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{{master begin
 
{{master begin
 
   | title = Long Sword
 
   | title = Long Sword
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<section begin="credits"/>
 
<section begin="credits"/>
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! <p>[[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1465-80){{edit index|Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)|Wolfenbüttel I Transcription]] (ca. 1465-80){{edit index|Wolfenbüttel Sketchbook (Cod.Guelf.78.2 Aug.2º)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <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 (Cgm 1507)|Munich I Transcription]] (ca. 1470){{edit index|Paulus Kal Fechtbuch (Cgm 1507)}}<br/>by [[Dierk Hagedorn]]</p>
! <p>[[Die Meisterlieder des Hans Folz (MS Q.566)|Wiemar Transcription]] (1479){{edit index|Die Meisterlieder des Hans Folz (MS Q.566)}}<br/>by [[Andreas Meier]]</p>
 
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Carsten&nbsp;Lorbeer]], [[Julia&nbsp;Lorbeer]], [[Andreas&nbsp;Meier]], [[Marita&nbsp;Wiedner]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Carsten&nbsp;Lorbeer]], [[Julia&nbsp;Lorbeer]], [[Andreas&nbsp;Meier]], [[Marita&nbsp;Wiedner]]</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>
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|  
 
|  
 
|  
 
|  
|  
+
| {{section|Page:MS KK5126 104v.jpg|1|lbl=104v}}
|  
 
 
|  
 
|  
 
| '''[3r] {{red|IN sant Jörgen namen höbt an die kunst deß fechtens die gedicht vnd gemacht hat Johanns liechtnawer der ain hocher maister In den kunste~ gewesen ist dem gott genädig sÿ}}'''
 
| '''[3r] {{red|IN sant Jörgen namen höbt an die kunst deß fechtens die gedicht vnd gemacht hat Johanns liechtnawer der ain hocher maister In den kunste~ gewesen ist dem gott genädig sÿ}}'''
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{{paget|Page:MS 1825|45r|jpg|p=1}}<br/>{{section|Page:MS 1825 45v.jpg|1|lbl=45v|p=1}}
 
{{paget|Page:MS 1825|45r|jpg|p=1}}<br/>{{section|Page:MS 1825 45v.jpg|1|lbl=45v|p=1}}
 +
| <p><br/></p>
 +
 +
{{section|Page:MS KK5126 104v.jpg|2|lbl=-}}
 
|  
 
|  
| <br/><br/>
+
| <br/>
<poem>'''[104v]''' Junger ritter lern
 
got lieb habenn und frauen zo<ref>Kein eindeutiges z.</ref> ere
 
so [v]ächst<ref>The first letter has been corrected so that the word is ambiguous to identify.</ref> dein ere
 
vber alle Ritterschafft vnd lern
 
chunst die dich ziern
 
vnd in kriegen ser hoffi{{dec|o|er}}t
 
ring[e]n <sup>ist</sup> guet die pesser
 
sper swert <sup>vnd</sup> messer
 
degenn mandlich zw peberben
 
vnd in andern henden zu ver derbenn</poem>
 
|
 
| <br/><br/>
 
 
<poem>Jüngk ritte~ lere /
 
<poem>Jüngk ritte~ lere /
 
gott liebhaben frowen ja <del>e</del>ere~  
 
gott liebhaben frowen ja <del>e</del>ere~  
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|2|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|2|lbl=-}}
 
| {{section|Page:MS 1825 45v.jpg|2|lbl=-}}
 
| {{section|Page:MS 1825 45v.jpg|2|lbl=-}}
| '''vnde verso'''<ref>Written larger than normal.</ref>
+
| {{section|Page:MS KK5126 104v.jpg|3|lbl=-}}
<poem>
 
 
 
 
 
 
 
 
 
 
 
wer nach get haw[e]n
 
de[r] dorff sich ge kunst [...] frew[e]n
 
hort vn[d] waß du willt
 
ke[in] wechsler ku[m] an de[in] schiltt
 
 
 
 
 
 
 
[...] ficht mit gancz[en] leibe gerstu stet [...]
 
