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Difference between revisions of "User:Christian Trosclair/Translations/Hutter"

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Take the neck without fear
 
Take the neck without fear
  
You shall also turn forwards crooked and thrust up and around and check the opponent's application to see if they are soft or hard in their application. Note the gloss.
+
You shall also turn forwards crooked and thrust up and around and gauge the opponent's application to see if they are soft or hard in their application. Note the gloss.
  
 
This is also about the war
 
This is also about the war
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And undertake two out from them
 
And undertake two out from them
 
And your work begins from this
 
And your work begins from this
And test your application
+
And gauge the opponent's application
 
Whether they are soft or hard,
 
Whether they are soft or hard,
 
Learn this.
 
Learn this.
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This is also a hand pressing. Undertake it like this. Take your sword and strike for their opening and press them stringly away from you. Note the gloss of this and take heed of how they bear.
 
This is also a hand pressing. Undertake it like this. Take your sword and strike for their opening and press them stringly away from you. Note the gloss of this and take heed of how they bear.
  
This is about the hangings, etc. Turn out one hand from the other. In all drives hew, stab, position, soft or hard with his drive. This is the hanging that crosses itself as you see pictured below. Note the Gloss. This is one hanging on the first side. Understand this precisely.
+
This is about the hangings, etc. Turn out one hand from the other. In all application hew, stab, position, soft or hard with their application. This is the hanging that crosses itself as you see pictured below. Note the Gloss. This is one hanging on the first side. Understand this precisely.
  
 
This is the hanging on the other side. Do it with a shortened sword and heft the point further downward as you see it pictured below and the two hangings are good interventions in all situations. Note the gloss.
 
This is the hanging on the other side. Do it with a shortened sword and heft the point further downward as you see it pictured below and the two hangings are good interventions in all situations. Note the gloss.
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The window breaker
 
The window breaker
  
Item. This is the speaking window. Break and make the stance freely and inspect their situation. Cross yours with the strong and wind down through to them and note it as you see it pictured below. Note the gloss.
+
Item. This is the speaking window. Break and make the stance freely and gauge their situation. Cross yours with the strong and wind down through to them and note it as you see it pictured below. Note the gloss.
  
 
A longpoint
 
A longpoint

Latest revision as of 15:08, 26 June 2021

Young knight learn: worship God and honor women, converse wholesomely with women and be manly. Then, one shall shall marry you. Also, before laying down with them, do not let yourself be deceived. Consider the spirit of this one against what does you wrong and set your judgment in a noble place. Therefore, learn manly knightcraft yet with lightness. Practice shot putting, squatting, pressing, fencing and wrestling, dancing and leaping, jousting and competing. With these, one shall curry favor with beautiful women surely clapping and delighting. Fencing demands having a heart. Whoever is terrified doing this won't ever learn to fence. Why? Whosoever loses the art of the sword, they go dumb. And great strokes also make such a seized heart soft. That's why one often hears one say that someone seized up often becomes struck and is one without a sense of daring. Thus a fool will come out during fencing, and they have not learned the art. This I myself, Jorg Wilhlem Hutmacher from Augsburg, lament day and night[1].

Here they fence to the opening to the head and also to the sides.

Know to target the four openings, So that you strike wisely Without any danger, Without any doubt however they bear.

You are also to become well aware of this. How you shall break the four openings, comes from the things that follow hereafter. Note the gloss.

Whoever wishes to attack you, Intervening shall free you of worry. And if you have executed an intervention, Then dispatch all their attacks disrupted.

The two both each stand on the right in the descending cut If you wish to examine the art, Then be left and right when attacking. And left with right Is how you strongly desire to initiate fencing. Whoever follows when attacking Consigns themselves to little joy of the art. Hew closely whatever you wish, No disengaging comes upon your shield. To the head, to the body, Do not avoid fencing. With the entire body, Fence whatever it is you are strongly motivated to do.

Hereafter, whatever you strike, do it crisply.

These two both stand left handed in the descending cut

Do not fence above on the left if you are right handed And if you are left handed And you also severely waver on the right Before and after, the two things Are the one origin of the entire art Weak and Strong Indes, await your work. With this, note So you may learn To work with Art. And Those who Frighten easily Shall learn no fencing.

This one stands in a descending cut

This is the wrath cut from the right shoulder This is about the wrath cut.

