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Here begins the interpretation of the recital.
+
Here begins the explanation of the Zettel.
In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in veiled and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very veiled and misleading words glossed and interpreted as lay written [Rostock adds: and pictured] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.
+
In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in cryptic and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very cryptic and misleading words glossed and interpreted as lay written [Rostock adds: and pictured] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.
  
The foreward of the recital.
+
The foreward of the Zettel.
 
Young knight learn
 
Young knight learn
 
To have love for god, honor women
 
To have love for god, honor women
Line 27: Line 27:
 
That is, if you desire to fence strongly.
 
That is, if you desire to fence strongly.
  
Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: When you wish to cut from the right side, then see to it that your left foot stands forward. If you then make a descending cut from the right side, then support the cut with the right foot. If you do not do that, then the cut is spurious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct other side in front of the left foot.
+
Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: First, If you wish to cut from the right side, then see to it that your left foot stands forward. And if you wish to make a descending cut from the left side, then see to it that your right foot stands forward. Second, if you hew a downward cut from the right side then accompany the cut with the left foot. If you do not do that, then the cut is erronious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct<ref>likely a scribal error. The scribe was trying to write `rechten seiten`, but only crossed out `seiten`</ref> other side in front of the left foot.
  
The same when you cut from the left side and [you] do not support the cut with the left foot. Thus the cut is also spurious. Therefore make sure from whichever side you cut, that you support the cut with the same sided foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.
+
In the same way, if you cut from the left side and you do not support the cut with the left foot, then the cut is also erronious. Therefore make sure from whichever side you cut, that you accompany the cut with the specified foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.
  
 
Again, the text about a lesson
 
Again, the text about a lesson
Line 41: Line 41:
 
Fence whatever you desire to conduct with strength.<ref>possibly: `strongly desire to conduct`</ref>
 
Fence whatever you desire to conduct with strength.<ref>possibly: `strongly desire to conduct`</ref>
  
Gloss. When you come to the opponent with the initiation of fencing, you should not watch nor await their cut as they conduct it against you. Because all fencers that look out and wait upon the opponent's cut and wish to do nothing else than parry, they allow themelves little opportunity from art because they often become struck with it.
+
Gloss. When you come to the opponent with the initiation of fencing, you should neither watch nor await their cut as they conduct it against you. Because all fencers that watch and wait upon the opponent's cut and wish to do nothing else than parry, they allow themelves little opportunity from art because they often become struck with it.
  
Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cut in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.
+
Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cleave in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.
  
 
Again, a lesson.
 
Again, a lesson.
Line 51: Line 51:
 
In the right [you] are also severely hindered.
 
In the right [you] are also severely hindered.
  
Note the gloss. The lesson hits upon two people, one left and one right. The first cut, understand it like this: When you come to the opponent with the initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work strongly with art. Whatever you wish. The same is if you are lefty. Then do not cut from the right side as well, because the art is quite awkward [when] a lefty drives from the right side. It is also the same [of] a righty from the left side.
+
Note the gloss. This lesson hits upon two people, a lefty and a righty. Look at it like this. When you come to the opponent with the initiation of fencing, if you are right-handed and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work whatever you wish strongly at the sword with art. In the same way if you are lefty, then do not cut from the right side as well, because the art is quite awkward [when] a lefty initiates from the right side. It is also the same with a righty from the left side<ref>Rostock: hand</ref>.
  
 
This is the text and learn a lesson about before and after.
 
This is the text and learn a lesson about before and after.
Line 63: Line 63:
 
Never learns to fence.
 
Never learns to fence.
  
Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things have one origin that gives rise to the entire art of fencing.
+
Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things are the singular origin that gives rise to the entire art of fencing.
  
Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening the moment before they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.
+
Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening before<ref>"Ehe wann" can be taken a few ways. Simply, "before" or else the "the moment before" or "before the moment"</ref> they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.
  
 
Here note that which is called the after.
 
Here note that which is called the after.
Note. If you can not come into the before, then wait upon the after. These are the breaks of all plays that they conduct upon you.
+
Note. If you can not arrive in the before, then wait for after. These are the breaks of all plays that they conduct upon you.
  
Look at it like this: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the parry, so that you hit them the moment before they accomplish their play. Thus you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.
+
Look at it like this: If the opponent comes before such that you must parry them, then swiftly Indes work with the parrying in front of yourself to the nearest opening, so that you hit them before<ref>see above</ref> they accomplish their play. In this way you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.
  
The strong of their sword
+
And look at it like this: From the hilt of the sword up to the middle of the blade the sword has its strength. With that you can resist<ref>wiederhalten: lit. 'hold against'. To withstand, resist</ref> if someone binds you against it. And onward from the middle up to the point, the sword has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.
And understand it like this: From the hilt of the sword up until the middle of the blade the sword has its strength. With that you may resist<ref>wiederhalten: lit. 'hold against'. To withstand, resist</ref> when someone binds you against it. And farther from the middle up until the point, it has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.
 
  
 
The text of the five cuts
 
The text of the five cuts
 
Learn five cuts
 
Learn five cuts
From the right hand, whoever invests in these,
+
From the right hand, against the weapon,
We swear to them
+
We swear upon this
To gladly pay them back in skills.
+
To pay off in skills easily.
  
Note the recital sets down five concealed cuts. Many masters of the sword do not know to say that you should not learn to make other cuts, when from the right side, against those that position themelves against you in defence. And if you select one cut from the five cuts, then one can connect during the first strike. Whoever can break that without their harm, will be avowed by the masters of the recital such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written hereafter.
+
Note the Zettel sets down five cryptic cuts, about which many masters of the sword do not know to say that "You should not learn to attack any other way when from the right side against those that position themelves against you in arms. And if you make an attempt with one of the five cuts, then you can connect with the first strike." Whoever can break your attack without harming themselves, the Masters of the Zettel will swear that this person's art shall pay off better than another fencer's who cannot fence against these five cuts. And how you shall hew those five cuts, you shall find that in the very five cuts written about hereafter.
  
This is the text of the plays of the recital
+
This is the text of the plays of the Zettel
 
Wrathcut Crook and Cross,
 
Wrathcut Crook and Cross,
 
If the Eye Cocker keeps with the Parter,
 
If the Eye Cocker keeps with the Parter,
Line 96: Line 95:
  
 
They are seventeen in number and begin with the five cuts
 
They are seventeen in number and begin with the five cuts
Another. Now note the first cut called the wrath-cut
+
Another. Now note the first cut called the wrathcut
 
The second the crooked cut
 
The second the crooked cut
 
The third the crosswise cut
 
The third the crosswise cut
Line 108: Line 107:
 
The tenth the displacements
 
The tenth the displacements
 
The eleventh disengaging
 
The eleventh disengaging
The twelfth yanking back
+
The twelfth suddenly withdrawing
The thirteenth the rush throughs
+
The thirteenth rushing through
The fourteenth the cut offs
+
The fourteenth cutting off
 
The fifteenth the hand presses
 
The fifteenth the hand presses
 
The sixteenth the hangings
 
The sixteenth the hangings
Line 117: Line 116:
 
And how you shall uncover with the hanging and winding and how you shall conduct all the aforenamed plays, you find that all written hereafter.
 
And how you shall uncover with the hanging and winding and how you shall conduct all the aforenamed plays, you find that all written hereafter.
  
