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<p>Note, when you stab him from the lower guard, if he then falls with the left hand to your sword, and you against him to his, then throw your sword to him with the pommel in front of the feet, and grab his left hand with your left, and his left elbow with the right, and drive the arm break.</p>
 
<p>Note, when you stab him from the lower guard, if he then falls with the left hand to your sword, and you against him to his, then throw your sword to him with the pommel in front of the feet, and grab his left hand with your left, and his left elbow with the right, and drive the arm break.</p>
 
<p>Or, when you have thrown your sword to him in front of the feet, shove him with the left hand forward to the chest, and grab him with the right in the back of his left knee, and jolt him to you with it, and shove with the left above from you, so he falls.</p>
 
 
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{{section|Page:Cod.44.A.8 066r.jpg|4|lbl=-|p=1}} {{section|Page:Cod.44.A.8 066v.jpg|1|lbl=66v|p=1}}
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|-  
 
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|  
| <p>[74] {{red|b=1|You shall also know,}} that you may also well strike with the pommel from the lower guard, as from the upper, when it is even to you.</p>
+
| <p>[74] Or, when you have thrown your sword to him in front of the feet, shove him with the left hand forward to the chest, and grab him with the right in the back of his left knee, and jolt him to you with it, and shove with the left above from you, so he falls.</p>
 
| {{section|Page:Cod.44.A.8 066v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 066v.jpg|2|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 236r.jpg|2|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 236r.jpg|2|lbl=-}}
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| {{section|Page:MS KK5126 121r.jpg|5a|lbl=-}}
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| {{section|Page:MS E.1939.65.341 091v.jpg|2|lbl=-}}
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 +
|-
 
|  
 
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| {{section|Page:MS E.1939.65.341 091v.jpg|2|lbl=-}}
+
| <p>[75] {{red|b=1|You shall also know,}} that you may also well strike with the pommel from the lower guard, as from the upper, when it is even to you.</p>
 +
| {{section|Page:Cod.44.A.8 066v.jpg|3|lbl=-}}
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| {{section|Page:MS Germ.Quart.2020 236r.jpg|3|lbl=-}}
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 +
| {{section|Page:MS E.1939.65.341 091v.jpg|3|lbl=-}}
  
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[75] {{red|b=1|Here note, this is the third guard with the short sword in combat, with its plays and arrangement }}</p>
+
| <p>[76] {{red|b=1|Here note, this is the third guard with the short sword in combat, with its plays and arrangement }}</p>
  
 
<p>Note, arrange yourself as follows in the third guard in combat: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lay it athwart on top of your left knee in the guard. Break his plays from it with parry.</p>
 
<p>Note, arrange yourself as follows in the third guard in combat: Stand with the left foot forward, and hold your sword with the right hand by the handle, and with the left, grip the middle of the blade, and lay it athwart on top of your left knee in the guard. Break his plays from it with parry.</p>
| {{section|Page:Cod.44.A.8 066v.jpg|3|lbl=-}}
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| {{section|Page:Cod.44.A.8 066v.jpg|4|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 237r.jpg|1|lbl=237r}}
 
| {{section|Page:MS Germ.Quart.2020 237r.jpg|1|lbl=237r}}
 
| {{section|Page:MS KK5126 121r.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 121r.jpg|7|lbl=-}}
| {{section|Page:MS E.1939.65.341 091v.jpg|3|lbl=-}}
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| {{section|Page:MS E.1939.65.341 091v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[76] {{red|b=1|The first play}}</p>
+
| <p>[77] {{red|b=1|The first play}}</p>
  
 
<p>Note, when you have your sword on top of your left knee in the guard, if he then stabs you from the upper guard to the face, then set the stab aside with the sword in front of your left hand against his right side, and rise into the upper guard, and plant to him.</p>
 