 
 
 
 
hor wj de schlecht ist
 
fecht nit link w[e]n du recht pist
 
iß das du lintest
 
in dem fechten du sere hinkest
 
vor nach vn[d] diese zwey di[n]g
 
Sint diser kunst ein vrsprung
 
Ez wert vn[d] schlecht
 
jn des
 
 
 
 
 
der schrikstu g[er]n
 
ke[in] fecht[e]n [ni[m]] e[r] me[r] gele[r]n</poem>
 
| '''das ist ein gemaine ler des langenn Swercz vnnd ist das die vor redt'''
 
<poem>[W]jld dw chunnst schauen
 
sich tenncken vnd recht mit hauen
 
vnd tennck mit gerechten
 
jst das dw starck gerst zw fechten
 
wer nach get hewen
 
der darf sich der chunst wenig freien<ref>In the Bavarian dialect: freien = freuen, a freit = eine Freude.</ref>
 
haw nachet was dw wild
 
chain wechsler chumbt an deinen schilt
 
zw ch<del>n</del>op zw leyb
 
die zeck nit vermeid
 
mit ganczem leib
 
ficht was was (sic) dw starck gerest zw treibenn
 
 
 
 
 
hor was da slecht ist
 
ficht nicht oben lingk yst das dw recht pist
 
vnd ob dw linck pist
 
jm rechten auch ser hinckest
 
vor vnd nach die zwai ding
 
Sind aller ding ein vrsprung
 
Swech vnd sterch
 
jnndes das wort da mit merck
 
so magstu lernen
 
mit chunst arbatten vnd wern
 
erschrickest dw gern
 
chain fechten nymer lern
 
funff hew lern
 
von der rechten hand wider die were
 
den wir in chunsten geloben
 
gern zu lonen</poem>
 
 
|  
 
|  
 
| {{red|b=1|Das ist ain gemain lere des langen schwerts}}
 
| {{red|b=1|Das ist ain gemain lere des langen schwerts}}
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|3|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|3|lbl=-}}
 
|  
 
|  
| <br/><br/>
+
| <p><br/><br/></p>
<poem>ab[er] haw do her ku[m]p auff jn die zw[er]
 
kru[m]p schile[r] mit scheitle[r] </poem>
 
| <br/><br/>
 
<poem>[Z]orn haw twer
 
schilcher mit schaitler
 
alwer verseczt
 
nachraisen vberlauf haw leczt
 
 
 
  
durch wechsel zuck
+
{{section|Page:MS KK5126 104v.jpg|4|lbl=-}}
durch lauff ab sneyd hennd druck
 
heng windt mit plossem
 
fach streich stich mit stossenn</poem>
 
 
|  
 
|  
 
| {{red|b=1|Das ist der texte}}
 
| {{red|b=1|Das ist der texte}}
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'''[60r]''' Wynde stich '''[60v]''' Sicht Er es nimbs nider</poem>
 
'''[60r]''' Wynde stich '''[60v]''' Sicht Er es nimbs nider</poem>
| <br/>
+
| {{section|Page:MS KK5126 104v.jpg|5|lbl=-}}
<poem>we[r] ub[er] dich hawt
 
zorn haw ort de[m] draw
 
wirt ers gewa[r]
 
nyms ob[e]n ab anefar
 
pis fil sterk[er] wid[er]
 
wind sich sicht ers nims nid[er]
 
daz eb[e]n merk
 
ob de[in] beger sint weich od[er] h[er]t
 
jn des vor vn[d] nach
 
an hute dein krig sey nit gach</poem>
 
| '''zorn haw'''
 
<poem>Wer dier oberhaut
 
zorn ort dem trat
 
wirt er es gewar
 
nym oben ab ame far
 
pis stercker wider
 
windt stich sicht ers nym es nyder
 
das eben merck
 
haw stich leger waich oder hert
 
jnndes vnd far nach
 
an hurt dem krieg sey nit gach</poem>
 
 
|  
 
|  
 
| {{red|b=1|Der zorn haw°}}
 
| {{red|b=1|Der zorn haw°}}
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|5|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|5|lbl=-}}
 
|  
 
|  
| <br/>
+
| <p><br/></p>
<poem>wer d[er] krige remet
+
 
ob[e]n vnte[n] wirt er beschemet</poem>
+
{{section|Page:MS KK5126 104v.jpg|6|lbl=-}}
| <br/>
 
