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Pseudo-Hans Döbringer
| Here begins Master Liechtenauer's art of fencing | |
|---|---|
| Hie hebt sich an meister lichtenawers kunst des fechtens | |
| Author(s) | Unknown |
| Ascribed to | Pseudo-Hans Döbringer |
| Date | ca. 1390 |
| Genre | |
| Language | Early New High German |
| Manuscript(s) | MS 3227a |
| First Printed English Edition |
Żabiński, 2008 |
| Translations | |
"Pseudo-Hans Döbringer" is a nickname given to an anonymous 14th or 15th century German fencing author.[1] At some point in the last quarter of the 14th century or the first quarter of the 15th, he dictated a gloss on and expansion of the teachings of the grand master Johannes Liechtenauer, including the only biographical details of the master yet discovered; it is even speculated that he was personally acquainted with Liechtenauer, who was potentially still alive at the time.[2] These comments were written into MS 3227a, a commonplace book, by an equally unknown scribe.
Contents
Textual History
The writings of Pseudo-Hans Döbringer were never completed and exist in only one manuscript. It is the work of a single scribe, and Ondřej Vodička indicates that it was probably dictated directly to the scribe by the (anonymous) author.[3]
It was written in at least three distinct phases. First, the author dictated the Recital and the scribe left blank pages between each segment for commentary (ranging from a half page to five and half); this pass probably included most of the extra verses that he added to Liechtenauer's Recital. In the second pass, the author commented on about half of the verses in the long sword gloss. He also dictated the initial paragraph of each of the other weapon sections in the first or second phase. In the third phase, the author went back and began revising the commentary that he'd already written, inserting extra notes and dramatically expanding the common lesson. He also expanded messer, dagger, and wrestling sections. It's unclear why these revisions happened before the plan of the text was completed.
At this point, the fencing treatise was apparently abandoned in its half-finished state and the scribe filled the remaining blank pages with unrelated writings. He didn't fill in the gaps inside the fencing sections, though, so perhaps there was an expectation that the author would return to it.
Modern HEMA
The first transcription of the fencing sections in MS 3227a was completed in 2001 by Grzegorz Żabiński and posted on ARMA-PL. This was the foundation of the first translations.
In 2005, David Lindholm ("and friends") completed the first English translation of the long sword and posted in on the ARMA site. A second English translation, including all fencing sections this time, was completed in 2006 by Thomas Stoeppler; he intended to contribute it to a never-realized book with a complete translation of 3227a and thus never released it publicly until he donated it to Wiktenauer in 2013. The first Spanish translation of the long sword was also completed in 2006 by Francisco Uribe (based on Lindholm's English) and posted on esgrimahistorica.cl; the first French translation of the long sword was completed in 2007 by an anonymous author and posted on the ARDAMHE site.
In 2008, Żabiński's English translation of the long sword was published by Paladin Press, along with his transcription, as “Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer” in Masters of Medieval and Renaissance Martial Arts. 2008 also saw a new transcription of the fencing teachings in 3227a by Dierk Hagedorn for his site Hammaborg, and a German modernization of the long sword by Bertram Koch which was posted on Lupi-venaritis. Hagedorn's transcription formed the basis of Francesco Lanza's subsequent Italian translation, which he posted on a blog called “Hanko Döbringer in Italiano” from 2009-11.
A fourth, highly-experimental English translation was self-published by Jay Acutt in 2010 (under the pen name James Wallhausen) as Knightly Martial Arts: An Introduction to Medieval Combat Systems.
Since Stoeppler's translation was missing the sword and buckler and staff sections, they were filled in by Michael Chidester and Betsy Winslow (respectively) in 2013. In 2017, Christian Trosclair authored a fifth translation of the long sword (as part of his ongoing project to translate the entire Liechtenauer tradition) which he donated it to Wiktenauer.
The first Polish translation was authored by Maciej Hammer and submitted to the Uniwersytet Jagielloński as part of his master's thesis in 2015. In 2018, Diniz Cabrera completed the first Portuguese translation, which was published by AGEA Editora in Há Uma Única Arte da Espada (GNM HS 3227a). That same year, Ondřej Vodička released a third transcription of the fencing portions of 3227a.
Michael Chidester released a sixth English translation as a free download on Wiktenauer in 2020. Then in 2021, revised versions of Dierk Hagedorn's transcription and Michael Chidester's translation were published by HEMA Bookshelf as “The Foundation and Core of All the Arts of Fighting”: The Long Sword Gloss of GNM Manuscript 3227a; an abbreviated edition containing only the translation was also published. This translation was donated to Wiktenauer in 2022.
Most recently, Christian Henry Tobler's English translation of the wrestling section was published by Freelance Academy Press in Lance, Spear, Sword, & Messer: A German Medieval Martial Arts Miscellany in 2022.
Treatise
Note: This article includes a version of Michael Chidester's translation. It was also published by HEMA Bookshelf in 2021 as The Long Sword Gloss of GNM Manuscript 3227a. It can be purchased in hardcover, softcover, and ebook.
Introduction
Complete Translation |
Draft Translation |
Draft Translation |
Draft Translation |
Nuremberg Version (1400s) |
|---|---|---|---|---|
[1] HEre begins Master Liechtenauer’s art of fencing with the sword, mounted and dismounted, armored and unarmored. Above all else, you should notice and remember that there’s only one art of the sword, and it was discovered and developed hundreds of years ago, and it’s the foundation and core of all fencing arts. Master Liechtenauer understood and practiced this art completely and correctly; as I said, he did not discover or develop it personally, but rather traveled through many lands and searched for the true and correct art for the sake of experiencing and knowing it. For this art is serious, correct, and complete, and everything that proceeds from it goes toward whatever is nearest by the shortest way, simply and directly. When you want to cut or thrust at someone, it should be as if you tied a thread or a cord to the point or edge of your sword and pulled or drew it toward their nearest exposure, because you should cut or thrust in the shortest and surest manner, in the most decisive way. This is all you should want to do, because proper fencing doesn’t have broad or elaborate parries, nor the wide fencing around by which people procrastinate and delay. You will still find many dancing masters[4] claiming that they believe that the art of the sword grows better and richer day by day, and that they have conceived and created a new art. But I would like to see anyone who could invent and perform a legitimate strike or play that falls outside of Liechtenauer’s art. All they do is jumble and confuse the plays and then give them new names (each one according to their own ideas), and they devise wide parries and often want to do two or three strikes in place of a single one. They do this to be praised by the ignorant for the sheer liveliness of it, as they stand fiendishly and perform elaborate parries and wide fencing around, and, having no moderation in their fencing, they bring long and far-reaching strikes, slowly and clumsily, and severely delay and overextend and expose themselves. This doesn’t belong to earnest fencing, but only to play in the fencing schools for exercise and entertainment. Earnest fencing goes swiftly and precisely, without hesitation or delay, as if measured and balanced by a cord (or something similar). When you cut or thrust at the person who stands in front of you, then clearly no strike backward or to the side can help you, nor any wide fencing with multiple strikes (nor any other way that you procrastinate and delay, and miss the chance to end it with them). On the contrary, you must strike straight and directly toward them (toward their head or body, whatever is nearest and surest), so that you can reach and take them swiftly and rapidly. Furthermore, one strike is better than delivering four or six, delaying and waiting too long so your opponent wins the Leading Strike faster than you (because this strike is a great advantage in fencing). It’s written further on in the text how Liechtenauer only lists five strikes, along with other plays which are sufficient for earnest fencing, and he teaches how to perform them according to the true art, straight and direct, as closely and as certainly as possible. Moreover, he leaves aside all the new inventions and confusing work of the dancing masters, which don’t come from this art. |
[1] Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness. And before all material matters and views, you shall note and know that there is but one art of the sword and it was identified and worked out for possibly many hundred years. And this is the foundation and core of all of the arts of fencing. And this is what Master Liechtenauer had acquired and formulated quite completely and correctly. Not that he identified and worked it out himself, as was written before, rather he had traveled through many lands and through that sought out the legitimate and truthful art for the sake that he would truly experience and learn it. And this art is earnest, complete and legitimate and it moves in the nearest and shortest way, simple and straight; just as if you had wanted to cut or thrust your opponent and you had bound a thread or cord to the point or edge of your sword and guided or pulled that very point or edge to the opponent's opening, then you would have cut or thrust according to the nearest and shortest and most decisive of all, as you would prefer to just deliver that. This is because the legitimate fencing just mentioned will not have elegant and grandiose parries, nor wide, indirect fencing. With those, people choose to dither and delay themselves. As one finds according to many ungrounded masters that say they have uncovered and worked out some new art and understand the art of fencing better and more greatly, day by day. But I would like to see one person that could conceive and perform just one application or one cut that does not come from Liechtenauer's art. They will often just only mix-up and pervert an application. In this, they give it a new name, each according to their own head. And they conceive of wide, indirect fencing and parrying, often doing two or three cuts in place of a single cut, just because they wish renown. They will be praised by the ignorant for their elegant parries and wide, indirect fencing as they fiendishly pose themselves and deliver wide and long cuts, tediously and cumbersomely. With those, they quite severely delay themselves and miss their targets and also provide solid openings with these because they have no measuredness in their fencing. And anyway, this does not belong in earnest fencing, Though in particular I admit that through exercises and drills in school-fencing it might possibly be good for something. But earnest fencing will proceed swiftly, simply and completely direct without any dithering nor delay as if a string or something like it determined the measure and trajectory. When you want to cut or thrust whoever stands there before you, then truly no cut nor thrust backwards or to the side, nor any wide fencing nor multiple cuts helps you to possibly end it with them. With these, you dither and delay yourself so that you lose the chance to do so. Rather, one must initiate their cut straight and directly to the person, to the head or to the body according to what is closest and surest only at the moment you are able to take and to get to them swiftly and quickly and preferably with one strike. For with four or six, you choose to dither and as a result the opponent approaches effortlessly. This is because the Vorschlag is one great advantage of this fencing as you will hear hereafter in this text. Therein Liechtenauer identifies just five cuts with other plays that are utilized in earnest fencing and teaches it according to the correct art, conducted straight and direct toward the closest and surest as simply as it can only derive and abandons all of the drumwork and newly invented cuts carried out by the ungrounded masters, which even still fundamentally derives from his art. |
[1] Here begins Master Liechtenauer’s Art of fencing with the sword on foot and mounted as well as with Armour and without. At first, you should note and know that there is only one art of the sword, and this art may have been developed some hundred years ago. And this art is the foundation and the core of any fencing art and Master Liechtenauer understood and practiced it in its completeness. It is not the case that he invented this art – as mentioned before – but he has travelled many lands, willing to learn and experience the same real and true art. And this very art is honestly real and true and it is about moving straight and simple, to the nearest target, taking the most direct way. For example, if someone intends to strike or thrust, it goes just like if a string would be attached to the sword and the tip or edge would be pulled to an opening of the adversary – who should be the target for the strike or thrust – resulting in taking the shortest way to the nearest target as possibly. That is why the same true fencing will never employ beautiful and wide parries nor large round moves which are just useful to entertain spectators. There are some Leychmeister[5] that tell they would invent new art and think that the art of fencing would get better day by day. I however would like to see just one who should come up with a fencing technique or a strike that is not part of Liechtenauer’s art. They just often try to change a technique just by giving it a new name, everyone just as he sees it fit. They also invent wide and large swinging moves and parries, and often use two or three strikes before the real strike. And all this just because they want to be praised by the uneducated people! They practice wide and beautiful parries and swings when they begin to fence for show, and execute long and far-reaching strikes slowly and clumsily and by doing this they miss and cannot recover again quickly – and thus exposing themselves easily. That is because they don’t have control and measure in their fencing; this really is not part of serious fencing. For school fencing and for practice using this may be useful, but serious fencing moves simply, directly and straight, without any hesitation and pause, just like a string or like everything would be exactly measured and calculated. If someone intends to strike or thrust another who stands in front of him, no strike or thrust in any other direction or wide swings or many strikes will help. If he wants to bring it to a quick end, and yet hesitates and is slow, he should just leave the Schantze![6] Therefore, he must instantly strike simply and directly to the man, at his head or body right to the nearest and most accessible target that he may reach there. And this he should do quickly and nimbly and better with one strike than with four or six, or spending precious time by looking and analysing. Also move lightly and nimbly. The Vorschlag is a great advantage in fencing and you will hear more about this later in the text. Liechtenauer says only five strikes, with their following techniques are useful as opening methods for fencing. And he teaches these, according to the real art, to execute these straight and simply to the nearest and most accessible target as possible. And by this he leaves all the useless work and the newly invented methods of the Leychmeister that are falsely derived from his art. |
[1] Here begins Master Liechtenauer’s art of fencing with the sword, on foot and on horseback, in armour and without. And before all things you should know and understand that the sword is only one art and it was devised and thought out hundreds of years ago. This art is the foundation and core and it was completely understood and known by Master Liechtenauer. Not that he himself devised or thought out what is described, but he travelled and searched through many lands since he wanted to learn and experience this art. And this art is quite earnest and righteous, and it goes from the nearest in search of the closest and goes straight and right when you wish to strike or thrust. So that when you want to attack someone it is as if you had a cord tied to the point or edge of your sword and this leads the point or edge to an opening. For you should strike or thrust in the shortest and nearest way possible. For in this righteous fencing do not make wide or ungainly parries or fence in large movements by which people restrict themselves. Many Masters of play fighting[7] say that they themselves have thought out a new art of fencing that they improve from day to day. But I would like to see one who could think up a fencing move or a strike which does not come from Liechtenauer’s art. Often they want to alter or give a new name to a technique, all out of their own heads and think up wide reaching fencing and parries and often make two or three strikes when one would be enough or stepping through and thrust, and for this they receive praise from the ignorant. With their bad parries and wide fencing they try to look dangerous with wide and long strikes that are slow and with these they perform strikes that miss and create openings in themselves. They have no proper measure in their fencing and that belongs not to real fencing but only to school fencing and the exercises for their own sake. But real fencing goes straight and is simple in all things without holding back or being restricted just as if a string had been tied or as if they had been connected. When you strike or thrust at another in front of you, then no strikes or thrusts before or behind, nor besides or wide-reaching movements or many strikes will help if you hold back and lose the chance. Instead you must strike straight and direct to the man, to the head or to the body whatever is the closest and quickest. This must be done with speed and rather with one strike than with four or six which will again leave you hanging and giving the opponent a chance to hit you. The first strike[8] is a great advantage in the fencing as you will hear in the text. Therefore Liechtenauer says that only five strikes with other techniques should you use in real fencing. And he teaches these straight and simple and does them as quickly and as direct as possible. And you will lay under you all the drumming and new inventions by the play masters[7] since these [five strikes] are the foundation of his[9] art. |
[13v] HIe hebt sich an meister lichtenawers kunst des fechtens mit deme swerte czu fusse vnd czu rosse / blos vnd yn harnüsche / Vnd vor allen dingen vnd sachen / saltu merken vnd wissen / das nür eyne kunst ist des swertes / vnd dy mag vor manchen hvndert Jaren seyn fvnden vnd irdocht / vnd dy ist eyn grunt vnd kern aller künsten des fechtens / Vnd dy hat meister lichtnawer gancz vertik vnd gerecht gehabt vnd gekunst / Nicht das her sy selber haben fvnden vnd irdocht / als vor ist geschreben / Sonder / her hat manche lant / durchfaren vnd gesucht / durch der selben rechtvertigen vnd warhaftigen kunst wille / das her dy io irvaren vnd wissen wolde / Vnd dy selbe kunst ist ernst gancz vnd rechtvertik / Vnd get of das aller neheste vnd kors körtzste / slecht vnd gerade czu / Recht zam wen eyner eynen hawen ader stechen welde / vnd das man im denne eynen vadem ader snure an seynen ort ader sneyde des swertes bünde / vnd leytet aber czöge den selben ort ader sneide off ienes blössen / [14r] den her hawen ader stechen selde / noch dem aller nehesten · kortzsten · vnd endlichsten / als man das nür dar bregen mochte / wen das selbe rechtvertige vechten / wil nicht hobisch vnd weislich paryren haben / vnd weit vmbefechten / mit deme sich lewte mochten lassen vnd vorzümen / Als man noch manche leychmeistere vindet dy do sprechen / das sy selber newe kunst vinden vnd irdenken vnd meynen das sich dy kunst des fechtens von tage czu tage besser vnd mere / Aber ich wölde gerne eynen sehn der do / möchte nür eyn gefechte / ader eynen haw / irdenken vnd tuen / der do nicht aus lichtnawers kunst gynge / Nür das sy ofte eyn gefechte vorwandeln vnd vorkeren wöllen / mit deme / das sy im newe namen geben / itzlicher noch seyme hawpte / Vnd das sy weit vmbefechten vnd paryrn irdenken / vnd oft vör eynen haw / czwene ader dreye tuen / nür durch wolstehens wille / do von sy von den unvorstendigen gelobt wollen werden / mit dem höbschen paryrn vnd weit vmbefechten / als sy sich veyntlich stellen / vnd weite vnd lange hewe dar brengen / lanksam vnd trege / mit deme sy sich gar sere vorhawen [14v] vnd zeümen / vnd sich auch do mite vaste blos geben / wen sy keyne mosse yn irem fechten nicht haben / vnd das gehört doch nicht czu ernstem fechten / zonder czu schulvechten durch vbunge vnd gebrawchunge wille mochte is wol eczwas gut seyn / Aber ernste vechten wil risch slecht vnd gar gerade dar gehen / an alles lassen vnd zümenüss / zam noch eyner snuren / ader zam itzlichs besunder gemessen vnd gewegen were / wen sal eyner eynen slaen ader stechen / der do vor im stet / zo hilft in io keyn slag ader stich / vor sich vn ader hindersich / ader neben sich / noch keynerley weitvechten / ader vil hewe / das mit eyme möchte enden / mit deme her sich zümet vnd last / das her dy schantcze vorsleft / Sonder her mus io / slecht vnd gleich czu hawen / czum manne / czu kop / ader czu leibe / noch dem aller nehesten / vnd schiresten als her in nür gehaben mag vnd irreichen / v/risch vnd snelle vnd liber mit eyme slage wen mit viern ader sechen mit deme her sich möchte lassen / vnd das iener leichte e queme denne her / wen der vorslag / eyn gros vorteil ist / of deme vechten / als du es als hernoch wirst horen yn dem texte / Do nennet lichtnawer / nür fümff hewe / mit andern stöcken / dy do nütcze seyn czu erstem vechten / vnd leret dy noch [15r.1] rechter kunst slecht vnd gerade dar brengen noch dem aller nehesten uvnd schiresten / als mag is nür dar komen / Vnd lest alles trummel werk / vnd new fvnden hewe vnderwegen / von den leichmeistere / Dy doch gruntlich aus syner kunst dar komen / |
[2] Now notice and remember that you can’t speak or write about fencing and explain it as simply and clearly as it can be shown and taught by hand. Therefore, you should consider and debate matters in your mind—and practice them even more in play—so that you understand them in earnest fencing. Practice is better than artfulness, because practice could be sufficient without artfulness, but artfulness is never sufficient without practice. |
[2] Also note this and know that one cannot speak or explain or write about fencing quite as simply and clearly as one can easily indicate and inform it by hand. Therefore act on your judgement and extract the best of it and therein, exercise the bulk of that yourself in play which you think is the best in earnest. Because practice is better than empty art. That is to say, practice is fully sufficient without art but art is not fully sufficient without practice. |
[2] Also know and note that one cannot really talk about fencing in a meaningful manner or explain it with written words, as some might like. You can only show it and instruct it by hand. So use all your senses and pay close attention to the art and practice it more for fun and play. so it will be ready for you faster for fencing seriously. That is because practice is better than art, your practice may very well be useful without art, but your art is useless without practice. |
[2] Note and know also that it is not possible to explain the art of fencing as well with words as one can show it with the hand. Therefore open your mind and ponder well and the more you train yourself in play the more you will think of it in earnest. For practice is better than art, your exercise does well without the art, but the art is not much good without the exercise. |
[15r.2] ¶ Auch merke das / vnd wisse das man nicht gar eygentlich vnd bedewtlich von dem fechten mag sagen vnd schreiben ader auslegen / als man is wol mag / is wol mag czeigen vnd weisen mit der hant / Dorvmbe tu of dyne synnen vnd betrachte is deste bas / Vnd ube dich dorynne deste mer yn schimpfe / zo gedenkestu ir deste bas in ernste / wen ubunge ist besser wenne kunst / denne übunge tag w tawg wol ane kunst aber kunst tawg nicht wol ane übunge / |
[3] Also know that the sword is like a set of scales, so that if the blade is large and heavy, the pommel must also be heavy (just as with scales). Therefore, to use your sword certainly and securely, grip it with both hands between the guard and the pommel, because you hold the sword with much more certainty like this than when you grip it with one hand on the pommel. You also strike much harder and more strongly, because the pommel overthrows itself and swings itself in harmony with the strike, and the strike then arrives much harder than when you grip the sword by the pommel (which restrains the pommel so that the strike can’t come strongly or correctly). |
[3] Also know that a good fencer shall, ahead of all confrontations, command and clasp their sword certainly and surely with both hands between the hilt and the pommel. Because in this manner, they hold the sword much surer than when they grasp it by the pommel with one hand and it also strikes much harder and surer like this, when the pommel overturns itself and swings itself in accordance with the strike. For that strike arrives much harder than when one grasps the sword by the pommel. If someone yanks back their strike in this way by their pommel, they cannot possibly arrive so completely and so strongly, because the sword is just like a scale. For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale. |
[3] Also know that a good fencer should at first grip his sword safely in a secure manner with both hands between the cross and the pommel because this way he will hold his sword safer than by having one hand holding the pommel. He will also strike harder and more accurate this way if the pommel overthrows itself, swinging in behind the strike. This results in a much harder strike compared to having one hand at the pommel and drawing the strike. Drawing the strike this way is not as perfect and strongly, because the sword is like a pair of scales. If the sword is large and heavy, the pommel also must be heavy – just like on a pair of scales. |
[3] Know also that a good fencer should before all things know his sword and be able to grip it well with both hands, between the cross guard and the pommel since you will then be safer than if you did grip it with one hand on the pommel. And you will also strike harder and truer, with the pommel swinging itself and turning in the strike you will strike harder than if you were holding the pommel. When you pull the pommel in the strike you will not come as perfect or as strongly. For the sword is like a scale, if a sword is large and heavy then the pommel must also be large and heavy to balance it like a scale. |
[15r.3] ¶ Auch wisse das eyn guter fechter sal vör allen sachen syn swert gewisse vnd sicher füren vnd fassen / mit beiden henden / czwischen gehilcze vnd lac klos / wen alzo helt her das swert vil sicher / den das hers bey dem klosse vasset mit eyner hant / vnd slet auch vil harter vnd sürer / alzo / wen der klos öberwirft sich vnd swenkt sich noch dem slage das der slag vil harter / dar kumpt / den das her das swert mit dem klosse vasset / wen alzo / czöge her den slag / mit dem klosse weder / das her nicht zo voelkömlich vnd zo stark möchte dar komen / Wen das swert [15v.1] ist recht zam eyn woge / den ist eyn swert gros vnd swer / zo mus der klos auch dornoch swer syn / recht zam noch eyner wogen |
[4] Furthermore, when you fence with someone, take full heed of your steps and be certain in them, just as if you were standing on a set of scales, moving backward or forward as necessary, firmly and skillfully, swiftly and readily. Your fencing should proceed with good spirit and good mind or reason, and without fear (as is written later). |
[4] Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them just as if you shall stand upright upon a scale, stepping backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly. And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter. |
[4] Also know when it comes to fencing one against another, he should be well aware of the adversary’s steps and be secure and well-trained with his own, just like he would be standing on scales. So he can step backwards or forwards, as appropriate, be adaptive and tread sparingly but also quickly and nimbly. Your fencing should be accompanied with a positive and resolute attitude and also with wits and your common sense and without any fear. You will learn about that later. |
[4] Also know that when you fence with another you should step with caution and be sure in them[10] as if you were standing on a scale and adapt accordingly if you go forward or backward as is fitting. Easy and quickly with good heart and good knowledge or sense you should go and without fear, as you will know hereafter. |
[15v.2] ¶ Auch wisse wen eyner mit eyme ficht / zo sol her syner schrete wol war nemen / vnd sicher in den seyn / wen her recht zam of eyner wogen stehen sal · hindersich · ader vorsich · czu treten / noch deme als sichs gepürt / gefüge vnd gerinklich / risch vnd snelle / vnd gar mit gutem mute / vnd guter gewissen ader vornunft / sal deyn fechten dar gehen / vnd an alle vorchte / als man das hernoch wirt hören / |
[5] You should also have moderation in your plays and not step too far, so that you can better recover from one step to the next (backward or forward, however they go). Also, two short steps are often faster than one long one, so you will need to do a little run with short steps as often as you will a big step or a leap. |
[5] You shall also have measuredness in your applications accordingly as it necessitates itself and you shall not step too wide, so that you may better adjust yourself to another's steps, done backwards or forwards according to that as it will necessitate itself. Also the situation often necessitates two short steps for one long. And often the situation necessitates that one must execute a little rush in with short steps and often that one must do it a good step or a spring. |
[5] Also you need control and measure in your fencing as it is appropriate and you should not step too far, forwards or backwards, so that you don’t lose time while recovering from your first step. So you still can step as appropriate. Also it is often advisable to do two small steps instead of one long step, and often it is necessary that one has to do a little run with many small steps. Also doing an explosive step or a jump is often necessary. |
[5] You should also show measure in your fencing as is suitable and not step too wide, so that you can pull back and be ready for another step backwards or forwards. Often two shorter steps will happen before a long one. And often you must make a short leap with short steps, and often you must make a good step or leap. |
[15v.3] ¶ Auch saltu mosse haben yn deyme gefechte dornoch als sichs gepürt / vnd salt nicht czu weit schreiten / das du dich deste bas eynes- / andern schretes irholen magest / hinderdich / ader vordich czu tuen / noch deme als sich wörde gepuren / vnd das / Auch gepüren sich oft czwene korcze schrete vor eynem langen / vnd oft gepürt sich das eyner eyn lewftcheyn mus tuen / mit korczen schreten / vnd oft das eyner eynen guten schret ader sprunk mus tuen / |
[6] Whatever you want to perform cleverly, in earnest or in play, should be hidden from the eyes of your opponent so that they don’t know what you intend to do to them. As soon as you approach the point where you believe you could very well reach and take them, step and strike toward them brazenly, and then drive swiftly toward their head or body. You must always win the Leading Strike, whether it lands or misses, and thus allow them to come to nothing (as is written better further on in the common lesson). |
[6] And whatever you wish to sensibly conduct in play or in earnest, you should make that out of place and disordered in the eyes of the opponent so that they do not identify what you intend to conduct against them. And then as soon as[11] you arrive at the opponent and have their measure so that you think you will take and get to the opponent well in this, Then you shall boldly storm toward the opponent and swiftly and quickly descend upon their head or body. Hit or miss, you will have always won the Vorschlag which does not allow the opponent to come into action with anything as you will better hear hereafter in the common lore, etc. |
[6] That what one intends to execute for fun or in earnest, should be made strange and confusing to the eyes, so that the adversary will not notice what is going on. <16r> And then, if he manages to get to him, and he knows the measure and thinks the adversary can and will reach him now, so he should hurry to him without fear, quickly and nimbly, going for the head or body, not caring if he hits or misses. So he should win the Vorschlag and not let the adversary come to his own fencing. About this you will learn more in the general teachings. |
[6] And what you would try readily in earnest or in play, should be hidden from him so that he does not know what you intend to try against him. And when you close with him thinking that you have the correct measure and believe that you can reach him, and then you shall go at him quickly and with speed to the head and to the body. You will hit or miss and win the first strike, and not let him come to anything as you will hear hereafter in the true teaching. |
[15v.4] ¶ Vnd was eyner redlichs wil treiben czu schimpfe / ader czu ernste / das sal her eyme vor den ogen / fremde vnd vorworren machen / das iener nicht merkt was deser keyn im meynt czutreiben / [16r.1] Vnd als bald wenn her denne czu im kumpt vnd dy moße also czu im hat das in dünkt her welle in nu wol haben vnd irreichen / zo sal her kunlich czu im hurten vnd varen / snelle vnd risch / czu koppe ader czu leibe / her treffe ader vele / vnd sal io den vorslag gewynnen / vnd ienen mit nichte lassen czu(n?) dingen komen / als du bas hernoch wirst hören yn der gemeynen lere etc |
[7] Moreover, it’s better to target the upper exposures rather than the lower, and then boldly and swiftly drive in over their hilt with cuts or thrusts, since you can reach them much better and more certainly over their hilt than under it. You’re also much surer in all your fencing like this, since harrying above is much better than below. Though if it happens that the lower exposures are nearer (as it often does), then you should target them. |
[7] One shall also always prefer to target the upper openings rather than the lower and go in over their hilt with cuts or with thrusts, boldly and quickly, because you meet with the opponent much better and further over the hilt than under it. And one is also much surer of all fencing in this way and one of the upper strikes is much better than one of the lowers. But if it so happens that you are nearer to the lower, then you must target that, as this often occurs. |
[7] Also one should preferably aim for the upper openings and less to the lower openings, and also above the cross and not below. So all fencing is much safer and the upper openings is much better (to reach) than the lower openings – except that it occurs that the lower opening is closer and then one should aim for the lower opening, but that doesn’t happen too often. |
[7] You should always look for the upper openings rather than the lower, and go over his hilt with strikes or thrusts artfully and quickly. For you have better reach over the hilt than under it and you are also much safer in all your fencing. The upper touch is much better than the lower. But it may also happen that you are closer to the lower opening and therefore seek it, as often happens. |
[16r.2] ¶ Auch sal eyner allemal liber den öbern blößen remen / denne den vndern / vnde eyme ober deme gehilcze yn varen / mit hewen ader mit stichen / künlich vnd risch / wenn eyner irreicht eynen vil bas / vnd / verrer öber dem gehilcze · den dorvnder / vnd eyner ist auch alzo vil sicher alles fechtens / vnd der obern rure eyne / ist vil besser denne der vndern eyne / Is wer denne / das is alzo queme das eyner neher hette czu der vndern das her der remen müste / als das ofte kumpt |
[8] Always go to their right side with your plays, because in all matters of fencing and wrestling, you can better take your opponent in this way than directly from the front. Whoever knows this piece and brings it well is not a bad fencer. |
[8] Also know that you shall always come up on the right side of the opponent in your applications. Because you can better take the opponent in all confrontations of fencing or wrestling than directly in front of them. And whoever both knows and delivers this play well, they are not a bad fencer. |
[8] Also know that one should move to someone’s right side with his attacks instead of moving directly in from the front, because, when one knows of this method, practices and succeeds in doing this in all fencing or wrestling, he certainly is not a bad fencer. |
[8] Also know that one should close in with him from the right-hand side in the fencing, and in all things in fencing and in wrestling you take him better like this than straight on. And if you know this technique and make use of it, then you are not a bad fencer. |
[16r.3] ¶ Auch wisse / das eyner sal io eyme of dy rechte seiten komen / yn seyme gefechte / wen her eyme do yn allen sachen / des fechtens ader ringens / bas gehaben mag / denne gleich vorne czu / vnd wer dis stöcke wol weis / vnd wol dar brengt / der ist ist nicht eyn bözer fechter etc |
[9] Remember that if you’re obliged to fight earnestly, you should contemplate a thoroughly-practiced play beforehand (whichever you want, if it’s complete and correct), and internalize it seriously and hold it in your mind with good spirit. Then perform whatever you chose upon your opponent with pure intent (just as if you were to say, ‘This I truly intend to do well’), and it should and must go forward with the aid of God, so it will fail you in nothing. Thus you do righteously by charging and stepping in to strike the Leading Strike (as it’s written many times further on). |
[9] Also know when you wish to fence earnestly, stick to a polished play, whichever one you wish that is completely natural right then and take it to the opponent earnestly and keep it in your mind and being, when you wish to do it, just as if you would say: "This I mean to truly conduct" and this shall and must have success with the help of God. In this way, it cannot fail you at all. You do what you should whenever you boldly storm in and let fly with the Vorschlag, as one will often hear hereafter. |
[9] Also know, when one wants to fence in earnest, he should plan a ready technique, whichever he like, and that technique should be complete and well-practiced. And he should take this seriously into his mind and will, just if he should say “That I want to do”. And then he must gain the initiative and with the help of God it will not fail. He succeeds in doing what he should do, if he bravely hurries and rushes in with the Vorschlag; about that you will later hear often. |
[9] Also know that when you wish to fence in earnest, then you shall have a finished piece in [your mind], any [technique or strategy] you want that is complete and correct and hold it in all seriousness and firmly in your mind when you want to close with him as if you would say “This is what I intend!”. And then you will have success with the help of God and not go wrong. You do what you should when you bravely rush the opponent with the first strike as you will know hereafter. |
[16v] ¶ Auch wisse / wen eyner ernstlich wil fechten / der vasse im eyn vertik stöcke vör / wels her wil / das do gancz vnd gerecht sey / vnd neme im das ernstlich vnd stete in seynen syn vnd gemüte / wen her of eynen wil / Recht zam her sölde sprechen · das meyne ich io czutreiben / vnd das sal vnd mus vorgank haben mit der hölfe gotes zo mag is im mit nichte velen / her tut was her sal / wen her kunlich dar hort vnd rawscht / mit dem vorslage / als man das hernach oft wirt horen / |
[10] [12]OH, all the arts of fighting need |
[10] In all fencing |
[10] Oh, all fencing |
[10] To all fencing |
[17r] cCZu allem fechten · |
[11] OH ‘motion’, that beautiful word, |
[11] Motion, that beautiful word, |
[11] Motus the word alone |
[11] Motion/movement,[23] note that word well, |
[17v.1] mMOtus · das worte schone / |
[12] Here remember that continuous movement[24] is the beginning, the middle, and the end of all fencing according to this art and teaching, so that you strike the beginning, the middle, and the end in a single advance, and bring it well without the hindrance of your adversary and without allowing them to come to blows. This is based on the two words ‘Before’ and ‘After’ (that is, the Leading Strike and the Following Strike); directly, in a single moment, one after another with nothing in between. |
[12] Here note that constant motion according to this art and lore arrests the opponent in the beginning, middle and end of all fencing. In this way you complete the beginning, middle and ending in one fluid motion without pause and without the hindrance of your adversary and you do not allow the opponent to come to blows with anything. Because of this, the two words, The Before, The After, that is the Vorschlag and the Nachschlag, arise. Continuously and at one time as if left without any middle.[25] |
[12] Here learn the frequens motus which paralyses your adversary in beginning, medium and end of all fencing according to this art and teaching. You should execute beginning, medium and end in one rush without break and without being stifled by your adversary and under no circumstances let him gain the opportunity to strike. This is the meaning of the two words vor and nach, which means Vorschlag und Nachschlag, striking him just like one.[26] |
[12] Here note that constant motion [27] holds the beginning, middle and the end of all fencing according to this art and teaching. That is you should quickly do the beginning, the middle and the end without delay and without any hindrances from the opponent and not letting him strike at you. That concept comes from the two words before and after, that is the first strike and the after strike,[28] in the middle |
[17v.2] ¶ Hie merke · das · frequens motus · beslewst in im / begynnüs / mittel · vnd ende / alles fechtens / noch deser kunst vnd lere / alzo das eyner yn eyme rawsche / anhebunge / mittel / vnde endunge / an vnderlos vnd an hindernis synes wedervechters volbrenge / vnd ienen mit nichte lasse czu slage komen / wenn of das gent dy czwey wörter · vor · noch · das ist / vorslag vnd nochslag / inmediate & / in vna hora / quasi vnum post reliquum sine aliquo medio / |
Long Sword Gloss
Complete Translation | Draft Translation |
Draft Translation |
Draft Translation |
Nuremberg Version (1400s) |
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[1] This is the general preface of the unarmored fencing on foot, remember it well:
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[1] This is the general preface of the unarmored fencing on foot. Mark this well.
