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Difference between revisions of "Pseudo-Peter von Danzig"

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| <p>[23] {{red|b=1|This is the text and analysis of the plays where one shall strive with the sword against the lance}}</p>
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<p>{{red|If you've been reversed<br/>the sword against spear will go seek<br/>The weapon will take the stab<br/>Spring to wrestle reach to him}}</p>
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<p>Analysis: Mark, that is when you have shot your lance and he still holds his: then take the weapon you have reserved, if he puts the point before you long or short, letting the hand go forward, and if he will stab to you high or low,</p>
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| <p>[24] {{red|b=1|Then mark the plays here...}}</p>
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<p>When you have a sword and he has a lance and holds it short and stands with it in the high guard Then stand in the guard with your sword over your left knee if he stabs one high to your face Then drive out and with the sword displace the stab on your left hand side against his right side and drive it onto his lance in the high guard and spring to him and attack him if you don't hit right with the attack then let your sword drop from your hand and reach to him and resort to wrestling.</p>
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| <p>[25] {{red|b=1|Yet one play}}</p>
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<p>When you have a sword and he a lance, if he stands then with it toward you in the low guard and holds his lance short, then stand with your sword also toward him in the low guard. If he stabs then low to you, then set the stab aside with the sword and your left hand ahead, and drive the pommel forward over his right shoulder, around his neck, and spring with the right foot behind his left, and pull him over your right knee with the pommel.</p>
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| <p>[26] {{red|b=1|This is the text and analysis on displacing with the left hand against the lance}}</p>
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<p>{{red|Hit long from left hand<br/>Spring wisely and then see<br/>If he will seek away<br/>from injury and hit<br/>so that his openings<br/>are harassed by the sword's point}}</p>
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<p>Analysis: Mark, that is when you have a sword and he a lance: if he stands with it toward you in the high guard and has held it such that the point goes out long ahead of his forward hand, then hold your sword toward him also in a guard. If he stabs then high to your face, then strike his lance aside with the left hand and soon after grip your sword with the left hand in the middle of the blade, and spring to him and attack him in a second play.</p>
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{{section|Page:Cod.44.A.8 057v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 058r.jpg|1|lbl=58r|p=1}}
 
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| <p>[27] {{red|b=1|Another play}}</p>
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<p>Mark that when you have a sword and he lets the point of his lance go out long in front of his hands and stabs low to you then grab the lance with your left hand and hold it fast and with the sword stab low to his genitals, if he then pulls the lance back hard to himself then let it drive clear Thus he opens his side so hold the sword with the left hand again in the blade's middle and follow after him with an attack to the same side, or resort to wrestling.</p>
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| {{section|Page:Cod.44.A.8 058r.jpg|2|lbl=-}}
 
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| <p>[28] {{red|b=1|This is the text and analysis on how you seek the openings on an armoured man}}</p>
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<p>{{red|Leather and gloves<br/>under the eyes seek the openings rightly}}</p>
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<p>Analysis: Mark that where the armoured man is best overcome is through the harness, that is, under the face or under the shoulders, or in the hollow of the hand, or on the arms behind the gloves, or in the knee hollows, or below to the soles of the feet, and in the joints of the arm, and between the legs. And in the knowledge that his harness has joints, you should thus seek the openings so that onward you need not work, but stab when you next have one before you.</p>
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{{section|Page:Cod.44.A.8 058r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 058v.jpg|1|lbl=58v|p=1}}
 
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| <p>[29] {{red|b=1|This is the text and analysis of the forbidden wrestlings what they are and how one shall deploy them}}</p>
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<p>{{red|Bring the forbidden wrestlings<br/>to the lesson wisely,<br/>to lock find<br/>the strength to wend over with}}</p>
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<p>Analysis mark that is If you can't come to attack when you approach one to the openings just described Then see that you bring the wrestling to task wisely and deploy that which is forbidden by all wise masters of the sword that which school fencers often are not allowed to learn or even see, onward these are known in the fight as the arm break and leg break and knee thrust and testes thrust and finger wrench and eye gouge and with these plays one shall be a stronger grappler in that he will not need to fully leverage his strength and mark this in the wrestling described as follows.</p>
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{{section|Page:Cod.44.A.8 058v.jpg|2|lbl=-|p=1}} {{section|Page:Cod.44.A.8 059r.jpg|1|lbl=59r|p=1}}
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| <p>[30] {{red|b=1|The first Wrestling}}</p>
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<p>Mark, if he falls to you with strength from above, and will pull you to him or thrust from himself, then strike your right arm out over his hand in front of his left, and punch your arms on his chest with both hands, and spring behind his left foot with your right, and throw him off his feet over the knee.</p>
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| {{section|Page:Cod.44.A.8 059r.jpg|2|lbl=-}}
 