This is the wrath-cut with it's plays
+
This is the wrathcut with it's plays
  
 
Whoever cuts at you from above,
 
Whoever cuts at you from above,
The wrath-cut point threatens them
+
The wrathcut point threatens them
  
Gloss. Look at it like this: When one cuts in from above from their right side, you also cut in a wrath-cut strongly from your right shoulder with them using your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.
+
Gloss. Look at it like this: If someone cleaves in from above from their right side, then you also cleave in with a wrathcut strongly from your right shoulder with them with your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.<ref>Rostock adds: as is illustrated here</ref>
  
Yet another play from the wrath-cut
+
Yet another play from the wrathcut
 
If they become aware of it,
 
If they become aware of it,
Then take off above without concern
+
Then abscond above without concern
  
Gloss. When you shoot the point in during the wrath-cut, then if they become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cut in again at their head from above on the other side against their sword.
+
Gloss. When you shoot the point in during the wrathcut, if they then become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cleave in again at their head from above on the other side against their sword.<ref>Rostock adds: as is illustrated here</ref>
  
Yet another play from the wrath-cut
+
Yet another play from the wrathcut
 
Be strong in turn
 
Be strong in turn
 
And thrust. If they see it, take it again[sic]<ref>Rostock: 'nider' => 'down'</ref>
 
And thrust. If they see it, take it again[sic]<ref>Rostock: 'nider' => 'down'</ref>
  
Gloss. When you cut in with the wrath-cut, if the opponent parries it and remains strong against the sword with it, then be strong again against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.
+
Gloss. When you cleave in with the wrathcut,ref>Rostock adds: as is illustrated just above here</ref> if the opponent parries it and remains strong against the sword with it, then be strong in turn against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.<ref>Rostock adds: as is illustrated here</ref>
  
Yet another play from the wrath-cut
+
Yet another play from the wrathcut
When you thrust-in from above during the winding, as was before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.
+
When you thrust-in from above during the winding like before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.<ref>Rostock adds: as is illustrated below here</ref>
  
A break against the taking off
+
A break against absconding
Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cuts in again from above at your head on the other side against your sword to your head, then bind <ref>Rostock: "wind stark..." => "twist strongly"</ref>strongly with the long edge from high towards their head.
+
Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cleaves in again from above at your head on the other side against your sword, then bind <ref>Rostock: "wind stark..." => "twist strongly"</ref>strongly with the long edge from high into their head.
  
 
Here note a good lesson.
 
Here note a good lesson.
Line 150: Line 149:
 
Above, will be exposed below.
 
Above, will be exposed below.
  
Gloss. This is what you shall quite precisely note when one with a cut or with a thrust or otherwise binds against your sword: whether they are soft or hard upon the sword. And when you have sensed this, you shall know Indes which is the best: whether you rush<ref>Rostock: has "arbaiten(to work)" instead of "hurten"</ref> upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.
+
Gloss. This is what you shall quite precisely note when someone binds against your sword with a cut or with a thrust or otherwise: whether they are soft or hard upon the sword. And if you have sensed this, then Indes you shall know which is for the best: whether you rush<ref>Rostock: has "arbaiten(to work)" instead of "hurten"</ref> upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.
  
Another. Conduct the war like this: When you cut in with the wrath-cut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.
+
Another. Conduct the war like this: When you cleave in with the wrathcut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.
  
 
How one shall properly find cuts and thrusts in all windings
 
How one shall properly find cuts and thrusts in all windings
Line 162: Line 161:
 
Of the masters, if you wish to dishonor them.
 
Of the masters, if you wish to dishonor them.
  
Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct<ref> Rostock adds: "der heúe, oder stich, od shnit" </ref>. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themelves against you.
+
Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct<ref> Rostock adds: "der heúe, oder stich, od shnit" => "the cut, thrust or slice" </ref>. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themelves against you.
  
 
About the four openings
 
About the four openings
Line 170: Line 169:
 
Without doubt however they are situated.
 
Without doubt however they are situated.
  
Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the onset with which they uncover themelves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.
+
Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the initiation of fencing with which they uncover themelves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and <ref>Speyer adds: also</ref>otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.
  
 
The text and the gloss about the doubling and about the mutating. How they break the four openings.
 
The text and the gloss about the doubling and about the mutating. How they break the four openings.
Line 182: Line 181:
 
They can scarcely come to blows, etc.
 
They can scarcely come to blows, etc.
  
Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend themelves from that and can neither come to strikes nor to thrusts.
+
Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend<ref>Rostock: "behueten" => "protect"</ref> themelves from that and can neither come to strikes nor to thrusts.
  
 
The doubling
 
The doubling
Another. When you cut in from above with the wrath cut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.
+
Another. When you cleave in from above with the wrathcut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.
  
 
Note the mutating
 
Note the mutating
Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. This works on both sides.
+
Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. Conduct this on both sides.
  
 
The crooked cut with it's plays
 
The crooked cut with it's plays
Line 195: Line 194:
 
Throw the point onto the hands
 
Throw the point onto the hands
  
Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.
+
Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed<ref>Salzburg: extended</ref> arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.
  
 
Yet another play from the crooked cut
 
Yet another play from the crooked cut
Crook. Whoever fully commits
+
Crook. Whoever besets well
 
Disrupts many cuts with stepping.
 
Disrupts many cuts with stepping.
  
Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cuts in from above from their right side to the opening, step to their left side with your right foot and fall across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.
+
Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cleaves in from above from their right side to the opening, step to their left side with your right foot and fall<ref> This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.</ref> across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.
  
 
Yet another play from the crooked cut.
 
Yet another play from the crooked cut.
Hew crooked to the flats of
+
Cut crooked to the flats of
 
The masters if you wish to weaken them.
 
The masters if you wish to weaken them.
  
Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cuts in from their right side, cut crooked against their cut atop their sword with crossed hands.
+
Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cleaves in from above from their right side, cut crooked against their cut atop their sword with crossed hands.
  
 
Yet another play from the crooked cut
 
Yet another play from the crooked cut
  When it sparks above
+
If it sparks above
  So stand aside, that I will laud.
+
the dismount, that I will laud.
  
 
Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast
 
Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast
Line 219: Line 218:
 
Disengage and with that expose them
 
Disengage and with that expose them
  
Gloss. This is for when the opponent wishes to cut in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.
+
Gloss. This is for when the opponent wishes to cleave in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.<ref>Rostock adds: as is illustrated here and the [next] breaks this.</ref>
 +
 
 +
[Salzburg]
 +
 
 +
Yet another break against the crooked cut<ref>Rostock and Salzburg only</ref>
 +
 
 +
Note. If you shoot in your point below their sword, as was written and illustrated before, if they press your sword down to the ground with a crooked cut, then wind toward your right side and rise sufficiently up with your arms over your head and set your point against their breast from above, as is illustrated below. If they parry that, then remain standing in this way with your hilt in front of your head and work from one opening to the other with your point. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you.<ref>This gloss is very similar to the Noble War gloss below found in the Dresden</ref>
  
 
Note how one shall break the crooked cut.
 
Note how one shall break the crooked cut.
Line 227: Line 232:
 
Where they are without danger.
 
Where they are without danger.
  
Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and displaces your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.
+
Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and foils your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.
  
 
Another break for the crooked cut
 
Another break for the crooked cut
Note. When you cut in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise all the way up over your head with your arms and set your point against their breast from above.
+
Note. When you cleave in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise sufficiently up over your head with your arms and set your point against their breast from above.
  
Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the noble war. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.
+
Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.
  