<p>Note, when you have your sword on top of your left knee in the guard, if he then stabs you from the upper guard to the face, then set the stab aside with the sword in front of your left hand against his right side, and rise into the upper guard, and plant to him.</p>
| {{section|Page:Cod.44.A.8 066v.jpg|4|lbl=-}}
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| {{section|Page:Cod.44.A.8 066v.jpg|5|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 237v.jpg|1|lbl=237v}}
 
| {{section|Page:MS Germ.Quart.2020 237v.jpg|1|lbl=237v}}
 
| <p><br/></p>
 
| <p><br/></p>
  
 
{{section|Page:MS KK5126 121r.jpg|8|lbl=-}}
 
{{section|Page:MS KK5126 121r.jpg|8|lbl=-}}
| {{section|Page:MS E.1939.65.341 091v.jpg|4|lbl=-}}
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| {{section|Page:MS E.1939.65.341 091v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[77] Or, parry the stab between both of your hands to the sword’s blade, and move with the pommel over his front placed hand, and jolt downwards with it, and plant to him.</p>
+
| <p>[78] Or, parry the stab between both of your hands to the sword’s blade, and move with the pommel over his front placed hand, and jolt downwards with it, and plant to him.</p>
| {{section|Page:Cod.44.A.8 066v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.44.A.8 067r.jpg|1|lbl=67r|p=1}}
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| {{section|Page:Cod.44.A.8 066v.jpg|6|lbl=-|p=1}} {{section|Page:Cod.44.A.8 067r.jpg|1|lbl=67r|p=1}}
 
| {{section|Page:MS Germ.Quart.2020 237v.jpg|2|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 237v.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 121r.jpg|9|lbl=-}}
 
| {{section|Page:MS KK5126 121r.jpg|9|lbl=-}}
| {{section|Page:MS E.1939.65.341 091v.jpg|5|lbl=-}}
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| {{section|Page:MS E.1939.65.341 091v.jpg|6|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[78] {{red|b=1|Again a play}}</p>
+
| <p>[79] {{red|b=1|Again a play}}</p>
  
 
<p>Note, when you have your sword over the left knee in the guard, if he then stabs you to the face, then move through his sword with the pommel below, and set his stab aside with it in front of his left hand, and plant to him.</p>
 
<p>Note, when you have your sword over the left knee in the guard, if he then stabs you to the face, then move through his sword with the pommel below, and set his stab aside with it in front of his left hand, and plant to him.</p>
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{{section|Page:MS KK5126 121r.jpg|10|lbl=-}}
 
{{section|Page:MS KK5126 121r.jpg|10|lbl=-}}
 
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{{section|Page:MS E.1939.65.341 091v.jpg|6|lbl=-|p=1}} {{section|Page:MS E.1939.65.341 092r.jpg|1|lbl=92r|p=1}}
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{{section|Page:MS E.1939.65.341 091v.jpg|7|lbl=-|p=1}} {{section|Page:MS E.1939.65.341 092r.jpg|1|lbl=92r|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p>[79] {{red|b=1|Again a play}}</p>
+
| <p>[80] {{red|b=1|Again a play}}</p>
  
 
<p>Note, when you have your sword over the left knee in the guard, if he then stabs to the face, then move through below with the pommel over his sword behind his front placed hand, and jolt his hand downwards with it, and plant to him.</p>
 
<p>Note, when you have your sword over the left knee in the guard, if he then stabs to the face, then move through below with the pommel over his sword behind his front placed hand, and jolt his hand downwards with it, and plant to him.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[80] Or</p>
+
| <p>[81] Or</p>
  
 
<p>If he is too strong so that you may not jolt his hand from the sword, then wind the pommel up from below outside to the top of his left hand, and shove him from you, and plant to him with it.</p>
 
<p>If he is too strong so that you may not jolt his hand from the sword, then wind the pommel up from below outside to the top of his left hand, and shove him from you, and plant to him with it.</p>
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| <p>[81] {{red|b=1|You shall also know,}} that you may not continue to parry the hits with the pommel, than from the guard from the left knee, that you find written hereafter in the play which says “with his striking point…”</p>
+
| <p>[82] {{red|b=1|You shall also know,}} that you may not continue to parry the hits with the pommel, than from the guard from the left knee, that you find written hereafter in the play which says “with his striking point…”</p>
 
| {{section|Page:Cod.44.A.8 067r.jpg|5|lbl=-}}
 
| {{section|Page:Cod.44.A.8 067r.jpg|5|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 239r.jpg|2|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 239r.jpg|2|lbl=-}}
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|-  
 
