Difference between revisions of "Sigmund ain Ringeck/Christian Trosclair 2015"

Latest revision as of 22:35, 5 July 2022

Here begins the interpretation of the Recital

In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame^[1] time known as^[2] fencing master^[3] to the highborn prince and noble Lord Albrecht, Pfalzgraf^[4] of the Rhine and Herzog^[5] of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured^[6] here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.

The foreword of the Recital

1	Young knight, learn; Loveth god; furthermore honor women
2	Thus cultivate your honor. Practice chivalry and learn^[7]
3	Art which decorates you [and] In combat exalts with honor.
4	Wrestling's good fetters, Lance, spear, sword, and Messer
5	Manfully put to good use And make useless in other's hands.^[7]
6	Hew therein, charge there; Rush onwards, hit or let drive.
7	Those maturing^[8] in this wisdom^[9], This one sees praises.
8	Hold yourself to this: All art has length and measure.

This is the text of many good common lessons of the long sword

9	If you wish to examine the art, Go left and right with hewing
10	And left with right that is, if you desire to fence strongly.

Gloss. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.

The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.

Again, the text about a lesson

11	Whoever chases after hews, They allow themselves to hardly enjoy the art.
12	Hew nearby, whatever you wish: No change comes in your shield;
13	To the head, to the body, Do not omit the fleshwounds.^[10]
14	With the entire body fence Whatever you desire to conduct strongly.^[11]

Gloss. Note, this is^[12] when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.

Item. You shall^[13] note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).

Again, a lesson

15	Hear what is bad for that: Do not fence from above left if you are right,
16	And if you are left, In the right [you] are also severely hindered.

Gloss. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).

The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.

This is the text and a lesson about before and after

17	Before and after, the two things Are the one origin of all art.
18	Weak and strong, In-the-moment; with that mark the word.
19	Thus, you may learn To work and ward with art.
20	If you frighten easily, Never learn any fencing.

Gloss. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours.^[14] Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.

Here note that which is called the after

Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play.

Thus you have seized the before and he remains after. You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist^[15] when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.

This is the text of the five hews

21	Learn five hews From the right hand against the defense.^[16]^[17]
22	We happily consign^[18] them To the rewards^[19] in the Arts.

Gloss.^[1] Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews,^[20] when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.^[21])

This is the [text] of the plays of the Recital

23	Wrath-hew, crooked, thwart Has squinter with parter
24	Fool displaces Following-after, run-over
25	Set the hew, change-through, yank Run-through, cut-off, press the hands
26	Hang and with openings Strike, catch, sweep, thrust with blows.

Gloss. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.

Item. Now note the first hew called the wrath-hew
The second the crooked-hew
The third the thwart-hew
The fourth the squint-hew
The fifth the scalp-hew
The sixth they are the four guards
The seventh the four displacements
The eighth the following-after
The ninth the running-over
The tenth the setting-aside
The eleventh the changing-through
The twelfth the yanking
The thirteenth the running-through
The fourteenth the cutting-off
The fifteenth the hand-pressing
The sixteenth the hanging
The seventeenth they are the windings

And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.

This is the wrath-hew with its plays

27	Whoever hews over^[22] you, The wrath-hew point threatens him.

Gloss. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your^[23] right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).^[24]

Again a play from the wrath-hew

28	If he becomes aware of it, So take-off above without driving.

Gloss. This is^[25] when you shoot-in the point with the wrath-hew (as stands done before next to this):^[24] if he then becomes aware of the point and displaces the thrust with strength, so back-off^[26] your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).^[24]

Again a play from the wrath-hew

29	Be stronger back And thrust. If he sees it, take it down^[27]

Gloss. Note, this is^[12] when you cleave-in with the wrath-hew (as stands done before next to this):^[24] if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).^[24]

Again a play from the wrath-hew

When you thrust-in high with the winding (as stands pictured^[1] before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).^[24]

A break against the taking-off

Note, when you bind with someone strongly on his^[28] sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in^[29] strongly with the long edge high to his head.

Here note a good lesson

30	Note this precisely: Cut, thrust, leaguer; soft or hard,
31	In-the-moment^[30] and drive-after[sic] Without hurry. Do not rush your war:^[31]
32	Whoever's war aims Above, they become ashamed below.

Gloss. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work^[32] upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.

Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.

How one shall properly find hews and thrusts in all winding

33	In all winding, Learn to properly find hew, thrust.
34	You shall also, with Testing, hew, thrust, or cut
35	In all hits If you wish to confound the masters.

Gloss. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut.^[33] Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut.^[34]

And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm.^[35] Remember this^[1] in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.

About the four openings

36	Know to target the four openings; Thus you strike wisely.
37	Go upon all Without doubt how he bares.

Gloss. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is^[36] the left side^[36] above the girdle of the man. The other two are also the right and the left sides below the girdle.

In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and^[37] with following-after, and also with the winding upon the sword,^[24] and otherwise with all techniques, and do not pay attention^[38] to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.

The text and the gloss about the doubling and about the mutating: how they break the four openings.

38	If you wish to reckon yourself,^[39] Artfully break the four openings:
39	Double above, Mutate right^[40] below.
40	I say to you truthfully: No master defends themselves without danger.
41	If you have understood this properly, He may hardly come to blows.

Gloss. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend^[41] himself from that, and may neither come to strikes nor to thrusts.

The doubling

Item.^[36] Note,^[1] when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove^[42] your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play^[43] upon the head.

Note the mutating

Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.

The crooked-hew with its plays

42	Crook on^[44] swiftly, Throw the point upon the hands.

Gloss.^[45] This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your^[46] right side to the opening^[47] with over- or under-hews,^[48] spring away from the hew with the right foot against him well to his left side, and strike him^[49] with crossed^[50] arms with the point^[45] upon his^[28] hands. And also conduct this play against him when he stands against you in the guard of the oxen.^[51]

Again a play from the crooked-hew

43	Crook whoever sets well With stepping, he sunders many hews.

Gloss. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall]^[52] over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.

Again a play from the crooked-hew

44	Hew crooked to the flats of The masters if you wish to weaken them.

Gloss. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.

Again a play from the crooked-hew

45	When it sparks above So stand aside, that I will laud.

Gloss. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.

Again a play from the crooked-hew

46	Do not crooked[-hew]; short-hew, With that seek the changing-through.

Gloss. This is when he wishes to cleave-in above from his right shoulder:^[53] so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew^[54] and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.^[24]

Again^[55] a break against the crooked-hew^[56]

Note, when^[57] you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your^[58] right side and drive well up over your^[59] head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble^[45] war. With that, you^[45] confound him so completely that he does not know where he shall remain before you.^[60]

Note how one shall break the crooked-hew

47	Whoever foils you crooked, The noble war confounds them
48	That they do not truthfully know Where they are without danger.

Gloss. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.

Another break above the crooked-hew^[56]

Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest.^[61] If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.

The thwart-hew with its plays

49	The thwart takes away Whatever approaches from-the-roof.

Gloss. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and^[62] when he cleaves-in [an] over[-hew] to your head, so spring well^[1] with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).^[24]

A play from the thwart-hew

50	Thwart with the strong With that note the work.

Gloss. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind^[63] strongly with the strong of your sword upon his. If he then holds strong against,^[64] so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here),^[24] or cut him with the play through the maw.

Again a play from the thwart-hew

Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it],^[64] so shove his sword from you downward to your right side with your hilt (as is pictured here),^[24] and strike back-around quickly with the thwart against his right side to his head.

Again a play from the thwart-hew

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.

Another play

Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.

Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.

Here note the break against the upper thwart-hew

Item.^[65] Note,^[1] when you bind him from your right side with an over-hew (or otherwise^[66] on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew^[67] under his sword on his neck (as stands pictured hereafter next to this),^[68] such that he strikes himself the same with your sword.^[69]

Here note the break against the low thwart-strike

Note, when you bind^[70] [against] him on his sword with the over-hew^[71] from your right side, if he then strikes-around from the sword with the thwart to the other^[72] opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to^[73] this).

This is the text and the gloss: How one shall strike with the thwart to the four openings

51	Thwart to the plow, Join hard to the oxen.

Gloss. This is how one shall strike going-to with the thwart to all^[28] four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).^[24] This is called "striking to the plow".

Again a play from the thwart-hew

Note,^[1] when you have struck with the thwart to the lower opening (as stands pictured before next to this),^[24] so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike^[74] a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.

This is the text and a teaching thereof^[7]

52	Whoever thwarts themselves well With springing threatens the head.

Gloss. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his^[28] head, and be aware that you are fully covered above in the spring^[1] with your hilt in front of your head.

This is the text and the gloss of yet another play from the thwart-hew, and is called the failer

53	Whoever directs the failer well From below, he hits^[75] according to desire.

Gloss. Note,^[1] this is^[76] with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike^[77] with a free over-hew^[78] to his left side to the head, and steal-away^[79] your sword with the hew and strike him with the thwart to the lower opening of his right side or left^[80] (as stands pictured hereafter next to this).^[81] Thus is he contacted and struck below according to [your] desire.

This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter^[82]

54	The Inverter overwhelms, Running-through with wrestling as well;
55	The elbow wisely take Spring to him in the scales.

Gloss. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).^[24] Or run-through with the inverter and wrestle, as you will find written^[1] hereafter

This is the text and the gloss of a failer

56	Fail twice; If one hits then make the cut with [it].

Gloss. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right^[1] foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in^[83] to his right side onto his head (as stands pictured hereafter next to this).^[24]

This is the text and the gloss of yet another play from the failer

57	Double it further; Stride-in left and be not lazy.

Gloss. This is when you have struck the first misleading to his right side to his head (as stands^[84] pictured before^[1] next to this): so with that take the cut under his arms^[24] and strike quickly back-around to the left^[85] side to his head, and drive over his sword with the short edge from^[86] crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).^[24]

This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them

58	The Squinter breaks-in^[87] Whatever the buffalo strikes or thrusts.
59	Whoever threatens to change, The squinter robs him of it.

Gloss. Note here^[88] that the squinter is a hew which breaks-in^[89] the hews and thrusts of the buffalo ([one] who acquires^[90] victory with power), and^[36] conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,^[91] with the short edge [and] with upright^[92] arms, and strike him upon his right shoulder;^[93] so you strike and displace with each other and hit him with the hew^[94] (as stands pictured hereafter next to this).^[95]^[24] If he changes-through, shoot with the hew long into his chest and^[96] also hew when he stands against you in the guard of the plow or when he will thrust you from below.^[35]

This is the text and the gloss of yet another play from the squinter

60	Squint if he shortens upon you Changing-through defeats him.

Gloss. Note, this is a lesson that you^[1] shall squint with the visage and quite precisely see whether he fences short against you, because with that, [you] shall recognize when he begins to hew you and his arms do not extend long with the hew. So hew as well, and in the hew drive-through with the point under his sword, and wind your hilt to your right side above your head,^[24] and thrust him to the face (as stands pictured next to this).^[24]

Item. All fencers, they who fence short from the oxen, from the plow, and with all windings before the opponent: freely change-through [against] them out of hews and out of thrusts with the long-point. With that, you plant^[97] it upon the sword so that they must allow you to come to the binding-on^[98] and be struck.

This is the text and the gloss of yet another play from the squint-hew

61	Squint to the point And take the neck without fear.

Gloss. Note, the squinter breaks the long-point ^{with a deceit of the visage} and conduct it thusly: When he stands against you and holds the point against the face or against^[99] the^[96] chest from extended arms, so stand with the left foot forward and squint with the visage to his point,^[100] and act as if you wish to hew to his point,^[101] and hew strongly onto his sword with the short edge, and with that, shoot the point long to his neck with a tread-in of the right foot (as stands pictured hereafter next to this).^[69]

This is the text and the gloss of yet another play from the squint-hew

62	Squint to the top of the Head if you wish to ruin the hands.

Gloss. Note,^[102] when he wishes^[45] to cleave-in to you a free over-hew^[103] from above, so squint with the visage^[104] to his head^[105] (as if you wish to strike thereon^[106]), and then hew with the short edge against his hew, and strike him upon his sword's blade, with the point down^[99] on the hands (as stands pictured hereafter next to this).^[24]

This is the text and the gloss about the parter, and about the plays thereof

63	The Parter Is a danger to the face.^[107]

Gloss.^[1] Here^[88] note the parter is really^[1] dangerous to the face and to the chest;^[35] conduct it^[108] thusly: When he stands against you in the guard [of] the^[1] fool,^[109] hew above with the long edge, down from your^[110] part to his head,^[111] and with the hew remain high with the arms and if he displaces,^[112] so hang-in^[113] to him with^[88] the point, with the long edge above his hilt, and thrust him^[114] to the face (as stands pictured hereafter next to this).^[24]

Again a play from the parter

64	With its turn^[115] The chest is quickly^[116] threatened.^[117]

Gloss.^[118] Note,^[1] this is when you strike-in and hang^[119] the point^[120] to the face with the parter:^[121] if he then shoves the point^[122] firmly upward with his^[123] hilt in the displacement^[124] of the parter,^[125] invert your sword with the hilt high^[126] in front of your head (such that the thumb comes below),^[127] and set the point under his hands^[128] upon his chest (as stands pictured here).^[129]

How the crown breaks the parter^[130]

65	Whatever comes from him, The crown takes it away.

Gloss. Note, when you cleave-in above with the parter: if he displaces with the hilt high over his head, this displacement is called the crown, and with it [he] runs-in to you.

This is the text and the gloss: how the cut breaks the crown

66	Cut through the crown, So you break the hard beautifully;^[131]
67	Press the strike,^[132] Withdraw it with cutting.

Gloss. Note, when he displaces the parter (or otherwise another hew) with the crown and with that runs in:^[109] so take the under-cut^[133] below his hands into his arm and press firmly upwards (as stands pictured next to this);^[134] so the crown is broken again,^[135] and wind your sword from the under-cut^[136] into the over-cut,^[99] and with that withdraw yourself.^[45]^[137]

This is the text and the gloss on the four leaguers

68	Four leaguers alone: Keep to those and flee^[138] the common;
69	Ox, plow, fool, From-the-roof are not disgusting^[139] to you.

Gloss. Note, this^[140] is that you^[96] shall not hold to any leaguer other^[1] than solely to the four which will be^[141] named here.

Item.^[1] The first guard is called^[142] the ox; arrange yourself thusly: Stand with the left foot forwards and hold your sword near your right side with the hilt^[143] in front of your head, and let the point hang^[96] against the face (as stands pictured next to this).^[24]

Item.^[1] The second guard is called^[142] the plow; arrange yourself thusly: Stand with the left foot forward and hold your sword with^[1] crossed hands near your right side over your knee such that the point stands against the face (as stands pictured hereafter next to this).^[24]

Item.^[1] The third guard is called^[142] the fool; arrange yourself thusly: Stand with the right foot forward and hold your sword with outstretched arms with the point upon the ground (as stands pictured hereafter next to this).^[24]

Item.^[1] The fourth guard is called^[142] from-the-roof; arrange yourself thusly: Stand with the left foot forwards and hold your sword upon your right shoulder (as stands pictured hereafter next to this),^[24] or hold it with outstretched^[144] arms over your head; and how you shall fence from the guards, you find it all^[145] written in this book.^[146]

This is the text and the gloss of the four displacements which break the four leaguers

70	Four are the displacements Which also severely injure the leaguers.
71	Guard yourself from displacing^[147] If it happens, it severely beleaguers you.

Gloss. Note, you have heard before that you shall fence solely from the four leaguers, so you should also just know^[148] that the same four [displacements] break the four leaguers. And the four settings,^[149] they are the four hews.

The first hew^[96] is the crooked-hew, which breaks the guard that is named the ox.^[150]

Item.^[1] The second is the thwart-hew, which breaks the guard from-the-roof.

Item.^[1] The third is the squint-hew, which breaks the guard of the plow.

Item.^[1] The fourth is the parter, which breaks the guard that is named the fool.

And guard yourself from all displacements which the simple^[151] fencers conduct; they allow the point to go out before the man (low or high on a side), and whoever does that cannot seek the opening on the man. Therefore do not parry,^[152] and [instead] note when he hews, thus you also hew; and when he thrusts, so thrust as well; and how you shall hew and thrust, you find that written in the five hews and in the setting-aside.

This is the text and the gloss of a play against the displacement

72	If you are parried, And as it is arriving,
73	Hear what I advise: Rip off. Cut quickly with hurry.

Gloss.^[153] This is as it arrives that you are becoming parried: so note if one displaces an over-hew,^[154] go to him in the displacing with the pommel over^[155] his forward-placed^[156] hand, and with that wrench downwards, and with the wrenching strike him there^[157] on the head with the sword (as stands pictured hereafter next to this).^[134]

Yet another play against the displacement

Item.^[99] Note, when you hew an under-hew from the right side: if he then falls with the sword onto yours so you cannot come up with it, swiftly drive over his sword with the pommel and wrench your blade from his [from] below^[158] and strike him with the snapping, with the long edge to the head^[159] (as stands pictured hereafter next to this);^[160] or,^[161] if he falls onto your sword against your left side, so strike him with the short edge.

This is the text and the gloss of yet another play against the displacing

74	Set-upon four ends; Learn to remain thereupon if you wish to finish.

Gloss. This is^[25] when you cleave-in from your right shoulder: if you wish to quickly finish with him,^[162] so note when he displaces [and] strike quickly around with the thwart, and with the strike grasp your sword^[163] in the middle of the blade with the left hand, and set the point into the face (as stands pictured next),^[24] or set-upon him to the four openings to whichever you can^[164] best come.

This is the text and the gloss of yet another play against the displacement

Item.^[96] Note,^[1] when you set the point into his^[165] face with the half-sword (as stands done before next to this):^[24] if he displaces that, jab him with the pommel to the other side to his head, or spring with the right foot behind his left and with the pommel drive around his neck, over his right shoulder, [and] around the front of the neck, and with that, back him over your right leg (as stands pictured hereafter next to this).^[24]

This is about racing-after

75	Learn the racing-after, Doubly or cut into the weapon^[166]

Gloss. Note,^[1] this is so that you shall learn the racings-after quite well, because they are dual,^[109] and^[1] the first^[36] conduct thusly:^[1] when he wishes to cleave-in above him,^[36] so note while he yanks up the sword to the strike, [and] race-after him with a hew or with a thrust, and hit him^[167] to the upper^[36] opening before the moment^[168] he descends^[169] with the hew, or fall with the long edge above him onto his arm and with that, press him from you.^[170]

Yet another racing-after^[171]

Item.^[172] When he begins to hew you downward^[1] from above, and^[1] if he then^[173] allows his sword to go down to the earth with the hew: so^[1] race-after him with an over-hew^[174] to the head before the moment^[168] he comes-up with the sword, so is he struck.^[24]

Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.

