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An examination of the Knightly Art of Fighting by Andre Paurnfeindt, Freifechter of Vienna, Austria, towards a clear comprehension and concise understanding thereof.
+
Descending cut
 +
Wrathcut
 +
Wrathpoint
 +
The Warcut
 +
The Four openings
 +
Crooked cut
 +
crosswise cut
 +
Ox and plow
 +
Cockeyed cut
 +
part cut
 +
The Four positions
 +
The Four parries
 +
The Pursuing
 +
Overrunning
 +
Displacing
 +
Cutting off
 +
Two Hangers
 +
The Speaking window
 +
The Crown
  
To the Sublime Magnificent Prince and Lord, Sir Matthäus of the Holy Roman See, Cardinal of St. Angelo, Papal Legate, Bishop of Gurk, Coadjuctor of the Diocese of Salzburg etc; Andre Paurnfeindt, Freifechter and his Magnificence the Cardinal's loyal bodyguard, offers his humble service.
+
The plays of the sword by Johannes Liechtenauer.
  
O' Sublime in God the Father, Magnificent Prince and Merciful Lord; after a great deterioration and lack of attention became apparent to me, for this reason, in the name of impressionable youth amid daily practice, I have decided to concisely record the Knightly Art of Fighting and thoroughly explain the Zettel in order to avoid gambling, debauchery, bad company, etc. Such an explanation I wish to accredit and dedicate to your Princely Grace. With this, I prostrate myself before your Magnificence in all humility.
+
The seven master cuts
  
In short, I have formulated three chapters in which the Lore and Essence of Fighting is concisely summarized, not for the elder fencers, but for the young students, so that enjoyment and practice grows daily in them. From all of this I have briefly proposed twelve rules from which expertise, subtlety and agility can develop in you. In this way, you learn from a master of the sword or from a sworn Freifechter and not from misbegotten fencers, like when one blind man leads the other and both fall into a ditch.
+
The Wrathcut
 +
The Crooked cut
 +
The Half cut
 +
The Crosswise cut
 +
The Crosswise switch cut
 +
The part cut
 +
The Crown cut
  
If leaf and grass grew
+
This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.
As fast as envy and hate
 
Then sheep and cattle would have
 
A good winter this year.
 
  
Do not let yourself scoff at these twelve rules,
+
Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way...
From them great art may sprout from you.
 
  
The First
+
Young knight learn
 +
To have love for god, honor women and maidens
 +
So that you expand your praise and honor.
 +
Practice Knighthood and learn
 +
Art that decorates you
 +
And in war exalts you with honor.
 +
Use the good grips of wrestling,
 +
Lance, spear, sword, and messer
 +
Like a man
 +
And render them useless in other's hands.
 +
Attack suddenly and storm in,
 +
Keep rolling, engage or let pass.
 +
Thus the intellectuals hate him,
 +
Yet this one sees glories.
 +
Hold yourself to this:
 +
All art has a time and place.
  
Whichever leg<ref>lit: foot</ref> stands forward, bend it.
+
If you wish to examine the art,
The hind one supports the body above outstretched.
+
Go left and right with cutting
 +
And left with right,
 +
That is, if you desire to fence strongly.
  
The Second
+
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is spurious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.
  
Fence upright with a straight body.
+
Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again spurious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.
Drive a powerful posture from that length.
 
  
The Third
+
This is the text of another lesson
  
Strike and step with one another.
+
Whoever chases after cuts
But set your feet against one another.
+
Allows themselves to enjoy little of the art.
  
The Fourth
+
Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.
  
Those who chase after cuts
+
Text. Another lesson
Are not allowed to enjoy art.
 
  
The Fifth
+
Cut from close proximity whatever you wish
 +
No changer gets past your shield
 +
To the head, to the body
 +
Do not omit the stingers
 +
With the entire body
 +
Fence whatever you desire to conduct with strength.
  
Note what the flat is.
+
Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cut in, to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot disengage ((with before)) the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and with that, immediately step back before they come to their senses. Thus, they are struck.
Do not fence left if you are right.
 
  
The Sixth
+
Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or breast, so that they cannot disengage in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately spring back from that.
  
Seek weak and strong
+
Now hear what is bad
Indes, note this word precisely.
+
Do not fence lefty from above if you are a righty
 +
And if you are a lefty
 +
You also quite awkward on the right
  
The Seventh
+
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cut in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.
  
Recognize soft or hard.
+
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.
Pursuing is your companion. <ref>alt: vehicle, path, application</ref>
 
  
The Eighth
+
Text
  
Strike before and after.
+
Before and After, the two things
Do not be hasty to rush in.
+
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.
  
The Ninth
+
Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.
  
Fence at the body from close.
+
Here note what is here called the before.
Do not omit the stingers.<ref>alt: flesh wounds, tag hits.</ref>
 
  
The Tenth
+
This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.
  
Step close in the bind.
+
Note what is called the after.
Otherwise you will be wounded.
 
  
The Eleventh
+
This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.
  
[That which is] in front of the hand is called the long edge.
+
Now you should also know about the weak and the strong of the sword.
Seldom guide an act of parrying to the short.
 
  
The Twelfth
+
Get the sense of it like this.  From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref>
  
If you frighten easily,
+
Now hear the text of the five cuts
Do not learn to fence.
 
  
The first chapter teaches
+
Learn five cuts
how one should employ expertise in the long sword, whichever is used with both hands, such as the battle sword, riding sword, estoc, and many others which I will for brevity's sake leave out.
+
From the right hand, whoever invests in these,
 +
We swear to them
 +
To gladly pay them back in skills.
  
A Zettel fencer I proclaim myself,
+
Gloss: Note there are five concealed cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.
Indomitable in Sword and Messer.
 
In strength, weakness, short and long,
 
I do violence to my opponent.
 
Indes, pay attention! Understand me correctly.
 
Hit them before they strike their position
 
  
Then I have another one on top of that.
+
This is the text about the components of the recital
With this, my art sells quite expensively.
 
Now I conduct my work unhindered,
 
Right in smoothly to the body, toward the blade
 
To make slice, strike, thrust; then right back out.
 
If you wish to learn thoroughly, come to me.
 
  
The first resting place is named High Point or Ox as the elders will and it will be assumed hereon.
+
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, thrust to clash with
 +
 
 +
These are the correct chief components of the recital of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.
 +
 
 +
Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side.
 +
 
 +
This first are the five concealed cuts as they are designated each in particular
 +
 
 +
Item The first the wrathcut
 +
crooked cut
 +
crosswise cut
 +
cockeyed cut
 +
part cut
 +
 
 +
Item note the plays
 +
 
 +
Of these: The four guards
 +
The four parries
 +
The pursuing
 +
The overruning
 +
The displacing
 +
The disengaging
 +
The yanking back
 +
The slipping through
 +
The cutting off
 +
The hand pressing
 +
The hangings
 +
The windings
 +
 
 +
And what you should fence from the components and how you should give yourself openings with the hangings and the windings, those will be clarified. <ref> Augsburg II: You will find those one after the other hereafter</ref>
 +
 
 +
The wrathcut with it's plays
  
 
Whoever makes a descending cut at you
 
Whoever makes a descending cut at you
Line 98: Line 170:
 
If they become aware of it
 
If they become aware of it
 
Then abscond above without concern
 
Then abscond above without concern
 +
 +
Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsber II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or breast. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.
 +
 +
The second play of the wrathcut text
 +
 
Be strong in turn
 
Be strong in turn
 
Wind. Stab. If they see it, then take it below
 
Wind. Stab. If they see it, then take it below
 +
 +
Note this is how you shall work with your point form the wrathcut and understand it like this. When you cut in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and lodge against your point upon them below.
 +
 +
One more play from the wrathcut text
 +
 
Precisely note this.
 
