Wiktenauer logo.png

Difference between revisions of "Pseudo-Peter von Danzig"

From Wiktenauer
Jump to navigation Jump to search
(17 intermediate revisions by 2 users not shown)
Line 19: Line 19:
 
| language              = [[language::Early New High German]]
 
| language              = [[language::Early New High German]]
 
| date                  = before 1452
 
| date                  = before 1452
| state of existence    =
 
 
<!----------Manuscript Information---------->
 
<!----------Manuscript Information---------->
 
| genre                = {{plainlist
 
| genre                = {{plainlist
Line 27: Line 26:
 
| series                =  
 
| series                =  
 
| state of existence    = Original hypothetical;<br/>multiple branches exist
 
| state of existence    = Original hypothetical;<br/>multiple branches exist
| principal manuscript(s)=[[Codex Danzig (Cod.44.A.8)|Cod. 44.A.8]] (1452)
+
| principal manuscript(s)={{plainlist
 +
| [[Starhemberg Fechtbuch (Cod.44.A.8)|Cod. 44.A.8]] (1452)
 +
| [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.quart.2020]] (1535-40)
 +
}}
 
| manuscript(s)        = {{plainlist
 
| manuscript(s)        = {{plainlist
 
  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
  | [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s)
 
  | [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (1508)
 
  | [[Glasgow Fechtbuch (MS E.1939.65.341)|MS E.1939.65.341]] (1508)
| [[Goliath Fechtbuch (MS Germ.Quart.2020)|MS Germ.quart.2020]] (1535-40)
 
 
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1564)
 
  | [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Cod.I.6.2º.2]] (1564)
 
}}
 
}}
Line 45: Line 46:
 
| below                =  
 
| below                =  
 
}}
 
}}
'''"Pseudo-Peter von Danzig"''' is the name given to an anonymous [[century::15th century]] [[nationality::German]] [[fencing master]].<ref>This name stems from the false assumption of many 20th century writers identifying him with [[Peter von Danzig zum Ingolstadt]].</ref> Some time before the creation of the [[Codex Danzig (Cod.44.A.8)|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.
+
'''"Pseudo-Peter von Danzig"''' is the name given to an anonymous [[century::15th century]] [[nationality::German]] [[fencing master]].<ref>This name stems from the false assumption of many 20th century writers identifying him with [[Peter von Danzig zum Ingolstadt]]. It has been argued that this name is inappopriate because the treatises attributed to pseudo-Danzig (and also pseudo-Hans Döbringer) are not true pseudepigrapha&mdash;they are internally anonymous. However, many Ancient and Medieval pseudepigraphic texts were originally anonymous and were assigned their false attributions by later readers, and this is also the case with these two glosses in our fledgling tradition.</ref> Some time before the creation of the [[Starhemberg Fechtbuch (Cod.44.A.8)|Starhemberg Fechtbuch]] 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 [[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 ==
 
== 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).
+
Early on in its history, the prototype of 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 [[Codex Lew (Cod.I.6.4º.3)|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 [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|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 [[Codex Speyer (MS M.I.29)|Salzburg version]] (1491), which was copied independently<ref>Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.</ref> 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), [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Lienhart Sollinger]] (1556), and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|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 A, first attested in the [[Codex Lew (Cod.I.6.4º.3)|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 Lignitzer]] and [[Martin Huntsfeld]] (or, in the case of the 1512 [[Oplodidaskalia sive Armorvm Tractandorvm Meditatio Alberti Dvreri (MS 26-232)|Vienna II]], Ringeck's short sword gloss).  Branch A is sometimes called the [[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 [[Codex Speyer (MS M.I.29)|Salzburg version]] (1491), which was copied independently<ref>Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.</ref> 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), [[Maister Liechtenawers Kunstbuech (Cgm 3712)|Lienhart Sollinger]] (1556), and [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|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 [[Codex Danzig (Cod.44.A.8)|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 five known copies are illustrated to some extent, where none in the other branch are. The [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow version]] (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,<ref>Zabinski, pp 82-83</ref> while [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg II]] (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the [[Glasgow Fechtbuch (MS E.1939.65.341)|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. The other version of Branch B is the Vienna, which includes the mounted and short sword sections but omits the long sword in favor of Branch C.
+
Branch B, attested first in the [[Starhemberg Fechtbuch (Cod.44.A.8)|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 five known copies are illustrated to some extent, where none in the other branch are. The [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow version]] (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,<ref>Zabinski, pp 82-83</ref> while [[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg II]] (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the [[Glasgow Fechtbuch (MS E.1939.65.341)|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. The other version of Branch B is the Vienna, which includes the mounted and short sword sections but omits the long sword in favor of Branch C.
  