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[1] This is the general preface of the unarmored fencing on foot. Mark this well.
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[1] This is the general foreword to the unarmoured[41] fencing on foot, note this well.
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[18r] Das ist eyne gemeyne vorrede / des blozfechtens czu fuße / Das merke wol JVng Ritter lere · |
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[2] This is a common lesson of the sword:
A general explanation follows here: Above all else, notice and remember that the point of the sword is the center, the middle, and the core, which all fencing proceeds from and returns to. The hangers and the winds, which a lot of good fencing plays originate from, are the angling in and circling of the center and the core. They were conceived and created so that if you cut or thrust exactly to the point, though you don't hit immediately, you might still hit your opponent with these plays: with cutting, thrusting, and slicing, and with stepping in and out, stepping around, and leaping. If you mislay or overextend the point of your sword when shooting or lunging, you can recover and realign it by winding and stepping out, and thus come back to the reliable plays and rules of fencing, from which you can cut, thrust, or slice again. For all cutting, thrusting, and slicing can come from the plays and rules of the art of the sword, according to Liechtenauer's art. (It's written further on how one play or rule results from another, and how to make one play out of another, so that as one of your strikes is defended, the next advances and succeeds.) |
[2] This is a general lesson of the sword:
General gloss hereafter.[25] First of all, note and know that the point of the sword is the axis, the dividing point and the core of the sword from which all applications depart and come back into it. Thus the hangings and the windings are the angulations and the rotations of the axis and of the core. From them, quite a few good plays of fencing also come. And they were identified and worked out so that a fencer who initiates a cut or thrust directly into the point may not hit every single time of course, they can hit someone by stepping out and in and by lateral stepping or springing with those same cutting, thrusting or slicing plays. And if you mislaid or overextended the point of your sword by overshooting or by overstepping, then you can realign and withdraw and shorten it again by winding or stepping back in such a fashion that you again come into the certain plays and precepts of fencing. From them, you can deliver cuts, thrusts, or slices. For according to Liechtenauer's art, these cuts, thrusts and slices all come from the applications and precepts of the art of the sword, as you will hear hereafter about how one play and precept comes from the other and how one fashions one of these from the other such that if the one will be warded off, then the other hits and has success. |
[2] This is a general teaching for the sword.
This is being followed by general comment: At first learn and know that the Ort of the sword is the centre and the means and the core of the sword. All techniques start and end with the Ort, thus the Hängen and Winden are the begin and the turnings around the centre and many good fencing techniques stem from this. These have been invented so that a fencer, who immediately strikes at the Ort and yet does not hit instantly, may employ the before mentioned Techniques in combination with strikes thrusts and cuts, with stepping off or in, and with stepping around or jumping, in order to hit his adversary. And if someone has shot his Ort out too far, by thrusting or lunging, he can recover or shorten it by employing the Winden or stepping off, so that he again may use those appropriate techniques and principles of fencing. From there he again may strike thrust or cut, because according to Liechtenauer's art, strikes thrusts and cuts stem from all fencing techniques and principles. And later you will hear, how one technique and principle stems from the other and how they can be used in succession, so that if one method is being defended, the other hits and succeeds. |
[2] This is a general teaching of the sword.
Here follows a general teaching. Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the hangings and the turnings[64] is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always strikes or thrusts at the point [of the opponent's weapon] do not always hit well. But with these techniques striking,[65] thrusting[66] or cutting,[67] stepping in or out,[68] stepping around[69] or a leap,[70] will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with turnings or stepping out. Then the opponent cannot come into safe techniques and pieces such as the strike, thrust or cut. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Strikes, thrusts and cuts as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success. |
[18v] Das ist eyne gemeyne lere des swertes wWIltu kunst schawen · ¶ Glosa generalis huius sequitur / ¶ Von allerersten merke vnd wisse / das der ort des swertes · ist das czentrum vnd das mittel vnd der kern · des swertes · aus deme alle gefechte gen / vnd weder / yn in komen · So sint dy hengen / vnd dy winden / synt dy anhenge vnd dy vmlewfe des czentrums vnd des kerns [19r.1] aus den auch / gar vil guter stöcke des fechtens komen / vnd sint dorvm fvnden vnd irdocht / das eyn fechter / der da gleich czum orte czu hewt ader sticht / nicht wol allemal treffen mak / das der mit den selben stöcken / hawende stechende ader sneydende / mit abe / vnd czutreten / vnd mit vmbeschreiten ader springen eynen treffen mag / vnd ab eyner syn ort des swertes / mit schißen ader mit voltreten / vorlewst ader vorlengt / zo mag her in mit winden ader abetreten / weder / irlengen vnd / ynbrengen vnd körczen / alzo das her weder yn gewisse stöcke vnd gesetze kümpt des fechtens / aus den her hewe stiche ader snete brengen mag / wen noch lychtnawers kunst / zo komen aus allen gefechten vnd gesetze des f der kunst des swertes / hewe stiche vnd snete / als man wirt hernoch hören / wy eyn stöcke vnd gesetze aus dem andern kumpt / vnd wy sich eyns aus dem andern macht / ab eyns wirt geweret / das daz ander treffe vnd vorgank habe |
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[3] Moreover, notice and remember that no part of the sword was conceived or created without reason, so apply the point, both edges, the hilt and pommel, and everything which is on the sword, according to the specific role of each one in the art of fencing, and according to how you discover and embody the practice (as we will read in a more detailed manner hereafter). |
[3] Secondly, note and know that no part of the sword was neither invented nor conceived without a purpose. Namely, a fencer shall utilize the point, both edges, the hilt, the pommel and the like on the sword in accordance with its particular precept in the art of fencing, which these practices possess and promote in accordance as well, as you will hereafter see and hear each in particular. |
[3] Secondly, you should learn that there is nothing about the sword that has been invented for without reason and that a fencer should make use of the Ort, of both edges, the hilt and the pommel. Each of these has its own special methods in the art of fencing. And how to practice this, you will see and hear later |
[3] Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point,[71] both edges,[72] cross guard[73] and pommel[74] and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear. |
[19r.2] ¶ Czu dem andern mal merke vnd wisse / daz keyn dink an dem swerte / vmbe züst funden vnd irdocht ist / zvnder eyn fechter / den ort / beide sneiden · gehilcze · klos / vnd als das am swerte ist / nütczen sal / noch dem [19v.1] als itzlieichs syn sönderleichs gesetze hat yn der kunst des fechtens / noch dem als dy Übunge hat vnd findert / als du itzlichs besvnder hernoch wirst sehen vnd hören / |
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[4] Also notice and remember that when he says, "If you would bring the art to light", etc.,[75] he means to advance your left foot, and with that, cut straight toward your opponent with threatening strikes from your right side, just as soon as you see where you can take them and would certainly reach them by stepping. He also means that when you want to fence strongly, fence with your left side leading, and with your entire body and strength, toward their head and body (whatever you can get) rather than toward their sword. In fact, you should strike as though they had no sword, or as though you couldn't see it, and you shouldn't disdain the skirmish or harrying, but be always working and in motion so that they cannot come to blows. |
[4] Also note and know by this, when he speaks, "If you wish to examine the art, etc", that he means that a skilled fencer, they shall advance the left foot and cut from the right side directly to the opponent with threatening cuts as long as they see where they can fully obtain and fully reach the opponent with their stepping. And he means: "when someone wishes to fence strongly", so shall they fence out from the left side with the entire body and full power to the head and to the body alone wherever they can hit and never to the sword, in particular, they shall do it as if the opponent has no sword and as if they cannot see it and they shall not omit any stingers nor wounds, rather always be in work and in contact so that the opponent cannot come to blows. |
[4] Also know and learn, by the verse beginning with “If you want to show art etc” it is meant that an artful fencer should place his left foot in front and strike from the right side directly to the man, and with threatening strikes just as long as he sees where he may hit him and reach him with his stepping. And when he says “if you intend to fence strongly” so he says that you should fence upwards from the left side with the whole body and with all strength, to the head or to the body wherever he may hit. And never strike to the sword but just work like would not have a weapon or if you don't see it, and should not avoid Zeckrühr or taps, and permanently be in motion, work and contact, so the opponent may not come to strikes. |
[4] Also know and note that when he says that you should show art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he[76] does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so that he cannot come to blows. |
[19v.2] ¶ Auch merke vnd wisse / mit deme als her spricht wiltu kunst schawen etc / meynt her / das eyn kunstlicher fechter / der sal den linken fuz vorsetzen / vnd von der rechten seiten mete hawen / gleich czum manne / mit drewe hewen / zo lang / bis das her siet wo her ienen wol gehaben mag / vnd wol dirreichen mit seinen schreten / Vnd meynt / wen eyner stark wil fechten zo sal her von der linken seiten of fechten / mit ganczem leibe vnd mit ganczer kraft / czu köppe vnd czu leibe wo her nur treffen mag / vnd nummer czu keyn swerte / zvnder her sal tuen / zam iener keyn swert habe / aber zam hers nicht sehe / vnd sal keyne czecken ader ruren nicht vormeiden / zonder vmmermer in erbeit vnd in berürunge seyn das iener nicht czu slage mag komen |
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[5] He further means to not directly track and follow your cut with your feet, but rather move aside a little and curve around so that you come to your opponent's flank, since you can reach them more easily from there than from the front. When your cutting and thrusting goes directly toward their exposures (toward their head or body) while stepping or treading around them, then those strikes cannot be defended or diverted by changing through or other such plays. |
[5] He also means that you shall neither move nor step directly behind your attacks, rather, do it somewhat sideways and curved around so that you come to the side of the opponent, where you can get at them better with everything than by frontally on. Whatever you subsequently cut or thrust at the opponent at that moment, cannot be defended nor lead off well by them by disengaging in any way nor by any other techniques, provided that the cuts and thrusts go in directly to the openings, be it to the head or to the body, with lateral movement and stepping. |
[5] Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. Whatever he strikes to thrusts at his opponent, it will not be defended by any Durchwechsel or other techniques, if the strikes or thrusts are directed at the man and at the openings, to the head or to the body, with stepping around or other footwork. |
[5] He[77] also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you strike or thrust at him, he will not be able to defend with other techniques and neither lead it away by changing through as long as the strikes or thrusts are to the man, to the openings to the head and the body with steps and leaps in from the side. |
[19v.3] ¶ ¶ Auch meynt her das / eyner den hewen nicht gleich sal noch gehen vnd treten · zonder etwas beseites / vnd krumbes vmbe / das her ieme an dy seite kome / do her in bas / mit allerleye gehaben mag / denne vorne czu / was ′her ′denne[78] nür of ienen hewt ader sticht das mag im iener mit keynerleye durchwechsel ader andern gefechten / gel / wol weren ader abeleiten / nür das dy hewe ader stiche gleich czum manne czu gehen keyn den blößen / czu koppe ader czu leibe / mit vmbeschriten / vnd treten / |
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[6] Also notice and remember that when he says, "Before and after, these two things", etc.,[79] he means there are five keywords: 'Before', 'After', 'Weak', 'Strong', and 'Within'. On these words is built the entire art of Master Liechtenauer, and they're the core and the fixed foundation of all fencing (mounted or dismounted, armored or unarmored). |
[6] Also note and know by this when he speaks, "The Before, The After the two things, etc" that he means the five words: The Before, The After, Weak, Strong, Indes. The entire art of Master Liechtenauer's rests upon these very words which are the foundation and the core of all fencing on foot or on horse, bare or in harness. |
[6] Also know and learn when he speaks: “Vor Nach those two… etc” there he means the five words, Vor Nach Schwach Stark Indes and within these words lies all art of Master Liechtenauer and these are the basic foundation and the core of all fencing on foot or mounted, with armour and without. |
[6] Also note and know what he says here, "before, after, the two things do", he names the five words; Before, After, Weak, Strong, in that instant/just as.[63] On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, in armour[80] or without.[81] |
[20r.1] ·;· ¶ Auch merke vnd wisse / mit deme als her spricht / vor · noch · dy zwey dink etc / do / nent her dy fünff wörter ·/· vor · noch · swach · stark · Indes ·/ an den selben wörtern / leit alle kunst / Meister lichtnawers / vnd sint dy gruntfeste vnd der / kern / alles fechtens czu fusse ader czu rosse / blos ader in harnüsche / |
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[7] With the word 'Before', he means to always take and win the Leading Strike, † {whether it lands or not. (As Liechtenauer says, "Cut here and there, and close with this; / charge in whether you hit or miss".[82])} When you approach by stepping or running, just as soon as you see you can reach your opponent with a step or a leap, then drive joyously toward wherever you see an exposure (toward their head or body, wherever you feel sure you can take them), boldly and fearlessly. In this way, you always win the Leading Strike, whether it goes well or poorly for them. Also, be certain and measured in your steps, so that you don't step too short nor too far. Now, when you execute the Leading Strike (be it cutting or thrusting), if it succeeds, then quickly follow through. But if they defend against it, diverting your Leading Strike or otherwise defending with their sword, then as long as you remain on their sword, while you're being led away from the exposure you had targeted, you should feel precisely and notice whether your opponent is Hard or Soft and Strong or Weak on your sword (in their covering and diverting of your cut or thrust). Thus, you fully feel how the other fencer is in their action. If they're Hard and Strong Within it, then as you fully feel and notice this, become Soft and Weak during and Within it, and before their cover is complete, execute a Following Strike. In other words, you immediately strike while they're still defending themselves and covering your Leading Strike (be it cutting or thrusting). Then seek out other plays and rules, and with those, again step and strike toward their exposures. Thus, you're continually in motion and in contact, so that you confuse and daze your opponent amid their covering and defense, and they have too much work covering themselves and cannot win the Leading or Following Strikes. When they must cover themselves and fixate on your strikes, they're always in greater danger than you: they must continue to defend themselves or allow themselves to be struck, and thus can only make their own strikes with difficulty. This is why Liechtenauer says, "Now let me make this plain and clear: / No one defends without some fear, / And if this truth you'll learn and know, / Then scarcely can they come to blows.".[83] You must thus fence according to the five words, which this statement and the whole of fencing are based on. |
[7] By the word "The Before", he means that every good fencer shall possess and have won the Vorschlag every time they hit or miss. As Liechtenauer says: "Attack suddenly and storm in, keep moving fluidly, engage or let pass". Whenever you either walk or rush toward the opponent, just as soon as you can see that you can reach them with a step or with a spring, then wherever you see them open somewhere, you shall move in with confidence, be it to the head or to the body, boldly without any fear, wherever you can most certainly get them. For in this way, you always win the Vorschlag, not matter if the opponent ends up safe or not. And you must also be shrewd in your stepping and shall have measured them correctly so that you do not step too short nor too long. Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit. But If the opponent wards off your Vorschlag, whether it be a cut or thrust by leading off or controlling with their sword, then while you’re still against your opponent’s sword, as they are leading you away from the opening in which you targeted, you must quite precisely note and feel whether they are soft or hard, weak or strong against your sword in their leading off and defense of your cuts and thrusts. If it then happens that you clearly feel how the opponent lies in their application at that moment, and they are strong and hard; Indes, at the moment you completely notice and feel that, you shall, Indes or during the time the opponent defends themselves, be soft and weak and in that, before the opponent can come to blows, you shall then execute the Nachschlag. That is to say that you shall immediately, while the opponent defends themselves and wards off your Vorschlag (be it cut or thrust), seek other applications and plays. With these, you shall again storm in and keep moving fluidly toward their openings such that you stay continuously in movement and in action. In this way you confound and rattle them. Thus the opponent has altogether so much to manage with their defending and warding off that they, the defender, cannot come to their blows. Because if you defend yourself and fixate on the oncoming strikes, you are always in greater danger than those that strike at you because you must always either ward off those strikes or must allow yourself to be hit. Thus, it is difficult to come to blows. About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, the opponent cannot come to blows if you otherwise perform according to the five words. This lecture completely gets at this and all fencing". |
[7] By the word “Vor” he means that every good fencer should always gain the Vorschlag, may he hit or miss. And when Liechtenauer says “Strike and hurry to the man, rush in may it hit or miss”. This means, as soon he approaches his adversary by stepping or running, he should instantly attack as soon as he is sure he could reach him with either a step or a jump. Then he must attack to his head or to his body, without any fear to the opening which he can hit best. So he should gain the Vorschlag, and it is not important, if it directly hurts the adversary or not. He must also be sure with the correct measure of his steps, so that he may not step too short or too long. If he now hits with the Vorschlag, so instantly follow through with the hit. However, if the defends the Vorschlag so that he turns aside or leads off the attack, be it a strike or a thrust, away from the intended opening with his sword, you should now, with the swords are still being in contact, feel or be aware whether he is soft or hard, weak or strong at the sword. If he now feels how the adversary acts in his fencing, if he is strong or hard, in the very moment he realizes this he should, while the adversary is still protecting himself, become soft and weak and in the case of the adversary being weak, vice versa. To make sure that one cannot come to strikes, he should instantly execute the Nachschlag, that means that he attacks again while the other is still protecting himself from the Vorschlag, be it with a strike or a thrust. So he can employ different techniques for hurrying or rushing towards his openings and thus he is permanently in motion and very close to him and this should make him so irritated and confused that he is only busy protecting himself and cannot come to his own strikes. If one has to defend himself or has to be aware of the strikes which are directed against him, he is in much greater danger than the one who strikes at him, because he either can defend or be hit. And this makes it very difficult for him to gain the opportunity for his own strikes. So Liechtenauer says: I tell you truthfully, no one defends without danger, if you understood this, he will not come to strikes. If these five words, which this teaching and all other fencing is based upon, are not adhered, |
[7] Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word before means that a good fencer will always win the first strike.[84] When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the openings and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the first strike then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the first strike if you hit then follow up the hit quickly, but if the other defends against the first strike whether it was a strike or a thrust and turns it away[85] and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is hard or soft and strong or weak on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then in an instant[63] should you do the after strike[86] before the opponent has a chance to come to blows, that is as soon as the opponent defends against the first strike as you do that, attack other openings with other techniques speedily. And always be in motion, this will force the opponent to be on the defence and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of. |
[20r.2] ¶ Mit deme worte · Vor · meynt her das eyn itzlicher guter fechter / sal alle mal den vorslag haben vnd gewinnen / † {her treffe ader vele / als lichnawer / spricht / Haw dreyn vnd hurt dar / rawsche hin trif ader la var} wenne her czu / eyme gehet ader lewft / als balde als her nur siet / das her in mit eynem schrete / ader mit eynem sprunge / dirreichen mag / wo her denne indert in blos siet / do sal her hin varn / mit frewden / czu koppe ader czu leibe / künlich an alle vorchte wo her in am gewisten gehaben mag / alzo das her ia den vorslag gewinne / is tu ieme wol ader we · vnd sal auch mit dem / in synen schreten gewisse sein / vnd sal dy haben recht zam gemessen / das her nicht czu korcz ader czu lank schreite / wen her nü den vorslag / tuet / trift her zo volge her dem treffen vaste / noch · weret · her aber iener den vorslag alzo das her im den vorslag / is sy haw ader stich mit syme swerte / abeweiset vnd leitet / Dy weile her denne ieme noch / an syme swerte ist / mit deme als her wirt abe geweist / von der blößen / der her geremet / hat / zo sal her gar eben fülen vnd merken [20v.1] ab iener in syme abeleiten vnd schützen der hewe ader stiche / an syme swerte / weich ader herte / swach ader stark / sey / Ist denne das her nü wol fület / wy iener in syme geferte ist / Is das iener stark vnd herte ist / Indes / das hers nü genczlich merkt vnd fület / zo sal her ader Indes ader vnderdez das sich iener zo schützt / weich vnd swach dirweder syn / vnd in dem selben / · e · den / das iener czu keyme slage kome / zo sal her denne den nochslag tuen / das ist / das her czu hant / dy weile sich iener schützt vnd sich des vorslags weret / is sy haw ader stich zo sal her ander gefechte vnd stöcke hervör süchen / mit den her aber czu synen blößen hurt vnd rawschet / alzo dis her vmmermer in bewegunge vnd in berürunge sy · das her ienen als irre / vnd betawbet mache / das iener mit syme schützen vnd weren / alzo vil czu schaffen habe / das her / der schützer / czu syner slege / keyne komen mag / wen eyner der sich sal schützen / vnd der slege warnemen / der ist alle mal in grösser var / denne der /· der da slet of in / denne her mus ia dy slege weren / ader mus sich laen treffen / daz her selber mülich / czu slage mag komen / Dorvm spricht lichtnawer / Ich sage vorware · sich schutzt keyn man ane vare / Hastu vornomen · czu slage mag her kleyne komen / Tustu anders noch den fünff wörtern / of dy dese rede gar get / vnd alles fechten |
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[8] (Thus, a peasant can end up striking a master simply because they're bold and win the Leading Strike, as this lesson describes.) |
[8] This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson. |
[8] then this is the reason why a brave peasant often defeats a master by winning the Vorschlag. |
[8] Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the first strike according to this teaching. |
[20v.2] Dorvm slet oft / eyn bawer eyn meister / wen her küne ist vnd den vorslag / gewinnet / noch deser lere / |
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[9] [87]By the word 'Before', as we read earlier, he means to step in or charge, boldly and fearlessly, with a good Leading Strike (or with any initial strike) aiming toward the exposures of their head or body. Whether you land it or not, you will still succeed at dazing and spooking them so that they don't know what to do against this, and cannot recover or come to their senses before you immediately do a Following Strike, and thus you continually force them to defend and cover, so that they cannot come to their own blows. If you do the first strike or Leading Strike and they succeed in defending, then in their defense and covering, they could always deliver a Following Strike faster than you (even though you had the first one). They could immediately cut, or drive in with their pommel, or send crosswise cuts (which are always reliable), or they could just throw their sword forward crosswise (and with that, enter other plays), or begin something else before you get the chance to continue.[88] (It's written further on how one play grows from another such that your opponent cannot get away without being beaten, as long as you follow this lesson.) † {So, perform the Leading Strike and the Following Strike as one idea and as though they were a single attack, one promptly and swiftly following the other.} |
[9] Because with the word, "The Before", as was spoken about earlier, he means that you should boldly storm in and keep moving fluidly toward their openings with a good Vorschlag or first strike, without any fear, to the head or to the body. You either hit or miss in such a way that you suddenly rattle the opponent and startle them such that they do not know what to do about it and also before they recover themselves against it again or come back at you, that you then immediately execute the Nachschlag and the opponent has truly so much to manage to defend and to warding off that they cannot possibly come to blows. Because if you execute the first strike or the Vorschlag and the opponent then wards, in that very warding off and defending, you always come into the Nachschlag's earlier than the opponent comes to their first. Then you can immediately start to work with your pommel or possibly come into the crosswise cuts (these are especially good) or else cast the crosswise cut over the sword. By this you arrive at other applications or else you can initiate many other things before the opponent comes to blows as you will hear how you fashion from one to the other such that the opponent cannot come away from you unstruck if you otherwise execute according to this lesson. That is to say you shall execute the Vorschlag and the Nachschlag promptly and swiftly after each other as if it were possible to accomplish it together with a single thought and with single strike. |
[9] Now it has been said before that that Liechtenauer expresses he should bravely and without fear rush in with a good Vorschlag or the first strike to the head or body may he hit or miss, so that he strikes him just as stunning and frightening him so he does not know what he can do against him. Also it has been said that he should strike the Nachschlag before he recovers or might come to his own strikes. this also means this you should work in a manner that he is permanently busy with protecting and defending. And if he defends against the Vorschlag, he instantly comes to the Nachschlag while the adversary is still defending for example, by rushing in with the pommel or transitioning into the Zwerchhau, which are generally good. He can generally transition into the Zwerch position, so he may use other technique which he may begin before the adversary can execute his own attack. And you will hear how you generate one technique from the other, if you follow this advice. That is he should execute with one thought and just as with one strike if possible the Vorschlag and the Nachschlag, quickly in succession. |
