https://wiktenauer.com/api.php?action=feedcontributions&user=Christian+Trosclair&feedformat=atomWiktenauer - User contributions [en]2024-03-29T09:46:31ZUser contributionsMediaWiki 1.34.2https://wiktenauer.com/index.php?title=Page:Reichsstadt_%22Sch%C3%A4tze%22_Nr._82_007v.jpg&diff=143911Page:Reichsstadt "Schätze" Nr. 82 007v.jpg2023-10-25T14:41:58Z<p>Christian Trosclair: </p>
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<div><noinclude><pagequality level="1" user="Michael Chidester" /><languages/> <translate></noinclude><section begin="1"/>arm mit dem haw nit langkh von Jm. so ist das schwerdt verkürczt. ligstu denn vor Jm alber. will Er dir dann mit sei/nem schwert darauff fallen. so ists aber verkürczt. legt Er sich denn gen dir in den Ochsen. oder pflug. so ist es aber verkürczt. auch wiß das alle winden mit dem schwert vor dem mann kurcz seind. vnd verkürczen das schwert. vnnd alle die gen dir also vechten. den wechsel frelich durch auß hawen vnd vß stichen. mit dem langen ort. damit twingstu sy. das sy muessen verseczen. vnd sicht lassen schlagen.<section end="1"/><br />
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'''S'''chiel zu dem ort.<br/>Nym den halß one forcht.<br />
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{{red|b=1|Glosa}} Das ist ein pruch wider den langen ort. mit einem betriegen des Gesichts den treib also. wenn du zu Im kumbst. steet Er denn. vnd helt dir den ort gen dem gesicht. oder der prust. so halt dein schwert an der rechten Achsell. vnd schiel mit dem gesicht. zu dem ort vnd thue als du Im dar zu hawen wollest. vnd haw starckh vß dem schiler mit der kurczen schneid an sein schwert. vnd scheuß Im den ort damit lanckh ein. zu dem halß mit eine(m) zutritt des rechten fuß. ~<section end="2"/><br />
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'''S'''chiel zu dem obern<br/>haubt zu henden. wiltu bederbern.<br />
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{{red|b=1|Glosa}} Das ist ein ander pruch. wenn Er gen dir steet. in dem langen ort. wildtu Jn auff die hennd schlachen. so schiel Im mit de(m) gesicht zu dem haupt. vnd thue als du In darauff schlagenn welst. vnd schlag In auß dem schiel mit dem ort vff die hendt.<section end="3"/><br />
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'''D'''er schaitler<br/>dem antlicz ist gevar.<br/>mit seiner kar.<br/>der prust vast g[evar].<br/>was von Im kumbt.<br/>die kron das abnymbt.<br/>schneid durch die kron.<br/>so prichtsu sy hart schon.<br/>die straich truckh<br/>mit schneid sy abzuckh.<br />
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{{red|b=1|Glosa.}} Merckh der schaitler bricht die hut alber. vnd ist dar zu dem Antlicz vnnd der prust mit seiner khar gar gevarlich. den treib also. wenn du zu Im kumbst. legt<section end="4"/><noinclude></translate> <references/></noinclude></div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Maister_Liechtenawers_Kunstbuech_(Cgm_3712)&diff=141952Maister Liechtenawers Kunstbuech (Cgm 3712)2023-04-10T21:26:05Z<p>Christian Trosclair: /* Contents */</p>
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<div>{{Infobox manuscript<br />
<!----------Name----------><br />
| name = [[name::Maister Liechtenawers Kunstbuech]]<br />
| location = [[inventory::Cgm 3712]], [[museum::Bayerische Staatsbibliothek]]<br/>Munich, Germany<br />
<!----------Image----------><br />
| imageleft = File:Cgm 3712 Iv.jpg<br />
| imageright = File:Cgm 3712 001r.jpg<br />
| width = x200px<br />
| caption = First page, fol. 1r<br />
<!----------General----------><br />
| Index number = [[WI::—]]<br />
| Wierschin's catalog= [[WC::29]]<br />
| Hils' catalog = [[HK::39]]<br />
| Beck catalog = [[BC::38.7.5]]<br />
| Also known as = <br />
| Type = {{plainlist<br />
| [[type::Fencing manual]]<br />
| [[type::Wrestling manual]]<br />
}}<br />
| Date = [[year::1556]]<br />
| Place of origin = Augsburg, Germany<br />
| Language(s) = [[language::Early New High German]]<br />
| Scribe(s) = [[scribe::Lienhart Sollinger]] (?)<br />
| Author(s) = {{collapsible list<br />
| [[author::Martin Huntsfeld]]<br />
| [[author::Jörg Wilhalm]]<br />
| [[author::Johannes Lecküchner]]<br />
| [[author::Lew]]<br />
| [[author::Johannes Liechtenauer]]<br />
| [[author::Ott Jud]]<br />
| [[author::Nicolaüs]]<br />
| [[author::Jobst von Württemberg]]<br />
}}<br />
| Compiled by = <br />
| Illuminated by = Unknown<br />
| Patron = <br />
| Dedicated to = <br />
<!----------Form and content----------><br />
| Material = Paper, with a leather binding<br />
| Size = 84 [[folia]] (225 mm × 305 mm)<br />
| Format = Double-sided; one illustration per side, <br/>with text below<br />
| Condition = <br />
| Script = <br />
| Contents = <br />
| Illumination(s) = <br />
| Additions = <br />
| Exemplar(s) = {{plainlist<br />
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) (?)<br />
| [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] (1533)<br />
}}<br />
| Previously kept = <br />
| Discovered = <br />
| Website = [http://opacplus.bsb-muenchen.de/search?oclcno{{=}}643305371 Library catalog entry]<br />
| Images = {{plainlist<br />
| [http://daten.digitale-sammlungen.de/bsb00107024/image_1 Digital scans]<br />
| [http://daten.digitale-sammlungen.de/bsb00043228/image_1 Microfilm scans]<br />
}}<br />
| below = <br />
}}<br />
'''''Maister Liechtenawers Kunstbuech''''' ("Master Liechtenauer's Art Book", Cgm 3712) is a [[nationality::German]] [[fencing manual]] created in 1556,<ref>Internally dated on [http://daten.digitale-sammlungen.de/bsb00043228/image_194 folio 95v]</ref> possibly by [[Lienhart Sollinger]].<ref>See [http://daten.digitale-sammlungen.de/bsb00043228/image_106 folio 51v].</ref> The original currently rests in the holdings of the [[Bayerische Staatsbibliothek]] in Munich, Germany. This manuscript has two main parts. The first half (ff 1r - 88v) is an anthology of treatises by various famous and influential masters of the [[Johannes Liechtenauer|Liechtenauer tradition]], such as [[Martin Huntsfeld]] and [[Andre Lignitzer]]. The second half (ff 91r - 211v) is primarily a copy of [[Jörg Wilhalm]]'s extensive treatise from the 1520s, probably sourced from the current [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]], as well as an assortment of uncaptioned devices from unknown sources.<br />
<br />
== Provenance ==<br />
<br />
<br />
<br />
== Contents ==<br />
<br />
{| class="treatise"<br />
|- <br />
! id="page" | [[Lew|1r - 23v]]<br />
| [[Gloss]] of Liechtenauer's [[Recital]] on [[long sword]] fencing by [[Lew]]<br />
<br />
|- <br />
! [[Martin Huntsfeld|25r - 31r]]<br />
| [[Short sword]] fencing and grappling by [[Martin Huntsfeld]] (attributed to Lew)<br />
<br />
|- <br />
! [[Andre Lignitzer|21v - 37v]]<br />
| Short sword fencing by [[Andre Lignitzer]] (attributed to Martin Huntsfeld)<br />
<br />
|- <br />
! [[Ott Jud|38r - 42v]]<br />
| Grappling by [[Ott Jud]]<br />
<br />
|- <br />
! [[Lew|43r - 51v]]<br />
| Gloss of Liechtenauer's Recital on [[mounted fencing]] by [[Lew]]<br />
<br />
|- <br />
! 51v<br />
| [[Mounted fencing]] poem by [[Martin Huntsfeld]]<br />
<br />
|- <br />
! 51v<br />
| Note by Lienhart Sollinger<br />
<br />
|- <br />
! [[Johannes Lecküchner|53r - 65r]]<br />
| [[Messer]] gloss by [[Johannes Lecküchner]] (fragment; attributed to Johannes Liechtenauer)<br />
<br />
|- <br />
! 65r<br />
| [Die Siben Spieß des Langen Spies]<br />
<br />
|- <br />
! [[Johannes Liechtenauer|65r - 66r]],<br/>[[Johannes Liechtenauer|89r - 91r]]<br />
| Recital on long sword fencing by [[Johannes Liechtenauer]] (fragments)<br />
<br />
|- <br />
! [[Jobst von Württemberg|66r - 69r]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Nicolaüs|69rv]], [[Nicolaüs|91r&nbsp;-&nbsp;95v]]<br />
| [[Gloss]] of Liechtenauer's Recital on the long sword by [[Nicolaüs]] (fragment)<br />
<br />
|- <br />
! 69v - 73r<br />
| Anonymous [[grappling]] teachings<br />
<br />
|- <br />
! [[Jobst von Württemberg|73r - 88v]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|97r - 136r]]<br />
| Long sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|138r - 155v]]<br />
| Mounted fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|156r - 195v]]<br />
| Short sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Anonymous Sword and Buckler Images|196r - 209v]], [[Anonymous Sword and Buckler Images|212r]]<br />
| Illustrations of [[sword and buckler]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210r]]<br />
| Illustrations of [[longshield]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210v - 211r]]<br />
| Illustrations of a duel between a Man and a Woman<br />
<br />
|- <br />
! [[Jörg Wilhalm|211v]]<br />
| Illustration of [[navaja]]<br />
<br />
|}<br />
<br />
== Gallery ==<br />
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{{image|Cgm 3712 Cover 1.jpg|Front Cover}}<br />
{{image|Cgm 3712 Cover 2.jpg|Inside Cover}}<br />
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{{image|Cgm 3712 Cover 3.jpg|Inside Cover}}<br />
{{image|Cgm 3712 Cover 4.jpg|Back Cover}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Dierk Hagedorn|Hagedorn, Dierk]], with [[Helen Hagedorn|Helen]] and [[Henri Hagedorn]]. ''Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523.'' Greenhill Books, 2021. ISBN 9781784386566<br />
* Jaquet, Daniel; [[Bartłomiej Walczak|Walczak, Bartłomiej]]. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings". ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 105-148. 2014. {{doi|10.1515/apd-2015-0015}}.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
<section begin="image license"/>{{sourcebox<br />
| work = Images<br />
| authors = [[Bayerische Staatsbibliothek]]<br />
| source link = http://daten.digitale-sammlungen.de/bsb00043228/image_1<br />
| source title= Bayerische Staatsbibliothek<br />
| license = noncommercial<br />
}}<section end="image license"/><br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Maister Liechtenawers Kunstbuech (Cgm 3712)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Manuscripts]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Maister_Liechtenawers_Kunstbuech_(Cgm_3712)&diff=141951Maister Liechtenawers Kunstbuech (Cgm 3712)2023-04-10T21:25:32Z<p>Christian Trosclair: /* Contents */</p>
<hr />
<div>{{Infobox manuscript<br />
<!----------Name----------><br />
| name = [[name::Maister Liechtenawers Kunstbuech]]<br />
| location = [[inventory::Cgm 3712]], [[museum::Bayerische Staatsbibliothek]]<br/>Munich, Germany<br />
<!----------Image----------><br />
| imageleft = File:Cgm 3712 Iv.jpg<br />
| imageright = File:Cgm 3712 001r.jpg<br />
| width = x200px<br />
| caption = First page, fol. 1r<br />
<!----------General----------><br />
| Index number = [[WI::—]]<br />
| Wierschin's catalog= [[WC::29]]<br />
| Hils' catalog = [[HK::39]]<br />
| Beck catalog = [[BC::38.7.5]]<br />
| Also known as = <br />
| Type = {{plainlist<br />
| [[type::Fencing manual]]<br />
| [[type::Wrestling manual]]<br />
}}<br />
| Date = [[year::1556]]<br />
| Place of origin = Augsburg, Germany<br />
| Language(s) = [[language::Early New High German]]<br />
| Scribe(s) = [[scribe::Lienhart Sollinger]] (?)<br />
| Author(s) = {{collapsible list<br />
| [[author::Martin Huntsfeld]]<br />
| [[author::Jörg Wilhalm]]<br />
| [[author::Johannes Lecküchner]]<br />
| [[author::Lew]]<br />
| [[author::Johannes Liechtenauer]]<br />
| [[author::Ott Jud]]<br />
| [[author::Nicolaüs]]<br />
| [[author::Jobst von Württemberg]]<br />
}}<br />
| Compiled by = <br />
| Illuminated by = Unknown<br />
| Patron = <br />
| Dedicated to = <br />
<!----------Form and content----------><br />
| Material = Paper, with a leather binding<br />
| Size = 84 [[folia]] (225 mm × 305 mm)<br />
| Format = Double-sided; one illustration per side, <br/>with text below<br />
| Condition = <br />
| Script = <br />
| Contents = <br />
| Illumination(s) = <br />
| Additions = <br />
| Exemplar(s) = {{plainlist<br />
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) (?)<br />
| [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] (1533)<br />
}}<br />
| Previously kept = <br />
| Discovered = <br />
| Website = [http://opacplus.bsb-muenchen.de/search?oclcno{{=}}643305371 Library catalog entry]<br />
| Images = {{plainlist<br />
| [http://daten.digitale-sammlungen.de/bsb00107024/image_1 Digital scans]<br />
| [http://daten.digitale-sammlungen.de/bsb00043228/image_1 Microfilm scans]<br />
}}<br />
| below = <br />
}}<br />
'''''Maister Liechtenawers Kunstbuech''''' ("Master Liechtenauer's Art Book", Cgm 3712) is a [[nationality::German]] [[fencing manual]] created in 1556,<ref>Internally dated on [http://daten.digitale-sammlungen.de/bsb00043228/image_194 folio 95v]</ref> possibly by [[Lienhart Sollinger]].<ref>See [http://daten.digitale-sammlungen.de/bsb00043228/image_106 folio 51v].</ref> The original currently rests in the holdings of the [[Bayerische Staatsbibliothek]] in Munich, Germany. This manuscript has two main parts. The first half (ff 1r - 88v) is an anthology of treatises by various famous and influential masters of the [[Johannes Liechtenauer|Liechtenauer tradition]], such as [[Martin Huntsfeld]] and [[Andre Lignitzer]]. The second half (ff 91r - 211v) is primarily a copy of [[Jörg Wilhalm]]'s extensive treatise from the 1520s, probably sourced from the current [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]], as well as an assortment of uncaptioned devices from unknown sources.<br />
<br />
== Provenance ==<br />
<br />
<br />
<br />
== Contents ==<br />
<br />
{| class="treatise"<br />
|- <br />
! id="page" | [[Lew|1r - 23v]]<br />
| [[Gloss]] of Liechtenauer's [[Recital]] on [[long sword]] fencing by [[Lew]]<br />
<br />
|- <br />
! [[Martin Huntsfeld|25r - 31r]]<br />
| [[Short sword]] fencing and grappling by [[Martin Huntsfeld]] (attributed to Lew)<br />
<br />
|- <br />
! [[Andre Lignitzer|21v - 37v]]<br />
| Short sword fencing by [[Andre Lignitzer]] (attributed to Martin Huntsfeld)<br />
<br />
|- <br />
! [[Ott Jud|38r - 42v]]<br />
| Grappling by [[Ott Jud]]<br />
<br />
|- <br />
! [[Lew|43r - 51v]]<br />
| Gloss of Liechtenauer's Recital on [[mounted fencing]] by [[Lew]]<br />
<br />
|- <br />
! 51v<br />
| [[Mounted fencing]] poem by [[Martin Huntsfeld]]<br />
<br />
|- <br />
! 51v<br />
| Note by Lienhart Sollinger<br />
<br />
<br />
|- <br />
! [[Johannes Lecküchner|53r - 65r]]<br />
| [[Messer]] gloss by [[Johannes Lecküchner]] (fragment; attributed to Johannes Liechtenauer)<br />
<br />
|- <br />
! 65r<br />
| [Die Siben Spieß des Langen Spies]<br />
<br />
|- <br />
! [[Johannes Liechtenauer|65r - 66r]],<br/>[[Johannes Liechtenauer|89r - 91r]]<br />
| Recital on long sword fencing by [[Johannes Liechtenauer]] (fragments)<br />
<br />
|- <br />
! [[Jobst von Württemberg|66r - 69r]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Nicolaüs|69rv]], [[Nicolaüs|91r&nbsp;-&nbsp;95v]]<br />
| [[Gloss]] of Liechtenauer's Recital on the long sword by [[Nicolaüs]] (fragment)<br />
<br />
|- <br />
! 69v - 73r<br />
| Anonymous [[grappling]] teachings<br />
<br />
|- <br />
! [[Jobst von Württemberg|73r - 88v]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|97r - 136r]]<br />
| Long sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|138r - 155v]]<br />
| Mounted fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|156r - 195v]]<br />
| Short sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Anonymous Sword and Buckler Images|196r - 209v]], [[Anonymous Sword and Buckler Images|212r]]<br />
| Illustrations of [[sword and buckler]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210r]]<br />
| Illustrations of [[longshield]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210v - 211r]]<br />
| Illustrations of a duel between a Man and a Woman<br />
<br />
|- <br />
! [[Jörg Wilhalm|211v]]<br />
| Illustration of [[navaja]]<br />
<br />
|}<br />
<br />
== Gallery ==<br />
<br />
{{image|Cgm 3712 Cover 1.jpg|Front Cover}}<br />
{{image|Cgm 3712 Cover 2.jpg|Inside Cover}}<br />
{{image|Cgm 3712 Ir.jpg|Ir}}<br />
{{image|Cgm 3712 Iv.jpg|Iv}}<br />
{{image|Cgm 3712 001r.jpg|Folio 1r}}<br />
{{image|Cgm 3712 001v.jpg|Folio 1v}}<br />
{{image|Cgm 3712 002r.jpg|Folio 2r}}<br />
{{image|Cgm 3712 002v.jpg|Folio 2v}}<br />
{{image|Cgm 3712 003r.jpg|Folio 3r}}<br />
{{image|Cgm 3712 003v.jpg|Folio 3v}}<br />
{{image|Cgm 3712 004r.jpg|Folio 4r}}<br />
{{image|Cgm 3712 004v.jpg|Folio 4v}}<br />
{{image|Cgm 3712 005r.jpg|Folio 5r}}<br />
{{image|Cgm 3712 005v.jpg|Folio 5v}}<br />
{{image|Cgm 3712 006r.jpg|Folio 6r}}<br />
{{image|Cgm 3712 006v.jpg|Folio 6v}}<br />
{{image|Cgm 3712 007r.jpg|Folio 7r}}<br />
{{image|Cgm 3712 007v.jpg|Folio 7v}}<br />
{{image|Cgm 3712 008r.jpg|Folio 8r}}<br />
{{image|Cgm 3712 008v.jpg|Folio 8v}}<br />
{{image|Cgm 3712 009r.jpg|Folio 9r}}<br />
{{image|Cgm 3712 009v.jpg|Folio 9v}}<br />
{{image|Cgm 3712 010r.jpg|Folio 10r}}<br />
{{image|Cgm 3712 010v.jpg|Folio 10v}}<br />
{{image|Cgm 3712 011r.jpg|Folio 11r}}<br />
{{image|Cgm 3712 011v.jpg|Folio 11v}}<br />
{{image|Cgm 3712 012r.jpg|Folio 12r}}<br />
{{image|Cgm 3712 012v.jpg|Folio 12v}}<br />
{{image|Cgm 3712 013r.jpg|Folio 13r}}<br />
{{image|Cgm 3712 013v.jpg|Folio 13v}}<br />
{{image|Cgm 3712 014r.jpg|Folio 14r}}<br />
{{image|Cgm 3712 014v.jpg|Folio 14v}}<br />
{{image|Cgm 3712 015r.jpg|Folio 15r}}<br />
{{image|Cgm 3712 015v.jpg|Folio 15v}}<br />
{{image|Cgm 3712 016r.jpg|Folio 16r}}<br />
{{image|Cgm 3712 016v.jpg|Folio 16v}}<br />
{{image|Cgm 3712 017r.jpg|Folio 17r}}<br />
{{image|Cgm 3712 017v.jpg|Folio 17v}}<br />
{{image|Cgm 3712 018r.jpg|Folio 18r}}<br />
{{image|Cgm 3712 018v.jpg|Folio 18v}}<br />
{{image|Cgm 3712 019r.jpg|Folio 19r}}<br />
{{image|Cgm 3712 019v.jpg|Folio 19v}}<br />
{{image|Cgm 3712 020r.jpg|Folio 20r}}<br />
{{image|Cgm 3712 020v.jpg|Folio 20v}}<br />
{{image|Cgm 3712 021r.jpg|Folio 21r}}<br />
{{image|Cgm 3712 021v.jpg|Folio 21v}}<br />
{{image|Cgm 3712 022r.jpg|Folio 22r}}<br />
{{image|Cgm 3712 022v.jpg|Folio 22v}}<br />
{{image|Cgm 3712 023r.jpg|Folio 23r}}<br />
{{image|Cgm 3712 023v.jpg|Folio 23v}}<br />
{{image|Cgm 3712 024r.jpg|Folio 24r}}<br />
{{image|Cgm 3712 024v.jpg|Folio 24v}}<br />
{{image|Cgm 3712 025r.jpg|Folio 25r}}<br />
{{image|Cgm 3712 025v.jpg|Folio 25v}}<br />
{{image|Cgm 3712 026r.jpg|Folio 26r}}<br />
{{image|Cgm 3712 026v.jpg|Folio 26v}}<br />
{{image|Cgm 3712 027r.jpg|Folio 27r}}<br />
{{image|Cgm 3712 027v.jpg|Folio 27v}}<br />
{{image|Cgm 3712 028r.jpg|Folio 28r}}<br />
{{image|Cgm 3712 028v.jpg|Folio 28v}}<br />
{{image|Cgm 3712 029r.jpg|Folio 29r}}<br />
{{image|Cgm 3712 029v.jpg|Folio 29v}}<br />
{{image|Cgm 3712 030r.jpg|Folio 30r}}<br />
{{image|Cgm 3712 030v.jpg|Folio 30v}}<br />
{{image|Cgm 3712 031r.jpg|Folio 31r}}<br />
{{image|Cgm 3712 031v.jpg|Folio 31v}}<br />
{{image|Cgm 3712 032r.jpg|Folio 32r}}<br />
{{image|Cgm 3712 032v.jpg|Folio 32v}}<br />
{{image|Cgm 3712 033r.jpg|Folio 33r}}<br />
{{image|Cgm 3712 033v.jpg|Folio 33v}}<br />
{{image|Cgm 3712 034r.jpg|Folio 34r}}<br />
{{image|Cgm 3712 034v.jpg|Folio 34v}}<br />
{{image|Cgm 3712 035r.jpg|Folio 35r}}<br />
{{image|Cgm 3712 035v.jpg|Folio 35v}}<br />
{{image|Cgm 3712 036r.jpg|Folio 36r}}<br />
{{image|Cgm 3712 036v.jpg|Folio 36v}}<br />
{{image|Cgm 3712 037r.jpg|Folio 37r}}<br />
{{image|Cgm 3712 037v.jpg|Folio 37v}}<br />
{{image|Cgm 3712 038r.jpg|Folio 38r}}<br />
{{image|Cgm 3712 038v.jpg|Folio 38v}}<br />
{{image|Cgm 3712 039r.jpg|Folio 39r}}<br />
{{image|Cgm 3712 039v.jpg|Folio 39v}}<br />
{{image|Cgm 3712 040r.jpg|Folio 40r}}<br />
{{image|Cgm 3712 040v.jpg|Folio 40v}}<br />
{{image|Cgm 3712 041r.jpg|Folio 41r}}<br />
{{image|Cgm 3712 041v.jpg|Folio 41v}}<br />
{{image|Cgm 3712 042r.jpg|Folio 42r}}<br />
{{image|Cgm 3712 042v.jpg|Folio 42v}}<br />
{{image|Cgm 3712 043r.jpg|Folio 43r}}<br />
{{image|Cgm 3712 043v.jpg|Folio 43v}}<br />
{{image|Cgm 3712 044r.jpg|Folio 44r}}<br />
{{image|Cgm 3712 044v.jpg|Folio 44v}}<br />
{{image|Cgm 3712 045r.jpg|Folio 45r}}<br />
{{image|Cgm 3712 045v.jpg|Folio 45v}}<br />
{{image|Cgm 3712 046r.jpg|Folio 46r}}<br />
{{image|Cgm 3712 046v.jpg|Folio 46v}}<br />
{{image|Cgm 3712 047r.jpg|Folio 47r}}<br />
{{image|Cgm 3712 047v.jpg|Folio 47v}}<br />
{{image|Cgm 3712 048r.jpg|Folio 48r}}<br />
{{image|Cgm 3712 048v.jpg|Folio 48v}}<br />
{{image|Cgm 3712 049r.jpg|Folio 49r}}<br />
{{image|Cgm 3712 049v.jpg|Folio 49v}}<br />
{{image|Cgm 3712 050r.jpg|Folio 50r}}<br />
{{image|Cgm 3712 050v.jpg|Folio 50v}}<br />
{{image|Cgm 3712 051r.jpg|Folio 51r}}<br />
{{image|Cgm 3712 051v.jpg|Folio 51v}}<br />
{{image|Cgm 3712 052r.jpg|Folio 52r}}<br />
{{image|Cgm 3712 052v.jpg|Folio 52v}}<br />
{{image|Cgm 3712 053r.jpg|Folio 53r}}<br />
{{image|Cgm 3712 053v.jpg|Folio 53v}}<br />
{{image|Cgm 3712 054r.jpg|Folio 54r}}<br />
{{image|Cgm 3712 054v.jpg|Folio 54v}}<br />
{{image|Cgm 3712 055r.jpg|Folio 55r}}<br />
{{image|Cgm 3712 055v.jpg|Folio 55v}}<br />
{{image|Cgm 3712 056r.jpg|Folio 56r}}<br />
{{image|Cgm 3712 056v.jpg|Folio 56v}}<br />
{{image|Cgm 3712 057r.jpg|Folio 57r}}<br />
{{image|Cgm 3712 057v.jpg|Folio 57v}}<br />
{{image|Cgm 3712 058r.jpg|Folio 58r}}<br />
{{image|Cgm 3712 058v.jpg|Folio 58v}}<br />
{{image|Cgm 3712 059r.jpg|Folio 59r}}<br />
{{image|Cgm 3712 059v.jpg|Folio 59v}}<br />
{{image|Cgm 3712 060r.jpg|Folio 60r}}<br />
{{image|Cgm 3712 060v.jpg|Folio 60v}}<br />
{{image|Cgm 3712 061r.jpg|Folio 61r}}<br />
{{image|Cgm 3712 061v.jpg|Folio 61v}}<br />
{{image|Cgm 3712 062r.jpg|Folio 62r}}<br />
{{image|Cgm 3712 062v.jpg|Folio 62v}}<br />
{{image|Cgm 3712 063r.jpg|Folio 63r}}<br />
{{image|Cgm 3712 063v.jpg|Folio 63v}}<br />
{{image|Cgm 3712 064r.jpg|Folio 64r}}<br />
{{image|Cgm 3712 064v.jpg|Folio 64v}}<br />
{{image|Cgm 3712 065r.jpg|Folio 65r}}<br />
{{image|Cgm 3712 065v.jpg|Folio 65v}}<br />
{{image|Cgm 3712 066r.jpg|Folio 66r}}<br />
{{image|Cgm 3712 066v.jpg|Folio 66v}}<br />
{{image|Cgm 3712 067r.jpg|Folio 67r}}<br />
{{image|Cgm 3712 067v.jpg|Folio 67v}}<br />
{{image|Cgm 3712 068r.jpg|Folio 68r}}<br />
{{image|Cgm 3712 068v.jpg|Folio 68v}}<br />
{{image|Cgm 3712 069r.jpg|Folio 69r}}<br />
{{image|Cgm 3712 069v.jpg|Folio 69v}}<br />
{{image|Cgm 3712 070r.jpg|Folio 70r}}<br />
{{image|Cgm 3712 070v.jpg|Folio 70v}}<br />
{{image|Cgm 3712 071r.jpg|Folio 71r}}<br />
{{image|Cgm 3712 071v.jpg|Folio 71v}}<br />
{{image|Cgm 3712 072r.jpg|Folio 72r}}<br />
{{image|Cgm 3712 072v.jpg|Folio 72v}}<br />
{{image|Cgm 3712 073r.jpg|Folio 73r}}<br />
{{image|Cgm 3712 073v.jpg|Folio 73v}}<br />
{{image|Cgm 3712 074r.jpg|Folio 74r}}<br />
{{image|Cgm 3712 074v.jpg|Folio 74v}}<br />
{{image|Cgm 3712 075r.jpg|Folio 75r}}<br />
{{image|Cgm 3712 075v.jpg|Folio 75v}}<br />
{{image|Cgm 3712 076r.jpg|Folio 76r}}<br />
{{image|Cgm 3712 076v.jpg|Folio 76v}}<br />
{{image|Cgm 3712 077r.jpg|Folio 77r}}<br />
{{image|Cgm 3712 077v.jpg|Folio 77v}}<br />
{{image|Cgm 3712 078r.jpg|Folio 78r}}<br />
{{image|Cgm 3712 078v.jpg|Folio 78v}}<br />
{{image|Cgm 3712 079r.jpg|Folio 79r}}<br />
{{image|Cgm 3712 079v.jpg|Folio 79v}}<br />
{{image|Cgm 3712 080r.jpg|Folio 80r}}<br />
{{image|Cgm 3712 080v.jpg|Folio 80v}}<br />
{{image|Cgm 3712 081r.jpg|Folio 81r}}<br />
{{image|Cgm 3712 081v.jpg|Folio 81v}}<br />
{{image|Cgm 3712 082r.jpg|Folio 82r}}<br />
{{image|Cgm 3712 082v.jpg|Folio 82v}}<br />
{{image|Cgm 3712 083r.jpg|Folio 83r}}<br />
{{image|Cgm 3712 083v.jpg|Folio 83v}}<br />
{{image|Cgm 3712 084r.jpg|Folio 84r}}<br />
{{image|Cgm 3712 084v.jpg|Folio 84v}}<br />
{{image|Cgm 3712 085r.jpg|Folio 85r}}<br />
{{image|Cgm 3712 085v.jpg|Folio 85v}}<br />
{{image|Cgm 3712 086r.jpg|Folio 86r}}<br />
{{image|Cgm 3712 086v.jpg|Folio 86v}}<br />
{{image|Cgm 3712 087r.jpg|Folio 87r}}<br />
{{image|Cgm 3712 087v.jpg|Folio 87v}}<br />
{{image|Cgm 3712 088r.jpg|Folio 88r}}<br />
{{image|Cgm 3712 088v.jpg|Folio 88v}}<br />
{{image|Cgm 3712 089r.jpg|Folio 89r}}<br />
{{image|Cgm 3712 089v.jpg|Folio 89v}}<br />
{{image|Cgm 3712 090r.jpg|Folio 90r}}<br />
{{image|Cgm 3712 090v.jpg|Folio 90v}}<br />
{{image|Cgm 3712 091r.jpg|Folio 91r}}<br />
{{image|Cgm 3712 091v.jpg|Folio 91v}}<br />
{{image|Cgm 3712 092r.jpg|Folio 92r}}<br />
{{image|Cgm 3712 092v.jpg|Folio 92v}}<br />
{{image|Cgm 3712 093r.jpg|Folio 93r}}<br />
{{image|Cgm 3712 093v.jpg|Folio 93v}}<br />
{{image|Cgm 3712 094r.jpg|Folio 94r}}<br />
{{image|Cgm 3712 094v.jpg|Folio 94v}}<br />
{{image|Cgm 3712 095r.jpg|Folio 95r}}<br />
{{image|Cgm 3712 095v.jpg|Folio 95v}}<br />
{{image|Cgm 3712 096r.jpg|Folio 96r}}<br />
{{image|Cgm 3712 096v.jpg|Folio 96v}}<br />
{{image|Cgm 3712 097r.jpg|Folio 97r}}<br />
{{image|Cgm 3712 097v.jpg|Folio 97v}}<br />
{{image|Cgm 3712 098r.jpg|Folio 98r}}<br />
{{image|Cgm 3712 098v.jpg|Folio 98v}}<br />
{{image|Cgm 3712 099r.jpg|Folio 99r}}<br />
{{image|Cgm 3712 099v.jpg|Folio 99v}}<br />
{{image|Cgm 3712 100r.jpg|Folio 100r}}<br />
{{image|Cgm 3712 100v.jpg|Folio 100v}}<br />
{{image|Cgm 3712 101r.jpg|Folio 101r}}<br />
{{image|Cgm 3712 101v.jpg|Folio 101v}}<br />
{{image|Cgm 3712 102r.jpg|Folio 102r}}<br />
{{image|Cgm 3712 102v.jpg|Folio 102v}}<br />
{{image|Cgm 3712 103r.jpg|Folio 103r}}<br />
{{image|Cgm 3712 103v.jpg|Folio 103v}}<br />
{{image|Cgm 3712 104r.jpg|Folio 104r}}<br />
{{image|Cgm 3712 104v.jpg|Folio 104v}}<br />
{{image|Cgm 3712 105r.jpg|Folio 105r}}<br />
{{image|Cgm 3712 105v.jpg|Folio 105v}}<br />
{{image|Cgm 3712 106r.jpg|Folio 106r}}<br />
{{image|Cgm 3712 106v.jpg|Folio 106v}}<br />
{{image|Cgm 3712 107r.jpg|Folio 107r}}<br />
{{image|Cgm 3712 107v.jpg|Folio 107v}}<br />
{{image|Cgm 3712 108r.jpg|Folio 108r}}<br />
{{image|Cgm 3712 108v.jpg|Folio 108v}}<br />
{{image|Cgm 3712 109r.jpg|Folio 109r}}<br />
{{image|Cgm 3712 109v.jpg|Folio 109v}}<br />
{{image|Cgm 3712 110r.jpg|Folio 110r}}<br />
{{image|Cgm 3712 110v.jpg|Folio 110v}}<br />
{{image|Cgm 3712 111r.jpg|Folio 111r}}<br />
{{image|Cgm 3712 111v.jpg|Folio 111v}}<br />
{{image|Cgm 3712 112r.jpg|Folio 112r}}<br />
{{image|Cgm 3712 112v.jpg|Folio 112v}}<br />
{{image|Cgm 3712 113r.jpg|Folio 113r}}<br />
{{image|Cgm 3712 113v.jpg|Folio 113v}}<br />
{{image|Cgm 3712 114r.jpg|Folio 114r}}<br />
{{image|Cgm 3712 114v.jpg|Folio 114v}}<br />
{{image|Cgm 3712 115r.jpg|Folio 115r}}<br />
{{image|Cgm 3712 115v.jpg|Folio 115v}}<br />
{{image|Cgm 3712 116r.jpg|Folio 116r}}<br />
{{image|Cgm 3712 116v.jpg|Folio 116v}}<br />
{{image|Cgm 3712 117r.jpg|Folio 117r}}<br />
{{image|Cgm 3712 117v.jpg|Folio 117v}}<br />
{{image|Cgm 3712 118r.jpg|Folio 118r}}<br />
{{image|Cgm 3712 118v.jpg|Folio 118v}}<br />
{{image|Cgm 3712 119r.jpg|Folio 119r}}<br />
{{image|Cgm 3712 119v.jpg|Folio 119v}}<br />
{{image|Cgm 3712 120r.jpg|Folio 120r}}<br />
{{image|Cgm 3712 120v.jpg|Folio 120v}}<br />
{{image|Cgm 3712 121r.jpg|Folio 121r}}<br />
{{image|Cgm 3712 121v.jpg|Folio 121v}}<br />
{{image|Cgm 3712 122r.jpg|Folio 122r}}<br />
{{image|Cgm 3712 122v.jpg|Folio 122v}}<br />
{{image|Cgm 3712 123r.jpg|Folio 123r}}<br />
{{image|Cgm 3712 123v.jpg|Folio 123v}}<br />
{{image|Cgm 3712 124r.jpg|Folio 124r}}<br />
{{image|Cgm 3712 124v.jpg|Folio 124v}}<br />
{{image|Cgm 3712 125r.jpg|Folio 125r}}<br />
{{image|Cgm 3712 125v.jpg|Folio 125v}}<br />
{{image|Cgm 3712 126r.jpg|Folio 126r}}<br />
{{image|Cgm 3712 126v.jpg|Folio 126v}}<br />
{{image|Cgm 3712 127r.jpg|Folio 127r}}<br />
{{image|Cgm 3712 127v.jpg|Folio 127v}}<br />
{{image|Cgm 3712 128r.jpg|Folio 128r}}<br />
{{image|Cgm 3712 128v.jpg|Folio 128v}}<br />
{{image|Cgm 3712 129r.jpg|Folio 129r}}<br />
{{image|Cgm 3712 129v.jpg|Folio 129v}}<br />
{{image|Cgm 3712 130r.jpg|Folio 130r}}<br />
{{image|Cgm 3712 130v.jpg|Folio 130v}}<br />
{{image|Cgm 3712 131r.jpg|Folio 131r}}<br />
{{image|Cgm 3712 131v.jpg|Folio 131v}}<br />
{{image|Cgm 3712 132r.jpg|Folio 132r}}<br />
{{image|Cgm 3712 132v.jpg|Folio 132v}}<br />
{{image|Cgm 3712 133r.jpg|Folio 133r}}<br />
{{image|Cgm 3712 133v.jpg|Folio 133v}}<br />
{{image|Cgm 3712 134r.jpg|Folio 134r}}<br />
{{image|Cgm 3712 134v.jpg|Folio 134v}}<br />
{{image|Cgm 3712 135r.jpg|Folio 135r}}<br />
{{image|Cgm 3712 135v.jpg|Folio 135v}}<br />
{{image|Cgm 3712 136r.jpg|Folio 136r}}<br />
{{image|Cgm 3712 136v.jpg|Folio 136v}}<br />
{{image|Cgm 3712 137r.jpg|Folio 137r}}<br />
{{image|Cgm 3712 137v.jpg|Folio 137v}}<br />
{{image|Cgm 3712 138r.jpg|Folio 138r}}<br />
{{image|Cgm 3712 138v.jpg|Folio 138v}}<br />
{{image|Cgm 3712 139r.jpg|Folio 139r}}<br />
{{image|Cgm 3712 139v.jpg|Folio 139v}}<br />
{{image|Cgm 3712 140r.jpg|Folio 140r}}<br />
{{image|Cgm 3712 140v.jpg|Folio 140v}}<br />
{{image|Cgm 3712 141r.jpg|Folio 141r}}<br />
{{image|Cgm 3712 141v.jpg|Folio 141v}}<br />
{{image|Cgm 3712 142r.jpg|Folio 142r}}<br />
{{image|Cgm 3712 142v.jpg|Folio 142v}}<br />
{{image|Cgm 3712 143r.jpg|Folio 143r}}<br />
{{image|Cgm 3712 143v.jpg|Folio 143v}}<br />
{{image|Cgm 3712 144r.jpg|Folio 144r}}<br />
{{image|Cgm 3712 144v.jpg|Folio 144v}}<br />
{{image|Cgm 3712 145r.jpg|Folio 145r}}<br />
{{image|Cgm 3712 145v.jpg|Folio 145v}}<br />
{{image|Cgm 3712 146r.jpg|Folio 146r}}<br />
{{image|Cgm 3712 146v.jpg|Folio 146v}}<br />
{{image|Cgm 3712 147r.jpg|Folio 147r}}<br />
{{image|Cgm 3712 147v.jpg|Folio 147v}}<br />
{{image|Cgm 3712 148r.jpg|Folio 148r}}<br />
{{image|Cgm 3712 148v.jpg|Folio 148v}}<br />
{{image|Cgm 3712 149r.jpg|Folio 149r}}<br />
{{image|Cgm 3712 149v.jpg|Folio 149v}}<br />
{{image|Cgm 3712 150r.jpg|Folio 150r}}<br />
{{image|Cgm 3712 150v.jpg|Folio 150v}}<br />
{{image|Cgm 3712 151r.jpg|Folio 151r}}<br />
{{image|Cgm 3712 151v.jpg|Folio 151v}}<br />
{{image|Cgm 3712 152r.jpg|Folio 152r}}<br />
{{image|Cgm 3712 152v.jpg|Folio 152v}}<br />
{{image|Cgm 3712 153r.jpg|Folio 153r}}<br />
{{image|Cgm 3712 153v.jpg|Folio 153v}}<br />
{{image|Cgm 3712 154r.jpg|Folio 154r}}<br />
{{image|Cgm 3712 154v.jpg|Folio 154v}}<br />
{{image|Cgm 3712 155r.jpg|Folio 155r}}<br />
{{image|Cgm 3712 155v.jpg|Folio 155v}}<br />
{{image|Cgm 3712 156r.jpg|Folio 156r}}<br />
{{image|Cgm 3712 156v.jpg|Folio 156v}}<br />
{{image|Cgm 3712 157r.jpg|Folio 157r}}<br />
{{image|Cgm 3712 157v.jpg|Folio 157v}}<br />
{{image|Cgm 3712 158r.jpg|Folio 158r}}<br />
{{image|Cgm 3712 158v.jpg|Folio 158v}}<br />
{{image|Cgm 3712 159r.jpg|Folio 159r}}<br />
{{image|Cgm 3712 159v.jpg|Folio 159v}}<br />
{{image|Cgm 3712 160r.jpg|Folio 160r}}<br />
{{image|Cgm 3712 160v.jpg|Folio 160v}}<br />
{{image|Cgm 3712 161r.jpg|Folio 161r}}<br />
{{image|Cgm 3712 161v.jpg|Folio 161v}}<br />
{{image|Cgm 3712 162r.jpg|Folio 162r}}<br />
{{image|Cgm 3712 162v.jpg|Folio 162v}}<br />
{{image|Cgm 3712 163r.jpg|Folio 163r}}<br />
{{image|Cgm 3712 163v.jpg|Folio 163v}}<br />
{{image|Cgm 3712 164r.jpg|Folio 164r}}<br />
{{image|Cgm 3712 164v.jpg|Folio 164v}}<br />
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{{image|Cgm 3712 Cover 3.jpg|Inside Cover}}<br />
{{image|Cgm 3712 Cover 4.jpg|Back Cover}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Dierk Hagedorn|Hagedorn, Dierk]], with [[Helen Hagedorn|Helen]] and [[Henri Hagedorn]]. ''Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523.'' Greenhill Books, 2021. ISBN 9781784386566<br />
* Jaquet, Daniel; [[Bartłomiej Walczak|Walczak, Bartłomiej]]. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings". ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 105-148. 2014. {{doi|10.1515/apd-2015-0015}}.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
<section begin="image license"/>{{sourcebox<br />
| work = Images<br />
| authors = [[Bayerische Staatsbibliothek]]<br />
| source link = http://daten.digitale-sammlungen.de/bsb00043228/image_1<br />
| source title= Bayerische Staatsbibliothek<br />
| license = noncommercial<br />
}}<section end="image license"/><br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Maister Liechtenawers Kunstbuech (Cgm 3712)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Manuscripts]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Maister_Liechtenawers_Kunstbuech_(Cgm_3712)&diff=141950Maister Liechtenawers Kunstbuech (Cgm 3712)2023-04-10T21:24:53Z<p>Christian Trosclair: /* Contents */</p>
<hr />
<div>{{Infobox manuscript<br />
<!----------Name----------><br />
| name = [[name::Maister Liechtenawers Kunstbuech]]<br />
| location = [[inventory::Cgm 3712]], [[museum::Bayerische Staatsbibliothek]]<br/>Munich, Germany<br />
<!----------Image----------><br />
| imageleft = File:Cgm 3712 Iv.jpg<br />
| imageright = File:Cgm 3712 001r.jpg<br />
| width = x200px<br />
| caption = First page, fol. 1r<br />
<!----------General----------><br />
| Index number = [[WI::—]]<br />
| Wierschin's catalog= [[WC::29]]<br />
| Hils' catalog = [[HK::39]]<br />
| Beck catalog = [[BC::38.7.5]]<br />
| Also known as = <br />
| Type = {{plainlist<br />
| [[type::Fencing manual]]<br />
| [[type::Wrestling manual]]<br />
}}<br />
| Date = [[year::1556]]<br />
| Place of origin = Augsburg, Germany<br />
| Language(s) = [[language::Early New High German]]<br />
| Scribe(s) = [[scribe::Lienhart Sollinger]] (?)<br />
| Author(s) = {{collapsible list<br />
| [[author::Martin Huntsfeld]]<br />
| [[author::Jörg Wilhalm]]<br />
| [[author::Johannes Lecküchner]]<br />
| [[author::Lew]]<br />
| [[author::Johannes Liechtenauer]]<br />
| [[author::Ott Jud]]<br />
| [[author::Nicolaüs]]<br />
| [[author::Jobst von Württemberg]]<br />
}}<br />
| Compiled by = <br />
| Illuminated by = Unknown<br />
| Patron = <br />
| Dedicated to = <br />
<!----------Form and content----------><br />
| Material = Paper, with a leather binding<br />
| Size = 84 [[folia]] (225 mm × 305 mm)<br />
| Format = Double-sided; one illustration per side, <br/>with text below<br />
| Condition = <br />
| Script = <br />
| Contents = <br />
| Illumination(s) = <br />
| Additions = <br />
| Exemplar(s) = {{plainlist<br />
| [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]] (1523) (?)<br />
| [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|MS E.1939.65.354]] (1533)<br />
}}<br />
| Previously kept = <br />
| Discovered = <br />
| Website = [http://opacplus.bsb-muenchen.de/search?oclcno{{=}}643305371 Library catalog entry]<br />
| Images = {{plainlist<br />
| [http://daten.digitale-sammlungen.de/bsb00107024/image_1 Digital scans]<br />
| [http://daten.digitale-sammlungen.de/bsb00043228/image_1 Microfilm scans]<br />
}}<br />
| below = <br />
}}<br />
'''''Maister Liechtenawers Kunstbuech''''' ("Master Liechtenauer's Art Book", Cgm 3712) is a [[nationality::German]] [[fencing manual]] created in 1556,<ref>Internally dated on [http://daten.digitale-sammlungen.de/bsb00043228/image_194 folio 95v]</ref> possibly by [[Lienhart Sollinger]].<ref>See [http://daten.digitale-sammlungen.de/bsb00043228/image_106 folio 51v].</ref> The original currently rests in the holdings of the [[Bayerische Staatsbibliothek]] in Munich, Germany. This manuscript has two main parts. The first half (ff 1r - 88v) is an anthology of treatises by various famous and influential masters of the [[Johannes Liechtenauer|Liechtenauer tradition]], such as [[Martin Huntsfeld]] and [[Andre Lignitzer]]. The second half (ff 91r - 211v) is primarily a copy of [[Jörg Wilhalm]]'s extensive treatise from the 1520s, probably sourced from the current [[Jörg Wilhalm Hutters kunst zu Augspurg (Cgm 3711)|Cgm 3711]], as well as an assortment of uncaptioned devices from unknown sources.<br />
<br />
== Provenance ==<br />
<br />
<br />
<br />
== Contents ==<br />
<br />
{| class="treatise"<br />
|- <br />
! id="page" | [[Lew|1r - 23v]]<br />
| [[Gloss]] of Liechtenauer's [[Recital]] on [[long sword]] fencing by [[Lew]]<br />
<br />
|- <br />
! [[Martin Huntsfeld|25r - 31r]]<br />
| [[Short sword]] fencing and grappling by [[Martin Huntsfeld]] (attributed to Lew)<br />
<br />
|- <br />
! [[Andre Lignitzer|21v - 37v]]<br />
| Short sword fencing by [[Andre Lignitzer]] (attributed to Martin Huntsfeld)<br />
<br />
|- <br />
! [[Ott Jud|38r - 42v]]<br />
| Grappling by [[Ott Jud]]<br />
<br />
|- <br />
! [[Lew|43r - 51v]]<br />
| Gloss of Liechtenauer's Recital on [[mounted fencing]] by [[Lew]]<br />
<br />
|- <br />
! 51v<br />
| [[Mounted sword]] fencing poem by [[Martin Huntsfeld]]<br />
<br />
|- <br />
! 51v<br />
| Note by Lienhart Sollinger<br />
<br />
<br />
|- <br />
! [[Johannes Lecküchner|53r - 65r]]<br />
| [[Messer]] gloss by [[Johannes Lecküchner]] (fragment; attributed to Johannes Liechtenauer)<br />
<br />
|- <br />
! 65r<br />
| [Die Siben Spieß des Langen Spies]<br />
<br />
|- <br />
! [[Johannes Liechtenauer|65r - 66r]],<br/>[[Johannes Liechtenauer|89r - 91r]]<br />
| Recital on long sword fencing by [[Johannes Liechtenauer]] (fragments)<br />
<br />
|- <br />
! [[Jobst von Württemberg|66r - 69r]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Nicolaüs|69rv]], [[Nicolaüs|91r&nbsp;-&nbsp;95v]]<br />
| [[Gloss]] of Liechtenauer's Recital on the long sword by [[Nicolaüs]] (fragment)<br />
<br />
|- <br />
! 69v - 73r<br />
| Anonymous [[grappling]] teachings<br />
<br />
|- <br />
! [[Jobst von Württemberg|73r - 88v]]<br />
| Sword and messer teachings by [[Jobst von Württemberg]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|97r - 136r]]<br />
| Long sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|138r - 155v]]<br />
| Mounted fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|156r - 195v]]<br />
| Short sword fencing by [[Jörg Wilhalm]]<br />
<br />
|- <br />
! [[Anonymous Sword and Buckler Images|196r - 209v]], [[Anonymous Sword and Buckler Images|212r]]<br />
| Illustrations of [[sword and buckler]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210r]]<br />
| Illustrations of [[longshield]]<br />
<br />
|- <br />
! [[Jörg Wilhalm|210v - 211r]]<br />
| Illustrations of a duel between a Man and a Woman<br />
<br />
|- <br />
! [[Jörg Wilhalm|211v]]<br />
| Illustration of [[navaja]]<br />
<br />
|}<br />
<br />
== Gallery ==<br />
<br />
{{image|Cgm 3712 Cover 1.jpg|Front Cover}}<br />
{{image|Cgm 3712 Cover 2.jpg|Inside Cover}}<br />
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{{image|Cgm 3712 Cover 3.jpg|Inside Cover}}<br />
{{image|Cgm 3712 Cover 4.jpg|Back Cover}}<br />
<br />
== Additional Resources ==<br />
<br />
* [[Dierk Hagedorn|Hagedorn, Dierk]], with [[Helen Hagedorn|Helen]] and [[Henri Hagedorn]]. ''Renaissance Combat. Jörg Wilhalm's Fightbook, 1522-1523.'' Greenhill Books, 2021. ISBN 9781784386566<br />
* Jaquet, Daniel; [[Bartłomiej Walczak|Walczak, Bartłomiej]]. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings". ''[[Acta Periodica Duellatorum]]'' '''2'''(1): 105-148. 2014. {{doi|10.1515/apd-2015-0015}}.<br />
<br />
== References ==<br />
<br />
{{reflist}}<br />
<br />
== Copyright and License Summary ==<br />
<br />
For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
<br />
<section begin="sourcebox"/>{{sourcebox header}}<br />
<section begin="image license"/>{{sourcebox<br />
| work = Images<br />
| authors = [[Bayerische Staatsbibliothek]]<br />
| source link = http://daten.digitale-sammlungen.de/bsb00043228/image_1<br />
| source title= Bayerische Staatsbibliothek<br />
| license = noncommercial<br />
}}<section end="image license"/><br />
{{sourcebox<br />
| work = Transcription<br />
| authors = <br />
| source link = <br />
| source title= [[Index:Maister Liechtenawers Kunstbuech (Cgm 3712)]]<br />
| license = <br />
}}<br />
{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Manuscripts]]<br />
<br />
[[Category:Research/Background Information]]<br />
[[Category:Image Processing]]<br />
[[Category:Transcription]]</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Falkner_Turnierbuch&diff=141638Falkner Turnierbuch2023-03-24T21:17:26Z<p>Christian Trosclair: </p>
<hr />
<div>{{infobox manuscript<br />
<!----------Name----------><br />
| name = [[name::Falkner Turnierbuch]]<br />
| location = Presumed destroyed{{#set:museum=Presumed destroyed}}<br />
<!----------Image----------><br />
| imageleft = <br />
| imageright = <br />
| width = <br />
| caption = <br />
<!----------General----------><br />
| Index number = [[WI::—]]<br />
| Wierschin's catalog= [[WC::—]]<br />
| Hils' catalog = [[HK::—]]<br />
| Beck catalog = [[BC::—]]<br />
| Also known as = <br />
| Type = {{plainlist<br />
| [[type::Fencing manual]]<br />
| [[type::Wrestling manual]]<br />
}}<br />
| Date = ca. [[year::1500]]<br />
| Place of origin = Unknown<br />
| Language(s) = [[language::Early New High German]]<br />
| Scribe(s) = <br />
| Author(s) = [[author::Peter Falkner]]<br />
| Compiled by = <br />
| Illuminated by = <br />
| Patron = <br />
| Dedicated to = <br />
<!----------Form and content----------><br />
| Material = <br />
| Size = <br />
| Format = <br />
| Condition = <br />
| Script = <br />
| Contents = <br />
| Illumination(s) = <br />
| Additions = <br />
| Exemplar(s) = <br />
| Previously kept = Strasbourg City Archive<br />
| Discovered = [[Christian Trosclair]]<br />
| Website = <br />
| Images = <br />
| below = <br />
}}<br />
The '''''Falkner Turnierbuch''''' was a [[nationality::German]] [[fencing manual]] authored by [[Peter Falkner]], probably created around the turn of the 16th century. The original was previously held by the Strasbourg City Archive, and likely destroyed, along with the rest of the Archive, by Prussian bombardment during the Siege of Strasbourg in 1870. It is mentioned in several texts between 1698 and 1784, the last of which is a dictionary which includes 94 quotations from the manuscript as examples of word usage.<ref>Scherz, Johann Georg. ''Johannis Georgii Scherzii J.U.D. et P.P. argentoratensis Glossarium germanicum medii aevi potissimum dialecti suevicae edidit illustravit supplevit Jeremias Jacobus Oberlinus, phil. D. et P.P. argentoratensis''. Strasbourg: Lorenzii et Schuleri, 1781-84.</ref> [[Olivier Dupuis]] notes that the manuscript could have been removed from the Archive between the last mention in 1784 and the Siege of Strasbourg, such as during the French Revolution, but there's no way to know short of coming upon it in a different collection.<br />
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== Provenance ==<br />
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== Contents ==<br />
<br />
{| class="treatise"<br />
|- <br />
! id="page" | <br />
| {{treatise begin<br />
| title = Front matter<br />
| width = 60em<br />
}}<br />
{| class="treatisecontent"<br />
|- <br />
! <p>{{rating|c}}<br/>by [[Stephen Cheney]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>On the Tournament - and Wrestling - and Fencing - Art.</p><br />
| <p>Von der Thurnier - und Ring- und Fecht- Kunst.</p><br />
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|}<br />
{{treatise end}}<br />
<br />
|- <br />
! <br />
| [[Gloss]] of Liechtenauer's [[Recital]] on [[mounted fencing]] by [[Pseudo-Peter von Danzig]]<br />
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|- <br />
! <br />
| Gloss of Liechtenauer's Recital on [[short sword]] fencing by [[Pseudo-Peter von Danzig]]<br />
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|- <br />
! <br />
| Unidentified armored teachings<br />
<br />
|- <br />
! <br />
| [[Messer]] by [[Johannes Lecküchner]]<br />
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|- <br />
! <br />
| [[Wrestling]] related to the treatise of [[Ott Jud]]<br />
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|- <br />
! <br />
| Unidentified sword teachings<br />
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|- <br />
! <br />
| Gloss of Liechtenauer's Recital on [[long sword]] fencing by [[Pseudo-Peter von Danzig]]<br />
<br />
|- <br />
! <br />
| Additional teachings typically attributed to [[Jörg Wilhalm]]<br />
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|- <br />
! <br />
| {{treatise begin<br />
| title = Rear matter<br />
| width = 60em<br />
}}<br />
{| class="treatisecontent"<br />
|- <br />
! <p>{{rating|c}}<br/>by [[Stephen Cheney]]</p><br />
! <p>Transcription</p><br />
<br />
|- <br />
| <p>Here ends Master Peter Falkner, a master in all knightly weapons.</p><br />
| <p>Hie endet Meister Peter Falckner ein Meister in allen Ritterlichen weren.</p><br />
<br />
|- <br />
| <p>And whoever has not learned the art,<br/>Master Peter Falkner laments that, early and late.</p><br />
| <p>Und wer die kunst nit gelernet hat,<br/>Das clagkt Meister Peter Falckner frw nd spatt.</p><br />
<br />
|- <br />
| <p>Here ends Master Peter Falkner's art with the long sword, a master in all knightly weapons.</p><br />
| <p>Allhie endet Meister Peter Walckners Kunst mit dem langen schwert ein Meister in allen Ritterlichen weren</p><br />
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|}<br />
{{treatise end}}<br />
<br />
|}<br />
<br />
{{master begin<br />
| title = Excerpts<br />
| width = 60em<br />
}}<br />
The following were transcribed by [[Christian Trosclair]] from Scherz' dictionary:<br />
<br />
p. ???. hie hebt sich an die kunst zu rosz das erst myt der gleuen darnach mit dem SCHWERT vnd yn ringen.<br />
<br />
p. 001. so saltu vor allen sachen wyssen die iiij hut ij mit der langen gleuen ij mit der kurtzen.<br />
<br />
p. 001. wen du rittest myt einer GLEUEN sy lang oder kurtz. die GLEVEN verschiessen.<br />
<br />
p. 003. wen ir zusammen ritten so lasz dyn gleuen mit dem ORTT des hyndern teils nider hangen. cf. & HANGENDES ORT.<br />
<br />
p. 006. rytt im GERICHTZ vnder augen.<br />
<br />
p. 009. der SCHAFFGRIFF wert sich RINGES zu dir kertt also vnder augen an gryff in recht mit stugen. Glosa: wisse das ist der besten ryngen eynsz zu rosz vnd heiset der SCHAFFGRIFF v bricht da mit all ringen da mit eyner dich fornen angrifft vnder augen. Glosa: den SCHAFFGRIFF dryb also, reitt dem man glich vnder augen mit dyner rechten sitten an sin rech, grifft er dich fornen mit ringen, so begriff sin rechte hand mit diner lincken vnd mit der rechten far oben uber sin recht v. ruck sv under dyn brust v. begriff da mit den sattelbogen v. leg dich mit dem lyb daruff ryt far dich so wirffstu yn.<br />
<br />
p. 013. item ob du wilt ritten ROSSLAUFF zu der anderen sitten so mag. . .<br />
<br />
p. 016. stich im usz der oberen HUT zu dem gesicht.<br />
<br />
p. 017. halt es (das schwert) mit dem GEHILTZ.<br />
<br />
p. 017. item das ist die under HUT mit dem kurtzen schwert.<br />
<br />
p. 017. ob ir beid die GLEFFEN verschossen hetten.<br />
<br />
p. 023. nympt er dir den tegen so setz dich RESCHLICH by im.<br />
<br />
p. 035. val ym mit dinem licken armm yber sin messer vnn wintz ims vnter den YGGSN.<br />
<br />
p. 039. vier sind der ZINNEN, die du solt gewynnen, der wach nym war, was si sten mit gefar.<br />
<br />
p. 042. den WINCKER soltu erstrecken vnd die meister damit erwecken, zwifach ler WINCKEN zu der rechten von der lincken. p.p. wiltu die meister pluiwen, des WINCKERS soltu dich frewen, was da kuimpt krump oder schlecht, das sy dem WYNCKER alles gerecht. das ist, wen du uff in wilt hawen, vorsetzt er dan mit hangen dem messer, das sin schnid vber sich stee vnd der ort nider hang, so schlach im mit dem ruck dinnes messers oben vber das sin hoch zu dem kopff, das ist gut.<br />
<br />
p. 042. vier LEGER soltu absinnen im messer fechten wiltu gewinnern bestey vnd lug ins land stier v. eber sy dir bekant. lystu hoch in der hoech das der spitz uiber sich stee, wil er dir damit die wer vnderlaufen so gee schel mit hangendem ort gegen sinem messer mit dym ort an den sin das heisset der LUG INS LAND. Stestu aber im STIER v. kerst im den ort zu dem gesicht zu diner rechten sitten schecht er dan vff dich oder sticht dir zu so stich schnel im zu dem gesicht an sin messer. Lystu aber in dem EBER vnd halst din messer uff den beinen wil er schlachen so gee mit verwunder hand vnd nesser (f.l. messer) vnd auff an das sin vnd schlach im nach dem arm oder kopf zu siner rechten sytten. Stestu in der POSTEY das das messer vor lytt strags by dem fus des lyncken uff der erden hawt er dir dan aber zu so gee aber uff das der ort zu deiner lincken sytten nider hang an sin messer vnd haw im nach der lincken sytten oder arm. das sind die vier sersetzen wider di vier LEGER.<br />
<br />
p. 043. was da kruimp oder schlecht, das sy dem wincker alles GERECHT.<br />
<br />
p. 048. wil dir einer zu dem kopf schalgen, oder zu den armen, so lauff von vnden auff mit dem ort an sin messer, vnd setz im das sin ab mit dem WERNAGEL oder fur einen schind durch den hals...<br />
<br />
p. 056. ligt er im HANGENDEN ort, nim das messer one forcht mit dem gehiltz soltu schieben.<br />
<br />
p. 057. wen ir beid ligt im HANGENDEN ort so griff mit diner licken hand ober uber sin messer.<br />
<br />
p. 062. wen er lyt in dem HANGENDEN ort so schlag im uff sin clingen vnd griff im it deiner lincken hand ober nach dem knauff vnd mit deinem gehiltz far im oben uber sin elebogen.<br />
<br />
p. 065. halt din messer . . das der spitz NIDER HANG.<br />
<br />
p. 066. den STORCKENSCHNABEL soltu erlengen, dasz furbein zuruck ler bringen<br />
<br />
p. 066. wer dir in wil lauffen, mit dem ort solt im gauffen<br />
<br />
p. 067. SCORPION mit siner ker dem antlit ist gefer die kurtz schnid gegen dem haupt los fallen schlach recht zwifach lasz prallen<br />
<br />
p. 068. gewappnet mit dem KLOSZ zu der brust stoss gewappnet oder sust versetz recht es gypt dir lust.<br />
<br />
p. 069. wer der POSTEY zusetzt vom lug ins land wurt er geletzt dringt er im an binden ort zu gesicht solt winden.<br />
<br />
p. 070. wer der POSTEY zusetzt vom LUG INS LAND wurt er geletzt dringt er im an binden ort zu gesicht solt winden.<br />
<br />
p. 071. das ist wen du steest mit dem rechten fusz vor, so halt din messer uffder rechten sytten in einer SCHRANKHUT, haut er dan zu so schlach in mit der kurzen schnid oben auff das sin vnd wind im den ort in das gesicht.<br />
<br />
p. 071. wen dir einer zuhawt zu diner lincken sytten so HENG im das messer vnd fach den streich darin v. gee im unden durch zu der anderen syten mit dem ort.<br />
<br />
p. 075. schleust dir einer den hockn ein vnd vast dir din ledigen arm vnn reck sich fuir sich gegen der erden vnn wil dich usz gantzer WIG werffn, so lasz ym deinen untern arm . . .<br />
<br />
p. 075. sleust dir einer den HOCKEN ein und vast dir din ledigen arm . .<br />
<br />
p. 077. vast dich einer mit sainer lincken hant bey dem gortel vnn mit der rechten vnten pey der JAPPEN.<br />
<br />
p. 083. so dir ainer in die PRICHT kumpt vnd wil dich uber den fusz werffen so setz das knie fur in den dreyen PRICHEN, wich mit dem fusz hinter sich - so PRICHSTU im den arm ab. p. p. die verd PRICH treib also wen du ringst in langen armm so PRICH ausz mit deinem rechten arm.<br />
<br />
p. 084. die vierd prich treib also wen du ringst in LANGEM arm so prich aufz mit dinem rechten arm vnd ge ein wile vmb mit ym v. ruck yn dann mit dinem linken armen vrbering starck an dich &c<br />
<br />
p. 085. die funft brich treib also, wen du mit einem ringst in langen arm so brich im ausz mit dinem rechten arm vnd ge ein wil vmb mit yn vnn vrbering zuck in an dich vnd hoch auff mit dinem rechten armm vnd umbgrieff ym sinen SCHINKEN aufwendig vnd halt in vest mit diner lincken hant vnd trit mit dinem rechten fusz teuff hinter sinen linken fusz als &c. so wurfft in yber das knie . . .<br />
<br />
p. 085. stosz im mit deinem rechten elpogen vnter seinn reche YGSSEN - so wurffestu yn den rucken wol fur sich in die WAG.<br />
<br />
p. 092. sleust dir ainer den HOCKEN ein vnd spant sich vast an so druck yn ain wil hin u. her..<br />
<br />
p. 092. tritt ym mit dinem rechten fusz zwischen seine pain vnd setz dich wol in die WAG.<br />
<br />
p. 095. wil er dich fur lassen tretten so nym den bauch zu den fordern zweyen stucken oder nym ein KAUPFF STUCK.<br />
<br />
p. 101. sleht dir einer oben stark, zu dem kopff so wint auff mit deinem HOCKEN mit gewapenter hant - p. p. so zuck ym seinem HOCKEN mit deinem hamen stark an dich v. stoss im mit dem ort in seyn angesicht.<br />
<br />
p. 103. mention sit des vechtens mit dem langen swert.<br />
<br />
p. 103. vichstu mit ainem in dem langen swert, der VNPLIBLICH ist vnn laufft vast, in des so setz dich lang in die wag vnd setz im sin schleg ab .. p. p. vichstu mit ainem in dem langen swert vnn empfinst, das er PELEIBLICH ist ...<br />
<br />
p. 105. schlecht dir ainer mit dem VERZUCKTEM HAW noch dem elpogen alz vor, so versetz ym den schlag lanck..<br />
<br />
p. 108. vichstu mit ainem, der gern im an pinten stet, vnn dir mit siner linchen hant vorn in die klingen grieff, so pesich, dasz du ym dy seinen auch damit ergreifst, vnn wart eben, wann er sie hinter sich vnn fur sich ruck, dastu strack ZUHALTZT mit der hent<br />
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p. 111. dasz sint die veer hutten, da alle kunst desz langen swertz vszgent alsz si dan die ZETTEL lert v. uszweist.<br />
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p. 113. des gleichen auch, wen du hewest von diner lincken siten, so gibt sich auch sin lieb recht da mit in die WAG.<br />
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p. 114. haw nahet wesz du wilt kein WEICHSZELN kumpt an dinen schilt zu kopf vnd zu lib, die ZOCKT nicht vermid.<br />
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p. 115. dr. WECHSELN. sokan er vor dem ort nit durch WECHSELN.<br />
<br />
p. 116. bistulinck, so hew auch den ersten haw nicht von der rechten sitten, won isz ist einem licken gar WILD kunst zu tryben von rechten syten.<br />
<br />
p. 117. vnd dar zu desz WORTZ inndesz nicht vergist.<br />
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p. 119. SWECH des swertz SWEICH vnd sterck des swertz.<br />
<br />
p. 120. das wirt dir hir nach VORCLERET<br />
<br />
p. 120. isz sint funff VERPURGEN hew, da vil mester des swertz nicht von wissen zu sagen.<br />
<br />
p. 120. vber die mit bis an den ORT ist die swech des swertz.<br />
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p. 123. wer die ober hawt ZORN HAW ort dem drawt. glosa: merck der ZURNHEW prichtmit dem ort all ober haw vnd ust doch anders nichtz dan ein schlechten pauren schlack, vnd den treib also: wen du mit dem zu fechten zu ym komest, hawt er dir dan von siner rechten sitten oben in zu dem kopff, so haw ach (auch) von diner rechten sitten von oben ab an alle VORSAITZUNG mit ym zonicklich auff sin swert, ist er dan wiech an sim swert, so schusz im den ort gerichtz vor sich lanck ein, cvnd stich im zu dem gesicht oder prust. &c. &c.<br />
<br />
p. 124. der ZURNHEW pricht mit dem ort alle ober haw vnd ist doch anders nichtz dan ein schlechter PAURENSCHLACK vnd den treib also. wen du mit dem zu fechten zu ym komest hawt er dir dan von siner rechten sitten oben in zu dem koff so haw, och von diner rechten sitten vo oben ab...<br />
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p. 127. mit einem haw oder mit einem stich oder SUST.<br />
<br />
p. 127. so salttu dir mit dem winden nicht SCHU gaich lassen sin.<br />
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p. 128. text von dem krieg. wes des krieg rempt oben niden wirt er beschempt: Glosa: merck der KRIEG dasz sins die WINDEN vnd die arbeit, die da usz get mit dem ort zu den veer plossen, vnd die treib also. wen du mit dem zorn haw ein hawst, alsbald er dan verseitzt, so var mit den armen hoch auff vnd WIND im dein ort am swert oben in zu der obern BLOSZ siner lincken sitten, setzt er obern haw, stich ab, so bleib also sten in den WINDEN mention dem geiltz vor deinem heupt, vnd la den ort in dem sincken zu der vntern BLOSZ aber siner lincken sitten...<br />
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p. 130. so soltu mit dem WINDEN am swert gar wol gevbet sin.<br />
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p. 131. wiltu anders die meister TUSCHEN vnd effen (lege effenn) die sich wider dich setzen.<br />
<br />
p. 134. wiltu dich rechen die veer blossen kunstlich brechen oben duplir unden recht MUTIR..<br />
<br />
p. 136. hie merck wie du dasz MUTEREN zu beiden siten treiben solt. Wen du im diner rechten aichsel oben starck einhawst zu dem kopf versetz er dir vnd ist weich am swert, so wind auf mit dein lincke seitten dy kurtz scheid an sein swert vnd wol auf mit den armen vnd var im mit deiner swertz klingen oben ober sein swert vnd stich ohm zu der vnderen plosz..<br />
<br />
p. 138. stet er dan gegen dir vnd halt sin swert vor sinem haubt in der hut des OISCHES auff siner lincken sitten so setz den lincken fusz vor &c.<br />
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p. 142. krump nicht zuck haw dvrch WECHSEL da mit schaw. cf. WEICHSZELN.<br />
<br />
p. 142. vnd wart disz zu oben vor dem haupt mit dem gehiltz wol gedackt sihest auch brichstus mit dem stuck des OISCHENN den treib also &c.<br />
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p. 143. krump wer dich irret der edel kreig in verwerret, dasz er vor war nicht weis wo er sey ana VAR.<br />
<br />
p. 145. der text von dem TWERHAW. TWER benimpt wasz von tag her kumpt. Glossa. merck, der TWERHAW pricht die hut vom tag vnd alle haw, die von oben nider gehauen werden, vnd die treib also, wen du mit dem zu fechten zu im kompst, so ste mit dinem lincken fusz vor, vnd halt din swert an diner rechten AICHSELL, stet er da gegen dir vnd helt sin swert mit aufzgerachten armsen hoch ob dem haubt vnd drewt dir oben ein zu hawen, so kum vor mit dem haw vnd spring mit dem rechten fusz wol auff din rechte sitten gegen im, vnd im sprung wind din swert mit dem gehultz fur dem haubt, dasz dein daum vnden kuim, vnd schlag in mit der kurtzen schneid gegen siner lincken sitten zu dem kopf. Ocer kumpt er vor mit dem haw von oben nider ee wen du, so spring mit dem rechten fusz aufz dem haw wol auff die rechten siten mit der vorgeschreben versaitzung, so vagstu (f. vangstu) sinen haw in dem gehultz wind (f. leg vnnd) sclag in mit der TWER zu der link sitten sins kopffs. &c. &c.<br />
<br />
p. 145. helt sin swert mit AUSGERACHTEN armen.<br />
<br />
p. 148. mit der TWER schlagen.<br />
<br />
p. 149. versetzt er vnd pindt da mit starck an dein swert, so treib dasz TUPELEREN oder stosz in ausz der twir mit dinem gehiltz sin swert auff di seyten ab, vnd schlag in da mit zu der anderen seiten.<br />
<br />
p. 151. der text der TWERSCHLAG zu der veer plossen. TWER zu dem pluck zu dem OISCHEN hart gefug, was sich wol TWERT mit sprungen dem haupt gever. Glosa &c. Sic & ib.<br />
<br />
p. 151. twer zu dem pluck zu dem OISCHEN hart gefug was sich wol twert mit sprungen dem haupt gever. Glossa: du hast vor gehort, wie dasz der PLUG vnd der OISCHS sint genent zwey leger oder zwa hutten &c. p.p. wen du mit dem zu fechten zu im kompst, so ste mit dem lincken fusz vor vnd wen isz dir eben ist so spring it dinen rechten fusz gegen ihm wol auf sin lincken sitten vnd schlag in usz der twir mit kraft gegen siner lincken sitten zu der vnderen plosz dasz heist zu dem PLUG geschlagen, versetzt er so schlag in baldenn zu der obern plosz siner rechten sitten dasz heist zu dem OISCHEN vnd treib dan die twer schleg behendlichen alwaeg einen zu dem OISCHEN vnd den andern zu dem PLUG kreutzweis.<br />
<br />
p. 154. VELER veruoet von unden nach wonsch er ruret. glosa: der VELER ist ein stuck, da mit vil meister und fechter beblendet werden, und nach wunsch gerurt v. geschlagen, die da gern versetzen v. die vechten zu dem swert v. nit zu den PLOISSEN des libes. merck, wan du mit dem zu fechten zu im kumpst, so thu alsz tu in mit einem freien ober hau zu dem kopf wellest sclagen, v. verzug den haw, v. schlag in it der TWER zu der undern blosz siner linken siten oder siner rechten, welcher du wild, v. wart das du mi dem gehultz ob dinem haupt wol deckt sihest &c. sequuenter enim & alia ejusdem modi<br />
<br />
p. 156. der text vonn dem stuck das heist der VERKERER. VERKERER twingt durch lauffen auch mit ringt den throgen gewisz nim spreing in dem wag &c. Glosa: den VERKERER heissen die vechter den halp oder die wend hannt (f. leg. haw) da mit twingt man den man, das man im mag durch laufen vnd gefassen mit ringen. den treib also: an du mit dem zu fechten zu im geest, so gee mit dem lincken fusz vor, vnd haw von diner rechten sitten den halb haw mit verkerter langen schneid ve vnd ve auf v. nider dem lincken fusz nach, bistu zu im komest, v. alsz bald du im an sin swert bindest, so heng im den ort indes oben in v. stich im zu dem gesicht, verseitzt er den stich v. vert hoch auff mit den armen, so lauff im durch, ader bleibt er mit der versetzung v. mit den henden nider, so begreiff mit diner lincken hant sinen rechten elbogen, vnd halt in vest, v. spring mit dinem lincken fusz hinder sinen rechten, v. stosz in also vber deinen fusz.<br />
<br />
p. 159. Text des SCHILHAW : SCHILLAR ein pricht wasz PUFFOL schlect oder sticht<br />
<br />
p. 164. der text von dem SCHEITELHAW: der SCHEITLER dem antlitz ist geuar, mit siner ker der brust vast geuer, was von im kompt die krun dasz abnimpt, schneid durch die kron, so brichstu sie hart schon, die stich, druck, mit schnitten abzuck. Glosa: merck, der SCHEITLER pricht die hut, die heist der AWOR, vnd ist darzu dem antlitz vnd der brust mit siner kere gar geverlich. den treib also. wen du mit dem zu fechten zu im kumpst, leg er sich den gegen dir in die hut AWER, so seitz dinen lincken fusz vor v. halt die swert an diner rechten aichsel in der hutte, v. spring zu im v. haw mit der langen schneid starck von oben nider im zu dem kopf, verseitz er dan den haw, dasz sin ort vnd dasz dem gehultz beyde ort vber sich sten, dasz selb heist die KRON, so bleib hoch mit dem armen, vnd heb mit der lincken hant dinen swertzknopff, uber sich, vnd senck im den ort vber sein gehultz zu der prust &c.<br />
<br />
p. 167. die verd hut hesit VOM TAG, da schick dich also. ste mit dem lincken fusz vor, vnd halt din swert an diner recht AICHSELL oder mit auffgerachten armen hoch ob dinem haupt, v also in der hutte.<br />
<br />
p. 174. darnach du emphindest, ab er WEICH oder HART am swert ist.<br />
<br />
p. 176. nu SUST nu so.<br />
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p. 177. so ist er geschlagen ee WAN er sin gewar wirt.<br />
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p. 179. text vonn UBERLAUFFEN. wer unden rempt VBER LAUFFT den der wirt beschempt wen esz klitz oben so sterck, dasz ger, ich loben &c.<br />
<br />
p. 185. trit nahent in PUNDEN dasz zucken gibt gute finden...<br />
<br />
p. 192. ringstu glich VASSENS mit einem starcken.<br />
<br />
p. 195. oder pindt er dir auff das swert dasz sin ort zu der lincken siten uszget so var mit dem knopff vber sin swert v. schlag in mit der kurtzen scheid zu dem haupt, das heist dasz SCHNAPPEN<br />
<br />
p. 195. text. von der veer SCHNITTEN. veer sint der SCHNIT zwein oben und zwein vnten mit. Glosa &c.<br />
<br />
p. 199. den text von dem SPRECHFENSTER. SPRECHFENSTER mach stand freylich befreht sin saich in dasz er schnabe wer sich von dir zuhet abe ich sag dir vor war sich schutzt kein man me vor hastu vernomen zu schlag mag er nit kommen. Glosa: das SPRECHFENSTER dasz ist auch ein hut, dar in du wol sicher sten magst, vnd die hut dasz ist der lang ort, der edelst v. die pest were am swert. wer da recht aufzfechten kan, der zwingt den man da mit dasz er sich an sinen danck musz schlagen lassen, vnd mag vor dem ort wider zu schlegen noch zu stichen komen. Item. dasz SPRECH FENSTER, schick dich also inn, wen du mit dem zu fechten zu im gest, mit welchen haw du den an im blibst, isz sy an vnder oder ein aber haw in schiessen zu dem gesicht ader brust, da mit zwingstu inn, dasz swert pinden &c. Ein ander stand heist auch dasz SPRECHFENSTER, wen du mit dem zu fechten schier zu ym komben bist, so setz din lincken fusz vor, vnd halt ym den ort lanck aufz den armen gegen dem gesicht oder der prust, ee wan du ym an dasz swert pindest, vnd stee frohlich, vnd beseich wasz er gegen dir vechten wil; hawt er dir dan oben lanck ein zu dem kopff, so var v. wind mit den swert gegen sinem haw in dem OISCHEN, vnd stich ym zu dem gesicht, oder hawt er dir zu dem swert vnd mit zu dem lib, so WECHSEL durch vnd stich ym zu der andern sitten, laufft er ein vnd ist hoch mit den armen, so treib den vndern SCHNITT ader lauff ym durch mit ringen; ist er nider mit den armen, so wart der arm ringen, so magstu alle stuck aufs dem langen ort treiben.<br />
<br />
p. 204. so sint ir ZWAINTZIG vnd VEER.<br />
<br />
p. 213. junck ritter lern Got lyb haben v. junckfrawen in eren, v. red den lutten wol. bisz manlich wo man sol als mit zuchten uben STEINSTOSSEN v. STANGEN SCHUBEN fechten v. ringen dantzen u. springen stech rennen durnirn v. schonen frauwen HOFIEREN...<br />
<br />
p. 213. merck hie stond die vi meister haw im langen schwert, mit namen zornhaw, krumphaw, zwerchhaw, schilherhaw, weckerhaw, kronhaw<br />
<br />
p. 215. wer sich des kriegs REMPT oben da niden wirt er beschempt.<br />
<br />
p. 217. dr. ochs. cf. PLUG.<br />
<br />
p. 221. pindt dir ainer an mit der STANGEN vn wil dich mit dem ort in das angesicht stossen, alz da an der ersten stuck gemalten stat, so trit fur mit dinem lincken fusz v. schlag ym sin STANGEN mit dinem hintern ort hinweg v. stosz ein mit dem ort in dasz angesicht &c. cf. & STEINSTOSSEN<br />
{{master end}}<br />
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For further information, including transcription and translation notes, see the [[Talk:{{PAGENAME}}|discussion page]].<br />
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<section begin="sourcebox"/>{{sourcebox header}}<br />
{{sourcebox<br />
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{{sourcebox<br />
| work = Transcription<br />
| authors = [[transcriber::Johann Georg Scherz]], [[transcriber::Christian Trosclair]]<br />
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{{sourcebox footer}}<section end="sourcebox"/><br />
<br />
[[Category:Treatises]]<br />
[[Category:Manuscripts]]</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Pseudo-Hans_D%C3%B6bringer/Christian_Trosclair_LS_2022&diff=137260Pseudo-Hans Döbringer/Christian Trosclair LS 20222022-10-30T14:31:46Z<p>Christian Trosclair: </p>
<hr />
<div><section begin="1"/>'''This is the general preface of the unarmored fencing on foot. Mark this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>1</small><br />
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,<br />
|- <br />
| <small>2</small><br />
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn<br />
|- <br />
| <small>3</small><br />
| art that decorates you<br/>&emsp;and in wars serves you well.<br />
|- <br />
| <small>4</small><br />
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,<br />
|- <br />
| <small>5</small><br />
| manfully brandish<br/>&emsp;and in other hands ruin.<br />
|- <br />
| <small>6</small><br />
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br />
|- <br />
| <small>7</small><br />
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.<br />
|- <br />
| <small>8</small><br />
| Thereupon you hold,<br/>&emsp;all things have time and place.<br />
|- <br />
| <small class="grey">ⅰ</small><br />
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.<br />
|- <br />
| <small class="grey">ⅱ</small><br />
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation<br />
|- <br />
| <small class="grey">ⅲ</small><br />
| so that you may pay attention<br/>&emsp;and consider with a good spirit<br />
|- <br />
| <small class="grey">ⅳ</small><br />
| whatever you shall command<br/>&emsp;and whip up against the opponent.<br />
|- <br />
| <small class="grey">ⅴ</small><br />
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.<br />
|- <br />
| <small class="grey">ⅵ</small><br />
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.<br />
|- <br />
| <small class="grey">ⅶ</small><br />
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six<br />