 
Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s), and only glosses the long sword. 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 [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg III]] (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 this gloss is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm Hutter]]; while four appear to be attributed to Hutter in the 1520s, one, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533), assigns the text a much earlier origin, stating that it was recorded by one [[Nicolaüs]] in 1489. This branch has received the least attention and is currently the least understood.
 
Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s), and only glosses the long sword. 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 [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg III]] (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 this gloss is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm Hutter]]; while four appear to be attributed to Hutter in the 1520s, one, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533), assigns the text a much earlier origin, stating that it was recorded by one [[Nicolaüs]] in 1489. This branch has received the least attention and is currently the least understood.
 +
 +
(A final text of interest is the 1539 treatise of [[Hans Medel|Hans Medel von Salzburg]],<ref>Medel's section of the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. I.6.2º.5]] is internally dated on [[page:Cod.I.6.2º.5 21r.jpg|folio 21r]].</ref> which was acquired by Mair and bound into the [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Cod. I.6.2º.5]] after 1566.<ref>The record of the [[Marxbrüder]] in the manuscript ends on [[page:Cod.I.6.2º.5 20r.jpg|folio 20r]] with the year 1566, so Mair couldn't have acquired it before then.</ref> Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, and his text often takes the form of a revision and expansion of the long sword glosses of Ringeck and Nicolaüs. Because of the extent of the original and mixed content, Medel's versions are not included in any of these pages.)
  
 
== Treatise ==
 
== 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.
+
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 [[Lew]], Branch B has been retained here, and branch C is now on the [[Nicolaüs]] page.
  
 
For easier comparison between the two most complete versions, the Kraków has been removed from its chronological position and placed alongside the Rome.
 
For easier comparison between the two most complete versions, the Kraków has been removed from its chronological position and placed alongside the Rome.
 +
 +
The text of the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Krakow]] version of Pseudo-Danzig frequently refers to intended illustrations, some of which were never added to the manuscript. The appropriate blank pages are included in the illustration column for reference. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.
  
 
{{master begin
 
{{master begin
Line 68: Line 73:
 
}}
 
}}
 
<section begin="credits1"/>
 
<section begin="credits1"/>
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
+
! <p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
 
! <p>{{rating|A}}<br/>by [[translator::Cory Winslow]]</p>
 
! <p>{{rating|A}}<br/>by [[translator::Cory Winslow]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Grzegorz Żabiński]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Grzegorz Żabiński]]</p>
 
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription]] (1564){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p><section end="credits1"/>
 
! <p>[[Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)|Augsburg Transcription]] (1564){{edit index|Hutter/Sollinger Fechtbuch (Cod.I.6.2º.2)}}<br/>by [[Dierk Hagedorn]]</p><section end="credits1"/>
Line 1,141: Line 1,146:
 
|}
 
|}
 
<p>Gloss: Mark, that is that you shall not parry as the common fencers do: when they parry they hold their points high or to the side, and that is to understand that they do not know to seek the Four Openings<ref>"the Four Openings" omitted from the Kraków.</ref> with the point with their parrying, therefore they often become struck. When you will parry, then parry with your hew or with your stab, and seek Meanwhile the nearest opening with the point; so may no Master strike at you without being injured.</p>
 
<p>Gloss: Mark, that is that you shall not parry as the common fencers do: when they parry they hold their points high or to the side, and that is to understand that they do not know to seek the Four Openings<ref>"the Four Openings" omitted from the Kraków.</ref> with the point with their parrying, therefore they often become struck. When you will parry, then parry with your hew or with your stab, and seek Meanwhile the nearest opening with the point; so may no Master strike at you without being injured.</p>
| {{section|Page:Cod.44.A.8 026v.jpg|5|lbl-}}
+
| {{section|Page:Cod.44.A.8 026v.jpg|5|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 040v.jpg|4|lbl=-}}
 
| {{section|Page:MS Germ.Quart.2020 040v.jpg|4|lbl=-}}
  
Line 1,313: Line 1,318:
 
|}
 
|}
 
<p>Gloss: Mark, that is when you come to him with the pre-fencing: if he then hews below to your lower opening, do not parry that, but hew in above strongly to his head. Or, if he hews to you with Under-hewing, then mark before he comes up with the Under-hew, and shoot the long point above into his face or his breast, and Set-on him above so he may not reach you below (since all upper Settings-on break and defeat the lower). If he then drives up and binds below on your sword, then remain with the long edge strongly on his sword, and work nimbly to the nearest opening, or let him work and come Meanwhile so that you hit him.</p>
 