About the outer-cattle-drives

76	Two outer-cattle-drives,^[175] You work begins thereafter,
77	And test the attacks, Whether they are soft or hard.

Gloss. Note, the two outer-cattle-drives are the two racings-after upon the sword; conduct it thusly: When he mis-hews himself before you, race-after him. If he then displaces you, so remain with the sword upon his and test whether he is soft or hard with the attack. If he then, with the sword, lifts that of yours upwards with strength, then extend your sword outside over that of his and thrust to his low opening.

The other outer-cattle-drives

Item. When you fence cautiously^[176] from the under-hews (or otherwise from the under-attacks): if he then lays over you and winds upon your sword before you come up with that, [and] then remains strong with your sword below upon his winding and works to your upper opening, so follow-after with the sword and take weak of his sword with the long edge, and press down and stab him in the face.

This is the text and the gloss about the feeling and about the word "in-the-moment"

78	Learn the feeling; In-the-moment, that word hews severely.

Gloss. This is so that you properly learn the feeling and the word "in-the-moment", and shall understand that the two things belong to the same and are the greatest arts of fencing.

Item.^[1] And^[177] understand it thusly:^[178] When you come to him with the onset and^[179] one binds another on the sword, so in that you shall feel with the hand (that is, perceive),^[160] just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that,^[180] think of the word "in-the-moment"; that is, in that same swift perceiving^[181] of the soft and of the hard, you shall work to the nearest opening,^[182] so [he] becomes struck before he will have his insight.^[183]

Item. Note,^[184] you shall think of the word "in-the-moment" in all bindings of the sword, because

in-the-moment doubles
and^[96] in-the-moment mutates,
in-the-moment runs-through,
and^[96] in-the-moment changes-through,^[24]
in-the-moment takes the cut;
in-the-moment wrestles,
and with in-the-moment, take the sword.
In the art, In-the-moment does whatever your heart desires.

In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes hew. And the word "in-the-moment" is also^[96] the key in which all of the art of fencing becomes unlocked.

This is yet another play text and gloss about racing-after

79	Traveling-after twice: If one joins, make the farewell cut with it.

Gloss. Note,^[1] this is when he mis-hews himself before you: so race after him with a hew to the upper opening; if he then drives up and binds^[185] under you upon the sword, so note just as soon as one sword sparks^[186] on the other, [and] so fall upon him from the sword with the long-edge over his arm, and also press him from you (as stands pictured next),^[24] or cut him from the sword through the mouth. Deploy this to both sides.

This is the text and the gloss about running-over

80	Whoever aims below, Run-over, then they become shamed.
81	When it sparks above Then strengthen, this I will laud.
82	Make your work Or press hard twice.

Gloss. Note,^[1] this is when he targets the lower openings with a hew or with a thrust in the onset: you shall not displace him, rather await, such that you run-over with a hew above into the head or set-upon the point above (as stands pictured hereafter next to this)^[24] so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.

^[187]This is the text and the gloss: how one shall offset hews and thrusts

83	Learn to offset: Skillfully injure, hew, thrust
84	Whoever thrusts upon you, Such that your point hits and his breaks,
85	From both sides; Hit any time if you wish to step.

Gloss. This is so that you shall learn to offset hews and thrusts alike with art, such that your point hits him and, in that, his becomes broken, and^[1] understand^[188] it thusly: When someone stands against you and holds his sword as if he will stab you from below, so stand counter against him in the guard of the plow from your right side, and give yourself an opening with the left. If he then under-thrusts to the same opening, wind with the^[96] sword against his thrust to your left side and step into him with the right foot, so that your point hits and his fails (as stands pictured next).^[24]

Yet another play from setting-aside

Item.^[96] Note,^[1] when you stand against him in the guard of the plow from the left side: if he then hews to the upper opening of your left side, then drive up with the sword, and wind^[1] to the left side against his hew (such that the hilt is in front of your head), and step into him with your^[28] right foot and stab him in the face (as stands pictured hereafter next to this).^[24]

This is the text and the gloss about Changing-through

86	Learn to change-through From both sides; stab with violence
87	Whoever binds upon you, The Changing-through finds him swiftly.^[189]

Gloss. This is so that you shall learn the changing-through well, and conduct it thusly: When you cleave-in or thrust to him in the onset, if he will^[96] then bind on the sword with a hew or with a displacement, allow the point under his sword and slip through, and with that, thrust-in to him violently at the other side, thus you find the opening upon him swiftly (as stands pictured).^[24]

Item. If he then becomes aware of the thrust and drives after it with the displacing, then but change-through to the other side.

Item. Another.

As you come to him, set your left foot forward and hold the long [point] against his face. If he then hews to the sword (over or under) and will strike it away, allow your point to sink downwards and stab him to the other opening of the other side, and do that against all hews.

This is the text and the gloss about yanking

88	Tread near in binding;^[190] The yanking gives good opportunities.
89	Pull: if it connects, yank more. If he works, cut so that it does him woe.
90	Pull in all hits Of the masters if you wish to deceive them.

Gloss. This is when you come to him with the onset: so cleave-in strongly above from the right shoulder to the head. If he then binds you with displacing (or otherwise on the sword), so tread near to him in the bind on the sword^[191] and withdraw your sword from his above, and cleave-in again above to the other side to his head (as it stands pictured next to this).^[24] If he displaces that too a second time, so strike-in again above to the other side, and work swiftly according to the upper openings which may occur to you with the doublings^[192] (or otherwise with other plays to his nearest opening).^[193]

Or act as if you will yank and [then] remain upon the sword, and quickly thrust-in again upon the sword to the face. If you then do not quite hit him with the thrust, so work with the doubling or otherwise with other plays.

This is the text and the gloss about running-through

91	Run-through, allow to hang With the pommel, grasp if you wish to wrestle.
92	Whoever strengthens against you, Run-through. With that note.

Gloss. Note, this is when one runs-in to the other: if he then drives up with the arms and wishes to overwhelm you above with strength, so drive up as well with the arms, and hold your sword with the left hand near the pommel over your head and allow the blade to hang behind over your back,^[194] and run-through with your head under his right arm and spring with the right foot behind his right, and with the spring, drive him well forward with the right arm around the body, and clasp him thusly to the right hip and throw him in front of you (as stands pictured here).^[195]^[24]

This is yet another play about running-through

Item.^[88] Note,^[1] when he wishes to overpower you with strength by running-in with the sword high:^[196] so hold your sword with the left hand near the pommel and let the blade hang over your back.^[194] Run-through with the head under his right arm, and remain with the right foot forward^[99] before his right and drive in^[37] well behind him with the right arm around the body, and clasp him upon your right hip and throw him behind you (as stands pictured here).^[96]^[24]

A wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it with the right, and shove his sword from you to your right side with your hilt, and spring with the left foot in front of his right and drive him well back with your left arm around the body, and clasp him to your left hip and throw him in front of you.

Though watch that it does not fail you.

Yet another wresting at the sword

Item. When one runs-in to the other: so release your sword from the left hand and hold it in the right, and shove his sword from you to your right side with the hilt, and spring with the left foot behind his right and drive him forward with the left arm under his chest (well around the body), and throw him backward over your foot.

Yet another wresting at the sword

Item.^[96] Note,^[1] when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside^[96] with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand^[96] and spring with the left foot in front of his right, and back him thusly over the foot to your right side (as stands pictured next to this).^[24]

Yet another wresting at the sword^[197]

Item.^[96] Note,^[1] when one runs-in to the other: so drive with the left arm^[198] over his right, and with that seize his^[199] right arm with an inverted hand^[200] and press his left^[85] over your left with your^[165] right arm, and spring with your^[165] right foot behind his right and turn yourself away from him to your^[201] left side, and^[1] thus you^[202] throw him over your^[201] right hip (as stands pictured next to this).^[24]

Yet another wresting

Item. When someone runs-in at the sword, etc.: so let your sword fall and invert your right hand, and with that seize his right hand outside and clasp it near the right elbow with the left, and spring with the left foot in front of his right and shove his right arm over your left with the right hand, and with that lift it upwards; thus is he locked and thus [you] may break the arm, or throw him in front of you over the leg.

A sword taking^[203]

Item.^[96] Note,^[1] when one runs-in to the other: so invert your left hand and with that drive over his right arm, and with that seize his sword by the grip between both hands, and back to your left side (as stands pictured next to this);^[24] so you take the sword from him.^[204]

This will vex him badly.^[205]

This is yet another sword taking^[206]

Item.^[96] Note,^[1] when he binds on your sword (with displacing or otherwise): so seize both swords in the middle^[1] of the blade with the left hand inverted^[96] and hold them tightly together, and drive through below with the pommel with the right hand against the left side over both his hands, and with that back yourself upward to the right side. So you keep both swords (as stands pictured next to this).^[24]

This is the text and gloss about cutting-off

93	Cut away the hard [ones] From below in both drivings.^[207]
94	Four are the cuts: With two below, two above.

Gloss. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will^[96] overpower you above against your left side with strength,^[208] so twist your sword and fall^[209] under his hilt, into his arms with the long edge with crossed hands, and press-upward with the cut (as stands pictured next to this);^[24] or, if he runs-in against your right side, fall^[209] into his arm with the short edge and press upwards as before.

Yet another cut

Item. When you bind strongly on his sword (with a hew or otherwise): if he then allows his sword to snap-away from yours and strikes you above to the head, so twist your sword with the hilt in front of your head and cut-through his arm below, and with the cut, set the point below upon his chest.

This is the over-cut^[210]

Item.^[36] Note,^[1] conduct the cut thusly: when one binds on the sword against your left side, and^[36] he then^[211] strikes around from the sword to the right side (with the thwart or otherwise),^[109] so spring from the hew with the left foot to his right side, and fall with the long edge above over both arms and press him from you (as stands pictured here).^[212] Deploy this to both sides.^[35]

This is the text and the gloss about the transformation of the cut

95	Turn the edge To flatten; press the hands.

Gloss. Note,^[1] this is when you come in your running-in with the under-cut below^[1] into his arm (such that your point goes out against his^[213] right side): so with that,^[214] press firmly upwards with the cut,^[215] and amid the pressing spring with the left foot to his right side, and turn your sword with the long edge above over his arms (such that your point goes-out against his left side), and with that, press his arm from you.^[216] Thus have you transformed the under-cut into the over; conduct this to both sides.^[217]

This is the text and the gloss about the two hangings

96	The two hangings happen From one hand from the earth.
97	In every drive, Hew, thrust, leaguer; soft or hard.

Gloss. Note, there are two hangings from one hand and from one side from the earth; conduct it thusly: When you bind onto his sword against your left side with the lower setting-aside, so hang your sword's^[96] pommel against the earth, and thrust-up to him from below out of the hanging to the face. If he then shoves your point upward with the displacing, so remain thusly upon the sword and also^[1] drive up with him,^[218] and hang the point from above down to the face, and in the two hangings you shall swiftly conduct hew, thrust, and cut [with] every drive. Thereafter, as you [are] in the binding-on of the sword, with that, perceive (or test)^[219] whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)^[220]

This is the text and the gloss about the speaking-window

98	Make the speaking-window; Stand freely, seek out his thing,^[221]
99	Strike him such that it snaps Whoever withdraws before you.
100	I say to you in truth: No one protects themselves without danger.
101	If you have correct understanding, He may barely come to strikes.

Gloss. Note,^[222] this called the speaking-window: when he binds you on the sword with hews or^[223] with^[224] displacing, so remain strong from extended arms with the long edge upon the sword, with the point in front of the face, and stand freely and seek out his thing (whatever he will conduct against you).

Item.^[225] If he strikes-around from the sword with an over-hew to the other side, so bind-after^[226] with the long edge^[227] against^[1] his hew with strength, above into the head.

Or^[225] if he strikes-around from the sword^[228] with the thwart, so fall into his arms with the over-cut.

Or^[225] if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point,^[229] and set-upon him above.

Item.^[222] Note,^[230] if he does not wish to withdraw^[231] nor strike-around from the sword, so work upon the sword with the doubling (or otherwise with other plays) as you thereafter perceive the soft and the hard upon the sword.

Here note how you shall stand in the long-point and what plays you shall conduct from it

Item.^[99] Note,^[232] when you come just near^[233] to him with the onset: so set your left foot forward before when he binds you on the sword,^[234] and hold your^[235] point long with^[224] extended arms against the face or against^[224] the chest. If he then hews-in from above^[236] to your head, so wind against his hew with the sword and thrust into his face.

Or if he hews from above to below, or from below up into the sword, and wishes to strike the point away, so change-through and thrust to the other opening or side.^[237]

Or if he hits your sword with strength with the hew, so allow your sword^[238] to snap-around, so you hit him in the head.

Or^[224] if he runs-in, so conduct the cut or await^[1] the wrestling.

Watch that it does not fail you.^[239]

This is the text about the conclusion of the entire Recital

102	Whoever commands well and properly breaks, And tenaciously corrects completely,
103	And breaks apart, Each into three wounders;
104	Whoever properly hangs well, And with that brings the winding,
105	And considers the eight windings, With proper movement^[240];
106	And yet I mean your one Of the windings are triple,
107	So are they simply counted Twenty and four.
108	From both sides Learn eight windings with stepping,
109	And test the drives [for] Nothing more than soft or hard.

Gloss. This is a lesson, therein the art of^[241] the record is skillfully understood.^[242] It is taught thusly so that you shall be quite well^[243] practiced and accomplished^[244] in the art. Also, so that you can appropriately command any attack and play^[245] according to that which you fence with, so that you therefore correctly^[1] know to conduct your break against his plays, so that you may work with three wounders from each particular break.

Item.^[224] You shall also properly hang upon the sword and from the hangings you shall bring eight windings, and you shall also consider and properly estimate^[246]^[247] the windings, so that you know to conduct which one of the said three.

Here note how you shall conduct the hangings and the windings

Item.^[1] Understand it thusly: there are four bindings-on of the sword, two over and^[225] two under. You shall only conduct two particular windings from each binding-on of the sword.^[248]

Item.^[224] Do^[249] it thusly: When you come to him with the onset,^[24] if he then binds-on to you above against your left side, so wind the short edge upon his sword and drive well up with the arms, and hang-in your point to him above and thrust into his face. If he displaces the thrust with strength,^[250] allow your point to hang-in above upon the sword, and wind to your right side and thrust.^[251] These are two windings on one side of the^[252] sword.

Item.^[222] Or^[225] if he binds-on above against your right side, wind the long edge upon his sword also against your right side and drive well up with the arms, and hang-in your point to him above, and thrust-in the point above^[253] into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your left side and thrust. These are four windings from the two over-bindings-on,^[254] from^[255] the left and from^[96] the right sides.

Item.^[225] Now you shall know that you shall also conduct four windings from the two under-bindings-on with all attacks, as from the over[-bindings-on]. Thus the windings, over and under, become eight. And^[96] remember that you shall conduct one particular hew, or^[222] one^[1] cut, or^[256] one thrust, from each winding. And^[222] this is called the^[222] three wounders. From those, one can and shall^[257] conduct them from the eight windings into twenty-four instances. And you shall properly learn to conduct the eight windings from both sides, so that you step in^[258] with each winding,^[259] and you test his attack, no more than^[222] if he is soft or hard upon the sword. And when you have sensed these two things, conduct the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.