|- <br />
| <small class="grey">ⅷ</small><br />
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.<br />
|- <br />
| <small class="grey">ⅸ</small><br />
| It is a brave man<br/>&emsp;that dares to confront their equal.<br />
|- <br />
| <small class="grey">ⅹ</small><br />
| It is not shameful<br/>&emsp;to flee four or six at hand.<br />
|- <br />
| <br />
| <ref>Possibly: "If one cannot flee, then do something cunning, that is my advice."</ref><br />
|}<br />
<section end="1"/><br />
<br />
<section begin="2"/>'''This is a general lesson of the sword:'''<br />
{| class="zettel"<br />
|- <br />
| <small>9</small><br />
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.<br />
|- <br />
| <small>10</small><br />
| And left with right<br/>&emsp;Is what you strongly desire to fence.<br />
|- <br />
| <small>11</small><br />
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.<br />
|- <br />
| <small>12</small><br />
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.<br />
|- <br />
| <small>13</small><br />
| To the head, to the body,<br/>&emsp;Do not omit the stingers.<br />
|- <br />
| <small>14</small><br />
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.<br />
|- <br />
| <small>15</small><br />
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.<br />
|- <br />
| <small>16</small><br />
| And if you are left,<br/>&emsp;You are severely hindered on the right.<br />
|- <br />
| <small class="grey">ⅻ</small><br />
| So always prefer<br/>&emsp;To fence from above left downwards.<br />
|- <br />
| <small>17</small><br />
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.<br />
|- <br />
| <small>18</small><br />
| Weak and strong,<br/>&emsp;Indes, mark this word with them.<br />
|- <br />
| <small>19</small><br />
| So you can learn<br/>&emsp;To defend yourself with art and work.<br />
|- <br />
| <small>20</small><br />
| If you terrify easily,<br/>&emsp;Never learn any fencing.<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,<br />
|- <br />
| <small class="grey">ⅹⅳ</small><br />
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill<br />
|- <br />
| <small class="grey">ⅹⅴ</small><br />
| Fencing will have<br/>&emsp;And bear a joyous spirit.<br />
|}<br />
'''General gloss hereafter.'''<ref name="Latin">Latin</ref> 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="2"/><br />
<br />
<section begin="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.<section end="3"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="4"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="5"/><br />
<br />
<section begin="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.<section end="6"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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".<section end="7"/><br />
<br />
<section begin="8"/>This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<section end="8"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="9"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="10"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After".<br />
<br />
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.<section end="11"/><br />
<br />
<section begin="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.<section end="12"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="13"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="14"/><br />
<br />
<section begin="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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard".<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently?<section end="15"/><br />
<br />
<section begin="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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".<section end="16"/><br />
<br />
<section begin="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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
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.<section end="17"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="18"/><br />
<br />
<section begin="19"/>'''This is the text, wherein he names the five cuts and other plays of fencing.'''<br />
{| class="zettel"<br />
|- <br />
| <small>21</small><br />
| Learn five cuts<br/>&emsp;from the right hand against the weapon<br />
|- <br />
| <small>23</small><br />
| Wrathcut Crook and Cross,<br/>&emsp;If the Eye Cocker keeps with the Parter,<br />
|- <br />
| <small>24</small><br />
| The Fool parries.<br/>&emsp;Pursue and Overrun, disrupt attacks<br />
|- <br />
| <small>25</small><br />
| Disengage, Suddenly withdraw,<br/>&emsp;Rush through, Cut off, Press the hands<br />
|- <br />
| <small>26</small><br />
| Tilt and Turn to uncover with<br/>&emsp;Slash, catch, sweep, stab to clash with<br />
|}<br />
<section end="19"/><br />
<br />
<section begin="20"/>'''This is about the Wrath cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>27</small><br />
| Whoever makes a descending cut at you<br/>&emsp;The point of wrathcut threatens them<br />
|- <br />
| <small>28</small><br />
| If they become aware of it<br/>&emsp;Then abscond above without concern.<br />
|- <br />
| <small>29</small><br />
| Be strong in turn Wind.<br/>&emsp;Stab. If they see it, then take it below<br />
|- <br />
| <small>30</small><br />
| Precisely note this<br/>&emsp;Cuts, thrusts, position, soft or hard<br />
|- <br />
| <small>31</small><br />
| Indes and Before, After<br/>&emsp;Without rush, your war is not hasty.<br />
|- <br />
| <small>32</small><br />
| For the one whose war takes aim<br/>&emsp;Above, they will be shamed below.<br />
|- <br />
| <small>33</small><br />
| In all winds<br/>&emsp;Cut, stab, slice learn to find<br />
|- <br />
| <small>34</small><br />
| Also with that you shall<br/>&emsp;Gauge cut, stab or slice<br />
|- <br />
| <small>35</small><br />
| In all encounters<br/>&emsp;Of the masters, if you wish to dishonor them.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword,<br/>&emsp;Rather, keep watch for the openings<br />
|- <br />
| <small class="grey">ⅹⅵ</small><br />
| Of the head, of the body <br/>&emsp;If you wish to remain without harm<br />
|- <br />
| <small class="grey">ⅹⅶ</small><br />
| You hit or miss<br/>&emsp;Considering as follows so that you target the openings<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point toward the openings.<br />
|- <br />
| <small class="grey">ⅹⅸ</small><br />
| Whoever cuts around widely,<br/>&emsp;They will often be shamed severely.<br />
|- <br />
| <small class="grey">ⅹⅹ</small><br />
| In the most direct way possible,<br/>&emsp;Deliver sudden cuts, stabs wisely.<ref>"Wisely" inferred from the summary</ref><br />
|- <br />
| <small class="grey">ⅹⅺ</small><br />
| And one shall also always step<br/>&emsp;To their right side<br />
|- <br />
| <small class="grey">ⅹⅻ</small><br />
| So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
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. <section end="20"/><br />
<br />
<section begin="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.<section end="21"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="22"/><br />
<br />
<section begin="23"/>Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="23"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="24"/><br />
<br />
<section begin="25"/>'''This is about the four openings, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>36</small><br />
| Know the four openings<br/>&emsp;Take aim so that you strike wisely<br />
|- <br />
| <small>37</small><br />
| Without any fear<br/>&emsp;Without doubt however they are situated. <br />
|}<br />
'''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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<section end="25"/><br />
<br />
<section begin="26"/>'''About the four openings, how one breaks them.'''<br />
{| class="zettel"<br />
|- <br />
| <small>38</small><br />
| If you wish arrange yourself<br/>&emsp;To artfully break the four openings<br />
|- <br />
| <small>39</small><br />
| Double high<br/>&emsp;Mutate right down<br />
|- <br />
| <small>40</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>41</small><br />
| If you have understood this,<br/>&emsp;They can scarcely come to blows, etc. <br />
|}<br />
<section end="26"/><br />
<br />
<section begin="27"/>'''This is about the crooked cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>42</small><br />
| Crook up swiftly<br/>&emsp;Throw the point onto the hands<br />
|- <br />
| <small>43</small><br />
| Crook. Whoever besets well<br/>&emsp;Disrupts many cuts with stepping.<br />
|- <br />
| <small>44</small><br />
| Cut crooked to the flats<br/>&emsp;Of the masters if you wish to weaken them<br />
|- <br />
| <small>45</small><br />
| When it sparks above<br/>&emsp;Then dismount, that I will praise<br />
|- <br />
| <small>46</small><br />
| Don't crook, short cut<br/>&emsp;With that, look for the disengage<br />
|- <br />
| <small>47</small><br />
| Crook whoever bewilders you<br/>&emsp;The noble war bewilders them<br />
|- <br />
| <small>48</small><br />
| For they do not truthfully know<br/>&emsp;Where they are without danger<br />
|}<br />
'''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<ref>to the side, apart, sideways</ref> 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 {{dec|s|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<section end="27"/><br />
<br />
<section begin="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.<section end="28"/><br />
<br />
<section begin="29"/><br />
{| class="zettel"<br />
|- <br />
| <small>53</small><br />
| The failer misleads<br/>&emsp;It wounds according to desire from below<br />
|- <br />
| <small>54</small><br />
| The inverter constrains.<br/>&emsp;The one who rushes through also wrestles with it.<br />
|- <br />
| <small>55</small><br />
| Take the elbow surely<br/>&emsp;Spring into their stance.<br />
|- <br />
| <small>56</small><br />
| The failer doubles.<br/>&emsp;If they make contact, make the slice with it.<br />
|- <br />
| <small>57</small><br />
| Double it further<br/>&emsp;Step to the left and do not be lazy<br />
|- <br />
| <small class="grey">ⅹⅹⅲ</small><br />
| Because all fencing<br/>&emsp;Will by all rights have speed<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Also in it: audacity,<br/>&emsp;Prudence, astuteness and ingenuity<br />
|}<br />
<section end="29"/><br />
<br />
<section begin="30"/>'''This is about the crosswise cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>49</small><br />
| The crosswise cut seizes<br/>&emsp;Whatever arrives from the roof.<br />
|- <br />
| <small>50</small><br />
| Cross with the strong<br/>&emsp;Remember your work with it.<br />
|- <br />
| <small>51</small><br />
| Cross to the plow<br/>&emsp;Yoke it hard to the ox<br />
|- <br />
| <small>52</small><br />
| Whoever crosses themselves well<br/>&emsp;Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
|}<br />
'''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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<section end="30"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="31"/><br />
<br />
<section begin="32"/>'''This is about the cockeyed cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>58</small><br />
| The cockeyed cut breaks into<br/>&emsp;Whatever the buffalo cuts or thrusts<br />
|- <br />
| <small>59</small><br />
| Whoever threatens to change,<br/>&emsp;The cockeyed cut robs them of it.<br />
|- <br />
| <small>60</small><br />
| Cock an eye. If they short you,<br/>&emsp;Disengaging defeats them.<br />
|- <br />
| <small>61</small><br />
| Cock an eye at the point<br/>&emsp;And take the neck without fear<br />
|- <br />
| <small>62</small><br />
| Cock an eye at the top of the head<br/>&emsp;If you wish to ruin the hands.<br />
|- <br />
| <small class="grey">ⅹⅹⅳ</small><br />
| Cock an eye against the right<br/>&emsp;If it is that you desire to fence well.<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The cockeyed cut I prize,<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
'''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.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
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...<section end="32"/><br />
<br />
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/><br />
<br />
<section begin="34"/>'''This is about the part cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>63</small><br />
| The part cut<br/>&emsp;Is dangerous to the face<br />
|- <br />
| <small>64</small><br />
| With its turn<br/>&emsp;And the breast is yet endangered.<br />
|- <br />
| <small>65</small><br />
| Whatever comes from it<br/>&emsp;The crown removes it.<br />
|- <br />
| <small>66</small><br />
| Slice through the crown<br/>&emsp;So that you break it beautifully and hard<br />
|- <br />
| <small>67</small><br />
| Press the sweeps<br/>&emsp;By slicing withdraw it<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
<section end="34"/><br />
<br />
<section begin="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.<section end="35"/><br />
<br />
<section begin="36"/>'''This is about the four positions, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>68</small><br />
| Four positions alone<br/>&emsp;Defend from those and eschew the common<br />
|- <br />
| <small>69</small><br />
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you<br />
|}<br />
'''Gloss, etc'''. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<section end="36"/><br />
<br />
<section begin="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.<section end="37"/><br />
<br />
<section begin="38"/>The second guard, ox is the high hanging from the shoulder.<section end="38"/><br />
<br />
<section begin="39"/><br />
{| class="zettel"<br />
|- <br />
| <small>ⅹⅹⅵ</small><br />
| The Fool truly breaks<br/>&emsp;Whatever the opponent cuts or thrusts<br />
|- <br />
| <small>ⅹⅹⅶ</small><br />
| Sweep using hanging<br/>&emsp;Immediately place the pursuit <br />
|}<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<section end="39"/><br />
<br />
<section begin="40"/>The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<section end="40"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="41"/><br />
<br />
<section begin="42"/>'''This is about the four parries'''<br />
{| class="zettel"<br />
|- <br />
| <small>70</small><br />
| Four are the parries<br/>&emsp;Which also severely disrupt the positions<br />
|- <br />
| <small>71</small><br />
| Guard yourself from parrying<br/>&emsp;If this happens, it also severely beleaguers you.<br />
|- <br />
| <small>72</small><br />
| If you are parried,<br/>&emsp;And as it happens<br />
|- <br />
| <small>73</small><br />
| Heed what I advise:<br/>&emsp;Strike off, cut swiftly with violence<br />
|- <br />
| <small>74</small><br />
| Lodge against four regions<br/>&emsp;Learn to remain upon them if you wish to finish.<br />
|- <br />
| <small class="grey">ⅹⅹⅷ</small><br />
| Whoever parries well,<br/>&emsp;This fencer disrupts many cuts.<br />
|- <br />
| <small class="grey">ⅹⅹⅸ</small><br />
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.<section end="42"/><br />
<br />
<section begin="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.<br />
<br />
To the extent you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<section end="43"/><br />
<br />
<section begin="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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/><br />
<br />
<section begin="45"/>'''This is about the pursuing, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>75</small><br />
| Learn to pursue<br/>&emsp;Double or slice into the weapon<br />
|- <br />
| <small>76</small><br />
| Two enticements to the outside<br/>&emsp;The work begins thereafter<br />
|- <br />
| <small>77</small><br />
| And gauge the opponent's application<br/>&emsp;Whether they are soft or hard<br />
|- <br />
| <small>78</small><br />
| Learn to feel<br/>&emsp;Indes, this word cuts sharply<br />
|- <br />
| <small>79</small><br />
| Pursuing twice,<br/>&emsp;Make the old slice with it.<br />
|- <br />
| <small class="grey">ⅹⅹⅹ</small><br />
| Follow all hits<br/>&emsp;Then strengthen if you wish to dishonor the masters<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against the opponent's face.<br />
|- <br />
| <small class="grey">ⅹⅹⅺ</small><br />
| With the entire body<br/>&emsp;Pursue, always keep your point there.<br />
|- <br />
| <small class="grey">ⅹⅹⅻ</small><br />
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.<br />
|}<br />
<section end="45"/><br />
<br />
<section begin="46"/>'''This is about the overrunning. Fencer look into this.'''<br />
{| class="zettel"<br />
|- <br />
| <small>80</small><br />
| Whoever takes aim from below Overrun,<br/>&emsp;then they will be shamed.<br />
|- <br />
| <small>81</small><br />
| When it clashes above,<br/>&emsp; Strengthen, This I wish to praise.<br />
|- <br />
| <small>82</small><br />
| Make your work<br/>&emsp;Or press hard twice.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅲ</small><br />
| Whoever presses you down,<br/>&emsp;Overrun them, slash sharply again.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅳ</small><br />
| From both sides<br/>&emsp;Overrun and remember the slices.<br />
|}<br />
<section end="46"/><br />
<br />
<section begin="47"/>'''This is about displacing. Learn this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>83</small><br />
| Learn to displace<br/>&emsp;Skillfully disrupt cuts and thrusts<br />
|- <br />
| <small>84</small><br />
| Whoever thrusts at you<br/>&emsp;Your point hits and theirs breaks<br />
|- <br />
| <small>85</small><br />
| From both sides<br/>&emsp;You will hit every time, if you step.<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against one's face.<br />
|}<br />
<section end="47"/><br />
<br />
<section begin="48"/>'''This is about the disengaging, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>86</small><br />
| Learn to disengage<br/>&emsp;From both sides stabbing sharply with it<br />
|- <br />
| <small>87</small><br />
| Whoever binds upon you<br/>&emsp;Disengaging surely finds them<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅴ</small><br />
| If you have disengaged,<br/>&emsp;Do not slash, thrust nor wind lazily.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅵ</small><br />
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<section end="48"/><br />
<br />
<section begin="49"/>And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/><br />
<br />
<section begin="50"/>'''This is about withdrawing suddenly. Fencer note.'''<br />
{| class="zettel"<br />
|- <br />
| <small>88</small><br />
| Tread close in binds,<br/>&emsp;So that withdrawing suddenly gives good opportunities.<br />
|- <br />
| <small>89</small><br />
| Suddenly withdraw. If they engage, suddenly withdraw more.<br/>&emsp;If they work, wind, that does them harm. <br />
|- <br />
| <small>90</small><br />
| Suddenly withdraw all engagements<br/>&emsp;Of the masters if you wish to dishonor them <br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small><br />
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.<br />
|}<br />
<section end="50"/><br />
<br />
<section begin="51"/>'''This is about rushing through. Look closely.'''<br />
{| class="zettel"<br />
|- <br />
| <small>91</small><br />
| Rush through, let hang<br/>&emsp;Grab with the pommel if you wish to grapple.<br />
|- <br />
| <small>92</small><br />
| Whoever strengthens up against you,<br/>&emsp;Remember to rush through with it.<br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅷ</small><br />
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.<br />
|}<br />
<section end="51"/><br />
<br />
<section begin="52"/>'''This is about cutting off, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>93</small><br />
| Cut off the hard ones<br/>&emsp;From below in both paths.<br />
|- <br />
| <small>94</small><br />
| Four are the slices<br/>&emsp;With two from below, two from above.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅸ</small><br />
| Crosswise cut whoever would slice.<br/>&emsp;It easily evades the harm.<br />
|- <br />
| <small class="grey">ⅹⅼ</small><br />
| Do not slice in fright,<br/>&emsp;Always be wary of pursuing.<br />
|- <br />
| <small class="grey">ⅹⅼⅰ</small><br />
| You can slice well<br/>&emsp;Any cross, just omit the pursuit.<br />
|- <br />
| <small class="grey">ⅹⅼⅱ</small><br />
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.<br />
|}<br />
<section end="52"/><br />
<br />
<section begin="53"/>'''This is about the hand pressing, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>95</small><br />
| Turn your edge flat<br/>&emsp;Press the hands.<br />
|- <br />
| <small class="grey">ⅹⅼⅲ</small><br />
| Another is turning<br/>&emsp;One's winding. The third, hanging.<br />
|- <br />
| <small class="grey">ⅹⅼⅳ</small><br />
| If you wish to make the fencers<br/>&emsp;Weary, then press with collision<br />
|- <br />
| <small class="grey">ⅹⅼⅴ</small><br />
| Over the hands,<br/>&emsp;If one cuts, slice swiftly.<br />
|- <br />
| <small class="grey">ⅹⅼⅵ</small><br />
| Also draw your slices<br/>&emsp;Up out over the head.<br />
|- <br />
| <small class="grey">ⅹⅼⅶ</small><br />
| Whoever presses the hands<br/>&emsp;Without harm, suddenly retracts the forefinger.<br />
|}<br />
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<br />
<br />
To the extent you hesitate and delay yourself, you take harm.<section end="53"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<section end="54"/><br />
<br />
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/><br />
<br />
<section begin="56"/>'''This is about the hanging. Fencer learn this, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>96</small><br />
| Two hangings emerge<br/>&emsp;From the ground out of each hand<br />
|- <br />
| <small>97</small><br />
| In every application<br/>&emsp;Cut, Thrust, Position, Soft or Hard<br />
|- <br />
| <small>98</small><br />
| Make the speaking window<br/>&emsp;Stand freely, watch their situation.<br />
|- <br />
| <small>99</small><br />
| Strike them so that it snaps<br/>&emsp;Whoever withdraws themselves before you.<br />
|- <br />
| <small>100</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>101</small><br />
| If you have understood<br/>&emsp;They cannot come to blows<br />
|- <br />
| <small class="grey">ⅹⅼⅷ</small><br />
| That is, if you remain<br/>&emsp;Against the sword, also conduct with it<br />
|- <br />
| <small class="grey">ⅹⅼⅸ</small><br />
| Cuts, thrusts or slices.<br/>&emsp;With that, note the feeling<br />
|- <br />
| <small class="grey">ⅼ</small><br />
| Without any preference.<br/>&emsp;You shall also not flee from the sword<br />
|- <br />
| <small class="grey">ⅼⅰ</small><br />
| Because master applications<br/>&emsp;Are against the sword by rights.<br />
|- <br />
| <small class="grey">ⅼⅱ</small><br />
| Whoever binds against you<br/>&emsp;The war wrestles with them sharply.<br />
|- <br />
| <small class="grey">ⅼⅲ</small><br />
| The noble winds<br/>&emsp;Can also surely find them<br />
|- <br />
| <small class="grey">ⅼⅳ</small><br />
| With cuts, with thrusts,<br/>&emsp;With slices you tenaciously find them.<br />
|- <br />
| <small class="grey">[32]</small><br />
| In all winds<br/>&emsp;You shall find cuts, stabs, slices.<br />
|- <br />
| <small class="grey">ⅼⅴ</small><br />
| The noble hanging<br/>&emsp;Cannot exist without the winds.<br />
|- <br />
| <small class="grey">ⅼⅵ</small><br />
| Because from the hangings<br/>&emsp;You shall bring the winds.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="56"/><br />
<br />
<section begin="57"/><br />
{| class="zettel"<br />
|- <br />
| <small>108</small><br />
| From both sides<br/>&emsp;Learn eight winds with stepping.<br />
|- <br />
| <small>106</small><br />
| And always unite them.<br/>&emsp;Combine the winds with three plays<br />
|- <br />
| <small>107</small><br />
| So are they twenty<br/>&emsp;And four. Simply count them.<br />
|- <br />
| <small>105</small><br />
| Fencer, mind this<br/>&emsp;And consider the winds correctly<br />
|- <br />
| <small class="grey">lxiii</small><br />
| And learn to command them well<br/>&emsp;So you can attack the four openings<br />
|- <br />
| <small class="grey">lxiv</small><br />
| Because each opening<br/>&emsp;Objectively has six wounders.<br />
|}<br />
'''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.<br />
<br />
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.<section end="57"/></div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=137139User:Christian Trosclair/Translations2022-10-21T20:49:38Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Summary|3227a Summary]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Falkner/Longsword|Falkner Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Folz|Folz]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Fechtregeln/Longsword|Fechtregeln Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Syber|Martin Syber]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}<!--<br />
<br />
-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/3227a_Summary&diff=137138User:Christian Trosclair/Translations/3227a Summary2022-10-21T20:48:57Z<p>Christian Trosclair: Created page with "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 und..."</p>
<hr />
<div>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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Liechtenauer says about this: "I say to you truthfully, no one defends themselves without danger (and without harm).<ref>marginal insertion. latin: dampno => damno => harm</ref> If you have understood this, then they can hardly come to blows". Just do as was often written before and be in motion.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And the fundamentals will have these principles in all confrontations: Speed, audacity, prudence, astuteness and ingenuity, etc. And also measure in all things.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Liechtenauer says about this:<br />
<br />
Do not cut to the sword,<br />
Rather focus on the openings<br />
And to the head, to the body,<br />
If you wish to remain without harm.<br />
You hit or miss<br />
Then commit yourself to always target the openings<br />
In every lesson,<br />
Turn the point towards the face.<br />
Whoever cuts around widely,<br />
They will often be shamed severely.<br />
Deliver cuts or thrusts wisely<br />
To the closest of all.<br />
And always withhold yourself<br />
So that the opponent does not preempt you.<br />
In this way, you can stand up well<br />
Right before a good man.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Pseudo-Hans_D%C3%B6bringer/Christian_Trosclair_LS_2022&diff=137137Pseudo-Hans Döbringer/Christian Trosclair LS 20222022-10-21T13:26:14Z<p>Christian Trosclair: </p>
<hr />
<div><section begin="1"/>'''This is the general preface of the unarmored fencing on foot. Mark this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>1</small><br />
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,<br />
|- <br />
| <small>2</small><br />
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn<br />
|- <br />
| <small>3</small><br />
| art that decorates you<br/>&emsp;and in wars serves you well.<br />
|- <br />
| <small>4</small><br />
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,<br />
|- <br />
| <small>5</small><br />
| manfully brandish<br/>&emsp;and in other hands ruin.<br />
|- <br />
| <small>6</small><br />
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br />
|- <br />
| <small>7</small><br />
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.<br />
|- <br />
| <small>8</small><br />
| Thereupon you hold,<br/>&emsp;all things have time and place.<br />
|- <br />
| <small class="grey">ⅰ</small><br />
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.<br />
|- <br />
| <small class="grey">ⅱ</small><br />
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation<br />
|- <br />
| <small class="grey">ⅲ</small><br />
| so that you may pay attention<br/>&emsp;and consider with a good spirit<br />
|- <br />
| <small class="grey">ⅳ</small><br />
| whatever you shall command<br/>&emsp;and whip up against the opponent.<br />
|- <br />
| <small class="grey">ⅴ</small><br />
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.<br />
|- <br />
| <small class="grey">ⅵ</small><br />
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.<br />
|- <br />
| <small class="grey">ⅶ</small><br />
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six<br />
|- <br />
| <small class="grey">ⅷ</small><br />
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.<br />
|- <br />
| <small class="grey">ⅸ</small><br />
| It is a brave man<br/>&emsp;that dares to confront their equal.<br />
|- <br />
| <small class="grey">ⅹ</small><br />
| It is not shameful<br/>&emsp;to flee four or six at hand.<br />
|- <br />
| <br />
| <ref>Possibly: "If one cannot flee, then do something cunning, that is my advice."</ref><br />
|}<br />
<section end="1"/><br />
<br />
<section begin="2"/>'''This is a general lesson of the sword:'''<br />
{| class="zettel"<br />
|- <br />
| <small>9</small><br />
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.<br />
|- <br />
| <small>10</small><br />
| And left with right<br/>&emsp;Is what you strongly desire to fence.<br />
|- <br />
| <small>11</small><br />
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.<br />
|- <br />
| <small>12</small><br />
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.<br />
|- <br />
| <small>13</small><br />
| To the head, to the body,<br/>&emsp;Do not omit the stingers.<br />
|- <br />
| <small>14</small><br />
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.<br />
|- <br />
| <small>15</small><br />
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.<br />
|- <br />
| <small>16</small><br />
| And if you are left,<br/>&emsp;You are severely hindered on the right.<br />
|- <br />
| <small class="grey">ⅻ</small><br />
| So always prefer<br/>&emsp;To fence from above left downwards.<br />
|- <br />
| <small>17</small><br />
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.<br />
|- <br />
| <small>18</small><br />
| Weak and strong,<br/>&emsp;Indes, mark this word with them.<br />
|- <br />
| <small>19</small><br />
| So you can learn<br/>&emsp;To defend yourself with art and work.<br />
|- <br />
| <small>20</small><br />
| If you terrify easily,<br/>&emsp;Never learn any fencing.<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,<br />
|- <br />
| <small class="grey">ⅹⅳ</small><br />
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill<br />
|- <br />
| <small class="grey">ⅹⅴ</small><br />
| Fencing will have<br/>&emsp;And bear a joyous spirit.<br />
|}<br />
'''General gloss hereafter.'''<ref name="Latin">Latin</ref> 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="2"/><br />
<br />
<section begin="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.<section end="3"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="4"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="5"/><br />
<br />
<section begin="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.<section end="6"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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".<section end="7"/><br />
<br />
<section begin="8"/>This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<section end="8"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="9"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="10"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After".<br />
<br />
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.<section end="11"/><br />
<br />
<section begin="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.<section end="12"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="13"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="14"/><br />
<br />
<section begin="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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard".<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently?<section end="15"/><br />
<br />
<section begin="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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".<section end="16"/><br />
<br />
<section begin="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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
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.<section end="17"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="18"/><br />
<br />
<section begin="19"/>'''This is the text, wherein he names the five cuts and other plays of fencing.'''<br />
{| class="zettel"<br />
|- <br />
| <small>21</small><br />
| Learn five cuts<br/>&emsp;from the right hand against the weapon<br />
|- <br />
| <small>23</small><br />
| Wrathcut Crook and Cross,<br/>&emsp;If the Eye Cocker keeps with the Parter,<br />
|- <br />
| <small>24</small><br />
| The Fool parries.<br/>&emsp;Pursue and Overrun, disrupt attacks<br />
|- <br />
| <small>25</small><br />
| Disengage, Suddenly withdraw,<br/>&emsp;Rush through, Cut off, Press the hands<br />
|- <br />
| <small>26</small><br />
| Tilt and Turn to uncover with<br/>&emsp;Slash, catch, sweep, stab to clash with<br />
|}<br />
<section end="19"/><br />
<br />
<section begin="20"/>'''This is about the Wrath cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>27</small><br />
| Whoever makes a descending cut at you<br/>&emsp;The point of wrathcut threatens them<br />
|- <br />
| <small>28</small><br />
| If they become aware of it<br/>&emsp;Then abscond above without concern.<br />
|- <br />
| <small>29</small><br />
| Be strong in turn Wind.<br/>&emsp;Stab. If they see it, then take it below<br />
|- <br />
| <small>30</small><br />
| Precisely note this<br/>&emsp;Cuts, thrusts, position, soft or hard<br />
|- <br />
| <small>31</small><br />
| Indes and Before, After<br/>&emsp;Without rush, your war is not hasty.<br />
|- <br />
| <small>32</small><br />
| For the one whose war takes aim<br/>&emsp;Above, they will be shamed below.<br />
|- <br />
| <small>33</small><br />
| In all winds<br/>&emsp;Cut, stab, slice learn to find<br />
|- <br />
| <small>34</small><br />
| Also with that you shall<br/>&emsp;Gauge cut, stab or slice<br />
|- <br />
| <small>35</small><br />
| In all encounters<br/>&emsp;Of the masters, if you wish to dishonor them.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword,<br/>&emsp;Rather, keep watch for the openings<br />
|- <br />
| <small class="grey">ⅹⅵ</small><br />
| Of the head, of the body <br/>&emsp;If you wish to remain without harm<br />
|- <br />
| <small class="grey">ⅹⅶ</small><br />
| You hit or miss<br/>&emsp;Considering as follows so that you target the openings<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point toward the openings.<br />
|- <br />
| <small class="grey">ⅹⅸ</small><br />
| Whoever cuts around widely,<br/>&emsp;They will often be shamed severely.<br />
|- <br />
| <small class="grey">ⅹⅹ</small><br />
| In the most direct way possible,<br/>&emsp;Deliver sudden cuts, stabs wisely.<ref>"Wisely" inferred from the summary</ref><br />
|- <br />
| <small class="grey">ⅹⅺ</small><br />
| And one shall also always step<br/>&emsp;To their right side<br />
|- <br />
| <small class="grey">ⅹⅻ</small><br />
| So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
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. <section end="20"/><br />
<br />
<section begin="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.<section end="21"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="22"/><br />
<br />
<section begin="23"/>Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="23"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="24"/><br />
<br />
<section begin="25"/>'''This is about the four openings, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>36</small><br />
| Know the four openings<br/>&emsp;Take aim so that you strike wisely<br />
|- <br />
| <small>37</small><br />
| Without any fear<br/>&emsp;Without doubt however they are situated. <br />
|}<br />
'''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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<section end="25"/><br />
<br />
<section begin="26"/>'''About the four openings, how one breaks them.'''<br />
{| class="zettel"<br />
|- <br />
| <small>38</small><br />
| If you wish arrange yourself<br/>&emsp;To artfully break the four openings<br />
|- <br />
| <small>39</small><br />
| Double high<br/>&emsp;Mutate right down<br />
|- <br />
| <small>40</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>41</small><br />
| If you have understood this,<br/>&emsp;They can scarcely come to blows, etc. <br />
|}<br />
<section end="26"/><br />
<br />
<section begin="27"/>'''This is about the crooked cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>42</small><br />
| Crook up swiftly<br/>&emsp;Throw the point onto the hands<br />
|- <br />
| <small>43</small><br />
| Crook. Whoever besets well<br/>&emsp;Disrupts many cuts with stepping.<br />
|- <br />
| <small>44</small><br />
| Cut crooked to the flats<br/>&emsp;Of the masters if you wish to weaken them<br />
|- <br />
| <small>45</small><br />
| When it sparks above<br/>&emsp;Then dismount, that I will praise<br />
|- <br />
| <small>46</small><br />
| Don't crook, short cut<br/>&emsp;With that, look for the disengage<br />
|- <br />
| <small>47</small><br />
| Crook whoever bewilders you<br/>&emsp;The noble war bewilders them<br />
|- <br />
| <small>48</small><br />
| For they do not truthfully know<br/>&emsp;Where they are without danger<br />
|}<br />
'''Gloss'''. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sideways</ref> 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 {{dec|s|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<section end="27"/><br />
<br />
<section begin="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.<section end="28"/><br />
<br />
<section begin="29"/><br />
{| class="zettel"<br />
|- <br />
| <small>53</small><br />
| The failer misleads<br/>&emsp;It wounds according to desire from below<br />
|- <br />
| <small>54</small><br />
| The inverter constrains.<br/>&emsp;The one who rushes through also wrestles with it.<br />
|- <br />
| <small>55</small><br />
| Take the elbow surely<br/>&emsp;Spring into their stance.<br />
|- <br />
| <small>56</small><br />
| The failer doubles.<br/>&emsp;If they make contact, make the slice with it.<br />
|- <br />
| <small>57</small><br />
| Double it further<br/>&emsp;Step to the left and do not be lazy<br />
|- <br />
| <small class="grey">ⅹⅹⅲ</small><br />
| Because all fencing<br/>&emsp;Will by all rights have speed<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Also in it: audacity,<br/>&emsp;Prudence, astuteness and ingenuity<br />
|}<br />
<section end="29"/><br />
<br />
<section begin="30"/>'''This is about the crosswise cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>49</small><br />
| The crosswise cut seizes<br/>&emsp;Whatever arrives from the roof.<br />
|- <br />
| <small>50</small><br />
| Cross with the strong<br/>&emsp;Remember your work with it.<br />
|- <br />
| <small>51</small><br />
| Cross to the plow<br/>&emsp;Yoke it hard to the ox<br />
|- <br />
| <small>52</small><br />
| Whoever crosses themselves well<br/>&emsp;Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
|}<br />
'''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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<section end="30"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="31"/><br />
<br />
<section begin="32"/>'''This is about the cockeyed cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>58</small><br />
| The cockeyed cut breaks into<br/>&emsp;Whatever the buffalo cuts or thrusts<br />
|- <br />
| <small>59</small><br />
| Whoever threatens to change,<br/>&emsp;The cockeyed cut robs them of it.<br />
|- <br />
| <small>60</small><br />
| Cock an eye. If they short you,<br/>&emsp;Disengaging defeats them.<br />
|- <br />
| <small>61</small><br />
| Cock an eye at the point<br/>&emsp;And take the neck without fear<br />
|- <br />
| <small>62</small><br />
| Cock an eye at the top of the head<br/>&emsp;If you wish to ruin the hands.<br />
|- <br />
| <small class="grey">ⅹⅹⅳ</small><br />
| Cock an eye against the right<br/>&emsp;If it is that you desire to fence well.<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The cockeyed cut I prize,<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
'''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.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
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...<section end="32"/><br />
<br />
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/><br />
<br />
<section begin="34"/>'''This is about the part cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>63</small><br />
| The part cut<br/>&emsp;Is dangerous to the face<br />
|- <br />
| <small>64</small><br />
| With its turn<br/>&emsp;And the breast is yet endangered.<br />
|- <br />
| <small>65</small><br />
| Whatever comes from it<br/>&emsp;The crown removes it.<br />
|- <br />
| <small>66</small><br />
| Slice through the crown<br/>&emsp;So that you break it beautifully and hard<br />
|- <br />
| <small>67</small><br />
| Press the sweeps<br/>&emsp;By slicing withdraw it<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
<section end="34"/><br />
<br />
<section begin="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.<section end="35"/><br />
<br />
<section begin="36"/>'''This is about the four positions, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>68</small><br />
| Four positions alone<br/>&emsp;Defend from those and eschew the common<br />
|- <br />
| <small>69</small><br />
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you<br />
|}<br />
'''Gloss, etc'''. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<section end="36"/><br />
<br />
<section begin="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.<section end="37"/><br />
<br />
<section begin="38"/>The second guard, ox is the high hanging from the shoulder.<section end="38"/><br />
<br />
<section begin="39"/><br />
{| class="zettel"<br />
|- <br />
| <small>ⅹⅹⅵ</small><br />
| The Fool truly breaks<br/>&emsp;Whatever the opponent cuts or thrusts<br />
|- <br />
| <small>ⅹⅹⅶ</small><br />
| Sweep using hanging<br/>&emsp;Immediately place the pursuit <br />
|}<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<section end="39"/><br />
<br />
<section begin="40"/>The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<section end="40"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="41"/><br />
<br />
<section begin="42"/>'''This is about the four parries'''<br />
{| class="zettel"<br />
|- <br />
| <small>70</small><br />
| Four are the parries<br/>&emsp;Which also severely disrupt the positions<br />
|- <br />
| <small>71</small><br />
| Guard yourself from parrying<br/>&emsp;If this happens, it also severely beleaguers you.<br />
|- <br />
| <small>72</small><br />
| If you are parried,<br/>&emsp;And as it happens<br />
|- <br />
| <small>73</small><br />
| Heed what I advise:<br/>&emsp;Strike off, cut swiftly with violence<br />
|- <br />
| <small>74</small><br />
| Lodge against four regions<br/>&emsp;Learn to remain upon them if you wish to finish.<br />
|- <br />
| <small class="grey">ⅹⅹⅷ</small><br />
| Whoever parries well,<br/>&emsp;This fencer disrupts many cuts.<br />
|- <br />
| <small class="grey">ⅹⅹⅸ</small><br />
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.<section end="42"/><br />
<br />
<section begin="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.<br />
<br />
To the extent you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<section end="43"/><br />
<br />
<section begin="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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/><br />
<br />
<section begin="45"/>'''This is about the pursuing, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>75</small><br />
| Learn to pursue<br/>&emsp;Double or slice into the weapon<br />
|- <br />
| <small>76</small><br />
| Two enticements to the outside<br/>&emsp;The work begins thereafter<br />
|- <br />
| <small>77</small><br />
| And gauge the opponent's application<br/>&emsp;Whether they are soft or hard<br />
|- <br />
| <small>78</small><br />
| Learn to feel<br/>&emsp;Indes, this word cuts sharply<br />
|- <br />
| <small>79</small><br />
| Pursuing twice,<br/>&emsp;Make the old slice with it.<br />
|- <br />
| <small class="grey">ⅹⅹⅹ</small><br />
| Follow all hits<br/>&emsp;Then strengthen if you wish to dishonor the masters<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against the opponent's face.<br />
|- <br />
| <small class="grey">ⅹⅹⅺ</small><br />
| With the entire body<br/>&emsp;Pursue, always keep your point there.<br />
|- <br />
| <small class="grey">ⅹⅹⅻ</small><br />
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.<br />
|}<br />
<section end="45"/><br />
<br />
<section begin="46"/>'''This is about the overrunning. Fencer look into this.'''<br />
{| class="zettel"<br />
|- <br />
| <small>80</small><br />
| Whoever takes aim from below Overrun,<br/>&emsp;then they will be shamed.<br />
|- <br />
| <small>81</small><br />
| When it clashes above,<br/>&emsp; Strengthen, This I wish to praise.<br />
|- <br />
| <small>82</small><br />
| Make your work<br/>&emsp;Or press hard twice.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅲ</small><br />
| Whoever presses you down,<br/>&emsp;Overrun them, slash sharply again.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅳ</small><br />
| From both sides<br/>&emsp;Overrun and remember the slices.<br />
|}<br />
<section end="46"/><br />
<br />
<section begin="47"/>'''This is about displacing. Learn this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>83</small><br />
| Learn to displace<br/>&emsp;Skillfully disrupt cuts and thrusts<br />
|- <br />
| <small>84</small><br />
| Whoever thrusts at you<br/>&emsp;Your point hits and theirs breaks<br />
|- <br />
| <small>85</small><br />
| From both sides<br/>&emsp;You will hit every time, if you step.<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against one's face.<br />
|}<br />
<section end="47"/><br />
<br />
<section begin="48"/>'''This is about the disengaging, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>86</small><br />
| Learn to disengage<br/>&emsp;From both sides stabbing sharply with it<br />
|- <br />
| <small>87</small><br />
| Whoever binds upon you<br/>&emsp;Disengaging surely finds them<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅴ</small><br />
| If you have disengaged,<br/>&emsp;Do not slash, thrust nor wind lazily.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅵ</small><br />
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<section end="48"/><br />
<br />
<section begin="49"/>And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/><br />
<br />
<section begin="50"/>'''This is about withdrawing suddenly. Fencer note.'''<br />
{| class="zettel"<br />
|- <br />
| <small>88</small><br />
| Tread close in binds,<br/>&emsp;So that withdrawing suddenly gives good opportunities.<br />
|- <br />
| <small>89</small><br />
| Suddenly withdraw. If they engage, suddenly withdraw more.<br/>&emsp;If they work, wind, that does them harm. <br />
|- <br />
| <small>90</small><br />
| Suddenly withdraw all engagements<br/>&emsp;Of the masters if you wish to dishonor them <br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small><br />
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.<br />
|}<br />
<section end="50"/><br />
<br />
<section begin="51"/>'''This is about rushing through. Look closely.'''<br />
{| class="zettel"<br />
|- <br />
| <small>91</small><br />
| Rush through, let hang<br/>&emsp;Grab with the pommel if you wish to grapple.<br />
|- <br />
| <small>92</small><br />
| Whoever strengthens up against you,<br/>&emsp;Remember to rush through with it.<br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅷ</small><br />
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.<br />
|}<br />
<section end="51"/><br />
<br />
<section begin="52"/>'''This is about cutting off, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>93</small><br />
| Cut off the hard ones<br/>&emsp;From below in both paths.<br />
|- <br />
| <small>94</small><br />
| Four are the slices<br/>&emsp;With two from below, two from above.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅸ</small><br />
| Crosswise cut whoever would slice.<br/>&emsp;It easily evades the harm.<br />
|- <br />
| <small class="grey">ⅹⅼ</small><br />
| Do not slice in fright,<br/>&emsp;Always be wary of pursuing.<br />
|- <br />
| <small class="grey">ⅹⅼⅰ</small><br />
| You can slice well<br/>&emsp;Any cross, just omit the pursuit.<br />
|- <br />
| <small class="grey">ⅹⅼⅱ</small><br />
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.<br />
|}<br />
<section end="52"/><br />
<br />
<section begin="53"/>'''This is about the hand pressing, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>95</small><br />
| Turn your edge flat<br/>&emsp;Press the hands.<br />
|- <br />
| <small class="grey">ⅹⅼⅲ</small><br />
| Another is turning<br/>&emsp;One's winding. The third, hanging.<br />
|- <br />
| <small class="grey">ⅹⅼⅳ</small><br />
| If you wish to make the fencers<br/>&emsp;Weary, then press with collision<br />
|- <br />
| <small class="grey">ⅹⅼⅴ</small><br />
| Over the hands,<br/>&emsp;If one cuts, slice swiftly.<br />
|- <br />
| <small class="grey">ⅹⅼⅵ</small><br />
| Also draw your slices<br/>&emsp;Up out over the head.<br />
|- <br />
| <small class="grey">ⅹⅼⅶ</small><br />
| Whoever presses the hands<br/>&emsp;Without harm, suddenly retracts the forefinger.<br />
|}<br />
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<br />
<br />
To the extent you hesitate and delay yourself, you take harm.<section end="53"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<section end="54"/><br />
<br />
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/><br />
<br />
<section begin="56"/>'''This is about the hanging. Fencer learn this, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>96</small><br />
| Two hangings emerge<br/>&emsp;From the ground out of each hand<br />
|- <br />
| <small>97</small><br />
| In every application<br/>&emsp;Cut, Thrust, Position, Soft or Hard<br />
|- <br />
| <small>98</small><br />
| Make the speaking window<br/>&emsp;Stand freely, watch their situation.<br />
|- <br />
| <small>99</small><br />
| Strike them so that it snaps<br/>&emsp;Whoever withdraws themselves before you.<br />
|- <br />
| <small>100</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>101</small><br />
| If you have understood<br/>&emsp;They cannot come to blows<br />
|- <br />
| <small class="grey">ⅹⅼⅷ</small><br />
| That is, if you remain<br/>&emsp;Against the sword, also conduct with it<br />
|- <br />
| <small class="grey">ⅹⅼⅸ</small><br />
| Cuts, thrusts or slices.<br/>&emsp;With that, note the feeling<br />
|- <br />
| <small class="grey">ⅼ</small><br />
| Without any preference.<br/>&emsp;You shall also not flee from the sword<br />
|- <br />
| <small class="grey">ⅼⅰ</small><br />
| Because master applications<br/>&emsp;Are against the sword by rights.<br />
|- <br />
| <small class="grey">ⅼⅱ</small><br />
| Whoever binds against you<br/>&emsp;The war wrestles with them sharply.<br />
|- <br />
| <small class="grey">ⅼⅲ</small><br />
| The noble winds<br/>&emsp;Can also surely find them<br />
|- <br />
| <small class="grey">ⅼⅳ</small><br />
| With cuts, with thrusts,<br/>&emsp;With slices you tenaciously find them.<br />
|- <br />
| <small class="grey">[32]</small><br />
| In all winds<br/>&emsp;You shall find cuts, stabs, slices.<br />
|- <br />
| <small class="grey">ⅼⅴ</small><br />
| The noble hanging<br/>&emsp;Cannot exist without the winds.<br />
|- <br />
| <small class="grey">ⅼⅵ</small><br />
| Because from the hangings<br/>&emsp;You shall bring the winds.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="56"/><br />
<br />
<section begin="57"/><br />
{| class="zettel"<br />
|- <br />
| <small>108</small><br />
| From both sides<br/>&emsp;Learn eight winds with stepping.<br />
|- <br />
| <small>106</small><br />
| And always unite them.<br/>&emsp;Combine the winds with three plays<br />
|- <br />
| <small>107</small><br />
| So are they twenty<br/>&emsp;And four. Simply count them.<br />
|- <br />
| <small>105</small><br />
| Fencer, mind this<br/>&emsp;And consider the winds correctly<br />
|- <br />
| <small class="grey">lxiii</small><br />
| And learn to command them well<br/>&emsp;So you can attack the four openings<br />
|- <br />
| <small class="grey">lxiv</small><br />
| Because each opening<br/>&emsp;Objectively has six wounders.<br />
|}<br />
'''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.<br />
<br />
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.<section end="57"/></div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Pseudo-Hans_D%C3%B6bringer/Christian_Trosclair_LS_2022&diff=137136Pseudo-Hans Döbringer/Christian Trosclair LS 20222022-10-21T13:02:47Z<p>Christian Trosclair: </p>
<hr />
<div><section begin="1"/>'''This is the general preface of the unarmored fencing on foot. Mark this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>1</small><br />
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,<br />
|- <br />
| <small>2</small><br />
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn<br />
|- <br />
| <small>3</small><br />
| art that decorates you<br/>&emsp;and in wars serves you well.<br />
|- <br />
| <small>4</small><br />
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,<br />
|- <br />
| <small>5</small><br />
| manfully brandish<br/>&emsp;and in other hands ruin.<br />
|- <br />
| <small>6</small><br />
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br />
|- <br />
| <small>7</small><br />
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.<br />
|- <br />
| <small>8</small><br />
| Thereupon you hold,<br/>&emsp;all things have time and place.<br />
|- <br />
| <small class="grey">ⅰ</small><br />
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.<br />
|- <br />
| <small class="grey">ⅱ</small><br />
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation<br />
|- <br />
| <small class="grey">ⅲ</small><br />
| so that you may pay attention<br/>&emsp;and consider with a good spirit<br />
|- <br />
| <small class="grey">ⅳ</small><br />
| whatever you shall command<br/>&emsp;and whip up against the opponent.<br />
|- <br />
| <small class="grey">ⅴ</small><br />
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.<br />
|- <br />
| <small class="grey">ⅵ</small><br />
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.<br />
|- <br />
| <small class="grey">ⅶ</small><br />
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six<br />
|- <br />
| <small class="grey">ⅷ</small><br />
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.<br />
|- <br />
| <small class="grey">ⅸ</small><br />
| It is a brave man<br/>&emsp;that dares to confront their equal.<br />
|- <br />
| <small class="grey">ⅹ</small><br />
| It is not shameful<br/>&emsp;to flee four or six at hand.<br />
|- <br />
| <br />
| <ref>Possibly: "If one cannot flee, then do something cunning, that is my advice."</ref><br />
|}<br />
<section end="1"/><br />
<br />
<section begin="2"/>'''This is a general lesson of the sword:'''<br />
{| class="zettel"<br />
|- <br />
| <small>9</small><br />
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.<br />
|- <br />
| <small>10</small><br />
| And left with right<br/>&emsp;Is what you strongly desire to fence.<br />
|- <br />
| <small>11</small><br />
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.<br />
|- <br />
| <small>12</small><br />
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.<br />
|- <br />
| <small>13</small><br />
| To the head, to the body,<br/>&emsp;Do not omit the stingers.<br />
|- <br />
| <small>14</small><br />
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.<br />
|- <br />
| <small>15</small><br />
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.<br />
|- <br />
| <small>16</small><br />
| And if you are left,<br/>&emsp;You are severely hindered on the right.<br />
|- <br />
| <small class="grey">ⅻ</small><br />
| So always prefer<br/>&emsp;To fence from above left downwards.<br />
|- <br />
| <small>17</small><br />
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.<br />
|- <br />
| <small>18</small><br />
| Weak and strong,<br/>&emsp;Indes, mark this word with them.<br />
|- <br />
| <small>19</small><br />
| So you can learn<br/>&emsp;To defend yourself with art and work.<br />
|- <br />
| <small>20</small><br />
| If you terrify easily,<br/>&emsp;Never learn any fencing.<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,<br />
|- <br />
| <small class="grey">ⅹⅳ</small><br />
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill<br />
|- <br />
| <small class="grey">ⅹⅴ</small><br />
| Fencing will have<br/>&emsp;And bear a joyous spirit.<br />
|}<br />
'''General gloss hereafter.'''<ref name="Latin">Latin</ref> 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="2"/><br />
<br />
<section begin="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.<section end="3"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="4"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="5"/><br />
<br />
<section begin="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.<section end="6"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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".<section end="7"/><br />
<br />
<section begin="8"/>This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<section end="8"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="9"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="10"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After".<br />
<br />
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.<section end="11"/><br />
<br />
<section begin="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.<section end="12"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="13"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="14"/><br />
<br />
<section begin="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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard".<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently?<section end="15"/><br />
<br />
<section begin="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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".<section end="16"/><br />
<br />
<section begin="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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
Because this is the foundation of fencing, that one is always in motion and does not slacken and when the act of feeling arrives, then execute as it is laid out above.<section end="17"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="18"/><br />
<br />
<section begin="19"/>'''This is the text, wherein he names the five cuts and other plays of fencing.'''<br />
{| class="zettel"<br />
|- <br />
| <small>21</small><br />
| Learn five cuts<br/>&emsp;from the right hand against the weapon<br />
|- <br />
| <small>23</small><br />
| Wrathcut Crook and Cross,<br/>&emsp;If the Eye Cocker keeps with the Parter,<br />
|- <br />
| <small>24</small><br />
| The Fool parries.<br/>&emsp;Pursue and Overrun, disrupt attacks<br />
|- <br />
| <small>25</small><br />
| Disengage, Suddenly withdraw,<br/>&emsp;Rush through, Cut off, Press the hands<br />
|- <br />
| <small>26</small><br />
| Tilt and Turn to uncover with<br/>&emsp;Slash, catch, sweep, stab to clash with<br />
|}<br />
<section end="19"/><br />
<br />
<section begin="20"/>'''This is about the Wrath cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>27</small><br />
| Whoever makes a descending cut at you<br/>&emsp;The point of wrathcut threatens them<br />
|- <br />
| <small>28</small><br />
| If they become aware of it<br/>&emsp;Then abscond above without concern.<br />
|- <br />
| <small>29</small><br />
| Be strong in turn Wind.<br/>&emsp;Stab. If they see it, then take it below<br />
|- <br />
| <small>30</small><br />
| Precisely note this<br/>&emsp;Cuts, thrusts, position, soft or hard<br />
|- <br />
| <small>31</small><br />
| Indes and Before, After<br/>&emsp;Without rush, your war is not hasty.<br />
|- <br />
| <small>32</small><br />
| For the one whose war takes aim<br/>&emsp;Above, they will be shamed below.<br />
|- <br />
| <small>33</small><br />
| In all winds<br/>&emsp;Cut, stab, slice learn to find<br />
|- <br />
| <small>34</small><br />
| Also with that you shall<br/>&emsp;Gauge cut, stab or slice<br />
|- <br />
| <small>35</small><br />
| In all encounters<br/>&emsp;Of the masters, if you wish to dishonor them.<br />
|- <br />
| <small class="grey">ⅺ</small><br />
| Do not cut to the sword,<br/>&emsp;Rather, keep watch for the openings<br />
|- <br />
| <small class="grey">ⅹⅵ</small><br />
| Of the head, of the body <br/>&emsp;If you wish to remain without harm<br />
|- <br />
| <small class="grey">ⅹⅶ</small><br />
| You hit or miss<br/>&emsp;Considering as follows so that you target the openings<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point toward the openings.<br />
|- <br />
| <small class="grey">ⅹⅸ</small><br />
| Whoever cuts around widely,<br/>&emsp;They will often be shamed severely.<br />
|- <br />
| <small class="grey">ⅹⅹ</small><br />
| In the most direct way possible,<br/>&emsp;Deliver sudden cuts, stabs wisely.<ref>"Wisely" inferred from the summary</ref><br />
|- <br />
| <small class="grey">ⅹⅺ</small><br />
| And one shall also always step<br/>&emsp;To their right side<br />
|- <br />
| <small class="grey">ⅹⅻ</small><br />
| So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
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. <section end="20"/><br />
<br />
<section begin="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.<section end="21"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="22"/><br />
<br />
<section begin="23"/>Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="23"/><br />
<br />
<section begin="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.<br />
<br />
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.<section end="24"/><br />
<br />
<section begin="25"/>'''This is about the four openings, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>36</small><br />
| Know the four openings<br/>&emsp;Take aim so that you strike wisely<br />
|- <br />
| <small>37</small><br />
| Without any fear<br/>&emsp;Without doubt however they are situated. <br />
|}<br />
'''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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<section end="25"/><br />
<br />
<section begin="26"/>'''About the four openings, how one breaks them.'''<br />
{| class="zettel"<br />
|- <br />
| <small>38</small><br />
| If you wish arrange yourself<br/>&emsp;To artfully break the four openings<br />
|- <br />
| <small>39</small><br />
| Double high<br/>&emsp;Mutate right down<br />
|- <br />
| <small>40</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>41</small><br />
| If you have understood this,<br/>&emsp;They can scarcely come to blows, etc. <br />
|}<br />
<section end="26"/><br />
<br />
<section begin="27"/>'''This is about the crooked cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>42</small><br />
| Crook up swiftly<br/>&emsp;Throw the point onto the hands<br />
|- <br />
| <small>43</small><br />
| Crook. Whoever besets well<br/>&emsp;Disrupts many cuts with stepping.<br />
|- <br />
| <small>44</small><br />
| Cut crooked to the flats<br/>&emsp;Of the masters if you wish to weaken them<br />
|- <br />
| <small>45</small><br />
| When it sparks above<br/>&emsp;Then dismount, that I will praise<br />
|- <br />
| <small>46</small><br />
| Don't crook, short cut<br/>&emsp;With that, look for the disengage<br />
|- <br />
| <small>47</small><br />
| Crook whoever bewilders you<br/>&emsp;The noble war bewilders them<br />
|- <br />
| <small>48</small><br />
| For they do not truthfully know<br/>&emsp;Where they are without danger<br />
|}<br />
'''Gloss'''. What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sideways</ref> 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 {{dec|s|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<section end="27"/><br />
<br />
<section begin="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.<section end="28"/><br />
<br />
<section begin="29"/><br />
{| class="zettel"<br />
|- <br />
| <small>53</small><br />
| The failer misleads<br/>&emsp;It wounds according to desire from below<br />
|- <br />
| <small>54</small><br />
| The inverter constrains.<br/>&emsp;The one who rushes through also wrestles with it.<br />
|- <br />
| <small>55</small><br />
| Take the elbow surely<br/>&emsp;Spring into their stance.<br />
|- <br />
| <small>56</small><br />
| The failer doubles.<br/>&emsp;If they make contact, make the slice with it.<br />
|- <br />
| <small>57</small><br />
| Double it further<br/>&emsp;Step to the left and do not be lazy<br />
|- <br />
| <small class="grey">ⅹⅹⅲ</small><br />
| Because all fencing<br/>&emsp;Will by all rights have speed<br />
|- <br />
| <small class="grey">ⅹⅲ</small><br />
| Also in it: audacity,<br/>&emsp;Prudence, astuteness and ingenuity<br />
|}<br />
<section end="29"/><br />
<br />
<section begin="30"/>'''This is about the crosswise cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>49</small><br />
| The crosswise cut seizes<br/>&emsp;Whatever arrives from the roof.<br />
|- <br />
| <small>50</small><br />
| Cross with the strong<br/>&emsp;Remember your work with it.<br />
|- <br />
| <small>51</small><br />
| Cross to the plow<br/>&emsp;Yoke it hard to the ox<br />
|- <br />
| <small>52</small><br />
| Whoever crosses themselves well<br/>&emsp;Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
|}<br />
'''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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<section end="30"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="31"/><br />
<br />
<section begin="32"/>'''This is about the cockeyed cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>58</small><br />
| The cockeyed cut breaks into<br/>&emsp;Whatever the buffalo cuts or thrusts<br />
|- <br />
| <small>59</small><br />
| Whoever threatens to change,<br/>&emsp;The cockeyed cut robs them of it.<br />
|- <br />
| <small>60</small><br />
| Cock an eye. If they short you,<br/>&emsp;Disengaging defeats them.<br />
|- <br />
| <small>61</small><br />
| Cock an eye at the point<br/>&emsp;And take the neck without fear<br />
|- <br />
| <small>62</small><br />
| Cock an eye at the top of the head<br/>&emsp;If you wish to ruin the hands.<br />
|- <br />
| <small class="grey">ⅹⅹⅳ</small><br />
| Cock an eye against the right<br/>&emsp;If it is that you desire to fence well.<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The cockeyed cut I prize,<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
'''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.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