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| <p>[31] {{red|b=1|This is an arm break}}</p>
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<p>Mark, if he falls to you with both hands on your arms and you [hold] onto his, if he does not then hold you fast, then with the right hand grip his right arm by the hand or by the fingers, and thus hold him fast, and with the left trap him by the right elbow and then thrust him over himself, and with the right hand shove his right arm over your left, and with the left arm raise his right over yourself. Thus you break his arm or throw him ahead of yourself.</p>
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| <p>[32] {{red|b=1|A wrestling and an arm break}}</p>
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<p>Mark, if he falls to you with both hands on the arms or into the chest, if he does not then hold you fast, then grasp his right hand with your right and keep him thus before you, and with the left trap him by the elbow and step with the left foot in front of his right, and pull him thus over so he falls.</p>
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| <p>[33] Or when you hold him before you with the right arm then fall out strongly with the chest thus you break his arm.</p>
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| <p>[34] {{red|b=1|Yet a wrestling}}</p>
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<p>Mark when he falls unto you with wrestling Then grasp the front of his right arm by the hand with your left hand and pull him to yourself on the left side and strike your left arm with strength over his right in the joint of his elbow and with your left hand break his right arm over your right and spring with the right foot behind his right and throw him over your right hip.</p>
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| <p>[35] {{red|b=1|This is yet a wrestling}}</p>
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<p>Mark when you wrestle with him and come with your body near to him if he drives then with the left arm over your right shoulder around the neck Then drive out with the right arm over his left and over the the joint of his elbow and bring the left hand to help the right and punch with both hands downward and spring with the right foot in front of his left and twist yourself from him on your left side and throw him over your left hip.</p>
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{{section|Page:Cod.44.A.8 059v.jpg|4|lbl=-}} {{section|Page:Cod.44.A.8 060r.jpg|1|lbl=60r}}
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| <p>[36] {{red|b=1|Yet a wrestling}}</p>
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<p>Mark if he falls with both hands to your arms and you to him if he strikes with his left arm to your right and drives with the left arm to you under your right through behind around your body then strike with the right arm strongly from above down outward to him in the joint of his left elbow and step with the right foot in front of his left and twist yourself from him and sling him to the left side.</p>
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| <p>[37] {{red|b=1|A wrestling and a murder thrust}}</p>
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<p>Mark when you have gripped him by the arms and he then has set a foot forward and stands it straight Then thrust one foot to his same knee Or kick to his testes and wait to see that he does not grab the same foot with which you kicked. Or when you set one foot forward then budge the knee ahead of you. Thus he will not want to injure the knee with the kick.</p>
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{{section|Page:Cod.44.A.8 060r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.44.A.8 060v.jpg|1|lbl=60v|p=1}}
 
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| <p>[38] {{red|b=1|Yet a wrestling}}</p>
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<p>Mark when you will grab him with wrestling and he then grabs you to wrestle with extended fingers or an open hand and does not hold you fast Then see if you can grasp between both his fingers and then break them upward and wrench them before him in a ring so that you force him to the side and thus to great advantage.</p>
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<p>Mark if you throw him down and he falls onto his belly and pull his arm from him then soon knock him with your knee on the joint of his arm and hold the same arm forward with your hand and pull it up upward Thus you break his arm.</p>
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| <p>[40] {{red|b=1|A hold down and an arm break}}</p>
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<p>Mark if you throw him down and he falls onto his belly Then soon sit on his back and grip him by an arm and wrench it onto his back and hold it fast with one hand Thus he can not come to get up.</p>
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| <p>[41] Or if you would break the arm that you are holding with the one hand then with the other hand raise that arm's elbow well upward thus you break his arm.</p>
 
