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Here begins the interpretation of the recital.
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Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.
In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written [Rostock adds: and pictured] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.
 
  
The foreward of the recital.
+
And before any incidents and confrontations, you shall note and know that there is but one art of the sword and it may have been invented and thought out many hundred years ago. And this is the foundation and core of all of the arts of fencing.
Young knight learn
+
 
To have love for god, honor women
+
And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.
So that you expand your honor.
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Practice Knighthood and learn
+
Not that he invented and conceived it himself, as was written before, rather he had traveled through many lands and through that sought the legitimate and truthful art for the sake that he would experience and learn it.
Art that decorates you
+
 
And in war exalts you with honor.
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And this art is earnest, complete and legitimate and it moves in the nearest and shortest way, simple and straight forward, just as if you had bound a thread or cord to the point or edge of your sword and guided or pulled that very point or edge to the opponent's opening whenever you wanted to cut or thrust them, because you should cut or thrust according to the nearest and shortest and most decisive of all, as one would prefer to deliver just that.
Use the good grips of wrestling,
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Lance, spear, sword, and messer
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This is because legitimate fencing just mentioned will not have elegant and grandiose parries, nor wide, indirect fencing. With those, people choose to scatter and delay themselves. As one finds according to many ungrounded masters that say they have invented and thought out some new art and understand the art of fencing better and more greatly, day by day.
Like a man
+
 
And render them useless in other's hands.
+
But I would like to see one person that could conceive and perform just one application or one cut that does not come from Liechtenauer's art. They will often just only mix-up and pervert an application. In this, they give it a new name, each according to their own head. And they conceive of wide, indirect fencing and parrying, often doing two or three cuts in place of a single cut, just because they wish renown.  They will be praised by the ignorant for their elegant parries and wide, indirect fencing as they fiendishly pose themselves and deliver wide and long cuts, tediously and cumbersomely. With those, they quite severely delay themselves and miss their targets and also provide solid openings with these because they have no measuredness in their fencing.
Attack suddenly and storm in,
+
 
Keep rolling, engage or let pass.
+
And anyway, this does not belong in earnest fencing, Though in particular I admit that through exercises and drills in school-fencing it might possibly be good for something.
Thus the intellectuals hate him,
+
 
Yet this one sees glories.
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But earnest fencing will proceed swiftly, simply and completely direct without any scattering nor delay as if a string or something like it determined the measure and trajectory.
Hold yourself to this:
+
 
All art has a time and place.<ref>lit: All art has length and measure</ref>
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When you want to cut or thrust whoever stands there before you, then truly no cut nor thrust backwards or to the side, nor any wide fencing nor multiple cuts helps you to possibly end it with someone. With these, you scatter and delay yourself so that you lose that chance.
 +
 
 +
Rather, one must initiate their cut straight and directly to the person, to the head or to the body according to what is closest and surest only at the moment you are able to reach it and posses it, swiftly and quickly and preferably with one strike. Because with four or six, you choose to scatter yourself and as a result the opponent approaches effortlessly.
 +
 
 +
This is because the fore-strike is one great advantage of this fencing as you will hear hereafter in this text
 +
 
 +
Therein Liechtenauer names just five cuts with other plays that are sufficient for earnest fencing and teaches it according to the correct art, conducted straight and direct toward the closest and surest as simply as it can only derive and abandons all of the drumwork and newly invented cuts carried out by the ungrounded masters, that even still fundamentally derives from his art.
 +
 
 +
Also note this and know that one cannot speak or explain or write about fencing quite as simply and clearly as one can easily indicate and inform it by hand.
 +
 
 +
Therefore act on your judgement and extract the best of it and therein, exercise the bulk of that yourself in play which you think is the best in earnest.
 +
 
 +
Because practice is better than empty art. That is to say, practice is fully sufficient without art but art is not fully sufficient without practice.
 +
 
 +
Also know that a good fencer shall, ahead of all confrontations, command and clasp their sword certainly and surely with both hands between the hilt and the pommel. Because in this manner, they hold the sword much surer than when they grasp it by the pommel with one hand and it also strikes much harder and surer like this, when the pommel overturns itself and swings itself in accordance with the strike. For that strike arrives much harder than when one grasps the sword by the pommel. If someone yanks back their strike by the pommel, they cannot possibly arrive so completely and so strongly,
 +
 
 +
because the sword is just like a scale.
 +
 
 +
For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.
 +
 
 +
Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them
 +
 
 +
just as if you shall stand upright upon a scale, lunging backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.
 +
 
 +
And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.
  
This is the text of many good common lessons of the long sword
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You shall also have measuredness in your applications accordingly as it necessitates itself and you shall not step too wide, so that you may better adjust yourself to another's steps, done backwards or forwards according to that as it will necessitate itself.
  
If you wish to examine the art,
+
Also the situation often necessitates two short steps for one long.
Go left and right with cutting
 
And left with right
 
That is, if you desire to fence strongly.
 
  
Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then support the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.
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And often the situation necessitates that one must execute a little rush in with short steps and often that one must do it a good step or a spring.
  
The same when you cut from the left side and [you] do not support the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you support the cut with the same sided foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.
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And whatever you wish to sensibly conduct in play or in earnest, you should make that out of place and disordered in the eyes of the opponent so that they do not identify what you intend to conduct against them.
  
Again, the text about a lesson
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And then as soon as <ref>The silver "soon" was added later above the line</ref> you arrive at the opponent and have their measure so that you think you will posses and reach the opponent well in this, Then you shall boldly storm toward the opponent and swiftly and quickly descend upon their head or body. Hit or miss, you will have always won the fore-strike which does not allow the opponent to come into action with anything as you will better hear hereafter in the common lore, etc.
Whoever chases after cuts
 
They permit themselves little opportunity for art.
 
Cut from close proximity whatever you wish
 
No change gets past your shield
 
To the head, to the body
 
Do not omit the stingers<ref>Zeck: Tick. (Rostock)Zeckruhr: Insect bites</ref>
 
With the entire body
 
Fence whatever you desire to conduct with strength.<ref>possibly: `strongly desire to conduct`</ref>
 
  
Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themelves little opportunity from art because they often become struck with it.
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One shall also always prefer to target the upper openings rather than the lower and one comes in over the hilt with cuts or with thrusts, boldly and quickly. Because you reach the opponent much better and further over the hilt than under it. And one is also much surer of all fencing like this and the upper attack one is much better than the lower one. But if it happens that you are nearer to the lower, then you must target that, as this often occurs.
  
Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.
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Also know that one shall always come up on the right side of the opponent in their applications. Because you can better control the opponent in all confrontations of fencing or wrestling than directly in front of them.
  
Again, a lesson.
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And whoever both knows and delivers this play well, they are not a bad fencer.
Hear what is bad.
 
Do not fence lefty from above if you are a righty
 
And if you are lefty,
 
In the right [you] are also severely hindered.
 
  
Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish. The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.
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Also know when you wish to fence earnestly, stick to a polished play, whichever one you wish that is completely natural right then and take it to the opponent earnestly and keep it in your mind and being, when you wish to do it, just as if you would say: "This I mean to truly conduct" and this shall and must have success with the help of God.
  
This is the text and learn a lesson about before and after.
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In this way, it cannot fail you at all. You do what you should whenever you boldly storm in and let fly with the fore-strike, as one will often hear hereafter.
Before and After, the two things
 
Are the singular origin of the entire art.
 
Weak and strong
 
Indes, note them with this word
 
So that you may learn
 
To work and ward with art.
 
Whoever frightens easily
 
Never learns to fence.
 
  
Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing.
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In all fencing
 +
Requisite is: The help of God of righteousness,
 +
A straight and healthy body,
 +
A soundly manufactured sword, especially,
 +
Before, after, weak, strong
 +
Indes, the word to distinguish by.
 +
Hews, stabs, slices, pressing,
 +
Position, defending, shoving, feeling, disengaging,
 +
Winding and hanging,
 +
Checks, sweeps, dashes, grabbing, wrangling,
 +
Speed, audacity,
 +
Prudence, astuteness and ingenuity
 +
Acumen, premeditation, ability
 +
Measure, obscuration,
 +
Practice and good spirit,
 +
Mobility, flexibility, good steps.
 +
In these seven couplets<ref>lit: verses</ref>
 +
The fundamental principles
 +
And concerns
 +
And the entire matter
 +
Of all of the art of fencing are labelled for you.
 +
You shall consider these correctly
 +
As you will also actually
 +
And in particular hereafter
 +
Hear or read
 +
Each according to its qualities.
 +
Fencer, take heed of it
 +
So will these arts reveal to you the art, indeed,
 +
Of the entire sword
 +
And many good lively applications.
  
Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.
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Motion, that beautiful word,
 +
Is the heart and crown of fencing
 +
The entire matter
 +
Of fencing with all the concerns
 +
And the sound components
 +
Of the fundamentals. These movements
 +
Are labelled by name
 +
And will be introduced to you better hereafter.
 +
However you then fence,
 +
You are to be subsequently well versed with it
 +
And are to stay in motion
 +
And do not pause the moment you
 +
Begin to fence
 +
Then you execute with authority
 +
Continuously and decisively
 +
Boldly one after the other
 +
In one fluid motion
 +
Without pause, without gaps
 +
So that the opponent cannot come
 +
To strikes. Of this you take advantage
 +
And the opponent harm.
 +
Because they cannot come away
 +
From you unstruck.
 +
Just do this according to this advice
 +
And according to this teaching
 +
That is written now
 +
For I say to you truthfully,
 +
The opponent does not defend themselves without danger.
 +
If you understand this
 +
They cannot come to blows with anything.
  
Here note that which is called the after.
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Here note that constant motion according to this art and lore arrests the opponent in the beginning, middle and end of all fencing. In this way you complete the beginning, middle and ending in one fluid motion without pause and without the hindrance of your adversary and you do not allow the opponent to come to blows with anything.
Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you.
 
  
Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play. Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.
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Because of this, the two words, "before, after", arise. That is, fore-strike and after-strike. Continuously and at one time as if left without any middle<ref>latin</ref>
  
The strong of their sword
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This is the general preface of the unarmored fencing on foot. Mark this well.
And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist<ref>wiederhalten: lit. 'hold against'. To withstand, resist</ref> when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.
 
  
The text of the five cuts
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Young knight learn
Learn five cuts
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to love God. Ever honor women,
From the right hand, whoever invests in these,
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Thus cultivate your honor.
We swear to them
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Practice knightcraft and learn
To gladly pay them back in skills.
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art that decorates you
 +
and in wars serves you well.
 +
Wrestling's good grips,
 +
Lance, spear, sword and messer,
 +
manfully brandish
 +
and in other hands ruin.
 +
Attack suddenly and storm in,
 +
sweep forth, engage or let pass.
 +
Thus the intellectuals hate him,
 +
Yet this one sees glories.
 +
Thereupon you hold,
 +
all things have time and place.
 +
And whatever you wish to conduct,
 +
you shall stay in the realm of good reason.
 +
In earnest or in play,
 +
have a joyous spirit with moderation
 +
so that you may pay attention
 +
and consider with a good spirit
 +
whatever you shall command
 +
and whip up against the opponent.
 +
Because a good spirit with authority
 +
makes someone's rebuke timid.
 +
Thereafter, orient yourself.
 +
Give no advantage with anything.
 +
Avoid imprudence.
 +
Do not step in front of four or six
 +
with your overconfidence.
 +
Be modest, that is good for you.
 +
It is a brave man
 +
that dares to confront their equal.
 +
It is not shameful
 +
to flee four or six at hand.
 +
If one cannot flee,
 +
then do something cunning, that is my advice.
 +
 
 +
This is a general lesson of the sword:
 +
 
 +
If you wish to show skill,
 +
Move yourself left and right with cutting.
 +
And left with right
 +
Is what you strongly desire to fence.
 +
Whoever chases after cuts,
 +
They permit themselves to enjoy the art in small amounts.
 +
Hew from close whatever you wish,
 +
No changer comes on your shield.
 +
Do not cut to the sword.
 +
Rather, keep watch of the openings.
 +
To the head, to the body,
 +
Do not omit the stingers.
 +
With the entire body
 +
Fence whatever you desire to conduct strongly.
 +
Listen here to what is bad:
 +
Do not fence from above left if you are right.
 +
And if you are left,
 +
You are severely hindered on the right.
 +
So always prefer
 +
To fence from above left downwards.
 +
Before/After the two things
 +
are the one origin of all art.
 +
Weak and strong,
 +
Indes, mark this word with them.
 +
So you can learn
 +
To defend yourself with art and work.
 +
If you terrify easily,
 +
Never learn any fencing.
 +
Audacity and swiftness,
 +
Prudence, astuteness and ingenuity,
 +
Acumen, concealment,
 +
Measure, obscuration, scouting and skill
 +
Fencing will have
 +
And carry a joyous spirit.
  
Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themelves against you in defence. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.
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General gloss hereafter.<ref>latin</ref>
  
This is the text of the plays of the recital
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First of all, note and know that the point of the sword is the center, the middle and the core of the sword from which all applications leave and come back into it.
Wrathcut Crook and Cross,
 
If the Eye Cocker keeps with the Parter,
 
The Fool parries.
 
