Wiktenauer logo.png

Difference between revisions of "Pseudo-Hans Döbringer/Christian Trosclair LS 2022"

From Wiktenauer
Jump to navigation Jump to search
 
(11 intermediate revisions by 2 users not shown)
Line 3: Line 3:
 
|-  
 
|-  
 
| <small>1</small>
 
| <small>1</small>
| Young knight learn,<br/>&emsp;to love god and women,
+
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,
 
|-  
 
|-  
 
| <small>2</small>
 
| <small>2</small>
| so your honor may grow.<br/>&emsp;Practice chivalry and learn
+
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn
 
|-  
 
|-  
 
| <small>3</small>
 
| <small>3</small>
| arts that adorn you<br/>&emsp;as well as serving you in conflict.
+
| art that decorates you<br/>&emsp;and in wars serves you well.
 
|-  
 
|-  
 
| <small>4</small>
 
| <small>4</small>
| Wrestle well,<br/>&emsp;bear glaive, spear, sword and knife
+
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,
 
|-  
 
|-  
 
| <small>5</small>
 
| <small>5</small>
| manfully and learn<br/>&emsp;to defeat these when in the hands of others.
+
| manfully brandish<br/>&emsp;and in other hands ruin.
 
|-  
 
|-  
 
| <small>6</small>
 
| <small>6</small>
| Strike quick and hurry at him,<br/>&emsp;rush in, not caring for hit or miss.
+
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.
 
|-  
 
|-  
 
| <small>7</small>
 
| <small>7</small>
| So that you dishonour<br/>&emsp;him before the judges.
+
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.
 
|-  
 
|-  
 
| <small>8</small>
 
| <small>8</small>
| Be prepared for that:<br/>&emsp;All art has length and measure.
+
| Thereupon you hold,<br/>&emsp;all things have time and place.
 
|-  
 
|-  
 
| <small class="grey">ⅰ</small>
 
| <small class="grey">ⅰ</small>
| And whatever you want to do,<br/>&emsp;keep up a good common sense
+
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.
 
|-  
 
|-  
 
| <small class="grey">ⅱ</small>
 
| <small class="grey">ⅱ</small>
| Be it in earnest or in play,<br/>&emsp;have a light heart but don’t get overconfident.
+
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation
 
|-  
 
|-  
 
| <small class="grey">ⅲ</small>
 
| <small class="grey">ⅲ</small>
| So you may see<br/>&emsp;and observe with a high spirit
+
| so that you may pay attention<br/>&emsp;and consider with a good spirit
 
|-  
 
|-  
 
| <small class="grey">ⅳ</small>
 
| <small class="grey">ⅳ</small>
| What you can use<br/>&emsp;and plan your next move against him.
+
| whatever you shall command<br/>&emsp;and whip up against the opponent.
 
|-  
 
|-  
 
| <small class="grey">ⅴ</small>
 
| <small class="grey">ⅴ</small>
| Confronted with bravery and power,<br/>&emsp;every opponent will hesitate.  
+
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.
 
|-  
 
|-  
 
| <small class="grey">ⅵ</small>
 
| <small class="grey">ⅵ</small>
| Never<br/>&emsp;give him any advantage on you.
+
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.
 
|-  
 
|-  
 
| <small class="grey">ⅶ</small>
 
| <small class="grey">ⅶ</small>
| Also avoid silly risks,<br/>&emsp;against four or six opponents don't advance
+
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six
 
|-  
 
|-  
 
| <small class="grey">ⅷ</small>
 
| <small class="grey">ⅷ</small>
| Don't be overconfident,<br/>&emsp;maintain balance, this will serve you well.
+
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.
 
|-  
 
|-  
 
| <small class="grey">ⅸ</small>
 
| <small class="grey">ⅸ</small>
| It is a brave man<br/>&emsp;who can stand against someone of his own kind.
+
| It is a brave man<br/>&emsp;that dares to confront their equal.
 
|-  
 
|-  
 
| <small class="grey">ⅹ</small>
 
| <small class="grey">ⅹ</small>
| And it is not a shame,<br/>&emsp;against four or six opponents run from the fight.
+
| It is not shameful<br/>&emsp;to flee four or six 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"/>'''This is a general teaching for the sword.'''
+
<section begin="2"/>'''This is a general lesson of the sword:'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>9</small>
 
| <small>9</small>
| If you want to show art,<br/>&emsp;move left and strike with right,
+
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.
 
|-  
 
|-  
 
| <small>10</small>
 
| <small>10</small>
| And strike left with right,<br/>&emsp;if you intend to fence strongly.
+
| And left with right<br/>&emsp;Is what you strongly desire to fence.
 
|-  
 
|-  
 
| <small>11</small>
 
| <small>11</small>
| He who moves after strikes<br/>&emsp;may not enjoy any art
+
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.
 
|-  
 
|-  
 
| <small>12</small>
 
| <small>12</small>
| Strike at him as you like,<br/>&emsp;no ''Wechsler'' will harm you.
+
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
| Never strike to the sword,<br/>&emsp;always wait for the openings.
+
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.
 
