart daran / windest jhm also hinein unnd außwerts in einem schnall / auff einer seiten Doppel zu dem Obern und Undern theil seines Haupts / so hastu auff der andern seiten / wann er die schnellen versetzt / ein Blöß welche du rühren magst mit einem Zirckel / oder umbschnall in einem flug / hierauß kanstu meins erachtens die winden wol merkcen und lehren.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/123|2|lbl=Ⅰ.51v.2}}
 
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| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
| '''Also wind forcefully against his shield,<br/>Instantly shove him away and strike swiftly.'''
+
| <p>Also wind forcefully against his shield,<br/>Instantly shove him away and strike swiftly.</p>
 
 
That is when an opponent would defend off your double flicks and sets you off, thus catch his shield with yours and shove out; away from you sideways, Indes let your short edge snap around deep at his other opposite opening.
 
| '''Auch jhenes Schilt mit sterck verwindt /<br/>In des abstoß und schlag geschwindt.'''
 
  
Das ist / wann dir einer das doppel Schnellen wehren wolt / und setzet dir ab / so fasse mit deinem schilt den seinen / gleich wie das kleiner Bild zur Rechten in der Figur so mit dem I. verzeichnet / dem andern die Arm gefaßt hat / doch auff solche weiß das du die Linck hand nit vom hefft lassest / unnd ruck jhm das Schwerdt in einem stoß von dir beseitz auß / laß in des die kurtz schneide umbschnappen / dieff zu seiner andern Blöß gegen uber.
+
<p>That is when an opponent would defend off your double flicks and sets you off, thus catch his shield with yours and shove out; away from you sideways, Indes let your short edge snap around deep at his other opposite opening.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/123|3|lbl=Ⅰ.51v.3}}
 
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Line 2,317: Line 2,233:
  
 
<p>Therefore note when a Roof guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p>
 
<p>Therefore note when a Roof guard Buffel is coming for you, then see that you parry once or twice, until you see the opportunity; that he has driven up the furthest for a stroke. Then drive his strike away from under on his arms and step well under him, thus he strikes his own arms on your blade.</p>
| rowspan="2" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|1|lbl=Ⅰ.52v}}
+
| rowspan="2" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|1|lbl=Ⅰ.52v.1}}
 
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|  
 
|  
| <p>'''The Squinter cut you shall do wisely<br/>With winding you can also double him'''</p>
+
| <p>The Squinter cut you shall do wisely<br/>With winding you can also double him</p>
  
 
<p>There are three Squinters, namely two Squinting Cuts; one from the right, the second from your left with crossed hands not unlike the Crooked Cut, how I have reported above concerning the Crooked Cuts. The third is a Squinter with the face, when I focus on a point and act as if I intended to strike there but I do not do this to him, rather I cut in elsewhere.</p>
 
<p>There are three Squinters, namely two Squinting Cuts; one from the right, the second from your left with crossed hands not unlike the Crooked Cut, how I have reported above concerning the Crooked Cuts. The third is a Squinter with the face, when I focus on a point and act as if I intended to strike there but I do not do this to him, rather I cut in elsewhere.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|2|lbl=-}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|2|lbl=Ⅰ.52v.2}}
| {{section|Page:MS A.4º.2 21v.jpg|1|lbl=21v}}
+
| {{section|Page:MS A.4º.2 21v.jpg|1|lbl=21v.1}}
  
 
|-  
 
|-  
Line 2,335: Line 2,251:
 
| <p>The First Squinter goes thus; when you are in the Zufechten, then note as soon as he goes out to strike to your left, then position yourself as if you would strike at the same time to him, do not complete this, but rather turn your Sword in the air so that your hand comes crosswise, and then cut in from above to his right with the short edge and crossed arms, at the same time as him, so that his Blade comes also to his right, or falls by your Right, however, step well with the left foot to his right side.</p>
 
| <p>The First Squinter goes thus; when you are in the Zufechten, then note as soon as he goes out to strike to your left, then position yourself as if you would strike at the same time to him, do not complete this, but rather turn your Sword in the air so that your hand comes crosswise, and then cut in from above to his right with the short edge and crossed arms, at the same time as him, so that his Blade comes also to his right, or falls by your Right, however, step well with the left foot to his right side.</p>
 
|  
 
|  
| {{section|Page:MS A.4º.2 21v.jpg|2|lbl=-}}
+
| {{section|Page:MS A.4º.2 21v.jpg|2|lbl=21v.2}}
  
 
|-  
 
|-  
Line 2,341: Line 2,257:
 
| <p>The Second is the Old Squinter cut, that goes thus; In the Zufechten send yourself into the right Wrath guard, if he cuts then at your head from above, thus step from your right and strike to his cut by turning the short edge over his sword in to his head with outstretched arms, how the figures hereafter show.</p>
 
| <p>The Second is the Old Squinter cut, that goes thus; In the Zufechten send yourself into the right Wrath guard, if he cuts then at your head from above, thus step from your right and strike to his cut by turning the short edge over his sword in to his head with outstretched arms, how the figures hereafter show.</p>
 
|  
 
|  
| {{section|Page:MS A.4º.2 21v.jpg|3|lbl=-}}
+
|  
 +
{{section|Page:MS A.4º.2 21v.jpg|3|lbl=21v.3|p=1}} {{section|Page:MS A.4º.2 22r.jpg|1|lbl=22r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
 
|  
 
|  
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|3|lbl=-}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|3|lbl=Ⅰ.52v.3}}
 
|  
 
|  
  
Line 2,354: Line 2,271:
  
 
<p>'''Note''' When one does a Squinting Cut against your long cut, thus he opens his right side, therefore do not allow him to come onto your sword but rather change through below and cut him to his right long in from your left after driving through.</p>
 
<p>'''Note''' When one does a Squinting Cut against your long cut, thus he opens his right side, therefore do not allow him to come onto your sword but rather change through below and cut him to his right long in from your left after driving through.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|4|lbl=-}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/125|4|lbl=Ⅰ.52v.4}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <br/>
+
| <p><br/></p>
 
 
'''Item''' If one changes through under your Squinting Cut to your right side, then remain nevertheless with the point right before his face and turn the long edge against his blade, allow Indes your pommel to go through under your right arm and step with your left foot well to his right side. Thus he has changed through in vain, for you come at his head with the first Squinting Cut and crossed hands, At once allow it to run off by his right side using the Circle and Thwart to his left.
 
| '''[LIIIr] Bruch.'''
 
  
ITem Wechselt dir einer under deinem Schielhauw durch / zu deiner Rechten seiten / so bleib gleichwol mit dem ort gerichts vor seinem gesicht / und wende die Lange schneide gegen seiner klingen / laß in des dein knopff under dein Rechten arm durchgehen / und trit mit dem Lincken fuß wol auff sein Rechte seiten / so hat er vergebens durchgewechselt / dann du kommest jhm mit dem andern Schielhauw und geschrenckten henden auff den Kopff / laß als bald durch den Zirckel neben seinem Rechten ablauffen / und Zwirch zu seinem Lincken ohr.
+
<p>'''Item''' If one changes through under your Squinting Cut to your right side, then remain nevertheless with the point right before his face and turn the long edge against his blade, allow Indes your pommel to go through under your right arm and step with your left foot well to his right side. Thus he has changed through in vain, for you come at his head with the first Squinting Cut and crossed hands, At once allow it to run off by his right side using the Circle and Thwart to his left.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/126|1|lbl=Ⅰ.53r.1}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''Counter to the Plow'''
+
| <p>'''Counter to the Plow'''</p>
  
Note when an opponent comes before you in the guard of the Plow, then attack happily with the Squinting Cut, As soon as he drives out, then work to his lower openings and further to all four openings.
+
<p>Note when an opponent comes before you in the guard of the Plow, then attack happily with the Squinting Cut, As soon as he drives out, then work to his lower openings and further to all four openings.</p>
| '''Bruch auff den Pflug.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/126|2|lbl=Ⅰ.53r.2}}
 
 
MErck wann dir einer fürkompt in der Hut des Pfluges / so greiff jn frölich an mit dem Schielhauw / so bald er aufffehrt / so arbeit jhm zu den undern Blössen / und fürter zu allen vier enden.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:MS A.4º.2 22v.jpg|400px|center]]
 
| [[File:MS A.4º.2 22v.jpg|400px|center]]
| '''Counter to the Long Point'''
+
| <p>'''Counter to the Long Point'''</p>
  
Item if one stands before you in the Long Point, thus position yourself with the gesture that you would cut in with a long High cut to his left ear, do not do this, but rather turn in the air and cut a strong Squinter cut to his sword, when it clashes, then slice the point forward into his face so that he must displace. When he drives upwards then pull your sword around your head in a flight and cut with the short edge and crossed hands; athwart to his right ear, allow the left hand to go well out and thus the short edge goes deep. Pull again around your head and wrench out his blade with the flat from your right athwart to his left, so that your sword again flies around above your head and allow the short edge to shoot in deep to his left ear, at once cut two undercuts to his right and left, Indes cut away.
+
<p>Item if one stands before you in the Long Point, thus position yourself with the gesture that you would cut in with a long High cut to his left ear, do not do this, but rather turn in the air and cut a strong Squinter cut to his sword, when it clashes, then slice the point forward into his face so that he must displace. When he drives upwards then pull your sword around your head in a flight and cut with the short edge and crossed hands; athwart to his right ear, allow the left hand to go well out and thus the short edge goes deep. Pull again around your head and wrench out his blade with the flat from your right athwart to his left, so that your sword again flies around above your head and allow the short edge to shoot in deep to his left ear, at once cut two undercuts to his right and left, Indes cut away.</p>
| '''Bruch auff das Lang ort.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/126|3|lbl=Ⅰ.53r.3}}
 
 
Item stehet einer vor dir in das Langort / so stelle dich mit geberden sam du ein langen Oberhauw wolltest zu seinem Lincken ohr Hauwen / thu es nit / sonder verwende in der lufft / unnd Hauwe ein starcken Schielhauw auff sein Schwerdt / in dem es gliitzt / so schieb den ort für dir hin zu seinem gesicht / das muß er versetzen / in dem er ubersich fehrt / so zucke dein Schwerdt in einem fluge umb dein Kopff / Hauwe mit gekreutzigten henden / die kurtz schneid uberzwerch zu seinem Rechten ohr / disen nenne ich den andern Schieler / laß die Linck hand wol under deinem rechten Arm ubersich gehen / so gehet die kurtz schneide dieff / zuck wider umb dein Kopff / unnd reiß jhm sein kling von deiner Rechten uberzwerch gegen seiner Lincken / mit der flech auß / das dein Schwerdt ober deinem Haupt widerumb fleuget / und laß jhm die kurtz schneide dieff einschiessen zu seinem Lincken ohr / als bald Hauw zwen Underhäuw zu seiner Rechten und Lincken / in des Hauwe dich wegk.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| <br/>
+
| <p><br/></p>
 
 
Item If an opponent comes before you who will gladly bind long on to you from above or sends his first stroke long at you from the Roof, then when you are near to him or have come to him, slash through before him, up and out to your left, so that your sword's blade shoots around over your head in the Plunge to his left, Indes allow your sword to snap around back over your head, the right hand over the left and strike in at his right ear with the short edge at the same time as his strike, how it is taught above, do this correctly and step well there to him thus you will hit. So then this Stück is only on going, if he displaces however and drives out how he then (when he will displace) must drive out, at once pull around your head and cut him with the Long Edge from below athwart to his Left radial forearm, close to his pommel to the wrist. Of these two openings, one will be apparent to you, Pull your Hilt again upwards around your head and cut long with a strong cut to his upper left head, in these three strikes, step well with both your feet, in a double, step around his left side, thus the cuts go on well, this a good and earnest Stück, when you will seek to send it home.
 
| '''[LIIIv] Ein anders.'''
 
  
ITem kompt dir einer für / der gern von Oben lang auff dich bindet / oder seinen ersten streich lang von Tag auff dich führet / wann du dann nahte zu jhm kompst / so streich vor jhm durch / ubersich auff gegen deiner Lincken / das dein Schwerdt kling im sturtz uber deinem Haupt umbschiesse / gegen seiner Lincken / trauwe jhm als woltestu also gegen seiner Lincken schlagen / so wirt er ohn zweiffel fertig sein und herhauwen / derhalben so laß in des dein Schwerdt ober deinem Haupt wider umbschnappen / die recht handt uber die Linck / unnd schlag also mit kurtzer schneid zugleich mit seinem streich hinein zu seinem Rechten ohr / wie oben gelehret / machstu das recht unnd triffst wol darzu / so triffstu gewis / versetzet ers aber und fehrt auff / wie dann so erß versetzen will aufffahren muß als bald zucke umb dein Kopff / und Hauwe jhme mit Langer schneide von Unden uberzwerch zu seiner lincken Spindel / nahet under seinem knopff hinein zum knochel / under disen zweien Blössen wirt dir eine werden / entweder das rechte ohr oder die Spindel / zuck dein gefeß wider ubersich umb dein Kopff / unn Hauwe ein starcken Langen hauw zu seiner Lincken zu seinem Kopff / in disem dritten streich trit wol mit deinen beiden füssen in einem zwifachen trit / umb sein Lincke seiten / so gehet der Hauw wol an / das ist ein gut ernst stuck / so du einen daheim suchen wilt.  
+
<p>Item If an opponent comes before you who will gladly bind long on to you from above or sends his first stroke long at you from the Roof, then when you are near to him or have come to him, slash through before him, up and out to your left, so that your sword's blade shoots around over your head in the Plunge to his left, Indes allow your sword to snap around back over your head, the right hand over the left and strike in at his right ear with the short edge at the same time as his strike, how it is taught above, do this correctly and step well there to him thus you will hit. So then this Stück is only on going, if he displaces however and drives out how he then (when he will displace) must drive out, at once pull around your head and cut him with the Long Edge from below athwart to his Left radial forearm, close to his pommel to the wrist. Of these two openings, one will be apparent to you, Pull your Hilt again upwards around your head and cut long with a strong cut to his upper left head, in these three strikes, step well with both your feet, in a double, step around his left side, thus the cuts go on well, this a good and earnest Stück, when you will seek to send it home.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/127|1|lbl=Ⅰ.53v.1}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another Stück from the Squinter cut'''
+
| <p>'''Another Stück from the Squinter cut'''</p>
 
 
In Zufechten, when you come close to him, then position yourself as if you would cut a long High cut at him, when he drives out to meet you, thus turn the short edge from your right, in the air, against his left and jerk your pommel upwards, cut him with the short edge over his arm or hand, step well to his left side, allow this to run forth over in a circle and cut long after to the next opening, or fight to him with the under cuts.
 
| '''Ein ander stuck auß dem Schielhauw.'''
 