 
The crosswise cut with it's plays
 
The crosswise cut with it's plays
Line 239: Line 244:
 
Whatever arrives from the roof
 
Whatever arrives from the roof
  
Gloss. Note the crosswise cut breaks all cuts that will have been hewn from above down. Conduct the cut like this:<ref>Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."</ref>When the opponent cuts in at your head from above, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.
+
Gloss. Note the crosswise cut breaks all cuts that will be hewn down from above. Conduct the cut like this:<ref>Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."</ref>When the opponent cleaves in from above at your head, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.<ref>Rostock adds: as is illustrated here</ref>
  
 
A play from the crosswise cut
 
A play from the crosswise cut
Line 246: Line 251:
 
With that note the work
 
With that note the work
  
Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.<ref>Rostock: supplies the missing verb, 'windest'</ref> then if the opponent holds it strongly at bay, then from against their sword strike them on their head with crossed arms from behind their sword's edge as is made here or slice them across their mouth with this play.
+
Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.<ref>Rostock: supplies the missing verb, 'windest'</ref> then if the opponent holds it strongly in turn, then from against their sword strike them on their head with crossed arms from behind their sword's edge <ref>Rostock adds: as is illustrated here</ref> or slice them across their mouth with this play.
  
 
Yet another play from the crosswise cut
 
Yet another play from the crosswise cut
Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly at bay,<ref> alternately, wiederhalten: to struggle or resist</ref>, then shove their sword away from you, down to your right side using your hilt and immediately strike back around with the crosswise cut at their head to their right side.
+
Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly in turn,<ref>Rosktock adds: "bei dir" => "Next to you"</ref>, then shove their sword away from you, down to your right side<ref>Rosktock adds: as is illustrated here</ref> with your hilt and immediately strike back around with the crosswise cut at their head to their right side.
  
 
Yet another play from the crosswise cut
 
Yet another play from the crosswise cut
Line 256: Line 261:
 
Another play
 
Another play
 
Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.
 
Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.
 +
 +
[Salzburg]
 +
 +
Another.<ref>This gloss occurs in the Salzburg only</ref> If someone takes you by the neck on your right side, then let your sword go from your right hands and thrust their sword from your neck with your right and step toward their right side with your left foot in front of both of their feets and pass over both their arms close by their hilt with your left arm and take them for a dance or stab them down between their legs in the groin.
  
 
[Glasgow]
 
[Glasgow]
  
 
Here note the break against the upper crosswise cut
 
Here note the break against the upper crosswise cut
Note. When you bind the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is pictured hereafter next to this, such that they strike themelves the same way with your sword.
+
Note. When you bind<ref>Rostock: wind</ref> the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is illustrated just after this, such that they strike themelves the same way with your sword.
  
 
Here note the break against the low cross strike
 
Here note the break against the low cross strike
Note when you bind against their sword from your right side, then if the opponent strikes from the sword around to the other<ref>Rostock: "unternn" => "lower"</ref> opening of your right side using the crosswise cut, then remain with your hilt above your head and turn your sword's edge downward against their cut and thrust to their lower opening, as is pictured hereafter next to this.
+
Note when you bind<ref>Rostock: wind</ref> against their sword from your right side, then if the opponent strikes from the sword around to the other<ref>Rostock: "unternn" => "lower"</ref> opening of your right side using the crosswise cut, then remain with your hilt above your head and twist your sword's edge downward against their cut and thrust to their lower opening, as is illustrated just after this.
  
 
[Dresden]
 
[Dresden]
Line 272: Line 281:
  
 
Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.
 
Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.
Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.
+
Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable to you, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.
  
 
Yet another play from the crosswise cut
 
Yet another play from the crosswise cut
When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called sriking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this make a descending cut in from above at their head and with that withdraw yourself.
+
When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called sriking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this cleave in from above with a descending cut to their head and with that withdraw yourself.
  
 
Whoever crosses themelves well
 
Whoever crosses themelves well
Line 284: Line 293:
 
[Glasgow]
 
[Glasgow]
  
This is the text and the gloss of yet another play from the crosswise cut and is called the failer.<ref>The Rostock title matched the Dresden</ref>
+
This is the text and the gloss of yet another play from the crosswise cut and it is called the failer.<ref>The Rostock title matched the Dresden</ref>
  
Whoever credibly executes the failer
+
Whoever misleads with the failer
 
They wound according to desire from below
 
They wound according to desire from below
  
Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch your sword away during the cut and strike to the lower opening of their right side using the crosswise cut, as is pictured just after to this. In this way the opponent is triggered and struck below according to desire.
+
Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch<ref>Rostock: "wend" => "turn".</ref> your sword away during the cut and strike to the lower opening on their right side using the crosswise cut, as is illustrated just after this. In this way the opponent is triggered and struck below according to desire.
  
 
[Dresden]
 
[Dresden]
Line 295: Line 304:
 
Yet another play from the crosswise cut and this is called the inverter
 
Yet another play from the crosswise cut and this is called the inverter
  
The inverter constrains.
+
The inverter compels
The one who slips across also wrestles with it.
+
Rushing through and also wrestles with it.
 
Take the elbow surely
 
Take the elbow surely
Spring into their stance.
+
Spring into their stance
  
Gloss. Note you shall conduct this play like so: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust at their face from above. In this way, you constrain them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find heareafter in the slipping through.
+
Gloss. Note you shall conduct this play like this: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust into their face from above. In this way, you pressure them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find heareafter in the rushing through.
  
 
Yet another play from the failer
 
Yet another play from the failer
Line 306: Line 315:
 
If they make contact, make the slice with it
 
If they make contact, make the slice with it
  
Glossa. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.
+
Glossa. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.<ref>Glasgow adds: as is illustrated just after this</ref>
  
 
Yet another play from the failer
 
Yet another play from the failer
Line 313: Line 322:
 
Step in left and do not be lazy
 
Step in left and do not be lazy
  
Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below<ref>omitted in dresden</ref> and immediately strike back around to the right side of their head and with that<ref>mit omitted in the glasgow</ref> from crossed arms pass over their sword with the short edge and spring left, that is to your left side and slice them with the long edge through the jaw.
+
Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below<ref>omitted in dresden</ref> and immediately strike back around to the right side of their head and with that<ref>mit omitted in the glasgow</ref> from crossed arms pass over their sword with the short edge and spring left, that is, to your left side and slice them with the long edge through the jaw.
  
 
The cockeyed cut with it's plays
 
The cockeyed cut with it's plays
  
The cockeyed cut breaks inside
+
The cockeyed cut breaks into
 
Whatever the buffalo strikes or thrusts
 
Whatever the buffalo strikes or thrusts
 
Whoever threatens to change,
 
Whoever threatens to change,
 
The cockeyed cut robs them of it.
 
The cockeyed cut robs them of it.
  
Gloss. Note here that the cockeyed cut is a cut that intrudes into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cuts in from above from their right side, then you also cut from your right against their cut with upright arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cut in this way when they stand against you in the guard of the plow or when they will thrust at you from below.
+
Gloss. Note here that the cockeyed cut is a cut that breaks into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cleaves in from above from their right side, then you also cut from your right against their cut with upright<ref>alt: extended</ref> arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cleave in this way when they stand against you in the guard of the plow or when they will thrust at you from below.<ref>Rostock differs from "then you also cut...": "then you also cut from your right with the short edge, in this way you strike and parry together as one and you hit them with your cut as is illustrated here."</ref>
  
 
Yet another play from the cockeyed cut
 
Yet another play from the cockeyed cut
Line 333: Line 342:
 
[Glasgow]
 
[Glasgow]
  
Another. All fencers, which fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.
+
Another. All fencers that fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.
  
 
[Dresden]
 
[Dresden]
Line 349: Line 358:
 
Head if you wish to ruin the hands.
 
Head if you wish to ruin the hands.
  
Gloss. Note when the opponent wishes to cut in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.
+
Gloss. Note when the opponent wishes to cleave in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.
  
 
The part cut
 
The part cut
Line 357: Line 366:
  
 
[Rostock]
 
[Rostock]
This is the part cut with its plays The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cut in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.
+
This is the part cut with its plays The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cleave in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.
  
 
[Glasgow]
 
[Glasgow]
Line 363: Line 372:
  
 
[Rostock]
 
[Rostock]
One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref>, withdraw it with slicing. Gloss. Note when you cut in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.
+
One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref>, withdraw it with slicing. Gloss. Note when you cleave in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.
  