Precisely note this.
 
Cut, thrust, position, soft or hard
 
Cut, thrust, position, soft or hard
 
Indes and before and after
 
Indes and before and after
 
Without collision your war is not to be hasty
 
Without collision your war is not to be hasty
 +
 +
This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.
 +
 +
The text of the war
 +
 
Whoever hunts the war
 
Whoever hunts the war
 
Above, will be exposed below.
 
Above, will be exposed below.
 +
 +
Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cut in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry<ref>Augsburg II: displace. (Matches the Lew)</ref> the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.
 +
 +
This is the text
 +
 
In all windings
 
In all windings
 
Cut, thrust, slice learn to apply
 
Cut, thrust, slice learn to apply
 
Also with that you shall
 
Also with that you shall
Gauge cut, thrust or slice
+
Inspect cut, thrust or slice
 
In all encounters
 
In all encounters
Of the masters, if you wish to weaken them.
+
Of the masters, if you wish to dishonor them.
  
The wing cut
+
Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely inspect and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the recital which says, "Who hangs well and delivers windings with it..."
Undertake the wing cut from the upper guard or high point. The first strike to the left ear from the roof, the second from below with a step to your left side, the third strike to the head from behind.
 
  
Break
+
The text of the four openings
If the opponent initiates a wing cut, parry the first from the roof. The second, pin down with the long edge from below and grab their sword's pommel with your left hand, then you throw them over their sword.
 
  
Wrathcut Crook and Cross,
+
Know the four openings
If the Eye Cocker keeps with the Parter,
+
Hunt so that you strike quite wisely
The Fool parries.
+
Without any fear
Pursuing, Overrunning, places the attack
+
Without doubt however they are situated.
Disengage, Suddenly withdraw,
 
Rush through, cut off, press the hands
 
Tilt and Turn to uncover with
 
Slash, catch, sweep, thrust to clash with
 
 
 
Crown cut
 
Step and strike through to the opponent's ear from above with the long edge. The second step and strike down from above to the right ear with the short edge. The third, strike from behind with the long edge.
 
 
 
Break
 
When the opponent executes a crown cut, catch the first. For the second, situate your short edge against their neck so that they injure themselves themself.
 
  
Failer
+
You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut<ref>Augsburg II omits: or cut</ref> it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword<ref>Augsburg II: not of the sword. (Matches the Lew)</ref> with all cuts and thrusts<ref>Vienna omits: with all cuts and thrusts</ref>
Undertake the failer from the high point. Cut short to the opponent's left ear explosively and step towards their right side with your left foot. And hammer in the second strike long to the right ear. Keep high with good
 
  
Break
+
And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Lodge against four regions, remain thereupon to learn winding"<ref>The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, p105r. https://wiktenauer.com/wiki/Page:MS_KK5126_105r.jpg</ref>.
Cut from above from the ox against the opponent, down through the roses and land your short edge in their face. Veer off short and make a followup strike with the long edge.
 
  
About the 4 openings
+
The text of the breaking of the four openings
Know the four openings
 
Take aim so that you strike quite wisely
 
Without any fear
 
Without doubt however they are situated
 
  
Breaking the four openings
+
If you wish estimate how
If you wish arrange yourself
 
 
To artfully break the four openings
 
To artfully break the four openings
Double high
+
Double above
Mutate down below
+
Mutate right below
 
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 this,
 
If you have understood this,
They can scarcely come to blows, etc.
+
They can barely come to strike, etc.
 +
 
 +
This is for when the opponent cuts in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.
 +
 
 +
Here note how you shall conduct the doubling on both sides.
 +
 
 +
When the opponent initiates a cut from above from their right shoulder, cut in from above with<ref>Vienna omits with</ref> them with<ref>Augsburg II omits with</ref> strength at their head with your right as well. If they parry and stays strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge<ref>Augsburg II omits: with the short edge</ref> to their head.
  
Hurling
+
Item. If you cut in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.
Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.
 
  
Break
+
Note how you shall conduct the mutating from both sides
If the opponent starts to hurl at you, let the first strike detach and parry the second down from above with the long edge so that you can pin it down or suppress it.
 
  
Shooting though
+
Item. When you cut in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms<ref>Vienna omits: and with that, drop back down with your arms</ref> and thrust into their lower opening.
You can also undertake shooting through from the high point. Cut down from above and with the short edge and inverted hand, down through the roses and into the opponent's face. Let it briefly run off and follow up with the long edge.
 
  
Break
+
When you initiate a cut from your left side to the opponent's head<ref> Vienna: pommel</ref>, then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.
When the opponent shoots through, and will lay the short edge against you so that you cannot otherwise work, take your sword by the point and strike your cross against their head.
 
  
Iron Door
+
The crooked cut with the text of it's play
The third resting place is named the iron door or the cross according to the elders.
+
 
 +
Crook up swiftly
 +
Throw the point onto the hands
 +
Crook. Whoever parries well
 +
Disrupts many cuts with stepping.
 +
 
 +
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder spring with the right, well to your right side, and strike them across their hands with the long edge from crossed arms
 +
 
 +
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold<ref>Augsburg II omits holding</ref> your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cut in high into your opening, then spring away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.
 +
 
 +
Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then spring to your left side with your left foot well away from the cut and strike them while springing over their hands with the short edge.
 +
 
 +
Text
 +
 
 +
Cut crooked to the flats
 +
Of the masters if you wish to weaken them
 +
When it clatters above
 +
Then dismount, that I will praise
 +
 
 +
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it on your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.<ref>Vienna: entire stuck missing. Abridged from pPvD</ref>
 +
 
 +
The text from one of the plays of the crooked cut
 +
 
 +
Don't crook, short cut
 +
With that, look for the disengage.
 +
 
 +
This is a break against the guard of the ox. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and during that disengaging below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.
 +
 
 +
Text
 +
 
 +
Crook whoever bewilders you
 +
The noble war bewilders them
 +
Such that they do not truthfully know
 +
Where they are without danger.
 +
 
 +
Note whenever you conduct the crooked cut, you'll always make yourself open with it. Look at it like this, when you cut in or bind their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield themselves from your cuts and your thrusts.
 +
 
 +
Here begins the crosswise cut with it's plays
  
 
The cross seizes
 
The cross seizes
 
Whatever arrives from the roof
 
Whatever arrives from the roof
 +
 +
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cut in from above and come before yours,<ref>Augsburg II omits: "threatens to cut in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew</ref> then advance your left foot and hold your sword with the flat on your right shoulder and  spring well to your right side with your right foot and wind your sword in front of your face by the hilt while springing such that your thumb goes underneath and strike them on the left side of their head with your short edge. But if they go forwards with their cut before you do, then spring away from the cut well to your right side with your right foot using the same afore written act of parrying such that you catch their cut in their hilt and then strike in with the crosswise cut in the afore named place.
 +
 
Cross with the strong
 
Cross with the strong
 
Note your work with it.
 
Note your work with it.
 +
 +
This is: when you strike via the crosswise cut, you should strike with the entire strength of your body, because you constrain the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the crosswise cut, if the opponent parries and binds strong against your sword with it, then either execute doubling or from your crosswise cut drive their sword away with your hilt and strike them on the other side of their head. When you initiate a cut via the crosswise cut and the opponent parries and binds soft against the sword, then execute mutating into their lower opening or drive your sword to the other side against their neck and spring behind their left foot with your right an drag them over it with your sword.
 +
 +
Gloss: This is When you initiate a cut via the crosswise cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the crosswise cut. Or if they will rush in, then take the slice under their arms or await the wrestling.
 +
 
Cross to the plow
 
Cross to the plow
 
Yoke hard to the ox
 
Yoke hard to the ox
 
Whoever crosses themselves well
 
Whoever crosses themselves well
Endangers the head by springing
+
Endangers the head with springing
The failer misleads
+
 
 +
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.
 +
 
 +
Here note the cross strikes to the four openings.
 +
 
 +
When you come to the opponent with the initiation of fencing, advance your left foot and spring well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always spring out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.
 +
 
 +
This is the text of the play that here is called the failer
 +
 
 +
The failer misleads the believer
 
Wounding from below according to desire
 
Wounding from below according to desire
The inverter constrains
+
 
 +
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.
 +
 
 +
Execute the failer like this
 +
 
 +
When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them on that side with the crosswise cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side
 +
 
 +
This is the text of the play which here is called the inverter.
 +
 
 +
The inverter compels
 
Slipping through and also wrestles with it.
 