  
IM zufechten wann du schier bey jhn kommest / so stell dich sam du ein langen starcken Oberhauw thun wollest / in dem er aufffehrt dir zu begegnen / so verwende in der lufft die kurtze schneide von deiner Rechten gegen seiner Lincken / und rucke dein knopff ubersich / schlag jhn mit der kurtzen schneid uber sein Arm oder hendt / trit wol auff sein lincke seiten / laß also in einem Zürckel furuber umblauffen / unnd Hauwe lang nach zur nechsten Blöß / oder ficht auß den Underhäuwen zu jhm.
+
<p>In Zufechten, when you come close to him, then position yourself as if you would cut a long High cut at him, when he drives out to meet you, thus turn the short edge from your right, in the air, against his left and jerk your pommel upwards, cut him with the short edge over his arm or hand, step well to his left side, allow this to run forth over in a circle and cut long after to the next opening, or fight to him with the under cuts.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/127|2|lbl=Ⅰ.53v.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''The Double Squinter'''
+
| <p>'''The Double Squinter'''</p>
  
Item At the Start, thus cut against his cut from your right, with a Squinter to his sword, when this clashes, then reverse your sword on his blade and slide off to your left, step out with the right, continuing towards his left side, allow your blade to drive around your head and cut the next Squinter to his head, also from your right above and in deep to his left. Then cut a double squinter, nimbly, one into the other, stepping to his left, this is a very swift Stück against slow fencers who fight with their arms far from themselves.
+
<p>Item At the Start, thus cut against his cut from your right, with a Squinter to his sword, when this clashes, then reverse your sword on his blade and slide off to your left, step out with the right, continuing towards his left side, allow your blade to drive around your head and cut the next Squinter to his head, also from your right above and in deep to his left. Then cut a double squinter, nimbly, one into the other, stepping to his left, this is a very swift Stück against slow fencers who fight with their arms far from themselves.</p>
| '''[LIIIIr] Den Schieler zwifachen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/128|1|lbl=Ⅰ.54r.1}}
 
 
ITem im antrit / so Hauwe gegen seinem hauw ein Schielhauw auff sein Schwerdt / von deiner Rechten / in dem es gliitzt / so verkehr dein Schwerdt an seiner kling / und ritsch also auff seiner kling gegen deiner lincken seiten auß / trit mit deinem Rechten fürbas nach auch gegen seiner Lincken / laß dein kling umb den Kopff fahren / unn Hauwe den andern Schielhauw auch von deiner Rechten / dieff oben hinein hinder seiner klingen einen wie den andern behendt auff einander / hinein mit einem zwifachen trit / zwyfach zu seiner Lincken / das ist ein geschwindt stuck auff die langsamen Fechter / die doch die Arm weit von sich führen.
 
 
|  
 
|  
  
Line 2,420: Line 2,325:
 
|  
 
|  
 
|  
 
|  
| Oder so du den ersten Schielhauw volbracht / und also den andern auch herführen wilt / so schieb dein knopff in eil (dieweil du dein Schwerdt in der lufft fürest) under deinem rechten Arm durch / unnd Hauwe den andern mit geschrenckten henden auch zu seiner Lincken gleich wie vor / und nim dein Kopff wol gegen deiner Rechten.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/128|2|lbl=Ⅰ.54r.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''The Third Squinter is a deceiving with the Face'''
+
| <p>'''The Third Squinter is a deceiving with the Face'''</p>
  
In Zufechten slash up so that you come into the Guard of the Roof, as soon as you can reach him, at once wind the short edge to him, while its still in the air, squint with your face as if you would cut to his left with the Squinter cut, don't do this, but rather allow the Squinter to fall past by his left and work to his right, or work him to the right and cut quickly again to his left, take your body well after with it, for this is a fine and good work that can't be written as well as it can be shown with the living body.
+
<p>In Zufechten slash up so that you come into the Guard of the Roof, as soon as you can reach him, at once wind the short edge to him, while its still in the air, squint with your face as if you would cut to his left with the Squinter cut, don't do this, but rather allow the Squinter to fall past by his left and work to his right, or work him to the right and cut quickly again to his left, take your body well after with it, for this is a fine and good work that can't be written as well as it can be shown with the living body.</p>
| '''Der drit Schieler ist ein verführung mit dem gesicht.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/128|3|lbl=Ⅰ.54r.3}}
 
 
IM zufechten kom im auff streichen in die Hut des Tags / so bald du jhn erlangen kanst / als bald wendt die kurtz schneid noch also in der lufft gegen jhm / stell dich mit deinem gesicht sam du mit dem Schielhauw zu seiner Lincken wolltest einhauwen / thu es nit / sonder laß den Schieler fehl neben seiner Lincken füruber lauffen / unnd arbeite jhm zu seiner Rechten / oder wincke jhm zu der Rechten / und schlag behendt wider zu seiner Lincken hinein / nim den leib wol mit / es ist schöne unnd geschwinde arbeit / die sich nicht lest schreiben als mit lebendigem leib erzeigen.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword G.jpg|center|400px]]
| '''Note a swift Stück from the Squinter'''
+
| <p>'''Note a swift Stück from the Squinter'''</p>
  
When you come close to him, then Wing up by him, so that you come with crossed hands into the Unicorn. In this Winging up, lift your left foot somewhat upwards, after you come through the Unicorn with crossed hands, thus you stand as if you would shoot through, as soon as he extends his sword out, thus cut then with crossed hands and the short edge from above again to his right, on to the forward portion of his sword's blade and before it connects, turn your short edge around and cut with the Squinter, that is with the short edge from your right to his left side, to his arm or face, not with crossed hands and with a step of your right foot, towards his left, in hitting, allow your blade to run off from his left only slightly besides and along with this, thrust through at once with your pommel, under your right arm, then cross your hands so that your short edge snaps around again to his left, over to his head or arm thus with crossed hand from your right to your left or bar him over both of his arms, if he holds you again so that you cannot wrench out or suppress from above, then allow the pommel to run through below and grab him over his right arm, drive the wrestling to him.
+
<p>When you come close to him, then Wing up by him, so that you come with crossed hands into the Unicorn. In this Winging up, lift your left foot somewhat upwards, after you come through the Unicorn with crossed hands, thus you stand as if you would shoot through, as soon as he extends his sword out, thus cut then with crossed hands and the short edge from above again to his right, on to the forward portion of his sword's blade and before it connects, turn your short edge around and cut with the Squinter, that is with the short edge from your right to his left side, to his arm or face, not with crossed hands and with a step of your right foot, towards his left, in hitting, allow your blade to run off from his left only slightly besides and along with this, thrust through at once with your pommel, under your right arm, then cross your hands so that your short edge snaps around again to his left, over to his head or arm thus with crossed hand from your right to your left or bar him over both of his arms, if he holds you again so that you cannot wrench out or suppress from above, then allow the pommel to run through below and grab him over his right arm, drive the wrestling to him.</p>
| '''Merck ein geschwindt stuck auß dem Schieler.'''
+
|
 
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/128|4|lbl=Ⅰ.54r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/129|1|lbl=Ⅰ.54v.1|p=1}}
IN dem du schier zu jhm kommest / so flügele vor jhm auff / das du mit geschrenckten henden in das Einhorn kommest / im aufflügeln erhebe dein lincken Fuß etwas ubersich / dem gewicht nach / das du mit geschrenckten henden hoch durch das Einhorn kommest / so stehest du als woltestu durch schiessen / als bald er sein Schwerdt auß '''[LIIIIv]''' streckt / so Hauwe also mit geschrenckten henden / und kurtzer schneide von Oben nider gegen seiner Rechten / biß an das eussertheil seiner Schwerdts klingen / und ehe es rührt / wende dein kurtz schneid umb / und schlag mit dem Schielhauw / das ist mit kurtzer schneid von deiner Rechten zu seinem lincken ohr / Arm oder gesicht / mit einem zutrit deines rechten Fuses gegen seiner Lincken / so triffestu wie dich das grösser Bild gegen der Lincken handt in der Figur G. lehrt / und im treffen laß dein kling von seiner Lincken / ein wenig beiseits außlauffen / und stoß gleich auch mit dein Knopff under deinem rechten Arm durch / verschrencke also dein hendt / das dein halb schneide vor jhm wider umb schnap / gegen seiner Lincken uber sein Kopff oder Arm / reiß also mit geschrenckten henden von deiner Rechten gegen deiner Lincken sein Schwerdt auß / oder schrenck jhm uber sein beide Arm / helt er wider das du nicht außreissen noch uberschrencken kanst / so laß unden durchlauffen mit dem knopff / und greiff jhm uber sein rechten Arm / threib die ringen gegen jhm.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
| [[File:MS A.4º.2 25r.jpg|400px|center]]
 
| [[File:MS A.4º.2 25r.jpg|400px|center]]
| <br/>
+
| <p><br/></p>
  
Changing through is useful against those who fight with the Squinter or Crooked Cuts. Note this also, if he does not extend his hands far from him in his cuts but rather holds them close by himself in fighting, you may readily change through far from him.
+
<p>Changing through is useful against those who fight with the Squinter or Crooked Cuts. Note this also, if he does not extend his hands far from him in his cuts but rather holds them close by himself in fighting, you may readily change through far from him.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/129|2|lbl=Ⅰ.54v.2}}
 +
|
  
'''Item''' If he fights with winding, reversing, Crooked Cuts, Squinting Cuts or any other Stück with it he shortens his strike or cannot fight long from himself, how it then goes in such Stücken in which you shall also (before they bring their technique to the halfway) change through against him, to the other side which he opens with this shortening, thus you force him to displace and he allows the Vor to pass to you.
+
|-
 +
|
 +
| <p>'''Item''' If he fights with winding, reversing, Crooked Cuts, Squinting Cuts or any other Stück with it he shortens his strike or cannot fight long from himself, how it then goes in such Stücken in which you shall also (before they bring their technique to the halfway) change through against him, to the other side which he opens with this shortening, thus you force him to displace and he allows the Vor to pass to you.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/129|3|lbl=Ⅰ.54v.3}}
 +
|
  
'''Item''' If one fights far and long from himself with the long edge, however more to your sword than body, then you shall change through to the next opening and allow him to fall through with his cuts. So then be diligent with how you fence, that is with the short or long edge, that you namely cut him to the opening, that is, you cut him to the body and if it does not always happen that you may cut him to the body, thus when he changes through, you quickly fall in after his Sword to the opening.
+
|-
 +
|
 +
| <p>'''Item''' If one fights far and long from himself with the long edge, however more to your sword than body, then you shall change through to the next opening and allow him to fall through with his cuts. So then be diligent with how you fence, that is with the short or long edge, that you namely cut him to the opening, that is, you cut him to the body and if it does not always happen that you may cut him to the body, thus when he changes through, you quickly fall in after his Sword to the opening.</p>
  
Also thus note this Rule in all cutting, when you connect or catch his blade with your strong, in the bind, as soon as it clashes, you shall cut at once with the weak (that is with the forward part) to the body or next opening cut at, so that then your sword cuts likewise at his blade and body, or as soon as your strong connects with his sword, then as they clash together you shall turn the weak to the nearest opening with flicking, snapping and winding.
+
<p>Also thus note this Rule in all cutting, when you connect or catch his blade with your strong, in the bind, as soon as it clashes, you shall cut at once with the weak (that is with the forward part) to the body or next opening cut at, so that then your sword cuts likewise at his blade and body, or as soon as your strong connects with his sword, then as they clash together you shall turn the weak to the nearest opening with flicking, snapping and winding.</p>
| '''Vom durchwechseln.'''
+
|  
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/129|4|lbl=Ⅰ.54v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/130|1|lbl=Ⅰ.55r.1|p=1}}
 +
|
  
DUrchwechseln gehört auff die / so also mit Schieler oder Krumphäuwen fechten / das merck also / streckt er sein hende nicht lang von jhm in seinen Häuwen / sonder behalt die im Fechten nahe bey sich / dem magstu frölich durchwechseln in der weite. Item ficht er auß dem Winden / Verkehren / Krumphäuw / Schielhäuwen / oder was der stuck mehr seindt / damit er sein streich verkürtzet / oder nicht lang von sich kan Fechten / wie es dann in solchen stucken geschicht / denen soltu auch durchwechseln (ehe dann sie jhre stuck zum halben endt bringen) zur andern seiten / welche er mit solchen verkürtzen Blöst / damit zwingestu jhn zuversetzen / unnd das er dir das Vor lassen muß. Item ob schon einer weit und lang von sich ficht / mit Langer schneid / aber doch mehr zu deinem Schwerdt dann leib / dem soltu aber durchwechseln / zur nechsten Blöß / und jhn mit seinen Häuwen verfallen lassen / Derhalben so fleiß dich was du fichtest / es sey mit langer oder kurtzer schneid / das du jhme fürnemlich zur Blöß / das ist zum leibe Hauwest / und ob es schon nicht alwegen kan sein / das du jhme den nechsten zum leibe hauwen magst / so soltu doch so bald er durchwechselt seinem Schwerdt nach zur Blös einfallen / auch merck dise Regel in allen häuwen / so du mit der sterck deines Schwerdts sein kling rührest oder empfahest im band / als bald und gleich mit / in dem es noch glitzt / soltu zugleich auch mit der schwech deiner klingen / das ist mit dem eussern theil zum Leib oder '''[LVr]''' nechsten Blös inhauwen / das also dein Schwerdt sein kling unn leib zugleich trifft / oder so bald dein sterck sein Schwerdt rühret / so soltu noch also im zusamen glützen / die schwech zur nechsten Blöß wenden / mit Schnellen / schnappen und winden.
+
|-
 +
|
 +
| <p>Further you should take from these lessons, when you will execute these techniques against someone who knows how to change through against you, for example when you send your sword into the air for a Squinting Cut or Crooked Cut.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/130|2|lbl=Ⅰ.55r.2}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| Further you should take from these lessons, when you will execute these techniques against someone who knows how to change through against you, for example when you send your sword into the air for a Squinting Cut or Crooked Cut.
+
| <p>'''Item''' To the Crossing over, Falling and others which are similar, as soon as you realize that he will change through, then fall from such work into the Long Slice, to the opening that he gives you by changing through. For often when he changes through he opens himself, And when you travel after to his opening, then watch for his sword with the long edge, if it would come too near to you, that you turn the strong against him and at the same time, remain on his opening with the short edge, as soon as you have connected, then remain no longer but rather let it quickly fly away from one opening to another.</p>
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/130|3|lbl=Ⅰ.55r.3}}
'''Item''' To the Crossing over, Falling and others which are similar, as soon as you realize that he will change through, then fall from such work into the Long Slice, to the opening that he gives you by changing through. For often when he changes through he opens himself, And when you travel after to his opening, then watch for his sword with the long edge, if it would come too near to you, that you turn the strong against him and at the same time, remain on his opening with the short edge, as soon as you have connected, then remain no longer but rather let it quickly fly away from one opening to another.
 
| Ferner hald dich auch diser lehr / wann du solche stuck Fechten wilt gegen denen er dir durchwechseln kann / als nemlich dieweil du dein Schwerdt in der lufft führest / zu einem Schielhauw oder Krumphauw. Item zum verschrencken / verfellen und was dergleichen ist / so bald du gewar wirst das er durchwechseln will / so verfall auß solcher arbeit in den langen schnit / das ist in das Langort der Blöße zu / die er dir geben wirt im durchwechseln / dann so offt er durchwechselt blöst er sich / unnd in dem du ihme zur Blöß durchreissest / so wardt mit der Langen schneide seines schwerdts / wo es dir zu nahe komen wolt / das du mit der sterck gegen ihme wendest / unn gleich wol mit der kurtze schneide auff seiner Blöse bleibest / als bald du gerühret hast / so verharr nicht lenger / sondern laß behendt abfliegen von einer Blöß zur andern.
 
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''The Thwart you shall also consider valuable,<br/>With it your skill in the sword becomes great.'''
+
| <p>The Thwart you shall also consider valuable,<br/>With it your skill in the sword becomes great.</p>
 
 
The Thwart is one of the chief master techniques with the sword. For you should know, if the Thwart did not exist, then it would be like "half fencing", especially when you are under the opponent’s sword and therein you can no longer attack with long cuts through the Cross, and if I have already written enough about the Thwart such that if someone knows how to fight, he could have a sufficient understanding from it, but meanwhile I write not great of great Fencers or Artists, also I have not intended to write historically of fencing, as the art is drawn from memory. But rather solely, I've attempted to write an instruction book, therefore I will not only repeat the Thwart here, but also write more fully about it, for the instruction of those that love such art.
 
| '''Die Zwirch soltu auch halten werdt /<br/>Damit ganz wirdt dein kunst im Schwerdt.'''
 
  
Die Zwiirch ist auch der fürnemen Meisterstuck eins im Schwerdt / dann du solt wissen / wann die Zwirch nit wehre wie jetziger zeit im brauch ist / were es umb das halb Fechten geschehen / sonderlich wann du under des Mannes Schwerdt darinnen bist / da du nicht mehr mit langen Häuwen durch kreutz Fechten kanst / ob ich schon vornen auch von den Zwirchen geschriben / sovil das wo einer Fechten kan / gnugsam verstand darauß fassen köndte / aber dierweil vil an der Zwirch (wie gesagt) gelegen / zu den ich auch grossen Meistern / sonder vil mehr den lehrnenden zuschreiben mir fürgenomen / Derhalben ich die Zwirch hie nicht allein wider holen / sonder auch weitläuffiger davon schreiben / zur lehr denen die solche kunst lieben.
+
<p>The Thwart is one of the chief master techniques with the sword. For you should know, if the Thwart did not exist, then it would be like "half fencing", especially when you are under the opponent’s sword and therein you can no longer attack with long cuts through the Cross, and if I have already written enough about the Thwart such that if someone knows how to fight, he could have a sufficient understanding from it, but meanwhile I write not great of great Fencers or Artists, also I have not intended to write historically of fencing, as the art is drawn from memory. But rather solely, I've attempted to write an instruction book, therefore I will not only repeat the Thwart here, but also write more fully about it, for the instruction of those that love such art.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/130|4|lbl=Ⅰ.55r.4}}
 
|  
 
|  
  
 
|-  
 
|-  
 
|  
 
|  
| In Zufechten take note if your opponent will attack at you from the Day, (that is from above) then slash up from the right Change toward your opponent's face, when he will strike or cut, then let your blade drive towards your left and around your head, so that your flat stands upward and your thumb is underneath on your shield, step with your right foot well around his left side toward him, simultaneous with the step, cut with the short edge from your right to his left ear, so that together your hilt and with the thumb underneath, stands high above your head to the displacing, so then if he strikes, you will catch his stroke on the strong of your sword and at the same time with the forward short, you cut athwart from below to his left ear, how the second figure shows, as soon as the swords connect together or clash, then strike with the long Thwart deep at his right ear, such that your thumb remains underneath, perpendicular.
+
| <p>In Zufechten take note if your opponent will attack at you from the Day, (that is from above) then slash up from the right Change toward your opponent's face, when he will strike or cut, then let your blade drive towards your left and around your head, so that your flat stands upward and your thumb is underneath on your shield, step with your right foot well around his left side toward him, simultaneous with the step, cut with the short edge from your right to his left ear, so that together your hilt and with the thumb underneath, stands high above your head to the displacing, so then if he strikes, you will catch his stroke on the strong of your sword and at the same time with the forward short, you cut athwart from below to his left ear, how the second figure shows, as soon as the swords connect together or clash, then strike with the long Thwart deep at his right ear, such that your thumb remains underneath, perpendicular.</p>
| Im zufechten hab acht / ob der Mann auff dich von Tag / das ist von Oben angreiffen wil / so streich von dem rechten Wechsel auff / gegen des Manns gesicht / in dem er schlagen oder Hauwen will / so laß dein kling neben deiner Linken umb den Kopff fahren / das dein flech ubersich stehe / und dein Daumen undersich auff deinem Schilt / oder der Schilt auff deinem Daumen lige / trit mit dem Rechten fuß wol umb sein Lincke seiten zu jhm / gleich mit '''[LVv]''' dem trit / Hauwe mit halber schneide von deiner Rechten seiten / gegen seinem Lincken ohr / das dein gehiltz sampt dem Daumen unden hoch uber dem Haupt stehe zur versatzung / also das wo er schlüge / du im sein streich auff die stercke deines Schwerdts empfangest / unn zugleich mit der eussern kurtzen schneid zwerch von unden zu seinem Lincken ohr treffest / so bald die Schwerdter zusamen rühren oder glützen / so schlag mit der langen Zwirch / das dein Daumen unden bleib / ubereck zu seinem rechten Ohr tieff.
+
|
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/130|5|lbl=Ⅰ.55r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/131|1|lbl=Ⅰ.55v.1|p=1}}
 
|  
 
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|-  
 
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|  
| Secondly, Note when you strike in with a Thwart at the same time as him, or bind on, then from this same, at once search above and below for the openings, with reversing, snapping around again, or Thwarts, fearless Traveling after, then as soon as One will cut from above at you, thus displace him with the Thwart, so that with this, the swords clash together, then reverse, set off upwards, seek the openings and fight with the types of works that have been reported here previously. Wherein Liechtenauer speaks correctly in his cryptic verses,<br/><br/>
+
| <p>Secondly, Note when you strike in with a Thwart at the same time as him, or bind on, then from this same, at once search above and below for the openings, with reversing, snapping around again, or Thwarts, fearless Traveling after, then as soon as One will cut from above at you, thus displace him with the Thwart, so that with this, the swords clash together, then reverse, set off upwards, seek the openings and fight with the types of works that have been reported here previously. Wherein Liechtenauer speaks correctly in his cryptic verses,</p>
  