 
[Dresden]
 
[Dresden]
Line 370: Line 379:
 
Firmly threatens the breast.
 
Firmly threatens the breast.
  
Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head using your hilt and set the point against their breast from below.
+
Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head with your hilt and set the point against their breast from below.
  
 
How the crown breaks the part cut
 
How the crown breaks the part cut
Line 376: Line 385:
 
The crown takes that away
 
The crown takes that away
  
Gloss. Note when you cut in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.
+
Gloss. Note when you cleave in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.
  
 
How the slice breaks the crown.
 
How the slice breaks the crown.
Line 439: Line 448:
 
If you are parried
 
If you are parried
 
And however it has come to this
 
And however it has come to this
Hear what I advise
+
Heed what I advise:
Wrench off, cut quickly with haste
+
Wrench off, cut quickly with violence
  
 
Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.
 
Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.
  
 
Yet another play against an act of parrying
 
Yet another play against an act of parrying
Note when you execute a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.
+
Note when you hew a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.
  
 
Yet another play against parrying.
 
Yet another play against parrying.
Line 452: Line 461:
 
Learn to remain upon them if you wish to finish
 
Learn to remain upon them if you wish to finish
  
Gloss. When you cut in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.
+
Gloss. When you cleave in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.
  
 
[Glasgow]
 
[Glasgow]
Line 460: Line 469:
 
Learn to remain upon them if you wish to finish
 
Learn to remain upon them if you wish to finish
  
Gloss. This is for when you cut in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.
+
Gloss. This is for when you cleave in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.
  
 
[Dresden]
 
[Dresden]
Line 471: Line 480:
 
Double or slice into the weapon
 
Double or slice into the weapon
  
Gloss: This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.
+
Gloss: This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.
  
 
[Rostock]
 
[Rostock]
Line 478: Line 487:
 
Double or slice into the weapon
 
Double or slice into the weapon
  
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cut in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.
+
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.
  
 
[Dresden]
 
[Dresden]
Line 488: Line 497:
 
if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.
 
if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.
  
About the couplings to the outside
+
About the enticements to the outside
Two couplings to the outside
+
Two enticements to the outside
 
Your work begins thereafter
 
Your work begins thereafter
 
And gauge the application
 
And gauge the application
 
Whether they are soft or hard
 
Whether they are soft or hard
  
Gloss. Note the two couplings to the ouside are the two racings behind against the sword. Conduct it like this: When the opponent overcommits themselves attacking before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and guage whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.
+
Gloss. Note the two enticements to the ouside are the two pursuits of the sword. Conduct it like this: When the opponent misses their attack before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and guage whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.
  
The other coupling to the outside
+
The other enticement to the outside
 
Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.
 
Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.
  
Line 505: Line 514:
 
Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing
 
Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing
  
And understand it like this: When one binds someone against their sword, in that, just as the swords spark together, you shall immediately feel, whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to thier senses.
+
And look at it like this: When someone binds someone else against their sword, in that, just as the swords spark together, you shall immediately feel whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perception of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.
  
Another. You shall think of the word Indes in all bindings of the sword because Indes doubles, Indes mutates, Indes slips through and Indes takes the slice. Indes wrestles. With Indes, take the sword. Indes puts whatever your heart desires into the art. Indes is a sharp word. Consequently, any fencer that knows nothing of this word, becomes cut. And this word, Indes, is also the key with which every art of fencing becomes unlocked.
+
Another. You shall think of the word Indes in all bindings of the sword because
 +
 
 +
Indes doubles,
 +
Indes mutates,
 +
Indes rushes through
 +
Indes disengages
 +
Indes takes the slice.
 +
Indes wrestles, with that
 +
Indes, take their sword.
 +
Indes does whatever your heart desires in this art.
 +
 
 +
Indes is a sharp word. Consequently, any fencer that knows nothing of this word, will be sliced up. And this word, Indes, is also the key with which the entire art of fencing becomes unlocked.
  
 
Pursuing
 
Pursuing
Line 514: Line 534:
 
If one hits, make the old slice from it.
 
If one hits, make the old slice from it.
  
Gloss. This is for when the opponent overcommits themselves attacking before you, pursue with a cut to their upper opening. Then if they rise up and bind against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you or slice from the sword through their jaw. Conduct this on both sides.
+
Gloss. This is for when the opponent misses their attack before you, pursue with a cut to their upper opening. Then if they rise up and bind<ref>Rostock: wind</ref> against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you as is pictured next or slice from the sword through their jaw. Conduct this on both sides.
  
 
About overrunning
 
About overrunning
Line 524: Line 544:
 
Or press hard twice.
 
Or press hard twice.
  
Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the onset, you shall not parry them, rather await, such that you overrun them with a cut in at the head from above or lodge the point from above, so that they become shamed by you because all descending cuts and all logdings against from above reach over the lower.
+
Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the initiation of fencing, you shall not parry them, rather take care that you overrun them with a cut in at their head from above or lodge the point from above as is pictured next, so that they become shamed by you because all descending cuts and all lodgings from above reach over the lower.
  
 
Another. How one shall displace cuts and thrusts
 
Another. How one shall displace cuts and thrusts
Line 535: Line 555:
 
You will hit every time, if you step.
 
You will hit every time, if you step.
  
Gloss. This is so that you shall learn to displace both cuts and thrusts alike with art such that your point hits them and theirs will be deflected and understand it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in turn against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and their's fails to.
+
Gloss. This is so that you shall learn to displace both cuts and thrusts with art in such a way that your point hits them and theirs will be deflected and look at it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in response against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and their's fails to.
  
 
Yet another play about displacing
 
Yet another play about displacing
Line 547: Line 567:
 
Disengaging surely finds the them
 
Disengaging surely finds the them
  
Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cut or thrust in in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and rush through and with that, gravely thrust in on the other side, so that you immediately find the opening of the opponent as is pictured here.
+
Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cleave in or thrust forward in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and slip through and with that, gravely thrust in on the other side, so that you find the opening of the opponent surely as is pictured here.
  
 
[Glasgow]
 
[Glasgow]
Line 556: Line 576:
  
 
[Dresden]
 
[Dresden]
About the yanking back
+
About the suddenly withdrawing
 
Tread close in binds,
 
Tread close in binds,
So that yanking back gives good opportunities.
+
Suddenly withdrawing gives good opportunities.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
 
Uncover the work that does them harm.
 
Uncover the work that does them harm.
Line 564: Line 584:
 
If you wish to make a fool of the masters
 
If you wish to make a fool of the masters
  
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.
+
Gloss. This is for when you come to the opponent with the initiation of fencing, cleave in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them<ref>Glasgow adds: against their sword</ref> and suddenly withdraw your sword up off from theirs and cleave in again from above on the other side at their head as is pictured here. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.
  
 
[Glasgow]
 
[Glasgow]
This is the text and the gloss about yanking back
+
or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.
Tread close in binds,
 
So that yanking back gives good opportunities.
 
Suddenly withdraw. If they engage, suddenly withdraw more.
 
If they work, slice so that it does them woe.
 
Suddenly withdraw in all engagements
 
If you wish to make a fool of the masters
 
 
 
Gloss. This is for when you come to the opponent with the initiation of fencing, cut in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them and suddenly withdraw away your sword up off from theirs and cut in again from above on the other side at their head as it is pictured next to this, and work swiftly to their nearest opening by doubling or otherwise by other plays or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.
 
  
 
[Dresden]
 
[Dresden]
About Slipping through
+
About Rushing through<ref>Rostock: This is about wresting</ref>
 
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.
Line 584: Line 596:
 
Remember to rush through with it.
 