Slipping through and also wrestles with it.
 
Take the elbow surely
 
Take the elbow surely
 
Spring into their stance
 
Spring into their stance
 +
 +
Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you rush through him and hold them correctly with wrestling.
 +
 +
Execute the inverter like this
 +
 +
When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.
 +
 +
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"
 +
 +
The text
 +
 
Double the failer
 
Double the failer
If they make contact, make the slice with it
+
If one hits then make the slice with [it]
 
Double further
 
Double further
 
Stride in left and be not lax
 
Stride in left and be not lax
  
From the roof
+
Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right<ref>Vienna: left</ref> shoulder and when it is right for you, spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.
Position yourself in the iron door with braced hands. If the opponent strikes you from the roof, thake their strike from the roof with your short edge and step after them with the long edge.
 
  
Break
+
You can also just as well execute the failer from descending cuts as you would from the cross strikes.
Conduct the failer against them. If they lie in the iron door, then they are driven out in vain and uncover themselves.
 
  
Overshooting
+
Here begins the text of the cockeyed cut with it's plays
Position yourself as before with braced hands, step in with the short edge shot over to the opponent's left ear and make a follow up strike with the long edge.
 
  
Breaking
+
The cockeyed cut breaks inside
When the opponent overshoots the short edge, turn the strike away so that you come to strike against strike and the same work.
+
Whatever the buffalo cuts or thrusts
 +
Whoever threatens to change,
 +
The cockeyed cut robs them of it.
 +
 
 +
Gloss: Know that the cockeyed cut is a good<ref>Vienna omits</ref>, strange and grim<ref>Augsburg II: notable</ref> play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.
 +
 
 +
Item. Execute the cockeyed cut like this
 +
 
 +
The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and halts the cut of their sword<ref>Augsburg II: aborts during the cut of your sword</ref> and chang through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.
 +
 
 +
Item. Another play
 +
 
 +
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the breast of the opponent in such a way that they cannot reach you with their thrust.
 +
 
 +
The text of yet another play from the cockeyed cut
 +
 
 +
Cock an eye. If they short change you,
 +
Disengaging defeats them.
 +
 
 +
When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are shortened. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again shortened. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again shortened. Also know that all winds before the opponent are short and withdraw the sword and freely disengage out of cuts and thrusts using long point against all that fence against you in this way, with this you constrain them so that they must parry or allow themselves to be struck.
 +
 
 +
This is the text of how you shall break long point with the cockeyed cut
 +
 
 +
Cock an eye at the point
 +
Take the neck without fear
 +
 
 +
Note this is a play versus the long point using a deception of the face. Execute it like this<ref>Vienna: omits this line</ref> When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.
 +
 
 +
The text of yet another play of the cockeyed cut
 +
 
 +
Cock an eye at the top of the head
 +
If you wish to ruin the hands
 +
 
 +
Item. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.
 +
 
 +
The text of the part cut
 +
 
 +
The part cut
 +
Is a threat to the face
 +
With it's turn
 +
The breast is yet endangered.
 +
Whatever comes from them
 +
The crown removes.
 +
Slice through the crown
 +
So that you break it beautifully and hard
 +
Press the sweeps<ref>Vienna omits</ref>
 +
By slicing withdraw it<ref>Vienna omits</ref>
 +
 
 +
Gloss: The part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or breast. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and drive your slice using pressing and withdraw yourself with it.
 +
 
 +
This is the text about the four positions or guards
 +
 
 +
Four positions alone
 +
Defend from those and eshew the common
 +
Ox, plow, fool,
 +
From-the-roof are not dispised by you
 +
 
 +
Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.
 +
 
 +
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.
 +
 
 +
The second is called the plow.
 +
 
 +
Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed<ref>Munich I: inverted/twisted</ref> hands such that the short edge is up and your point is against the opponent's face.
 +
 
 +
Item on the left side.
 +
 
 +
The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.
 +
 
 +
Item. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.
 +
 
 +
The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of<ref>Vienna and Augsburg II omits</ref> your point upon the ground and such that the short edge is turned<ref>Vienna omits</ref> up.
 +
 
 +
This is the text about If the opponent is parrying you, as that is arriving
 +
 
 +
The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword on your right shoulder or with your point<ref>Vienna and Augsburg II omits</ref> high over your head with extended arms and stand in the guard like this.
 +
 
 +
This is the text about the parries
  
About parrying
 
 
Four are the parries
 
Four are the parries
 
That severly disrupt the positions
 
That severly disrupt the positions
 
Guard yourself from parrying
 
Guard yourself from parrying
 
If it happens by necessity, it hurts you
 
If it happens by necessity, it hurts you
If you are parried,
+
 
Note as it happens.
+
Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break
 +
 
 +
The first is the crooked cut which breaks the guard of the ox
 +
 
 +
Item the second is the crosswise cut which breaks the roof guard
 +
 
 +
Item the third, this is the cockeyed cut, which breaks the guard of the plow
 +
 
 +
The fourth, this is the part cut, which breaks the guard here called the fool and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.
 +
 
 +
This is the text
 +
 
 +
If the opponent is parrying you,
 +
Note as it arrives.
 
Heed what I advise:
 
Heed what I advise:
Break loose quickly, cut with violence.
+
Break loose quickly, cut with threat.
 +
 
 +
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.
 +
 
 +
Item another one
 +
 
 +
When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.
 +
 
 +
This is the text of the four pins
 +
 
 
Lodge against four regions
 
Lodge against four regions
 
Learn to remain upon them if you wish to finish
 
Learn to remain upon them if you wish to finish
  
The second resting place is named the hanging point and is duel.
+
Gloss: Lodging is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to execute where you wish to deliver an immediate end with your sword.
Crook up swiftly
+
 
Throw the point onto the hands
+
[Vienna]
Crook. Whoever parries well
+
And lodging is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cut in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you lodge against them. Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your lodging and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play.
Disrupts many cuts with stepping.
+
 
Cut crooked to the flats
+
[others]
Of the masters if you wish to weaken them
+
Item. Execute the lodging like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cut in from above or initiate a thrust from their right side, then come forwards with a act of parrying, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them. But if they cut in from their left side, shoot in your point to the opening of their right side.
When it sparks above
+
 
Then dismount, that I will praise
+
Item. When the opponent initiates a cut up from below from their right side, shoot in your point and lodge against them. Also do the same when they cut up from below from their left side. Then if they become aware of the lodge and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.
Don't crook, short cut
+
 
With that, look for the disengage.
+
[Vienna]
Crook whoever tricks you
+
Then if they withdraw themselves from your sword, execute the pursuing which will be explained to you hereafter.
The noble war bewilders them
+
 
Such that they do not truthfully know
+
This is the text about how you shall pursue
Where they are without danger.
+
 
 +
Learn to pursue
 +
Double or slice into the weapon
 +
Two couplings to the outside
 +
The work begins thereafter
 +
Inspecting the application
 +
Whether they are soft or hard
 +
 
 +
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.
 +
 
 +
Execute the first play of pursuing like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cut in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cut in from above into the opening of their right side before they come back up with their sword, in this way they are struck
 +
 
 +
The is the coupling to the outside<ref>Wolfenbüttel: Broken gate to the outside</ref>
 +
 
 +
When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword
 +
 
 +
Item. Yet another play.
 +
 
 +
When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them<ref>Vienna omits</ref> below their sword and toward<ref>Augsburg II omits</ref> their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.
 +
 
 +
A good pursuing
 +
 
 +
When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you<ref>Augsburg and the others follow the lew: "either cut in from the act of parrying or wind in against your sword"</ref> , then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.
  