<poem>wes der krieg remet
 
oben nyden wirt es verschemet
 
in allen winden
 
haw stich schnit lere finden
 
auch sold dw nit
 
pruffen hew stich schnit
 
in allenn treffen
 
den maistern wildw sy affenn</poem>
 
 
|  
 
|  
 
| <br/>
 
| <br/>
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|6|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|6|lbl=-}}
| <br/>
+
| <p><br/></p>
 
<poem>'''[62r]''' Vier blosse wiße  
 
<poem>'''[62r]''' Vier blosse wiße  
 
zu reme~ '''[62v]''' So slegstu gewisse  
 
zu reme~ '''[62v]''' So slegstu gewisse  
 
ane fare</poem>
 
ane fare</poem>
| <br/>
+
| {{section|Page:MS KK5126 104v.jpg|7|lbl=-}}
<poem>4 ploz
 
reme so schlechstu gewiß
 
an alle vare
 
an zweifel wie<sup> er </sup>gepor</poem>
 
| '''die vier plossenn'''
 
<poem>[V]jer plosse wisse
 
zu ramen so slechstu gewisse
 
an alle far
 
ann[e] zweyffl wild dich rechen </poem>
 
 
|  
 
|  
 
| {{red|b=1|Die vier blossen zu° breche~}}
 
| {{red|b=1|Die vier blossen zu° breche~}}
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<poem>'''[61r]''' Oben duplir
 
<poem>'''[61r]''' Oben duplir
 
'''[61v]''' Niden mutier</poem>
 
'''[61v]''' Niden mutier</poem>
| <br/>
+
| <p><br/></p>
<poem>wiltu die recht[e]n
 
4 plez kunstlich prech[e]n
 
oben duplir
 
vn[d] recht mutire
 
jch sag dir für war
 
keiner schuczt seich [sic] ane var
 
  
 
+
{{section|Page:MS KK5126 104v.jpg|8|lbl=-}}
hastu dz v[er]nom[e]n
 
so zu schlag mag er kleine kom[e]n</poem>
 
| '''die vier plossen kunstlich prechen'''<br/><br/><br/>
 
<poem>Oben duplier
 
in dem vecht mutier
 
jch sag fur war
 
sich schaczt kain man ane far
 
 
 
 
 
hastu vernumen
 
zu slag mag er klain chumen</poem>
 
 
|  
 
|  
 
| {{red|b=1|Die vier blossen zu° brechen}}
 
| {{red|b=1|Die vier blossen zu° brechen}}
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<poem>'''[66v]''' Krumpf auf Behende  
 
<poem>'''[66v]''' Krumpf auf Behende  
 
werf den ort auf die hennde</poem>
 
werf den ort auf die hennde</poem>
| <br/><br/>
+
| <p><br/><br/></p>
<poem>kru[m]pt auff mit lang[en]
+
 
wirff den ort auff die hende
+
{{section|Page:MS KK5126 104v.jpg|9|lbl=-}}
kru[m]p w[er] wol v[er]seczt
 
mit schritt[e]n fil hew leczt
 
hawe zu den flech[e]n
 
den meist[er]n willtu sie swech[e]n
 
wa[n] ez gliczt oben
 
so drit ab dz ger ich lob[e]n
 
ku[m]pt nicht kreuczhaw
 
d[er]ch wechsel<ref>There is probably a missing letter here, making it "durchwechseln".</ref> da[r] [mi]t schaw
 