<p>Gloss: Mark, that is when you come to him with the pre-fencing: if he then hews below to your lower opening, do not parry that, but hew in above strongly to his head. Or, if he hews to you with Under-hewing, then mark before he comes up with the Under-hew, and shoot the long point above into his face or his breast, and Set-on him above so he may not reach you below (since all upper Settings-on break and defeat the lower). If he then drives up and binds below on your sword, then remain with the long edge strongly on his sword, and work nimbly to the nearest opening, or let him work and come Meanwhile so that you hit him.</p>
| {{section|Page:Cod.44.A.8 029v.jpg|3|lbl=-}}
+
|  
 +
<p>{{section|Page:Cod.44.A.8 029v.jpg|3|lbl=-|p=1}}<br/><br/></p>
  
 
{{section|Page:Cod.44.A.8 030r.jpg|1|lbl=30r}}
 
{{section|Page:Cod.44.A.8 030r.jpg|1|lbl=30r}}
Line 1,810: Line 1,816:
  
 
|-  
 
|-  
| [[File:MS Germ.Quart.2020 073v.jpg|350px|center]]
+
| class="noline" | [[File:MS Germ.Quart.2020 073v.jpg|350px|center]]
| <p>[145] [No text]</p>
+
| class="noline" | <p>[145] [No text]</p>
|  
+
| class="noline" |  
| {{paget|Page:MS Germ.Quart.2020|073v|jpg|blk=1|lbl=73v}}
+
| class="noline" | {{paget|Page:MS Germ.Quart.2020|073v|jpg|blk=1|lbl=73v}}
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 1,823: Line 1,829:
 
   | width = 150em
 
   | width = 150em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
+
! <p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
 
! <p>{{rating|c|Draft Translation (from the Rome)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
 
! <p>{{rating|c|Draft Translation (from the Rome)}}<br/>by [[User:Stephen Cheney|Stephen Cheney]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
Line 1,895: Line 1,901:
 
|-  
 
|-  
 
| <small>2</small>
 
| <small>2</small>
| {{red|If it recommends<br/>&emsp;Your end to him, unbuckle}}
+
| {{red|If it falls down<br/>&emsp;Your point undoes him}}
 
|}
 
|}
 
<p>Gloss: Note, drive this play from the first guard as follows: When you have extended your lance against him to the longest from the arm, and he his against you, then ride upon him and do as if you want to stab him to the face, and when you come near to him, then let the front of your lance sink down,<ref>let your lance sink down in front</ref> and change through with it below his lance to his right side. Thus you hit, and he does not.</p>
 
<p>Gloss: Note, drive this play from the first guard as follows: When you have extended your lance against him to the longest from the arm, and he his against you, then ride upon him and do as if you want to stab him to the face, and when you come near to him, then let the front of your lance sink down,<ref>let your lance sink down in front</ref> and change through with it below his lance to his right side. Thus you hit, and he does not.</p>
Line 2,976: Line 2,982:
  
 
|-  
 
|-  
| [[File:MS Germ.Quart.2020 192r.jpg|350px|center]]
+
| class="noline" | [[File:MS Germ.Quart.2020 192r.jpg|350px|center]]
| <p>[107] {{red|b=1|Again a play with the short sword on horseback against the lance}}</p>
+
| class="noline" | <p>[107] {{red|b=1|Again a play with the short sword on horseback against the lance}}</p>
  
 
<p>Note, when you ride with the half sword, if he then hunts upon you with the lance to your left side and wants to plant to you, then rise with the pommel against your left side, and leave the point hanging down next to you also to your left side, and set aside with the short sword, and ride to him with it, and plant to him. If you may not come to the planting, then wait for the wrestling, etc.</p>
 