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| <p>[82] {{red|b=1|Here note, this is the fourth guard with the short sword in combat with its plays and its arrangement}}</p>
+
| <p>[83] {{red|b=1|Here note, this is the fourth guard with the short sword in combat with its plays and its arrangement}}</p>
  
 
<p>Note, arrange yourself into the fourth guard in combat as follows: Hold your sword with the right hand by the handle, and with the left grip the middle of the blade, and hold it under your right armpit, and plant the one hilt forward firmly to the chest, and hold the point against the man.</p>
 
<p>Note, arrange yourself into the fourth guard in combat as follows: Hold your sword with the right hand by the handle, and with the left grip the middle of the blade, and hold it under your right armpit, and plant the one hilt forward firmly to the chest, and hold the point against the man.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[83] {{red|b=1|Note a good lesson}}</p>
+
| <p>[84] {{red|b=1|Note a good lesson}}</p>
  
 
<p>Know, you shall come to the fourth guard from all other guards with planting, hear it as follows: When you stab to him from a guard, if it is then the case that you land your hit correctly, so that your point sticks in the armor, then immediately wind the hilt to your chest into the guard, and force him in front of you as such, and don’t let him come away from the point, so he may not stab nor strike again.</p>
 
<p>Know, you shall come to the fourth guard from all other guards with planting, hear it as follows: When you stab to him from a guard, if it is then the case that you land your hit correctly, so that your point sticks in the armor, then immediately wind the hilt to your chest into the guard, and force him in front of you as such, and don’t let him come away from the point, so he may not stab nor strike again.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[84] {{red|b=1|This is again a lesson}}</p>
+
| <p>[85] {{red|b=1|This is again a lesson}}</p>
  
 
<p>Note, everything that you want to plant, set it to the face, or to the neck, or to his left shoulder, or under his left armpit, and when you have planted to him, note if he is taller than you are, then force him as such in front of you, and assess that your point rises upwards, and is set well into the ring.</p>
 
<p>Note, everything that you want to plant, set it to the face, or to the neck, or to his left shoulder, or under his left armpit, and when you have planted to him, note if he is taller than you are, then force him as such in front of you, and assess that your point rises upwards, and is set well into the ring.</p>
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|-  
 
|  
 
|  
| <p>[85] Or, if he is shorter than you, then let your sword sink away downwards with the hand until onto your right hip, and so that your point stands upwards, and is set well in the armor, and force him as such in front of you.</p>
+
| <p>[86] Or, if he is shorter than you, then let your sword sink away downwards with the hand until onto your right hip, and so that your point stands upwards, and is set well in the armor, and force him as such in front of you.</p>
 
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{{section|Page:Cod.44.A.8 067v.jpg|4|lbl=-|p=1}} {{section|Page:Cod.44.A.8 068r.jpg|1|lbl=68r|p=1}}
 
{{section|Page:Cod.44.A.8 067v.jpg|4|lbl=-|p=1}} {{section|Page:Cod.44.A.8 068r.jpg|1|lbl=68r|p=1}}
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|-  
 
|  
 
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| <p>[86] {{red|b=1|This is the text and the gloss about the two things, the first called the “before”, the second called the “after”}}</p>
+
| <p>[87] {{red|b=1|This is the text and the gloss about the two things, the first called the “before”, the second called the “after”}}</p>
  
 
<p><br/></p>
 
<p><br/></p>
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|-  
 
|  
 
|  
| <p>[87] {{red|b=1|Here note what is called the “after”}}</p>
+
| <p>[88] {{red|b=1|Here note what is called the “after”}}</p>
  
 
<p>The “after,” those are the breaks against all plays which one drives upon you, hear it as follows: When he comes “before” with the stab or hit before you, so that you must parry him, note as soon as your sword sparks on his with the parry, then search indes with the point for the nearest opening, or wait for the wrestling, so you win his “before” with the parry, that is with the “after.”</p>
 
<p>The “after,” those are the breaks against all plays which one drives upon you, hear it as follows: When he comes “before” with the stab or hit before you, so that you must parry him, note as soon as your sword sparks on his with the parry, then search indes with the point for the nearest opening, or wait for the wrestling, so you win his “before” with the parry, that is with the “after.”</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[88] {{red|b=1|Here note how one shall step away in combat}}</p>
+
| <p>[89] {{red|b=1|Here note how one shall step away in combat}}</p>
  