[9] With the word before as has been told before, he[89] means that you with a good first strike shall close in without fear or hesitation and strike at the openings, to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can gather himself and come back, you shall do the after strike so that he will have to defend yet again and not be able to strike himself. Thus when you strike the first strike and the opponent defends against this, in the defence you will always be first to reach the after strike before the opponent. As soon as you can, you should go with the pommel to the head or come in with the cross strike[90] that is always good to do, or you can throw the sword forward crosswise[91] in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the first strike and the after strike quickly one after the other, |
[21r.1] Wenne mit dem worte · vor · als e gesprochen ist / meynt her / das eyner mit eyme guten vorslage ader mit dem ersten slage / sal eyner kunlich an alle vorchte dar hurten vnd rawschen / keyn den blössen czu koppe ader czu leibe / her treffe ader vele / das her ienen czu hant als betewbet / mache vnd in irschrecke / das her nicht weis was her keyn desem solle weder tuen / vnd auch · e · denne sich iener weder keyns irhole / ader weder czu im selber kome / das her denne czu hant den nochslag tue / vnd im io zo vil schaffe / czu weren vnd czu schützen / das her nicht möge czu slage komen / denne wen deser den ersten slag / ader den vorslag tuet / vnd in iener denne weret / in dem selben weren vnd schutzen / zo kumpt deser denne alle mal · e · czu dem nochslage den iener czu dem ersten / den her mag / czu haut czu varn mit dem klosse / ader mag / in dy twerhewe komen / dy czu male gut syn / ader mag sost das swert dy twer vor werfen / do mite her in ander gefechte kumpt / ader sost mancherleye mag her wol beginnen / · e · denne iener czu slage kumpt / als du wirst horen wy sich eyns aus dem andern macht / das iener nicht mag von im komen vngeslagen / tut her anders noch deser lere† {Wenne her sal mit eyme gedanken / vnd zam mit eyme slage / ab is möglich were / den vorslag vnd nochslag tuen / risch vnd snelle noch eynnand[er]}[92] |
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[10] When it happens that someone defends against the Leading Strike, they must defend with their sword, and in this way, they must always come onto your sword. If they're late and unready in their defense, then remain on their sword and immediately wind, and feel precisely and notice whether they want to pull back from your sword. |
[10] It is also entirely possible to come to this if the opponent wards the Vorschlag, they must ward it with their sword. In this way, they must come against your sword. And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against their sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword. |
[10] It may happen that one has to defend the adversary's Vorschlag. So he would defend it by getting at his sword – and if he is a little slow or indecisive so he would want to stay at the sword and use the winden and feel if the adversary wants to pull back from the bind or not. |
[10] and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away turn[93] and note and feel if the other gathers himself in order to move away or not. |
[21r.2] ¶ Auch möchte is wol dar czu komen / ab iener den vorslag weret / zo müste her in weren mit dem swerte / vnd alzo müste her desen io an syn swert komen / vnd wenn denne ienui eczwas trege vnd las were / zo möchte deser denne an dem swerte bleyben / vnd sal denne czu hant winden / vnd sal gar eben merken vnd fulen / ab sich iener wil abeczihen von dem swerte / ader nicht / |
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[11] Once you're engaged with each other on the sword and have extended your points toward each other's exposures, if they pull themselves back, then before they can recover from your strike, immediately follow through with a good thrust toward their chest with your point (or otherwise forward toward the closest and surest place you can land) in such a way that they cannot escape from your sword without harm, because when you immediately follow like this you get closer and closer to them, and with that, you direct your point forward on their sword toward whatever's nearest and closest. Thus, even if your opponent cuts or thrusts wildly around as they pull back, you can always come faster into the Following Strike (cutting or thrusting) before they come to their first one. Now, with the word 'After', Liechtenauer means that when you have made the Leading Strike, you should deliver a Following Strike in the same movement (immediately and without pause), and be always in motion and in contact, and always do one after another. If your first strike fails, then the second, the third, or the fourth lands, and your opponent is never allowed to come to blows. No one can have greater advantage in fencing than they who execute the five words according to this lesson. |
[11] If the opponent withdraws, just as you both come together against swords and the points extend to the openings against each other, then with the opponent's withdrawal, before they can recover themselves again for a new cut or thrust against you, immediately follow them with your point, with a good thrust to their breast or anywhere straight forward, wherever you can connect the surest and closest, in this way the opponent cannot come away from your sword with anything unharmed. This is because when the opponent delivered a new cut or thrust wide around with their withdrawal, you were surely closer at hand to the opponent with your following as you sent your point forwards, targeting them against their sword according to what is closest and shortest. Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first. And this is what Liechtenauer means by the word, "The After". The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly off the previous action and stay continuously in motion and action and continuously conduct one after the other. If the first fails, the second, third, or fourth hits and the opponent truly cannot come to blows, because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson. |
[11] If one moves off, now that they were just bound at the sword, and the points are facing against each other to the openings, the skilled fencer has followed directly with the point, before the adversary can recover from his pulling-off, thereby executing a good thrust to the chest or anywhere where he could hit him best. And this is the method that the opponent cannot leave the bind unharmed, because with this following he gets nearer by thrusting the point forward at the sword, following the principle of the nearest and shortest target. And if the opponent tries to attack newly with long strikes or thrusts after pulling off, he may always gain the Nachschlag or a thrust rather than with the first strike. Liechtenauer means this by the word “Nach”; if one has struck the Vorschlag so he should move in and without break strike the Nachschlag (in the same movement) and thus he should be permanently in movement and in contact, constantly using one technique after the other. So, if the first one fails, the second, the third or the fourth my hit not letting the opponent come to strikes because no one will ever have any significant advantage in fencing, except him who works according to this teaching and these five words. |
[11] If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings, then you shall – before the opponent has time to gather himself in order to strike or thrust – follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the[94] sword, as close and as short as possible. Then if you move away to do another strike or thrust and you do a wide movement, then the opponent will always be able to beat you to the with a strike or thrust, then he can hit you with the first strike. And this is what Liechtenauer means with the word [Nach]. When you have done the first strike then you shall without any delay do the and you should also stay in motion and do one thing after another. If the first [attack] does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words. |
[21r.3] ¶ Czewt sich iener ab / als sy nü vor mit eynnander an dy swert sint komen / vnd dy orter keyn eynnander recken / czu den blossen / E denne sich / denne iener keyns haws ader stichs / of eyn news weder [21v.1] irholen mag mit syme abeczihen · zo hat im deser czu hant / mit syme orte noch gevolget / mit eynem guten stiche czu der brost / ader söst vorne czu wo her in am schiresten vnd nehesten getreffen mag / alzo das im iener mit nichte / ane schaden von dem swerte mag komen / wenn deser hat io / czu hant mit syme nochvolgen / neher czu ieme / mit dem als her synen ort / vor / an dem swerte gestalt hat keyn ieme / noch dem aller nehesten vnd körczsten / wenn das iener mit syme abeczihen / of / eyn news solde hewe ader stiche / weit vmbe / dar brengen / alzo mag io deser alle mal · e · czu dem nochslage ader stiche komen / · e · denne iener czu dem ersten / Vnd das meynt lichtnawer mit dem worte / noch / wenn eyner im den vorslag hat getan / zo sal her czu hant an vnderloz / of der selben vart den nochslag / tuen / vnd sal vmmermer in bewegunge / vnd in rürunge syn / vnd vmmmer eyns noch dem andern treiben / ab ym das erste vele / das daz ander das dritte ader daz vierde treffe / vnd io ienen nicht lasse czu keyme slage komen / Wen keyn / mag grosser vorteil of fechten haben / den der nach der lere / deser fünff / wörter tuet / |
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[12] But if, once you have come onto their sword, your opponent remains on your sword with their defense and covering, and you also remain on their sword and haven't yet delivered a Following Strike, then stay on their sword and wind, and feel precisely and notice whether they're Strong or Weak on your sword. |
[12] But if the opponent stays with you against your sword, as they have come against it with their warding and defending and this has drawn them out such that you have remained with them against the sword and have not yet executed the Nachschlag, then you shall wind and stay with them in this way against their sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword. |
[12] Now if it happens that the opponent does stay at the sword after he displaced, and now it comes that he also stays at the sword – not having done the Nachschlag yet – so he shall wind and stand at the sword, and he should note and feel if the adversary is weak or strong at the sword. |
[12] But if it is so that the opponent remains on the sword after his defence and is on the sword, and it has occurred that you remain with him on the sword and he has not done the after strike then you shall turn[93] and remain with him on the sword. And you shall notice straight away if the opponent is weak or strong. |
[21v.2] ¶ Ist aber das iener an dem swerte bleybt / mit dem als her mit syme weren vnd schutzen desem an syn swert ist komen / vnd is sich alzo vorczagen hat das deser mit im an dem swerte ist bleben / vnd noch nicht den nochslag hat getan · zo sal deser winden / of vnd mit im alzo an dem swerte stehen / vnd sal gar eben merken vnd fülen / ab / ien swach ader stark ist an dem swerte / |
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[13] If you feel and notice that they're Hard, Strong, and firm, and want to press on your sword, then be Soft and Weak against them and give way to their strength, and allow your sword to be swept out and driven away by their pushing. Then quickly and rapidly divert and pull your sword back, and drive swiftly against their exposures, toward their head or body, with cutting, thrusting, and slicing (however you find the nearest and surest way). Because the harder and surer they push in and force with their sword while you're Soft and Weak against it, giving way to them and allowing your sword to go aside, then the more and the further their sword also goes aside, and they become quite exposed. Then you can meet and harry them however you want before they recovers from their cut or thrust. |
[13] Then if you note and feel that the opponent is strong, hard and fixed against your sword and at that moment intends to force their sword out, you shall then be weak and soft in response and you shall yield and give way to their strength and you shall let their sword push through and travel with their forcing such that when they do that, you shall then deftly let their sword promptly and swiftly slide draw away, and you shall deftly speed in towards their openings, either to their head or their body with cuts, thrusts and slices only where you can approach the closest and the surest. Because when you are weak and soft in response and let their sword slide away and you yield to them in this way, the harder and the surer the opponent pushes and presses with their sword, the further and the wider they then push their sword away such that they become completely open so that you can then hit our wound them according to desire before they can recover themselves from their own cut or thrust. |
[13] And if he now feels that the opponent is strong, hard and rigid at the sword and only plans to press into him with his sword, so he should become weak and soft and completely give up his strength against the opponent. And thus he should let go of the opponent's sword, so it may whip and move off with the pressure. And now he can slide and pull off his sword quickly and then go for the opponent's openings quickly and nimbly, to the head or to the body, with strikes, thrusts and cuts, wherever he may hit surest and most direct. Because the harder the opponent presses with the sword, the farther his sword is flung aside when he suddenly becomes soft and lets the sword slide off. So the opponent will be left open so that he can touch or hit as he wishes before the opponent may recover and come to his own strike or thrust. |
[13] If it is so that you feel and notice that the opponent is strong and hard and firm[95] on the sword and intends to push your sword away, then you shall be weak and yielding[96] and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his openings to the head and the body with strikes and thrusts or with cuts, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new strike or thrust. |
[21v.3] ¶ Ist denne das deser merkt vnd fület / das iener stark herte vnd veste an dem swerte ist / vnd desen / nü meynt syn swert hin dringen · zo sal deser denne swach vnd weich dirweder syn / vnd sal syner sterke weichen vnd stat geben / vnd sal im syn swert / hin lassen preln vnd wer varn / mit syn dringen daz her tuet / vnd deser sal denne syn swert snelle [22r.1] lassen abegleiten · vnd abeczihen / balde vnd risch · vnd sal snelle dar varn keyn synen blossen / czu koppe ader czu leibe / wo / mit hewen stichen vnd sneten / wo her nür / am nehesten vnd schiresten mag czu komen / wen e · herter vnd · e · sürer iener dringt vnd druckt mit syme swerte / vnd deser denne swach vnd weich dirweder ist · vnd syn swert lest abegleiten / vnd im alzo weicht / · e · verrer vnd · e · weiter denne ieme syn swert wek prelt · das her denne gar blos wirt / vnd das in denne deser noch wonsche mag treffen vnd rüren / · e · denne her sich selber / keyns haws ader stichs irholen mag / |
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[14] However, if you feel and notice that they're Soft and Weak on your sword then be Hard and Strong against them, and charge forward with your point firmly on their sword and drive toward their exposures (whichever is closest), just as though a cord or a thread were tied to the point of your sword which would lead it to their nearest exposure. With this thrust, you become well aware of whether they're Weak, letting their sword be pushed aside and letting themselves be hit, or they're Strong, defending and diverting your thrust. |
[14] But if the opponent is weak and soft against the sword in this way, just as you clearly note and feel that, you shall then be strong and hard against their sword in response and you shall then move in strongly with your point while against their sword and keep moving on in fluidly, directly to their openings, wherever you can, that is closest, just as if a cord or thread were bound at the end of your point, which guides your point to their opening in the shortest way. And with the thrust that you just executed, you become fully aware whether the opponent is so weak that the opponent lets your sword force them out and allows themselves be struck. |
[14] If the opponent now is weak and soft at the sword and he feels and notices this, so he should be strong and hard at the sword and should rush in quickly forcefully at the sword, directly and frontal to the next best accessible opening. Just like as a string would be attached to the point which would pull and turn his point to the nearest opening, as to achieve the thrust. |
[14] But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit, |
[22r.2] ¶ Ist aber iener an dem swerte swach vnd weich · also das is deser nü wol merkt vnd fület / zo sal deser denne stark vnd herte dirweder syn / an dem swerte / vnd sal denne mit syme orte sterklichen an dem swerte hin varn vnd rawschen keyn iens blossen gleich vorne czu / wo her am nehesten mag / Recht zam im eyn snure ader vadem / vorne an synen ort were gebunden / der im synen ort of das neheste / weizet czu ienes blossen / vnd mit dem selben stechen das deser tuet / wirt her wol gewar / ab iener zo swach ist / daz her im syn swert lest alzo hin dringen vnd sich lest treffen Ist aber ab her stark ist vnd den stich weret vnd abeleitet / |
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[15] If they're Strong on the sword, defending against your thrust and diverting the sword, then become Soft and Weak against it once again, giving way to them and letting your sword be pushed aside, and then swiftly seek their exposures with cutting, thrusting, and slicing (whichever it may be). This is what Liechtenauer means by the words 'Hard' and 'Soft'. This is based on the classical authorities: as Aristotle wrote in his book Peri Hermeneias,[97] "Opposites shine more brightly when juxtaposed, and opposites which are adjoined are augmented".[98] Thus, Strong against Weak, Hard against Soft, and vice versa. The stronger always wins when strength goes against strength, but Liechtenauer fences according to the true and correct art, so a weak person wins more surely with their art and cunning than a strong one with their strength. Otherwise, what's the point of art? |
[15] But if the opponent becomes strong against your sword in turn and defends and leads off your thrust in this way, such that they force your sword away, you shall again become weak and soft in response and shall allow their sword to slide away and yield to them and swiftly seek their openings with cuts, thrusts and slices, however you readily can. And this is what Liechtenauer means by the words, "Soft and Hard". And this follows the authorities. As Aristotle spoke in the book Perihermanias: "Opposites positioned near themselves shine greater, or rather; opposites which adjoin, augment. Weak against strong, hard against soft, and the contrary." For should it be strong against strong, then the stronger would win every time. Therefore Liechtenauer undertakes fencing according to the more equitable and durable art, so that one weaker and cunning with their art wins as surely as one stronger with their strength. How could the art work differently? |
[15] Now if the opponent is strong and defends the thrust and displaces it by becoming strong at the sword, so that the opponent presses into the sword again, so again he should become weak and soft and let his sword slide off. And in this evading he should seek the openings quickly with strikes thrusts or cuts, as he wishes. And this is what Liechtenauer means with the words “soft and hard”. And this concept is from the auctoritas when Aristoteles says in the book peyarmenias: Oppositions shine more clearly if placed next to each other than directly opposing them[99] Weak against strong, hard against weak and vice versa. If it should be only strong against strong, the stronger will always win. That is the reason why Liechtenauer's fencing is real and correct art, so that a weak man can win with his art and wits in the same manner a strong man can do with his strength and it would be no art otherwise. |
[15] or if he is strong and defends and displaces the thrust.[100] If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with strikes, thrusts or cuts in any way you can. This is what Liechtenauer means by the words soft and strong. And this comes from the authorities as Aristotle said in the book Peri Hermanias; opposed near him set wise men shine forth or abandon opposition. Weak against strong, hard against soft and vice versa. Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be? |
[22r.3] ¶ Is das her stark wirt weder an dem swerte / vnd desem syn swert abeweiset vnd den stich weret / also das her desen syn swert vaste hin dringt / zo sal deser aber swach vnd weich dirweder werden / vnd sal syn swert lassen abegleiten / vnd im weichen / vnd syne blossen rischlichen süchen / mit hewen stichen ader mit sneten wy her nür mag · Vnd das meynt lichtnawer / mit desen wörter / · weich · vnd herte / vnd das get of dy auctori=[22v.1] tas / als aristotyles spricht in libro peryarmenias · Opposita iuxta se posita · magis elucescunt / vel / opposita oppositis amantur / Swach weder stark / herte weder weich / et equatur / Denne solde stark weder stark syn / zo gesigt allemal der sterker / · dorvm get lichtnawer fechten noch rechter vnd worhaftiger kunst dar / das eyn swacher mit syner kunst vnd list / als schire gesigt / mit / als eyn starker mit syner sterke / worvm were anders kunst / |
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[16] Therefore, fencer, learn to feel well; as Liechtenauer says, "For this you must learn how to feel. / The word “Within” cuts deep as steel."[101] When you're on their sword, and you feel well whether they're Strong or Weak on your sword, then during and Within this, you can well consider and know what to do against them (according to the aforementioned art and lesson). For truly, they can't pull back from the sword without harm: as Liechtenauer says, "Strike in so that it snaps at whoever pulls back in front of you".[102] |
[16] Therefore fencer, learn to feel well in the manner Liechtenauer spoke: "Learn the feeling. Indes, that word slices sharply", because when you are against the sword of the opponent and at that moment clearly feel whether the opponent is weak or strong against the sword, Indes or during that, so then you can consider and know what you shall execute against the opponent according to the aforementioned lore and art well. Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". |
[16] Because of this fencing teaches the feeling well as Liechtenauer says: “Learn the feeling, Indes is a word that cuts” because if you are at the sword with someone, and you are now skilled at feeling whether your opponent is weak or strong at the sword, indes or while you are in the bind, you may very well observe and plan what you should do against him. And according to this teaching and art, he may not pull off from the sword without being hurt, because Liechtenauer says: Strike that he is confused when he pulls off. |
[16] Therefore learn well to feel in the swordplay. As Liechtenauer says, "learn how to feel. In an instant/just as is a sharp word". Thus when you find yourself on another’s sword and feel well if he is weak or strong at the sword, then at once[63] follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”. |
[22v.2] ¶ Dorüm fechter lere wol fülen / als lichtnawer spricht / das fülen lere / Indes daz wort / sneidet sere / den wen du eyme am swerte bist vnd fülest nü wol ab iener swach ader stark am swerte ist · Indes · ader dy weile · zo magstu denne wol trachten vnd wissen was du salt keyn im tuen / noch deser vorgesprochen lere / vnd kunst / wen her mag sich io mit nichte abe czihen vom swerte ane schaden / Den lichtnawer spricht / slach das her snabe / wer sich vör dir czewt abe / |
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[17] If you act firmly according to this lesson, you will always take and win the Leading Strike, and as soon as you execute it, charge in with a Following Strike immediately and without delay (that is, the second, third, or fourth strike, whether it be a cut or a thrust), so that they can never come to blows. If you come onto the sword with them, be certain in your feeling and do as was written earlier. The foundation of fencing is to always be in motion and to not delay, and fencing is also based on feeling (as was made clear above). |
[17] If you act according to this lesson, persisting in this way well so that you always have possessed and won the Vorschlag and as soon as you execute that, you then execute the Nachschlag (that is, the second, the third or the fourth strike, be it cut or stab) afterwards in one fluid motion, immediately without refrain then the opponent can never come to blows. If you then come onto the sword with them, be sure in feeling and execute as was written before. Because this is the foundation of fencing, that one is always in motion and does not peeter out and when it comes down to the feeling, then act as it is laid out above. |
[17] Now, according to this teaching you understand well that you should try to gain the Vorschlag and as soon as you execute it, so do in one rush instantly and without break the Nachschlag, and that can also be the second, third or fourth strike or thrust. So your opponent may not come to strikes. If you now bind with him so be skilled at the feeling and do as it has been written before, because this is the foundation of fencing so that you are permanently in motion and never pause or hesitate. And if it now comes to the feeling, so also do what is written before.[103] |
[17] After this teaching you understand how you will win the first strike and as soon as you have done this, then quickly and without any delay do the after strike that is the second, third or fourth strike, cut or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on feeling, so do as it is stated above. |
[22v.3] ¶ Tu noch deser lere / zo bestestu wol alzo das du io den vorslag habest vnd gewinest / vnd als balde / als du den tuest / zo tu denne dornoch in eyme rawsche / inmediate an vnderloz den nochslag / das ist den andern / den dritten / ader den vierden slag / haw aber stich / das io iener nicht czu slage kome / kömstu denn mit im an daz swert / zo bis sicher an dem fulen / vnd tu als vor geschreben ist / wen dis ist der grunt des fechtens das eyn man vmmermer in motu ist / vnd nicht veyert vnd kömpt is denne an das fulen / zo tu / ut supra patuit(?) |
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[18] Have measure and moderation in all that you begin and do. If you win the Leading Strike, don't deliver it so impetuously or aggressively that you can't deliver a Following Strike afterward. This is why Liechtenauer says, "So grasp when all is said and done: / All things need measure, moderation."[104] You should also understand this when stepping, and in all other plays and rules of fencing, etc. |
[18] And whatever you conduct and initiate, always have measure and moderation. Like, if at one moment you won the Vorschlag, then don't do it so impetuously and so powerfully that you then cannot recover yourself for the Nachschlag. About this, Liechtenauer spoke: "Thereupon you hold, all things have moderation and measure". And also understand this in the stepping and in all other plays and precepts of fencing, etc. |
[18] And what you begin to do, always have measure and control. When you have won the Vorschlag so don't do it too fast or too committed as you will be unable to recover yourself to do the Nachschlag. That is why Liechtenauer says: Be ready for this, all things need measure and control. And this also remember when doing steps and also before all other techniques and principles of fencing. |
[18] No matter what you do or attempt to do, always have measure[105] and length.[106] If you have won the first strike then do not perform it too slowly, but move fast so that you can gather yourself for the after strike as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship. |
[22v.4] ·Vnd was du treibest vnd beginnest / zo habe io moße vnd limpf / als ab du im den vorslag / gewinnest / zo tu in nicht zo gehelich vnd zo swinde / das du / dich nicht nich denne mogst irholen des nochslags / Dorüm spricht lichtnawer / Dorof dich zoße / alle dink haben limpf vnd moße / vnd daz selbe vornym och von den schreten / vnd von allen andern stöcke vnd gesetze des fechtens etc |
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[19] This is the text in which he names the five cuts and the other pieces of his fencing:
[No explanation] |
[19] This is the text, wherein he names the five cuts and other plays of fencing.
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[19] This is the text where he explains the five strikes and other techniques of fencing
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[19] This is the text where the five strikes and other pieces are mentioned.
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[23r.1] Das ist der / text / in deme her nennet / dy fünff / hewe vnd andere stöcke des fechtens fFVnf hewe lere · |
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[20] This is about the cut of wrath, etc:
Explanation: Here notice and remember that Liechtenauer calls a straight cut from above the shoulder "the cut of wrath", because when someone is in their fury and wrath, there's no other cut as ready as this blow (the same one straight from the shoulder toward the opponent).[132] By this, Liechtenauer means that when someone begins to cut over you, counter it by cutting in with the wrath cut and then firmly shoot your point against them. If they defend against your thrust, then swiftly pull back above and drive suddenly to the other side of their sword. But if they defend again, then be Hard and Strong against them on their sword, and swiftly and boldly wind and thrust. If they defend against this thrust, then quickly cut and throw below toward their legs (or wherever you can). In this way, you continuously do one strike after another so that they cannot come to their own plays. Always keep the earlier keywords in mind ('Before' and 'After', 'Within', 'Strong' and 'Weak'), as well as cutting, stabbing, and slicing, and by no means forget them in your fight. |
[20] This is about the Wrath cut, etc.