|-  
 
|-  
 
| <small>13</small>
 
| <small>13</small>
| to the head or to the body,<br/>&emsp;do not shun the ''Zeckrühr''.
+
| To the head, to the body,<br/>&emsp;Do not omit the stingers.
 
|-  
 
|-  
 
| <small>14</small>
 
| <small>14</small>
| Fence with your whole body<br/>&emsp;if you want to fence strongly.
+
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.
 
|-  
 
|-  
 
| <small>15</small>
 
| <small>15</small>
| Hear this is bad,<br/>&emsp;do never fence from your upper left when you are right,
+
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.
 
|-  
 
|-  
 
| <small>16</small>
 
| <small>16</small>
| And if you are left,<br/>&emsp;you will lack severely at your right.
+
| And if you are left,<br/>&emsp;You are severely hindered on the right.
 
|-  
 
|-  
 
| <small class="grey">ⅻ</small>
 
| <small class="grey">ⅻ</small>
| So better<br/>&emsp;fence down from your upper left.
+
| So always prefer<br/>&emsp;To fence from above left downwards.
 
|-  
 
|-  
 
| <small>17</small>
 
| <small>17</small>
| ''Vor'' ''Nach'' these two things<br/>&emsp;are the source of all art.
+
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.
 
|-  
 
|-  
 
| <small>18</small>
 
| <small>18</small>
| ''Schwäche'' und ''Stärke'',<br/>&emsp;''Indes'' you must remember.
+
| Weak and strong,<br/>&emsp;Indes, mark this word with them.
 
|-  
 
|-  
 
| <small>19</small>
 
| <small>19</small>
| So you will learn<br/>&emsp;to defend yourself with art and work.
+
| So you can learn<br/>&emsp;To defend yourself with art and work.
 
|-  
 
|-  
 
| <small>20</small>
 
| <small>20</small>
| If you are frightened easily,<br/>&emsp;you will never understand fencing,
+
| If you terrify easily,<br/>&emsp;Never learn any fencing.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅲ</small>
 
| <small class="grey">ⅹⅲ</small>
| Bravery and quickness,<br/>&emsp;carefulness wits and Intelligence
+
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,
 
|-  
 
|-  
 
| <small class="grey">ⅹⅳ</small>
 
| <small class="grey">ⅹⅳ</small>
| Sense, stealth,<br/>&emsp;measure precognition grace skill
+
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill
 
|-  
 
|-  
 
| <small class="grey">ⅹⅴ</small>
 
| <small class="grey">ⅹⅴ</small>
| Fencing needs all this<br/>&emsp;and a free and easy mind.
+
| Fencing will have<br/>&emsp;And bear a joyous spirit.
 
|}
 
|}
This is being followed by general comment: At first learn and know that the ''Ort'' of the sword is the centre and the means and the core of the sword. All techniques start and end with the ''Ort'', thus the ''Hängen'' and ''Winden'' are the begin and the turnings around the centre and many good fencing techniques stem from this.
+
'''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.
 +
 
 +
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="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.
  
These have been invented so that a fencer, who immediately strikes at the ''Ort'' and yet does not hit instantly, may employ the before mentioned Techniques in combination with strikes thrusts and cuts, with stepping off or in, and with stepping around or jumping, in order to hit his adversary. And if someone has shot his ''Ort'' out too far, by thrusting or lunging, he can recover or shorten it by employing the ''Winden'' or stepping off, so that he again may use those appropriate techniques and principles of fencing. From there he again may strike thrust or cut, because according to Liechtenauer's art, strikes thrusts and cuts stem from all fencing techniques and principles. And later you will hear, how one technique and principle stems from the other and how they can be used in succession, so that if one method is being defended, the other hits and succeeds.<section end="2"/>
+
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="3"/>Secondly, you should learn that there is nothing about the sword that has been invented for without reason and that a fencer should make use of the ''Ort'', of both edges, the hilt and the pommel. Each of these has its own special methods in the art of fencing. And how to practice this, you will see and hear later<section end="3"/>
+
<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="4"/>Also know and learn, by the verse beginning with “If you want to show art etc” it is meant that an artful fencer should place his left foot in front and strike from the right side directly to the man, and with threatening strikes just as long as he sees where he may hit him and reach him with his stepping. And when he says “if you intend to fence strongly” so he says that you should fence upwards from the left side with the whole body and with all strength, to the head or to the body wherever he may hit. And never strike to the sword but just work like would not have a weapon or if you don't see it, and should not avoid ''Zeckrühr'' or taps, and permanently be in motion, work and contact, so the opponent may not come to strikes.<section end="4"/>
+
<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="5"/>Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. Whatever he strikes to thrusts at his opponent, it will not be defended by any ''Durchwechsel'' or other techniques, if the strikes or thrusts are directed at the man and at the openings, to the head or to the body, with stepping around or other footwork.<section end="5"/>
+
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.
  