Remember to rush through with it.
  
Gloss. Note this is for when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back<ref>Rostock: "and allow the blade to hang down behind you"</ref> and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.
+
Gloss. Note this means: when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back<ref>Rostock: "and allow the blade to hang down behind you"</ref> and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.
  
Yet another slipping through
+
Yet another rushing through
Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword, hold your sword by the pommel with the left hand and let the blade hang over your back. Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.
+
Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword,<ref>Rostock differs: When the opponent rises up with their arms in the onrush,</ref> hold your sword by the pommel with the left hand and let the blade hang over your back.<ref>Rostock adds: behind you</ref> Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.
  
 
A wrestling at the sword
 
A wrestling at the sword
Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side using your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.<ref>this last sentence is highlighted and a drawn hand is pointing to it.</ref>
+
Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side with your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.<ref>this last sentence is highlighted and a drawn hand is pointing to it.</ref>
  
 
Yet another wresting at the sword
 
Yet another wresting at the sword
Line 596: Line 608:
  
 
Yet another wresting at the sword
 
Yet another wresting at the sword
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm using your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.
+
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm with your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.
  
 
Yet another wresting at the sword
 
Yet another wresting at the sword
Line 602: Line 614:
  
 
[Glasgow]
 
[Glasgow]
Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left using your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.
+
Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left with your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.
  
 
Yet another wresting
 
Yet another wresting
Another. When someone rushes in inside your sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left using your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.
+
Another. When someone rushes in while at the sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.
  
 
[Dresden]
 
[Dresden]
Line 620: Line 632:
 
With two from below, two from above.
 
With two from below, two from above.
  
Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop<ref>Glasgow: traverse</ref> into their arms using the short edge and press upwards as before.
+
Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop<ref>Glasgow: slip</ref> under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop<ref>Glasgow: slip</ref> into their arms using the short edge and press upwards as before.
  
 
Yet another slice
 
Yet another slice
Another. When you bind strongly on their sword using a cut or otherwise, then if the opponent allows their sword to bounce away from yours and strikes at your head from above, then hang off your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.
+
Another. When you bind strongly on their sword with a cut or otherwise, then if the opponent allows their sword to bounce off of yours and strikes at your head from above, then twist your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.
  
Yet another slice
+
Yet another slice<ref>Rostock: This is the over slice</ref>
Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above using your long edge. Conduct this on both sides.
+
Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above with your long edge.<ref>Rostock adds: and press them away from you as is pictured here</ref> Conduct this on both sides.
  
 
Abount the transformation of the slice
 
Abount the transformation of the slice
Line 633: Line 645:
 
To flatten, press your hands
 
To flatten, press your hands
  
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side and with that press their arms away from you.
+
Gloss. This is for when you in your onrush come into the opponent's arms<ref>Glasgow, Rast add: from below</ref> with the lower slice such that your point goes out toward their<ref>Glasgow, Rast: your</ref> right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side and with that press their arms away from you.<ref>Glasgow and Rast differ in the last clause: In this way you have transformed the lower slice into the upper. Conduct this on both sides</ref>
  
 
[Glasgow]
 
[Glasgow]
Line 641: Line 653:
 
To flatten, press the hands
 
To flatten, press the hands
  
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice  such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms using your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.
+
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice  such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.
  
 
[Dresden]
 
[Dresden]
Line 651: Line 663:
 
Cut, Thrust, Position, Soft or Hard
 
Cut, Thrust, Position, Soft or Hard
  
Gloss. Note there are hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.
+
Gloss. Note there are hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.
  
 
[Rostock]
 
[Rostock]
Line 661: Line 673:
 
Cut, Thrust, Position, Soft or Hard
 
Cut, Thrust, Position, Soft or Hard
  
Gloss. Note there are two hangings from each hand and from each side of the ground. Execute them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you either perceive or recognize in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.
+
Gloss. Note there are two hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword to your left side using the lower displacement, hang your sword's pommel toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications. Cut, thrust and slice thereafter as you either perceive or gauge in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.
  
 
[Dresden]
 
[Dresden]
Line 672: Line 684:
 
I say to you truthfully
 
I say to you truthfully
 
No one defends themselves without danger
 
No one defends themselves without danger
If you have understood
+
If you have rightly understood
They cannot come to blows
+
They can hardly come to blows
  
Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or parrying, remain strong against their sword using your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.
+
Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or<ref>Rast: and</ref> by<ref>Dresden parrying, remain strong against their sword with your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.
  
Another. If the opponent strikes around from the sword to your other side with a descending cut, then bind in from above with strength in accordance with their cut<ref>G: against their cut</ref> using your long edge.
+
Another. If the opponent strikes around from the sword to your other side with a descending cut, then make a bind following in from above with strength with your long edge.<ref>Glasgow: then bind in above with strength against their cut into their head</ref>
  
Or if they strike around using the crosswise cut, then drop into their arms using the upper slice.
+
Or if they strike around using the crosswise cut, then drop into their arms with the upper slice.
  
Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword and lodge against them from above.
+
Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword with your point<ref>Dresden omits: with your point</ref> and lodge against them from above.
  
 
Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.
 
Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.
  
hereafter note what is called here, the long point.
+
hereafter note what is called here, long point.
  
Note the moment before you arrive too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.
+
Note before you come too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.
  
 
[Glasgow]
 
[Glasgow]
Here note how you shall stand in the long point and what plays you shall conduct from it.
+
Here note how you shall stand in the long point and which play you shall conduct from it.
  
Note. When you come to the opponent with the initiation of fencing, advance your left foot the moment before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts in from above at your head, then wind against their cut with your sword and thrust into their face.
+
Note. When you come to the opponent with the initiation of fencing with your sword, advance your left foot before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cleaves in from above at your head, then wind against their cut with your sword and thrust into their face.
  
 
[Dresden]
 
[Dresden]
Line 701: Line 713:
 
If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.<ref>this last sentence is highlighted.</ref>
 
If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.<ref>this last sentence is highlighted.</ref>
  
The text about the distillation of the recital
+
The text about the distillation of the Zettel
  
 
Who fully commands and correctly breaks
 
Who fully commands and correctly breaks
Line 708: Line 720:
 
Into three wounders
 
Into three wounders
 
Who hangs consumately and correctly
 
Who hangs consumately and correctly
And carries out windings with it
+
And delivers the windings with it
 
And considers the eight winds
 
And considers the eight winds
 
With correct judgement
 
With correct judgement
Line 720: Line 732:
 
Nothing more than soft or hard
 
Nothing more than soft or hard
  
Gloss. This is a lesson in which the recital is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to execute your break against their play, so that you can complete your work from any particular break using the three wounders.
+
Gloss. This is a lesson in which the Zettel is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to conduct your break against their play, so that you can complete your work from any particular break using the three wounders.
  
 
[Glasgow]
 
[Glasgow]
This is a lesson in which the art of the recital is artfully tied together. You learn it in this manner so that you wil be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to execute your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.
+
This is a lesson in which the art of the Zettel is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to conduct your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.
  
Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to execute.
+
Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to conduct.
  
 
[Dresden]
 
[Dresden]
 
Here note how you shall conduct the hangings and the windings
 
Here note how you shall conduct the hangings and the windings
  
Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only execute two specific windings from each binding of the sword.
+
Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only conduct two specific windings from each binding of the sword.
  
 
[Glasgow]
 
[Glasgow]
Line 736: Line 748:
 
Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.
 
Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.
  
Or if the opponent binds against your right side from above, also wind your long edge against their sword toward your right side and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides
+
Or if the opponent binds against your right side from above, then wind your long edge against their sword toward your right side as well and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides
  
 
[Dresden]
 
[Dresden]
Line 742: Line 754:
 
Another. Now you shall know
 
Another. Now you shall know
  
That you shall also execute four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall execute one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play into the winding that is called for. If you do not do this, all windings become a means to be struck.
+
That you shall also conduct four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall conduct one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play of the winding that is called for. Whereever you do not do this, you will become struck by all windings.
  