 
:''The Thwart takes<br/>All that come from above,<br/>Thwart with the strong<br/>Mark your work with it''
 
:''The Thwart takes<br/>All that come from above,<br/>Thwart with the strong<br/>Mark your work with it''
  
that is; all high strikes, displace with the Thwart, or how I have here set forth with my Rhymes:
+
<p>that is; all high strikes, displace with the Thwart, or how I have here set forth with my Rhymes:</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/131|2|lbl=Ⅰ.55v.2}}
 +
|
  
:''For everything that comes from the Roof<br/>The thwart may displace this<br/>In the Onset drive the Failer strongly<br/>Note also you Reverse and Fail with it''
+
|-
 +
|
 +
| <p>For everything that comes from the Roof<br/>The thwart may displace this<br/>In the Onset drive the thwart strongly<br/>Note also you Reverse and Fail with it</p>
  
If one cuts at you from above, thus Thwart strongly against his strike, you force him to fall so much lower with his cut, when it connects you must then thrust your pommel through under your right, reverse, press downwards, let the blade snap around again with the short edge in his face, yet such that in the reversing and snapping around you remain with the slice on his arms.
+
<p>If one cuts at you from above, thus Thwart strongly against his strike, you force him to fall so much lower with his cut, when it connects you must then thrust your pommel through under your right, reverse, press downwards, let the blade snap around again with the short edge in his face, yet such that in the reversing and snapping around you remain with the slice on his arms.</p>
| Zum andern merck / wann du mit einem Zwirchschlag zugleich mit jme einhauwest oder anbindest / so bald such Oben und Unden auff derselben seiten die Blöß / mit verkeren und wider umbschnappen / oder Zwirchen Uberschrencken / Nachreisen / Schneiden / Hend trucken / Außreissen / dann als bald dir einer von Oben zuhauwet / so versetz ihm mit der Zwirch / in dem die Schwerdter zusamen glitzen oder rühren / so verkehr schrenck ubersich die Blöß / unnd ficht was dir für arbeit hie neben gemelt zu erst werden mag / Darumb spricht Lichtenawer recht in seinen verborgenen Reimen /
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/131|3|lbl=Ⅰ.55v.3|p=1}}
 
 
:''Zwirch benimbt /<br/>Was von oben kümpt.<br/>Item Zwirch mit der sterck /<br/>Dein arbeit damit merck.''
 
 
 
Das ist alle Tach streich versetz mit Zwirch / oder wie ich sie hie meinen Reimen gesetzet.
 
 
 
:''Dann alles was da kompt von tag/<br/>Die Zwirch solches versetzen mag.<br/>Im angriff treib die Zwirch mit Sterck/<br/>Verkehren / fehlen auch mit merck.''
 
 
 
Hauwet einer auff dich von Tag / so Zwirch gegen seinem streich mit sterck / damit zwingestu ihn das er dester dieffer mit seinen Hauw zu thal fallen muß / in dem es glitzt so stoß dein knopff under deinem rechten Arm durch / verkehr also unn truck undersich / laß die kling als bald wider umschnappen / die kurtz schneide in sein gesicht / doch das du im verkeren und umbschnappen mit dem Schnit auff sein Armen bleibest
 
 
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| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword I.jpg|center|400px]]
| This stuck goes well when you do it quickly. However, if he escapes you upward too quickly with his arms, then allow your blade drive around your head, so that your long edge comes forward on his arms, athwart through with an under cut, how the figure here after shows, however do not let go with your left hand from the hilt, rather thrust him from you with crossed hands.
+
| <p>This stuck goes well when you do it quickly. However, if he escapes you upward too quickly with his arms, then allow your blade drive around your head, so that your long edge comes forward on his arms, athwart through with an under cut, how the figure here after shows, however do not let go with your left hand from the hilt, rather thrust him from you with crossed hands.</p>
| Diß stuck gehet wol an wann du es in einer geschwinde machest / wischet er dir aber mit den Armen zubehendt ubersich / so laß dein klingen umbfahren umb dein Kopff / das dein Lange schneid / vornen an sein Arm kome uberzwerch durch einen Underhauw / wie das kleiner Bild in der Figur I. zur lincken hand außweist / aber laß die lincke hand nit vom Hefft / sonder stoß jhn von dir mit geschrenkten Henden.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/131|4|lbl=Ⅰ.55v.4}}
 
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|  
| '''To Plow and ox you are quick<br/>Threaten the cut at once against the target'''
+
| <p>To Plow and ox you are quick<br/>Threaten the cut at once against the target</p>
  
This verse is very clear, how the others also are, namely that you should quickly cut the Thwart to the Ox and Plow, to the lower and upper opening, to the left and right, nimbly crosswise, diagonally opposite to all four parts, how with other names, thus you will see the four openings, further reported hereafter, extensively.
+
<p>This verse is very clear, how the others also are, namely that you should quickly cut the Thwart to the Ox and Plow, to the lower and upper opening, to the left and right, nimbly crosswise, diagonally opposite to all four parts, how with other names, thus you will see the four openings, further reported hereafter, extensively.</p>
| '''[LVIrv] Zum Pflug und Ochssen bist behendt /<br/>Ihm trauw den Hauw bald wider endt.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/133|1|lbl=Ⅰ.56v.1}}
 
 
Der Reimen ist an im selber auch gar deutlich / wie auch die andern / Nemlich das du zu dem Ochssen und Pflug / das ist zur undern und obern Blöß / zu Linck und Recht / behendiglich kreutzweiß und ubereck Zwirchen solt / zu allen vier theilen / wie mit andern Häuwen / so in den vier Blössen hievor weitleuffiger gelehrt.
 
 
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| Next you will learn from the rhyme, how with the high cuts you shall deceive, thus you step forth, then position yourself with comportment and cut a powerful Thwart to his left, if he would go against your sword, whether from above or below, do not allow it to connect, but pull away again and Thwart cut to his right, against his head, you may also threaten him with the thwart to his lower left, then thwart from above.
+
| <p>Next you will learn from the rhyme, how with the high cuts you shall deceive, thus you step forth, then position yourself with comportment and cut a powerful Thwart to his left, if he would go against your sword, whether from above or below, do not allow it to connect, but pull away again and Thwart cut to his right, against his head, you may also threaten him with the thwart to his lower left, then thwart from above.</p>
 
|  
 
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|  
Line 2,529: Line 2,435:
 
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|  
| '''Item''' Threaten to the lower right, and cut to the lower left with this Thwart, thus you can also note that then when you go at his left with the Thwart, then at once to the right threaten but strike back to the left, where you firstly intended, from this knowledge you can pull the Thwart to both sides, crosswise and diagonally opposite. Threaten, then strike after your advantage how it pleases you and in the rough Zufechten there is no cut as safe as the Thwart.
+
| <p>'''Item''' Threaten to the lower right, and cut to the lower left with this Thwart, thus you can also note that then when you go at his left with the Thwart, then at once to the right threaten but strike back to the left, where you firstly intended, from this knowledge you can pull the Thwart to both sides, crosswise and diagonally opposite. Threaten, then strike after your advantage how it pleases you and in the rough Zufechten there is no cut as safe as the Thwart.</p>
 
|  
 
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|  
Line 2,535: Line 2,441:
 
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|  
| '''Note when the Thwart is executed with a spring,<br/>And you execute failing with it, it connects at your will'''
+
| <p>Note when the Thwart is executed with a spring,<br/>And you execute failing with it, it connects at your will</p>
  
Note in the Onset when you will deliver a Thwart to the upper left opening, then spring well out with it and also let your pommel go well upward, thus the Thwart goes deep at his head, especially when you disguise the gesture, you can also when he likewise does not perceive the spring until it has happened, and the Thwart has hit, but if he sees it and defends or parries you, then you shall cut to the lower and opposite corner.
+
<p>Note in the Onset when you will deliver a Thwart to the upper left opening, then spring well out with it and also let your pommel go well upward, thus the Thwart goes deep at his head, especially when you disguise the gesture, you can also when he likewise does not perceive the spring until it has happened, and the Thwart has hit, but if he sees it and defends or parries you, then you shall cut to the lower and opposite corner.</p>
| '''Merck was für Zwürch mit springen wirdt geführt /<br/>Auch fehlest mit / nach wüntschen rührt.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/133|2|lbl=Ⅰ.56v.2}}
 
 
Merck im zufechten / wann du zur Lincken obern Blöß zwirchen wilt / so spring zu solcher wol auff/ und laß auch den knopff wol ubersich gehen / so gehet die Zwirch tieff zum Kopff / sonderlich wann du die geberdt also verstellen kanst / auch gleich unversehens mit der Zwirch daher gesprungen bist / das er des sprungs nicht gewahr nimpt biß er geschehen / und die Zwirch getroffen hat ersicht ers aber unnd wehret oder versetzet solches / so trit eilents mit dem Lincken fuß gegen seiner Rechten seiten / unnd Zwirche ihm von deiner Lincken / mit gesenktem Leib zu seiner Rechten undern blöß / die hast du (wo er die erste zwirch versetzt hat) gewiß.
 
 
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| '''Item''' When you thus strike with the Thwart high at your opponent with a spring, and however you do not let it hit, but rather fail and run off beside his left and you strike in rapidly with the Thwart at another opening, then you will hit at your will. For before he thinks to parry the Thwart, you have hit elsewhere.
+
| <p>'''Item''' When you thus strike with the Thwart high at your opponent with a spring, and however you do not let it hit, but rather fail and run off beside his left and you strike in rapidly with the Thwart at another opening, then you will hit at your will. For before he thinks to parry the Thwart, you have hit elsewhere.</p>
| Item wann du also dem Mann in einem sprung hoch und tieff zuschlechst / mit der zwirch oder sonst einer flech / und last es aber nicht treffen / sonder neben seiner Lincken fehl lauffen / schlechst also in eil mit der Zwirch einer andern Blöß / so triffestu nach wunsch / dann ehe er sich besinnet die Zwirch zuversetzen / so hastu anderst wo getroffen / wo du anders solches mit gantzen Leib führest / das ist die geberdt zu solchem stuck recht brauchest.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/133|3|lbl=Ⅰ.56v.3}}
 
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| [[File:MS A.4º.2 28r.jpg|400px|center]]
 
| [[File:MS A.4º.2 28r.jpg|400px|center]]
| '''Double shall your Failer be done<br/>Likewise double the step and slice'''
+
| <p>Double shall your Failer be done<br/>Likewise double the step and slice</p>
  
The Failer is a good technique against the fencers who will gladly displace like in the previous Stück concerning the Thwart, then when you cut to an opening and note that he wishes to parry after, then allow your cut to fail and go by, and cut diagonal to another opening, Double failing is an artful technique and requires an experienced fighter as well, however I will present and describe here to you several double and single techniques from which you can learn many kinds of Failers.
+
<p>The Failer is a good technique against the fencers who will gladly displace like in the previous Stück concerning the Thwart, then when you cut to an opening and note that he wishes to parry after, then allow your cut to fail and go by, and cut diagonal to another opening, Double failing is an artful technique and requires an experienced fighter as well, however I will present and describe here to you several double and single techniques from which you can learn many kinds of Failers.</p>
| '''Doppel solt du den Fehler machen /<br/>Deß gleichen Trit und Schnit zwifachen.'''
+
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+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/133|4|lbl=Ⅰ.56v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/134|1|lbl=Ⅰ.57r.1|p=1}}
Der Fehler ist ein gut stuck gegen den Fechtern die gern versetzen / wie auch die vorige stuck auß der Zwirch / als wann du einer Blöß zuhauwest / und merckest das er dem Hauwe nach / versetzen / so laß du den Hauw fehl fürüber '''[LVIIr]''' lauffen / und schlechst einer andern Blöß zu / Doppel fehlen ist ein kunstreich stuck / unnd gehöret ein geübter Fechter darzu / aber ich will dir etliche stuck doppel unnd einfach hieher setzen und beschreiben / darauß du allerley fehler wol lernen kanst.
 
 
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| '''Item''' In the Zufechten send yourself into the Wrath guard to the right, as soon as he brings his sword in the air, then cut from your right with the long edge to his right side, by going over your head and with outstretched arms, but fail and drive the Thwart to his left, do not allow that to connect but rather go around the head again and cut with the long edge so that you swing in with the Flat to his right ear, now reverse, snap around and allow it to fly.
+
| <p>'''Item''' In the Zufechten send yourself into the Wrath guard to the right, as soon as he brings his sword in the air, then cut from your right with the long edge to his right side, by going over your head and with outstretched arms, but fail and drive the Thwart to his left, do not allow that to connect but rather go around the head again and cut with the long edge so that you swing in with the Flat to his right ear, now reverse, snap around and allow it to fly.</p>
| Im zufechten schick dich in die Zornhut zur Rechten / als bald er sein Schwerdt in die lufft bringt / so hauwe von deiner Rechten umb dein Kopff / mit Langer schneid und außgestreckten Armen / zu seiner Rechten seiten fehl durch / also das die Zwirch gewaltig in der lufft wider umbfleugt gegen seinem Lincken ohr / laß aber nit rühren / sonder zuck wider umb den Kopff / und hauwe mit Langer schneide das sich die flech dapffer einschwing zu seinem Rechten ohr / jetz verkehr / schnap umb laß verfliegen / und was dir für arbeit werden mag.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/134|2|lbl=Ⅰ.57r.2}}
 
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| '''Item''' In the Zufechten cut a long High cut to his upper left opening when you in the Zufechten, cut a long High Cut at his upper left opening, when you have almost connected with his blade above in the air with the cut, then change this High Cut into a Thwart, and strike him with the Thwart from below at his left ear or arm, that goes to both sides.
+
| <p>'''Item''' In the Zufechten cut a long High cut to his upper left opening when you in the Zufechten, cut a long High Cut at his upper left opening, when you have almost connected with his blade above in the air with the cut, then change this High Cut into a Thwart, and strike him with the Thwart from below at his left ear or arm, that goes to both sides.</p>
| Item im zufechten hauw ein langen Oberhauw / zu seiner Lincken obern Blöß / wann du mit dem Hauw oben in der Lufft schier an sein klingen rührest / so verwandle den Oberhauw in ein Zwirch / und schlag ihn mit der zwirch von Unden zu dem Lincken ohr / oder Armen / Dises seind die rechten Fechtstuck / darauß vil feiner stuck gefochten werden.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/134|3|lbl=Ⅰ.57r.3}}
 
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| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword K.jpg|center|400px]]
| '''A Failer with the False step'''
+
| <p>'''A Failer with the False step'''</p>
  
In the Zufechten deliver a lofty High Cut and when your blade almost connects with his blade, at once change the High Cut into a Thwart and at the same time as the Thwart step through to the side with your right foot, between you and him to his right side, at once allow your sword to snap around again and strike him with the short edge to his right ear so that your hands are crosswise, or cut after with the long edge and spring well out to his right side with this strike.
+
<p>In the Zufechten deliver a lofty High Cut and when your blade almost connects with his blade, at once change the High Cut into a Thwart and at the same time as the Thwart step through to the side with your right foot, between you and him to his right side, at once allow your sword to snap around again and strike him with the short edge to his right ear so that your hands are crosswise, or cut after with the long edge and spring well out to his right side with this strike.</p>
| '''Ein Fehler mit dem falschen Trit.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/134|4|lbl=Ⅰ.57r.4}}
 
 
IM zufechten hauwe einen hohen Oberhauw / und wann dein kling schier an sein Klinge ruhret /als bald verwandle den Oberhauw in ein Zwirch / und gleich mit der Zwirch trit mit deinem Rechten fuß zwischen dir und jhm beiseits durch / auff sein Rechte seiten / und hauw jhn under des durch solche Zwirch den ort zwischen seinen Armen zum Maul / wie du solches an den kleinern obern Bilder in hie nach getruckter Figur sehen kanst / als bald laß wider umb schnappen / und schlag ihn mit kurtzer schneide und gekreutzigten Henden wider umb zu seinem Rechten ohr / oder hauwe mit Langer schneide nach / doch spring mit solchem streich wol auff sein Rechte / beiseits auß.
 