↑ ^1.00 ^1.01 ^1.02 ^1.03 ^1.04 ^1.05 ^1.06 ^1.07 ^1.08 ^1.09 ^1.10 ^1.11 ^1.12 ^1.13 ^1.14 ^1.15 ^1.16 ^1.17 ^1.18 ^1.19 ^1.20 ^1.21 ^1.22 ^1.23 ^1.24 ^1.25 ^1.26 ^1.27 ^1.28 ^1.29 ^1.30 ^1.31 ^1.32 ^1.33 ^1.34 ^1.35 ^1.36 ^1.37 ^1.38 ^1.39 ^1.40 ^1.41 ^1.42 ^1.43 ^1.44 ^1.45 ^1.46 ^1.47 ^1.48 ^1.49 ^1.50 ^1.51 ^1.52 ^1.53 ^1.54 ^1.55 Word omitted from the Dresden.
↑ "Known as" omitted from the Dresden.
↑ D. schirmaiste~, R. schiermeister.
↑ Count Palatine
↑ Duke
↑ "and pictured" omitted from the Dresden.
↑ ^7.0 ^7.1 ^7.2 Line omitted from the Dresden.
↑ lit: hastening. hasten, maturare, accelerare, see Grimm
↑ alt: instruction
↑ D. Zeck: Tick; R. Zeckruhr: Insect bites.
↑ Possibly "strongly desire to conduct".
↑ ^12.0 ^12.1 "Note, this is" omitted from the Dresden.
↑ "You shall" omitted from the Rostock.
↑ Lit: "Before the moment he comes with his to you".
↑ wiederhalten: lit. "hold against"; to withstand, resist.
↑ Alternately: weapons.
↑ D. Wer dz wäre: "Whoever defends these".
↑ Alternately: avow, legally promise.
↑ Possibly "wages".
↑ Lit: "hew other hews".
↑ "In the same five hews" omitted from the Rostock.
↑ ober is an adjective, oben is an adverb.
↑ R. "the".
↑ ^24.00 ^24.01 ^24.02 ^24.03 ^24.04 ^24.05 ^24.06 ^24.07 ^24.08 ^24.09 ^24.10 ^24.11 ^24.12 ^24.13 ^24.14 ^24.15 ^24.16 ^24.17 ^24.18 ^24.19 ^24.20 ^24.21 ^24.22 ^24.23 ^24.24 ^24.25 ^24.26 ^24.27 ^24.28 ^24.29 ^24.30 ^24.31 ^24.32 ^24.33 ^24.34 ^24.35 ^24.36 ^24.37 ^24.38 ^24.39 ^24.40 ^24.41 ^24.42 ^24.43 ^24.44 Clause omitted from the Dresden.
↑ ^25.0 ^25.1 "This is" omitted from the Dresden.
↑ abrucken: "removere" (remove), "absetzen" (offset).
↑ D. wider[sic]: "again".
↑ ^28.0 ^28.1 ^28.2 ^28.3 ^28.4 D. "the".
↑ D. bind: "bind-in".
↑ R. Jun ger [sic].
↑ R. dem krieg: "the war".
↑ D. hurten: "to rush".
↑ "The hew, or thrust, or cut" omitted from the Dresden.
↑ "Nor thrust… cut" omitted from the Rostock.
↑ ^35.0 ^35.1 ^35.2 ^35.3 Sentence omitted from the Rostock.
↑ ^36.0 ^36.1 ^36.2 ^36.3 ^36.4 ^36.5 ^36.6 ^36.7 ^36.8 Word omitted from the Rostock.
↑ ^37.0 ^37.1 Word omitted from the Dresden and the Rostock.
↑ Alternately: ponder, weigh, calculate, estimate, consider.
↑ Alternately: avenge, take full legal retribution.
↑ Alternately: straight, upright, properly.
↑ D. schüczen, R. behuetẽ.
↑ Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.
↑ Alternately: part, piece.
↑ aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .
↑ ^45.0 ^45.1 ^45.2 ^45.3 ^45.4 ^45.5 Word omitted from the Salzburg.
↑ Likely a scribal error and should be "his".
↑ "The opening" omitted from the Salzburg.
↑ S. "the over- or under-hew".
↑ Possibly "it".
↑ S. vß gestreckten: "outstretched".
↑ Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.
↑ This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.
↑ Rostock begins again at this point.
↑ "Cut" omitted from the Dresden.
↑ S. "Item".
↑ ^56.0 ^56.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).
↑ S. "if".
↑ S. "his".
↑ S. "the".
↑ S. "where he shall guard himself".
↑ D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.
↑ "Stand with… shoulder, and" omitted from the Dresden.
↑ D. "thwart".
↑ ^64.0 ^64.1 Alternately, wiederhalten: to struggle or resist.
↑ Word omitted from the Glasgow, the Rostock, and the Salzburg.
↑ "Or otherwise" omitted from the Salzburg.
↑ "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.
↑ Clause omitted from the Dresden; struck out in the Rostock.
↑ ^69.0 ^69.1 Clause omitted from the Dresden and the Rostock.
↑ R. "wind".
↑ "With the over-hew" omitted from the Glasgow.
↑ R. unternn: "lower".
↑ "Next to" omitted from the Rostock.
↑ Glasgow adds albeg: "always, continually".
↑ Or "connects"; alternately: rouses, stirs (ostensibly your opponent).
↑ "This is" omitted from the Glasgow and the Rostock.
↑ "Will strike" omitted from the Dresden.
↑ G. twerhaw: "thwart-hew".
↑ R. "wind".
↑ "Or left" omitted from the Glasgow.
↑ Everything from "and steal away" to the end of the sentence is omitted from the Dresden.
↑ Alternately: to turn around.
↑ "And strike in" omitted from the Dresden.
↑ D. "is".
↑ ^85.0 ^85.1 D. "right".
↑ D. mit auß: "with from".
↑ As a thief would break into a house.
↑ ^88.0 ^88.1 ^88.2 ^88.3 Word omitted from the Glasgow and the Rostock.
↑ Word is doubled in the Glasgow.
↑ annehmen: receive, accept, take up, assume, claim, obtain, etc.
↑ "Into the weak of his sword" omitted from the Rostock
↑ "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".
↑ "With upright arms… right shoulder" omitted from the Rostock.
↑ Clause omitted from the Dresden and the Glasgow.
↑ R. "pictured here".
↑ ^96.00 ^96.01 ^96.02 ^96.03 ^96.04 ^96.05 ^96.06 ^96.07 ^96.08 ^96.09 ^96.10 ^96.11 ^96.12 ^96.13 ^96.14 ^96.15 ^96.16 ^96.17 ^96.18 ^96.19 ^96.20 ^96.21 ^96.22 ^96.23 Word omitted from the Glasgow.
↑ S. bestetigstu: "to plant".
↑ G. abent: "evening", clearly an error; Medel: anwinden: "winding-upon".
↑ ^99.0 ^99.1 ^99.2 ^99.3 ^99.4 ^99.5 Word omitted from the Dresden and the Glasgow.
↑ "To his point" omitted from the Rostock.
↑ "To his point" omitted from the Glasgow.
↑ S. "You may also do this".
↑ "A free over-hew" omitted from the Dresden and the Glasgow.
↑ "With the visage" omitted from the Salzburg.
↑ "To his head" omitted from the Dresden and the Glasgow.
↑ D., G. "the head".
↑ R. includes couplet 64 with this gloss.
↑ R. denn Schaytler: "the parter".
↑ ^109.0 ^109.1 ^109.2 ^109.3 Clause omitted from the Rostock.
↑ D. der lange: "long, high, tall, or lofty".
↑ "To his head" omitted from the Dresden and the Glasgow.
↑ "If he displaces" omitted from the Dresden and the Glasgow.
↑ einhangen: to adhere, stick to, cleave to, hold on to, engage deeply.
↑ "With the long… and thrust him" omitted from the Dresden and the Glasgow.
↑ Kehr has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.
↑ Alternately: strongly, firmly, steadfastly.
↑ R. includes this couplet with the previous gloss.
↑ G., R., S. "Item".
↑ D. "hang-in"; "strike-in and" omitted.
↑ "The point" omitted from the Salzburg.
↑ Sentence omitted from the Glasgow and the Rostock.
↑ D., G., R. "you".
↑ D., G., S. "the".
↑ "In the displacement" omitted from the Salzburg and the Rostock.
↑ "Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.
↑ S. fast vber sich: "firmly upward".
↑ Clause omitted from the Dresden, the Glasgow, and the Salzburg.
↑ "His hands" omitted from the Dresden, the Glasgow, and the Salzburg.
↑ G. "since".
↑ Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.
↑ D., G. Schon, lit. "already", "yet".
↑ D. stuch, R. stich: "press the thrust".
↑ D., G., S. "cut".
↑ ^134.0 ^134.1 Clause omitted from the Dresden, the Rostock, and the Salzburg.
↑ S. "well broken".
↑ "From the under-cut" omitted from the Salzburg.
↑ "And wind your sword… withdraw yourself" omitted from the Rostock.
↑ Imperative of fliehen.
↑ alt: unpleasant, repugnant
↑ "Note, this" omitted from the Dresden.
↑ "Will be" omitted from the Glasgow.
↑ ^142.0 ^142.1 ^142.2 ^142.3 "Is called" omitted from the Dresden
↑ "With the hilt" omitted from the Dresden.
↑ G. auß gestrackten: "upstretched".
↑ "It all" omitted from the Dresden.
↑ "In this book" omitted from the Glasgow.
↑ G. "Guard yourself displacing crossed in front".
↑ D. instead continues "that the four displacings, they are the four hews".
↑ Setzen", possibly a shortening of versetzen, "displaces".
↑ D. "oxen".
↑ S. other.
↑ "they allow the... do not parry" omitted from the Dresden and Glasgow.
↑ S. Item
↑ R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".
↑ D. "in front of".
↑ G., S. versetzte: "shifted, misplaced, displaced, parried".
↑ Word omitted from the Dresden, the Glasgow, and the Rostock.
↑ "And wrench… his below" omitted from the Dresden and the Glasgow.
↑ "The head" omitted from the Salzburg.
↑ ^160.0 ^160.1 Clause omitted from the Dresden and the Salzburg.
↑ S. "also".
↑ G. mit dem schwert: "with the sword".
↑ D. "grasp with the sword".
↑ G. magst: "may".
↑ ^165.0 ^165.1 ^165.2 G. "the".
↑ Alternately: defense.
↑ "And hit him" omitted from the Rostock.
↑ ^168.0 ^168.1 "The moment" omitted from the Dresden.
↑ D. wieder-kommen: to meet, to encounter, to run into".
↑ "Or fall… from you" omitted from the Rostock.
↑ Line omitted from the Rostock.
↑ R. "or".
↑ "If he then" omitted from the Rostock".
↑ D. haw: "hew".
↑ Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.
↑ geim: "watchfully, to observe, cautiously, with foresight".
↑ Word omitted from the Glasgow and the Salzburg.
↑ S. "the feeling work thusly".
↑ "You come… onset and" omitted from the Dresden and the Glasgow.
↑ S. "soft or hard".
↑ S. "feeling".
↑ "To the nearest opening" omitted from the Salzburg.
↑ D., G. gewar, S. ÿnnen.
↑ Word omitted from the Dresden and the Salzburg.
↑ D. "winds".
↑ D. blitzscht: "flashes".
↑ D. "Item".
↑ G. "note".
↑ Schier has the sense of approaching quickly and closely.
↑ Zucken has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.
↑ "On the sword" omitted from the Dresden.
↑ Beginning of sentence in Glasgow reads "and work swiftly with the doubling.
↑ D. "(and with other plays)".
↑ ^194.0 ^194.1 R. "hang down behind you".
↑ G. "next to this".
↑ R. "when in the running-in he also drives-up with the arms".
↑ Line omitted from the Glasgow.
↑ D. "left hand inverted".
↑ D. "your".
↑ "With an inverted hand" omitted from the Dresden.
↑ ^201.0 ^201.1 G. "his".
↑ "Thus you" omitted from the Glasgow.
↑ D. "One other wrestling at the sword".
↑ Clause omitted from the Glasgow.
↑ Sentence omitted from the Glasgow.
↑ D. "A sword taking".
↑ Read: "attacks".
↑ "With strength" omitted from the Glasgow.
↑ ^209.0 ^209.1 G. far: "drive".
↑ D. "Yet another cut".
↑ "He then" omitted from the Dresden.
↑ "And press… pictured here" omitted from the Dresden.
↑ G. "your".
↑ "With that" omitted from the Dresden.
↑ "With the cut" omitted from the Augsburg and the Glasgow.
↑ Clause omitted from the Augsburg and the Glasgow.
↑ Sentence omitted from the Dresden.
↑ "With him" omitted from the Augsburg and the Glasgow.
↑ "Or test" omitted from the Dresden.
↑ Sentence omitted from the Augsburg and the Dresden.
↑ sach: thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.
↑ ^222.0 ^222.1 ^222.2 ^222.3 ^222.4 ^222.5 ^222.6 Word omitted from the Augsburg and the Glasgow.
↑ A. "and".
↑ ^224.0 ^224.1 ^224.2 ^224.3 ^224.4 ^224.5 Word omitted from the Augsburg and the Dresden.
↑ ^225.0 ^225.1 ^225.2 ^225.3 ^225.4 ^225.5 Word omitted from the Augsburg.
↑ nachbinden: "attach to the end or behind something".
↑ "With the long edge" omitted from the Augsburg and the Glasgow.
↑ "From the sword" omitted from the Dresden.
↑ "With the point" omitted from the Dresden.
↑ D. "or"; word omitted from the Augsburg.
↑ abziechen.
↑ D. Mörck Ee: "Note, before".
↑ "just near" omitted from the Augsburg and the Glasgow.
↑ "When he… the sword" omitted from the Dresden.
↑ A., D. "the".
↑ D. "hews from above to below".
↑ D. "to the other side to the opening".
↑ "Your sword" omitted from the Augsburg and the Glasgow.
↑ Sentence omitted from the Augsburg and the Glasgow.
↑ shifting, balance
↑ "Art of" omitted from the Dresden.
↑ A., D. "shortened for you to understand".
↑ "Quite well" omitted from the Augsburg.
↑ Dresden reverses these.
↑ "Also so that… play" omitted from the Dresden.
↑ wägen: "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.
↑ "And properly estimate" omitted from the Dresden.
↑ "The sword" omitted from the Augsburg and the Glasgow.
↑ D. "understand".
↑ "With strength" omitted from the Dresden.
↑ "And thrust" omitted from the Dresden.
↑ "Of the" omitted from the Glasgow.
↑ "-In the point above" omitted from the Dresden and the Glasgow.
↑ A. "over-windings-upon".
↑ A. "and".
↑ D. "and"; omitted from the Augsburg and the Glasgow.
↑ "And shall" omitted from the Augsburg and the Glasgow.
↑ "You step towards" omitted from the Dresden.
↑ D. "wounder".

[word-d-1] 1.00 ^1.01 ^1.02 ^1.03 ^1.04 ^1.05 ^1.06 ^1.07 ^1.08 ^1.09 ^1.10 ^1.11 ^1.12 ^1.13 ^1.14 ^1.15 ^1.16 ^1.17 ^1.18 ^1.19 ^1.20 ^1.21 ^1.22 ^1.23 ^1.24 ^1.25 ^1.26 ^1.27 ^1.28 ^1.29 ^1.30 ^1.31 ^1.32 ^1.33 ^1.34 ^1.35 ^1.36 ^1.37 ^1.38 ^1.39 ^1.40 ^1.41 ^1.42 ^1.43 ^1.44 ^1.45 ^1.46 ^1.47 ^1.48 ^1.49 ^1.50 ^1.51 ^1.52 ^1.53 ^1.54 ^1.55 Word omitted from the Dresden.

[2] "Known as" omitted from the Dresden.

[3] D. schirmaiste~, R. schiermeister.

[4] Count Palatine

[5] Duke

[6] "and pictured" omitted from the Dresden.

[line-d-7] 7.0 ^7.1 ^7.2 Line omitted from the Dresden.

[8] t: hastening. hasten, maturare, accelerare, see Grimm

[9] t: instruction

[10] D. Zeck: Tick; R. Zeckruhr: Insect bites.

[11] Possibly "strongly desire to conduct".

[mdi-d-12] 12.0 ^12.1 "Note, this is" omitted from the Dresden.

[13] "You shall" omitted from the Rostock.

[14] Lit: "Before the moment he comes with his to you".

[15] wiederhalten: lit. "hold against"; to withstand, resist.

[16] Alternately: weapons.

[17] D. Wer dz wäre: "Whoever defends these".

[18] Alternately: avow, legally promise.

[19] Possibly "wages".

[20] Lit: "hew other hews".

[21] "In the same five hews" omitted from the Rostock.

[22] ober is an adjective, oben is an adverb.

[23] R. "the".

[clause-d-24] 24.00 ^24.01 ^24.02 ^24.03 ^24.04 ^24.05 ^24.06 ^24.07 ^24.08 ^24.09 ^24.10 ^24.11 ^24.12 ^24.13 ^24.14 ^24.15 ^24.16 ^24.17 ^24.18 ^24.19 ^24.20 ^24.21 ^24.22 ^24.23 ^24.24 ^24.25 ^24.26 ^24.27 ^24.28 ^24.29 ^24.30 ^24.31 ^24.32 ^24.33 ^24.34 ^24.35 ^24.36 ^24.37 ^24.38 ^24.39 ^24.40 ^24.41 ^24.42 ^24.43 ^24.44 Clause omitted from the Dresden.

[di-d-25] 25.0 ^25.1 "This is" omitted from the Dresden.

[26] abrucken: "removere" (remove), "absetzen" (offset).

[27] D. wider[sic]: "again".

[the-d-28] 28.0 ^28.1 ^28.2 ^28.3 ^28.4 D. "the".

[29] D. bind: "bind-in".

[30] R. Jun ger [sic].

[31] R. dem krieg: "the war".

[32] D. hurten: "to rush".

[33] "The hew, or thrust, or cut" omitted from the Dresden.

[34] "Nor thrust… cut" omitted from the Rostock.

[sentence-r-35] 35.0 ^35.1 ^35.2 ^35.3 Sentence omitted from the Rostock.

[word-r-36] 36.0 ^36.1 ^36.2 ^36.3 ^36.4 ^36.5 ^36.6 ^36.7 ^36.8 Word omitted from the Rostock.

[word-dr-37] 37.0 ^37.1 Word omitted from the Dresden and the Rostock.

[38] Alternately: ponder, weigh, calculate, estimate, consider.

[39] Alternately: avenge, take full legal retribution.

[40] Alternately: straight, upright, properly.

[41] D. schüczen, R. behuetẽ.

[42] Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.

[43] Alternately: part, piece.

[44] aufkrummen: Lat. sursum torquere, twist, turn or bend up; twist, turn, bend, or cast back; avert, deflect .

[word-s-45] 45.0 ^45.1 ^45.2 ^45.3 ^45.4 ^45.5 Word omitted from the Salzburg.

[46] Likely a scribal error and should be "his".

[47] "The opening" omitted from the Salzburg.

[48] S. "the over- or under-hew".

[49] Possibly "it".

[50] S. vß gestreckten: "outstretched".

[51] Sentence omitted from the Salzburg; instead, it segues into the Lew gloss of the same verse, describing how the Crooked hew breaks the Ox.

[52] This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.

[53] Rostock begins again at this point.

[54] "Cut" omitted from the Dresden.

[55] S. "Item".

[Note_on_32-35-56] 56.0 ^56.1 Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).

[57] S. "if".

[58] S. "his".

[59] S. "the".

[60] S. "where he shall guard himself".

[61] D. has the word "Gloss" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.

[62] "Stand with… shoulder, and" omitted from the Dresden.

[63] D. "thwart".

[wiederhalten-64] 64.0 ^64.1 Alternately, wiederhalten: to struggle or resist.

[word-grs-65] Word omitted from the Glasgow, the Rostock, and the Salzburg.

[66] "Or otherwise" omitted from the Salzburg.

[67] "-Cut" omitted from the Dresden, the Glasgow, and the Rostock.

[68] Clause omitted from the Dresden; struck out in the Rostock.

[clause-dr-69] 69.0 ^69.1 Clause omitted from the Dresden and the Rostock.

[70] R. "wind".

[71] "With the over-hew" omitted from the Glasgow.

[72] R. unternn: "lower".

[73] "Next to" omitted from the Rostock.

[74] Glasgow adds albeg: "always, continually".

[75] Or "connects"; alternately: rouses, stirs (ostensibly your opponent).

[di-gr-76] "This is" omitted from the Glasgow and the Rostock.

[77] "Will strike" omitted from the Dresden.

[78] G. twerhaw: "thwart-hew".

[79] R. "wind".

[80] "Or left" omitted from the Glasgow.

[81] Everything from "and steal away" to the end of the sentence is omitted from the Dresden.

[82] Alternately: to turn around.

[83] "And strike in" omitted from the Dresden.

[84] D. "is".

[right-d-85] 85.0 ^85.1 D. "right".

[86] D. mit auß: "with from".

[87] As a thief would break into a house.

[word-gr-88] 88.0 ^88.1 ^88.2 ^88.3 Word omitted from the Glasgow and the Rostock.

[89] Word is doubled in the Glasgow.

[90] annehmen: receive, accept, take up, assume, claim, obtain, etc.

[91] "Into the weak of his sword" omitted from the Rostock

[92] "Upright, elevated, straight, at a right angle"; Glasgow gives auff gerackten, which may be a misspelling of pPvD's aus gestrackten, "out-stretched".

[93] "With upright arms… right shoulder" omitted from the Rostock.

[clause-dg-94] Clause omitted from the Dresden and the Glasgow.

[95] R. "pictured here".

[word-g-96] 96.00 ^96.01 ^96.02 ^96.03 ^96.04 ^96.05 ^96.06 ^96.07 ^96.08 ^96.09 ^96.10 ^96.11 ^96.12 ^96.13 ^96.14 ^96.15 ^96.16 ^96.17 ^96.18 ^96.19 ^96.20 ^96.21 ^96.22 ^96.23 Word omitted from the Glasgow.