Gloss. Here note and know that Liechtenauer calls a descending cut struck from the shoulder the wrathcut, because when someone is in their wrath and fury, there is no cut as ready as this descending cut straight from the shoulder to the opponent. What Liechtenauer means by this is when the opponent begins to strike with a descending cut, you shall counter cut the wrathcut against them in such a way that you soundly shoot the point against them. If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword. But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust. If they defend your thrust, separate and immediately initiate a cut below where you hit their legs. in such a way that you continuously conduct one after the other, so that the opponent cannot come to blows. And the aforementioned words: "The Before, The After, Indes, Weak, Strong" and "cuts, thrusts and slices"; you shall fully consider these all at once and in no way forget them in your applications. |
[20] This is about the Zornhau[134]
Comment: Here learn and know that Liechtenauer strikes an Oberhau[138] from his shoulder which is called the Zornhau. For someone who is angered and wrathful, no other strike comes as ready as the Zornhau, because this Oberhau strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an Oberhau against you, you should strike the Zornhau against him so that your point thrusts forward quickly. If he now defends against your point, pull the sword up and off from his blade and move to the other side of his sword. If he also defends against this, be strong against the sword and wind the point in for the thrust. If he defends this thrust, so take the sword away and strike low to his legs. So constantly do one after the other thus he may not come to strikes. And always have the already mentioned words, Vor and Nach Indes Schwach Stark and strikes thrusts and cuts, in your mind and never forget these in fencing. |
[20] This is regarding the Rage strike[139]
Glossa. Here note that Liechtenauer strikes an upper strike[141] from the shoulder, it is called the rage strike. When you are angry and raging, then no strike is as ready as this upper strike struck from the shoulder at the opponent. That is why Liechtenauer means that when someone strikes an upper strike against you, then you shall strike a rage strike at him; that is you move quickly in towards him with your point leading. If he defends against your point, then go quickly up and over to the other side of his sword. If he defends against that as well, then be hard and strong in your sword and turn[93] quickly and skillfully. If he defends against your thrust then throw and strike quickly below and you will hit him in the legs. That is you should always try one after the other so that he never has a chance to come to blows himself. And the aforesaid words – Before, after, at once, weak, Strong, strike, thrust, and Cut, these you should think on well and never forget in your swordplay. |
[23r.2] Das ist von deme Czornhawe etc ~ wDEr dir oberhawet · ¶ Glosa ¶ Hie merke vnd wisse das lichtnawer / eyn öberhaw slecht von der achsel / heisset den czornhaw / Den eyn wen eym itzlichem in syme grymme vnd czorne [23v.1] zo ist im keyn haw als bereit / als der selbe oberhaw slecht von der achsel / czum manne / Dorüm meynt lichtnawer / Wenn dir eyner czu hewt / mit eym obirhaw / zo salt du keyn im weder hawen den czornhaw / alzo das du mit dyme ort vaste keyn im schisset / wert her dir dyn ort / zo czewch balde oben ab / vnd var czu der andern syten dar / syns swerts · wert her dir daz aber / zo bis harte vnd stark im swerte / vnd wind / vnd stich balde vnd kunlich / wert her dir den / stich / zo smeis vnd haw balde vnden czu / wo du trifst / czun beynen / alzo das du vmmermer eyns noch dem andern treibest / das iener nicht czu slage kome / Vnd dy vorgesprochen wörter · vor · noch · Indes · swach · stark / vnd · hewe · stiche · vnd · snete · der saltu czu male wol gedenken / vnd mit nichte vorgessen in deme gefechte |
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[21] Also, don't rush with the war, because if an attack that you aim above fails then you should land below. (It's written further on how one strike is made out of another according to the legitimate art, regardless of whether it be cutting, thrusting, or slicing.) |
[21] You shall also not seriously rush with the war, because if something fails you above, then you hit below as you will hear about how you fashion one cut, thrust, and slice from the other according to the legitimate art. |
[21] Furthermore, you should not hurry too much in the Krieg because if you aim above and miss so you will hit below. And how you execute one after the other, according to real art with special strikes thrusts and cuts you will hear later. |
[21] And you should not rush into war, since if you fail above were you aim, then you will hit below as you will hear how to do one out of the other according to the true art, regardless if it is a strike, thrust or cut. |
[23v.2] ¶ Auch saltu nicht sere eylen mit deme krige / den ab dir eynes velet oben / des du remest / zo triffestu vnden als du wirst hören wy sich eyns aus dem andern macht / noch rechtvertiger kunst / besunder hewe stiche snete |
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[22] Don't cut toward their sword, but rather toward them (toward their head or body, wherever you can, etc.), and consider that the first verse could state, "Whomever you cut over wrathfully, the point of the wrathful cut threatens them", etc.[143] Simply act according to this lesson and always be in motion; either you hit or you miss, but they cannot come to blows (and with your cutting, always step out well to the side). |
[22] And you shall not cut at the opponent's sword, rather at the opponent, rather to the head and to the body, wherever you can, etc. One can also look at it where the first verse could go like this: "Whomever you cut the wrathcut over, the point of the wrathcut threatens them, etc." Just act according to this lesson and be continuously in motion. You either hit or not such that the opponent cannot come to blows. And always step out well to the side with cuts. |
[22] And you should not strike at someone's sword but directly to him, to the head or to the body wherever you wish. Alternatively, you may understand the first verse as if you strike a wrath strike from above, the adversary is being endangered by the point of the wrath strike. Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes. |
[22] And you shall not strike at the sword, but at the man himself, to the head or the body anywhere you can. One can also understand the first passage so that when you strike from above with the rage strike, then you are also using the point of the rage strike. Just act according to this teaching, and always be in motion, whether you hit him or not, so that he cannot come to blows. And always step well out to the side with the strikes. |
[23v.3] ¶ Vnd salt nicht czu eyns swerte hawen / zonder czu im selber / czu koppe vnd czu leibe / wo eyner mag etc Auch mag man vornemen / das der erste verse mochte alzo stehen / wem du öberhewest czornhaw / deme drewt der ort / des czornhaws etc Nür tu noch deser lere / vnd bis vmmermer in / motu / du treffest ader nicht / daz iener nicht czu slage kome vnd schret io wol besytz aus / mit den hewen / |
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[23] Also remember that there are only two cuts (that is, over and under both sides), and all other cuts come from them regardless of how they're named. These are the pinnacle and the foundation of all other cuts, and they, in turn, come from and depend on the point of the sword, which is the center and the core of all other plays (as was written well earlier). # {From these same cuts come the four parries from both sides, with which you disrupt and counter all cutting and thrusting, and all guards. From them, you also come into the four hangers, from which you can perform the art well (as is written further on).} However you fence, your point should ever and always be turned[130] against your opponent's face or chest, so that they're constantly frustrated and concerned that you'll arrive faster than them because your path to them is shorter. |
[23] Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named. That is the descending cut and the rising cut from both sides. They are the chief cuts and foundation of all other cuts as these cuts fundamentally and by principle come from the point of the sword, which is the core and the axis of all other plays here as was written about well before. And from those two cuts come the four parries from both sides. With them you disrupt and break all cuts, thrusts or positions. And from them you also come into the four hangings. From them you can conduct the art well as one shall hear hereafter. And however you may fence someone in particular, you shall ever and always turn your point toward the opponent's face or breast so that the opponent must continually discourage themselves. Thus they cannot preempt you, for you are closer to them than they are to you. |
[23] Also know that there are only two strikes all others are based upon. And these are the Oberhau[144] and the Unterhau[145] from both sides, which are the main strikes and the foundation if all other strikes. And these again are based on the point of the sword which is the core and the centre of all other techniques as it has been written before. And from the same strikes come the four displacements from both sides, with these you break and defeat all strikes thrusts or guards and these also lead to the hangings which can very well be used for artful techniques as you will hear later. And however you fence, always turn the point against the face or the chest of the adversary, so he has always to watch out that you do not move prior to him.[146] |
[23] And also know that from two strikes alone come all other strikes that are possible to name: these are the upper strike and the lower strike from both sides. These are the main strikes and form the foundation for all other strikes. They are in themselves basic and come from the point of the sword, which is the centre and core of all other pieces that is well described to you. And from these strikes come the four displacements from each side with which all strikes or thrusts are broken and also all guards, and from them you come into the four hangings and from these one can do fine art as you will hear later. No matter how you fence always aim the point at the opponent’s face or breast, then he will always have to worry that you will be faster since you will have a shorter way to go in to him than he has to you. |
[23v.4] Auch wisse das nur czwene hewe seyn aus den alle ″ander ″hewe[147] wy dy komen wy dy vmmer genant mögen werdn / das [24r.1] das ist der öberhaw · vnd der vnderhaw / von beiden seiten · dy sint dy hawpt hewe vnd grunt aller ander hewe / wy wol dy selben vrsachlich vnd gruntlich / auch komen aus dem orte des swertes / der do ist der kern vnd das czentrum aller andern stocke / als das wol vor ist geschrebn # {vnd}} aus den selben hewen komen dy vier vorsetczen von beiden seiten / mit den man alle hewe vnd stiche ader leger / letzt vnd bricht / vnd aus den man auch yn dy vier hengen kumpt / aus den man[148] wol kunst treiben mag / als man hernoch wirt horen} Vnd wy eyn man nur ficht / zo sal io allemal den ort keyn eyns gesichte / ader brust keren / zo mus sich iener alleczeit besorgen · das her icht · e kome wenn her · wen her io neher czu im hat wenn iener / |
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[24] If it happens that you win the Leading Strike, then be secure, certain, and quick with this turning,[149] and as soon as you have thus turned,[149] immediately begin to drive agilely and courageously. Your point should always seek your opponent's chest, turning[130] and positioning itself against it (as is written better further on). As soon as you come onto someone's sword, your point should never be more than three hand-breadths[150]away from their face or chest, and take care that it will arrive on the most direct path and not travel widely around, so that your opponent cannot arrive first. Don't allow yourself to become relaxed or hesitant, nor defend too lazily, nor be willing to go too widely or too far around. |
[24] And if it happens that the opponent has won the Vorschlag, then you shall be secure and sure and be quick with turning. And as soon as you have turned, you shall immediately speed in promptly and swiftly. And your point shall always seek the opponent's breast, turning and positioning yourself against it, as you will hear of better hereafter. And the point, as soon as you come against the sword of the opponent, shall always come about a half an ell away from the opponent's breast or face and take especially good care that you intend to arrive inside that and certainly in the most direct way and not wide around, so that the opponent cannot come first because of you. Provided you will not allow yourself to become lax and hesitant and ward too lazily nor be willing to arrive too wide and too far around. |
[24] And if it happened, that the adversary got the Vorschlag[151] so he should be well practiced and quick with the Abwenden[152] and as soon as he has turned off the (attacks of) the adversary, he should move quickly as soon as possible, and his point should always aim for the chest as you will hear now. And the point should, as soon as he comes at the adversary's sword, be always within a half Elle[153] of either chest or face. Also he should be well aware if he can move in boldly for the next opening. And he should never move too far around so that the adversary cannot come forward before him, which will surely happen if the adversary comes forwards and is not hesitating, slow or moves too far.[154] |
[24] And if it happens that the opponent wins the first strike[84] then you must be sure, precise and quick in the turning[155] and as soon as you have turned in to him you shall move at once with speed and your point should always desire his breast and turn[64] and seek its way there as you shall hear later on. And as soon as the opponent binds your sword then your point should not be more than half an ell[156] from the opponent’s breast or face. You shall be careful and note if you can get in behind [his sword] and always go the nearest way and never too wide, so that the opponent does not come before you in case you hesitated and again find yourself to be left hanging or that you defended too weakly or defended too wide and with too much force. |
[24r.2] Vnd ab is alzo queme / das iener den vorslag gewunne / zo sal deser sicher vnd gewis / vnd snelle seyn mit dem wenden / vnd als bald als her im gewendet hat / zo sal her czu hant czuvaren rich risch vnd balde / vnd syn ort sal allemal iens brust begeren vnd sich keyn der keren vnd stellen / als du hernoch wirst bas horen / Vnd der ort / als bald her eyme an das swert kumpt / mit dem swerte / der sal allemal kawme üm eyne halbe ele · verre · von iens brust ader gesichte seyn / vnd des gar wol war nemen ab her yndert dar komen möchte / vnd io of das neste / vnd nicht weit üm / das iener icht · e · queme wen deser / ab sich deser icht lassen vnd zümen würde / vnd czu trege wer / ader czu weit wolde dar komen vnd czu verre üm / |
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[24v] [No text] |
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[25] This is about the four exposures, etc., etc:
Explanation: Here remember that Liechtenauer divides a person into four parts, as if he drew a line on their body from their part downward to between their legs, and another line on their body along their belt.[157] In this way, four quarters arise: one right and one left above the belt, and the same below the belt. These are the four exposures, which each have their particular techniques. Never target the sword, only the exposures. |
[25] This is about the four openings, etc, etc.
Gloss. Note here that Liechtenauer partitions a person in four parts, just as if he drew a line right down the front of their body from the top of the head to down between their legs and a second line that crosses over their body at their waist, In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way. These are the four openings, each of which have their particular applications. He takes aim of these and never the sword, only the openings. |
[25] This is about the four openings
Comment: Here learn that Liechtenauer would part a man in four parts, just as he would draw a line down from the vertex on his body to the groin. And another line horizontally along the girdle on the body, and so there are four quarters, one right and left above the girdle, and also below the girdle and these are the four openings of which each has its own technique which never go for the sword, but always to the openings. |
[25] This is on the four openings[158]
Note here that Liechtenauer divides a man into four parts. That is as if a line was drawn from his forehead to his groin down the body and the other line along his belt. Thus you will have four openings in quarters. A left and right opening above the belt and the same openings below the belt. These are the four openings and each has its own fencing. Always seek these and never the sword., |
[25r.1] Das ist von den vier blössen etc etc vVIer blößen wisse · ¶ Glosa ¶ / Hie merke / daz lichtnawer / der teilt eyn menschen yn vier teil / recht zam das her eym von der scheitel / eyn strich vorne gleich neder machte an sym leybe / bis her neder czwischen syne beyne / Vnd den andern strich by der görtel · dy czwere öber den / leib / zo werden vier vierteil eyn rechtes vnd eyn links öber der görtel / vnd alzo auch vnder der gortel / das sint dy vier bloßen / der hat itzlichs syne sonder gefechte / der reme vnd nummer keyns swertes / zonder der bloßen |
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[26] How to break the four exposures:
[No explanation] |
[26] About the four openings, how one breaks them.
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[26]
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[25r.2] Von den vier blössen / wy man dy bricht wWIltu dich rechen / |
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[27] This is about the crooked cut, etc:
Explanation: Here notice and remember that the crooked cut comes down from above and goes in a curved way with a good step outward to one side. This is why Liechtenauer says that if you want to bring this cut well, step well to your right, fully flanking them with your cut, and cut in a curved manner, swiftly and well, and then throw or shoot your point over their hilt and over their hands. Cut toward theirwith your flat; if you hit the flattheir sword,[161] then remain strongly on it and press firmly, and see what you can bring in the quickest and most decisive way, with cutting, thrusting, or slicing. By no means should you cut too shortly, but if you do, then don't forget the changing through. |
[27] This is about the crooked cut, etc.
Gloss. Here note and know that the crooked cut is a descending cut which is undertaken crookedly with a good step out likewise to one side. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways[162] to the right side, then deliver your attack and you shall crooked cut fully and swiftly and you shall throw or shoot your point over the opponent's hilt onto their hands and you shall cut to the opponent's flats. Then if you hit their flat, remain strong upon it and press firmly and you shall cut with your flats. Then if you hit their sword, remain strong upon it and press firmly and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices and you shall not cut too short with anything and you shall not forget about disengaging, when it merits it |
[27] This is about the Krumphau
Comment: Here learn and know that the Krumphau is an Oberhau which is done in a bent manner with a good step to one side. This is why Liechtenauer says whoever wants to execute this strike, should step well to the right side while striking and shall throw or thrust the point over the hilt of the adversary onto his hands. And he should strike with the flat if he hits the blade and should stay strong against the sword and press forcefully. From there he may see what he can do best, in the most direct and surest manner, be it with strikes, thrusts or cuts. And he should not strike too short and should not forget the changing-through if it is appropriate. |
[27] This is on the Crooked strike[163]
Glossa. Here note that the crooked strike[163] is an upper strike that goes out well to the side with a step, and then goes in a crooked manner to one[165] side. Therefore Liechtenauer means that if you wish to do this strike well, you shall step well out to the right side as you strike. And you shall throw or shoot your point in over the cross guard at the (opponent’s) hands. And you shall strike with your flat, and when you hit the flat (of the opponent’s sword?) you shall remain on it with strength and push firmly and see where you can easiest and straightest hit him with strikes or thrusts or cuts and you shall not strike too short and not forget the changing through, where it is suitable to do it. |
[25v] Das ist von deme krumphawe / etc kKRump auf / behende · ¶ Glosa ·¶· Hie merke vnd wisse das der krumphaw / ist eyn oberhaw der do mit eyme guten ausschrete / krumbes dar / get / zam noch eyner seiten · Dorüm meynt lichtnawer / der den selben haw wol wil furen / der sal wol beseicz aus schreiten czu der rechten hant / danne her den haw brengt / vnd sal wol krumphawen vnd behendlichen / vnd sal synen ort / werfen / ader schißen / ieme ober syn gehilcze of / dy hende / vnd sal czu ienes mit syner flechen hawen / wen her denne trift / dy flechen [i]enes [sw]ert / zo sal her stark dor of bleiben / vnd vaste drucken / vnd sal sehen · was her denne am endlichsten vnd geradsten / dar brengen mag / mit hewen stichen ader sneten / vnd sal mit nichte czu korcz hawen / vnd sal des durchwechsels nicht vorgessen / ab sichs gepürt / |
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[26r] [No text] |
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[28] There's a cut called the miss (as it's written after the crosswise cut, where the hand is drawn), which comes from the curved cut and should come before the crosswise cut, and it attacks crookedly and obliquely from below and shoots the point in over their hilt, just as the curved cut does down from above. |
[28] There is one attack called the failer and it comes from the crooked cut and it lay written after the crosswise cut where the hand is drawn and it should lay before the crosswise cut and it comes in crooked and oblique from below, over the hilt of the opponent, shooting in with the point, just like the crooked cut down from above. |
[28] One strike is called the Fehler[166] and comes from the Krumphau and yet it is written after the Zwerchhau (where the mark is set) and it should be placed before the Zwerchhau. And this is done from below in a bent curve over the hilt, in the same manner as the Krumphau which comes down from above. |
[28] A strike is called the feint/error[167] and it comes from the crooked strike[163] and it is described after the cross strike[90] which is described firstly and it shall be before the cross strike. And it goes crooked[164] from below and is shot in over the cross guard at him by shooting the point just as the [Krumphaw] from above and down. |
[26v] ☞ ¶ Eyn / haw / heist der veller / vnd kumpt aus dem krumphaw · vnd der stet geschreben noch deme twerhawe / do dy hant ist geschreben / vnd der sal vör deme therhawe [!] sten / vnd der get von vnden dar krumbes vnd schiks / eyme ober deme gehilcze yn / mit ort schissen/ Recht zam der krumphaw von oben neder / |
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[29]
[No explanation] |
[29]
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[29]
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[29]
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[27r.2] # ☞¶ Veller wer füret · |
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[30] This is about the crosswise cut, etc:
Explanation: Here notice and remember that out of the whole art of the sword, no cut is as good, as honest, as ready, and as fierce as the crosswise cut. It goes across to both sides, with both edges (the front and the back), to all exposures (upper and lower), and when you cut across correctly, you counter and defend against everything that comes from above (meaning the high cuts and whatever else goes downward from above). When you bring or throw the sword forward well, it crosses in front of your head to whichever side you want, just as if you were to come into the upper hangers or winds, except that when you cut across, the flats of the sword are what turns:[130] the one above or upward, and the other downward or below, and the edges go to the sides, one crossing to the right side and the other to the left side. It's very good to come onto your opponent's sword with this crosswise cut, and when you get onto their sword, no matter how it happens, they can only escape from you with great difficulty. You can also strike toward both sides with crosswise cuts, and as you bring the crosswise cut to either side, above or below, your sword should go up with the hilt above you and with your hands thrown forward in front of your head, so that you're well covered and defended. |
[30] This is about the crosswise cut, etc.
Gloss. Here note and know that of the entire sword, no cut is as intrepid, as intense, as definitive and as good as is the crosswise cut. And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above. And everything that arrives from above, (which are either the descending cuts or whatever else comes down from above) one breaks those and one wards those with the crosswise cuts. You can deliver these well or your sword well, respectively, if you hurl your sword out in front of your head, (to whichever side you wish) just as if you would come into the upper hanging or winding, only that in the crosswise cut, the flats of their sword are turned: one above or upward, the other below or downward; and the edges to the sides They cross, one to the right and one to the left side. And it is quite good to come against the sword of the opponent with these crosswise cuts. And that is because when you come against the sword of your opponent, at the moment it actually happens, they may arduously come away from it, but they will be struck on both sides with crosswise cuts. Just at the point you deliver a crosswise cut, to whichever side it is, be it above or below, always move your sword up with the hilt in front of the head with your hand flipped over, so that you are absolutely warded and covered. And you shall deliver the crosswise cuts with some strength. |
[30] This is about the Zwerchhau[173]
Comment: Here learn and know that of all fencing techniques with the sword, there is no strike that is as fair, forceful, perfected and good as the Zwerchhau. And this strike is done just horizontal to both sides with both edges, the back and front edge, to all openings above and below. It also defends against any strikes from “vom Tag” wich are all strikes from high above or anything that comes down from above, and this all is defended with the Zwerchhau. If one wishes to execute these well, the sword should be thrown horizontally before the head to whichever side he wishes, just as he would intend to get into the hanging or winding positions, save the edge being oriented horizontally and the flat vertically. And with these Zwerchhau[177] it is easy to get at the sword of the adversary. And as soon this has happened, it is difficult for the adversary get away and will be struck at both sides by the Zwerchhau. And wherever one wants to aim for with the Zwerchhau, to whichever side above or below, always the sword is held with the inverted hand and with the hilt high in front of the head so that he is well secured and covered. And he should bring the Zwerchau with some strength. |
[30] This is on the cross strike[90]
Glossa. Note and know that from the whole sword no strike is as good, ready and strong as the cross strike.[90]. And it goes across[91] to both sides using both edges the foremost and the rearmost at all openings below and above. And all that comes from the roof,[180] that is the upper strike or what comes from above and goes down, that the cross strike[90] will break and defends against for you if you do [the cross strike] well, or if you cast the sword aslant[91] in front of the head on whichever side you wish, just as you do when you want to get into the hangings or the turning[64]. In the cross strike[90] you turn the flat sides of the sword, one up and one down with the point horizontal,[91] one [edge] to the right and one to the left side. And it is good to bind the opponent’s sword with this cross strike[90]. When this has happened then the other can come away with difficulty and he will then be struck on both sides with the cross strike.[90] So when you make a cross strike,[90] regardless of the side or if it is high or low, you will go up with the sword with your hand turned and the cross guard in front of your head so that you are well guarded and covered. You shall do the cross strike[90] with a certain amount of power. |
[27r.1] #Das ist von deme Twerehawe / etc tTWere benymmet · [27v.1] ¶ Glosa / Hie merke vnd wisse / das of dem ganczen / swerte / keyn haw / als redlich · zo heftik · zo vertik · vnd zo gut ist als der twerhaw · Vnd der get dar / zam dy twer · czu beyden seiten · mit beiden sneiden / der hindern vnd der vördern / czu allen blossen / vnden vnde oben · Vnd alles das von dem tage dar kumpt / das sint dy öbern hewe / ader was söst von oben neder gehet / das bricht vnd / weret eyner / mit den twer hewen / der dy wol kan dar brengen / ader das swert wol vörwirft / dy twer vor / das hawpt / czu weler seiten her wil / recht zam her in dy obern hengen ader winden wolle komen / Nür das eyner in den twerhewen / dy flechen des swertes / eyne oben ader of / dy ander vnden ader neder kert · vnd dy sneiden / czu den syten / dy twer / eyne / czu der rechten / vnd eyne czu der linken / seiten · Vnd mit den selben twerhewen / ist gar gut eyme an das swert czu komen / vnd wen den eyner eyme an das swert kumpt / wy das nür dar komen ist / zo mag iener mülich von im komen / her wirt von desem geslagen · czu beiden seiten mit den twerhewen / den wy her eynen twerhaw nür dar brengt / czu weler seiten is ist / vnden ader oben / zo get im io das swert oben / mit dem gehilcze / mit vorworfner / hant · vor deme hewpte / das her io wol bewart vnd bedekt ist · Vnd eyner sal dy twerhewe / eczwas mit / sterke dar brengen / |
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[31] Now, you should bring the crosswise cut with a certain strength, and when you must fight for your life,[182] win the Leading Strike with a good crosswise cut (using the lesson written earlier). When you approach them, as soon as you see that you can reach them with a step or a leap, then cut across with your back edge, from above toward their head from your right side, and let your point shoot and then cross well so that your point goes well and winds or wraps around their head like a belt. Thus, if you cross well with a good leap or step to the side, they can only turn it away[183] or cover themselves with difficulty. Once you win the Leading Strike with a crosswise cut to one side, no matter whether you hit or miss, immediately win the Following Strike in a single advance, at once and with no delay, with a crosswise cut to the other side (with the forward edge), before they manage to recover and come to blows (according to the lesson written earlier). Also, cross to both sides, toward the ox and toward the plow (that is, toward the upper and lower exposures), from one side to the other, above and below, continuously and without delay, so that you're always in motion and don't let them come to blows. As often as you cut across, above or below, you should strike well and throw the sword crosswise high in front of your head so that you're well covered. |
[31] And when you shall fence for your neck, you shall proceed with the afore-written lore so that you win the Vorschlag with a good crosswise cut. Whenever you close with your opponent, as soon as you realize that you are able to reach the opponent with a step or a spring, you burst in high from the right side with a crosswise cut with the back edge forwards directly to the opponent's head and you shall let your point shoot and you shall come crosswise so completely that the point winds and hinges (or wraps) itself around the opponent's head like a belt. Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this. And then whenever you win the Vorschlag with the crosswise cut in this fashion on one side, whether you hit or miss, you shall then immediately without pause win the Nachschlag with the crosswise cut on the other side in one fluid motion with the forward edge before any strike or any little thing can somehow redeem the opponent according to the afore-written lore. And you shall then crosswise cut to both sides to ox and to plow. That is, into the upper openings and into the lower ones from one side to the other, below and above, ceaselessly without pause in this way, so that you are constantly in motion and do not allow the opponent to come to blows. And each time you do a crosswise cut above or below, you shall always come completely to the side and throw your sword horizontally from above well in front of your head so that you are well covered. |
[31] And if someone has to fight for his life he should see to it that he gains the Vorschlag[184] with a good Zwerchhau, as in the teaching written above. When approaching the adversary, as soon as he sees he could reach him with a step or a leap, he should strike with the Zwerchhau from his upper right side, with the back edge directly to the head. And he should let the point shoot and should well lean so that that the point is directed, and turn or sling around the adversaries sword just like a leather strap, because if one can do the Zwerch in combination with a good step outwards or a leap, an adversary will find it very difficult to defend or turn aside. And if he gained the Vorschlag with the Zwerchhau and hits or misses to one side, he should immediately, in one motion and without pause do the Nachschlag with the Zwerchhau to the other side with the front edge, before the adversary recovers from the strike, as it has already been taught. And one should Zwerch to both sides and to Ochs and Pflug, which is to the upper and lower openings, going from one side to the other, high and low, permanently without hesitation, so that he is always in motion and does not let the adversary come to strikes. And again, if he does a Zwerchhau, he should lean and hold the sword inverted in front of his head, so that he remains well-covered. |
[31] And when you must fight for your neck,[185] then you shall use the earlier described teachings and seek and win the first strike[84] with a good cross strike.[90] When you go against another, then as soon as you think that you can reach him, with a step or leap, explode with a cross strike[90] from high on the right side using the back edge straight at the head. And you shall let the point shoot out and move across[91] well so that you drive the point well and turn[93] or tightens it around the opponent’s head like a belt. So that when you do a cross strike[91] with a good step or leap out to the side, it is impossible for the opponent to protect himself or turn away.[186] And when you thus win the first strike[84] with the cross strike[90] at one side, then regardless if you hit or miss, you shall at once and without delay win the after strike [86] with the cross strike[187] to the other side using the forward edge before the other can collect himself and come to blows or other techniques according to the afore described teachings. And you shall cross strike[91] to both sides, to the ox[188] and to the plough[178] that is to the upper and the lower opening, from one side to the other, above and below continuously and without any interruptions so that you are in constant motion and the opponent cannot come to blows. And each time that you do a cross strike[90] above or below, then you do it well and throw the sword across above, well in front of your head so that you are well covered. |
[27v.2] ;· ¶ Vnd wen eyner üm synen hals sölde fechten · So solde her schaffen / mit her der vorgeschreben [28r] lere / das her mit eyme guten twerhawe den vorslag / gewunne · wen her mit eyme czu ginge als balde als her irkente / das her ienen dir reichen mochte / mit eynem schrete ader spronge das her denne dar placzte / mit eyme twerhaw oben von der rechten seiten / mit der hindern sneiden ieme gleich oben czu hawpte czu / vnd sal den ort lassen schiessen / vnd sal gar wol tweren das sich der ort wol lenke / vnd winde / ader gorte vm iens hawpt / zam eyn rime / we denne wen eyner wol tweret / mit eyme guten ausschrete ader spronge / zo mag sichs iener mülich schutzen / ader abewenden / Vnd wenn her denne den vorslag alzo gewint mit dem twerhaw her treffe / czu der eynen seyten / her treffe ader vele · zo sal her denne als balde in eyme rawsche immediate an vnderloz / den nochslag gewinnen / mit dem twerhaw czu der andern seiten / mit der vördern sneiden / · e · den sich iener keyns slags ader ichsichcz irhole / noch der vorgeschreben lere / Vnd sal denne twern czu beiden seiten / czum ochsen vnd czum pfluge / das ist / czu den obern blössen vnd czu den vndern / von eyner seiten of dy ander / vnden vnd oben / vmmermer / an vnderloz / alzo das her vmermer in motu sey vnd ienen nicht losse czu slage komen / vnd als oft / als her eynen twerhaw tuet oben ader vnden / zo sal her io wol tweren / vnd das swert oben dy twer / wol vor syn hawpt / werfen / das her wol bedekt sey / |
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[32] This is about the cockeyed cut:
Explanation: Here notice and remember that the cockeyed cut comes down from your right side with the back edge. It goes to the left side, cockeyed or askew, while stepping out to the right side with turned[189] sword and overturned hand. This same cut counters everything that a buffalo (that is, a peasant) will cut down from above, as they often do, and also counters the same as the crosswise cut (as was described earlier). Whoever threatens to change through will be put to shame by the cockeyed cut. But cut cockeyed well and long enough, and shoot the point firmly, otherwise you will be hindered by their changing through. And boldly cock an eye well toward their throat with your point without fear. And…[190] |
[32] This is about the cockeyed cut, etc.
Gloss Here note and know that the cockeyed cut is a descending cut from the right side with the back edge of the sword in which the left side is designated and it genuinely goes in askance or oblique, stepped off to one side to the right with a twisted sword and hand flipped over. And this cut breaks that which the buffalo, that is a peasant, might strike down from above as they tend to do. (Just like the crosswise cut breaks this as well, as was written before) And whoever threatens with disengaging, they will be dishonored by the cockeyed cut. And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging and you shall cut cockeyed with the point to the throat, boldly without fear and... |
[32] This is about the Schielhau
Comment: Here learn and know that a Schielhau is a strike from above from the right side with back edge of the sword, which is also called the left side. And this strike moves just as a squint-eyed person to the left side while stepping off to the right, with inverted sword and hand. And this strike breaks all strikes of a Buffalo – which means peasant – that come downwards from above, as most peasants usually do. The Zwerchhau breaks the same strikes as it has been written before. And whoever threatens with a change-through will be ashamed by the Schielhau and one should well strike long enough with the strike and shoot in the point quickly, so that the adversary will be stopped in his changing through. And one should squint with the point, to the neck bravely without fear.[191] |
[32] This is regarding the Squinting strike[192]
Glossa. Here note and understand that the squinting strike[192] is an upper strike from the right side using the back edge on the sword, which is called the left side, and it goes in a squinting way[198] and is sent to one side with a step to the right with the sword and hand turned. And this strike breaks what the buffalo[199] can strike from above to below, as they are wont to do. Just as the cross strike[90] breaks the same, as is described before. And he who tries with a changing through will be shamed by the squinting strike.[192] And you shall squint[192] well and long enough and shoot the point well, or else the changing through will stop you. And one shall squint[196] well with the point to the neck, courageously and without fear. And |
[28v] Das ist von deme schilhawe :~ sSChiler in bricht · Glosa / Hie merke vnd wisse das eyn krumphaw schilhaw / ist eyn öberhaw von der / rechten seiten / mit der hindern sneiden des swertes / dy die linke seite ist genant / vnd get recht zam schilende ader schiks dar / czu eyner zeiten aus geschreten / czu der rechten / mit vorwantem swerte / vnd vorworfner hant · Vnd der selbe haw der bricht als das püffel / das ist eyn pawer / mag geslaen / von oben neder als sie phlelen [!] czu tuen / Recht zam der twerhaw auch das selbe bricht / als vor ist geschreben / Vnd wer mit durchwechsel drewt / der wirt mit dem schilhaw beschemet / Vnd eyner sal wol schilhawen vnd lank genuk / vnd den ort vaste schissen / anders her wirt gehindert / mit / durchwechsel / Vnd / eyner sal / wol schiln mit dem orte / czu dem halse kunlich ane vorchte / Vnd |
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[29r] [No text] |
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[33] When you see that, from scabbards, |
[33] And wherever you see swords |
[33] Where you see blades |
[33] When you see that you both |
[29v] wWO man von scheiden / |
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[34] This is about the part cut, etc:
[No explanation] |
[34] This is about the part cut, etc.