  
 
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Line 2,584: Line 2,485:
 
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| '''Twice or Double failing'''
+
| <p>'''Twice or Double failing'''</p>
  
'''Item''' In the Zufechten, before you correctly come to him, thus cut through besides your right, so that your weapon shoots over in plunging, step on your way, with the right foot to him, let your sword drive around the head and pull a high strike from the Roof while in the air, but cross your hands, threaten to cut with the short edge, if he whisks this from him and will set on, thus wind you hand around again and convert your Crooked edge into a thwart, let the thwart also not proceed, but rather fail and run past, then strike the other, to his right side, that is double failing, these two failers will be accomplished in the air when you wind around his blade, yet you can terminate this therein when you will, to the displacing or in a winding, thus when he would reach to you, that you with your device would not like to come to him, but when you have deceived him, that he feels he must displace you, thus is the double failer very good and goes very quickly.
+
<p>'''Item''' In the Zufechten, before you correctly come to him, thus cut through besides your right, so that your weapon shoots over in plunging, step on your way, with the right foot to him, let your sword drive around the head and pull a high strike from the Roof while in the air, but cross your hands, threaten to cut with the short edge, if he whisks this from him and will set on, thus wind you hand around again and convert your Crooked edge into a thwart, let the thwart also not proceed, but rather fail and run past, then strike the other, to his right side, that is double failing, these two failers will be accomplished in the air when you wind around his blade, yet you can terminate this therein when you will, to the displacing or in a winding, thus when he would reach to you, that you with your device would not like to come to him, but when you have deceived him, that he feels he must displace you, thus is the double failer very good and goes very quickly.</p>
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/134|5|lbl=Ⅰ.57r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/136|1|lbl=Ⅰ.58r.1|p=1}}
 +
|
  
'''Item''' This is also called the double failer when you let it double or twice run off, to deceive him.
+
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| '''Zwifach oder doppel fehlen.'''
+
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+
| <p>'''Item''' This is also called the double failer when you let it double or twice run off, to deceive him.</p>
ITem im zufechten ehe du recht zu ihm kompst / so hauwe neben deiner Rechten durch / das dein Wehr überschiesse im sturtz / trit fürbaß mit dem rechten Fuß zu jhm / laß dein Schwerdt umb den Kopff fahren / und zuck ein '''[LVIIIr]''' hohen streich von dach in der lufft / aber verschrenck deine Hend / trauwe jhm mit der kurtzen schneiden zu schlagen / wischt er jhm nach und wil versetzen / so wend dein Hend wider umb / und verwandle dein Krumpschneide in ein Zwirch / laß die Zwirch auch nicht rühren / sonder füruber lauffen fehl / und schlag zur andern seiner Rechten seiten / das ist doppel gefehlt / dise zwen fehler werden gleich in der lufft sam du windest umb sein klingen in einem flug volbracht / doch kanstu abbrechen darinnen wann du wilt zur versatzung oder in ein verwenden / so er dich erreichen würde / das du mit deinem stuck nit zu ihm kommen möchst / wann du jhn aber darzu getrungen hast / das er dir versetzen muß / so ist der doppel fehler sehr gut / und gehet gar geschwindt zu. Item das heist auch doppelfehl wann einer doppel oder zweymal ablauffen lest / den Mann zuverführen.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/136|2|lbl=Ⅰ.58r.2}}
 
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| '''Another from the double Failer'''
+
| <p>'''Another from the double Failer'''</p>
  
In the Zufechten bring a high strike from your right and in the air, before it connects, thus wind the short edge against him, as if you would cut the Squinter cut, but don’t let the short edge connect either, but rather quickly fail and run off, and swing in to him with your weak, to his right ear with crossed arms, let it quickly fly around again, and fall on him with the slice to the next opening, or on his sword, from there to the body and on the arm.
+
<p>In the Zufechten bring a high strike from your right and in the air, before it connects, thus wind the short edge against him, as if you would cut the Squinter cut, but don’t let the short edge connect either, but rather quickly fail and run off, and swing in to him with your weak, to his right ear with crossed arms, let it quickly fly around again, and fall on him with the slice to the next opening, or on his sword, from there to the body and on the arm.</p>
| '''Ein anders auß dem doppel fehler.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/136|3|lbl=Ⅰ.58r.3}}
 
 
IM zufechten bring ein hohen streich von deiner Rechten und in der lufft / noch ehe dann es rühret / so verwende die kurtz schneide gegen jhm / sam du den Schielhauw wöllest hauwen / laß aber die kurtz schneide auch nicht rühren / sonder laß jhn einer behendt auch fehl lauffen / und schwinge jhm dein schwech zu seinem Rechten ohr / mit gekreutzigten Armen / laß behendt widerumb abfliegen / und fall jhme mit dem Schnit zur nechsten Blöß / oder an sein Schwerdt / von dannen zum leib und auff die Arm.
 
 
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| [[File:Meyer 1570 Longsword L.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword L.jpg|center|400px]]
| '''Counter to the Thwart'''
+
| <p>'''Counter to the Thwart'''
 
 
Mark when you have bound with one from above, or, at the same time, cut in with him, thus see if he would with the Thwart strike around, [and] thus come before with the Thwart under his blade, on his neck.
 
| '''Bruch auff die Zwirch.'''
 
  
MErck wann du mit einem von Oben bindest / oder gleich mit jhm einhauwest / so sihe ob er mit der Zwirch wöll umbschlagen / in dem er umbschlegt / so kome vor mit der zwirch under seiner klingen an sein halß / wie das grösser Bild in der Figur L. zur Lincken hand anzeiget.
+
<p>Mark when you have bound with one from above, or, at the same time, cut in with him, thus see if he would with the Thwart strike around, [and] thus come before with the Thwart under his blade, on his neck.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/136|4|lbl=Ⅰ.58r.4}}
 
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| [[File:Meyer 1570 Longsword N.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword N.jpg|center|400px]]
| Item, if he thwarts from under, so that you can't come from below thus catch his Thwart on your shield with diverting, so that your blade hangs over his.
+
| <p>Item, if he thwarts from under, so that you can't come from below thus catch his Thwart on your shield with diverting, so that your blade hangs over his.</p>
| Item zwircht er von Unden / das du darunder nicht kommen kanst / so fange sein Zwirch mit fürschieben / an dein Schilt / und stoß dein knopff oberhalb deinem rechten Arm wol von dir / unnd wendt jhm die Lange schneid aussen uber seiner kling von Unden auff zum Kopff / wie das grösser Bild in der Figur N. zur rechten hand außweiset.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/136|5|lbl=Ⅰ.58r.5}}
 
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| [[File:MS A.4º.2 29v.jpg|400px|center]]
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| rowspan="2" | [[File:MS A.4º.2 29v.jpg|400px|center]]
| '''From Stepping'''
+
| <p>'''From Stepping'''
  
In stepping is much concerned. Therefore, see that you give stepping to him with every one of the cuts, then when you cut to his openings and you don't step with the foot from which side you have cut, thus is the cut useless, but when you don't dare to give all to the cut, thus may you also not step fully, rather only with the gestures stand, when you do step, such you will better learn still, with practice.
+
<p>In stepping is much concerned. Therefore, see that you give stepping to him with every one of the cuts, then when you cut to his openings and you don't step with the foot from which side you have cut, thus is the cut useless, but when you don't dare to give all to the cut, thus may you also not step fully, rather only with the gestures stand, when you do step, such you will better learn still, with practice.</p>
  
Twice stepping is done like this, when you are stepping with your right to his left, this necessitates then that you still farther step around, thus step quickly with the left foot towards the right, behind your right foot beyond or past, before you have even set your left, you can step forth with the right, then Slice double, mark this following device:
+
<p>Twice stepping is done like this, when you are stepping with your right to his left, this necessitates then that you still farther step around, thus step quickly with the left foot towards the right, behind your right foot beyond or past, before you have even set your left, you can step forth with the right, then Slice double, mark this following device:</p>
  
If one cuts at you from his right, thus cut also from your right simultaneously, with the short edge and crossed hands, so that in this, the sword proceeds, thus step in with a double step with the right foot, quickly around to his left, and fall with your long edge on his arm, now set above, and if he drives upwards, and will not trouble you with the slice, thus follow after with an under slice on his arm, shove him from you how the figure nearby demonstrates, that is a proper and Old Cut and cuts down a Master with it.
+
<p>If one cuts at you from his right, thus cut also from your right simultaneously, with the short edge and crossed hands, so that in this, the sword proceeds, thus step in with a double step with the right foot, quickly around to his left, and fall with your long edge on his arm, now set above, and if he drives upwards, and will not trouble you with the slice, thus follow after with an under slice on his arm, shove him from you how the figure nearby demonstrates, that is a proper and Old Cut and cuts down a Master with it.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/138|1|lbl=Ⅰ.59r.1}}
 +
|
  
'''Item''' when you have Sliced one on the Arm, you may also part him through the Mouth with the slice.
+
|-
| '''[LIXr] Von Tritten.'''
+
| <p>'''Item''' when you have Sliced one on the Arm, you may also part him through the Mouth with the slice.
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/138|2|lbl=Ⅰ.59r.2}}
AM treten ist vil gelegen / darumb schauw das du einem jeden streich sein trit gebest / dann wañ du jhme zur blöß hauwest / und tritst nicht mit dem fuß / von welcher seiten du gehauwen hast / so ist der Hauw kein nutz / wan du aber den Hauw nicht gantz sonder nur trauwest zuhauwen / so darffestu auch nicht gantz treten / sondern mit geberden nur stellen / sam du trettest / doch wirt dich solches die übung besser lehren / Zwifach trit mach also / wan du mit deinen Rechten zu seiner Lincken treten bist / erfordert dann dein stuck das du noch ferner herumb treten must / so trit mit dem Lincken fuß dem Rechten nach / hinder dein Rechten hinauß oder füruber / ehe du dan den Lincken noch kaum setzest / kanst du mit dem Rechten fürt treten / den Schnit zwifachen / merck diß nachvolgendt stuck / Hauwet einer auff dich von seiner Rechten / so Hauwe auch von deiner Rechten gegen seinem streich / doch mit kurtzer schneide und gekreutzigten Henden / in dem die Schwerdter rühren / so trit in einem zwifachen trit mit dem rechten fuß behendiglich ferner umb sein Lincke zu ihm / und fall mit Langer schneid vom Schwerdt ab / auff sein Arm / jetz schrenck uber / fehrt er ubersich unnd wil den Schnit nit leiden / so folge ihm nach mit dem Underschnit in seine Arm / stoß ihn also mit deinem kreutz und schilt von dir ehe er sich erholt / Hauw nach. Das ist der recht alt Schnit / und gehört ein Meister darzu / Item wann du einem auff die Arm geschnitten hast von Oben / so magst ihm die schneide durchs Maul ziehen.
 
 
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| '''From the sword to the body, reverse with it,<br/>Twice, or slice on the weapon.'''
+
| <p>From the sword to the body, reverse with it,<br/>Twice, or slice on the weapon.</p>
  
This is the correct gloss for the previous verses, which tells you to wind twice or slice on the weapon.
+
<p>This is the correct gloss for the previous verses, which tells you to wind twice or slice on the weapon.</p>
  
Understand it thus: When you slice from the sword on to his arms, you shall at once reverse. If he then escapes you upward, then you shall pull or wind your pommel back out from under your arm; thus you reverse your sword back around. Slicing on the weapon is when the double reversing has failed you; then you shall chase after twice, and remain with the slice on his arms. If he defends this, then fall on his blade with the slice, and see that you hold him, do not let him come away without your advantage, but rather chase after always.
+
<p>Understand it thus: When you slice from the sword on to his arms, you shall at once reverse. If he then escapes you upward, then you shall pull or wind your pommel back out from under your arm; thus you reverse your sword back around. Slicing on the weapon is when the double reversing has failed you; then you shall chase after twice, and remain with the slice on his arms. If he defends this, then fall on his blade with the slice, and see that you hold him, do not let him come away without your advantage, but rather chase after always.</p>
| '''Vom Schwerdt zum Leib / damit verkehr/<br/>Zweimal / oder Schneid in die Wehr.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/138|3|lbl=Ⅰ.59r.3}}
 
 
Das ist die recht Glosse uber den vorigen Reimen / das aber sagt wind zweimal oder schneid in die Wehr / verstandt also / wann du vom Schwerdt auff sein Arm schneidest / soltu als bald verkehren / entwischt er dir dann ubersich / so soltu dein knopff / under deinem Arm wider herfür winden / so kehrt sich dein Schwerdt widerumb / In die Wehr Schneiden ist / wann dir das zweymal verkehren gefehlt / solt du zwifach nachreisen / mit dem Schnit auff den Armen bleiben / wehrt er das / so fall seiner kling zu mit dem Schnit / und schauw das du jhn ohn deei vortheil nit abkommen lassest / sondern reiss alwegen nach.
 
 
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| '''Chasing is extremely good,<br/>With slicing and winding protect yourself'''
+
| <p>Chasing is extremely good,<br/>With slicing and winding protect yourself</p>
  
Chasing is multiple and varied, and should be done with great cautiousness against fencers who fight with long and free cuts, and have no proper art.
+
<p>Chasing is multiple and varied, and should be done with great cautiousness against fencers who fight with long and free cuts, and have no proper art.</p>
  
Do it thus: In the Zufechten, when you approach him with your left foot forward and you hold your sword in the Roof guard, if he cuts long from above at your head, then do not displace him, but rather see that you escape from him with your head and sword, so that he does not connect, but let him fail, in this he falls with his sword and cut to the ground, below you, then step quickly with the right foot close to him and cut in forcefully from above to his head before he recovers or comes up again, if he however drives up quickly and displaces, then remain hard on his sword and feel if he goes through strongly upwards, thus allow your sword quickly to be soft and go upwards, step and cut around with a thwart to his right.
+
<p>Do it thus: In the Zufechten, when you approach him with your left foot forward and you hold your sword in the Roof guard, if he cuts long from above at your head, then do not displace him, but rather see that you escape from him with your head and sword, so that he does not connect, but let him fail, in this he falls with his sword and cut to the ground, below you, then step quickly with the right foot close to him and cut in forcefully from above to his head before he recovers or comes up again, if he however drives up quickly and displaces, then remain hard on his sword and feel if he goes through strongly upwards, thus allow your sword quickly to be soft and go upwards, step and cut around with a thwart to his right.</p>
| '''[LIXv] Nachreisen ist außbindig gut /<br/>Mit Schneiden / Winden dich behut.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/139|1|lbl=Ⅰ.59v.1}}
 
 
Nachreisen ist vil und mancherley / und gehöret zu treiben mit grosser fürsichtigkeit / gegen den Fechtern die da ohn alle kunst mit langen Häuwen umb sich Fechten / die treib also / wann du im zufechten zu jhm kompst / mit dem Lincken fuß vor / und dein Schwerdt im Tag heltest / Hauwet er auff dich von Oben lang zu deinem Kopff / so versetze jhm nicht / sondern schauw wie du jhm entfallest mit dem Kopff unnd Schwerdt / under seiner klingen dieweil die noch in der lufft herfleuget / durch / gegen der andern seiten / das er der keins rühret / laß ihn also verfehlen / in dem er mit seinem Schwerdt und Hauw noch undersich fellet gegen der Erden / so Hauwe jm listiglich unnd behend in gemeltem durchtreten von Oben hinein zum Kopff und das ehe er sich erholet oder wider ubersich kompt / fehrt er aber so behend ubersich / also das er dir versetzet / so bleib hart auff seinem Schwerdt / und füle eben / ob er starck ferner ubersich tringt / so laß dein Scwerdt behend ubersich doch leiß außgehen / trit unnd schlag mit der Zwirch umb zu seiner Rechten.
 