[97] S. bestetigstu: "to plant".

[98] G. abent: "evening", clearly an error; Medel: anwinden: "winding-upon".

[word-dg-99] 99.0 ^99.1 ^99.2 ^99.3 ^99.4 ^99.5 Word omitted from the Dresden and the Glasgow.

[100] "To his point" omitted from the Rostock.

[101] "To his point" omitted from the Glasgow.

[102] S. "You may also do this".

[103] "A free over-hew" omitted from the Dresden and the Glasgow.

[104] "With the visage" omitted from the Salzburg.

[105] "To his head" omitted from the Dresden and the Glasgow.

[106] D., G. "the head".

[107] R. includes couplet 64 with this gloss.

[108] R. denn Schaytler: "the parter".

[clause-r-109] 109.0 ^109.1 ^109.2 ^109.3 Clause omitted from the Rostock.

[110] D. der lange: "long, high, tall, or lofty".

[111] "To his head" omitted from the Dresden and the Glasgow.

[112] "If he displaces" omitted from the Dresden and the Glasgow.

[113] einhangen: to adhere, stick to, cleave to, hold on to, engage deeply.

[114] "With the long… and thrust him" omitted from the Dresden and the Glasgow.

[115] Kehr has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.

[fast-116] Alternately: strongly, firmly, steadfastly.

[117] R. includes this couplet with the previous gloss.

[118] G., R., S. "Item".

[119] D. "hang-in"; "strike-in and" omitted.

[120] "The point" omitted from the Salzburg.

[sentence-gr-121] Sentence omitted from the Glasgow and the Rostock.

[122] D., G., R. "you".

[123] D., G., S. "the".

[124] "In the displacement" omitted from the Salzburg and the Rostock.

[125] "Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.

[126] S. fast vber sich: "firmly upward".

[clause-dgs-127] Clause omitted from the Dresden, the Glasgow, and the Salzburg.

[128] "His hands" omitted from the Dresden, the Glasgow, and the Salzburg.

[129] G. "since".

[130] Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.

[131] D., G. Schon, lit. "already", "yet".

[132] D. stuch, R. stich: "press the thrust".

[133] D., G., S. "cut".

[clause-drs-134] 134.0 ^134.1 Clause omitted from the Dresden, the Rostock, and the Salzburg.

[135] S. "well broken".

[136] "From the under-cut" omitted from the Salzburg.

[137] "And wind your sword… withdraw yourself" omitted from the Rostock.

[138] Imperative of fliehen.

[139] t: unpleasant, repugnant

[md-d-140] "Note, this" omitted from the Dresden.

[141] "Will be" omitted from the Glasgow.

[haist-r-142] 142.0 ^142.1 ^142.2 ^142.3 "Is called" omitted from the Dresden

[143] "With the hilt" omitted from the Dresden.

[144] G. auß gestrackten: "upstretched".

[145] "It all" omitted from the Dresden.

[146] "In this book" omitted from the Glasgow.

[147] G. "Guard yourself displacing crossed in front".

[148] D. instead continues "that the four displacings, they are the four hews".

[149] Setzen", possibly a shortening of versetzen, "displaces".

[150] D. "oxen".

[151] S. other.

[152] "they allow the... do not parry" omitted from the Dresden and Glasgow.

[153] S. Item

[154] R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".

[155] D. "in front of".

[156] G., S. versetzte: "shifted, misplaced, displaced, parried".

[word-dgr-157] Word omitted from the Dresden, the Glasgow, and the Rostock.

[158] "And wrench… his below" omitted from the Dresden and the Glasgow.

[159] "The head" omitted from the Salzburg.

[clause-ds-160] 160.0 ^160.1 Clause omitted from the Dresden and the Salzburg.

[161] S. "also".

[162] G. mit dem schwert: "with the sword".

[163] D. "grasp with the sword".

[164] G. magst: "may".

[the-g-165] 165.0 ^165.1 ^165.2 G. "the".

[166] Alternately: defense.

[167] "And hit him" omitted from the Rostock.

[moment-d-168] 168.0 ^168.1 "The moment" omitted from the Dresden.

[169] D. wieder-kommen: to meet, to encounter, to run into".

[170] "Or fall… from you" omitted from the Rostock.

[line-r-171] Line omitted from the Rostock.

[172] R. "or".

[173] "If he then" omitted from the Rostock".

[174] D. haw: "hew".

[175] Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.

[176] geim: "watchfully, to observe, cautiously, with foresight".

[word-gs-177] Word omitted from the Glasgow and the Salzburg.

[178] S. "the feeling work thusly".

[179] "You come… onset and" omitted from the Dresden and the Glasgow.

[180] S. "soft or hard".

[181] S. "feeling".

[182] "To the nearest opening" omitted from the Salzburg.

[183] D., G. gewar, S. ÿnnen.

[word-ds-184] Word omitted from the Dresden and the Salzburg.

[185] D. "winds".

[186] D. blitzscht: "flashes".

[187] D. "Item".

[188] G. "note".

[189] Schier has the sense of approaching quickly and closely.

[190] Zucken has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.

[191] "On the sword" omitted from the Dresden.

[192] Beginning of sentence in Glasgow reads "and work swiftly with the doubling.

[193] D. "(and with other plays)".

[back-r-194] 194.0 ^194.1 R. "hang down behind you".

[195] G. "next to this".

[196] R. "when in the running-in he also drives-up with the arms".

[line-g-197] Line omitted from the Glasgow.

[198] D. "left hand inverted".

[your-d-199] D. "your".

[200] "With an inverted hand" omitted from the Dresden.

[his-g-201] 201.0 ^201.1 G. "his".

[202] "Thus you" omitted from the Glasgow.

[203] D. "One other wrestling at the sword".

[clause-g-204] Clause omitted from the Glasgow.

[sentence-g-205] Sentence omitted from the Glasgow.

[206] D. "A sword taking".

[207] Read: "attacks".

[208] "With strength" omitted from the Glasgow.

[far-g-209] 209.0 ^209.1 G. far: "drive".

[210] D. "Yet another cut".

[211] "He then" omitted from the Dresden.

[212] "And press… pictured here" omitted from the Dresden.

[213] G. "your".

[214] "With that" omitted from the Dresden.

[215] "With the cut" omitted from the Augsburg and the Glasgow.

[clause-ag-216] Clause omitted from the Augsburg and the Glasgow.

[sentence-d-217] Sentence omitted from the Dresden.

[218] "With him" omitted from the Augsburg and the Glasgow.

[219] "Or test" omitted from the Dresden.

[sentence-ad-220] Sentence omitted from the Augsburg and the Dresden.

[221] sach: thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.

[word-ag-222] 222.0 ^222.1 ^222.2 ^222.3 ^222.4 ^222.5 ^222.6 Word omitted from the Augsburg and the Glasgow.

[223] A. "and".

[word-ad-224] 224.0 ^224.1 ^224.2 ^224.3 ^224.4 ^224.5 Word omitted from the Augsburg and the Dresden.

[word-a-225] 225.0 ^225.1 ^225.2 ^225.3 ^225.4 ^225.5 Word omitted from the Augsburg.

[226] nachbinden: "attach to the end or behind something".

[227] "With the long edge" omitted from the Augsburg and the Glasgow.

[228] "From the sword" omitted from the Dresden.

[229] "With the point" omitted from the Dresden.

[230] D. "or"; word omitted from the Augsburg.

[231] abziechen.

[232] D. Mörck Ee: "Note, before".

[233] "just near" omitted from the Augsburg and the Glasgow.

[234] "When he… the sword" omitted from the Dresden.

[235] A., D. "the".

[236] D. "hews from above to below".

[237] D. "to the other side to the opening".

[238] "Your sword" omitted from the Augsburg and the Glasgow.

[sentence-ag-239] Sentence omitted from the Augsburg and the Glasgow.

[240] shifting, balance

[241] "Art of" omitted from the Dresden.

[242] A., D. "shortened for you to understand".

[243] "Quite well" omitted from the Augsburg.

[244] Dresden reverses these.

[245] "Also so that… play" omitted from the Dresden.

[246] wägen: "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.

[247] "And properly estimate" omitted from the Dresden.

[248] "The sword" omitted from the Augsburg and the Glasgow.

[249] D. "understand".

[250] "With strength" omitted from the Dresden.

[251] "And thrust" omitted from the Dresden.

[252] "Of the" omitted from the Glasgow.

[253] "-In the point above" omitted from the Dresden and the Glasgow.

[254] A. "over-windings-upon".

[255] A. "and".

[256] D. "and"; omitted from the Augsburg and the Glasgow.

[257] "And shall" omitted from the Augsburg and the Glasgow.

[258] "You step towards" omitted from the Dresden.

[259] D. "wounder".

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Difference between revisions of "Sigmund ain Ringeck/Christian Trosclair 2015"

