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<section begin="1"/>{{red|b=1|This is the general preface of the unarmored fencing on foot. Mark this well.}}
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<section begin="1"/>'''This is the general foreword to the unarmoured<ref>blossfechten</ref> fencing on foot, note this well.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>1</small>
 
| <small>1</small>
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,
+
| Young knights learn<br/>&emsp;to love God and honour women
 
|-  
 
|-  
 
| <small>2</small>
 
| <small>2</small>
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn
+
| that your honour may grow.<br/>&emsp;Practice knightly things and learn
 
|-  
 
|-  
 
| <small>3</small>
 
| <small>3</small>
| art that decorates you<br/>&emsp;and in wars serves you well.
+
| arts that help you<br/>&emsp;and grant you honour in war.
 
|-  
 
|-  
 
| <small>4</small>
 
| <small>4</small>
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,
+
| Wrestle well;<br/>&emsp;grab the lance, spear, sword and falchion.
 
|-  
 
|-  
 
| <small>5</small>
 
| <small>5</small>
| manfully brandish<br/>&emsp;and in other hands ruin.
+
| Do this manly<br/>&emsp;and make it useless in other hands.
 
|-  
 
|-  
 
| <small>6</small>
 
| <small>6</small>
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.
+
| Strike threefold and hard in there,<br/>&emsp;rush in regardless if you hit or miss,
 
|-  
 
|-  
 
| <small>7</small>
 
| <small>7</small>
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.
+
| so that in understanding this<br/>&emsp;you will be known as a wise man.
 
|-  
 
|-  
 
| <small>8</small>
 
| <small>8</small>
| Thereupon you hold,<br/>&emsp;all things have time and place.
+
| This you shall know,<br/>&emsp;that all things have length and measure.
 
|-  
 
|-  
 
| <small class="grey">ⅰ</small>
 
| <small class="grey">ⅰ</small>
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.
+
| Do what you wish to do<br/>&emsp;with good understanding.
 
|-  
 
|-  
 
| <small class="grey">ⅱ</small>
 
| <small class="grey">ⅱ</small>
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation
+
| In earnest or in play<br/>&emsp;have good heart with measure.
 
|-  
 
|-  
 
| <small class="grey">ⅲ</small>
 
| <small class="grey">ⅲ</small>
| so that you may pay attention<br/>&emsp;and consider with a good spirit
+
| Thus you beware<br/>&emsp;and look with good cheer;
 
|-  
 
|-  
 
| <small class="grey">ⅳ</small>
 
| <small class="grey">ⅳ</small>
| whatever you shall command<br/>&emsp;and whip up against the opponent.
+
| this is what you shall do<br/>&emsp;and how you go against him.
 
|-  
 
|-  
 
| <small class="grey">ⅴ</small>
 
| <small class="grey">ⅴ</small>
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.
+
| For good heart and force<br/>&emsp;makes your opponent weak,
 
|-  
 
|-  
 
| <small class="grey">ⅵ</small>
 
| <small class="grey">ⅵ</small>
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.
+
| govern yourself after this;<br/>&emsp;never give an advantage for nothing.
 
|-  
 
|-  
 
| <small class="grey">ⅶ</small>
 
| <small class="grey">ⅶ</small>
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six
+
| Do not be rash;<br/>&emsp;do not first do four or six.<ref>I believe Döbringer is referring to strikes. But it might also be opponents</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅷ</small>
 
| <small class="grey">ⅷ</small>
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.
+
| With your overconfidence<br/>&emsp;be moderate, which is good for you.
 
|-  
 
|-  
 
| <small class="grey">ⅸ</small>
 
| <small class="grey">ⅸ</small>
| It is a brave man<br/>&emsp;that dares to confront their equal.
+
| He is a brave man<br/>&emsp;who fights his own weaknesses.
 
|-  
 
|-  
 
| <small class="grey">ⅹ</small>
 
| <small class="grey">ⅹ</small>
| It is not shameful<br/>&emsp;to flee four or six at hand.
+
| It is no shame<br/>&emsp;to flee when four or six (foes) are at hand
|-
 
|
 
| <ref>Possibly: "If one cannot flee, then do something cunning, that is my advice."</ref>
 
 
|}
 
|}
 
<section end="1"/>
 
<section end="1"/>
  
<section begin="2"/>{{red|b=1|This is a general lesson of the sword:}}
+
<section begin="2"/>'''This is a general teaching of the sword.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>9</small>
 
| <small>9</small>
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.
+
| If you want to display skill,<br/>&emsp;go with the left and follow right with the strikes,
 
|-  
 
|-  
 
| <small>10</small>
 
| <small>10</small>
| And left with right<br/>&emsp;Is what you strongly desire to fence.
+
| and left with right<br/>&emsp;is how you will fence with strength.
 
|-  
 
|-  
 
| <small>11</small>
 
| <small>11</small>
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.
+
| If you only strike after,<br/>&emsp;you will have little joy from his art,
 
|-  
 
|-  
 
| <small>12</small>
 
| <small>12</small>
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.
+
| strike him wherever you wish,<br/>&emsp;and no changer<ref>Wechsler</ref> will come within your shield.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.
+
| Do not strike to the sword;<br/>&emsp;instead go for the openings,<ref>Blossen</ref>
 
|-  
 
|-  
 
| <small>13</small>
 
| <small>13</small>
| To the head, to the body,<br/>&emsp;Do not omit the stingers.
+
| To the head, to the body<br/>&emsp;and do not forget the withdrawing.<ref>Zucken</ref>
 
|-  
 
|-  
 
| <small>14</small>
 
| <small>14</small>
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.
+
| Do with the entire body<br/>&emsp;what you wish to do firmly.
 
|-  
 
|-  
 
| <small>15</small>
 
| <small>15</small>
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.
+
| Hear what is bad;<br/>&emsp;do not fence above left if you are a right hander.
 
|-  
 
|-  
 
| <small>16</small>
 
| <small>16</small>
| And if you are left,<br/>&emsp;You are severely hindered on the right.
+
| And if you are a left hander<br/>&emsp;then leave the right behind
 
|-  
 
|-  
 
| <small class="grey">ⅻ</small>
 
| <small class="grey">ⅻ</small>
| So always prefer<br/>&emsp;To fence from above left downwards.
+
| and fence rather<br/>&emsp;from high left to low (on the right).
 
|-  
 
|-  
 
| <small>17</small>
 
| <small>17</small>
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.
+
| Before<ref>Vor</ref> and after,<ref>Nach</ref> from these two things<br/>&emsp;the whole art stem,
 
|-  
 
|-  
 
| <small>18</small>
 
| <small>18</small>
| Weak and strong,<br/>&emsp;Indes, mark this word with them.
+
| weak<ref>Weich</ref> and strong,<ref>Hart</ref><br/>&emsp;in an instant<ref>Indes</ref> note that word well.
 