Hanging point
+
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you<ref>The others follow the lew: "either misfires or ..."</ref> or uncovers themselves in front of you with their cut.
The hanging point lands with the right foot forwards, like in the figure, with the flat below the face, entering short; and parry high  whatever strike that will be struck from the roof. Let it run off short and follow up with a strike long.
 
  
Break
+
This is the text about feeling and about the word Indes
Drive the right foot forwards from the right side. If the opponent lies still in the hanging point, position the short edge on their right ear so they are not permitted to suddenly withdraw and wherever they do withdraw, they uncover themselves.
 
  
Counter break
+
Learn to feel it
Whenever the opponent positions the short edge against your neck, twist your hands with your sword and bar them from above with the long edge and grab their pommel with your left hand and throw them over their sword to the left side.
+
Indes, this word cuts sharply
  
Whichever one now lives on the ground,
+
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.
They will be disgraced by no one.
 
  
Four positions alone
+
Note feeling like this:
Defend from those and eshew the common
 
Ox, plow, fool,
 
From-the-roof are not dispised by you
 
  
According to the old art, but according to our exquisite new art we have different names, but nonetheless is one idea. High point, Hanging point, Iron door, Plow. They are manifold.
+
Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.
  
Overgripping
+
Item. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this:  Indes disengages, Indes slips through. Indes takes the slice, Indes wrestles with. Indes takes the sword, Indes does what the heart desires. Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.
You can also undertake overgripping from high point. Reach over your cross with your right hand into the blade such that your finger stands on the blade. If the opponent initiates a strike, strike against them with your strong such that you overwhelm their sword, keeping threat and suddenly withdraw your flat against their right ear and veer high into your act of parrying.
 
  
Break
+
The text about overrunning[sic]<ref>The others omit this mistake</ref>
When the opponent overgrips, falsely offer them a strike and suddenly withdraw short, make a follow up strike long or else break it with a failer or a crown cut, etc.
 
  
REMAINING
+
Pursuing twice,
Position yourself in the high guard or high point, and cut to the opponent's left ear with your long edge, and act as if you will suddenly withdraw, but remain against their left ear with your short edge, thereafter suddenly withdraw and make a follow up cut with the long edge.
+
If one hits, make the old slice with it.
  
Break
+
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent overcommits themselves attacking before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.<ref>The others: "and take the slice"</ref>
When the opponent remains with their short edge against your right ear, remain on the other side as well. If they indeed pull away first, then they strike themselves the same way.
 
  
Splendid! I have already figured out myself how
+
The text about overrunning
To displace to both places<ref>alt: points, ends</ref>
 
I preserve the before, yet not too long.
 
The openings will be wide open to me.
 
No position will be good for you.
 
I hit you in the after from a carefree spirit.
 
With it, I come swiftly to work
 
Just you wait until I bind you first.
 
  
About overrunning
 
 
Whoever takes aim from below
 
Whoever takes aim from below
Overrun it, they will be shamed.
+
Overrun, then they will be shamed.
 
When it clashes above,
 
When it clashes above,
Then dismount, This I will praise.
+
Strengthen, This I wish to praise.
 
Make your work
 
Make your work
Or press hard twice.
+
press<ref>Vienna: through, Wolfenbüttel: "press it"</ref> twice, soft or hard.
 +
 
 +
Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cut in long from above from your right shoulder and shoot in your point into their face or breast long from above and pinn them from above so they cannot reach you below. Because all of the upper pins break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.
  
Triangle
+
Item. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.
Position yourself with braced hands in front of your face. If the opponent strikes the buffalo from high point, twist your hands up from below and step into a false step and shield yourself short such that they roll down your flat, thereafter make a follow up strike long with a step
 
  
Break
+
How you shall displace cut and thrust
When you have overcommitted yourself striking at your opponent, rise up with your pommel so you are also shielded. Let them roll down as well and work with them according to advantage.
 
  
About Displacing
 
 
Learn to displace
 
Learn to displace
Skillfully disrupting cuts and thrusts
+
Skillfully disrupt cuts and thrusts
 
Whoever thrusts at you
 
Whoever thrusts at you
Their point 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.
  
Rushing through
+
Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displac it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their breast.<ref>The others omit "opening of"</ref>
Rush through, let hang
+
 
Grab with the pommel if you wish to grapple.
+
Item. Another play.
Whoever strengthens against you,
+
 
Remember to rush through with it.
+
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step toward the right foot and stab them in their face or breast. This play is also conducted from the plow from your left side in the same way as from your right.
  
Rule
+
The text about disengaging.
Remember whenever you initiate a thrust, that you always wind your sword under your right shoulder using the pommel when you hit with your point.
 
  
About Disengaging
 
 
Learn to disengage
 
Learn to disengage
From both sides stabbing sharply with it
+
From both sides thrusting sharply with it
 
Whoever binds upon you
 
Whoever binds upon you
Disengaging surely finds or slices the opponent
+
Disengaging surely finds them
 
 
About suddenly withdrawing
 
Tread close in binds,
 
So that withdrawing suddenly gives good finds.
 
Suddenly withdraw. If they engage, suddenly withdraw again.
 
That does them harm.
 
Suddenly withdraw all engagements
 
If you wish to make a fool of the masters
 
  
Combat Play
+
Gloss. Note disengaging is many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.
Position yourself against the opponent as before. Grab the middle of your sword's blade with your left hand and thrust towards their face so that they must shield themselves and carry off your thrust. Follow them with a step and release your left hand from your sword. Reach across both of their hands with your pommel and position your edge against their neck and position them into the weak so that you throw them.
 
  
Beak
+
And you execute disengaging like this
When the opponent has lodged their sword against you and and will throw you, release your right hand from your sword and shove their left elbow from below so that they must turn themselves.
 
  
Play
+
When you come to the opponent with the initiation of fencing, cut in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point rush through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then disengage above<ref>Others: again</ref> to the other side. And always execute this when the opponent moves towards your sword with an attempt to parry. The is executed on both sides.
If the opponent has lodged against your breast, take hold of their sword with your left hand forward by the point and thrust your sword behind their left leg and press against them with your breast and with your left hand against their breast, shove them back backwards over your sword.
 
  
About pursuing
+
Item, another.
Learn to pursue
 
Twice or slice into the weapon
 
Two as well to the outside
 
Your work begins thereafter
 
And gauge the applications
 
Whether they are soft or hard
 
Learn to feel
 
Indes, this here cuts sharply
 
Pursuing twice,
 
If on connects, make the old slice with it.
 
  
Plow
+
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword and not to the openings of the body.
The fourth resting place is named the plow. Whatever the buffalo strikes at you, step into the triangle with the right foot and shield yourself short with your flat such that they roll off. Thereafter follow them with your left foot and make a follow up strike with your long edge.
 
  
Break
+
Item, quite precisely note this play
When the opponent parries you and have overcommitted yourself attacking, yank your pommel upwards so that you are well covered and let them roll off of it in the same way conceived in Hildebrand or Lightning cuts.
 
  
About cutting off
+
When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<ref>Vienna omits: "nor lodge against you"</ref>
Cut off the hard ones
 
From below in both paths
 
Four are the slices
 
Below two, above with it.
 