<section begin="6"/>Also know and learn when he speaks: “''Vor'' ''Nach'' those two… etc” there he means the five words, ''Vor'' ''Nach'' ''Schwach'' ''Stark'' ''Indes'' and within these words lies all art of Master Liechtenauer and these are the basic foundation and the core of all fencing on foot or mounted, with armour and without.<section end="6"/>
+
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.
  
<section begin="7"/>By the word “''Vor''” he means that every good fencer should always gain the ''Vorschlag'', may he hit or miss. And when Liechtenauer says “Strike and hurry to the man, rush in may it hit or miss”. This means, as soon he approaches his adversary by stepping or running, he should instantly attack as soon as he is sure he could reach him with either a step or a jump. Then he must attack to his head or to his body, without any fear to the opening which he can hit best. So he should gain the ''Vorschlag'', and it is not imp''Ort''ant, if it directly hurts the adversary or not. He must also be sure with the correct measure of his steps, so that he may not step too short or too long.
+
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 he now hits with the ''Vorschlag'', so instantly follow through with the hit. However, if the defends the ''Vorschlag'' so that he turns aside or leads off the attack, be it a strike or a thrust, away from the intended opening with his sword, you should now, with the swords are still being in contact, feel or be aware whether he is soft or hard, weak or strong at the sword.
+
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.
  
If he now feels how the adversary acts in his fencing, if he is strong or hard, in the very moment he realizes this he should, while the adversary is still protecting himself, become soft and weak and in the case of the adversary being weak, vice versa. To make sure that one cannot come to strikes, he should instantly execute the ''Nachschlag'', that means that he attacks again while the other is still protecting himself from the ''Vorschlag'', be it with a strike or a thrust. So he can employ different techniques for hurrying or rushing towards his openings and thus he is permanently in motion and very close to him and this should make him so irritated and confused that he is only busy protecting himself and cannot come to his own strikes. If one has to defend himself or has to be aware of the strikes which are directed against him, he is in much greater danger than the one who strikes at him, because he either can defend or be hit. And this makes it very difficult for him to gain the opp''Ort''unity for his own strikes. So Liechtenauer says: I tell you truthfully, no one defends without danger, if you understood this, he will not come to strikes.
+
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.
  
If these five words, which this teaching and all other fencing is based upon, are not adhered,<section end="7"/>
+
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.
  
<section begin="8"/>then this is the reason why a brave peasant often defeats a master by winning the ''Vorschlag''.<section end="8"/>
+
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="9"/>Now it has been said before that that Liechtenauer expresses he should bravely and without fear rush in with a good ''Vorschlag'' or the first strike to the head or body may he hit or miss, so that he strikes him just as stunning and frightening him so he does not know what he can do against him. Also it has been said that he should strike the ''Nachschlag'' before he recovers or might come to his own strikes. this also means this you should work in a manner that he is permanently busy with protecting and defending.
+
<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"/>
  
And if he defends against the ''Vorschlag'', he instantly comes to the ''Nachschlag'' while the adversary is still defending for example, by rushing in with the pommel or transitioning into the ''Zwerchhau'', which are generally good. He can generally transition into the ''Zwerch'' position, so he may use other technique which he may begin before the adversary can execute his own attack. And you will hear how you generate one technique from the other, if you follow this advice. That is he should execute with one thought and just as with one strike if possible the ''Vorschlag'' and the ''Nachschlag'', quickly in succession.<section end="9"/>
+
<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.
  
<section begin="10"/>It may happen that one has to defend the adversary's ''Vorschlag''. So he would defend it by getting at his sword – and if he is a little slow or indecisive so he would want to stay at the sword and use the ''winden'' and feel if the adversary wants to pull back from the bind or not.<section end="10"/>
+
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.
  
<section begin="11"/>If one moves off, now that they were just bound at the sword, and the points are facing against each other to the openings, the skilled fencer has followed directly with the point, before the adversary can recover from his pulling-off, thereby executing a good thrust to the chest or anywhere where he could hit him best. And this is the method that the opponent cannot leave the bind unharmed, because with this following he gets nearer by thrusting the point forward at the sword, following the principle of the nearest and shortest target.  
+
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.
  
And if the opponent tries to attack newly with long strikes or thrusts after pulling off, he may always gain the ''Nachschlag'' or a thrust rather than with the first strike. Liechtenauer means this by the word “''Nach''”; if one has struck the ''Vorschlag'' so he should move in and without break strike the ''Nachschlag'' (in the same movement) and thus he should be permanently in movement and in contact, constantly using one technique after the other. So, if the first one fails, the second, the third or the fourth my hit not letting the opponent come to strikes because no one will ever have any significant advantage in fencing, except him who works according to this teaching and these five words.<section end="11"/>
+
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="12"/>Now if it happens that the opponent does stay at the sword after he displaced, and now it comes that he also stays at the sword – not having done the ''Nachschlag'' yet – so he shall wind and stand at the sword, and he should note and feel if the adversary is weak or strong at the sword.<section end="12"/>
+
<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.
  