Pursuing, Overrunning, places the attack
 
Disengage, Suddenly withdraw,
 
Rush through, cut off, press the hands
 
Tilt and Turn to uncover with
 
Slash, catch, sweep, stab to clash with
 
  
Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them.
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Thus the hangings and the windings are the tilts and the turns of the center and of the core. From them, quite a few good plays of fencing also come.
  
They are seventeen in number and begin with the five cuts
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And they were invented and conceived so that a fencer, who initiates a cut or thrust to the quarters, of course may not hit every single time; yet they can hit someone with those same cutting, thrusting or slicing plays; by stepping out and in; and by lateral stepping or springing.
Another. Now note the first cut called the wrath-cut
 
The second the crooked cut
 
The third the crosswise cut
 
The fourth the cockeyed cut
 
The fifth the scalp-cut
 
  
The sixth this is the four guards
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And if you mislaid or over extended the point of your sword by lunging or by shooting, then you can realign and withdraw and shorten it again by winding or moving away in such a fashion that you again come into the certain plays and precepts of fencing. From them, you can deliver cuts, thrusts, or slices.
The seventh the four parries
 
The eighth Pursuing
 
The ninth the overrunnings
 
The tenth the displacements
 
The eleventh disengaging
 
The twelfth yanking back
 
The thirteenth the rush throughs
 
The fourteenth the cut offs
 
The fifteenth the hand presses
 
The sixteenth the hangings
 
The seventeenth this is the winds
 
  
And how you shall uncover with the hanging and winding and how you shall conduct all the aforenamed plays, you find that all written hereafter.
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For according to Liechtenauer's art, these cuts, thrusts and slices all come from the applications and precepts of the art of the sword, as you will hear hereafter about how one play and precept comes from the other and how one fashions one of these from the other such that if the one will be warded off, then the other hits and has success.
  
This is the wrath-cut with it's plays
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Secondly, note and know that no part of the sword was neither invented nor conceived without a purpose. Namely, a fencer shall utilize the point, both edges, the hilt, the pommel and the like on the sword in accordance with it's particular precept in the art of fencing, which these practices possess and promote in accordance as well, as you will hereafter see and hear each in particular.
  
Whoever cuts at you from above,
+
Also note and know by this, when he speaks, "If you wish to examine the art, etc", that he means that a skilled fencer, they shall advance the left foot and cut from the right side directly to the opponent with threatening cuts as long as they see where they may certainly have the opponent and reach certainly with their stepping.
The wrath-cut point threatens them
 
  
Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.
+
And he means: "when someone wishes to fence strongly", so shall they fence out from the left side with the entire body and full power to the head and to the body alone wherever they can hit and never to the sword, in particular, they shall do it as if the opponent has no sword and as if they cannot see it and they shall not omit any stingers nor wounds, rather always be in work and in contact so that the opponent cannot come to strikes.
  
Yet another play from the wrath-cut
+
He also means that you shall not follow and step directly behind your attacks, rather, do it somewhat sideways and curved around so that you come to the side of the opponent, where you can get at them better with everything than by frontally on.
If they become aware of it,
 
Then take off above without concern
 
  
Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.
+
Whatever you subsequently cut or thrust at the opponent at that moment, cannot be defended nor lead off well by them by disengaging in any way nor by any other techniques, provided that the cuts and thrusts go in directly to the openings, be it to the head or to the body, with lateral stepping and lunging.
  
Yet another play from the wrath-cut
+
Also note and know by this when he speaks, "before, after the two things, etc" that he means the five words: before, after, weak, strong, Indes. The entire art of Master Liechtenauer's derives from these very words which are the foundation and the core of all fencing on foot or on horse, uncovered or in harness.
Be strong in turn
 
And thrust. If they see it, take it again[sic]<ref>Rostock: 'nider' => 'down'</ref>
 
  
Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.
+
By the word 'before', he means that every good fencer shall posess and have won the fore-strike every time they hit or miss. As Liechtenauer says: "Attack suddenly and storm in, sweep forth, engage or let pass". Whenever you either walk or rush toward the opponent, just as soon as you can see that you can reach them with a step or with a spring, then wherever you see them open somewhere, you shall move in with confidence, be it to the head or to the body, boldly without any fear, wherever you can most certainly get them. For in this way, you always win the fore-strike, not matter if the opponent ends up safe or not.
  
Yet another play from the wrath-cut
+
And you must also be shrewd in your steps and shall have measured them correctly so that you do not step too short nor too long.
When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.
 
  
A break against the taking off
+
Now, whenever you successfully execute the fore-strike, seamlessly follow up the hit.
Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind <ref>Rostock: "wind stark..." => "twist strongly"</ref>strongly with the long edge from high towards their head.
 
  
Here note a good lesson.
+
But If the opponent wards off your fore-strike, be it a cut or thrust by leading off or controlling with their sword, then while you’re still against your opponent’s sword, as they are leading you away from the opening in which you targeted, you must quite precisely note and feel whether they are soft or hard, weak or strong against your sword in their leading off and defense of your cuts and thrusts.
Note this precisely:
 
Cut, thrust, guard; soft or hard,
 
Indes and before after[sic]<ref>Rostock garbles Indes with 'Jun ger'</ref>
 
Without rush, your war is not hasty.<ref>Rostock: "dem krieg"</ref>
 
Whoever hunts the war
 
Above, will be exposed below.
 
  
Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush<ref>Rostock: has "arbaiten(to work)" instead of "hurten"</ref> upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.
+
If it then happens that you clearly now feel how the opponent lies in their application, and they are strong and hard, Indes, at the moment you completely notice and feel that, you shall, Indes or during the time the opponent defends themselves, be soft and weak and in that before the opponent can come to blows, you shall then execute the after-strike.
  
Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.
+
That is to say that you shall immediately, while the opponent defends themselves and wards off your fore-strike (be it cut or thrust), seek other applications and plays. With these, you shall again storm and sweep toward their openings such that you stay continuously in movement and in action. In this way you confound and rattle them. Thus the opponent has altogether so much to manage with their defending and warding off that they, the defender, cannot come to their blows.
  
How one shall properly find cuts and thrusts in all windings
+
Because one who shall defend themselves and fixate on the oncoming strikes, they are always in greater danger than those that strike at them because they must always either ward off those strikes or must allow themselves to be hit, so that they themselves can burdensomely come to blows.
In all winding
 
Learn to properly find cut, thrust.
 
You shall also with that gauge,
 
cut, thrust or slice
 
In all encounters
 
Of the masters, if you wish to dishonor them.
 
  
Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct<ref> Rostock adds: "der heúe, oder stich, od shnit" </ref>. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themelves against you.
+
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they cannot come to blows if you otherwise perform according to the five words. This sermon completely gets at this and all fencing" This is why a peasant often slays a master, becauser they have been bold and have won the fore-strike according to this lesson.
  
About the four openings
+
Because with the before, as was spoken about earlier, he means that you should with a good fore-strike or first strike, storm in and sweep forth boldly, without fear to the opening, to the head or to the body. You either hit or miss in such a way that you suddenly rattle the opponent and startle them such that they do not know what to do about it and also before they recover themselves against it again or come back at you and the opponent has truly so much to manage to defend and to warding off that they cannot possibly come to blows.
Know the four openings
 
Take target so that you strike wisely
 
Without any fear
 
Without doubt however they are situated.
 
  
Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themelves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.
+
Because if you execute the first strike or the fore-strike and the opponent then wards, in that very warding off and defending, you always subsequently arrive earlier to the after-strike than the opponent to their first.
  
The text and the gloss about the doubling and about the mutating. How they break the four openings.
+
Then you can immediately start to work with your pommel or possibly come into the crosswise cuts (these are especially good) or else cast the crosswise cut over the sword. By this you arrive at other applications or else you can initiate many other things before the opponent comes to blows as you will hear how you fashion from one to the other such that the opponent cannot come away from you unstruck if you otherwise execute according to this lesson.
If you wish estimate for yourself how
 
To artfully break the four openings
 
Double above
 
Mutate right below
 
I say to you truthfully
 
No one defends themelves without danger
 
If you have properly understood this,
 
They can scarcely come to blows, etc.
 
  
Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themelves from that and can neither come to strikes nor to thrusts.
+
That is to say you shall execute the fore-strike and the after-strike promptly and swiftly after each other as if it were possible to accomplish it together with a single thought and with single strike. It is fully possible for you to arrive at this situation. If you ward the opponent's fore-strike, then you must ward it off with your sword and and in this way the opponent must surely come against your sword.
  
The doubling
+
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against the sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.
Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.
 
  
Note the mutating
+
If the opponent withdraws themselves, just as you both come together against your swords and the points extend toward each other, to the  openings, then with their withdrawing, before the opponent can recover themselves again for a new cut or thrust against you, immediately follow them with your point, with a good thrust to their breast or anywhere directly forward, wherever you can connect most surest and closest, in this way the opponent cannot come away from your sword unharmed with anything.
Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.
 
  
The crooked cut with it's plays
+
This is because, with your following, you were, to be sure, closer at hand to the opponent with it as you sent your point forwards, targeting them against their sword according to what is closest and shortest, when the opponent delivers a new cut or thrust wide around with their withdrawal.
  
Crook up swiftly
+
In this way, to be sure, you always come earlier to your after-strike or thrust than the opponent to their first.
Throw the point onto the hands
 
  
Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.
+
And this is what Liechtenauer means by the word, "After"
  
Yet another play from the crooked cut
+
The moment you have executed the fore-strike, you shall immediately execute the after-strike seamlessly of the previous action and stay continuously in motion and action and continuously conduct one after the other. If the first fails, the second, third, or fourth hits and the opponent truly cannot come to blows,
Crook. Whoever fully commits
 
Disrupts many cuts with stepping.
 
  
Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.
+
because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.
  
Yet another play from the crooked cut.
+
But if the opponent stays with it against the sword, as they have come against your sword, such that you have remained with the opponent against their sword and they have not yet executed the after-strike, then you shall wind and stay with them in this way against the opponent's sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.
Hew crooked to the flats of
 
The masters if you wish to weaken them.
 
  
Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.
+
Then if you note and feel that the opponent is strong, hard and fixed against your sword and now intends to force their sword through, then you shall be weak and soft in response and you shall yield and give way to their strength and you shall let their sword push through and travel with their forcing such that when they do that, you shall then deftly let their sword promptly and swiftly stray and recede, and you shall deftly speed in towards their openings, either to their head or their body with cuts thrusts and slices only where you can approach the closest and the surest.
  
Yet another play from the crooked cut
+
Because when you are weak and soft in response and let their sword stray and you yield to them in this way, the harder and the surer the opponent pushes and presses with their sword, the further and the wider they then push their sword away such that they become completely open so that you can then hit our wound them according to desire before they can recover themselves from their own cut or thrust.
  When it sparks above
 
  So stand aside, that I will laud.
 
  
Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast
+
But if the opponent is weak and soft against the sword in this way, just as you clearly note and feel that, you shall then be strong and hard against their sword in response and you shall then against their sword, move in strongly with your point and simultaneously flow in forwards towards their openings, whereever you can that is closest, just as if a cord or thread were bound at the end of your point, which guides your point to their opening in the shortest way. The
  
Yet another play from the crooked cut
+
And with that thrust that you executed, you become fully aware whether the opponent is so weak that the opponent lets your sword force them out and allows themselves be struck.
Don't crook, cut short
 
Disengage and with that expose them
 
  
Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.
+
But if the opponent becomes strong against your sword in turn and defends and leads off your thrust in this way, such that they force your sword away, you shall again become weak and soft in response and shall allow their sword to stray and yield to them and swiftly seek their openings with cuts, thrusts and slices, however you readily can.
  
Note how one shall break the crooked cut.
+
And this is what Liechtenauer means by the words, "Soft and Hard"
Whoever foils you crooked,
 
The noble war confounds them
 
That they do not thruthfully knows
 
Where they are without danger.
 
  
Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.
+
And this follows the authorities. As Aristotle spoke in the book Perihermanias: "Opposites positioned near themselves shine greater, or rather; opposites which adjoin, augment. Weak against strong, hard against soft, and the contrary." For should it be strong against strong, then the stronger would win every time.
  
Another break for the crooked cut
+
Therefore Liechtenauer undertakes fencing according to the more equitable and durable art, so that one weaker and cunning with their art wins as surely as one stronger with their strength.
Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above.
 
  
Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.
+
How could the art work differently? Therefore fencer, learn to feel well in the manner Liechtenauer spoke: "Learn the feeling. Indes, that word slices sharply", because when you are against the sword of the opponent and at that moment clearly feel whether the opponent is weak or strong against the sword, Indes or during that, so then you can consider and know what you shall execute against the opponent according to the aforementioned lore and art well.
  
The crosswise cut with it's plays
+
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". If you act according to this lesson, persisting in this way well so that you always have possessed and won the fore-strike and as soon as you execute that, you then execute the after-strike (that is, the second, the third or the fourth strike, be it cut or stab) afterwards in one fluid motion, immediately without refrain then the opponent can never come to blows.
  
