Pseudo-Hans Döbringer/David Lindholm LS 2005

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

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

This is a general teaching of the sword.

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

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

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

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

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

Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as. On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour or without.

Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike. When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant should you do the after strike before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of.

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

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

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

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

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

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

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

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

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

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

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

This is the text where the five strikes and other pieces are mentioned.

21	Five strikes learn  to do from the right side against the defence.
23	Rage strike, crooked, cross,  squinting, with the scalp strike.
24	The Fool counters,  attack after, and run over hurt the strokes last.
25	Change through, withdraw,  running through, cutting away, pressing the hands.
26	Hanging, turning with the openings,  strike, grasp thrust with thrusts

This is regarding the Rage strike

27	When someone strikes at you from above,  strike a rage strike and draw the point at him,
28	If he notices this,  take away from above without fear,
29	be stronger, turn against it,  and take it down. If he notices this, then go down.
30	Note this;  strike, thrust, guards, soft or hard.
31	At once and the before the after –  do not haste into war,
32	what the war strikes from  above, is ashamed from below.
33	In all turnings,  strikes, thrusts and cuts learn to find.
34	You shall also  try strikes, thrusts or cuts
35	in all meetings  with the masters if you wish to fool them.
ⅺ	Do not strike at the sword,  but always to the openings,
ⅹⅵ	to the head, the body  if you wish to remain unharmed.
ⅹⅶ	If you hit or miss,  always search for the openings,
ⅹⅷ	in all teachings  turn the point to the openings.
ⅹⅸ	He who strikes widely around,  he will often become seriously shamed.
ⅹⅹ	Always strike and thrust  at the closest openings.
ⅹⅺ	and you shall also step  towards the right side.
ⅹⅻ

Glossa. Here note that Liechtenauer strikes an upper strike from the shoulder, it is called the rage strike.

When you are angry and raging, then no strike is as ready as this upper strike struck from the shoulder at the opponent. That is why Liechtenauer means that when someone strikes an upper strike against you, then you shall strike a rage strike at him; that is you move quickly in towards him with your point leading. If he defends against your point, then go quickly up and over to the other side of his sword. If he defends against that as well, then be hard and strong in your sword and turn quickly and skillfully. If he defends against your thrust then throw and strike quickly below and you will hit him in the legs. That is you should always try one after the other so that he never has a chance to come to blows himself. And the aforesaid words – Before, after, at once, weak, Strong, strike, thrust, and Cut, these you should think on well and never forget in your swordplay.

And you should not rush into war, since if you fail above were you aim, then you will hit below as you will hear how to do one out of the other according to the true art, regardless if it is a strike, thrust or cut.

And you shall not strike at the sword, but at the man himself, to the head or the body anywhere you can. One can also understand the first passage so that when you strike from above with the rage strike, then you are also using the point of the rage strike. Just act according to this teaching, and always be in motion, whether you hit him or not, so that he cannot come to blows. And always step well out to the side with the strikes.

And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you.

And if it happens that the opponent wins the first strike then you must be sure, precise and quick in the turning and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force.

This is on the four openings

36	If you know how to seek the four openings,  then you should strike true
37	and without any danger,  without concern for what he intends to do.

Note here that Liechtenauer divides a man into four parts. That is as if a line was drawn from his forehead to his groin down the body and the other line along his belt. Thus you will have four openings in quarters. A left and right opening above the belt and the same openings below the belt. These are the four openings and each has its own fencing. Always seek these and never the sword.,

How to break the four openings;

38	If you wish to take revenge,  then artfully break the four openings.
39	Above double  and below rightfully change.
40	I say truly that  no man can defend himself without danger
41	and if you have understood this  then he cannot come to blows.

This is on the Crooked strike

42	Go crooked with skill  and throw the point at the hands,
43	strike crooked at he who sets well,  with steps you will hurt many strokes.
44	Strike crooked to the flat  of the master when you wish to weaken him.
45	When it flashes above  step away that I will applaud.
46	Do not crooked short strikes,  changing through and then do a crooked strike,
47	whoever wishes to deceive you  the noble war will confuse him,
48	so that he does not know  if he is out of danger.