<section begin="13"/>And if he now feels that the opponent is strong, hard and rigid at the sword and only plans to press into him with his sword, so he should become weak and soft and completely give up his strength against the opponent. And thus he should let go of the opponent's sword, so it may whip and move off with the pressure. And now he can slide and pull off his sword quickly and then go for the opponent's openings quickly and nimbly, to the head or to the body, with strikes, thrusts and cuts, wherever he may hit surest and most direct.  
+
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"/>
  
Because the harder the opponent presses with the sword, the farther his sword is flung aside when he suddenly becomes soft and lets the sword slide off. So the opponent will be left open so that he can touch or hit as he wishes before the opponent may recover and come to his own strike or thrust.<section end="13"/>
+
<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.
  
<section begin="14"/>If the opponent now is weak and soft at the sword and he feels and notices this, so he should be strong and hard at the sword and should rush in quickly forcefully at the sword, directly and frontal to the next best accessible opening. Just like as a string would be attached to the point which would pull and turn his point to the nearest opening, as to achieve the thrust.<section end="14"/>
+
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.
  
<section begin="15"/>Now if the opponent is strong and defends the thrust and displaces it by becoming strong at the sword, so that the opponent presses into the sword again, so again he should become weak and soft and let his sword slide off. And in this evading he should seek the openings quickly with strikes thrusts or cuts, as he wishes. And this is what Liechtenauer means with the words “soft and hard”.
+
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 concept is from the ''auctoritas'' when Aristoteles says in the book ''peyarmenias'': Oppositions shine more clearly if placed next to each other than directly opposing them<ref>conflicting</ref>
+
And this is what Liechtenauer means by the word, "The After".
  
Weak against strong, hard against weak and vice versa. If it should be only strong against strong, the stronger will always win. That is the reason why Liechtenauer's fencing is real and correct art, so that a weak man can win with his art and wits in the same manner a strong man can do with his strength and it would be no art otherwise.<section end="15"/>
+
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="16"/>Because of this fencing teaches the feeling well as Liechtenauer says: “Learn the feeling, ''Indes'' is a word that cuts” because if you are at the sword with someone, and you are now skilled at feeling whether your opponent is weak or strong at the sword, ''indes'' or while you are in the bind, you may very well observe and plan what you should do against him. And according to this teaching and art, he may not pull off from the sword without being hurt, because Liechtenauer says: Strike that he is confused when he pulls off.<section end="16"/>
+
<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="17"/>Now, according to this teaching you understand well that you should try to gain the ''Vorschlag'' and as soon as you execute it, so do in one rush instantly and without break the ''Nachschlag'', and that can also be the second, third or fourth strike or thrust. So your opponent may not come to strikes. If you now bind with him so be skilled at the feeling and do as it has been written before, because this is the foundation of fencing so that you are permanently in motion and never pause or hesitate. And if it now comes to the feeling, so also do what is written before.<ref>Alternative interpretation: keep your blade on top of his.</ref><section end="17"/>
+
<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.
  
<section begin="18"/>And what you begin to do, always have measure and control. When you have won the ''Vorschlag'' so don't do it too fast or too committed as you will be unable to recover yourself to do the ''Nachschlag''. That is why Liechtenauer says: Be ready for this, all things need measure and control. And this also remember when doing steps and also before all other techniques and principles of fencing.<section end="18"/>
+
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="19"/>'''This is the text where he explains the five strikes and other techniques of fencing'''
+
<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".
 +
 
 +
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.
 +
 
 +
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.
 +
 
 +
How could the art work differently?<section end="15"/>
 +
 
 +
<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.
 +
 
 +
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="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.
 +
 
 +
If you then come onto the sword with them, be sure in feeling and execute as was written before.
 +
 
 +
Because this is the foundation of fencing, that one is always in motion and does not peeter out and when it comes down to the feeling, then act as it is laid out above.<section end="17"/>
 +
 
 +
<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.
 +
 
 +
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="19"/>'''This is the text, wherein he names the five cuts and other plays of fencing.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>21</small>
 
| <small>21</small>
| Learn five strikes<br/>&emsp;from the right hand against the weapons
+
| Learn five cuts<br/>&emsp;from the right hand against the weapon
 
|-  
 
|-  
 
| <small>23</small>
 
| <small>23</small>
| Wrath strike, Bent strike, transversal<br/>&emsp;strike, Squinting strike with vertex strike
+
| Wrathcut Crook and Cross,<br/>&emsp;If the Eye Cocker keeps with the Parter,
 
|-  
 
|-  
 
| <small>24</small>
 
| <small>24</small>
| Fool defends,<br/>&emsp;adheres, overreaching defeats strikes
+
| The Fool parries.<br/>&emsp;Pursue and Overrun, disrupt attacks
 
|-  
 
|-  
 
| <small>25</small>
 
| <small>25</small>
| Changing through, pulling,<br/>&emsp;running through, cutting off, pressing the hands
+
| Disengage, Suddenly withdraw,<br/>&emsp;Rush through, Cut off, Press the hands
 