 
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| [[File:MS A.4º.2 31v.jpg|400px|center]]
 
| [[File:MS A.4º.2 31v.jpg|400px|center]]
| '''Item''' If one binds on to you from his right, thus pay attention when he strikes around, thus follow after him with the Slice on his arms to his right.
+
| <p>'''Item''' If one binds on to you from his right, thus pay attention when he strikes around, thus follow after him with the Slice on his arms to his right.</p>
  
'''Item''' If you stand in the guard of the Fool, and he falls on your sword with his own before you come up, then remain below on his sword, and heft upwards; feel meanwhile whether he in the displacing, intends to execute a cut or winding against you, if so, then do not let him come away from your sword, but pursue him, and work meanwhile to the nearest opening.
+
<p>'''Item''' If you stand in the guard of the Fool, and he falls on your sword with his own before you come up, then remain below on his sword, and heft upwards; feel meanwhile whether he in the displacing, intends to execute a cut or winding against you, if so, then do not let him come away from your sword, but pursue him, and work meanwhile to the nearest opening.</p>
  
Also note that chasing is when an opponent goes too high upward, and you chase him below either with cutting or slicing as he draws up for the stroke; likewise if he strays too wide to the side, and you chase his weapon to the opening from above.
+
<p>Also note that chasing is when an opponent goes too high upward, and you chase him below either with cutting or slicing as he draws up for the stroke; likewise if he strays too wide to the side, and you chase his weapon to the opening from above.</p>
  
And in all chasing, if he escapes you, be sure to turn your long edge against his weapon; and take good heed of the slice, for with it you can force him out of all his work.
+
<p>And in all chasing, if he escapes you, be sure to turn your long edge against his weapon; and take good heed of the slice, for with it you can force him out of all his work.</p>
| Item bindt einer auff dich von seiner Rechten / so hab acht wann er umbschlegt / so folge jhm mit dem Schnit nach auff sein Arm zu seiner Rechten / Oder stehest du in der Hut / und er fellet dir auff dein Schwerdt mit dem seinen ehe du auff kommest / so bleib also unden an seinem Schwerdt / und heb ubersich / füle in dessen ob er dir dann auß der verzatzung ein Hauwe oder Winden machen wölle so laß jhn von deinem Schwerdt nicht kommen / sonder volge jhme daran nach / unnd arbeite in des zur nechsten Blöß / auch merck das Nachreisen ist / wann einer zu hoch ubersich fehret / das du jhme unden in dem er auffzeucht zum streich Nachreisest / es sey mit Hauwen oder Schneiden / deßgleichen verfehrt er sich auch zu weit auff die seiten / so reiß jhme auch seiner Wehr nach zur Blöß von Oben / in allem Nachreisen aber so hab acht wo er dir entgienge / das du die Lange schneide gegen seinem Wehr wendest / unnd nimb des Schnits wol war / dann damit kanstu ihn zwingen auß aller seiner arbeit.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/139|2|lbl=Ⅰ.59v.2}}
 
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| '''Some twice or more<br/>Let it fly, begin with it'''
+
| <p>Some twice or more<br/>Let it fly, begin with it'''
  
That is, you should pay attention, when you are laying on against him with the slice, that you shall not allow him free, but rather once or twice follow after with the slice and with this hinder him in his work and intentions, then when he least expects it, thus you should artfully fly away to the nearest opening before he realizes it. This is a true master’s Stück; and begin with it, that is:
+
<p>That is, you should pay attention, when you are laying on against him with the slice, that you shall not allow him free, but rather once or twice follow after with the slice and with this hinder him in his work and intentions, then when he least expects it, thus you should artfully fly away to the nearest opening before he realizes it. This is a true master’s Stück; and begin with it, that is:</p>
| '''Bey zweimalen oder darinnen /<br/>Verfliegen laß / damit begüne.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/139|3|lbl=Ⅰ.59v.3}}
  
'''[LXr]''' Das ist du solt acht haben / wann du jhm mit dem Schnit auffgesessen bist / das du jhn nit gleich ledig solt lassen / sondern einmal oder zwey mit dem Schnit nachvolgen / unnd jhn damit an seiner arbeit und stuck verhindern / wann er sich dann am wenigsten versihet soltu listig jhme unmercklich ehe ers gleich gewahr wirt / mit dem Schwerdt entfliegen / einer andern der nechsten Blöß zu / ist ein recht Meisterstücklein / damit begine das ist.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/140|1|lbl=Ⅰ.60r.1}}
 
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| '''Send the hits to all four targets,<br/>Learn the pullings, you will deceive them'''
+
| <p>Send the hits to all four targets,<br/>Learn the pullings, you will deceive them</p>
 
 
You must be well versed in the four openings, if you will fight certainly, then you fight with whatever Stücken and cuts, as good as they may be, if you do not know how to cut off with each one to every quarter, and to mutate the intended Stück, by transforming it into other convenient work, from what he fights against you and how he meets your Stücken, then it can happen that you will take forth with one device to a particular opening, and yet he sends himself against you such that you can have another closer opening, this opportunity will escape you, if you execute your intended Stücken without happening to notice other opportunities, therefore be diligent where you may at once fight by flying freely to the four openings. Because you have only three ways to cut and strike, that is with the long and short edge, and with the flat, from which together, all fencing is composed of, and targeting to the four divisions of the opponent; from which are given all other fortuitous techniques, like pulling, doubling, running off. Thus take note of the following divisions and cuts, that you correctly make your cuts opposite and crosswise to each other.
 
| '''Zu allen vier enden treib die treffen /<br/>Die zucken lern / wiltu sie effen.'''
 
  
Der vier Blössenen mustu wol bericht sein / wilt du anderst etwas gewisses Fechten / dann du fichtest für häw und stuck so gut sie wollen / wann du nicht in einem jeden quatier weist ab zubrechen / unnd die fürgenommene stuck zu mutieren / in andere füglichere arbeit verwandelen / jhe nach dem er gegen dir ficht/ unnd deinen stucken begegnet / dann es kan geschehen das du ein stuck dir fürnimbst / einer Blöß zu / und aber er sich so gegen dir schickt das du ein andere nehere Blöß haben kanst / welche gelegenheit dir entgienge / so du dein fürgenommen stuck also ohne auffmerckens anderer zufelliger gelegenheit zufechtest / darumb fleiß dich das du bald bedacht seyest / zu allen vier Blössen frey fliegent zufechten / Dieweil du der arten nur dreyerley hast zuhauwen und zuschlagen / als mit Langer und kurtzer schneide / unnd mit der flech / von welchen alles Fechten zusamen Componiret / nach den vier theilen das Manns gerichtet / auß welchen sich dann all andere zufellige stuck als Zucken / Doplieren / Ablauffen / geben / davon hievor gnugsam gehandlet.
+
<p>You must be well versed in the four openings, if you will fight certainly, then you fight with whatever Stücken and cuts, as good as they may be, if you do not know how to cut off with each one to every quarter, and to mutate the intended Stück, by transforming it into other convenient work, from what he fights against you and how he meets your Stücken, then it can happen that you will take forth with one device to a particular opening, and yet he sends himself against you such that you can have another closer opening, this opportunity will escape you, if you execute your intended Stücken without happening to notice other opportunities, therefore be diligent where you may at once fight by flying freely to the four openings. Because you have only three ways to cut and strike, that is with the long and short edge, and with the flat, from which together, all fencing is composed of, and targeting to the four divisions of the opponent; from which are given all other fortuitous techniques, like pulling, doubling, running off. Thus take note of the following divisions and cuts, that you correctly make your cuts opposite and crosswise to each other.</p>
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/140|2|lbl=Ⅰ.60r.2}}
 
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| rowspan="2" | [[File:MS A.4º.2 31v.jpg|400px|center]]
 
| rowspan="2" | [[File:MS A.4º.2 31v.jpg|400px|center]]
| In the onset cut with your long edge to his left ear, as soon as this clashes or connects, pull around your head and cut the next also with the long edge, to his lower right opening, then third, to his lower left opening the fourth to his upper right opening, these 4 cuts should go quickly from one into another, And all strikes should be well to the body, also you should do these cuts with the short edge, to the four openings of the man
+
| <p>In the onset cut with your long edge to his left ear, as soon as this clashes or connects, pull around your head and cut the next also with the long edge, to his lower right opening, then third, to his lower left opening the fourth to his upper right opening, these 4 cuts should go quickly from one into another, And all strikes should be well to the body, also you should do these cuts with the short edge, to the four openings of the man.</p>
 
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|-  
| '''Item''', thus also with the Flat, note that you cut with close hand to his left and to the right, inside with your hand this is from under or above, you may change through or reverse on him, to your own opportunity, then you cut the first from under to his right, the second to the upper left, the third to his upper right and the fourth to his lower left, when you cut these four strikes together into one another, you can in the very beginning or onset, deftly change off and pull them how it pleases you.
+
| <p>'''Item''', thus also with the Flat, note that you cut with close hand to his left and to the right, inside with your hand this is from under or above, you may change through or reverse on him, to your own opportunity, then you cut the first from under to his right, the second to the upper left, the third to his upper right and the fourth to his lower left, when you cut these four strikes together into one another, you can in the very beginning or onset, deftly change off and pull them how it pleases you.</p>
 
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Line 2,705: Line 2,600:
 
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| Similarly when you come with the thwart strike against one another over-handed, it is with the long, short or flat. When you do these four cuts and have learned to strike also to the four openings, thus learn also pulling, threatening, failing and then know the same from these following writings; step and cut to his upper left opening, but do not let this hit, rather when you come merely on his sword with this strike, then pull off again to a flight, and strike him to his lower right opening and cut or strike still to him the first confidently to his upper openings to the left, thus you may pull and fail with them to all 4 openings Crosswise and athwart above, also your benefit is to learn the Circle cut, this is an Over and under cut together on one side, short and long and with the flat from such is known in the first assault, cut a long High cut to his left ear, and when this clashes thus pull both cuts upwards so that your Pommel comes through under your right, and cut with the long edge from under to his left. Step Indes with your left foot behind yours and come with the hilt high above your head. And still again then cut the first an undercut with the Long edge to his lower opening with a step to of your right foot, quickly pull upwards besides your right and cut the other from above to his left, with a back-step of your left foot behind your right, so that you stand covered behind your blade.
+
| <p>Similarly when you come with the thwart strike against one another over-handed, it is with the long, short or flat. When you do these four cuts and have learned to strike also to the four openings, thus learn also pulling, threatening, failing and then know the same from these following writings; step and cut to his upper left opening, but do not let this hit, rather when you come merely on his sword with this strike, then pull off again to a flight, and strike him to his lower right opening and cut or strike still to him the first confidently to his upper openings to the left, thus you may pull and fail with them to all 4 openings Crosswise and athwart above, also your benefit is to learn the Circle cut, this is an Over and under cut together on one side, short and long and with the flat from such is known in the first assault, cut a long High cut to his left ear, and when this clashes thus pull both cuts upwards so that your Pommel comes through under your right, and cut with the long edge from under to his left. Step Indes with your left foot behind yours and come with the hilt high above your head. And still again then cut the first an undercut with the Long edge to his lower opening with a step to of your right foot, quickly pull upwards besides your right and cut the other from above to his left, with a back-step of your left foot behind your right, so that you stand covered behind your blade.</p>
 
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Line 2,711: Line 2,606:
 
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| '''Stück'''
+
| <p>'''Stück'''
  
Item, Pull from your right a high strike to his left, but in the air, cross your hands and strike with the half edge to his left ear, Pull your hands again upwards, and strike with a Thwarter again from below to his left ear, thus also still again cut the Thwart from below to his left, with a step to Quickly pull upwards besides your right and thrust rapidly your pommel through under your right arm, and wind then with crossed hands again from your upper right in to his left, for this known strike, is also with the Flat from below and above together on one side, that goes for both sides and mark when you strike to the lower right opening, this is long or short, thus your cut comes crosswise and opposite but to the upper openings you come not crosswise, but like in the old Schielhau, thus step to him and shoot before through and strike with the half edge from you left to his right, not crossed, but over you right hand, pull nimbly again above you towards your left and cross your hands in the air, strike him with crossed hands to his lower openings from your left, in this, show that your head is well behind your blade, some twice or three times to his right thus you come also with the flat and long edge from under and above besides his right to his strikes, how it is taught, like when you connect above but quickly cut low.
+
<p>Item, Pull from your right a high strike to his left, but in the air, cross your hands and strike with the half edge to his left ear, Pull your hands again upwards, and strike with a Thwarter again from below to his left ear, thus also still again cut the Thwart from below to his left, with a step to Quickly pull upwards besides your right and thrust rapidly your pommel through under your right arm, and wind then with crossed hands again from your upper right in to his left, for this known strike, is also with the Flat from below and above together on one side, that goes for both sides and mark when you strike to the lower right opening, this is long or short, thus your cut comes crosswise and opposite but to the upper openings you come not crosswise, but like in the old Schielhau, thus step to him and shoot before through and strike with the half edge from you left to his right, not crossed, but over you right hand, pull nimbly again above you towards your left and cross your hands in the air, strike him with crossed hands to his lower openings from your left, in this, show that your head is well behind your blade, some twice or three times to his right thus you come also with the flat and long edge from under and above besides his right to his strikes, how it is taught, like when you connect above but quickly cut low.</p>
 
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Line 2,719: Line 2,614:
 
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| [[File:MS A.4º.2 36r.jpg|400px|center]]
 
| [[File:MS A.4º.2 36r.jpg|400px|center]]
| '''Item''' threaten to him from above with a Quick strike, or cut in at him from above, and if he slips after, then pull up the cut and drive with your under cut to the same side, from this work arises the winding on the sword, namely when you have bound on his sword from your right to his left, then remain hard on his blade, thrust through with the pommel under your right arm through remain thus in advance on his sword and jerk your pommel again for the purpose of winding him again outside to his head, thus you find also three kinds, namely winding outwards and inwards short edge to both sides and you should know that I have not put them here for just any particular reason.
+
| <p>'''Item''' threaten to him from above with a Quick strike, or cut in at him from above, and if he slips after, then pull up the cut and drive with your under cut to the same side, from this work arises the winding on the sword, namely when you have bound on his sword from your right to his left, then remain hard on his blade, thrust through with the pommel under your right arm through remain thus in advance on his sword and jerk your pommel again for the purpose of winding him again outside to his head, thus you find also three kinds, namely winding outwards and inwards short edge to both sides and you should know that I have not put them here for just any particular reason.</p>
 
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Line 2,725: Line 2,620:
 
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| '''Also execute slicing off and slinging,<br/>Send away the hard dangers with the slice.'''
+
| <p>Also execute slicing off and slinging,<br/>Send away the hard dangers with the slice.</p>
  
When you thus allow your Stücken to run to all four openings, how you are taught here with this same, then also pay attention to his course, that is to his Stücken, so that you are strong on him and slice off against him according to opportunity; thus hinder and slice off his devices, until you see opportunity for other work. The danger is the strikes from both sides; will you displace by slicing them off, then see that you overlook no opportunity, and also do not slice too wide from his body, so that he does not go through against you.
+
<p>When you thus allow your Stücken to run to all four openings, how you are taught here with this same, then also pay attention to his course, that is to his Stücken, so that you are strong on him and slice off against him according to opportunity; thus hinder and slice off his devices, until you see opportunity for other work. The danger is the strikes from both sides; will you displace by slicing them off, then see that you overlook no opportunity, and also do not slice too wide from his body, so that he does not go through against you.</p>
| '''Abschneiden / Schlaudern bring auch mit /<br/>Die herten gefehrt weiß ab mit Schnit.'''
+
|
 
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/140|1|lbl=Ⅰ.60r.1|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/141|1|lbl=Ⅰ.60v.1|p=1}}
Wann du nun also deine stuck zu all vier Blössenen lauffen last / wie hievor gelehret / so hab gleich auch mit achtung auff seinem lauff / das ist auff sein stuck / also das du jhme die nach gelegenheit steckest unnd abschneidest / darumb so hindere unnd schneide ihm sein stuck also lang ab / biß du dein gelegenheit ersihest zur andern arbeit / Die [LXv] zwey gefert seind die streich von beiden seiten / wann du sie abschneidest / so schauw das du kein gelegenheit versehest / und schneid auch nicht zu weit von seinem leib / das er dir nicht durchgang.
 