 
[Glasgow]
 
[Glasgow]
Line 748: Line 760:
 
Another. Now you shall know
 
Another. Now you shall know
  
That you shall also execute four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall execute one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can execute them from the eight windings, arriving at twenty-four. And you shall properly learn to execute the eight windings from both sides, in such a way that you step in with each winding and with that consider their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, execute the play that is called for in that winding. Whenever you do not do this, you will become struck by all windings.
+
That you shall also conduct four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall conduct one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, in such a way that you step in with each winding and with that gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play that is called for in that winding. Wherever you do not do this, you will become struck by all windings.

Latest revision as of 22:00, 27 July 2022

Here begins the explanation of the Zettel. In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in cryptic and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very cryptic and misleading words glossed and interpreted as lay written [Rostock adds: and pictured] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.

The foreward of the Zettel. Young knight learn To have love for god, honor women So that you expand your 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.[1]

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

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 first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: First, If you wish to cut from the right side, then see to it that your left foot stands forward. And if you wish to make a descending cut from the left side, then see to it that your right foot stands forward. Second, if you hew a downward cut from the right side then accompany the cut with the left foot. If you do not do that, then the cut is erronious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct[2] other side in front of the left foot.

In the same way, if you cut from the left side and you do not support the cut with the left foot, then the cut is also erronious. Therefore make sure from whichever side you cut, that you accompany the cut with the specified foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.

Again, the text about a lesson Whoever chases after cuts They permit themselves little opportunity for art. Cut from close proximity whatever you wish No change gets past your shield To the head, to the body Do not omit the stingers[3] With the entire body Fence whatever you desire to conduct with strength.[4]

Gloss. When you come to the opponent with the initiation of fencing, you should neither watch nor await their cut as they conduct it against you. Because all fencers that watch and wait upon the opponent's cut and wish to do nothing else than parry, they allow themelves little opportunity from art because they often become struck with it.

Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cleave in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.

Again, a lesson. Hear what is bad. Do not fence lefty from above if you are a righty And if you are lefty, In the right [you] are also severely hindered.

Note the gloss. This lesson hits upon two people, a lefty and a righty. Look at it like this. When you come to the opponent with the initiation of fencing, if you are right-handed and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work whatever you wish strongly at the sword with art. In the same way if you are lefty, then do not cut from the right side as well, because the art is quite awkward [when] a lefty initiates from the right side. It is also the same with a righty from the left side[5].

This is the text and learn a lesson about before and after. Before and After, the two things Are the singular origin of the entire art. Weak and strong Indes, note them with this word So that you may learn To work and ward with art. Whoever frightens easily Never learns to fence.

Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things are the singular origin that gives rise to the entire art of fencing.

Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening before[6] they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.

Here note that which is called the after. Note. If you can not arrive in the before, then wait for after. These are the breaks of all plays that they conduct upon you.

Look at it like this: If the opponent comes before such that you must parry them, then swiftly Indes work with the parrying in front of yourself to the nearest opening, so that you hit them before[7] they accomplish their play. In this way you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.

And look at it like this: From the hilt of the sword up to the middle of the blade the sword has its strength. With that you can resist[8] if someone binds you against it. And onward from the middle up to the point, the sword has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.

The text of the five cuts Learn five cuts From the right hand, against the weapon, We swear upon this To pay off in skills easily.

Note the Zettel sets down five cryptic cuts, about which many masters of the sword do not know to say that "You should not learn to attack any other way when from the right side against those that position themelves against you in arms. And if you make an attempt with one of the five cuts, then you can connect with the first strike." Whoever can break your attack without harming themselves, the Masters of the Zettel will swear that this person's art shall pay off better than another fencer's who cannot fence against these five cuts. And how you shall hew those five cuts, you shall find that in the very five cuts written about hereafter.

This is the text of the plays of the Zettel Wrathcut Crook and Cross, If the Eye Cocker keeps with the Parter, The Fool parries. Pursuing, Overrunning, places the attack Disengage, Suddenly withdraw, Rush through, cut off, press the hands Tilt and Turn to uncover with Slash, catch, sweep, stab to clash with

Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them.

They are seventeen in number and begin with the five cuts Another. Now note the first cut called the wrathcut The second the crooked cut The third the crosswise cut The fourth the cockeyed cut The fifth the scalp-cut

The sixth this is the four guards The seventh the four parries The eighth Pursuing The ninth the overrunnings The tenth the displacements The eleventh disengaging The twelfth suddenly withdrawing The thirteenth rushing through The fourteenth cutting off The fifteenth the hand presses The sixteenth the hangings The seventeenth this is the winds

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

This is the wrathcut with it's plays

Whoever cuts at you from above, The wrathcut point threatens them

Gloss. Look at it like this: If someone cleaves in from above from their right side, then you also cleave in with a wrathcut strongly from your right shoulder with them with your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.[9]

Yet another play from the wrathcut If they become aware of it, Then abscond above without concern

Gloss. When you shoot the point in during the wrathcut, if they then become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cleave in again at their head from above on the other side against their sword.[10]

Yet another play from the wrathcut Be strong in turn And thrust. If they see it, take it again[sic][11]

Gloss. When you cleave in with the wrathcut,ref>Rostock adds: as is illustrated just above here</ref> if the opponent parries it and remains strong against the sword with it, then be strong in turn against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.[12]

Yet another play from the wrathcut When you thrust-in from above during the winding like before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.[13]

A break against absconding Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cleaves in again from above at your head on the other side against your sword, then bind [14]strongly with the long edge from high into their head.

Here note a good lesson. Note this precisely: Cut, thrust, guard; soft or hard, Indes and before after[sic][15] Without rush, your war is not hasty.[16] Whoever hunts the war Above, will be exposed below.

Gloss. This is what you shall quite precisely note when someone binds against your sword with a cut or with a thrust or otherwise: whether they are soft or hard upon the sword. And if you have sensed this, then Indes you shall know which is for the best: whether you rush[17] upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.

Another. Conduct the war like this: When you cleave in with the wrathcut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.

How one shall properly find cuts and thrusts in all windings In all winding Learn to properly find cut, thrust. You shall also with that gauge, cut, thrust or slice In all encounters Of the masters, if you wish to dishonor them.

Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct[18]. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themelves against you.

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

Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the initiation of fencing with which they uncover themelves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and [19]otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.

The text and the gloss about the doubling and about the mutating. How they break the four openings. If you wish estimate for yourself how To artfully break the four openings Double above Mutate right below I say to you truthfully No one defends themelves without danger If you have properly understood this, They can scarcely come to blows, etc.

Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend[20] themelves from that and can neither come to strikes nor to thrusts.

The doubling Another. When you cleave in from above with the wrathcut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.

Note the mutating Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. Conduct this on both sides.

The crooked cut with it's plays

Crook up swiftly Throw the point onto the hands

Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed[21] arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.

Yet another play from the crooked cut Crook. Whoever besets well Disrupts many cuts with stepping.

Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cleaves in from above from their right side to the opening, step to their left side with your right foot and fall[22] across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.

Yet another play from the crooked cut. Cut crooked to the flats of The masters if you wish to weaken them.

Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cleaves in from above from their right side, cut crooked against their cut atop their sword with crossed hands.

Yet another play from the crooked cut If it sparks above the dismount, that I will laud.

Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast

Yet another play from the crooked cut Don't crook, cut short Disengage and with that expose them

Gloss. This is for when the opponent wishes to cleave in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.[23]

[Salzburg]

Yet another break against the crooked cut[24]

Note. If you shoot in your point below their sword, as was written and illustrated before, if they press your sword down to the ground with a crooked cut, then wind toward your right side and rise sufficiently up with your arms over your head and set your point against their breast from above, as is illustrated below. If they parry that, then remain standing in this way with your hilt in front of your head and work from one opening to the other with your point. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you.[25]

Note how one shall break the crooked cut. Whoever foils you crooked, The noble war confounds them That they do not thruthfully knows Where they are without danger.

Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and foils your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.

Another break for the crooked cut Note. When you cleave in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise sufficiently up over your head with your arms and set your point against their breast from above.

Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.

The crosswise cut with it's plays

The cross seizes Whatever arrives from the roof

Gloss. Note the crosswise cut breaks all cuts that will be hewn down from above. Conduct the cut like this:[26]When the opponent cleaves in from above at your head, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.[27]

A play from the crosswise cut

Cross with the strong With that note the work

Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.[28] then if the opponent holds it strongly in turn, then from against their sword strike them on their head with crossed arms from behind their sword's edge [29] or slice them across their mouth with this play.

Yet another play from the crosswise cut Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly in turn,[30], then shove their sword away from you, down to your right side[31] with your hilt and immediately strike back around with the crosswise cut at their head to their right side.

Yet another play from the crosswise cut Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.

Another play Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.

[Salzburg]

Another.[32] If someone takes you by the neck on your right side, then let your sword go from your right hands and thrust their sword from your neck with your right and step toward their right side with your left foot in front of both of their feets and pass over both their arms close by their hilt with your left arm and take them for a dance or stab them down between their legs in the groin.

[Glasgow]

Here note the break against the upper crosswise cut Note. When you bind[33] the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is illustrated just after this, such that they strike themelves the same way with your sword.

Here note the break against the low cross strike Note when you bind[34] against their sword from your right side, then if the opponent strikes from the sword around to the other[35] opening of your right side using the crosswise cut, then remain with your hilt above your head and twist your sword's edge downward against their cut and thrust to their lower opening, as is illustrated just after this.

[Dresden]

How one shall strike with the cross to the four openings Cross to the plow Yoke hard to the ox

Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut. Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable to you, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.

Yet another play from the crosswise cut When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called sriking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this cleave in from above with a descending cut to their head and with that withdraw yourself.

Whoever crosses themelves well Threatens the head by springing.

Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.

[Glasgow]

This is the text and the gloss of yet another play from the crosswise cut and it is called the failer.[36]

Whoever misleads with the failer They wound according to desire from below

Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch[37] your sword away during the cut and strike to the lower opening on their right side using the crosswise cut, as is illustrated just after this. In this way the opponent is triggered and struck below according to desire.

[Dresden]

Yet another play from the crosswise cut and this is called the inverter

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

Gloss. Note you shall conduct this play like this: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust into their face from above. In this way, you pressure them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find heareafter in the rushing through.

Yet another play from the failer Double the failer If they make contact, make the slice with it

Glossa. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.[38]

Yet another play from the failer

Double further Step in left and do not be lazy

Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below[39] and immediately strike back around to the right side of their head and with that[40] from crossed arms pass over their sword with the short edge and spring left, that is, to your left side and slice them with the long edge through the jaw.

The cockeyed cut with it's plays

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

Gloss. Note here that the cockeyed cut is a cut that breaks into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cleaves in from above from their right side, then you also cut from your right against their cut with upright[41] arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cleave in this way when they stand against you in the guard of the plow or when they will thrust at you from below.[42]

Yet another play from the cockeyed cut

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

Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.

[Glasgow]

Another. All fencers that fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.

[Dresden]

Yet another play from the cockeyed cut

Squint to the point And take the neck without fear.

Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.

Yet another play from the cockeyed cut

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

Gloss. Note when the opponent wishes to cleave in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.

The part cut Is a threat to the face

Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.

[Rostock] This is the part cut with its plays The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cleave in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.

[Glasgow] Another. If the opponent firmly shoves your point upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.

[Rostock] One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust[43], withdraw it with slicing. Gloss. Note when you cleave in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.

[Dresden] A play from the part cut With their turn Firmly threatens the breast.

Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head with your hilt and set the point against their breast from below.

How the crown breaks the part cut Whatever comes from them, The crown takes that away

Gloss. Note when you cleave in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.

How the slice breaks the crown.

Slice through the crown So you break the hard beautifully Press the thrust[44] Withdraw it with slicing.

Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.

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

Gloss. This is about how you shall not operate from any other position than from these four that will be named here.

The first guard The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.

The second gaurd The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.

The third guard The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms

The fourth guard From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.

These are the four parries that disrupt or break the four guards Four are the parries That also severly disrupt the positions. Guard yourself from parrying If it happens by necessity, it hurts you

Gloss. Note you have heard before that you shall fence from the four positions alone. You should simply know that the four parries are the four cuts as well.

[Glasgow] This is the text and the gloss of the four parries that break the four positions Four are the parries That also severely disrupt the positions. Guard yourself from parrying for two reasons If it happens by necessity, it hurts you

Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.

[Dresden] The first cut is the crooked cut which breaks the guard of the ox.

The second is the crosswise cut which breaks the guard from-the-roof

The third is the cockeyed cut which breaks the guard of the plow.

The fourth is the part cut which breaks the guard, the fool.

And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing

A play against an act of parrying

If you are parried And however it has come to this Heed what I advise: Wrench off, cut quickly with violence

Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.

Yet another play against an act of parrying Note when you hew a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.

Yet another play against parrying.

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

Gloss. When you cleave in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.

[Glasgow] This is the text and the gloss of yet another one of the plays against the parry.

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

Gloss. This is for when you cleave in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.

[Dresden] Yet another play against parrying

Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.

About pursuing Learn to pursue Double or slice into the weapon

Gloss: This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.

[Rostock] This is about pursuing. Learn to pursue Double or slice into the weapon

Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.

[Dresden] Yet another pursuing Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.

[Rostock] Or if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.

About the enticements to the outside Two enticements to the outside Your work begins thereafter And gauge the application Whether they are soft or hard

Gloss. Note the two enticements to the ouside are the two pursuits of the sword. Conduct it like this: When the opponent misses their attack before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and guage whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.

The other enticement to the outside Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.

About the feeling and about the word Indes

Learn the feeling Indes, that word cuts sharply Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing

And look at it like this: When someone binds someone else against their sword, in that, just as the swords spark together, you shall immediately feel whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perception of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.

Another. You shall think of the word Indes in all bindings of the sword because

Indes doubles, Indes mutates, Indes rushes through Indes disengages Indes takes the slice. Indes wrestles, with that Indes, take their sword. Indes does whatever your heart desires in this art.

Indes is a sharp word. Consequently, any fencer that knows nothing of this word, will be sliced up. And this word, Indes, is also the key with which the entire art of fencing becomes unlocked.

Pursuing

Pursue twice, If one hits, make the old slice from it.

Gloss. This is for when the opponent misses their attack before you, pursue with a cut to their upper opening. Then if they rise up and bind[45] against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you as is pictured next or slice from the sword through their jaw. Conduct this on both sides.

About overrunning Whoever hunts below Overrun, then they will be shamed. When it clashes above, Strengthen, This I will praise. Make your work Or press hard twice.

Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the initiation of fencing, you shall not parry them, rather take care that you overrun them with a cut in at their head from above or lodge the point from above as is pictured next, so that they become shamed by you because all descending cuts and all lodgings from above reach over the lower.

Another. How one shall displace cuts and thrusts

Learn to displace. Skillfully disrupt cut, thrust. Whoever thrusts at you Such that your point hits and their's breaks From both sides You will hit every time, if you step.