|-  
 
|-  
 
| <small>26</small>
 
| <small>26</small>
| Hang, wind to the openings,<br/>&emsp;strike, catch, swipe, thrust repeatedly
+
| Tilt and Turn to uncover with<br/>&emsp;Slash, catch, sweep, stab to clash with
 
|}
 
|}
[No gloss]<section end="19"/>
+
<section end="19"/>
  
<section begin="20"/>'''This is about the ''Zornhau'''''<ref>Wrath strike</ref>
+
<section begin="20"/>'''This is about the Wrath cut, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>27</small>
 
| <small>27</small>
| Whoever strikes at you from above,<br/>&emsp;the point of the ''Zornhau'' endangers him.
+
| Whoever makes a descending cut at you<br/>&emsp;The point of wrathcut threatens them
 
|-  
 
|-  
 
| <small>28</small>
 
| <small>28</small>
| If he sees it,<br/>&emsp;take it up and off without danger
+
| If they become aware of it<br/>&emsp;Then abscond above without concern.
 
|-  
 
|-  
 
| <small>29</small>
 
| <small>29</small>
| hold against him, wind,<br/>&emsp;and thrust again. If he sees it, strike him low.
+
| Be strong in turn Wind.<br/>&emsp;Stab. If they see it, then take it below
 
|-  
 
|-  
 
| <small>30</small>
 
| <small>30</small>
| Remember this,<br/>&emsp;Strikes, thrusts and guards, be weak or be strong.
+
| Precisely note this<br/>&emsp;Cuts, thrusts, position, soft or hard
 
|-  
 
|-  
 
| <small>31</small>
 
| <small>31</small>
| ''Indes'', ''Vor'' und ''Nach'',<br/>&emsp;take your time and analyze the ''Krieg''.<ref>Thrust exchange from the bind</ref>
+
| Indes and Before, After<br/>&emsp;Without rush, your war is not hasty.
 
|-  
 
|-  
 
| <small>32</small>
 
| <small>32</small>
| Whoever takes the ''Krieg''<br/>&emsp;too high, he will be hit below.
+
| For the one whose war takes aim<br/>&emsp;Above, they will be shamed below.
 
|-  
 
|-  
 
| <small>33</small>
 
| <small>33</small>
| In all windings<br/>&emsp;learn how to find Strikes thrusts and cuts.
+
| In all winds<br/>&emsp;Cut, stab, slice learn to find
 
|-  
 
|-  
 
| <small>34</small>
 
| <small>34</small>
| Also you should<br/>&emsp;feel spontaneously if it has to be a strike, a cut or a thrust.
+
| Also with that you shall<br/>&emsp;Gauge cut, stab or slice
 
|-  
 
|-  
 
| <small>35</small>
 
| <small>35</small>
| In all binds<br/>&emsp;learn to pull and jerk against the skilled fencers if you wish to fool them.
+
| In all encounters<br/>&emsp;Of the masters, if you wish to dishonor them.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
| Never attack his sword,<br/>&emsp;always strike the openings
+
| Do not cut to the sword,<br/>&emsp;Rather, keep watch for the openings
 
|-  
 
|-  
 
| <small class="grey">ⅹⅵ</small>
 
| <small class="grey">ⅹⅵ</small>
| To the head, to the body,<br/>&emsp;never forget the tick.<ref>striking the wrist and arms</ref>
+
| Of the head, of the body <br/>&emsp;If you wish to remain without harm
 
|-  
 
|-  
 
| <small class="grey">ⅹⅶ</small>
 
| <small class="grey">ⅹⅶ</small>
|  
+
| You hit or miss<br/>&emsp;Considering as follows so that you target the openings
 
|-  
 
|-  
 
| <small class="grey">ⅹⅷ</small>
 
| <small class="grey">ⅹⅷ</small>
| Learn<br/>&emsp;to turn the ''Ort''<ref>point</ref> to the openings.
+
| In every lesson,<br/>&emsp;Turn the point toward the openings.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅸ</small>
 
| <small class="grey">ⅹⅸ</small>
| The one who swings strikes around and wide,<br/>&emsp;will usually be defeated
+
| Whoever cuts around widely,<br/>&emsp;They will often be shamed severely.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹ</small>
 
| <small class="grey">ⅹⅹ</small>
| With Strikes and thrusts<br/>&emsp;aim for the nearest and closest.
+
| In the most direct way possible,<br/>&emsp;Deliver sudden cuts, stabs wisely.<ref>"Wisely" inferred from the summary</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅺ</small>
 
| <small class="grey">ⅹⅺ</small>
| Also you should step<br/>&emsp;to his right side
+
| And one shall also always step<br/>&emsp;To their right side
 
|-  
 
|-  
 
| <small class="grey">ⅹⅻ</small>
 
| <small class="grey">ⅹⅻ</small>
|  
+
| So that you can begin<br/>&emsp;Fencing or wrestling with advantage.
 