|-  
 
|-  
 
| <small>19</small>
 
| <small>19</small>
| So you can learn<br/>&emsp;To defend yourself with art and work.
+
| Thus you may learn<br/>&emsp;with work and defend artfully,
 
|-  
 
|-  
 
| <small>20</small>
 
| <small>20</small>
| If you terrify easily,<br/>&emsp;Never learn any fencing.
+
| if you frighten easily,<br/>&emsp;do not learn how to fence.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅲ</small>
 
| <small class="grey">ⅹⅲ</small>
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,
+
| Knowledge<ref>Kunheit</ref> and skill,<ref>Rischeit</ref><br/>&emsp;cunning,<ref>List</ref> prudence<ref>Vorsichtikeit</ref> and wisdom,<ref>Klugheit</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅳ</small>
 
| <small class="grey">ⅹⅳ</small>
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill
+
| reason, secrecy,<br/>&emsp;reach, foreknowing and readiness.<ref>Vornuft, vorborgenheit, mosse bevorbetrachtunge, hobsheit, fetikeit</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅴ</small>
 
| <small class="grey">ⅹⅴ</small>
| Fencing will have<br/>&emsp;And bear a joyous spirit.
+
| this fencing desire<br/>&emsp;and cheerfully do.
 
|}
 
|}
{{red|b=1|General gloss hereafter.}}<ref name="Latin">Latin</ref> First of all, note and know that the point of the sword is the axis, the dividing point and the core of the sword from which all applications depart and come back into it.
+
Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings<ref>Hengen</ref> and the turnings<ref>Winden</ref> is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point<ref>Of the opponent's weapon</ref> do not always hit well. But with these techniques striking,<ref>Hawende</ref> thrusting<ref>Stechende</ref> or cutting,<ref>Sneydende</ref> stepping in or out,<ref>Abe und czutreten</ref> stepping around<ref>Umbeschreiten</ref> or a leap,<ref>Springen</ref> will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings<ref>Winden</ref> or stepping out.<ref>Czutreten</ref> Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.<section end="2"/>
 
 
Thus the hangings and the windings are the angulations and the rotations of the axis and of the core. From them, quite a few good plays of fencing also come.
 
 
 
And they were identified and worked out so that a fencer who initiates a cut or thrust directly into the point may not hit every single time of course, they can hit someone by stepping out and in and by lateral stepping or springing with those same cutting, thrusting or slicing plays.
 
 
 
And if you mislaid or overextended the point of your sword by overshooting or by overstepping, then you can realign and withdraw and shorten it again by winding or stepping back in such a fashion that you again come into the certain plays and precepts of fencing. From them, you can deliver cuts, thrusts, or slices.
 
 
 
For according to Liechtenauer's art, these cuts, thrusts and slices all come from the applications and precepts of the art of the sword, as you will hear hereafter about how one play and precept comes from the other and how one fashions one of these from the other such that if the one will be warded off, then the other hits and has success.<section end="2"/>
 
 
 
<section begin="3"/>Secondly, note and know that no part of the sword was neither invented nor conceived without a purpose. Namely, a fencer shall utilize the point, both edges, the hilt, the pommel and the like on the sword in accordance with its particular precept in the art of fencing, which these practices possess and promote in accordance as well, as you will hereafter see and hear each in particular.<section end="3"/>
 
 
 
<section begin="4"/>Also note and know by this, when he speaks, "If you wish to examine the art, etc", that he means that a skilled fencer, they shall advance the left foot and cut from the right side directly to the opponent with threatening cuts as long as they see where they can fully obtain and fully reach the opponent with their stepping.
 
  
And he means: "when someone wishes to fence strongly", so shall they fence out from the left side with the entire body and full power to the head and to the body alone wherever they can hit and never to the sword, in particular, they shall do it as if the opponent has no sword and as if they cannot see it and they shall not omit any stingers nor wounds, rather always be in work and in contact so that the opponent cannot come to blows.<section end="4"/>
+
<section begin="3"/>Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,<ref>Ort</ref> both edges,<ref>Sneiden</ref> cross guard<ref>Gehilcze</ref> and pommel<ref>Klos</ref> and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.<section end="3"/>
  
<section begin="5"/>He also means that you shall neither move nor step directly behind your attacks, rather, do it somewhat sideways and curved around so that you come to the side of the opponent, where you can get at them better with everything than by frontally on.
+
<section begin="4"/>Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he<ref>the opponent</ref> does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.<section end="4"/>
  
Whatever you subsequently cut or thrust at the opponent at that moment, cannot be defended nor lead off well by them by disengaging in any way nor by any other techniques, provided that the cuts and thrusts go in directly to the openings, be it to the head or to the body, with lateral movement and stepping.<section end="5"/>
+
<section begin="5"/>He<ref>Liechtenauer</ref> also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you strike or thrust at him, he will not be able to defend with other techniques and neither lead it away by changing through<ref>Durchwechsel</ref> as long as the strikes or thrusts are to the man, to the openings<ref>Blossen</ref> to the head and the body with steps and leaps in from the side.<section end="5"/>
  
 
<section begin="6"/>Also note and know by this when he speaks, "The Before, The After the two things, etc" that he means the five words: The Before, The After, Weak, Strong, Indes. The entire art of Master Liechtenauer's rests upon these very words which are the foundation and the core of all fencing on foot or on horse, bare or in harness.<section end="6"/>
 
<section begin="6"/>Also note and know by this when he speaks, "The Before, The After the two things, etc" that he means the five words: The Before, The After, Weak, Strong, Indes. The entire art of Master Liechtenauer's rests upon these very words which are the foundation and the core of all fencing on foot or on horse, bare or in harness.<section end="6"/>
  
<section begin="7"/>By the word "The Before", he means that every good fencer shall possess and have won the Vorschlag every time they hit or miss. As Liechtenauer says: "Attack suddenly and storm in, keep moving fluidly, engage or let pass". Whenever you either walk or rush toward the opponent, just as soon as you can see that you can reach them with a step or with a spring, then wherever you see them open somewhere, you shall move in with confidence, be it to the head or to the body, boldly without any fear, wherever you can most certainly get them. For in this way, you always win the Vorschlag, not matter if the opponent ends up safe or not.
+
<section begin="7"/>Also note and know what he says here, before,<ref>Vor</ref> after,<ref>Nach</ref> the two things do, he names the five words; Before,<ref>Vor</ref> After,<ref>Nach</ref> Weak,<ref>Weich</ref> Strong,<ref>Hart</ref> in that instant/just as.<ref>Indes</ref> On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour<ref>Harnusche</ref> or without.<ref>Blos</ref> Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before <ref>Vor</ref> means that a good fencer will always win the first strike.<ref>Vorschlag</ref> When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings<ref>Blossen</ref> and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike<ref>Vorschlag</ref> then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike<ref>Vorschlag</ref> if you hit then follow up the hit quickly, but if the other defends against the first strike<ref>Vorschlag</ref> whether it was a strike or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard <ref>Hart</ref> or soft<ref>Weich</ref> and strong<ref>Stark</ref> or weak<ref>Swach</ref> on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant<ref>Indes</ref> should you do the after strike<ref>Nachschlag</ref> before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike<ref>Vorschlag</ref> as you do that, attack other openings<ref>Blossen</ref> with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.<section end="7"/>
 
 
And you must also be shrewd in your stepping and shall have measured them correctly so that you do not step too short nor too long.
 
 
 
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.
 
 
 
But If the opponent wards off your Vorschlag, whether it be a cut or thrust by leading off or controlling with their sword, then while you’re still against your opponent’s sword, as they are leading you away from the opening in which you targeted, you must quite precisely note and feel whether they are soft or hard, weak or strong against your sword in their leading off and defense of your cuts and thrusts.
 