kru[m]p w[er] v[er]irret
 
d[er] edel krig dz v[er]wirret</poem>
 
| <br/><br/>
 
<poem>[K]rump auf Behende
 
wurf den ort auf die hennde
 
chrump wer wol siczet
 
mit sch reit[e]n vil hew lecz
 
haw chrump mit flechen
 
den maistern wild dw sy swech[e]n
 
wenn es gliczt oben
 
so stand ab das wil ich dich loben
 
chrump nicht churcz haw
 
durch wechsel da mit schaw
 
chrump wer dich irret
 
der edl krieg in ver wiret
 
das er nit wais fur war
 
wo er sey jnen far</poem>
 
 
|  
 
|  
 
| {{red|b=1|Der <del>Km</del> Krumphaw°}}
 
| {{red|b=1|Der <del>Km</del> Krumphaw°}}
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|9|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|1|lbl=IIIv|p=1}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIr.png|9|lbl=-|p=1}}<br/>{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|1|lbl=IIIv|p=1}}
 
|  
 
|  
| <br/><br/>
+
| {{section|Page:MS KK5126 104v.jpg|10|lbl=-}}
<poem>Tewr ni[m]pt
 
waz vo[m] himel h[er]ab kimpt
 
 
 
 
 
Haw zu den pfluge
 
zu den nest[e]n vngefuge</poem>
 
| '''der twer haw'''<br/><br/>
 
<poem>[T]wer benimpt
 
was vom tag her chumbt
 
twer mit der sterck
 
dein arbait damit mercke
 
Twer zu dem pflueg
 
zw dem ochsen hart gefueg
 
was sich wol twert
 
mit sprungenn dem haubt gefert</poem>
 
 
|  
 
|  
 
| {{red|b=1|Der zwerchhaw°}}<br/><br/>
 
| {{red|b=1|Der zwerchhaw°}}<br/><br/>
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Schryt in den tag bis nit zulas </poem>
 
Schryt in den tag bis nit zulas </poem>
| <poem>feiler v[er] firet
+
| {{section|Page:MS KK5126 104v.jpg|11|lbl=-}}
von vnte[n] nach wunsche rurt
 
vor kerer twingz
 
durch lauff werff auch mit ringz
 
 
 
 
 
failer zwifach[e]n
 
den allt[e]n snit mitte mache
 
zweifachz furbaz
 
drit jn hut nit pis laß</poem>
 
| <poem>feler <del>wer</del> füeret<ref>W has been corrected to V.</ref>
 
nach wunnsch er ruret
 
verkerer twinget
 
durchlauf ser auch mit ringet
 
den elpogenn gewis nym
 
spring in die wage
 
'''[105r]''' feler zwifach
 
trift man den schnit mit macht
 
zwifach es furwas
 
schreit in linck vnd pis nit los</poem>
 
 
|  
 
|  
 
| <poem>Welcher vor füret  
 
| <poem>Welcher vor füret  
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|3|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|3|lbl=-}}
 
|  
 
|  
| <br/>
 
<poem>
 
 
 
 
 
 
 
Tewre zu dem orte
 
ny[m] den halz ane forchte
 
Schil zu den ob[er]n
 
ist daz du jn wilt bedek[er]n</poem>
 
 
| '''der schilhaw'''
 
| '''der schilhaw'''
 
<poem>[Sch]ilcher ein pricht  
 
<poem>[Sch]ilcher ein pricht  
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|4|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|4|lbl=-}}
 
|  
 
|  
| <br/>
 
<poem>de[r] schaitler
 
deinß antlicz ist geforn
 
mit seyn[e]n korn</poem>
 
 
| <br/>
 
| <br/>
 
<poem>[D]er schaitler  
 
<poem>[D]er schaitler  
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die dritte hute haisst der Alber
 
die dritte hute haisst der Alber
 
die vierde haisst vom tage</poem>
 
die vierde haisst vom tage</poem>
| <br/>
 
<poem>4 leger alle[in]
 
ny[m] vn[d] fleuch die geme[in]</poem>
 
 
| '''die vier leger'''
 
| '''die vier leger'''
 
