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Difference between revisions of "Johannes Liechtenauer"
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| archetype(s) = Hypothetical | | archetype(s) = Hypothetical | ||
| manuscript(s) = {{collapsible list | | manuscript(s) = {{collapsible list | ||
− | | [[ | + | | [[Pol Hausbuch (MS 3227a)|MS 3227a]] (ca. 1400s) |
| [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1448) | | [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (1448) | ||
− | | [[ | + | | [[Starhemberg Fechtbuch (Cod.44.A.8)|Cod.44.A.8]] (1452) |
| [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459) | | [[Talhoffer Fechtbuch (MS Thott.290.2º)|MS Thott.290.2º]] (1459) | ||
− | | [[Wolfenbüttel | + | | [[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Cod.Guelf.78.2 Aug.2º]] (ca. 1465-80) |
| [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470) | | [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]] (ca.1470) | ||
| [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s) | | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s) | ||
− | | [[Codex Speyer (MS M.I.29)|MS M. | + | | [[Codex Speyer (MS M.I.29)|MS M.Ⅰ.29]] (1491) |
| [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19) | | [[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|MS Dresd.C.487]] (ca. 1504-19) | ||
| [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1510-20) | | [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.Quart.2020]] (1510-20) | ||
| [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512) | | [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|MS 26-232]] (1512) | ||
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) | | [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) | ||
− | | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod. | + | | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.Ⅰ.6.2º.2]] (1523) |
| [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553) | | [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Reichsstadt Nr. 82]] (1553) | ||
| [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) | | [[Lienhart Sollinger Fechtbuch (Cgm 3712)|Cgm 3712]] (1556) | ||
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| below = | | below = | ||
}} | }} | ||
− | '''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[nationality::German]] [[fencing master]] in the 14th or [[century::15th century]]. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[ | + | '''Johannes Liechtenauer''' (Hans Lichtenauer, Lichtnawer) was a [[nationality::German]] [[fencing master]] in the 14th or [[century::15th century]]. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]], one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead. |
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]]. | Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the ''Zettel'' ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive [[gloss]]es (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on [[Paulus Kal]]'s roll of the [[Fellowship of Liechtenauer]] were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the [[Marxbrüder]] and the [[Veiterfechter]]. | ||
− | Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The | + | Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.<ref>[[Christian Henry Tobler]]. "Chicken and Eggs: Which Master Came First?" ''In Saint George's Name: An Anthology of Medieval German Fighting Arts''. Wheaton, IL: [[Freelance Academy Press]], 2010. p6</ref> However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by [[Hans Talhoffer]] in the [[Talhoffer Fechtbuch (MS Chart.A.558)|MS Chart.A.558]] (ca. 1448), which further supports this timeline.<ref>There is one version of the Recital that predates Talhoffer's, recorded in [[Modus Dimicandi (MS G.B.f.18a)|MS G.B.f.18a]] (ca. 1418-28) and attributed to an [[H. Beringer]]; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in 3227a.</ref> |
== Treatise == | == Treatise == | ||
− | Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[ | + | Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the ''Zettel'' ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as [[Sigmund ain Ringeck]], [[Peter von Danzig zum Ingolstadt]], and [[Lew]] wrote extensive [[gloss]]es that sought to clarify and expand upon these teachings. |
− | In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (''figuren'') | + | In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (''figuren'')—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtneauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse. |
− | Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the [[ | + | Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the [[Pol Hausbuch (MS 3227a)|Pol Hausbuch]], which contains almost twice as many verses as any other; however, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only that attributed to Beringer (which is also included in the writings of [[Hans Folz]]). |
− | The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref>The figures are often given as a preamble for the [[gloss]] of [[ | + | The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.<ref>The figures are often given as a preamble for the [[gloss]] of [[Lew]], and a fragment of the short sword to the teachings of [[Martin Huntsfeld]], but those instances will not be included below and instead treated as part of those treatises.</ref> Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third. |