 
 
If it then happens that you clearly feel how the opponent lies in their application at that moment, and they are strong and hard; Indes, at the moment you completely notice and feel that, you shall, Indes or during the time the opponent defends themselves, be soft and weak and in that, before the opponent can come to blows, you shall then execute the Nachschlag.
 
 
 
That is to say that you shall immediately, while the opponent defends themselves and wards off your Vorschlag (be it cut or thrust), seek other applications and plays. With these, you shall again storm in and keep moving fluidly toward their openings such that you stay continuously in movement and in action. In this way you confound and rattle them. Thus the opponent has altogether so much to manage with their defending and warding off that they, the defender, cannot come to their blows.
 
 
 
Because if you defend yourself and fixate on the oncoming strikes, you are always in greater danger than those that strike at you because you must always either ward off those strikes or must allow yourself to be hit. Thus, it is difficult to come to blows.
 
 
 
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, the opponent cannot come to blows if you otherwise perform according to the five words. This lecture completely gets at this and all fencing".<section end="7"/>
 
 
 
<section begin="8"/>This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<section end="8"/>
 
 
 
<section begin="9"/>Because with the word, "The Before", as was spoken about earlier, he means that you should boldly storm in and keep moving fluidly toward their openings with a good Vorschlag or first strike, without any fear, to the head or to the body. You either hit or miss in such a way that you suddenly rattle the opponent and startle them such that they do not know what to do about it and also before they recover themselves against it again or come back at you, that you then immediately execute the Nachschlag and the opponent has truly so much to manage to defend and to warding off that they cannot possibly come to blows.
 
 
 
Because if you execute the first strike or the Vorschlag and the opponent then wards, in that very warding off and defending, you always come into the Nachschlag's earlier than the opponent comes to their first.
 
 
 
Then you can immediately start to work with your pommel or possibly come into the crosswise cuts (these are especially good) or else cast the crosswise cut over the sword. By this you arrive at other applications or else you can initiate many other things before the opponent comes to blows as you will hear how you fashion from one to the other such that the opponent cannot come away from you unstruck if you otherwise execute according to this lesson.
 
 
 
That is to say you shall execute the Vorschlag and the Nachschlag promptly and swiftly after each other as if it were possible to accomplish it together with a single thought and with single strike.<section end="9"/>
 
 
 
<section begin="10"/>It is also entirely possible to come to this if the opponent wards the Vorschlag, they must ward it with their sword. In this way, they must come against your sword.
 
 
 
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against their sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.<section end="10"/>
 
 
 
<section begin="11"/>If the opponent withdraws, just as you both come together against swords and the points extend to the openings against each other, then with the opponent's withdrawal, before they can recover themselves again for a new cut or thrust against you, immediately follow them with your point, with a good thrust to their breast or anywhere straight forward, wherever you can connect the surest and closest, in this way the opponent cannot come away from your sword with anything unharmed.
 
 
 
This is because when the opponent delivered a new cut or thrust wide around with their withdrawal, you were surely closer at hand to the opponent with your following as you sent your point forwards, targeting them against their sword according to what is closest and shortest.
 
 
 
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.
 
 
 
And this is what Liechtenauer means by the word, "The After".
 
 
 
The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly off the previous action and stay continuously in motion and action and continuously conduct one after the other. If the first fails, the second, third, or fourth hits and the opponent truly cannot come to blows, because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<section end="11"/>
 
 
 
<section begin="12"/>But if the opponent stays with you against your sword, as they have come against it with their warding and defending and this has drawn them out such that you have remained with them against the sword and have not yet executed the Nachschlag, then you shall wind and stay with them in this way against their sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.<section end="12"/>
 
 
 
<section begin="13"/>Then if you note and feel that the opponent is strong, hard and fixed against your sword and at that moment intends to force their sword out, you shall then be weak and soft in response and you shall yield and give way to their strength and you shall let their sword push through and travel with their forcing such that when they do that, you shall then deftly let their sword promptly and swiftly slide draw away, and you shall deftly speed in towards their openings, either to their head or their body with cuts, thrusts and slices only where you can approach the closest and the surest.
 
 
 
Because when you are weak and soft in response and let their sword slide away and you yield to them in this way, the harder and the surer the opponent pushes and presses with their sword, the further and the wider they then push their sword away such that they become completely open so that you can then hit our wound them according to desire before they can recover themselves from their own cut or thrust.<section end="13"/>
 
 
 
<section begin="14"/>But if the opponent is weak and soft against the sword in this way, just as you clearly note and feel that, you shall then be strong and hard against their sword in response and you shall then move in strongly with your point while against their sword and keep moving on in fluidly, directly to their openings, wherever you can, that is closest, just as if a cord or thread were bound at the end of your point, which guides your point to their opening in the shortest way.
 
 
 
And with the thrust that you just executed, you become fully aware whether the opponent is so weak that the opponent lets your sword force them out and allows themselves be struck.<section end="14"/>
 
 
 
<section begin="15"/>But if the opponent becomes strong against your sword in turn and defends and leads off your thrust in this way, such that they force your sword away, you shall again become weak and soft in response and shall allow their sword to slide away and yield to them and swiftly seek their openings with cuts, thrusts and slices, however you readily can.
 
  
And this is what Liechtenauer means by the words, "Soft and Hard".
+
<section begin="8"/>Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike <ref>Vorschlag</ref> according to this teaching.<section end="8"/>
  
And this follows the authorities. As Aristotle spoke in the book ''Perihermanias'': "Opposites positioned near themselves shine greater, or rather; opposites which adjoin, augment. Weak against strong, hard against soft, and the contrary." For should it be strong against strong, then the stronger would win every time.
+
<section begin="9"/>With the word before<ref>Vor</ref> as has been told before, he<ref>Liechtenauer</ref> means that you with a good first strike<ref>Vorschlag</ref> shall close in without fear or hesitation and strike at the openings,<ref>Blossen</ref> to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can gather himself and come back, you shall do the after strike<ref>Nachschlag</ref> so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike<ref>Vorschlag</ref> and the opponent defends against this, in the defence you will always be first to reach the after strike<ref>Nachschlag</ref> before the opponent. As soon as you can, you should go with the pommel to the head or come in with the cross strike<ref>Zwerchhaw</ref> that is always good to do, or you can throw the sword forward crosswise in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the first strike<ref>Vorschlag</ref> and the after strike<ref>Nachschlag</ref> quickly one after the other,<section end="9"/>
  
Therefore Liechtenauer undertakes fencing according to the more equitable and durable art, so that one weaker and cunning with their art wins as surely as one stronger with their strength.
+
<section begin="10"/>and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away turn<ref>Wind</ref> and note and feel<ref>Fulen</ref> if the other gathers himself in order to move away or not.<section end="10"/>
  
How could the art work differently?<section end="15"/>
+
<section begin="11"/>If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings,<ref>Blossen</ref> then you shall – before the opponent has time to gather himself in order to strike or thrust – follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the<ref>his</ref> sword, as close and as short as possible. Then if you move away to do another strike or thrust and you do a wide movement, then the opponent will always be able to beat you to the<ref>Nachschlag</ref> with a strike or thrust, then he can hit you with the first strike.<ref>Vorschlag</ref> And this is what Liechtenauer means with the word.<ref>Nach</ref> When you have done the first strike<ref>Vorschlag</ref> then you shall without any delay do the<ref>Nachschlag</ref> and you should also stay in motion and do one thing after another. If the first<ref>attack</ref> does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words.<section end="11"/>
  