Whoever cuts at you from above, undertake the wrath cut off your shoulder strongly and cut straight in over the opponent's intervention and tilt forwards and with the sword, wind as if you will cross yourself and let it fall off with half failers to either side and strike the opponent on the head at their right ear with the long edge, move out.

This one stands in a descending cut

This is the wrath cut from the left shoulder This is the wrath cut on the left side and undertake it from the left shoulder and swiftly cut in long to the opponent's head and tilt forwards and wind with it and again let the failer flow off and strike again as was written before and move out backwards.

This is the wrathpoint

This one stands in the descending cut This is the explanation and note

Whoever cuts at you from above, This you penetrate with the wrathpoint And if they become aware of it, then take it off without danger And be strong against it Wind, cut and thrust. If they see it, then take it below. Precisely note this: Cut, thrust, weak and strong

And undertake it with the half failer and strike in again as before and move out backwards.

This one stands in the descending cut

This is the other wrathpoint This is the other wrathpoint on the other side, undertake it in this way as well when they both go with the wrath cut from the shoulder and one can make a thrust from a cut and [one] can fling off the cut and then immediately move out as above.

Here they fought to the war

These two stand in the war This is the explanation of the war

Whoever aspires for the war to be above They will be shamed above, below. Indes, before and after Do not let your war be a hurry to you Be Indes in all situations If you wish to make war.

Note the gloss.

This play is in the war

This is also about the war and should also know that

In all winding Cut and thrust Overrunning swords Winching the sword away In all contacts If you wish to make a fool of the masters.

Because there are quite many breaks beyond these and again, for this reason, take heed how one bears with the war. Note the gloss.

This is a winching away and break from the war

This is again a play from the war and a break of the previous play and is a winching away which gives cut and thrust opportunities for good slices.

You shall also utilize cut, thrust and slice together below In all contacts If you wish to make a fool of the masters

This is also about the war

This is also about the war

Cock an eye at the point Take the neck without fear

You shall also turn forwards crooked and thrust up and around and gauge the opponent's application to see if they are soft or hard in their application. Note the gloss.

This is also about the war

This is also the explanation of the war. Whoever fights someone for their neck like this using a sword, they must both undertake a winding through and a counter wind together. This gives good weak and strong opportunities and twist you sword against the opponent's neck and snatch the left foot backwards and slice them across the neck. Note the gloss.

These are points in the war

These are the false points in the war which enter earnestly. Why do they do so? Because they belong to many paths through and either swiftly wind through below or wind up over and throw the point to the hands and invert, pressuring a rush through as well if you wish to wrestle.

This is also about the war

This is the war when you strike someone on the right side. So if the opponent undertakes the war, it requires from you nothing more than blocking your opening with the long edge and if they shoot up over at you with the sword, then do as you see it pictured

This is also about the war, a sword disarm.

Note the gloss. This is a sword disarm and procedes from the war. While this takes it away quite effortlessly, there are nevertheless many quite good plays that belong to the war and [these plays] of the war are diverse, so therefore you shall note quite many things.

Here, fencing to the four openings

These are two openings Here they fight to the opening to the head and also to the side

Know to target the four openings So that you strike Without any fear Without any doubt of how they bear

You are also to become well aware of this. How you shall break the four openings, comes from those things that follow hereafter. Note the gloss.

These are also two openings

These are the other two openings on the other side. So for this reason pay attention and note how they go. And whoever takes the lower opening, they will become shamed above, by the ears. Note the gloss Weak and Strong.

This is the crooked cut to the right side change

This one stands in the descending cut This is the explanation of the crooked cut.

Crook up swiftly Throw the point to the hands Cut crooked to the flats If you wish to make a fool of the masters Crook not, short cut Your disengage with that avoids

or revolve if you wish to wrestle and march them in the triangle. Note the gloss.

This one stands in the descending cut

This is the crooked cut from the left side This is crook up swiftly

Whoever parries well With stepping, they disrupt many cuts Cut crooked to the flats If you wish to weaken the master When it sparks above Then dismount, that I will laud. Crook straight and do not short cut Consider the disengage with that Cut crooked whoever confuses you, The noble war confounds them.

This is how on shall break the four openings. This one which strikes in with openings in the side, is then broken by the other and then strikes in behind upon his head.