 
<p>Know that no more than one step away pertains to combat fencing, and one step forth, and otherwise stand firmly, so that one will not become tired in the armor, and hear it as follows: If it is the case that he has rushed over you so that you may not come to any parry with the sword or otherwise, then step quickly backwards with the front placed foot, and assess that you plant to him indes quickly against, or grapple with wrestling with a step forth of the same foot with which you have previously stepped away.</p>
 
<p>Know that no more than one step away pertains to combat fencing, and one step forth, and otherwise stand firmly, so that one will not become tired in the armor, and hear it as follows: If it is the case that he has rushed over you so that you may not come to any parry with the sword or otherwise, then step quickly backwards with the front placed foot, and assess that you plant to him indes quickly against, or grapple with wrestling with a step forth of the same foot with which you have previously stepped away.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[89] {{red|b=1|This is the text and the gloss about pursuit in combat}}</p>
+
| <p>[90] {{red|b=1|This is the text and the gloss about pursuit in combat}}</p>
  
 
<p><br/></p>
 
<p><br/></p>
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|-  
 
|-  
 
|  
 
|  
| <p>[90] {{red|b=1|Here note the play}}</p>
+
| <p>[91] {{red|b=1|Here note the play}}</p>
  
 
<p>Note, when you shall fight, if it then seems to you that your fighter wards too strong, then hold your sword in a guard, and step to him artfully, and note quite precisely when pulls his sword to himself and wants to stab or strike with the pommel. At the same time, follow after him quickly, and rush him with the point, and plant to him before he brings the stab or the hit. If he then becomes aware of the planting and moves wide in front with the sword and parries so that his point goes out next to you beside, then jerk through and stab him to the other side. If he wards that to the second time, then again jerk through, and do that as often as he parries, and jolt or rush quickly to him through with it at will. If you had not landed your hit on him correctly with the planting, then you may grapple with wrestling. Know, that is the art against all the fencers who parry long and wide, and fence to the sword and not to the openings of the body.</p>
 
<p>Note, when you shall fight, if it then seems to you that your fighter wards too strong, then hold your sword in a guard, and step to him artfully, and note quite precisely when pulls his sword to himself and wants to stab or strike with the pommel. At the same time, follow after him quickly, and rush him with the point, and plant to him before he brings the stab or the hit. If he then becomes aware of the planting and moves wide in front with the sword and parries so that his point goes out next to you beside, then jerk through and stab him to the other side. If he wards that to the second time, then again jerk through, and do that as often as he parries, and jolt or rush quickly to him through with it at will. If you had not landed your hit on him correctly with the planting, then you may grapple with wrestling. Know, that is the art against all the fencers who parry long and wide, and fence to the sword and not to the openings of the body.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[91] {{red|b=1|This is the text and the gloss, how you shall free yourself away from the sword when one has planted to you with it, and forces you with it}}</p>
+
| <p>[92] {{red|b=1|This is the text and the gloss, how you shall free yourself away from the sword when one has planted to you with it, and forces you with it}}</p>
  
 
<p><br/></p>
 
<p><br/></p>
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|-  
 
|-  
 
|  
 
|  
| <p>[92] {{red|b=1|Another}}</p>
+
| <p>[93] {{red|b=1|Another}}</p>
  
 
<p>Or, stab through with both hands above between the sword and his front placed hand, and press the pommel against the ground, and wind the point at his sword against his right side, and plant to him.</p>
 
<p>Or, stab through with both hands above between the sword and his front placed hand, and press the pommel against the ground, and wind the point at his sword against his right side, and plant to him.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[93] {{red|b=1|Again a solution}}</p>
+
| <p>[94] {{red|b=1|Again a solution}}</p>
  
 
<p>When he has planted to you and forced, stab him below in the palm of the hand, by which he holds his sword in the middle.</p>
 
<p>When he has planted to you and forced, stab him below in the palm of the hand, by which he holds his sword in the middle.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[94] {{red|b=1|Another}}</p>
+
| <p>[95] {{red|b=1|Another}}</p>
  
 
<p>Or, stab him outwards of the arm, by which he holds the sword in the middle, behind in the glove, and when the stab sticks, run forwards with the hand to the circle. You also win his side with it, and other great advantages.</p>
 