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[34] This is about the Scheitelhau[204]
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[34] This is regarding the Scalp strike[206]
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[30r] Das ist von deme scheitelhawe etc ~ dDEr scheitelere · |
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[30v] [No text] |
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[31r] [No text] |
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[31v] [No text] |
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[35] Liechtenauer holds four lairs only, because they proceed from the upper and lower hangers and you can surely bring plays from them. |
[35] Liechtenauer hardly maintains anything about these four positions, only that they come from the over and under hangings from which one may surely deliver applications. |
[35] |
[35] Liechtenauer holds only these four guards that come from the upper and lower hangings, and from these one can fence safely. |
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[36] This is about the four lairs, etc:
Explanation, etc: Here he names the four lairs or four guards. There is little is to say about them; primarily, that you shouldn't lie in them for too long. This is why Liechtenauer has a particular proverb, "Whoever lies still, they are dead; whoever moves, they yet live".[211] This applies to the lairs, that you should rouse yourself with techniques rather than wait in the guards and in this way miss your chance. |
[36] This is about the four positions, etc.
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held. Yet a person shall absolutely not lay too long in them in any confrontation. For Liechtenauer has a particular proverb: "Whoever lays there, they are dead. Whoever sets themselves in motion, they yet live." And that pertains to those positions that a person shall preferably set themselves in motion with applications. Because if you idle in the guards, you might lose your moment to act by doing that. |
[36] This is about the four Leger[212]
Comment: Here he[217] mentions the four guards[218], which he considers useful. But first of all, one should not lie in these for too long, because Liechtenauer has a proverb: “Who lies there, is dead and who moves is still alive.” And this relates to the guards – a man should rather move with fencing attacks and techniques than waiting in the guards, which he may use to leave the Schanze.[219] |
[36] This is regarding the four guards[220]
Glossa. Here he mentions four guards[222] that are valuable. But before all things, remember that you should not remain too long in one guard. Liechtenauer has a saying “He who is still, is dead, he who moves will live”. And from these guards comes the understanding that you should move in swordplay, and not wait in a guard and thus waste your chance. |
[32r.2] Das ist von den vier leger / etc ~ vVIer leger alleyne · ¶ Glosa etc ¶ Hie nent her vier leger ader vier huten / do von etzwas czu halden ist / Doch vor allen sachen / zo sal eyn man io nicht czu / lange dorynne legen / Wenn lichtnawer hat eyn sölch sprichwort / wer do leit der ist tot / wer sich rüret der lebt noch / vnd das get of dy leger das sich eyn man sal liber ruren mit gefechten denn das her / der huten wart / mit dem her vorsloffen möcht dy schancze |
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[37] The first guard, the plow, is when you lay your point on the ground, in front of you or at your side. After setting off, this is also called the barrier guard or the iron gate. |
[37] The first guard, plow, is this. When you lay the point forward, upon the earth. Or to the side after displacing, this is also called the barrier-guard or the gate. |
[32r.3] ¶ Dy erste hute / pflug is / dy / wenn eyner den ort vor sich of dy erde legt ader czu der seiten / noch dem abesetzen / das heyssen ander / dy schranckhute / ader dy pforte |
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[38] The second guard, the ox, is the upper hanger from the shoulder. |
[38] The second guard, ox is the high hanging from the shoulder. |
[38] The second guard Ochs is the upper hanging from the shoulder. |
[32r.4] / Dy ander hute ochse / ist das oberhengen / von der achsel |
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[39]
The third guard, the fool, is the lower hanger. With it, you can counter all cuts and thrusts well. |
[39]
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly |
[39]
The third guard fool, is the low hanging with which you can break all strikes and thrusts if you know to do it correctly. |
[32r.5] ¶ Alber io bricht · ·Dy dritte hute / alber / ist das vnderhengen / mit der man alle hewen vnd stiche / bricht / wer dy recht füret/ |
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[40] The fourth guard, the Roof, is long point. If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust. It can also aptly be called the hanging over the head. |
[32r.6] ·Dy vierde hute / vom tage / ist der lange ort / wer den wol furet mit gestragtem armen / den mag man nicht mit hewen / noch mit stichen wol treffen / Is mag auch wol heissen / das hengen ober dem hawpte |
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[41] Also understand that you counter all the lairs and guards with cutting, so that as you cut boldly toward someone, they must flinch and cover themselves. This is why Liechtenauer doesn't say much about the lairs or guards, but rather maintains that you should be concerned with winning the Leading Strike before your opponent can (as was made clear above).[234] |
[41] Also know that one breaks all positions and guards by attacking with these such that if you boldly initiate an attack, then the opponent must always come forwards and defend themselves. That is why Liechtenauer doesn't maintain much about the positions and guards, rather he prefers to craft it so that the opponent discourages themselves, thus he gains the Vorschlag, as has been shown above. |
[41] Also know, that all guards are broken with strikes, by courageously striking, so he must move up and defend. That is why Liechtenauer does not hold the guards in high regard but prefers to let his students try to gain the Vorschlag. |
[32r.7] ¶ Auch wisse / das man alle leger vnd huten bricht mit hewen / mit deme / daz man eyme kunlich czu hewt / zo mus io eyner of varn vnd sich schutzen / Dorüm helt lichtnawer nicht vil von den legern ader huten / zunder her schaft liber daz sich eyner besorge vor im / mit dem das her den vorslag gewint / ut patuit s[upra?] |
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[42] This is about the four parries, etc., etc:
Explanation: Here remember that there are four parries to both sides, one upper and one lower to each side, and they counter or disrupt all lairs and guards. Any way that you divert or deflect someone's cut, thrust, or slice with your sword, from above or from below, could well be called parrying. If you're the one parried, however that happens, swiftly pull back and cut again in a single advance. |
[42] This is about the four parries
Gloss. Note here that the four parries are on both sides, with one upper and one lower on each side and they disrupt or break all guards or positions. And however you carry off or dismiss the opponent's cut, thrust or slice with your sword, be it from above or below, can fully be termed parrying. And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry. |
[42] This is about the four displacements
Comment: Here learn that there are four displacements to both sides, one high and one low, and these break or open all guards. And how you lead away or defends against strikes thrusts or cuts from above or below this may be called displacing.[236] And if you have been displaced however this may have happened, so move off with the sword quickly and strike quickly again while you move in towards him. |
[42] This is regarding the four displacements[115]
Glossa. Note here that there are four displacements[115] to both sides, to each side one above and one below. They break all guards, and no matter how you set aside[85] a strike or thrust from above or from below, this can well be called a displacement. If he displaces you, then no matter how he does it, leave [his sword] and strike quickly at him. |
[32v.1] Das ist von vier vorsetczen / etc etc vVIer sint vorsetczen · ¶ Glosa /:· ¶ Hie merke / das vier vorsetczen sint / czu beiden / seiten / czu itlicher seiten / eyn obers / vnd eyns ünders / vnd dy letczen ader brechen / alle [238] huten ader leger / vnd wy du von oben / ader von vnden / eyme / hewe stiche ader snete / mit deyme swerte abeleitest / ader abweisest / das mag wol heissen vorsetczen / Vnd ab dir vorsatz wirt wy das dar kumpt / zo czewch rislich abe · vnd haw snelle mete czu / yn eyme hurte / |
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[43] If you parry or turn away[183] someone's cut or thrust, immediately step in and follow through on their sword so that they cannot pull back. Then do whatever you can, but if you hesitate and delay, it will be harmful to you. Also turn[149] well and always turn[130] your point against their chest so that they must constantly worry about it. |
[43] But if it happens that you parry someone or avert a cut or thrust, you must immediately step in and accompany them on the sword so that the opponent cannot withdraw from you and then you must do whatever you can. To the extent you hesitate and delay, you take harm. You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves. |
[43] Now if it happens that you displace or turn off a strike or thrust, so you should move in and follow at his sword so that he cannot move away. And then you can do as you wish – the more you hesitate the more you will receive damage. Also you should wind well and aim for his chest with the point, so he has to worry. |
[43] If it happens that you displace the opponent’s strike or thrust, then you should at once step in and follow[239] at the sword so that he cannot move away from you. And if the other does the same when you are hanging again and gather yourself, then you will get hurt. You should also turn[155] well and always aim your point at his breast so that he must consider this. |
[32v.2] Ist denne das du eyme vorsetzt / ader abewendest eyn haw ader stich / zo saltu / czu hant czu treten vnd nochvolgen am swerte das dir iener icht abeczihe / vnd salt denne tuen was du magst / wy leichte du dich last vnd zümest zo nymmestu schaden / Auch saltu wol wenden / vnd allemal deyn ort keyns eyns brust keren / zo mus her sich besorgen |
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[44] Learn to come onto the sword of your opponent, which you can do well with these parries, because they come from the four cuts (one over and one under each side) and become the four hangers. As soon as you parry above or below, you should immediately arrive in the hangers. Just as you turn away[183] all cuts and thrusts with the front edge, it's the same with parrying. |
[44] Also a good fencer shall fully learn how to come against the sword of the opponent and they must do that well with the parries, because they come from the four cuts (from each side, a descending cut and a rising cut) and move into the four hangings. For as soon as one parries from above or below, so shall they immediately come into the hangings. And like you avert all cuts and stabs with the forward edge, it is as such with the parries. |
[44] Also a good fencer should well learn to bind at his sword and this can be done with the displacements, because these come from the four strikes, Oberhau[240] and Unterhau[241] from both sides and these move into the four hangings. If one defends from above or below he should move in and get into the hangings, and should see to it that he turns away or leads off all strikes and thrusts with the front edge as it is done with all displacements. |
[44] A good swordsman should also learn how to get at the opponent’s sword. And this you will do well from the displacements that comes from the four strikes, from each side an upper strike and an [Unterhaw] and into the four hangings. Since as soon as you can displace from above or below, then you shall come into the hangings at once. And as you turn aside[186] all strikes and thrusts with the foremost edge, that is also displacing. |
[32v.3] ¶ Auch sal eyn guter fechter / wol lernen / eyme an das swert komen komen / vnd das mag / her wol tuen / mit den vorsetczen / wen dy komen aus den vier hewen / von itzlicher seiten / eyn öberhaw vnd eyn ünderhaw / vnd gen yn dy vier hengen wenn als bald als eyner vorsetzt von vnden / ader von oben / zo sal her czu hant yn dy hengen komen · Vnd als her mit der vördern sneiden / alle hewe vnd stiche / abewendet / als ist es mit den vorsetczen / |
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[45] This is about pursuit, etc., etc:
[No explanation] |
[45] This is about the pursuing, etc, etc
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[45] This is from the Nachreissen[244]
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[45] This is regarding attacking after[245]
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[33r] Das ist von nochreisen etc etc nNOchreisen lere · |
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[46] This is about flowing over; fencer, notice it:
[No explanation] |
[46] This is about the overrunning. Fencer look into this.
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[46] This is about the Überlaufen[247], fencer observe this!
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[46] This is regarding the running over[248] Swordsman, take notice.
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[33v] Das ist von öberlawfen · ffechter sich czu / WEr vnden remet · |
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[47] This is about setting off, learn this well:
[No explanation] |
[47] This is about displacing. Learn this well.
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[34r] Das ist von abesetczen / das lere wol ~ lLEre abesetczen · |
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[48] This is about changing through, etc., etc:
Explanation: Here remember that the changing through goes directly to both sides (down from above and up from below) if you otherwise do it quickly. If you want to change through from your right side (down from above), then cut from above directly toward them so that you shoot your point toward their left side, above their hilt, and aim for the little gap or window between their edge and their hilt. If you hit, you have won. If they defend against this by expelling your point and pressing it away with their sword, then let your point sink down under their sword, from that side around to the other. This shouldn't go widely around, but as closely as possible below their sword so that you can then drive in swiftly over their hilt with a good thrust. When you feel it land, follow through well. As you do on one side, from above and from below, do the same from the other side. |
[48] This is about the disengaging, etc, etc.
Gloss. Here note that disengaging goes in completely straight on both sides, down from above and up from below if it is to be otherwise conducted swiftly. Now if you wish to disengage down from above on the right side, then make a descending cut straight at them then you shoot your point in over their hilt to their left side in such a way that you hit the same little hole and little window completely straight between the edges and the hilt. If you connect, then you have won. If they ward it so that they lead off and press your point offline with their sword, then from that side let your point sink right around to the other side, under their sword, not wide around, rather, sink below against their sword so that you can keep close and from there move in quite swiftly over their hilt with a good, full thrust and when you feel that you connected, fully follow through. And the way you execute it on one side, be it from below or above, you execute it on the other. |
[48] This is from the Durchwechsel[251]
Comment: Here learn that the changing-through goes from both sides down and up again and is very direct, if done quickly. If you now wish to change through from your right downwards, so strike an Oberhau directly at him. Aim for the little hole or window above and behind his hilt and shoot the point to his left opening. So that you may hit between the blade and the hilt; if you hit, you have won. If he now defends against this by turning aside your point and pushes against your blade, so let your point sink down from the same side and move it around under his sword to the other side. And this should not be done wide around but as close to his sword as possible. And then move your point quickly in above his hilt, with a good and perfect thrust. And if you feel you hit, so follow well through.[252] And you should do the same from the other side, low or high, as you do it on this side. |
[48] This is regarding changing through[253]
Glossa. Note here that changing through goes straight forward on both sides, from above to below and from below upwards when done quickly. If you wish to change through from above to below on the right side, then strike an upper strike straight at him so that you shoot your point towards the left side in over his cross guard,[73] so that you hit in that small opening between the edge and the cross guard. If you hit then you have won. If he defends against that and presses your point with his sword, then let the point sink down on the side that you are on, below his sword and around to the other side, do not make a wide movement around, but under his sword and the next thing that you do is to rush in with a good strong thrust over his cross guard. And when you feel that you hit, then follow well and as you do on one side over or under, do also on the other side. |
[34v.1] Das ist vom durchwechsel / etc etc dDVrchwechsel lere · ¶ Glosa /:~ ¶ Hie merke / das durchwechsel gar gerade czugehet / czu beiden seiten / von oben neder / vnd von vnden of / wer is anders rischlich treibet / · Wiltu nu / czu der rechten hant / von oben neder durchwechseln / zo haw eyn öberhaw gleich czu ym / alzo das du dynen ort schüst / ym czu seyner linken seiten öber dem gehilcze yn / alzo das du das selbe löchel vnd fensterleyn / io gerade treffest / czwischen der sneiden vnd deme gehilcze / triftz du / zo hastu geseget / gesigt / · wert her dir das / mit deme das her dyn ort abe/weist vnd hin drückt / mit seyme swerte / So la dyn ort sinken von der selben seiten vnder seyme swerte herüm / czu der andern seiten / nicht weit üm / zonder vnden an sym swerte / zo du neste magst / vnd da var ym gar rischlich / öber dem gehilcze yn / mit eyme guten volkomen stiche / vnd wen du fülest das du trifts / zo volge wol noch Vnd alz du von eyner seiten tust / vnden ader oben / zo tu von der andern |
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[49] Also, when someone binds with you, charge forward on their sword with your point toward their exposure. If they defend, change through as before, or wind and feel whether their intention is Hard or Soft. Thereafter, seek their exposures with cutting, thrusting, or slicing. |
[49] And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point. If they ward, then disengage as before or wind and feel their application whether it is soft or hard. Thereafter look to send cuts, thrusts, or slices to the openings. |
[49] Whoever binds you, so move at his sword against him and he defends, so change through as before, or wind and feel his technique if it is soft or hard. Then seek strikes thrusts and cuts against the openings. |
[49] And if he binds with you, go in along his sword to the openings with your point and change through as before. Or turn[93] and feel what he is up to, if he is weak or strong, and then try strikes, thrusts or cuts to his openings. When you have changed through, then strike, thrust or cut, and do not strike at the sword, and do not wait with it. |
[34v.2] ¶ Vnd wer mit dir anbindet / zo rawsche an sym swerte hin keyn seyner blöße / mit dym orte / wert her zo durchwechsel / also vor / ader wind vnd füle sein geferte / ab is sey weich ader herte / dornoch süch hewe stiche / ader snete / keyn den blößen / |
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[50] This is about pulling back; fencer, remember:
[No explanation] |
[50] This is about withdrawing suddenly. Fencer note.
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[50] This is from the Zucken[255] fencer learn this
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[50] This is regarding withdrawing,[62] take note swordsman.
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[35r] Das ist vom Czücken / Fechter merke / tTRit nü in bünde · |
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[51] This is about running through now:
[No explanation] |
[51] This is about rushing through. Look closely.
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[51] This is from the running-through, now see:
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[35v] Das ist von durchlawfen / nü sich dDVrchlawf loz hangen · |
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[52] This is about slicing off, etc., etc:
[No explanation] |
[52] This is about cutting off, etc, etc
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[52] This is about Abschneiden[261]
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[52] This is regarding the cutting off.[263]
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[36r] Das ist von abesneiden etc etc ~ sSNeit abe dy herten · |
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[53] This is about pressing the hands, etc., etc:
[266]Know that as soon as you turn away[183] their cut or thrust by turning,[149] immediately step in and drive quickly toward them. If you wait and delay, you will suffer injury. |
[53] This is about the hand pressing, etc, etc.
Also know as soon as you avert the opponent's cut or thrust by turning, you must immediately step in and swiftly storm into the opponent To the extent you hesitate and delay yourself, you take harm. |
[53] This is about Hände drücken[267]
Also know, as soon as you defend a strike or a thrust with the turning-aside, so you should step sideways and move quickly to him; the slower you are the more damage you sustain. |
[53] This is regarding pressing the hands[268]
Also know that as soon as you turn a strike or thrust aside[186] then you shall at once step in and go quickly at him. Do not hold back again, because if you do, then you will cause yourself to be hurt. |
[36v.1] Das ist von hende drücken/ etc etc dDEyn sneide wende · ¶ Auch wisse / als bald / als du mit dem wenden / eyme eyn haw ader stich / abe wendest / zo saltu czu hant czu treten / vnd rischlich dar varn czu eyme / wy leichte du dich last vnd zümest / zo nymstu schaden |
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[54] Also notice and remember that you turn away[183] all cuts and thrusts with the forward edge of your sword, from the middle of the edge to the hilt. As soon as you have turned[149] your forward edge into it, then the closer a cut or thrust comes to your hilt, the better and more powerfully you can turn away[183] these cuts or thrusts: the closer to the hilt, the stronger and mightier, and the closer to the point, the weaker and feebler. Therefore, if you want to be a good fencer, learn above all other things to turn away[183] well, so that as you do so, you come immediately to the winds, from which you can perform the entire art and beauty of fencing. |
[54] Also note and know that one with the forward edge of the sword, from the middle of that side to the hilt, averts all cuts and thrusts. And the closer the opponent's cut or thrust comes to the hilt of your forward edge, the moment you have turned that edge, the better and the more powerfully you can avert those cuts or thrusts. Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer. Therefore, whoever wishes to be a good fencer, they shall first and foremost learn to avert well. For if they turn that away well with this, they come immediately into the windings. From them they can conduct the skill and beauty of the technique well. |
[54] Also know and learn that you turn aside all strikes and thrusts with the front edge of the sword, from its middle to the hilt. And the closer to the hilt a strike or a cut comes on the front edge which you have used to turn aside, the slower and stronger you can defend. This is because the closer you bind at the hilt, the stronger you can defend and the closer to the point the weaker you are. Now whoever wants to be a good fencer should firstly learn to turn-aside well, because by turning aside well he can get into the winding from which he can practice all art and grace of fencing. |
[54] And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside[186] all strikes or thrusts. The closer to the cross guard[73] a strike or thrust comes, the easier it will be to set these strikes and thrusts aside strongly. Since the closer to the cross guard[269] the stronger you are, and the closer to the point the weaker you are. That is why if you wish to be a good swordsman before all things learn how to set aside[186] well, since if you set aside well you will come at once into the turning in[64] and from these you can perform artfully and courteously in the fencing. |
[36v.2] ¶ Auch merke vnd wisse / das man mit der vördern sneiden des swertes / vom mittel der selben sneiden / bis czu deme gehilcze / alle hewe ader stiche abewendet / Vnd · e · neher eyme / eyn haw ader stich czu syme gehilcze kumpt / of der selben sneiden / mit deme als her im gewendet hat dy selbe vörder sneide / · e · bas / vnd · e · kreftiger / her dy selben hewe ader stiche / abewenden mag / Wenne · e · neher czum gehilcze · e · sterker vnd · e · mechtiger / Vnd · e · neher / czum orte / · e · quesw [?] · e · swecher vnd · e · krenkher / Dorüm wer eyn guter fechter wil seyn / der sal vör allen dingen lernen wol abewenden / Wen mit dem das her wol abewendet kumpt her czu hant yn dy winden / aus den her wol kunst vnd höbscheit mag treiben dez gefechtez / |
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[55] The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it. |
[55] The front edge at the sword is called the true edge and all strikes or thrusts are ruined by the turning-aside. |
[36v.3] ¶ Dy vörder sneyde / am swerte · heist dy rechte sneide / vnd alle hewe ader stiche sint vortorben mit dem wenden |
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[56] This is about hanging; fencer, learn this, etc:
Explanation, etc: Here notice and remember that there are two hangers from each side, one over and one underneath. With them, you can come onto your opponent's sword well, † {because they come from high and low cuts}. If it happens that you bind with someone, or otherwise come onto their sword, then remain on their sword and wind, and stay with them on the sword like that, boldly and in good spirit, without any fear. Quite precisely wait, watch for, and notice well whatever they want to do, or whatever they have in mind which they will perform against you. Liechtenauer calls remaining on the sword like this an open window. As you stay with them on the sword, feel well and notice their intention, whether it be Hard or Soft, and orient yourself accordingly (as it has often been written earlier). If they happen to pull back from your sword before you actually begin, then immediately follow through and send cuts or thrusts at them (whichever you can perform in the surest way, before they come to anything else); † {since you're closer to them as you remain on their sword, merely extend your point against them. Then when they pull back, immediately follow them in with your point before they can perform a strike.} But if they remain with you on the sword, then test well and notice whether they're Hard or Soft on your sword. If they're Soft and Weak, then swiftly and boldly go forth and attack with your Strength, pressing and pushing away their sword. Then seek their exposures, toward their head or body (whatever you can get). But if they're Hard and Strong on your sword and want to press and push you aside firmly, then be Soft and Weak against their Strength, and weaken their Strength and pressure with your sword. As you weaken and their sword goes aside (as was also written earlier), then before they can recover, seek their exposures with cutting, thrusting, or slicing (however you can get to them in the surest manner), swiftly, rapidly, and boldly (in accordance with the lesson written earlier), so that they cannot cut nor thrust, nor otherwise come to blows. This is why Liechtenauer says, "I say to you honestly, no one covers themselves without danger. If you have understood this, they cannot come to blows."[270] By this, they mean that no one can protect themselves from you without fear or injury, if you act according to the lesson written earlier: if you take and win the Leading Strike, then they must either continually defend themselves or let themselves be struck. If you deliver the Leading Strike, whether you land it or not, then quickly deliver a Following Strike in a single advance, before they can come to blows. Indeed, if you want to deliver the Leading Strike, you must also deliver a Following Strike as if in one thought and intention, as though you would deliver them simultaneously if that weren't impossible. This is what Liechtenauer means by, "Before and after, these two things", etc.[271] If you deliver the Leading Strike, whether you land it or not, then also do a Following Strike at once, swiftly and rapidly, so that they cannot come to blows. In this way, you can preempt them in all matters of fencing. Now, as soon as you get to them first and win the Leading Strike, immediately deliver a Following Strike. Don't deliver the Leading Strike if you don't have an intended Following Strike in mind; be always in motion and never idling nor delaying. Always do one after another, swiftly and rapidly, so that they come to nothing. If you do this correctly, then anyone who gets away from you without being hit must be very good indeed. With this art or this advantage, it often happens that a peasant or untrained person beats a good master, because they deliver the Leading Strike and charge in boldly; it might be lightly overlooked, but it hits Within and thus strikes them and puts them to shame. This is because it's more dangerous to wait—to receive strikes and defend—than to attack and win the Leading Strike. Therefore, arrange to be first in all matters of fencing, and to come well to the right side of your opponent, and then you can be more sure of everything than they are. |
[56] This is about the hanging. Fencer learn this, etc.
Gloss, etc. Here note and know that there are two hangings on each side: one downward hanging and one upward hanging. With them, you can come against the sword well, because they arise from the descending cuts and the rising cuts. Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword and you shall wind and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear. And you must quite precisely see, recognize and consider whatever they will do or what their situation is, which they will let fly against you. And standing in this manner against the sword, Liechtenauer calls this a speaking window. And just when you stand with the opponent against the sword, you must quite precisely note and feel whether their application is soft or hard. Thereafter, you shall then orient yourself as is often spoken before. Then if it happens that the opponent for whatever reasons withdraws themselves from your sword just a bit before you act, then you must immediately pursue and must execute cuts or thrusts whichever you can most surely deliver, before they come to anything at all, For you are always closer to the opponent with this because you stay against their sword and extend your point toward them. If the opponent withdraws with their [cut or thrust], immediately come forward with your point, before they can recover themselves from or carry out their strike. But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword. If it happens to be that they are soft and weak, then you shall swiftly and boldly go all in and storm in with your strong and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to. If the opponent is subsequently hard and strong against the sword and intends to force and shove you firmly out, you must then be soft and weak against their strength and yield to their force with your sword. And in that yielding as their sword drives and glides out, as was written about before, in that or while that happens, before they can recover themselves again, so that they cannot come to any strikes or thrusts, you must take advantage of their openings with cuts, thrusts or slices wherever you can most surely take control of them, according to the afore written lore swiftly, boldly and quickly so that they can never come to blows. That's why Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they can scarcely come to blows". By this he means that no one can defend themselves without danger or harm if you do this according to the written precepts. If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck. For when you execute the Vorschlag, whether you hit or miss; you must swiftly execute the Nachschlag in one fluid motion before the opponent comes to any blows. For whenever you wish to execute the Vorschlag, you must execute the Nachschlag in one thought and mind in the same way, just as if you intended to execute them as one thing, if it were possible. That's why Liechtenauer says: "The Before, The After the two things, etc". Because if you execute the Vorschlag, whether you hit or miss, you then always execute the Nachschlag in one fluid motion, swiftly and quickly so that the opponent cannot come to blows with anything and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing. And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag. If you are obligated to not execute the Vorschlag, you always have the Nachschlag available in the sense and in the spirit that you are always in motion and do not either dawdle nor hesitate with anything. Rather, you always conduct one after the other swiftly and quickly, so that the opponent cannot possibly come to anything. Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted. For with this skill or with this advantage, it often happens that a peasant or someone unlearned strikes a good master by it because they execute the Vorschlag and boldly storm in. Because however briefly the Vorschlag is overlooked, the opponent hits Indes and they wound and kill in this way. Because if you focus on the blows and will attend to the defense of them, you are always in greater danger than the one who attacks you and wins the Vorschlag. Therefore orchestrate it that you are the first in all confrontations of fencing and arrive on the right side of someone, where you are robustly surer of everything than the opponent. |
[56] This is from the Hängen[272], fencer learn this
Comment: here learn and know that there are two hangings each side, one Unterhängen[274] and one Oberhängen[275] with which you can get at his sword well, because these come from the Oberhau and Unterhau.[276] If it now happens that you bind with your opponent on purpose or without so you should well stay at the sword and use the winding. So you can stand happily with relaxed mind and without fear at the sword and see, notice and wait for what he tries to do next; and what his plan is he intends to execute. And the standing at the sword is called the Sprechfenster[277] by Liechtenauer. If you now stand at the sword with him, you should notice and feel his technique, be it soft or hard. And according to this you should act, as it has been written before. Now if he pulls off from the sword before you could begin your technique, so you should follow with him and beat strike or thrust him whatever you can bring surest, before he can do anything himself before you. You can do this because by staying at the sword and extending yourself your (point) moves nearer to him. If someone pulls off because he has to recover from a strike he just executes, then follow in with the point. If he instead stays at the sword you have to gauge and notice whether he his soft or hard at the sword. If he is soft and weak, you should quickly and bravely proceed and hurry at him with the strength of your sword and force his sword aside with pressure, seeking his openings, to the head or the body wherever you may get at. If he is hard and strong at the sword and intends to force you aside strongly, you should be soft and weak against his strength, and yield to his strength and forward pressure, thus evading with your sword. And with this evading as his sword swings about, as it has been written before, and now as this happens and while he is recovering from that and thus cannot execute strikes or thrusts, you should attack his openings, with strikes thrusts or cuts, wherever you may hit him best. According to the teaching you should do this quickly bravely and fast so that your adversary cannot come to strikes. As Liechtenauer says: I tell you truthfully, no man defends without danger, if you have understood it, he will not come to strikes. And by this he means that the adversary will not be able to safely defend if you act according to this teaching. As soon as you have done the first strike the adversary has to defend against it or has to take the hit. When you do the first strike, may you hit or miss, so you should quickly in one rush follow with the Nachschlag before he comes to strike. If you want to do the Vorschlag, you should also do the Nachschlag just with same thought or the same intention if possible. This is why he says: Vor and Nach those two things etc… If you do the Vorschlag, no matter if you hit or miss, you should do the Nachschlag in one rush quickly and fast, so that he cannot under any circumstances to his strikes. So see to it that in all instances of fencing you act before your opponent and as soon as you move before him and have gained the Vorschlag so do the Nachschlag with moving in. You should never do a Vorschlag if you have not prepared the Nachschlag in your senses and mind as well, so that you are always in constant motion and never you should pause or hesitate. Always do one after the other quickly and fast so that your adversary cannot do any technique. Really, if you do exactly that, then he must be a really good[278] man to get away from you without being struck. Because with this art or advantage it often happens that a peasant or anyone untrained defeats a skilled master ny gaining the Vorschlag and rushing in quickly. Because it is easily missed that Indes hits him and also defeats and humiliates him. Because one that observes the strikes and waits for the defense is in greater danger than the one who strikes him and thus wins the Vorschlag. So always be that you are the first in all instances of fencing that you get to one's right side, there you are safer than your adversary. |
[56] This is regarding the Hanging[279] swordsman learn this.