Latest revision as of 22:35, 5 July 2022

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@@ Line 1: / Line 1: @@
-<section begin="1"/>[1] {{red|b=1|Here begins the interpretation of the Recital}}
+<section begin="1"/>{{red|b=1|Here begins the interpretation of the Recital}}
 In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created. By the grace of god he had let the Recital be written with obscure and disguised words, so that the art shall not become common. And so Master Sigmund ein Ringeck, at the selfsame<ref name="word-d">Word omitted from the Dresden.</ref> time known as<ref>"Known as" omitted from the Dresden.</ref> fencing master<ref>D. ''schirmaiste~'', R. ''schiermeister''.</ref> to the highborn prince and noble Lord Albrecht, Pfalzgraf<ref>Count Palatine</ref> of the Rhine and Herzog<ref>Duke</ref> of Bavaria, had these same obscure and disguised words of the Recital glossed and interpreted as lay written and pictured<ref>"and pictured" omitted from the Dresden.</ref> here in this little book, so that any one fencer who can otherwise fight properly may well go through and understand.<section end="1"/>
-<section begin=""/>[2] {{red|b=1|The foreword of the Recital}}
+<section begin="2"/>{{red|b=1|The foreword of the Recital}}
 {| class="zettel"
 |-
@@ Line 31: / Line 31: @@
 |}<section end="2"/>
-<section begin="3"/>[3] {{red|b=1|This is the text of many good common lessons of the long sword}}
+<section begin="3"/>{{red|b=1|This is the text of many good common lessons of the long sword}}
 {| class="zettel"
 | <small>9</small>
@@ Line 41: / Line 41: @@
 {{red|b=1|Gloss}}. Note, this is the first lesson of the long sword: That you shall learn to hew the hews properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Understand it thusly: When you wish to hew from the right side, so see that your left foot stands forward. If you then hew the over-hew from the right side, so follow-after the hew with the right foot. If you do not do that, then the hew is false and incorrect, because your right foot remains there behind. Therefore the hew is too short and may not attain its correct path below to the correct other side in front of the left foot.<section end="3"/>
-<section begin="4"/>[4] The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.<section end="4"/>
+<section begin="4"/>The same when you hew from the left side and [you] do not follow-after the hew with the left foot, thus the hew is also false. Therefore note, from whichever side you hew, that you follow-after with the same foot, so you may conduct all your plays with strength and all other hews shall be hewn thusly as well.<section end="4"/>
-<section begin="5"/>[5] {{red|b=1|Again, the text about a lesson}}
+<section begin="5"/>{{red|b=1|Again, the text about a lesson}}
 {| class="zettel"
 | <small>11</small>
@@ Line 59: / Line 59: @@
 {{red|b=1|Gloss}}. Note, this is<ref name="mdi-d">"Note, this is" omitted from the Dresden.</ref> when you come to him with the onset: you shall not focus nor wait upon his hew as he conducts it against you. Because all fencers who focus and wait upon another's hew and wish to do nothing else than displace, they permit such art little joy because they often become struck with it.<section end="5"/>
-<section begin="6"/>[6] Item. You shall<ref>"You shall" omitted from the Rostock.</ref> note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).<section end="6"/>
+<section begin="6"/>Item. You shall<ref>"You shall" omitted from the Rostock.</ref> note that every thing which you wish to fence, conduct it with the entire strength of the body; and cleave him in with that nearby to the head and to the body, so he may not change-through in front of your point; and with that hew, in the binding of the swords you shall not omit the fleshwounds to the nearest opening (which will be delineated hereafter in the five hews and in other plays).<section end="6"/>
-<section begin="7"/>[7] {{red|b=1|Again, a lesson}}
+<section begin="7"/>{{red|b=1|Again, a lesson}}
 {| class="zettel"
 | <small>15</small>
@@ Line 71: / Line 71: @@
 {{red|b=1|Gloss}}. Note, this lesson hits upon two people, one left and one right, and understand it thusly: When you come to him with the onset, if you then judge and decide to strike the opponent, then do not hew the first hew from the left side. Because it is weak and with that, may not hold against when one binds strongly upon it. Therefore hew [from] the right side, so you may work strongly with art (whatever you wish).<section end="7"/>
-<section begin="8"/>[8] The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.<section end="8"/>
+<section begin="8"/>The same is if you are left. So likewise do not hew from the right side, because the art is quite awkward [when] a lefty conducts from the right side. It is also the same [of] a righty from the left side.<section end="8"/>
-<section begin="9"/>[9] {{red|b=1|This is the text and a lesson about before and after}}
+<section begin="9"/>{{red|b=1|This is the text and a lesson about before and after}}
 {| class="zettel"
 | <small>17</small>
@@ Line 89: / Line 89: @@
 {{red|b=1|Gloss}}. Note, this is that before anything, you shall understand the before and the after well, because these two things have one origin which gives rise the entire art of fencing. Understand it thusly: The before, this is so that you shall always come forth with a hew or with a thrust to his opening before the moment he comes with his [strike] to yours.<ref>Lit: "Before the moment he comes with his to you".</ref> Thus he must displace you. Then work swiftly in the displacement in front of you with the sword from one opening to the other, so he may not come before your work with his plays. But if he runs-in to you, then come forth with the wrestling.<section end="9"/>
-<section begin="10"/>[10] {{red|b=1|Here note that which is called the after}}
+<section begin="10"/>{{red|b=1|Here note that which is called the after}}
-Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play. Thus you have seized the before and he remains after.<section end="10"/>
+Note, if you may not come in the before, then wait upon the after. These are the breaks of all plays which he conducts upon you. Understand it thusly: When he comes-before such that you must displace him, so swiftly work in-the-moment with the displacement to the nearest opening, so you hit him the moment before he accomplishes his play.<section end="10"/>
-<section begin="11"/>[11] You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist<ref>''wiederhalten'': lit. "hold against"; to withstand, resist.</ref> when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.<section end="11"/>
+<section begin="11"/>Thus you have seized the before and he remains after. You shall also note in the before and after how you shall work with the word "in-the-moment", according to the weak and according to the strong of his sword, and understand it thusly: The sword has its strength from the hilt of the sword up until the middle of the blade; with that you may resist<ref>''wiederhalten'': lit. "hold against"; to withstand, resist.</ref> when someone binds you thereupon. And farther, from the middle up until the point, has its weak which cannot resist. And when you understand these things properly, you may properly work with art, and with it protect yourself and furthermore teach princes and lords so that they may properly remain steadfast with the same art, in play and in earnest; but if you fear easily, you should not learn the art of fencing, because a fragile discouraged heart, it does no good when it becomes struck by any art.<section end="11"/>
-<section begin="12"/>[12] {{red|b=1|This is the text of the five hews}}
+<section begin="12"/>{{red|b=1|This is the text of the five hews}}
 {| class="zettel"
 | <small>21</small>
@@ Line 105: / Line 105: @@
 {{red|b=1|Gloss}}.<ref name="word-d"/> Note, the Recital sets down five obscure hews. Many masters of the sword do know nothing to say about this: that you should not learn to make other hews,<ref>Lit: "hew other hews".</ref> when from the right side, against those who arrange themselves against you in defense. And if you select one hew from the five hews, then one must hit with the first strike. Whoever can break that without their harm will be praised by the masters of the Recital, because his art shall be praised better than another fencer who cannot fence the five hews against it. (And how you shall hew the five hews, you find that written hereafter in the same five hews.<ref>"In the same five hews" omitted from the Rostock.</ref>)<section end="12"/>
-<section begin="13"/>[13] {{red|b=1|This is the [text] of the plays of the Recital}}
+<section begin="13"/>{{red|b=1|This is the [text] of the plays of the Recital}}
 {| class="zettel"
 | <small>23</small>
@@ Line 121: / Line 121: @@
 {{red|b=1|Gloss}}. Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names so that you can better understand them. They are seventeen in number, and it begins with the five hews.<section end="13"/>
-<section begin="14"/>[14] Item. Now note the first hew called the wrath-hew<br/>The second the crooked-hew<br/>The third the thwart-hew<br/>The fourth the squint-hew<br/>The fifth the scalp-hew<br/>The sixth they are the four guards<br/>The seventh the four displacements<br/>The eighth the following-after<br/>The ninth the running-over<br/>The tenth the setting-aside<br/>The eleventh the changing-through<br/>The twelfth the yanking<br/>The thirteenth the running-through<br/>The fourteenth the cutting-off<br/>The fifteenth the hand-pressing<br/>The sixteenth the hanging<br/>The seventeenth they are the windings<section end="14"/>
+<section begin="14"/>Item. Now note the first hew called the wrath-hew<br/>The second the crooked-hew<br/>The third the thwart-hew<br/>The fourth the squint-hew<br/>The fifth the scalp-hew<br/>The sixth they are the four guards<br/>The seventh the four displacements<br/>The eighth the following-after<br/>The ninth the running-over<br/>The tenth the setting-aside<br/>The eleventh the changing-through<br/>The twelfth the yanking<br/>The thirteenth the running-through<br/>The fourteenth the cutting-off<br/>The fifteenth the hand-pressing<br/>The sixteenth the hanging<br/>The seventeenth they are the windings<section end="14"/>
-<section begin="15"/>[15] And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.<section end="15"/>
+<section begin="15"/>And how you shall uncover with the hanging and winding, and how you shall conduct all the forenamed plays, you find that entirely written hereafter.<section end="15"/>
-<section begin="16"/>[16] {{red|b=1|This is the wrath-hew with its plays}}
+<section begin="16"/>{{red|b=1|This is the wrath-hew with its plays}}
 {| class="zettel"
 |-
@@ Line 133: / Line 133: @@
 {{red|b=1|Gloss}}. Understand it thusly: When one cleaves-in above from his right side, so also cleave-in a wrath-hew with him, with the long edge strongly from your<ref>R. "the".</ref> right shoulder. If he is then soft upon the sword, so shoot-in the point forward long to his face and threaten to stab him (as stands done hereafter next to this).<ref name="clause-d">Clause omitted from the Dresden.</ref><section end="16"/>
-<section begin="17"/>[17] {{red|b=1|Again a play from the wrath-hew}}
+<section begin="17"/>{{red|b=1|Again a play from the wrath-hew}}
 {| class="zettel"
 |-
@@ Line 141: / Line 141: @@
 {{red|b=1|Gloss}}. This is<ref name="di-d">"This is" omitted from the Dresden.</ref> when you shoot-in the point with the wrath-hew (as stands done before next to this):<ref name="clause-d"/> if he then becomes aware of the point and displaces the thrust with strength, so back-off<ref>''abrucken'': "''removere''" (remove), "''absetzen''" (offset).</ref> your sword up above from his and cleave-in again above to the other side on his sword to his head (as stands done here).<ref name="clause-d"/><section end="17"/>
-<section begin="18"/>[18] {{red|b=1|Again a play from the wrath-hew}}
+<section begin="18"/>{{red|b=1|Again a play from the wrath-hew}}
 {| class="zettel"
 |-
@@ Line 149: / Line 149: @@
 {{red|b=1|Gloss}}. Note, this is<ref name="mdi-d"/> when you cleave-in with the wrath-hew (as stands done before next to this):<ref name="clause-d"/> if he displaces it, and with that remains strongly upon the sword, so be strong back against him upon the sword, and drive up with the strong of your sword into the weak of his sword, and wind your hilt forward in front of your head upon the sword, and so thrust him high to the face (as stands pictured here).<ref name="clause-d"/><section end="18"/>
-<section begin="19"/>[19] {{red|b=1|Again a play from the wrath-hew}}
+<section begin="19"/>{{red|b=1|Again a play from the wrath-hew}}
 When you thrust-in high with the winding (as stands pictured<ref name="word-d"/> before), if he then goes up with the hands and displaces the high thrust with the hilt, so also remain standing in the winding and set the point down between his arms and the chest (as stands pictured here below).<ref name="clause-d"/><section end="19"/>
-<section begin="20"/>[20] {{red|b=1|A break against the taking-off}}
+<section begin="20"/>{{red|b=1|A break against the taking-off}}
 Note, when you bind with someone strongly on his<ref name="the-d">D. "the".</ref> sword, if he then draws his sword from your sword up above and cleaves-in again on the sword above to the other side toward your head, so wind-in<ref>D. ''bind'': "bind-in".</ref> strongly with the long edge high to his head.<section end="20"/>
-<section begin="21"/>[21] {{red|b=1|Here note a good lesson}}
+<section begin="21"/>{{red|b=1|Here note a good lesson}}
 {| class="zettel"
 |-
@@ Line 171: / Line 171: @@
 {{red|b=1|Gloss}}. This is what you shall quite precisely note: when one binds on your sword (with a hew or with a thrust or otherwise), [note] whether he is soft or hard upon the sword. And when you have sensed this, so you shall know in-the-moment which is the best for you: whether you work<ref>D. ''hurten'': "to rush".</ref> upon him with the before or with the after. But with that you shall allow yourself to be without hurry [and] not too rushed with the war, because the war is nothing other than the windings upon the sword.<section end="21"/>
-<section begin="22"/>[22] Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.<section end="22"/>
+<section begin="22"/>Item. Deploy the war thusly: When you cleave-in with the wrath-hew, then as soon as he displaces, drive up with the arms and wind-in the point upon the sword to the upper opening. If he then displaces the thrust, so keep staying in the winding and stab the low opening with the point. If he then further follows-after the sword with the displacements, then drive-through with the point below his sword and hang-in the point above to the other opening of his right side. Thus he becomes ashamed above and below, because you can otherwise conduct the techniques correctly.<section end="22"/>
-<section begin="23"/>[23] {{red|b=1|How one shall properly find hews and thrusts in all winding}}
+<section begin="23"/>{{red|b=1|How one shall properly find hews and thrusts in all winding}}
 {| class="zettel"
 |-
@@ Line 187: / Line 187: @@
 {{red|b=1|Gloss}}. This is how you shall properly find hew, thrust, and cut in all winding: so when you wind, you shall immediately test which of the three is best to conduct: the hew, or thrust, or cut.<ref>"The hew, or thrust, or cut" omitted from the Dresden.</ref> Thus, you do not hew when you should thrust, nor cut when you should hew, nor thrust when you should cut.<ref>"Nor thrust… cut" omitted from the Rostock.</ref><includeonly></includeonly> <section begin="wrath-9"/><includeonly></includeonly>And note, when someone displaces the one, that you hit them with the other. So if one displaces your thrust, then conduct the hew. If someone runs-in, then conduct the under-cut into their arm.<ref name="sentence-r">Sentence omitted from the Rostock.</ref> Remember this<ref name="word-d"/> in all hits and bindings of the sword, if you wish to confound the masters who set themselves against you.<section end="23"/>
-<section begin="24"/>[24] {{red|b=1|About the four openings}}
+<section begin="24"/>{{red|b=1|About the four openings}}
 {| class="zettel"
 |-
@@ Line 198: / Line 198: @@
 {{red|b=1|Gloss}}. You shall here note the four openings on the man which you shall always fence to. The first opening is the right side; the second is<ref name="word-r">Word omitted from the Rostock.</ref> the left side<ref name="word-r"/> above the girdle of the man. The other two are also the right and the left sides below the girdle. <section begin="wrath-11"/>In the onset, precisely observe the openings with which he uncovers himself against you. Artfully target the same without danger with the shooting-in of the long point and<ref name="word-dr">Word omitted from the Dresden and the Rostock.</ref> with following-after, and also with the winding upon the sword,<ref name="clause-d"/> and otherwise with all techniques, and do not pay attention<ref>Alternately: ponder, weigh, calculate, estimate, consider.</ref> to how he bares against you with his techniques. So you fence wisely and from that make attacks which are excellent, and with those do not allow him to come to his plays.<section end="24"/>
-<section begin="25"/>[25] {{red|b=1|The text and the gloss about the doubling and about the mutating: how they break the four openings.}}
+<section begin="25"/>{{red|b=1|The text and the gloss about the doubling and about the mutating: how they break the four openings.}}
 {| class="zettel"
 |-
@@ Line 215: / Line 215: @@
 {{red|b=1|Gloss}}. This is when you wish to reckon yourself upon another such that you wish to break the four openings with art: so conduct the doubling to the upper openings against the strong of his sword, and the mutating to the other opening. Thus I say to you truthfully that he cannot defend<ref>D. ''schüczen'', R. ''behuetẽ''.</ref> himself from that, and may neither come to strikes nor to thrusts.<section end="25"/>
-<section begin="26"/>[26] {{red|b=1|The doubling}}
+<section begin="26"/>{{red|b=1|The doubling}}
 Item.<ref name="word-r"/> Note,<ref name="word-d"/> when you cleave-in with the wrath-hew (or otherwise high), if he displaces you with strength, then in-the-moment shove<ref>Rostock hews off at this point and picks up in the middle of the sixth subsequent play, probably indicating a missing page.</ref> your sword's pommel under your right arm with the left hand, and strike him through the maw, with crossed hands, upon the sword behind his sword's blade (between the sword and the man); or strike him with the play<ref>Alternately: part, piece.</ref> upon the head.<section end="26"/>
-<section begin="27"/>[27] {{red|b=1|Note the mutating}}
+<section begin="27"/>{{red|b=1|Note the mutating}}
-Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.
+Deploy the mutating thusly: When you bind him with the over-hew (or otherwise on the sword), then wind the short edge upon his sword and drive well up with the arms, and wind your sword's blade outside above his sword and thrust him to the low openings, and this conducts to both sides.<section end="27"/>
-| {{section|Page:MS Dresd.C.487 024r.png|3|lbl=-}}
-{{section|Page:MS Dresd.C.487 024v.png|1|lbl=24v}}<section end="27"/>
+<section begin="28"/>{{red|b=1|The crooked-hew with its plays}}
-<section begin="28"/>[28] {{red|b=1|The crooked-hew with its plays}}
 {| class="zettel"
 |-
@@ Line 234: / Line 231: @@
 {{red|b=1|Gloss}}.<ref name="word-s">Word omitted from the Salzburg.</ref> This is how you shall hew crooked to the hands, and conduct the play thusly: When he hews from your<ref>Likely a scribal error and should be "his".</ref> right side to the opening<ref>"The opening" omitted from the Salzburg.</ref> with over- or under-hews,<ref>S. "the over- or under-hew".</ref> spring away from the hew with the right foot against him well to his left side, and strike him<ref>Possibly "it".</ref> with crossed<ref>S. ''vß gestreckten'': "outstretched".</ref> arms with the point<ref name="word-s"/> upon his<ref name="the-d"/> hands. And also conduct this play against him when he stands against you in the guard of the oxen.<ref>Sentence omitted from the Salzburg; instead, it segues into the [[Lew]] gloss of the same verse, describing how the Crooked hew breaks the Ox.</ref><section end="28"/>
-<section begin="29"/>[29] {{red|b=1|Again a play from the crooked-hew}}
+<section begin="29"/>{{red|b=1|Again a play from the crooked-hew}}
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@@ Line 242: / Line 239: @@
 {{red|b=1|Gloss}}. This is how you shall offset the over-hew with the crooked-hew; conduct the play thusly: When he cleaves-in above from his right side to the opening, so step with the right foot to his left side [and fall]<ref>This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of [[Hans Medel]].</ref> over his sword, with the point upon the earth in the barrier-guard. Deploy this to both sides. You may also strike him to the head from the setting-aside.<section end="29"/>
-<section begin="30"/>[30] {{red|b=1|Again a play from the crooked-hew}}
+<section begin="30"/>{{red|b=1|Again a play from the crooked-hew}}
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@@ Line 250: / Line 247: @@
 {{red|b=1|Gloss}}. This is when you wish to weaken a master, so conduct the play thusly: When he cleaves-in from his right side, so hew crooked with crossed hands against his hew onto his sword.<section end="30"/>
-<section begin="31"/>[31] {{red|b=1|Again a play from the crooked-hew}}
+<section begin="31"/>{{red|b=1|Again a play from the crooked-hew}}
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@@ Line 258: / Line 255: @@
 {{red|b=1|Gloss}}. This is when you hew onto his sword with the crooked-hew: so strike-in again quickly with the short edge up-over from the sword to his head, or with the crooked-hew wind the short edge upon his sword and thrust him to the chest.<section end="31"/>
-<section begin="32"/>[32] {{red|b=1|Again a play from the crooked-hew}}
+<section begin="32"/>{{red|b=1|Again a play from the crooked-hew}}
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@@ Line 266: / Line 263: @@
 {{red|b=1|Gloss}}. This is when he wishes to cleave-in above from his right shoulder:<ref>Rostock begins again at this point.</ref> so you act as if you will bind onto his sword with the crooked-hew, and [then] short-hew<ref>"Cut" omitted from the Dresden.</ref> and drive-through under his sword with the point, and wind your hilt to your right side above your head and thrust him to the face (as stands pictured here), and this play breaks it.<ref name="clause-d"/><section end="32"/>