<p>Note, when you ride with the half sword, if he then hunts upon you with the lance to your left side and wants to plant to you, then rise with the pommel against your left side, and leave the point hanging down next to you also to your left side, and set aside with the short sword, and ride to him with it, and plant to him. If you may not come to the planting, then wait for the wrestling, etc.</p>
| {{section|Page:Cod.44.A.8 052r.jpg|3|lbl=-}}
+
| class="noline" | {{section|Page:Cod.44.A.8 052r.jpg|3|lbl=-}}
| {{section|Page:MS Germ.Quart.2020 192r.jpg|1|lbl=192r}}
+
| class="noline" | {{section|Page:MS Germ.Quart.2020 192r.jpg|1|lbl=192r}}
| <p><br/><br/></p>
+
| class="noline" | <p><br/><br/></p>
  
 
{{section|Page:MS KK5126 117v.jpg|7|lbl=-}}
 
{{section|Page:MS KK5126 117v.jpg|7|lbl=-}}
Line 2,993: Line 2,999:
 
   | width = 180em
 
   | width = 180em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
+
! <p>Illustrations<br/>from the [[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków version]]</p>
 
! <p>{{rating|C|Draft Translation (from the Rome)}}<br/>by [[translator::Stephen Cheney]]</p>
 
! <p>{{rating|C|Draft Translation (from the Rome)}}<br/>by [[translator::Stephen Cheney]]</p>
! <p>[[Codex Danzig (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Codex Danzig (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
+
! <p>[[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]] (1452){{edit index|Starhemberg Fechtbuch (Cod.44.A.8)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Goliath Fechtbuch (MS Germ.Quart.2020)|Kraków Transcription]] (1535-40){{edit index|Goliath Fechtbuch (MS Germ.Quart.2020)}}<br/>by [[Michael Chidester]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
 
! <p>[[Paulus Kal Fechtbuch (MS KK5126)|Vienna Transcription]] (1480s){{edit index|Paulus Kal Fechtbuch (MS KK5126)}}<br/>by [[Dierk Hagedorn]]</p>
Line 3,527: Line 3,533:
  
 
|-  
 
|-  
|  
+
| rowspan="2" | [[File:MS Germ.Quart.2020 218v.jpg|350px|center]]
 
| <p>[35] {{red|b=1|This is an arm break}}</p>
 
| <p>[35] {{red|b=1|This is an arm break}}</p>
  
Line 3,539: Line 3,545:
  
 
|-  
 
|-  
|
 
 
| <p>[36] {{red|b=1|An underhold and an arm break}}</p>
 
| <p>[36] {{red|b=1|An underhold and an arm break}}</p>
  
Line 3,645: Line 3,650:
  
 
|-  
 
|-  
| rowspan="3" | [[File:MS Germ.Quart.2020 223r.jpg|350px|center]]
+
| [[File:MS Germ.Quart.2020 223r.jpg|350px|center]]
 
| <p>[43] {{red|b=1|Again a play}}</p>
 
| <p>[43] {{red|b=1|Again a play}}</p>
  
Line 3,658: Line 3,663:
  
 
|-  
 
|-  
 +
| rowspan="2" | [[File:MS Germ.Quart.2020 224r.jpg|350px|center]]
 
| <p>[44] {{red|b=1|Again a play}}</p>
 
| <p>[44] {{red|b=1|Again a play}}</p>
  
Line 3,895: Line 3,901:
  
 
|-  
 
|-  
|  
+
| rowspan="2" | [[File:MS Germ.Quart.2020 232v.jpg|350px|center]]
 
| <p>[64] {{red|b=1|Break that play as follows}}</p>
 
| <p>[64] {{red|b=1|Break that play as follows}}</p>
  
Line 3,905: Line 3,911:
  
 
|-  
 
|-  
|
 
 
| <p>[65] {{red|b=1|This is another play}}</p>
 
| <p>[65] {{red|b=1|This is another play}}</p>
  
Line 3,915: Line 3,920:
  
 
|-  
 
|-  
|  
+
| rowspan="2" | [[File:MS Germ.Quart.2020 233v.jpg|350px|center]]
 
| <p>[66] {{red|b=1|The eighth play}}</p>
 
| <p>[66] {{red|b=1|The eighth play}}</p>
  
Line 3,926: Line 3,931:
  
 
|-  
 
|-  
|
 
 
| <p>[67] {{red|b=1|Break that play as follows}}</p>
 
| <p>[67] {{red|b=1|Break that play as follows}}</p>
  
Line 3,997: Line 4,001:
  
 
|-  
 
|-  
|  
+
| rowspan="3" | [[File:MS Germ.Quart.2020 236v.jpg|350px|center]]
 
| <p>[73] {{red|b=1|The 13th play}}</p>
 
| <p>[73] {{red|b=1|The 13th play}}</p>
  
Line 4,011: Line 4,015:
  