<section begin="16"/>Therefore fencer, learn to feel well in the manner Liechtenauer spoke: "Learn the feeling. Indes, that word slices sharply", because when you are against the sword of the opponent and at that moment clearly feel whether the opponent is weak or strong against the sword, Indes or during that, so then you can consider and know what you shall execute against the opponent according to the aforementioned lore and art well.
+
<section begin="12"/>But if it is so that the opponent remains on the sword after his defence and is on the sword, and it has occurred that you remain with him on the sword and he has not done the<ref>Nachschlag</ref> then you shall turn<ref>Wind</ref> and remain with him on the sword. And you shall notice straight away if the opponent is weak<ref>Swach</ref> or strong.<ref>Stark</ref><section end="12"/>
  
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".<section end="16"/>
+
<section begin="13"/>If it is so that you feel and notice that the opponent is strong<ref>Stark</ref> and hard<ref>Herte</ref> and firm<ref>Veste</ref> on the sword and intends to push your sword away, then you shall be weak<ref>Swach</ref> and yielding<ref>Weich</ref> and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his openings<ref>Blossen</ref> to the head and the body with strikes and thrusts or with cuts, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new strike or thrust.<section end="13"/>
  
<section begin="17"/>If you act according to this lesson, persisting in this way well so that you always have possessed and won the Vorschlag and as soon as you execute that, you then execute the Nachschlag (that is, the second, the third or the fourth strike, be it cut or stab) afterwards in one fluid motion, immediately without refrain then the opponent can never come to blows.
+
<section begin="14"/>But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit,<section end="14"/>
  
If you then come onto the sword with them, be sure in feeling and execute as was written before.
+
<section begin="15"/>or if he is strong and defends and displaces the thrust.<ref>pushes you aside</ref> If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with strikes, thrusts or cuts in any way you can. This is what Liechtenauer means by the words soft<ref>Weich</ref> and strong.<ref>Hart</ref> And this comes from the authorities as Aristotle said in the book Peri Hermanias; opposed near him set wise men shine forth or abandon opposition. Weak against strong, hard against soft and vice versa. Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be?<section end="15"/>
  
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<section end="17"/>
+
<section begin="16"/>Therefore learn well to feel<ref>Fuhlen</ref> in the swordplay. As Liechtenauer says<ref>Das Fuhlen</ref> learn how to feel. In an instant/just as<ref>Indes</ref> is a sharp word. Thus when you find yourself on another’s sword and feel<ref>Fuhlen</ref> well if he is weak or strong at the sword, then at once<ref>Indes</ref> follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”.<section end="16"/>
  
<section begin="18"/>And whatever you conduct and initiate, always have measure and moderation. Like, if at one moment you won the Vorschlag, then don't do it so impetuously and so powerfully that you then cannot recover yourself for the Nachschlag.
+
<section begin="17"/>After this teaching you understand how you will win the first strike<ref>Vorschlag</ref> and as soon as you have done this, then quickly and without any delay do the after strike<ref>Nachschlag</ref> that is the second, third or fourth strike, cut or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel<ref>Fuhlen</ref> and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on feeling,<ref>Fuhlen</ref> so do as it is stated above.<section end="17"/>
  
About this, Liechtenauer spoke: "Thereupon you hold, all things have moderation and measure". And also understand this in the stepping and in all other plays and precepts of fencing, etc.<section end="18"/>
+
<section begin="18"/>No matter what you do or attempt to do, always have measure<ref>Limpf</ref> and length.<ref>Masse</ref> If you have won the first strike<ref>Vorschlag</ref> then do not perform it too slowly, but move fast so that you can gather yourself for the after strike<ref>Nachschlag</ref> as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship.<section end="18"/>
  
 
<section begin="19"/>{{red|b=1|This is the text, wherein he names the five cuts and other plays of fencing.}}
 
<section begin="19"/>{{red|b=1|This is the text, wherein he names the five cuts and other plays of fencing.}}

Revision as of 03:06, 18 October 2022

This is the general foreword to the unarmoured[1] fencing on foot, note this well.

1 Young knights learn
 to love God and honour women
2 that your honour may grow.
 Practice knightly things and learn
3 arts that help you
 and grant you honour in war.
4 Wrestle well;
 grab the lance, spear, sword and falchion.
5 Do this manly
 and make it useless in other hands.
6 Strike threefold and hard in there,
 rush in regardless if you hit or miss,
7 so that in understanding this
 you will be known as a wise man.
8 This you shall know,
 that all things have length and measure.
Do what you wish to do
 with good understanding.
In earnest or in play
 have good heart with measure.
Thus you beware
 and look with good cheer;
this is what you shall do
 and how you go against him.
For good heart and force
 makes your opponent weak,
govern yourself after this;
 never give an advantage for nothing.
Do not be rash;
 do not first do four or six.[2]
With your overconfidence
 be moderate, which is good for you.
He is a brave man
 who fights his own weaknesses.
It is no shame
 to flee when four or six (foes) are at hand

This is a general teaching of the sword.

9 If you want to display skill,
 go with the left and follow right with the strikes,
10 and left with right
 is how you will fence with strength.
11 If you only strike after,
 you will have little joy from his art,
12 strike him wherever you wish,
 and no changer[3] will come within your shield.
Do not strike to the sword;
 instead go for the openings,[4]
13 To the head, to the body
 and do not forget the withdrawing.[5]
14 Do with the entire body
 what you wish to do firmly.
15 Hear what is bad;
 do not fence above left if you are a right hander.
16 And if you are a left hander
 then leave the right behind
and fence rather
 from high left to low (on the right).
17 Before[6] and after,[7] from these two things
 the whole art stem,
18 weak[8] and strong,[9]
 in an instant[10] note that word well.
19 Thus you may learn
 with work and defend artfully,
20 if you frighten easily,
 do not learn how to fence.
ⅹⅲ Knowledge[11] and skill,[12]
 cunning,[13] prudence[14] and wisdom,[15]
ⅹⅳ reason, secrecy,
 reach, foreknowing and readiness.[16]
ⅹⅴ this fencing desire
 and cheerfully do.

Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings[17] and the turnings[18] is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point[19] do not always hit well. But with these techniques striking,[20] thrusting[21] or cutting,[22] stepping in or out,[23] stepping around[24] or a leap,[25] will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings[26] or stepping out.[27] Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.

Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,[28] both edges,[29] cross guard[30] and pommel[31] and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.

Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he[32] does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows.

He[33] also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you strike or thrust at him, he will not be able to defend with other techniques and neither lead it away by changing through[34] as long as the strikes or thrusts are to the man, to the openings[35] to the head and the body with steps and leaps in from the side.

Also note and know by this when he speaks, "The Before, The After the two things, etc" that he means the five words: The Before, The After, Weak, Strong, Indes. The entire art of Master Liechtenauer's rests upon these very words which are the foundation and the core of all fencing on foot or on horse, bare or in harness.

