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Difference between revisions of "Pseudo-Peter von Danzig"

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| <p>[1] {{red|b=1|Here begins the gloss and the interpretation of the Epitome of the Long Sword}}</p>
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| <p>[1] {{red|b=1|Here begins the gloss and the interpretation of the Epitome on the Long Sword}}</p>
  
<p>This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them.</p>
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<p>This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes, lords, knights, and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing Masters, so that from those same Masters his Art is not openly presented, nor shall it become common. And the same secret and suspicious words of the Epitome which stand hereafter, the glosses teach and explain thus, so that everyone who otherwise can fence may well undertake and understand them.</p>
 
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| <p>[2] {{red|b=1|Here mark what the red writing in the beginning of the hereafter described techniques is:}} that is the text of secret words of the Epitome of the Long Sword. And always the next black writing script is the gloss and the explanation of the secret and suspicious words of the Epitome.</p>
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| <p>[2] {{red|b=1|Here mark what the red writing is in the beginning of the techniques described hereafter:}} it is the text of secret words of the Epitome of the Long Sword. And always the black script after it is the gloss and the explanation of the secret and suspicious words of the Epitome.</p>
 
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| <small>9</small>
 
| <small>9</small>
| {{red|Will you show Art,<br/>&emsp;You go left, and right with hewing.}}
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| {{red|If you will show Art,<br/>&emsp;You go left, and right with hewing.}}
 
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|-  
 
| <small>10</small>
 
| <small>10</small>
 
| {{red|And left with right<br/>&emsp;Is how you most strongly fence.}}
 
| {{red|And left with right<br/>&emsp;Is how you most strongly fence.}}
 
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<p>Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with the left foot before and hew from your right side, if you do not follow after the hew with a step forward of your right foot, thus the hew is false and incorrect. When your right side remains behind, thereby the hew becomes too short and may not have its correct path downwards to the other side before the left foot, ''else the play further from the left side shall happen with the step and strike on other sides.'' </p>
+
<p>Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with your left foot before and hew from your right side, if you do not follow after the hew with a step forward of your right foot, then the hew is false and incorrect. When your right side remains behind, the hew becomes too short thereby and may not have its correct path downwards to the other side before the left foot.</p>
 
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| {{section|Page:Cod.44.A.8 010r.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 106r.jpg|2|lbl=106r}}
 
| {{section|Page:MS KK5126 106r.jpg|2|lbl=106r}}
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| <p>[5] {{red|b=1|Or}} if you stand with the right foot before and hew from the left side, and you do not follow after the hew with your left foot, then the hew is yet false. Therefore mark when you hew from the right side that you always follow after the hew. Do also likewise the same when you hew from the left side. So put your body therewith correctly in the balance, thus the hews become long and hewn correctly.</p>
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| <p>[5] {{red|b=1|Or}}, if you stand with your right foot before and hew from the left side, and you do not follow after the hew with your left foot, then the hew is still false. Therefore mark when you hew from the right side that you always follow after the hew. Do also likewise the same when you hew from the left side. So put your body therewith correctly in the balance, and thus the hews become long and hewn correctly.<ref>Per Rasmusson, Goliath text reads "...else the play further from the left side shall happen with the step and strike on other sides."</ref></p>
 
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| {{red|Who goes after hewing,<br/>&emsp;He deserves little joy in his art.}}
 
| {{red|Who goes after hewing,<br/>&emsp;He deserves little joy in his art.}}
 
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<p>Gloss: This is when you come to him with the pre-fencing, then you shall not stand still and look after his hews, waiting for what he fences against you. Know that all fencers that look and wait on another’s hews and will do nothing other than parrying deserve such very little joy in their art, since they are destroyed and become thereby struck.</p>
+
<p>Gloss: This is when you come to him with the pre-fencing: then you shall not stand still and look after his hews, waiting for what he fences against you. Know that all fencers that look and wait on another’s hews and will do nothing other than parrying deserve such very little joy in their art, since they are destroyed and become struck thereby.</p>
 
| {{section|Page:Cod.44.A.8 010v.jpg|2|lbl=-}}
 
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| {{section|Page:MS Germ.Quart.2020 007v.jpg|2|lbl=-}}
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| {{section|Page:MS Germ.Quart.2020 007v.jpg|3|lbl=-}}
  