  
Play
+
This is the text of how you shall suddenly withdraw
When you find the opponent in plow, overshoot them, be it with your short or long edge, before they come to their work. In this way, you bar them from neither yanking back nor striking. This will not fail you if you seize them in their resting position.
 
  
About the cockeyed cut
 
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 change you,
 
Disengaging defeats them.
 
Cock an eye at the point
 
Take the neck without fear
 
Cock an eye at the top of the head
 
If you wish to ruin the hands
 
 
The short and long are my reservoir
 
They safeguard me at all times
 
Out of which, I drive all my work
 
Strong to the blade, smooth to the body
 
Therein I can perceive your strength
 
I break yours from that moment on with weakness.
 
Settle yourself down, pay attention right quick
 
To what my master has taught me.
 
 
About withdrawing suddenly
 
 
Tread close in binds,
 
Tread close in binds,
So that withdrawing suddenly gives good finds.
+
So that yanking back gives good opportunities.
Suddenly withdraw. If they engage, suddenly withdraw again.
+
Suddenly withdraw. If they engage, suddenly withdraw more.
Do work that does them harm.
+
Uncover the work that does them harm.
Suddenly withdraw all engagements
+
Suddenly withdraw all engagements<ref>Augsburg II introduces scribal error. "Thut im we" became "thut ime be.."</ref>
 
If you wish to make a fool of the masters
 
If you wish to make a fool of the masters
  
About binding up
+
Know that yanking back is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off<ref>bind you down</ref><ref>Augsburg omits</ref> or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the yanking back against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.
If the opponent binds you from above, gauge whether they lie hard or soft. If they lie hard, then wind down through the roses towards their face, onto their left ear, so that you wind out their sword and uncover them with it. But if they suddenly withdraw and strike, veer up into your act of parrying.
 
  
Break
+
Item. Another yanking back.
If the opponent binds you from above, and lies firm such that they will not allow you to withdraw, lift your pommel upwards and let the point go in in between their hands and yank towards yourself so that they must let go.
 
  
Wrenching out
+
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.
If the opponent binds you, and lies firm in the bind against your sword, reach over both of their hands with your hilt and wrench down towards yourself, with this you uncover them and strike.
 
  
Regarding the slice, trust me against your strong.
+
This is the text about slipping through and about wrestling
Yet remember doubling.
 
This window can occlude well.
 
If you wish to please me, undertake your work.
 
  
About the part cut
 
The part cut Is a threat to the face
 
With it's turn The breast is yet endangered.
 
Whatever comes from them
 
The crown removes.
 
Slice through the crown
 
So that you break it beautifully and hard
 
Press the thrusts
 
By slicing withdraw it
 
 
About rushing 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 during that.
  
About the speaking window
+
Gloss. Slipping through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and during that: rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.
Make the speaking window
+
 
Stand freely, watch their situation.
+
Another wrestling
Strike them so that it snaps,
+
 
Whoever withdraws themselves before you.
+
Item. When the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. Conduct these two wrestlings to both sides.
I say to you truthfully
+
 
No one defends themselves without danger
+
Item. Yet another wrestling
If you have understood
 
They cannot come to blows
 
  
A play
+
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shov their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face
When the opponent lies before you in the speaking window, reach over their hilt and between their hands with your pommel and latch onto their hilt with your left thumb and pull toward yourself so that you uncover them and strike them with that.
 
  
Another
+
Item. Yet another wrestling
When the opponent lies in the speaking window, position your self in exactly the same way. If they will not work shove them with your left hand on their right hand such that they turn themselves and uncovers them with it.
 
  
About hanging
+
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shov their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings to both sides.
Two hangings emerge
 
From the ground out of each place
 
In every application
 
Cut, Thrust, Position, Soft or Hard
 
  
About hand pressing
+
Here note arm wrestling in the sword
Turn your slice
 
To flatten, press your hands
 
  
A play
+
Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.
When the opponent lies in the speaking window, position your self in the same way as well and reach over your sword with the fingers of your right hand and latch their sword to yours. With that you press their hands.
 
  
Sword disarm
+
Item. Another.
When you find the opponent in the speaking window or crosswise cut, reach over their right hand up from the outside with your left hand and position them into weakness with your left foot to the outside, across their right knee pit and draw them away from you so that they must let their sword drop.
 
  
A throw
+
Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left<ref>Vienna: right</ref> hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and spring in front of their right foot with your left and pushing them over it.
When the opponent rushes in at the sword and has bound high, move into their left breast with your right arm and position them in weakness with your right foot well behind their right knee pit and throw them down.
 
  
Another
+
Item. Another wrestling.
When the opponent rushes in, shove them on their right elbow with your left hand and step in front of their left foot with your right foot and let them plunge over it.
 
  
Holding someone prone
+
When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove with your right hand
If you throw the opponent onto their belly, sit atop them and step over their arm so you are able to break it.
 
  
Item. Two plays of the long sword. The first play is called:
+
When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<ref>Augsburg II: Keeps this with the previous play like in the Lew</ref>
The inverter constrains
 
Slipping through and also wrestles with it.
 
  
The other play is called:
+
Item. Yet another.
Rush through, let hang
 
Grab with the pommel if you wish to grapple.
 
  
Eight wrestlings come from these two plays
+
When the opponent rushes in on you at the sword, invert your right<ref>Augsburg II has left as in the Rome</ref> hand and pass over their left<ref>Augsburg II has right as in the Rome</ref> arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.
  
Sword disarm
+
Item. Yet another.
Note. If the opponent lies high in the cross or the speaking window, release your back hand from your sword and reach between their hands with your pommel. Afterwards, retract your pommel with your hand inverted and wrench toward your left side so that you take their sword.
 
  
Another
+
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.
But if they lie low, reach over their haft with the pommel of your sword and take your pommel down into a clinch and wind towards your right side so that you either throw them over your sword or they must let the sword go.
 
  
A throw
+
Cut off the hard ones
When the opponent engages high in their act of parrying and will not part, reach behind their right foot with your left foot and with your right arm into their left breast and throw them off their feet, over your left leg.
+
From below with both applications
  
Holding someone prone
+
This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneathe with your sword against their sword's blade, away form their sword and immedately cut back in against their sword from above at their mouth<ref>"vnd haw im am swert" is repeated. Scribal error</ref>
If you throw the opponent on their belly, drop your right knee onto their back and reach forward to the top of their head, grab their hair and pull up and crank their neck so they will fall back onto their belly if they try to stand.
 
  
An upsweep play
+
Item. Another.
Item. When you lay in the side guard on your left side and someone makes a descending cut at you from their right shoulder, sweep up firmly up from below into their sword with your short edge. If the opponent stands strong and is not too high with the hands, double in between them and their sword with the short edge to their left ear.
 
  
Another
+
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.
When you sweep up against the opponent's sword and they hold strong back, immediately strike their left side with the crosswise cut and again, double between [them and] their sword and strike at their right ear with the long edge.
 
  
Another
+
The text about the four slices
When you sweep up against the opponent's sword and they are weak at the sword and with their hands low, cut toward their opening above with the long edge.
 
  
Another
+
Four are the slices
When you sweep against the opponent's sword and they rise up high and wind, strengthen with the long edge, but if they strike with the crosswise cut, strike to their left side with a step off.
+
Two from below, two from above together.
  
Another
+
Item. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above<ref>Augsburg II omits the rest of this passage</ref> with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.
When you lie in the side guard or conduct the sweeps against the opponent, if they then hold their sword crosswise in front of themselves and will drop onto your sword and are high with their arms, sweep against their sword from below and thrust under their sword, into their breast.
 
  
Another
+
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.
If they are low with their hands and will rise up, then sweep through and thrust on the other side into their breast, whereupon it has disengaged.
 
  
Another
+
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.
When you sweep through, drop onto their sword with your long edge and wind toward your left side such that your thumb comes under and speed against the right side of the opponent's neck with your strong and spring with your right foot and back them over it.
 