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...<section end="32"/><br />
<br />
<section begin="33"/>And wherever you see swords<br/>&emsp;Yanked from their sheaths by the both of you<br/>Right then you shall become strong<br/>&emsp;And precisely pay attention to their steps all at once.<br/>The Before, The After, the two things<br/>&emsp;Gauge and pounce by precept<br/>Follow up all hits<br/>&emsp;If you wish to make a fool of the strong.<br/>If they defend, then suddenly withdraw.<br/>&emsp;Thrust. If they defend, press into them.<br/>The windings and the hangings,<br/>&emsp;Learn to artfully carry out.<br/>And gauge the opponent's applications<br/>&emsp;To see if they are soft or hard.<br/>If they fence with strength,<br/>&emsp;Then you are artfully equipped.<br/>And if they attack wide or long,<br/>&emsp;Shooting defeats them<br/>With your deadly rigor<ref>In all other extant versions this is "point"</ref><br/>&emsp;If they defend themselves, hit without fear.<br/>Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.<br/>Do not attack the sword,<br/>&emsp;Rather keep watch for the openings<br/>You hit or miss<br/>&emsp;Then keep it in your mind that you target the openings<br/>With both hands<br/>&emsp;Learn to bring your point to the eyes.<br/>Always fence with sense<br/>&emsp;And win the Vorschlag every time.<br/>The opponent hits or misses,<br/>&emsp;Immediately take target with the Nachschlag's<br/>On both sides,<br/>&emsp;Step to the right of the opponent<br/>So that you can begin<br/>&emsp;Fencing or wrestling with advantage.<section end="33"/><br />
<br />
<section begin="34"/>'''This is about the part cut, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>63</small><br />
| The part cut<br/>&emsp;Is dangerous to the face<br />
|- <br />
| <small>64</small><br />
| With its turn<br/>&emsp;And the breast is yet endangered.<br />
|- <br />
| <small>65</small><br />
| Whatever comes from it<br/>&emsp;The crown removes it.<br />
|- <br />
| <small>66</small><br />
| Slice through the crown<br/>&emsp;So that you break it beautifully and hard<br />
|- <br />
| <small>67</small><br />
| Press the sweeps<br/>&emsp;By slicing withdraw it<br />
|- <br />
| <small class="grey">ⅹⅹⅴ</small><br />
| The part cut I prize<br/>&emsp;If it does not arrive too lazily.<br />
|}<br />
<section end="34"/><br />
<br />
<section begin="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.<section end="35"/><br />
<br />
<section begin="36"/>'''This is about the four positions, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>68</small><br />
| Four positions alone<br/>&emsp;Defend from those and eschew the common<br />
|- <br />
| <small>69</small><br />
| Ox, plow, fool,<br/>&emsp;From-the-roof are not contemptible to you<br />
|}<br />
'''Gloss, etc'''. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<section end="36"/><br />
<br />
<section begin="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.<section end="37"/><br />
<br />
<section begin="38"/>The second guard, ox is the high hanging from the shoulder.<section end="38"/><br />
<br />
<section begin="39"/><br />
{| class="zettel"<br />
|- <br />
| <small>ⅹⅹⅵ</small><br />
| The Fool truly breaks<br/>&emsp;Whatever the opponent cuts or thrusts<br />
|- <br />
| <small>ⅹⅹⅶ</small><br />
| Sweep using hanging<br/>&emsp;Immediately place the pursuit <br />
|}<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<section end="39"/><br />
<br />
<section begin="40"/>The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<section end="40"/><br />
<br />
<section begin="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.<br />
<br />
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. <section end="41"/><br />
<br />
<section begin="42"/>'''This is about the four parries'''<br />
{| class="zettel"<br />
|- <br />
| <small>70</small><br />
| Four are the parries<br/>&emsp;Which also severely disrupt the positions<br />
|- <br />
| <small>71</small><br />
| Guard yourself from parrying<br/>&emsp;If this happens, it also severely beleaguers you.<br />
|- <br />
| <small>72</small><br />
| If you are parried,<br/>&emsp;And as it happens<br />
|- <br />
| <small>73</small><br />
| Heed what I advise:<br/>&emsp;Strike off, cut swiftly with violence<br />
|- <br />
| <small>74</small><br />
| Lodge against four regions<br/>&emsp;Learn to remain upon them if you wish to finish.<br />
|- <br />
| <small class="grey">ⅹⅹⅷ</small><br />
| Whoever parries well,<br/>&emsp;This fencer disrupts many cuts.<br />
|- <br />
| <small class="grey">ⅹⅹⅸ</small><br />
| Because you swiftly come<br/>&emsp;Into the hangings by parrying.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.<section end="42"/><br />
<br />
<section begin="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.<br />
<br />
To the extent you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<section end="43"/><br />
<br />
<section begin="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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<section end="44"/><br />
<br />
<section begin="45"/>'''This is about the pursuing, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>75</small><br />
| Learn to pursue<br/>&emsp;Double or slice into the weapon<br />
|- <br />
| <small>76</small><br />
| Two enticements to the outside<br/>&emsp;The work begins thereafter<br />
|- <br />
| <small>77</small><br />
| And gauge the opponent's application<br/>&emsp;Whether they are soft or hard<br />
|- <br />
| <small>78</small><br />
| Learn to feel<br/>&emsp;Indes, this word cuts sharply<br />
|- <br />
| <small>79</small><br />
| Pursuing twice,<br/>&emsp;Make the old slice with it.<br />
|- <br />
| <small class="grey">ⅹⅹⅹ</small><br />
| Follow all hits<br/>&emsp;Then strengthen if you wish to dishonor the masters<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against the opponent's face.<br />
|- <br />
| <small class="grey">ⅹⅹⅺ</small><br />
| With the entire body<br/>&emsp;Pursue, always keep your point there.<br />
|- <br />
| <small class="grey">ⅹⅹⅻ</small><br />
| Also learn to swiftly<br/>&emsp;Pursue, so you can end well.<br />
|}<br />
<section end="45"/><br />
<br />
<section begin="46"/>'''This is about the overrunning. Fencer look into this.'''<br />
{| class="zettel"<br />
|- <br />
| <small>80</small><br />
| Whoever takes aim from below Overrun,<br/>&emsp;then they will be shamed.<br />
|- <br />
| <small>81</small><br />
| When it clashes above,<br/>&emsp; Strengthen, This I wish to praise.<br />
|- <br />
| <small>82</small><br />
| Make your work<br/>&emsp;Or press hard twice.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅲ</small><br />
| Whoever presses you down,<br/>&emsp;Overrun them, slash sharply again.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅳ</small><br />
| From both sides<br/>&emsp;Overrun and remember the slices.<br />
|}<br />
<section end="46"/><br />
<br />
<section begin="47"/>'''This is about displacing. Learn this well.'''<br />
{| class="zettel"<br />
|- <br />
| <small>83</small><br />
| Learn to displace<br/>&emsp;Skillfully disrupt cuts and thrusts<br />
|- <br />
| <small>84</small><br />
| Whoever thrusts at you<br/>&emsp;Your point hits and theirs breaks<br />
|- <br />
| <small>85</small><br />
| From both sides<br/>&emsp;You will hit every time, if you step.<br />
|- <br />
| <small class="grey">ⅹⅷ</small><br />
| In every lesson,<br/>&emsp;Turn the point against one's face.<br />
|}<br />
<section end="47"/><br />
<br />
<section begin="48"/>'''This is about the disengaging, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>86</small><br />
| Learn to disengage<br/>&emsp;From both sides stabbing sharply with it<br />
|- <br />
| <small>87</small><br />
| Whoever binds upon you<br/>&emsp;Disengaging surely finds them<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅴ</small><br />
| If you have disengaged,<br/>&emsp;Do not slash, thrust nor wind lazily.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅵ</small><br />
| Do not cut at the sword<br/>&emsp;Disengage, with that watch.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<section end="48"/><br />
<br />
<section begin="49"/>And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<section end="49"/><br />
<br />
<section begin="50"/>'''This is about withdrawing suddenly. Fencer note.'''<br />
{| class="zettel"<br />
|- <br />
| <small>88</small><br />
| Tread close in binds,<br/>&emsp;So that withdrawing suddenly gives good opportunities.<br />
|- <br />
| <small>89</small><br />
| Suddenly withdraw. If they engage, suddenly withdraw more.<br/>&emsp;If they work, wind, that does them harm. <br />
|- <br />
| <small>90</small><br />
| Suddenly withdraw all engagements<br/>&emsp;Of the masters if you wish to dishonor them <br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅶ</small><br />
| Suddenly withdraw off of the sword<br/>&emsp;And always be mindful of your path.<br />
|}<br />
<section end="50"/><br />
<br />
<section begin="51"/>'''This is about rushing through. Look closely.'''<br />
{| class="zettel"<br />
|- <br />
| <small>91</small><br />
| Rush through, let hang<br/>&emsp;Grab with the pommel if you wish to grapple.<br />
|- <br />
| <small>92</small><br />
| Whoever strengthens up against you,<br/>&emsp;Remember to rush through with it.<br />
|- <br />
| <small style="color:#696969; white-space: nowrap;">ⅹⅹⅹⅷ</small><br />
| Rush through and shove.<br/>&emsp;Invert if they reach for the pommel.<br />
|}<br />
<section end="51"/><br />
<br />
<section begin="52"/>'''This is about cutting off, etc, etc'''<br />
{| class="zettel"<br />
|- <br />
| <small>93</small><br />
| Cut off the hard ones<br/>&emsp;From below in both paths.<br />
|- <br />
| <small>94</small><br />
| Four are the slices<br/>&emsp;With two from below, two from above.<br />
|- <br />
| <small class="grey">ⅹⅹⅹⅸ</small><br />
| Crosswise cut whoever would slice.<br/>&emsp;It easily evades the harm.<br />
|- <br />
| <small class="grey">ⅹⅼ</small><br />
| Do not slice in fright,<br/>&emsp;Always be wary of pursuing.<br />
|- <br />
| <small class="grey">ⅹⅼⅰ</small><br />
| You can slice well<br/>&emsp;Any cross, just omit the pursuit.<br />
|- <br />
| <small class="grey">ⅹⅼⅱ</small><br />
| If you wish to remain without harm,<br/>&emsp;Then do not be too eager with the slicing.<br />
|}<br />
<section end="52"/><br />
<br />
<section begin="53"/>'''This is about the hand pressing, etc, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>95</small><br />
| Turn your edge flat<br/>&emsp;Press the hands.<br />
|- <br />
| <small class="grey">ⅹⅼⅲ</small><br />
| Another is turning<br/>&emsp;One's winding. The third, hanging.<br />
|- <br />
| <small class="grey">ⅹⅼⅳ</small><br />
| If you wish to make the fencers<br/>&emsp;Weary, then press with collision<br />
|- <br />
| <small class="grey">ⅹⅼⅴ</small><br />
| Over the hands,<br/>&emsp;If one cuts, slice swiftly.<br />
|- <br />
| <small class="grey">ⅹⅼⅵ</small><br />
| Also draw your slices<br/>&emsp;Up out over the head.<br />
|- <br />
| <small class="grey">ⅹⅼⅶ</small><br />
| Whoever presses the hands<br/>&emsp;Without harm, suddenly retracts the forefinger.<br />
|}<br />
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<br />
<br />
To the extent you hesitate and delay yourself, you take harm.<section end="53"/><br />
<br />
<section begin="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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<section end="54"/><br />
<br />
<section begin="55"/>The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<section end="55"/><br />
<br />
<section begin="56"/>'''This is about the hanging. Fencer learn this, etc.'''<br />
{| class="zettel"<br />
|- <br />
| <small>96</small><br />
| Two hangings emerge<br/>&emsp;From the ground out of each hand<br />
|- <br />
| <small>97</small><br />
| In every application<br/>&emsp;Cut, Thrust, Position, Soft or Hard<br />
|- <br />
| <small>98</small><br />
| Make the speaking window<br/>&emsp;Stand freely, watch their situation.<br />
|- <br />
| <small>99</small><br />
| Strike them so that it snaps<br/>&emsp;Whoever withdraws themselves before you.<br />
|- <br />
| <small>100</small><br />
| I say to you truthfully<br/>&emsp;No one defends themselves without danger<br />
|- <br />
| <small>101</small><br />
| If you have understood<br/>&emsp;They cannot come to blows<br />
|- <br />
| <small class="grey">ⅹⅼⅷ</small><br />
| That is, if you remain<br/>&emsp;Against the sword, also conduct with it<br />
|- <br />
| <small class="grey">ⅹⅼⅸ</small><br />
| Cuts, thrusts or slices.<br/>&emsp;With that, note the feeling<br />
|- <br />
| <small class="grey">ⅼ</small><br />
| Without any preference.<br/>&emsp;You shall also not flee from the sword<br />
|- <br />
| <small class="grey">ⅼⅰ</small><br />
| Because master applications<br/>&emsp;Are against the sword by rights.<br />
|- <br />
| <small class="grey">ⅼⅱ</small><br />
| Whoever binds against you<br/>&emsp;The war wrestles with them sharply.<br />
|- <br />
| <small class="grey">ⅼⅲ</small><br />
| The noble winds<br/>&emsp;Can also surely find them<br />
|- <br />
| <small class="grey">ⅼⅳ</small><br />
| With cuts, with thrusts,<br/>&emsp;With slices you tenaciously find them.<br />
|- <br />
| <small class="grey">[32]</small><br />
| In all winds<br/>&emsp;You shall find cuts, stabs, slices.<br />
|- <br />
| <small class="grey">ⅼⅴ</small><br />
| The noble hanging<br/>&emsp;Cannot exist without the winds.<br />
|- <br />
| <small class="grey">ⅼⅵ</small><br />
| Because from the hangings<br/>&emsp;You shall bring the winds.<br />
|}<br />
'''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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<section end="56"/><br />
<br />
<section begin="57"/><br />
{| class="zettel"<br />
|- <br />
| <small>108</small><br />
| From both sides<br/>&emsp;Learn eight winds with stepping.<br />
|- <br />
| <small>106</small><br />
| And always unite them.<br/>&emsp;Combine the winds with three plays<br />
|- <br />
| <small>107</small><br />
| So are they twenty<br/>&emsp;And four. Simply count them.<br />
|- <br />
| <small>105</small><br />
| Fencer, mind this<br/>&emsp;And consider the winds correctly<br />
|- <br />
| <small class="grey">lxiii</small><br />
| And learn to command them well<br/>&emsp;So you can attack the four openings<br />
|- <br />
| <small class="grey">lxiv</small><br />
| Because each opening<br/>&emsp;Objectively has six wounders.<br />
|}<br />
'''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.<br />
<br />
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.<section end="57"/></div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/3227a_Longsword&diff=136648User:Christian Trosclair/Translations/3227a Longsword2022-10-10T14:22:59Z<p>Christian Trosclair: </p>
<hr />
<div>Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.<br />
<br />
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.<br />
<br />
And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is because the Vorschlag is one great advantage of this fencing as you will hear hereafter in this text<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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,<br />
<br />
because the sword is just like a scale.<br />
<br />
For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.<br />
<br />
Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them<br />
<br />
just as if you shall stand upright upon a scale, stepping backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.<br />
<br />
And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.<br />
<br />
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.<br />
<br />
Also the situation often necessitates two short steps for one long.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And then as soon as <ref>The silver "soon" was added later above the line</ref> 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And whoever both knows and delivers this play well, they are not a bad fencer.<br />
<br />
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.<br />
<br />
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.<br />
<br />
In all fencing<br />
Requisite is: The help of God of righteousness,<br />
A straight and healthy body,<br />
A soundly manufactured sword, especially,<br />
The Before, The After, Weak, Strong<br />
Indes, the word with which to distinguish by.<br />
Cuts, thrusts, slices, pressing,<br />
Position, defending, shoves, feeling, disengaging,<br />
Winding and hanging,<br />
Checks, sweeps, springs, grabbing, wrangling,<br />
Speed, audacity,<br />
Prudence, astuteness and ingenuity<br />
Acumen, premeditation, ability<br />
Measure, obscuration,<br />
Practice and good spirit,<br />
Mobility, flexibility, good steps.<br />
In these seven couplets<ref>lit: verses</ref><br />
The fundamental principles<br />
And concerns<br />
And the entire matter<br />
Of all of the art of fencing are labelled for you.<br />
You shall consider these correctly<br />
As you will in fact<br />
And in detail hereafter<br />
Hear and read<br />
Of each according to their ways.<br />
Fencer, take heed of this<br />
So they will completely introduce to you both the art<br />
Of the entire sword<br />
And good robust manly applications.<br />
<br />
Motion, that beautiful word,<br />
Is the heart and crown of fencing<br />
The entire matter<br />
Of fencing with all the concerns<br />
And the sound components<br />
Of the fundamentals. These movements<br />
Are labelled by name<br />
And will be introduced to you better hereafter.<br />
However you then fence,<br />
You are to be subsequently well versed with it<br />
And are to stay in motion<br />
And do not pause the moment you<br />
Begin to fence<br />
Then you execute with authority<br />
Continuously and decisively<br />
Boldly one after the other<br />
In one fluid motion<br />
Without pause, without gaps<br />
So that the opponent cannot come<br />
To strikes. Of this you take advantage<br />
And the opponent harm.<br />
Because they cannot come away<br />
From you unstruck.<br />
Just do this according to this advice<br />
And according to this teaching<br />
That is written now<br />
For I say to you truthfully,<br />
The opponent does not defend themselves without danger.<br />
If you understand this<br />
They cannot come to blows with anything.<br />
<br />
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.<br />
<br />
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<ref>latin</ref><br />
<br />
This is the general preface of the unarmored fencing on foot. Mark this well.<br />
<br />
Young knight, learn.<br />
Revere God. Ever honor women,<br />
Thus cultivate your honor.<br />
Practice knightcraft and learn<br />
art that decorates you<br />
and in wars serves you well.<br />
Wrestling's good grips,<br />
Lance, spear, sword and messer,<br />
manfully brandish<br />
and in other hands ruin.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Thereupon you hold,<br />
all things have time and place.<br />
And whatever you wish to conduct,<br />
you shall stay in the realm of good reason.<br />
In earnest or in play,<br />
have a joyous spirit with moderation<br />
so that you may pay attention<br />
and consider with a good spirit<br />
whatever you shall command<br />
and whip up against the opponent.<br />
Because a good spirit with authority<br />
makes someone's rebuke timid.<br />
Thereafter, orient yourself.<br />
Give no advantage with anything.<br />
Avoid imprudence.<br />
Do not step in front of four or six<br />
with your overconfidence.<br />
Be modest, that is good for you.<br />
It is a brave man<br />
that dares to confront their equal.<br />
It is not shameful<br />
to flee four or six at hand.<br />
If one cannot flee,<br />
then do something cunning, that is my advice.<br />
<br />
This is a general lesson of the sword:<br />
<br />
If you wish to show skill,<br />
Move yourself left and right with cutting.<br />
And left with right<br />
Is what you strongly desire to fence.<br />
Whoever chases after cuts,<br />
They permit themselves to enjoy the art in small amounts.<br />
Cut from close whatever you wish,<br />
No changer comes on your shield.<br />
Do not cut to the sword.<br />
Rather, keep watch of the openings.<br />
To the head, to the body,<br />
Do not omit the stingers.<br />
With the entire body<br />
Fence whatever you desire to conduct strongly.<br />
Listen here to what is bad:<br />
Do not fence from above left if you are right.<br />
And if you are left,<br />
You are severely hindered on the right.<br />
So always prefer<br />
To fence from above left downwards.<br />
The Before, The After the two things<br />
are the wellspring of all art.<br />
Weak and strong,<br />
Indes, mark this word with them.<br />
So you can learn<br />
To defend yourself with art and work.<br />
If you terrify easily,<br />
Never learn any fencing.<br />
Audacity and swiftness,<br />
Prudence, astuteness and ingenuity,<br />
Acumen, concealment,<br />
Measure, obscuration, scouting and skill<br />
Fencing will have<br />
And bear a joyous spirit.<br />
<br />
General gloss hereafter.<ref>latin</ref><br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And if you mislaid or over extended 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.<br />
<br />
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.<br />
<br />
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 it's 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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" This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 withdrawl, 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.<br />
<br />
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 follwing as you sent your point forwards, targeting them against their sword according to what is closest and shortest.<br />
<br />
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After"<br />
<br />
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,<br />
<br />
because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<br />
<br />
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 ith 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard"<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently? 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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". 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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is the text, wherein he names the five cuts and other plays of fencing.<br />
<br />
Learn five cuts<br />
from the right hand against the weapon<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursue and Overrun, disrupt attacks<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
This is about the Wrath cut, etc.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern.<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this<br />
Cuts, thrusts, position, soft or hard<br />
Indes and Before, After<br />
Without rush, your war is not hasty.<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
In all winds<br />
Cut, stab, slice learn to find<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
Do not cut to the sword,<br />
Rather, keep watch for the openings<br />
Of the head, of the body<br />
If you wish to remain without harm<br />
You hit or miss<br />
Considering as follows so that you target the openings<br />
In every lesson,<br />
Turn the point toward the openings.<br />
Whoever cuts around widely,<br />
They will often be shamed severely.<br />
In the most direct way possible,<br />
Deliver sudden cuts, stabs wisely<ref>`wisely` inferred from the summary</ref>.<br />
And one shall also always step<br />
To their right side<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
And the afore mentioned 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.<br />
<br />
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<br />
<br />
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.<br />
<br />
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.<br />
<br />
Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the four openings, etc, etc.<br />
<br />
Know the four openings<br />
Take aim so that you strike wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is about the crooked cut, etc.<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, short cut<br />
With that, look for the disengage<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
For they do not truthfully know<br />
Where they are without danger<br />
<br />
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.<br />
<br />
What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sidways</ref> to the right side, then deliver your attack<br />
<br />
and you shall crooked cut fully and swiftly<br />
<br />
and you shall throw or shoot your point over the opponent's hilt onto their hands<br />
<br />
and you shall cut to the opponent's flats. Then if you hit their flat, remain strong upon it and press firmly<br />
<br />
and you shall cut with your flats. Then if you hit their sword, remain strong upon it and press firmly<br />
<br />
and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices<br />
<br />
and you shall not cut too short with anything<br />
<br />
and you shall not forget about disengaging, when it merits it<br />
<br />
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.<br />
<br />
This is about the crosswise cut, etc.<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof.<br />
Cross with the strong<br />
Remember your work with it.<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
The failer misleads<br />
It wounds according to desire from below<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step to the left and do not be lazy<br />
<br />
Because all fencing<br />
Will by all rights have speed<br />
Also in it: audacity,<br />
Prudence, astuteness and ingenuity<br />
<br />
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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<br />
<br />
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.<br />
<br />
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<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the cockeyed cut, etc.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
And take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands.<br />
Cock an eye against the right<br />
If it is that you desire to fence well.<br />
The cockeyed cut I prize,<br />
If it does not arrive too lazily.<br />
<br />
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.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging<br />
<br />
and you shall cut cockeyed with the point to the throat, boldly without fear<br />
<br />
And wherever you see swords<br />
Yanked from their sheaths by the both of you<br />
Right then you shall become strong<br />
And precisely pay attention to their steps all at once.<br />
The Before, The After, the two things<br />
Gauge and pounce by precept<br />
Follow up all hits<br />
If you wish to make a fool of the strong.<br />
If they defend, then suddenly withdraw.<br />
Thrust. If they defend, press into them.<br />
The windings and the hangings,<br />
Learn to artfully carry out.<br />
And gauge the opponent's applications<br />
To see if they are soft or hard.<br />
If they fence with strength,<br />
Then you are artfully equipped.<br />
And if they attack wide or long,<br />
Shooting defeats them<br />
With your deadly rigor<ref>In all other extant versions this is "point"</ref><br />
If they defend themselves, hit without fear.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Do not attack the sword,<br />
Rather keep watch for the openings<br />
You hit or miss<br />
Then keep it in your mind that you target the openings<br />
With both hands<br />
Learn to bring your point to the eyes.<br />
Always fence with sense<br />
And win the Vorschlag every time.<br />
The opponent hits or misses,<br />
Immediately take target with the Nachschlag's<br />
On both sides,<br />
Step to the right of the opponent<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
This is about the part cut, etc.<br />
<br />
The part cut<br />
Is dangerous to the face<br />
With its turn<br />
And the breast is yet endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
The part cut I prize<br />
If it does not arrive too lazily.<br />
<br />
This is about the four positions, etc.<br />
<br />
Four positions alone<br />
Defend from those and eschew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptible to you<br />
<br />
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The second guard, ox is the high hanging from the shoulder.<br />
<br />
The Fool truly breaks<br />
Whatever the opponent cuts or thrusts<br />
Sweep using hanging<br />
Immediately place the pursuit<br />
<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<br />
<br />
The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the four parries<br />
<br />
Four are the parries<br />
Which also severely disrupt the positions<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
If you are parried,<br />
And as it happens<br />
Heed what I advise:<br />
Strike off, cut swiftly with violence<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish.<br />
Whoever parries well,<br />
This fencer disrupts many cuts.<br />
Because you swiftly come<br />
Into the hangings by parrying.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one flurry.<br />
<br />
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.<br />
<br />
To the extent you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<br />
<br />
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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<br />
<br />
This is about the pursuing, etc, etc<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's application<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
Pursuing twice,<br />
Make the old slice with it.<br />
Follow all hits<br />
Then strengthen if you wish to dishonor the masters<br />
In every lesson,<br />
Turn the point against the opponent's face.<br />
With the entire body<br />
Pursue, always keep your point there.<br />
Also learn to swiftly<br />
Pursue, so you can end well.<br />
<br />
This is about the overrunning. Fencer look into this.<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
Whoever presses you down,<br />
Overrun them, slash sharply again.<br />
From both sides<br />
Overrun and remember the slices.<br />
<br />
This is about displacing. Learn this well.<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
In every lesson,<br />
Turn the point against one's face.<br />
<br />
This is about the disengaging, etc, etc.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
If you have disengaged,<br />
Do not slash, thrust nor wind lazily.<br />
Do not cut at the sword<br />
Disengage, with that watch.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and when you feel that you connected, fully follow through.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<br />
<br />
And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<br />
<br />
This is about withdrawing suddenly. Fencer note.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
If they work, wind, that does them harm.<br />
Suddenly withdraw all engagements of the masters<br />
If you wish to dishonor them<br />
Suddenly withdraw off of the sword<br />
And always be mindful of your path.<br />
<br />
This is about rushing through. Look closely.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
Rush through and shove.<br />
Invert if they reach for the pommel.<br />
<br />
This is about cutting off, etc, etc<br />
<br />
Cut off the hard ones<br />
From below in both paths.<br />
Four are the slices<br />
With two from below, two from above.<br />
Crosswise cut whoever would slice.<br />
It easily evades the harm.<br />
Do not slice in fright,<br />
Always be wary of pursuing.<br />
You can slice well<br />
Any cross, just omit the pursuit.<br />
If you wish to remain without harm,<br />
Then do not be too eager with the slicing.<br />
<br />
This is about the hand pressing, etc, etc.<br />
<br />
Turn your edge flat<br />
Press the hands.<br />
Another is turning<br />
One's winding. The third, hanging.<br />
If you wish to make the fencers<br />
Weary, then press with collision<br />
Over the hands,<br />
If one cuts, slice swiftly.<br />
Also draw your slices<br />
Up out over the head.<br />
Whoever presses the hands<br />
Without harm, suddenly retracts the forefinger.<br />
<br />
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<br />
<br />
To the extent you hesitate and delay yourself, you take harm.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<br />
<br />
The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<br />
<br />
This is about the hanging. Fencer learn this, etc.<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
That is, if you remain<br />
Against the sword, also conduct with it<br />
Cuts, thrusts or slices.<br />
With that, note the feeling<br />
Without any preference.<br />
You shall also not flee from the sword<br />
Because master applications<br />
Are against the sword by rights.<br />
Whoever binds against you<br />
The war wrestles with them sharply.<br />
The noble winds<br />
Can also surely find them<br />
With cuts, with thrusts,<br />
With slices you tenaciously find them.<br />
In all winds<br />
You shall find cuts, stabs, slices.<br />
The noble hanging<br />
Cannot exist without the winds.<br />
Because from the hangings<br />
You shall bring the winds.<br />
<br />
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.<br />
<br />
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword<br />
<br />
and you shall wind<br />
<br />
and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always gauge and note whether they are soft or hard against your sword.<br />
<br />
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<br />
<br />
and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
From both sides<br />
Learn eight winds with stepping.<br />
And always unite them.<br />
Combine the winds with three plays<br />
So are they twenty<br />
And four. Simply count them.<br />
Fencer, mind this<br />
And consider the winds correctly<br />
And learn to command them well<br />
So you can attack the four openings<br />
Because each opening<br />
Objectively has six wounders.<br />
<br />
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.<br />
<br />
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.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135563User:Christian Trosclair/Translations2022-08-31T18:22:04Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Falkner/Longsword|Falkner Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Folz|Folz]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Fechtregeln/Longsword|Fechtregeln Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Syber|Martin Syber]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
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}}<!--<br />
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<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Folz&diff=135562User:Christian Trosclair/Translations/Folz2022-08-31T18:21:17Z<p>Christian Trosclair: Created page with "Whence the verse If you are a lefty You are quite awkward in fencing I say to you truthfully No one defends themselves without danger If you have understood this Then they ca..."</p>
<hr />
<div>Whence the verse<br />
<br />
If you are a lefty<br />
You are quite awkward in fencing<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this<br />
Then they can scarcely come to blows<br />
Two hangings emerge<br />
From both hands to the ground<br />
Whoever withdraws before you<br />
Cut quickly so that it snaps<br />
Cut to the flats<br />
If you wish to weaken the Masters<br />
Cut to the plow<br />
Disconnect to the closest<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
Charge and whatever you wish<br />
No changer enters your shield<br />
Guard yourself from parrying<br />
If it happens, it hurts you badly<br />
If you are parried<br />
Strike as it happens to you<br />
Hear what I advise<br />
Step off, cut with violence.<br />
Lodge against four regions<br />
Remain upon them if you wish to finish<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Without any fear<br />
Without doubt however they are situated.<br />
Precisely note this<br />
If your position is soft or hard<br />
Suddenly withdraw the sudden withdrawer, Suddenly withdraw more<br />
This uncovers work that does them harm<br />
Yet the cut arrives upon them right there, the crosswise<br />
Crook, eye cocker with the parter<br />
Whoever cuts at you from above<br />
The wrathcut point threatens them<br />
If they become aware of it<br />
Abscond above without fear<br />
Be much stronger against<br />
Wind, thrust. If they see it, take it below<br />
Crosswise cut then slice atop<br />
The war rises overhead<br />
Don't crook, cut short<br />
Disengage and with that expose them<br />
Crook up with reach<br />
Throw the point upon the hands<br />
<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
The cross seizes<br />
Whatever arrives from the sky<br />
Cross to the point<br />
Take the neck without fear<br />
Cock an eye a the top<br />
If you want to dupe them<br />
The parter with it's turn<br />
Is a threat to the face<br />
If you frighten easily<br />
Don't ever learn to fence.<br />
It wards and strikes,<br />
Indes<br />
Before, after these two things<br />
Are the singular origin of this art<br />
Indes, before and after<br />
And guard that your war is not hasty<br />
For the one whose war takes aim from above<br />
They will be shamed from below.<br />
Hear what is bad<br />
Do not fence left when you are right.<br />
Double the failer<br />
Make the old slice with it<br />
The failer misleads<br />
It wounds from below according to desire<br />
Double further<br />
Step in guard and do not be lax<br />
When it sparks above<br />
Then step off, that I will praise.<br />
Whoever thrusts at you<br />
Their point connects and breaks with the crosswise cut<br />
If you wish estimate for yourself how<br />
To artfully break the four openings<br />
Double above<br />
Mutate right<br />
4 are the slices<br />
2 above, 2 below<br />
Only fence with the entire body<br />
If you desire to remain standing<br />
Target the four openings<br />
So that you strike wisely<br />
Let your point hang<br />
Grasp the pommel if you wish to wrangle<br />
The inverter pressures<br />
Rush through, throw as well with wrestling<br />
Four guards alone<br />
Take and flee the common.<br />
<br />
There happens to be gold in these short plays<br />
The first: A guard and foundation of all plays<br />
The second: Plays and fencing<br />
The third: The lowest sword disarm<br />
The fourth: Wrestling from above with the sword<br />
The fifth: A bind from wrestling<br />
The first two are called over-under<ref>ebich: inverted, backwards, topsy-turvy, skewed, asymmetrical</ref> wrestlings, understand these counters well.<br />
The third is called the nobleman which identifies me to you.<br />
The 4th if someone fully intends to strike or stab at your belly with a dagger, this throws them on their back<br />
The 5th knee wrestling to the mouth<br />
The 6th Shoulder wrestling<br />
The 7th is wrestling using the arms and the counter for it<br />
The 8th changing from the arms to over the knee<br />
The 9th the death penetration<br />
The 10th overturning the arms someone has against your throat<br />
The second: to the legs if someone lies on their back<br />
The 11th a bind above all binds, the wresting that is in the arms<br />
The 12th Turning someone right around by the head<br />
<br />
If someone lets their arms go and starts to wrestle at the arms, those are over-under<ref>ebich: inverted, backwards, topsy-turvy, skewed, asymmetrical</ref> wrestlings, the best with stepping forward, displacing into the guard. This breaks all wrestlings.<br />
<br />
Whoever clasps down with two, these are used below. They apply both below the throat.<br />
this is good<br />
Understand the other well, a knee wrestling to lift upwards with. Know the counter well, know this play in horse as well.<br />
<br />
The first is a displacement, from that displacement comes a thrust.<br />
<br />
or else a wrestling or a bind, whatever one desires<br />
<br />
Two are the displacements<br />
<br />
One is below the sword<br />
<br />
and one is above the sword<br />
<br />
and after that the situating of the sword<br />
<br />
after that a wrestling from side guard<br />
<br />
shooting in or lodging against<br />
<br />
after that take up sword and dagger<br />
<br />
and after that throwing the sword</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135255User:Christian Trosclair/Translations2022-08-01T18:28:59Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Falkner/Longsword|Falkner Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Fechtregeln/Longsword|Fechtregeln Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Syber|Martin Syber]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
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<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
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<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Fechtregeln/Longsword&diff=135254User:Christian Trosclair/Translations/Fechtregeln/Longsword2022-08-01T18:28:25Z<p>Christian Trosclair: Created page with "Here begins the text and Zettel of the long sword. First, make good footing and stretch your arms free. Whatever you then fence, this sets it up. Item. Look at the F. cuts li..."</p>
<hr />
<div>Here begins the text and Zettel of the long sword. First, make good footing and stretch your arms free. Whatever you then fence, this sets it up.<br />
<br />
Item. Look at the F. cuts like this: The descending cut from the right shoulder with the long edge and take position with your left foot. The left descending cut is also the same; take position with the right foot and cut through the head with the long edge in the plunge.<br />
<br />
Item. Cut back around through their head into the schylt<ref>schylt: 1) shield. 2) to push off with an oar. a rudder pole. 3) shaved or peeled</ref> and back through in the opposite direction into the plunge and lay the sword upon your back, allow it to sink to the right side. Turn your pommel against your opponent and your point out behind, so that you arrive in the right middle cut. Cut in front of yourself, across the head into the left middle cut and back across into the head into the right changer with the long edge down. [Cut] with the short edge up around the head into the left change. These are the F. cuts. One shall learn each if you otherwise wish to fence properly.<br />
<br />
Item. The text and gloss follows hereafter [on how] one shall cut.<br />
<br />
Item. One shall cut according to these figures, all cuts through the face with outstretched arms and take a good position in all things, so you do not make yourself mess up.<br />
<br />
Item. The Zettel of the longsword follows hereafter.<br />
Whatever you wish to conduct strongly,<br />
Fence that with your entire body.<br />
Both low and high,<br />
Conduct the two things strongly, that I will praise.<br />
<br />
Item. If you frighten easily, do not learn to fence.<br />
Whoever wishes to fence, they shall have a heart of a lion and shall also see as sharply as a falcon and shall also be as agile as a bird.<br />
<br />
Item. Look at the four openings in sword like this: The two high openings upon the head, the other two low openings to both sides below the arms.<br />
<br />
Item. Look at the four positions like this: Position your sword upon the right shoulder and place your body in balance with good footing, The left high position is also the same, place your right foot forward.<br />
<br />
Look at the right low position like this: place your left foot forward and position the sword with the hilt upon the right leg, the point against the face of the opponent. Also similarly the lower left position: turn the point of the sword toward the face of the opponent.<br />
<br />
Item. Look at the four binds in the sword like this: Bind up against their left high opening with the short edge, step forward and bind against their right high opening with the long edge, step forward and strike at the lower left opening with the short edge and step forward and strike at the lower right opening with the flat.<br />
<br />
Item. One play called the wing. Bind them up high with the short edge and strike with the long edge at their lower right opening and immediately with the short edge at the high opening and cut through and away from the opponent into the lower left position.<br />
<br />
Item. One play called the enticement. Act as if you wish to bind them on the right and bind them on the left and act as if you wish to bind them on the left and bind them on the right and cut strongly from the opponent with the long edge into the lower left position if you can't find them open.<br />
<br />
Item. One play is called the disengage. Free up from both sides, so that you make the opponent entirely unsure and cut freely with stepping from one opening to another, so as to make it wander at will.<br />
<br />
Item. One play is called the Iron Gate. Position yourself in the lower left position and let your point sink to the ground and cut the wing and strike out from the right side into the schylt and from the left side again into the plunge, so that you go from the iron gate to the alley-cut.<br />
<br />
Item. One play is called the plow. Look at the plow like this: turn from the right position into the left and from the left again into the right, so that you see what the opponent wishes to drive upon you or if they thrust, you can break them.<br />
<br />
Item. One play is called the fool. Look at the fool like this: Turn the point in the air and hold the shield before the head. Whatever the opponent strikes from roof guard, one can break with this.<br />
<br />
Item. One play named the eye cocker. Look at the eye cocker like this: Cock an eye left and slash right and cock an eye right and slash left. In this way you confound the opponent with an unengaged face they cannot read.<br />
<br />
Item. One play called the clanger. Look at the clanger like this: Clang once, twice, thrice upon the opponent's blade so you can find their opening.<br />
<br />
Item. One play called the inverter. Look at the inverter like this: Position your sword in front of your head. Let your point sink down behind and turn it to the right side and to the left, flitting from one to the other so they cannot protect themselves from you. If you can quite promptly find an opening, then the inverter is correct.<br />
<br />
Item. One play called the ox. Look at the ox like this: Set the pommel against your breast, the point towards the opponent’s face and strongly and violently launch into them and cut into the winger and fly from the right side into the schylt. From the schylt, strike at the upper left opening and swerve to the right, so that they must either parry or be struck hard.<br />
<br />
Item. One play called the speaking window. Look at the speaking window like this: Make a wind in front of the head, such that your arms are crosswise, so that you discern whatever the opponent wishes to execute between them and execute quite great sweeps thereafter. From the speaking window you can strike them on both sides, left or right.<br />
<br />
Item a break comes from the speaking window. If your opponent strikes strongly at your head, fall in front of their blade with your short edge, shove their sword away, so that you uncover their head<br />
<br />
Item. A play called the golden cuts. Act as if you wish bind the opponent on the right and bind them on the left, strike at their upper right opening two or three times, one after the other, in this way the golden cut is correct.<br />
<br />
Item. A break for the golden cuts. When you see that the opponent wishes to use the golden cut, strike against their upper left opening with your short edge. Whatever they then strike, you can parry and step back and with the golden cuts, cut through into the plunge from the opponent and lay yourself in the lower left position, so that you are again prepared.<br />
<br />
Item. One play called the triangle. Look at the triangle like this: Position yourself in the right changer and step to the opponent's right side with your right foot and shove their sword up with your short edge and spring behind them with your left foot so that you find their head open.<br />
<br />
Item. A break for the triangle. when you see that the opponent wishes to use the triangle, lay in the schylt and step back and parry it with the golden parrying, strike at their nearest availble opening.<br />
<br />
Item. The crooked bind. Look at the crooked bind like this: Act as if you wish to bind them on the right and bind them on the left with the long edge and suddenly disengage as if you wish to bind on the right but remain on the same side, strike at their upper right opening with your short edge, swerve to the left and sunder them with the golden cuts so that they do not rally themselves.<br />
<br />
Item. Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
Cut atop whatever you wish<br />
No changer enters your shield<br />
To the head, to the body<br />
Do not forget to quickly withdraw.<br />
Alas, I say to you truthfully<br />
No one is without danger.<br />
If you frighten easily<br />
Never learn to fence<br />
There is no better parrying<br />
Than the one performed with sweeps.<br />
<br />
Item. A sword disarm. Look at it like this: Act as if you wish to bind your opponent high and grab their arm inside their hilt from the outside with your left hand inverted and pull towards yourself, so that you take their sword.<br />
<br />
Item. Another sword disarm. Look at it like this: Act as if you wish to bind them strongly and fall upon them with your hilt over their blade and with the left hand upon their hilt, pull strongly towards yourself, so that you take their sword and stand ready for combat. etc.<br />
<br />
Item. A free play on how one shall throw their opponent in sword. Look at it like this: Bind them up strongly from above and grasp their right elbow with your left hand, thrust up strongly into their face, so that you throw them upon their back<br />
<br />
Item. When you wish to smite your opponent upon the head, act as if you wish to bind strongly and grab in the middle of their hilt with your left hand and pull strongly toward yourself, so that you can uncover their head.<br />
<br />
Item. An overrunning in sword. How you shall throw the opponent. Look at it like this: Act as if you wish to bind on the right and bind them crossed. Wind against their blade with the short edge. Grab your blade with your left hand, lay the sword upon their neck and step with your left foot behind their left, drag them strongly toward yourself, so that they must fall.<br />
<br />
Item. An underrunning in sword. Look at it like this: Act as if you wish to bind high and shove their hilt over itself by the cross, so that you sieze it right there or however you are able to tie it up.<br />
<br />
Item ‘B’. Weak and strong. Look at it like this: Up by the point is the weak and the midpart of the blade is the Strong which you shall execute sharply with the short edge.<br />
<br />
Item ‘A’. Weak and strong, short and long is the singular origin of all art. Thereupon you hold all Art holds distance, measure.<br />
<br />
Item. A play called the lion. Look at it like this: Set yourself in balance and with your head not too high, cut from the four quarters with strength, so you have the spirit of a lion and is good in front of another two in the fight.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135253User:Christian Trosclair/Translations2022-07-31T14:48:20Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Falkner/Longsword|Falkner Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Syber|Martin Syber]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
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}}<!--<br />
<br />
-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
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}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Syber&diff=135252User:Christian Trosclair/Translations/Syber2022-07-31T14:47:43Z<p>Christian Trosclair: Created page with "Item. The hereafter written new Zettel was created and set down by master Martin Siber and is pulled from many master techniques and is separated and set down in six courses..."</p>
<hr />
<div>Item. The hereafter written new Zettel was created and set down by master Martin Siber and is pulled from many master techniques and is separated and set down in six courses<br />
<br />
And in the Zettel the ox and the plow and the part cut are not like in the first Zettel of the book. Rather, it is another interpretation.<br />
<br />
Now here begins the forward and lessons of the Zettel, thereafter the six courses.<br />
<br />
Whoever wishes to acquire honor<br />
Before princes and before lords<br />
In the fencing with the sword<br />
That is good and proper<br />
They follow my lessons<br />
They triumph continually<br />
Hold these six courses in guard<br />
They are quite praiseworthily good<br />
In them is well understood<br />
Many good masters' wisdom<br />
From Hungary, Bohemia, Italy,<br />
From France, England, and Alamannia,<br />
From Russia, Prussia, Greece,<br />
Holland, Provence, and Swabia.<br />
In them, you shall step left<br />
Remember misdirection alongside it<br />
Penetrate strongly in thrusting<br />
So you can accomplish it well.<br />
If you see the window standing open<br />
Enter it from there<br />
Strike or thrust quickly<br />
So you can settle down hard.<br />
In the work, step about.<br />
Fashion the previous passage together<br />
If you now wish to undertake this,<br />
You must have a strong spirit<br />
Proper understanding is also good<br />
Protect yourself from great wrath<br />
To such, deliver parries to them.<br />
Through that, you may well succeed.<br />
In all of your fencing, be swift.<br />
This forward has ended.<br />
<br />
The first course.<br />
Flick the weak to the right<br />
Wind through in the fencing<br />
With that, make the Flicker<br />
To both sides twice<br />
Strongly turn away the opponent's schilt<br />
Ram with the bow, strike adroitly<br />
In all work, step around<br />
Clash the right bow as well<ref>It is difficult to understand which adverbial meaning of mit is supposed to be used here: zusätzlich, inbegriffen, auch, mit, zugleich => additionally, inclusively, as well, among, simulataneously</ref><br />
<br />
The second course.<br />
Crook into the strong<br />
Remember, wind through as well<ref>It is difficult to understand which adverbial meaning of mit is supposed to be used here: zusätzlich, inbegriffen, auch, mit, zugleich => additionally, inclusively, as well, among, simulataneously</ref><br />
Wind, overrun<br />
Ready the point and pommel<br />
Stab the opponent in the face<br />
Fence with the work of the cross as well.<ref>mit, see above</ref><br />
You should remember the work of the pommel brought to bear.<br />
If you would like to harm the opponent upon the head<br />
In all work, step around<br />
Make the ehegefährt<ref>Another unclear word. ehegefährt could be a synonym for vorschlag, or it could be talking about the Gang/Course or something else entirely</ref> as well<ref>mit, see above</ref><br />
<br />
The third course.<br />
Cock an eye at whatever comes from-the-roof<br />
Cross through, do not go crooked<br />
Therein examine their situation.<br />
Make the half-cocked eye as well<ref>mit, see above</ref><br />
Abscond quite swiftly<br />
Threaten the cut, finish it again.<br />
Strongly drive out the the opponent's shield<br />
Overwhelm them by overrunning<br />
Their blade on the strong.<br />
In all work, step laterally<br />
Make the ehegefährt<ref>see above</ref> as well<ref>mit, see above</ref><br />
<br />
The fourth course<br />
Thrust the ox through<br />
With two great steps<br />
Wind and counter wind<br />
Make the part cut adroitly<br />
Wind. Strike the hitter immediately<br />
In the belly and upon the neck<br />
In all work, step around<br />
Make the ehegefährt<ref>see above</ref> as well<ref>mit, see above</ref><br />
<br />
The fifth course.<br />
Thrust the long point through<br />
Suddenly withdraw the thrust back, then kill<br />
If you let the blind cut to bounce<br />
Then you can go careening well<br />
Hang against, immediately.<br />
If you step behind, rebound<br />
Upon the head, into the belly<br />
Then you make a right fool out of them<br />
In all work, step laterally<br />
Make the ehegefährt<ref>see above</ref> as well<ref>mit, see above</ref><br />
<br />
The sixth course.<br />
Pass through from the roof extended<br />
Protect yourself by turning aside<br />
Cross through the opponent immediately<br />
Rebound the blind cut<br />
Hew the point into their breast<br />
After all of your punishment.<br />
In all work, step laterally<br />
Make the ehegefährt<ref>see above</ref> as well<ref>mit, see above</ref><br />
<br />
Here the new Zettel has an end<br />
Martin Sibers Zettel with six courses, exactly as he put them together from many masters technique. Whoever can understand it well is to be fully praised as a good master of the long sword before other masters.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Falkner/Longsword&diff=135250User:Christian Trosclair/Translations/Falkner/Longsword2022-07-30T17:35:56Z<p>Christian Trosclair: </p>
<hr />
<div>Young knight learn to have love for god<br />
And honor women<br />
And speak well of leaders.<br />
Be as manly as one should<br />
So that you increase your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And endeavors to honor you in war<br />
<br />
Learn six cuts<br />
Readily from the right hand<br />
Against the defences<br />
These we masters avow<br />
To repay in arts<br />
<br />
Descending cut<br />
Wrathcut<br />
Crooked cut<br />
Crosswise cut<br />
Cockeyed cut<br />
Part cut<br />
<br />
Note what I say to you, <br />
strike a descending cut right<br />
And left against right<br />
Is how you shall fence strongly<br />
You can also hang therein<br />
And come to thrusts<br />
<br />
Conduct the wrathcut with strength<br />
Precisely note this: Move behind<br />
From both sides<br />
Standing still or with stepping<br />
<br />
In the wrathpoint do the right winding<br />
If you wish to find the face exposed<br />
If they become aware of it<br />
Abscond above without fear<br />
Cut, thrust, note in the bind soft or hard<br />
<br />
Indes, before and after<br />
Without rush, the war is not hasty.<br />
Whoever hunts the war<br />
Above will be ashamed below<br />
In all winds, learn to find cut thrust<br />
<br />
Learn to strike and break the four openings<br />
If you wish to estimate for yourself<br />
Double above and mutate right below<br />
I say truthfully<br />
No one defends themselves without danger<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
When it sparks above<br />
Then dismount, that I will praise.<br />
<br />
The crosswise cut seizes <br />
what arrives from above<br />
Or with the strong<br />
Remember your work with it.<br />
<br />
The cross to the plow<br />
Connect hard to the ox<br />
Therein go high and low<br />
Come out against from both sides<br />
<br />
The cross with springing<br />
Lets you reach for the head<br />
Strike them in both ears<br />
So you can rightfully <br />
<br />
Whoever commands the failer correctly<br />
Wounds according to desire<br />
Invert the wing<br />
Rush through with it, wrestle.<br />
<br />
The cock eyed cut breaks<br />
What the buffalo strikes and thrusts<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
The parter is a threat to the head<br />
Then cut down through with three steps<br />
Make four strikes from both sides<br />
<br />
Four guards alone<br />
Defend from those and eshew the common<br />
Four are the parries<br />
That severly disrupt the positions<br />
<br />
Learn to pursue<br />
Cut thrust twice<br />
With it sharply<br />
Thrust to the breast, then it gives you satisfaction<br />
<br />
Rush over them<br />
Wind and raise the pommel<br />
If you wish to wrestle or press<br />
You should swiftly withdraw the weapon<br />
<br />
You shall lodge against<br />
Injuring them in four regions<br />
If the come from high or from low<br />
You point has wounded them in two ways<br />
<br />
If they are strong<br />
Rush through in any situation<br />
Note the art and lesson<br />
From both sides cut sharply<br />
<br />
Lear to displace<br />
Defend cut thrust artfully<br />
From four regions<br />
Learn to wind cut thrust slice<br />
<br />
Four are the slices<br />
Two above, two below<br />
Slice against the hard ones<br />
From below in both paths<br />
<br />
Slace against the crown<br />
From below, from above you break them beautifully<br />
If they will race against you<br />
Slip the pommel or point into the face<br />
<br />
Withdraw suddenly and engage<br />
The master if you wish to demean them<br />
Step close in the bind<br />
The sudden withdrawing gives good discoveries<br />
<br />
Make the speaking window<br />
Stand freely and watch their situation<br />
Note what I say<br />
Strike so that it snaps<br />
<br />
Learn arm locking from the left<br />
Hold it firmly to dismay them<br />
Lock it in, then they hate you<br />
With pressing, you make them powerless<br />
<br />
If they wish to align themselves<br />
Break in while fencing<br />
If they let their hand go<br />
Press firmly against their ear<br />
<br />
Overrun from the left<br />
Turn their back against the belly<br />
Swiftly thrust through both legs<br />
<br />
Point to the Sun<br />
With the sword if you wish to make them bow<br />
Break into them<br />
Press against their neck if you wish to align yourself<br />
<br />
If they will close in on you<br />
Learn to clasp the right with the left<br />
Lodge against their throat or breast<br />
Half sworded, it gives you satisfaction<br />
<br />
If you wish to shame them<br />
Take their sword by the hilt<br />
You should slide with the cross<br />
Practice with both hands.<br />
<br />
Thrust through up from the outside<br />
Learn to dislodge<ref>ausprechen vs Dierk's ansprechen</ref> the weapon halfsworded<br />
You can also lock the arm<br />
The luck of the draw will satisfy<ref><br />
This is a best guess selection of possible lemmas for the given orthography. Some letters are unclear.<br />
Will => willen(v) or will(adj)<br />
glick/gluck => gleich(adv) or glück(n)<br />
des => des<br />
kanst => können(v) or kanst(n) => "Chance"<br />
geniessen => to take pleasure in something (vs Dierk's gewiessen.)<br />
</ref><br />
<br />
If they land in the hanging point<br />
Take the sword without fear<br />
You shall slide with the hilt<br />
Haul yourself backwards<br />
<br />
If you wish to throw your weight around<br />
Learn to catch the neck, and thrust over your legs<br />
Work quickly, be assertive<br />
So that they come to pieces hard<br />
<br />
Note this rule, attack them with strength<br />
If you wish to commit to wrestling<br />
Let your sword spring away from you<br />
<br />
This is the distillation of the entire art<br />
Whoever sights well <br />
And continually breaks<br />
The utter best<br />
In a choice of three<br />
Whoever hangs correctly and well<br />
And delivers the winds with it<br />
They consider the proper position<br />
And unites them with the winding<br />
Eight winds are on both sides<br />
And gauge these applications<br />
Nothing more than soft or hard.<br />
<br />
Here ends Master Peter Falkner's Art of the Longsword</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135249User:Christian Trosclair/Translations2022-07-30T17:25:23Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Falkner/Longsword|Falkner Longsword]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}<!--<br />
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-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
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}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Falkner/Longsword&diff=135248User:Christian Trosclair/Translations/Falkner/Longsword2022-07-30T17:24:35Z<p>Christian Trosclair: Created page with "Young knight learn to have love for god And honor women And speak well of leaders. Be as manly as one should So that you increase your honor. Practice Knighthood and learn Art..."</p>
<hr />
<div>Young knight learn to have love for god<br />
And honor women<br />
And speak well of leaders.<br />
Be as manly as one should<br />
So that you increase your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And endeavors to honor you in war<br />
<br />
Learn six cuts<br />
Readily from the right hand<br />
Against the defences<br />
These we masters avow<br />
To repay in arts<br />
<br />
Descending cut<br />
Wrathcut<br />
Crooked cut<br />
Crosswise cut<br />
Cockeyed cut<br />
Part cut<br />
<br />
Note what I say to you, <br />
strike a descending cut right<br />
And left against right<br />
Is how you shall fence strongly<br />
You can also hang therein<br />
And come to thrusts<br />
<br />
Conduct the wrathcut with strength<br />
Precisely note this: Move behind<br />
From both sides<br />
Standing still or with stepping<br />
<br />
In the wrathpoint do the right winding<br />
If you wish to find the face exposed<br />
If they become aware of it<br />
Abscond above without fear<br />
Cut, thrust, note in the bind soft or hard<br />
<br />
Indes, before and after<br />
Without rush, the war is not hasty.<br />
Whoever hunts the war<br />
Above will be ashamed below<br />
In all winds, learn to find cut thrust<br />
<br />
Learn to strike and break the four openings<br />
If you wish to estimate for yourself<br />
Double above and mutate right below<br />
I say truthfully<br />
No one defends themselves without danger<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
When it sparks above<br />
Then dismount, that I will praise.<br />
<br />
The crosswise cut seizes <br />
what arrives from above<br />
Or with the strong<br />
Remember your work with it.<br />
<br />
The cross to the plow<br />
Connect hard to the ox<br />
Therein go high and low<br />
Come out against from both sides<br />
<br />
The cross with springing<br />
Lets you reach for the head<br />
Strike them in both ears<br />
So you can rightfully <br />
<br />
Whoever commands the failer correctly<br />
Wounds according to desire<br />
Invert the wing<br />
Rush through with it, wrestle.<br />
<br />
The cock eyed cut breaks<br />
What the buffalo strikes and thrusts<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
The parter is a threat to the head<br />
Then cut down through with three steps<br />
Make four strikes from both sides<br />
<br />