-<section begin="33"/>[33] {{red|b=1|Again<ref>S. "Item".</ref> a break against the crooked-hew}}<ref name="Note on 32-35">Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).</ref>
+<section begin="33"/>{{red|b=1|Again<ref>S. "Item".</ref> a break against the crooked-hew}}<ref name="Note on 32-35">Paragraphs 33 and 35 are substantially similar and are likely based on the same original text. However, they contain significant differences in the beginning of the play and it is unclear which represents the original version; the version found in Rostock and Salzburg seems to refer to the technique in 32, whereas the Dresden refers to 34 (not found in the others). In this compilation, the two versions are displayed separately, first that of the Rostock and Salzburg (33) and then that of the Dresden (35).</ref>
 Note, when<ref>S. "if".</ref> you shoot-in the point under his sword into his chest (as written before and stands pictured), if he then presses your sword downwards to the earth with the crooked-hew, then wind against your<ref>S. "his".</ref> right side and drive well up over your<ref>S. "the".</ref> head with the arms, and set the point above onto his chest (as is pictured hereafter). If he displaces that, then remain standing thusly with the hilt before the head and work swiftly with the point from one opening to the other. This is called the noble<ref name="word-s"/> war. With that, you<ref name="word-s"/> confound him so completely that he does not know where he shall remain before you.<ref>S. "where he shall guard himself".</ref><section end="33"/>
-<section begin="34"/>[34] {{red|b=1|Note how one shall break the crooked-hew}}
+<section begin="34"/>{{red|b=1|Note how one shall break the crooked-hew}}
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@@ Line 281: / Line 278: @@
 {{red|b=1|Gloss}}. This is when you begin to hew him from your right side, above or below: if he then also hews crooked onto your sword from his right side with crossed arms, and with that deflects your hew, so remain with the your sword strongly upon his and shoot-in the point long under his sword to the chest.<section end="34"/>
-<section begin="35"/>[35] {{red|b=1|Another break above the crooked-hew}}<ref name="Note on 32-35"/>
+<section begin="35"/>{{red|b=1|Another break above the crooked-hew}}<ref name="Note on 32-35"/>
 Note when you cleave-in above from your right side, if he also then comes upon your sword from his right side with crossed arms, and with that presses that downwards against the earth, then wind against your right side and drive well up over your head with the arms, and set your point above onto his chest.<ref>D. has the word "{{red|b=1|Gloss}}" here; this appears to be a scribal error, as it corresponds to the position of the phrase "as is pictured here-after" in the Rostock, and all instances of that phrase were removed by the scribe of the Dresden.</ref> If he displaces that, then remain standing thusly with the hilt before your head and work swiftly with the point from one opening to the other. This is called the noble war. With that, you confound him so completely that he does not know where he shall remain before you with certainty.<section end="35"/>
-<section begin="36"/>[36] {{red|b=1|The thwart-hew with its plays}}
+<section begin="36"/>{{red|b=1|The thwart-hew with its plays}}
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@@ Line 293: / Line 290: @@
 {{red|b=1|Gloss}}. Note, the thwart-hew breaks all hews which are hewn from above down; conduct the hew thusly: Stand with the left foot forwards and hold your sword on your right shoulder, and<ref>"Stand with… shoulder, and" omitted from the Dresden.</ref> when he cleaves-in [an] over[-hew] to your head, so spring well<ref name="word-d"/> with the right foot against him from the hew to his left side, and in the springing turn your sword with the hilt high in front of your head, such that your thumb comes under, and strike him with the short edge to his left side such that you catch his hew in your hilt, and hit him in the head (as is pictured here).<ref name="clause-d"/><section end="36"/>
-<section begin="37"/>[37] {{red|b=1|A play from the thwart-hew}}
+<section begin="37"/>{{red|b=1|A play from the thwart-hew}}
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@@ Line 301: / Line 298: @@
 {{red|b=1|Gloss}}. This is how you shall work with the strong from the thwart, and do it thusly: When you begin to hew him with the thwart, so remember that you wind<ref>D. "thwart".</ref> strongly with the strong of your sword upon his. If he then holds strong against,<ref name="wiederhalten">Alternately, ''wiederhalten'': to struggle or resist.</ref> so strike to the head with crossed arms, upon the sword behind his sword's edge (as is done here),<ref name="clause-d"/> or cut him with the play through the maw.<section end="37"/>
-<section begin="38"/>[38] {{red|b=1|Again a play from the thwart-hew}}
+<section begin="38"/>{{red|b=1|Again a play from the thwart-hew}}
 Note, when you bind out of the thwart with the strong of your sword upon his sword, if he then holds strongly against [it],<ref name="wiederhalten"/> so shove his sword from you downward to your right side with your hilt (as is pictured here),<ref name="clause-d"/> and strike back-around quickly with the thwart against his right side to his head.<section end="38"/>
-<section begin="39"/>[39] {{red|b=1|Again a play from the thwart-hew}}
+<section begin="39"/>{{red|b=1|Again a play from the thwart-hew}}
 Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so lay the short edge to his right side upon the neck, and spring with the right foot behind his left, and back him over that with the sword.<section end="39"/>
-<section begin="40"/>[40] {{red|b=1|Another play}}
+<section begin="40"/>{{red|b=1|Another play}}
-Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.
+Item. When you bind onto his sword with the thwart, if he is then Soft upon the sword, so press his sword down with the thwart and lay the short edge afore behind his arms on his neck.<section end="40"/>
-Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.<section end="40"/>
+<section begin="41"/>Item. If he takes you by the neck from the right side, then drop your left hand from your sword and Press his sword from your neck with your right and step across with your left foot to his right side in front of his feet and enter with your left arm above both of his arms near the hilt and direct him to dance or stab him below between the legs to the maker.<section end="41"/>
-<section begin="41"/>[41] {{red|b=1|Here note the break against the upper thwart-hew}}
+<section begin="42"/>{{red|b=1|Here note the break against the upper thwart-hew}}
-Item.<ref name="word-grs">Word omitted from the Glasgow, the Rostock, and the Salzburg.</ref> Note,<ref name="word-d"/> when you bind him from your right side with an over-hew (or otherwise<ref>"Or otherwise" omitted from the Salzburg.</ref> on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew<ref>"-Cut" omitted from the Dresden, the Glasgow, and the Rostock.</ref> under his sword on his neck (as stands pictured hereafter next to this),<ref>Clause omitted from the Dresden; struck out in the Rostock.</ref> such that he strikes himself the same with your sword.<ref name="clause-dr">Clause omitted from the Dresden and the Rostock.</ref><section end="41"/>
+Item.<ref name="word-grs">Word omitted from the Glasgow, the Rostock, and the Salzburg.</ref> Note,<ref name="word-d"/> when you bind him from your right side with an over-hew (or otherwise<ref>"Or otherwise" omitted from the Salzburg.</ref> on his sword), if he then strikes-around with the thwart to the other side, so come forward as well with the thwart-hew<ref>"-Cut" omitted from the Dresden, the Glasgow, and the Rostock.</ref> under his sword on his neck (as stands pictured hereafter next to this),<ref>Clause omitted from the Dresden; struck out in the Rostock.</ref> such that he strikes himself the same with your sword.<ref name="clause-dr">Clause omitted from the Dresden and the Rostock.</ref><section end="42"/>
-<section begin="42"/>[42] {{red|b=1|Here note the break against the low thwart-strike}}
+<section begin="43"/>{{red|b=1|Here note the break against the low thwart-strike}}
-Note, when you bind<ref>R. "wind".</ref> [against] him on his sword with the over-hew<ref>"With the over-hew" omitted from the Glasgow.</ref> from your right side, if he then strikes-around from the sword with the thwart to the other<ref>R. ''unternn'': "lower".</ref> opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to<ref>"Next to" omitted from the Rostock.</ref> this).<section end="42"/>
+Note, when you bind<ref>R. "wind".</ref> [against] him on his sword with the over-hew<ref>"With the over-hew" omitted from the Glasgow.</ref> from your right side, if he then strikes-around from the sword with the thwart to the other<ref>R. ''unternn'': "lower".</ref> opening of your right side, so remain with your hilt above your head and turn your sword's edge downward against his hew and thrust him to the lower opening (as stands pictured hereafter next to<ref>"Next to" omitted from the Rostock.</ref> this).<section end="43"/>
-<section begin="43"/>[43] {{red|b=1|This is the text and the gloss: How one shall strike with the thwart to the four openings}}
+<section begin="44"/>{{red|b=1|This is the text and the gloss: How one shall strike with the thwart to the four openings}}
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@@ Line 329: / Line 326: @@
 | Thwart to the plow,<br/>&emsp;Join hard to the oxen.
 |}
-{{red|b=1|Gloss}}. This is how one shall strike going-to with the thwart to all<ref name="the-d"/> four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).<ref name="clause-d"/> This is called "striking to the plow".<section end="43"/>
+{{red|b=1|Gloss}}. This is how one shall strike going-to with the thwart to all<ref name="the-d"/> four openings; understand it thusly: When you come to him with the onset, so note when it is just right, so spring towards him and strike him with the thwart to the lower opening of his left side (as stands pictured next to this).<ref name="clause-d"/> This is called "striking to the plow".<section end="44"/>
-<section begin="44"/>[44] {{red|b=1|Again a play from the thwart-hew}}
+<section begin="45"/>{{red|b=1|Again a play from the thwart-hew}}
-Note,<ref name="word-d"/> when you have struck with the thwart to the lower opening (as stands pictured before next to this),<ref name="clause-d"/> so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike<ref>Glasgow adds ''albeg'': "always, continually".</ref> a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.<section end="44"/>
+Note,<ref name="word-d"/> when you have struck with the thwart to the lower opening (as stands pictured before next to this),<ref name="clause-d"/> so quickly strike up above with the thwart to the other side to his head. This is called "striking to the oxen". And then furthermore swiftly strike<ref>Glasgow adds ''albeg'': "always, continually".</ref> a thwart-strike to the oxen and the another to the plow crosswise from one side to the other, and with that cleave-in an over-hew above to the head, and with that withdraw yourself.<section end="45"/>
-<section begin="45"/>[45] {{red|b=1|This is the text and a teaching thereof}}<ref name="line-d"/>
+<section begin="46"/>{{red|b=1|This is the text and a teaching thereof}}<ref name="line-d"/>
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@@ Line 341: / Line 338: @@
 | Whoever thwarts themselves well<br/>&emsp;With springing threatens the head.
 |}
-{{red|b=1|Gloss}}. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his<ref name="the-d"/> head, and be aware that you are fully covered above in the spring<ref name="word-d"/> with your hilt in front of your head.<section end="45"/>
+{{red|b=1|Gloss}}. This is how you shall properly spring-out to the side of him with each and every thwart-strike, so that if you wish to strike him you may hit well to his<ref name="the-d"/> head, and be aware that you are fully covered above in the spring<ref name="word-d"/> with your hilt in front of your head.<section end="46"/>
-<section begin="46"/>[46] {{red|b=1|This is the text and the gloss of yet another play from the thwart-hew, and is called the failer}}
+<section begin="47"/>{{red|b=1|This is the text and the gloss of yet another play from the thwart-hew, and is called the failer}}
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@@ Line 349: / Line 346: @@
 | Whoever directs the failer well<br/>&emsp;From below, he hits<ref>Or "connects"; alternately: rouses, stirs (ostensibly your opponent).</ref> according to desire.
 |}
-{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is<ref name="di-gr">"This is" omitted from the Glasgow and the Rostock.</ref> with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike<ref>"Will strike" omitted from the Dresden.</ref> with a free over-hew<ref>G. ''twerhaw'': "thwart-hew".</ref> to his left side to the head, and steal-away<ref>R. "wind".</ref> your sword with the hew and strike him with the thwart to the lower opening of his right side or left<ref>"Or left" omitted from the Glasgow.</ref> (as stands pictured hereafter next to this).<ref>Everything from "and steal away" to the end of the sentence is omitted from the Dresden.</ref> Thus is he contacted and struck below according to [your] desire.<section end="46"/>
+{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is<ref name="di-gr">"This is" omitted from the Glasgow and the Rostock.</ref> with the failer all fencers who willingly displace become mislead and struck. Deploy the play thusly: When you come to him with the onset, so act as if you will strike<ref>"Will strike" omitted from the Dresden.</ref> with a free over-hew<ref>G. ''twerhaw'': "thwart-hew".</ref> to his left side to the head, and steal-away<ref>R. "wind".</ref> your sword with the hew and strike him with the thwart to the lower opening of his right side or left<ref>"Or left" omitted from the Glasgow.</ref> (as stands pictured hereafter next to this).<ref>Everything from "and steal away" to the end of the sentence is omitted from the Dresden.</ref> Thus is he contacted and struck below according to [your] desire.<section end="47"/>
-<section begin="47"/>[47] {{red|b=1|This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter}}<ref>Alternately: to turn around.</ref>
+<section begin="48"/>{{red|b=1|This is the text and the gloss of yet another play from the thwart-hew, and this is called the inverter}}<ref>Alternately: to turn around.</ref>
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@@ Line 360: / Line 357: @@
 | The elbow wisely take<br/>&emsp;Spring to him in the scales.
 |}
-{{red|b=1|Gloss}}. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).<ref name="clause-d"/> Or run-through with the inverter and wrestle, as you will find written<ref name="word-d"/> hereafter <section end="47"/>
+{{red|b=1|Gloss}}. Note, you shall also conduct the play when you bind on his sword with an under- or over-hew. So invert your sword such that your thumb comes-under and thrust him above to the face. So you overwhelm him such that he must displace, and in the displacement, seize his right elbow with your left hand and spring with the left foot in front of his right, and shove him over (as stands pictured hereafter next to this).<ref name="clause-d"/> Or run-through with the inverter and wrestle, as you will find written<ref name="word-d"/> hereafter <section end="48"/>
-<section begin="48"/>[48] {{red|b=1|This is the text and the gloss of a failer}}
+<section begin="49"/>{{red|b=1|This is the text and the gloss of a failer}}
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@@ Line 368: / Line 365: @@
 | Fail twice;<br/>&emsp;If one hits then make the cut with [it].
 |}
-{{red|b=1|Gloss}}. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right<ref name="word-d"/> foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in<ref>"And strike in" omitted from the Dresden.</ref> to his right side onto his head (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="48"/>
+{{red|b=1|Gloss}}. Note, this is called the double failer for the reason that one shall conduct a double misleading in one onset. Deploy the first thusly: When you come to him with the onset, so spring with the right<ref name="word-d"/> foot against him and act as if you will strike with a thwart-strike to his left side to his head, and [then] steal-away the strike and strike in<ref>"And strike in" omitted from the Dresden.</ref> to his right side onto his head (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="49"/>
-<section begin="49"/>[49] {{red|b=1|This is the text and the gloss of yet another play from the failer}}
+<section begin="50"/>{{red|b=1|This is the text and the gloss of yet another play from the failer}}
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@@ Line 376: / Line 373: @@
 | Double it further;<br/>&emsp;Stride-in left and be not lazy.
 |}
-{{red|b=1|Gloss}}. This is when you have struck the first misleading to his right side to his head (as stands<ref>D. "is".</ref> pictured before<ref name="word-d"/> next to this): so with that take the cut under his arms<ref name="clause-d"/> and strike quickly back-around to the left<ref name="right-d">D. "right".</ref> side to his head, and drive over his sword with the short edge from<ref>D. ''mit auß'': "with from".</ref> crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).<ref name="clause-d"/><section end="49"/>
+{{red|b=1|Gloss}}. This is when you have struck the first misleading to his right side to his head (as stands<ref>D. "is".</ref> pictured before<ref name="word-d"/> next to this): so with that take the cut under his arms<ref name="clause-d"/> and strike quickly back-around to the left<ref name="right-d">D. "right".</ref> side to his head, and drive over his sword with the short edge from<ref>D. ''mit auß'': "with from".</ref> crossed arms, and spring left (that is, to your left side), and cut him with the long edge through the maw (as is there pictured).<ref name="clause-d"/><section end="50"/>
-<section begin="50"/>[50] {{red|b=1|This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them}}
+<section begin="51"/>{{red|b=1|This is the text and the gloss of the squint-hew and of the plays: How a man shall conduct them}}
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@@ Line 387: / Line 384: @@
 | Whoever threatens to change,<br/>&emsp;The squinter robs him of it.
 |}
-{{red|b=1|Gloss}}. Note here<ref name="word-gr">Word omitted from the Glasgow and the Rostock.</ref> that the squinter is a hew which breaks-in<ref>Word is doubled in the Glasgow.</ref> the hews and thrusts of the buffalo ([one] who acquires<ref>''annehmen'': receive, accept, take up, assume, claim, obtain, etc.</ref> victory with power), and<ref name="word-r"/> conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,<ref>"Into the weak of his sword" omitted from the Rostock</ref> with the short edge [and] with upright<ref>"Upright, elevated, straight, at a right angle"; Glasgow gives ''auff gerackten'', which may be a misspelling of pPvD's ''aus gestrackten'', "out-stretched".</ref> arms, and strike him upon his right shoulder;<ref>"With upright arms… right shoulder" omitted from the Rostock.</ref> so you strike and displace with each other and hit him with the hew<ref name="clause-dg">Clause omitted from the Dresden and the Glasgow.</ref> (as stands pictured hereafter next to this).<ref>R. "pictured here".</ref><ref name="clause-d"/> If he changes-through, shoot with the hew long into his chest and<ref name="word-g">Word omitted from the Glasgow.</ref> also hew when he stands against you in the guard of the plow or when he will thrust you from below.<ref name="sentence-r"/><section end="50"/>
+{{red|b=1|Gloss}}. Note here<ref name="word-gr">Word omitted from the Glasgow and the Rostock.</ref> that the squinter is a hew which breaks-in<ref>Word is doubled in the Glasgow.</ref> the hews and thrusts of the buffalo ([one] who acquires<ref>''annehmen'': receive, accept, take up, assume, claim, obtain, etc.</ref> victory with power), and<ref name="word-r"/> conduct the hew thusly: When he cleaves-in above from his right side, so hew from your right against his hew into the weak of his sword,<ref>"Into the weak of his sword" omitted from the Rostock</ref> with the short edge [and] with upright<ref>"Upright, elevated, straight, at a right angle"; Glasgow gives ''auff gerackten'', which may be a misspelling of pPvD's ''aus gestrackten'', "out-stretched".</ref> arms, and strike him upon his right shoulder;<ref>"With upright arms… right shoulder" omitted from the Rostock.</ref> so you strike and displace with each other and hit him with the hew<ref name="clause-dg">Clause omitted from the Dresden and the Glasgow.</ref> (as stands pictured hereafter next to this).<ref>R. "pictured here".</ref><ref name="clause-d"/> If he changes-through, shoot with the hew long into his chest and<ref name="word-g">Word omitted from the Glasgow.</ref> also hew when he stands against you in the guard of the plow or when he will thrust you from below.<ref name="sentence-r"/><section end="51"/>
+<section begin="52"/>{{red|b=1|This is the text and the gloss of yet another play from the squinter}}
+{| class="zettel"
+|-
+| <small>60</small>
+| Squint if he shortens upon you<br/>&emsp;Changing-through defeats him.
+|}
+{{red|b=1|Gloss}}. Note, this is a lesson that you<ref name="word-d"/> shall squint with the visage and quite precisely see whether he fences short against you, because with that, [you] shall recognize when he begins to hew you and his arms do not extend long with the hew. So hew as well, and in the hew drive-through with the point under his sword, and wind your hilt to your right side above your head,<ref name="clause-d"/> and thrust him to the face (as stands pictured next to this).<ref name="clause-d"/><section end="52"/>
+<section begin="53"/>{{red|b=1|Item}}. All fencers, they who fence short from the oxen, from the plow, and with all windings before the opponent: freely change-through [against] them out of hews and out of thrusts with the long-point. With that, you plant<ref>S. ''bestetigstu'': "to plant".</ref> it upon the sword so that they must allow you to come to the binding-on<ref>G. ''abent'': "evening", clearly an error; Medel: ''anwinden'': "winding-upon".</ref> and be struck.<section end="53"/>