<p>Or, stab him outwards of the arm, by which he holds the sword in the middle, behind in the glove, and when the stab sticks, run forwards with the hand to the circle. You also win his side with it, and other great advantages.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[95]</p>
+
| <p>[96]</p>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
 
|  
 
|  
| <p>[96] {{red|b=1|Again a solution}}</p>
+
| <p>[97] {{red|b=1|Again a solution}}</p>
  
 
<p>Note, if he has planted to you to your left shoulder, and you against him at his, then step backwards with the left foot, and also turn your left side from him, so your point sticks, and his does not.</p>
 
<p>Note, if he has planted to you to your left shoulder, and you against him at his, then step backwards with the left foot, and also turn your left side from him, so your point sticks, and his does not.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[97] {{red|b=1|Again a solution}}</p>
+
| <p>[98] {{red|b=1|Again a solution}}</p>
  
 
<p>Note, when he has planted to your left shoulder and you again at his, jolt your pommel forward to your chest, and force forwards as such, so you have overpowered him.</p>
 
<p>Note, when he has planted to your left shoulder and you again at his, jolt your pommel forward to your chest, and force forwards as such, so you have overpowered him.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[98] {{red|b=1|This is the text and the gloss of the parries against the hits with the pommel}}</p>
+
| <p>[99] {{red|b=1|This is the text and the gloss of the parries against the hits with the pommel}}</p>
  
 
<p><br/></p>
 
<p><br/></p>
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|-  
 
|-  
 
|  
 
|  
| <p>[99] {{red|b=1|This is the first parry against the hit with the pommel}}<br/><br/></p>
+
| <p>[100] {{red|b=1|This is the first parry against the hit with the pommel}}<br/><br/></p>
  
 
<p>Note, if one is strong, and he means well to strike you down with the pommel, then stand against him and hold your sword on top of your left knee in the guard. If he then strikes in with the pommel from his right shoulder above to the head, then sweep his strike away with the sword in front of your left hand from your left side against his right, and rise into the upper guard, and set the point into the face.</p>
 
<p>Note, if one is strong, and he means well to strike you down with the pommel, then stand against him and hold your sword on top of your left knee in the guard. If he then strikes in with the pommel from his right shoulder above to the head, then sweep his strike away with the sword in front of your left hand from your left side against his right, and rise into the upper guard, and set the point into the face.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[100] Or, if he strikes in with the pommel from his left side above to the head, then sweep his strike away with the sword in front of your left hand from your right side against his left, and plant to him.</p>
+
| <p>[101] Or, if he strikes in with the pommel from his left side above to the head, then sweep his strike away with the sword in front of your left hand from your right side against his left, and plant to him.</p>
 
|  
 
|  
 
{{section|Page:Cod.44.A.8 070r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 070v.jpg|1|lbl=70v|p=1}}
 
{{section|Page:Cod.44.A.8 070r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 070v.jpg|1|lbl=70v|p=1}}
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|-  
 
|-  
 
|  
 
|  
| <p>[101] {{red|b=1|Again a parry}}</p>
+
| <p>[102] {{red|b=1|Again a parry}}</p>
  
 
<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes in with the pommel above, then step in artfully, and catch the strike between both of your hands in the middle of the sword’s blade, and rise into the upper guard and plant to him.</p>
 
<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes in with the pommel above, then step in artfully, and catch the strike between both of your hands in the middle of the sword’s blade, and rise into the upper guard and plant to him.</p>
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|-  
 
|-  
 
|  
 
|  
| <p>[102] Or, move to him with the pommel to the top of his front placed hand, and jolt him to you and plant to him.</p>
+
| <p>[103] Or, move to him with the pommel to the top of his front placed hand, and jolt him to you and plant to him.</p>
 
| {{section|Page:Cod.44.A.8 070v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 070v.jpg|3|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 247v.jpg|2|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 247v.jpg|2|lbl=-}}
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|  
 
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| <p>[103] {{red|b=1|Note, a parry and a sword taking}}</p>
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| <p>[104] {{red|b=1|Note, a parry and a sword taking}}</p>
  
 
<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes with the pommel to the head, then catch the strike in the middle of the blade, and move with the pommel outside over his sword nearing behind the hilt, and wrench downwards with it onto your right side, so you take his sword, and also plant to him. </p>
 