Four guards alone<br />
Defend from those and eshew the common<br />
Four are the parries<br />
That severly disrupt the positions<br />
<br />
Learn to pursue<br />
Cut thrust twice<br />
With it sharply<br />
Thrust to the breast, then it gives you satisfaction<br />
<br />
Rush over them<br />
Wind and raise the pommel<br />
If you wish to wrestle or press<br />
You should swiftly withdraw the weapon<br />
<br />
You shall lodge against<br />
Injuring them in four regions<br />
If the come from high or from low<br />
You point has wounded them in two ways<br />
<br />
If they are strong<br />
Rush through in any situation<br />
Note the art and lesson<br />
From both sides cut sharply<br />
<br />
Lear to displace<br />
Defend cut thrust artfully<br />
From four regions<br />
Learn to wind cut thrust slice<br />
<br />
Four are the slices<br />
Two above, two below<br />
Slice against the hard ones<br />
From below in both paths<br />
<br />
Slace against the crown<br />
From below, from above you break them beautifully<br />
If they will race against you<br />
Slip the pommel or point into the face<br />
<br />
Withdraw suddenly and engage<br />
The master if you wish to demean them<br />
Step close in the bind<br />
The sudden withdrawing gives good discoveries<br />
<br />
Make the speaking window<br />
Stand freely and watch their situation<br />
Note what I say<br />
Strike so that it snaps<br />
<br />
Learn arm locking from the left<br />
Hold it firmly to dismay them<br />
Lock it in, then they hate you<br />
With pressing, you make them powerless<br />
<br />
If they wish to align themselves<br />
Break in while fencing<br />
If they let their hand go<br />
Press firmly against their ear<br />
<br />
Overrun from the left<br />
Turn their back against the belly<br />
Swiftly thrust through both legs<br />
<br />
Point to the Sun<br />
With the sword if you wish to make them bow<br />
Break into them<br />
Press against their neck if you wish to align yourself<br />
<br />
If they will close in on you<br />
Learn to clasp the right with the left<br />
Lodge against their throat or breast<br />
Half sworded, it gives you satisfaction<br />
<br />
If you wish to shame them<br />
Take their sword by the hilt<br />
You should slide with the cross<br />
Practice with both hands.<br />
<br />
Thrust through up from the outside<br />
Learn to dislodge<ref>ausprechen vs Dierk's ansprechen</ref> the weapon halfsworded<br />
You can also lock the arm<br />
The luck of the draw will satisfy<ref><br />
This is a best guess selection of possible lemmas for the given orthography. Some letters are unclear.<br />
Will => willen(v) or will(adj)<br />
glick/gluck => gleich(adv) or glück(n)<br />
des => des<br />
kanst => können(v) or kanst(n) => "Chance"<br />
geniessen => to take pleasure in something (vs Dierk's gewiessen.)<br />
</ref><br />
<br />
If they land in the hanging point<br />
Take the sword without fear<br />
You shall slide with the hilt<br />
Haul yourself backwards<br />
<br />
If you wish to throw your weight around<br />
Learn to catch the neck, and thrust over your legs<br />
Work quickly, be assertive<br />
So that they come to pieces hard<br />
<br />
Note this rule, attack them with strength<br />
If you wish to commit to wrestling<br />
Let your sword spring away from you<br />
<br />
This is the distillation of the entire art<br />
Whoever sights well <br />
And continually breaks<br />
The utter best<br />
In a choice of three<br />
Whoever hangs correctly and well<br />
And delivers the winds with it<br />
They consider the proper position<br />
And unites them with the winding<br />
Eight winds are on both sides<br />
And gauge these applications<br />
Nothing more than soft or hard.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=Page:Ms._KK5012_16r.jpg&diff=135247Page:Ms. KK5012 16r.jpg2022-07-30T11:28:18Z<p>Christian Trosclair: </p>
<hr />
<div><noinclude><pagequality level="3" user="Michael Chidester" /><languages/> <translate></noinclude>{{redu|A}}uswendig vber durch stechen<br/>{{redu|G}}ewappnet ler <sup>wer</sup> ausprechen<br/>{{redu|A}}uch magstu arm beschliessen<br/>{{redu|W}}ill glick des kanst gewÿessenn<noinclude></translate> <references/></noinclude></div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Jobst&diff=135246User:Christian Trosclair/Translations/Jobst2022-07-29T17:25:02Z<p>Christian Trosclair: </p>
<hr />
<div>This is Master Jobst of Wurtemburg's understanding of the Zettel of the Long Sword.<br />
<br />
Item. It is to be known that there are five cuts with the short edges. The first: the wrath cut, the second: the fool, the third: the crooked cut, the fourth: the war cut, the fifth: the ox and plow. And thereafter the four parries, two from below and two from above. And from each technique and parry you can conduct the art of the Zettel.<br />
<br />
For the first, the wrath cut and the work afterwards and after that, the overwhelming and yet whoever parries you, the narrows breaks this technique. If someone overwhelms you, then take their sword. Do not conduct the wrath cut if you are then close to the opponent.<br />
<br />
The fool is good for any parry of the opponent. You can conduct the art well.<br />
<br />
The crooked cut serves the winding well or woefully<br />
<br />
The war cut serves the crooked cut woefully and when you collapse their sword, then you can wind.<br />
<br />
The ox and plow handles any hew well you can merge into<br />
<br />
It is to be known that when you strike to one side with the wrath cut<br />
<br />
Then you must be quite light in your movements on theirs. And if they strike again on the other side,<br />
<br />
then parry it between the both of you<br />
<br />
then complete it and shove your sword against their neck<br />
<br />
and do not forget if you leave the opponent and cut, that you they do not follow you.<br />
<br />
and whatever you fence, fence with the pommel high free in the air.<br />
<br />
This is the short Zettel with the short edge so that you do not completely ruin it.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135245User:Christian Trosclair/Translations2022-07-29T17:21:47Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Jobst|Jobst Von Würtemburg]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
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-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Jobst&diff=135244User:Christian Trosclair/Translations/Jobst2022-07-29T15:56:03Z<p>Christian Trosclair: Created page with "This is Master Jobst of Wurtemburg's understanding of the Zettel of the Long Sword. Item. It is to be known that there are five cuts with the short edges. The first: the wrat..."</p>
<hr />
<div>This is Master Jobst of Wurtemburg's understanding of the Zettel of the Long Sword.<br />
<br />
Item. It is to be known that there are five cuts with the short edges. The first: the wrath cut, the second: the fool, the third: the crooked cut, the fourth: the war cut, the fifth: the ox and plow. And thereafter the four parries, two from below and two from above. And from each technique and parry you can conduct the art of the Zettel.<br />
<br />
For the first, the wrath cut and the work afterwards and after that, the overwhelming and yet whoever parries you, the narrows breaks this technique. If someone overwhelms you, then take their sword. Do not conduct the wrath cut if you are then close to the opponent.<br />
<br />
The fool is good for any parry of the opponent. You can conduct the art well.<br />
<br />
The crooked cut serves the winding well or woefully<br />
<br />
The war cut serves the crooked cut woefully and when you collapse their sword, then you can wind.<br />
<br />
The ox and plow handles any hew well you can merge into<br />
<br />
It is to be known that when you strike to one side with the wrath cut<br />
<br />
Then you must be quite light in your movements on theirs. And if they strike again on the other side,<br />
<br />
then parry it between the both of you<br />
<br />
then complete it and shove your sword against their neck<br />
<br />
and do not forget if you leave the opponent and cut, that you they do not follow you.<br />
<br />
and whatever you fence, fence with the pommel high free in the air. Strike<br />
<br />
This is the short Zettel with the short edge so that you do not completely ruin it.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135203User:Christian Trosclair/Translations2022-07-27T22:04:46Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Rast|Rast]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}<!--<br />
<br />
-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
</div><br />
}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Rast&diff=135202User:Christian Trosclair/Translations/Rast2022-07-27T22:04:12Z<p>Christian Trosclair: Created page with "When you fence someone with longswords, then bind them long and from above and deliver reach and measure against their sword and win their weak and strong and stay against the..."</p>
<hr />
<div>When you fence someone with longswords, then bind them long and from above and deliver reach and measure against their sword and win their weak and strong and stay against their sword and sense whether they are weak or strong and whether they are staying in the bind or not. If they are staying in the bind and strike for the openings, then take the before and after and indes, go with your work as you are indicated.<br />
<br />
Item. If you bind against someone's sword and win their weak and strong, then immediately step forward with your left foot. One such step then wind in from above to their left side toward their throat (as is pictured here). If they rise up and ward the thrust, then conduct the failer.<br />
<br />
Item. If you bind against their sword and sense that they are weak, then wind your pommel through your right arm such that your short edge moves onto their sword (as is pictured here). Then you can wind your sword against their throat or conduct the failer.<br />
<br />
Item. If bind against their sword and sense that they are string, then indes go and wind up such that your short edge comes against their sword and sense again. If they are still strong, then move into their weak with your sword and wind your sword against their throat and draw them around (as is pictured here).<br />
<br />
Item. If you bind someone up and sense that they are not staying in the bind, then when they strike for the opening, you then step indes and wind your short edge against their ear (as is pictured here). This is called the before and extend yourself fully and be swift.<br />
<br />
Item. If you bind someone up and they swiftly step at you and strike toward your presenting opening, then indes move and wind your short edge up atop their sword and up against their ear as before. This is called the after and extend yourself fully (as is pictured here).<br />
<br />
Item. If you bind someone up who is not staying in the bind and strikes according to the openings as before and then when you take the before and after, move steadfastly indes and remain firmly against their sword with your short edge and shove them back (as is pictured here), then they cannot come to any more work.<br />
<br />
Item. If you bind someone up and sense that they are staying in the bind, then rise to your right side and stand still (as is pictured here) and do not come away from their sword, then you will sense whatever they wish to employ.<br />
<br />
Item. If you bind someone up from above as before, then immediately wind to their weak. If they then rise up and will ward it off, step forwards with your left foot and make a seizing hew toward their elbow using the long edge (as is pictured here), then you can conduct the failer or a play.<br />
<br />
Item. A play off of the previous. If you slash for the opponent's elbows, where they parry your strike, then remain firmly against their sword and thrust their sword down with your hilt and fall across them with your pommel and slash them on their head with your short edge and then lay your sword against their throat (as is pictured here).<br />
<br />
Item. If someone parried your half cut to their elbows and is not staying in the bind of the sword and fades back, then lung forwards with your right foot and keep staying against their sword and wind your short edge against their left ear (as is pictured here). This is called the enticement to the outside or the excision.<br />
<br />
Item. If someone parried your half cut as before and remains strong against your sword, then wind up high and drop long across both their arms with your left arm from the inside and fasten their sword under your armpit and suddenly withdraw your sword over your head and twist both it and them towards their face (as is pictured here) or stab them up in their throat down through from below.<br />
<br />
Item. If someone has pinned your sword in their armpits and will either stab or cut you, then fly in behind them with your right foot and reach and grab onto your sword's blade with your left hand from over their shoulder and wind up into the air (as is pictured here) and shatter their arm.<br />
<br />
(marginalia) entwine behind their left foot with your foot just in front<br />
<br />
Item. If someone overwhelms you and brings their sword against your throat as before, clasp your point with your left hand and turn inside to their left ear and step behind their right foot with your left (as is pictured here).<br />
<br />
Item. Just especially note this. If someone binds you and you sense and they remain strong and will not let you strike for their elbows, then release your pommel and fall across their sword with it and grab onto your blade with your hand, then strike them on their head (as is pictured here).<br />
<br />
Item. If you are pounced on as before, lay your blade against their throat and step out wide behind them with your left foot (as is pictured here) and wind up high so that you throw them on their back and thrust your sword into them.<br />
<br />
Item. If someone binds you and you sense that they are staying in the bind and will not let you away from their sword, grab onto your blade with your left hand and stab them across their weak toward their testicles (as is pictured here) and stay close to their sword so that they do not move from there.<br />
<br />
Item. If you stay in the bind and they are so high that you cannot top them, then with your left hand grab between their hands onto the grip and with your pommel rise up against their sword toward their weak and jab them in the eyes with your pommel.<br />
<br />
Item. If someone binds you and they are so calm in their sensing that they will not release your from their sword in any way, then grab onto both sword's blades with your left hand and place your grip against their hand and wind up (as is pictured here) then you take their sword.<br />
<br />
Item. If you bind someone up who is calm in their sensing and will not allow themselves to be misdirected, then set both of your arms against their right arm and shove them away from you so strongly, that they turn themselves around so that you strike them on their head without any gap (as is pictured here).<br />
<br />
Item. If someone binds you strongly from above and will overpower you, grab onto their grip with a thieving right hand and shove their sword away from above with your cross and pull against yourself strongly and step behind them with your left foot and and jab them in the mouth with your pommel (as is pictured here).<br />
<br />
Item. If someone binds you strongly and rises high up and will overpower, then release your pommel and let it go in between their hands into their grip and grab onto your blade and step forwards and wind your sword against their throat (as is pictured here), then you take their sword and throw them.<br />
<br />
Item If someone binds you strongly and stays calm in their sensing, then throw your pommel behind their hilt and grab onto their right elbow with your left hand and wind up and step forwards with your right foot (as is pictured here), then you break their arm and throw them.<br />
<br />
Item. If someone binds you strongly from above and winds high toward your head, then sneakily grab across their arms onto their grip with your left hand and pull against yourself strongly (as is pictured here), then you take their sword and strike them.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations&diff=135201User:Christian Trosclair/Translations2022-07-27T22:03:28Z<p>Christian Trosclair: </p>
<hr />
<div>List of Translations<br />
<ul><br />
<li>[[User:Christian_Trosclair/Translations/3227a_Longsword|3227a Longsword]]<br />
<li>[[User:Christian_Trosclair/Translations/Anonymous_15thC_Poem|Anonymous 15thC Poem (Speyer)]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Danzig|Danzig]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment|Dresden Gloss Fragment]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hans_Czynner|Hans Czynner Epilogue]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Hutter|Hutter]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lew|Lew]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Lignitzer|Lignitzer]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Medel|Medel]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Nicolaüs|Nicolaüs]]</li> <br />
<li>[[User:Christian_Trosclair/Translations/Pauernfeyndt|Pauernfeyndt]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Ringeck|Ringeck]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Stuck_im_aufstreichen|Stuck im aufstreichen]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wallerstein|Wallerstein]]</li><br />
<li>[[User:Christian_Trosclair/Translations/Wendunmuth|Wendunmuth Excerpt]]</li><br />
</ul><br />
<br />
<br />
All works linked copyright Christian M Trosclair. {{CC-BY-NC-SA-4.0}}<br />
<h2> Wiktenauer contributions </h2><br />
{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[translator::User:Christian_Trosclair]] | format=count }} | 0 || <h3> Translations </h3><br />
<p>The following articles include translations by Christian Trosclair.</p><br />
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-->{{#ifeq: {{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair}]] | format=count }} | 0 || <h3> Transcriptions </h3><br />
<p>The following articles include transcriptions by Christian Trosclair.</p><br />
<div style="column-width: 500px;"><br />
{{#ask: [[category:masters||artists||content||orphan Treatise||manuscripts||incunabula||books]] [[transcriber::User:Christian_Trosclair]] | format=ul | limit=500 }}<br />
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}}</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Lignitzer&diff=135200User:Christian Trosclair/Translations/Lignitzer2022-07-27T22:02:31Z<p>Christian Trosclair: Created page with "Here it begins, the plays with the buckler that Master Andre Lignitzer had arranged in 6 plays as stand pictured hereafter The first play of the buckler from the descending c..."</p>
<hr />
<div>Here it begins, the plays with the buckler that Master Andre Lignitzer had arranged in 6 plays as stand pictured hereafter<br />
<br />
The first play of the buckler from the descending cut. Note when you conduct a descending cut at the opponent, situate your sword inside of your buckler with your pommel inside your thumb and thrust up from below at their face and wind against their sword and let it snap over. This goes to both sides.<br />
<br />
The second play<br />
<br />
Item. From the rising cut, when the opponent initiates a cut at you from above, wind to your left side against the opponent, against your shield, so t hat you stand inside two shields. Then wind free to your right side and punch for their mouth. If they ward that and lift up their shield, then take the left leg. This goes to both sides.<br />
<br />
The third play<br />
<br />
Item. From the switch cut, sweep firmly upwards from your left side to their sword from your buckler and then cut to their head from the left side and wind free, and thrust at their mouth. If they lift up with both shield and with sword and ward that, then cut at their right leg with the long edge. This also goes to both sides.<br />
<br />
The fourth play<br />
<br />
Item. From the middle cut, make the crosswise cut to both sides and the part cut with the long edge and thrust into their groin from below.<br />
<br />
The fifth play<br />
<br />
Item. From the plunge cut, act as if you will thrust over their shield to their left side and pass through below with your point and thrust to their body from the inside of their shield and Indes, wind to your left side. If they ward you, then take their right leg with the long edge.<br />
<br />
The sixth play<br />
<br />
Item. Take your blade into your left hand in your buckler and wind against opponent like with the half sword. If they cut or thrust high at your face or low at your leg, then let your right hand go from the grip and parry it with the shield and sword and then grab their shield down below on their right side with your right hand and rotate it to your right side, so that you have taken their shield.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Wallerstein&diff=135199User:Christian Trosclair/Translations/Wallerstein2022-07-27T22:01:25Z<p>Christian Trosclair: </p>
<hr />
<div>Reach<br />
Item. When you fence with someone and come against their sword such that you both have bound, extend both your sword and your arm far away from yourself and place yourself in the scales with your body low so that you have reach and measure in your sword so that you can defend anything that is your necessity to deal with. Reach means that you stand behind your sword and extend yourself. Measure means that you stand low (as is pictured here) and make yourself small in body, so that you are great in sword.<br />
<br />
Measure<br />
Item. As you bind against their sword, slash in long at their face using your point and wind in at their face using your short edge (as is pictured here), so you can wrench in with your pommel or weapon in hand or thrust into their face.<br />
<br />
Weak<br />
Item. If you bind someone up against your sword, then see if they are soft or hard. If they are hard, then wind into their face as was written before. But if they are soft, then seek the weak of their sword and wind over to your right side (as is pictured here), then you can snap at their face and seek their openings.<br />
<br />
Strong<br />
Item. If you hew in from above into the opponent's sword and they hold strong, then rise up into the air with your sword against their sword back toward the weak of their sword and your hilt stays against their sword and wind the short edge against their throat (as is pictured here), then you can draw them to the ground with power.<br />
<br />
Before<br />
Item. If you bind someone up against your sword and they slash in strongly at your head, parry them with your short edge and force into them so that they must strike. Then if they strike on the other side, lay your sword against their left shoulder (as is pictured here), then strike them in their ear. This is called being situated inside and also called the before.<br />
<br />
After<br />
Item. If someone hews in at you strongly from above, be careful and parry the hew with the short edge. Then if they are as swift and cut before you can get situated inside, allow them to hew freely and fall upon their sword with your short edge (as is pictured here), then bind them and strike them in the ear and go forwards.<br />
<br />
Feeling Indes<br />
Item. If the opponent binds into your sword and winds into your face or conducts other techniques, then wind out as well and go swiftly forwards into them and as soon as they will employ something, fall strongly into their arms and shove them back as is pictured here, such that you thrown them on their back.<br />
<br />
Item. If you bind someone up and they wind in at your face, then wind in as well and stand firm in the winding and on their sword, feeling, like this so that you do not allow them to come away from your sword, so that they cannot come to any work. This is the greatest measure of the sword and stay strong in the scales<ref>alt: fulcrum</ref> as is pictured.<br />
<br />
Item. If you bind into the opponent's sword and they wind in at your face with their short edge, then you as well wind up high in the air and when they rise up and will parry it, hew a suddenly shortened cut at their elbows with your long edge (as is pictured here).<br />
<br />
Item. When you have hewn at the opponent's elbow (as was previously pictured), if they then parry that hew, shove their sword sword down with your hilt and with [both] your pommel and with both of your arms fall across them and lay your short edge against their throat and draw it (as pictured here).<br />
<br />
Item. One more play. When you suddenly withdraw toward their elbows and they parry the cut, remain standing with your sword against theirs and step forwards with your right foot as if you will strike on their other side and slice out toward their left ear (as is pictured here). This is called the enticement to the outside.<br />
<br />
Item. One more such play. When you suddenly withdraw toward their elbows and they parry the strike, rise up high with both of your hands and let your left hand pass and drop across both of their arms and slap it back toward your left side and thrust through between yours and theirs with your own sword and lay your sword against their throat (as is pictured here), then you break off their arm and sever their throat.<br />
<br />
Item. When they have caught your sword under their armpits in this way and will extend to slash or stab you, then flee behind them away from their strike and fall forward into your sword with your left and wind it forwards right there (as is pictured here) so tht you break off their arm.<br />
<br />
Item. If someone has struck at your elbow and grasped your sword with their left hand as before and will thrust through between you and them toward your throat as before, then clasp their sword's blade into your left hand and lay that against their throat (as is pictured here) and step in behind, then you throw them on their back.<br />
<br />
Item. If someone binds against your sword, wind in your short edge at their face and indes, go and step forwards with your left foot and fall across their hands with your pommel and clasp your blade into your left hand and lay it against their throat (as is pictured here), then you throw them on their back.<br />
<br />
Item. If someone binds against your sword and winds into your face, then you wind as well and let your pommel pass as before and fall across them and step behind them and lay your sword against their head (as is pictured here), then you throw them on their back.<br />
<br />
Item. If someone winds in into your face, them immediately grab your sword's blade with your left hand and stab them across their sword and into their testicles (as is pictured here). This is quite a good remarkable play.<br />
<br />
Item. A good sword disarm. When someone binds you against their sword, wind up with your short edge and Indes, enter them firmly and grasp into their bind between their hands with your left hand and go across their blade with your pommel and shove toward their mouth (as is pictured here), then you take their sword.<br />
<br />
Item. Quite a good obscure device for a particularly strong man. When someone binds into your sword and will wind in or thrust, wind up firmly as well and go strongly against their sword with your short edge and give them a great shove onwards with both hands. If they are turned away before you, strike them upon the head (as is pictured here).<br />
<br />
Item. One more good sword disarm. When someone binds you against their sword, immediately pass into the bind with your right hand past their sword between both of their hands and pull toward yourself and with your left hand push away the cross of their sword and thrust the pommel into their face (as is pictured here).<br />
<br />
Item. One more sword disarm. When someone binds you and will wind into your face, remain engaged with your long edge and rise up high and with your pommel pass in between their hands and with your left hand clasp your blade and wind against their head (as is pictured here).<br />
<br />
Item. One more sword disarm. When someone binds against your sword, bind in strongly as well and duck it back behind you and let your left hand pass and [reach] past their sword over their right arm [and] grab between their hands and pull backwards (as is pictured here).<br />
<br />
Item. A good play. When someone binds against your sword, swfitly wind in and with your pommel, drop over and with your left hand, grab your blade and with your left foot, step in behind and lay your sword against their throat and pull them onto their back and thrust your sword into them (as is pictured here).<br />
<br />
Item. A good play for someone strong. When you bind someone up against your sword, act as if you will wind into their face and thrust firmly against their sword with your cross and rise up high and let your sword go, dropping over your head and cast yourself down around both their feet (as is pictured here), then you throw them.<br />
<br />
A good sword disarm. When someone binds against your sword, with your left hand slip in both sword's blades and with both your pommel and your right hand go down through their sword and pull backwards (as is pictured here), then you take their sword.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Stuck_im_aufstreichen&diff=135198User:Christian Trosclair/Translations/Stuck im aufstreichen2022-07-27T22:00:54Z<p>Christian Trosclair: </p>
<hr />
<div>[Dresden]<br />
<br />
Here note to fence from the side guards, that is, also the sweeps.<br />
<br />
[Glasgow]<br />
<br />
Here note how one shall fence with the longsword from the guard that is here called the iron gate and how one shall execute the sweeps from it. For there are many good plays that come from these that many masters of the sword don't know anything to say about them.<br />
<br />
[Dresden]<br />
<br />
Know that there is good fencing from the sweeps, even though they are not mentioned in the Zettel. Yet the plays from the Zettel arise when one fences from them. And one shall execute the sweeps from the left side, because when they are from the right they are not as certain as from the left.<br />
<br />
[Glasgow]<br />
<br />
Item. Know that one shall execute the sweeps from the iron gate from the left side because they are not as certain from the right.<br />
<br />
Item. Conduct the first play like this:<br />
<br />
[Dresden]<br />
<br />
<ref>Pauernfeindt titles this: "A Play in the sweeping up"</ref>Item. When you lay in the side guard<ref>Glasgow: eisen pforte - "iron gate"</ref> on your left side and someone cuts down in from above<ref>Pauernfeindt: "from their right shoulder"</ref>, sweep firmly up from below into their sword with your short edge. If the opponent stands strong and is not too high with the hands, double in between them and their sword applying the short edge to the left of their neck<ref>Pauernfeindt: "ear"</ref>.<br />
<br />
[Glasgow]<br />
<br />
Item. When you sweep up against the sword like before, if the opponent stands strong, then strike around to their left side using the crosswise cut and double in again between the opponent and the sword applying the long edge against the neck<ref>Pauernfeindt: "ear"</ref> on their right side.<br />
<br />
[Dresden]<br />
<br />
Item. When you sweep up against their sword<ref>Glasgow, Pauernfeindt: "When you sweep up against their sword from below"</ref> like before, if the opponent is subsequently soft at the sword and low with their hands, then immediately cut into the opening using your long edge.<br />
<br />
<br />
[Dresden]<br />
<br />
<ref>Glasgow: "Item. When you sweep on their sword"</ref><Or if the opponent falls onto your sword with theirs with strength, then immediately pass over their sword with your pommel and keep ahold of it with your hands and let your point go back to your left side and snap it at their head using your short edge.<br />
<br />
<br />
[Dresden]<br />
<br />
Item. When you sweep against their sword, if the opponent rises up high and winds, then strike into the right side with outstretched arms and with that, step back.<br />
<br />
Item. When you sweep against their sword, if the opponent rises up high and winds, then strengthen using your long edge. If they subsequently strike<ref>Pauernfeindt: strikes again</ref> around using the crosswise cut, then strike into the left side with a step back.<br />
<br />
Item. <ref>Pauernfeindt adds: "When you lay in the side guard"</ref>When you execute the sweeps at the opponent and if they subsequently hold their sword obliquely in front of themselves and is high with their arms and wishes to fall upon your sword, then sweep against their sword from below and slash them in the arm or thrust them<ref>Pauernfeindt adds: "under their sword"</ref> in the breast.<br />
<br />
Item. If the opponent is low with their hands and will fall upon you, then sweep through to the other side and thrust them in the breast. So have you changed through.<br />
<br />
Item. When you sweep through, fall upon their sword with your long edge and wind to your left side, such that your thumb comes under and drive with the long edge against the right of their neck with the strong and spring behind their left foot with your right and drag them over it with your sword.<br />
<br />
Item. When you disengage out of the sweeps and arrive on the other side up atop their sword, you can execute the play equally as well as before to the opposite side with the stingers and with all things.<br />
<br />
Note an initiation of fencing from the displacing.<br />
<br />
When you fence with someone and the moment you close in on them, come into the plow and swiftly execute together the winding from one side to the other and keep your point still. And from this you can execute parrying. This is the proximity<ref>alt: boat. næhe: a boat without mast nor deck</ref> into which you can strengthen with the long edge and from which execute all the previously mentioned plays. You can also displace cut and thrust and simply break them by winding and with that seek the location of the openings.<br />
<br />
The barrier-guard<ref>Pauernfeindt: "side guard"</ref>, make it like this:<br />
<br />
Item. When you fence with someone and come close to them, stand with the left foot forward and lay the sword to your right side with the point upon the ground, such that the long edge is above and from the left side, the short edge below<ref>Glasgow omits: unden</ref> and the foot<ref>Glasgow adds: right foot</ref> stands forward.<ref>Glasgow: "and from the left side, the short edge and the right foot stands forward"</ref><ref>Pauernfeindt: "this goes to both sides"</ref><br />
<br />
This play is conducted from the barrier-guard<ref>Pauernfeindt: "side guard"</ref> like this:<br />
<br />
Item. If the opponent cleaves in at you from above or up from below<ref>Pauernfeindt: "or wherever else it is"</ref>, then cleave in crooked into the opening with a step out.<br />
<br />
Item. Or cut crooked to their flats and as soon as it sparks, seek the proximity <ref> alt: boat, see above</ref> with the short edge.<br />
<br />
Item. Or execute the inverter with your point in their face and when they bind you, strengthen with the long edge and you can execute any plays that are afore named in the sweeps.<br />
<br />
This is called the little-wheel.<br />
<br />
Item when you fence with someone, stretch out your arms away from you, such that your thumb stays atop your sword above and turn your sword around by the point in front of you, just like a little-wheel<ref>Pauernfeindt: "with that you may drive up"</ref> from below swiftly on your left side and with that go to the opponent and from that you can disengage or bind on whichever side you wish and when you have bound, you can execute whatever play you wish that you think best<ref>Pauernfeindt: "convenient"</ref>, as before<ref>Pauernfeindt: "then escape afterwards"</ref>.<br />
<br />
Break the crosswise cut like this<br />
<br />
Item. When you stand in guard<ref>Glasgow: "in the guard"</ref> from-the-roof and the opponent cuts at you using the crosswise cut, then simultaneously with them, cleave in strongly atop their sword with the wrathcut and seek the openings with your point and if they subsequently wish to strike around themselves to the other side using the crosswise cut, then come before under their sword to their neck using the crosswise cut or slice into their arms with the long edge when they strike around.<br />
<br />
A break against the break<br />
<br />
Item. When you crosswise cut and the opponent wishes to arrive under your sword against your neck before and ahead of you also using the crosswise cut, then <ref> Pauernfeindt adds: "in-the-moment(indes)"</ref> strongly drop down against their sword with your long edge. If it is broken, take the nearest opening that may appear to you.<br />
<br />
Against the slice to the arms from below<ref> Pauernfeindt: "From the zornhau"</ref><br />
<br />
Item. When you cleave in from above and the opponent blocks that and rises up high with their hilt and you do as well and each of you rush in, take the lower slice and if they will take the lower slice into your arms from under your hands<ref> Pauernfeindt replaces the above with: "When you fence someone and cleave in with the wrathcut or otherwise down from above and they parry that and rises up high with their arms and [you] both rush in on each other and if they are then so shrewd and will take the lower slice into your arms from under your hands"</ref>, pursue their sword downwards using your long edge and press down, so that you have broken it and seek the openings<br />
<br />
Item. But when you go in with your arms high and they also come in this way and rushes in again and if they will subsequently pound you in the eyes or into your breast with their pommel through your arms and underneath your hands then drive down strongly with your arms using your pommel<ref>Pauernfeindt adds: "and tug it into you and strike them upon their head with your sword"<.ref>, thus you have broken it.<br />
<br />
Item. When you have bound-upon with someone and if he changes-through with the pommel and falls with the half-sword, this breaks simply with the over-slice and in the slice, you may fall into the half sword and set-upon him.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Ringeck&diff=135197User:Christian Trosclair/Translations/Ringeck2022-07-27T22:00:14Z<p>Christian Trosclair: </p>
<hr />
<div>Here begins the explanation of the Zettel.<br />
In this, the knightly art of the long sword lay written; which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had composed and created. he had allowed it to be written in cryptic and misleading words, for the reason that the art should not become common. And Master Sigmund ein Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of Rhein and Herzog of Bavaria had these very cryptic and misleading words glossed and interpreted as lay written [Rostock adds: and pictured] here in this little book, so that any fencer that can otherwise fight can fully absorb and understand it.<br />
<br />
The foreward of the Zettel.<br />
Young knight learn<br />
To have love for god, honor women<br />
So that you expand your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and storm in,<br />
Keep rolling, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<ref>lit: All art has length and measure</ref><br />
<br />
This is the text of many good common lessons of the long sword<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss. Note this is the first lesson of the long sword: In which you shall learn to make the cuts properly from both sides, that is, if you otherwise wish to fence strongly and correctly. Look at it like this: First, If you wish to cut from the right side, then see to it that your left foot stands forward. And if you wish to make a descending cut from the left side, then see to it that your right foot stands forward. Second, if you hew a downward cut from the right side then accompany the cut with the left foot. If you do not do that, then the cut is erronious and incorrect, because your right foot remains behind. Therefore the cut is too short and can not posses its correct path downward to the correct<ref>likely a scribal error. The scribe was trying to write `rechten seiten`, but only crossed out `seiten`</ref> other side in front of the left foot.<br />
<br />
In the same way, if you cut from the left side and you do not support the cut with the left foot, then the cut is also erronious. Therefore make sure from whichever side you cut, that you accompany the cut with the specified foot, so that you can conduct all your plays with strength and all other cuts shall be hewn like this as well.<br />
<br />
Again, the text about a lesson<br />
Whoever chases after cuts<br />
They permit themselves little opportunity for art.<br />
Cut from close proximity whatever you wish<br />
No change gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<ref>Zeck: Tick. (Rostock)Zeckruhr: Insect bites</ref><br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<ref>possibly: `strongly desire to conduct`</ref><br />
<br />
Gloss. When you come to the opponent with the initiation of fencing, you should neither watch nor await their cut as they conduct it against you. Because all fencers that watch and wait upon the opponent's cut and wish to do nothing else than parry, they allow themelves little opportunity from art because they often become struck with it.<br />
<br />
Another. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cleave in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.<br />
<br />
Again, a lesson.<br />
Hear what is bad.<br />
Do not fence lefty from above if you are a righty<br />
And if you are lefty,<br />
In the right [you] are also severely hindered.<br />
<br />
Note the gloss. This lesson hits upon two people, a lefty and a righty. Look at it like this. When you come to the opponent with the initiation of fencing, if you are right-handed and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak and with it, cannot not hold fast when one binds strongly against it. Therefore cut [from] the right side, so you may work whatever you wish strongly at the sword with art. In the same way if you are lefty, then do not cut from the right side as well, because the art is quite awkward [when] a lefty initiates from the right side. It is also the same with a righty from the left side<ref>Rostock: hand</ref>.<br />
<br />
This is the text and learn a lesson about before and after.<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss. Note this is so that you shall fully understand the before and the after before any confrontations. Because the two things are the singular origin that gives rise to the entire art of fencing.<br />
<br />
Look at it like this: The before, this is so that you shall always come forth with a cut or with a thrust to the opponent's opening before<ref>"Ehe wann" can be taken a few ways. Simply, "before" or else the "the moment before" or "before the moment"</ref> they do the same to you so that they must parry you. Then work swiftly with your sword in front of you from one opening to the other within the parry. So they can not come with their plays before your work. But if they rush in on you, then come before with the wrestling.<br />
<br />
Here note that which is called the after.<br />
Note. If you can not arrive in the before, then wait for after. These are the breaks of all plays that they conduct upon you.<br />
<br />
Look at it like this: If the opponent comes before such that you must parry them, then swiftly Indes work with the parrying in front of yourself to the nearest opening, so that you hit them before<ref>see above</ref> they accomplish their play. In this way you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.<br />
<br />
And look at it like this: From the hilt of the sword up to the middle of the blade the sword has its strength. With that you can resist<ref>wiederhalten: lit. 'hold against'. To withstand, resist</ref> if someone binds you against it. And onward from the middle up to the point, the sword has it's weak which can not cannot resist. And when you understand these things properly, you can correctly work with art and with that protect yourself and furthermore teach princes and lords so that they may properly remain steadfast using the same art in play and in earnest, but if you frighten easily, you should not learn the art of fencing because a heart drained of blood does no good when it becomes rattled by any art.<br />
<br />
The text of the five cuts<br />
Learn five cuts<br />
From the right hand, against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Note the Zettel sets down five cryptic cuts, about which many masters of the sword do not know to say that "You should not learn to attack any other way when from the right side against those that position themelves against you in arms. And if you make an attempt with one of the five cuts, then you can connect with the first strike." Whoever can break your attack without harming themselves, the Masters of the Zettel will swear that this person's art shall pay off better than another fencer's who cannot fence against these five cuts. And how you shall hew those five cuts, you shall find that in the very five cuts written about hereafter.<br />
<br />
This is the text of the plays of the Zettel<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Note the gloss. Here the proper principal plays of the art of the long sword are named as each are specifically titled with their names that you can better understand them.<br />
<br />
They are seventeen in number and begin with the five cuts<br />
Another. Now note the first cut called the wrathcut<br />
The second the crooked cut<br />
The third the crosswise cut<br />
The fourth the cockeyed cut<br />
The fifth the scalp-cut<br />
<br />
The sixth this is the four guards<br />
The seventh the four parries<br />
The eighth Pursuing<br />
The ninth the overrunnings<br />
The tenth the displacements<br />
The eleventh disengaging<br />
The twelfth suddenly withdrawing<br />
The thirteenth rushing through<br />
The fourteenth cutting off<br />
The fifteenth the hand presses<br />
The sixteenth the hangings<br />
The seventeenth this is the winds<br />
<br />
And how you shall uncover with the hanging and winding and how you shall conduct all the aforenamed plays, you find that all written hereafter.<br />
<br />
This is the wrathcut with it's plays<br />
<br />
Whoever cuts at you from above,<br />
The wrathcut point threatens them<br />
<br />
Gloss. Look at it like this: If someone cleaves in from above from their right side, then you also cleave in with a wrathcut strongly from your right shoulder with them with your long edge. If they are subsequently soft against the sword, then shoot the point in forward long at their face and threaten to stab them.<ref>Rostock adds: as is illustrated here</ref><br />
<br />
Yet another play from the wrathcut<br />
If they become aware of it,<br />
Then abscond above without concern<br />
<br />
Gloss. When you shoot the point in during the wrathcut, if they then become aware of the point and parry the thrust with strength, then drag your sword upwards up off away from theirs and cleave in again at their head from above on the other side against their sword.<ref>Rostock adds: as is illustrated here</ref><br />
<br />
Yet another play from the wrathcut<br />
Be strong in turn<br />
And thrust. If they see it, take it again[sic]<ref>Rostock: 'nider' => 'down'</ref><br />
<br />
Gloss. When you cleave in with the wrathcut,ref>Rostock adds: as is illustrated just above here</ref> if the opponent parries it and remains strong against the sword with it, then be strong in turn against them against their sword and rise up with the strong of your sword into the weak of their sword and wind your hilt forwards in front of your head against their sword and then stab them in the face from above.<ref>Rostock adds: as is illustrated here</ref><br />
<br />
Yet another play from the wrathcut<br />
When you thrust-in from above during the winding like before, if the opponent then rises up with their hands and parries the high thrust with their hilt, then remain standing like that in the winding and set the point down between their arms and the breast.<ref>Rostock adds: as is illustrated below here</ref><br />
<br />
A break against absconding<br />
Note. When you bind with someone strongly against their sword, then if they drag their sword upwards up off away from your sword and cleaves in again from above at your head on the other side against your sword, then bind <ref>Rostock: "wind stark..." => "twist strongly"</ref>strongly with the long edge from high into their head.<br />
<br />
Here note a good lesson.<br />
Note this precisely:<br />
Cut, thrust, guard; soft or hard,<br />
Indes and before after[sic]<ref>Rostock garbles Indes with 'Jun ger'</ref><br />
Without rush, your war is not hasty.<ref>Rostock: "dem krieg"</ref><br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Gloss. This is what you shall quite precisely note when someone binds against your sword with a cut or with a thrust or otherwise: whether they are soft or hard upon the sword. And if you have sensed this, then Indes you shall know which is for the best: whether you rush<ref>Rostock: has "arbaiten(to work)" instead of "hurten"</ref> upon them with the before or with the after. But you shall not allow yourself to be too hasty with your war with your onrush. For the war is nothing other than the windings upon the sword.<br />
<br />
Another. Conduct the war like this: When you cleave in with the wrathcut, then as soon as the opponent parries, rise sufficiently up with your arms and twist your point into the upper opening. Then if they parry the thrust, keep staying in the winding and stab the lower opening with your point. Then if they chase the sword further by parrying, then pass through below their sword with your point and hang your point in from above into the other opening of their right side. In this way they become ashamed above and below if you can otherwise conduct the passage correctly.<br />
<br />
How one shall properly find cuts and thrusts in all windings<br />
In all winding<br />
Learn to properly find cut, thrust.<br />
You shall also with that gauge,<br />
cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Gloss. This is how you shall properly find cut, thrust and slice in all windings. So when you wind, you shall immediately gauge which of the three is best to conduct<ref> Rostock adds: "der heúe, oder stich, od shnit" => "the cut, thrust or slice" </ref>. So that you do not cut when you should thrust, and not slice when you should cut, and should not thrust when you should slice. And note when someone parries the one, that you hit them with the other. So if one parries your thrust, then conduct the cut. If someone rushes in, then conduct the under-slice into their arm. Note [this] in all collisions and bindings of the sword, if you wish to confound the masters that sets themelves against you.<br />
<br />
About the four openings<br />
Know the four openings<br />
Take target so that you strike wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
Gloss. You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second is the left side above the girdle of the opponent. The other two are also the right and the left sides below the girdle. Precisely observe the openings in the initiation of fencing with which they uncover themelves against you. Artfully target these without danger with the shooting in of the long point, with pursuing and <ref>Speyer adds: also</ref>otherwise with all techniques and and do not heed them as they bare against you with their techniques. Thus, you fence wisely and from this strike strikes that are excellent and with this do not allow them to come to their plays.<br />
<br />
The text and the gloss about the doubling and about the mutating. How they break the four openings.<br />
If you wish estimate for yourself how<br />
To artfully break the four openings<br />
Double above<br />
Mutate right below<br />
I say to you truthfully<br />
No one defends themelves without danger<br />
If you have properly understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss. This is for when you wish to set yourself up against the opponent in such a way that you will break the four openings with art. Conduct the doubling to the upper openings against the strong of their sword and the mutating to the other openings. For I say to you truthfully, that they cannot defend<ref>Rostock: "behueten" => "protect"</ref> themelves from that and can neither come to strikes nor to thrusts.<br />
<br />
The doubling<br />
Another. When you cleave in from above with the wrathcut or otherwise, if the opponent parries you with strength, then 'Indes' shove your sword's pommel under your right arm with your left hand and against their sword with crossed hands, strike the opponent across their mouth from behind their sword's blade between the sword and the opponent or else strike them on their head with this play.<br />
<br />
Note the mutating<br />
Conduct the mutating like this: When you bind them against their sword with a descending cut or otherwise, then wind the short edge against their sword and rise sufficiently up with your arms and hang your sword's blade over their sword to the outside and thrust to their lower opening. Conduct this on both sides.<br />
<br />
The crooked cut with it's plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
<br />
Gloss. This is how you shall cut crooked to the hands and conduct the play like this: When the opponent cuts at an opening from your right side with either rising or descending cuts, spring away from their cut with your right foot, all the way to their left side, facing them and strike them with crossed<ref>Salzburg: extended</ref> arms with the point upon the hands. And also conduct this play against them when they stand against you in the guard of the ox.<br />
<br />
Yet another play from the crooked cut<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
<br />
Gloss. This is how you shall displace the descending cut with the crooked cut. Conduct the play like this: When the opponent cleaves in from above from their right side to the opening, step to their left side with your right foot and fall<ref> This phrase has no verb, likely due to scribal error; it has been completed based on the version in the treatise of Hans Medel.</ref> across their sword in the barrier guard with your point to the ground. Conduct this on both sides. You can also strike them on the head from the displacement.<br />
<br />
Yet another play from the crooked cut.<br />
Cut crooked to the flats of<br />
The masters if you wish to weaken them.<br />
<br />
Gloss. This is for when you wish to weaken a master. Conduct the play like this: When the opponent cleaves in from above from their right side, cut crooked against their cut atop their sword with crossed hands.<br />
<br />
Yet another play from the crooked cut<br />
If it sparks above<br />
the dismount, that I will laud.<br />
<br />
Gloss. This is for when you cut atop the opponent's sword with the crooked cut, strike immediately back up from their sword with your short edge or wind the short edge against their sword during the crooked cut and thrust into their breast<br />
<br />
Yet another play from the crooked cut<br />
Don't crook, cut short<br />
Disengage and with that expose them<br />
<br />
Gloss. This is for when the opponent wishes to cleave in from above from their right shoulder. So you act as if you will bind against their sword with the crooked cut and shorten and pass through under their sword with your point and wind your hilt over your head to your right side and thrust into their face.<ref>Rostock adds: as is illustrated here and the [next] breaks this.</ref><br />
<br />
[Salzburg]<br />
<br />
Yet another break against the crooked cut<ref>Rostock and Salzburg only</ref><br />
<br />
Note. If you shoot in your point below their sword, as was written and illustrated before, if they press your sword down to the ground with a crooked cut, then wind toward your right side and rise sufficiently up with your arms over your head and set your point against their breast from above, as is illustrated below. If they parry that, then remain standing in this way with your hilt in front of your head and work from one opening to the other with your point. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you.<ref>This gloss is very similar to the Noble War gloss below found in the Dresden</ref><br />
<br />
Note how one shall break the crooked cut.<br />
Whoever foils you crooked,<br />
The noble war confounds them<br />
That they do not thruthfully knows<br />
Where they are without danger.<br />
<br />
Gloss. This is for when you initiate a cut from your right side, from above or below. Then if the opponent cuts crooked onto your sword also from their right side with crossed arms and foils your cut with it, then remain with the your sword strongly against theirs and shoot the point in long into their breast under their sword.<br />
<br />
Another break for the crooked cut<br />
Note. When you cleave in from above from your right side, then if the opponent cuts crooked with crossed arms atop your sword from their right side as well and with that presses you down to the ground, then wind towards your right side and rise sufficiently up over your head with your arms and set your point against their breast from above.<br />
<br />
Gloss. If they parry this, then remain standing as are you are with your hilt in front of your head and work swiftly with your point from one opening to the other. This is called the Noble War. With it you confound the opponent so completely that they do not know where they shall keep away from you with certainty.<br />
<br />
The crosswise cut with it's plays<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss. Note the crosswise cut breaks all cuts that will be hewn down from above. Conduct the cut like this:<ref>Rostock adds: "Stehe mit dem lincken fûs vor, und halt dein schwert an deiner rechtenn achsel und ..." => "Stand with your left foot forwards and hold your sword by your right shoulder and ..."</ref>When the opponent cleaves in from above at your head, spring away from their cut to their left side with your right foot, facing them and in your springing turn your sword forwards with the hilt high in front of your head such that your thumb comes under and strike them with the short edge to their left side such that you catch their cut in your hilt and hit them in the head.<ref>Rostock adds: as is illustrated here</ref><br />
<br />
A play from the crosswise cut<br />
<br />
Cross with the strong<br />
With that note the work<br />
<br />
Gloss. This is how you shall work from the crosswise cut using the strong and do it like this: When you initiate a cut using the crosswise cut, remember that you wind against the strong of their sword with yours.<ref>Rostock: supplies the missing verb, 'windest'</ref> then if the opponent holds it strongly in turn, then from against their sword strike them on their head with crossed arms from behind their sword's edge <ref>Rostock adds: as is illustrated here</ref> or slice them across their mouth with this play.<br />
<br />
Yet another play from the crosswise cut<br />
Note. When you bind against their sword with the strong of your sword from the crosswise cut, then if the opponent holds it strongly in turn,<ref>Rosktock adds: "bei dir" => "Next to you"</ref>, then shove their sword away from you, down to your right side<ref>Rosktock adds: as is illustrated here</ref> with your hilt and immediately strike back around with the crosswise cut at their head to their right side.<br />
<br />
Yet another play from the crosswise cut<br />
Another. When you bind against their sword with the crosswise cut, then if they are weak against the sword, lay the short edge against their neck on their right side and spring behind their left foot with your right and drag them over it with your sword.<br />
<br />
Another play<br />
Another. When you bind against their sword with the crosswise cut, if they are subsequently weak against the sword, then press their sword down with your crosswise cut and position your short edge out forward against their neck from behind their arms.<br />
<br />
[Salzburg]<br />
<br />
Another.<ref>This gloss occurs in the Salzburg only</ref> If someone takes you by the neck on your right side, then let your sword go from your right hands and thrust their sword from your neck with your right and step toward their right side with your left foot in front of both of their feets and pass over both their arms close by their hilt with your left arm and take them for a dance or stab them down between their legs in the groin.<br />
<br />
[Glasgow]<br />
<br />
Here note the break against the upper crosswise cut<br />
Note. When you bind<ref>Rostock: wind</ref> the opponent from your right side with a descending cut or otherwise against their sword, then if they strike around to the other side using the crosswise cut, then come forth under their sword against their neck with the crosswise cut as well, as is illustrated just after this, such that they strike themelves the same way with your sword.<br />
<br />
Here note the break against the low cross strike<br />
Note when you bind<ref>Rostock: wind</ref> against their sword from your right side, then if the opponent strikes from the sword around to the other<ref>Rostock: "unternn" => "lower"</ref> opening of your right side using the crosswise cut, then remain with your hilt above your head and twist your sword's edge downward against their cut and thrust to their lower opening, as is illustrated just after this.<br />
<br />
[Dresden]<br />
<br />
How one shall strike with the cross to the four openings<br />
Cross to the plow<br />
Yoke hard to the ox<br />
<br />
Gloss. This is how you shall strike to the four openings in one entry using the crosswise cut.<br />
Look at it like this: When you come to the opponent with the initiation of fencing, note: when it is suitable to you, spring toward them and strike them to the lower opening of their left side with the crosswise cut. This is called striking to the plow.<br />
<br />
Yet another play from the crosswise cut<br />
When you have struck to the lower opening with the crosswise cut, immediately strike up to the other side at their head in from above using the crosswise cut. This is called sriking to the ox and then swiftly strike further, again and again one cross strike to the ox and the another to the plow crosswise from one side to the other and with this cleave in from above with a descending cut to their head and with that withdraw yourself.<br />
<br />
Whoever crosses themelves well<br />
Threatens the head by springing.<br />
<br />
Gloss. This is so that you are to spring sufficiently to the side of the opponent with each and every cross strike so that if you wish to strike them, you can fully connect with their head and be aware that in your springing, you are to be fully covered up above with your hilt in front of your head.<br />
<br />
[Glasgow]<br />
<br />
This is the text and the gloss of yet another play from the crosswise cut and it is called the failer.<ref>The Rostock title matched the Dresden</ref><br />
<br />
Whoever misleads with the failer<br />
They wound according to desire from below<br />
<br />
Gloss. Note all fencers that like to parry will be mislead and struck by the failer. Conduct the play like this: When you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free crosswise cut on their left side and snatch<ref>Rostock: "wend" => "turn".</ref> your sword away during the cut and strike to the lower opening on their right side using the crosswise cut, as is illustrated just after this. In this way the opponent is triggered and struck below according to desire.<br />
<br />
[Dresden]<br />
<br />
Yet another play from the crosswise cut and this is called the inverter<br />
<br />
The inverter compels<br />
Rushing through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Gloss. Note you shall conduct this play like this: When you bind against the opponent's sword with a rising or descending cut, invert your sword such that your thumb comes under and thrust into their face from above. In this way, you pressure them such that they must parry and in their act of parrying, seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it. Or rush through using the inverter and wrestle as you will find heareafter in the rushing through.<br />
<br />
Yet another play from the failer<br />
Double the failer<br />
If they make contact, make the slice with it<br />
<br />
Glossa. Note this is called the double failer. For the reason that one shall conduct a double misdirection in one sortie. Conduct the first like this: When you come to the opponent with the initiation of fencing, spring toward them with your right foot and act as if you will strike at their head with a cross strike to their left side and snatch your strike away hitting their head on their right side.<ref>Glasgow adds: as is illustrated just after this</ref><br />
<br />
Yet another play from the failer<br />
<br />
Double further<br />
Step in left and do not be lazy<br />
<br />
Gloss. This is for when you have struck at the opponent's head on their right side with your first misdirection as was just pictured. Then take the slice into their arms from below<ref>omitted in dresden</ref> and immediately strike back around to the right side of their head and with that<ref>mit omitted in the glasgow</ref> from crossed arms pass over their sword with the short edge and spring left, that is, to your left side and slice them with the long edge through the jaw.<br />
<br />
The cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo strikes or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss. Note here that the cockeyed cut is a cut that breaks into the cuts and thrusts of a buffalo, which acquire dominance with power. Conduct the cut like this: When the opponent cleaves in from above from their right side, then you also cut from your right against their cut with upright<ref>alt: extended</ref> arms using the short edge into the weak of their sword and strike them on their right shoulder, in this way you strike and parry as one and hit them during the cut. If they disengage, shoot long into their breast during the cut and cleave in this way when they stand against you in the guard of the plow or when they will thrust at you from below.<ref>Rostock differs from "then you also cut...": "then you also cut from your right with the short edge, in this way you strike and parry together as one and you hit them with your cut as is illustrated here."</ref><br />