 
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| Of the Slinging take heed as soon as he makes one of his sides open, thus rush in from under with the flat to his ear, cut nimbly again low to the opening or let it shoot up above and drive under his blade.
+
| <p>Of the Slinging take heed as soon as he makes one of his sides open, thus rush in from under with the flat to his ear, cut nimbly again low to the opening or let it shoot up above and drive under his blade.</p>
| Des Schlauderns aber nim war / so bald er eine seiten bloß gibt / so rausch von Unden auff mit der flech an seine ohren / schneid behend wider nider zur Blöß / vom Schlaudern besihe ferner das erste theil im Capitel von der Handarbeit.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/141|2|lbl=Ⅰ.60v.2}}
 
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| rowspan="2" | [[File:MS A.4º.2 38r.jpg|400px|center]]
 
| rowspan="2" | [[File:MS A.4º.2 38r.jpg|400px|center]]
| '''Do not rely too much on the Crown,<br/>You will tend to get harm and shame from it'''
+
| <p>Do not rely too much on the Crown,<br/>You will tend to get harm and shame from it</p>
  
Note when you displace with the horizontal cross guard, high up over your head, that is called the Crown. When you see that an opponent will run under your High Cut with the Crown, then do not let your High Cut actually connect, but rather pull the cut from him, that he drives out in vain, and cut with the long edge a middle cut athwart to his arm or wrist, this same thing thus you mark that when one who will gladly drive out and displace high, thus conduct yourself with comportment like you would cut high, do not complete this, but rather strike nimbly around to the lower openings with the Thwart, using flat or long edge or behind his arms to the ears you have it known.
+
<p>Note when you displace with the horizontal cross guard, high up over your head, that is called the Crown. When you see that an opponent will run under your High Cut with the Crown, then do not let your High Cut actually connect, but rather pull the cut from him, that he drives out in vain, and cut with the long edge a middle cut athwart to his arm or wrist, this same thing thus you mark that when one who will gladly drive out and displace high, thus conduct yourself with comportment like you would cut high, do not complete this, but rather strike nimbly around to the lower openings with the Thwart, using flat or long edge or behind his arms to the ears you have it known.</p>
| '''Verlaß dich nicht zuvil auff d Kron /<br/>Du hast sonst von jhr schad und hon.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/141|3|lbl=Ⅰ.60v.3}}
 
 
Merck wann du mit uberzwerchem kreutz hoch uber deinem Haupt versetztest / das heist die Kron / wann du merckest das dir einer dein Oberhauw underlauffen will mit der Kron / so laß deinen Oberhauw nit gar rühren / sonder verzuck in dem Hauw / auff das er vergebens aufffehrt / und Hauwe mit Langer schneide / ein uberzwerchen Mittelhauw / zu seinen Armen oder Spindel / so du ihn lehmen wilt / Der halben als offt du merckest das einer gern hoch aufffehret zuversetzen / so stelle dich mit geberden sam du hoch woltest hauwen / thus aber nicht / sondern schlag behendt umb zur undern Blöß / mit der Zwirch / flech oder langer schneide / Summa wer dir krönen will dem mach ein Fehler.
 
 
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| The Crown Strike is done thus; If one cuts at you from above, thus strike with the flat likewise and together with him to his left ear, so that your long edge connects in on his blade, and your corner on your short edge travels, thus strike your cross athwart, and hold your hand high above the head nearly like with the squinter cut and allow this nimbly to snap around again to the lower openings.  
+
| <p>The Crown Strike is done thus; If one cuts at you from above, thus strike with the flat likewise and together with him to his left ear, so that your long edge connects in on his blade, and your corner on your short edge travels, thus strike your cross athwart, and hold your hand high above the head nearly like with the squinter cut and allow this nimbly to snap around again to the lower openings.</p>
 
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Line 2,756: Line 2,648:
 
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| Item Have diligence when you attack that you will sling to the high-cut or Zwerch strike, where he lets you shoot, see that you don't sling it, but rather fall off again.
+
| <p>Item Have diligence when you attack that you will sling to the high-cut or Zwerch strike, where he lets you shoot, see that you don't sling it, but rather fall off again.</p>
 
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Line 2,762: Line 2,654:
 
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| [[File:Meyer 1570 Longsword B.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword B.jpg|center|400px]]
| '''Strike powerfully through with the Long point<br/>Therewith hold off all hard dangers'''
+
| <p>Strike powerfully through with the Long point<br/>Therewith hold off all hard dangers</p>
  
Stand with the left foot forwards and strike him from your right through his face, that the half edge goes forth once to four times nimbly one after another, thus you drive on to him, then attack to him from under and whether it is with Zwerch or Long edge, mark when you thus have slashed up to him, thus take heed when he strikes at you from above and from his right side, then wind him by slashing out your long edge against his blade so that it stays somewhat athwart, your point upwards and to his left. step at once with the left foot to his left and thrust the pommel instantly under your arm, cut in with the short edge with skidding behind his blade to his head step likewise with your right foot after and around his left and jerk the pommel again therefore, so that you stand with the sword in the Zwerch or in Hanging point.
+
<p>Stand with the left foot forwards and strike him from your right through his face, that the half edge goes forth once to four times nimbly one after another, thus you drive on to him, then attack to him from under and whether it is with Zwerch or Long edge, mark when you thus have slashed up to him, thus take heed when he strikes at you from above and from his right side, then wind him by slashing out your long edge against his blade so that it stays somewhat athwart, your point upwards and to his left. step at once with the left foot to his left and thrust the pommel instantly under your arm, cut in with the short edge with skidding behind his blade to his head step likewise with your right foot after and around his left and jerk the pommel again therefore, so that you stand with the sword in the Zwerch or in Hanging point.</p>
| '''Den Langen ort durch streich mit gewalt /<br/>Damit all harte gefehrt auffhalt.'''
+
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+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/141|4|lbl=Ⅰ.60v.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/142|1|lbl=Ⅰ.61r.1|p=1}}
Standt mit dem Lincken fuß vor / unnd streich von deiner Rechten dem Mann durch sein gesicht / das die halb schneide vorgehet / ein mal oder vier behendt auff einander / so bald du jhn aufftreibest / so greiff jhn unden zu an / es sey mit Zwirch oder Langer schneid / und merck wann du also gegen jhm auffstreichest / so nim war / wan er von deiner Rechten auff dich Hauwet von Oben / so wend im auffstreichen dein Lange schneide gegen seiner klingen / und fang seinen Hauw in der lufft / in die sterck deines Schwerds / das dein kling etwas uberzwerch stande / dein ort gegen seiner Lincken ubersich auß / trit bald mit dem Lincken fuß zu seiner Lincken / und stoß dein knopff in des '''[LXIr]''' under dein Rechten arm durch / schlag jhn mit der kurtzen schneide mit abrützten hinder seiner klingen zum Kopff / wie dich der boß zur Lincken hand in der Figur mit dem B. verzeichnet lehrt / trit gleich mit deinem Rechten fuß wol; gegen seiner Lincken / rucke den knopff behend wider herfür / das du mit deinem Schwerdt in der Zwirch standest / oder im hengeten ort.
 
 
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| '''Item''' When one cuts a High cut to you from his right, thus capture him in the air with an opposing cut, striking out, from your right, with the long edge in that when it connects, thus strike around with the Zwerch to his left Ear, this goes also to both sides. Mark when you thus have laid on in the long-point, then you have the setting off to the 4 windings, which goes to all sides, namely if he cuts from above, thus strike from under on his sword, and if he remains bound hard search instantly with winding flicking, Mark also instantly and feel when he will go away thus at once when he goes away around to strike, thus flick at him from above over his arm with wound blade, that the long edge smartly stays against his blade, cut nimbly around with the flat against the upper quadrants to the next opening, if its seen that as soon as you again are on his blade, he cuts at you from above, thus bar him from above it is with setting off or setting on, thus as often as it clashes so you are nimbly attentive to the next opening.
+
| <p>'''Item''' When one cuts a High cut to you from his right, thus capture him in the air with an opposing cut, striking out, from your right, with the long edge in that when it connects, thus strike around with the Zwerch to his left Ear, this goes also to both sides. Mark when you thus have laid on in the long-point, then you have the setting off to the 4 windings, which goes to all sides, namely if he cuts from above, thus strike from under on his sword, and if he remains bound hard search instantly with winding flicking, Mark also instantly and feel when he will go away thus at once when he goes away around to strike, thus flick at him from above over his arm with wound blade, that the long edge smartly stays against his blade, cut nimbly around with the flat against the upper quadrants to the next opening, if its seen that as soon as you again are on his blade, he cuts at you from above, thus bar him from above it is with setting off or setting on, thus as often as it clashes so you are nimbly attentive to the next opening.</p>
 
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Line 2,778: Line 2,669:
 
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| '''Another Stuck'''
+
| <p>'''Another Stuck'''</p>
  
Strike the opponent powerfully through his face, upwards step through the strike after to your opponent with your right foot and leave your sword slide around and set him the first in his chest, Zwerch his arms defend yourself with the strong over your hands, and mark in this, then as soon as he makes his sword too wide in the Long-point, thus lay on with the point outside and over his arm.
+
<p>Strike the opponent powerfully through his face, upwards step through the strike after to your opponent with your right foot and leave your sword slide around and set him the first in his chest, Zwerch his arms defend yourself with the strong over your hands, and mark in this, then as soon as he makes his sword too wide in the Long-point, thus lay on with the point outside and over his arm.</p>
 
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Line 2,786: Line 2,677:
 
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|-  
 
| [[File:Meyer 1570 Longsword O.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword O.jpg|center|400px]]
| '''Item''' Strike out before him and allow your sword to fly above besides your left, step and cut from your right from under at his arm, if he displaces this, thus wind and go through with the Grip and cast with your pommel outwards over his right arm, let go with your left hand from your grip, and grab therewith your blade to help the right, cut him with the long edge on his head.
+
| <p>'''Item''' Strike out before him and allow your sword to fly above besides your left, step and cut from your right from under at his arm, if he displaces this, thus wind and go through with the Grip and cast with your pommel outwards over his right arm, let go with your left hand from your grip, and grab therewith your blade to help the right, cut him with the long edge on his head.</p>
| Item streich vor jhm auff / und laß dein Schwerdt oben umbfliegen neben deiner Lincken / trit und Hauw von deiner Rechten / von unden gewaltig zu seinem Arm / versetzt er / so wind unden durch mit deinem hefft / und greiff mit deinem Knopff aussen uber seinen Rechten arm / laß dein lincke hand von dem Hefft / begreiff damit dein kling zu hilff der Rechten / schlag jhn mit Langer schneid auff sein Kopff / wie dich solches die bossen in der figur O. zur Rechten hand anzeigen.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/142|2|lbl=Ⅰ.61r.2}}
 
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|  
  
 
|-  
 
|-  
 
|  
 
|  
| '''The Blind-cut you should let rebound<br/>Cast around the Thwart, have diligence to the flicking'''
+
| <p>The Blind-cut you should let rebound<br/>Cast around the Thwart, have diligence to the flicking</p>
  
Slash him with the Long-point in his face, step and pull your sword around your head and strike with the inside flat from your right to his left through the middle line, take your head well out and wind around nimbly again on his Sword with the outside flat also to his left ear.
+
<p>Slash him with the Long-point in his face, step and pull your sword around your head and strike with the inside flat from your right to his left through the middle line, take your head well out and wind around nimbly again on his Sword with the outside flat also to his left ear.</p>
| '''Den Blendthau soltu lassen bröllen /<br/>Umbwirff die Zwirch / fleiß dich des schnellen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/142|3|lbl=Ⅰ.61r.3}}
 
 
Streich den Langen ort in sein gesicht / trit und zucke dein Schwerdt umb den Kopff / und schlag mit inwendiger flech von deiner Rechten / zu seinem Lincken ohr / durch die mittel Lini / nim den Kopff wol mit / und windt behendt an seinem Schwerdt wider umb die außwendige flech / auch zu seinem Lincken.
 
 
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|  
  
 
|-  
 
|-  
 
| [[File:MS A.4º.2 40r.jpg|400px|center]]
 
| [[File:MS A.4º.2 40r.jpg|400px|center]]
| '''Over-gripping'''
+
| <p>'''Over-gripping'''</p>
Mark thusly when one binds on you from the right thus he presses weakly from you with the slice, with the sword, thus grab with your hand on your shield and cast with your blade over his both hands downwards and to your right, press the pommel from you.
+
 
 +
<p>Mark thusly when one binds on you from the right thus he presses weakly from you with the slice, with the sword, thus grab with your hand on your shield and cast with your blade over his both hands downwards and to your right, press the pommel from you.</p>
 
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Line 2,809: Line 2,699:
 
|-  
 
|-  
 
|  
 
|  
| '''A Sword Taking'''
+
| <p>'''A Sword Taking'''</p>
Mark when one strongly binds to you on the blade, so remove your left hand from the pommel and grab there with both Blades in the middle, and drive with the haft or pommel over besides his both arms, Pull to you, thus must he lose his sword.
+
 
 +
<p>Mark when one strongly binds to you on the blade, so remove your left hand from the pommel and grab there with both Blades in the middle, and drive with the haft or pommel over besides his both arms, Pull to you, thus must he lose his sword.</p>
 
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Line 2,817: Line 2,708:
 
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| '''Die hengen soltu weißlich bringen /<br/>Greiff nicht zu unzeit wiltu Ringen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/142|4|lbl=Ⅰ.61r.4}}
 
 
Das ist so jhr beid einander eingelauffen seind / solt du dich des angreiffens gewiß machen / wann du anders ringen wilt / dann mit einem griff (so du fehlst) kanst du dich in gefahr geben / von welcher du dich ohn schaden kaum retten kanst.
 
 
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Line 2,825: Line 2,714:
 
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| '''Von disem Greiffen und Ringen / merck dise folgende exempel / under welchen das erste auß dem Oberhauw genomen.'''
+
|  
IM zufechten / führe dein Schwerdt mit außgestreckter klingen vor her / das der vorder ort gegen seinem gesicht auß standt / als bald du jhn also erlangen kanst / so laß dein klingen von seinem gesicht gegen deiner Lin'''[LXIv]'''cken undersich sincken / zuck hiemit dein Schwerdt mit hangender klingen umb deinen Kopff / und Hauwe in einem zusprung / ein hohen und gewaltigen streich gegen seinem Lincken ohr / so bald der hauw getroffen / als bald zucke dein Klingen gerad ubersich ab / und bleib also mit den henden hoch uber deinem Kopff / die Klingen aber lasse hiemit neben deiner Lincken seiten undersich sincken / zu einem Underhauw gegen seinem Rechten Arm / underdeß sencke dich mit dem obern Leib eylents undersich / und lasse dieweil deine Lincke Hand vorm hefft ab / und ergreiffe mit derselbigen dein Schwerdts klingen in der mitte / fahr ihm also von unden auff / behendiglich (dieweil er mit seinem Armen dem ersten streich zuversetzen hoch ist) an seine beide Arm / wann du jhm nun also seine Arm zwischen dein beide hend / mit der langen schneide deines Schwerdts auffgefangen hast / so winde mit gewaldt mit dem vordern ort aussen uber seine beyde Arm / ist er zu starck / und dringer ubersich / so bleibe gleichwol mit deiner klingen hart an seinen Armen / und wind mit dem Knopff unden durch / greiffe mit demselbigen außwendig uber seinen Lincken Arm / und reiß mit gewalt undersich auß / in dem du also mit deinem Knopff undersich zu dir außreissest / so setze jhm dein vordern ort mit der Lincken hand uber seinen lincken Arm / innerhalb seinem rechten in sein gesicht / will er aber mit seinem Schwerdt weitter arbeiten / so ergreiffe jhm sein Rechte auch mit dem vordern theil deiner Klingen / und reisse undersich / und schlag jhn mit deinem Knopff in sein angesicht.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/142|5|lbl=Ⅰ.61r.5|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/143|1|lbl=Ⅰ.61v.1|p=1}}
 
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Line 2,832: Line 2,721:
 
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| '''Bruch.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/143|2|lbl=Ⅰ.61v.2}}
WAnn du gewahr wirst / das dir einer mit seiner klingen aussen uber deine beide Arm winden will / so lasse dein Lincke hand von dem Knopff / und ergreiffe damit dein Schwerdts klingen in der mitte / fahre dieselbige weil mit deinem Knopff zwischen seine beide Arm / unnd greiffe mit demselbigen / von inwendig uber seinen Rechten Arm / reiß also mit dem Knopff zu dir / und mit der klingen truck von dir / so nimst du jhm sein Schwerdt / Also folget immer ein Bruch auff den andern.
 