{{master begin | {{master begin | ||
| title = Long Sword | | title = Long Sword | ||
− | | width = | + | | width = 480em |
}} | }} | ||
<section begin="credits"/> | <section begin="credits"/> | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! | + | ! <p>{{rating|A|Featured Translation (from the Rome)}}<br/>Rome Version by [[Christian Tobler]]</p> |
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ||
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Transcription]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>by [[Dieter Bachmann]]</p> | ! <p>[[Talhoffer Fechtbuch (MS Thott.290.2º)|Copenhagen Transcription]] (1459){{edit index|Talhoffer Fechtbuch (MS Thott.290.2º)}}<br/>by [[Dieter Bachmann]]</p> | ||
− | ! <p>[[Wolfenbüttel | + | ! <p>[[Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel Ⅰ Transcription]] (ca. 1465-80){{edit index|Wolfenbüttel Picture Book (Cod.Guelf.78.2 Aug.2º)}}<br/>by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich | + | ! <p>[[Paulus Kal Fechtbuch (Cgm 1507)|Munich Ⅰ Transcription]] (ca. 1470){{edit index|Paulus Kal Fechtbuch (Cgm 1507)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] A (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] A (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] B (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)|Dresden Transcription]] B (ca. 1504-19){{edit index|Johan Liechtnawers Fechtbuch geschriebenn (MS Dresd.C.487)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Grzegorz Żabiński]]</p> | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Grzegorz Żabiński]]</p> | ||
− | ! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich | + | ! <p>[[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Munich Ⅱ Transcription]] (1523){{edit index|Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)}}<br/>by [[Filip Lampart]] and [[Martin Fabian]]</p> |
− | ! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg | + | ! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Ⅰ Transcription]] (1523){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p> | ! <p>[[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow Transcription]] (1533){{edit index|Gregor Erhart Fechtbuch (MS E.1939.65.354)}}<br/></p> | ||
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p> |
− | ! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich | + | ! <p>[[Maister Liechtenawers Kunstbuech (Cgm 3712)|Munich Ⅲ Transcription]] (1556){{edit index|Maister Liechtenawers Kunstbuech (Cgm 3712)}}<br/></p><br/> |
− | ! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel | + | ! <p>[[Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)|Wolfenbüttel Ⅱ Transcription]] (ca. 1588){{edit index|Künnst zu fechten vonn dem Lienhartt Sollinger (Cod.Guelf.38.21 Aug.2º)}}<br/>by [[Kevin Maurer]]</p> |
<section end="credits"/> | <section end="credits"/> | ||
|- | |- | ||
− | | <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}</p> | + | | <p>{{red|b=1|Here begins the epitome on the knightly art of combat that was composed and created by Johannes Liechtenauer, who was a great master in the art, God have mercy on him;}}<br/><br/></p> |
<p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p> | <p>first with the long sword, then with the lance and sword on horseback, and then with the short sword in armoured combat. Because the art belongs to princes and lords, knights and squires, and they should know and learn this art, he has written of this art in hidden and secret words, so that not everyone will grasp and understand it, as you will find described below. And he has done this on account of frivolous fight masters who mistake the art as trivial, so that such masters will not make his art common or open with people who do not hold the art in respect as is its due.</p> | ||
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|- | |- | ||
− | | Thus ends Master Liechtenauer's Art of the Long Sword | + | | class="noline" | Thus ends Master Liechtenauer's Art of the Long Sword |
− | | | + | | class="noline" | |
− | | | + | | class="noline" | |
− | | {{section|Page: | + | | class="noline" | {{section|Page:MS Thott.290.2º 005v.jpg|3|lbl=-}} |
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− | | {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:MS Germ.Quart.2020 007r.jpg|2|lbl=-}} |
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− | | {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}} | + | | class="noline" | {{section|Page:Cod.Guelf.38.21 Aug.2º 049v.jpg|7|lbl=-}} |
|} | |} | ||
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{{master begin | {{master begin | ||
| title = Mounted Fencing | | title = Mounted Fencing | ||
− | | width = | + | | width = 300em |
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! | + | ! <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p> |
− | ! <p>[[ | + | ! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p> |
− | |||
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ||
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription | + | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p> | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p> | ||
− | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription | + | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Transcription]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p> |
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ||
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| {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}} | | {{red|b=1|This is Master Johannes Liechtenauer’s Fighting on Horseback}} | ||
| {{section|Page:MS 3227a 53r.jpg|1|lbl=53r|p=1}} | | {{section|Page:MS 3227a 53r.jpg|1|lbl=53r|p=1}} | ||
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| {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}} | | {{section|Page:Cod.44.A.8 006r.jpg|5|lbl=06r}} | ||
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| | | | ||
{{section|Page:MS Chart.A.558 021av.jpg|8|lbl=-|p=1}} {{section|Page:MS Chart.A.558 022r.jpg|1|lbl=22r|p=1}} | {{section|Page:MS Chart.A.558 021av.jpg|8|lbl=-|p=1}} {{section|Page:MS Chart.A.558 022r.jpg|1|lbl=22r|p=1}} | ||
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| {{section|Page:MS 3227a 59r.jpg|1|lbl=59r}} | | {{section|Page:MS 3227a 59r.jpg|1|lbl=59r}} | ||
− | |||
| {{section|Page:MS Chart.A.558 022r.jpg|2|lbl=-}} | | {{section|Page:MS Chart.A.558 022r.jpg|2|lbl=-}} | ||
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|- | |- | ||
− | | | + | | class="noline" | |
{| class="zettel" | {| class="zettel" | ||
|- | |- | ||
| <small>38</small> | | <small>38</small> | ||
| If you want to retain yourself<br/> From seizing | | If you want to retain yourself<br/> From seizing | ||
− | |||
|- | |- | ||
| <small>39</small> | | <small>39</small> | ||
| Then take him into custody without wrestling<br/> Without any rope | | Then take him into custody without wrestling<br/> Without any rope | ||
− | |||
|- | |- | ||
| <small>40</small> | | <small>40</small> | ||
| The Before Grip remember<br/> This indeed breaks his strength | | The Before Grip remember<br/> This indeed breaks his strength | ||
− | |||
|} | |} | ||
− | | {{section|Page:MS 3227a 59r.jpg|2|lbl=-}} | + | | class="noline" | {{section|Page:MS 3227a 59r.jpg|2|lbl=-}} |
− | | | + | | class="noline" | {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}} |
− | | {{section|Page:MS Chart.A.558 022r.jpg|3|lbl=-}} | + | | class="noline" | {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}} |
− | | {{section|Page:Cod.44.A.8 007r.jpg|5|lbl=-}} | + | | class="noline" | {{section|Page:MS KK5126 105v.jpg|9|lbl=-}} |
− | | {{section|Page:MS KK5126 105v.jpg|9|lbl=-}} | + | | class="noline" | |
− | | | + | | class="noline" | {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}} |
− | | {{section|Page:MS Germ.Quart.2020 165r.jpg|2|lbl=-}} | + | | class="noline" | |
− | | | + | | class="noline" | {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}} |
− | | {{section|Page:Reichsstadt "Schätze" Nr. 82 018r.jpg|2|lbl=-}} | + | | class="noline" | |
− | | | ||
|} | |} | ||
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{{master begin | {{master begin | ||
| title = Short Sword | | title = Short Sword | ||
− | | width = | + | | width = 300em |
}} | }} | ||
− | {| class=" | + | {| class="master" |
|- | |- | ||
− | ! | + | ! <p>{{rating|A}}<br/>Rome Version by [[Christian Tobler]]</p> |
− | ! <p>[[ | + | ! <p>[[Pol Hausbuch (MS 3227a)|Nuremberg Transcription]] (1400s){{edit index|Pol Hausbuch (MS 3227a)}}<br/>by [[Dierk Hagedorn]]</p> |
− | |||
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ||
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription | + | ! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Ⅰ Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Codex Speyer (MS M.I.29)|Salzburg Transcription]] (1491){{edit index|Codex Speyer (MS M.I.29)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p> | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p> | ||
− | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Transcription | + | ! <p>[[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna Ⅱ Transcription]] (1512){{edit index|Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)}}<br/>by [[Dierk Hagedorn]]</p> |
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p> |
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]] (1570-71){{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p> | ||
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! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> | ! <p>{{rating|A|Translation (from the Rome)}}<br/>by [[Christian Tobler]]</p> | ||
! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Talhoffer Fechtbuch (MS Chart.A.558)|Gotha Transcription]] (1448){{edit index|Talhoffer Fechtbuch (MS Chart.A.558)}}<br/>by [[Dierk Hagedorn]]</p> | ||
− | ! <p>[[ | + | ! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p> |
! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Transcription]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>by [[Dierk Hagedorn]]</p> | ! <p>[[Glasgow Fechtbuch (MS E.1939.65.341)|Glasgow Transcription]] (1508){{edit index|Glasgow Fechtbuch (MS E.1939.65.341)}}<br/>by [[Dierk Hagedorn]]</p> | ||
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p> | ! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow Transcription]] (1510-20){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Per Magnus Haaland]]</p> | ||
− | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg | + | ! <p>[[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg Ⅱ Transcription]] (1553){{edit index|Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)}}<br/>by [[Werner Ueberschär]]</p> |
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| <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p> | | <p>{{red|The 14th Figure:}} Turn around again to where the horses hasten.</p> | ||
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<p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p> | <p>Who attacks you with that, grasp over against him and he will be shamed. Press the arm to the head. This grip often robs the saddle.</p> | ||
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| authors = [[Filip Lampart]], [[Martin Fabian]] | | authors = [[Filip Lampart]], [[Martin Fabian]] | ||
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Revision as of 21:06, 19 February 2021
Die Zettel | |
---|---|
The Recital | |
![]() | |
Full Title | A Recital on the Chivalric Art of Fencing |
Ascribed to | Johannes Liechtenauer |
Illustrated by | Unknown |
Date | Fifteenth century (?) |
Genre | |
Language | Early New High German |
Archetype(s) | Hypothetical |
Manuscript(s) |
|
First Printed English Edition |
Tobler, 2010 |
Concordance by | Michael Chidester |
Translations |
Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a German fencing master in the 14th or 15th century. No direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the Pol Hausbuch, one of the oldest texts in the tradition, who stated that "Master Liechtenauer learnt and mastered the Art in a thorough and rightful way, but he did not invent and put together this Art (as was just stated). Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." He may have been alive at the time of the creation of the fencing treatise contained in the Pol Hausbuch, as that source is the only one to fail to accompany his name with a blessing for the dead.
Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zettel ("Recital") is generally attributed to him by these masters. Later masters in the tradition often wrote extensive glosses (commentaries) on this poem, using it to structure their own martial teachings. Liechtenauer's influence on the German fencing tradition as we currently understand it is almost impossible to overstate. The masters on Paulus Kal's roll of the Fellowship of Liechtenauer were responsible for most of the most significant fencing manuals of the 15th century, and Liechtenauer and his teachings were also the focus of the German fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter.
Additional facts have sometimes been presumed about Liechtenauer based on often-problematic premises. The Pol Hausbuch, often erroneously dated to 1389 and presumed to be written by a direct student of Liechtenauer's, has been treated as evidence placing Liechtenauer's career in the mid-1300s.[1] However, given that the Pol Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the mid 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Pol Hausbuch as being of indeterminate date, the oldest version of the Recital that is attributed to Liechtenauer was recorded by Hans Talhoffer in the MS Chart.A.558 (ca. 1448), which further supports this timeline.[2]
Contents
Treatise
Liechtenauer's teachings are preserved in a long poem of rhyming couplets called the Zettel ("Recital"), covering fencing with the "long" or extended sword (i.e. with both hands at one end of the sword), the "short" or withdrawn sword (i.e. with one hand at either end), and on horseback. These "obscure and cryptic words" were designed to prevent the uninitiated from learning the techniques they represented; they also seem to have offered a system of mnemonic devices to those who understood their significance. The Recital was treated as the core of the Art by his students, and masters such as Sigmund ain Ringeck, Peter von Danzig zum Ingolstadt, and Lew wrote extensive glosses that sought to clarify and expand upon these teachings.
In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures" (figuren)—phrases that are shorter than Liechtenauer's couplets and often arranged into the format of a Medieval tree diagram. These figures seem to encode the same teachings as the verses of the mounted fencing, and both are quoted in the mounted glosses. However, figures follow a very different structure than the Zettel does, and seem to present an alternative sequence for studying Liechtneauer's techniques. It is not known why the mounted fencing is the only section of the Recital to receive figures in addition to verse.
Seventeen manuscripts contain a presentation of at least one section of the Recital as a distinct (unglossed) section; there are dozens more presentations of the verse as part of one of the several glosses. The longest version of the Recital by far is actually found in one of these glosses, that of the Pol Hausbuch, which contains almost twice as many verses as any other; however, given that the additional verses tend to either consist of repetitions from elsewhere in the Recital or use a very different style from Liechtenauer's work, they are generally treated as additions by the anonymous author or his instructor rather than being part of the original Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only that attributed to Beringer (which is also included in the writings of Hans Folz).