|}
 
|}
Comment: Here learn and know that Liechtenauer strikes an ''Oberhau''<ref>Strike from above</ref> from his shoulder which is called the ''Zornhau''. For someone who is angered and wrathful, no other strike comes as ready as the ''Zornhau'', because this ''Oberhau'' strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an ''Oberhau'' against you, you should strike the ''Zornhau'' against him so that your point thrusts forward quickly. If he now defends against your point, pull the sword up and off from his blade and move to the other side of his sword. If he also defends against this, be strong against the sword and wind the point in for the thrust. If he defends this thrust, so take the sword away and strike low to his legs.
+
'''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. <section end="20"/>
 +
 
 +
<section begin="21"/>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.<section end="21"/>
 +
 
 +
<section begin="22"/>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. <section end="22"/>
 +
 
 +
<section begin="23"/>Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.
  
So constantly do one after the other thus he may not come to strikes. And always have the already mentioned words, ''Vor'' and ''Nach'' ''Indes'' ''Schwach'' ''Stark'' and strikes thrusts and cuts, in your mind and never forget these in fencing.
+
That is the descending cut and the rising cut from both sides.
<section end="20"/>
 
  
<section begin="21"/>Furthermore, you should not hurry too much in the ''Krieg'' because if you aim above and miss so you will hit below. And how you execute one after the other, according to real art with special strikes thrusts and cuts you will hear later.<section end="21"/>
+
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.
  
<section begin="22"/>And you should not strike at someone's sword but directly to him, to the head or to the body wherever you wish.  
+
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.
  
Alternatively, you may understand the first verse as if you strike a wrath strike from above, the adversary is being endangered by the point of the wrath strike.
+
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.<section end="23"/>
  
Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes.<section end="22"/>
+
<section begin="24"/>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.
  
<section begin="23"/>Also know that there are only two strikes all others are based upon. And these are the ''Oberhau''<ref>strike from above</ref> and the ''Unterhau''<ref>strike from below</ref> from both sides, which are the main strikes and the foundation if all other strikes. And these again are based on the point of the sword which is the core and the centre of all other techniques as it has been written before. And from the same strikes come the four displacements from both sides, with these you break and defeat all strikes thrusts or guards and these also lead to the hangings which can very well be used for artful techniques as you will hear later. And however you fence, always turn the point against the face or the chest of the adversary, so he has always to watch out that you do not move prior to him.<ref>the next sentence is unfinished</ref><section end="23"/>
+
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.<section end="24"/>
  
<section begin="24"/>And if it happened, that the adversary got the ''Vorschlag''<ref>first strike</ref> so he should be well practiced and quick with the ''Abwenden''<ref>turning-off</ref> and as soon as he has turned off the (attacks of) the adversary, he should move quickly as soon as possible, and his point should always aim for the chest as you will hear now. And the point should, as soon as he comes at the adversary's sword, be always within a half Elle<ref>roughly 30 cm</ref> of either chest or face. Also he should be well aware if he can move in boldly for the next opening. And he should never move too far around so that the adversary cannot come forward before him, which will surely happen if the adversary comes forwards and is not hesitating, slow or moves too far.<ref>''Vorreben''?</ref><section end="24"/>
+
<section begin="25"/>'''This is about the four openings, etc, etc.'''
<!--
 
<section begin="25"/>{{red|b=1|This is about the four openings, etc, etc.}}
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 264: Line 326:
 
| Without any fear<br/>&emsp;Without doubt however they are situated.  
 
| Without any fear<br/>&emsp;Without doubt however they are situated.  
 
|}
 
|}
{{red|b=1|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,
+
'''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.
 
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.
Line 272: Line 334:
 
He takes aim of these and never the sword, only the openings.<section end="25"/>
 
He takes aim of these and never the sword, only the openings.<section end="25"/>
  
<section begin="26"/>{{red|b=1|About the four openings, how one breaks them.}}
+
<section begin="26"/>'''About the four openings, how one breaks them.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 287: Line 349:
 
| If you have understood this,<br/>&emsp;They can scarcely come to blows, etc.  
 
| If you have understood this,<br/>&emsp;They can scarcely come to blows, etc.  
 
|}
 
|}
[No gloss]<section end="26"/>
+
<section end="26"/>
  
<section begin="27"/>{{red|b=1|This is about the crooked cut, etc.}}
+
<section begin="27"/>'''This is about the crooked cut, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 313: Line 375:
 
| For they do not truthfully know<br/>&emsp;Where they are without danger
 
| For they do not truthfully know<br/>&emsp;Where they are without danger
 
|}
 
|}
{{red|b=1|Gloss}}. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sideways</ref> 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 {{dec|s|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<section end="27"/>
+
'''Gloss'''. Here note and know that the crooked cut is a descending cut which is undertaken crookedly with a good step out likewise to one side. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sideways</ref> 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 {{dec|s|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<section end="27"/>
  
 
<section begin="28"/>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.<section end="28"/>
 