 
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Line 2,839: Line 2,727:
 
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| '''Ein Ander.'''
+
|  
IM zufechten führe dein Schwerdt mit außgestreckten Armen / außgestreckt und lang vor dir her / unnd merck fleissig auff die gelegenheit / wann du die ersehen / so Hauwe abermals mit herumb gezucktem Schwerdt / ge'''[LXIIr]'''waltig von Oben gegen seinem Lincken ohr / in dem der Hauwe trifft / so fahr auff mit beiden Armen / unnd stoß dieselbige weil deinen Knopff under deinem Rechten Arm durch / lass hiemit dein Lincke hand eilents vom heffte / und greiffe mit derselbigen oberhalb deinem Rechten Arm wider an dein Schwerdts knopff / Stich jhm also hinder seinem Schwerdt gegen seinem gesicht / oder so du ein kurtz Schwerdt hast / so Stich jhm von Oben zwischen seinen beiden Armen hinein / und setze jhm den vordern ort an seine Brust / und trit mit dem Rechten fuß zuruck / stoß jhn also mit dem vorderen ort von dir / laß in dessen dein Schwerdt wider verfahren / und Hauwe von deiner Rechten uberzwerch zu seinem Lincken ohr / mit einem abtrit deines Lincken fusses / gantz durch / den letsten Hauwe zum abzug von deiner Lincken durch sein Rechte / Oder wann du einem also zwischen seinen Armen / von Oben hinein gestochen hast / so lasse dein Lincke hand vom Knopff / unnd ergreiffe mit derselbigen dein klingen / underhalb seinem Rechten Arm / wende mit derselbigen ubersich / vor seinem gesicht gegen seiner Lincken / und mit dem Knopff oder mit Rechter hand reisse undersich / so nimstu jhm sein Schwerdt.
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/143|3|lbl=Ⅰ.61v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/144|1|lbl=Ⅰ.62r.1|p=1}}
 
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Line 2,846: Line 2,734:
 
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| Ob du wol mit nach gedencken / vil Bruch aus den vorgehenden stucken erlehrnen kanst / so hieher dienstlich / will ich dir doch auch einen setzen also.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/144|2|lbl=Ⅰ.62r.2}}
 
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Line 2,852: Line 2,740:
 
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| Fehrt dir einer mit seinem hefft oder beiden henden / also wie gelehrt hoch auff / so fahre mit der Kron auch hoch auff / also das er mit dem ort nicht ansetzen kann / komme hiemit auch noch neher zu jhm / und lasse die Rechte hand von deinem hefft / verkehr dieselbige / unnd greiff damit zwischen seinen beiden Armen in sein hefft / ruck also mit verkehrter hand auff dein Rechte seiten / so nimstu jhm sein Schwerdt.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/144|3|lbl=Ⅰ.62r.3}}
 
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Line 2,858: Line 2,746:
 
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| IM zufechten so streiche mit außgestrecktem Schwerdt / von deiner Rechten starck und gewaltig ubersich / durch sein gesicht / als dann trit unnd Hauwe mit Langer schneide / von deiner Rechten / von uberzwerch ubersich / mit einem zutrit deines Rechten fusses gegen seinem Hals / als bald derselbige getroffen / so Hauwe den andern von deiner Lincken gegen seiner Rechten / auch uberzwerch von Unden / aber in dem du disen Underhauw herführest / so lasse dein Lincke hand ab vom hefft / und ergreiff damit abermals dein klingen in der mitte / und winde jhm mit dem vordern theil deiner klingen / oberhalb seinem Rechten arm zum gesicht / fehrt er aber mit seinen Armen auff / und will versetzen / so bleibe mit der Rechten hand sampt dem kreutz hoch / und wechsele mit der Lincken hand sampt dem vordern ort von Oben herab / neben seinem Rechten Arm herumb / und führe dasselbige vorder '''[LXIIv]''' ort zwischen seinen beyden Armen hinein / und greiffe mit demselbigen / von inwendig uber seinen rechtenArm / truck also mit dem Knopff von dir / und mit der klingen reisse zu dir / so nimstu jhm abermals das Schwerdt.
+
|  
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/144|4|lbl=Ⅰ.62r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/145|1|lbl=Ⅰ.62v.1|p=1}}
 
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Line 2,864: Line 2,753:
 
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| '''Bruch.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/145|2|lbl=Ⅰ.62v.2}}
MErck in dem der Underhauw gegen deiner Rechten antrifft / unnd du den selbigen versetzt hast / so lasse dein Rechte hand vom Schwerdt / und greiffe mit derselbigen aussen uber seinem Lincken arm / in sein Schwerds Knopff / Reiß den zü dir / auff dein Rechte seiten / so nimstu jhm sein Schwerdt.
 
 
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Line 2,871: Line 2,759:
 
| [[File:Meyer 1570 Longsword O.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword O.jpg|center|400px]]
 
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|  
| '''Ein ander stuck zum einlauffen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/145|3|lbl=Ⅰ.62v.3}}
WAnn du an einem gewahr wirst / das er dich mit einem hohen streich ubereylen / und hiemit einlauffen will / so fahre mit deinem hefft und offenen henden ubersich / fange jhm also seinem hauw in dein hefft / wie dir solches mit den obern bossen in der Figur O. zur Lincken fürgemahlet ist / als bald der hauw auff dein hefft trifft / so fahre mit dem kreutz von Oben zwischen seine beide Arm / trit hiemit zu ruck / und Reiß mit dem kreutz undersich zu dir auß / Hauwe jhn mit solchem zug auff den Kopff.
 
 
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Line 2,878: Line 2,765:
 
| [[File:Meyer 1570 Longsword D.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword D.jpg|center|400px]]
 
|  
 
|  
| '''Werffen.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/145|4|lbl=Ⅰ.62v.4}}
WAnn dich einer mit seinem Schwerdt underlauffen hat / also das jhr gar nahet zusamen komen / so wirff dein Schwerdt hindersich von dir / auch bucke dich eylents vor jm undersich / und ergreiff jm mit beyden henden beyde bein / zuck an dich / so fellet er an rucken / davon besihe die obern unnd kleinern bossen / zur lincken Hand in der Figur D.
 
 
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Line 2,885: Line 2,771:
 
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| Oder so jhr beyde so nahet zusamen komen seind / und er führet sein Schwerdt ober dem Kopff / also das sein klingen ein wenig hinder jhm abhangt / so lasse dein Rechte hand vom Schwerdt / und fahr mit derselbigen aussen uber seinen Lincken arm / unnd ergreiff damit sein Rechte hand bey dem glid / zugleich in dem du jhm sein hand ergreiffest / so trit mit deinem Rechten fuß hinder seinen Lincken / zeuch jhn also mit der Rechten hand uberruck von dir / und stoß jhn mit der Lincken hand sampt dem Schwerdt / für die Brust / so fellest du jn uber dein für gesetzt bein an seinen rucken.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/145|5|lbl=Ⅰ.62v.5}}
 
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Line 2,891: Line 2,777:
 
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| '''[LXIIIr]''' WAnn jhr also nahet zusamen komen / so trit jhm mit deinem Lincken fuß zwischen seine beide bein / laß hiemit dein Lincke hand vom Schwerdt / unnd wende jhm ein wenig den rucken / greiff under deß mit deiner / vom Schwerdt abgelassener Lincker hand / under seinen beiden Armen durch / und aussen uber seinen Lincken arm / mit der Rechten hand aber / sampt dem Schwerdt (oder wirff dasselbige von dir) greiffe aussen uber seinen Rechten arm / also das du mit deiner Rechten hand dein Lincke oberhalb seinen beiden Armen wider ergreiffest / trucke jhm alle beyde Arm zusamen / auff dein Lincke achsel / hie zwischen trit auch mit dem Lincken fuß vornen für seine beide füß / schwinge dich hiemit auff dein Rechte seyten / und in dem schwung bucke dich fürsich undersich / und wirff in fur dir nider.
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/146|1|lbl=Ⅰ.63r.1}}
 
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Line 2,897: Line 2,783:
 
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| '''Ein anders.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/146|2|lbl=Ⅰ.63r.2}}
ODer in dem jhr durch einlauffen so nahet zusamen komen seind / also das es zu rung gerahten muß / so trit mit dem Rechten fuß zwischen sein beide bein / laß die Lincke hand vom Schwerdt / unnd greyffe mit den Rechten hand sampt dem Schwerdt under seinen rechten Arm durch / aussen umb seinen leib / und mit der Lincken hand ergreyffe jhm von inwendig durch / seinen rechten Schenckel / jhe niderer jhe besser / und schauwe das du mit deinem Rechten fuß zwischen sein beyde bein wol durchgetretten seyest / auff das du mit demselbigen mit widersperren unnd außrucken / dem wurff zu hilff komen könnest / erhebe jhn also in einem schwung / unnd wirff jhn hinder dir auff seinen Kopff.
 
 
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Line 2,904: Line 2,789:
 
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| '''Ein anders.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/146|3|lbl=Ⅰ.63r.3}}
UNderlaufft dir einer mit der Zwirch dein Schwerdt / so merck in dem er dir gegen deiner Lincken herzwircht / so versetze ihm solche Zwirch mit hangender klingen / und greiff mit der Lincken hand (die du dann vom Schwerdt ablassen solt) under deiner unnd seiner klingen durch / außwendig uber seinen rechten Arm / fall jhm also mit derselben verkehrten Lincken hand an die gurgel / auch trit under des mit dem lincken fuß hinder seinen Rechten / wirff jhn abermals an seinen rucken.
 
 
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Line 2,911: Line 2,795:
 
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| Damit du aber den Ringen und Greiffen ein grund habest / so will ich dir die Hengen und Winden erlicher massen dar thun unnd erkleren / auß welchen dann die Kampffstuck im kurtzen Schwerdt herfliessen unnd erwachssen / und werden die Hengen zu zweyerley fürnemen ins werck gericht / gebraucht / Nemlich zum ersten werden sie gebraucht '''[LXIIIv]''' die häuw damit auffzufangen / und dieselbige auff der flachen klingen abritschen lassen und nachfechten / oder mit solchem verhengen dem Man under sein Schwerdt gehen / unn darunder einwinden / und diese werden den mehrertheil auß dem Pflug / oder von den Underhäuwen zu wegen bracht und vollendet. Zum andern so werden sie auch gebraucht zum / ein / oder uberhengen / welche dann auß dem Oberhauw und von dem Ochsen hergebracht werden / welche beyderley Hengen verstand also.
+
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 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/146|4|lbl=Ⅰ.63r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/147|1|lbl=Ⅰ.63v.1|p=1}}
 
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Line 2,917: Line 2,802:
 
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| '''Wie du auß dem Underhengen ein und auß winden solt.'''
+
|  
IM zufechten so kome mit deinem Lincken fuß vor / und streiche mit außgestreckten Armen ubersich / gegen seinem Schwerdt / also das in solchem ubersich streichen die halb schneid Oben stand / und vorgange / demnach wann dein vorder ort / in solchem ubersich streichen seinem (nemlich deines gegenmans) gürdel gleich kompt / und er dieweil eben herschlecht / so stosse eylents deinen Schwerdts knopff under deinem Rechten arm durch / und fare also mit gekreutzigten henden ubersich / gegen seiner Lincken / also das damit dein klingen ein wenig gegen seiner Rechten seiten hang / und schauwe das in solchem aufffahren / dein flache klingen auff dein Daumen zu ligen komme / fang also seinen hauw auff deine uberzwerche stehende flache klingen auff / also das in solchem auffangen und undergehn / beyde Schwerdter in die stercke zusamen rühren / unnd dein Kopff under deinem Schwerdt bedeckt und wol bewart sey / so bald nun also sein hauw auff deine klingen rühret / so rucke deinen knopff wider under deinen rechten Arm / gegen deiner Lincken seiten herfür / und wende hiemit dein halbe schneide einwart hinder seiner klingen / uberzwerch uber seinen Kopff / in solchem einwinden aber / bleib mit deinem Schwerdt hart an dem seinen / auff das du fühlen könnest / wann er abgehn wölle / auch soltu deinen Kopff mit solchem einwinden wol aus von seiner klingen / gegen deiner Lincken seiten entziehen / wirstu aber in dessen gewahr / das er (dieweil du dich mit solchem einwinden etwas blössest) von Oben nider derselbigen zu eylen wolle / so trit mit deinem Lincken fuß behend gegen seiner Rechten seiten auß / unnd stosse deinen knopff wider under deinem Rechten arm durch / unnd fahr mit beiden Armen auff / wende jhm also die halbe schneide wider außwerts an sein Recht ohr / auff diese weiß kanstu auff der einen seiten mit der klingen under seinem Schwerdt / ein und außwerts Winden / auff der andern seiten aber / magstu mit dem Knopff ubergreiffen / Also / wann du ihm auff vorige weiß sein Schwerdt mit verhengen auffgefangen hast / so trit behendt in dem die Schwerdter noch zusamen rühren / mit dem rechten Fuß ge'''[LXIIIIr]'''gen seiner Lincken seiten / und greiff mit dem Knopff / außwendig Oben uber seinem Rechten arm hinein / unnd reisse zu dir auß. Oder nach dem du jhm ein und außwerts gewunden hast / unnd er mit den Armen hoch auff gefahren ist / so wind jhm mit dem knopff inwendig zwischen seinen beyden Armen hinein / und greiff also mit demselbigen von inwendig uber seinen Rechten arm / und reisse gegen deiner Lincken auß / wiltu so magstu dein Lincke hand vom hefft ablassen / und mit derselbigen in die mitte deiner klingen greiffen / demnach wie du mit der Rechten hand gegen deiner Lincken seiten zu dir zeuchst / also trucke mit deiner Lincken hand / gegen seiner Lincken von dir / auch magstu jhm auß allen Legern mit hangender klingen underschieben und versetzen / und also wie gelehrt / an seinem Schwerdt ein und außwahrts Winden / und das zu beiden seiten.  
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/147|2|lbl=Ⅰ.63v.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/148|1|lbl=Ⅰ.64r.1|p=1}}
 
|  
 
|  
  
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|  
 
|  
 
|  
 
|  
| '''Wie du die einhengen und winden von Oben<br/>in das werck richten solt.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/148|2|lbl=Ⅰ.64r.2}}
IM zufechten führe einen gewaltigen hauw von Oben gegen seinem Lincken ohr / unnd in dem dein hauw an sein Schwerdt rühret oder glützt / so stosse deinen Schwerdts Knopff abermals under deinem Rechten Armn durch / und henge jhm die klingen also mit gekreutzigten Armen / wol hinder seiner klingen hinein zum Kopf / oder nach dem du jhm also von Oben eingewunden hast / so henge jhm dein klingen wol uber seinen beyde Arm / unnd reisse also mit deinem Schwerdt / gegen deiner Lincken seiten auß / so bald du aber in solchem hinein winden fühlest / das er deiner Blösse von Oben nider zu eilen will / so rucke deinen Schwerdts knopff abermals wider herfür / und fahr mit demselbigen wider hoch ubersich auff / und henge jhm die halbe schneid wider außwerths hinein zum Kopff / wehrt er dir solches / so winde behend mit deinem knopff unden durch / und außwendig uber seinen rechten Arm hinein / reisse also abermals undersich zu dir auß / oder greiffe jm auch inwendig zwischen seinen Armen hinein / fass jhm derselbigen einen von inwendig mit deinem knopf / und reiß zu dir abermals auß.
 
 
|  
 
|  
  
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|  
 
|  
 
|  
 
|  
| Item wan du einen Oberhauw auff deinen gegenfechter hinein fürest / unn er versetzt dir solchen mit der Zwirch / so merck als bald dein hauw auff seinen klingen rührt / so stosse deinen Schwerdts knopf (es sei under deinem Rechten arm oder nit) hoch ubersich / unn hencke jm dein klingen uber die seine hinein zum Kopff / magst also hart auff seiner klingen bleiben / und hinein und außwerts winden / nach gelegenheit. Wehrt er dir solche winden unn fehrt auff / so '''[LXIIIIv]''' winde (in dem er auffert) aber mit dem knopf umb seine Arm / also kanst jm von allen seiten wie du jhm angebunden hast / mit gewalt aus und einwerts winden / letztlich soltu auch alwegen so offt du einwinden wilt / drei ding betrachten / nemlich zum ersten den haw / Zum andern das einwinden an jm selbs / mit welchem du treffen solt / Zum dritten den schnit / dan dieweil du dich mit dem winden blössen must / so soltu mit dem Schwerdt hart an dem seinen bleiben / uff das wan er (dieweil du windest) nachfolgen oder abgen will / du jm mit dem schnit nachfolgest / und an seinem Schwerdt bleibest / und jme dasselbige mit dem schnit außführest unn abwendest / oder (dieweil er abgeht) mit gedachtem schnitt der nechsten Blöß zu einfallest.
+
|  
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/148|3|lbl=Ⅰ.64r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/149|1|lbl=Ⅰ.64v.1|p=1}}
 
|  
 
|  
  
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| [[File:Meyer 1570 Longsword H.jpg|center|400px]]
 
| [[File:Meyer 1570 Longsword H.jpg|center|400px]]
 
|  
 
|  
| '''Ein guter Bruch auff alle oberhäuw.'''
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/149|2|lbl=Ⅰ.64v.2}}
IM zufechten schicke dich mit deinem Schwerdt in den Lincken Wechsel / und merck (in dem er von Oben gegen dir herhauwet) so trit mit deinem Lincken fuß gegen seiner Rechten / oder auff dein Lincke wol zur seiten auß / zugleich mit solchem außtretten Hauwe mit Langer schneide ubersich / gegen seinem herfliegenden hauw / also das du in solchem ubersich hauwen / deinen Schwerdts knopf under deinem rechten Arm durch gestossen / und seinen streich also mit kreutzigeten henden hoch in der lufft / auff deine Lange schneide in die sterck / auff gefangen habest / in dem nun also die Schwerdter zusamen rühren und glützen / so rucke deinen Schwerdts knopf neidlichen under deinem rechten arm wider herfür / damit sich das forter theil deiner klingen / durch solches herauß rucken / hinder seinem Schwerdt / uberhalb seinem Rechten arm hinein / und schlims durch sein gesicht wider herauß schwinge / in dem du aber den Underhauw also durch einen Oberhauw gegen seinem gesicht wider herauß windest / eben dieselbige weil / trit auch mit dem Lincken fuß ferner gegen der Lincken seiten auß zurück hindersich / wie du dessen in der Figur H. an dem grossern Bild zur rechten Hand ein anzeigung hast / Hauwe jhn also im abtretten durch sein gesicht / wann nun dieser Underhauw sampt dem außtrit / unnd herauß winden in einem huy behendiglichen gemacht und volbracht wirt / so geht es dir gewiß und wol an / auß disem Windhauw werden auch vil andere und schöne stuck genomen und zuwegen bracht.
 
 
|  
 
|  
  
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| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
 
| class="noline" |  
| class="noline" | '''Ende des Schwerdts.'''
+
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/149|3|lbl=Ⅰ.64v.3}}
'''Ordenliche Beschreibung und anweisung''' des fechtens im Dusacken/ darinn vil Mannliche und geschwinde Stucke/ durh welche die angehende Schüler zur behendigkeit/volgends im Rapier zufechten/ so vil deß besser mögen abgericht werden/in guter ordnung begriffen/ vnd nach einander fürgestellet.'''
 