The cross seizes
+
If you then come onto the sword with them, be sure in feeling and execute as was written before.
Whatever arrives from the roof
 
  
Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this:<ref>Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."</ref>When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.
+
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.
  
A play from the crosswise cut
+
And whatever you conduct and initiate, always have measure and moderation. That is to say, if you have won the fore-strike, then don't do it so impetuously and so powerfully that you then cannot recover yourself for the after-strike.
  
Cross with the strong
+
About this, Liechtenauer spoke: "Thereupon you hold, all things have moderation and measure". And also understand this in the stepping and in all other plays and precepts of fencing, etc.
With that note the work
 
  
Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.<ref>Rostock: supplies the missing verb, 'windest'</ref> then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.
+
This is the text, wherein he names the five cuts and other plays of fencing.
  
Yet another play from the crosswise cut
+
Learn five cuts
Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,<ref> alternately, wiederhalten: to struggle or resist</ref>, then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.
+
from the right hand
  
Yet another play from the crosswise cut
+
Wrathcut Crook and Cross,
Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.
+
If the Eye Cocker keeps with the Parter,
 +
The Fool parries.
 +
Pursue and Overrun, disrupt attacks
 +
Disengage, Suddenly withdraw,
 +
Rush through, Cut off, Press the hands
 +
Tilt and Turn to uncover with
 +
Slash, catch, sweep, stab to clash with
  
Another play
+
This is about the Wrath cut, etc.
Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.
 
  
[Glasgow]
+
Whoever makes a descending cut at you
 +
The point of wrathcut threatens them
 +
If they become aware of it
 +
Then abscond above without concern.
 +
Be strong in turn
 +
Wind. Stab. If they see it, then take it below
 +
Precisely note this
 +
Cuts, thrusts, positions, soft or hard
 +
Indes and before, after
 +
Without rush, your war is not hasty.
 +
For the one whose war takes aim
 +
Above, they will be shamed below.
 +
In all winds
 +
Cut, stab, slice learn to find
 +
Also with that you shall
 +
Gauge cut, stab or slice
 +
In all encounters
 +
Of the masters, if you wish to dishonor them.
 +
Do not cut to the sword,
 +
Rather, keep watch for the openings
 +
Of the head, of the body
 +
If you wish to remain without harm
 +
You hit or miss
 +
Considering as follows so that you target the openings
 +
In every lesson,
 +
Turn the point toward the openings.
 +
Whoever cuts around widely,
 +
They will often be shamed severely.
 +
In the most direct way possible,
 +
Deliver sudden cuts, stabs wisely<ref>`wisely` inferred from the summary</ref>.
 +
And one shall also always step
 +
To their right side
 +
So that you can begin
 +
Fencing or wrestling with advantage.
  
Here note the break against the upper crosswise cut
+
Gloss. Here note and know that Liechtenauer calls a descending cut struck from the shoulder the wrath cut. "Because when someone is in their wrath and fury, there is no cut as ready as this descending cut straight from the shoulder to the opponent."
Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themelves the same way with your sword.
 
  
Here note the break against the low cross strike
+
What Liechtenauer means by this is when the opponent begins to strike with a descending cut, you shall cut with the wrath cut in turn, whereby you soundly shoot the point against them.
Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other<ref>Rostock: "unternn" => "lower"</ref> opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.
 
  
[Dresden]
+
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.
  
How one shall strike with the cross to the four openings
+
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.
Cross to the plow
 
Yoke hard to the ox
 
  
Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.
+
If they defend your thrust, separate and immediately initiate a cut below where you hit their legs. in such a way that you continuously conduct one after the other, so that the opponent cannot come to blows.
Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.
 
  
Yet another play from the crosswise cut
+
And the afore mentioned words: "before, after, Indes, weak, strong" and "cuts, thrusts and slices"; you shall fully consider these all at once and in no way forget them in your applications.
When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called sriking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.
 
  
Whoever crosses themelves well
+
You shall also not seriously rush the war, because if something fails you above, then you hit below as you will hear about how you build one cut, thrust, and slice off of the other according to the legitimate art
Threatens the head by springing.
 
  
Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.
+
and you shall not cut at the opponent's sword, rather at the opponent, rather to the head and to the body, wherever you can, etc.
  
[Glasgow]
+
One can also take it where the first verse could go like this: "Whomever you cut the wrath cut over, the point of the wrath cut threatens them, etc." Just act according to this lesson and be continuously in motion. You either hit or not such that the opponent cannot come to blows. And always step out well to the side with cuts.
  
This is the text and the gloss of yet another play from the crosswise cut and is called the failer.<ref>The Rostock title matched the Dresden</ref>
+
Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.
  
Whoever credibly executes the failer
+
That is the descending cut and the rising cut from both sides.
They wound according to desire from below
 
  
Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.
+
They are the chief cuts and foundation of all other cuts as these cuts  fundamentally and by principle come from the point of the sword, which is the core and the center of all other plays here as was written about well before.
  
[Dresden]
+
And from those two cuts come the four parries from both sides. With them you disrupt and break all cuts, thrusts or positions. And from them you also come into the four hangings. From them you can conduct the art well as one shall hear hereafter.
  
Yet another play from the crosswise cut and this is called the inverter
+
And however you may fence someone in particular, your point shall ever and always be turned toward the opponent's face or breast so that each and the opponent must continually discourage themselves. Thus they cannot preempt you, for you are closer to them than they are to you.
  
The inverter constrains.
+
And if it comes to be that the opponent has won the fore-strike, then you shall be secure and sure and be quick with turning. And as soon as you have turned, you shall immediately speed in promptly and swiftly. And your point shall always seek the opponent's breast, rotating and positioning yourself against it, as you will hear of better hereafter.
The one who slips across also wrestles with it.
 
Take the elbow surely
 
Spring into their stance.
 
  
Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find heareafter in the slipping through.
+
And the point, as soon as you come against the sword of the opponent, it shall always come about a half an ell away from the opponent's breast or face and take especially good care that you intend to arrive inside that and certainly in the most direct way and not wide around, so that the opponent cannot come first because of you. Provided you will not allow yourself to become lax and hesitant and ward too lazily nor be willing to arrive too wide and too far around.
  
Yet another play from the failer
+
This is about the four openings, etc, etc.
Double the failer
 
If they make contact, make the slice with it
 
  
Glossa. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.
+
Know the four openings
 +
Target so that you strike wisely
 +
Without any fear
 +
Without doubt however they are situated.
  
Yet another play from the failer
+
Gloss. Note here that Liechtenauer tiles a person in four parts, just as if he made a line right down the front of their body from the top of the head to down between their legs. And the second line that crosses over their body at their waist,
  
Double further
+
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.
Step in left and do not be lazy
 
  
Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below<ref>omitted in dresden</ref> and immediately strike back around to the right side of their head and with that<ref>mit omitted in the glasgow</ref> from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.
+
These are the four openings, each of which have their particular applications.
  
The cockeyed cut with it's plays
+
He takes aim of these and never the sword, only the openings.
  
The cockeyed cut breaks inside
+
If you wish arrange yourself
Whatever the buffalo strikes or thrusts
+
To artfully break the four openings
Whoever threatens to change,
+
Double high
The cockeyed cut robs them of it.
+
Mutate right down
 +
I say to you truthfully
 +
No one defends themselves without danger
 +
If you have understood this,
 +
They can scarcely come to blows, etc.
  
Gloss. Note here that the cockeyed cut is a cut that intrudes into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cuts in from above from their right side, then you also cut from your right against their cut with upright arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cut in this way when they stand against you in the guard of the plow or when they will thrust at you from below.
+
This is about the crooked cut, etc.
  
Yet another play from the cockeyed cut
+
Crook up swiftly
 +
Throw the point onto the hands
 +
Whoever waits well crooked
 +
Disrupts many cuts with stepping.
 +
Cut crooked to the flats
 +
Of the masters if you wish to weaken them
 +
When it sparks above
 +
Then dismount, that I will praise
 +
Don't crook, cut short
 +
With that, look for the disengage
 +
Crook whoever tricks you
 +
The noble war bewilders them
 +
For they do not truthfully know
 +
Where they are without danger
  
Cock an eye, If they short change you,
+
Here note and know that the crooked cut is a descending cut which is undertaken crookedly with a good step out likewise to one side.
Disengaging defeats them
 
  
Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.
+
What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways to the right side, then deliver your attack
  
[Glasgow]
+
and you shall crooked cut well and swiftly
  
Another. All fencers, which fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.
+
and you shall throw or shoot your point over the opponent's hilt at their hands
  
[Dresden]
+
and you shall cut to the opponent's flat. Then if you hit their flat, remain strong upon it and press firmly
  
Yet another play from the cockeyed cut
+
and you shall cut with your flat. Then if you hit their sword, remain strong upon it and press firmly
  
Squint to the point
+
and you shall look for whatever you can subsequently most decisively and directly deliver using cuts, thrust or slices
And take the neck without fear.
 
  
Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.
+
and you shall cut too short with anything
  
Yet another play from the cockeyed cut
+
and you shall not forget about disengaging, when it merits it
  
Squint to the top of the
+
There is one attack called the failer and it comes from the crooked cut and it lay written after the crosswise cut where the hand is drawn and it should lay before the crosswise cut and it comes in crookedly and obliquely from below, over the hilt of the opponent, shooting in with the point, just like the crooked cut down from above.
Head if you wish to ruin the hands.
 
  
Gloss. Note when the opponent wishes to cut in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.
+
This is about the crosswise cut, etc.
  
The part cut
+
The crosswise cut seizes
Is a threat to the face
+
Whatever arrives from the roof.
 +
Cross with the strong
 +
Remember your work with it.
 +
Cross to the plow
 +
Yoke it hard to the ox
 +
Whoever crosses themselves well
 +
Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing
 +
The failer misleads
 +
It wounds according to desire from below
 +
The inverter constrains.
 +
The one who rushes through also wrestles with it.
 +
Take the elbow surely
 +
Spring into their stance.
 +
The failer doubles.
 +
If they make contact, make the slice with it.
 +
Double it further
 +
Step to the left and do not be lazy
  
Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.
+
Because all fencing
 +
Will by all rights have speed
 +
Also in it: audacity,
 +
Prudence, astuteness and ingenuity
  
[Rostock]
+
Gloss. Here note and know that of the entire sword, no cut is as intrepid, as intense, as definitive and as good as is the crosswise cut.
This is the part cut with its plays The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cut in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.
 
  
[Glasgow]
+
And you undertake the crosswise cut to both sides alike, with both edges, the back and the front; to all openings, below and above.
Another. If the opponent firmly shoves your point  upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.
 
  
[Rostock]
+
And everything that arrives from above, (which are either the descending cuts or whatever else comes down from above) one breaks those and one wards those with the crosswise cuts.
One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref>, withdraw it with slicing. Gloss. Note when you cut in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.
 
  
[Dresden]
+
You can deliver these well or your sword well, respectively, if you hurl your sword out in front of your head, (to whichever side you wish) just as if you would come into the upper hanging or winding, only that in the crosswise cut, the flats of their sword are turned: one above or upward, the other below or downward; and the edges to the sides They cross, one to the right and one to the left side.
A play from the part cut
 
With their turn
 
Firmly threatens the breast.
 
  
Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head using your hilt and set the point against their breast from below.
+
And it is quite good to come against the sword of the opponent with these crosswise cuts.
  
How the crown breaks the part cut
+
And that is because when you come against the sword of your opponent, at the moment it actually happens, they can arduously come away from it, but they will be struck on both sides with crosswise cuts.
Whatever comes from them,
 
The crown takes that away
 
  
Gloss. Note when you cut in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.
+
Just at the point you deliver a crosswise cut, to whichever side it is, be it above or below, always move your sword up with the hilt in front of the head with your hand flipped over, so that you are absolutely warded and covered.
  
How the slice breaks the crown.
+
And you shall deliver the crosswise cuts with some strength.
  
Slice through the crown
+
And when you shall fence for your neck, you shall proceed with the afore written lore so that you win the fore-strike with a good crosswise cut.
So you break the hard beautifully
 
Press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref>
 
Withdraw it with slicing.
 
  
Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.
+
Whenever you close with your opponent, as soon as you realize that you are able to reach the opponent with a step or a spring, you burst in high from the right side with a crosswise cut with the back edge forwards directly to the opponent's head
  
These are the four positions
+
and you shall let your point shoot and you shall come crosswise so completely that the point winds and hinges (or wraps) itself around the opponent's head like a belt.
Four positions alone
 
Defend from those and eshew the common
 
Ox, plow, fool
 
From-the-roof are not dispised by you.
 
  
Gloss. This is about how you shall not operate from any other position than from these four that will be named here.
+
Because when you come in from the side well with a good step or dash offline, the opponent must arduously defend or avert this.
  
The first guard
+
And then whenever you win the fore-strike with the crosswise cut in this fashion on one side, whether you hit or miss, you shall then immediately without pause win the after-strike with the crosswise cut on the other side in one fluid motion with the forward edge before any strike or any little thing can somehow redeem the opponent according to the afore-written lore.
The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.
 