<br />
Yet another play from the cockeyed cut<br />
<br />
Cock an eye, If they short change you,<br />
Disengaging defeats them<br />
<br />
Gloss. Note this is a lesson for when you shall cock an eye slyly and quite precisely see whether the opponent fences short against you. You shall recognize it by this: When the opponent initiates a cut and their arms do not extend long with their cut, cut as well and in the cut pass through below their sword with your point and wind your hilt over your head to your right side and stab them in the face as is pictured just below.<br />
<br />
[Glasgow]<br />
<br />
Another. All fencers that fence short, be it from the ox or from the plow, and with all windings in front of the opponent, freely disengage them from both your cuts and from your thrusts with the long point. With this you secure them against your sword such that they must allow you to come to work and to strike them.<br />
<br />
[Dresden]<br />
<br />
Yet another play from the cockeyed cut<br />
<br />
Squint to the point<br />
And take the neck without fear.<br />
<br />
Gloss. Note the cockeyed cut breaks the long point and conduct it like this: When the opponent stands against you and holds their point against your face or breast from extended arms, stand with your left foot forward and with your face, cock an eye slyly at their point and act as if you wish to cut to their point and cut strongly upon their sword with the short edge and with that shoot the point long to their neck with an advance of the right foot.<br />
<br />
Yet another play from the cockeyed cut<br />
<br />
Squint to the top of the<br />
Head if you wish to ruin the hands.<br />
<br />
Gloss. Note when the opponent wishes to cleave in from above, cock an eye slyly with your face as if you wish to strike their head and cut against their cut with your short edge and strike them upon their hands from against their sword's blade with your point.<br />
<br />
The part cut<br />
Is a threat to the face<br />
<br />
Here note the part cut is a threat to both the face and to the breast. Conduct it like this: When the opponent stands against you in the guard of the fool, cut down from above, extended from the top of your head, with the long edge, and remain high with your arms during the cut and hang in at their face with your point.<br />
<br />
[Rostock]<br />
This is the part cut with its plays The part cut is a threat to the face, with its turn, the breast is firmly threatened. Gloss. Note the part cut is conducted like this: cleave in with your long edge at the opponent's head down from above from your part. If they parry, then hang your point in with your long edge over their hilt and thrust into their face, as is pictured here.<br />
<br />
[Glasgow]<br />
Another. If the opponent firmly shoves your point upwards with their hilt, then twist your sword with your hilt high in front of your head, such that the thumb comes below and place the point under their hands upon their breast, as is pictured here.<br />
<br />
[Rostock]<br />
One other play. What comes from them, the crown takes that away, Slice through the crown, so you break the hard beautifully, press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref>, withdraw it with slicing. Gloss. Note when you cleave in from above using the part cut, if they parry hard over their head with their hilt, this parry is called the crown, and they rush in on you with it, then take your lower slice under their hands into their arm, and press firmly upward, so that the crown is broken again.<br />
<br />
[Dresden]<br />
A play from the part cut<br />
With their turn<br />
Firmly threatens the breast.<br />
<br />
Gloss. This is for when you hang your point in at the opponent's face from above using the part cut. Then if the opponent firmly shoves you upward with their hilt in their act of parrying, spin your sword around high in front of your head with your hilt and set the point against their breast from below.<br />
<br />
How the crown breaks the part cut<br />
Whatever comes from them,<br />
The crown takes that away<br />
<br />
Gloss. Note when you cleave in from above using the part cut, if the opponent parries high above their head with their hilt, this parrying is called the crown and they rush in on you with it.<br />
<br />
How the slice breaks the crown.<br />
<br />
Slice through the crown<br />
So you break the hard beautifully<br />
Press the thrust<ref>in pPvD, this is 'strich' not 'stich'. So: "press the strike"</ref><br />
Withdraw it with slicing.<br />
<br />
Gloss. Note when the opponent parries the part cut or otherwise another cut with the crown and uses that to rush in, take the slice under their hands into their arm and press firmly upwards, so that the crown is broken again and turn your sword from the lower slice into the upper slice and withdraw yourself with it.<br />
<br />
These are the four positions<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool<br />
From-the-roof are not dispised by you.<br />
<br />
Gloss. This is about how you shall not operate from any other position than from these four that will be named here.<br />
<br />
The first guard<br />
The ox. Send yourself there like this: Stand with your left foot forwards and hold your sword in front of your head with your hilt next to your right side and let your point hang against the opponent's face.<br />
<br />
The second gaurd<br />
The plow. Send yourself there like this: Stand with your left foot forwards and hold your sword over your knee next to your right side with crossed hands such that your point stands against the opponent's face.<br />
<br />
The third guard<br />
The fool. Send yourself there like this: Stand with the right foot forwards and hold your sword with your point upon the ground with outstretched arms<br />
<br />
The fourth guard<br />
From-the-roof. Send yourself there like this: Stand with your left foot forwards and hold your sword by your right shoulder or hold it over your head with outstretched arms and how you shall fence from these guards, you shall find that written in this book.<br />
<br />
These are the four parries that disrupt or break the four guards<br />
Four are the parries<br />
That also severly disrupt the positions.<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Gloss. Note you have heard before that you shall fence from the four positions alone. You should simply know that the four parries are the four cuts as well.<br />
<br />
[Glasgow]<br />
This is the text and the gloss of the four parries that break the four positions<br />
Four are the parries<br />
That also severely disrupt the positions.<br />
Guard yourself from parrying for two reasons<br />
If it happens by necessity, it hurts you<br />
<br />
Gloss. Note you have heard before that you shall fence solely from the four positions, so you should also now know that the four parries break the four positions and that the four parries are the four cuts.<br />
<br />
[Dresden]<br />
The first cut is the crooked cut which breaks the guard of the ox.<br />
<br />
The second is the crosswise cut which breaks the guard from-the-roof<br />
<br />
The third is the cockeyed cut which breaks the guard of the plow.<br />
<br />
The fourth is the part cut which breaks the guard, the fool.<br />
<br />
And guard yourself from all parries that bad fencers conduct and note whenever the opponent cuts, you cut as well and when they thrust, thrust as well and how you shall cut and thrust, you find that written in the five cuts and in the displacing<br />
<br />
A play against an act of parrying<br />
<br />
If you are parried<br />
And however it has come to this<br />
Heed what I advise:<br />
Wrench off, cut quickly with violence<br />
<br />
Gloss. This is for when you have been parried, however it has come to be. So note if someone parries your descending cut, then in that act of parrying, pass in front of their lead hand with your pommel and wrench downwards and during the wrenching, strike them upon the head with your sword.<br />
<br />
Yet another play against an act of parrying<br />
Note when you hew a rising cut from the right side, then if the opponent falls upon it with their sword so that you cannot come up with yours, swiftly pass over their sword with your pommel and strike at their head with your long edge by snapping or if they fall upon your sword toward your left side, then strike them with the short edge.<br />
<br />
Yet another play against parrying.<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss. When you cleave in from your right shoulder, if you wish to immediately finish with the opponent, then note when they parry, strike quickly around with the crosswise cut and grasp your sword in the middle of your blade with your left hand and set your point into their face or lodge against them at whichever of the four openings you can best get to.<br />
<br />
[Glasgow]<br />
This is the text and the gloss of yet another one of the plays against the parry.<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss. This is for when you cleave in from above from your right shoulder. If you wish to quickly finish with the sword, note when the opponent parries, then immediately strike around using the crosswise cut and grasp your sword in the middle of the blade with your left hand during the crash and set the point into their face as is pictured next or lodge against them at whichever of the four openings you can best get to.<br />
<br />
[Dresden]<br />
Yet another play against parrying<br />
<br />
Another. When you set the point into the opponent's face with the half-sword, if they parry that, jab them in their head with your pommel on their other side or spring behind their left foot with your right and pass around the front of their neck with your pommel to over their right shoulder and drag them over your right leg with it.<br />
<br />
About pursuing<br />
Learn to pursue<br />
Double or slice into the weapon<br />
<br />
Gloss: This is so that you shall learn fully about Pursuing, because they are dual. Conduct the first: when the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue that with a cut or with a thrust and hit them in the upper opening before the opponent ever returns with their cut or drop into their arms from above with your long edge and press them away from you with it.<br />
<br />
[Rostock]<br />
This is about pursuing.<br />
Learn to pursue<br />
Double or slice into the weapon<br />
<br />
Gloss. Note this is so that you shall quite fully learn about Pursuing, and conduct it like this: When the opponent wishes to cleave in from above, note the moment they draw up their sword for the strike, pursue them with a cut or with a thrust into the opening, before they ever come down with their cut.<br />
<br />
[Dresden]<br />
Yet another pursuing<br />
Another. When the opponent initiates a cut from above, if the opponent allows their sword to go down to the earth with their cut, pursue them with a cut to their head, before they rise up with their sword or if they will thrust at you, note the moment they draw their sword back to themselves for the thrust, then pursue them and thrust them before they ever complete their thrust.<br />
<br />
[Rostock]<br />
Or<br />
if the opponent cuts down from above and allows their sword to go down to the earth with their cut, then pursue them with a descending cut to their head, before they come up with their sword, so that they are stricken.<br />
<br />
About the enticements to the outside<br />
Two enticements to the outside<br />
Your work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note the two enticements to the ouside are the two pursuits of the sword. Conduct it like this: When the opponent misses their attack before you, pursue them. Then if the opponent parries that, stay with your sword against theirs and guage whether they are soft or hard with their application. Then if the opponent lifts your sword upwards with theirs using strength, extend your sword over theirs to the outside and thrust to their lower opening.<br />
<br />
The other enticement to the outside<br />
Another. When you fence cautiously from the rising cuts or otherwise from the lower applications, then if the opponent lays over you and winds atop your sword before you come up with it, then remain strong below with your sword against theirs. If they turn it and work to your upper opening, then follow with your sword and in their thrust take weak of their sword with your long edge and press down and stab them in the face.<br />
<br />
About the feeling and about the word Indes<br />
<br />
Learn the feeling<br />
Indes, that word cuts sharply<br />
Gloss. This is so that you properly learn the feeling and the word Indes and shall understand that these two things belong together and are the greatest arts of fencing<br />
<br />
And look at it like this: When someone binds someone else against their sword, in that, just as the swords spark together, you shall immediately feel whether they have bound soft or hard. And as soon as you have perceived that, think of the word, Indes. That is, in that same swift perception of the soft and of the hard, you shall work to the nearest opening so that they will be struck before they come to their senses.<br />
<br />
Another. You shall think of the word Indes in all bindings of the sword because<br />
<br />
Indes doubles,<br />
Indes mutates,<br />
Indes rushes through<br />
Indes disengages<br />
Indes takes the slice.<br />
Indes wrestles, with that<br />
Indes, take their sword.<br />
Indes does whatever your heart desires in this art.<br />
<br />
Indes is a sharp word. Consequently, any fencer that knows nothing of this word, will be sliced up. And this word, Indes, is also the key with which the entire art of fencing becomes unlocked.<br />
<br />
Pursuing<br />
<br />
Pursue twice,<br />
If one hits, make the old slice from it.<br />
<br />
Gloss. This is for when the opponent misses their attack before you, pursue with a cut to their upper opening. Then if they rise up and bind<ref>Rostock: wind</ref> against your sword from below, then note just as soon as one sword clashes against the other, then fall from their sword across their arms with your long edge and in this way press them away from you as is pictured next or slice from the sword through their jaw. Conduct this on both sides.<br />
<br />
About overrunning<br />
Whoever hunts below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I will praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Gloss. This is for when the opponent targets the lower openings with a cut or with a thrust in the initiation of fencing, you shall not parry them, rather take care that you overrun them with a cut in at their head from above or lodge the point from above as is pictured next, so that they become shamed by you because all descending cuts and all lodgings from above reach over the lower.<br />
<br />
Another. How one shall displace cuts and thrusts<br />
<br />
Learn to displace.<br />
Skillfully disrupt cut, thrust.<br />
Whoever thrusts at you<br />
Such that your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. This is so that you shall learn to displace both cuts and thrusts with art in such a way that your point hits them and theirs will be deflected and look at it like this: When someone stands against you and holds their sword as if they will thrust from below, setup in response against the opponent in the guard of the plow from your right side and give yourself an opening with the left. Then if the opponent thrusts into that opening from below, then wind to your left side against their thrust with your sword and step toward them with your right foot, such that your point hits and their's fails to.<br />
<br />
Yet another play about displacing<br />
Another. When you setup against the opponent in the guard of the plow from your left side, if they cut to your left side's upper opening, then rise up with your sword and wind against their cut up to your left side, such that the hilt is in front of your head and step toward them with your right foot and stab them in the face as is pictured after this.<br />
<br />
About Disengaging<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds the them<br />
<br />
Gloss. This is so that you shall learn the disengaging well and conduct it like this: When you cleave in or thrust forward in the initiation of fencing, if the opponent will bind against the sword with either a cut or a parry, then let your point go under their sword and slip through and with that, gravely thrust in on the other side, so that you find the opening of the opponent surely as is pictured here.<br />
<br />
[Glasgow]<br />
Another. Then if the opponent becomes aware of the thrust and chases it with a parry, then disengage again to the other side.<br />
<br />
Another. Another.<br />
If you arrive at your opponent, then advance your left foot and hold the long [sic. point] against their face. Then if the opponent cuts at the sword from above or below and wants to strike it away, allow your point to sink downward and stab them in the other opening of the other side and do this against all cuts.<br />
<br />
[Dresden]<br />
About the suddenly withdrawing<br />
Tread close in binds,<br />
Suddenly withdrawing gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw in all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Gloss. This is for when you come to the opponent with the initiation of fencing, cleave in strongly from above, from your right shoulder to their head. Then if they bind you against their sword by parrying or otherwise, then in the bind step close to them<ref>Glasgow adds: against their sword</ref> and suddenly withdraw your sword up off from theirs and cleave in again from above on the other side at their head as is pictured here. If they parry that for a second time, then strike back in again from above on the other side and work swiftly according to the upper openings that may occur to you using doubling and by other plays.<br />
<br />
[Glasgow]<br />
or act as if you will suddenly withdraw and remain upon the sword and thrust immediately back in against the sword at their face. Then if you do not rightly hit them with your thrust, then work using doubling or otherwise with other plays.<br />
<br />
[Dresden]<br />
About Rushing through<ref>Rostock: This is about wresting</ref><br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Note this means: when you or your opponent rushes in on the other. Then if the opponent rises up with their arms and wishes to overwhelm you with strength from above, then rise up with your arms as well and hold your sword over your head with your left hand by the pommel and allow the blade to hang back over your back<ref>Rostock: "and allow the blade to hang down behind you"</ref> and rush through under their right arm with your head and spring behind their right foot with your right and during the spring, pass all the way around the front of their body with your right arm and clasp them against your right hip like this and throw them in front of you.<br />
<br />
Yet another rushing through<br />
Another. When the opponent wishes to overpower you in the onrush with strength from above using their sword,<ref>Rostock differs: When the opponent rises up with their arms in the onrush,</ref> hold your sword by the pommel with the left hand and let the blade hang over your back.<ref>Rostock adds: behind you</ref> Rush through under their right arm with your head and remain in front of their right foot with your right and pass all the way around the back of their body with your right arm and clasp them upon your right hip and throw them behind you.<br />
<br />
A wrestling at the sword<br />
Another. When you or your opponent rushes in on the other, let go of your sword with your left hand and hold it with your right and shove their sword away from you to your right side with your hilt and spring in front of their right foot with your left and pass all the way back around their body with your left arm and clasp them upon your right hip and throw them in front of you. Though watch that it does not fail you.<ref>this last sentence is highlighted and a drawn hand is pointing to it.</ref><br />
<br />
Yet another wresting at the sword<br />
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and shove their sword away from you to your right side using the hilt and spring behind their right foot with your left and pass all the way around the front of their body under their breast with your left arm and throw them backward over your foot.<br />
<br />
Yet another wresting at the sword<br />
Another. When you or your opponent rushes in on the other, let your sword go with your left hand and hold it in your right and pass outside over their right arm with your pommel and using that, suddenly withdraw downwards and seize their right elbow with your left hand and spring in front of their right foot with your left and drag them like this over your foot to your right side.<br />
<br />
Yet another wresting at the sword<br />
Another. When you or your opponent rushes in on the other, pass over their right arm with your left hand inverted and with it, seize their right arm and with your right arm, press their right arm over your left arm and spring with your right foot behind their right and turn yourself to your left side, away from them, so that you throw them over your right hip<br />
<br />
[Glasgow]<br />
Note. When one rushes in the other, pass over their right arm with your left and with that seize their right arm with an inverted hand and press their left over your left with your right arm and spring behind their right foot with your right and turn yourself away from them to their left side and throw them over their right hip as is pictured here next to this.<br />
<br />
Yet another wresting<br />
Another. When someone rushes in while at the sword, etc, let your sword fall and invert your right hand and using that seize outside their right hand and with your left clasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and with that, lift it upwards, so that they are locked and therefore you can break their arm or throw them over your leg in front of you.<br />
<br />
[Dresden]<br />
One other wrestling at the sword<br />
Another. When one rushes in the other, invert your left hand and with that, pass over their right arm and with that, seize their sword by the grip between both hands and wrench to your left side, so that you take their sword from them. This will vex them badly.<ref>this sentence is underlined</ref><br />
<br />
A sword disarm<br />
Another. When the opponent binds against your sword by parrying or otherwise, seize both swords by the blades<ref>Glasgow adds: in the middle of the blade</ref> with your left hand inverted and hold them tightly together and with your right hand pass down through to your left side and with your pommel pass over both their hands and with that wrench to your right side so that both swords stay with you.<br />
<br />
About cutting off<br />
Cut off the hard ones<br />
From below in both paths<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Gloss. Note there are four slices. Conduct the first like this: when the opponent rushes in and rises high up with their arms and will overpower you from above with strength toward your left side, twist your sword and drop<ref>Glasgow: slip</ref> under their hilt with crossed hands into their arms with your long edge and press upward using the slice or if the opponent rushes in toward your right side, drop<ref>Glasgow: slip</ref> into their arms using the short edge and press upwards as before.<br />
<br />
Yet another slice<br />
Another. When you bind strongly on their sword with a cut or otherwise, then if the opponent allows their sword to bounce off of yours and strikes at your head from above, then twist your sword with your hilt in front of your head and from below, slice through their arm from below and with your slice, set your point against their breast from below.<br />
<br />
Yet another slice<ref>Rostock: This is the over slice</ref><br />
Another. Conduct the slice like this: When the opponent binds against your sword on your left side and from your sword, strikes around to your right side using the crosswise cut or otherwise, spring away from their cut with your left foot and fall across both arms from above with your long edge.<ref>Rostock adds: and press them away from you as is pictured here</ref> Conduct this on both sides.<br />
<br />
Abount the transformation of the slice<br />
<br />
Turn your edges<br />
To flatten, press your hands<br />
<br />
Gloss. This is for when you in your onrush come into the opponent's arms<ref>Glasgow, Rast add: from below</ref> with the lower slice such that your point goes out toward their<ref>Glasgow, Rast: your</ref> right side, then press firmly upwards with your slice and during your pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side and with that press their arms away from you.<ref>Glasgow and Rast differ in the last clause: In this way you have transformed the lower slice into the upper. Conduct this on both sides</ref><br />
<br />
[Glasgow]<br />
This is the text and the gloss about the transformation of the slice<br />
<br />
Turn your edge<br />
To flatten, press the hands<br />
<br />
Gloss. This is for when you in your onrush come into the opponent's arms with the lower slice such that your point goes out toward their right side, then with that press firmly upwards and during the pressing, spring to their right side with your left foot and turn your sword up over their arms with your long edge, such that your point goes out toward their left side. In this way have you transformed the lower slice into the upper. Conduct this on both sides.<br />
<br />
[Dresden]<br />
About the two hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note there are hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword using the lower displacement toward your left side, hang your sword's pommel [down] toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up with them and hang your point down in their face from above and in these hangings you shall swiftly conduct all applications [with] cut, thrust and slice thereafter as you perceive in the binding up of the swords whether they are soft or hard with it.<br />
<br />
[Rostock]<br />
This is the text and the gloss about the two hangings the sword<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note there are two hangings from each hand and from each side of the ground. Conduct them like this: When you bind against the opponent's sword to your left side using the lower displacement, hang your sword's pommel toward the ground and from that hanging thrust up at their face from below. Then if the opponent shoves your point upward by parrying, then remain like this against their sword and rise up as well and hang your point down from above in their face and in these two hangings you shall swiftly conduct all applications. Cut, thrust and slice thereafter as you either perceive or gauge in the binding up of the swords whether they are soft or hard with it. These hangings from both sides are the plows from both sides.<br />
<br />
[Dresden]<br />
About the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps.<br />
Whoever withdraws themselves before you,<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have rightly understood<br />
They can hardly come to blows<br />
<br />
Gloss. Note this called the speaking window. When the opponent binds against your sword by cutting or<ref>Rast: and</ref> by<ref>Dresden parrying, remain strong against their sword with your long edge from extended arms with your point in front of their face and stand freely and suss out their situation, whatever they will conduct against you.<br />
<br />
Another. If the opponent strikes around from the sword to your other side with a descending cut, then make a bind following in from above with strength with your long edge.<ref>Glasgow: then bind in above with strength against their cut into their head</ref><br />
<br />
Or if they strike around using the crosswise cut, then drop into their arms with the upper slice.<br />
<br />
Or if they suddenly withdraw their sword to themselves and wish to thrust at you from below, then pursue them against their sword with your point<ref>Dresden omits: with your point</ref> and lodge against them from above.<br />
<br />
Another. Or if they do not wish to withdraw themselves nor strike around away from the sword, then work against their sword using doubling or otherwise using other plays as you perceive the soft and the hard on the sword thereafter.<br />
<br />
hereafter note what is called here, long point.<br />
<br />
Note before you come too close to the opponent initiation of fencing, advance your left foot and hold your point long from extended arms against their face or against their breast. Then if the opponent cuts down at your head from above, then wind against their cut with your sword and thrust into their face.<br />
<br />
[Glasgow]<br />
Here note how you shall stand in the long point and which play you shall conduct from it.<br />
<br />
Note. When you come to the opponent with the initiation of fencing with your sword, advance your left foot before they bind against your sword and hold your point long from extended arms against their face or against their breast. Then if the opponent cleaves in from above at your head, then wind against their cut with your sword and thrust into their face.<br />
<br />
[Dresden]<br />
Or if the opponent cuts down at your sword from above or up from below and wishes to knock away your point, then disengage and thrust to the opening on the other side.<br />
<br />
Or if they hit your sword with strength with their cut, then let your sword to snap around, so you hit them in the head.<br />
<br />
If the opponent rushes in, then conduct the wrestling or the slice. Watch that it does not fail you.<ref>this last sentence is highlighted.</ref><br />
<br />
The text about the distillation of the Zettel<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And delivers the windings with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Gloss. This is a lesson in which the Zettel is succinctly tied together for you. It is taught like this so that you will be fully and completely educated and practiced in the art against those you fence with, so that you know how to conduct your break against their play, so that you can complete your work from any particular break using the three wounders.<br />
<br />
[Glasgow]<br />
This is a lesson in which the art of the Zettel is artfully tied together. You learn it in this manner so that you will be fully and completely practiced and educated in the art, and as a consequence of this, so that you can swiftly bring to bear any application or play against those you fence with in such a way that you correctly know how to conduct your breaks against their plays in such a way that you can complete your work from any particular break using the three wounders.<br />
<br />
Another. You shall also properly hang against the sword and from these hangings you shall deliver eight winds and you shall also consider and properly estimate these windings, so that you know which one of the aforementioned trio to conduct.<br />
<br />
[Dresden]<br />
Here note how you shall conduct the hangings and the windings<br />
<br />
Look at it like this: There are four bindings of the sword. Two upper and two lower. You shall only conduct two specific windings from each binding of the sword.<br />
<br />
[Glasgow]<br />
<br />
Another. Do it like this: When you come to the opponent with the initiation of fencing, then if the opponent binds against your left side from above, then wind your short edge against their sword and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust with strength, allow your point to hang in from above against their sword and wind to your right side and thrust. These are two windings against one side of the sword.<br />
<br />
Or if the opponent binds against your right side from above, then wind your long edge against their sword toward your right side as well and rise sufficiently up with your arms and hang your point in at them from above and thrust into their face. If they parry the thrust using strength, let your point hang in from above against their sword and wind to your left side and thrust. These are four windings from the two upper bindings from the left and the right sides<br />
<br />
[Dresden]<br />
<br />
Another. Now you shall know<br />
<br />
That you shall also conduct four windings from the two lower bindings with all applications as from the upper. In this way the upper and lower windings total eight. And remember that you shall conduct one cut or slice and one thrust in particular from each winding. And these are called the three wounders. Therefore one can and shall conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, so that with each wounder, you gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play of the winding that is called for. Whereever you do not do this, you will become struck by all windings.<br />
<br />
[Glasgow]<br />
<br />
Another. Now you shall know<br />
<br />
That you shall also conduct four windings from the two lower bindings alongside all applications as from the upper bindings. In this way the upper and lower windings total eight. And remember that you shall conduct one cut, one slice, one thrust in particular from each winding. These are called the three wounders. From those one can conduct them from the eight windings, arriving at twenty-four. And you shall properly learn to conduct the eight windings from both sides, in such a way that you step in with each winding and with that gauge their attack in no other way than whether they are soft or hard against your sword. And when you have sensed the two things, conduct the play that is called for in that winding. Wherever you do not do this, you will become struck by all windings.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Pauernfeyndt&diff=135196User:Christian Trosclair/Translations/Pauernfeyndt2022-07-27T21:59:35Z<p>Christian Trosclair: </p>
<hr />
<div>An examination of the Knightly Art of Fighting by Andre Paurnfeindt, Freifechter of Vienna, Austria, towards a clear comprehension and concise understanding thereof.<br />
<br />
To the Sublime Magnificent Prince and Lord, Sir Matthäus of the Holy Roman See, Cardinal of St. Angelo, Papal Legate, Bishop of Gurk, Coadjuctor of the Diocese of Salzburg etc; Andre Paurnfeindt, Freifechter and his Magnificence the Cardinal's loyal bodyguard, offers his humble service.<br />
<br />
O' Sublime in God the Father, Magnificent Prince and Merciful Lord; after a great deterioration and lack of attention became apparent to me, for this reason, in the name of impressionable youth amid daily practice, I have decided to concisely record the Knightly Art of Fighting and thoroughly explain the Zettel in order to avoid gambling, debauchery, bad company, etc. Such an explanation I wish to accredit and dedicate to your Princely Grace. With this, I prostrate myself before your Magnificence in all humility.<br />
<br />
In short, I have formulated three chapters in which the Lore and Essence of Fighting is concisely summarized, not for the elder fencers, but for the young students, so that enjoyment and practice grows daily in them. From all of this I have briefly proposed twelve rules from which expertise, subtlety and agility can develop in you. In this way, you learn from a master of the sword or from a sworn Freifechter and not from misbegotten fencers, like when one blind man leads the other and both fall into a ditch.<br />
<br />
If leaf and grass grew<br />
As fast as envy and hate<br />
Then sheep and cattle would have<br />
A good winter this year.<br />
<br />
Do not let yourself scoff at these twelve rules,<br />
From them great art may sprout from you.<br />
<br />
The First<br />
<br />
Whichever leg<ref>lit: foot, but can and often mean the leg</ref> stands forward, bend it.<br />
The hind one supports the body above outstretched.<br />
<br />
The Second<br />
<br />
Fence upright with a straight body.<br />
Drive a powerful posture from that length.<br />
<br />
The Third<br />
<br />
Strike and step with one another.<br />
But set your feet against one another.<br />
<br />
The Fourth<br />
<br />
Those who chase after cuts<br />
Do not allow themselves to enjoy the art.<br />
<br />
The Fifth<br />
<br />
Note what the flat is.<br />
Do not fence left if you are right.<br />
<br />
The Sixth<br />
<br />
Seek weak and strong<br />
Indes, note this word precisely.<br />
<br />
The Seventh<br />
<br />
Recognize soft or hard.<br />
Pursuing is your application.<br />
<br />
The Eighth<br />
<br />
Strike before and after.<br />
Do not be hasty to rush in.<br />
<br />
The Ninth<br />
<br />
Fence at the body from close.<br />
Do not omit the stingers.<ref>alt: flesh wounds, tag hits.</ref><br />
<br />
The Tenth<br />
<br />
Step close in the bind.<br />
Otherwise you will be wounded.<br />
<br />
The Eleventh<br />
<br />
[That which is] in front of the hand is called the long edge.<br />
Seldom guide an act of parrying to the short.<br />
<br />
The Twelfth<br />
<br />
If you frighten easily,<br />
Do not learn to fence.<br />
<br />
The first chapter teaches<br />
how one should employ expertise in the long sword, whichever is used with both hands, such as the battle sword, riding sword, estoc, and many others which I will for brevity's sake leave out.<br />
<br />
A Zettel fencer I proclaim myself,<br />
Indomitable in Sword and Messer.<br />
In strength, weakness, short and long,<br />
I do violence to my opponent.<br />
Indes, pay attention! Understand me correctly.<br />
Hit them before they strike their position<br />
<br />
Then I have another one on top of that.<br />
With this, my art sells quite expensively.<br />
Now I conduct my work unhindered,<br />
Right in smoothly to the body, toward the blade<br />
To make slice, strike, thrust; then right back out.<br />
If you wish to learn thoroughly, come to me.<br />
<br />
The first resting place is named High Point or Ox as the elders will and it will be assumed hereon.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this.<br />
Cut, thrust, position, soft or hard<br />
Indes and before and after<br />
Without collision your war is not to be hasty<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
In all windings<br />
Cut, thrust, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to weaken them.<br />
<br />
The wing cut<br />
Undertake the wing cut from the upper guard or high point. The first strike to the left ear from the roof, the second from below with a step to your left side, the third strike to the head from behind.<br />
<br />
Break<br />
If someone initiates a wing cut, parry the first from the roof. The second, pin down with the long edge from below and grab their sword's pommel with your left hand, then you throw them over their sword.<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, thrust to clash with<br />
<br />
Crown cut<br />
Step and strike through to the opponent's ear from above with the long edge. The second step and strike down from above to the right ear with the short edge. The third, strike from behind with the long edge.<br />
<br />
Break<br />
When someone executes a crown cut, catch the first. For the second, situate your short edge against their neck so that they injure themselves themself.<br />
<br />
Failer<br />
Undertake the failer from the high point. Cut short to the opponent's left ear explosively and step towards their right side with your left foot. And hammer in the second strike long to the right ear. Keep high with good parrying<br />
<br />
Break<br />
Cut from above from the ox against the opponent, down through the roses and land your short edge in their face. Veer off short and make a followup strike with the long edge.<br />
<br />
Play<br />
<br />
Against their strike, punch through with a cut<ref>literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN</ref> and step in the triangle with your right foot such that you make yourself completely open so to cause them to initiate a cut at your opening. After that happens, step with your left foot and make a followup strike from the hand.<br />
<br />
About the 4 openings<br />
Know the four openings<br />
Take aim so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated<br />
<br />
Breaking the four openings<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Hurling<br />
Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.<br />
<br />
Break<br />
If someone starts to hurl at you, let the first strike detach and parry the second down from above with the long edge so that you can pin it down or suppress it.<br />
<br />
Shooting though<br />
You can also undertake shooting through from the high point. Cut down from above and with the short edge and inverted hand, down through the roses and into the opponent's face. Let it briefly run off and follow up with the long edge.<br />
<br />
Break<br />
When someone shoots through, and will lay the short edge against you so that you cannot otherwise work, take your sword by the point and strike your cross against their head.<br />
<br />
Iron Door<br />
The third resting place is named the iron door or the cross according to the elders.<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
Cross with the strong<br />
Note your work with it.<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head by springing<br />
The failer misleads<br />
Wounding from below according to desire<br />
The inverter constrains<br />
Rushing through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
From the roof<br />
Position yourself in the iron door with braced hands. If someone strikes at you from the roof, thake their strike from the roof with your short edge and step after them with the long edge.<br />
<br />
Break<br />
Conduct the failer against them. If they lie in the iron door, then they are driven out in vain and uncover themselves.<br />
<br />
Overshooting<br />
Position yourself as before with braced hands, step in with the short edge shot over to the opponent's left ear and make a follow up strike with the long edge.<br />
<br />
Breaking<br />
When someone overshoots the short edge, turn the strike away so that you come to strike against strike and the same work.<br />
<br />
About parrying<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
The second resting place is named the hanging point and is duel.<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Hanging point<br />
The hanging point lands with the right foot forwards, like in the figure, with the flat below the face, entering short; and parry high whatever strike that will be struck from the roof. Let it run off short and follow up with a strike long.<br />
<br />
Break<br />
Drive the right foot forwards from the right side. If someone lies still in the hanging point, position the short edge on their right ear so they are not permitted to suddenly withdraw and wherever they do withdraw, they uncover themselves.<br />
<br />
Counter break<br />
Whenever someone positions the short edge against your neck, twist your hands with your sword and bar them from above with the long edge and grab their pommel with your left hand and throw them over their sword to the left side.<br />
<br />
Whichever one now lives on the ground,<br />
They will be disgraced by no one.<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
According to the old art, but according to our exquisite new art we have different names, but nonetheless is one idea. High point, Hanging point, Iron door, Plow. They are manifold.<br />
<br />
Overgripping<br />
You can also undertake overgripping from high point. Reach over your cross with your right hand into the blade such that your finger stands on the blade. If someone initiates a strike, strike against them with your strong such that you overwhelm their sword, keeping threat and suddenly withdraw your flat against their right ear and veer high into your act of parrying.<br />
<br />
Break<br />
When someone overgrips, bait them with a strike and suddenly withdraw short, make a follow up strike long or else break it with a failer or a crown cut, etc.<br />
<br />
REMAINING<br />
Position yourself in the high guard or high point, and cut to the opponent's left ear with your long edge, and act as if you will suddenly withdraw, but remain against their left ear with your short edge, thereafter suddenly withdraw and make a follow up cut with the long edge.<br />
<br />
Break<br />
When someone remains with their short edge against your right ear, remain on the other side as well. If they indeed pull away first, then they strike themselves the same way.<br />
<br />
Splendid! I have already figured out myself how<br />
To displace to both places<ref>alt: points, ends</ref><br />
I preserve the before, yet not too long.<br />
The openings will be wide open to me.<br />
No position will be good for you.<br />
I hit you in the after from a carefree spirit.<br />
With it, I come swiftly to work<br />
Just you wait until I bind you first.<br />
<br />
About overrunning<br />
Whoever takes aim from below<br />
Overrun it, they will be shamed.<br />
When it clashes above,<br />
Then dismount, This I will praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Triangle<br />
Position yourself with braced hands in front of your face. If someone strikes the buffalo from high point, twist your hands up from below and step into a false step and shield yourself short such that they roll down your flat, thereafter make a follow up strike long with a step<br />
<br />
Break<br />
When you have missed your attack of the opponent, rise up with your pommel so you are also shielded. Let them roll down as well and work with them according to advantage.<br />
<br />
About Displacing<br />
Learn to displace<br />
Skillfully disrupting cuts and thrusts<br />
Whoever thrusts at you<br />
Their point breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Rushing through<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Rule<br />
Remember whenever you initiate a thrust, that you always wind your sword under your right shoulder using the pommel when you hit with your point.<br />
<br />
About Disengaging<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds or slices the opponent<br />
<br />
About suddenly withdrawing<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good finds.<br />
Suddenly withdraw. If they engage, suddenly withdraw again.<br />
That does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Combat Play<br />
Position yourself against the opponent as before. Grab the middle of your sword's blade with your left hand and thrust towards their face so that they must shield themselves and carry off your thrust. Follow them with a step and release your left hand from your sword. Reach across both of their hands with your pommel and position your edge against their neck and position them into weakness so that you throw them.<br />
<br />
Beak<br />
When someone has lodged their sword against you and and will throw you, release your right hand from your sword and shove their left elbow from below so that they must turn themselves.<br />
<br />
Play<br />
If someone has lodged against your breast, take hold of their sword with your left hand forward by the point and thrust your sword behind their left leg and press against them with your breast and with your left hand against their breast, shove them back backwards over your sword.<br />
<br />
About pursuing<br />
Learn to pursue<br />
Twice or slice into the weapon<br />
Two as well to the outside<br />
Your work begins thereafter<br />
And gauge the applications<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this here cuts sharply<br />
Pursuing twice,<br />
If on connects, make the old slice with it.<br />
<br />
Plow<br />
The fourth resting place is named the plow. Whatever the buffalo strikes at you, step into the triangle with the right foot and shield yourself short with your flat such that they roll off. Thereafter follow them with your left foot and make a follow up strike with your long edge.<br />
<br />
Break<br />
When someone parries you and you have missed, yank your pommel upwards so that you are well covered and let them roll off of it in the same way conceived in Hildebrand or Lightning cuts.<br />
<br />
About cutting off<br />
Cut off the hard ones<br />
From below in both paths<br />
Four are the slices<br />
Below two, above with it.<br />
<br />
Play<br />
When you find someone in plow, overshoot them, be it with your short or long edge, before they come to their work. In this way, you bar them from neither suddenly withdrawing nor striking. This will not fail you if you seize them in their resting position.<br />
<br />
About the cockeyed cut<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
Take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
The short and long are my reservoir<br />
They safeguard me at all times<br />
Out of which, I drive all my work<br />
Strong to the blade, smooth to the body<br />
Therein I can perceive your strength<br />
I break yours with weakness from that moment on,<br />
If you misfire, pay attention right quick<br />
To what my master has taught me.<br />
<br />
About withdrawing suddenly<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good finds.<br />
Suddenly withdraw. If they engage, suddenly withdraw again.<br />
Do work that does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
About binding up<br />
If someone binds you from above, gauge whether they lie hard or soft. If they lie hard, then wind down through the roses towards their face, onto their left ear, so that you wind out their sword and uncover them with it. But if they suddenly withdraw and strike, veer up into your act of parrying.<br />
<br />
Break<br />
If someone binds you from above, and lies firm such that they will not allow you to withdraw, lift your pommel upwards and let the point go in in between their hands and yank towards yourself so that they must let go.<br />
<br />
Wrenching out<br />
If someone binds you, and lies firm in the bind against your sword, reach over both of their hands with your hilt and wrench down towards yourself, with this you uncover them and strike.<br />
<br />
Regarding the slice, trust me against your strong.<br />
Yet remember doubling.<br />
This window can occlude well.<br />
If you wish to please me, undertake your work.<br />
<br />
About the part cut<br />
The part cut Is a threat to the face<br />
With it's turn The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the thrusts<br />
By slicing withdraw it<br />
<br />
About rushing through<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
About the speaking window<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps,<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
A play<br />
When someone lies before you in the speaking window, reach over their hilt and between their hands with your pommel and latch onto their hilt with your left thumb and pull toward yourself so that you uncover them and strike them with that.<br />
<br />
Another<br />
When someone lies in the speaking window, position your self in exactly the same way. If they will not work shove them with your left hand on their right hand such that they turn themselves and uncovers them with it.<br />
<br />
About hanging<br />
Two hangings emerge<br />
From the ground out of each place<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
About hand pressing<br />
Turn your slice<br />
To flatten, press your hands<br />
<br />
A play<br />
When someone lies in the speaking window, position your self in the same way as well and reach over your sword with the fingers of your right hand and latch their sword to yours. With that you press their hands.<br />
<br />
Sword disarm<br />
When you find someone in the speaking window or crosswise cut, reach over their right hand up from the outside with your left hand and position them into weakness with your left foot to the outside, across their right knee pit and draw them away from you so that they must let their sword drop.<br />
<br />
A throw<br />
When someone rushes in at the sword and has bound high, quickly move your right arm into their left breast and position them into weakness with your right foot well behind their right knee pit and throw them down.<br />
<br />
Another<br />
When someone rushes in, shove them on their right elbow with your left hand and step in front of their left foot with your right foot and let them plunge over it.<br />
<br />
Holding someone prone<br />
If you throw someone onto their belly, sit atop them and step over their arm so you are able to break it.<br />
<br />
Item. Two plays of the long sword. The first play is called:<br />
The inverter constrains<br />
Rushing through and also wrestles with it.<br />
<br />
The other play is called:<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
<br />
Eight wrestlings come from these two plays<br />
<br />
Sword disarm<br />
Note. If someone lies high in the cross or the speaking window, release your back hand from your sword and reach between their hands with your pommel. Afterwards, retract your pommel with your hand inverted and wrench toward your left side so that you take their sword.<br />
<br />
Another<br />
But if they lie low, reach over their haft with the pommel of your sword and take your pommel down into a clinch and wind towards your right side so that you either throw them over your sword or they must let the sword go.<br />
<br />
A throw<br />
When someone engages high in their act of parrying and will not part, reach behind their right foot with your left foot and with your right arm into their left breast and throw them off their feet, over your left leg.<br />
<br />
Holding someone prone<br />
If you throw someone on their belly, drop your right knee onto their back and reach forward to the top of their head, grab their hair and pull up and crank their neck so they will fall back onto their belly if they try to stand.<br />
<br />
An upsweep play<br />
Item. When you lay in the side guard on your left side and someone makes a descending cut at you from their right shoulder, sweep up firmly up from below into their sword with your short edge. If someone stands strong and is not too high with the hands, double in between them and their sword with the short edge to their left ear.<br />
<br />
Another<br />
When you sweep up against the opponent's sword and they they remain strong, immediately strike their left side with the crosswise cut and again, double between [them and] their sword and strike at their right ear with the long edge.<br />
<br />
Another<br />
When you sweep up against the opponent's sword and they are weak at the sword and are low with their hands, cut toward their opening above with the long edge.<br />
<br />
Another<br />
When you sweep against the opponent's sword and they rise up high and wind, strengthen with the long edge, but if they strike with the crosswise cut, strike to their left side with a step off.<br />
<br />
Another<br />
When you lie in the side guard or conduct the sweeps against the person, if they then hold their sword crosswise in front of themselves and will drop onto your sword and are high with their arms, sweep against their sword from below and thrust under their sword, into their breast.<br />
<br />
Another<br />
If they are low with their hands and will rise up, then sweep through and thrust on the other side into their breast, whereupon it has disengaged.<br />
<br />
Another<br />
When you sweep through, drop onto their sword with your long edge and wind toward your left side such that your thumb comes under and speed against the right side of the opponent's neck with your strong and spring with your right foot and back them over it.<br />
<br />
Another<br />
When you disengage while sweeping and come up atop their sword on the other side you can just as well conduct the plays as before with stingers and with everything as before, on all sides.<br />
<br />
Fencing out of displacing<br />
When you fence with someone and come close to them, come into plow and conduct it swiftly by turning from one side to the other, such that your point always stays in front of yourself. From this you can conduct parrying. This is the narrows and in them you can strengthen with the long edge and from this conduct all the previous plays. You can also displace cut and thrust and break the oblique ones and seek the opening with your point.<br />
<br />
Side Guard<br />
When you fence with someone and come close to them, stand with the left foot forward and position your sword with the point upon the ground on your right side, such that the long edge is up. This goes on both sides.<br />
<br />
A play from side guard<br />
If someone initiates a cut from above or wherever it is, cleave in crooked to their opening with a step out.<br />
<br />
Another<br />
Drive in the inverter with your point in their face. When they bind up, strengthen with the long edge and you can conduct all the plays that are previous in the sweeps.<br />
<br />
Explanation of the advice<br />
When you fence with someone, extend your arms long, away from you and rest your thumb up atop your sword and turn your sword with your point away from you. With this you can drive up swiftly from below to your left side and move towards the opponent. From there, you can disengage to whichever side you wish or whatever play suits you, according to advantage.<br />
<br />
Breaking the crosswise cut<br />
When you stand in the roof guard and someone attacks you with a crosswise cut, simultaneously cleave the wrathcut in and bind them strongly in the middle of their sword and if they will strike around with a crosswise cut, then crosswise cut ahead of them into their neck. You can also conduct all plays that are in the sweeps.<br />
<br />
Another<br />
Note, when you execute a crosswise cut and someone will preempt you with a crosswise cut against your neck from below your sword, indes, drop atop their sword strongly with your long edge so that it is broken and take the next opening that becomes availble to you.<br />
<br />
About the wrathcut<br />
When you fence with someone and cleave in with the wrathcut or however else down from above and they parry that and rise up with their arms and you both rush in on each other and they are then so circumspect that they will take your slice from below the hands into your arms, follow their sword downwards with your long edge and press down, thus you have broken them.<br />
<br />
Another<br />
But when you arrive with your arms high and someone does as well and they rush in and want to bash you between the eyes or in the breast with their pommel through your arms from below your hands, speed downwards with your pommel, with your arms strong and heave towards yourself and strike them on their head with your sword.<br />
<br />
Combat play<br />
Stab the opponent in the face on the inside and slip down through and stab them in the face on the outside. But if they defend that, step between both of their legs with your left foot and reach out over their left leg with your pommel into the pit of their knee and lift up with your pommel and with your left shoulder push them away from you from up high so that they fall.<br />
<br />
Break<br />
When someone speeds into the pit of your left knee with their pommel, reach up from below and grab onto their elbow behind their left hand with your right hand and take their weight.<br />
<br />
Combat play<br />
Stab the opponent in the face on the inside and lodge against them. If they defend that, withdraw suddenly and stab them on the other side. But if they defend that and sweep your point aside, quickly move your pommel over their right shoulder and around their neck and spring behind their left foot with your right and throw them over it.<br />
<br />
Break<br />
When someone has slipped over your right shoulder and around your neck with their pommel, seize their right elbow with your left hand and shove them away from you so that you gain their side.<br />
<br />
Another break<br />
When someone has slipped around your neck with their pommel, seize their right arm with your left hand and hold it firmly and turn yourself away from them to your right side and throw them over your left hip.<br />
<br />
The distillation of the long sword<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And carries out windings correctly with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
Gauge these applications<br />
As soft or hard<br />
<br />
Do not focus on more than you understand<br />
So that you do not end up behind the wagon<br />
<br />
Excerpt of the short sword<br />
<br />
The short sword rightens you<br />
Whoever thrusts at you,<br />
With your shield<br />
If you wish to make them mild.<br />
Five lessons<br />
That guide with correct sense.<br />
Two upon the right,<br />
Learn to fence with these.<br />
As many on the left<br />
Compose yourself to not waver<br />
And before the opponent<br />
Do not let yourself worry<br />
If they are above,<br />
Stay below, that I will praise<br />
Learn to displace with your shield<br />
Wind in so you can disrupt the masters<br />
If they allow that<br />
Grab between their legs, don't be lax.<br />
Step, break<br />
Whatever one does, it comes to nothing.<br />
If they take target of you high<br />
Grab the sword far in the middle, they will be shamed.<br />
Go through. If they come from below,<br />
Displace, grab them by their neck, so that you can wound them.<br />
Make staff, sword wind in.<br />
Bring the pommels together, then you have won.<br />
Learn to wind in from both sides<br />
Then you can find the art.<br />
Do not hold yourself so close<br />
That you will not act<br />
Follow swiftly, then you gauge it<br />
For with that, you dupe them.<br />
<br />
The first precept<br />
Note, If someone is high, then you are low, but if they are low, then you are high. When you are low on your right side and hold your sword in your right hand and your point in your left, if they thrust at you from above, then displace with your point, wind into their left arm with your pommel and yank them forwards. Or displace them with your point and fasten their sword to yours and with your pommel, reach up for their right arm from below and press up. Or, when you clasp the sword with their point to yours, you can also reach into the middle with your pommel and step behind them. Whoever contests this, after you have struck them together and grab the sword in your left hand and the point in your right hand, then displace with your pommel, wind inside their left arm with your point and onto the outside of their right arm with your point and yank them forward.<br />
<br />
The second precept<br />
On the other hand, if you are high on your right side and hold your sword in your right hand and your point in your left and someone thrusts up at you from below, you can shoot through. then, if you wish, you can displace with your point and clasp their sword to yours and grab them by their neck with your pommel and step behind them. Or, when you have displaced with your point, strike at their knee with the pommel of your sword or reach behind the pit of their knee with your pommel and pull it against you or grab them by their neck with your pommel and pull them down forwards. But, if you have struck and hold your sword in your left hand and your point in your right and they thrust up at you from below, then displace with your pommel and clasp their sword to yours and grab them by their neck with your point and step backwards.<br />
<br />
The third precept<br />
Note, When you are on the left side and are high and hold your sword in your right hand and the point in your left and someone thrusts up at you from below, parry with your half-sword such that your pommel goes down at the moment of your parry and wind inside their left arm with your pommel and onto the outside of their right arm with your pommel and yank them forwards. And when you hold your sword in your left hand and your point in your right and stand high on your left side and someone thrusts up at you from below, parry with your half-sword such that your point goes down at the moment of your parry, then wind inside their left arm with your point and onto the outside of their right arm with your pommel and yank them forward.<br />
<br />
The fourth precept<br />
On the other hand, if you are low on your left side and someone thrusts at you from above and you hold your sword in your right hand and your point in your other hand, parry with your half-sword such that your point goes up at the moment of your parry, then wind inside their left arm with your pommel and onto the outside of their right arm with your point. If they let go, grab between their legs with your pommel and press up away from you. You can do this every time you wind in, just always step backwards in your winding in. But if you clasp your sword in your left hand and your point in your right and someone thrusts at you from above, parry with your half-sword such that your point goes down at the moment of your parry, then wind inside their left arm with your point and onto the outside of their right arm with your pommel and yank them forward. In the previous play, if turn your point upwards, you have both the winding in and the shooting through, below and above and if someone strikes or thrusts at you, then be ready for the wrenching down or the winding in.<br />
<br />
Note the half sword to the face and to the belly and the thrust downwards with the cross and with the pommel between the eyes or around the neck and step around them.<br />
<br />
Rushing in<br />
When you wish to rush in, which I firmly do not recommend, let your sword drop when you go in on someone, grab inside their right hand with your left and with your right hand grab onto the inside of their right leg and slip under their right armpit, then left them and carry them away wherever you wish.<br />
<br />
Break<br />
When someone wishes to run in on you, drive over both of their arms with your right arm and press them firmly into you with your arms, step behind their right foot eith your right and turn yourself to your left side so they fall.<br />
<br />
Breaking rushing in<br />
When someone wishes to run in on you at the sword, release your right hand from your sword and seize the outside of their right hand with your hand inverted and yank them into you, grab onto their elbow with your left hand and take away their balance.<br />
<br />
Another<br />
Release your hand from your sword and with your right, drive over their right hand and press them down with it and with your left hand, take their balance away by their elbow.<br />
<br />
Sword disarm<br />
When you have clasped their sword against yours in your left hand and they remain low with their arms, drive up over their sword in front of their right hand with your pommel and wrench to your right side, so that both sword stay with you.<br />