Glossa. Note and understand that there are two hangings on each side. One upper and one lower hanging and with these you can come well on the sword of the opponent, they originate from the upper[281] and lower strikes. When it happens that you bind with the opponent, or when you find yourself on his sword then you should remain on his sword. And you shall turn[64] and thus joyfully and without fear remain on his sword. You shall see, await and understand what it is that he intends to do against you. And to remain thus on the sword Liechtenauer calls this the talking window.[280] When you stand thus with him on your sword, then you should feel and follow his movement if it is soft or strong. Then you should adapt in such a way as has been explained earlier. In the case that prior to everything else, even before you can do anything, he moves off the sword, then you should follow at once and strike or thrust as well as you can before he has the chance to do anything. You have a shorter way if you remain on the sword and aim your point in at him than he has if he tries to move away [from your sword]. Before he can gather himself and close in with a strike, go at once at him using your point. But if he remains with you on the sword, then try and feel if he is soft or hard on the sword. If he is soft and weak, then you should quickly and courageously go forward with the strong part of your sword and push back and press his sword and seek all openings to the head or the body wherever you have a chance. If the other is strong and hard on the sword and intends to push you away and thrust at you, then you should be weak and soft against his strength and yield to move away with your sword from the strong pressure he is applying and in this weakness, while he is pressing [you] and shoots his sword away from him[282], as has been described, then at once[63] that it happens but before he can gather himself again, so that he can’t strike or thrust, you should attack his openings with strikes, thrusts and cuts. Do this in the easiest way as has been described in this teaching, quickly and boldly and briskly so that he can’t come to blows. That is why Liechtenauer says “I say in all honesty that no man can defend himself without danger, if you have understood this he will not be able to come to blows”. With that he means that it is not possible to defend without being in danger or without getting hurt if you act according to this teaching. If you win and do the first strike[84] then he can either defend himself or let himself get struck. When you do the first strike, regardless if you hit or miss then you should quickly and briskly do the after strike[86] before he can come to blows. So when you wish to do the first strike then you should also do the quickly and speedily so that he cannot come to blows himself. And you should also make sure that in all things concerning swordsmanship that you act before your opponent does. And as soon as you move before him and win the first strike, at once do the after strike. You should never do the first strike if you do not have the in mind at the same time, meaning that you are always in motion[283] and do not rest or hold yourself back but does one thing after another quickly and decisively so that your opponent can’t do anything at all. If you do this, then he must indeed be a good one if he can manage to get away without being struck by you. So with this art or advantage it often happens that a peasant will beat up a good master if the peasant does the [Vorschlag] and boldly pushes forward. Thus when you understand the word at once/in an instant[63] hits, shames and defeats your opponent. One who hesitates and wants to wait in order to defend himself against the strike is in greater danger than the one who strikes at him and thus wins the first strike. Therefore in all things concerning swordsmanship make sure that you are the first and come at the opponent on your right-hand side. Then you will be safer than him no matter what comes. |
[37r] Das ist von hengen / ffecht° daz lere / etc cCZwey hengen werden · ¶ Glosa etc ¶ Hie merke vnd wisse das czu itzlicher seiten sint czwey hengen · Eyn vnderhengen / vnd eyn öbirhengen / mit den du eyme wol an das swert magst komen + {wen}} dy komen aus den öberhewen vnd vnderhewen} / Wen das nu geschiet / das du mit eyme an bindest / ader wy du süst mit im an das swert kömps zo salt du an dem swerte bleyben vnd salt vnd salt winden · vnd salt alzo mit im gar [37v] frölichen / mit gutem mute / vnd künlichen an alle vorchte · an dem swerte stehen / Vnd salt gar eben sehen / merken vnd warten was her wolle tuen / ader was syne sache sey / der her keyn dir pflegen wölle / Vnd daz stehen / alzo an deme swerte / das heisset lichtnawer eyn sprechvanster · Vnd wen du nü mit im alzo an dem swerte stehst / zo salt du gar eben merken vnd fülen syne geferte / ab sie sint weich aber herte / dornoch salt du dich denne richten als vor ofte gesprochen ist · Ist / das her sich vör allen sachen / · e · denne du noch ichsicht begynnest / abe czewt von deme swerte / zo salt du czu hant noch volgen vnd salt in slaen hawen ader stechen was du am schiresten magst dar brengen / · e · den her czu keynerleye dinge kome + {wenne}} du hast io neher czu im mit dem das du am swerte blibest / vnd dyn ort keyn im reckest / wenn iener mit syme abe czihen / den · e · her sich eyns slags erholt dir dar brengt / zo var czu hant dar mit dyn orte /} / Bleibt her aber mit dir an dem swerte / zo prüfe / io vnd merke / ab her sy weich aber herte an dem swerte / Ist das her ist / weich vnd swach / zo saltu rischlichen vnd künlichen volvaren vnd dar hurten / mit dyner sterke / vnd salt / im syn swert hin dringen vnd drücken / vnd süchen syne bloßen / czu koppe ader czu leibe / wo du nür czu magst komen / Ist iener aer denne herte vnd stark an deme swerte / vnd meynt dich vaste hin dringen vnd stossen zo saltu denne weich vnd swach seyn / keyn syner sterke / vnd salt syner sterke vnd syme dringen mit dynen swerte entwychen / [38r] vnd yn dem weichen als im syn swert im hin prelt vnd wischt / als vor auch von deme geschreben ist / In deme ader dy weile als das im geschit / · e · denne her sichs weder irholen mag / dar her czu keyme slage ader stiche kome / Zo saltu selber syner blössen war nemen / mit hewen stichen ader sneten / wo du in am schiresten gehaben magst / noch der vorgeschreben lere / risch / künlich vnd snelle das io iener mit nichte czu slage kome Dorvm spricht lichtnawer / ich sag vorwar · sich schutzt keyn man ane var / Hastu vornomen / czu slage mag er kleyne komen / Do mitt meynt her / das sich keyner mag ane var ader ane schaden schutczen / Is das du tust noch der geschreben lere / Ab du im den vorslag gewynnest vnd tust den mus io iener weren / ader mus sich lasse slaen / wen du denne den vorslag tust / du trefst ader velest / zo saltu rischlich vnd in eyme rawsche den nochslag tuen / · e · denne iener czu keyme slage kome / Denne wen du den vorslag wilt tuen / zo saltu recht / zam yn eyme gedanke vnd mute den nochslag auch tuen / recht zam du sy mit eynnander wellest tuen / wenn is möglich were / Dorvm spricht her / vor · noch · dy cwey dink etc den tust du den vorslag / du treffest / ader velest / zo tu io / in eyme rawsche / risch vnd snelle den nochslag / das iener mit nichte [38v] czu slage kome / vnd alzo saltu schaffen das du yn allen sachen des fechtens io · e · komest denne iener / vnd als balde als du / · e · kummest denne iener / vnd den vorslag gewinnest / zo tu czu hant den nochslag / · Wen du salt keyn vorslag tuen / du habst io / den nochslag auch mete ym synne vnd ym mute / also dastu vmmer in motu seist / vnd mit nichte feyerst ader last / zonder vmmermer eyns noch dem andern treibst · risch · vnd snelle das iener czu keynen dingen moge komen / · Vorwar tustu / das / zo mus her gar eyn guter syn der ungeslagen von dir kummet / · Wenne mit der selben kunst / ader mit dem vorteil das / kumpt is oft / das eyn pawer ader eyn ungelarter eyn guten meister / slet / mit deme · das her den vorslag tuet / vnd künlich dar hurt / den wy leiche ist das obersehen / das in/deß trift vnd in alzo beschemet vnd slet / denne eyner der der slege war nymmet / vnd des schütczens wil warten / der ist io in grosser var / denne iener der do of in slet / vnd den vorslag gewynnet / Dorvmme schaffe / das du yn allen sachen des fechtens der erste bist / vnd io eyme of dy linke rechte / seiten komest / do bist du wol aller dinge sicher denne iener / |
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[39r] [No text] |
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Explanation: Notice here that the winds are the correct art and the foundation of all the fencing with the sword, from which all other techniques and plays come. It's difficult to be a good fencer without the winds, though certain dancing masters dismiss them and say that what comes from the winds is quite weak, and call it "from the shortened sword", because they are simple and go naively. They mean that techniques from the long sword should be done with extended arms and extended sword, and that they come aggressively and strongly with full strength of body but lacking good stance, and it's terrible to watch when someone stretches themselves out as if they were trying to chase a rabbit. If there were no art then the strong would always win, but this is not the way, neither in winding nor in the art of Liechtenauer, because this art doesn't require great strength. |
[57]
Gloss. Here note and know that the winds are the rightful art and foundation of all fencing of the sword. From them, all other applications and plays come. And one might tediously be a good fencer without the winds, exactly like many ungrounded masters, who dismiss it and say whatever comes from the winds is quite weak and deem it "from the shortened sword". About this, they are simpletons and approach it naively and sing paeans about how they fight "from the long sword". Whoever goes about with extended arms and with extended sword and with the utter fiendishness and strength fueled by the entire power of their body, they will unlikely stay lively throughout and that is agonizing to behold when they stretch themselves out like this just as if they would run down a hare. And that is completely against the winds and against Liechtenauer's art because there is no strength to respond. Why would anyone's art differ? You should always prioritize strength. |
[57]
Comment: Here learn that the winden are the real art and the base of all fencing with the sword and from these all other techniques and methods come from. And one rarely is a good fencer without the windings. Just as the Leychmeister disdain them and say that fencing from the winding is weak and they call it from the shortened sword because that they are done simple and stupid. And they mean that these are fenced from the long sword which is done with outstretched arms and extended sword and also aggressively with all strength of the body only by pressing themselves forward. And this is painful to watch! If one stretches just as running after a rabbit this is not the way, neither the windings nor Liechtenauer's art, because there is no strength against (the opposing strength)! Whoever does it differently should prefer strength. |
[57]
Glossa. Note here that the turning in[64] is the rightful art and foundation of all fencing with the sword. From these stem all other fencings and techniques and it is impossible to be a good swordsman [without knowing] the turning in.[64] There are many play masters [7] who despise it and say that what comes out of the turning[64] is very weak and calls it “of the shortened sword” since it is so easy and uncomplicated. And look at those who use the long sword and who goes about it with outstretched arms and outstretched sword in order to look dangerous and to look good, using all the strength of the body. It is terribly embarrassing to see someone thus stretched out as if he wanted to run after a hare. And this has nothing to do with turning in[64] or Liechtenauer’s art, since this art does not require strength. If it was not an art, then the strong would always win. |
[39v] vVOn beiden seiten / [40r] ¶ Glosa /:· Hie merke / das dy winden / sint dy rechte kunst / vnd gruntfeste alles fechten / des swertes / aus den alle ander gefechte vnd stöcke komen / vnd is mag mülich eyn guter fechter / syn / ane dy winden / Wy wol etzliche leychmeistere · dy vornichten / vnd sprechen is sy gar swach was aus den winden kumpt / vnd nennen is / aus dem korczen swerte / dorvmbe das sy slecht vnd eynveldik dar gen / vnd meynen das sy / aus dem langen swerte gefochten / was dar get / mit gestracken armen / vnd mit gestrakten swerte / vnd was gar veyntlich vnd stark von allen kreften des leybes dar get / nur durch wol stehens wille / vnd das is grawsam an czu sehen ist / wenn sich eyner alzo strekt / recht zam her eynen hazen wolle irlawfen / vnd daz ist alles nicht / weder dy winden vnd weder lichtnawers kunst / wen do ist keyne sterke weder / denne worvmme wer anders kunst / solde allemal dy sterke vörczihen / |
Summary of the Long Sword
Complete Translation |
Draft Translation |
Draft Translation |
Nuremberg Version (1400s) |
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[1] HEre we explore and elaborate the pieces and rules of the unarmored fencing of Master Liechtenauer, using shorter and simpler speech for more and better learning and comprehension. If the rhymes and explanations written earlier were unclear or hard to understand, here it will be recapped with short and simple advice. |
[1] Here the plays and the prescriptions of the Bloßfechten of Master Liechtenauer are reviewed and reworded with shorter and simpler speech so as to grant greater and better understanding and comprehension than what was previously written with a lack of succinctness and directness in the rhymes and glosses. This runs through that with simple phrasing. |
[1] Here you hear the techniques and principles of the unarmored fencing of master Liechtenauer in simple words, so it may be better understood than it is written before in the verses and the comments which might be difficult to understand. That is why this is a brief summary here. |
[64r] HIe vornewt man · vnd vor / anderweit / dy stöcke vnd gesetze / des blozfechtens / meister lichtnawers · mit korczer vnd mit slechter rede / durch grösser vnd besser vorstendunge vnd vornemunge wille / Ab vor ichsicht ist geschreben · in den Reymen vnd in der glozen / unbedewtlich vnd unvornemlich · das · daz mit slechter rede körtzlich werde öberlawfen / |
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[2] First of all, notice and remember that Liechtenauer's fencing relies on five words: 'Before', 'After', 'Strong', 'Weak', and 'Within'. These are the basis, core, and foundation of all fencing. No matter how much you fence, if you lack this foundation, you will often be put to shame despite your art. These words were often explained earlier, as they only signify this: to always be in motion and not to rest or idle, so that your opponent cannot come to blows. 'Before' and 'After' signify the Leading Strike and the Following Strike (as it was often written earlier), and this concerns what's called principium et finis (beginning and end).[285] If you're a good, serious fencer, you fence with someone because you want to defeat them with your art and not be defeated yourself, and you cannot do this without the beginning and the end. Thus, if you want to begin well then you should be the one who takes and wins the Leading Strike well, not the one who doesn't, since if you strike at someone, you're more secure and better protected from cuts than they are (since they must watch out for and receive your strike). When you take and win the Leading Strike, no matter if it lands or misses, then immediately and without pause, in a single advance, deliver a Following Strike (that is, a second strike, a third, a fourth, or a fifth), cutting or thrusting, so that you're always in motion and do one after another without pause, so that you never let them come to blows. This is what Liechtenauer means by "I say to you honestly, no one covers themselves without danger." (without damage) "If you have understood this, they cannot come to blows."[286] Do what was often written earlier and stay in motion. The word 'Within' is related to the words 'Before' and 'After', since when one of you delivers the Leading Strike and the other defends against it, then during and Within the covering and defense, you can come to the Following Strike well. The word 'Within' is also related to the words 'Strong' and 'Weak' (meaning feeling), since when you're on the sword with someone and you feel whether they're Strong or Weak, only then can you do according to the oft-written teaching. |
[2] First note and know that Liechtenauer's fencing lays entirely upon the five words: 'Before', 'After', 'Weak', 'Strong', 'Indes'. These are the foundation, the core and fundamentals of all fencing. And whatever else you know about fencing, if you just don't know the fundamentals, you will often be shamed by your own art. And these same words were often explained before and it just comes to this: if you are in constant motion and do not slacken nor idle, the opponent cannot come to blows. Because 'before' and 'after' signify Vorschlag and Nachschlag as was often written before. And this gets to that which is called 'Prinicipium et finis', 'beginning and end'. Because a good, earnest fencer fences with someone such that they will strike them with their art and not become struck and this cannot be done without 'beginning and end'. If they will subsequently begin well, then they will ensure that they and not the opponent will always have and win the Vorschlag. Because the person who strikes at their opponent is always surer and better prepared by reason that the opponent must take heed of and watch out for that strike. When they [the good earnest fencer] subsequently execute and win the Vorschlag, whether they hit or miss, they shall then immediately and without pause in that same rush, execute the Nachschlag. That is, the second, the third, the fourth or fifth strikes, be it cut or thrust in such a way that they are always in motion and conduct one after another without pause so that they do not allow the opponent to ever come to blows. Liechtenauer says about this: "I say to you truthfully, no one defends themselves without danger (and without harm).[287] If you have understood this, then they can hardly come to blows". Just do as was often written before and be in motion. The word 'Indes' gets at the words 'before', 'after' because when one executes the Vorschlag and the opponent wards it, 'Indes' and during the moment that opponent wards it and defends themselves, they can come to the Nachschlag well. It also gets at the words 'weak', 'strong'. These here signify 'the feeling' because when one is on the sword with their opponent, and feels whether they are strong or weak. Thereafter they then execute according to the often written lessons. |
[2] At first learn and know that fencing art of Liechtenauer depends completely on the five words Vor Nach Schwach Stark Indes which form the basis the core and the foundation of all fencing. And no matter how able a fencer is, without knowing the foundation he will often be shamed/defeated in his art. And these same words have been explained already by stating that these only are about staying in constant motion and not hesitating or pausing so that the adversary does not come to strikes, and also that it is about Vorschlag and Nachschlag as hit has been written often before. And this is based upon a principle that is called Prinicipium et finis begin and ending. If a serious and good fencer has to fence with an opponent as to defeat him with his art, and wishes to remain unhit, he cannot do that without begin and ending. If he now wishes to begin correctly, he should gain the Vorschlag and not his opponent. Because one that strikes his opponent is safer and is protected easier because the opponent has to watch out for the attacks. If he now gains and executes the Vorschlag, may it hit or miss, so he should do instantly without pause in the same rush the Nachschlag, be it the second, third or fourth or fifth strike, be it strike or thrust so that he stays in constant motion, doing one after the other without pausing so that the opponent may not come to strike. Liechtenauer says: I tell you truthfully, no man defends without danger, if you have understood it he will not come to strikes. So just do as it is often written before and stay in constant motion. The word Indes relates to the words Vor and Nach; if someone does the Vorschlag and it is parried, Indes or while he is defending the Nachschlag should be done. It also relates to the words Schwach und Stark[288] which mean the feeling at the sword, gauging whether the opponent is either strong or weak at the bind and then working according to the often-written teaching. |
[64r.2] ¶ Czu dem ersten merke vnd wisse / das lichtnawers fechten leit gar an den fünff wörtern · vor · noch · swach · stark · Indes · / Dy eyn grunt / kern vnd fundament / seyn alles fechtens / vnd wy vil eyner fechtens kan · weis her nür des fundamentz nicht / zo wirt her oft bey seyner kunst beschemet / vnd dy selben wörter sint vor oft aus gelegt / wen si nür of das gehen das eyner vmmermer in motu sey vnd nicht veyer ader lasse · das iener icht czu slage kome / wen · vor · noch / bedewten / vorslag / vnd nochslag / als vor oft ist geschreben / vnd das gehet of das / daz do heisset / principium vnd finis / anhebunge vnd endunge / wen eyn ernster guter fechter · ficht dorüm mit eyme / das her mit syner kunst eynen wil slaen / vnd nicht geslagen werden / vnd das mag her nicht tuen an anhebunge vnd ane endunge / wil her denne wol anheben / zo schaffe her das her io den vorslag / habe vnd gewinne / vnd nicht iener / den eyner der do slet of eynen / der ist io / [64v.1] sicher / vnd bas bewart / dez halben denne iener der / der slege mus war nemen · vnd · warten / wen her denne den vorslag gewint vnd tuet / her treffe ader vele / zo sal her denne dornoch / immediate ane vnderloz in dem selben rawsche den nochslag tuen / das ist den andern slag / den dritten den vierden ader den fümften / is sey haw ader stich alzo das her vmmermer in motu sey / Vnd eyns noch dem andern treibe / ane vnderloz das her io ienen nicht las czu slage komen / Dorüm spricht lichtnawer Ich sage vorware / sich schützt keyn man ane vare + {sine dampno} / Hastu vornomen / czu slage mag her kleyne komen / Tu / nür als vor oft geschreben ist / vnd bis in motu / Das wort Indes get of dy wörter · vor · noch · den wen eyner den vorslag tuet / vnd iener den weret · Indes · vnd dyweile das in iener weret vnd sich schützt zo mag deser wol czu dem nochslag / komen / Auch get is of dy wörter · swach · stark / dy do bedewten daz fülen / den wen eyner an dem swerte ist / mit ieme · vnd fület · ab iener stark ader swach ist / dornoch tut her denne noch der oft geschreben lere / |
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[3] Above all things, the foundation should have the principles of audacity, speed, prudence, intelligence, wisdom, etc., and also moderation in all things. If you win the Leading Strike, don't do it so recklessly that they can deliver a good Following Strike. Don't step too widely either, so that you can recover yourself well and take another step backward or forward if necessary. As Liechtenauer says, "Thus you will see, all things have measure and moderation".[289] Do not be hasty, consider well in advance what you want to do, and then do it boldly and swiftly toward your opponent's head or body, and never toward their sword. When you cut with certainty toward their head or body (that is, toward the four exposures), then they often come onto your sword without wanting to: when they cover themselves, they cover themselves with their sword, and thus they come onto your sword. |
[3] And the fundamentals will have these principles in all confrontations: Speed, audacity, prudence, astuteness and ingenuity, etc. And also measure in all things. Now if you win the Vorschlag, then you shall not do it so entirely forceful so that you can recover yourself for a quality Nachschlag and you shall also not step too wide so that you can recover yourself for another quality step forwards or backwards, if the situation dictates it. As Liechtenauer spoke: "Thereupon you hold, all things have time and place". Therefore you shall not be hasty and you shall think through for yourself what you will conduct and then you shall bravely conduct and driving that swiftly to the head or to the body and never to the sword. Because if you quite wisely hew at the head or at the body of the opponent, that is, to the four openings; you nevertheless often come to the opponent's sword without permission. If the opponent defends themselves such that they defend themselves with their sword, then in this way you arrive at their sword. |
[3] And the foundation of the teaching needs at first the principles of courage, quickness, carefulness, deciet and wits etc. And before these, control, so that when he wins the Vorschlag, he should not do it too fast so that he may recover for the Nachschlag. Also, he should not step too wide so that he can recover himself for the next step, be it forward or backward, as it is appropriate. As Liechtenauer says: Be prepared for this, all things have measure and control. And because of this one should well take his time with considering what he can do against his opponent and then move in quickly, going for the head or the body but never to the sword. Because if one strikes surely to the head or to the body – that is to the four openings – then it often happens that he gets to the sword anyway, if the adversary protects itself by using his sword. |
[64v.2] ¶ Vnd das fundament wil vor allen sachen dy principia haben / Kunheit / Rischeit / Vorsichtikeit / list / vnd klukheit / etc · Vnd och yn allen dingen moze / ab her nü den vorslag gewinnet / den sal her nicht zo gar swinde tuen das her sich deste bas des nochslags irholen mag / vnd sal och nicht czuweit schreiten / das d her sich deste bas eyns [65r.1] andern schretes hindersich ader vorsich ab sichs gepürt möchte irholen / als lichtnawer spricht Dorof dich · zoße / alle dink haben lenge vnd moße / Dorvm sal eyner nicht gehe syn / vnd sal sich vor / wol bedenken was her treiben wil vnd das selbe sal her denne künlich treiben vnd eyme rischlich dar varn czu koppe ader czu leibe / vnd mit nichte czum swerte / wen ab eyner im eyme gar gewislich eyme hewt czu koppe ader czu leibe / daz ist czu den vier blossen / dennoch kumpt ist oft czum swerte an eyns dank / Is das sich iener schützt / zo schützt her sich mit dem swerte / alzo das is dennoch czum swerten kumpt / |
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[4] This is what Liechtenauer means when he says,
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[4] Liechtenauer says about this:
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[4] This is why Liechtenauer says:
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[65r.2] Dorüm spricht lichtnawer / Haw nicht czum swerte / |
Sword and Buckler
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[74r] Hie hebt sich an fechten mit dem schilde / etc WEr do mit dem schilde wil lernen fechten · ader mit deme pökeler / der sal czu dem aller ersten wissen |
Staff
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[1] Here begins the fighting with the staff Whoever will learn to fight with the staff, he shall first before all know and mark that a staff shall rightly be twelve spans long, and that the fighting with the staff is taken from the sword, and as one fights with the sword so he fights also with the staff; and the principles that there pertain to the sword such as, Before, After, Braveness, Quickness, Cunning, Prudence ect… They pertain also to the staff. |
[78r] Hie hebt sich an fechten mit der stangen WEr do mit der stangen wil fechten lernen der sal von aller ersten wissen vnd merken / das eyn stange von rechte / sal czwelf spannen lang / seyn / vnd das daz fechten mit der stangen / ist / aus dem swerte genomen / Vnd als eyner ficht mit dem swerte / zo fechte her och mit der stangen / Vnd dy principia / dy do gehoren czum swerte / als · vor · noch · kunheit · rischeit · list klukheit etc dy gehoren och czu der stangen / |
Messer
Draft Translation |
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| [82r] Hie hebt sich an fechten mit dem langen messer WEr do mit dem langen messer wil fechten lernen / wen aus dem langen messer / ist / das swert genomen vnd funden / Der sal von ersten / merken vnd wissen das · daz fundament vnd dy principia / dy do gehoren czum swerte / dy gehoren auch czum messer / |
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[2] A man has only two hands, and from the hand he has two strikes from above and also from below. From these come thrusts and cuts with the winding, just as it does with the sword. And each man hast four steps, one forward and one backward and one to each side. All elements of this are based on this writing, which here explain the foundation and the principles. |
[82v] ¶ Eyn man hat nür czwn hende / vnd hat von ider hant czwen slege oben / vnd vnden auch czwene / aus den komen stiche vnd snete / als of dem swerte ist / mit den winden / Vnd eyner hat vier schrete / vorsich eynen vnd hindersich eynen / vnd czu itzlicher syten eynen / dornoch sichs gepürt / noch dem gesetze des gefechtes / Off dise geschreben rede / mit sampt dem fundament vnd principia do sint alle dink auf gebawet / deser kunst / |
[3] Also know that no part of the knife has been invented and constructed for no reason and you should use and handle everything correctly, as the art demands. Also, there should be no part or limb of the man be idle and passive when it happens that the art demands to be used. |
¶ Auch wisse recht zam nichtes nicht am messer üm zost ist irdocht vnd gemacht / zonder daz man is alles bedern vnd nütczen sal / noch dem als sichs gepürt / vnd als dy kunst fordert vnd begert ader heist / als sal och keynerleye dink noch gelid am menschen syn / daz do / feyer vnd ruge / wen is dorczu kumpt / daz syn dy kunst begert vnd fordert / czu der selben erbeit / |
[4] Also know that the right hand should be the enemy of the left and left be the enemy of the right. And one hand should displace and lead off and the other should do damage. |
¶ Auch wisse das dy rechte hant der linken veynt sal syn / vnd dy linke der rechten / vnd dy eyne hant sal hin setczen vnd abeweisen / vnd dy ander sal schaden tuen / |
[5] Also know that there are to shield steps, which are useful for many fencing techniques: One step backward and one forward and these steps are done by crossing one leg over the other in a slinging or slanting motion. |
¶ Auch wisse / das czwene schilt trete syn / dy czu allerleye gefechte gut vnd nütcze syn / cz eyn hindersich vnd eyn vörsich / vnd syn dy schrete wen man eyn beyn öber das ander kewczeweis leit vnd slewst / ader schrankt / |
Dagger
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[2] If the dagger, or the short knife that is used in duelling, is turned against you, wind it from your opponent with an inverse grip of your left hand. So that you grab his arm with your left hand and that his knife comes down over your arm; then turn his arm and knife around and he will loose it. |
¶ Der degen / ader das kurcze messer das czu kamp stiche · keyn dir gestalt vnd gericht / ist / das saltu mit dyner linken hant / mit yngrif(?) aus winden / alzo das du im syn arm begrif mit dyner linken hant / vnd das dir syn messer ober dyme arme sey / zo wend im den arm mit dem messer öm / zu muss her is lassen |
| ¶ Auch mag eyner das winden eyme fyerley er (?) das weren / |
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[4] The first is, when someone tries to grab the knife with the left hand, he should turn the point upwards so that he turns around the knife with an inverse grip with the tip pointing upwards, so one winding is defeated. And then you can do what you want. |
¶ Czum ersten / wen im eyner alzo mit der linken hant noch dem messer greift zo sal her den ort lassen of gen / yn dy hö alzo das her mit vorworfner hant daz messer vm keret vnd den ort of / zo ist ienes winden alles vorlorn / vnd du magst dy weyle tuen was du selber wilt / |