  
The second gaurd
+
And you shall then crosswise cut to both sides to ox and to plow. That is, into the high openings and into the low ones respectively from one side to the other, below and above, ceaselessly without pause in this way, so that you are constantly in motion and do not allow the opponent to come to blows.
The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.
 
  
The third guard
+
And each time you do a crosswise cut above or below, you shall always come completely to the side and throw your sword horizontally from above well in front of your head so that you are well covered.
The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms
 
  
The fourth guard
+
This is about the cockeyed cut, etc.
From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.
 
  
These are the four parries that disrupt or break the four guards
+
The cockeyed cut breaks inside
Four are the parries
+
Whatever the buffalo cuts or thrusts
That also severly disrupt the positions.
+
Whoever threatens to change,
Guard yourself from parrying
+
The cockeyed cut robs them of it.
If it happens by necessity, it hurts you
+
Cock an eye. If they short you,
 +
Disengaging defeats them.
 +
Cock an eye at the point
 +
And take the neck without fear
 +
Cock an eye at the top of the head
 +
If you wish to ruin the hands.
 +
Cock an eye against the right
 +
If it is that you desire to fence well.
 +
The cockeyed cut I prize,
 +
if it does not arrive too lazily.
  
Gloss. Note you have heard before that you shall fence from the four positions alone. You should simply know that the four parries are the four cuts as well.
+
Gloss. Here note and know that the cockeyed cut is a descending cut from the right side with the back edge of the sword in which the left side is chosen and it genuinely goes in slanted or skewed stepped off to one side to the right with a twisted sword and hand flipped over.
  
[Glasgow]
+
And this cut breaks that which the buffalo, that is a peasant, might strike down from above as they tend to do. (Just like the crosswise cut breaks this as well, as was written before)
This is the text and the gloss of the four parries that break the four positions
 
Four are the parries
 
That also severely disrupt the positions.
 
Guard yourself from parrying for two reasons
 
If it happens by necessity, it hurts you
 
  
Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.
+
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.
  
[Dresden]
+
And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging
The first cut is the crooked cut which breaks the guard of the ox.
 
  
The second is the crosswise cut which breaks the guard from-the-roof
+
and you shall cut cockeyed into the throat using the point boldly without fear
  
The third is the cockeyed cut which breaks the guard of the plow.
+
And wherever you see swords
 +
Yanked from their sheaths by the both of you
 +
Right then you shall become strong
 +
And precisely pay attention to their steps all at once.
 +
Before, after, the two things
 +
Gauge and pounce by precept
 +
Follow up all hits
 +
If you wish to make a fool of the strong.
 +
If they defend, the suddenly withdraw.
 +
Thrust. If they defend, press into them.
 +
The windings and the hangings,
 +
Learn to artfully carry out.
 +
And gauge the opponent's applications
 +
To see if they are soft or hard.
 +
If they fence with strength,
 +
Then you are artfully equipped.
 +
And if they attack wide or long,
 +
Shooting defeats them
 +
With your deadly rigor<ref>In all other extant versions this is "point"</ref>
 +
If they defend themselves, hit without fear.
 +
Attack suddenly and storm in,
 +
sweep forth, engage or let pass.
 +
Do not attack the sword,
 +
Rather keep watch for the openings
 +
You hit or miss
 +
Then keep it in your mind that you target the openings
 +
With both hands
 +
Learn to bring your point to the eyes.
 +
Always fence with sense
 +
And win the fore-strike every time.
 +
The opponent hits or misses,
 +
Immediately take target with the after-strike
 +
On both sides,
 +
Step to the right of the opponent
 +
So that you can begin
 +
Fencing or wrestling with advantage.
  
The fourth is the part cut which breaks the guard, the fool.
+
This is about the hair-cut, etc.
  
And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing
+
The part cut
 +
Is dangerous to the face
 +
With its turn
 +
And the breast is firmly endangered.
 +
Whatever comes from it
 +
The crown removes it.
 +
Slice through the crown
 +
So that you break it beautifully and hard
 +
Press the sweeps
 +
By slicing withdraw it
 +
The scalp-cut I prize
 +
If it arrives not too lazily.
  
A play against an act of parrying
+
This is about the four positions, etc.
  
If you are parried
+
Four positions alone
And however it has come to this
+
Defend from those and eschew the common
Hear what I advise
+
Ox, plow, fool,
Wrench off, cut quickly with haste
+
From-the-roof are not contemptible to you
  
Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.
+
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.
  
Yet another play against an act of parrying
+
Yet a person shall absolutely not lay too long therein in any confrontation. For Liechtenauer has a particular proverb: "Whoever lays there, they are dead. Whoever sets themselves in motion, they yet live." And that pertains to those positions that a person shall preferably set themselves in motion with applications. Because if you idle in the guards, you might lose your moment to act by doing that.
Note when you execute a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.
 
  
Yet another play against parrying.
+
Liechtenauer hardly maintains anything about these four positions, only that they come from the over and under hangings from which one may surely deliver applications.
  
Lodge against four regions
+
The first guard, plow, is this. When you lay the point forward, upon the earth or to the side. After displacing, this is also called the barrier-guard or the gate.
Learn to remain upon them if you wish to finish
 
  
Gloss. When you cut in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.
+
The second guard, ox is the high hanging from the shoulder.
  
[Glasgow]
+
The Fool truly breaks
This is the text and the gloss of yet another one of the plays against the parry.
+
Whatever the opponent cuts or thrusts
 +
Sweep using hanging
 +
Immediately place the pursuit
  
Lodge against four regions
+
The thrid guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly
Learn to remain upon them if you wish to finish
 
  
Gloss. This is for when you cut in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.
+
The fourth guard, the Roof, is long point.
  
[Dresden]
+
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.
Yet another play against parrying
 
  
Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.
+
It can also aptly be called the hanging over the head.
  
About pursuing
+
Also know that one breaks all positions and guards by attacking with these such that if you boldly initiate an attack, then the opponent must always come forwards and defend themselves.
Learn to pursue
 
Double or slice into the weapon
 
  
Gloss: This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.
+
That is why Liechtenauer doesn't maintain much about the positions and guards, rather he prefers to craft it so that the opponent discourages themselves, thus he gains the fore-strike, as has been shown above.
  
[Rostock]
+
This is about the four parries
This is about pursuing.
 
Learn to pursue
 
Double or slice into the weapon
 
  
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.
+
Four are the parries
 +
Which also severely disrupt the positions
 +
Guard yourself from parrying
 +
If this happens, it also severely beleaguers you.
 +
If you are parried,
 +
And as it happens
 +
Hear what I advise
 +
Strike off, cut swiftly with violence
 +
Lodge against four regions
 +
Learn to remain upon them if you wish to finish.
 +
Whoever parries well,
 +
This fencer disrupts many cuts.
 +
Because in the hangings
 +
You swiftly come with the parries.
  
[Dresden]
+
Gloss: Note here that the four parries are on both sides, with one upper and one lower on each side and they disrupt or break all guards or positions.
Yet another pursuing
 
Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.
 
  
[Rostock]
+
And however you, be it from above or below, carry off or dismiss the opponent's cut, thrust or slice with your sword can fully be termed parrying.
Or
 
if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.
 
  
About the couplings to the outside
+
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one explosive movement.
Two couplings to the outside
 
Your work begins thereafter
 
And gauge the application
 
Whether they are soft or hard
 
  
Gloss. Note the two couplings to the ouside are the two racings behind against the sword. Conduct it like this: When the opponent overcommits themselves attacking before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and guage whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.
+
But if it happens that you parry someone or avert a cut or thrust, you must immediately step in and accompany them on the sword so that the opponent cannot withdraw from you and then you must do whatever you can,
  
The other coupling to the outside
+
for however lightly you hesitate and delay, you take harm.
Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.
 
  
About the feeling and about the word Indes
+
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.
  
Learn the feeling
+
Also a good fencer shall fully learn how to come against the sword of the opponent and they must do that well with the parries, because they come from the four cuts (from each side, a descending cut and a rising cut) and move into the four hangings.
Indes, that word cuts sharply
 
Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing
 
  
And understand it like this: When one binds someone against their sword, in that, just as the swords spark together, you shall immediately feel, whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to thier senses.
+
For as soon as one parries from above or below, so shall they immediately come into the hangings.
  
Another. You shall think of the word Indes in all bindings of the sword because Indes doubles, Indes mutates, Indes slips through and Indes takes the slice. Indes wrestles. With Indes, take the sword. Indes puts whatever your heart desires into the art. Indes is a sharp word. Consequently, any fencer that knows nothing of this word, becomes cut. And this word, Indes, is also the key with which every art of fencing becomes unlocked.
+
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.
  
Pursuing
+
This is about the pursuing, etc, etc
  
Pursue twice,
+
Learn to pursue
If one hits, make the old slice from it.
+
Double or slice into the weapon
 +
Two couplings to the outside
 +
The work begins thereafter
 +
And gauge the opponent's application
 +
Whether they are soft or hard
 +
Learn to feel
 +
Indes, this word cuts sharply
 +
Pursuing twice,
 +
Make the old slice with it.
 +
Follow all hits
 +
Then strengthen if you wish to dishonor the masters
 +
In every lesson,
 +
Turn the point against one's face.
 +
With the entire body
 +
Pursue, always keep your point there.
 +
Also learn to swiftly
 +
Pursue, so you can end well.
  
Gloss. This is for when the opponent overcommits themselves attacking before you, pursue with a cut to their upper opening. Then if they rise up and bind against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you or slice from the sword through their jaw. Conduct this on both sides.
+
This is about the overrunning. Fencer look into this.
  
About overrunning
+
Whoever takes aim from below
Whoever hunts below
 
 
Overrun, then they will be shamed.
 
Overrun, then they will be shamed.
 
When it clashes above,
 
When it clashes above,
Strengthen, This I will praise.
+
Strengthen, This I wish to praise.
 
Make your work
 
Make your work
 
Or press hard twice.
 
Or press hard twice.
 +
Whoever presses you down,
 +
Overrun them, slash sharply again.
 +
From both sides
 +
Overrun and remember the slices.
  
Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the onset, you shall not parry them, rather await, such that you overrun them with a cut in at the head from above or lodge the point from above, so that they become shamed by you because all descending cuts and all logdings against from above reach over the lower.
+
This is about displacing. Learn this well.
  
Another. How one shall displace cuts and thrusts
+
Learn to displace
 
+
Skillfully disrupt cuts and thrusts
Learn to displace.
 
Skillfully disrupt cut, thrust.
 
 
Whoever thrusts at you
 
Whoever thrusts at you
Such that your point hits and their's breaks
+
Your point hits and their's breaks
 
From both sides
 
From both sides
 
You will hit every time, if you step.
 
You will hit every time, if you step.
 +
In every lesson,
 +
Turn the point against one's face.
  
Gloss. This is so that you shall learn to displace both cuts and thrusts alike with art such that your point hits them and theirs will be deflected and understand it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in turn against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and their's fails to.
+
This is about the disengaging, etc, etc.
 
 
Yet another play about displacing
 
Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.
 
 
 
About Disengaging
 
  
 
Learn to disengage
 
Learn to disengage
 
From both sides stabbing sharply with it
 
From both sides stabbing sharply with it
 
Whoever binds upon you
 
Whoever binds upon you
Disengaging surely finds the them
+
Disengaging surely finds them
 +
If you have changed through,
 +
Do not slash, thrust nor wind lazily.
 +
Do not cut into the sword
 +
Disengage, with that watch.
 +
 
 +
Gloss. Here note that disengaging goes in completely straight on both sides, down from above and up from below if it is to be otherwise conducted swiftly.
 +
 
 +
Now if you wish to disengage down from above on the right side, then make a descending cut straight at them then you shoot your point in over their hilt to their left side in such a way that you hit the same little hole and little window completely straight between the edges and the hilt.
 +
 
 +
If you connect, then you have won. If they ward it so that they lead off and press your point offline with their sword, then from that side let your point sink right around to the other side, under their sword, not wide around, rather, sink below against their sword so that you can keep close and from there move in quite swiftly over their hilt with a good, full thrust
 +
 
 +
and when you feel that you connected, fully follow through.
  
Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cut or thrust in in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and rush through and with that, gravely thrust in on the other side, so that you immediately find the opening of the opponent as is pictured here.
+
And the way you execute it on one side, be it from below or above, you execute it on the other.
  
[Glasgow]
+
And whoever binds with you, swiftly flow onwards to their opening against their sword with your point.
Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.
 
  
Another. Another.
+
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.
If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.
 
  
[Dresden]
+
Thereafter look to send cuts, thrusts, or slices to the openings.
About the yanking back
 
Tread close in binds,
 
So that yanking back gives good opportunities.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
 
Uncover the work that does them harm.
 
Suddenly withdraw in all engagements
 
If you wish to make a fool of the masters
 
  
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.
+
This is about withdrawing suddenly. Fencer note.
  