<p>Note, when you have your sword over the left knee in the guard, if he is then not strong and strikes with the pommel to the head, then catch the strike in the middle of the blade, and move with the pommel outside over his sword nearing behind the hilt, and wrench downwards with it onto your right side, so you take his sword, and also plant to him. </p>
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| <p>[104] {{red|b=1|Note, again a parry and a sword taking}}</p>
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| <p>[105] {{red|b=1|Note, again a parry and a sword taking}}</p>
  
 
<p>When you have your sword over the left knee in the guard, if he then strikes with the pommel to your left knee, then turn your pommel to the ground and the point upwards, and catch the strike in the middle of your sword’s blade, and move through to him below with the pommel above to the top of his sword, nearing behind his hilt, and jolt upwards onto your right side, so you take his sword.</p>
 
<p>When you have your sword over the left knee in the guard, if he then strikes with the pommel to your left knee, then turn your pommel to the ground and the point upwards, and catch the strike in the middle of your sword’s blade, and move through to him below with the pommel above to the top of his sword, nearing behind his hilt, and jolt upwards onto your right side, so you take his sword.</p>
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| <p>[105] {{red|b=1|Again a parry}}</p>
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| <p>[106] {{red|b=1|Again a parry}}</p>
  
 
<p>Note, when you have your sword over the left knee, or stand otherwise in another guard, if he then strikes with the pommel below to the ankle of your left foot, then hold your sword firmly in the left hand, and throw it with the pommel out of the right hand against his hit into the ground onto your left side, and jump to him with it, and wait for the arm break or otherwise other wrestles.</p>
 
<p>Note, when you have your sword over the left knee, or stand otherwise in another guard, if he then strikes with the pommel below to the ankle of your left foot, then hold your sword firmly in the left hand, and throw it with the pommel out of the right hand against his hit into the ground onto your left side, and jump to him with it, and wait for the arm break or otherwise other wrestles.</p>
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| <p>[106]</p>
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| <p>[107]</p>
 
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| <p>[107] {{red|b=1|This is the text and the gloss, how one shall strike with the pommel}}</p>
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| <p>[108] {{red|b=1|This is the text and the gloss, how one shall strike with the pommel}}</p>
 
{| class="zettel"
 
{| class="zettel"
 
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|  
| <p>[108] Hold your sword in the upper guard over the head, and do as if you want to stab or plant into the face from it. With it, let go of the sword with the right hand and come with it to help the left hand in the middle of the blade, and strike him with the pommel to the knee of his front placed foot, or to his front placed hand, with which he holds the sword in the middle. You may also strike with it to the head or to the elbow or to the shoulder, when it is even to you.</p>
+
| <p>[109] Hold your sword in the upper guard over the head, and do as if you want to stab or plant into the face from it. With it, let go of the sword with the right hand and come with it to help the left hand in the middle of the blade, and strike him with the pommel to the knee of his front placed foot, or to his front placed hand, with which he holds the sword in the middle. You may also strike with it to the head or to the elbow or to the shoulder, when it is even to you.</p>
 
| {{section|Page:Cod.44.A.8 071v.jpg|2|lbl=-}}
 
| {{section|Page:Cod.44.A.8 071v.jpg|2|lbl=-}}
 
|  
 
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| <p>[109] {{red|b=1|Here note the work with the dagger in combat}}</p>
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| <p>[110] {{red|b=1|Here note the work with the dagger in combat}}</p>
  
 
<p>Now you shall know that the greatest part of all combat fencing in armor comes to the last to the dagger fencing, and to the wrestling. Therefore note, when you run in with him, otherwise don’t wait when wrestling, and let your dagger stick in the scabbard, because you may not hurt him with it through the armor while he stands in front of you, and hinders you in the hand, because you shall grasp him with wrestling, or when you have thrown him, and have been powerful, then first work with the dagger to the openings of the armor which will be explained to you next, and are to be explained.</p>
 