Glossa. Here note that the crooked strike is an upper strike that goes out well to the side with a step, and then goes in a crooked manner to one side. Therefore Liechtenauer means that if you wish to do this strike well, you shall step well out to the right side as you strike. And you shall throw or shoot your point in over the cross guard at the (opponent’s) hands. And you shall strike with your flat, and when you hit the flat (of the opponent’s sword?) you shall remain on it with strength and push firmly and see where you can easiest and straightest hit him with strikes or thrusts or cuts and you shall not strike too short and not forget the changing through, where it is suitable to do it.

A strike is called the feint/error and it comes from the crooked strike and it is described after the cross strike which is described firstly and it shall be before the cross strike. And it goes crooked from below and is shot in over the cross guard at him by shooting the point just as the [Krumphaw] from above and down.

53	He who lead the feint/error,  hits from below as he wishes,
54	[Vorkerer] forces,  runs through and wrestles
55	take the elbow  with skill, jump him in the scale.
56	Feint twofold  and if you hit do the cut as well.
57	Twofold further on  step to the left and do not be slow.
ⅹⅹⅲ	Since all fencing desires  quickness from the right,
ⅹⅲ	and also courage,  caution and understanding

This is on the cross strike

49	The cross strike takes away  what comes from the roof,
50	do the cross strike with the strong  and note your work.
51	Cross strike to the plough  and follow hard to the ox
52	he who does the cross strike well  with a leap will hit the head.

Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.. And it goes across to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof, that is the upper strike or what comes from above and goes down, that the cross strike will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning. In the cross strike you turn the flat sides of the sword, one up and one down with the point horizontal, one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike. So when you make a cross strike, regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike with a certain amount of power.

And when you must fight for your neck, then you shall use the earlier described teachings and seek and win the first strike with a good cross strike. When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across well so that you drive the point well and turn or tightens it around the opponent’s head like a belt. So that when you do a cross strike with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away. And when you thus win the first strike with the cross strike at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike with the cross strike to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike to both sides, to the ox and to the plough that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered.

{This is regarding the Squinting strike

58	The squinting strike breaks  what the “buffalo” strikes or thrusts,
59	he who tries to change,  the squinting strike robs him of it.
60	Do a squinting strike if he comes too short,  the changing through defeats him.
61	Do a squinting strike to the point  and take the neck without fear.
62	Do a squinting strike to the upper  head if you wish to endanger the hands.
ⅹⅹⅳ	Strike a squinting strike to the right,  this is how you wish to fence.
ⅹⅹⅴ	The squinting strike I do praise,  if it does not come too slowly.

Glossa. Here note and understand that the squinting strike is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo can strike from above to below, as they are wont to do. Just as the cross strike breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike. And you shall squint well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint well with the point to the neck, courageously and 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
 If they defend themselves, hit without fear.
Attack suddenly and storm in,
 keep moving fluidly, engage or let pass.
Do not attack the sword,
 Rather keep watch for the openings
You hit or miss
 Then keep it in your mind that you target the openings
With both hands
 Learn to bring your point to the eyes.
Always fence with sense
 And win the Vorschlag every time.
The opponent hits or misses,
 Immediately take target with the Nachschlag's
On both sides,
 Step to the right of the opponent
So that you can begin
 Fencing or wrestling with advantage.

This is about the part cut, etc.

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

[No gloss]

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

This is about the four positions, etc.

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

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

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

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

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

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

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

The fourth guard, the Roof, is long point.

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

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

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

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

This is about the four parries

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

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

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

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

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

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

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

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

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

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

This is about the pursuing, etc, etc

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

[No gloss]

This is about the overrunning. Fencer look into this.

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

[No gloss]

This is about displacing. Learn this well.

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

[No gloss]

This is about the disengaging, etc, etc.

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

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

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

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

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

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

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

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

This is about withdrawing suddenly. Fencer note.

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

[No gloss]

This is about rushing through. Look closely.

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

[No gloss]

This is about cutting off, etc, etc

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

[No gloss]

This is about the hand pressing, etc, etc.

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

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

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

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

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

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

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

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

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

96	Two hangings emerge  From the ground out of each hand
97	In every application  Cut, Thrust, Position, Soft or Hard
98	Make the speaking window  Stand freely, watch their situation.
99	Strike them so that it snaps  Whoever withdraws themselves before you.
100	I say to you truthfully  No one defends themselves without danger
101	If you have understood  They cannot come to blows
ⅹⅼⅷ	That is, if you remain  Against the sword, also conduct with it
ⅹⅼⅸ	Cuts, thrusts or slices.  With that, note the feeling
ⅼ	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.

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