They strike the opening of the other in their right side This is opening break

And if you wish to reckon yourself The four openings, artfully break. You double above Mutate below to the right I say to you truthfully, No one defends themselves without danger. If you have understood They cannot come to blows.

I have understood this. Note the gloss.

Here this breaks the opening on the other side and is also the opening break

They break the opening of the other in his left side This is the opening break on the other side and break it as you see it pictured. You must also double above and mutate below to the right. Item: This opening break should be pictured away form here, before the crooked cut.

This is the roof guard

The fool Item: These are two guards and this is the roof guard in which one hefts their sword upwards. And the other hefts their sword downwards by the left foot, this is the fool and is also called the iron door, There are in fact four guards. Ox and plow, these are also two guards. Note the gloss.

part cut

A position or the iron door Item. This is about the crown, etc. And the one that hefts the sword upwards stands in the part cut and the other in a position and when the one strikes down from the rafters, then the other undertakes the crown like this beautifully.

This is the crosswise cut

This one stands in the descending cut This is: The cross snatches away Whatever approaches from the roof The Cross with the strong, Remember your work with it. The cross joins hard To the plow to the oxen And whoever crosses themselves well Threatens the head by springing.

And whoever misdirects the failer up from below twice, they wound according to desire. Note the gloss.

This is the cross on the other side

This one stands in A descending cut This is the cross on the other side. Underake it on the other side as well. Reverse, overwhelm, rush through and then wrestle. And then by the elbows and in the scales march to the left and do not be lax in either cross if you want to wrestle. Note the gloss.

They break the cross

If they strike the cross This is the play of how someone shall break the cross. Here one breaks a cross another by saddling atop and by locking down and by locking up. From that you can undertake the two hangings if you wish, because there are two hangings that severely restrict the opponent. Note the gloss.

This one stands in the roof guard and wards themselves as much as they like

It is said like this: Whoever crosses themselves well with springing threatens the head. This is that play.

This is also a play of the crosswise cut whoever crosses themselves well with springing threatens the head from one side to the other. It is also one of the better ones and comprehend it like this. Note the gloss.

This one lies in the crosswise cut and took it with a spring and had their arm shoved away from them.

This is also about the crosswise cut in which someone also undertook with a spring. Undertake it as you see it pictured. The break comes hereafter. Which means look out, because there is no play that does not have it's break. Therefore note the art. Comprehend it.

They also stand in the crosswise cut and will it shove away

Yet this one breaks them and crosses themselves high upon the other's head. This is the break against that. You can undertake a slice absolutely immediately and move away so that the opponent cannot reach you. Thus, one play breaks the other and for this reason, note what is good to you.

This is also from the crosswise cut: With springing threatens the head however they bear with their turn without any fear.

This is also a play. Whoever crosses themselves well threatens the head with spinging and a slice, a thrust and passing over and catching by the neck like so. Understand it as you find it pictured below. Note the gloss.

This is the crosswise cut in over, also a play.

This is again about the passing over from the crosswise cut, so that you understand that quite a lot comes out of the crosswise cut. Often one seeks it outbecause it is good in all situations to make weak and strong.

This is the ox

This is the plow This is the explanation of the oxen and plow. The thing and the two things are the foundation of the entire art. Ox and plow are suitably firm for the war. In all situations prepare the farewell cut alongside it, so you are sure in all things and it cannot fail you.

This is the ox

This is the plow This is the other ox and plow and are also suitably firm for the war. Item: One shall conduct the ox and plow from both sides because they have four winds and four points that you can use however you wish Often, they are also two guards.

This one stands armed

This is also about the cock eyed cut. One has their neck, then the other takes an armed play and breaks inside the one's play as you see it pictured. This is also one play, one break. Note the gloss.

This is also about the cock eyed cut, the play and break. and the one who has the sword upon the neck, that is the break and the other, the play. Note this as you see it pictured.

This is again about the cock eyed cut, they break overrunning it. This breaks their cock eyed cut strongly. Strike or cut and immediately move out and in short order, for it is no play, it is a break thereof. Note the gloss.

This is another play of the cock eyed cut. Cock an eye at the point and take the neck without fear and through this note and learn art that you can express clearly and correctly.