  
Another
+
The text about the transfromation of the slice
When you disengage out of sweeping and come up atop their sword on the other side you can just as well conduct the plays as before with stingers and with everything as before, on all sides.
 
  
Fencing out of displacing
+
Turn your slice
When you fence with the opponent and come close to them, come into plow and conduct it swiftly by turning from one side to the other, such that your point always stays in front of yourself. From this you can conduct parrying. This is the narrows and in them you can strengthen with the long edge and from this conduct all the previous plays. You can also displace cut and thrust and break misaligned ones and seek the opening with your point.
+
To escape, press your hands
  
Side Guard
+
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and during that step to their right side, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.
When you fence with the opponent and come close to them, stand with the left foot forward and position your sword with the point upon the ground on your right side, such that the long edge is up. This goes on both sides.
 
  
A play from side guard
+
Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.
If the opponent initiates a cut from above or wherever it is, cut in crooked to their opening with a step out.
 
  
Another
+
The text about the two lower hangings
Drive in the inverter with your point in their face. When they bindup, strengthen with the long edge and you can conduct all the plays that are previous in the sweeps.
 
  
Explanation of the advice
+
Two ways of hanging emerge
When you fence with the opponent, extend your arms long, away from you and rest your thumb up atop your sword and turn your swor with your point away from you. With this you can drive up swiftly from below to your left side and move towards the opponent. From there, you can disengage to whichever side you wish or whatever play suits you, according to advantage.
+
From the ground from one hand
 +
In every clash
 +
Cut, Thrust, Position, Soft or Hard
  
Breaking the crosswise cut
+
Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.
When you stay in the roof guard and the opponent attacks you with a crosswise cut, simultaneously cut in the wrath cut and bind them strongly in the middle of their sword and if they will strike around with a crosswise cut, then crosswise cut ahead of them into their neck. You can also conduct all plays that are in the sweeps.
 
  
Another
+
You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.
Note, when you execute a crosswise cut and the opponent will preempt you with a crosswise cut against your neck from below your sword, indes, drop atop their sword strongly with your long edge so that it is broken and take the next opening that becomes availble to you.
 
  
About the wrath cut
+
The text about the speaking window
When you fence with the opponent and cut in with the wrath cut or however else down from above and they parry that and rise up with their arms and you both rush in on each other and they are then so circumspect that they will take your slice from below the hands into your arms, follow their sword downwards with your long edge and press down, thus you have broken them.
 
  
Another
+
Make the speaking window
But when you arrive with your arms high and the opponent does as well and they rush in and want to bash you between the eyes or in the breast with their pommel through your arms from below your hands, speed downwards with your pommel, with your arms strong and heave towards yourself and strike them on their head with your sword.
+
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
  
Combat play
+
Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.
Stab the opponent in the face on the inside and slip down through and stab them in the face on the outside. But if they defend that, step between both of their legs with your left foot and reach out over their left leg with your pommel into the pit of their knee and lift up with your pommel and with your left shoulder push them away from you from up high so that they fall.
 
  
Break
+
Make the speaking window like this
When your opponent speeds into the pit of your left knee with their pommel, reach up from below and grab onto their elbow behind their left hand with your right hand and take their weight.
 
  
Combat play
+
When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.
Stab the opponent in the face on the inside and lodge against them. If they defend that, withdraw suddenly and stab them on the other side. But if they defend that and sweep your point aside, slip over their right shoulder and around their neck with your pommel and spring behind their left foot with your right and throw them over it.
 
  
Break
+
Another of the long point's
When the opponent has slipped over your right shoulder and around your neck with their pommel, seize their right elbow with your left hand and shove them away from you so that you gain their side.
 
  
Another break
+
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their breast. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.
When the opponent has slipped around your neck with their pommel, seize their right arm with your left hand and hold it firmly and turn yourself away from them to your right side and throw them over your left hip.
 
  
The distillation of the long sword
+
This is the text of the Instruction of the four hangers and the eight hangings
  
 
Who fully commands and correctly breaks
 
Who fully commands and correctly breaks
 
And makes complete irrefutable judgement
 
And makes complete irrefutable judgement
 
And breaks each one individually
 
And breaks each one individually
Into three wounders
+
Into three wounders,
 
Who hangs consumately and correctly
 
Who hangs consumately and correctly
And carries out windings correctly with it
+
And delivers the winding with it
 
And considers the eight winds
 
And considers the eight winds
 
With correct judgement
 
With correct judgement
And unites them.
+
And to them make singular,
The windings, I differentiate trebly
+
The winds, I differentiate trebly
 
Thus they are twenty
 
Thus they are twenty
 
And four counting them individually.
 
And four counting them individually.
 
From both sides
 
From both sides
Learn eight windings with steps
+
Learn eight winds with steps
Gauge these applications
+
And inspect these applications
As soft or hard
+
Nothing more than soft or hard
 +
 
 +
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.
 +
 
 +
Note here how you shall execute four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Execute them like this: When you come to the opponent with the initiation of fencing, setup in ox from from your right side, then if they cut in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding. Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.
 +
 
 +
Item The second upper hangers execute like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. Then if they cut in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding. If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.
 +
 
 +
Item. Now you shall know that you shall execute the four winds from the plow from both sides (these are the two lower hangers) with all of their techniques just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall execute cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly execute the eight winds with stepping on both sides. And note as soon as you wind, you shall analyze each particular winden with nothing more than whether the two applications are soft or hard against your sword. Thereafter execute the play that subsequently becomes clear to you in the previous statement
  
Do not focus on more than you understand
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Item. Here ends the text from the recital of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slamm together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.
So that you do not end up behind the wagon
 
  
Except of the short sword
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Item. It is to be known that the "neche"<ref>unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context</ref>. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the recital. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.

Revision as of 15:11, 26 June 2021

Descending cut Wrathcut Wrathpoint The Warcut The Four openings Crooked cut crosswise cut Ox and plow Cockeyed cut part cut The Four positions The Four parries The Pursuing Overrunning Displacing Cutting off Two Hangers The Speaking window The Crown

The plays of the sword by Johannes Liechtenauer.

The seven master cuts

The Wrathcut The Crooked cut The Half cut The Crosswise cut The Crosswise switch cut The part cut The Crown cut

This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.

Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way...

Young knight learn To have love for god, honor women and maidens So that you expand your praise and honor. Practice Knighthood and learn Art that decorates you And in war exalts you with honor. Use the good grips of wrestling, Lance, spear, sword, and messer Like a man And render them useless in other's hands. Attack suddenly and storm in, Keep rolling, engage or let pass. Thus the intellectuals hate him, Yet this one sees glories. Hold yourself to this: All art has a time and place.

If you wish to examine the art, Go left and right with cutting And left with right, That is, if you desire to fence strongly.

Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is spurious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.

Or if you stand with the right foot forwards and cut from the left side, if you do not then also support[1]the cut with your left foot, then the cut is again spurious[2]. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.

This is the text of another lesson

Whoever chases after cuts Allows themselves to enjoy little of the art.

Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.

Text. Another lesson

Cut from close proximity whatever you wish No changer gets past your shield To the head, to the body Do not omit the stingers With the entire body Fence whatever you desire to conduct with strength.

Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cut in, to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot disengage ((with before)) the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and with that, immediately step back before they come to their senses. Thus, they are struck.

Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or breast, so that they cannot disengage in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately spring back from that.

Now hear what is bad Do not fence lefty from above if you are a righty And if you are a lefty You also quite awkward on the right

Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cut in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.

In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.

Text

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 about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.

Here note what is here called the before.

This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays[3] so that they cannot come to any work.

Note what is called the after.

This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.

Now you should also know about the weak and the strong of the sword.