Gloss. This is so that you shall learn to displace both cuts and thrusts with art in such a way that your point hits them and theirs will be deflected and look at it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in response against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and their's fails to.

Yet another play about displacing Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.

About Disengaging

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

Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cleave in or thrust forward in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and slip through and with that, gravely thrust in on the other side, so that you find the opening of the opponent surely as is pictured here.

[Glasgow] Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.

Another. Another. If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.

[Dresden] About the suddenly withdrawing Tread close in binds, Suddenly withdrawing gives good opportunities. Suddenly withdraw. If they engage, suddenly withdraw more. Uncover the work that does them harm. Suddenly withdraw in all engagements If you wish to make a fool of the masters

Gloss. This is for when you come to the opponent with the initiation of fencing, cleave in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them[46] and suddenly withdraw your sword up off from theirs and cleave in again from above on the other side at their head as is pictured here. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.

[Glasgow] or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.

[Dresden] About Rushing through[47] Rush through, let hang Grab with the pommel if you wish to grapple. Whoever strengthens against you, Remember to rush through with it.

Gloss. Note this means: when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back[48] and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.

Yet another rushing through Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword,[49] hold your sword by the pommel with the left hand and let the blade hang over your back.[50] Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.

A wrestling at the sword Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side with your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.[51]

Yet another wresting at the sword Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.

Yet another wresting at the sword Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm with your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.

Yet another wresting at the sword Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip

[Glasgow] Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left with your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.

Yet another wresting Another. When someone rushes in while at the sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.

[Dresden] One other wrestling at the sword Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them. This will vex them badly.[52]

A sword disarm Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades[53] with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.

About cutting off Cut off the hard ones From below in both paths Four are the slices With two from below, two from above.

Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop[54] under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop[55] into their arms using the short edge and press upwards as before.

Yet another slice Another. When you bind strongly on their sword with a cut or otherwise, then if the opponent allows their sword to bounce off of yours and strikes at your head from above, then twist your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.

Yet another slice[56] Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above with your long edge.[57] Conduct this on both sides.

Abount the transformation of the slice

Turn your edges To flatten, press your hands

Gloss. This is for when you in your onrush come into the opponent's arms[58] with the lower slice such that your point goes out toward their[59] right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side and with that press their arms away from you.[60]

[Glasgow] This is the text and the gloss about the transformation of the slice

Turn your edge To flatten, press the hands

Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.

[Dresden] About the two hangings

Two hangings emerge From the ground out of each hand In every application Cut, Thrust, Position, Soft or Hard

Gloss. Note there are hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.

[Rostock] This is the text and the gloss about the two hangings the sword

Two hangings emerge From the ground out of each hand In every application Cut, Thrust, Position, Soft or Hard

Gloss. Note there are two hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword to your left side using the lower displacement, hang your sword's pommel toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications. Cut, thrust and slice thereafter as you either perceive or gauge in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.

[Dresden] About the speaking window

Make the speaking window 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 rightly understood They can hardly come to blows

Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or[61] byCite error: Closing </ref> missing for <ref> tag

Or if they strike around using the crosswise cut, then drop into their arms with the upper slice.

Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword with your point[62] and lodge against them from above.

Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.

hereafter note what is called here, long point.

Note before you come too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.

[Glasgow] Here note how you shall stand in the long point and which play you shall conduct from it.

Note. When you come to the opponent with the initiation of fencing with your sword, advance your left foot before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cleaves in from above at your head, then wind against their cut with your sword and thrust into their face.

[Dresden] Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.

Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.

If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.[63]

The text about the distillation of the Zettel

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 windings with it And considers the eight winds With correct judgement And unites them. The windings, I differentiate trebly Thus they are twenty And four counting them individually. From both sides Learn eight windings with steps And gauge these applications Nothing more than soft or hard

Gloss. This is a lesson in which the Zettel is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to conduct your break against their play, so that you can complete your work from any particular break using the three wounders.

[Glasgow] This is a lesson in which the art of the Zettel is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to conduct your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.

Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to conduct.

[Dresden] Here note how you shall conduct the hangings and the windings

Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only conduct two specific windings from each binding of the sword.

[Glasgow]

Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.

Or if the opponent binds against your right side from above, then wind your long edge against their sword toward your right side as well and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides

[Dresden]

Another. Now you shall know

That you shall also conduct four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall conduct one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play of the winding that is called for. Whereever you do not do this, you will become struck by all windings.

[Glasgow]

Another. Now you shall know

That you shall also conduct four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall conduct one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, in such a way that you step in with each winding and with that gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play that is called for in that winding. Wherever you do not do this, you will become struck by all windings.

  1. lit: All art has length and measure
  2. likely a scribal error. The scribe was trying to write `rechten seiten`, but only crossed out `seiten`
  3. Zeck: Tick. (Rostock)Zeckruhr: Insect bites
  4. possibly: `strongly desire to conduct`
  5. Rostock: hand
  6. "Ehe wann" can be taken a few ways. Simply, "before" or else the "the moment before" or "before the moment"
  7. see above
  8. wiederhalten: lit. 'hold against'. To withstand, resist
  9. Rostock adds: as is illustrated here
  10. Rostock adds: as is illustrated here
  11. Rostock: 'nider' => 'down'
  12. Rostock adds: as is illustrated here
  13. Rostock adds: as is illustrated below here
  14. Rostock: "wind stark..." => "twist strongly"
  15. Rostock garbles Indes with 'Jun ger'
  16. Rostock: "dem krieg"
  17. Rostock: has "arbaiten(to work)" instead of "hurten"
  18. Rostock adds: "der heúe, oder stich, od shnit" => "the cut, thrust or slice"
  19. Speyer adds: also
  20. Rostock: "behueten" => "protect"
  21. Salzburg: extended
  22. This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.
  23. Rostock adds: as is illustrated here and the [next] breaks this.
  24. Rostock and Salzburg only
  25. This gloss is very similar to the Noble War gloss below found in the Dresden
  26. Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."
  27. Rostock adds: as is illustrated here
  28. Rostock: supplies the missing verb, 'windest'
  29. Rostock adds: as is illustrated here
  30. Rosktock adds: "bei dir" => "Next to you"
  31. Rosktock adds: as is illustrated here
  32. This gloss occurs in the Salzburg only
  33. Rostock: wind
  34. Rostock: wind
  35. Rostock: "unternn" => "lower"
  36. The Rostock title matched the Dresden
  37. Rostock: "wend" => "turn".
  38. Glasgow adds: as is illustrated just after this
  39. omitted in dresden
  40. mit omitted in the glasgow
  41. alt: extended
  42. Rostock differs from "then you also cut...": "then you also cut from your right with the short edge, in this way you strike and parry together as one and you hit them with your cut as is illustrated here."
  43. in pPvD, this is 'strich' not 'stich'. So: "press the strike"
  44. in pPvD, this is 'strich' not 'stich'. So: "press the strike"
  45. Rostock: wind
  46. Glasgow adds: against their sword
  47. Rostock: This is about wresting
  48. Rostock: "and allow the blade to hang down behind you"
  49. Rostock differs: When the opponent rises up with their arms in the onrush,
  50. Rostock adds: behind you
  51. this last sentence is highlighted and a drawn hand is pointing to it.
  52. this sentence is underlined
  53. Glasgow adds: in the middle of the blade
  54. Glasgow: slip
  55. Glasgow: slip
  56. Rostock: This is the over slice
  57. Rostock adds: and press them away from you as is pictured here
  58. Glasgow, Rast add: from below
  59. Glasgow, Rast: your
  60. Glasgow and Rast differ in the last clause: In this way you have transformed the lower slice into the upper. Conduct this on both sides
  61. Rast: and
  62. Dresden omits: with your point
  63. this last sentence is highlighted.