Also note and know what he says here, before,[36] after,[37] the two things do, he names the five words; Before,[38] After,[39] Weak,[40] Strong,[41] in that instant/just as.[42] On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour[43] or without.[44] Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before [45] means that a good fencer will always win the first strike.[46] When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings[47] and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike[48] then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike[49] if you hit then follow up the hit quickly, but if the other defends against the first strike[50] whether it was a strike or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard [51] or soft[52] and strong[53] or weak[54] on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant[55] should you do the after strike[56] before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike[57] as you do that, attack other openings[58] with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.

Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike [59] according to this teaching.

With the word before[60] as has been told before, he[61] means that you with a good first strike[62] shall close in without fear or hesitation and strike at the openings,[63] to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can gather himself and come back, you shall do the after strike[64] so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike[65] and the opponent defends against this, in the defence you will always be first to reach the after strike[66] before the opponent. As soon as you can, you should go with the pommel to the head or come in with the cross strike[67] that is always good to do, or you can throw the sword forward crosswise in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the first strike[68] and the after strike[69] quickly one after the other,

and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away turn[70] and note and feel[71] if the other gathers himself in order to move away or not.

If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings,[72] then you shall – before the opponent has time to gather himself in order to strike or thrust – follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the[73] sword, as close and as short as possible. Then if you move away to do another strike or thrust and you do a wide movement, then the opponent will always be able to beat you to the[74] with a strike or thrust, then he can hit you with the first strike.[75] And this is what Liechtenauer means with the word.[76] When you have done the first strike[77] then you shall without any delay do the[78] and you should also stay in motion and do one thing after another. If the first[79] does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words.

But if it is so that the opponent remains on the sword after his defence and is on the sword, and it has occurred that you remain with him on the sword and he has not done the[80] then you shall turn[81] and remain with him on the sword. And you shall notice straight away if the opponent is weak[82] or strong.[83]

If it is so that you feel and notice that the opponent is strong[84] and hard[85] and firm[86] on the sword and intends to push your sword away, then you shall be weak[87] and yielding[88] and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his openings[89] to the head and the body with strikes and thrusts or with cuts, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new strike or thrust.

But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit,

or if he is strong and defends and displaces the thrust.[90] If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with strikes, thrusts or cuts in any way you can. This is what Liechtenauer means by the words soft[91] and strong.[92] And this comes from the authorities as Aristotle said in the book Peri Hermanias; opposed near him set wise men shine forth or abandon opposition. Weak against strong, hard against soft and vice versa. Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be?

Therefore learn well to feel[93] in the swordplay. As Liechtenauer says[94] learn how to feel. In an instant/just as[95] is a sharp word. Thus when you find yourself on another’s sword and feel[96] well if he is weak or strong at the sword, then at once[97] follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”.

After this teaching you understand how you will win the first strike[98] and as soon as you have done this, then quickly and without any delay do the after strike[99] that is the second, third or fourth strike, cut or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel[100] and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on feeling,[101] so do as it is stated above.

No matter what you do or attempt to do, always have measure[102] and length.[103] If you have won the first strike[104] then do not perform it too slowly, but move fast so that you can gather yourself for the after strike[105] as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship.

This is the text, wherein he names the five cuts and other plays of fencing.

21 Learn five cuts
 from the right hand against the weapon
23 Wrathcut Crook and Cross,
 If the Eye Cocker keeps with the Parter,
24 The Fool parries.
 Pursue and Overrun, disrupt attacks
25 Disengage, Suddenly withdraw,
 Rush through, Cut off, Press the hands
26 Tilt and Turn to uncover with
 Slash, catch, sweep, stab to clash with

[No gloss]

This is about the Wrath cut, etc.

27 Whoever makes a descending cut at you
 The point of wrathcut threatens them
28 If they become aware of it
 Then abscond above without concern.
29 Be strong in turn Wind.
 Stab. If they see it, then take it below
30 Precisely note this
 Cuts, thrusts, position, soft or hard
31 Indes and Before, After
 Without rush, your war is not hasty.
32 For the one whose war takes aim
 Above, they will be shamed below.
33 In all winds
 Cut, stab, slice learn to find
34 Also with that you shall
 Gauge cut, stab or slice
35 In all encounters
 Of the masters, if you wish to dishonor them.
Do not cut to the sword,
 Rather, keep watch for the openings
ⅹⅵ Of the head, of the body
 If you wish to remain without harm
ⅹⅶ You hit or miss
 Considering as follows so that you target the openings
ⅹⅷ In every lesson,
 Turn the point toward the openings.
ⅹⅸ Whoever cuts around widely,
 They will often be shamed severely.
ⅹⅹ In the most direct way possible,
 Deliver sudden cuts, stabs wisely.[106]
ⅹⅺ And one shall also always step
 To their right side
ⅹⅻ So that you can begin
 Fencing or wrestling with advantage.

Gloss. Here note and know that Liechtenauer calls a descending cut struck from the shoulder the wrathcut, because when someone is in their wrath and fury, there is no cut as ready as this descending cut straight from the shoulder to the opponent.

What Liechtenauer means by this is when the opponent begins to strike with a descending cut, you shall counter cut the wrathcut against them in such a way that you soundly shoot the point against them.

If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.

But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.

If they defend your thrust, separate and immediately initiate a cut below where you hit their legs. in such a way that you continuously conduct one after the other, so that the opponent cannot come to blows.

And the aforementioned words: "The Before, The After, Indes, Weak, Strong" and "cuts, thrusts and slices"; you shall fully consider these all at once and in no way forget them in your applications.

You shall also not seriously rush with the war, because if something fails you above, then you hit below as you will hear about how you fashion one cut, thrust, and slice from the other according to the legitimate art.

And you shall not cut at the opponent's sword, rather at the opponent, rather to the head and to the body, wherever you can, etc.

One can also look at it where the first verse could go like this: "Whomever you cut the wrathcut over, the point of the wrathcut threatens them, etc." Just act according to this lesson and be continuously in motion. You either hit or not such that the opponent cannot come to blows. And always step out well to the side with cuts.

Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.

That is the descending cut and the rising cut from both sides.

They are the chief cuts and foundation of all other cuts as these cuts fundamentally and by principle come from the point of the sword, which is the core and the axis of all other plays here as was written about well before.

And from those two cuts come the four parries from both sides. With them you disrupt and break all cuts, thrusts or positions. And from them you also come into the four hangings. From them you can conduct the art well as one shall hear hereafter.

And however you may fence someone in particular, you shall ever and always turn your point toward the opponent's face or breast so that the opponent must continually discourage themselves. Thus they cannot preempt you, for you are closer to them than they are to you.

And if it happens that the opponent has won the Vorschlag, then you shall be secure and sure and be quick with turning. And as soon as you have turned, you shall immediately speed in promptly and swiftly. And your point shall always seek the opponent's breast, turning and positioning yourself against it, as you will hear of better hereafter.

And the point, as soon as you come against the sword of the opponent, shall always come about a half an ell away from the opponent's breast or face and take especially good care that you intend to arrive inside that and certainly in the most direct way and not wide around, so that the opponent cannot come first because of you. Provided you will not allow yourself to become lax and hesitant and ward too lazily nor be willing to arrive too wide and too far around.

This is about the four openings, etc, etc.

36 Know the four openings
 Take aim so that you strike wisely
37 Without any fear
 Without doubt however they are situated.

Gloss. Note here that Liechtenauer partitions a person in four parts, just as if he drew a line right down the front of their body from the top of the head to down between their legs and a second line that crosses over their body at their waist,

In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.