 
{{section|Page:MS Germ.Quart.2020 008r.jpg|1|lbl=8r}}
 
{{section|Page:MS Germ.Quart.2020 008r.jpg|1|lbl=8r}}
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| {{red|With the entire body,<br/>&emsp;Fence so that you most strongly drive.}}
 
| {{red|With the entire body,<br/>&emsp;Fence so that you most strongly drive.}}
 
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<p>Gloss: Mark, that is when you come to him with the pre-fencing, what you will then fence, drive that with the entire strength of your body, and hew in therewith closing to the head and to the body, and remain with the point in before the face or the breast so he cannot Change-through before your point. If he parries with strength and lets the point go out from you on the side, then give him a Lighter-hit on the arm.</p>
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<p>Gloss: Mark, that is when you come to him with the pre-fencing: what you will then fence, drive it with your entire strength of your body, and hew in therewith, closing to the head and to the body, and remain with your point in before his face or the breast so he cannot Change-through before your point. If he parries with strength and lets the point go out from you on the side, then give him a Lighter-hit<ref>Or "tap-hit".</ref> on the arm.</p>
 
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| {{section|Page:Cod.44.A.8 010v.jpg|3|lbl=-}}
  
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| <p>[8] {{red|b=1|Or}} if he drives high up with the arms with the parrying, then strike him with a free hew below to the body and step quickly therewith backward, so he is struck before he comes in.</p>
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| <p>[8] {{red|b=1|Or}}, if he drives high up with his arms with the parrying, then strike him with a free hew below to the body, and step quickly backward therewith, so he is struck before he comes in.</p>
 
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| {{red|If you are left,<br/>&emsp;With the right you also sorely limp.}}
 
| {{red|If you are left,<br/>&emsp;With the right you also sorely limp.}}
 
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<p>Gloss: Mark, this is a lesson, and touches upon two persons, a right-hander and a left-hander, and is how you shall hew so that one does not win the Weak of your sword with the first hew, and undertake that thus: when you come to him with the pre-fencing, if you are then a right-hander, then hew the first hew with purpose not from the left side, then he is Weak and may therewith not hold against. When he hews strongly in to you, then hew from the right, so you may well hold strongly against, and work what you will on the sword.</p>
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<p>Gloss: Mark, this is a lesson and touches upon two persons, a right-hander and a left-hander, and is how you shall hew so that one does not win the Weak of your sword with the first hew, and undertake that thus: when you come to him with the pre-fencing, if you are then a right-hander, then do not hew the first hew with purpose from the left side, then you are<ref>Lit. "he is".</ref> Weak and may not hold against therewith. When he hews strongly in to you then hew from the right, so that you may well hold strongly against, and work what you will on the sword.</p>
 
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| <p>[10] Likewise, if you are left-handed, then hew also the first hew not from the right side, since it is quite perilous for a left-hander to practice Art from the right side, the same as it is also for a right-hander from the left side.</p>
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| <p>[10] Likewise, if you are left-handed, then also do not hew the first hew from the right side, since it is quite perilous for a left-hander to practice Art from the right side, the same as it is also for a right-hander from the left side.</p>
 
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| {{red|If you readily frighten, <br/>&emsp;No fencing ever learn.}}
 
| {{red|If you readily frighten, <br/>&emsp;No fencing ever learn.}}
 
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<p>Gloss: Mark, this is that before all things you shall rightly undertake and understand these two things, which are the Before and the After, and thereafter the Weak and Strong of the sword, and then the word Meanwhile, wherefrom comes the entire foundation of all the Art of Fencing when you think on, undertake, and understand them rightly, and do not forget the word Meanwhile in all techniques that you drive. Then you are a very good Master of the Sword and may teach princes and lords well so that they may be best in combat and in earnest with correct Art of the Sword.</p>
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<p>Gloss: Mark, this is that before all things you shall rightly undertake and understand these two things, which are the Before and the After, and thereafter the Weak and Strong of the sword, and then the word Meanwhile, whence comes the entire foundation of all the Art of Fencing. When you think on, undertake, and understand them rightly, and do not forget the word Meanwhile in all techniques that you drive, then you are a very good Master of the Sword and may teach princes and lords well, so that they may be best in combat and in earnest with the correct Art of the Sword.</p>
 
| {{section|Page:Cod.44.A.8 011v.jpg|3|lbl=-}}
 
| {{section|Page:Cod.44.A.8 011v.jpg|3|lbl=-}}
 
| <p>{{section|Page:MS KK5126 106r.jpg|9|lbl=-|p=1}}<br/><br/></p>
 
| <p>{{section|Page:MS KK5126 106r.jpg|9|lbl=-|p=1}}<br/><br/></p>
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| <p>[12] {{red|b=1|Here mark what is there called the Before:}}</p>
 
| <p>[12] {{red|b=1|Here mark what is there called the Before:}}</p>
  
<p>This is that you shall always come Before, be it with the hew or with the stab, before he does, and when you come before with the hew or otherwise then he must parry that. Then work Meanwhile nimbly before yourself with the sword in the parrying, or otherwise with other techniques. Then he may come to no work.</p>
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<p>This is that you shall always come Before, be it with the hew or with the stab, before he does. And when you come before with the hew or otherwise, then he must parry that, so work Meanwhile nimbly before yourself with the sword in the parrying, or otherwise with other techniques. Then he may come to no work.</p>
 