The following concordance tables include only those texts that quote Liechtenauer's Recital in an unglossed form.[3] Most manuscripts present the Recital as prose, and those have had the text separated out into the original verses to offer a consistent view. For ease of use, this page breaks the general Wiktenauer rule that column format remain consistent across all tables on a page; the sheer number of Liechtenauer sources made this convention entirely unworkable, with more columns empty than filled, so instead the long sword table uses one layout, the mounted and short sword tables use another, and the figures use a third.
Long Sword
Mounted Fencing
Short Sword
Figures
Copyright and License Summary
Additional Resources
- Hils, Hans-Peter (in German). Meister Johann Liechtenauers Kunst des langen Schwertes. P. Lang, 1985. ISBN 978-38-204812-9-7
- Tobler, Christian Henry. In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-1-6
- Tobler, Christian Henry. In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal. Highland Village, TX: Chivalry Bookshelf, 2006. ISBN 978-1-891448-25-6
- Tobler, Christian Henry. Secrets of German Medieval Swordsmanship. Highland Village, TX: Chivalry Bookshelf, 2001. ISBN 1-891448-07-2
- Hull, Jeffrey, with Maziarz, Monika and Żabiński, Grzegorz. Knightly Dueling: The Fighting Arts of German Chivalry. Boulder, CO: Paladin Press, 2007. ISBN 978-1581606744
- Wierschin, Martin (in German). Meister Johann Liechtenauers Kunst des Fechtens. Muunich: C. H. Beck, 1965.
- Żabiński, Grzegorz. The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript. Poland: Adam Marshall, 2010. ISBN 978-83-7611-662-4
- Żabiński, Grzegorz. "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3
- Anzeiger für Kunde der deutschen Vorzeit (in German). Nuremberg: Verlag der Artistisch-literarischen Anstalt des Germanischen Museums, 1854.
References
- ↑ Christian Henry Tobler. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. p6
- ↑ There is one version of the Recital that predates Talhoffer's, recorded in MS G.B.f.18a (ca. 1418-28) and attributed to an H. Beringer; this also conforms to a 15th century timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teachings contained in the Zettel rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts). Alternatively, the Beringer verse, which includes only portions of the Recital on the Long Sword, may represent just one of the teachings that Liechtenauer received and compiled over the course of the journeys described in 3227a.
- ↑ The figures are often given as a preamble for the gloss of Lew, and a fragment of the short sword to the teachings of Martin Huntsfeld, but those instances will not be included below and instead treated as part of those treatises.
- ↑ This couplet might instead have been intended to be combined with the previous one as two very long lines of a single couplet: "ettlich biderman in anden hanten veder ben / kunt er chunst er mocht wol eren erwerb".
- ↑ This couplet might instead have been intended to be combined with the previous one as two very long lines of a single couplet: "ettlich in andern hanten verderben / kündt er kunst er möcht ere erwerben".
- ↑ First letter almost illegible.
- ↑ First letter illegible.
- ↑ This couplet seems to replace the first line of couplet 15, leaving the second line of 15 as an orphan.
- ↑ Text terminates at this point. The leaves with the rest of the text are missing.
- ↑ kam
- ↑ deinen
- ↑ faler
- ↑ There is no space between "Dupliere" and "doniden", the "D" was possibly added later.
- ↑ Corrected from »Im«.
- ↑ The text doubles the title of this section.
- ↑ This line might instead have been intended to be combined with the previous ones as two lines of a single couplet: "den elenbog nym in der waug / und mach den fäler nit träg".
- ↑ Jump up to: 17.0 17.1 Corrected from »Twir«.
- ↑ haust
- ↑ These three fragments of lines were probably intended to be combined into a single line: "Zwifach mit macht virbas".
- ↑ Talhoffer adds an additional couplet: [4r]
So machst du in wol betöwben
Die fallerin kunst berowben - ↑ This line might instead have been intended to be combined with the previous ones as two long lines of a single couplet: "nun lerne in daß / den alten schnit mit macht".
- ↑ Hier hat der Schreiber offensichtlich ein Häkchen vergessen.
- ↑ should be "dreffen"
- ↑ This section is followed by one titled "Von durchlauffen ab seczen", which repeat the verse on Absetzen.
- ↑ Illegible word. Could be read as either ‘zo’ or ‘w’. In the glosses on 37r it says ‘zw’.
- ↑ A guide letter “w” is visible under the “U” (apparently ignored by the rubricator), making the intended word “Wer”.
- ↑ Covering a deletion.
- ↑ Apparently the writer misplaced the space here.