<p>Now you shall know that the greatest part of all combat fencing in armor comes to the last to the dagger fencing, and to the wrestling. Therefore note, when you run in with him, otherwise don’t wait when wrestling, and let your dagger stick in the scabbard, because you may not hurt him with it through the armor while he stands in front of you, and hinders you in the hand, because you shall grasp him with wrestling, or when you have thrown him, and have been powerful, then first work with the dagger to the openings of the armor which will be explained to you next, and are to be explained.</p>
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| <p>[110] {{red|b=1|Another}}</p>
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| <p>[111] {{red|b=1|Another}}</p>
  
 
<p>Note, when you come to wrestle with him, if you then throw him on the back, then fall to him with the body on top of his face, and grasp him by the neck under an arm, thus he is pinned, and may additionally not well come up with whichever hand he then grips to you, then stab him after to the opening of the palm, or stab him under the armpit.</p>
 
<p>Note, when you come to wrestle with him, if you then throw him on the back, then fall to him with the body on top of his face, and grasp him by the neck under an arm, thus he is pinned, and may additionally not well come up with whichever hand he then grips to you, then stab him after to the opening of the palm, or stab him under the armpit.</p>
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| <p>[111] {{red|b=1|Another}}</p>
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| <p>[112] {{red|b=1|Another}}</p>
  
 
<p>Note, if you throw him onto the belly with wrestling, then quickly sit on him and grab his right hand with your right hand, and pull it behind on his back, and hold it firmly with the left hand, and with the right, stab him into the same hand to the opening of the palm, or to the opening under the armpit.</p>
 
<p>Note, if you throw him onto the belly with wrestling, then quickly sit on him and grab his right hand with your right hand, and pull it behind on his back, and hold it firmly with the left hand, and with the right, stab him into the same hand to the opening of the palm, or to the opening under the armpit.</p>

Revision as of 02:24, 17 January 2020

Gloss and Interpretation of the Recital
die gloss und die auslegung der zettel des langen schwerts
Johannes Liechtenauer.jpg
Author(s) Unknown
Ascribed to Pseudo-Peter von Danzig
Illustrated by Unknown
Date before 1452
Genre
Language Early New High German
State of Existence Original hypothetical;
multiple branches exist
Principal
Manuscript(s)
Cod. 44.A.8 (1452)
Manuscript(s)
First Printed
English Edition
Tobler, 2010
Concordance by Michael Chidester
Translations

"Pseudo-Peter von Danzig" is the name given to an anonymous 15th century German fencing master.[1] Some time before the creation of the Codex 44.A.8 in 1452, he authored a gloss of Johannes Liechtenauer's Recital (Zettel) which would go on to become the most widespread in the tradition. While the identity of the glossator remains unknown, it is possible that he was in fact Jud Lew, a name associated with one of the branches of the gloss (see below), or Sigmund ain Ringeck, whose gloss shows strong similarities to the work. On the other hand, the introduction to the Rome version of the text could be construed as attributing it to Liechtenauer himself.

Stemma

Early on in its history, the Pseudo-Peter von Danzig gloss seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered Branch D).

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the Jud Lew gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal version in Branch A is the Salzburg version (1491), which was copied independently[2] and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by Paulus Hector Mair (three mss., 1540s), Lienhart Sollinger (1556), and Joachim Meyer (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for Johannes Lecküchner's gloss on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only four manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs from Branch A in that three of the four known copies are illustrated to some extent, where none in the other branch are. The Krakow version (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,[3] while Augsburg II (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the Glasgow version (1508), consisting solely of a nearly complete redaction of the short sword gloss (assigning it to Branch B), which is appended to the opening paragraphs of Ringeck's gloss of the same section; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck and tried to fill in the deficit with another similar text.

Branch C is first attested in the Vienna version (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of the other branches together. The structure and contents of this branch very closely align with Branch B, lacking most of the unique plays of Branch A and including the gloss of the short sword, but the actual text is more consistent with that of Branch A (though not identical). The other substantial copy of Branch C is the Augsburg version II (1553), which was created by Paulus Hector Mair based on the writings of Antonius Rast, and which segues into the text of Ringeck's gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of Jörg Wilhalm Hutter; one of these, Glasgow II (1533) assigns the text a much earlier origin, stating that it was devised by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.

Treatise

While all branches were originally presented in a single concordance in this article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of Jud Lew, Branch B has been retained here, and branch C is now on the Nicolaüs page.