 
 
<poem>Mit diser Mehr raich weit und lang /
 
 Dem hauw nach fürsich vberhang /
 
Mit deinem Leib/ darzu trit ferr /
 
 Dein háuw fúhr gwaltig vmb jn her /
 
Zu all vier enden/laß die fliegen /
 
 Mit geberden/ zucken/ kanst jn triegen /
 
In die sterck solt du versetzen /
 
 Mit der schwech zugleich jn letzen /
 
Auch náher solt du kommen nit /
 
 Dann dast jn langest mit eim trit /
 
 
 
 
 
Wann er dir wolt einlauffen schier /
 
 Das Vorder ort/treibt jn von dir /
 
Wer er dir aber glauffen ein /
 
 Mit greiffen/ Ringen / der erst solt sein /
 
Der sterck vnd schwech nim eben war /
 
 Indes / die Blóß / macht offenbar /
 
Im Vor/ vnd Nach/ darzu recht trit /
 
 Merck fleissig auff die rechte zeit /
 
 Vnd laß dich bald erschrecken nit.</poem>
 
 
 
 
| class="noline" |  
 
| class="noline" |  
  
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}}
 
}}
 
{{master subsection begin
 
{{master subsection begin
  | title = Lund Dussack
+
  | title = Lund
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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{{master subsection begin
 
{{master subsection begin
  | title = 1570 Dussack
+
  | title = Introduction
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
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|-  
 
|-  
 
! <p>Figures</p>
 
! <p>Figures</p>
! <p>{{rating}}</p>
+
! <p>{{rating|start}}<br/>by [[Mike Rasmusson]]</p>
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 
 
 
|-  
 
|-  
 
|  
 
|  
 
|  
 
|  
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|1|lbl=Ⅰ.55r.1}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|1|lbl=Ⅰ.65r.1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p>With this weapon reach wide and long,<br/>Hang over forward after the blow<br/>With your body step far to it,<br/>Send your blows powerfully around and in,<br/>To all four targets let it fly<br/>With comportment, pulling, you can deceive him.<br/>You shall parry in the forte<br/>At the same time injure him with the foible.<br/>Also you shall not come nearer<br/>Than you can reach him with a step.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|2|lbl=Ⅰ.55r.1}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|2|lbl=Ⅰ.65r.2}}
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" | <p>When he will almost run in at you<br/>Drive him from you with your point,<br/>But if he has run in on you,<br/>With gripping, wrestling, you shall be the first,<br/>Pay heed indeed to forte and foible,<br/>Meanwhile, the openings he makes open,<br/>Also step rightly in the Vor and Nach.<br/>Note diligently the correct time<br/>And do not be quick to be scared.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|3|lbl=Ⅰ.55r.3}}
+
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/150|3|lbl=Ⅰ.65r.3}}
  
 +
|}
 +
{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = 1 - Contents of the Fencing with Dussacks
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
Line 3,509: Line 3,380:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/153|2|lbl=Ⅱ.1v.2}}
+
| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/153|2|lbl=Ⅱ.1v.2}}
 +
 
 +
|}
 +
{{master subsection end}}
  
 +
{{master subsection begin
 +
| title = 2 - Of the Stances or Guards and Their Use
 +
| width = 90em
 +
}}
 +
{| class="master"
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack A.png|400px|center]]
+
! <p>Figures</p>
|
+
! <p>{{rating}}<br/></p>
|
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack B.png|400px|center]]
 
|
 
 
|  
 
|  
 
|-
 
| [[File:Meyer 1570 Dussack C.png|400px|center]]
 
|
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/154|1|lbl=Ⅱ.2r.1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack D.png|400px|center]]
 
|
 
|
 
 
|-
 
| [[File:Meyer 1570 Dussack F.png|400px|center]]
 
|
 
 
|  
 
|  
 
|-
 
| [[File:Meyer 1570 Dussack G.png|400px|center]]
 
|
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/154|2|lbl=Ⅱ.2r.2}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack H.png|400px|center]]
+
| class="noline" |
|
+
| class="noline" |
|  
+
| class="noline" |
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/154|3|lbl=Ⅱ.2r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/155|1|lbl=Ⅱ.2v.1|p=1}}
 +
 
 +
|}
 +
{{master subsection end}}
 +
 
 +
{{master subsection begin
 +
| title = 3 - Of the Four Cuts, with Four Good Rules
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack I.png|400px|center]]
+
| [[File:Meyer 1570 Dussack A.png|400px|center]]
|
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/155|2|lbl=Ⅱ.2v.2|p=1}} {{pagetb|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf|157|lbl=Ⅱ.3v|p=1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack K.png|400px|center]]
+
| [[File:Meyer 1570 Dussack B.png|400px|center]]
|
+
----
 +
[[File:Meyer 1570 Dussack C.png|400px|center]]
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/159|1|lbl=Ⅱ.4v.1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack L.png|400px|center]]
 
|
 
 
|  
 
|  
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/159|2|lbl=Ⅱ.4v.2}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack M.png|400px|center]]
+
| [[File:Meyer 1570 Dussack B.png|400px|center]]
|
 
 
|  
 
|  
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/161|1|lbl=Ⅱ.5v.1}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack N.png|400px|center]]
 
|
 
 
|  
 
|  
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/161|2|lbl=Ⅱ.5v.2}}
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack O.png|400px|center]]
 
|
 
 
|  
 
|  
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/162|1|lbl=Ⅱ.6r.1}}
  
 
|-  
 
|-  
| class="noline" | [[File:Meyer 1570 Dussack P.png|400px|center]]
+
| [[File:Meyer 1570 Dussack A.png|400px|center]]
| class="noline" |  
+
|  
| class="noline" |
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/162|2|lbl=Ⅱ.6r.2}}
  
|}
+
|-
{{master subsection end}}
+
| [[File:Meyer 1570 Dussack D.png|400px|center]]
{{master end}}
+
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/163|1|lbl=Ⅱ.6v.1}}
  
{{master begin
+
|-
  | title = Rapier
+
|
  | width = 100%
+
|
}}
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/163|2|lbl=Ⅱ.6v.2}}
 
+
 
{{master subsection begin
+
|-
  | title = Lund Rapier
+
|
  | width = 90em
+
|
}}
+
|
{| class="master"
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/163|3|lbl=Ⅱ.6v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/165|1|lbl=Ⅱ.7v.1|p=1}}
|-  
+
 
! <p>Figures</p>
+
|-
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
+
|
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
+
|
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/165|2|lbl=Ⅱ.7v.2}}
|-  
+
 
|  
+
|-
| <p>'''Rappier Fencing'''</p>
+
| [[File:Meyer 1570 Dussack A.png|400px|center]]
 
+
|
<p>In rappier there are 4 Guards, namely the Side guard, from which you have five displacements, the first is cutting off, the other is suppressing, the third is going through, the fourth is hanging, and the fifth is taking out with Long edge from which each one has the cut and the thrust.</p>
+
|
|  
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/165|3|lbl=Ⅱ.7v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/166|1|lbl=Ⅱ.8r.1|p=1}}
 
+
 
|-  
+
|-
|  
+
|
| <p>'''Item''' The Verfirsten cut</p>
+
|
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/166|2|lbl=Ⅱ.8r.2}}
<p>'''Item''' The Changer has 4 displacements the first is taking out with the short and long edge.</p>
+
 
|  
+
|-
 
+
| class="noline" |
|-  
+
| class="noline" |
|  
+
| class="noline" |
| <p>'''Item''' Cutting Away and suppressing with the half edge from which each one has a cut and thrust then the under thrust, over thrust, outside and inside cuts and The Straight Cut.</p>
+
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/166|3|lbl=Ⅱ.8r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/167|1|lbl=Ⅱ.8v.1|p=1}}
 
+
 
|  
+
|}
 
+
{{master subsection end}}
|-  
+
 
|  
+
{{master subsection begin
| <p>The same goes for the Right Ox, which has also 4 displacements, namely, hanging, suppressing, going through cutting off, together with the inside and outside cuts and from above.</p>
+
| title = 4 - Of the Secondary Cuts
|  
+
| width = 90em
 
+
}}
|-  
+
{| class="master"
|  
+
|-
| <p>The Left Ox has three displacements, cutting off, suppressing, and taking out from below with the half edge.</p>
+
! <p>Figures</p>
|  
+
! <p>{{rating}}<br/></p>
 
+
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
|-  
+
 
|  
+
|-
| <p>Irondoor has six displacements, suppressing, cutting off, going through, setting off, hanging, taking out with half edge.</p>
+
|
|  
+
|
 
+
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/167|2|lbl=Ⅱ.8v.2}}
|-  
+
 
|  
+
|-
| <p>Longpoint has three displacements cutting off, setting off, suppressing, Plow, from the Plow may you set off, simultaneously strike, take out, opening strike, double thrust, single thrust, deceptive thrust.</p>
+
|
|  
+
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/168|1|lbl=Ⅱ.9r.1}}
 +
 
 +
|-
 +
|
 +
|
 +
|
 +
{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/168|2|lbl=Ⅱ.9r.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/169|1|lbl=Ⅱ.9v.1|p=1}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/169|2|lbl=Ⅱ.9v.2}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/169|3|lbl=Ⅱ.9v.3}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/170|1|lbl=Ⅱ.10r.1}}
 +
 
 +
|-
 +
|
 +
|
 +
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/170|2|lbl=Ⅱ.10r.2}}
 +
 
 +
|-
 +
|
 +
|
 +
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/170|3|lbl=Ⅱ.10r.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/172|1|lbl=Ⅱ.11r.1|p=1}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/173|3|lbl=Ⅱ.11v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/175|1|lbl=Ⅱ.12v.1|p=1}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/177|3|lbl=Ⅱ.13v.3|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/178|1|lbl=Ⅱ.14r.1|p=1}}
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{{master subsection begin
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| title = 5 - How One Shall Use the Four Openings
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| width = 90em
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{| class="master"
 +
|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
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| class="noline" |
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| class="noline" |
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/180|2|lbl=Ⅱ.15r.2|p=1}} {{pagetb|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf|181|lbl=Ⅱ.15v|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/182|1|lbl=Ⅱ.16r.1|p=1}}
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{{master subsection begin
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| title = 6 - On Displacing, and How All Cuts Are Divided into Three Types
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{| class="master"
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|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/182|2|lbl=Ⅱ.16r.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/184|1|lbl=Ⅱ.17r.1|p=1}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/184|4|lbl=Ⅱ.17r.4|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/186|1|lbl=Ⅱ.18r.1|p=1}}
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/186|4|lbl=Ⅱ.18r.4}}
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| class="noline" |
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| class="noline" |
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/186|5|lbl=Ⅱ.18r.5}}
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| title = 7 - Now Follow the Stances with the Elements
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{| class="master"
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|-
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! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/187|1|lbl=Ⅱ.18v.1}}
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/187|2|lbl=Ⅱ.18v.2|p=1}} {{pagetb|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf|188|lbl=Ⅱ.19r|p=1}}
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| title = 8 - On the Watch and the Elements Assigned to It
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{| class="master"
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! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
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| rowspan="2" | [[File:Meyer 1570 Dussack B.png|400px|center]]
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{{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/193|2|lbl=Ⅱ.21v.2|p=1}} {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/194|1|lbl=Ⅱ.22r.1|p=1}}
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| title = 9 - On the Steer with Its Elements
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{| class="master"
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|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 +
 
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| [[File:Meyer 1570 Dussack L.png|400px|center]]
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| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/194|3|lbl=Ⅱ.22r.3}}
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{{master subsection begin
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| title = Remaining 1570 Figures
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| width = 90em
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{| class="master"
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|-
 +
! <p>Figures</p>
 +
! <p>{{rating}}<br/></p>
 +
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}<br/>by [[Michael Chidester]]</p>
 +
 
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| [[File:Meyer 1570 Dussack F.png|400px|center]]
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| [[File:Meyer 1570 Dussack H.png|400px|center]]
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| [[File:Meyer 1570 Dussack I.png|400px|center]]
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| [[File:Meyer 1570 Dussack L.png|400px|center]]
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| class="noline" | [[File:Meyer 1570 Dussack N.png|400px|center]]
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{{master begin
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{{master subsection begin
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  | title = Lund
 +
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{| class="master"
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|-  
 +
! <p>Figures</p>
 +
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 +
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
 +
 
 +
|-  
 +
|  
 +
| <p>'''Rappier Fencing'''</p>
 +
 
 +
<p>In rappier there are 4 Guards, namely the Side guard, from which you have five displacements, the first is cutting off, the other is suppressing, the third is going through, the fourth is hanging, and the fifth is taking out with Long edge from which each one has the cut and the thrust.</p>
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>'''Item''' The Verfirsten cut</p>
 +
 
 +
<p>'''Item''' The Changer has 4 displacements the first is taking out with the short and long edge.</p>
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>'''Item''' Cutting Away and suppressing with the half edge from which each one has a cut and thrust then the under thrust, over thrust, outside and inside cuts and The Straight Cut.</p>
 +
 
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>The same goes for the Right Ox, which has also 4 displacements, namely, hanging, suppressing, going through cutting off, together with the inside and outside cuts and from above.</p>
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>The Left Ox has three displacements, cutting off, suppressing, and taking out from below with the half edge.</p>
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>Irondoor has six displacements, suppressing, cutting off, going through, setting off, hanging, taking out with half edge.</p>
 +
|  
 +
 
 +
|-  
 +
|  
 +
| <p>Longpoint has three displacements cutting off, setting off, suppressing, Plow, from the Plow may you set off, simultaneously strike, take out, opening strike, double thrust, single thrust, deceptive thrust.</p>
 +
|  
  
 
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* [[Alex Kiermayer|Kiermayer, Alex]]. ''Joachim Meyers Kunst Des Fechtens. Gründtliche Beschreibung des Fechtens, 1570''. [[Arts of Mars Books]], 2012. ISBN 978-3981162738
 
* [[Alex Kiermayer|Kiermayer, Alex]]. ''Joachim Meyers Kunst Des Fechtens. Gründtliche Beschreibung des Fechtens, 1570''. [[Arts of Mars Books]], 2012. ISBN 978-3981162738
* [[Joachim Meyer|Meyer, Joachim]]. ''Joachim Meyer 1600: Transkription des Fechtbuchs 'Gründtliche Beschreibung der freyen Ritterlichen und Adelichen kunst des Fechtens’''. TAT. [[Wolfgang Landwehr]], 2011. ISBN 978-3932077371
+
* [[Joachim Meyer|Meyer, Joachim]]. ''Joachim Meyer 1600: Transkription des Fechtbuchs 'Gründtliche Beschreibung der freyen Ritterlichen und Adelichen kunst des Fechtens'''. TAT. [[Wolfgang Landwehr]], 2011. ISBN 978-3932077371
 
* [[Joachim Meyer|Meyer, Joachim]]. ''The Art of Combat: A German Martial Arts Treatise of 1570''. Trans. [[Jeffrey L. Forgeng]].
 
* [[Joachim Meyer|Meyer, Joachim]]. ''The Art of Combat: A German Martial Arts Treatise of 1570''. Trans. [[Jeffrey L. Forgeng]].
 
** 1st edition. London: Greenhill Books, 2006. ISBN 978-1-85367-643-7
 
** 1st edition. London: Greenhill Books, 2006. ISBN 978-1-85367-643-7

Latest revision as of 01:47, 12 May 2021

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Johann Albrecht (?)
  • Johann Casimir
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der
Kunst des Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German Freifechter and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the last years of his life he devised at least three distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing.[2] In addition to his fencing practice, Meyer was a Burgher and a master cutler.[3]

Meyer was born in Basel,[4] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[5]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer petitioned the City Council of Strasbourg for the right to hold a Fechtschule (fencing competition). He would repeat this in 1563, 1566, 1567 and 1568;[6] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS A.4º.2) in either 1560 or 1568 for Otto Count von Sulms, Minzenberg, and Sonnenwaldt.[7] Its contents seem to be a series of lessons on training with long sword, dussack, and rapier. His second manuscript (MS Var.82), written between 1563 and 1570 for Heinrich Graf von Eberst, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings. Finally, on 24 February 1570 Meyer completed (and soon thereafter published) an enormous multi-weapon treatise entitled Gründtliche Beschreibung der Kunst des Fechtens ("A Thorough Description of the Art of Combat"); it was dedicated to Johann Casimir, Count Palatine of the Rhine, and illustrated at the workshop of Tobias Stimmer.[8]

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 1300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[6]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Treatises

Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the MS A.4º.2 (Lund) and the MS Var 82 (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.[11] Dwarfing these works is the massive book he published in 1570 entitled "A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings". Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dussacks, and rapiers with ball tips.

The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurñfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[12] Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[13] combines the old Messer teachings of Johannes Lecküchner and the dussack teachings of Andre Paurñfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dussack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third part of Meyer's treatise only appears in his published book and covers dagger, wrestling, and various pole weapons. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo[14] and the anonymous teachings in Egenolff, but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurñfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.