<section begin="28"/>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.<section end="28"/>
Line 341: Line 403:
 
| Also in it: audacity,<br/>&emsp;Prudence, astuteness and ingenuity
 
| Also in it: audacity,<br/>&emsp;Prudence, astuteness and ingenuity
 
|}
 
|}
[No gloss]<section end="29"/>
+
<section end="29"/>
  
<section begin="30"/>{{red|b=1|This is about the crosswise cut, etc.}}
+
<section begin="30"/>'''This is about the crosswise cut, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 358: Line 420:
 
| Whoever crosses themselves well<br/>&emsp;Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing
 
| Whoever crosses themselves well<br/>&emsp;Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing
 
|}
 
|}
{{red|b=1|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.
+
'''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 you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.
Line 386: Line 448:
 
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.<section end="31"/>
 
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.<section end="31"/>
  
<section begin="32"/>{{red|b=1|This is about the cockeyed cut, etc.}}
+
<section begin="32"/>'''This is about the cockeyed cut, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 410: Line 472:
 
| The cockeyed cut I prize,<br/>&emsp;If it does not arrive too lazily.
 
| The cockeyed cut I prize,<br/>&emsp;If it does not arrive too lazily.
 
|}
 
|}
{{red|b=1|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.
+
'''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 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)
Line 416: Line 478:
 
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.
 
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...<ref>The comment ends here and remains unfinished.</ref><section end="32"/>
+
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...<section end="32"/>
  
 
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/>
 
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/>
  
<section begin="34"/>{{red|b=1|This is about the part cut, etc.}}
+
<section begin="34"/>'''This is about the part cut, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 441: Line 503:
 
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.
 
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.
 
|}
 
|}
[No gloss]<section end="34"/>
+
<section end="34"/>
  
<section begin="35"/>{{grey|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.}}<section end="35"/>
+
<section begin="35"/>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.<section end="35"/>
  
<section begin="36"/>{{red|b=1|This is about the four positions, etc.}}
+
<section begin="36"/>'''This is about the four positions, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 454: Line 516:
 
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you
 
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you
 
|}
 
|}
{{red|b=1|Gloss, etc}}. Here he names the four positions or four guards, about which there is something to be held.
+
'''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.<section end="36"/>
 
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.<section end="36"/>
Line 483: Line 545:
 
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. <section end="41"/>
 
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. <section end="41"/>
  
<section begin="42"/>{{red|b=1|This is about the four parries}}
+
<section begin="42"/>'''This is about the four parries'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 507: Line 569:
 
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.
 
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.
 
|}
 
|}
{{red|b=1|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.
+
'''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 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.
Line 525: Line 587:
 
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/>
 
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/>
  
<section begin="45"/>{{red|b=1|This is about the pursuing, etc, etc}}
+
<section begin="45"/>'''This is about the pursuing, etc, etc'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 555: Line 617:
 
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.
 
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.
 
|}
 
|}
[No gloss]<section end="45"/>
+
<section end="45"/>
  
<section begin="46"/>{{red|b=1|This is about the overrunning. Fencer look into this.}}
+
<section begin="46"/>'''This is about the overrunning. Fencer look into this.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 575: Line 637:
 
| From both sides<br/>&emsp;Overrun and remember the slices.
 
| From both sides<br/>&emsp;Overrun and remember the slices.
 
|}
 
|}
[No gloss]<section end="46"/>
+
<section end="46"/>
  
<section begin="47"/>{{red|b=1|This is about displacing. Learn this well.}}
+
<section begin="47"/>'''This is about displacing. Learn this well.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 592: Line 654:
 
| In every lesson,<br/>&emsp;Turn the point against one's face.
 
| In every lesson,<br/>&emsp;Turn the point against one's face.
 
|}
 
|}
[No gloss]<section end="47"/>
+
<section end="47"/>
  
<section begin="48"/>{{red|b=1|This is about the disengaging, etc, etc.}}
+
<section begin="48"/>'''This is about the disengaging, etc, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 609: Line 671:
 
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.
 
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.
 
|}
 
|}
{{red|b=1|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.
+
'''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.
 
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.
Line 623: Line 685:
 
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/>
 
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/>
  
<section begin="50"/>{{red|b=1|This is about withdrawing suddenly. Fencer note.}}
+
<section begin="50"/>'''This is about withdrawing suddenly. Fencer note.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 630: Line 692:
 
|-  
 
|-  
 
| <small>89</small>
 
| <small>89</small>
| Suddenly withdraw.<br/>&emsp;If they engage, suddenly withdraw more. If they work, wind, that does them harm.  
+
| Suddenly withdraw. If they engage, suddenly withdraw more.<br/>&emsp;If they work, wind, that does them harm.  
 
|-  
 
|-  
 
| <small>90</small>
 
| <small>90</small>
| Suddenly withdraw all engagements of the masters<br/>&emsp;If you wish to dishonor them  
+
| Suddenly withdraw all engagements<br/>&emsp;Of the masters if you wish to dishonor them  
 
|-  
 
|-  
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small>
 
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small>
 
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.
 