<br />
The second chapter teaches how one shall use their messer advantageously and it has not declined by way of its diverse applicability and it is a predecessor and the chief basis of the other weapons that are used with one hand such as the dussack or dagger, wide dagger or short sword and many other one handed weapons which I will leave out for brevity.<br />
<br />
The first play<br />
Position yourself against the opponent, your left side forwards such that your haft lies by your knee and your point against them. If they strike at you from high, step in the triangle or a false step and shield yourself short and make a follow up strike long<br />
<br />
Break<br />
If someone positions themselves as in the picture, position yourself in highpoint and strike a failer at their left ear, then they shield themselves in vain and you win yourself a full strike from their strike.<br />
<br />
Dismembering<br />
Position yourself as it is here. If someone initiates a strike, thrust your messer inwards against their arm from below such that they dismember themselves upon it. This is often used whenever you sit at a table and the opponent stands in front of it or else they are on horseback.<br />
<br />
Break<br />
When you notice that someone will try to get you to dismember yourself, strike at them with a failer so that they respond in vain, the result of which is that they cannot attain a full strike against you.<br />
<br />
Play<br />
Position yourself against the opponent with your left foot forwards, your point extended well away from you. Place a thrust in their face, then swiftly take it back and hammer it in long. But if they ward that strike, let it run off short and take other work according to advantage.<br />
<br />
Break<br />
When someone lies against you in this way, come from the side and take their strong with the back of your messer and cut through. In this way you uncover them and can come to freer work.<br />
<br />
Failer<br />
Undertake the failer from high point, your left foot forwards and your messer in the air with extended arms. Cut through to the opponent's left ear with a step and let your messer rush through a second step and strike at their right ear with the high parrying action<br />
<br />
Break<br />
When someone executes a failer strike at you, cut down through from above such that you take their second strike away from the control of their hand with the back of your messer, clearing it so you are free to strike and uncover them.<br />
<br />
Play<br />
When opponent initiates a cut from above, immediately cleave in with them and step wth your left foot well to their right side. Let it go empty and draw the turkish pull from the hand over their right arm.<br />
<br />
Play<br />
Position yourself with your left foot forward, such that your messer with its point lies in front of your foot. If someone initiates a strike at you, either take their strike from roof guard away with the back of your messer or shoot your point up into their face or else whip the wind stroke around your head.<br />
<br />
Break<br />
Position yourself with your right foot forward such that your messer is against the side your breast, your thumb underneath and the edge up. If you notice that the opponent will shoot up over, then drive their strike away and out of control of their hand short, then step and make a follow up strike long.<br />
<br />
Another<br />
Position yourself with your right foot forward, your messer against your breast, your edge up, your point towards the opponent. In this way you are either able to strike the change cut from below or above or else thrust your point into their face and swiftly take it back, thus you accumulate a parrying action along with your strike over the right arm.<br />
<br />
Break<br />
If someone lay against you in this way, lash out at them and let your first strike rush through short, step and strike long into their face from roof guard.<br />
<br />
Play<br />
Position yourself with your right foot forward, your messer at your knee, with your hand inverted. If someone strikes at you from roof guard, step away from their strike with your left foot and turn it away with the back of your messer and draw it over their right hand.<br />
<br />
Play<br />
When someone meets you with a sword or pig spear and you only have a messer, position yourself as shown here. If they strike a buffalo strike from roof guard, step in the triangle and parry the strike short, in this way they err by opening themselves up, so swiftly make a follow up step and strike before they come to their senses.<br />
<br />
Break<br />
When you have missed your attack, yank your pommel up such that the opponent unloads on your flat, which gains you a powerful strike upon them.<br />
<br />
Play<br />
When someone meets you with a sword or dussack or other weapons and you do not have any weapon, take precise note of their strike and step into the triangle or into a false step and grasp the top of their right hand with your right hand and with your left hand grab their right elbow, take their momentum and sling them to the ground.<br />
<br />
With empty hands<br />
When someone initiates a thrust with their dussack from below, drop your left hand on their right hand and hold it firmly and grab their messer with your right hand inverted and twist their messer up from below with their point towards their body and press against the messer from behind with your chest so that you stab them with their own weapon.<br />
<br />
The Key<br />
This is called the key because it disarms all devices and it goes like this. When someone thrusts at you with a messer, dagger or awl and you do not have any weapon in your hands, stand still and place your hands one atop of the other crosswise in front you. From this you can disarm any device one thrusts at you, above or below.<br />
<br />
These are the breaks from the key with empty hands<br />
When someone initiates a thrust from above with a dussack, invert your right hand and clasp their right arm up by their hand and wrench it around and with your left hand, take their balance at their elbow and slam them onto the ground<br />
<br />
Another with empty hands<br />
When someone initiates a thrust from below, grab their arm with both hands and rush their arm through and wrench it around so that you break their arm and take their messer.<br />
<br />
Seize their arm with both hands and wrench it around and turn yourself through to your right side and break their arm over your left shoulder.<br />
<br />
With weaponless hands<br />
Seize their arm with both hands and step fully into them, turn yourself to your right side and break their arm atop your chest.<br />
<br />
Or execute wrestling<br />
Quickly move your left hand against the front of their throat and step behind their right foot with your left foot and throw them over your left knee with your foot.<br />
<br />
Another with empty hands<br />
Seize their right hand with your left and with your right seize them underneath their elbow and yank them towards you with it and with your left hand shove them away from you and spring behind their left foot with your right and throw them over your right knee with your foot.<br />
<br />
How one shall restrain someone thrown<br />
When you throw someone, always fall on their right side with your right knee between their legs and with your left hand, fall forward into their neck and do not be too eager, so that you do not fall too far over them and then seize their weapon and work with it according to your landing.<br />
<br />
Another<br />
If someone falls on their back, grab both of their legs below the knees with both hands and lift them up and drop between their legs onto their testicles with your knee and in this way hold both of their legs with one hand and work with your weapon with the other.<br />
<br />
Rushing in<br />
When someone strikes a buffalo strike from roof guard, strike outward such that they don't overrun you. If they strike into your strike, take your messer in your left hand close to the point and rush under their strike in such a way that you land it in side their strike while their swing is over their head and quickly move in completely back behind the pit of their knee. Thereafter, draw them towards you such that they fall backwards on their head.<br />
<br />
Another<br />
When someone hands over a buffalo strike to you, set the back of your messer on your left arm with strength such that they do not slam you to the ground. And spring under their strike with a high parrying action, grab their right hand with your left and break their arm from the hand. You uncover them with this and deliver a buffalo strike, etc.<br />
<br />
Play<br />
When someone has broken your right hand, follow behind the strike and grab their right shoulder with your left hand and position them into weakness with your right foot behind the pit of their left knee and shove them away from you so that they fall.<br />
<br />
Thrust breaking<br />
Whenever someone initiates a thrust, be it from above or below, carry it away from your face with the back of your messer and execute the wind strike upon them or other work.<br />
<br />
Break<br />
Whenever you notice someone will break your thrust suddenly abort it so that they cannot mount you, in this way they err and open themselves up with it.<br />
<br />
Removing the wing<br />
Set yourself up with your right foot forwards with an inverted hanging point. If someone strikes up from below into your face, step and cut under their right shoulder from below and invert your right hand with armpit slicing. Push against their right shoulder with your left hand so that they must turn and uncover themselves.<br />
<br />
Break<br />
Whenever someone cuts into your armpit and will remove your "wing", reach over their right hand, through their arms with your messer, behind their haft and retrieve your messer near the point with your hand inverted and barred and then pull towards yourself so that you take their messer.<br />
<br />
Messer disarm<br />
Note when someone initiates a strike such that you have misfired, wrap your arm around their dussack and force it upwards, turn yourself away from them and take it over your shoulder.<br />
<br />
Break<br />
Fall upon them to wrestle from behind<br />
<br />
Counter break<br />
Thrust into their genitals from through their legs.<br />
<br />
Double thrust<br />
Thrust into their face from above such that they do not catch your thrust. Take another step, thrust with your hand turned around, also from above. With this you have a parrying action in taking it away, let it run off short, then you win a sure strike.<br />
<br />
The third chapter summarizes expertise in the staff which is the source of many weapons, such as the long spear, javelin, boar spear, halberd, and pike. Similar ones are given many peculiar names I will not list for the sake of brevity.<br />
<br />
Binding<br />
The staff has eight parrying actions. Four binds with two above and two below with one on each side in any hand and two in the middle of the staff.<br />
<br />
Play<br />
When you bind their staff from above from your right side, shoot your point into their breast or work it over their staff into their right shoulder. If they ward it, strike into their right side from below with the other point of your staff or else bind against their staff from the outside and strike it out of their right hand.<br />
<br />
Play<br />
When you bind your opponent, whichever hand it is, hold your forward hand still and swiftly yank your staff back with the other hand. With your forward hand thrust it into their breast with the other point to both sides.<br />
<br />
Play<br />
If you bind your opponent from above, keep that point against their staff and whisk your other point below, against their arm and lift it up with force and rush completely through and throw them over your leg.<br />
<br />
Break<br />
When someone does that to you, shoot your point over their staff and strike them on their head with the other point.<br />
<br />
Play<br />
When someone binds you from above with half staff, take their upper point out of their hand with your lower point, step, shove and strike, so that you can come to further work without harm.<br />
<br />
Break<br />
When someone takes your point away, let your lower point shoot into their face and drop into a calm and confident parry. But if they thrust, turn it away from your face so that they come back into your control.<br />
<br />
Play<br />
Position yourself into a parry, your staff on the ground in front of you, the other point in front of your face. If someone initiates a thrust, wind their staff using your staff above your hand. You uncover them with this. Accompany that thrust [with one] to their face.<br />
<br />
Break<br />
When someone winds your staff out, recede from their thrust and throw them overhead so that you win a full strike with your parry.<br />
<br />
Play<br />
If someone initiates a strike down to your feet or knees with their staff, then throw your staff to your left side, drive against their strike with your point to the ground and spring behind their left foot with your right so that you gain an advantage.<br />
<br />
Play<br />
Thrust into their face from the inside. ut if they ward and turn away your thrust, quickly move your other point around their neck over their right shoulder and spring behind their left foot with your right and throw them over it.<br />
<br />
Break<br />
When someone moves their staff around your neck, grab their right arm with your left hand and turn away from them to your right side and throw them over your left hip.<br />
<br />
Play<br />
Position yourself with your left foot forwards, your staff in front of your face in a powerful thrust, bait them with a thrust, take it back, reach atop your staff with your right hand and strike with your hand inverted and step inside, fully into them, thus they will draw up a parry. With that, you can work further.<br />
<br />
Break<br />
When someone strikes across your hand, do not respond to the strike with any parry, thus they misfire in proportion to it's power and that clears the opening for you to their harm.<br />
<br />
With half staff<br />
<br />
Position yourself with your right foot forward, your staff in both hands, gripped in the middle. If someone sets into your face with power, take it from roof guard with the back point, in this way you acquire the freedom to thrust or strike.<br />
<br />
Break<br />
When someone intrudes with half staff and rattles you about the ears, fall back and set into their face with authority. No one comes away from you without harm.<br />
<br />
Play<br />
If someone initiates a thrust from below, do not defend it, rather set into their face.<br />
<br />
Break<br />
If someone sets into your face, simlutaneously thrust in with them and pay attention to their left arm.<br />
<br />
Play<br />
Position yourself with your right foot forwards, such that your staff lies behind you ready for a strike. Yank and throw your staff to their right side from extension so that they must shield themselves from harm and must give you a swing to the left side.<br />
<br />
Break<br />
When someone throws their staff into your sides, place your point onto the ground and turn away to both sides. Thereafter follow up with a thrust into their face or move your staff between their legs and throw them.<br />
<br />
Play<br />
If someone thrusts into your face such that you should defend, displace their thrust with the forward point (your right hand) and set into their face.<br />
<br />
Play<br />
When someone lets your strike miss and your strike trails off in vain or they refrained to extend, therefore you misfire; always yank your staff upwards, therefore you shield yourself and come to further work.<br />
<br />
Break<br />
When someone has misfired and managed to accomplish their parry, thrust down from above into their face from the inside so that they must turn away your thrust. And when then defend your thrust, strengthen yourself against them, such that your point becomes wound between both their hands and their body, then you take their staff out of their hands.<br />
<br />
Play<br />
Position yourself with your left foot forward, your staff in the air. Strike through short to the opponent's left shoulder such that they cannot catch your strike and step on in long with the second strike so that you can immediately work at their side.<br />
<br />
Break<br />
Whenever someone strikes through short, let it flit away and intervene in the speaking window such that their strike comes between both your hands. Thereafter, thrust your point into their chest.<br />
<br />
Play<br />
If someone were to strike to the pit of your left knee, with your right hand turn your staff towards the ground and with your left hand hold the other point in front of your face and catch their strike between both your hands and with your staff, wind it from below, up over their staff near their hands and lift up to your side so that you pull their staff from their hands.<br />
<br />
Play<br />
When someone strikes down from above at your head with their staff, catch their strike between both of your hands with your staff and with the forward part of your staff wind down from above over their hands to your left side and firmly pull towards yourself to your left side so that you pull their staff from their hands.<br />
<br />
If someone strikes at your forward hand with their staff, break it as you would have broken the high strike to the head above.<br />
<br />
There is not a person alive who can please everyone.<ref>rephrasing of Ovid's "Cunctis qui placeat non credo quomodo vivat"</ref><br />
<br />
If I were wished woe,<br />
Then I would cut back bitterly<br />
<br />
With this very excerpt of the Knightly Art of Fighting, I have been moved by many reasons to express this Knightly Art, yet in keeping that particularly diligent in mind, I have strived for conciseness in this little book which I dedicate and present to my students, to which there is no doubt they stand to be diminished, rather than growing and improving day by day, at the point I a mistake somewhere (because to err is human) being careless in obligation, of which I wholly and humbly accept about myself. So, if God bestows upon me grace and health, I will be diligent and will shortly in a new year present to you another and more serious explanation, which will prove itself to be valuable and serious, where the art will be honored daily in complete service to your reign.<br />
<br />
Cobbler, do not make judgements above the shoe.<ref>rephrasing of the proverb from Pliny, "ne supra crepidam sutor iudicaret"</ref><br />
<br />
Vienna, Austria by Hieronymous Vietor<ref>Hieronymous Büttner</ref> 1516</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Nicola%C3%BCs&diff=135195User:Christian Trosclair/Translations/Nicolaüs2022-07-27T21:59:15Z<p>Christian Trosclair: </p>
<hr />
<div>Descending cut<br />
Wrathcut<br />
Wrathpoint<br />
The Warcut<br />
The Four openings<br />
Crooked cut<br />
crosswise cut<br />
Ox and plow<br />
Cockeyed cut<br />
part cut<br />
The Four positions<br />
The Four parries<br />
The Pursuing<br />
Overrunning<br />
Displacing<br />
Cutting off<br />
Two Hangers<br />
The Speaking window<br />
The Crown<br />
<br />
The plays of the sword by Johannes Liechtenauer.<br />
<br />
The seven master cuts<br />
<br />
The Wrathcut<br />
The Crooked cut<br />
The Half cut<br />
The Crosswise cut<br />
The Crosswise switch cut<br />
The part cut<br />
The Crown cut<br />
<br />
This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long Zettel of the the longsword of Liechtenauer's art.<br />
<br />
Here it begins, the Zettel of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way...<br />
<br />
Young knight learn<br />
To have love for god, honor women and maidens<br />
So that you expand your praise and honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and storm in,<br />
Keep rolling, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again erronious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.<br />
<br />
This is the text of another lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.<br />
<br />
Text. Another lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cleave in, to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot disengage ((with before)) the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and with that, immediately step back before they come to their senses. Thus, they are struck.<br />
<br />
Gloss: When you arrive at the opponent, then whatever you wish to fence, conduct that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or breast, so that they cannot disengage in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately spring back from that.<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to initiate from the right side. It is also the same for a righty from the left side.<br />
<br />
Text<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.<br />
<br />
Note what is called the after.<br />
<br />
This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.<br />
<br />
Now you should also know about the weak and the strong of the sword.<br />
<br />
Get the sense of it like this. From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref><br />
<br />
Now hear the text of the five cuts<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to cut these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall hew these cuts with their plays will be explained to you hereafter.<br />
<br />
This is the text about the components of the Zettel<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, thrust to clash with<br />
<br />
These are the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named and is seventeen side by side.<br />
<br />
This first are the five cryptic cuts as they are designated each in particular<br />
<br />
Item The first the wrathcut<br />
crooked cut<br />
crosswise cut<br />
cockeyed cut<br />
part cut<br />
<br />
Item note the plays<br />
<br />
Of these: The four guards<br />
The four parries<br />
The pursuing<br />
The overruning<br />
The displacing<br />
The disengaging<br />
The suddenly withdrawing<br />
The rushing through<br />
The cutting off<br />
The hand pressing<br />
The hangings<br />
The windings<br />
<br />
And what you should fence from the components and how you should give yourself openings with the hangings and the windings, those will be clarified. <ref> Augsburg II: You will find those one after the other hereafter</ref><br />
<br />
The wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Conduct it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsber II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or breast. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.<br />
<br />
The second play of the wrathcut text<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Note this is how you shall work with your point form the wrathcut and understand it like this. When you cleave in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and lodge against your point upon them below.<br />
<br />
One more play from the wrathcut text<br />
<br />
Precisely note this.<br />
Cut, thrust, position, soft or hard<br />
Indes and before and after<br />
Without collision your war is not to be hasty<br />
<br />
This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.<br />
<br />
The text of the war<br />
<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cleave in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry<ref>Augsburg II: displace. (Matches the Lew)</ref> the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
This is the text<br />
<br />
In all windings<br />
Cut, thrust, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely gauge and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well and delivers windings with it..."<br />
<br />
The text of the four openings<br />
<br />
Know the four openings<br />
Hunt so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut<ref>Augsburg II omits: or cut</ref> it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword<ref>Augsburg II: not of the sword. (Matches the Lew)</ref> with all cuts and thrusts<ref>Vienna omits: with all cuts and thrusts</ref><br />
<br />
And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Lodge against four regions, remain thereupon to learn winding"<ref>The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, p105r. https://wiktenauer.com/wiki/Page:MS_KK5126_105r.jpg</ref>.<br />
<br />
The text of the breaking of the four openings<br />
<br />
If you wish estimate how<br />
To artfully break the four openings<br />
Double above<br />
Mutate right below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is for when the opponent cleaves in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Here note how you shall conduct the doubling on both sides.<br />
<br />
When the opponent initiates a cut from above from their right shoulder, cleave in from above with<ref>Vienna omits with</ref> them with<ref>Augsburg II omits with</ref> strength at their head with your right as well. If they parry and stays strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge<ref>Augsburg II omits: with the short edge</ref> to their head.<br />
<br />
Item. If you cleave in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.<br />
<br />
Note how you shall conduct the mutating from both sides<br />
<br />
Item. When you cleave in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms<ref>Vienna omits: and with that, drop back down with your arms</ref> and thrust into their lower opening.<br />
<br />
When you initiate a cut from your left side to the opponent's head<ref> Vienna: pommel</ref>, then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.<br />
<br />
The crooked cut with the text of it's play<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Conduct it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder spring with the right, well to your right side, and strike them across their hands with the long edge from crossed arms<br />
<br />
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold<ref>Augsburg II omits holding</ref> your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.<br />
<br />
Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then spring to your left side with your left foot well away from the cut and strike them while springing over their hands with the short edge.<br />
<br />
Text<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it clatters above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Conduct it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it on your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.<ref>Vienna: entire stuck missing. Abridged from pPvD</ref><br />
<br />
The text from one of the plays of the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Conduct it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and with that disenge below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.<br />
<br />
Text<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you'll always make yourself open with it. Look at it like this, when you cleave in or bind their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield themselves from your cuts and your thrusts.<br />
<br />
Here begins the crosswise cut with it's plays<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Conduct the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cleave in from above and come before yours,<ref>Augsburg II omits: "threatens to cleave in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew</ref> then advance your left foot and hold your sword with the flat on your right shoulder and spring well to your right side with your right foot and wind your sword in front of your face by the hilt while springing such that your thumb goes underneath and strike them on the left side of their head with your short edge. But if they go forwards with their cut before you do, then spring away from the cut well to your right side with your right foot using the same afore written act of parrying such that you catch their cut in their hilt and then strike in with the crosswise cut in the afore named place.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
This is: when you strike via the crosswise cut, you should strike with the entire strength of your body, because you constrain the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the crosswise cut, if the opponent parries and binds strong against your sword with it, then either conduct the doubling or from your crosswise cut drive their sword away with your hilt and strike them on the other side of their head. When you initiate a cut via the crosswise cut and the opponent parries and binds soft against the sword, then conduct the mutating into their lower opening or drive your sword to the other side against their neck and spring behind their left foot with your right an drag them over it with your sword.<br />
<br />
Gloss: This is When you initiate a cut via the crosswise cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the crosswise cut. Or if they will rush in, then take the slice under their arms or await the wrestling.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Here note the cross strikes to the four openings.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and spring well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always spring out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.<br />
<br />
This is the text of the play that here is called the failer<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Conduct the failer like this<br />
<br />
When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them on that side with the crosswise cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side<br />
<br />
This is the text of the play which here is called the inverter.<br />
<br />
The inverter compels<br />
Rushing through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you rush through him and hold them correctly with wrestling.<br />
<br />
Conduct the inverter like this<br />
<br />
When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
The text<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right<ref>Vienna: left</ref> shoulder and when it is right for you, spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Conduct this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
You can also just as well conduct the failer from descending cuts as you would from the cross strikes.<br />
<br />
Here begins the text of the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Know that the cockeyed cut is a good<ref>Vienna omits</ref>, strange and grim<ref>Augsburg II: notable</ref> play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.<br />
<br />
Item. Conduct the cockeyed cut like this<br />
<br />
The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and halts the cut of their sword<ref>Augsburg II: aborts during the cut of your sword</ref> and chang through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.<br />
<br />
Item. Another play<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the breast of the opponent in such a way that they cannot reach you with their thrust.<br />
<br />
The text of yet another play from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are shortened. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again shortened. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again shortened. Also know that all winds before the opponent are short and withdraw the sword and freely disengage out of cuts and thrusts using long point against all that fence against you in this way, with this you constrain them so that they must parry or allow themselves to be struck.<br />
<br />
This is the text of how you shall break long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play versus the long point using a deception of the face. Conduct it like this<ref>Vienna: omits this line</ref> When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
The text of yet another play of the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.<br />
<br />
The text of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<ref>Vienna omits</ref><br />
By slicing withdraw it<ref>Vienna omits</ref><br />
<br />
Gloss: The part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn. Conduct the part cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or breast. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and conduct your slice using pressing and withdraw yourself with it.<br />
<br />
This is the text about the four positions or guards<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.<br />
<br />
The second is called the plow.<br />
<br />
Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed<ref>Munich I: inverted/twisted</ref> hands such that the short edge is up and your point is against the opponent's face.<br />
<br />
Item on the left side.<br />
<br />
The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.<br />
<br />
The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of<ref>Vienna and Augsburg II omits</ref> your point upon the ground and such that the short edge is turned<ref>Vienna omits</ref> up.<br />
<br />
This is the text about If you are parried, as that is arriving<br />
<br />
The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword on your right shoulder or with your point<ref>Vienna and Augsburg II omits</ref> high over your head with extended arms and stand in the guard like this.<br />
<br />
This is the text about the parries<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
Item the second is the crosswise cut which breaks the roof guard<br />
<br />
Item the third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.<br />
<br />
This is the text<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.<br />
<br />
Item another one<br />
<br />
When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.<br />
<br />
This is the text of the four lodgings against<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss: Lodging is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to conduct where you wish to deliver an immediate end with your sword.<br />
<br />
[Vienna]<br />
And lodging is conducted like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cleave in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you lodge against them. Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your lodging and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play.<br />
<br />
[others]<br />
Item. Conduct the lodging like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cleave in from above or initiate a thrust from their right side, then come forwards with a act of parrying, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them. But if they cleave in from their left side, shoot in your point to the opening of their right side.<br />
<br />
Item. When the opponent initiates a cut up from below from their right side, shoot in your point and lodge against them. Also do the same when they cut up from below from their left side. Then if they become aware of the lodge and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.<br />
<br />
[Vienna]<br />
Then if they withdraw themselves from your sword, conduct the pursuing which will be explained to you hereafter.<br />
<br />
This is the text about how you shall pursue<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be conducted with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Conduct the first play of pursuing like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck<br />
<br />
The is the enticement to the outside<ref>Wolfenbüttel: Broken gate to the outside</ref><br />
<br />
When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them<ref>Vienna omits</ref> below their sword and toward<ref>Augsburg II omits</ref> their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
A good pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you<ref>Augsburg and the others follow the lew: "either cleave in from the act of parrying or wind in against your sword"</ref> , then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you<ref>The others follow the lew: "either misfires or ..."</ref> or uncovers themselves in front of you with their cut.<br />
<br />
This is the text about feeling and about the word Indes<br />
<br />
Learn to feel it<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.<br />
<br />
Note feeling like this:<br />
<br />
Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Item. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this: Indes disengages, Indes rushes through. Indes takes the slice, Indes wrestles with. Indes takes the sword, Indes does what the heart desires. Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.<br />
<br />
The text about overrunning[sic]<ref>The others omit this mistake</ref><br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.<ref>The others: "and take the slice"</ref><br />
<br />
The text about overrunning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
press<ref>Vienna: through, Wolfenbüttel: "press it"</ref> twice, soft or hard.<br />
<br />
Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cleave in long from above from your right shoulder and shoot in your point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Item. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.<br />
<br />
How you shall displace cut and thrust<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Conduct it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displac it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their breast.<ref>The others omit "opening of"</ref><br />
<br />
Item. Another play.<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step toward the right foot and stab them in their face or breast. This play is also conducted from the plow from your left side in the same way as from your right.<br />
<br />
The text about disengaging.<br />
<br />
Learn to disengage<br />
From both sides thrusting sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
And you conduct disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point rush through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then disengage above<ref>Others: again</ref> to the other side. And always conduct this when the opponent goes for your sword with an attempt to parry. The is conducted on both sides.<br />
<br />
Item, another.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Conduct this against all cuts where the opponent strikes at your sword and not to the openings of the body.<br />
<br />
Item, quite precisely note this play<br />
<br />
When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<ref>Vienna omits: "nor lodge against you"</ref><br />
<br />
This is the text of how you shall suddenly withdraw<br />
<br />
Tread close in binds,<br />
So that suddenly withdrawing gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<ref>Augsburg II introduces scribal error. "Thut im we" became "thut ime be.."</ref><br />
If you wish to make a fool of the masters<br />
<br />
Know that suddenly withdrawing is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off<ref>bind you down</ref><ref>Augsburg omits</ref> or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the suddenly withdrawing against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another suddenly withdrawing.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
This is the text about rushing through and about wrestling<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Rushing through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.<br />
<br />
Another wrestling<br />
<br />
Item. When the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shov their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shov their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Here note arm wrestling in the sword<br />
<br />
Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Another.<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left<ref>Vienna: right</ref> hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and spring in front of their right foot with your left and pushing them over it.<br />
<br />
Item. Another wrestling.<br />
<br />
When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove with your right hand<br />
<br />
When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<ref>Augsburg II: Keeps this with the previous play like in the Lew</ref><br />
<br />
Item. Yet another.<br />
<br />
When the opponent rushes in on you at the sword, invert your right<ref>Augsburg II has left as in the Rome</ref> hand and pass over their left<ref>Augsburg II has right as in the Rome</ref> arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another.<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.<br />
<br />
Cut off the hard ones<br />
From below with both applications<br />
<br />
This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneathe with your sword against their sword's blade, away form their sword and immedately cut back in against their sword from above at their mouth<ref>"vnd haw im am swert" is repeated. Scribal error</ref><br />
<br />
Item. Another.<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
The text about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above<ref>Augsburg II omits the rest of this passage</ref> with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Conduct them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
The text about the transfromation of the slice<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and step to their right side with it, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.<br />
<br />
The text about the two lower hangings<br />
<br />
Two ways of hanging emerge<br />
From the ground from one hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.<br />
<br />
You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.<br />
<br />
The text about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.<br />
<br />
Make the speaking window like this<br />
<br />
When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.<br />
<br />
Another of the long point's<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their breast. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.<br />
<br />
This is the text of the Instruction of the four hangers and the eight hangings<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And to them make singular,<br />
The winds, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight winds with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.<br />
<br />
Note here how you shall conduct four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Conduct them like this: When you come to the opponent with the initiation of fencing, setup in ox from from your right side, then if they cleave in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding. Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.<br />
<br />
Item Conduct the second upper hangers like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. Then if they cleave in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding. If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.<br />
<br />
Item. Now you shall know that you shall conduct the four winds from the plow from both sides (these are the two lower hangers) with all of their applications just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall conduct cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly conduct the eight winds with stepping on both sides. And note as soon as you wind, you shall distinctly recognize nothing more than the two applications in each particular winden whether the they are soft or hard against your sword. Thereafter conduct the play that subsequently becomes clear to you in the previous statement<br />
<br />
Item. Here ends the text from the Zettel of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slam together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.<br />
<br />
Item. It is to be known that the "neche"<ref>unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context</ref>. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the Zettel. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Medel&diff=135194User:Christian Trosclair/Translations/Medel2022-07-27T21:58:53Z<p>Christian Trosclair: </p>
<hr />
<div>23 leaves of parchment follow after. Therein the Art of Johannes Liechtenauer, the Knightly Art of Fencing, is held. With that, 17 images of the sword. Paulus Hector Mair<br />
<br />
1539 Johannes Liechtenauer's Fencing Art.<br />
Here the Zettel begins. In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created, God have mercy upon him. He had let the Zettel be written down and composed with cryptic and misleading words, so that the art shall not become common. And so Master Sigmund ein Ringeck, who was known at this time as fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of the Rhine and Herzog of Bavaria, had these same cryptic and misleading words of the Zettel glossed and interpreted as lay written here in this book, so that any fencer who can otherwise fight properly can see and understand well. And also after that enriched and improved by other masters, especially via master Hans Medel from Salzburg which subsequently follows after this.<br />
<br />
This is the forward.<br />
Young knight, learn.<br />
Worship god, ever honor women<br />
Thus increase your honor.<br />
Practice chivalry and learn<br />
Art that decorates you<br />
And in war exalts with honor.<br />
Wrestling's good fetters,<br />
Lance, spear, sword and messer.<br />
Manfully put to good use<br />
And make useless in other's hands<br />
Attack suddenly and charge.<br />
Flow onwards, hit or let pass<br />
Whereupon making hostilities in these ways<br />
Seeks to praise the one.<br />
Hold yourself to this:<br />
All art has reach and measure<br />
<br />
This is the text about many good general lessons of the long sword.<br />
If you wish to examine the art,<br />
Then go left and right with cutting<br />
And left with right<br />
Is what you strongly desire to fence.<br />
<br />
Gloss: Note this is the first lesson of the long sword in which you shall learn to cut the hews correctly from both sides if you wish to otherwise fence strongly and correctly. Look at it this way: When you wish to cut from the right side, see that your left foot stands forward. If you then cut a descending cut from the right side, then accompany the cut with the right foot. If you do not do this, then the cut is wrong and incorrect. When your right side stays behind it, the cut is shortened and cannot accomplish it's correct path downward to the other side in front of the left foot.<br />
<br />
Similarly, when you cut from the left side and the cut is not accompanied with the left foot, then the cut is also wrong. Therefore note from whichever side you cut, that you accompany the cut with the same foot if you want to correctly conduct all your plays with strength and all other cuts should also be hewn in this way.<br />
<br />
Again a text about a lesson<br />
Whoever chases cuts,<br />
Allows themselves to enjoy little of the art.<br />
Cut from close proximity whatever you wish.<br />
No disengaging comes against your shield.<br />
To the head, to the body,<br />
do not omit the stingers.<br />
Fence with the entire body<br />
whatever you desire to conduct with strength.<br />
<br />
Gloss. When you arrive at the opponent initiation of fencing, you should neither watch nor await their cut as they conduct it against you. Because all fencers that watch and wait upon another's cut and wish to do nothing else than parry, tthey allow themselves to enjoy little of the art because they often become struck with it. Therefore cut and thrust to the openings.<br />
<br />
Item. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cleave in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding up of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.<br />
<br />
Again, the text of a lesson.<br />
Hear what is bad.<br />
Do not fence above left if you are below right<br />
And if you are left,<br />
In the right you are also severely hindered.<br />
<br />
Gloss. This lesson hits upon two people, one left and one right. The first cut, Look at it this way: When you come to the opponent with an initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak, and because of that, cannot not resist when one binds strongly against it. Therefore cut from the right side, so you can work whatever you wish strongly with art. The same goes if you are lefty. Then do not cut from the right side as well, because the art is quite awkward when a lefty initiates from the right side. It is also the same of a righty from the left side.<br />
<br />
A text of a lesson about the before and the after.<br />
Before and after, the two things<br />
Are the one origin of all art.<br />
Weak and strong<br />
Indes. Mark that word with these.<br />
So that you can learn<br />
To work and ward with art.<br />
If you frighten easily,<br />
Never learn any fencing<br />
<br />
Gloss: This means that, before any confrontation, you shall understand and be able to perceive the two things. That means, the before and the after and then the weak and the strong of the sword and of the word Indes. From those come the entire foundation and origin of all of fencing. When you properly perceive these things and in particular do not forget the word Indes in any plays that you conduct, you will be a good master.<br />
<br />
The Before<br />
The before, This means that you always (if you wish) come forth with a cut or with a thrust to the opponent's opening in such a way that they must parry you. Then work swiftly with your sword in front of yourself in that act of parrying from one opening to the other, so they can not come with their plays before your work. But if they rush in on you, then come before and rush in with wrestling or your point.<br />
<br />
The After.<br />
If you cannot come into the before (or otherwise do not wish to take it), then wait upon the after. These are the breaks of all plays that the opponent conducts upon you.<br />
<br />
Look at it this way: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the act of parrying, so that you hit them the moment before they accomplish their play. In this way, you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.<br />
<br />
And look at it this way: From the hilt of the sword up to the middle of the blade the sword has its strength. With that you can resist when someone binds you against it. And onward from the middle up to the point, it has its weak which cannot resist. And when you understand these things properly, you can properly work with art and with that protect yourself and furthermore teach princes and lords so that they can properly remain steadfast with the same art in play and in earnest, but if you frighten easily, you should never learn the art of fencing because you will be struck by any art. Therefore you shall not learn it because a heart drained of blood does no good in fencing.<br />
<br />
The text of the five cuts<br />
Learn five cuts<br />
from the right hand against the weapon<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Note the Zettel sets down five cryptic cuts. Many that call themselves master do not know to say that you should not teach to cut differently when from the right side against those that position themelves against you in defense. And if you select one cut from the five cuts, then one can hit with the first strike. Whoever can break that cut (and especially whatever work that comes along with it), without their harm, will be avowed by the masters of the Zettel such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written and taught in the Zettel hereafter.<br />
<br />
The text about the chief plays of the Zettel<br />
Wrathcut Crook and Cross.<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly Withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note, here the proper principal plays of the Zettel and of the art of the long sword will be names, as all are specifically titled with their names and are seventeen in number, and it begins with the five cuts.<br />
<br />
The first cut is called the wrathcut<br />
The second the crooked cut<br />
The third the crosswise cut<br />
The fourth the cockeyed cut<br />
The fifth the part cut<br />
<br />
Now the twelve other plays begin.<br />
<br />
The first, or keeping count, the sixth is called the four guards or positions<br />
The seventh the four parries<br />
The eighth, pursuing<br />
The ninth, overrunning<br />
The tenth, displacing<br />
The eleventh, disengaging<br />
The twelfth, suddenly withdrawing<br />
The thirteenth, rushing through<br />
The fourteenth, cutting off<br />
The fifteenth, hand pressing<br />
The sixteenth, hanging<br />
The seventeenth, winding<br />
<br />
And how you shall uncover by hanging and winding and conduct all the afore named plays, you will find it all taught and written hereafter in the explanation and glosses of the Zettel, etc.<br />
<br />
The text on the wrathcut with its plays and works<br />
Whoever cuts at you from above,<br />
The wrathcut point threatens them<br />
If they become aware of it,<br />
Then abscond above without concern<br />
To the head, to the body<br />
Do not omit the stingers<ref>Zeck: a biting insect, ie: a tick.</ref><br />
<br />
Gloss: Whenever the opponent will strike you from their right side to your head with a descending cut, then you cut from your right side as well with a wrathcut in counter, (especially if they are soft in the usage of their sword), and in the cut, the wrath point is cast in and thrust into their face. If they see and recognize it and parry, then abscond above and with that strike right around from your left shoulder to their right. With the short edge the gap is narrower than with the other. And apply the stingers to their head or body if you can. You can completely abscond and strike with the long edge as well; thereafter warring or exiting with a cut, etc.<br />
<br />
Item. The wrathcut is nothing other than a strong wrathful descending cut (like a simple peasant strike) and is the coded name in the Zettel for the descending cut. The same as with the other four cuts that will follow hereafter with their special names. So that they, along with their subject matter and plays, are not public to everyone.<br />
<br />
Absconding is nothing other than when you have bound with someone from descending cuts and rise up against their sword and draw your sword up around their sword or point, to your other side or shoulder into another cut to their other side or opening.<br />
<br />
Break against the absconding<br />
If someone absconds and strikes at your other side, then bind or lodge against them<ref>zulegen/anlegen is a synonym for ansetzen</ref> them, that is, wind in strongly into their ears with your short edge. This goes to both sides, also called doubling and mutating.<br />
<br />
A different absconding<br />
As Master Hans Medel explains and improves: If you wish to abscond, when you have threatened the opponent with your point, abscond using your short edge and do not strike to their right with a descending cut. If they fly in again, wind them away crooked, sheer to the ground. If they will then come back up and strike you on your left, then Indes, strike right back, under their sword to their right, again using the short edge or else, stay against them in the after and wind in crooked to their head on their right. Remember the stingers with the short edge upon their head.<br />
<br />
Again the text<br />
Be strong in turn<br />
Wind thrust, if they seek it above, then take it below<br />
<br />
Gloss: If you have both bound with a descending cut and wrathcut as above and have not yet thrown your point forwards, then if they are strong against your sword, then be strong in turn and wind upwards against their sword into a thrust or stab. Then if they see it and will ward and fend off and rise up into the air with an attempt to parry, set the point down between their arms against their breast where it has connected or abscond as above with either the short or long edge as the others maintain. Or else if the opponent binds softly against your sword when you fence with them, then drive onwards strongly with your sword and lodge<ref>zulegen/anlegen is a synonym for ansetzen</ref> it against their neck and drag them to the side. But if they bind hard and strong, then be strong in turn and turn the short edge against their sword and shove and snap quickly right back around it and strike to their right side. With the short edge the gap is narrower. Or else, when you have turned the short edge against their sword, strike back down atop their head on the same side.<br />
<br />
Be strong in turn<br />
Like Master Hans Medel says: If you will bind the opponent with the wrathcut and point, then be strong against them in the bind using the crosswise cut. Then if they see that, abscond again on their right with the crooked or short edge as above with its work, etc. You can also stay put after your short strike and go behind them.<br />
<br />
The text of a good general lesson<br />
Note this precisely:<br />
Cut, thrust, guard; soft or hard,<br />
Indes and before after<br />
Without rush, your war is not hasty.<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Gloss: This means that you shall accurately consider whether they are soft or hard when someone binds against your sword with a cut or thrust or whatever. As you perceive or feel it, then Indes, turn in toward the nearest opening according to the soft or hard using the war. Then Indes, you shall know what seems best to you: whether you should work with either the before or with the after. Yet you should not be too hasty during the on rush of the war, because the war is nothing other than the windings in the sword. They are to be conducted wisely against whoever that does not understand or know them well.<br />
<br />
A text: How one shall correctly find cut and thrust in winding. A lesson:<br />
<br />
In all winding<br />
Learn to correctly find cut, thrust, slice.<br />
You shall also at the same time gauge whether the application's<br />
Position, whether it is soft or hard, etc. (Master Hans calls for this out in other places as well)<br />
Cut, thrust or slice into all encounters<br />
Of the masters if you wish to dishonor them.<br />
<br />
Gloss: This means that you shall correctly learn to find cut, thrust, and slice in all winding. Also so you shall be quite polished with all winding against the sword. each one of the winds has three particular plays, that is: a cut, a stab and a slice. And when you wind against the sword, then you shall quite precisely gauge it, so that you do not incorrectly select the play that is called for in that winding. Hence, you do not cut when you should thrust and not thrust when you should slice. And when someone parries the one, you hit with the other. In this way, if someone parries your thrust, then conduct the cut. If someone rushes in on you, then conduct the lower slice into their arm. Remember this in all encounters and binds of the sword if you wish to dishonor the masters that set themselves against you and do not understand.<br />
<br />
About the four openings<br />
Know the four openings<br />
Take target so that you strike wisely<br />
Against any fear<br />
Without doubt however they are situated.<br />
<br />
Gloss: You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second the left side; above the girdle of the opponent. The other two are the right and the left sides below the girdle. Precisely observe the openings in the initiation of fencing with whichever opening they open themselves against you. Target these boldly without danger with the shooting in of the long point and with pursuing and also with the winding against the sword and otherwise with all attacks and do not heed them as they bare against you. For if you perceive wisely and strike the strike upon that, that is indeed exquisite and does not allow them to come to their plays. And always target the opening and not the sword. If they will parry you, then work onward to the closest opening with the war or otherwise.<br />
<br />
How one shall break the four openings<br />
If you wish to set yourself up<br />
To artfully break the four openings<br />
Double up<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themelves without danger<br />
If you have properly understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss: Like master Hans Medel has said: If you have bound with someone from earnest descending cuts or whatever and wish to set yourself and the opening up. In this, they wanted to strike you; you have parried and broken them. Then if they strike back around to the other side to the other opening of your head by absconding or whatever, then you shall break their opening again, that is, striking by doubling or mutating so that you break the opening from one side to the other and they will be struck and you parry and strike as one without harm.<br />
<br />
Here note how you shall conduct the doubling on both sides.<br />
You shall make the doubling like this: When they have bound against you with a descending cut or whatever, etc from their right side to your left and strike right back around to your right side, then do nothing more than as soon as you perceive they start to strike, wind your sword in sideways at their head on their left side under their sword using your short edge. Then they are struck and are either bound or fettered<ref>zulegen/anlegen in this manuscript means to lay your sword against the opponent's body, usually their head or neck</ref> simultaneously. This is then called the doubling above and with this the openings break. You can also make the doubling against their right side, yet you must wind in crooked, etc. If after your doubling they will strike back around to the left side of your head, then mutate to their right.<br />
<br />
Here note how you shall conduct the mutating to both sides.<br />
Make the mutating like this: When you have just doubled in and broken the opening as is taught above, then if they strike right back around to your left side, etc. (But even if they will not strike right back, you can nevertheless allow it to go through between as above, etc) Then allow your point to go right through between you both and strike the other opening on the right side of their head. Then if from that they strike to your lower opening, you wind right back staying underneath with your sword or point. Thus, in this way you break all of their openings such that they do not truthfully know where they are free of danger and cannot fully come to blows. This is called mutating right below and the openings are artfully broken and exploited in the manner Master Hans Medel Von Salzburg says to do so.<br />
<br />
The crooked cut with its plays.<br />
Crook up swiftly,<br />
Throw the point upon the hands.<br />
<br />
Gloss: This is how you shall cut crooked at the hands. Conduct it like this: Stand with your left foot forwards and hold your sword "crooked", (that is, with crossed hands) out ahead to the outside with your point on the ground such that the long edge stands upwards, well in balance. Conduct the first play according to the text like this: If the opponent initiates a cut from their right shoulder, be it [1] descending or [2] rising, then Indes toward the opponent, step in fully into them with your right foot and let either [1] your crossed hands or [2] the crooked cut go up and displace their cut with your sword with either [1] your long edge or [2] with your point thrown out over their hands, towards their left side. Thereafter, war and work however you wish. [2] But if they throw you back over with their hands with power during their ascent, let go willingly, and turn it into a strike right around your head to their left side with either the short or long edge (the short is closer). If they break that by mutating against you, stand there, then you can use your crooked cut against that. It also breaks rising and descending cuts and is one of the four parries against the four guards, such as the ox<ref>Plow</ref>.<br />
<br />
Rule: Provide yourself firmly open in the crooked cut.<br />
<br />
Yet another play<br />
Crook. Whoever besets well,<br />
Disrupts many cuts by stepping.<br />
<br />
Gloss: This is how you will displace descending cuts via the crooked cut. Conduct it like this: Stand well crooked by your left foot, which shall stand forward with your sword crossed over to that side with your hands crossed and with your point on the ground, that is, in the crooked lodging. Then, when the opponent strikes at your opening from their right side, step and either strike or displace or work as above. (Though you can fall across their hands fully till your point is on the ground in the barrier guard as some call it.) This goes to both sides. And stand in this way and have your sword on the other side in the crooked lodging; not with crossed hands, rather with open arms such that the long edge still stands up. And displace and work with it as before. This means that you, thereafter; during warring or otherwise, will strike or thrust at their head from the displacement. It is also good against the fool<ref>Ox</ref> or the flats. If they throw you right over as above, then strike as above, etc.<br />
<br />
Yet another play<br />
Cut crooked to the flat of the masters<br />
If you wish to weaken them.<br />
When it sparks above<br />
So stand aside, that I will laud.<br />
<br />
This is when you wish to weaken the masters. So note when someone stands hanging in the flats or the fool<ref>Ox</ref> with the right foot forward. Cut from the crooked lodging [position] on your right side and displace them crooked atop their sword with crossed hands and step in. And as soon as your sword clashes against theirs, then stand firm and wait for the after, etc. But if you do not wish to wait, then swiftly strike back up from the sword to the left side of their head with either the short of long edge or wind the short edge against their sword during the crooked cut or do what ever you think is good.<br />
<br />
Yet another play from the crooked cut<br />
Don't crook, cut short<br />
Disengage and with that expose them<br />
<br />
Gloss: This is when the opponent cuts or stands against you in the flats or the fool<ref>Ox</ref> as just above, etc, act as if you will bind against their sword with the crooked cut or a lodging, then cut short and drive through under their sword with your point and either wind or draw through to your right side into a thrust on their right side with your point between you both and stab them in their face in the same way that you come into the flat stance and thrust on in sharply.<br />
<br />
Yet another play.<br />
Whoever confounds you crooked,<br />
the noble war utterly confuses them<br />
that they do not truthfully<br />
know where they are without danger.<br />
<br />