These are the four openings, each of which have their particular applications.

He takes aim of these and never the sword, only the openings.

About the four openings, how one breaks them.

38 If you wish arrange yourself
 To artfully break the four openings
39 Double high
 Mutate right down
40 I say to you truthfully
 No one defends themselves without danger
41 If you have understood this,
 They can scarcely come to blows, etc.

[No gloss]

This is about the crooked cut, etc.

42 Crook up swiftly
 Throw the point onto the hands
43 Crook. Whoever besets well
 Disrupts many cuts with stepping.
44 Cut crooked to the flats
 Of the masters if you wish to weaken them
45 When it sparks above
 Then dismount, that I will praise
46 Don't crook, short cut
 With that, look for the disengage
47 Crook whoever bewilders you
 The noble war bewilders them
48 For they do not truthfully know
 Where they are without danger

Gloss. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways[107] to the right side, then deliver your attack and you shall crooked cut fully and swiftly and you shall throw or shoot your point over the opponent's hilt onto their hands and you shall cut to the opponent's flats. Then if you hit their flat, remain strong upon it and press firmly and you shall cut with your flats. Then if you hit their sword, remain strong upon it and press firmly and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices and you shall not cut too short with anything and you shall not forget about disengaging, when it merits it

There is one attack called the failer and it comes from the crooked cut and it lay written after the crosswise cut where the hand is drawn and it should lay before the crosswise cut and it comes in crooked and oblique from below, over the hilt of the opponent, shooting in with the point, just like the crooked cut down from above.

53 The failer misleads
 It wounds according to desire from below
54 The inverter constrains.
 The one who rushes through also wrestles with it.
55 Take the elbow surely
 Spring into their stance.
56 The failer doubles.
 If they make contact, make the slice with it.
57 Double it further
 Step to the left and do not be lazy
ⅹⅹⅲ Because all fencing
 Will by all rights have speed
ⅹⅲ Also in it: audacity,
 Prudence, astuteness and ingenuity

[No gloss]

This is about the crosswise cut, etc.

49 The crosswise cut seizes
 Whatever arrives from the roof.
50 Cross with the strong
 Remember your work with it.
51 Cross to the plow
 Yoke it hard to the ox
52 Whoever crosses themselves well
 Threatens the head[108] by springing

Gloss. Here note and know that of the entire sword, no cut is as intrepid, as intense, as definitive and as good as is the crosswise cut.

And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.

And everything that arrives from above, (which are either the descending cuts or whatever else comes down from above) one breaks those and one wards those with the crosswise cuts.

You can deliver these well or your sword well, respectively, if you hurl your sword out in front of your head, (to whichever side you wish) just as if you would come into the upper hanging or winding, only that in the crosswise cut, the flats of their sword are turned: one above or upward, the other below or downward; and the edges to the sides They cross, one to the right and one to the left side.

And it is quite good to come against the sword of the opponent with these crosswise cuts.

And that is because when you come against the sword of your opponent, at the moment it actually happens, they may arduously come away from it, but they will be struck on both sides with crosswise cuts.

Just at the point you deliver a crosswise cut, to whichever side it is, be it above or below, always move your sword up with the hilt in front of the head with your hand flipped over, so that you are absolutely warded and covered.

And you shall deliver the crosswise cuts with some strength.

And when you shall fence for your neck, you shall proceed with the afore-written lore so that you win the Vorschlag with a good crosswise cut.

Whenever you close with your opponent, as soon as you realize that you are able to reach the opponent with a step or a spring, you burst in high from the right side with a crosswise cut with the back edge forwards directly to the opponent's head and you shall let your point shoot and you shall come crosswise so completely that the point winds and hinges (or wraps) itself around the opponent's head like a belt.

Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.

And then whenever you win the Vorschlag with the crosswise cut in this fashion on one side, whether you hit or miss, you shall then immediately without pause win the Nachschlag with the crosswise cut on the other side in one fluid motion with the forward edge before any strike or any little thing can somehow redeem the opponent according to the afore-written lore.

And you shall then crosswise cut to both sides to ox and to plow. That is, into the upper openings and into the lower ones from one side to the other, below and above, ceaselessly without pause in this way, so that you are constantly in motion and do not allow the opponent to come to blows.

And each time you do a crosswise cut above or below, you shall always come completely to the side and throw your sword horizontally from above well in front of your head so that you are well covered.

This is about the cockeyed cut, etc.

58 The cockeyed cut breaks into
 Whatever the buffalo cuts or thrusts
59 Whoever threatens to change,
 The cockeyed cut robs them of it.
60 Cock an eye. If they short you,
 Disengaging defeats them.
61 Cock an eye at the point
 And take the neck without fear
62 Cock an eye at the top of the head
 If you wish to ruin the hands.
ⅹⅹⅳ Cock an eye against the right
 If it is that you desire to fence well.
ⅹⅹⅴ The cockeyed cut I prize,
 If it does not arrive too lazily.

Gloss Here note and know that the cockeyed cut is a descending cut from the right side with the back edge of the sword in which the left side is designated and it genuinely goes in askance or oblique, stepped off to one side to the right with a twisted sword and hand flipped over.

And this cut breaks that which the buffalo, that is a peasant, might strike down from above as they tend to do. (Just like the crosswise cut breaks this as well, as was written before)

And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.

And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging and you shall cut cockeyed with the point to the throat, boldly without fear and...

And wherever you see swords
 Yanked from their sheaths by the both of you
Right then you shall become strong
 And precisely pay attention to their steps all at once.
The Before, The After, the two things
 Gauge and pounce by precept
Follow up all hits
 If you wish to make a fool of the strong.
If they defend, then suddenly withdraw.
 Thrust. If they defend, press into them.
The windings and the hangings,
 Learn to artfully carry out.
And gauge the opponent's applications
 To see if they are soft or hard.
If they fence with strength,
 Then you are artfully equipped.
And if they attack wide or long,
 Shooting defeats them
With your deadly rigor[109]
 If they defend themselves, hit without fear.
Attack suddenly and storm in,
 keep moving fluidly, engage or let pass.
Do not attack the sword,
 Rather keep watch for the openings
You hit or miss
 Then keep it in your mind that you target the openings
With both hands
 Learn to bring your point to the eyes.
Always fence with sense
 And win the Vorschlag every time.
The opponent hits or misses,
 Immediately take target with the Nachschlag's
On both sides,
 Step to the right of the opponent
So that you can begin
 Fencing or wrestling with advantage.

This is about the part cut, etc.

63 The part cut
 Is dangerous to the face
64 With its turn
 And the breast is yet endangered.
65 Whatever comes from it
 The crown removes it.
66 Slice through the crown
 So that you break it beautifully and hard
67 Press the sweeps
 By slicing withdraw it
ⅹⅹⅴ The part cut I prize
 If it does not arrive too lazily.

[No gloss]

Liechtenauer hardly maintains anything about these four positions, only that they come from the over and under hangings from which one may surely deliver applications.

This is about the four positions, etc.

68 Four positions alone
 Defend from those and eschew the common
69 Ox, plow, fool,
 From-the-roof are not contemptible to you

Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.

Yet a person shall absolutely not lay too long in them in any confrontation. For Liechtenauer has a particular proverb: "Whoever lays there, they are dead. Whoever sets themselves in motion, they yet live." And that pertains to those positions that a person shall preferably set themselves in motion with applications. Because if you idle in the guards, you might lose your moment to act by doing that.