They straightforwardly stand in a descending intervention

This is the cock eyed cut which breaks whatever the buffalo strikes or stabs The cock eyed cut breaks into Whatever the buffalo strikes or stabs. Whoever conducts the change, Is robbed from that with the cock eyed cut. Cock an eye to see if they short you, Your disengaging defeats them. Cock an eye at the point, And take the neck without fear. Cock an eye at the top of The head swiftly, if you wish to target and find beautifully

They straightforwardly stand in a descending intervention

This is the cock eyed cut The cock eyed cut Is dangerous to the face. With it's turn The breast is terrorized. Whatever comes from it The crown takes off. This cuts through the crown Thus you break it hard and beautifully Press the strokes Withdraw them suddenly with slices

In all situations let us act briskly

This is cock an eye at the point and take the neck without fear and strengthen therein, in the scales.

This says that there are quite many breaks[2] against it that come hereafter. This is about the cock eyed cut. Cock an eye at the point and take the neck without fear and place yourself into the scales and hold yourself firm and when you wish away from the opponent, then winch them out and move away. Note the gloss.

They strike up over

They have the neck without fear This is also about the cock eyed cut and how you see it pictured is a break of that. And take care that there are still more plays that break it and take precise note how they bear. Note the gloss.

This is the part cut

This is the cock eyed cut This is the explanation of the part cut, that is: cock eyed cut with part cut, they are both driven to the head. The part cut is a threat to the head, with it's turn, the breast is firmly threatened. And whatever comes from it, the crown stands like this. Note the gloss.

This is the short edge.

part cut This is also about the part cut. It is to be known that one should undertake it with three steps and one can undertake it with one step then come away from them. The crown takes that away. This cuts through the crown, Thus you break it hard and beautifully. Press the strokes, quickly withdraw with slicing. Note the gloss.

This is an intervention

This is a position This is about the four positions and as always, one position and one intervention of it.

The four positions alone He says hold to these and flee the common Ox, and plow, fool Roof are wholly sufficient for him.

This is also about the positions and it is to be known that one position breaks the other. These are two positions: one lays above and the other below. Note it like this and understand that the lowest may easily pass through the other and go up to his head. Therefore execute this passage through as I shall say. Note the gloss.

This is also about the positions. In this they shoot up crooked upon the position and shoots across his sword and this is also the shooting over and one position breaking the other. Note the gloss.

This is a intervention

This is also a position This is about the four interventions That severely disrupt the positions Yet guard yourself from parrying If it happens by necessity it plagues you

And be swift and come before. If you have understood this, the oppponent cannot come to any art. Note the gloss.

This is again about the four positions and the interventions thereof and shooting over. These are also positions. Note that they are below with the strong and long in the balance and when they will lift up, then you must take a cut or if you wish you may hang whatever connects best to you.

This is again about the four positions and about the interventions thereof. Notice and examine that these are also two positions and this is also one position which had been overshot. The positions each have one end and the four interventions are grouped with each other, because there are many of them which seek that. Note the gloss.

This is about the pursuing Learn twice into the weapons And undertake two out from them And your work begins from this And gauge the opponent's application Whether they are soft or hard, Learn this. Indes, this word cuts sharply. Pursue twice, Then take the farewell slice with might.

And pay attention, note the gloss.

This is another pursuing. For this pursuing, you shall take it to both sides. Step long if you wish to traverse. Because the pursuing is manifold and this is the pursuing when someone has attacked you and will move away from you or withdraw, then chase them and ward yourself.

This is about the overrunning. Note here that this overrunning is when someone overruns the opponent from the outside with might with the pommel turned out and this is an outside overrunning which is even better, therefore when someone will overrun you, then lift your sword strongly in the air, so that they cannot overrun you. Note the gloss.

This is also about the overrunning and this is an overrunning on the inside. And whoever targets below And if someone overruns you, you will become shamed and when it sparks above Then displace it, that I will laud Make your work soft or hard and press it twice

However you wish. Note the gloss.


This is also an overrunning and is armed and enters into wrestling with it. Therefore precisely notice that the one wants to throw the other over the left foot and is included in the overrunning if one wishes to seek it, Note the gloss as it is pictured below.

This is also an overrunning with the pommel and an armed overrunning with wrestling like before. Move in and throw them with it and do it like it is pictured below. Note the gloss overrunning like this.

This is about the displacing. Whoever cleaves down from the roof, displace their cut with the short edge of the sword. Then if they are soft, let it go around your head and strike them with the crosswise cut. But if they are hard, then do not strike, take and wind them onto your sword and work. Note the gloss as it is pictured below.