[5] The second is, when someone again goes for the knife as above, as soon as he notices this, so pull the knife quickly and strongly back towards himself or push it against him again and cut through his arm, hand or thumb whatever he can get with the pulling and instantly he will be free to thrust again. |
¶ Czum ander mol / wen im eyner greift noch dem messer als vor / als balde als her das nur merkt / zo rükke her vnd czihe syn messer rich risch [84v] vnd sterklich an sich[295] / ader keyn im weder / vnd sneid im durch arm · hant / dawmen ader was her begreift mit dem rücken / vnd czihen Indes zo wirt seyn stechen weder frey als · e · |
[6] If someone wants to defend and then break the second method, so he should follow the hand of the so he may get behind the opponent. However, if he does not follow but holds against with strength, he will sustain damage and the other one will win. |
¶ Wil denne iener das weren vnd andere bröche / zo sal her desem mit syner hant noch volgen / alzo als her im den arm begriffen hat / zo mag her im of den rücke komen / wy leichte her aber nicht noch volget alzo / das her harte weder helt / zo nympt her schaden / vnd deser fromme |
[7] Also, when he managed to grab and hold the arm or hand with his left hand, so he drive his right hand quickly between his left holding hand and the dagger. And with an inverted grip, so that the thumb faces downwards and the small finger upwards, grab the dagger and turn it out of his hand. |
¶ Auch / wen her ym den arm / ader dy hant mit syner linken hant begriffen / vnd gevangen hat / zo sal her mit syner rechten hant / gar snelle auch dar varn / czwischen syner linken hant mit der her ienen begriffen hat / vnd czwischen ienes degen / vnd mit vorworfner hant / das syn dawme / vnden / vnd der kleyne vinger oben kome / vnd winde im denne den den degen alzo aus / |
[8] Now if the adversary is slow with the defending and winding, and as soon as he holds the arm tightly, then he should threaten with the dagger, turn the point against his face and press upon him, just as he would intend to thrust him with brute strength. Now the adversary will want to defend this quickly; and Indes he should wind or squeeze out the dagger outwards from the adversaries arm or inwards and then quickly go for him again with his dagger to the nearest target. This is possible because when he presses in with his dagger using threatening strength, the adversary will not think about the possible winding out and will not expect it – So he will be fooled. And this is based on the words Vor and Nach, and it means that someone threatens with one technique just as he would really intend to do it, so the one who wants to defend will be fooled if he is not prepared for the second technique. And then, as soon as the adversary does not expect it, he should rush in with the method he already wanted to do. And with this principle you can deceive many people. |
¶ Ist denne das dezer mit deme weren vnd winden / laz ist vnd trege / mit deme / alz her ieme den arm begriffen hat / vnd in gar veste helt / zo sal iener mit syme / degen im drewen vnd of in dringen / recht zam her in mit gewalt wölle stechen / vnd den ort io keyn sy deses gesichte keren / zo wil daz selbe / deser / vaste weren / Indes / zo sal deseriener / denne / auswendig / deses armes / ader ynnewenig / den degen auswinden vnd würgen / vnd snelle weder czuvarn / mit dem degen of das aller neste / wen deser / mit deme als im iener alzo derwt vnd of in dringt / mit dem degen / zo besorgt her sich nicht vor deme auswinden / vnd hat nicht / achtunge dorof / vnd mit deme wirt her ge=[85r] tüscht / vnd das get of dy wörter / vor / noch / alzo das eyner mit eyme dinge eyme vor drewe / recht zam her das selbe io meyne czutreiben / zo wil es denne iener io weren / vnd hat nicht achtunge of eyn anders / Indes als is denne iener am mynsten getrawt / zo sal deser dar varn / mit deme das her meynt czu treiben vnd vor im / mute hat gehabt / vnd mit deme principio tewscht man vil lewte mete / |
Grappling
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[1] This is about Wrestling Those that wish to learn wrestling, they shall firstly note and know that the principals: Before, After, Speed, Audacity, Astuteness and Ingenuity, etc; they also belong to wrestling. And know that all refinement comes from wrestling and all fencing originally and fundamentally comes from wrestling: Firstly, the fencing with the long messer. From that, the fencing with the sword, etc. |
[1] This is about wrestling. Whoever wants to learn wrestling, he should note at first that the principles Vor, Nach, speed, courage deceit and wits etc also belong to wrestling. And know that all grace and skill comes from wrestling and all fencing comes basically from the wrestling. At first the fencing with the long knife and from that the fencing with the long swords comes and so on. |
[86r] Das ist von deme Ringen :~ wDEr / do wil lernen Ringen / der sal czu dem ersten / merken vnd wissen das dy principia / vor · noch · Rischeit kunheit list vnd klugheit / etc dy gehören och czu deme Ringen / Vnd wisse das alle höbischeit kompt von deme ringen vnd alle fechten komen ursachlich vnd gruntlich vom ringen / Czum ersten das fechten mit dem langen messer / aus dem kumpt das fechten mit dem swerte / etc |
[2] Note, Master Liechtenauer's wrestling in the onset has many sweeps and applications and that are quite difficult and inscrutable because it is his full intention that not every person who will read it to comprehend. |
[2] Know that Master Liechtenauer's wrestling with its different running-ins and other techniques is difficult and hard to understand because it was his intention that not everyone who reads it can understand it. |
[87r] ¶ Merke Ringen in czulawfen mancher wezen vnd geverte / meister lichtnawers / vnd das ist gar swer vnd unbedewtlich / wen das das ist sein zete gewest / dorvm das ist nicht yderman vorneme / der is wörde lezen |
[3] The first application is good. With it, always seek your artfulness as it lands. Hear what I teach. When the opponent rushes in on you, note that you shove them away from you to both sides. Learn to step, to shove and to wind, always. Make openings, with these one winds down to the sides; setting forward either leg and breaking the hands. Wherever the opponent seizes you, wind your hands around theirs and theirs must then slip. Above, below, anywhere. With it, you make them fall. If the opponent grips hard upon the shoulder, then you must and shall do nothing else than lay your hands, laying them across, pressing over theirs and in that very pressing, suddenly withdraw your hands from each other and press theirs away. |
[3] The first technique is good for finding an opportunity how he can be trapped or thrown. Listen what I teach: When he comes running at you so see to it that you bump him off from you to both sides. And practice stepping, bumping and winding so you will find many openings. And learn the second: Learn to put both legs in front and how to break hands whoever he may grab you: Wind your hands around his so his must slide off, high and low, everywhere. With this you throw him: When he grabs your shoulders hard, you should do nothing else but put your hands crosswise up from below and grab his and press your hands over his. And as you press pull his hands apart and push them away. |
¶ Das erste geverte gut ist do mite suche alle mol deine list / wy her gevalle alle mol / höer was ich lere / wenne her lewft czu dir / zo merke / daz du en stozest von dir / czu peiden zeiten / alle mol lere schreiten / stozen vnd winden / mache blözen do man mite windet vnden czur zeiten / Peide peyn vorsetczen / vnd hende brechen / wo her dich an greift / zo winde deine hende vm syne / vnd syne müßen denne gleiten / oben vnden öberal / do mite machstu im einen val / Wen her an dy achsel greift harte / zo machstu / vnd salt nicht / anders tun / wenn du salt deine / hende / legen die twere legen / ober syne drücken / vnd in dem selben drücken / dyne hende von eynnander czücken / vnd syne weg drücken |
[4] Thereafter and thereupon go six falls or sweeps, always setting a leg forward or not, as you yourself wish, and finally let the hands go or carry along as you yourself wish so as if it were as one. From that note this first: You must grip around the opponent and press your hand on their heart and set one leg forward so that you throw the opponent over that leg with one's own entire body. |
[4] This is the set-up for six felling techniques by putting one leg in front or not. And if your hands are quick or slow, do it as you wish, it is all the same. The first note, that you may grab around, one hand pressing against his heart and putting one leg in front you will throw him down using your whole body. |
¶ Dornoch vnd dorof / gen sechs vallen ader wezen / alle mol pein vorsetczen / ader nicht / wy du selber wilt / vnd las dy hende endelich gen / ader lang fan wy du selber wilt / zo ist es als eyns / Doraus das erste merke / das du en mögst üm greiffen / vnd dyne hant an syn hercze drucke / vnd eyn peyn vorsetcze / zo wurfstu en ober daz selbe peyn mit sym ganczen leybe |
[5] The second proceeds after the break like this: You can latch onto their elbows and set one leg forwards and throw the opponent over the same leg. |
[5] The second is done after the set-up by grabbing the elbow, putting one leg in front and throwing over one leg. |
¶ Das ander get noch dem broche / alzo daz du mögst an synen elbogen greifen / vnd eyn peyn vorsetczen / vnd en ober das selbe peyn geworfen |
[6] The third proceeds from the break. When you have popped up up their hands, you must then drive them with one leg set forwards and explode forwards with full power and knock their hands away, flipping them with yours. |
[6] The third is done after the setup when he has pushed the adversary’s hands high, he should keep pressing, and step in front with one leg, and press forward will all strength while jerking his hands upwards and then pushing them away. |
¶ Das dritte get aus dem broche / wen her of gewirft die hende / zo mag her sy wol drucken / mit eyn peyn vorsetczen vnd vorsich stozen mit ganczer kraft / vnd syne hende / mit dynen henden oberrücke hin weg stoßen / |
[7] The fourth is when you have broken like the first time, thereafter drive in against their face (in particular to their nose or chin) with one hand and with the other hand on their back and with one leg set forwards and throw them over it. |
[7] The fourth is after the grab is broken. Then drive your hand against his face from the front against his nose or chin and drive the other hand behind his back. And then by putting one leg in front you throw him over it. |
¶ Das vierde ist / wen her erste mal gebricht / dornoch var im mit dyner hant / an syn antlitz / [87v] czu vor aus an dy naze / ader kynne / vnd mit der / andern hant an den rucke / vnd mit eyn peyn vorsetcze / vnd wirf in dorober |
[8] The fifth is when you can shove against the opponent's breast, yet with one hand on the head. With one leg set forwards, you throw the opponent upon their head. |
[8] The fifth is, that you may push him at the chest with one hands and grab his head with the other, and by putting one leg in front you throw him on the head. |
¶ Das fünfte ist / das du en magst an dy prust stozen / aber mit eyner hant an das hewpt greifen / mit eyn peyn vorsetczen / wirfstu en of den kop |
[9] The sixth is when you can subsequently take the opponent by the elbow with one hand. With one leg set forwards, throw them to the side and press their hands with yours completely to the ground. And note that with all of these aforenamed applications, you can set the leg forwards or backwards as you wish. |
[9] The sixth is, that you may grab him by the elbow and by putting one leg forwards throw him on the side, and press with your hand his to the ground. Remember that these techniques described above can be done with one leg forward or without, as you wish. |
¶ Das sechste ist / das du en magst nemen dornoch / mit eyner hant / pey dem elbogen / mit eyn peyn vorsetczen wirf in of dy zeite / vnd drücke mit dyner hant dy syne wol czu der erden / Vnd merke das du allen dezen vorgnanten geverten / magst peyn vorsetczen / ader lossen / wy du wilt |
[10] The seventh is this: you can extend their arm with one of your hands and with one of your hands seizing theirs and with one of your feet kicking their foot into the other where you sweep out, so the opponent falls upon the face or you can set the other leg behind them so you throw them upon their back and break their arm. |
[10] The seventh is, that you may reach into his arm with your hand and with the other grab his hand and with your feet kick his foot on the other side where you are holding him and so he falls on his face. Alternatively, you may place your leg behind him so you can throw him on his back and break his arm. |
¶ Das sibende ist / das du magst mit dyner eynen hant in syne arm gereichen / vnd mit der eynen hant syne an greifen / vnd mit dynem eynen fuße / synen füs stozen / an das ander wo du hin greifest / zo vellet her of das antlitz / ader magst das ander peyn hinder in setczen / zo wirfstu in of / den rücke / vnd brichst im den arm |
[11] The eighth is like that which was just spoken of, except that you seize the opponent's hand with yours and bow out their elbow to the outside and with your other hand on their other hand bend it forwards and shove them to one side. |
[11] The eighth is similar to the last one, but he will turn his elbow outward and press it towards the other hand which is in front. And with this shove him to the side. |
¶ Daz achte ist als das do itczunt gesprochen ist / zonder daz her mit eyner hant / syne an greifet / vnd den elbogen auswendig hin lenke / vnd mit der andern hant / an syne ander hant do vorne vnd stoz in of eyne seite / |
[12] I also intend to say more about engaging the arm from the first hereafter. |
·Och me · was aus dem ersten gen arm das meyn ich hernoch sagen |
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[13] Also note that you shall set the same leg forwards in all applications from whichever side or with whichever hand you wish to throw them down. And in all applications when someone displaces you with one leg, you shall swiftly strike that away with your other leg and quickly shove above, flipping over with the hands, so the opponent falls into whatever is set forwards. |
[13] Also note that in all techniques you should put the leg in front on the side from which you want to throw him or with which hand you intend wish to throw him. And in all Techniques, if someone traps you by placing his one of his own legs forward, you should kick it away quickly with your other leg and push quickly upwards with your hands and over his back, so he will fall in all trappings. |
¶ Och merke das du in allen geverten / das selbe peyn salt vörsetczen / von weler seiten / ader mit weler hant du in wilt neder werfen / Vnd in allen geverten / wenne man dir vorsetzt / mit eyn peyn / das selbe saltu mit dyme ander peyne / risch hinweg slon / vnd stoz snelle oben mit den henden ober rücke / zo vellet her in allen vorsetczen |
[14] It can also be the most ready that you take the opponent by one hand and let the other go with one leg set forward and turn yourself around with their hand and tilt or break them over your leg so the opponent falls sharply. |
[14] Sometimes the most direct method is that you grab him by one hand and leave his other, and by placing one leg in front and turning around with his hand you lean or break him over the leg and so he will fall very hard. |
¶ Och mag / das / daz neste syn / daz du in nymbest pey der eynen hant / vnd lest im dy ander gen / mit eym peyn vorsetczen / vnd dich mit syner hant vm gekart / vnd neige ader prich in ober [88r] das peyn zo vellet her sere |
[15] The second break is when you shall also shove away the opponent's hands and from that go nine applications that are delivered like this: When the opponent holds you by the shoulder from above, then lay your elbow inside in their hand and shove their hand away and you can do this with the other hand. Thereafter you can conduct the nine applications from the arm break as is written before. |
[15] The other set up is also that you push away hands high, and here are nine techniques for this. It is done this way, when he holds you at your shoulders so put your elbow in his hand on the inside and push his hand away. And do the same with the other hand. After that you may use the nine techniques that have been described before in breaking the arms. |
¶ Das ander brechen ist / das du och oben salt hende weg stozen / vnd dorof gen och newn geverte / Daz get alzo dar / wen her dich heldit oben pey den achseln / zo lege dein elbogen in syne hant ynnewendig / vnd stoz ym dy hant weg / Vnd och tustu das mit der andern hant / Dornoch magstu dy newn geverte treiben als vor geschreben ist von den arm brechen |
[16] Now note that you shall also break from below doubly. Note when the opponent holds you, then shove against their joints[297] with your hands from both sides and and up from below. Also thereupon go nine. The second: You can explode hard up into the opponent's elbows from [below] with your hands whereby you can also bring about nine applications as before. Thus these are now four.[298] |
[16] Now learn how you should break low holds, and there are also two methods. Learn, If he holds you, so push with your hand against his joint from both sides and upwards. From this break there are also nine techniques. The second low breaking is when you push hard up into his elbows with your hands and from there you can also use nine techniques as it is written before. This are now four [breakings] |
¶ Nu merke wy du salt vnden brechen auch czwey Merke wen her dich heldit / zo stoz mit dynen henden an syn gelenke von peider hant / vnd von vnden of / Dorof / gen auch newn / Daz ander das du magst gestozen von of yn dy elbogen / harte mit dynen henden / do magstu auch newne geverte aus brengen / als vor / das syn itczunt vire |
[17] Note another four, with which you can break the arm. For the first one, when the opponent holds you by the shoulders, you shall whip your hands around down from above using your elbows so their hands come against your head and you press the opponent into you, against your side and in particular note that you come against the opponent's arm joint with your hand and that you hold your head in your hand hard from behind and with the other hand shove them away near their breast, so that you break their arm. But if you prop your foot behind, then the opponent falls quite sharply. |
[17] Now learn another four, so that you may break the arms. If he holds you at the shoulders so you should push your hands away downwards with your elbows and so his hands will come at your head. And pull him towards your side, and take care that you grab his arm joint and that you hold his hand back strongly with your head, and with the other hand push away against his chest so you break his arm.[299] If you then place your leg behind him, he will fall very hard. |
¶ Merke aber vire / daz du magst arm brechen / czu dem ersten mal / wen her dich heldit pey den achseln / zo saltu dyne hende mit dyme elbogen / von oben nyder weg / stozen / zo komen syne hende dir an das hawpt / vnd drucke yn czu dir an dyn zeite / vnd merke io das du ym kummest mit dyner hant an synen arm gelenke vnd das du dyn hewpt hinden harte heldist ym den dy hant / vnd mit der andern hant ym an syne brust weg stoze / zo brichstu ym den arm / aber setczist ym dein fus vnder / zo vellet her gar sere |
[18] The second technique is also like this except that you strike your hand from low to high so that you wind their away so that their hands come under your arm, thus allowing them to be run around or set one foot under them, so that the opponent falls. You can do this technique on the other side, so together these are two, and together again, four. This now becomes eight. |
[18] The other technique is similar to the last one, except that you strike upwards your hands to wind his away; and so his hand will come under your arm and so you can let him run around you, or you put a foot under him and so he will fall. The same methods you may use from the other side, so these are also four. Now this would be eight.[300] |
¶ Das ander geferte ist auch alzo / sunder daz du von vnden of slest dyne hant / zo windestu syne weg / zo kumpt syne hant / vnder dyn arm / zo lestu yn vm lawfen / ader setczest ym eyn fus vnder zo vellet her / Das selbe geverte magstu tun czu der andern hant auch czwei / zo werden auch viere / das werden denne nu achte |
[19] Yet note when you clasp the opponent by the belly or around their body and you hold your head hard against their breast and the opponent then grabs onto your knee with one hand and onto your head with the other, then shoves it away. At this point, you can also clear their hands by advancing one leg. Then, they can also clear your leg with their foot and clear you above with their hands. This then counteracts your wrestling and your strength. |
[19] Now learn if you hold close to his body pressing your head hard against his chest and when he then grabs against his chin with one hand and against the head with his other, so push him away. Then push his hands away by placing one leg forward. Now he might kick away your leg with his foot and your body with his hands. And against this you can defend with your wrestling and with your strength. |
¶ Doch merke wenn du/yn ümgreifest mit dem leibe / ader vm den leip / vnd dyn hewpt harte harte heldest an seyne brust / vnd wenn her dir denne an das kynne greifet mit eyner hant / vnd mit der andern an das hewpt / zo stoz yn weg / Dornoch / stoz yn /magstu syne hende / mit eym peyn vörsetczen auch weg stozen / So mag her dir dyn peyn auch weg stozen / mit sym fuße / vnd auch dich oben mit synen henden / das bricht dir denne weder dyn ringen / vnd dyne sterke |
[20] You now have the eight previous and from each nine. Now note again another four and from each come your nine as before. When the opponent seizes you by the front of your breast,[301] press their hands against your breast down from above with yours as before. Which you still have nine, this is just the first. |
[20] Now there are eight breaks described, and from each break nine Techniques. Now learn another four and from these can be done nine as before. When he grabs you frontally at your chest, so push his hands in yours downwards against your chest as it is written before and from there you also have nine, and this is the first. |
¶ Vor hatzstu nu achte [88v] vnd aus itzlichen newn / Nu merke aber ander vire vnd aus itzlichen gen irer newne als vor / Wen her dich begreift an dyne brust vorne / zo drucke syne hende mit dynen von oben neder an dy brust / als vor / der hastu noch newne / daz ist nu das erstesyme fuze enkegen / vnd wirft dich ober syn hawpt / |
[21] The second, is as before, with your elbows wound from high to low around their hands as before, and then you again have your nine. |
[21] The second is, as before, pushing with your elbow downwards, winding around his hands so you have nine again. |
¶ Daz ander als vor / mit deyme elbogen von oben neder / als vor vm syne hende gewunden / zo hastu doraus arber newne |
[22] The third up from below thrust at the breast, then you have another nine. |
[22] The third is pushing upwards against the chest and so you have nine again, |
¶ Das dritte von vnden of pey der brust / gestozen / zo hastu aber newne |
[23] The fourth up from below with the tips of the elbow, then you again have your nine. In this way, you have your twelve and from each nine. |
¶ Das vierde von vnden of mit dynen knochen / zo hastu ir aber newne / Alzo hastu ir czwelfte / vnd aus itzlichen newne / |
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[24] Note, lock or shove with these and you can lead the opponent away from you wherever the opponent seizes you. When the opponent grips you by the sleeves right in front the hands or against the sleeves at the joints or with one hand on the breast or wherever the opponent seizes you, you can send them away from you with that same strike and with winding and thereafter you can shove them as you yourself wish. Thus the opponent cannot come at you with anything, nor can the opponent rightly seize you anywhere on the entire body. |
[24] Note, with this lock or pressing you may move someone away from you. Wherever he tries to hold you, at the sleeve, at the hand, at the sleeve at your elbow joint, or with one hand at the chest or anywhere else – you may drive him away with he same strike and winding around. And after that you may push him as you wish so that he may neither get to you nor that he may lay hand upon you anywhere on your body. |
¶ Merke mit dem selben sloffe[303] ader stossen vnd vmmit den magstu eynen von dir brengen / wo her dich an grei fet / Wenn her dich an greifet pey dem ermel / do vorne pey der hant / ader kegen den ermeln an dem gelenke / ader mit eyner hant an dy brust / ader wo her dich an greift / zo magstu yn mit dem selben slon vnd mit winden von dir brengen / vnd dornoch magstu yn stozen wy du selber wilt / das her czu dir / mit nichte komen mag / noch mag / dich recht mit nichte begreifen oberal an dem ganczen leibe / |
[25] Note a second initiation of wrestling. Just when the opponent springs toward you and you have set one leg before them, they might counter you with a sudden transition with one hand grasping for the leg and their other hand shoving on your breast so that you fall upon your head. This is a counter to that. When the opponent grasps for your leg, then suddenly withdraw it backwards and drag them towards you so that the opponent falls upon their face. |
[25] Learn another running in, when he leaps towards you, and you have placed a leag into his path, he may avoid you with another leap, grabbing your leg with one hand and pushing against your chest with the other so you are going to fall onto your head – and this is another technique – As soon as he goes for your leg, pull it quickly backwards and pull him with it so he falls onto his face. |
¶ Eyn ander czulawfen merke / wenn her czu dir nü springet / vnd du ym eyn peyn hast vorsaczt / zo mag her mit eym spronge dir entgen / mit eyner hant gegriffen noch dem peyn vnd mit syner ander hant an dy brust gestossen · das du of das hewpt vellest / Das ist do weder / wen her noch dem beyne grei fet / zo czucke is hinderweit / vnd rucke yn noch dir zo vellet her of das antlitzt |
[26] Note this second arrangement. When the opponent springs into you, they might wrap around under your arms and step out behind you with their leg, throwing you quite hard on your back. This is a counter to that. When the opponent grabs around you like that, drop immediately and speed yours to the side. This is the best repulsion in wrestling. |
[26] Learn another principle. If he leaps at you, so he may grab you around the body under your arms and by stepping further with his leg he will throw you on your back fairly hard. And this counters it: As soon as he reaches around you, quickly fall to your side, and this is the fast[304] for wrestling |
¶ Merke das ander gesetcze / wen her kegen dir springt / zo mag her dich vnder den armen vm greifen / vnd mit seym peyn hin noch schreiten / wirft dich of den / rucke gar harte / Das ist dorweder / wen her dich zo vm greift / zo valle balde vnd snelle of dy seite dyn / das ist dy beste büße / czu dem ringen / |
[27] Note this third arrangement. When the opponent springs or steps toward you, they might snatch you with their legs in front of your breast and drop down and drag you toward them and launch you with their interposed foot and throw you over their head so that you are shot far away. This is a counter to that. When the opponent grabs you like that, accelerate and absolutely immediately fall upon them and pursue them so the opponent cannot do this to you. |
[27] Learn the third principle if he leaps or steps at you so that may reach you with his both hands frontally at the chest, and then falls down, pulling you over himself by jumping with his feet against you so that you get thrown away very hard, this is the counter: As soon as he grabs you, let yourself drop on him quickly and follow him, so he may not do anything against you. |
¶ Merke das dritte gesetcze wen her czu dir springt ader schreit / zo mag her dich derwischen mit synen peiden vör dy prust dyn / vnd vellet neder vnd rückt dich of noch ym / vnd springt dir mit syme fuze enkegen / vnd wirft dich ober syn hawpt / [89r] das du verre enweghin schüst / Das ist do wider / wen her dich zo greift / snelle vnd gar balde valle of yn / vnd volge ym / zo mag her dir nicht getun / |
For further information, including transcription and translation notes, see the discussion page.
| Work | Author(s) | Source | License |
|---|---|---|---|
| Translation (13v - 65r, 74r) | Michael Chidester | Wiktenauer |  |
| Translation (13v - 65r) | Christian Trosclair | Wiktenauer | |
| Translation (13v - 65r, 82r - 89v) | Thomas Stoeppler | Private communication |  |
| Translation (13v - 40r) | David Lindholm | Wiktenauer | |
| Translation (78r) | Betsy Winslow | Wiktenauer | |
| Transcription | Dierk Hagedorn | Index:Pol Hausbuch (MS 3227a) | |
Additional Resources
The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.
- Acutt, Jay (2016). "Aristotelian Science behind a Medieval European Martial Art." Bulletin of the International Council of Sport Science and Physical Education 71: 10-27.
- Alderson, Keith (2010). "On the Art of Reading: An Introduction to Using the Medieval German 'Fightbooks'." In the Service of Mars: Proceedings from the Western Martial Arts Workshop, 1999-2009: 251-286. Wheaton: Freelance Academy Press. ISBN 978-0-9825911-5-4.
- Alderson, Keith (2014). "Arts and Crafts of War: die Kunst des Schwerts in its Manuscript Context." Can These Bones Come to Life? Insights from Reconstruction, Reenactment, and Re-creation 1: 24-29. Wheaton: Freelance Academy Press. ISBN 978-1-937439-13-2.
- Burkart, Eric (2016). "The Autograph of an Erudite Martial Artist: A Close Reading of Nuremberg, Germanisches Nationalmuseum, Hs. 3227a." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 451-480. Ed. by Daniel Jaquet; Karin Verelst; Timothy Dawson. Leiden and Boston: Brill. doi:10.1163/9789004324725_017. ISBN 978-90-04-31241-8.
- Burkart, Eric (2020). "Informationsverarbeitung durch autographe Notizen: Die ältesten Aufzeichnungen zur Kampfkunst des Johannes Liechtenauer als Spuren einer Aneignung praktischen Wissens." Mittelalter. Interdisziplinäre Forschung und Rezeptionsgeschichte S2: 117-158. doi:10.26012/mittelalter-25866.
- Cabreira, Diniz (2018). Há Uma Única Arte da Espada (GNM HS 3227a). Santiago de Compostela: AGEA Editora. ISBN 978-84-948682-6-9.
- Chidester, Michael; Dierk Hagedorn (2021). 'The Foundation and Core of All the Arts of Fighting': The Long Sword Gloss of GNM Manuscript 3227a. Somerville: HEMA Bookshelf. ISBN 978-1-953683-05-2.
- Chidester, Michael (2021). The Long Sword Gloss of GNM Manuscript 3227a. Somerville: HEMA Bookshelf. ISBN 978-1-953683-13-7.
- Gaite, Pierre (2018). "Exercises in Arms: the Physical and Mental Combat Training of Men-at-Arms in the Fourteenth and Fifteenth Centuries." Journal of Medieval Military History XVI. Ed. by Kelly DeVries; John France; Clifford J. Rogers. Woodbridge: Boydell Press. ISBN 9781783273102.
- Hagedorn, Dierk (2016). "German Fechtbücher from the Middle Ages to the Renaissance." Late Medieval and Early Modern Fight Books. Transmission and Tradition of Martial Arts in Europe: 247-279. Ed. by Daniel Jaquet; Karin Verelst; Timothy Dawson. Leiden and Boston: Brill. ISBN 978-90-04-31241-8.
- Hammer, Maciej (2015). Tłumaczenie traktatu szermierczego zawartego w rękopisie Nürnberger Handschrift 3227a z wyszczególnieniem trudności zaistniałych podczas przekładu [unpublished thesis]. Uniwersytet Jagielloński Wydział Filologiczny.
- Müller, Jan-Dirk (1992). "Bild – Verse – Prosakommentar am Beispiel von Fechtbüchern. Probleme der Verschriftlichung einer schriftlosen Praxis." Pragmatische Schriftlichkeit im Mittelalter. Erscheinungsformen und Entwicklungsstufen: 251-282. Ed. by Hagen Keller; Klaus Grubmüller; Nikolaus Staubach. München: Fink.
- Talaga, Maciej (2020). "Affordances theory as an operational framework for interpretation of past material culture and practices. Praxiography of things, bodies, and motions." AVANT XI(2): 1-22. doi:10.26913/avant.2020.02.11.