[Glasgow]
 
This is the text and the gloss about yanking back
 
 
Tread close in binds,
 
Tread close in binds,
So that yanking back gives good opportunities.
+
So that withdrawing suddenly gives good opportunities.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
If they work, slice so that it does them woe.
+
If they work, wind, that does them harm.
Suddenly withdraw in all engagements
+
Suddenly withdraw all engagements of the masters
If you wish to make a fool of the masters
+
If you wish to dishonor them
 +
Suddenly withdraw off of the sword
 +
And always be mindful of your path.
  
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head as it is pictured next to this, and work swiftly to their nearest opening by doubling or otherwise by other plays or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.
+
This is about rushing through. Look closely.
  
[Dresden]
 
About Slipping through
 
 
Rush through, let hang
 
Rush through, let hang
 
Grab with the pommel if you wish to grapple.
 
Grab with the pommel if you wish to grapple.
Whoever strengthens against you,
+
Whoever strengthens up against you,
 
Remember to rush through with it.
 
Remember to rush through with it.
 +
Rush through and shove.
 +
Invert if they reach for the pommel.
  
Gloss. Note this is for when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back<ref>Rostock: "and allow the blade to hang down behind you"</ref> and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.
+
This is about cutting off, etc, etc
 
 
Yet another slipping through
 
Another. When the opponent wishes to overpower you  in the onrush with strength from above using their sword, hold your sword by the pommel with the left hand and let the blade hang over your back. Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.
 
 
 
A wrestling at the sword
 
Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side using your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.<ref>this last sentence is highlighted and a drawn hand is pointing to it.</ref>
 
 
 
Yet another wresting at the sword
 
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.
 
 
 
Yet another wresting at the sword
 
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm using your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.
 
  
Yet another wresting at the sword
 
Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip
 
 
[Glasgow]
 
Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left using your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.
 
 
Yet another wresting
 
Another. When someone rushes in inside your sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left using your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.
 
 
[Dresden]
 
One other wrestling at the sword
 
Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them. This will vex them badly.<ref>this sentence is underlined</ref>
 
 
A sword disarm
 
Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades<ref>Glasgow adds: in the middle of the blade</ref> with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.
 
 
About cutting off
 
 
Cut off the hard ones
 
Cut off the hard ones
From below in both paths
+
From below in both paths.
 
Four are the slices
 
Four are the slices
 
With two from below, two from above.
 
With two from below, two from above.
 +
Crosswise cut whoever would slice.
 +
It easily evades the harm.
 +
Do not slice in fright,
 +
Always be wary of pursuing.
 +
You can slice well
 +
Any cross, just omit the pursuit.
 +
If you wish to remain without harm,
 +
Then do not be too eager with the slicing.
  
Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop<ref>Glasgow: traverse</ref> into their arms using the short edge and press upwards as before.
+
This is about the hand pressing, etc, etc.
  
Yet another slice
+
Turn your edge
Another. When you bind strongly on their sword using a cut or otherwise, then if the opponent allows their sword to bounce away from yours and strikes at your head from above, then hang off your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.
+
Into the flats. Press the hands.
 
+
Another is turning
Yet another slice
+
One's winding. The third, hanging.
Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above using your long edge. Conduct this on both sides.
+
If you wish to make the fencers
 
+
Weary, then press with collision
Abount the transformation of the slice
+
Over the hands,
 
+
If one cuts, slice swiftly.
Turn your edges
+
Also draw your slices
To flatten, press your hands
+
Up out over the head.
 +
Whoever presses the hands
 +
Without harm, suddenly retracts the forefinger.
  
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side and with that press their arms away from you.
+
Also know as soon as you avert the opponent's cut or thrust by turning, you must immediately step in and swiftly storm into the opponent
  
[Glasgow]
+
for however lightly you hesitate and delay yourself, you take harm.
This is the text and the gloss about the transformation of the slice
 
  
Turn your edge
+
Also note and know that one with the forward edge of the sword, from the middle of that side to the hilt, averts all cuts and thrusts.
To flatten, press the hands
 
  
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice  such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.
+
And the closer the opponent's cut or thrust comes to the hilt of your forward edge, the moment you have turned that edge, the better and the more powerfully you can avert those cuts or thrusts.
  
[Dresden]
+
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.
About the two hangings
 
  
Two hangings emerge
+
Therefore, whoever wishes to be a good fencer, they shall first and foremost learn to avert well. For if they turn that away well with this, they come immediately into the windings. From them they can conduct the skill and beauty of the technique well.
From the ground out of each hand
 
In every application
 
Cut, Thrust, Position, Soft or Hard
 
  
Gloss. Note there are hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.
+
The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.
  
[Rostock]
+
This is about the hanging. Fencer learn this, etc.
This is the text and the gloss about the two hangings the sword
 
  
 
Two hangings emerge
 
Two hangings emerge
Line 660: Line 789:
 
In every application
 
In every application
 
Cut, Thrust, Position, Soft or Hard
 
Cut, Thrust, Position, Soft or Hard
 
Gloss. Note there are two hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you either perceive or recognize in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.
 
 
[Dresden]
 
About the speaking window
 
 
 
Make the speaking window
 
Make the speaking window
 
Stand freely, watch their situation.
 
Stand freely, watch their situation.
Strike them so that it snaps.
+
Strike them so that it snaps
Whoever withdraws themselves before you,
+
Whoever withdraws themselves before you.
 
I say to you truthfully
 
I say to you truthfully
 
No one defends themselves without danger
 
No one defends themselves without danger
 
If you have understood
 
If you have understood
 
They cannot come to blows
 
They cannot come to blows
 +
That is, if you remain
 +
Against the sword, also conduct with it
 +
Cuts, thrusts or slices.
 +
With that, note the feeling
 +
Without any preference.
 +
You shall also not flee from the sword
 +
Because master applications
 +
Are against the sword by rights.
 +
Whoever binds against you
 +
The war wrestles with them sharply.
 +
The noble winds
 +
Can also surely find them
 +
With cuts, with thrusts,
 +
With slices you tenaciously find them.
 +
In all winds
 +
You shall find cuts, stabs, slices.
 +
The noble hanging
 +
Cannot exist without the winds.
 +
Because from the hangings
 +
You shall bring the winds.
  
Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or parrying, remain strong against their sword using your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.
+
Gloss, etc. Here note and know that there are two hangings on each side: one downward hanging and one upward hanging. With them, you can come against the sword well, because they arise from the descending cuts and the rising cuts.
  
Another. If the opponent strikes around from the sword to your other side with a descending cut, then bind in from above with strength in accordance with their cut<ref>G: against their cut</ref> using your long edge.
+
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword
  
Or if they strike around using the crosswise cut, then drop into their arms using the upper slice.
+
and you shall wind
  
Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword and lodge against them from above.
+
and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.
  
Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.
+
And you must quite precisely see, recognize and consider whatever they will do or what their situation is, which they will let fly against you.
  
hereafter note what is called here, the long point.
+
And standing in this manner against the sword, Liechtenauer calls this a speaking window.
  
Note the moment before you arrive too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.
+
And just when you stand with the opponent against the sword, you must quite precisely note and feel whether their application is soft or hard.
  
[Glasgow]
+
Thereafter, you shall then orient yourself as is often spoken before.
Here note how you shall stand in the long point and what plays you shall conduct from it.
 
  
Note. When you come to the opponent with the initiation of fencing, advance your left foot the moment before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts in from above at your head, then wind against their cut with your sword and thrust into their face.
+
Then if it happens that the opponent for whatever reasons withdraws themselves from your sword just a bit before you act, then you must immediately pursue and must execute cuts or thrusts whichever you can most surely deliver, before they come to anything at all,
  
[Dresden]
+
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.
Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.
 
  
Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.
+
If the opponent withdraws with their [cut or thrust], immediately come forward with your point, before they can recover themselves from or carry out their strike.
  
If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.<ref>this last sentence is highlighted.</ref>
+
But if they stay with you against your sword, then always examine and note whether they are soft or hard against your sword.
  
The text about the distillation of the recital
+
If it happens to be that they are soft and weak, then you shall swiftly and boldly go all in and storm in with your strong
  
Who fully commands and correctly breaks
+
and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.
And makes complete irrefutable judgement
+
 
And breaks each one individually
+
If the opponent is subsequently hard and strong against the sword and intends to force and shove you firmly out, you must then be soft and weak against their strength and yield to their force with your sword.
Into three wounders
+
 
Who hangs consumately and correctly
+
And in that yielding as their sword drives and glides out, as was written about before, in that or while that happens, before they can recover themselves again, so that they cannot come to any strikes or thrusts, you must take advantage of their openings with cuts, thrusts or slices wherever you can most surely take control of them, according to the afore written lore swiftly, boldly and quickly so that they can never come to blows.
And carries out windings with it
+
 
And considers the eight winds
+
That's why Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they can scarcely come to blows". By this he means that no one can defend themselves without danger or harm if you do this according to the written precepts.
With correct judgement
+
 
And unites them.
+
If you execute and win the fore-strike, then the opponent must continually defend or allow themselves to be struck.
The windings, I differentiate trebly
 
Thus they are twenty
 
And four counting them individually.
 
From both sides
 
Learn eight windings with steps
 
And gauge these applications
 
Nothing more than soft or hard
 
  
Gloss. This is a lesson in which the recital is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to execute your break against their play, so that you can complete your work from any particular break using the three wounders.
+
For when you execute the fore-strike, whether you hit or miss; you must swiftly execute the after-strike in one fluid motion before the opponent comes to any blows.
  
[Glasgow]
+
For whenever you wish to execute the fore-strike, you must execute the after-strike in one thought and mind in the same way, just as if you intended to execute them as one thing, if it were possible.
This is a lesson in which the art of the recital is artfully tied together. You learn it in this manner so that you wil be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to execute your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.
 
  
Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to execute.
+
That's why Liechtenauer says: "Before • After the two things, etc". Because if you execute the fore-strike, whether you hit or miss, you then always execute the after-strike in one fluid motion, swiftly and quickly so that the opponent cannot come to blows with anything
  
[Dresden]
+
and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.
Here note how you shall conduct the hangings and the windings
 
  
Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only execute two specific windings from each binding of the sword.
+
And as soon as you preempt the opponent and win the fore-strike, immediately execute the after-strike.
  
[Glasgow]
+
If you are obligated to not execute the fore-strike, you always have the after-strike available in the sense and in the spirit that you are always in motion and do not either dawdle nor hesitate with anything. Rather, you always conduct one after the other swiftly and quickly, so that the opponent cannot possibly come to anything.
  
Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.
+
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.
  
Or if the opponent binds against your right side from above, also wind your long edge against their sword toward your right side and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides
+
For with this skill or with this advantage, it often happens that a peasant or someone unlearned slays a good master by it because they do conduct the fore-strike and boldly storm in.
  
[Dresden]
+
Because however briefly the fore-strike is overlooked, the opponent hits Indes and they wound and kill in this way. Because if you focus on the blows and will attend to the defense of them, you are always in greater danger than the one who attacks you and wins the fore-strike.
  
Another. Now you shall know
+
Therefore orchestrate it that you are the first in all confrontations of fencing and arrive on the right side of someone, where you are robustly surer of everything than the opponent.
  
That you shall also execute four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall execute one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play into the winding that is called for. If you do not do this, all windings become a means to be struck.
+
From both sides
 +
Learn eight winds with stepping.
 +
And always unite them.
 +
Combine the winds with three plays
 +
So are they twenty
 +
And four. Simply count them.
 +
Fencer, mind this
 +
And consider the winds correctly
 +
And learn to command them well
 +
So you can attack the four openings
 +
Because each opening
 +
Objectively has six wounders.
  
[Glasgow]
+
Gloss. Here note and know that the winds are the rightful art and cornerstone of all fencing of the sword. From them, all other applications and plays come. And one might tediously be a good fencer without the winds, exactly like many ungrounded masters, who dismiss it and say whatever comes from the winds is quite weak and deem it "from the shortened sword". About this, they are simpletons and approach it naively and sing paeans about how they fight "from the long sword".
  
Another. Now you shall know
+
Whoever goes about with extended arms and with extended sword and with the utter fiendishness and strength fueled by the entire power of their body, they will unlikely stay lively throughout and that is agonizing to behold when they stretch themselves out like this just as if they would run down a hare.
  
That you shall also execute four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall execute one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, in such a way that you step in with each winding and with that consider their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play that is called for in that winding. Whenever you do not do this, you will become struck by all windings.
+
And that is completely against the winds and against Liechtenauer's art because there is no strength. Why would anyone's art differ? You should always prioritize strength.

Revision as of 17:11, 26 June 2021

Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.

And before any incidents and confrontations, you shall note and know that there is but one art of the sword and it may have been invented and thought out many hundred years ago. And this is the foundation and core of all of the arts of fencing.

And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.

Not that he invented and conceived it himself, as was written before, rather he had traveled through many lands and through that sought the legitimate and truthful art for the sake that he would experience and learn it.

And this art is earnest, complete and legitimate and it moves in the nearest and shortest way, simple and straight forward, just as if you had bound a thread or cord to the point or edge of your sword and guided or pulled that very point or edge to the opponent's opening whenever you wanted to cut or thrust them, because you should cut or thrust according to the nearest and shortest and most decisive of all, as one would prefer to deliver just that.