A displacing

This is a displacing on the other side and one also undertakes it with the short edge as before and notice whether the weak and strong is soft or hard. Note the gloss.

A displacing

They lay in the longpoint This is about the displacing. Suddenly disrupt Hew, stab. The one behind lies in the longpoint and the forward one displaces them with a displacing.

A displacing

A longpoint This is another displacing and the forward one displaces the point of the other. Note the gloss.

A displacing

A longpoint This is: Whoever wishes to displace Suddenly disrupts hew, stab And whoever stabs at you See that your point hits and their's breaks From both sides Connect if you wish to traverse

This is also a displacing. Note the gloss.

A displacing

A longpoint This is: whoever wishes to displace, suddenly disrupts cut, thrust and is also a displacing. Note the gloss as it is pictured below.

This is the first downward slice across the arm and swiftly slice the resistance and flee with your application and pay attention and undertake the slice with might and do it like this (Note the gloss) as it is pictured below.

This is the other downward slice, also undertake it with the long edge. Note the gloss.

This is about the upward slice, the third. With it, slice off the resistance through both arms. Note this as it is pictured below and undertake it swiftly and immediately move out. Note the gloss.

This is the fourth slice. Also undertake it as you see it pictured below and undertake it strong or soft, as you wish and immediately fly away and take care that you complete your slice. Note the gloss.

This is also an downward slice. Take it as you see it pictured below. Slice off from the resistance and fly and move out such that they cannot respond with the pursuing. Note the gloss.

Item. This is the farewell slice. The forward one conducts it like this and draws upwards strong and long, up from below, through their right arm and flies away. Note the gloss.

This is the other farewell slice to the other side. Undertake it like this as it is pictured below and take it up suddenly and move out backwards so that they cannot reach you.

This is about the hand pressing. Press the sword into the hands and do it swiftly. Turn your sword forwards, flat through the hands.

This is also a hand pressing. Undertake it like this. Take your sword and strike for their opening and press them stringly away from you. Note the gloss of this and take heed of how they bear.

This is about the hangings, etc. Turn out one hand from the other. In all application hew, stab, position, soft or hard with their application. This is the hanging that crosses itself as you see pictured below. Note the Gloss. This is one hanging on the first side. Understand this precisely.

This is the hanging on the other side. Do it with a shortened sword and heft the point further downward as you see it pictured below and the two hangings are good interventions in all situations. Note the gloss.

The window breaker

Item. This is the speaking window. Break and make the stance freely and gauge their situation. Cross yours with the strong and wind down through to them and note it as you see it pictured below. Note the gloss.

A longpoint

This is about the four false points and is one of the longpoints and they go to both sides. Notice here, that the longpoint goes into their face and is good for any situation. With it, one sets up the war. Note the gloss as it is pictured below.

This is the second secret point. Take it as you see it pictured above. This also goes into the face, so observe and see what is good about that.

This is the third secret point and is a false point. Note it as it is pictured above. You can also undertake the passing through or the disengaging as you wish. Undertake the passage through like so: go down through to the opponent with the point. Note the gloss.

This is the fourth false point. Take it as you see it pictured above, as well. It forces the sword from their hand and is also a good point and take heed and note of this as you see it pictured.

This is again a false point and a false footstep. Undertake it as it you see it pictured above. When they fall upon your sword, wind up with your sword so that you stand in the long intervention. Note the gloss.

This one stands in the unicorn

This is also a false point and comes from the speaking window and then undertake it as it you see it pictured above and that is the unicorn. Note the gloss.

Item. This is the crown. They hold their sword armed already in the hand and take watch, ready with the crown. This is good in all ways for all weapons and be strong or weak therein as you wish. Note the gloss.

This is the cut through the crown. Undertake it as beautifully as you see it pictured. In any situation, if you wish to make a slice just remember the gloss of the cut in the crown.

Item. This here is the break of the crown. Note it as beautifully as you see it pictured. Whoever lifts the sword upwards, they breaks the crown with the wrenching of the sword with the cross. Pay attention here when they wrench the crown away. Note the gloss.

The long recital has an end here and god help us swiftly. The crown is the last of all and the best of all, etc.

1523

  1. lit: early and late
  2. CGM 3712: paths through