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| <p>[14] {{red|b=1|Here mark the Weak and the Strong of the sword:}}</p>
 
| <p>[14] {{red|b=1|Here mark the Weak and the Strong of the sword:}}</p>
  
<p>Understand the Weak and the Strong thus: On the sword from the hilt to the middle of the blade is the Strong of the sword, and further above the middle to the point is the Weak, And how you shall work with the Strong of your sword after the Weak of his sword you will hereafter learn.</p>
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<p>Understand the Weak and the Strong thus: On the sword from the hilt to the middle of the blade is the Strong of the sword, and further above the middle to the point is the Weak. And how you shall work with the Strong of your sword after the Weak of his sword you will hereafter learn.</p>
 
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| {{red|They we vow<br/>&emsp;In Arts to reward well.}}
 
| {{red|They we vow<br/>&emsp;In Arts to reward well.}}
 
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<p>Gloss: Mark, there are Five hidden Hews of which many Masters of the Sword know nothing to say; these Hews you shall learn correctly from the right side. Whichever fencer you then hew with correct Art who can break these without injury becomes praised by other Masters, so that his Art shall become rewarded more than other fencers. And how one shall hew the hews with their techniques, that becomes hereafter clarified to you.</p>
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<p>Gloss: Mark, there are Five hidden Hews of which many Masters of the Sword know nothing to say; these Hews you shall learn correctly from the right side. Whichever fencer you then hew with correct Art, who can break these without injury, becomes praised by other Masters so that his Art shall become rewarded more than other fencers. And how one shall hew the Hews with their techniques, that becomes hereafter clarified to you.</p>
 
| {{section|Page:Cod.44.A.8 012r.jpg|4|lbl=-}}
 
| {{section|Page:Cod.44.A.8 012r.jpg|4|lbl=-}}
  
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| {{red|Hang, Wind, with openings,<br/>&emsp;Blows, grasp, strike, stab with thrusting.}}
 
| {{red|Hang, Wind, with openings,<br/>&emsp;Blows, grasp, strike, stab with thrusting.}}
 
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<p>Gloss: Mark, here become named to you the right Chief Techniques of the Epitome of the Long Sword, how they are each called particularly by their names so that you can further remember and recall them. The first are the Five Hews and how they are particularly named:</p>
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<p>Gloss: Mark, here have become named to you the right Chief Techniques of the Epitome on the Long Sword (how they are each called particularly by their names), so that you can further remember and recall them. The first are the Five Hews, and how they are particularly named:</p>
 
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| <p>[18] And what you shall fence from the techniques, and how you shall give openings with the Hangings and Windings, you will thus one after another to the next find described hereafter.</p>
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| <p>[18] And what you shall fence from the techniques, and how you shall give openings with the Hangings and Windings, you will thus find described hereafter, one after another to the next.</p>
 
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| <p>[19] {{Red|b=1|Mark. Here begins the text and the gloss.}}</p>
 
| <p>[19] {{Red|b=1|Mark. Here begins the text and the gloss.}}</p>
  
<p>Firstly, of the Wrath-hew with its techniques:</p>
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<p>First, of the Wrath-hew with its techniques:</p>
  
 
<p>{{red|b=1|Text}}</p>
 
<p>{{red|b=1|Text}}</p>
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| {{red|In all driving<br/>&emsp;Without confusion for how he acts.}}
 
| {{red|In all driving<br/>&emsp;Without confusion for how he acts.}}
 
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<p>Gloss: Mark, who will be a Master of the Sword, he shall know how one shall search the Four Openings with art, if he will otherwise fence correctly and wisely. The first opening is the right side, the other the left, of the upper-half above the girdle of the man. The other two openings are the right and left side of the lower-half below the girdle. Now, there are two drivings wherefrom one shall search the openings. Firstly, one shall search from the pre-fencing with Travelling-after and with shooting-in the long point. Secondly, one shall search with the Eight Windings when one has bound the other on the sword.</p>
+
<p>Gloss: Mark, who will be a Master of the Sword, he shall know how one shall search the Four Openings with art, if he will otherwise fence correctly and wisely. The first opening is the right side, the other the left, of the upper-half above the girdle of the man. The other two openings are the right and left side of the lower-half below the girdle. Now, there are two drivings wherefrom one shall search the openings. First, one shall search from the pre-fencing with Travelling-after and with shooting-in the long point. Secondly, one shall search with the Eight Windings when one has bound the other on the sword.</p>
 
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Revision as of 22:21, 28 May 2016