Gloss: This is whenever you wish to conduct the crooked cut, you will always leave yourself open with it. Look at it this way: When you cleave in with a crooked cut from either your right or left side or bind against their sword, from whichever side you cut, you are then open on the other. If the opponent is also clever and will strike from your sword to your opening and tries to confound you through cunning, then either [1] abide with your sword against their sword or [2] make a pursuing cut and either [1] wind in crooked or wind in your point into their face and [1] work further via the war or [2] strike into the opening, such that they become so utterly confused that they will no longer know whether they should guard themselves from cuts or thrusts. But if they will confound you like this, such that they mount you with their sword and won't let up, etc... then stay against their sword as above and accompany them as above.<br />
<br />
The crosswise cut with its plays.<br />
The crosswise cut seizes<br />
Whatever approaches from the roof.<br />
<br />
Gloss: The crosswise cut is nothing other than the lateral cut which breaks any cut that will either arrive or will be hewn from above downward or from the roof. You shall conduct it like this: Stand with the left foot forward and hold your sword in the lateral cut in behind at the midsection or waist by the right foot or side such that the long edge is above. And when someone cleaves in from above from the roof to either the opening or the head, then step or spring right ahead towards them with the right foot and displace their cut with the crosswise cut, such that it is crooked over to your left, etc. And then after the displacement, wind to the opening of their right side if you wish to remain inside on their sword. Or, swiftly strike from the sword at their head on their left side with your short edge. War if it is necessary. But if they make a sudden withdrawal and will strike you from their left, then swiftly come back around into their arm with the crooked lower slice, but do not sweep around too widely in the air to displace them.<br />
<br />
Another play<br />
Cross with the strong.<br />
With that, remember your work.<br />
<br />
Gloss: This means that with any type of crosswise cut you shall use it to strengthen and work strongly and in this way in particular: When the opponent will initiate a strike right down from above like from roof guard, rush in strongly against their cut with the crosswise cut just like using the slice, in such a way that that your thumb is underneath, and with that strike them on their left side or head. Thereafter, if they fall against you strongly, then hang well and strike them on their right side from that hanging and step well to their right with your left foot, etc. Namely,<ref>videlicet: namely; to wit</ref><br />
<br />
Item. But if you sense when you bind them with strength that they are weak at the sword, then lodge<ref>zulegen/anlegen is a synonym for ansetzen</ref> your short edge out over to their right side against their throat.<br />
<br />
A break for the lodging against. When someone lays against your throat using the upper work in this way, then with the left hand, let your sword go and with your right, shove their sword from the throat and with your left foot, step in front of both of their feet toward their left side and with your left arm, pass over both of their arms close to their hilt and lead them to dance. Or, and better, step behind them into the fulcrum and with the left arm right around against their throat either to the front or the back and thrown over the foot. Or with the left hand, let your sword go and with your right, strike them across the mouth with your sword over their sword and with your left hand, grasp your sword in the middle of the blade and shove them away from you with your point, etc. If it is not sufficient, it is better to shove or take their load away from you by their elbow.<br />
<br />
Yet another play.<br />
Cross into the plow;<br />
Connected well to the ox.<br />
<br />
Gloss: This is when someone lays before you in their stance in the plow<ref>Fool</ref> or ox<ref>Plow</ref>. That is, when they stand with the right foot forward and lies with their sword out forward with the point on the ground, fall upon it from above using the crosswise cut. Thereafter work it into the openings as they make themselves available or war. But if they defend, go into the fool<ref>Ox</ref> at the head, then you can again war by saddling atop it and working. Also in the same way, if someone saddles atop you at the end of a crosswise cut or crooked cut from the left, then remain against their sword and work in the after like in the last stance of the plow<ref>Fool</ref> using the after.<br />
<br />
Another play.<br />
Whoever crosses themselves well,<br />
endangers the head with springing.<br />
<br />
This is: When you stand in the crosswise cut and will threaten their head with strikes, let your point pass through to your left side in your crosswise cut and in that passage through, spring or step well to their left side with your right foot and strike them threateningly with the crosswise cut to the left side of their head with the short edge yet in such a way that you are well covered in it with your sword or hilt. Similarly, it also goes to the left side by passing through and striking to their right side with the long edge, etc.<br />
<br />
Another play from the crosswise cut called the failer<br />
The failer misleads.<br />
It wounds from below according to desire.<br />
<br />
Gloss: Note that with the failer, any fencer that likes to parry will be astonished and misled and easily struck. Conduct it like this: When you stand in the crosswise cut and act as if you will strike at their head on their left side from either the crosswise cut or from descending cuts and in the cut divert or suddenly withdraw your cut and strike the opponent with a crosswise cut to the lower openings under their sword to the left side of their head or wherever it may occur to you and is called the wound from below if it happened from below their sword and not from the lower opening below the belt. In this way they are struck and wounded according to desire. War.<br />
<br />
Another play, the crosswise cut inverter<br />
The inverter compels<br />
The one who rushes through wrestles as well at the same moment<br />
Take the elbow surely<br />
Spring into their stance.<br />
<br />
Gloss: This is: When you have cut with the failer as was taught above, strike right back around to their left side using the crosswise cut. Then if they fall upon your sword, swiftly hang and in that hanging rush through and take their balance by the elbow and step in forward with the left foot and shove them over it. You can also execute a bit of grappling in your rushing through like this: step behind them with the left foot and pass your left arm forward around their neck and throw them backwards over the foot. Also, You can completely pass your left arm around their neck from behind their back and throw. Some say it like this: When you have bound with someone, invert your sword so that your thumb comes below, that is, into the crosswise cut and stab them in the face with your point such that you compel them so that they must parry and in that act of parrying, slip in and shove their elbow which wrestles like above, etc.<br />
<br />
Item. As for how you shall rush through, you find that hereafter in the play that says: Rush through, let hang.<br />
<br />
Yet another play.<br />
The failer hits doubly.<br />
One makes the old slice with power.<br />
<br />
According to master hans, he says: This is for when you have misdirected the opponent with the first failer and struck them on their right side, etc. as above. Swiftly strike right back around yet one more time for the second [opening] on their right side. That's called the double, etc. You can even go right back around a third time. If you then come upon their sword, such that they parry, then war or wind with them, etc.<br />
<br />
Then If the opponent will strike as well, then Indes, go in over their arm with the slice and press behind. Some differ and this is also called the failer because one shall conduct a double misdirection in one initiation of fencing with it. Conduct the first like this: When you come to them initiation of fencing, step or spring with your right foot such that your left foot stays in front facing them and act as if you will strike to their left side with a crosswise cut and suddenly withdraw the strike and spring out ahead to their right with your left foot and strike at their head on their right side. It is quick like in the first play, war.<br />
<br />
Yet another play.<br />
Double it further,<br />
Step in left and do not be lazy.<br />
<br />
g[loss]: This is the previous play above explained with the slice as master hans says. But others say that when you have struck with the first misdirection to the head on their left side, strike immediately back around to their head on their right side and from crossed hands, pass over their sword with your short edge and spring left, that is to your left side and slice them through their mouth with the long edge and swiftly extract yourself [to the side]<ref>paper is damaged. only the letters 'ne' remain. There's enough room for two or three letters</ref><br />
<br />
Item you can conduct the failer from the descending cuts in the same way as from the crosswise cut whenever you wish and this crosswise cut goes to both sides, though it is more effective from the right side when your left foot stands forward.<br />
<br />
This is the cockeyed cut with it's plays<br />
The cockeyed cut breaks into on<br />
whatever the buffalo strikes or thrusts.<br />
Whoever conducts the change,<br />
the cockeyed cut robs them from that.<br />
<br />
Gloss: The cockeyed cut is nothing other than the switch cut. Named according to the Zettel, the cockeyed cut, which is an extremely exquisite cut, that breaks into cuts and into thrusts of the buffalos or ruffians which take victory by force. Conduct the cut like this: If you stand with your right foot forward and lay in the cockeyed cut, then the thumb must be up against the sword. Then if they cut at you from their right side, step into them swiftly, Indes, with your left foot and displace their cut strongly with your short edge and from that, make a quick strike from your left shoulder, crooked, with the long edge into the right side of their head, but if they immediately come right back and parry your cut so that you come onto their sword, then wind in from above with power and lodge<ref>zulegen/anlegen is a synonym for ansetzen</ref> your sword against their throat. Then if they will continue to escape by force, then just calmly pursue them so that they can't rightly escape. But if you wish to allow them to get off easy, then wind in behind and between their arms as it connects using the war, etc. But if you stand with the left foot forward, then position your thumb underneath, so you can again displace their descending cut with the short edge and strike to their left side to the head with the short edge and with the right foot stepped in. Or, displacing over their sword, winding in, to the head on their right side or laid up against their throat, etc, war. But if in their cut they wish to disengage, then wind in crooked upon their sword and bring your work to conclusion out forward and lodge against them.<br />
<br />
Another play<br />
Cock an eye to see if they short change you.<br />
Disengaging vanquishes them.<br />
<br />
Gloss: This is a teaching: When you come to them with the initiation of fencing, you should cock an eye to see whether they stand against you shortened or straight. With this you shall identify whenever they initiate a cut. Then, if they do not stretch their arms out long from themselves, the sword is shortened. If you lay before them in the cockeyed cut or they lay before you in the fool<ref>Ox</ref> by the head, then it is again shortened. For all windings or crooked stances in the sword in front of the opponent are short and shorten the sword. To all that hold themselves like this, you shall freely disengage out of cuts and out of thrusts with the long point into the face. With it you threaten them such that they must parry or else allow themselves to be struck or stabbed. War. Master Hans likes to disengage the opponent if their right foot is ahead and they stand in either the switch cut or cockeyed cut and when one is shortened against them, especially standing in the fool<ref>Ox</ref>.<br />
<br />
[Margin] If you stand in the hanging parry crooked or open, like Seydenfaden had taught, it is also shortened and good for you to disengage<br />
<br />
Yet another play<br />
Squint to the point,<br />
take the neck without fear.<br />
<br />
Gloss: This means that the cockeyed cut that breaks the long point with a deception of the eyes. Conduct it like this according to Master Hans' lesson: If you stand in the cockeyed cut and your right foot lies forward and the opponent also stands with their right foot forward in the fool<ref>Ox</ref> with the flat near the left side of their head and speeds their point toward you, then visibly cock an eye at that and act as if you will cut into it and rush on in with your left foot forwards, under their sword [with yours] crooked into their neck and take their neck without any fear. Thereafter work with the war or whatever you wish. Also do as some say: If you stand with the left foot forward in the cockeyed cut and they hold their point either long or short against your face, then cock an eye at the point and act as if you will strike at it and strike atop their sword with your short edge and with that you shoot the point in long into the right side of their neck without fear, but still step out forward with your right foot as well. War. But if you wish to take the before, then saddle atop them crooked, then strike again immediately from their sword to their left side with your short edge. War.<br />
<br />
Also do it as some say. If you stand with your left foot forward in the cockeyed cut and the opponent holds their point log or short against your face or breast, then cock an eye at their point and act as if you will strike at it and strike atop their sword with the short edge and shoot the point in long with this without fear of their right side, but still step out forwards with your right foot as well. War. But if you wish to take the before, you saddle atop them crooked, then immediately strike again to their left side from their sword with your short edge. War.<br />
<br />
Another Play.<br />
Cock an eye at the top of the head<br />
If you wish to incapacitate the hands<br />
<br />
Gloss Master Hans: This is when you stand in the cockeyed cut with your right foot forward and the opponent also stands with the right foot forward and either in the cockeyed cut or else holds themselves as if they will do so, in this case, snap in with your sword or flat to their right side at their head. If they overlook this, then they will be quite grievously struck and thereafter suddenly and swiftly withdraw and from that make a cut upon their sword to their left side at their head with the short edge. War. Some say it like this: When they will cleave in from above or stand against you in the long point, then cock an eye using your face as if you will strike atop the head, cut against their cut using your short edge and strike them with the point to the hands from against their sword's edge.<br />
<br />
The cockeyed cut with part cut with it's plays<br />
The part cut is a threat to the face.<br />
With it's turn, the breast is quickly threatened.<br />
<br />
Gloss: This is when you stand with the right foot forwards in the cockeyed cut and the opponent initiates a cut using a descending cut. While they strike, swiftly flip your sword right back around into the plunge cut (this is the part cleave in the zettel) and the point against them fully in the fulcrum below their cut or sword into their face or breast. Thereafter work whatever you wish that is threatening to the opponent. Master Hans Seydenfaden also taught the part cut like this: Initiate a strike with your long edge straight ahead from above from the top of your head and on top of that a rising cut at the opponent's head on their right side, following up according to two plays in his school's doctrine with various strikes, footwork and misdirections.<br />
<br />
Another play. How the crown breaks the part cut.<br />
What comes from them,<br />
The crown takes away.<br />
<br />
Gloss: Master Hans. This is: when someone has thrown in the point using the part cut as was first taught, use the crown against it, because it breaks the part cut like this: If they stand in this way, then fall into the cut with your hilt across their blade or across the grip between both hands and drag down so they will be struck upon the head, etc. This is called the crown.<br />
<br />
Some differ in this way: When you cleave in from above with the part cut, then if they parry high with their sword gripped with an armed hand or crossed over their head, this is called the crown against Seydenfaden's part cut and with that, rush in and shove along with it, etc. In this way, it takes the part cut away. This also breaks an opponent like this, again as above with the hilt thrown over that and wrenched down.<br />
<br />
Another play. How the slice breaks the crown.<br />
Slice through the crown,<br />
so you break the hard beautifully.<br />
Press the strike.<br />
It drags down using slicing.<br />
<br />
Gloss: Master Hans. This is: when someone drags the part cut off using the crown in the same way as above, pursue them and drag them down so you slice them on their head, etc. Then you escape to the side.<br />
<br />
Some differ in this way: when the opponent parries the part cut or otherwise any cut with the armed crown and rushes in with it, then take the slice under their hands and into their arms and press firmly upward and with that back yourself out with a sweep.<br />
<br />
About the four positions<br />
Four positions alone,<br />
One keeps to those and flees the common.<br />
Ox, plow, fool<br />
From the roof. These three things are not worthless to you, says Master Hans Medel.<br />
<br />
Gloss: This means that you shall specifically hold no other position other than the four positions named here, which are often named the four guards, that is: ox, plow, fool, roof.<br />
<br />
The first position is the ox<ref>Plow</ref>. Make it according to Master Hans in this way: Stand with the right foot forward and hold your sword on your left side just below your knee, the point a little upwards towards the opponent such that the thumb stays against your sword facing you and the long edge up. Also stand in the same way so that your left foot stands forward yet with crooked or crossed arms and again with your thumb facing you and with your short edge upwards.<br />
<br />
The second is the plow<ref>Fool</ref>. Make it like this: Stand with the right foot forwards and lay your sword out forwards with extended arms with the point upon the ground and the long edge downwards not crooked. If you have the left foot forwards, you can do it that way, although it is somewhat shorter opposing the opponent.<br />
<br />
The third is the Fool<ref>Ox</ref>. Make it like this: Stand with your right foot forwards and hold your sword on your left side with your hilt next to your head, not crooked or crosswise, with either your point facing the opponent or hold it next to you in the flat of your thumb. But if your left foot is forward, then hold your sword crooked or crosswise on your right side next to your head, the point against the opponent, your thumb facing you again.<br />
<br />
The fourth position is the roof guard. Make it like this: Stand with the right foot forwards and hold up your sword on your right side with extended arms just like in the speaking window. Master Hans makes one thing out of the fool<ref>Ox</ref> and the roof in this way: When he stands with the right foot forwards, then he cuts down from the roof trickily<ref>Alberlich: Alber is a fool or trickster and the name of the guard it is going to</ref> and cuts through to his left side in front of himself into the fool<ref>Ox</ref>.<br />
<br />
He makes no more than three positions. And how you shall fence from the guards or positions, you shall find it before and after this. Apart from this, you can also make your work from those as follows hereafter in the seven stances, therein some positions are delineated for when an opponent wishes to break these, etc. Master Hans' Art also explains the four positions or guards differently than the others as you generally find in all other glosses which are not as satisfactory to me.<br />
<br />
Crooked- -ox<ref>Plow</ref><br />
Cross- -plow<ref>Fool</ref><br />
>breaks<<br />
part cut- -fool<ref>Ox</ref><br />
Cockeyed cut, also the crosswise cut- -roof<br />
<br />
About the four parries.<br />
Four are the parries<br />
that also severly disrupt the four positions.<br />
Guard yourself from parrying.<br />
If it happens of necessity, it beleaguers you.<br />
<br />
Gloss: You have heard before that you shall solely fence from the four positions or guards. But on the other hand, you shall also know that the four parries severely disrupt or break those same four positions. These are the four cuts: crooked cut, crosswise cut, cockeyed cut and part cut and they are nothing other than that from which one brings themselves to work. When the opponent lays before you in a position, you must use one of the four cuts against it because when sword comes against sword, the whole art is integrated, that is play and break from both people, so you must use one of the four cuts against it.<br />
<br />
In this way, if they lay in ox<ref>Plow</ref>, then fall upon it with the crooked cut or with the crosswise cut.<br />
<br />
Then if they lay before you in plow<ref>Fool</ref>, then use the crosswise cut against it.<br />
<br />
Then if they lay in the fool<ref>Ox</ref>, then use the part cut or wrathcut against it, if the part cut from the top of the head as some say will be used,<br />
<br />
Then if they lay in the position of the roof, then use the cockeyed cut against it.<br />
<br />
Also, the crosswise cut is good or better, because all by itself, it breaks three positions or guards:<br />
<br />
The position of the roof, The plow<ref>Fool</ref> and ox<ref>Plow</ref> as well according to the text from above saying "The crosswise cut seizes, etc"<br />
<br />
Also the plow<ref>Fool</ref> and the ox<ref>Plow</ref> according to the text from above: "Cross to the plow, the ox, etc"<br />
<br />
Similarly, the crooked cut not only breaks the ox<ref>Plow</ref>, but also the plow<ref>Fool</ref> and the fool<ref>Ox</ref><br />
<br />
Also, the cockeyed cut does not solely break what comes from roof guard, but also the fool<ref>Ox</ref>, if they rush in under and crooked from the cockeyed cut from their left side.<br />
<br />
Also, in the same way, you do not have to use the part cut solely against the fool<ref>Ox</ref>, but also against ox<ref>Plow</ref> and plow<ref>Fool</ref>.<br />
<br />
Therefore in this way, whatever it is that you yourself consider the best, you can change it up and apply it with the four cuts against the four positions or guards such that you disrupt them and hence bring them to the work. Thereafter work using winding in, warring, or cutting and thrusting as the opportunities arise. You find this written and taught beforehand in the five cuts and stances, and in the displacing.<br />
<br />
Therefore know that parrying isn't actually called for in this, because there are the four cuts that break them that are. Therefore do not parry and note when they cut, then you cut as well. If they stab, then you stab as well and guard yourself so that you do not parry too much, if you wish to otherwise not become struck as the catch<ref>rappen: to gather, to snatch, to seize</ref> fencers do and they willfully conduct nothing but parries.<br />
<br />
Against an act of parrying<br />
If you are parried<br />
And however it has come to this<br />
Heed what I advise:<br />
Scrape or Wrench off, cut quickly with haste<br />
<br />
Gloss. This means, as it comes to be that you have been parried, note if the opponent parries your descending cut, then pass over their leading hand wih your pommel in their attempt to parry and with that wrench it off downward and with that wrenching, strike them upon the head with your sword. Thereafter, you can drop your left hand deftly onto your blade and with your left foot, step behind them and with your left arm in front of the throat and shift and throw them over your foot and that is called an upper break in.<br />
<br />
Another play against the fulcrum.<br />
When you hew a rising cut from the right side, If the opponent then falls upon that with their sword such that you cannot come up with it and pushes you down to the side, then pass over their sword with your pommel and strike them on their head with your long edge by snapping. But if it happens on the left side, then you still pass over their sword with the pommel and step forward with the right foot and strike them with your short edge. But if, Indes, they come right against it with a push or shove during the after, then mind that you lung well into them as you wind over with your pommel and wind over their arm or hand so they cannot properly shove and hold you on the fulcrum.<br />
<br />
Another play against an act of parrying. Text:<br />
Lodge against four regions<br />
Learn to remain thereupon if you wish to finish.<br />
<br />
Gloss Master Hans: This is when you from the four lodgings (which are the two crooked lodgings to both sides, the plow<ref>Fool</ref> with the point out forward upon the ground, not crooked and roof) one of which you will take yourself forward therein or you shall stay in it and setup your work and complete the rest using the after. According to the common gloss others also say: When you cleave in from above from your right shoulder, if you then wish to quickly end with that, then note when they parry, then strike quickly around with the crosswise cut and grasp your sword in the middle of the blade and set the point into the face or lodge the four openings, to whichever you may or can best attain. And if they parry one of the lodgings, then strike them with the pommel to the other, the left side or drive over their right shoulder with the pommel in front of their neck, but spring with your right foot behind their left and move and throw them thereover. Break. Take the elbow.<br />
<br />
Item. You can also lodge against four regions from above to both sides from the stance of the wrath point near your left knee as will be taught hereafter in the seven stances. If the opponent comes to you with descending cuts in response, you lodge the point against their neck in response. But if they come with rising cuts, again, lodge against them; and given that, they come to your side and finish your work.<br />
<br />
A lesson about the pursuing.<br />
Learn the pursuing.<br />
Double or slice into the weapon.<br />
<br />
Gloss. First note this general lesson: that pursuing is many and varied and are appropriate to conduct with great prudence against the fencer that fences from free and from long cuts and otherwise does not cut with the proper art of the sword, etc. And this is according to the text: You shall properly learn pursuing, because they are double. Conduct the first like this: If the opponent will cleave in from above, then note while they pull up their sword to strike, pursue them with a cut or with a thrust and hit them in the upper opening before they come down with the cut. And if they bind you and will thereafter work from the sword, then pursue and Indes afterwards take the slice into their arm in from above with your long edge and press them strongly away from you with that, so they have no power. Each time in this way pursue them to their head from above.<br />
<br />
Another play.<br />
The second pursuing is when the opponent initiates a cut from above, then if they let their sword go to the ground during the cut, pursue them by cleaving in from above to the head before they come back up with the sword. Or if they will thrust, then note while they draw their sword towards themselves to thrust, pursue them and then stab them before they carry out their thrust, etc. But if you fence against someone from rising cuts or the sweeps or lay against them in the fool<ref>Ox</ref> or plow<ref>Fool</ref>, then if they fall upon that with their sword before you come up with yours, then stay below just like that against their sword and lift upwards. Then if they will cleave in from their act of parrying or wind in on the sword, do not let them abscond from the sword, rather pursue them thereon and work to the nearest opening with the war and the others.<br />
<br />
Item. Note you shall pursue them out of and with all cuts as soon as you realize they miss their attack in front of you or uncover themselves with their sword.<br />
<br />
A good lesson about the pursuing<br />
When you fence with someone, bind against their sword strongly, continue to stay strong and press it strongly toward their head. If they will strike around, then remain against the sword and press down strongly so they have no power. Each time in this way pursue to their head from above.<br />
<br />
In the after is something else. It is when they don't flee, but rather they stay still and come into the work or the war with you.<br />
<br />
There is a difference between the pursuing and in the after. Pursuing is in fleeing. The after is standing still, working afterwards.<br />
<br />
About the two enticements to the outside and the two enticements to the inside<br />
The two enticements to the outside and the two enticements to the inside,<br />
The work begins thereafter<br />
And gauge the opponent's applications<br />
Whether they are soft or hard<br />
<br />
Gloss: This means that you shall note that the enticements are also called pursuing and when you come against their sword with yours, you shall then gauge whether the opponent is soft or hard with their application. Thereafter, you shall begin your work. That is, like this: When someone stands against you in the enticements to the outside (because those are two, one to each side) and stands with their right foot forward and hangs with a flat sword from either the part cut, the fool<ref>Ox</ref>, or plunge cut with the point down, like with the roof, if they stand in the enticement to the outside on their right side, then come to them as well with the same enticement to the outside from your right side countering them against their sword. And in the clashing of the sword, wind in swiftly under their sword into their head, to the opening or all the way right over to their left shoulder such that your sword comes or lays above and your thumb stands underneath. In the case they want to then exit, pursue them Indes or if they throw you over with force, then ready yourself with striking or with warring in the case you both come crooked into the winding. But if you do not wish to counter them with that, then you can mount and work upon that with the crosswise cut or other cuts, etc. That is the first enticement to the outside or Hew crooked to the flats... or Don't crooked cut, short cut.<br />
<br />
The second enticement to the outside is as follows: the opponent stands with their left foot forward and with their arms crooked as if they went up with the rising cut or something and it hangs over the left arm. So also come to them countering them in this way from your left side crooked on their sword. Wind in under their sword to the opening at their head like before or at their head from above just to their right shoulder. Thereafter work or war as before.<br />
<br />
There first enticement to the inside is as follows: If the opponent again stands with the right foot forward and holds their sword down by the leg or knee for a thrust like in the ox<ref>Plow</ref>, then also come into opposition in the same way from your left with your right foot forward and in that thrust step into them with your left foot and the swords clash against each other. It is then possible that you both wind against each other, then you both come into the work crooked. Thereafter war and work as you wish. It is possible that the both of you also make a sudden withdrawal from that with a strike right around from their right shoulder to their left side, to their head, or take the lower slice, etc. which will double or mutate [respectively].<br />
<br />
The other enticement to the inside is as follows: The opponent stands with the left foot forward and holds their sword as before, though it must be crooked on the side, then conduct the work against them as before just above. When it is skewed to the side, you will again break their sudden withdrawal then double or mutate however it connects best either according to the work or according to the side, thus they will be struck deaf, etc or sliced. You can also, as before, if you do not wish to use the counter enticement, work the stance or enticement against if with other things such as the crosswise cut or the wrathcut or other displacements or lodgings against and then work as you wish, etc. In this way you have the four enticements explained with their work. However you shall begin it, the common glosses explain differently, but that is not satisfactory to me, etc. This work the opponent can also conduct against you.<br />
<br />
A lesson about the feeling and the word Indes.<br />
Learn the feeling.<br />
Indes, the word cuts sharply.<br />
<br />
Gloss: This means that you shall learn and understand the word, Indes, properly, because the two things belong together and one cannot exist without the other and are the great art of fencing. Look at it this way: When someone binds against the sword, you shall immediately feel or perceive in that, as the swords clash together, whether they have bound soft or hard and as you have perceived that, then think of the word Indes, This means that in that perceiving, you shall work swiftly according to the soft or the hard to the nearest opening. Thus they will be easily struck before they become aware of themselves.<br />
<br />
Item. You shall think upon the word Indes in all binds of the sword, because:<br />
<br />
Indes doubles, Indes mutates;<br />
Indes rushes [through], Indes disengages;<br />
Indes takes the slice, Indes wrestles with;<br />
Indes takes the sword away from them, Indes does whatever the heart desires in the art.<br />
<br />
Indes is a sharp word. With it all fencers that do not know of the word become cut. And the word Indes is the key, with it the entire art of fencing will be unlocked. Also with that is the before and especially the after with the strong and the weak. These three things break all plays and art that one may conduct or conceive. Because when sword comes upon sword, the entire art is integrated.<br />
<br />
Another about the pursuing<br />
Pursue twice,<br />
If someone makes contact, make the old slice from it.<br />
<br />
Gloss Note the you shall conduct the pursuing doubly, that is, to both sides and also bring the slice thereon. Look at it this way: When they miss their attack before you, whether it is from their right or left side, then cut just behind them to the opening without worry. Then if they rise up and bind against the sword from below, then note as soon as one sword clashes against the other, slice at their neck or fall Indes atop their arm with the long edge and take the slice. Conduct this on both sides.<br />
<br />
About overrunning<br />
Whoever takes aim from below,<br />
overrun them from above. They will be shamed.<br />
When it clashes above,<br />
then strengthen, that I will laud.<br />
Make you work,<br />
soft or hard or press twice.<br />
<br />
Gloss Master Hans. This is when someone binds you, then you shall stengthen the bind and if they immediately strike around towards your lower openings and target accordingly, then Indes run on in over them and either press behind by pushing or shoving, or in from above with the slice. War.<br />
<br />
Some speak like this according to the common gloss, about how you shall overrun when someone initiates fencing you from below. Look at it this way: When you come to the opponent with the initiation of fencing, if they initiate a cut or a thrust from below, do not parry that, rather note when their rising cut or thrust goes toward you, then cleave in long from above from their[sic?] right shoulder and shoot the point in long from above at their face or breast and lodge against them so they cannot reach you. Then if they rise up from below and parry, then remain strong against their sword with your long edge (that's called being strengthened) and quickly work to the nearest opening or await upon the after with the war. And any descending cut and any upper lodging overreaches the lower path, in this way they become ashamed above.<br />
<br />
About the displacing<br />
Learn to displace.<br />
To skillfully disrupt cut, thrust.<br />
Whoever thrusts at you<br />
Such that your point hits and their breaks<br />
From both sides<br />
Hit any time when you step.<br />
<br />
Gloss Master Hans. This means you shall learn to displace artfully disrupting cut, thrust also breaking point or edge like this: If someone cuts or thrusts against you, casually displace and break the point or edge from all positions and attacks or stances and mount from all sides as they encroach you and meet their point or edge with your point or sword and displacing fully and from that make a strike in from above at their head with the short edge to whichever side makes itself available. Thereafter work Indes using the after and war. Or<ref>marginalia: 'ma?es' => bad</ref> else according to the interpretive intent of others as they conduct displacing: When you come to the initiation of fencing, if they then position themselves against you in, say, the plow as they call it (but I call it the ox<ref>Plow</ref> down by the knee) and act as if they will thrust into you, then advance your left foot and stand facing them in the ox<ref>Plow</ref> as well on your right side with crossed arms or hands and leave yourself open on your left side. Then if they thrust into your opening, then wind to your left side with your sword against their sword opposing their thrust and step in with your right foot and with it displace such that the point always remains standing against them and Indes stab them in the face or breast. Thus, your point hits and theirs does not. Or also make a strike and otherwise do whatever you wish if you would like to work with the warring. But if you stand against someone as above in the ox<ref>Plow</ref> and would like to thrust them, then if they cut down from above to your left opening, then go up against their cut with your sword and wind in, to their side (openly or crookedly as the situation provides) and step in with it and wind the point sharply into their face or breast. Thereafter, work or war.<br />
<br />
About the disengaging<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds against you<br />
Disengaging surely finds them<br />
<br />
Gloss: Disengaging is many and varied. You can conduct them from all guards or cuts against the fencers that like to parry and those that cut at the sword and not to the openings of the body. You must learn to conduct this quite well with prudence so that one does not lodge against you nor otherwise come in while you disengage. Conduct it like this: When you come to them with the initiation of fencing, cleave in at their head from above. Then if they initiate a cut against your sword in response and not to the openings of your body, then let your point rush through below during the cut before they bind against your sword and stab them on the other side, etc. If they become aware of the thrust and immediately chase your thrust with their sword and will parry, then disengage again to the other side. And always conduct it when they move toward your sword with an act of parrying. Conduct this on both sides, war.<br />
<br />
Another play.<br />
When you come to the opponent with the initiation of fencing set your left foot forward and hold the long point against their face. Then if they cut to the sword either from above or below and will strike it away or bind strongly against it, then let the point sink downward and disengage and stab them toward the other side. And conduct this against all cuts where someone cuts to your sword and not to the openings of the body.<br />
<br />
Another play.<br />
Note this play precisely when the opponent parries you and allows their point to go out sideways next to you in their act of parrying. When this happens, boldly disengage and thrust toward the other side. Or if they remain with their point in front of your face or otherwise toward the other openings of your body, then do not disengage and remain against their sword and work to their nearest opening so they cannot pursue nor lodge against you. War.<br />
<br />
About the Sudden Withdrawing<br />
[text missing]<br />
<br />
Hereafter follows the seven stances. Wherein noteworthy work to utilize against the opponent instead of other common fencing is explained :-<br />
<br />
The seven stances<br />
The first is when you stand as if you are in the plunge or the part cut yet with the flat of your sword upon your right thumb, fully forward, on the fulcrum with point sunken and right foot forward and keep yourself fully open with the left side. Called the Fool (others c[all it] the sideways ox)<br />
<br />
The second is: Hold your sword by the pommel next to your left leg and with the point a little upwards towards the opponent yet so that the same left foot stands forward. This is commonly called the wrath point or equally the ox<ref>Plow</ref> but just only when the left foot stands forward.<br />
<br />
The third stance is when you stand as before, then from that left side draw right back around to the right into the speaking window or into the position or guard "roof"<br />
<br />
The fourth stance: Drop from the speaking window to the left side with the crook crossed over against your front foot. One commonly calls this the iron gate or the lodging from the crook[ed cut]. Against the right foot follows after.<br />
<br />
The fifth stance is the same as before to the other side next to the right foot yet not crooked. Open, not crossed.<br />
<br />
The sixth stance comes from the previous being thrown out forward from the right side with the point behind right over into the crook yet your left foot comes forward along with the point fully opposing the opponent.<br />
<br />
The seventh: From that very crook held, [make] a strike straight up from the left and to the right and with the point on the ground forwards fully into extension and balance, not crooked is called the plow<ref>Fool</ref>. Some call it the fool.<br />
<br />
Item. Out of all of these, the second, third, fourth and fifth are called the four lodgings.<br />
<br />
Thereafter you shall note the work that goes from each stance or may generally go at first.<br />
<br />
Work from the part cut, plunge or fool<ref>Ox</ref> according to Master Hans using the after.<br />
<br />
First: Work from the part cut, plunge or fool<ref>Ox</ref> as Master Hans calls it using the after. If you lay before the opponent in the part cut hanging flat as shown above and you await the work of the opponent against you, then if they will initiate a strike with a descending cut to your left side or opening, stand still and go straight up toward the opponent to the left side of their head with the crosswise cut, where they are open with an uninverted sword. War if it becomes necessary to do.<br />
<br />
The second: Then if they mount your sword with their descending cut and strike back around with a rising cut or otherwise to your right side, then Indes pursue them swiftly with the stance or extended sword and thrust into their face with whatever you can. War if it becomes necessary. You can also completely disengage as soon as they mount and thrust to their right side. Thereafter strike to their left.<br />
<br />
=> Item. In everything afterwards as you put yourself in the middle of things you shall remain standing like this and not turn away and then work Indes. It then ruins the work of the opponent by striking or mutating however the opponent then holds themselves against you.<br />
<br />
The third: If you stand as before and they will disengage, you then pursue and step toward them and wind in crooked to their head. War if it is necessary. For one shall wind crooked against all disengages.<br />
<br />
The fourth: If you stand as before and they mount atop it crooked, you shall strengthen against them. Then if they will strike to the opening of your left side, then pursue them with the war and your sword to their right shoulder and lodge<ref>zulegen/anlegen is a synonym for ansetzen</ref> your sword against their neck. If they will subsequently ward that, then Indes, ward yourself again with the war according to the work as it demands. War if it is necessary or pursue them smoothly everywhere, so they cannot become completely free.<br />
<br />
Break. But if they hold strongly, then wind yourself into them under their sword and step behind their right foot with your left and with the left arm against the front of their neck and throw and if the throwing comes to nothing, then you pursue them smoothly. But if they will wind themself out of it with force, then wind in with the pommel between their arms. Break against them, shove the elbow.<br />
<br />
The fifth: If you stand as before and the opponent stands against you in the crosswise cut and with that they strike against your sword, then pursue them Indes and wind in crooked into their head. If it is necessary to do, then use the war as before.<br />
<br />
The sixth: If you stand as before and if they will then jab or thrust out of ox<ref>Plow</ref> from their left side to your right, then Indes swiftly step and wind in crooked into the head. If it is necessary afterwards, use the war. You can use that in all plays where it makes itself available.<br />
<br />
Cut crooked to the flat of the masters if you wish to weaken them. This means that the crooked cut breaks this stance with it's work as you wind in it's explanation in the Zettel. Or: Crook not, short cut. this is the disengaging or use the enticement to the outside against it. But if they will make a sudden withdrawal from their thrust, then fall into the crook as before and remain standing therein.<br />
<br />
Item. In all plays, if someone either binds against you or will mount you, then you can withdraw suddenly and make a rising cut into their right side and back around with the short edge into the other side<br />
<br />
Work from the second stance, the wrath point, using the after is laid out:<br />
The first play: When you stand in the second stance as written and instructed above, etc. If someone then draws up long and wide and if they intend to strike you with a descending cut from their right into your wrath point, then go straight up Indes with the wrath point against their throat and thrust, etc. War if it is necessary. In the thrust, go up into the flat in such a way that your thumb comes under.<br />
<br />
The second: When you stand as before in the wrath point, then if the opponent rushes and will thrust out of the ox<ref>Plow</ref> from their left to your right side, then Indes step forward with your right foot and from your counter thrust make a sudden withdrawal right back around and make a strike from your right shoulder to their left side with your short edge. Use the war if it is necessary. In the counter, you can also mutate to their right side to the head.<br />
<br />
The third: When you stand as before and they stand in front of you in the speaking window or roof guard, then go up against them into their face with the wrath point. Then if they mount your sword, then Indes you can completely wind in crooked with a step. Or as soon as they mount, Indes make a rising cut to their right side to the head and back around with the short edge to the other side. If it is necessary to do, then war. But if they will make a rising cut after mounting, then step swiftly Indes and thrust on in forwards with your hands and sword.<br />
<br />
You can completely thrust as well after mounting or before disengaging. War.<br />
<br />
The fourth: If you stand as before and again go up with the wrath point as before. Then if they counter with the enticement to the outside against your sword, then wind in crooked and step in after and war if it is necessary to do or work as is taught below in the enticement to the outside in the Zettel<br />
<br />
The fifth: When you stand as before and go up as before into the thrust and then if the opponent mounts your sword from the crooked lodging from the right side, then if they will work to the right side, swiftly enter into the war from behind with the thrust. But if they work to the left, then wind crooked against them against their sword and stand still. War to their head. Or, if you do not wish to wind, then keep against them, stay using the after.<br />
<br />
Work from the third stance,<br />
The speaking window, using the after<br />
<br />
The first play: When you stand as in the third stance as above in the speaking window, if someone then rushes in with force with their act of parrying like with the window or sword crossed over and looks through the arms, then mount smoothly. Then if they will continue to work wherever they will go, then pursue them with the war, etc. [the war] goes from both sides. Also, if the war comes from their left side, they need to rush in crooked.<br />
<br />
The second: When you stand in the speaking window as before and the opponent will wait you out with a descending cut and in that throw in the point, etc. Then mount them again long. If they will again continue to work, then pursue them with the war as before. But if they abscond, then you can completely double. It does not go well to the other, left side.<br />
<br />
The third: When you stand as before and the opponent stands in the cockeyed cut or change on their right side and rises up and intends to strike your sword away in the weak, then you make a sudden withdrawal right back around and strike them crooked upon their right side. War if it is necessary to do. The sudden withdrawing and warring go to both sides. You can also double and mutate wherever they suddenly withdraw when it makes sense.<br />
<br />
The fourth: When you stand as before and the opponent will carry off your sword in their rising from the crooked lodging as before, then suddenly withdraw again as before. War if it is necessary to do. The sudden withdrawing and war goes to both sides. You can again double and mutate them if they suddenly rectract.<br />
<br />
The fifth: When you stand as before in the speaking window and the opponent will initiate a strike from their right side with a descending cut to your left opening and make a sudden withdrawal or sudden switch to your right, then, Indes, pursue them with the crook to their head, etc. War if it is necessary. On the other side: parry long or crooked, war.<br />
<br />
Work from the fourth stance,<br />
Mounting crooked using the after.<br />
<br />
The first: When you stand in the crooked lodging to your left side, then if the opponent means to seek the openings of your right side with thrusts from the ox<ref>Plow</ref>, or else strikes; then rise up against them and displace them on their sword well out over their hands with a forward step and await their work and war. Then if they will overthrow you with force, let go so that you come to the war or strike or work inward in the crook and lodge against their neck.<br />
<br />
The second: When you stand as before and the opponent from either their strike or thrust makes a sudden withdrawal to your left side, then Indes rush in swiftly with the lower slice into their arm well into the air. Wherever they will subsequently be lifted, then pursue them with the war.<br />
<br />
The third: When you stand as before and the opponent strikes at you with a free descending cut from their right side, then step in deeply toward the opponent and from the crooked lodging, displace them fully from behind. Then if they over throw your sword, then let it go and strike and war.<br />
<br />
The fourth: When you stand as before and the opponent will act as if they will make a descending cut and suddenly withdraws and will strike you on your left side, then swiftly fall into your displacement or rise into the lower slice. War.<br />
<br />
The fifth: When you stand as before and the opponent also opposes you in the crooked lodging on their right side and they rise and intends to strike you crooked to your right side, then make a simple displacement, etc and await the war. You can completely disengage well in that as well, etc. War if it is necessary.<br />
<br />
Item. Whenever one does not find the opponent when they suddenly withdraw, one should fall into the lower slice.<br />
<br />
Work from the fifth<br />
<br />
The first: When you stand in the crooked lodging upon your right side and the opponent counters you on their right and means to strike you with a descending cut, then displace with crooked hands and if they then do not throw you right up over, let go again and strike crooked to their right. war.<br />
<br />
The second: When you stand in the crooked lodging upon your right side as before and the opponent again makes a descending cut against you from their right, withdraws suddenly and strikes to your right, then Indes, work swiftly against them crooked with the lower slice again, etc. War. It is like the other one yet on the opposite side.<br />
<br />
The third: When you stand on the right as before and the opponent rushes in from their right side with the window up from below; then, again, displace them and war.<br />
<br />
The fourth: When you stand as before and the opponent rushes in again as before and from that makes a sudden withdrawal and will strike to your right side, then apply the crooked slice against them again in from below. War.<br />
<br />
The fifth: When you stand as before on the right and the opponent is also in the crooked lodging off their right like you, then move toward them against their sword so that you come into the enticement to the outside and wind in toward them in the crook and war. You can also completely wait upon their work. Then if they will go up, then counter them with your point, so that they run onto your point.<br />
<br />
Work from the sixth stance<br />
Crooked cut out forward using the after<br />
<br />
The first: When you stand in the crooked cut out forward with the point upon the ground, the left foot forward and the opponent will initiate a strike with a descending cut from their right, then throw the point well out over onto their hands. Then if they will lever you up with force, lodge your sword crooked upon their neck and slice yourself away from them or, during their overpowering, let it go around into a strike to their left. War.<br />
<br />
The second: When you stand as before and the opponent will thrust out of ox<ref>Plow</ref> from their left side, then, again, throw your point upon their hands as before. War if they they throw you right over, etc, as before, but if they thrust from the right, then crook against them. but if they suddenly withdraw durqing their thrust and make a strike from the left shoulder, then you slice up crooked into their arm.<br />
<br />
The third: When you stand as before in the crooked cut and the opponent is again in ox<ref>Plow</ref> upon their left side and from ox<ref>Plow</ref> makes a sudden withdrawal and will strike you on your left, then Indes make the open lower slice from their right side, if they suddenly withdraw, then slice crooked like above.<br />
<br />
The fourth: When you stand as before and the opponent will strike or mount from their right side from the crooked lodging, then draw up your sword from your left side right around to your right shoulder with a step and strike into them on their left side to their head. War crooked with the short edge or else if you will not do these, then go up against their sword from the crooked cut opposing them with open arms and displace them and wind the point into their face, so that you immediately come together in the part cut or in the roof or fool<ref>Ox</ref> and thrust or go in straight. Crook atop it if it is closer.<br />
<br />
The fifth: When you stand as before in the crooked cut and the opponent stands in the enticement to the outside, then also go up against them in the enticement to the outside. Thereafter: work, etc. Or if they go up into the thrust, then you go up in the thrust, work or wind in, etc.<br />
<br />
Work from the seventh stance<br />
Is the plow using the after<br />
<br />
The first: When you stand in the plow<ref>Fool</ref> with the right foot forward and the opponent will rush upon you with their sword with strike or thrust, then go straight up and displace them, step forward, war, etc. It also happens in the same way using the displacement when they rush from their right side. War, etc.<br />
<br />
The second: When you stand as before in the plow<ref>Fool</ref> and the opponent mounts atop your sword from their left using the crosswise cut, then remain on their sword and go up with them into the war, etc.<br />
<br />
Do it in this way as well when the opponent mounts atop you using the crosswise cut from their right side. Conduct the disengaging, if you wish. If they will mount or suddenly withdraw in the disengaging, make a strike into their side according to the work.<br />
<br />
The third: When you stand as before and the opponent will thrust out of <ref>Plow</ref> from their right side to your right and, from that, makes a sudden withdrawal and will strike you on your left side, then make the open lower slice into their arm. War.<br />
<br />
But if you do not wish to slice, then mutate. But if the opponent is again on the right, then double if you do not wish to slice, but rather wish to break and strike. But if they will thrust from their left side and not suddenly withdraw, then wind in crooked against them, etc. You can also suddenly withdraw and strike in your rising up or displacing when they thrust at you, etc. War.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Lew&diff=135193User:Christian Trosclair/Translations/Lew2022-07-27T21:58:38Z<p>Christian Trosclair: </p>
<hr />
<div>A short commentary of the afore pictured stances in the sword further accompanies<br />
<br />
Young knight learn<br />
To have love for god, honor maidens and women<br />
Then accumulate your lessons<br />
and learn<br />
Art that decorates you<br />
And in war exalts with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and Messer<br />
like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and engage<br />
Let it hang or let it go.<br />
So that one can masterfully praise<br />
Your knowledge<br />
<br />
Here it begins, a good general lesson of the long sword, yet there is much good cryptic art locked<ref>alt: enclosed, defined, deduced</ref> herein.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right<br />
If you desire to fence strongly.<br />
<br />
The first lesson of the long sword is that before anything you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with the left foot forwards and cut from your right side, this cut is then erronious and incorrect. Because when your right side remains behind it, the cut<ref>"the cut" omitted by the Salzburg</ref> becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also follow the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always follow the cut with the right <ref>"side" inserted by Salzburg</ref> foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and wait around for their attacks until they initiate one at you. Know that all fencers that just watch for someone's cut and then will do nothing other than parry, they allow themselves to enjoy quite little of the art, because by doing so, they become gravely struck.<br />
<br />
Cut from close proximity whatever you wish<br />
No change enters your shield<br />
To the head, to the body<br />
Do not omit the blows<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Look at it like this, when you come to the opponent with the initiation of fencing. Whatever you subsequently wish to fence, conduct that with the entire strength of the body and with that, cleave in at the opponent's head from close proximity and at that moment, you simultaneously constrain them so that they must parry and cannot come to any disengaging in front of that because you come too close to them with your point. If they then come strongly against your sword with an act of parrying<ref>Salzburg: "with the strong"</ref>, then give them a wound on their left arm and with that, step back before they come to their senses.<br />
<br />
Hear what is bad therein<br />
Do not fence on the left if you are a righty<br />
And if you are a lefty<br />
You also quite awkward in fencing<ref>Salzburg/Rostock: on the right</ref><br />
<br />
This is a good lesson that touches upon a lefty and a righty and know this, however you shall cut, do it such that someone cannot overcome <ref>alt: crumple, crush, win by force, conquer</ref> the weakness in your sword in the initial cut and look at it like this, when you come to the opponent with the initiation of fencing, if you are a righty and wish to fence strongly, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they bind you. But<ref>Augsburg: "or"</ref> if you cut from the right side, then you can hold up very strongly in opposition and work whatever you wish at the sword.<br />
<br />
In the same way if you are a lefty, then again do not cut the first cut from the right side. For it is quite undependable art for a righty to initiate from the left side and it is also the same for a lefty from the right side.<br />
<br />
Before and After, the two things<br />
Are the singular origin of all art.<br />
Weakness and strength<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
If you frighten easily<br />
Don't ever learn to fence.<ref>Salzburg: "the art or to fence"</ref><br />
<br />
This means that before anything you shall see and understand the two things correctly. This means the before and the after and weakness and strength and the word Indes, because the entire art of fencing comes from those. When you correctly see and understand the [two] things and do not forget the word Indes in all plays therein that you conduct, then you are indeed a good master of the sword and can teach princes and lords well so that they can keep to the proper art of the sword in play and in earnest.<br />
<br />
Item. When you come first with your cut or whatever such that they must parry you, then work swiftly Indes with your sword in front of you or otherwise with other plays and do not let them come any further with any work.<br />
<br />
Item. When the opponent comes first with their cut, such that you must then parry them, then Indes work swiftly with your sword or whatever during the act of parrying so that you deprive them of the before with the after, this is called before and after.<br />
<br />
Item. Now before anything, you shall know about the weakness and strength of the sword. Look at it like this: From the hilt to the midpoint, that is the strong, from the midpoint to the point is the weak and how you should work according to the weak and with the strong at the sword, you shall find all of that written hereafter.<br />
<br />
Learn five cuts<br />
From the right hand, against the weapon<br />
Because we believe<br />
To pay off in skills easily<br />
<br />
Note there are five cryptic cuts. Whoever can break them with the proper art without harm, they will be praised by<ref>Salzburg, Rostock: "before"</ref> other masters and is appropriate that their skills shall become better valued than the others. And how you shall execute<ref>lit: cut</ref> these cuts with three plays, you will find all of these written hereafter.<br />
<br />
Wrathcut Crooked<ref>Salzburg: "Crooked cut"</ref> and Crosswise<ref>Salzburg: "Crosswise cut"</ref>,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, overrunning, displaces<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt<ref>lit: "hang"</ref> and Turn<ref>lit: "wind"</ref> to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note the correct chief components of the art of the long sword will be named for you here as they designate each with its name so that you can see and understand all the better.<br />
<br />
First note the five cuts<br />
<br />
The first is called the wrathcut<br />
The second, the crooked cut<br />
The third, the crosswise cut<br />
The fourth, the cockeyed cut<br />
The fifth, the part cut<br />
<br />
Item: Now note the plays after this.<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overrunning<br />
The fifth, the displacing<br />
The sixth, the disengaging<br />
the seventh, the sudden withdrawal<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth, the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings.<br />
<br />
In this way, the cuts and the plays seventeen.<ref>Mair: twelve</ref> You will find them and what you should fence from them written identically one after the other hereafter.<br />
<br />
Here it begins, the skills of the longsword. First, the wrathcut.<br />
<br />
Wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Item:<ref>omitted from Salzburg and Rostock</ref> Know that the wrathcut breaks any descending cut with the point and is yet nothing more than a simple peasant strike.<ref>Salzburg: "cut"</ref> Conduct it like this. When the opponent cuts at your head from above from their right side<ref>Salzburg omits "side"</ref>, then cut from your right side from above with them as well, wrathfully, directly and without any act of parrying, up atop their sword and let your point shoot in directly forwards into their face or breast. Then if they become aware of the point and parry with strength, then rise upwards with your sword, against their sword's blade, to the top, up off away from their sword and cut at their head. This is called absconding above.<br />
<br />
Another<br />
<br />
Item: When you wish to make the wrathcut, you can strike with the right hand and with the left hand fully up in from behind. Thereafter you bring down your point below with an inverted hand and go through.<br />
<br />
Item: You can also abscond and rise up with your sword no further than just to their point. Indes, strike back in at their head.<br />
<br />
Item: A break against the absconding<br />
<br />
When they abscond above and cut at the right side of your head, wind your sword inward a little with your short edge on theirs, and Indes, strike at their head with the long edge.<br />
<br />
Item: Another break<br />
<br />
Indes, if they abscond, then step to the side away from their strike and work with their cut to their nearest opening.<br />