The first guard, plow, is this. When you lay the point forward, upon the earth. Or to the side after displacing, this is also called the barrier-guard or the gate.

The second guard, ox is the high hanging from the shoulder.

ⅹⅹⅵ The Fool truly breaks
 Whatever the opponent cuts or thrusts
ⅹⅹⅶ Sweep using hanging
 Immediately place the pursuit

The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly

The fourth guard, the Roof, is long point.

If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.

It can also aptly be called the hanging over the head.

Also know that one breaks all positions and guards by attacking with these such that if you boldly initiate an attack, then the opponent must always come forwards and defend themselves.

That is why Liechtenauer doesn't maintain much about the positions and guards, rather he prefers to craft it so that the opponent discourages themselves, thus he gains the Vorschlag, as has been shown above.

This is about the four parries

70 Four are the parries
 Which also severely disrupt the positions
71 Guard yourself from parrying
 If this happens, it also severely beleaguers you.
72 If you are parried,
 And as it happens
73 Heed what I advise:
 Strike off, cut swiftly with violence
74 Lodge against four regions
 Learn to remain upon them if you wish to finish.
ⅹⅹⅷ Whoever parries well,
 This fencer disrupts many cuts.
ⅹⅹⅸ Because you swiftly come
 Into the hangings by parrying.

Gloss. Note here that the four parries are on both sides, with one upper and one lower on each side and they disrupt or break all guards or positions.

And however you carry off or dismiss the opponent's cut, thrust or slice with your sword, be it from above or below, can fully be termed parrying.

And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.

But if it happens that you parry someone or avert a cut or thrust, you must immediately step in and accompany them on the sword so that the opponent cannot withdraw from you and then you must do whatever you can.

To the extent you hesitate and delay, you take harm.

You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.

Also a good fencer shall fully learn how to come against the sword of the opponent and they must do that well with the parries, because they come from the four cuts (from each side, a descending cut and a rising cut) and move into the four hangings.

For as soon as one parries from above or below, so shall they immediately come into the hangings.

And like you avert all cuts and stabs with the forward edge, it is as such with the parries.

This is about the pursuing, etc, etc

75 Learn to pursue
 Double or slice into the weapon
76 Two enticements to the outside
 The work begins thereafter
77 And gauge the opponent's application
 Whether they are soft or hard
78 Learn to feel
 Indes, this word cuts sharply
79 Pursuing twice,
 Make the old slice with it.
ⅹⅹⅹ Follow all hits
 Then strengthen if you wish to dishonor the masters
ⅹⅷ In every lesson,
 Turn the point against the opponent's face.
ⅹⅹⅺ With the entire body
 Pursue, always keep your point there.
ⅹⅹⅻ Also learn to swiftly
 Pursue, so you can end well.

[No gloss]

This is about the overrunning. Fencer look into this.

80 Whoever takes aim from below Overrun,
 then they will be shamed.
81 When it clashes above,
  Strengthen, This I wish to praise.
82 Make your work
 Or press hard twice.
ⅹⅹⅹⅲ Whoever presses you down,
 Overrun them, slash sharply again.
ⅹⅹⅹⅳ From both sides
 Overrun and remember the slices.

[No gloss]

This is about displacing. Learn this well.

83 Learn to displace
 Skillfully disrupt cuts and thrusts
84 Whoever thrusts at you
 Your point hits and theirs breaks
85 From both sides
 You will hit every time, if you step.
ⅹⅷ In every lesson,
 Turn the point against one's face.

[No gloss]

This is about the disengaging, etc, etc.

86 Learn to disengage
 From both sides stabbing sharply with it
87 Whoever binds upon you
 Disengaging surely finds them
ⅹⅹⅹⅴ If you have disengaged,
 Do not slash, thrust nor wind lazily.
ⅹⅹⅹⅵ Do not cut at the sword
 Disengage, with that watch.

Gloss. Here note that disengaging goes in completely straight on both sides, down from above and up from below if it is to be otherwise conducted swiftly.

Now if you wish to disengage down from above on the right side, then make a descending cut straight at them then you shoot your point in over their hilt to their left side in such a way that you hit the same little hole and little window completely straight between the edges and the hilt.

If you connect, then you have won. If they ward it so that they lead off and press your point offline with their sword, then from that side let your point sink right around to the other side, under their sword, not wide around, rather, sink below against their sword so that you can keep close and from there move in quite swiftly over their hilt with a good, full thrust and when you feel that you connected, fully follow through.

And the way you execute it on one side, be it from below or above, you execute it on the other.

And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.

If they ward, then disengage as before or wind and feel their application whether it is soft or hard.

Thereafter look to send cuts, thrusts, or slices to the openings.

This is about withdrawing suddenly. Fencer note.

88 Tread close in binds,
 So that withdrawing suddenly gives good opportunities.
89 Suddenly withdraw. If they engage, suddenly withdraw more.
 If they work, wind, that does them harm.
90 Suddenly withdraw all engagements of the masters
 If you wish to dishonor them
ⅹⅹⅹⅶ Suddenly withdraw off of the sword
 And always be mindful of your path.

[No gloss]

This is about rushing through. Look closely.

91 Rush through, let hang
 Grab with the pommel if you wish to grapple.
92 Whoever strengthens up against you,
 Remember to rush through with it.
ⅹⅹⅹⅷ Rush through and shove.
 Invert if they reach for the pommel.

[No gloss]

This is about cutting off, etc, etc

93 Cut off the hard ones
 From below in both paths.
94 Four are the slices
 With two from below, two from above.
ⅹⅹⅹⅸ Crosswise cut whoever would slice.
 It easily evades the harm.
ⅹⅼ Do not slice in fright,
 Always be wary of pursuing.
ⅹⅼⅰ You can slice well
 Any cross, just omit the pursuit.
ⅹⅼⅱ If you wish to remain without harm,
 Then do not be too eager with the slicing.

[No gloss]

This is about the hand pressing, etc, etc.

95 Turn your edge flat
 Press the hands.
ⅹⅼⅲ Another is turning
 One's winding. The third, hanging.
ⅹⅼⅳ If you wish to make the fencers
 Weary, then press with collision
ⅹⅼⅴ Over the hands,
 If one cuts, slice swiftly.
ⅹⅼⅵ Also draw your slices
 Up out over the head.
ⅹⅼⅶ Whoever presses the hands
 Without harm, suddenly retracts the forefinger.

Also know as soon as you avert the opponent's cut or thrust by turning, you must immediately step in and swiftly storm into the opponent

To the extent you hesitate and delay yourself, you take harm.

Also note and know that one with the forward edge of the sword, from the middle of that side to the hilt, averts all cuts and thrusts.

And the closer the opponent's cut or thrust comes to the hilt of your forward edge, the moment you have turned that edge, the better and the more powerfully you can avert those cuts or thrusts.

Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.

Therefore, whoever wishes to be a good fencer, they shall first and foremost learn to avert well. For if they turn that away well with this, they come immediately into the windings. From them they can conduct the skill and beauty of the technique well.

The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.

This is about the hanging. Fencer learn this, etc.