 
|-  
 
|-  
|
 
 
| <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>
 
| <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=-}}
Line 4,019: Line 4,022:
  
 
|-  
 
|-  
|
 
 
| <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>
 
| <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=-}}
 
| {{section|Page:Cod.44.A.8 066v.jpg|3|lbl=-}}
Line 4,083: Line 4,085:
  
 
|-  
 
|-  
|  
+
| rowspan="2" | [[File:MS Germ.Quart.2020 239r.jpg|350px|center]]
 
| <p>[81] Or</p>
 
| <p>[81] Or</p>
  
Line 4,093: Line 4,095:
  
 
|-  
 
|-  
|
 
 
| <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>
 
| <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=-}}
Line 4,126: Line 4,127:
  
 
|-  
 
|-  
|  
+
| rowspan="2" | [[File:MS Germ.Quart.2020 240v.jpg|350px|center]]
 
| <p>[85] {{red|b=1|This is again a lesson}}</p>
 
| <p>[85] {{red|b=1|This is again a lesson}}</p>
  
Line 4,138: Line 4,139:
  
 
|-  
 
|-  
|
 
 
| <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>
 
| <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>
 
|  
 
|  
Line 4,497: Line 4,497:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>''Finish''</p>
+
| class="noline" | <p>''Finish''</p>
|  
+
| class="noline" |  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| {{section|Page:MS E.1939.65.341 095v.jpg|4|lbl=-}}
+
| class="noline" | {{section|Page:MS E.1939.65.341 095v.jpg|4|lbl=-}}
  
 
|}
 
|}
Line 4,515: Line 4,515:
 
<section begin="sourcebox"/>{{sourcebox header}}
 
<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = Kraków Images
+
  | work        = Kraków Illustrations
 
  | authors    = [[Biblioteka Jagiellońska]]
 
  | authors    = [[Biblioteka Jagiellońska]]
 
  | source link = http://www.bj.uj.edu.pl/
 
  | source link = http://www.bj.uj.edu.pl/
Line 4,536: Line 4,536:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Codex Danzig (Cod.44.A.8)|Rome Transcription]]
+
  | work        = [[Starhemberg Fechtbuch (Cod.44.A.8)|Rome Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
  | source title= [[Index:Codex Danzig (Cod.44.A.8)]]
+
  | source title= [[Index:Starhemberg Fechtbuch (Cod.44.A.8)]]
 
  | license    = copyrighted
 
  | license    = copyrighted
 
}}
 
}}
Line 4,557: Line 4,557:
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6..2)|Augsburg Transcription]]
+
  | work        = [[Hutter/Sollinger Fechtbuch (Cod.I.6..2)|Augsburg Transcription]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | authors    = [[Dierk Hagedorn]]
 
  | source link =  
 
  | source link =  
Line 4,590: Line 4,590:
 
[[Category:Longsword]]
 
[[Category:Longsword]]
 
[[Category:Mounted Fencing]]
 
[[Category:Mounted Fencing]]
 +
 +
[[Category:New format]]

Revision as of 16:35, 14 November 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)
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 Starhemberg Fechtbuch 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 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 prototype of 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 Lignitzer and Martin Huntsfeld (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the 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 five 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. The other version of Branch B is the Vienna, which includes the mounted and short sword sections but omits the long sword in favor of Branch C.

Branch C is first attested in the Vienna version (1480s), and only glosses the long sword. 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 Augsburg III (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 this gloss is present in five additional 16th century manuscripts alongside the illustrated treatise of Jörg Wilhalm Hutter; while four appear to be attributed to Hutter in the 1520s, one, Glasgow II (1533), assigns the text a much earlier origin, stating that it was recorded by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.

(A final text of interest is the 1539 treatise of Hans Medel von Salzburg,[4] which was acquired by Mair and bound into the Cod. I.6.2º.5 after 1566.[5] Medel demonstrates familiarity with the teachings of a variety of 15th century Liechtenauer masters, and his text often takes the form of a revision and expansion of the long sword glosses of Ringeck and Nicolaüs. Because of the extent of the original and mixed content, Medel's versions are not included in any of these pages.)

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 Lew, Branch B has been retained here, and branch C is now on the Nicolaüs page.

For easier comparison between the two most complete versions, the Kraków has been removed from its chronological position and placed alongside the Rome.