<poem>[V]ier leger allain  
 
<poem>[V]ier leger allain  
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|6|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|6|lbl=-}}
 
|  
 
|  
| <br/><br/><br/>
 
<poem>verseczens hut dich
 
geschicht ez sere mut dich
 
ist daz dir v[er]s[e]czt ist
 
slach wie ez dir kom[en] ist
 
hor wi ich rate
 
drit ab schnel hawe mit drate
 
Secz an fier end
 
pleib dar auff wiltu end[en]</poem>
 
 
| '''die vier versecz[e]nn'''
 
| '''die vier versecz[e]nn'''
 
<poem>[V]jer seind der verseczen
 
<poem>[V]jer seind der verseczen
Line 1,709: Line 1,485:
 
'''[69r]''' Die vszer myñe  
 
'''[69r]''' Die vszer myñe  
 
dein arbait damit begynne</poem>
 
dein arbait damit begynne</poem>
|
 
 
| '''von nachrais[e]n'''
 
| '''von nachrais[e]n'''
 
<poem>nach raissenn lern  
 
<poem>nach raissenn lern  
Line 1,803: Line 1,578:
  
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|8|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|8|lbl=-}}
|
 
 
|  
 
|  
 
| '''von vberlauffenn'''
 
| '''von vberlauffenn'''
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{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|9|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|9|lbl=-}}
 
|  
 
|  
| <br/>
 
<poem>
 
 
 
we[r] auff dich sticht
 
<del>seyne</del> sein[e]n ort mit twer driff<sup> vn[d] </sup>prich</poem>
 
 
| '''von abseczenn'''
 
| '''von abseczenn'''
 
<poem>Lern ab seczenn  
 
<poem>Lern ab seczenn  
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<poem>'''[66r]''' Durch wechsel lere  
 
<poem>'''[66r]''' Durch wechsel lere  
 
von baiden seytten</poem>
 
von baiden seytten</poem>
|
 
 
| '''vom durchwechsl'''
 
| '''vom durchwechsl'''
 
<poem>durch wechsel lere  
 
<poem>durch wechsel lere  
Line 2,009: Line 1,776:
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|11|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|11|lbl=-}}
 
|  
 
|  
| <br/>
 
<poem>
 
 
 
zuk zukle[r] zuk[...] me[r]
 
er besint orbt die drit jm we</poem>
 
 
| '''von zuckenn'''
 
| '''von zuckenn'''
 
<poem>drit nachet in punndenn
 
<poem>drit nachet in punndenn
Line 2,081: Line 1,842:
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|12|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|12|lbl=-}}
 
|  
 
|  
| <br/>
 
<poem>las den ort hang[e]n
 
greif d[e]n knauf wildu rang[e]n</poem>
 
 
| '''von durchlauffenn'''
 
| '''von durchlauffenn'''
 
<poem>durchlauf lass hangen
 
<poem>durchlauf lass hangen
Line 2,143: Line 1,901:
  
 
'''[69v]''' Der vnderschniet '''[70r]''' Der oberschniet</poem>
 
'''[69v]''' Der vnderschniet '''[70r]''' Der oberschniet</poem>
| <br/>
 
<poem>
 
 
 
4 sint d[er] schnit
 
2 ob[e]n 2 vnd[en]</poem>
 
 
| <br/>
 
| <br/>
 
<poem>sneid ab die herten  
 
<poem>sneid ab die herten  
Line 2,197: Line 1,949:
  
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|14|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|14|lbl=-}}
|
 
 
|  
 
|  
 
| <br/><br/><br/>
 
| <br/><br/><br/>
Line 2,245: Line 1,996:
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|15|lbl=-}}
 
{{section|Page:Cod.Guelf.78.2 Aug.2º IIIv.png|15|lbl=-}}
 
|  
 
|  
| <br/><br/><br/>
 
<poem>zwei heng[en] w[er]den
 
von ped[e]n henden auff erd[en]</poem>
 
 
| '''von zwain hengen von durchlauffen'''<br/><br/><br/>
 
| '''von zwain hengen von durchlauffen'''<br/><br/><br/>
 
<poem>[Z]wai henngen wern  
 
<poem>[Z]wai henngen wern  
Line 2,311: Line 2,059:
 
