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== Treatise ==
 
== Treatise ==
  
Early on in its history, this text seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of [[Sigmund Schining ain Ringeck]] also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.
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Early on in its history, Pseudo-Peter von Danzig's gloss seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of [[Sigmund Schining ain Ringeck]] also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.
  
 
Branch A, appearing first in the [[Codex Lew (Cod.I.6.4º.3)|Augsburg version]] (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive [[Codex Speyer (MS M.I.29)|Salzburg version]] of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and 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]]. Branch A was later used by [[Johannes Lecküchner]] as a source when he compiled his own gloss of a Recital on the [[Messer]].
 
Branch A, appearing first in the [[Codex Lew (Cod.I.6.4º.3)|Augsburg version]] (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive [[Codex Speyer (MS M.I.29)|Salzburg version]] of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and 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]]. Branch A was later used by [[Johannes Lecküchner]] as a source when he compiled his own gloss of a Recital on the [[Messer]].
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<p>Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with the left foot before and hew from your right side, if you do not follow after the hew with a step forward of your right foot, thus the hew is false and incorrect. When your right side remains behind, thereby the hew becomes too short and may not have its correct path downwards to the other side before the left foot.</p>
 
<p>Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with the left foot before and hew from your right side, if you do not follow after the hew with a step forward of your right foot, thus the hew is false and incorrect. When your right side remains behind, thereby the hew becomes too short and may not have its correct path downwards to the other side before the left foot.</p>
 
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<p>Gloss: This is when you come to him with the pre-fencing, then you shall not stand still and look after his hews, waiting for what he fences against you. Know that all fencers that look and wait on another’s hews and will do nothing other than parrying deserve such very little joy in their art, since they are destroyed and become thereby struck.</p>
 
<p>Gloss: This is when you come to him with the pre-fencing, then you shall not stand still and look after his hews, waiting for what he fences against you. Know that all fencers that look and wait on another’s hews and will do nothing other than parrying deserve such very little joy in their art, since they are destroyed and become thereby struck.</p>
 
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| <p>[8] {{red|b=1|Or}} if he drives high up with the arms with the parrying, then strike him with a free hew below to the body and step quickly therewith backward, so he is struck before he comes in.</p>
 
| <p>[8] {{red|b=1|Or}} if he drives high up with the arms with the parrying, then strike him with a free hew below to the body and step quickly therewith backward, so he is struck before he comes in.</p>
 
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| <p>[10] Likewise, if you are left-handed, then hew also the first hew not from the right side, since it is quite perilous for a left-hander to practice Art from the right side, the same as it is also for a right-hander from the left side.</p>
 
| <p>[10] Likewise, if you are left-handed, then hew also the first hew not from the right side, since it is quite perilous for a left-hander to practice Art from the right side, the same as it is also for a right-hander from the left side.</p>
 
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<p>Gloss: Mark, this is that before all things you shall rightly undertake and understand these two things, which are the Before and the After, and thereafter the Weak and Strong of the sword, and then the word Meanwhile, wherefrom comes the entire foundation of all the Art of Fencing when you think on, undertake, and understand them rightly, and do not forget the word Meanwhile in all techniques that you drive. Then you are a very good Master of the Sword and may teach princes and lords well so that they may be best in combat and in earnest with correct Art of the Sword.</p>
 
<p>Gloss: Mark, this is that before all things you shall rightly undertake and understand these two things, which are the Before and the After, and thereafter the Weak and Strong of the sword, and then the word Meanwhile, wherefrom comes the entire foundation of all the Art of Fencing when you think on, undertake, and understand them rightly, and do not forget the word Meanwhile in all techniques that you drive. Then you are a very good Master of the Sword and may teach princes and lords well so that they may be best in combat and in earnest with correct Art of the Sword.</p>
 
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<p>The After are the breaks against all techniques and hews the opponent drives on you, and that undertake thus: When he comes Before with the hew, and you must parry him, then work Meanwhile with your parrying nimbly with the sword to the next opening. Then you break his Before with your After.</p>
 
<p>The After are the breaks against all techniques and hews the opponent drives on you, and that undertake thus: When he comes Before with the hew, and you must parry him, then work Meanwhile with your parrying nimbly with the sword to the next opening. Then you break his Before with your After.</p>
 