+<section begin="54"/>{{red|b=1|This is the text and the gloss of yet another play from the squint-hew}}
+{| class="zettel"
+|-
+| <small>61</small>
+| Squint to the point<br/>&emsp;And take the neck without fear.
+|}
+{{red|b=1|Gloss}}. Note, the squinter breaks the long-point <sup>with a deceit of the visage</sup> and conduct it thusly: When he stands against you and holds the point against the face or against<ref name="word-dg">Word omitted from the Dresden and the Glasgow.</ref> the<ref name="word-g"/> chest from extended arms, so stand with the left foot forward and squint with the visage to his point,<ref>"To his point" omitted from the Rostock.</ref> and act as if you wish to hew to his point,<ref>"To his point" omitted from the Glasgow.</ref> and hew strongly onto his sword with the short edge, and with that, shoot the point long to his neck with a tread-in of the right foot (as stands pictured hereafter next to this).<ref name="clause-dr"/><section end="54"/>
+<section begin="55"/>{{red|b=1|This is the text and the gloss of yet another play from the squint-hew}}
+{| class="zettel"
+|-
+| <small>62</small>
+| Squint to the top of the<br/>&emsp;Head if you wish to ruin the hands.
+|}
+{{red|b=1|Gloss}}. Note,<ref>S. "You may also do this".</ref> when he wishes<ref name="word-s"/> to cleave-in to you a free over-hew<ref>"A free over-hew" omitted from the Dresden and the Glasgow.</ref> from above, so squint with the visage<ref>"With the visage" omitted from the Salzburg.</ref> to his head<ref>"To his head" omitted from the Dresden and the Glasgow.</ref> (as if you wish to strike thereon<ref>D., G. "the head".</ref>), and then hew with the short edge against his hew, and strike him upon his sword's blade, with the point down<ref name="word-dg"/> on the hands (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="55"/>
+<section begin="56"/>{{red|b=1|This is the text and the gloss about the parter, and about the plays thereof}}
+{| class="zettel"
+|-
+| <small>63</small>
+| The Parter<br/>&emsp;Is a danger to the face.<ref>R. includes couplet 64 with this gloss.</ref><br/><br/><br/>
+|}
+{{red|b=1|Gloss}}.<ref name="word-d"/> Here<ref name="word-gr"/> note the parter is really<ref name="word-d"/> dangerous to the face and to the chest;<ref name="sentence-r"/> conduct it<ref>R. ''denn Schaytler'': "the parter".</ref> thusly: When he stands against you in the guard [of] the<ref name="word-d"/> fool,<ref name="clause-r">Clause omitted from the Rostock.</ref> hew above with the long edge, down from your<ref>D. ''der lange'': "long, high, tall, or lofty".</ref> part to his head,<ref>"To his head" omitted from the Dresden and the Glasgow.</ref> and with the hew remain high with the arms and if he displaces,<ref>"If he displaces" omitted from the Dresden and the Glasgow.</ref> so hang-in<ref>''einhangen'': to adhere, stick to, cleave to, hold on to, engage deeply.</ref> to him with<ref name="word-gr"/> the point, with the long edge above his hilt, and thrust him<ref>"With the long… and thrust him" omitted from the Dresden and the Glasgow.</ref> to the face (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="56"/>
+<section begin="57"/>{{red|b=1|Again a play from the parter}}
+{| class="zettel"
+|-
+| <small>64</small>
+| With its turn<ref>''Kehr'' has two etymologies: one is "to turn", the other is "to sweep away" or to "carry off"; the gloss supports the first derivation.</ref><br/>&emsp;The chest is quickly<ref name="fast">Alternately: strongly, firmly, steadfastly.</ref> threatened.<ref>R. includes this couplet with the previous gloss.</ref>
+|}
+{{red|b=1|Gloss}}.<ref>G., R., S. "Item".</ref> Note,<ref name="word-d"/> this is when you strike-in and hang<ref>D. "hang-in"; "strike-in and" omitted.</ref> the point<ref>"The point" omitted from the Salzburg.</ref> to the face with the parter:<ref name="sentence-gr">Sentence omitted from the Glasgow and the Rostock.</ref> if he then shoves the point<ref>D., G., R. "you".</ref> firmly upward with his<ref>D., G., S. "the".</ref> hilt in the displacement<ref>"In the displacement" omitted from the Salzburg and the Rostock.</ref> of the parter,<ref>"Of the parter" omitted from the Dresden, the Rostock, and the Salzburg.</ref> invert your sword with the hilt high<ref>S. ''fast vber sich'': "firmly upward".</ref> in front of your head (such that the thumb comes below),<ref name="clause-dgs">Clause omitted from the Dresden, the Glasgow, and the Salzburg.</ref> and set the point under his hands<ref>"His hands" omitted from the Dresden, the Glasgow, and the Salzburg.</ref> upon his chest (as stands pictured here).<ref>G. "since".</ref><section end="57"/>
+<section begin="58"/>{{red|b=1|How the crown breaks the parter}}<ref>Rostock combines the glosses for couplets 65-67 into a single paragraph; they have been separated here according to their presentation in Dresden and Glasgow.</ref>
+{| class="zettel"
+|-
+| <small>65</small>
+| Whatever comes from him,<br/>&emsp;The crown takes it away.<br/><br/><br/><br/><br/>
+|}
+{{red|b=1|Gloss}}. Note, when you cleave-in above with the parter: if he displaces with the hilt high over his head, this displacement is called the crown, and with it [he] runs-in to you.<section end="58"/>
+<section begin="59"/>{{red|b=1|This is the text and the gloss: how the cut breaks the crown}}
+{| class="zettel"
+|-
+| <small>66</small>
+| Cut through the crown,<br/>&emsp;So you break the hard beautifully;<ref>D., G. ''Schon'', lit. "already", "yet".</ref>
+|-
+| <small>67</small>
+| Press the strike,<ref>D. ''stuch'', R. ''stich'': "press the thrust".</ref><br/>&emsp;Withdraw it with cutting.
+|}
+{{red|b=1|Gloss}}. Note, when he displaces the parter (or otherwise another hew) with the crown and with that runs in:<ref name="clause-r"/> so take the under-cut<ref>D., G., S. "cut".</ref> below his hands into his arm and press firmly upwards (as stands pictured next to this);<ref name="clause-drs">Clause omitted from the Dresden, the Rostock, and the Salzburg.</ref> so the crown is broken again,<ref>S. "well broken".</ref> and wind your sword from the under-cut<ref>"From the under-cut" omitted from the Salzburg.</ref> into the over-cut,<ref name="word-dg"/> and with that withdraw yourself.<ref name="word-s"/><ref>"And wind your sword… withdraw yourself" omitted from the Rostock.</ref><section end="59"/>
+<section begin="60"/>{{red|b=1|This is the text and the gloss on the four leaguers}}
+{| class="zettel"
+|-
+| <small>68</small>
+| Four leaguers alone:<br/>&emsp;Keep to those and flee<ref>Imperative of ''fliehen''.</ref> the common;
+|-
+| <small>69</small>
+| Ox, plow, fool,<br/>&emsp;From-the-roof are not disgusting<ref>alt: unpleasant, repugnant</ref> to you.
+|}
+{{red|b=1|Gloss}}. Note, this<ref name="md-d">"Note, this" omitted from the Dresden.</ref> is that you<ref name="word-g"/> shall not hold to any leaguer other<ref name="word-d"/> than solely to the four which will be<ref>"Will be" omitted from the Glasgow.</ref> named here.<section end="60"/>
+<section begin="61"/>{{red|b=1|Item.<ref name="word-d"/> The first guard}} is called<ref name="haist-r">"Is called" omitted from the Dresden</ref> the ox; arrange yourself thusly: Stand with the left foot forwards and hold your sword near your right side with the hilt<ref>"With the hilt" omitted from the Dresden.</ref> in front of your head, and let the point hang<ref name="word-g"/> against the face (as stands pictured next to this).<ref name="clause-d"/><section end="61"/>
+<section begin="62"/>{{red|b=1|Item.<ref name="word-d"/> The second guard}} is called<ref name="haist-r">"Is called" omitted from the Dresden</ref> the plow; arrange yourself thusly: Stand with the left foot forward and hold your sword with<ref name="word-d"/> crossed hands near your right side over your knee such that the point stands against the face (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="62"/>
+<section begin="63"/>{{red|b=1|Item.<ref name="word-d"/> The third guard}} is called<ref name="haist-r">"Is called" omitted from the Dresden</ref> the fool; arrange yourself thusly: Stand with the right foot forward and hold your sword with outstretched arms with the point upon the ground (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="63"/>
+<section begin="64"/>{{red|b=1|Item.<ref name="word-d"/> The fourth guard}} is called<ref name="haist-r">"Is called" omitted from the Dresden</ref> from-the-roof; arrange yourself thusly: Stand with the left foot forwards and hold your sword upon your right shoulder (as stands pictured hereafter next to this),<ref name="clause-d"/> or hold it with outstretched<ref>G. ''auß gestrackten'': "upstretched".</ref> arms over your head; and how you shall fence from the guards, you find it all<ref>"It all" omitted from the Dresden.</ref> written in this book.<ref>"In this book" omitted from the Glasgow.</ref><section end="64"/>
+<section begin="65"/>{{red|b=1|This is the text and the gloss of the four displacements which break the four leaguers}}
+{| class="zettel"
+|-
+| <small>70</small>
+| Four are the displacements<br/>&emsp;Which also severely injure the leaguers.
+|-
+| <small>71</small>
+| Guard yourself from displacing<ref>G. "Guard yourself displacing crossed in front".</ref><br/>&emsp;If it happens, it severely beleaguers you.
+|}
+{{red|b=1|Gloss}}. Note, you have heard before that you shall fence solely from the four leaguers, so you should also just know<ref>D. instead continues "that the four displacings, they are the four hews".</ref> that the same four [displacements] break the four leaguers. And the four settings,<ref>''Setzen", possibly a shortening of ''versetzen'', "displaces".</ref> they are the four hews.<section end="65"/>
+<section begin="66"/>{{red|b=1|The first hew}}<ref name="word-g"/> is the crooked-hew, which breaks the guard that is named the ox.<ref>D. "oxen".</ref><section end="66"/>
+<section begin="67"/>{{red|b=1|Item.<ref name="word-d"/> The second}} is the thwart-hew, which breaks the guard from-the-roof.<section end="67"/>
+<section begin="68"/>{{red|b=1|Item.<ref name="word-d"/> The third}} is the squint-hew, which breaks the guard of the plow.<section end="68"/>
+<section begin="69"/>{{red|b=1|Item.<ref name="word-d"/> The fourth}} is the parter, which breaks the guard that is named the fool.<section end="69"/>
+<section begin="70"/>And guard yourself from all displacements which the simple<ref>S. other.</ref> fencers conduct; they allow the point to go out before the man (low or high on a side), and whoever does that cannot seek the opening on the man. Therefore do not parry,<ref>"they allow the... do not parry" omitted from the Dresden and Glasgow.</ref> and [instead] note when he hews, thus you also hew; and when he thrusts, so thrust as well; and how you shall hew and thrust, you find that written in the five hews and in the setting-aside.<section end="70"/>
+<section begin="71"/>{{red|b=1|This is the text and the gloss of a play against the displacement}}
+{| class="zettel"
+|-
+| <small>72</small>
+| If you are parried,<br/>&emsp;And as it is arriving,
+|-
+| <small>73</small>
+| Hear what I advise:<br/>&emsp;Rip off. Cut quickly with hurry.
+|}
+{{red|b=1|Gloss}}.<ref>S. Item</ref> This is as it arrives that you are becoming parried: so note if one displaces an over-hew,<ref>R. "This is when one displaces your over-hew"; S. "If your over-hew is parried and it comes nearing upon him".</ref> go to him in the displacing with the pommel over<ref>D. "in front of".</ref> his forward-placed<ref>G., S. ''versetzte'': "shifted, misplaced, displaced, parried".</ref> hand, and with that wrench downwards, and with the wrenching strike him there<ref name="word-dgr">Word omitted from the Dresden, the Glasgow, and the Rostock.</ref> on the head with the sword (as stands pictured hereafter next to this).<ref name="clause-drs"/><section end="71"/>
+<section begin="72"/>{{red|b=1|Yet another play against the displacement}}
+Item.<ref name="word-dg"/> Note, when you hew an under-hew from the right side: if he then falls with the sword onto yours so you cannot come up with it, swiftly drive over his sword with the pommel and wrench your blade from his [from] below<ref>"And wrench… his below" omitted from the Dresden and the Glasgow.</ref> and strike him with the snapping, with the long edge to the head<ref>"The head" omitted from the Salzburg.</ref> (as stands pictured hereafter next to this);<ref name="clause-ds">Clause omitted from the Dresden and the Salzburg.</ref> or,<ref>S. "also".</ref> if he falls onto your sword against your left side, so strike him with the short edge.<section end="72"/>
+<section begin="73"/>{{red|b=1|This is the text and the gloss of yet another play against the displacing}}
+{| class="zettel"
+|-
+| <small>74</small>
+| Set-upon four ends;<br/>&emsp;Learn to remain thereupon if you wish to finish.
+|}
+{{red|b=1|Gloss}}. This is<ref name="di-d"/> when you cleave-in from your right shoulder: if you wish to quickly finish with him,<ref>G. ''mit dem schwert'': "with the sword".</ref> so note when he displaces [and] strike quickly around with the thwart, and with the strike grasp your sword<ref>D. "grasp with the sword".</ref> in the middle of the blade with the left hand, and set the point into the face (as stands pictured next),<ref name="clause-d"/> or set-upon him to the four openings to whichever you can<ref>G. ''magst'': "may".</ref> best come.<section end="73"/>
+<section begin="74"/>{{red|b=1|This is the text and the gloss of yet another play against the displacement}}
+Item.<ref name="word-g"/> Note,<ref name="word-d"/> when you set the point into his<ref name="the-g">G. "the".</ref> face with the half-sword (as stands done before next to this):<ref name="clause-d"/> if he displaces that, jab him with the pommel to the other side to his head, or spring with the right foot behind his left and with the pommel drive around his neck, over his right shoulder, [and] around the front of the neck, and with that, back him over your right leg (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="74"/>
+<section begin="75"/>{{red|b=1|This is about racing-after}}
+{| class="zettel"
+|-
+| <small>75</small>
+| Learn the racing-after,<br/>&emsp;Doubly or cut into the weapon<ref>Alternately: defense.</ref>
+|}
+{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is so that you shall learn the racings-after quite well, because they are dual,<ref name="clause-r"/> and<ref name="word-d"/> the first<ref name="word-r"/> conduct thusly:<ref name="word-d"/> when he wishes to cleave-in above him,<ref name="word-r"/> so note while he yanks up the sword to the strike, [and] race-after him with a hew or with a thrust, and hit him<ref>"And hit him" omitted from the Rostock.</ref> to the upper<ref name="word-r"/> opening before the moment<ref name="moment-d">"The moment" omitted from the Dresden.</ref> he descends<ref>D. ''wieder-kommen'': to meet, to encounter, to run into".</ref> with the hew, or fall with the long edge above him onto his arm and with that, press him from you.<ref>"Or fall… from you" omitted from the Rostock.</ref><section end="75"/>
+<section begin="76"/>{{red|b=1|Yet another racing-after}}<ref name="line-r">Line omitted from the Rostock.</ref>
+Item.<ref>R. "or".</ref> When he begins to hew you downward<ref name="word-d"/> from above, and<ref name="word-d"/> if he then<ref>"If he then" omitted from the Rostock".</ref> allows his sword to go down to the earth with the hew: so<ref name="word-d"/> race-after him with an over-hew<ref>D. ''haw'': "hew".</ref> to the head before the moment<ref name="moment-d"/> he comes-up with the sword, so is he struck.<ref name="clause-d"/><section end="76"/>
+<section begin="77"/>Or if he will thrust you, note the moment he yanks the sword to him for the thrust, so race-after him and thrust him before he completes his thrust.<section end="77"/>
+<section begin="78"/>{{red|b=1|About the outer-cattle-drives}}
+{| class="zettel"
+|-
+| <small>76</small>
+| Two outer-cattle-drives,<ref>Mähnen, menen, mennen. To drive cattle, to impel an animal to move(in particular a driver or rider with a cattle-drive). To exert command over something reacting. To lead.</ref><br/>&emsp;You work begins thereafter,
+|-
+| <small>77</small>
+| And test the attacks,<br/>&emsp;Whether they are soft or hard.
+|}
+{{red|b=1|Gloss}}. Note, the two outer-cattle-drives are the two racings-after upon the sword; conduct it thusly: When he mis-hews himself before you, race-after him. If he then displaces you, so remain with the sword upon his and test whether he is soft or hard with the attack. If he then, with the sword, lifts that of yours upwards with strength, then extend your sword outside over that of his and thrust to his low opening.<section end="78"/>
+<section begin="79"/>{{red|b=1|The other outer-cattle-drives}}<section end=""/>
+Item. When you fence cautiously<ref>''geim'': "watchfully, to observe, cautiously, with foresight".</ref> from the under-hews (or otherwise from the under-attacks): if he then lays over you and winds upon your sword before you come up with that, [and] then remains strong with your sword below upon his winding and works to your upper opening, so follow-after with the sword and take weak of his sword with the long edge, and press down and stab him in the face.<section end="79"/>
+<section begin="80"/>{{red|b=1|This is the text and the gloss about the feeling and about the word "in-the-moment"}}
+{| class="zettel"
+|-
+| <small>78</small>
+| Learn the feeling;<br/>&emsp;In-the-moment, that word hews severely.
+|}
+{{red|b=1|Gloss}}. This is so that you properly learn the feeling and the word "in-the-moment", and shall understand that the two things belong to the same and are the greatest arts of fencing.<section end="80"/>
+<section begin="81"/>{{red|b=1|Item}}.<ref name="word-d"/> And<ref name="word-gs">Word omitted from the Glasgow and the Salzburg.</ref> understand it thusly:<ref>S. "the feeling work thusly".</ref> When you come to him with the onset and<ref>"You come… onset and" omitted from the Dresden and the Glasgow.</ref> one binds another on the sword, so in that you shall feel with the hand (that is, perceive),<ref name="clause-ds"/> just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that,<ref>S. "soft or hard".</ref> think of the word "in-the-moment"; that is, in that same swift perceiving<ref>S. "feeling".</ref> of the soft and of the hard, you shall work to the nearest opening,<ref>"To the nearest opening" omitted from the Salzburg.</ref> so [he] becomes struck before he will have his insight.<ref>D., G. ''gewar'', S. ''ÿnnen''.</ref><section end="81"/>
+<section begin="82"/>{{red|b=1|Item}}. Note,<ref name="word-ds">Word omitted from the Dresden and the Salzburg.</ref> you shall think of the word "in-the-moment" in all bindings of the sword, because
+in-the-moment doubles <br/>
+and<ref name="word-g"/> in-the-moment mutates, <br/>
+in-the-moment runs-through, <br/>
+and<ref name="word-g"/> in-the-moment changes-through,<ref name="clause-d"/> <br/>
+in-the-moment takes the cut; <br/>
+in-the-moment wrestles, <br/>
+and with in-the-moment, take the sword. <br/>
+In the art, In-the-moment does whatever your heart desires.<section end="82"/>
+<section begin="83"/>In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes hew. And the word "in-the-moment" is also<ref name="word-g"/> the key in which all of the art of fencing becomes unlocked.<section end="83"/>
+<section begin="84"/>{{red|b=1|This is yet another play text and gloss about racing-after}}
+{| class="zettel"
+|-
+| <small>79</small>
+| Traveling-after twice:<br/>&emsp;If one joins, make the farewell cut with it.
+|}
+{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is when he mis-hews himself before you: so race after him with a hew to the upper opening; if he then drives up and binds<ref>D. "winds".</ref> under you upon the sword, so note just as soon as one sword sparks<ref>D. ''blitzscht'': "flashes".</ref> on the other, [and] so fall upon him from the sword with the long-edge over his arm, and also press him from you (as stands pictured next),<ref name="clause-d"/> or cut him from the sword through the mouth. Deploy this to both sides.<section end="84"/>
+<section begin="85"/>{{red|b=1|This is the text and the gloss about running-over}}
+{| class="zettel"
+|-
+| <small>80</small>
+| Whoever aims below,<br/>&emsp;Run-over, then they become shamed.
+|-
+| <small>81</small>
+| When it sparks above<br/>&emsp;Then strengthen, this I will laud.
+|-
+| <small>82</small>
+| Make your work<br/>&emsp;Or press hard twice.
+|}
+{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is when he targets the lower openings with a hew or with a thrust in the onset: you shall not displace him, rather await, such that you run-over with a hew above into the head or set-upon the point above (as stands pictured hereafter next to this)<ref name="clause-d"/> so that he becomes shamed from you, because all over-hews and all settings-upon over-reach the lower.<section end="85"/>
+<section begin="86"/><ref>D. "Item".</ref>{{red|b=1|This is the text and the gloss: how one shall offset hews and thrusts}}
+{| class="zettel"
+|-
+| <small>83</small>
+| Learn to offset:<br/>&emsp;Skillfully injure, hew, thrust
+|-
+| <small>84</small>
+| Whoever thrusts upon you,<br/>&emsp;Such that your point hits and his breaks,
+|-
+| <small>85</small>
+| From both sides;<br/>&emsp;Hit any time if you wish to step.
+|}
+{{red|b=1|Gloss}}. This is so that you shall learn to offset hews and thrusts alike with art, such that your point hits him and, in that, his becomes broken, and<ref name="word-d"/> understand<ref>G. "note".</ref> it thusly: When someone stands against you and holds his sword as if he will stab you from below, so stand counter against him in the guard of the plow from your right side, and give yourself an opening with the left. If he then under-thrusts to the same opening, wind with the<ref name="word-g"/> sword against his thrust to your left side and step into him with the right foot, so that your point hits and his fails (as stands pictured next).<ref name="clause-d"/><section end="86"/>
+<section begin="87"/>{{red|b=1|Yet another play from setting-aside}}<section end=""/>