96 Two hangings emerge
 From the ground out of each hand
97 In every application
 Cut, Thrust, Position, Soft or Hard
98 Make the speaking window
 Stand freely, watch their situation.
99 Strike them so that it snaps
 Whoever withdraws themselves before you.
100 I say to you truthfully
 No one defends themselves without danger
101 If you have understood
 They cannot come to blows
ⅹⅼⅷ That is, if you remain
 Against the sword, also conduct with it
ⅹⅼⅸ Cuts, thrusts or slices.
 With that, note the feeling
Without any preference.
 You shall also not flee from the sword
ⅼⅰ Because master applications
 Are against the sword by rights.
ⅼⅱ Whoever binds against you
 The war wrestles with them sharply.
ⅼⅲ The noble winds
 Can also surely find them
ⅼⅳ With cuts, with thrusts,
 With slices you tenaciously find them.
[32] In all winds
 You shall find cuts, stabs, slices.
ⅼⅴ The noble hanging
 Cannot exist without the winds.
ⅼⅵ Because from the hangings
 You shall bring the winds.

Gloss, etc. Here note and know that there are two hangings on each side: one downward hanging and one upward hanging. With them, you can come against the sword well, because they arise from the descending cuts and the rising cuts.

Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword and you shall wind and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.

And you must quite precisely see, recognize and consider whatever they will do or what their situation is, which they will let fly against you.

And standing in this manner against the sword, Liechtenauer calls this a speaking window.

And just when you stand with the opponent against the sword, you must quite precisely note and feel whether their application is soft or hard.

Thereafter, you shall then orient yourself as is often spoken before.

Then if it happens that the opponent for whatever reasons withdraws themselves from your sword just a bit before you act, then you must immediately pursue and must execute cuts or thrusts whichever you can most surely deliver, before they come to anything at all,

For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.

If the opponent withdraws with their [cut or thrust], immediately come forward with your point, before they can recover themselves from or carry out their strike.

But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.

If it happens to be that they are soft and weak, then you shall swiftly and boldly go all in and storm in with your strong and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.

If the opponent is subsequently hard and strong against the sword and intends to force and shove you firmly out, you must then be soft and weak against their strength and yield to their force with your sword.

And in that yielding as their sword drives and glides out, as was written about before, in that or while that happens, before they can recover themselves again, so that they cannot come to any strikes or thrusts, you must take advantage of their openings with cuts, thrusts or slices wherever you can most surely take control of them, according to the afore written lore swiftly, boldly and quickly so that they can never come to blows.

That's why Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they can scarcely come to blows". By this he means that no one can defend themselves without danger or harm if you do this according to the written precepts.

If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.

For when you execute the Vorschlag, whether you hit or miss; you must swiftly execute the Nachschlag in one fluid motion before the opponent comes to any blows.

For whenever you wish to execute the Vorschlag, you must execute the Nachschlag in one thought and mind in the same way, just as if you intended to execute them as one thing, if it were possible.

That's why Liechtenauer says: "The Before, The After the two things, etc". Because if you execute the Vorschlag, whether you hit or miss, you then always execute the Nachschlag in one fluid motion, swiftly and quickly so that the opponent cannot come to blows with anything and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.

And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.

If you are obligated to not execute the Vorschlag, you always have the Nachschlag available in the sense and in the spirit that you are always in motion and do not either dawdle nor hesitate with anything. Rather, you always conduct one after the other swiftly and quickly, so that the opponent cannot possibly come to anything.

Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.

For with this skill or with this advantage, it often happens that a peasant or someone unlearned strikes a good master by it because they execute the Vorschlag and boldly storm in.

Because however briefly the Vorschlag is overlooked, the opponent hits Indes and they wound and kill in this way. Because if you focus on the blows and will attend to the defense of them, you are always in greater danger than the one who attacks you and wins the Vorschlag.

Therefore orchestrate it that you are the first in all confrontations of fencing and arrive on the right side of someone, where you are robustly surer of everything than the opponent.

108 From both sides
 Learn eight winds with stepping.
106 And always unite them.
 Combine the winds with three plays
107 So are they twenty
 And four. Simply count them.
105 Fencer, mind this
 And consider the winds correctly
lxiii And learn to command them well
 So you can attack the four openings
lxiv Because each opening
 Objectively has six wounders.

Gloss. Here note and know that the winds are the rightful art and foundation of all fencing of the sword. From them, all other applications and plays come. And one might tediously be a good fencer without the winds, exactly like many ungrounded masters, who dismiss it and say whatever comes from the winds is quite weak and deem it "from the shortened sword". About this, they are simpletons and approach it naively and sing paeans about how they fight "from the long sword". Whoever goes about with extended arms and with extended sword and with the utter fiendishness and strength fueled by the entire power of their body, they will unlikely stay lively throughout and that is agonizing to behold when they stretch themselves out like this just as if they would run down a hare.

And that is completely against the winds and against Liechtenauer's art because there is no strength to respond. Why would anyone's art differ? You should always prioritize strength.

  1. blossfechten
  2. I believe Döbringer is referring to strikes. But it might also be opponents
  3. Wechsler
  4. Blossen
  5. Zucken
  6. Vor
  7. Nach
  8. Weich
  9. Hart
  10. Indes
  11. Kunheit
  12. Rischeit
  13. List
  14. Vorsichtikeit
  15. Klugheit
  16. Vornuft, vorborgenheit, mosse bevorbetrachtunge, hobsheit, fetikeit
  17. Hengen
  18. Winden
  19. Of the opponent's weapon
  20. Hawende
  21. Stechende
  22. Sneydende
  23. Abe und czutreten
  24. Umbeschreiten
  25. Springen
  26. Winden
  27. Czutreten
  28. Ort
  29. Sneiden
  30. Gehilcze
  31. Klos
  32. the opponent
  33. Liechtenauer
  34. Durchwechsel
  35. Blossen
  36. Vor
  37. Nach
  38. Vor
  39. Nach
  40. Weich
  41. Hart
  42. Indes
  43. Harnusche
  44. Blos
  45. Vor
  46. Vorschlag
  47. Blossen
  48. Vorschlag
  49. Vorschlag
  50. Vorschlag
  51. Hart
  52. Weich
  53. Stark
  54. Swach
  55. Indes
  56. Nachschlag
  57. Vorschlag
  58. Blossen
  59. Vorschlag
  60. Vor
  61. Liechtenauer
  62. Vorschlag
  63. Blossen
  64. Nachschlag
  65. Vorschlag
  66. Nachschlag
  67. Zwerchhaw
  68. Vorschlag
  69. Nachschlag
  70. Wind
  71. Fulen
  72. Blossen
  73. his
  74. Nachschlag
  75. Vorschlag
  76. Nach
  77. Vorschlag
  78. Nachschlag
  79. attack
  80. Nachschlag
  81. Wind
  82. Swach
  83. Stark
  84. Stark
  85. Herte
  86. Veste
  87. Swach
  88. Weich
  89. Blossen
  90. pushes you aside
  91. Weich
  92. Hart
  93. Fuhlen
  94. Das Fuhlen
  95. Indes
  96. Fuhlen
  97. Indes
  98. Vorschlag
  99. Nachschlag
  100. Fuhlen
  101. Fuhlen
  102. Limpf
  103. Masse
  104. Vorschlag
  105. Nachschlag
  106. "Wisely" inferred from the summary
  107. to the side, apart, sideways
  108. The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'
  109. In all other extant versions this is "point"