The text of the Krakow version of Pseudo-Danzig frequently refers to intended illustrations, some of which were never added to the manuscript. The appropriate blank pages are included in the illustration column for reference. It's possible (though not likely, given what we know about its origins) that this manuscript was replicating another one with a complete set of illustrations; if this ever surfaces, the illustrations will be replaced.

Additional Resources

References

  1. This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt. It has been argued that this name is inappopriate because the treatises attributed to pseudo-Danzig (and also pseudo-Hans Döbringer) are not true pseudepigrapha—they are internally anonymous. However, many Ancient and Medieval pseudepigraphic texts were originally anonymous and were assigned their false attributions by later readers, and this is also the case with these two glosses in our fledgling tradition.
  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. Medel's section of the Cod. I.6.2º.5 is internally dated on folio 21r.
  5. The record of the Marxbrüder in the manuscript ends on folio 20r with the year 1566, so Mair couldn't have acquired it before then.
  6. 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."
  7. Or "tap-hit".
  8. "As painted hereafter" added in the Kraków.
  9. Couplets 102-109.
  10. Couplet 74.
  11. Literally "from crossed arms".
  12. "and binds strongly on your sword therewith" omitted from the Kraków.
  13. 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.
  14. "the Four Openings" omitted from the Kraków.
  15. K. "The Following Technique".
  16. "from all" omitted from the Kraków.
  17. "with" omitted from the Kraków.
  18. Letter erased and overwritten.
  19. "with something" omitted from the Kraków.
  20. 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).
  21. K. "with both hands".
  22. 22.0 22.1 Indecipherable due to an ink blotch.
  23. "and see" omitted from the Kraków.
  24. K. "Here you should drive four windings from both hands from the two over-hangings, that is, the ox".
  25. The rest of this paragraph appears after paragraph 6, but has been moved here for consistency with the other versions.
  26. Steht nach der nächsten Zeile.
  27. crosswise? across? obliquely?
  28. satelbogen, maybe saddle horn?
  29. let your lance sink down in front
  30. “sittigklich,” or “sittiglich,” at the time meant “moderately” in the sense of slowly or not too fast, modern “sittlich” means morally or ethically.
  31. "zaum," literally "bridle," context indicates reins
  32. Steht nach der nächsten Zeile.
  33. Steht nach der nächsten Zeile.
  34. 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.
  35. zu hilff - to help
  36. This is wrong, it is the 5th figure.
  37. Different ink, original text possibly scraped off and replaced.
  38. eysenhuet - iron hat
  39. move him? move to him?
  40. Could be bridle. Have it as "reins" because it makes more sense in the context of the play below.
  41. Letter I smudged.
  42. Other one says "too".
  43. Typo in the source, should be 25 (xxv)
  44. Steht nach der nächsten Zeile.
  45. Somewhere else it says "strike a glancing blow," I think that's the same idea
  46. This quatrain is a mess
  47. Scribal error, doubling this phrase.
  48. Make a note, "zu dem schuß," literally "to the shot"
  49. "Nachent in weyshait" is reversed in the text, with markings indicating the correct word order"
  50. This paragraph is displaced in the text, and appears between paragraphs 18 and 19.
  51. Glasgow version adds "him"
  52. G. "wisely and masterfully".
  53. G. "students".
  54. Nota is written in the margin in a different hand, with a line pointing to kainen.
  55. Wie hienach conterfct[?] written below in a different hand.
  56. Corrected from »sein«.
  57. Added in a different hand.
  58. Corrected from »seinem«.
  59. Glasgow contains extensive differences.
  60. And you shall... with the point" omitted from the Glasgow.
  61. G. "work to the openings".
  62. The rest vanishes in the binding.
  63. "the face" omitted in the Glasgow.
  64. Clause omitted from the Glasgow.
  65. Clause omitted from the Glasgow.
  66. 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."
  67. Illegible deletion
  68. This paragraph and the next one are displaced in the text, and appear between paragraphs 54 and 55.
  69. U changed to an I
  70. I don't get this or the following one.
  71. This paragraph is displaced in the text, and appears between paragraphs 74 and 75.
  72. Corrected from »dam«.
  73. Corrected from »dem«.
  74. Corrected from »vchsel«.
  75. 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.
  76. These two paragraphs are reversed in the text.
  77. This paragraph is displaced in the text, and appears between paragraphs 96 and 97.
  78. Korrigiert aus »sein«.
  79. The verses are placed before the title in the text.
  80. Corrected from »mit«.
  81. Text was effaced and "unnder ein arm" written over it.