+{{red|b=1|Item}}.<ref name="word-g"/> Note,<ref name="word-d"/> when you stand against him in the guard of the plow from the left side: if he then hews to the upper opening of your left side, then drive up with the sword, and wind<ref name="word-d"/> to the left side against his hew (such that the hilt is in front of your head), and step into him with your<ref name="the-d"/> right foot and stab him in the face (as stands pictured hereafter next to this).<ref name="clause-d"/><section end="87"/>
+<section begin="88"/>{{red|b=1|This is the text and the gloss about Changing-through}}
+{| class="zettel"
+|-
+| <small>86</small>
+| Learn to change-through<br/>&emsp;From both sides; stab with violence
+|-
+| <small>87</small>
+| Whoever binds upon you,<br/>&emsp;The Changing-through finds him swiftly.<ref>''Schier'' has the sense of approaching quickly and closely.</ref>
+|}
+{{red|b=1|Gloss}}. This is so that you shall learn the changing-through well, and conduct it thusly: When you cleave-in or thrust to him in the onset, if he will<ref name="word-g"/> then bind on the sword with a hew or with a displacement, allow the point under his sword and slip through, and with that, thrust-in to him violently at the other side, thus you find the opening upon him swiftly (as stands pictured).<ref name="clause-d"/><section end="88"/>
+<section begin="89"/>Item. If he then becomes aware of the thrust and drives after it with the displacing, then but change-through to the other side.<section end="89"/>
+<section begin="90"/>{{red|b=1|Item. Another.}}
+As you come to him, set your left foot forward and hold the long [point] against his face. If he then hews to the sword (over or under) and will strike it away, allow your point to sink downwards and stab him to the other opening of the other side, and do that against all hews.<section end="90"/>
+<section begin="91"/>{{red|b=1|This is the text and the gloss about yanking}}
+{| class="zettel"
+|-
+| <small>88</small>
+| Tread near in binding;<ref>''Zucken'' has the connotation of yanking something hard or quickly, like yanking or snatching; there is an essence of agitation in the yank.</ref><br/>&emsp;The yanking gives good opportunities.
+|-
+| <small>89</small>
+| Pull: if it connects, yank more.<br/>&emsp;If he works, cut so that it does him woe.
+|-
+| <small>90</small>
+| Pull in all hits<br/>&emsp;Of the masters if you wish to deceive them.
+|}
+{{red|b=1|Gloss}}. This is when you come to him with the onset: so cleave-in strongly above from the right shoulder to the head. If he then binds you with displacing (or otherwise on the sword), so tread near to him in the bind on the sword<ref>"On the sword" omitted from the Dresden.</ref> and withdraw your sword from his above, and cleave-in again above to the other side to his head (as it stands pictured next to this).<ref name="clause-d"/> If he displaces that too a second time, so strike-in again above to the other side, and work swiftly according to the upper openings which may occur to you with the doublings<ref>Beginning of sentence in Glasgow reads "and work swiftly with the doubling.</ref> (or otherwise with other plays to his nearest opening).<ref>D. "(and with other plays)".</ref><section end="91"/>
+<section begin="92"/>Or act as if you will yank and [then] remain upon the sword, and quickly thrust-in again upon the sword to the face. If you then do not quite hit him with the thrust, so work with the doubling or otherwise with other plays.<section end="92"/>
+<section begin="93"/>{{red|b=1|This is the text and the gloss about running-through}}
+{| class="zettel"
+|-
+| <small>91</small>
+| Run-through, allow to hang<br/>&emsp;With the pommel, grasp if you wish to wrestle.
+|-
+| <small>92</small>
+| Whoever strengthens against you,<br/>&emsp;Run-through. With that note.
+|}
+{{red|b=1|Gloss}}. Note, this is when one runs-in to the other: if he then drives up with the arms and wishes to overwhelm you above with strength, so drive up as well with the arms, and hold your sword with the left hand near the pommel over your head and allow the blade to hang behind over your back,<ref name="back-r">R. "hang down behind you".</ref> and run-through with your head under his right arm and spring with the right foot behind his right, and with the spring, drive him well forward with the right arm around the body, and clasp him thusly to the right hip and throw him in front of you (as stands pictured here).<ref>G. "next to this".</ref><ref name="clause-d"/><section end="93"/>
+<section begin="94"/>{{red|b=1|This is yet another play about running-through}}
+Item.<ref name="word-gr"/> Note,<ref name="word-d"/> when he wishes to overpower you with strength by running-in with the sword high:<ref>R. "when in the running-in he also drives-up with the arms".</ref> so hold your sword with the left hand near the pommel and let the blade hang over your back.<ref name="back-r"/> Run-through with the head under his right arm, and remain with the right foot forward<ref name="word-dg"/> before his right and drive in<ref name="word-dr"/> well behind him with the right arm around the body, and clasp him upon your right hip and throw him behind you (as stands pictured here).<ref name="word-g"/><ref name="clause-d"/><section end="94"/>
+<section begin="95"/>{{red|b=1|A wresting at the sword}}
+Item. When one runs-in to the other: so release your sword from the left hand and hold it with the right, and shove his sword from you to your right side with your hilt, and spring with the left foot in front of his right and drive him well back with your left arm around the body, and clasp him to your left hip and throw him in front of you.
+'''Though watch that it does not fail you.'''<section end="95"/>
+<section begin="96"/>{{red|b=1|Yet another wresting at the sword}}
+Item. When one runs-in to the other: so release your sword from the left hand and hold it in the right, and shove his sword from you to your right side with the hilt, and spring with the left foot behind his right and drive him forward with the left arm under his chest (well around the body), and throw him backward over your foot.<section end="96"/>
+<section begin="97"/>{{red|b=1|Yet another wresting at the sword}}
+Item.<ref name="word-g"/> Note,<ref name="word-d"/> when you run-in with another: so release your sword from the left hand and hold it in the right, and drive him outside<ref name="word-g"/> with the pommel over his right arm and with that yank downwards, and seize his right elbow with the left hand<ref name="word-g"/> and spring with the left foot in front of his right, and back him thusly over the foot to your right side (as stands pictured next to this).<ref name="clause-d"/><section end="97"/>
+<section begin="98"/>{{red|b=1|Yet another wresting at the sword}}<ref name="line-g">Line omitted from the Glasgow.</ref>
+Item.<ref name="word-g"/> Note,<ref name="word-d"/> when one runs-in to the other: so drive with the left arm<ref>D. "left hand inverted".</ref> over his right, and with that seize his<ref name="your-d">D. "your".</ref> right arm with an inverted hand<ref>"With an inverted hand" omitted from the Dresden.</ref> and press his left<ref name="right-d"/> over your left with your<ref name="the-g"/> right arm, and spring with your<ref name="the-g"/> right foot behind his right and turn yourself away from him to your<ref name="his-g">G. "his".</ref> left side, and<ref name="word-d"/> thus you<ref>"Thus you" omitted from the Glasgow.</ref> throw him over your<ref name="his-g"/> right hip (as stands pictured next to this).<ref name="clause-d"/><section end="98"/>
+<section begin="99"/>{{red|b=1|Yet another wresting}}
+Item. When someone runs-in at the sword, etc.: so let your sword fall and invert your right hand, and with that seize his right hand outside and clasp it near the right elbow with the left, and spring with the left foot in front of his right and shove his right arm over your left with the right hand, and with that lift it upwards; thus is he locked and thus [you] may break the arm, or throw him in front of you over the leg.<section end="99"/>
+<section begin="100"/>{{red|b=1|A sword taking}}<ref>D. "One other wrestling at the sword".</ref>
+Item.<ref name="word-g"/> Note,<ref name="word-d"/> when one runs-in to the other: so invert your left hand and with that drive over his right arm, and with that seize his sword by the grip between both hands, and back to your left side (as stands pictured next to this);<ref name="clause-d"/> so you take the sword from him.<ref name="clause-g">Clause omitted from the Glasgow.</ref>
+'''This will vex him badly.'''<ref name="sentence-g">Sentence omitted from the Glasgow.</ref><section end="100"/>
+<section begin="101"/>{{red|b=1|This is yet another sword taking}}<ref>D. "A sword taking".</ref>
+Item.<ref name="word-g"/> Note,<ref name="word-d"/> when he binds on your sword (with displacing or otherwise): so seize both swords in the middle<ref name="word-d"/> of the blade with the left hand inverted<ref name="word-g"/> and hold them tightly together, and drive through below with the pommel with the right hand against the left side over both his hands, and with that back yourself upward to the right side. So you keep both swords (as stands pictured next to this).<ref name="clause-d"/><section end="101"/>
+<section begin="102"/>{{red|b=1|This is the text and gloss about cutting-off}}
+{| class="zettel"
+|-
+| <small>93</small>
+| Cut away the hard [ones]<br/>&emsp;From below in both drivings.<ref>Read: "attacks".</ref>
+|-
+| <small>94</small>
+| Four are the cuts:<br/>&emsp;With two below, two above.
+|}
+{{red|b=1|Gloss}}. Note, there are four cuts; conduct the first thusly: when he runs-in and drives up high with the arms, and will<ref name="word-g"/> overpower you above against your left side with strength,<ref>"With strength" omitted from the Glasgow.</ref> so twist your sword and fall<ref name="far-g">G. ''far'': "drive".</ref> under his hilt, into his arms with the long edge with crossed hands, and press-upward with the cut (as stands pictured next to this);<ref name="clause-d"/> or, if he runs-in against your right side, fall<ref name="far-g"/> into his arm with the short edge and press upwards as before.<section end="102"/>
+<section begin="103"/>{{red|b=1|Yet another cut}}<section end=""/>
+Item. When you bind strongly on his sword (with a hew or otherwise): if he then allows his sword to snap-away from yours and strikes you above to the head, so twist your sword with the hilt in front of your head and cut-through his arm below, and with the cut, set the point below upon his chest.<section end="103"/>
+<section begin="104"/>{{red|b=1|This is the over-cut}}<ref>D. "Yet another cut".</ref>
+Item.<ref name="word-r"/> Note,<ref name="word-d"/> conduct the cut thusly: when one binds on the sword against your left side, and<ref name="word-r"/> he then<ref>"He then" omitted from the Dresden.</ref> strikes around from the sword to the right side (with the thwart or otherwise),<ref name="clause-r"/> so spring from the hew with the left foot to his right side, and fall with the long edge above over both arms and press him from you (as stands pictured here).<ref>"And press… pictured here" omitted from the Dresden.</ref> Deploy this to both sides.<ref name="sentence-r"/><section end="104"/>
+<section begin="105"/>{{red|b=1|This is the text and the gloss about the transformation of the cut}}
+{| class="zettel"
+|-
+| <small>95</small>
+| Turn the edge<br/>&emsp;To flatten; press the hands.
+|}
+{{red|b=1|Gloss}}. Note,<ref name="word-d"/> this is when you come in your running-in with the under-cut below<ref name="word-d"/> into his arm (such that your point goes out against his<ref>G. "your".</ref> right side): so with that,<ref>"With that" omitted from the Dresden.</ref> press firmly upwards with the cut,<ref>"With the cut" omitted from the Augsburg and the Glasgow.</ref> and amid the pressing spring with the left foot to his right side, and turn your sword with the long edge above over his arms (such that your point goes-out against his left side), and with that, press his arm from you.<ref name="clause-ag">Clause omitted from the Augsburg and the Glasgow.</ref> Thus have you transformed the under-cut into the over; conduct this to both sides.<ref name="sentence-d">Sentence omitted from the Dresden.</ref><section end="105"/>
+<section begin="106"/>{{red|b=1|This is the text and the gloss about the two hangings}}
+{| class="zettel"
+|-
+| <small>96</small>
+| The two hangings happen<br/>&emsp;From one hand from the earth.
+|-
+| <small>97</small>
+| In every drive,<br/>&emsp;Hew, thrust, leaguer; soft or hard.
+|}
+{{red|b=1|Gloss}}. Note, there are two hangings from one hand and from one side from the earth; conduct it thusly: When you bind onto his sword against your left side with the lower setting-aside, so hang your sword's<ref name="word-g"/> pommel against the earth, and thrust-up to him from below out of the hanging to the face. If he then shoves your point upward with the displacing, so remain thusly upon the sword and also<ref name="word-d"/> drive up with him,<ref>"With him" omitted from the Augsburg and the Glasgow.</ref> and hang the point from above down to the face, and in the two hangings you shall swiftly conduct hew, thrust, and cut [with] every drive. Thereafter, as you [are] in the binding-on of the sword, with that, perceive (or test)<ref>"Or test" omitted from the Dresden.</ref> whether he is soft or hard. (The hangings from both sides, this is the plow from both sides.)<ref name="sentence-ad">Sentence omitted from the Augsburg and the Dresden.</ref><section end="106"/>
+<section begin="107"/>{{red|b=1|This is the text and the gloss about the speaking-window}}
+{| class="zettel"
+|-
+| <small>98</small>
+| Make the speaking-window;<br/>&emsp;Stand freely, seek out his thing,<ref>''sach'': thing, or disagreement, contention, dispute, or the thing underlying the disagreement, contention or dispute.</ref>
+|-
+| <small>99</small>
+| Strike him such that it snaps<br/>&emsp;Whoever withdraws before you.
+|-
+| <small>100</small>
+| I say to you in truth:<br/>&emsp;No one protects themselves without danger.
+|-
+| <small>101</small>
+| If you have correct understanding,<br/>&emsp;He may barely come to strikes.
+|}
+{{red|b=1|Gloss}}. Note,<ref name="word-ag">Word omitted from the Augsburg and the Glasgow.</ref> this called the speaking-window: when he binds you on the sword with hews or<ref>A. "and".</ref> with<ref name="word-ad">Word omitted from the Augsburg and the Dresden.</ref> displacing, so remain strong from extended arms with the long edge upon the sword, with the point in front of the face, and stand freely and seek out his thing (whatever he will conduct against you).<section end="107"/>
+<section begin="108"/>{{red|b=1|Item}}.<ref name="word-a">Word omitted from the Augsburg.</ref> If he strikes-around from the sword with an over-hew to the other side, so bind-after<ref>''nachbinden'': "attach to the end or behind something".</ref> with the long edge<ref>"With the long edge" omitted from the Augsburg and the Glasgow.</ref> against<ref name="word-d"/> his hew with strength, above into the head.<section end="108"/>
+<section begin="109"/>Or<ref name="word-a"/> if he strikes-around from the sword<ref>"From the sword" omitted from the Dresden.</ref> with the thwart, so fall into his arms with the over-cut.<section end="109"/>
+<section begin="110"/>Or<ref name="word-a"/> if he yanks his sword to himself and wishes to thrust you below, so race-after him upon the sword with the point,<ref>"With the point" omitted from the Dresden.</ref> and set-upon him above.<section end="110"/>
+<section begin="111"/>{{red|b=1|Item.<ref name="word-ag"/> Note,}}<ref>D. "or"; word omitted from the Augsburg.</ref> if he does not wish to withdraw<ref>''abziechen''.</ref> nor strike-around from the sword, so work upon the sword with the doubling (or otherwise with other plays) as you thereafter perceive the soft and the hard upon the sword.<section end="111"/>
+<section begin="112"/>{{red|b=1|Here note how you shall stand in the long-point and what plays you shall conduct from it}}
+Item.<ref name="word-dg"/> Note,<ref>D. ''Mörck Ee'': "Note, before".</ref> when you come just near<ref>"just near" omitted from the Augsburg and the Glasgow.</ref> to him with the onset: so set your left foot forward before when he binds you on the sword,<ref>"When he… the sword" omitted from the Dresden.</ref> and hold your<ref>A., D. "the".</ref> point long with<ref name="word-ad"/> extended arms against the face or against<ref name="word-ad"/> the chest. If he then hews-in from above<ref>D. "hews from above to below".</ref> to your head, so wind against his hew with the sword and thrust into his face.<section end="112"/>
+<section begin="113"/>Or if he hews from above to below, or from below up into the sword, and wishes to strike the point away, so change-through and thrust to the other opening or side.<ref>D. "to the other side to the opening".</ref><section end="113"/>
+<section begin="114"/>Or if he hits your sword with strength with the hew, so allow your sword<ref>"Your sword" omitted from the Augsburg and the Glasgow.</ref> to snap-around, so you hit him in the head.<section end="114"/>
+<section begin="115"/>{{red|b=1|Or}}<ref name="word-ad"/> if he runs-in, so conduct the cut or await<ref name="word-d"/> the wrestling.
+'''Watch that it does not fail you.'''<ref name="sentence-ag">Sentence omitted from the Augsburg and the Glasgow.</ref><section end="115"/>
+<section begin="116"/>{{red|b=1|This is the text about the conclusion of the entire Recital}}<br/><br/>
+{| class="zettel"
+|-
+| <small>102</small>
+| Whoever commands well and properly breaks,<br/>&emsp;And tenaciously corrects completely,
+|-
+| <small>103</small>
+| And breaks apart,<br/>&emsp;Each into three wounders;
+|-
+| <small>104</small>
+| Whoever properly hangs well,<br/>&emsp;And with that brings the winding,
+|-
+| <small>105</small>
+| And considers the eight windings,<br/>&emsp;With proper movement<ref>shifting, balance</ref>;
+|-
+| <small>106</small>
+| And yet I mean your one<br/>&emsp;Of the windings are triple,
+|-
+| <small>107</small>
+| So are they simply counted<br/>&emsp;Twenty and four.
+|-
+| <small>108</small>
+| From both sides<br/>&emsp;Learn eight windings with stepping,
+|-
+| <small>109</small>
+| And test the drives [for]<br/>&emsp;Nothing more than soft or hard.
+|}
+{{red|b=1|Gloss}}. This is a lesson, therein the art of<ref>"Art of" omitted from the Dresden.</ref> the record is skillfully understood.<ref>A., D. "shortened for you to understand".</ref> It is taught thusly so that you shall be quite well<ref>"Quite well" omitted from the Augsburg.</ref> practiced and accomplished<ref>Dresden reverses these.</ref> in the art. Also, so that you can appropriately command any attack and play<ref>"Also so that… play" omitted from the Dresden.</ref> according to that which you fence with, so that you therefore correctly<ref name="word-d"/> know to conduct your break against his plays, so that you may work with three wounders from each particular break.<section end="116"/>
+<section begin="117"/>{{red|b=1|Item}}.<ref name="word-ad"/> You shall also properly hang upon the sword and from the hangings you shall bring eight windings, and you shall also consider and properly estimate<ref>''wägen'': "to have weight, to lay on a scale, to estimate"; it has a bunch of other senses that are provocative to the action at hand, such as: "to poise, balance, to stir up or agitate, to incite a response", but there's not enough in the text to make it a defensible choice.</ref><ref>"And properly estimate" omitted from the Dresden.</ref> the windings, so that you know to conduct which one of the said three.<section end="117"/>
+<section begin="118"/>{{red|b=1|Here note how you shall conduct the hangings and the windings}}<section end=""/>
+Item.<ref name="word-d"/> Understand it thusly: there are four bindings-on of the sword, two over and<ref name="word-a"/> two under. You shall only conduct two particular windings from each binding-on of the sword.<ref>"The sword" omitted from the Augsburg and the Glasgow.</ref><section end="118"/>
+<section begin="119"/>{{red|b=1|Item}}.<ref name="word-ad"/> Do<ref>D. "understand".</ref> it thusly: When you come to him with the onset,<ref name="clause-d"/> if he then binds-on to you above against your left side, so wind the short edge upon his sword and drive well up with the arms, and hang-in your point to him above and thrust into his face. If he displaces the thrust with strength,<ref>"With strength" omitted from the Dresden.</ref> allow your point to hang-in above upon the sword, and wind to your right side and thrust.<ref>"And thrust" omitted from the Dresden.</ref> These are two windings on one side of the<ref>"Of the" omitted from the Glasgow.</ref> sword.<section end="119"/>
+<section begin="120"/>{{red|b=1|Item.<ref name="word-ag"/> Or}}<ref name="word-a"/> if he binds-on above against your right side, wind the long edge upon his sword also against your right side and drive well up with the arms, and hang-in your point to him above, and thrust-in the point above<ref>"-In the point above" omitted from the Dresden and the Glasgow.</ref> into his face. If he displaces the thrust with strength, allow your point to hang-in above upon the sword, and wind to your left side and thrust. These are four windings from the two over-bindings-on,<ref>A. "over-windings-upon".</ref> from<ref>A. "and".</ref> the left and from<ref name="word-g"/> the right sides.<section end="120"/>
+<section begin="121"/>{{red|b=1|Item.<ref name="word-a"/> Now you shall know}} that you shall also conduct four windings from the two under-bindings-on with all attacks, as from the over[-bindings-on]. Thus the windings, over and under, become eight. And<ref name="word-g"/> remember that you shall conduct one particular hew, or<ref name="word-ag"/> one<ref name="word-d"/> cut, or<ref>D. "and"; omitted from the Augsburg and the Glasgow.</ref> one thrust, from each winding. And<ref name="word-ag"/> this is called the<ref name="word-ag"/> three wounders. From those, one can and shall<ref>"And shall" omitted from the Augsburg and the Glasgow.</ref> conduct them from the eight windings into twenty-four instances. And you shall properly learn to conduct the eight windings from both sides, so that you step in<ref>"You step towards" omitted from the Dresden.</ref> with each winding,<ref>D. "wounder".</ref> and you test his attack, no more than<ref name="word-ag"/> if he is soft or hard upon the sword. And when you have sensed these two things, conduct the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.<section end="121"/>