<poem>'''[70v]''' Sprech finster mach
 
<poem>'''[70v]''' Sprech finster mach
 
stand frylich besiech sein sach</poem>
 
stand frylich besiech sein sach</poem>
| <br/>
 
<poem>Sprech fenst[er] mache
 
stand freilich sich se[in] sache
 
wer sich vor dir zewet abe
 
how schnell daz e[r] schnabe</poem>
 
 
| <br/>
 
| <br/>
 
<poem>sprechfenster mache  
 
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Revision as of 04:13, 17 June 2017

Die Zettel
The Recital
Johannes Liechtenauer.png
Full Title A Recital on the Chivalric
Art of Fencing
Ascribed to Johannes Liechtenauer
Illustrated by Unknown
Date Fourteenth century (?)
Genre
Language Middle 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 Nuremberg 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 Nuremberg 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 Nuremberg 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 Nuremberg Hausbuch may date as late as 1494 and the earliest records of the identifiable members of his tradition appear in the early 1400s, it seems more probable that Liechtenauer's career occurred toward the beginning of the 15th century. Ignoring the Nuremberg Hausbuch as being of indeterminate date, the oldest version of the Recital appears in the MS G.B.f.18.a, dating to ca. 1418-28 and attributed to an H. Beringer, which both conforms to this timeline and suggests the possibility that Liechtenauer was himself an inheritor of the teaching rather than its original composer (presentations of the Recital that are entirely unattributed exist in other 15th and 16th century manuscripts).

Treatise

Liechtenauer's teachings are preserved in a brief poem of rhyming couplets called the Zettel ("Recital"). These "secret and hidden words" were intentionally cryptic, probably 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 Jud Lew wrote extensive glosses that sought to clarify and expand upon these teachings.

Twenty-one manuscripts contain a presentation of the Recital as a separate (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 found in the gloss from the Nuremberg 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 standard Recital. The other surviving versions of the Recital from all periods show a high degree of consistency in both content and organization, excepting only the version attributed to H. Beringer (which is also included in the writings of Hans Folz).

The following tables include only those manuscripts that quote Liechtenauer's Recital in an unglossed form. Note that in the case of Beringer and Folz, the verse is presented in an alternative sequence; they have been reordered to match the others in this rendition, but you can find the original layout in their articles.

temp division

In addition to the verses on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six figuren ("figures")—single line abbreviations of the longer couplets, generally drawn in circles, which seem to sum up the most important points. The precise reason for the existence of these figures remains unknown, as does the reason why there are no equivalents for the armored fencing or unarmored fencing verses.

One clue to their significance may be a parallel set of teachings first recorded by Andre Paurñfeyndt in 1516, called the "Twelve Teachings for the Beginning Fencer".[16] These teachings are also generally abbreviations of longer passages in the Bloßfechten, and are similarly repeated in many treatises throughout the 16th century. It may be that the figures are a mnemonic that represent the initial stage of mounted fencing instruction, and that the full verse was taught only afterward.

Additional Resources

References

  1. 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
  2. The text diverges here, omitting Liechtenauer's couplet and inserting this quatrain instead:
    Dagge swert stãge lãse schon
    Messer bockler has vñ rõken
    Taegñ darde vnd schilt
    Miden allen zu ringe~ uff du wilt
  3. First letter almost illegible.
  4. First letter illegible.
  5. Text terminates at this point. The leaves with the rest of the text are gone, probably lost.
  6. Gotha inserts the title Das ist der krieck in this position, but no other version separates it in that way.
  7. Between "Dupliere" and "doniden" there is a lack of space, possibly the "d" was added later.
  8. Corrected from »Im«.
  9. 9.0 9.1 Corrected from »Twir«.
  10. Talhoffer adds an additional couplet: [4r] Page:Ms.Thott.290.2º 004r.jpg
  11. should be "dreffen"
  12. "oder"
  13. The meaning is unknown, but may be a part of the bridle.
  14. There are dots above the e, but it is not clear whether it really is an umlaut.
  15. "Vecht" (sound shift b→v)
  16. Andre Paurñfeyndt, et al. Ergrundung Ritterlicher Kunst der Fechterey. Hieronymus Vietor: Vienna, 1516.