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.
 
|}
 
|}
[No gloss]<section end="50"/>
+
<section end="50"/>
  
<section begin="51"/>{{red|b=1|This is about rushing through. Look closely.}}
+
<section begin="51"/>'''This is about rushing through. Look closely.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 652: Line 714:
 
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.
 
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.
 
|}
 
|}
[No gloss]<section end="51"/>
+
<section end="51"/>
  
<section begin="52"/>{{red|b=1|This is about cutting off, etc, etc}}
+
<section begin="52"/>'''This is about cutting off, etc, etc'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 675: Line 737:
 
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.
 
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.
 
|}
 
|}
[No gloss]<section end="52"/>
+
<section end="52"/>
  
<section begin="53"/>{{red|b=1|This is about the hand pressing, etc, etc.}}
+
<section begin="53"/>'''This is about the hand pressing, etc, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 712: Line 774:
 
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/>
 
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/>
  
<section begin="56"/>{{red|b=1|This is about the hanging. Fencer learn this, etc.}}
+
<section begin="56"/>'''This is about the hanging. Fencer learn this, etc.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
Line 763: Line 825:
 
| Because from the hangings<br/>&emsp;You shall bring the winds.
 
| Because from the hangings<br/>&emsp;You shall bring the winds.
 
|}
 
|}
{{red|b=1|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.
+
'''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.
 
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.
Line 832: Line 894:
 
| Because each opening<br/>&emsp;Objectively has six wounders.
 
| Because each opening<br/>&emsp;Objectively has six wounders.
 
|}
 
|}
{{red|b=1|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.
+
'''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.<section end="57"/>
 
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.<section end="57"/>
-->
 

Latest revision as of 14:31, 30 October 2022

This is the general preface of the unarmored fencing on foot. Mark this well.

1 Young knight, learn.
 Revere God. Ever honor women,
2 Thus cultivate your honor.
 Practice knightcraft and learn
3 art that decorates you
 and in wars serves you well.
4 Wrestling's good grips,
 Lance, spear, sword and messer,
5 manfully brandish
 and in other hands ruin.
6 Attack suddenly and storm in,
 keep moving fluidly, engage or let pass.
7 Thus the intellectuals hate him,
 Yet this one sees glories.
8 Thereupon you hold,
 all things have time and place.
And whatever you wish to conduct,
 you shall stay in the realm of good reason.
In earnest or in play,
 have a joyous spirit with moderation
so that you may pay attention
 and consider with a good spirit
whatever you shall command
 and whip up against the opponent.
Because a good spirit with authority
 makes someone's rebuke timid.
Thereafter, orient yourself.
 Give no advantage with anything.
Avoid imprudence.
 Do not step in front of four or six
with your overconfidence.
 Be modest, that is good for you.
It is a brave man
 that dares to confront their equal.
It is not shameful
 to flee four or six at hand.
[1]

This is a general lesson of the sword:

9 If you wish to show skill,
 Move yourself left and right with cutting.
10 And left with right
 Is what you strongly desire to fence.
11 Whoever chases after cuts,
 They permit themselves to enjoy the art in small amounts.
12 Cut from close whatever you wish,
 No changer comes on your shield.
Do not cut to the sword.
 Rather, keep watch of the openings.
13 To the head, to the body,
 Do not omit the stingers.
14 With the entire body
 Fence whatever you desire to conduct strongly.
15 Listen here to what is bad:
 Do not fence from above left if you are right.
16 And if you are left,
 You are severely hindered on the right.
So always prefer
 To fence from above left downwards.
17 The Before, The After the two things
 are the wellspring of all art.
18 Weak and strong,
 Indes, mark this word with them.
19 So you can learn
 To defend yourself with art and work.
20 If you terrify easily,
 Never learn any fencing.
ⅹⅲ Audacity and swiftness,
 Prudence, astuteness and ingenuity,
ⅹⅳ Acumen, concealment,
 Measure, obscuration, scouting and skill
ⅹⅴ Fencing will have
 And bear a joyous spirit.

General gloss hereafter.[2] 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.

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.

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.

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.

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.

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.

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.

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.

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".

This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.

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.

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.

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.

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.

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.

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.

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".

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.

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.

How could the art work differently?

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.

Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".

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.

If you then come onto the sword with them, be sure in feeling and execute as was written before.

Because this is the foundation of fencing, that one is always in motion and does not peeter out and when it comes down to the feeling, then act as it is laid out above.

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.

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.

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

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.[3]
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.

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. Here note and know that the crooked cut is a descending cut which is undertaken crookedly with a good step out likewise to one side. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways[4] 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

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[5] 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[6]
 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.

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.

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.

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.

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.

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.

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.

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. Possibly: "If one cannot flee, then do something cunning, that is my advice."
  2. Latin
  3. "Wisely" inferred from the summary
  4. to the side, apart, sideways
  5. The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'
  6. In all other extant versions this is "point"