- Talaga, Maciej (2022). "'Have the Highest Righteous Fencer in Your Mind's Eye': Medieval Martial Ethic as a Conceptual Repository for Just War Theory." Martial Arts Studies 12: 8-18. doi:10.18573/mas.154.
- Tobler, Christian Henry (2022). Lance, Spear, Sword, & Messer: A German Medieval Martial Arts Miscellany. Wheaton: Freelance Academy Press. ISBN 978-1-937439-64-4.
- Vodička, Ondřej (2019). "Origin of the oldest German Fencing Manual Compilation (GNM Hs. 3227a)." Waffen- und Kostümkunde 61(1): 87-108.
- Wallhausen, James (2010). Knightly Martial Arts: An Introduction to Medieval Combat Systems. Self-published. ISBN 978-1-4457-3736-2.
- Wassmannsdorff, Karl (1870). Die Ringkunst des deutschen Mittelalters. Liepzig: Priber.
- Welle, Rainer (1993). '…und wisse das alle höbischeit kompt von deme ringen'. Der Ringkampf als adelige Kunst im 15. und 16. Jahrhundert. Pfaffenweiler: Centaurus-Verlagsgesellschaft. ISBN 3-89085-755-8.
- Żabiński, Grzegorz (2008). "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." Masters of Medieval and Renaissance Martial Arts: 59-116. Ed. by John Clements. Boulder: Paladin Press. ISBN 978-1-58160-668-3.
References
- ↑ This name stems from the false assumption of several 20th century writers identifying him with Hans Döbringer. It has been argued that this name is inappropriate because the treatises attributed to pseudo-Döbringer (and also pseudo-Peter von Danzig) are not true pseudepigrapha—they are internally anonymous. However, many ancient and medieval pseudepigraphic texts were originally anonymous and were assigned their false attributions by later readers, and this is also the case with these two glosses in our fledgling tradition.
- ↑ The manuscript uniformly lacks the typical prayer for the dead when mentioning his name.
- ↑ Vodička 2019.
- ↑ Leichmeister is a pun that I can’t capture in English: leich means a dance or other rhythmic movement, and leiche means corpse. Leichmeister seem to be masters who teach fencing that is more like dancing than fighting, and get their students killed if they ever have to fight a duel. “Masters of the deadly dance” might capture the double meaning, but it makes them sound awesome which is hardly the intent. Alternatively, the pseudo-Danzig gloss makes reference to leichtfertigen schirmaister (“careless/frivolous fencing masters”), and leichmeister could be read as a shortening of that epithet.
- ↑ False masters
- ↑ Place of combat
- ↑ 7.0 7.1 7.2 Leychmeistere
- ↑ Vorschlag
- ↑ Liechtenauer’s
- ↑ the steps or movements
- ↑ The silver "soon" was added later above the line
- ↑ This folio, containing two poems and a lesson on continuous movement, marks the beginning of the second quire. It’s made of parchment and is a remnant of the cover that the quire had when it was a separate booklet (prior to being bound into the manuscript). Since they’re written on the cover and no other quire had its cover written on, it’s possible that these writings were added after the rest of the text was written.
- ↑ This quatrain is similar to couplets 20a–20b.
- ↑ lit: entirely finished sword
- ↑ lit: verses
- ↑ Vor
- ↑ Nach
- ↑ Weich
- ↑ Hart
- ↑ Indes
- ↑ Stossen; Jeffrey Hull made the suggestion that Stossen might also refer to pushing someones body, either away or to the side. This is also a possible interpretation.
- ↑ This final quatrain is taken from the Record, fencing verses 40-41, in the four exposures, and 100-101, in the angles.
- ↑ Motus
- ↑ Note that ‘motus=movement’ doesn’t just mean movement in the physical sense, but also in the sense of shifting between mindsets, tactics, etc.
- ↑ 25.0 25.1 Latin
- ↑ The following part has proven as untranslatable so far and here I can only guess the meaning! "And this should fool him prior I even have to move." – I guess this is about the concealed quality of the strikes, but I am not sure.
- ↑ Frequens motus
- ↑ Nachschlag
- ↑ “That I laud” is an addition to serve the rhyme.
- ↑ Jens P. Kleinau has pointed out that in the first couplet, the second line is much longer than most in the Record, while in this second couplet, the version used by the Lew gloss only includes the first line (as does the Dresden version of Sigmund ain Ringeck's gloss) and the version appearing in H. Beringer and Hans Folz only includes the second line. This may be evidence of a ‘seam’ in the Record where two early proto-Records were merged together, each of which only mentioned loving god in the first couplet and had honoring women as the first line of the second couplet. See his 2020 blog post for more details.
- ↑ Messer is a term that we often associate with the iconic German machete-like knife taught by Johannes Lecküchner and others, but both historically and today it can refer to any kind of knife; mentions of it in the Record are usually interpreted as referring to daggers by the glossators.
- ↑ More literally “manly”, not “gallant”, but I’ve used ungendered language for the most part in this translation because I want readers to be able to more easily see themselves and their training partners in it regardless of their genders.
- ↑ Bederben and verderben could be read as synonyms in Early New High German (ENHG), both meaning “to destroy”, but that doesn’t make sense in context so we tend to read bederben in its Middle High German (MHG) definition of “to use”. H. Beringer uniquely has ‘bedurfen=need or make use of’, which reinforces this reading and could represent an earlier, less ambiguous phrasing.
- ↑ Jens-Peter sees a division here where the moralistic/inspirational address to the young knight ends and practical advice to a fencing student begins. I disagree, and think couplets 6–9 are still about mindset and morality in fighting.
- ↑ I will generally translate the verb hauwen as “to cut” since that’s the common parlance, but remember that there’s no connotation that the intent is to cleave anything or otherwise directly hit your opponent. The word is instead often used to describe a cutting motion that will set up further techniques (such as cutting in order to hit with a thrust).
- ↑ More literally “Charge in, let it hit or pass”.
- ↑ Couplet 6 isn’t directly glossed, but is mentioned by the author in their gloss of the common lesson.
- ↑ The Lew gloss replaces couplet 7 with a completely different one:
- So that your art and skill surely
Will then be praised as masterly.
- So that your art and skill surely
- ↑ This word pair is translated in all kinds of ways, from the abstract/geometric (dimension and extension) to the colloquial (time and place, weighed and measured) to the fencing-specific (distance and reach). My translation goes with a more moralistic read, outlining two qualities the young knight needs to develop, both of which point to the cardinal virtue of temperance. This couplet isn’t directly glossed, but is mentioned by the author in their gloss of the common lesson; it’s also invoked and connected to teachings in sword section of the Augsburg Group manuscripts.
- ↑ Possibly: "If one cannot flee, then do something cunning, that is my advice."
- ↑ blossfechten
- ↑ I believe Döbringer is referring to strikes. But it might also be opponents
- ↑ Text is blacked out.
- ↑ The early glosses interpret this as an admonition against passively waiting for your opponent’s actions, but I phrased it in a way that it could also lead Andre Paurenfeyndt and Joachim Meyer to turn it into a teaching about footwork.
- ↑ Couplet 11 is glossed separately in Pseudo-Peter von Danzig/Lew while 12–14 are grouped together as a sestain, but Sigmund ain Ringeck (and Hans Medel, who copies his text here) combine all four couplets into a single octet. The interpretation is the same in both groupings.
- ↑ This line is contentious because it encapsulates two approaches to striking among students of Liechtenauer in the 21st century: it either advises you to approach close to your opponent and then cut so you’re sure of hitting their head or body with your edge, or it advises you to cut so that your sword approaches close to your opponent and you can hit their face or chest with your point; I hold with the latter interpretation, which seems most in line with the instructions in the Sigmund ain Ringeck, Pseudo-Peter von Danzig, and Lew (RDL) glosses.
- ↑ ‘Schilt=shield’ is often treated as synonymous with the flanges that appear on some 15th-16th century fencing swords, but there’s no textual support for this (no, not even in Joachim Meyer’s treatises). ‘Shield’ instead seems to refer to the entire lower portion of the sword most often used for defense: the crossguard, the Strength of the blade (see below), and yes, also any flanges that appear near the shoulder of the sword.
- ↑ Couplet 12a is very close to couplete 35a, in the section on the cut of wrath.
- ↑ More literally “don’t avoid the skirmish”; German loves using double-negatives to emphasize a positive. Zecken is typically translated with a variety of words suggesting minor strikes (and Zeck also means “tick”, leading some to read it as something like “bug bites”), but the Lexer gives an alternative reading of “skirmish” or harassing actions. Rühren is “to stir up”, “to cause something to move”, and “to touch or hit” (including “to land a blow in fencing”); I summarize these senses as “harrying”. Zeckrühr doesn’t appear in Grimm or the Lexer, so I read it as a compound of these two words and render it as “harrying strikes” to express the idea of harassing during a skirmish. (Thanks to Christian Trosclair for digging up the zecken lemma.) The terms Zecken and Zeckrühr are not used again in the Record or in the glosses for any other section, so it’s hard to be sure what this term means. There are hints, though: Hans Medel’s gloss repeats this couplet when it covers the take-away (after couplet 28), the misser is described as rühren (see couplet 53), and two specific pieces are given in the gloss of this couplet in Pseudo-Peter von Danzig and Lew. Based on these examples, I surmise that it’s the term for actions that exit a bind and strike to a new exposure, creating a nice contrast between the skirmish and the ‘Krieg=war’ (mentioned in two places below, in which you remain in the bind and attack by turning your sword).
- ↑ More literally “When you want to drive something strongly, fence with your whole body”, but I went with this translation because one of my objectives was to make this stick in people’s brains, and “always fight with all your strength” has been part of our collective subconscious in Kunst des Fechtens ever it since was used by Sigmund ain Ringeck translators at the turn of the 21st century. Also, not much rhymes with ‘strength’.
- ↑ Schlecht often means “bad”, but it can also mean “straight, direct, simple”, and that makes more sense here (as Stephen Cheney pointed out), and really in most usages in this text.
- ↑ This quatrain is typically interpreted as referring to right- and left-handed fencers and translated accordingly, but the text just says “right” and “left” and it’s not clear whether it’s referring to handedness, which side of the body the sword is held on (regardless of handedness), or which foot is forward (thus echoing the first lesson, just as the fourth lesson—on Before and After—echoes the second lesson—on attacking to provoke a parry rather than waiting to parry the opponent’s attack). It would be odd indeed for Liechtenauer to make this one solitary mention of handedness when that subject is never addressed again, neither in his writings nor in the subsequent two centuries of writings based on his teachings.
- ↑ This line is the same as the first line of dueling couplet 62.
- ↑ Here the Record begins introducing what are sometimes called the ‘Five Words’: ‘Vor=Before’, ‘Nach=After’, ‘Stark/Stärke=Strong/Strength’, ‘Schwach/Schwäche=Weak/Weakness’, and ‘Indes=Within/Inside’. (There are two other words that are sometimes lumped in here, ‘Hart/Härte=Hard/Hardness’ and ‘Weich/Weiche=Soft/Softness’, though no one talks about Seven Words.) I generally capitalize these words, but in this translation I’ll leave them lowercase to avoid unnecessary reification.
- ↑ “You’ll rule the bind” is an addition to serve the rhyme, but it’s supported by the glosses.
- ↑ RDL read this as referring to the parts of the sword—the ‘Strength’ of the sword is the part closer to the hand and the ‘Weakness’ of the sword is part near the tip (perhaps specifically from the center of mass to the cross and from the center of percussion to the tip, as swordsmith Paul Champagne (God rest his soul) once opined.); in between is the ‘middle’, and this is where two other words, ‘Hardness’ and ‘Softness’, are felt. Conversely, the author of ms. 3227a doesn’t clearly distinguish these two sets of words and typically refers to things as being both “Hard and Strong” or “Soft and Weak” (perhaps owing to their love of hendiadys).
- ↑ The meaning of the word Indes changes significantly from MHG to ENHG. It may be translated “within” or “inside” in both languages, but in MHG, Indes was primarily a spatial adverb (i.e., within a place or location) and in ENHG it became primarily a temporal adverb (i.e., within a time or event). Liechtenauer’s Record seems to have been written in the midst of this transition and straddles both senses: the word ‘Within’ is used to describe actions the instant (time) when you have felt the pressure of the bind (place) and must choose a response. By the time of Joachim Meyer, this linguistic evolution was complete and this is perhaps what lead him to accuse masters who taught a spatial interpretation of Indes of conflating it with the Latin word Intus, which does indeed align closely with the MHG definition.
- ↑ Erschricken is often translated as “frighten”, but according to Grimm, it’s in the sense of a ‘jump-scare’ rather than a feeling of terror. This verse isn’t about cowardice or running away, but rather about panicking and doing something stupid when attacked (as Jessica Finley has pointed out).
- ↑ Couplet 20a is similar to couplet 57b, in the section on the crosswise cut, and dueling couplet 5b.
- ↑ This quatrain is taken from one of the poems in the introduction.
- ↑ Wechsler
- ↑ 62.0 62.1 62.2 62.3 Czucken
- ↑ 63.0 63.1 63.2 63.3 63.4 63.5 63.6 63.7 Indes
- ↑ 64.00 64.01 64.02 64.03 64.04 64.05 64.06 64.07 64.08 64.09 64.10 64.11 64.12 64.13 64.14 64.15 64.16 64.17 Winden
- ↑ Hawende
- ↑ Stechende
- ↑ Sneydende
- ↑ Abe und czutreten
- ↑ Umbeschreiten
- ↑ Springen
- ↑ Ort
- ↑ Sneiden
- ↑ 73.0 73.1 73.2 Gehilcze
- ↑ Klos
- ↑ Verse 9.
- ↑ the opponent
- ↑ Liechtenauer
- ↑ In front of the words “denne” and “her” there are oblique insertion marks, which indicate a reverse order – as shown here.
- ↑ Verse 17.
- ↑ Harnusche
- ↑ Blos
- ↑ Verse 6.
- ↑ Verses 40-41 (also 100-101).
- ↑ 84.0 84.1 84.2 84.3 84.4 84.5 Vorschlag
- ↑ 85.0 85.1 Abweisest or Abeleitest
- ↑ 86.0 86.1 86.2 Nachschlag
- ↑ The text beginning with this paragraph and going to the end of the section is written on an extra bifolium (double-page) inserted into the book late in the creation process.
- ↑ This paragraph is somewhat ambiguous about who is who, and some other translators interpret it as saying that *you* can always deliver a following strike faster than your opponent. This is an equally valid read language-wise, but I don't think it makes as much sense with the overall thrust of the teachings.
- ↑ Liechtenauer
- ↑ 90.00 90.01 90.02 90.03 90.04 90.05 90.06 90.07 90.08 90.09 90.10 90.11 90.12 90.13 90.14 Twerhaw
- ↑ 91.00 91.01 91.02 91.03 91.04 91.05 91.06 91.07 91.08 91.09 91.10 Twer
- ↑ Here the writing is cut off by manuscript trimming.
- ↑ 93.0 93.1 93.2 93.3 93.4 93.5 93.6 Wind
- ↑ his
- ↑ Veste
- ↑ Weich
- ↑ "On Interpretation", the second section of Aristotle's Organon. This, along with "Categories" (the first section), was the only work by Aristotle known to Western Europeans during most of the Middle Ages, and only through a 6th-century Latin translation by Boethius. These works nevertheless formed an important foundation of Scholasticism. By the time of Liechtenauer, though, Europeans had rediscovered many other writings of Aristotle surviving in the Middle East and they were widely available across Europe.
- ↑ This passage does not seem to appear in the Organon, but Kendra Brown discovered that it does match a passage from Problemata, another Aristotelian work which returned from the Middle East during the later Middle Ages, and specifically the Latin translation by Saint Bonaventure (1221-1274). For slightly more information and further references, see Renana Bartal (2014). "Repetition, Opposition, and Invention in an Illuminated Meditationes vitae Christi: Oxford, Corpus Christi College, MS 410." Gesta 53(2): 163. doi:10.1086/677347.
- ↑ conflicting
- ↑ pushes you aside
- ↑ Verse 78.
- ↑ Verse 99.
- ↑ Alternative interpretation: keep your blade on top of his.
- ↑ Verse 12.
- ↑ Limpf
- ↑ Masse
- ↑ Couplet 22 is omitted by the author; it’s also worded awkwardly (in German) and doesn’t rhyme. It’s possible that this was a late addition to the Record and perhaps even not authored by Liechtenauer.
- ↑ “Speed” is an addition to serve the rhyme.
- ↑ Krumm und twer is an expression meaning something like “to and fro” (per Jessica Finley). Likewise, the cut of wrath is described by both RDL and the author of ms. 3227a as a ‘schlect haw=straight cut’, and schlect und krumm is an expression meaning “straight and crooked” (per Christian Trosclair). But since this couplet is clearly designed to be mnemonic rather than a functional description, I devised something memorable.
- ↑ Schiller mit Scheitler is listed as one of the six ‘master cuts’ that the Brotherhood of St. Mark would test prospective masters on, but neither RDL nor the author of ms. 3227a make any effort to explain these two things in context with each other. Hans Medel offers a play that he labels that way, though, and Hans Talhoffer modifies couplet 62 in the cockeye to include a reference to the part (see below).
- ↑ Note that den alber der versazung is another one of the six ‘master cuts’ that the Brotherhood of St. Mark would test prospective masters on. The author also connected the foolish guard specifically to parrying in the section on guards below.
- ↑ Couplet 24 is strange: it can be read as describing the first five main pieces, but if that were the intent, we’d expect to see:
- Leger versetzt
Nachreisen überlauff absetzt
- Leger versetzt
- ↑ I’ve tried to emphasize opposing pairs whenever they are apparent, even if the Record doesn’t call attention to them. ‘Stossen=push’ and ‘zucken=pull’ are such a pair; they might be translated even better as “shove” and “yank”, emphasizing the forcefulness of the action, but I hate both of those translations (not for any good reason, they’re just not part of my dialect so they sound unnatural to me) so I’m going with push and pull.
- ↑ 114.0 114.1 114.2 Alber
- ↑ 115.0 115.1 115.2 Vorsetzen
- ↑ Zuckt
- ↑ When the manuscript was being written, the scribe included small guide letters to tell the rubricator what large red initial letters to add. In this case, the rubricator was careless and changed the word Wer to Der.
- ↑ Werner Ueberschär has suggested that there may be a double-meaning in this verse: ohne Fahr would be “without danger” (rendered as “care not” here), but ohne Farr would be “without ox”, emphasizing that this technique is used instead of turning your sword into guard of the ox (which the next couplet describes).
- ↑ This line is the same as the second line of couplet 97, in the section on the angles.
- ↑ Some witnesses have far or var instead of vor, and the alternate rhymed version would be “‘Within’, and then drive after more”.
- ↑ Couplet 32 uses similar phrasing to 80, in the section on overrunning, and dueling couplet 36.
- ↑ The text actually names the three attacks again, but I have “which one of them” to avoid redundancy and make the text smoother.
- ↑ Werner Ueberschär has suggested that this couplet would make more sense if it appeared after the couplet about confounding the masters (35) rather than before, though I don’t see a reason for his complaint. The statement of the Record at the beginning of the Dresden manuscript moves couplet 35 before the one about turning (33), but it’s unique in making this change.
- ↑ ‘Treffen=touch, meet, hit, contact, encounter, etc.’ can be ambiguous. It’s not talking about a conference with the masters, nor is it about hitting the masters with your sword; instead, when treffen is used in the Record, the glosses agree that it refers to one sword hitting another sword, and I try to make that explicit in this translation.
- ↑ Couplet 35 is very close to 90, in the section on pulling, and dueling couplet 63.
- ↑ Effen, translated “confound” here, can also mean “to imitate”, so this could alternatively be read as a statement about acting like a master. RDL frequently invoke the archetype of the ‘master’, which is a fencer who seeks to bind and turn (essentially the opposite of the ‘buffalo’ mentioned below), and this could be another reference to that. However, the other places where this construction is used are more clearly about causing trouble for the opponent, not imitating them.
- ↑ Couplet 35a is very close to couplet 12a, in the common lesson.
- ↑ This line is the same as the first line of couplet 12 in the common lesson.
- ↑ This line is similar to the second line of couplet 94d in the section on the slicing off.
- ↑ 130.0 130.1 130.2 130.3 130.4 130.5 130.6 130.7 Keren.
- ↑ Couplet 35d is very close to couplets 79b, in the section on the pursuit, and 85a, in the section on the setting aside, and dueling couplets 13a and 59.
- ↑ In Medieval art, the concept of ‘wrath’ is often represented as a man stabbing himself to show its self-destructive nature; the name of the ‘wrath cut’ may thus be meant to indicate that you are offering your point for a wrathful opponent to impale themselves upon (as Jessica Finley has pointed out). The text here can be read as indicating that this strike is meant to be used against a person in their anger and wrath (as Maciej Talaga has pointed out), which supports this interpretation. It’s also worth noting that Grimm states that Zorn began as a term for excitement in battle, not an expression of irritation or hatred.
- ↑ "Wisely" inferred from the summary
- ↑ Wrath strike
- ↑ Thrust exchange from the bind
- ↑ striking the wrist and arms
- ↑ point
- ↑ Strike from above
- ↑ Zornhaw
- ↑ or slide?
- ↑ Oberhaw
- ↑ Supplemented according to fol. 29v.
- ↑ Verse 27.
- ↑ strike from above
- ↑ strike from below
- ↑ the next sentence is unfinished
- ↑ The two words “hewe” and “ander” are interchanged in the manuscript, as indicated by corresponding insertion characters.
- ↑ At this point there is an ink stain which might hide an original “g” (which can only be seen indistinctly).
- ↑ 149.0 149.1 149.2 149.3 149.4 149.5 149.6 149.7 Wenden.
- ↑ Literally "half an ell"; the length of a Medieval ell varied by city and region, but is generally based on either the length someone's elbow to fingertips, or six times the width of someone's hand. I find the hand-breadth measure to be easier to visualize.
- ↑ first strike
- ↑ turning-off
- ↑ roughly 30 cm
- ↑ Vorreben?
- ↑ 155.0 155.1 155.2 155.3 Wenden
- ↑ 30–40cm
- ↑ Note that Medieval people generally wore their belts at the top of their waists, meaning at their navels or just below their ribs.
- ↑ Blossen
- ↑ Duplier
- ↑ Mutier
- ↑ "With your" and "their sword" are inserted over the deletions and seem intended to replace them. However, the deletions describe the typical teaching of the curved cut, whereas the insertions seem to represent a unique idea or teaching. For this reason, unlike other instances of deletion, both the original and the replacement text are translated here for comparison.
- ↑ to the side, apart, sideways
- ↑ 163.0 163.1 163.2 Krumphaw
- ↑ 164.0 164.1 164.2 164.3 164.4 164.5 Krum
- ↑ the other
- ↑ feint
- ↑ 167.0 167.1 Veller
- ↑ feint
- ↑ inverse strike
- ↑ feint
- ↑ Cut to the hands and then cut the throat
- ↑ The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'
- ↑ transversal strike
- ↑ from above; the high guard
- ↑ upper opening
- ↑ lower opening
- ↑ crossing strikes
- ↑ 178.0 178.1 178.2 Pflug
- ↑ Ochsen
- ↑ von dem tage
- ↑ "Hew" is inserted in the margin.
- ↑ Literally "for your neck"; in German, as in English, "neck" is a metaphor for one's life or survival, coming from popular execution methods targeting the neck (like hanging and beheading) as well as the windpipe or jugular vein being the preferred target of many predatory animals.
- ↑ 183.0 183.1 183.2 183.3 183.4 183.5 183.6 Abwenden.
- ↑ first strike
- ↑ i.e. for your life
- ↑ 186.0 186.1 186.2 186.3 186.4 Abwenden
- ↑ Twerhaw
- ↑ 188.0 188.1 188.2 Ochs
- ↑ Verwenden.
- ↑ Text ends here abruptly.
- ↑ The comment ends here and remains unfinished
- ↑ 192.0 192.1 192.2 192.3 192.4 Schilhaw
- ↑ 193.0 193.1 Schiler
- ↑ or a fool
- ↑ Wechsel
- ↑ 196.0 196.1 196.2 196.3 196.4 Schil
- ↑ probably the opponent’s right side, but it could be your own as well
- ↑ schilende
- ↑ a peasant, that is
- ↑ At first glance, this appears to be a poem of the author's own devising, but many of the verses are based on couplets from Liechtenauer's Recital (the ones written in grey ink); the couplets in grey italics are based on those of the Recital on short sword fencing. The lines in black text are original, but several of them appear elsewhere in this text and only three couplets are completely unique.
This is a fine example of the Medieval practice of using the text of a mnemonic (like the Recital) to teach different, distinct lessons, through paraphrase and reorganization. Here, he seems to have stitched together fragments from those sources in order to present a new teaching: a general lesson on fencing from the draw.
Because the verses are rarely in their exact normal form, the rhyming translation has not been used and instead they are translated more literally. - ↑ In all other extant versions this is "point"
- ↑ Vorschlag
- ↑ Nachschlag
- ↑ Vertex strike
- ↑ crown displacement technique
- ↑ Scheitelhaw
- ↑ Scheitler
- ↑ 208.0 208.1 Kron
- ↑ Scheitelhaw
- ↑ Unlike other places where there are definitely passages originally forgotten and inserted with a caret, such is missing here. Thus, it can be conjectured that this is a later addition or comment.
- ↑ This proverb doesn't come from the Recital and doesn't appear in any other source in the Liechtenauer tradition.
- ↑ Guards
- ↑ Ox
- ↑ Plough
- ↑ fool
- ↑ high guard
- ↑ Liechtenauer
- ↑ Leger or Hut
- ↑ dueling yard
- ↑ Vier Leger
- ↑ 221.0 221.1 Vom Tag
- ↑ Leger or Huten
- ↑ parrying
- ↑ Absetzen
- ↑ Schranckhut
- ↑ Pforte
- ↑ Alber
- ↑ your opponent
- ↑ Hengen
- ↑ Nochreizen
- ↑ This last sentence was added after the rest of the text on the page, in the same ink and script as the text at the top of the page.
- ↑ High guard
- ↑ Langen Ort
- ↑ The text here runs into the destroyed corner of the page, and what remains is ut ptu͞it s. Based on 22v, I read this ut patuit s[upra].
- ↑ This verse is phrased similarly to 43.
- ↑ versetzen
- ↑ that is, when the opponent parries
- ↑ Illegible deleted character.
- ↑ Nochvolgen
- ↑ strike from above
- ↑ strike from below
- ↑ This verse is phrased similarly to both 35 and 90.
- ↑ This verse is phrased similarly to 14.
- ↑ adhering
- ↑ Nochreisen
- ↑ Ewsere nymme
- ↑ overreaching
- ↑ Oberlawfen
- ↑ setting aside
- ↑ Abesetczen
- ↑ changing through
- ↑ with your thrust
- ↑ Durchwechsel
- ↑ or with doing the changing through, do it at once
- ↑ pulling
- ↑ or perhaps strike at you
- ↑ Durchlawfen
- ↑ Rangen
- ↑ Vorkeren
- ↑ in this case inverting is also possible
- ↑ cutting off
- ↑ adhering
- ↑ Abschneiden
- ↑ alone?
- ↑ a possible meaning is do not waste time stepping when you cut, but do it as a stationary movement
- ↑ The gap between the verse and the explanation here, along with the lack of a gloss label (which is present in every other section with commentary), makes it questionable whether this text is intended to explain the verses on hand-pressing or to be a separate teaching.
- ↑ pressing the hands
- ↑ Hende drucken
- ↑ you catch the attack
- ↑ Verses 100-101 (also 40-41).
- ↑ Verse 17.
- ↑ hanging
- ↑ speaking window
- ↑ lower hanging
- ↑ upper hanging
- ↑ high strike and low strike
- ↑ speaking window
- ↑ skilled
- ↑ Hengen
- ↑ 280.0 280.1 Sprechfenster
- ↑ Ober
- ↑ away from his body since he is pushing yours
- ↑ In motu seist
- ↑ This is the only place in the treatise where verses from the Recital are presented out of order. Furthermore, verses 102-104 are omitted entirely, as is 109 (though 109 is itself a repetition of verse 77).
- ↑ This phrase is written in both Latin and German, so I left the Latin untranslated.
- ↑ Verses 40-41 and 100-101.
- ↑ marginal insertion. latin: dampno => damno => harm
- ↑ weak and strong
- ↑ Verses 8.
- ↑ Text cuts off here, and the rest of the page is blank.
- ↑ Falchion
- ↑ Latin passage follows; very difficult.
- ↑ Grzegorz Żabiński offers: ++ rape radices viole et mitte contare tibi hinssis debtem urgre et quocumque tetigeris suas operis
- ↑ please note that there are only three methods described against the turning-out
- ↑ Korrigiert aus »sin«.
- ↑ The next sentence /och me was…/ does not make any sense.
- ↑ In context, this is probably, the wrists.
- ↑ Ostensibly you can do the same from above like the previous application.
- ↑ alternate description follows, it hopefully should make the method clearer: If he holds you by the shoulders, and you grab his shoulders from the outside. Then you sling your right arm with the elbow over his left and below his right, and push downwards, so his right arm moves up. Take this arm over your head and secure the grip with your left hand behind your head; and then push against his chest with your right again. This will lead to a painful breaking lock.
- ↑ this is a partner exercise, similar to one I know in chinese shuai chiao
- ↑ From behind.
- ↑ Elbow/forearm strike
- ↑ Oder »slosse«? Unleserlich.
- ↑ buesse