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<p>Understand the Weak and the Strong thus: On the sword from the hilt to the middle of the blade is the Strong of the sword, and further above the middle to the point is the Weak, And how you shall work with the Strong of your sword after the Weak of his sword you will hereafter learn.</p>
 
<p>Understand the Weak and the Strong thus: On the sword from the hilt to the middle of the blade is the Strong of the sword, and further above the middle to the point is the Weak, And how you shall work with the Strong of your sword after the Weak of his sword you will hereafter learn.</p>
 
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<p>Gloss: Mark, here become named to you the right Chief Techniques of the Epitome of the Long Sword, how they are each called particularly by their names so that you can further remember and recall them. The first are the Five Hews and how they are particularly named:</p>
 
<p>Gloss: Mark, here become named to you the right Chief Techniques of the Epitome of the Long Sword, how they are each called particularly by their names so that you can further remember and recall them. The first are the Five Hews and how they are particularly named:</p>
 
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| <p>{{red|Item:}} The first is called the Wrath-hew.<br/>{{red|Item:}} The second the Crooked-hew.<br/>{{red|Item:}} The third the Thwart-hew.<br/>{{red|Item:}} The fourth the Squinting-hew.<br/>{{red|Item:}} The fifth the Parting-hew.</p>
 
| <p>{{red|Item:}} The first is called the Wrath-hew.<br/>{{red|Item:}} The second the Crooked-hew.<br/>{{red|Item:}} The third the Thwart-hew.<br/>{{red|Item:}} The fourth the Squinting-hew.<br/>{{red|Item:}} The fifth the Parting-hew.</p>
 
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| <p>[18] And what you shall fence from the techniques, and how you shall give openings with the Hangings and Windings, you will thus one after another to the next find described hereafter.</p>
 
| <p>[18] And what you shall fence from the techniques, and how you shall give openings with the Hangings and Windings, you will thus one after another to the next find described hereafter.</p>
 
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'''Merck hie hebt sich an der Text / und die Glos'''
 
'''Merck hie hebt sich an der Text / und die Glos'''
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'''Text'''
 
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Revision as of 22:58, 15 May 2016

Gloss and Interpretation of
the Recital on the Long Sword
die gloss und die auslegung der zettel
des langen schwert
Author(s) Unknown
Ascribed to Pseudo-Peter von Danzig
Illustrated by Unknown
Date before 1452
Genre
Language Early New High German
Archetype(s) Hypothetical
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 late 14th or early 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 his identity remains unknown, it is possible that he was in fact Jud Lew or Sigmund Schining ein Ringeck, both of whose glosses show strong similarities to the work. On the other hand, the introduction to the Rome version of the text—the oldest currently extant—might be construed as attributing it to Liechtenauer himself.

Treatise

Early on in its history, Pseudo-Peter von Danzig's gloss seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund Schining ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.

Branch A, appearing first in the Augsburg version (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive Salzburg version of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and 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. Branch A was later used by Johannes Lecküchner as a source when he compiled his own gloss of a Recital on the Messer.

Branch B, only found in the Rome (1452), Krakow (1510-20), and Augsburg II (1564) versions, has slightly longer descriptions than Branch A, but fewer devices overall. It glosses Liechtenauer's entire Recital, including the Short Sword, and may therefore be considered more complete than Branch A; it also different from Branch A in that all three known copies are illustrated to some extent where none in the other branch are.

There is one version of the text that defies categorization into one branch or the other, that included in the Vienna manuscript (ca. 1480) along with Paulus Kal's work (thought Kal's level of involvement is unknown). The text of this version is more consistent with the generally shorter descriptions of Branch A, but the contents are more consistent with Branch B, lacking most of the unique devices of Branch A and including the gloss of the Short Sword. The Vienna version may thus be a copy of the original gloss before it split into these branches (or it may merely be an odd attempt by a scribe to synthesize the two branches into a single work).

While Branches A and B were formerly presented in a single combined document on this page, the differences between them are extensive enough that they merit separate consideration. Thus Branch A has been moved to the page of Jud Lew, to whom may be attributed the gloss on mounted fencing, while Branch B has been retained here. As the Vienna version cannot be cleanly assigned to one branch or the other, it will appear in both concordances for comparative purposes.

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. Könnte auch als »thun« gelesen werden.
  3. 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.
  4. Letter erased and overwritten.
  5. 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).
  6. 6.0 6.1 Indecipherable due to an ink blotch.