Gloss and Interpretation of
the Recital on the Long Sword
die gloss und die auslegung der zettel
des langen schwert
Author(s) Unknown
Ascribed to Pseudo-Peter von Danzig
Illustrated by Unknown
Date before 1452
Genre
Language Early New High German
Archetype(s) Hypothetical
Principal
Manuscript(s)
Manuscript(s)
First Printed
English Edition
Tobler, 2010
Concordance by Michael Chidester
Translations

"Pseudo-Peter von Danzig" is the name given to an anonymous late 14th or early 15th century German fencing master.[1] Some time before the creation of the Codex 44.A.8 in 1452, he authored a gloss of Johannes Liechtenauer's Recital (Zettel) which would go on to become the most widespread in the tradition. While his identity remains unknown, it is possible that he was in fact Jud Lew or Sigmund Schining ein Ringeck, both of whose glosses show strong similarities to the work. On the other hand, the introduction to the Rome version of the text—the oldest currently extant—might be construed as attributing it to Liechtenauer himself.

Treatise

Early on in its history, Pseudo-Peter von Danzig's gloss seems to have split into two primary branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund Schining ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but the exact nature of this relationship is currently unclear.

Branch A, appearing first in the Augsburg version (1450s) and comprising the majority of extant copies, has more devices overall than the other branch (particularly in the extensive Salzburg version of 1491) but generally shorter descriptions in areas of overlap. It also includes glosses of Liechtenauer's Recital on long sword and mounted fencing only, and in lieu of a gloss of Liechtenauer's short sword it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz. Apart from containing the most content, the Salzburg version is notable for including nine paragraphs of text that are not found in any other version of Pseudo-Peter von Danzig but do appear in Ringeck; this predates all known copies of Ringeck's text, but is another indicator of some connection between the works. Branch A was later used by Johannes Lecküchner as a source when he compiled his own gloss of a Recital on the Messer.

Branch B, appearing first in the Rome version (1452), is found in only four manuscripts; it has slightly longer descriptions than Branch A, but fewer devices overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also different from Branch A in that three of the four known copies are illustrated to some extent where none in the other branch are. The Krakow version (1510-20) seems to be an incomplete (though extensively illustrated) copy taken directly from the Rome, while Augsburg II (1564) is taken from the Krakow but only includes the six illustrated devices of wrestling from the Krakow and their respective captions. Even more anomalous is the Glasgow version, which only consists of a sizeable fragment of the short sword gloss (hence its assignation to Branch B), and this is appended to a fragment of Ringeck's short sword gloss; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck's short sword gloss and tried to fill in the deficit with another similar text.

There is one version of the Pseudo-Peter von Danzig gloss that defies categorization into either branch, namely the Vienna version included in a 1480 manuscript along with Paulus Kal's work (Kal's personal level of involvement is unknown). The text of this version is more consistent with the generally shorter descriptions of Branch A, but the overall contents more closely match Branch B, lacking most of the unique devices of Branch A and including the gloss of the short sword. The Vienna version may therefore be a copy of the original gloss before it split into these branches (or it may merely be an odd attempt by a scribe to synthesize the two branches into a single, shorter work).

While Branches A and B were formerly presented in a single concordance in this article, the differences between them were revealed thereby to be extensive enough that they merit separate consideration. Thus Branch A has been placed on the page of Jud Lew, to whom is seemingly attributed the gloss on mounted fencing, while Branch B has been retained here. As the Vienna version cannot be cleanly assigned to one branch or the other, it appears in both concordances for comparative purposes.

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Additional Resources

References

  1. This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt.
  2. Per Rasmusson, Goliath text reads "...else the play further from the left side shall happen with the step and strike on other sides."
  3. Or "tap-hit".
  4. Könnte auch als »thun« gelesen werden.
  5. Lit. "he is".
  6. Couplets 102-109.
  7. Squint here means "an askew glance", referring to both the sword's direction of travel and also the use of deception with the eyes with this hew.
  8. Letter erased and overwritten.
  9. This text is a repetition of the first paragraph on folio 68r, but this is the illustration that corresponds to the text in Goliath (folio 54v).
  10. Korrigiert aus »das«.
  11. 11.0 11.1 Indecipherable due to an ink blotch.
  12. Steht nach der nächsten Zeile.
  13. Steht nach der nächsten Zeile.
  14. Steht nach der nächsten Zeile.
  15. "Nachent in weyshait" is reversed in the text, with markings indicating the correct word order"
  16. Corrected from »sein«.
  17. Corrected from »seinem«.
  18. The rest vanishes in the binding.
  19. Corrected from »dam«.
  20. Corrected from »dem«.
  21. Corrected from »vchsel«.
  22. Korrigiert aus »sein«.
  23. Corrected from »mit«.