Get the sense of it like this. From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.[4]

Now hear the text of the five cuts

Learn five cuts From the right hand, whoever invests in these, We swear to them To gladly pay them back in skills.

Gloss: Note there are five concealed cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.

This is the text about the components of the recital

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, thrust to clash with

These are the correct chief components of the recital of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.

Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side.

This first are the five concealed cuts as they are designated each in particular

Item The first the wrathcut crooked cut crosswise cut cockeyed cut part cut

Item note the plays

Of these: The four guards The four parries The pursuing The overruning The displacing The disengaging The yanking back The slipping through The cutting off The hand pressing The hangings The windings

And what you should fence from the components and how you should give yourself openings with the hangings and the windings, those will be clarified. [5]

The wrathcut with it's plays

Whoever makes a descending cut at you The point of wrathcut threatens them If they become aware of it Then abscond above without concern

Note the wrathcut breaks any straying cut[6] and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your[7] right side from above to your head[8], then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or breast. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.

The second play of the wrathcut text

Be strong in turn Wind. Stab. If they see it, then take it below

Note this is how you shall work with your point form the wrathcut and understand it like this. When you cut in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and lodge against your point upon them below.

One more play from the wrathcut text

Precisely note this. Cut, thrust, position, soft or hard Indes and before and after Without collision your war is not to be hasty

This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.

The text of the war

Whoever hunts the war Above, will be exposed below.

Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cut in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry[9] the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.

This is the text

In all windings Cut, thrust, slice learn to apply Also with that you shall Inspect cut, thrust or slice In all encounters Of the masters, if you wish to dishonor them.

Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely inspect and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the recital which says, "Who hangs well and delivers windings with it..."

The text of the four openings

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

You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut[10] it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword[11] with all cuts and thrusts[12]

And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Lodge against four regions, remain thereupon to learn winding"[13].

The text of the breaking of the four openings

If you wish estimate how To artfully break the four openings Double above Mutate right below I say to you truthfully No one defends themselves without danger If you have understood this, They can barely come to strike, etc.

This is for when the opponent cuts in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.

Here note how you shall conduct the doubling on both sides.

When the opponent initiates a cut from above from their right shoulder, cut in from above with[14] them with[15] strength at their head with your right as well. If they parry and stays strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge[16] to their head.

Item. If you cut in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.

Note how you shall conduct the mutating from both sides

Item. When you cut in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms[17] and thrust into their lower opening.

When you initiate a cut from your left side to the opponent's head[18], then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.

The crooked cut with the text of it's play

Crook up swiftly Throw the point onto the hands Crook. Whoever parries well Disrupts many cuts with stepping.

Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder spring with the right, well to your right side, and strike them across their hands with the long edge from crossed arms

Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold[19] your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cut in high into your opening, then spring away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.

Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then spring to your left side with your left foot well away from the cut and strike them while springing over their hands with the short edge.

Text

Cut crooked to the flats Of the masters if you wish to weaken them When it clatters above Then dismount, that I will praise

Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it on your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.[20]

The text from one of the plays of the crooked cut

Don't crook, short cut With that, look for the disengage.

This is a break against the guard of the ox. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and during that disengaging below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.

Text

Crook whoever bewilders you The noble war bewilders them Such that they do not truthfully know Where they are without danger.

Note whenever you conduct the crooked cut, you'll always make yourself open with it. Look at it like this, when you cut in or bind their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield themselves from your cuts and your thrusts.

Here begins the crosswise cut with it's plays

The cross seizes Whatever arrives from the roof

Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cut in from above and come before yours,[21] then advance your left foot and hold your sword with the flat on your right shoulder and spring well to your right side with your right foot and wind your sword in front of your face by the hilt while springing such that your thumb goes underneath and strike them on the left side of their head with your short edge. But if they go forwards with their cut before you do, then spring away from the cut well to your right side with your right foot using the same afore written act of parrying such that you catch their cut in their hilt and then strike in with the crosswise cut in the afore named place.

Cross with the strong Note your work with it.

This is: when you strike via the crosswise cut, you should strike with the entire strength of your body, because you constrain the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the crosswise cut, if the opponent parries and binds strong against your sword with it, then either execute doubling or from your crosswise cut drive their sword away with your hilt and strike them on the other side of their head. When you initiate a cut via the crosswise cut and the opponent parries and binds soft against the sword, then execute mutating into their lower opening or drive your sword to the other side against their neck and spring behind their left foot with your right an drag them over it with your sword.

Gloss: This is When you initiate a cut via the crosswise cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the crosswise cut. Or if they will rush in, then take the slice under their arms or await the wrestling.

Cross to the plow Yoke hard to the ox Whoever crosses themselves well Endangers the head with springing

Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.

Here note the cross strikes to the four openings.

When you come to the opponent with the initiation of fencing, advance your left foot and spring well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always spring out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.

This is the text of the play that here is called the failer

The failer misleads the believer Wounding from below according to desire

Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.

Execute the failer like this

When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them on that side with the crosswise cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side

This is the text of the play which here is called the inverter.

The inverter compels Slipping through and also wrestles with it. Take the elbow surely Spring into their stance

Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you rush through him and hold them correctly with wrestling.

Execute the inverter like this

When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.

Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"

The text

Double the failer If one hits then make the slice with [it] Double further Stride in left and be not lax

Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right[22] shoulder and when it is right for you, spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.

You can also just as well execute the failer from descending cuts as you would from the cross strikes.

Here begins the text of the cockeyed cut with it's plays

The cockeyed cut breaks inside Whatever the buffalo cuts or thrusts Whoever threatens to change, The cockeyed cut robs them of it.

Gloss: Know that the cockeyed cut is a good[23], strange and grim[24] play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.

Item. Execute the cockeyed cut like this

The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and halts the cut of their sword[25] and chang through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.

Item. Another play

When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the breast of the opponent in such a way that they cannot reach you with their thrust.

The text of yet another play from the cockeyed cut

Cock an eye. If they short change you, Disengaging defeats them.

When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are shortened. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again shortened. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again shortened. Also know that all winds before the opponent are short and withdraw the sword and freely disengage out of cuts and thrusts using long point against all that fence against you in this way, with this you constrain them so that they must parry or allow themselves to be struck.

This is the text of how you shall break long point with the cockeyed cut

Cock an eye at the point Take the neck without fear

Note this is a play versus the long point using a deception of the face. Execute it like this[26] When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.

The text of yet another play of the cockeyed cut

Cock an eye at the top of the head If you wish to ruin the hands

Item. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.

The text of the part cut

The part cut Is a threat to the face With it's turn The breast is yet endangered. Whatever comes from them The crown removes. Slice through the crown So that you break it beautifully and hard Press the sweeps[27] By slicing withdraw it[28]

Gloss: The part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or breast. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and drive your slice using pressing and withdraw yourself with it.

This is the text about the four positions or guards

Four positions alone Defend from those and eshew the common Ox, plow, fool, From-the-roof are not dispised by you

Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.

Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.

The second is called the plow.

Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed[29] hands such that the short edge is up and your point is against the opponent's face.

Item on the left side.

The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.

Item. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.

The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of[30] your point upon the ground and such that the short edge is turned[31] up.

This is the text about If the opponent is parrying you, as that is arriving

The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword on your right shoulder or with your point[32] high over your head with extended arms and stand in the guard like this.

This is the text about the parries

Four are the parries That severly disrupt the positions Guard yourself from parrying If it happens by necessity, it hurts you

Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break

The first is the crooked cut which breaks the guard of the ox

Item the second is the crosswise cut which breaks the roof guard

Item the third, this is the cockeyed cut, which breaks the guard of the plow

The fourth, this is the part cut, which breaks the guard here called the fool and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.

This is the text

If the opponent is parrying you, Note as it arrives. Heed what I advise: Break loose quickly, cut with threat.

Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.

Item another one

When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.

This is the text of the four pins

Lodge against four regions Learn to remain upon them if you wish to finish

Gloss: Lodging is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to execute where you wish to deliver an immediate end with your sword.

[Vienna] And lodging is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cut in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you lodge against them. Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your lodging and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play.

[others] Item. Execute the lodging like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cut in from above or initiate a thrust from their right side, then come forwards with a act of parrying, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them. But if they cut in from their left side, shoot in your point to the opening of their right side.

Item. When the opponent initiates a cut up from below from their right side, shoot in your point and lodge against them. Also do the same when they cut up from below from their left side. Then if they become aware of the lodge and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.

[Vienna] Then if they withdraw themselves from your sword, execute the pursuing which will be explained to you hereafter.

This is the text about how you shall pursue

Learn to pursue Double or slice into the weapon Two couplings to the outside The work begins thereafter Inspecting the application Whether they are soft or hard

Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.

Execute the first play of pursuing like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cut in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cut in from above into the opening of their right side before they come back up with their sword, in this way they are struck

The is the coupling to the outside[33]

When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword

Item. Yet another play.

When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them[34] below their sword and toward[35] their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.

A good pursuing

When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you[36] , then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.

Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you[37] or uncovers themselves in front of you with their cut.

This is the text about feeling and about the word Indes

Learn to feel it Indes, this word cuts sharply

Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.

Note feeling like this:

Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.

Item. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this: Indes disengages, Indes slips through. Indes takes the slice, Indes wrestles with. Indes takes the sword, Indes does what the heart desires. Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.

The text about overrunning[sic][38]

Pursuing twice, If one hits, make the old slice with it.

Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent overcommits themselves attacking before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.[39]

The text about overrunning

Whoever takes aim from below Overrun, then they will be shamed. When it clashes above, Strengthen, This I wish to praise. Make your work press[40] twice, soft or hard.

Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cut in long from above from your right shoulder and shoot in your point into their face or breast long from above and pinn them from above so they cannot reach you below. Because all of the upper pins break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.

Item. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.

How you shall displace cut and thrust

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.

Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displac it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their breast.[41]

Item. Another play.

When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step toward the right foot and stab them in their face or breast. This play is also conducted from the plow from your left side in the same way as from your right.

The text about disengaging.

Learn to disengage From both sides thrusting sharply with it Whoever binds upon you Disengaging surely finds them

Gloss. Note disengaging is many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.

And you execute disengaging like this

When you come to the opponent with the initiation of fencing, cut in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point rush through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then disengage above[42] to the other side. And always execute this when the opponent moves towards your sword with an attempt to parry. The is executed on both sides.

Item, another.

When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword and not to the openings of the body.

Item, quite precisely note this play

When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.[43]

This is the text of how you shall suddenly withdraw

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 all engagements[44] If you wish to make a fool of the masters

Know that yanking back is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off[45][46] or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the yanking back against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.

Item. Another yanking back.

When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.

This is the text about slipping through and about wrestling

Rush through, let hang Grab with the pommel if you wish to grapple. Whoever strengthens up against you, Remember to rush through during that.

Gloss. Slipping through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and during that: rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.

Another wrestling

Item. When the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. Conduct these two wrestlings to both sides.

Item. Yet another wrestling

Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shov their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face

Item. Yet another wrestling

Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shov their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings to both sides.

Here note arm wrestling in the sword

Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.

Item. Another.

Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left[47] hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and spring in front of their right foot with your left and pushing them over it.

Item. Another wrestling.

When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove with your right hand

When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.[48]

Item. Yet another.

When the opponent rushes in on you at the sword, invert your right[49] hand and pass over their left[50] arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.

Item. Yet another.

Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.

Cut off the hard ones From below with both applications

This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneathe with your sword against their sword's blade, away form their sword and immedately cut back in against their sword from above at their mouth[51]

Item. Another.

When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.

The text about the four slices

Four are the slices Two from below, two from above together.

Item. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above[52] with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.

The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.

Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.

The text about the transfromation of the slice

Turn your slice To escape, press your hands

This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and during that step to their right side, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.

Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.

The text about the two lower hangings

Two ways of hanging emerge From the ground from one hand In every clash Cut, Thrust, Position, Soft or Hard

Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.

You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.

The text about the speaking window

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

Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.

Make the speaking window like this

When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.

Another of the long point's

Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their breast. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.

This is the text of the Instruction of the four hangers and the eight hangings

Who fully commands and correctly breaks And makes complete irrefutable judgement And breaks each one individually Into three wounders, Who hangs consumately and correctly And delivers the winding with it And considers the eight winds With correct judgement And to them make singular, The winds, I differentiate trebly Thus they are twenty And four counting them individually. From both sides Learn eight winds with steps And inspect these applications Nothing more than soft or hard

Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.

Note here how you shall execute four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Execute them like this: When you come to the opponent with the initiation of fencing, setup in ox from from your right side, then if they cut in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding. Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.

Item The second upper hangers execute like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. Then if they cut in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding. If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.

Item. Now you shall know that you shall execute the four winds from the plow from both sides (these are the two lower hangers) with all of their techniques just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall execute cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly execute the eight winds with stepping on both sides. And note as soon as you wind, you shall analyze each particular winden with nothing more than whether the two applications are soft or hard against your sword. Thereafter execute the play that subsequently becomes clear to you in the previous statement

Item. Here ends the text from the recital of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slamm together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.

Item. It is to be known that the "neche"[53]. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the recital. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.

  1. Vienna: cleave closely behind
  2. Vienna: completely wrong
  3. Vienna: threats
  4. Augsburg II: You will learn about this hereafter
  5. Augsburg II: You will find those one after the other hereafter
  6. Augsburg II: descending cut
  7. sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsber II conserves this mistake
  8. Augsburg II: when the opponent strikes for your head from your right side from above
  9. Augsburg II: displace. (Matches the Lew)
  10. Augsburg II omits: or cut
  11. Augsburg II: not of the sword. (Matches the Lew)
  12. Vienna omits: with all cuts and thrusts
  13. The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, p105r. https://wiktenauer.com/wiki/Page:MS_KK5126_105r.jpg
  14. Vienna omits with
  15. Augsburg II omits with
  16. Augsburg II omits: with the short edge
  17. Vienna omits: and with that, drop back down with your arms
  18. Vienna: pommel
  19. Augsburg II omits holding
  20. Vienna: entire stuck missing. Abridged from pPvD
  21. Augsburg II omits: "threatens to cut in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew
  22. Vienna: left
  23. Vienna omits
  24. Augsburg II: notable
  25. Augsburg II: aborts during the cut of your sword
  26. Vienna: omits this line
  27. Vienna omits
  28. Vienna omits
  29. Munich I: inverted/twisted
  30. Vienna and Augsburg II omits
  31. Vienna omits
  32. Vienna and Augsburg II omits
  33. Wolfenbüttel: Broken gate to the outside
  34. Vienna omits
  35. Augsburg II omits
  36. Augsburg and the others follow the lew: "either cut in from the act of parrying or wind in against your sword"
  37. The others follow the lew: "either misfires or ..."
  38. The others omit this mistake
  39. The others: "and take the slice"
  40. Vienna: through, Wolfenbüttel: "press it"
  41. The others omit "opening of"
  42. Others: again
  43. Vienna omits: "nor lodge against you"
  44. Augsburg II introduces scribal error. "Thut im we" became "thut ime be.."
  45. bind you down
  46. Augsburg omits
  47. Vienna: right
  48. Augsburg II: Keeps this with the previous play like in the Lew
  49. Augsburg II has left as in the Rome
  50. Augsburg II has right as in the Rome
  51. "vnd haw im am swert" is repeated. Scribal error
  52. Augsburg II omits the rest of this passage
  53. unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context