Additional Resources

References

  1. This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt.
  2. Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.
  3. Zabinski, pp 82-83
  4. Per Trosclair, Goliath text reads "In the same way, the counterpart from the left side through, you shall always render hew and tread with each other as one."
  5. Or "tap-hit".
  6. "As painted hereafter" added in the Krakow.
  7. Couplets 102-109.
  8. Couplet 74.
  9. Literally "from crossed arms".
  10. "and binds strongly on your sword therewith" omitted from the Krakow.
  11. Squint here means “an askew glance”, referring to both the sword's direction of travel and also the use of deception with the eyes with this hew.
  12. "the Four Openings" omitted from the Krakow.
  13. K. "The Following Technique".
  14. "from all" omitted from the Krakow.
  15. "with" omitted from the Krakow.
  16. Letter erased and overwritten.
  17. "with something" omitted from the Krakow.
  18. This text is a repetition of the first paragraph on folio 68r, but this is the illustration that corresponds to the text in Goliath (folio 54v).
  19. K. "with both hands".
  20. 20.0 20.1 Indecipherable due to an ink blotch.
  21. "and see" omitted from the Krakow.
  22. K. "Here you should drive four windings from both hands from the two over-hangings, that is, the ox".
  23. Steht nach der nächsten Zeile.
  24. crosswise? across? obliquely?
  25. satelbogen, maybe saddle horn?
  26. let your lance sink down in front
  27. bridle?
  28. Steht nach der nächsten Zeile.
  29. Steht nach der nächsten Zeile.
  30. A “tasset” is a piece of armor that covers the side of the thigh. It is possible that the last part of this hew aims for a gap in the armor on the back of the leg.
  31. zu hilff - to help
  32. This is wrong, it is the 5th figure.
  33. Different ink, original text possibly scraped off and replaced.
  34. eysenhuet - iron hat
  35. move him? move to him?
  36. Could be bridle. Have it as "reins" because it makes more sense in the context of the play below.
  37. Letter I smudged.
  38. Other one says "too".
  39. Typo in the source, should be 25 (xxv)
  40. Steht nach der nächsten Zeile.
  41. Somewhere else it says "strike a glancing blow," I think that's the same idea
  42. This quatrain is a mess
  43. Scribal error, doubling this phrase.
  44. Make a note, "zu dem schuß," literally "to the shot"
  45. "Nachent in weyshait" is reversed in the text, with markings indicating the correct word order"
  46. This paragraph is displaced in the text, and appears between paragraphs 18 and 19.
  47. Glasgow version adds "him"
  48. G. "wisely and masterfully".
  49. G. "students".
  50. Nota is written in the margin in a different hand, with a line pointing to kainen.
  51. Wie hienach conterfct[?] written below in a different hand.
  52. Corrected from »sein«.
  53. Added in a different hand.
  54. Corrected from »seinem«.
  55. Glasgow contains extensive differences.
  56. And you shall... with the point" omitted from the Glasgow.
  57. G. "work to the openings".
  58. The rest vanishes in the binding.
  59. "the face" omitted in the Glasgow.
  60. Clause omitted from the Glasgow.
  61. Clause omitted from the Glasgow.
  62. Tricky. The rome says "vrbrigen," the Glasgow says "verpringen," and the Vienna says "vbaring." Since we see this exact same construction in a lance play earlier, I'm going with "urbaring," and going to say that the author of the Glasgow didn't understand the word, so he went with "verbringen."
  63. Illegible deletion
  64. This paragraph and the next one are displaced in the text, and appear between paragraphs 54 and 55.
  65. U changed to an I
  66. I don't get this or the following one.
  67. This paragraph is displaced in the text, and appears between paragraphs 74 and 75.
  68. Corrected from »dam«.
  69. Corrected from »dem«.
  70. Corrected from »vchsel«.
  71. It is "er" in the text because "ee wenn" is a conjunction, so it resets the case. It wouldn't do that in english I think, or I'm just an idiot.
  72. These two paragraphs are reversed in the text.
  73. This paragraph is displaced in the text, and appears between paragraphs 96 and 97.
  74. Korrigiert aus »sein«.
  75. The verses are placed before the title in the text.
  76. Corrected from »mit«.
  77. Text was effaced and "unnder ein arm" written over it.