This is because legitimate fencing just mentioned will not have elegant and grandiose parries, nor wide, indirect fencing. With those, people choose to scatter and delay themselves. As one finds according to many ungrounded masters that say they have invented and thought out some new art and understand the art of fencing better and more greatly, day by day.

But I would like to see one person that could conceive and perform just one application or one cut that does not come from Liechtenauer's art. They will often just only mix-up and pervert an application. In this, they give it a new name, each according to their own head. And they conceive of wide, indirect fencing and parrying, often doing two or three cuts in place of a single cut, just because they wish renown. They will be praised by the ignorant for their elegant parries and wide, indirect fencing as they fiendishly pose themselves and deliver wide and long cuts, tediously and cumbersomely. With those, they quite severely delay themselves and miss their targets and also provide solid openings with these because they have no measuredness in their fencing.

And anyway, this does not belong in earnest fencing, Though in particular I admit that through exercises and drills in school-fencing it might possibly be good for something.

But earnest fencing will proceed swiftly, simply and completely direct without any scattering nor delay as if a string or something like it determined the measure and trajectory.

When you want to cut or thrust whoever stands there before you, then truly no cut nor thrust backwards or to the side, nor any wide fencing nor multiple cuts helps you to possibly end it with someone. With these, you scatter and delay yourself so that you lose that chance.

Rather, one must initiate their cut straight and directly to the person, to the head or to the body according to what is closest and surest only at the moment you are able to reach it and posses it, swiftly and quickly and preferably with one strike. Because with four or six, you choose to scatter yourself and as a result the opponent approaches effortlessly.

This is because the fore-strike is one great advantage of this fencing as you will hear hereafter in this text

Therein Liechtenauer names just five cuts with other plays that are sufficient for earnest fencing and teaches it according to the correct art, conducted straight and direct toward the closest and surest as simply as it can only derive and abandons all of the drumwork and newly invented cuts carried out by the ungrounded masters, that even still fundamentally derives from his art.

Also note this and know that one cannot speak or explain or write about fencing quite as simply and clearly as one can easily indicate and inform it by hand.

Therefore act on your judgement and extract the best of it and therein, exercise the bulk of that yourself in play which you think is the best in earnest.

Because practice is better than empty art. That is to say, practice is fully sufficient without art but art is not fully sufficient without practice.

Also know that a good fencer shall, ahead of all confrontations, command and clasp their sword certainly and surely with both hands between the hilt and the pommel. Because in this manner, they hold the sword much surer than when they grasp it by the pommel with one hand and it also strikes much harder and surer like this, when the pommel overturns itself and swings itself in accordance with the strike. For that strike arrives much harder than when one grasps the sword by the pommel. If someone yanks back their strike by the pommel, they cannot possibly arrive so completely and so strongly,

because the sword is just like a scale.

For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.

Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them

just as if you shall stand upright upon a scale, lunging backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.

And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.

You shall also have measuredness in your applications accordingly as it necessitates itself and you shall not step too wide, so that you may better adjust yourself to another's steps, done backwards or forwards according to that as it will necessitate itself.

Also the situation often necessitates two short steps for one long.

And often the situation necessitates that one must execute a little rush in with short steps and often that one must do it a good step or a spring.

And whatever you wish to sensibly conduct in play or in earnest, you should make that out of place and disordered in the eyes of the opponent so that they do not identify what you intend to conduct against them.

And then as soon as [1] you arrive at the opponent and have their measure so that you think you will posses and reach the opponent well in this, Then you shall boldly storm toward the opponent and swiftly and quickly descend upon their head or body. Hit or miss, you will have always won the fore-strike which does not allow the opponent to come into action with anything as you will better hear hereafter in the common lore, etc.

One shall also always prefer to target the upper openings rather than the lower and one comes in over the hilt with cuts or with thrusts, boldly and quickly. Because you reach the opponent much better and further over the hilt than under it. And one is also much surer of all fencing like this and the upper attack one is much better than the lower one. But if it happens that you are nearer to the lower, then you must target that, as this often occurs.

Also know that one shall always come up on the right side of the opponent in their applications. Because you can better control the opponent in all confrontations of fencing or wrestling than directly in front of them.

And whoever both knows and delivers this play well, they are not a bad fencer.

Also know when you wish to fence earnestly, stick to a polished play, whichever one you wish that is completely natural right then and take it to the opponent earnestly and keep it in your mind and being, when you wish to do it, just as if you would say: "This I mean to truly conduct" and this shall and must have success with the help of God.

In this way, it cannot fail you at all. You do what you should whenever you boldly storm in and let fly with the fore-strike, as one will often hear hereafter.

In all fencing Requisite is: The help of God of righteousness, A straight and healthy body, A soundly manufactured sword, especially, Before, after, weak, strong Indes, the word to distinguish by. Hews, stabs, slices, pressing, Position, defending, shoving, feeling, disengaging, Winding and hanging, Checks, sweeps, dashes, grabbing, wrangling, Speed, audacity, Prudence, astuteness and ingenuity Acumen, premeditation, ability Measure, obscuration, Practice and good spirit, Mobility, flexibility, good steps. In these seven couplets[2] The fundamental principles And concerns And the entire matter Of all of the art of fencing are labelled for you. You shall consider these correctly As you will also actually And in particular hereafter Hear or read Each according to its qualities. Fencer, take heed of it So will these arts reveal to you the art, indeed, Of the entire sword And many good lively applications.

Motion, that beautiful word, Is the heart and crown of fencing The entire matter Of fencing with all the concerns And the sound components Of the fundamentals. These movements Are labelled by name And will be introduced to you better hereafter. However you then fence, You are to be subsequently well versed with it And are to stay in motion And do not pause the moment you Begin to fence Then you execute with authority Continuously and decisively Boldly one after the other In one fluid motion Without pause, without gaps So that the opponent cannot come To strikes. Of this you take advantage And the opponent harm. Because they cannot come away From you unstruck. Just do this according to this advice And according to this teaching That is written now For I say to you truthfully, The opponent does not defend themselves without danger. If you understand this They cannot come to blows with anything.

Here note that constant motion according to this art and lore arrests the opponent in the beginning, middle and end of all fencing. In this way you complete the beginning, middle and ending in one fluid motion without pause and without the hindrance of your adversary and you do not allow the opponent to come to blows with anything.

Because of this, the two words, "before, after", arise. That is, fore-strike and after-strike. Continuously and at one time as if left without any middle[3]

This is the general preface of the unarmored fencing on foot. Mark this well.

Young knight learn to love God. Ever honor women, Thus cultivate your honor. Practice knightcraft and learn art that decorates you and in wars serves you well. Wrestling's good grips, Lance, spear, sword and messer, manfully brandish and in other hands ruin. Attack suddenly and storm in, sweep forth, engage or let pass. Thus the intellectuals hate him, Yet this one sees glories. Thereupon you hold, all things have time and place. And whatever you wish to conduct, you shall stay in the realm of good reason. In earnest or in play, have a joyous spirit with moderation so that you may pay attention and consider with a good spirit whatever you shall command and whip up against the opponent. Because a good spirit with authority makes someone's rebuke timid. Thereafter, orient yourself. Give no advantage with anything. Avoid imprudence. Do not step in front of four or six with your overconfidence. Be modest, that is good for you. It is a brave man that dares to confront their equal. It is not shameful to flee four or six at hand. If one cannot flee, then do something cunning, that is my advice.

This is a general lesson of the sword:

If you wish to show skill, Move yourself left and right with cutting. And left with right Is what you strongly desire to fence. Whoever chases after cuts, They permit themselves to enjoy the art in small amounts. Hew from close whatever you wish, No changer comes on your shield. Do not cut to the sword. Rather, keep watch of the openings. To the head, to the body, Do not omit the stingers. With the entire body Fence whatever you desire to conduct strongly. Listen here to what is bad: Do not fence from above left if you are right. And if you are left, You are severely hindered on the right. So always prefer To fence from above left downwards. Before/After the two things are the one origin of all art. Weak and strong, Indes, mark this word with them. So you can learn To defend yourself with art and work. If you terrify easily, Never learn any fencing. Audacity and swiftness, Prudence, astuteness and ingenuity, Acumen, concealment, Measure, obscuration, scouting and skill Fencing will have And carry a joyous spirit.

General gloss hereafter.[4]

First of all, note and know that the point of the sword is the center, the middle and the core of the sword from which all applications leave and come back into it.

Thus the hangings and the windings are the tilts and the turns of the center and of the core. From them, quite a few good plays of fencing also come.

And they were invented and conceived so that a fencer, who initiates a cut or thrust to the quarters, of course may not hit every single time; yet they can hit someone with those same cutting, thrusting or slicing plays; by stepping out and in; and by lateral stepping or springing.

And if you mislaid or over extended the point of your sword by lunging or by shooting, then you can realign and withdraw and shorten it again by winding or moving away in such a fashion that you again come into the certain plays and precepts of fencing. From them, you can deliver cuts, thrusts, or slices.

For according to Liechtenauer's art, these cuts, thrusts and slices all come from the applications and precepts of the art of the sword, as you will hear hereafter about how one play and precept comes from the other and how one fashions one of these from the other such that if the one will be warded off, then the other hits and has success.

Secondly, note and know that no part of the sword was neither invented nor conceived without a purpose. Namely, a fencer shall utilize the point, both edges, the hilt, the pommel and the like on the sword in accordance with it's particular precept in the art of fencing, which these practices possess and promote in accordance as well, as you will hereafter see and hear each in particular.

Also note and know by this, when he speaks, "If you wish to examine the art, etc", that he means that a skilled fencer, they shall advance the left foot and cut from the right side directly to the opponent with threatening cuts as long as they see where they may certainly have the opponent and reach certainly with their stepping.

And he means: "when someone wishes to fence strongly", so shall they fence out from the left side with the entire body and full power to the head and to the body alone wherever they can hit and never to the sword, in particular, they shall do it as if the opponent has no sword and as if they cannot see it and they shall not omit any stingers nor wounds, rather always be in work and in contact so that the opponent cannot come to strikes.

He also means that you shall not follow and step directly behind your attacks, rather, do it somewhat sideways and curved around so that you come to the side of the opponent, where you can get at them better with everything than by frontally on.

Whatever you subsequently cut or thrust at the opponent at that moment, cannot be defended nor lead off well by them by disengaging in any way nor by any other techniques, provided that the cuts and thrusts go in directly to the openings, be it to the head or to the body, with lateral stepping and lunging.

Also note and know by this when he speaks, "before, after the two things, etc" that he means the five words: before, after, weak, strong, Indes. The entire art of Master Liechtenauer's derives from these very words which are the foundation and the core of all fencing on foot or on horse, uncovered or in harness.

By the word 'before', he means that every good fencer shall posess and have won the fore-strike every time they hit or miss. As Liechtenauer says: "Attack suddenly and storm in, sweep forth, engage or let pass". Whenever you either walk or rush toward the opponent, just as soon as you can see that you can reach them with a step or with a spring, then wherever you see them open somewhere, you shall move in with confidence, be it to the head or to the body, boldly without any fear, wherever you can most certainly get them. For in this way, you always win the fore-strike, not matter if the opponent ends up safe or not.

And you must also be shrewd in your steps and shall have measured them correctly so that you do not step too short nor too long.

Now, whenever you successfully execute the fore-strike, seamlessly follow up the hit.

But If the opponent wards off your fore-strike, be it a cut or thrust by leading off or controlling with their sword, then while you’re still against your opponent’s sword, as they are leading you away from the opening in which you targeted, you must quite precisely note and feel whether they are soft or hard, weak or strong against your sword in their leading off and defense of your cuts and thrusts.

If it then happens that you clearly now feel how the opponent lies in their application, and they are strong and hard, Indes, at the moment you completely notice and feel that, you shall, Indes or during the time the opponent defends themselves, be soft and weak and in that before the opponent can come to blows, you shall then execute the after-strike.

That is to say that you shall immediately, while the opponent defends themselves and wards off your fore-strike (be it cut or thrust), seek other applications and plays. With these, you shall again storm and sweep toward their openings such that you stay continuously in movement and in action. In this way you confound and rattle them. Thus the opponent has altogether so much to manage with their defending and warding off that they, the defender, cannot come to their blows.

Because one who shall defend themselves and fixate on the oncoming strikes, they are always in greater danger than those that strike at them because they must always either ward off those strikes or must allow themselves to be hit, so that they themselves can burdensomely come to blows.

About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they cannot come to blows if you otherwise perform according to the five words. This sermon completely gets at this and all fencing" This is why a peasant often slays a master, becauser they have been bold and have won the fore-strike according to this lesson.

Because with the before, as was spoken about earlier, he means that you should with a good fore-strike or first strike, storm in and sweep forth boldly, without fear to the opening, to the head or to the body. You either hit or miss in such a way that you suddenly rattle the opponent and startle them such that they do not know what to do about it and also before they recover themselves against it again or come back at you and the opponent has truly so much to manage to defend and to warding off that they cannot possibly come to blows.

Because if you execute the first strike or the fore-strike and the opponent then wards, in that very warding off and defending, you always subsequently arrive earlier to the after-strike than the opponent to their first.