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<p>Mark if you throw him down and he falls onto his belly Then sit down on his back near his shoulders and wrench his right arm over your right leg over your thigh and wrench his left arm over your left thigh Thus he can not come up and so must die under you.</p>
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<p>Mark if you throw him down and he falls on his back then let your body fall with the midsection over his face and trap his neck under one arm and thus hold him fast and pull his arm out with the other hand the one with which he wants to help himself So he won't come out and work with the dagger.</p>
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| <p>[44] {{red|b=1|This is the text and analysis on how to resort to the weapon and how one shall work with the points to the openings}}</p>
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<p>{{red|With all weapons<br/>turn the point to the openings}}</p>
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<p>Analysis: mark this is a lesson that with all weapons you resort to in combat against an armoured man you attack with the point when you would best win the openings and you should know to seek the openings rightly with the point and there are four points with three weapons the first weapon is the lance and it has one point the second weapon is the dagger which also has one point and third is the sword which has two points one point is the tip the other is the pommel and all about how you work with the points you will find described from end to end in the lessons.</p>
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{{section|Page:Cod.44.A.8 061r.jpg|4|lbl=-|p=1}} {{section|Page:Cod.44.A.8 061v.jpg|1|lbl=61v|p=1}}
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| <p>[45] {{red|b=1|Here mark well that this is the text and analysis on how one fights in combat with the sword from four guards}}</p>
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<p>{{red|Where one in defense<br/>draws the sword visibly to him<br/>That one shall strongly<br/>defend right mark well}}</p>
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<p>Analysis: mark this is a lesson where both have shot the lance and shall fence with the swords Then before all else you shall know the four guards with the shortened sword from which you shall always stab strongly to the face If he stabs then at the same time as you or displaces Then stay strong on his sword with the point in front of his face or his chest and mark if he is weak or strong at the sword if he is strong then deploy the play against strength or if he is weak then deploy instead what you have learned for weakness, as taught in the plays one deploys from the four.</p>
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| <p>[46] {{red|b=1|Mark here the first guard with the shortened sword in combat with its plays and your placement}}</p>
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<p>Mark this is the first guard for combat and place yourself in it thus Stand with the left foot forward and hold your sword with the right hand on the grip and with the left hand in the middle of the blade and hold it near your right side over your head and let the point hang toward his face.</p>
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<p>When you stand in the high guard if he stands against you in the low guard and will stab low to you, you should not defend or displace but stab to his face Or attack him high so that he can't reach you below as all high attacks counter and defeat the low ones.</p>
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| <p>[48] Or if he stabs you high be it to the face or elsewhere, you shall defend from this so that he does not outreach you with the attack.</p>
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| <p>[49] {{red|b=1|Yet one play}}</p>
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<p>Mark when you stand in the high guard and he stabs low to you Then stab from above down between his sword and his forward hand and push the pommel to the ground and wind your point on his sword's blade through below his sword and attack him to his right side.</p>
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<p>Mark when you stand in the high guard Then stab him cunningly to the face if he displaces with the sword in front of your left hand and stays with the point at your face and would attack you then with the left hand grab his sword by the point and hold it fast, and with the right hand stab with force to his testes.</p>
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| <p>[51] {{red|b=1|If he pulls his sword}} strongly back to himself and will wrench it out of your hand then suddenly let the sword go back As he thus opens a side, with the left hand grip the middle of the sword's blade again and follow after him to the same side with an attack or wrestling.</p>
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<p>Mark when you stand in the high guard then stab out to his face If he displaces the stab and punches your point to your left side then spring with the right foot behind his left then drive the pommel ahead over his right shoulder around his neck and pull him over your right knee with it.</p>
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| <p>[53] {{red|b=1|The first counter against the play}}</p>
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<p>When he drives the pommel around your neck over your right shoulder Then let your sword drop and grasp his right hand with your right and with the left hand trap him by his right elbow and spring with the left foot to his right and deploy the arm breaking or pull him over the left leg.</p>
 
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Revision as of 02:02, 21 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
MS Thott.290.2º 011r.jpg

Caution: Scribes at Work

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This article was last edited by Michael Chidester (talk| contribs) at 02:02, 21 May 2016 (UTC). (Update)

"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. Apart from containing the most content, the Salzburg version is notable for including nine paragraphs of text that are not found in any other version of Pseudo-Peter von Danzig but do appear in Ringeck; this predates all known copies of Ringeck's text, but is another indicator of some connection between the works. 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, appearing first in the Rome version (1452), is found in only four manuscripts; it has slightly longer descriptions than Branch A, but fewer devices 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 different 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 (1510-20) seems to be an incomplete (though extensively illustrated) copy taken directly from the Rome, while Augsburg II (1564) is taken from the Krakow but only includes the six illustrated devices of wrestling from the Krakow and their respective captions. Even more anomalous is the Glasgow version, which only consists of a sizeable fragment of the short sword gloss (hence its assignation to Branch B), and this is appended to a fragment of Ringeck's short sword gloss; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck's short sword gloss and tried to fill in the deficit with another similar text.

There is one version of the Pseudo-Peter von Danzig gloss that defies categorization into either branch, namely the Vienna version included in a 1480 manuscript along with Paulus Kal's work (Kal's personal level of involvement is unknown). The text of this version is more consistent with the generally shorter descriptions of Branch A, but the overall contents more closely match Branch B, lacking most of the unique devices of Branch A and including the gloss of the short sword. The Vienna version may therefore 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, shorter work).

While Branches A and B were formerly presented in a single concordance in this article, the differences between them were revealed thereby to be extensive enough that they merit separate consideration. Thus Branch A has been placed on the page of Jud Lew, to whom is seemingly 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 appears in both concordances for comparative purposes.

Temporary

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. ↑ Korrigiert aus »das«.
  7. ↑ 7.0 7.1 Indecipherable due to an ink blotch.
  8. ↑ Steht nach der nächsten Zeile.
  9. ↑ Steht nach der nächsten Zeile.
Early Germanic Traditions
Common Fencing Johannes Liechtenauer reversed.jpg
Wrestling
Liechtenauer
Tradition
Beringer Verse
Augsburg Tradition
Other Works
Fabris Tradition
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