Then you can immediately start to work with your pommel or possibly come into the crosswise cuts (these are especially good) or else cast the crosswise cut over the sword. By this you arrive at other applications or else you can initiate many other things before the opponent comes to blows as you will hear how you fashion from one to the other such that the opponent cannot come away from you unstruck if you otherwise execute according to this lesson.

That is to say you shall execute the fore-strike and the after-strike promptly and swiftly after each other as if it were possible to accomplish it together with a single thought and with single strike. It is fully possible for you to arrive at this situation. If you ward the opponent's fore-strike, then you must ward it off with your sword and and in this way the opponent must surely come against your sword.

And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against the sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.

If the opponent withdraws themselves, just as you both come together against your swords and the points extend toward each other, to the openings, then with their withdrawing, before the opponent can recover themselves again for a new cut or thrust against you, immediately follow them with your point, with a good thrust to their breast or anywhere directly forward, wherever you can connect most surest and closest, in this way the opponent cannot come away from your sword unharmed with anything.

This is because, with your following, you were, to be sure, closer at hand to the opponent with it as you sent your point forwards, targeting them against their sword according to what is closest and shortest, when the opponent delivers a new cut or thrust wide around with their withdrawal.

In this way, to be sure, you always come earlier to your after-strike or thrust than the opponent to their first.

And this is what Liechtenauer means by the word, "After"

The moment you have executed the fore-strike, you shall immediately execute the after-strike seamlessly of the previous action and stay continuously in motion and action and continuously conduct one after the other. If the first fails, the second, third, or fourth hits and the opponent truly cannot come to blows,

because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.

But if the opponent stays with it against the sword, as they have come against your sword, such that you have remained with the opponent against their sword and they have not yet executed the after-strike, then you shall wind and stay with them in this way against the opponent's sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.

Then if you note and feel that the opponent is strong, hard and fixed against your sword and now intends to force their sword through, then you shall be weak and soft in response and you shall yield and give way to their strength and you shall let their sword push through and travel with their forcing such that when they do that, you shall then deftly let their sword promptly and swiftly stray and recede, and you shall deftly speed in towards their openings, either to their head or their body with cuts thrusts and slices only where you can approach the closest and the surest.

Because when you are weak and soft in response and let their sword stray and you yield to them in this way, the harder and the surer the opponent pushes and presses with their sword, the further and the wider they then push their sword away such that they become completely open so that you can then hit our wound them according to desire before they can recover themselves from their own cut or thrust.

But if the opponent is weak and soft against the sword in this way, just as you clearly note and feel that, you shall then be strong and hard against their sword in response and you shall then against their sword, move in strongly with your point and simultaneously flow in forwards towards their openings, whereever you can that is closest, just as if a cord or thread were bound at the end of your point, which guides your point to their opening in the shortest way. The

And with that thrust that you executed, you become fully aware whether the opponent is so weak that the opponent lets your sword force them out and allows themselves be struck.

But if the opponent becomes strong against your sword in turn and defends and leads off your thrust in this way, such that they force your sword away, you shall again become weak and soft in response and shall allow their sword to stray and yield to them and swiftly seek their openings with cuts, thrusts and slices, however you readily can.

And this is what Liechtenauer means by the words, "Soft and Hard"

And this follows the authorities. As Aristotle spoke in the book Perihermanias: "Opposites positioned near themselves shine greater, or rather; opposites which adjoin, augment. Weak against strong, hard against soft, and the contrary." For should it be strong against strong, then the stronger would win every time.

Therefore Liechtenauer undertakes fencing according to the more equitable and durable art, so that one weaker and cunning with their art wins as surely as one stronger with their strength.

How could the art work differently? Therefore fencer, learn to feel well in the manner Liechtenauer spoke: "Learn the feeling. Indes, that word slices sharply", because when you are against the sword of the opponent and at that moment clearly feel whether the opponent is weak or strong against the sword, Indes or during that, so then you can consider and know what you shall execute against the opponent according to the aforementioned lore and art well.

Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". If you act according to this lesson, persisting in this way well so that you always have possessed and won the fore-strike and as soon as you execute that, you then execute the after-strike (that is, the second, the third or the fourth strike, be it cut or stab) afterwards in one fluid motion, immediately without refrain then the opponent can never come to blows.

If you then come onto the sword with them, be sure in feeling and execute as was written before.

Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.

And whatever you conduct and initiate, always have measure and moderation. That is to say, if you have won the fore-strike, then don't do it so impetuously and so powerfully that you then cannot recover yourself for the after-strike.

About this, Liechtenauer spoke: "Thereupon you hold, all things have moderation and measure". And also understand this in the stepping and in all other plays and precepts of fencing, etc.

This is the text, wherein he names the five cuts and other plays of fencing.

Learn five cuts from the right hand

Wrathcut Crook and Cross, If the Eye Cocker keeps with the Parter, The Fool parries. Pursue and Overrun, disrupt attacks Disengage, Suddenly withdraw, Rush through, Cut off, Press the hands Tilt and Turn to uncover with Slash, catch, sweep, stab to clash with

This is about the Wrath cut, etc.

Whoever makes a descending cut at you The point of wrathcut threatens them If they become aware of it Then abscond above without concern. Be strong in turn Wind. Stab. If they see it, then take it below Precisely note this Cuts, thrusts, positions, soft or hard Indes and before, after Without rush, your war is not hasty. For the one whose war takes aim Above, they will be shamed below. In all winds Cut, stab, slice learn to find Also with that you shall Gauge cut, stab or slice In all encounters Of the masters, if you wish to dishonor them. Do not cut to the sword, Rather, keep watch for the openings Of the head, of the body If you wish to remain without harm You hit or miss Considering as follows so that you target the openings In every lesson, Turn the point toward the openings. Whoever cuts around widely, They will often be shamed severely. In the most direct way possible, Deliver sudden cuts, stabs wisely[5]. And one shall also always step To their right side So that you can begin Fencing or wrestling with advantage.

Gloss. Here note and know that Liechtenauer calls a descending cut struck from the shoulder the wrath cut. "Because when someone is in their wrath and fury, there is no cut as ready as this descending cut straight from the shoulder to the opponent."

What Liechtenauer means by this is when the opponent begins to strike with a descending cut, you shall cut with the wrath cut in turn, whereby you soundly shoot the point against them.

If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.

But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.

If they defend your thrust, separate and immediately initiate a cut below where you hit their legs. in such a way that you continuously conduct one after the other, so that the opponent cannot come to blows.

And the afore mentioned words: "before, after, Indes, weak, strong" and "cuts, thrusts and slices"; you shall fully consider these all at once and in no way forget them in your applications.

You shall also not seriously rush the war, because if something fails you above, then you hit below as you will hear about how you build one cut, thrust, and slice off of the other according to the legitimate art

and you shall not cut at the opponent's sword, rather at the opponent, rather to the head and to the body, wherever you can, etc.

One can also take it where the first verse could go like this: "Whomever you cut the wrath cut over, the point of the wrath cut threatens them, etc." Just act according to this lesson and be continuously in motion. You either hit or not such that the opponent cannot come to blows. And always step out well to the side with cuts.

Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.

That is the descending cut and the rising cut from both sides.

They are the chief cuts and foundation of all other cuts as these cuts fundamentally and by principle come from the point of the sword, which is the core and the center of all other plays here as was written about well before.

And from those two cuts come the four parries from both sides. With them you disrupt and break all cuts, thrusts or positions. And from them you also come into the four hangings. From them you can conduct the art well as one shall hear hereafter.

And however you may fence someone in particular, your point shall ever and always be turned toward the opponent's face or breast so that each and the opponent must continually discourage themselves. Thus they cannot preempt you, for you are closer to them than they are to you.

And if it comes to be that the opponent has won the fore-strike, then you shall be secure and sure and be quick with turning. And as soon as you have turned, you shall immediately speed in promptly and swiftly. And your point shall always seek the opponent's breast, rotating and positioning yourself against it, as you will hear of better hereafter.

And the point, as soon as you come against the sword of the opponent, it shall always come about a half an ell away from the opponent's breast or face and take especially good care that you intend to arrive inside that and certainly in the most direct way and not wide around, so that the opponent cannot come first because of you. Provided you will not allow yourself to become lax and hesitant and ward too lazily nor be willing to arrive too wide and too far around.

This is about the four openings, etc, etc.

Know the four openings Target so that you strike wisely Without any fear Without doubt however they are situated.

Gloss. Note here that Liechtenauer tiles a person in four parts, just as if he made a line right down the front of their body from the top of the head to down between their legs. And the second line that crosses over their body at their waist,

In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.

These are the four openings, each of which have their particular applications.

He takes aim of these and never the sword, only the openings.

If you wish arrange yourself To artfully break the four openings Double high Mutate right down I say to you truthfully No one defends themselves without danger If you have understood this, They can scarcely come to blows, etc.

This is about the crooked cut, etc.

Crook up swiftly Throw the point onto the hands Whoever waits well crooked Disrupts many cuts with stepping. Cut crooked to the flats Of the masters if you wish to weaken them When it sparks above Then dismount, that I will praise Don't crook, cut short With that, look for the disengage Crook whoever tricks you The noble war bewilders them For they do not truthfully know Where they are without danger

Here note and know that the crooked cut is a descending cut which is undertaken crookedly with a good step out likewise to one side.

What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways to the right side, then deliver your attack

and you shall crooked cut well and swiftly

and you shall throw or shoot your point over the opponent's hilt at their hands

and you shall cut to the opponent's flat. Then if you hit their flat, remain strong upon it and press firmly

and you shall cut with your flat. Then if you hit their sword, remain strong upon it and press firmly

and you shall look for whatever you can subsequently most decisively and directly deliver using cuts, thrust or slices

and you shall cut too short with anything

and you shall not forget about disengaging, when it merits it

There is one attack called the failer and it comes from the crooked cut and it lay written after the crosswise cut where the hand is drawn and it should lay before the crosswise cut and it comes in crookedly and obliquely from below, over the hilt of the opponent, shooting in with the point, just like the crooked cut down from above.

This is about the crosswise cut, etc.

The crosswise cut seizes Whatever arrives from the roof. Cross with the strong Remember your work with it. Cross to the plow Yoke it hard to the ox Whoever crosses themselves well Threatens the head[6] by springing The failer misleads It wounds according to desire from below The inverter constrains. The one who rushes through also wrestles with it. Take the elbow surely Spring into their stance. The failer doubles. If they make contact, make the slice with it. Double it further Step to the left and do not be lazy

Because all fencing Will by all rights have speed Also in it: audacity, Prudence, astuteness and ingenuity

Gloss. Here note and know that of the entire sword, no cut is as intrepid, as intense, as definitive and as good as is the crosswise cut.

And you undertake the crosswise cut to both sides alike, with both edges, the back and the front; to all openings, below and above.

And everything that arrives from above, (which are either the descending cuts or whatever else comes down from above) one breaks those and one wards those with the crosswise cuts.

You can deliver these well or your sword well, respectively, if you hurl your sword out in front of your head, (to whichever side you wish) just as if you would come into the upper hanging or winding, only that in the crosswise cut, the flats of their sword are turned: one above or upward, the other below or downward; and the edges to the sides They cross, one to the right and one to the left side.

And it is quite good to come against the sword of the opponent with these crosswise cuts.

And that is because when you come against the sword of your opponent, at the moment it actually happens, they can arduously come away from it, but they will be struck on both sides with crosswise cuts.

Just at the point you deliver a crosswise cut, to whichever side it is, be it above or below, always move your sword up with the hilt in front of the head with your hand flipped over, so that you are absolutely warded and covered.

And you shall deliver the crosswise cuts with some strength.

And when you shall fence for your neck, you shall proceed with the afore written lore so that you win the fore-strike with a good crosswise cut.

Whenever you close with your opponent, as soon as you realize that you are able to reach the opponent with a step or a spring, you burst in high from the right side with a crosswise cut with the back edge forwards directly to the opponent's head

and you shall let your point shoot and you shall come crosswise so completely that the point winds and hinges (or wraps) itself around the opponent's head like a belt.

Because when you come in from the side well with a good step or dash offline, the opponent must arduously defend or avert this.

And then whenever you win the fore-strike with the crosswise cut in this fashion on one side, whether you hit or miss, you shall then immediately without pause win the after-strike with the crosswise cut on the other side in one fluid motion with the forward edge before any strike or any little thing can somehow redeem the opponent according to the afore-written lore.

And you shall then crosswise cut to both sides to ox and to plow. That is, into the high openings and into the low ones respectively from one side to the other, below and above, ceaselessly without pause in this way, so that you are constantly in motion and do not allow the opponent to come to blows.

And each time you do a crosswise cut above or below, you shall always come completely to the side and throw your sword horizontally from above well in front of your head so that you are well covered.

This is about the cockeyed cut, etc.

The cockeyed cut breaks inside Whatever the buffalo cuts or thrusts Whoever threatens to change, The cockeyed cut robs them of it. Cock an eye. If they short you, Disengaging defeats them. Cock an eye at the point And take the neck without fear Cock an eye at the top of the head If you wish to ruin the hands. Cock an eye against the right If it is that you desire to fence well. The cockeyed cut I prize, if it does not arrive too lazily.

Gloss. Here note and know that the cockeyed cut is a descending cut from the right side with the back edge of the sword in which the left side is chosen and it genuinely goes in slanted or skewed stepped off to one side to the right with a twisted sword and hand flipped over.

And this cut breaks that which the buffalo, that is a peasant, might strike down from above as they tend to do. (Just like the crosswise cut breaks this as well, as was written before)

And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.

And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging

and you shall cut cockeyed into the throat using the point boldly without fear

And wherever you see swords Yanked from their sheaths by the both of you Right then you shall become strong And precisely pay attention to their steps all at once. Before, after, the two things Gauge and pounce by precept Follow up all hits If you wish to make a fool of the strong. If they defend, the suddenly withdraw. Thrust. If they defend, press into them. The windings and the hangings, Learn to artfully carry out. And gauge the opponent's applications To see if they are soft or hard. If they fence with strength, Then you are artfully equipped. And if they attack wide or long, Shooting defeats them With your deadly rigor[7] If they defend themselves, hit without fear. Attack suddenly and storm in, sweep forth, engage or let pass. Do not attack the sword, Rather keep watch for the openings You hit or miss Then keep it in your mind that you target the openings With both hands Learn to bring your point to the eyes. Always fence with sense And win the fore-strike every time. The opponent hits or misses, Immediately take target with the after-strike On both sides, Step to the right of the opponent So that you can begin Fencing or wrestling with advantage.

This is about the hair-cut, etc.

The part cut Is dangerous to the face With its turn And the breast is firmly endangered. Whatever comes from it The crown removes it. Slice through the crown So that you break it beautifully and hard Press the sweeps By slicing withdraw it The scalp-cut I prize If it arrives not too lazily.

This is about the four positions, etc.

Four positions alone Defend from those and eschew the common Ox, plow, fool, From-the-roof are not contemptible to you

Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.

Yet a person shall absolutely not lay too long therein in any confrontation. For Liechtenauer has a particular proverb: "Whoever lays there, they are dead. Whoever sets themselves in motion, they yet live." And that pertains to those positions that a person shall preferably set themselves in motion with applications. Because if you idle in the guards, you might lose your moment to act by doing that.

Liechtenauer hardly maintains anything about these four positions, only that they come from the over and under hangings from which one may surely deliver applications.

The first guard, plow, is this. When you lay the point forward, upon the earth or to the side. After displacing, this is also called the barrier-guard or the gate.

The second guard, ox is the high hanging from the shoulder.

The Fool truly breaks Whatever the opponent cuts or thrusts Sweep using hanging Immediately place the pursuit

The thrid guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly

The fourth guard, the Roof, is long point.

If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.

It can also aptly be called the hanging over the head.

Also know that one breaks all positions and guards by attacking with these such that if you boldly initiate an attack, then the opponent must always come forwards and defend themselves.

That is why Liechtenauer doesn't maintain much about the positions and guards, rather he prefers to craft it so that the opponent discourages themselves, thus he gains the fore-strike, as has been shown above.

This is about the four parries

Four are the parries Which also severely disrupt the positions Guard yourself from parrying If this happens, it also severely beleaguers you. If you are parried, And as it happens Hear what I advise Strike off, cut swiftly with violence Lodge against four regions Learn to remain upon them if you wish to finish. Whoever parries well, This fencer disrupts many cuts. Because in the hangings You swiftly come with the parries.

Gloss: Note here that the four parries are on both sides, with one upper and one lower on each side and they disrupt or break all guards or positions.

And however you, be it from above or below, carry off or dismiss the opponent's cut, thrust or slice with your sword can fully be termed parrying.

And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one explosive movement.

But if it happens that you parry someone or avert a cut or thrust, you must immediately step in and accompany them on the sword so that the opponent cannot withdraw from you and then you must do whatever you can,

for however lightly you hesitate and delay, you take harm.

You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.

Also a good fencer shall fully learn how to come against the sword of the opponent and they must do that well with the parries, because they come from the four cuts (from each side, a descending cut and a rising cut) and move into the four hangings.

For as soon as one parries from above or below, so shall they immediately come into the hangings.

And like you avert all cuts and stabs with the forward edge, it is as such with the parries.

This is about the pursuing, etc, etc

Learn to pursue Double or slice into the weapon Two couplings to the outside The work begins thereafter And gauge the opponent's application Whether they are soft or hard Learn to feel Indes, this word cuts sharply Pursuing twice, Make the old slice with it. Follow all hits Then strengthen if you wish to dishonor the masters In every lesson, Turn the point against one's face. With the entire body Pursue, always keep your point there. Also learn to swiftly Pursue, so you can end well.

This is about the overrunning. Fencer look into this.

Whoever takes aim from below Overrun, then they will be shamed. When it clashes above, Strengthen, This I wish to praise. Make your work Or press hard twice. Whoever presses you down, Overrun them, slash sharply again. From both sides Overrun and remember the slices.

This is about displacing. Learn this well.

Learn to displace Skillfully disrupt cuts and thrusts Whoever thrusts at you Your point hits and their's breaks From both sides You will hit every time, if you step. In every lesson, Turn the point against one's face.

This is about the disengaging, etc, etc.

Learn to disengage From both sides stabbing sharply with it Whoever binds upon you Disengaging surely finds them If you have changed through, Do not slash, thrust nor wind lazily. Do not cut into the sword Disengage, with that watch.

Gloss. Here note that disengaging goes in completely straight on both sides, down from above and up from below if it is to be otherwise conducted swiftly.

Now if you wish to disengage down from above on the right side, then make a descending cut straight at them then you shoot your point in over their hilt to their left side in such a way that you hit the same little hole and little window completely straight between the edges and the hilt.

If you connect, then you have won. If they ward it so that they lead off and press your point offline with their sword, then from that side let your point sink right around to the other side, under their sword, not wide around, rather, sink below against their sword so that you can keep close and from there move in quite swiftly over their hilt with a good, full thrust

and when you feel that you connected, fully follow through.

And the way you execute it on one side, be it from below or above, you execute it on the other.

And whoever binds with you, swiftly flow onwards to their opening against their sword with your point.

If they ward, then disengage as before or wind and feel their application whether it is soft or hard.

Thereafter look to send cuts, thrusts, or slices to the openings.

This is about withdrawing suddenly. Fencer note.

Tread close in binds, So that withdrawing suddenly gives good opportunities. Suddenly withdraw. If they engage, suddenly withdraw more. If they work, wind, that does them harm. Suddenly withdraw all engagements of the masters If you wish to dishonor them Suddenly withdraw off of the sword And always be mindful of your path.

This is about rushing through. Look closely.

Rush through, let hang Grab with the pommel if you wish to grapple. Whoever strengthens up against you, Remember to rush through with it. Rush through and shove. Invert if they reach for the pommel.

This is about cutting off, etc, etc

Cut off the hard ones From below in both paths. Four are the slices With two from below, two from above. Crosswise cut whoever would slice. It easily evades the harm. Do not slice in fright, Always be wary of pursuing. You can slice well Any cross, just omit the pursuit. If you wish to remain without harm, Then do not be too eager with the slicing.

This is about the hand pressing, etc, etc.

Turn your edge Into the flats. Press the hands. Another is turning One's winding. The third, hanging. If you wish to make the fencers Weary, then press with collision Over the hands, If one cuts, slice swiftly. Also draw your slices Up out over the head. Whoever presses the hands Without harm, suddenly retracts the forefinger.

Also know as soon as you avert the opponent's cut or thrust by turning, you must immediately step in and swiftly storm into the opponent

for however lightly you hesitate and delay yourself, you take harm.

Also note and know that one with the forward edge of the sword, from the middle of that side to the hilt, averts all cuts and thrusts.

And the closer the opponent's cut or thrust comes to the hilt of your forward edge, the moment you have turned that edge, the better and the more powerfully you can avert those cuts or thrusts.

Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.

Therefore, whoever wishes to be a good fencer, they shall first and foremost learn to avert well. For if they turn that away well with this, they come immediately into the windings. From them they can conduct the skill and beauty of the technique well.

The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.

This is about the hanging. Fencer learn this, etc.

Two hangings emerge From the ground out of each hand In every application Cut, Thrust, Position, Soft or Hard Make the speaking window Stand freely, watch their situation. Strike them so that it snaps Whoever withdraws themselves before you. I say to you truthfully No one defends themselves without danger If you have understood They cannot come to blows That is, if you remain Against the sword, also conduct with it Cuts, thrusts or slices. With that, note the feeling Without any preference. You shall also not flee from the sword Because master applications Are against the sword by rights. Whoever binds against you The war wrestles with them sharply. The noble winds Can also surely find them With cuts, with thrusts, With slices you tenaciously find them. In all winds You shall find cuts, stabs, slices. The noble hanging Cannot exist without the winds. Because from the hangings You shall bring the winds.

Gloss, etc. Here note and know that there are two hangings on each side: one downward hanging and one upward hanging. With them, you can come against the sword well, because they arise from the descending cuts and the rising cuts.

Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword

and you shall wind

and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.

And you must quite precisely see, recognize and consider whatever they will do or what their situation is, which they will let fly against you.

And standing in this manner against the sword, Liechtenauer calls this a speaking window.

And just when you stand with the opponent against the sword, you must quite precisely note and feel whether their application is soft or hard.

Thereafter, you shall then orient yourself as is often spoken before.

Then if it happens that the opponent for whatever reasons withdraws themselves from your sword just a bit before you act, then you must immediately pursue and must execute cuts or thrusts whichever you can most surely deliver, before they come to anything at all,

For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.

If the opponent withdraws with their [cut or thrust], immediately come forward with your point, before they can recover themselves from or carry out their strike.

But if they stay with you against your sword, then always examine and note whether they are soft or hard against your sword.

If it happens to be that they are soft and weak, then you shall swiftly and boldly go all in and storm in with your strong

and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.

If the opponent is subsequently hard and strong against the sword and intends to force and shove you firmly out, you must then be soft and weak against their strength and yield to their force with your sword.

And in that yielding as their sword drives and glides out, as was written about before, in that or while that happens, before they can recover themselves again, so that they cannot come to any strikes or thrusts, you must take advantage of their openings with cuts, thrusts or slices wherever you can most surely take control of them, according to the afore written lore swiftly, boldly and quickly so that they can never come to blows.

That's why Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they can scarcely come to blows". By this he means that no one can defend themselves without danger or harm if you do this according to the written precepts.

If you execute and win the fore-strike, then the opponent must continually defend or allow themselves to be struck.

For when you execute the fore-strike, whether you hit or miss; you must swiftly execute the after-strike in one fluid motion before the opponent comes to any blows.

For whenever you wish to execute the fore-strike, you must execute the after-strike in one thought and mind in the same way, just as if you intended to execute them as one thing, if it were possible.

That's why Liechtenauer says: "Before • After the two things, etc". Because if you execute the fore-strike, whether you hit or miss, you then always execute the after-strike in one fluid motion, swiftly and quickly so that the opponent cannot come to blows with anything

and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.

And as soon as you preempt the opponent and win the fore-strike, immediately execute the after-strike.

If you are obligated to not execute the fore-strike, you always have the after-strike available in the sense and in the spirit that you are always in motion and do not either dawdle nor hesitate with anything. Rather, you always conduct one after the other swiftly and quickly, so that the opponent cannot possibly come to anything.

Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.

For with this skill or with this advantage, it often happens that a peasant or someone unlearned slays a good master by it because they do conduct the fore-strike and boldly storm in.

Because however briefly the fore-strike is overlooked, the opponent hits Indes and they wound and kill in this way. Because if you focus on the blows and will attend to the defense of them, you are always in greater danger than the one who attacks you and wins the fore-strike.

Therefore orchestrate it that you are the first in all confrontations of fencing and arrive on the right side of someone, where you are robustly surer of everything than the opponent.

From both sides Learn eight winds with stepping. And always unite them. Combine the winds with three plays So are they twenty And four. Simply count them. Fencer, mind this And consider the winds correctly And learn to command them well So you can attack the four openings Because each opening Objectively has six wounders.

Gloss. Here note and know that the winds are the rightful art and cornerstone of all fencing of the sword. From them, all other applications and plays come. And one might tediously be a good fencer without the winds, exactly like many ungrounded masters, who dismiss it and say whatever comes from the winds is quite weak and deem it "from the shortened sword". About this, they are simpletons and approach it naively and sing paeans about how they fight "from the long sword".

Whoever goes about with extended arms and with extended sword and with the utter fiendishness and strength fueled by the entire power of their body, they will unlikely stay lively throughout and that is agonizing to behold when they stretch themselves out like this just as if they would run down a hare.

And that is completely against the winds and against Liechtenauer's art because there is no strength. Why would anyone's art differ? You should always prioritize strength.

  1. The silver "soon" was added later above the line
  2. lit: verses
  3. latin
  4. latin
  5. `wisely` inferred from the summary
  6. The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'
  7. In all other extant versions this is "point"