<br />
Another<br />
<br />
Item: When you have struck from the wrathcut with your inverted hand and the opponent rises up and parries you, then pass through just so to their right side with your inverted hand against their belly and wrap your right elbow and your sword over theirs and hold firm, so that you have locked them. Or drag your right side to your left and wrench back strongly so that you take their sword from them and your point goes into their face.<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
This means<ref>Mair: "This is a lesson"</ref> when you cleave in wrathfully with the opponent, if they withstand this with strength and you do not wish to abscond above, be strong in turn, and rise up to your right side with your arms, and turn the short edge against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and lodge against your point against them below.<br />
<br />
Item: If you have wound to your right side like this and the opponent has parried your thrust, then wind a little back to your left, and lodge against your point right down into their breast as well. Then if they parry your point, suddenly withdraw your sword back toward yourself and strike again at their head. Then if they parry that, abscond above or undertake other work from there.<br />
<br />
Another<br />
<br />
Item: When you have absconded above and the opponent has parried in this fashion for the second time and sticks<ref>Assuming this is a misspelling or variant of "stecken"; otherwise, the phrase is "stabs with you" which is nonsensical in context.</ref> with you, then rise sufficiently up with your arms and wind your short edge into the weak of their blade and stab them in their face or wind to your right side against their blade into their weak and again stab them in their face (You can also make both windings from each other) and thrust with your point.<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
And guard that your war is not hasty<br />
<br />
This is a lesson when the opponent binds against your sword with a cut or with a thrust. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note forward whether it is soft or hard when one<ref>corrected from 'sein', see Danzig</ref> sword clashes against another or is in the bind. And as soon as you sense this, then wind Indes and work with the war, according to the soft and according to the hard, to the nearest opening. And this is called the before and the after, which you have learned of before.<br />
<br />
For the one whose war takes aim from above<br />
They will be shamed from below.<br />
<br />
Know that the windings and the work from them with the point to the four openings, that is called the war. Conduct it like this: When you cleave in with the wrathcut, then as soon as they parry, rise up with your arms and wind your point in from above into the upper opening of their left side against their sword. Then if they displace the thrust, then remain standing with the winding like this and let your point sink back down <ref>Mair: to their left side</ref>. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword with another act of parrying, then rise up to your right side with your sword. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
In all winds<br />
Learn to find cut, stab, slice<br />
Also with that you shall gauge<br />
Cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you must be quite polished with all winds on the sword, because each one of the windings has three distinct plays, that is, one cut, one thrust and one slice; and whenever you wind on the sword, you must gauge and recognize quite accurately so that you do not conduct the incorrect play that is called for in the winding so that you do not cut when you should thrust and not slice when you should cut and also not thrust when you should slice. And you shall conduct that in such a way that when the opponent parries the one, you hit with the other. Furthermore, you should always find the correct plays that are by rights appropriate to conduct in all engagement of and windings against the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well..."<br />
<br />
Item: When you wish to make a cut and a thrust and a slice, do it like this. Hew the wrathcut in boldly from your right side. Indes, wind your point in, to their left side and thrust at the left side of their face. Indes, step to their right with your left foot and slice them across both their arms with your long edge.<br />
<br />
Know the four openings<br />
Take aim so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
This is when you come<ref>"come" is omitted in the Salzburg</ref> to the opponent with the initiation of fencing. If you subsequently wish to fence surely, then you should not expressly cut at their sword. Rather, you should target the four openings. [The first opening] this is the right side, the second, the left above the belt of the opponent. The other two openings, these are the left and right sides below the belt.<ref>"of the opponent… of the belt" omitted from the Salzburg. This omission is probably a scribal error, jumping to the second instance of der gürttell.</ref> Select one of these openings and boldly initiate a cut there and do not worry about what they fence against you. If they then parry, immediately work to the nearest opening in that act of parrying. In this way, focus on the body and not the sword.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This means whenever the opponent cleaves in earnestly, if you wish to then set yourself up against them to break the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of the sword<ref>Salzburg omits "of the sword"</ref> and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Item. Conduct the doubling like this: When the opponent initiates a cut from above from their right shoulder; cleave in strongly from above as well in the same way from your right shoulder to their head. Then if they parry that cut with strength, then immediately rise up with your arms and shove your pommel under your right arm with your left hand and strike them upon their head from crossed arms with the long edge from behind their sword's blade.<br />
<br />
Item. Or if you have bound their sword with your long edge from your left side, then immediately rise up with your arms and remain like this against their sword, and strike them upon their head from behind their sword's blade with your short edge.<br />
<br />
Item. Conduct the mutating on the right side like this: When you cleave in strongly from above from your right shoulder, if the opponent parries and is soft at the sword, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above, and with that move up on the arms<ref>Augsburg: "move on the arms"</ref> and thrust into their other opening.<br />
<br />
Item. The mutating from the right side. When you have bound with your long edge from your right side, then immediately rise up with your arms and remain on the sword like this, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with than move sufficiently with the arms and thrust down into their lower opening of their right side.<br />
<br />
Item. Or if you cut against the opponent's sword with your long edge from the left side, then rise up with your arms and keep the same edge on the sword [and thrust]<ref>see below</ref> into the lower opening. In this way you can conduct the two plays from all cuts after you have sensed the weakness and strength in the sword, etc.<br />
<br />
Item. The mutating on the left side: Or if you have bound against the opponent's sword with your long edge, then rise up with your arms and keep the same edge against their sword and again wind the short edge over their sword, and rise sufficiently up with your arms and hang your point over their sword from above and thrust into the lower opening of their left side. In this way, you can also conduct these two plays from all cuts after you have sensed the weakness and strength in the sword.<br />
<br />
The crooked cut with it's plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the boar and the rising cut.<ref>In the Rome (Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Conduct it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring well to your right side with the right foot, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards. This is how you shall cut crooked to the hands. Conduct the play like so. When the opponent initiates a cut from your right side with either a descending cut or a rising cut, spring away from the cut,well to their left side, with your right foot facing the opponent and strike them from extended arms with the point atop their hands. Turn. With that, one wars the oxen and also the boar and the rising cut/<ref>In the Rome(Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Conduct it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring with the right foot, well to your right side, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Item. You shall also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut<ref>Mair omits "the cut"</ref> well to the right side, with your right foot facing them and shove the pommel of your sword under your right arm and strike them from the long edge with crossed hands with your point upon their hands<br />
<br />
Item. In this way, send yourself to your left side using the barrier guard. When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then step to your left side with your left foot well away from the cut and strike them over their hands during the step with the short edge.<ref>"with the short edge" omitted in the Salzburg</ref><br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Note you shall conduct this play against the masters from the bind of the sword.<ref>Salzburg: "that cut from the bind of the sword"</ref> And remember this as well: When you come to the opponent with the initiation of fencing, bring your sword into the barrier guard on your right side or hold it atop your right shoulder. Then if they cut at the opening from above, then cut strongly with crossed arms against their cut with the long edge. And as soon as the swords spark together, then 'Indes' wind toward your left side with your sword and rise up with your arms and stab them in the face. Or if you don't want to thrust, then note as soon as it sparks, then 'Indes' cut to their head or to their body with the short edge.<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Conduct it like this: when you go to the opponent with the initiation of fencing<ref> Salzburg: "come to the copponent"</ref>, if they subsequently stay in guard and hold their sword in front of their head on their left side, then throw your sword to your right shoulder<ref>"the head, then throw your sword on" omitted from Mair. This is probably a scribal error, jumping from dem to dein.</ref> and act as if you want to bind against their sword with the crooked cut and cut short and with that disengage below and shoot your point in long into the opening on their other side so that they must parry. With this you come to blows and to other work with the sword.<br />
<br />
You can also make this play when they initiate a descending cut from their right shoulder.<br />
<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you must always present yourself open with it. Look at it like this, whenever you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side in the meantime. If they are also crafty and will cut from the sword to your opening and make you stray with agility, then keep your sword against theirs and follow their cut on their sword and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield<ref>Rostock and Salzburg add: "or guard"</ref> themselves from your cuts and your thrusts.<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Conduct the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head, in guard and watches you, then note when you come close to them, advance your left foot and hold your sword with the flat on your right shoulder. If they then lift a foot in your direction and threaten to strike you, then you come before and spring well to your right side with your right foot and in the spring turn your sword in front of your head by the hilt in such a way that your thumb comes under and strike them on the left side of their head with your short edge.<br />
<br />
Item. When they come first with the descending cut, then step to their left side with your right foot, and strike into the strong of their blade with the crosswise cut such that their strike is parried. Indes, shove your pommel up sideways to your right side with your left hand such that you strike them at their left ear. Or, you can double that while you have crossed them at their strong. Or, if they are so strong that you cannot come to this, then shove their sword away with your hilt and strike around to your right side and seek the other opening.<br />
<br />
Item. But if they come forth with the cut earlier than you, then spring away from the cut with your right foot sufficiently to your right side with the afore written act of parrying and strike them with the crosswise cut in the afore named place.<br />
<br />
Item. A break against the upper and lower cross strike<br />
<br />
When you have bound against their sword with a descending cut and strike around the crosswise cut high or low, then keeping the hilt in front of your head, twist your sword forwards either way and stab them in the nearest opening with the point. This enters from both sides.<br />
<br />
Item. When one bindsyou with a free descending cut and cuts the lower crosswise cut to your right side, then stay standing like this and lay the short edge against their neck.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
Note This is so that when you cut with the crosswise cut, you shall do it with strength. If they parry, then rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword with your strong, work over their sword to either the lower opening or high against their neck by mutating. But if you cannot come to that, then work behind their sword with a strike to the head using doubling.<br />
<br />
Item. But if they are so strong with their act of parrying, that you cannot get to that play, then shove their sword away with your hilt and strike them on the other side with the crosswise cut. Or, if they will rush in on you, then take the slice under their arms.<br />
<br />
Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.<br />
<br />
Item. When you wish to take initiative with a crosswise cut to their left side, don't hit, and swiftly strike to their right side. If they then strike at your right, then Indes, slice into their hands at the joint of their right hand.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Item. Here note the crosswise cuts to the four openings<br />
<br />
Item. When you come to the opponent with the initiation of fencing, if they then stand opposite you in the roof guard, spring facing them well to your right side with your right foot and strike them through total art at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side and further conduct the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body.<br />
<br />
Item. you should also remember that you shall always spring out to one side with each and every cross strike so that you can really hit the opponent in the head with it and be mindful that you will be well covered with your hilt up in front of your head.<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Another<br />
<br />
Item. Conduct the failer like this: When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them with the crosswise cut, abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the remainder of the application like it was just written above.<br />
<br />
The inverter constrains<br />
Rushing through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Note that you shall deliver the inverter covertly<ref>mair: extended</ref> in the initiation of fencing. For with it, you constrain the opponent such that you can rush through and properly seize them with wrestling.<br />
<br />
Item. Conduct the inverter like this: When you, with the initiation of fencing, have moved half way into it<ref>Mair: When you arrive at the opponent with the initiation of fencing and have moved half way into it</ref>, move the other half forward toward the opponent over and over with the left foot in front and make a free rising cut from the right side after each advance in accordance with the left foot and with the cut invert and turn the long edge of the sword and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through. But if they stay low with their hands during the act of parrying, then seize their right elbow with your left hand and hold firmly and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer and conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder and when you see that they are high, then spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Conduct this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Know that the cockeyed cut is a good, strange and grim play, for it breaks in by cut and by thrust with violence and goes in with an inverted sword. This is why many masters of the sword have nothing to say about this cut and the guard that is called here, the plow as well.<br />
<br />
Item. The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and spring forward with your right foot and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and aborts during the cut of your sword and disengages below, then remain with your point in front of their face from long arms so that they can neither harm you, nor come through below.<br />
<br />
Item. Another play.<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and threaten to stab you from below, then cleave in long from above with the short edge by means of the cockeyed cut and shoot your point into the face or breast of the opponent in such a way that they cannot reach you with their thrust from below.<br />
<br />
Item. Another.<br />
<br />
When you stand opposite the opponent and have your sword on your right shoulder, if they then stand in retaliation opposite you in the guard of the plow and threaten to stab you from below, twist the cut with the short edge in long from above in such a way that they cannot reach you with their thrust from below.<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
This is a lesson. When you start to move in with the initiation of fencing, you shall cock an eye or look to see whether your opponent fences with you short. And understand the shortening of the sword like this: When the opponent does not extend their arms long from themselves during the cut, they are shortened. If you bring yourself into the fool's guard and they will fall upon that with their sword, they are again shortened. If they fence against you from either ox or plow, that is also shortened and all windings in front of the opponent, these are all short and you shall disengage such fencers. With that, you constrain them so that they must parry, so that you can then strike and work freely with the sword and with wrestling as well.<br />
<br />
Item. Another lesson.<br />
<br />
When you move toward the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences shortly against you. You shall recognize it like this: When the opponent initiates a cut at you, if they then do not extend their arms long from themselves during the cut, their sword is shortened. And all fencers that fence too shortly, freely disengage them, from either cuts or from thrusts using long point. With this you zero in on them against your sword such that they must allow you to come into a bind and allow themselves to be struck.<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play against long point using a deception of the face. Conduct it like this: When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with your short edge via the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When the opponent stands against you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands with your point via the cockeyed cut.<br />
<br />
You can also do this when they make a free descending cut in at you from above. Focus on their head as if you will strike there and cut against their cut with the short edge and strike down against their sword's blade onto their hands with your point.<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
This is how you should conduct the failer doubly to both sides and look at it like this. When you come to the opponent with the initiation of fencing, advance your left foot and hold your sword on your right shoulder and when you see that they are even with you, then spring towards them, well out to your right side with your right foot and act as if you will cut them with a descending cut on the left side of their head. If they then move forward with an act of parrying, then suddenly yank the cut back up and immediately spring around to the right side of the opponent with your left foot and in your spring, act as if you will strike them on the right side and suddenly withdraw and spring back around to their left side with your right foot and strike in freely on the same side. If they will subsequently go for the opening during that, drop into their arm with your long edge and press them away from you. You shall know how to conduct this to both sides and that you can also conduct this from the crosswise strikes.<br />
<br />
The parter with it's plays<br />
<br />
The part cut<br />
With it's turn<br />
The face<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Know that the part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn.<br />
<br />
Item. Conduct the part cut like this: When you come to the opponent with the initiation of fencing, if they then bring themselves into the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring at them with your right foot and cut down from above strongly and keep your arms high and drop your point down into their face or breast. Then if they parry with the crown such that the point and the hilt both stand up against their sword; and they rise up with it and push your point upwards, then rotate your sword under their kron, into their arms using the slice and press. In this way, the crown is broken again. And during the pressing, take the slice and withdraw yourself with it and step close to them if they parry again.<br />
<br />
Item. When you wish to execute the part cut to the opponent, you can let your point go through alongside, down below their hands and extended out long into the right side of their face.<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from. The first guard is called the ox.<br />
<br />
Item. Put yourself into the ox like this: stand with the left foot forwards and hold your sword on your right side with your hilt in front of your head, such that your short edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword on your left side with your hilt in front of your head such that your long edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. The second guard is called the plow. For this, put yourself together like this: advance your left foot and hold your sword with crossed hands down on your right side with your pommel near your right hip such that your short edge is up and your point lifts up forwards against your opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: advance your right foot and hold your sword down at your left hip by your left side such that your long edge is turned up and your point lifts up against your opponent's face.<br />
<br />
Item. The third is called the fool and put yourself together like this: advance your left foot and hold your sword in front of you with extended arms with your point upon the ground and such that the short edge is up.<br />
<br />
Item. The fourth guard is called roof guard and put yourself together like this: advance your left foot and hold your sword high above your head with outstretched arms and turn your long edge forwards and let your point hang a little to the back and stand in guard like this.<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Note you have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that break the four guards.<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
The second is the crosswise cut which breaks the roof guard<br />
<br />
The third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool.<br />
<br />
And how you shall conduct the correct play of the four cuts against the guards, you will find written previously in the cuts. To this end, guard yourself from parrying against the guards if you wish to otherwise not be harmed by strikes.<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that rise up with your sword and strike quickly with the short edge or at the opponent's head via doubling.<br />
<br />
Item. One other.<br />
<br />
When the opponent has parried you, race up toward their point with your sword against their sword's blade as if you would abscond above, then remain against the sword and cut straight back to their head against their edge.<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Know that lodging is an earnest play because it moves into the area of the four openings and it is appropriate to conduct when you wish to give an immediate conclusion using the sword.<br />
<br />
Item. Conduct lodging like this: When you come to the opponent with the initiation of fencing, bring yourself into the guard of the ox or of the plow with your sword. Then if the opponent will cleave in from above or initiate a thrust from their right side, come forwards with a parrying action, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them.<br />
<br />
Item. Or if they cut from their left side, come forwards with a parrying action and shoot the point straight in at the nearest opening of their right side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their right side, then shoot the point straight in at the nearest opening of their left side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their left side, then shoot the point straight in at the lower opening of their right side and always take care of the execution of the lodging during this. Then if they become aware of your shooting in and parry, then stay atop that using your sword and swiftly work to the nearest openings.<br />
<br />
Item. You should also know this: As soon as you both come together into the fight and as soon as they lift up their sword and will strike around, just then, you shall fall into point and thrust at the nearest opening. But if they won't move with their sword, then you should move them with your sword and as soon as or at the moment you complete a strike, at that moment, Indes, you fall into point. If you can conduct the lodging correctly, then the opponent must move or shift hard. It has to allow you a wound.<br />
<br />
Learn to pursue<br />
Twice or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's'application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be conducted with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Item. The first play of pursuing<br />
<br />
Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck.<br />
<br />
Item. Another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword and this is the enticement to the outside.<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them below their sword and toward their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
Item. Yet another pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you bring yourself into the fool's guard facing them, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. If they will either cleave in from the act of parrying or wind in against your sword, then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Another<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either misses their attack or uncovers themselves in front of you with their sword.<br />
<br />
Learn to feel<br />
Indes, this here cuts sharply<br />
<br />
Know that at the sword, feeling and the term 'Indes' is the greastest art and whoever is or wishes to be a master of the sword yet they cannot feel nor marry the term 'Indes' to it, they are not a master. They are a buffalo of the sword. Therefore you shall quite fully study the term Indes and feeling for all situations so that you correctly comprehend it.<br />
<br />
Item. Note the ability to feel like this: When you come to the opponent with the initiation of fencing and one binds another against their sword, you shall immediately feel whether they have bound soft or hard while the swords clash together and as soon as you sense soft or hard, then reflect on the term Indes. That is, you shall swiftly work and feel together at once with your sword so that they are struck before they come to their senses.<br />
<br />
Item. You shall now know that the ability to feel and the term Indes cannot exist without each other and understand it like this: When you bind against the opponent's sword, then you must feel soft or hard using the term Indes and when you feel, then you must again work Indes. In this way, they always occur with each other, because the term Indes is in all plays.<br />
<br />
Note it like so: Indes doubles, Indes mutates, Indes disengages, Indes slips across, Indes takes the slice, Indes wrestles together, Indes takes the sword, Indes does what the heart desires, Indes is a sharp word. With it, all masters of the sword and those that do not understand nor know of this term Indes will be struck down.<br />
<br />
Pursuing twice,<br />
Make the old slice with it.<br />
<br />
This is so that you shall conduct the pursuing to both sides and deliver the slice therein as well. Look at it like this: When the opponent misses their attack before you, be it from either the right or from the left side, freely cut behind it into the opening. Then if they rise up and bind against your sword from below, then immediately note when one sword clashes against the other and then, 'Indes', fall upon their arm with your long edge and either press downwards with your edge or execute a slice at their mouth.<br />
<br />
Whoever twists upwards<ref>S. "takes aim from below", which matches the standard Recital. R. "whoever winds from below".</ref><br />
Overrun it, they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I will praise.<br />
Make your work<br />
Or press twice.<br />
<br />
This is when the opponent initiates fencing from below and how you shall overrun them. Look at it like this: When you come to the opponent with the initiation of fencing, then if they initiate a cut from below, do not parry them, rather note when their rising cut moves to oppose you, then cut long from above from your right shoulder and shoot in long either into their face or into their breast and lodge against them such that they cannot reach you from below. And if they rise up from below and parry, then remain against their sword with your long edge and work swiftly to the nearest opening.<br />
<br />
Item. Note when you have strongly bound against the opponent's sword, if they from their act of parrying strike around<ref>mair: under</ref> you to your other side, then bind them strongly on their sword again from above towards their head with your long edge and work to the opening as before. Conduct this to both sides.<br />
<br />
Learn to displace<br />
Skillfully disrupting cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you'll step.<br />
<br />
Note when you come to the opponent with the initiation of fencing, if they subsequently set themselves against you as if they will thrust, then advance your left foot and position yourself in the guard of the plow on the right side and offering yourself open on your left. Then if they thrust into your opening, then wind to your left side with your sword against their thrust, your short edge opposing their thrust and with that displace such that your point stays facing them and with that step in with your right foot and Indes stab them either in the face or in the breast.<br />
<br />
Item. Another play<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step in with your right foot and stab them in their face or breast. This play is also conducted in this way from the plow on your left side.<br />
<br />
Item. You can also conduct displacing from either rising cuts or descending cuts. When you are positioned high with your sword and will then make a descending cut, during the cut wind into the ox on your right side and displac cut or thrust to your left side back into the ox. Indes, either thrust or double or make whatever you wish. This goes to both sides.<br />
<br />
If you subsequently lay in the switch cut, twist your sword into the plow and displace cut or thrust, "Indes", work swiftly to the nearest opening with every application. This goes to both sides.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds or slices the opponent<br />
<br />
Know that disengaging is many and varied and you can conduct them from any cut against fencers that cut to the sword and not to the openings of the opponent. You shall learn to conduct them quite well with prudence such that the opponent does not lodge against you while you disengage.<br />
<br />
Item. Conduct disengaging like this: When you come to the opponent with the initiation of fencing, cleave in long at the opponent's head, if they subsequently cut against your sword and not at your body, then let your point disengage below during the cut before they bind against your sword and stab them on the other side. Then if they become aware of the thrust and immediately chase your thrust with their sword with an act of parrying, then disengage again to the other side. And always conduct this when the opponent chases after your sword with an act of parrying on either side.<br />
<br />
Item. Another disengaging.<br />
<br />
When you come to the opponent with the initiation of fencing, then advance your left foot and hold the long point against your opponent's face. Then if they will cut at your sword from either above or from below and intend to either bat it away or bind against it strongly, then let your point sink down and stab them on the other side and execute this against all cuts.<br />
<br />
Item. Note this play quite precisely.<br />
<br />
When the opponent has parried you or has otherwise bound against your sword, if at the sword, they do not hold their point toward the openings of your body and let it go out next to you, off to your side, then boldly disengage. But if they remain with their point in front of your face or toward your openings, then do not disengage and remain at the sword and work with that to their nearest opening so they cannot pursue you nor lodge against you.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Withdraw suddenly. If they engage, withdraw suddenly again.<br />
It reveals work that does them harm.<br />
Withdraw suddenly from all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Know that withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either miss their attack in front of it or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct a sudden withdrawal against them like this: Cut in strongly from above at their head from your right side, if the opponent speeds toward it and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another play.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Wrestling in the long sword<br />
<br />
Note rushing through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them down on their head in front of you.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in with uplifted arms and you do the same, slip your head through to their right side and step forwards in front of their right foot with your right and pass your right arm through below the opponent's right arm, around their body and sink yourself down a little and fasten them to your right hip and throw them behind you. You shall conduct this initiation of wrestling on both sides.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in on you to your right and is high with their arms and you are as well, hold your sword in your hand and shove their arms away from you with that and spring forwards in front of their right foot with your left and pass your arm way back around their body and sink yourself down a little and fasten them to your left hip and throw them on their face.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings on both sides.<br />
<br />
Note whenever the opponent rushes in into your sword and holds their arms down so you cannot rush through, conduct these wrestlings written hereafter.<br />
<br />
Item. Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag<ref>S: force</ref> them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then let your left hand go forwards away from your sword and with your pommel, pass over their right hand from the outside and press down with it and with your left, catch the opponent by their right elbow and with your left foot, spring in front of their right and push them over it.<br />
<br />
Item. Another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then let your sword drop and invert your right hand and with it seize their right from the outside and with your left catch the opponent by their right elbow and with your left foot spring in front of their right and and with your right hand shove their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
This is a break against the over binding<ref>S., M., R. "over-winding"</ref> of your sword. Conduct it like this: When you fence with your opponent from rising cuts or from antagonizing cuts or if you lay against your opponent in the guard here called the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below, and lift firmly upwards with your short edge. If they subsequently push down strongly, then with your sword against their sword's blade, sweep off backwards, away from their sword from below and immedately cut back in against their sword from above into their face.<br />
<br />
Item. Another wrestling.<br />
<br />
When you initiate fencing to your opponent's body with rising cuts<ref>L: "When you fence to your opponent with rising cuts"</ref> or if you lay in fool's guard, if they subsequently fall upon your sword near your hilt with their own such that their point goes out to your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword to your left side, then swiftly rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping or springing.<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note these four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. Premptively break that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike around from an act of parrying.<br />
<br />
Item. The two slices from below are appropriate to conduct against the fencers that rush in with uplifted arms. Conduct them like this: When the opponent bindsagainst your sword, be it with an act of parrying or whatever, if they subsequently rise up high with their arms and rush in, to your left side, then twist your sword around into their arms with your long edge under their hilt so that your thumb comes below and press upwards with the slice.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, then twist your sword around into their arms with your short edge under their hilt so that your thumb comes below and press upwards with the slice. These are the four slices.<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then twist your sword around into their arms with your long edge under their hilt and press upwards firmly and with that, step to their right side and with that, turn<ref>a: wind</ref> your pommel through below and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Item. If the opponent runs in with uplifted arms to your right side, the turn<ref>s: wind</ref> your sword into their arms with your short edge underneath their hilt and press upwards firmly and step to their left side and let your pommel go through below and turn your sword over their arms into the slice with your long edge and press them away from you.<br />
<br />
About the hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Know that the two hangings from the ground, this is the plow from each side. In these, in cuts and thrusts and in the bind of the sword you shall posess the ability to feel whether the opponent is soft or hard.<br />
<br />
You shall also know how to conduct four windings from them. And from each particular one: a cut, a thrust and a slice, like from the upper hangings.<br />
<br />
Item. Note the hangings in this way as well: When you come to the opponent with the initiation of fencing, then position yourself in the plow or the switch cut, it can be on either side. hang your sword's pommel [down] towards the ground and thrust up from that hanging into the opponent's face in from below. If they then shove your point upwards by parrying, then stay like that against the sword and rise up with your pommel and hang your point in at their face from above and in these two, you shall conduct every application with cuts, thrusts and slices.<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Whoever withdraws themselves before you,<br />
Strike them so that it snaps.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Note you have heard before about how you should place yourself into the four guards with your sword in front of your opponent, you shall know that the speaking window is a guard in which you can stand fully secure in and this guard is the long point which is the nobelest and the best defence in the sword. Whoever can fence from it correctly, they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and therefore cannot easily come to blows.<br />
<br />
Item. Make the speaking window like this: Whenever you move toward your opponent with the initiation of Fencing, with whichever cut you subsequently come against them, be it a rising or descending cut, always let your point shoot in long from your arms with your cut into their face or breast. With this you constrain them so that they must parry or bind. And when they have bound like this, remain strong against their sword with your long edge and stand easy and watch their situation for whatever they will further fence. If they draw themselves back off from your sword, then follow behind them with your point toward their face or breast; or if they strike around leaving the bind to the other side, then slice strongly across their arms and work in from above to their head. But if they will not withdraw from your sword, nor strike around, then work by doubling or else using other plays thereafter as you sense whether they are strong or weak against your sword.<br />
<br />
Item. So you shall know that the speaking windows are two guards from the longpoint. One against the sword and the other in front of the opponent before you either bind against their sword or before the swords clash together and yet they are nothing more than a single guard.<br />
<br />
Item. I say to you truthfully that the longpoint is the noblest<ref>s: best</ref> defence against the sword because with it you constrain the opponent such that they must allow you to strike them and therefore cannot come to blows whatsoever. For this reason you shall conduct your point into the breast or into the face of the opponent with all cuts and conduct further thrusts and strikes from there.<br />
<br />
Item. This is also called the speaking window. When you have alomst come to the opponent with the initiation of fencing, then advance your left foot and hold your point extended from your arms against the opponent's face or breast the moment before you bind against their sword and stand easy and watch for whatever they will fence against you. If the opponent subsequently cleaves in from above, then move up with your sword and wind into the ox against their cut and stab them in their face. But if they cut at your sword and not at your body, the boldly disengage and stab them on the other side. Or if they rush in and are high with their arms, then conduct the lower slice. but if they are low with their arms then seek the wrestling. In this way you can conduct all plays from your arms which seem best to you.<br />
<br />
The distillation of the new Zettel<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And carries out windings with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
This is a lesson and exhortation of the art of the sword so that you shall be extremely well ready and practiced therein so that you shall command them instantly and correctly conduct the breaks against the opponent's plays with agility. In this way, upon each break you shall conduct one of the three wounders that will be explained to you hereafter. You shall also know about the four hangings, which are the two lower and the two upper. The upper, that is the ox; the lower, that is the plow; on both sides and from these four hangings you shall carry out eight windings and you shall correctly judge and consder these eight winds so that you specifically conduct a cut, a thrust and a slice from each winding. These are the afore written four winds.<br />
<br />
Item. Here note how you shall conduct eight winds from the the four hangings. The first overhanging has two winds. Conduct them like this: When come to the opponent with the initiation of fencing, then setup in ox from your right side. Then if they cut at your left side from above, then wind against their cut, your short edge against their sword again in ox and thrust in at their face from above. This is one winding. If they displace your thrust toward their left side, then stay against their sword and wind back to your right side into the ox, your long edge against their sword and thrust in at their face from above. This is one hanging from your right side with two winds against their sword.<br />
<br />
Another<br />
<br />
Item. The second overhanging, again with two winds. Conduct it like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. If the opponent subsequently cleaves in from above to your right side, then wind against their cut, the long edge against their sword and thrust in at their face from above. This is yet another winding. If the opponent displaces your thrust toward your right side, then stay against their sword and wind back to your left side into the ox, the short edge against their sword and thrust in at their face from above. This is the second overhanging from your left side, again with two winds against their sword.<br />
<br />
Item. Now you shall know that from the two lower hangings, that is the plow from both sides, you shall also conduct four winds with all their applications like from the upper. These are the eight winds. And every time you wind, reflect specifically on the cut and on the thrust and on the slice in each and every winding. In this way we arrive at twenty four from these eight winds. And from whichever one of the winds you shall, conduct the cut or the thrust or the slice against which plays and against which attacks, you will find all of that before, written in the plays.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Hutter&diff=135192User:Christian Trosclair/Translations/Hutter2022-07-27T21:58:19Z<p>Christian Trosclair: </p>
<hr />
<div>Young knight learn: worship God and honor women, converse wholesomely with women and be manly. Then, one shall shall marry you. Also, before laying down with them, do not let yourself be deceived. Consider the spirit of this one against what does you wrong and set your judgment in a noble place. Therefore, learn manly knightcraft yet with lightness. Practice shot putting, squatting, pressing, fencing and wrestling, dancing and leaping, jousting and competing. With these, one shall curry favor with beautiful women surely clapping and delighting. Fencing demands having a heart. Whoever is terrified doing this won't ever learn to fence. Why? Whosoever loses the art of the sword, they go dumb. And great strokes also make such a seized heart soft. That's why one often hears one say that someone seized up often becomes struck and is one without a sense of daring. Thus a fool will come out during fencing, and they have not learned the art. This I myself, Jorg Wilhlem Hutmacher from Augsburg, lament day and night<ref>lit: early and late</ref>.<br />
<br />
Here they fence to the opening to the head and also to the sides.<br />
<br />
Know to target the four openings,<br />
So that you strike wisely<br />
Without any danger,<br />
Without any doubt however they bear.<br />
<br />
You are also to become well aware of this. How you shall break the four openings, comes from the things that follow hereafter. Note the gloss.<br />
<br />
Whoever wishes to attack you,<br />
Intervening shall free you of worry.<br />
And if you have parried,<br />
Then dispatch all their attacks disrupted.<br />
<br />
The two both each stand on the right in the descending cut<br />
If you wish to examine the art,<br />
Then be left and right when attacking.<br />
And left with right<br />
Is how you strongly desire to initiate fencing.<br />
Whoever follows when attacking<br />
Consigns themselves to little joy of the art.<br />
Hew closely whatever you wish,<br />
No disengaging comes upon your shield.<br />
To the head, to the body,<br />
Do not avoid fencing.<br />
With the entire body,<br />
Fence whatever it is you desire to conduct strongly.<br />
<br />
Hereafter, whatever you strike, do it crisply.<br />
<br />
These two both stand left handed in the descending cut<br />
<br />
Do not fence above on the left if you are right handed<br />
And if you are left handed<br />
And you also severely waver on the right<br />
Before and after, the two things<br />
Are the one origin of the entire art<br />
Weak and Strong<br />
Indes, await your work. With this, note<br />
So you may learn<br />
To work with Art. And Those who<br />
Frighten easily<br />
Shall learn no fencing.<br />
<br />
This one stands in a descending cut<br />
<br />
This is the wrathcut from the right shoulder<br />
This is about the wrathcut.<br />
<br />
Whoever cuts at you from above, undertake the wrathcut off your shoulder strongly and cut straight in over the opponent's intervention and tilt forwards and with the sword, wind as if you will cross yourself and let it fall off with half failers to either side and strike the opponent on the head at their right ear with the long edge, move out.<br />
<br />
This one stands in a descending cut<br />
<br />
This is the wrathcut from the left shoulder<br />
This is the wrathcut on the left side and undertake it from the left shoulder and swiftly cleave in long to the opponent's head and tilt forwards and wind with it and again let the failer flow off and strike again as was written before and move out backwards.<br />
<br />
This is the wrathpoint<br />
<br />
This one stands in the descending cut<br />
This is the explanation and note<br />
<br />
Whoever cuts at you from above,<br />
This you penetrate with the wrathpoint<br />
And if they become aware of it,<br />
then take it off without danger<br />
And be strong against it<br />
Wind, cut and thrust. If they see it, then take it below.<br />
Precisely note this:<br />
Cut, thrust, weak and strong<br />
<br />
And undertake it with the half failer and strike in again as before and move out backwards.<br />
<br />
This one stands in the descending cut<br />
<br />
This is the other wrathpoint<br />
This is the other wrathpoint on the other side, undertake it in this way as well when they both go with the wrathcut from the shoulder and one can make a thrust from a cut and [one] can fling off the cut and then immediately move out as above.<br />
<br />
Here they fought to the war<br />
<br />
These two stand in the war<br />
This is the explanation of the war<br />
<br />
Whoever aspires for the war to be above<br />
They will be shamed above, below.<br />
Indes, before and after<br />
Do not let your war be a hurry to you<br />
Be Indes in all situations<br />
If you wish to make war.<br />
<br />
Note the gloss.<br />
<br />
This play is in the war<br />
<br />
This is also about the war and should also know that<br />
<br />
In all winding<br />
Cut and thrust<br />
Overrunning swords<br />
Winching the sword away<br />
In all contacts<br />
If you wish to make a fool of the masters.<br />
<br />
Because there are quite many breaks beyond these and again, for this reason, take heed how one bears with the war. Note the gloss.<br />
<br />
This is a winching away and break from the war<br />
<br />
This is again a play from the war and a break of the previous play and is a winching away which gives cut and thrust opportunities for good slices.<br />
<br />
You shall also utilize<br />
cut, thrust and slice together below<br />
In all contacts<br />
If you wish to make a fool of the masters<br />
<br />
This is also about the war<br />
<br />
This is also about the war<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
You shall also turn forwards crooked and thrust up and around and gauge the opponent's application to see if they are soft or hard in their application. Note the gloss.<br />
<br />
This is also about the war<br />
<br />
This is also the explanation of the war. Whoever fights someone for their neck like this using a sword, they must both undertake a winding through and a counter wind together. This gives good weak and strong opportunities and twist your sword against the opponent's neck and snatch the left foot backwards and slice them across the neck. Note the gloss.<br />
<br />
These are points in the war<br />
<br />
These are the false points in the war which enter earnestly. Why do they do so? Because they belong to many paths through and either swiftly wind through below or wind up over and throw the point to the hands and invert, pressuring a rush through as well if you wish to wrestle.<br />
<br />
This is also about the war<br />
<br />
This is the war when you strike someone on the right side. So if the opponent undertakes the war, it requires from you nothing more than blocking your opening with the long edge and if they shoot up over at you with the sword, then do as you see it pictured<br />
<br />
This is also about the war, a sword disarm.<br />
<br />
Note the gloss. This is a sword disarm and procedes from the war. While this takes it away quite effortlessly, there are nevertheless many quite good plays that belong to the war and [these plays] of the war are diverse, so therefore you shall note quite many things.<br />
<br />
Here, fencing to the four openings<br />
<br />
These are two openings<br />
Here they fight to the opening to the head and also to the side<br />
<br />
Know to target the four openings<br />
So that you strike<br />
Without any fear<br />
Without any doubt of how they bear<br />
<br />
You are also to become well aware of this. How you shall break the four openings, comes from those things that follow hereafter. Note the gloss.<br />
<br />
These are also two openings<br />
<br />
These are the other two openings on the other side. So for this reason pay attention and note how they go. And whoever takes the lower opening, they will become shamed above, by the ears. Note the gloss Weak and Strong.<br />
<br />
This is the crooked cut to the right side change<br />
<br />
This one stands in the descending cut<br />
This is the explanation of the crooked cut.<br />
<br />
Crook up swiftly<br />
Throw the point to the hands<br />
Cut crooked to the flats<br />
If you wish to make a fool of the masters<br />
Crook not, short cut<br />
Your disengage with that avoids<br />
<br />
or revolve if you wish to wrestle and march them in the triangle. Note the gloss.<br />
<br />
This one stands in the descending cut<br />
<br />
This is the crooked cut from the left side<br />
This is crook up swiftly<br />
<br />
Whoever parries well<br />
With stepping, they disrupt many cuts<br />
Cut crooked to the flats<br />
If you wish to weaken the master<br />
When it sparks above<br />
Then dismount, that I will laud.<br />
Crook straight and do not short cut<br />
Consider the disengage with that<br />
Cut crooked whoever confuses you,<br />
The noble war confounds them.<br />
<br />
This is how on shall break the four openings. This one which strikes in with openings in the side, is then broken by the other and then strikes in behind upon his head.<br />
<br />
They strike the opening of the other in their right side<br />
This is opening break<br />
<br />
And if you wish to reckon yourself<br />
The four openings, artfully break.<br />
You double above<br />
Mutate below to the right<br />
I say to you truthfully,<br />
No one defends themselves without danger.<br />
If you have understood<br />
They cannot come to blows.<br />
<br />
I have understood this. Note the gloss.<br />
<br />
Here this breaks the opening on the other side and is also the opening break<br />
<br />
They break the opening of the other in his left side<br />
This is the opening break on the other side and break it as you see it pictured. You must also double above and mutate below to the right. Item: This opening break should be pictured away form here, before the crooked cut.<br />
<br />
This is the roof guard<br />
<br />
The fool<br />
Item: These are two guards and this is the roof guard in which one hefts their sword upwards. And the other hefts their sword downwards by the left foot, this is the fool and is also called the iron door, There are in fact four guards. Ox and plow, these are also two guards. Note the gloss.<br />
<br />
part cut<br />
<br />
A position or the iron door<br />
Item. This is about the crown, etc. And the one that hefts the sword upwards stands in the part cut and the other in a position and when the one strikes down from the rafters, then the other undertakes the crown like this beautifully.<br />
<br />
This is the crosswise cut<br />
<br />
This one stands in the descending cut<br />
This is: The cross snatches away<br />
Whatever approaches from the roof<br />
The Cross with the strong,<br />
Remember your work with it.<br />
The cross joins hard<br />
To the plow to the oxen<br />
And whoever crosses themselves well<br />
Threatens the head by springing.<br />
<br />
And whoever misdirects the failer up from below twice, they wound according to desire. Note the gloss.<br />
<br />
This is the cross on the other side<br />
<br />
This one stands in A descending cut<br />
This is the cross on the other side. Underake it on the other side as well. Reverse, overwhelm, rush through and then wrestle. And then by the elbows and in the scales march to the left and do not be lax in either cross if you want to wrestle. Note the gloss.<br />
<br />
They break the cross<br />
<br />
If they strike the cross<br />
This is the play of how someone shall break the cross. Here one breaks a cross another by saddling atop and by locking down and by locking up. From that you can undertake the two hangings if you wish, because there are two hangings that severely restrict the opponent. Note the gloss.<br />
<br />
This one stands in the roof guard and wards themselves as much as they like<br />
<br />
It is said like this: Whoever crosses themselves well with springing threatens the head. This is that play.<br />
<br />
This is also a play of the crosswise cut whoever crosses themselves well with springing threatens the head from one side to the other. It is also one of the better ones and comprehend it like this. Note the gloss.<br />
<br />
This one lies in the crosswise cut and took it with a spring and had their arm shoved away from them.<br />
<br />
This is also about the crosswise cut in which someone also undertook with a spring. Undertake it as you see it pictured. The break comes hereafter. Which means look out, because there is no play that does not have it's break. Therefore note the art. Comprehend it.<br />
<br />
They also stand in the crosswise cut and will it shove away<br />
<br />
Yet this one breaks them and crosses themselves high upon the other's head.<br />
This is the break against that. You can undertake a slice absolutely immediately and move away so that the opponent cannot reach you. Thus, one play breaks the other and for this reason, note what is good to you.<br />
<br />
This is also from the crosswise cut: With springing threatens the head however they bear with their turn without any fear.<br />
<br />
This is also a play. Whoever crosses themselves well threatens the head with spinging and a slice, a thrust and passing over and catching by the neck like so. Understand it as you find it pictured below. Note the gloss.<br />
<br />
This is the crosswise cut in over, also a play.<br />
<br />
This is again about the passing over from the crosswise cut, so that you understand that quite a lot comes out of the crosswise cut. Often one seeks it outbecause it is good in all situations to make weak and strong.<br />
<br />
This is the ox<br />
<br />
This is the plow<br />
This is the explanation of the oxen and plow. The thing and the two things are the foundation of the entire art. Ox and plow are suitably firm for the war. In all situations prepare the farewell cut alongside it, so you are sure in all things and it cannot fail you.<br />
<br />
This is the ox<br />
<br />
This is the plow<br />
This is the other ox and plow and are also suitably firm for the war. Item: One shall conduct the ox and plow from both sides because they have four winds and four points that you can use however you wish Often, they are also two guards.<br />
<br />
This one stands armed<br />
<br />
This is also about the cock eyed cut. One has their neck, then the other takes an armed play and breaks into the one's play as you see it pictured. This is also one play, one break. Note the gloss.<br />
<br />
This is also about the cock eyed cut, the play and break. and the one who has the sword upon the neck, that is the break and the other, the play. Note this as you see it pictured.<br />
<br />
This is again about the cock eyed cut, they break overrunning it. This breaks their cock eyed cut strongly. Strike or cut and immediately move out and in short order, for it is no play, it is a break thereof. Note the gloss.<br />
<br />
This is another play of the cock eyed cut. Cock an eye at the point and take the neck without fear and through this note and learn art that you can express clearly and correctly.<br />
<br />
They straightforwardly stand in a descending intervention<br />
<br />
This is the cock eyed cut which breaks whatever the buffalo strikes or stabs<br />
The cock eyed cut breaks into<br />
Whatever the buffalo strikes or stabs.<br />
Whoever conducts the change,<br />
Is robbed from that with the cock eyed cut.<br />
Cock an eye to see if they short you,<br />
Your disengaging defeats them.<br />
Cock an eye at the point,<br />
And take the neck without fear.<br />
Cock an eye at the top of<br />
The head swiftly, if you wish to target and find beautifully<br />
<br />
They straightforwardly stand in a descending intervention<br />
<br />
This is the cock eyed cut<br />
The cock eyed cut<br />
Is dangerous to the face.<br />
With it's turn<br />
The breast is terrorized.<br />
Whatever comes from it<br />
The crown takes off.<br />
This cuts through the crown<br />
Thus you break it hard and beautifully<br />
Press the strokes<br />
Withdraw them suddenly with slices<br />
<br />
In all situations let us act briskly<br />
<br />
This is cock an eye at the point and take the neck without fear and strengthen therein, in the scales.<br />
<br />
This says that there are quite many breaks<ref>CGM 3712: paths through</ref> against it that come hereafter.<br />
This is about the cock eyed cut. Cock an eye at the point and take the neck without fear and place yourself into the scales and hold yourself firm and when you wish away from the opponent, then winch them out and move away. Note the gloss.<br />
<br />
They strike up over<br />
<br />
They have the neck without fear<br />
This is also about the cock eyed cut and how you see it pictured is a break of that. And take care that there are still more plays that break it and take precise note how they bear. Note the gloss.<br />
<br />
This is the part cut<br />
<br />
This is the cock eyed cut<br />
This is the explanation of the part cut, that is: cock eyed cut with part cut, they are both driven to the head. The part cut is a threat to the head, with it's turn, the breast is firmly threatened. And whatever comes from it, the crown stands like this. Note the gloss.<br />
<br />
This is the short edge.<br />
<br />
part cut<br />
This is also about the part cut. It is to be known that one should undertake it with three steps and one can undertake it with one step then come away from them. The crown takes that away. This cuts through the crown, Thus you break it hard and beautifully. Press the strokes, quickly withdraw with slicing. Note the gloss.<br />
<br />
This is an intervention<br />
<br />
This is a position<br />
This is about the four positions and as always, one position and one intervention of it.<br />
<br />
The four positions alone<br />
He says hold to these and flee the common<br />
Ox, and plow, fool<br />
Roof are wholly sufficient for him.<br />
<br />
This is also about the positions and it is to be known that one position breaks the other. These are two positions: one lays above and the other below. Note it like this and understand that the lowest may easily pass through the other and go up to his head. Therefore execute this passage through as I shall say. Note the gloss.<br />
<br />
This is also about the positions. In this they shoot up crooked upon the position and shoots across his sword and this is also the shooting over and one position breaking the other. Note the gloss.<br />
<br />
This is a intervention<br />
<br />
This is also a position<br />
This is about the four interventions<br />
That severely disrupt the positions<br />
Yet guard yourself from parrying<br />
If it happens by necessity it plagues you<br />
<br />
And be swift and come before. If you have understood this, the oppponent cannot come to any art. Note the gloss.<br />
<br />
This is again about the four positions and the interventions thereof and shooting over. These are also positions. Note that they are below with the strong and long in the balance and when they will lift up, then you must take a cut or if you wish you may hang whatever connects best to you.<br />
<br />
This is again about the four positions and about the interventions thereof. Notice and examine that these are also two positions and this is also one position which had been overshot. The positions each have one end and the four interventions are grouped with each other, because there are many of them which seek that. Note the gloss.<br />
<br />
This is about the pursuing<br />
Learn twice into the weapons<br />
And undertake two out from them<br />
And your work begins from this<br />
And gauge the opponent's application<br />
Whether they are soft or hard,<br />
Learn this.<br />
Indes, this word cuts sharply.<br />
Pursue twice,<br />
Then take the farewell slice with might.<br />
<br />
And pay attention, note the gloss.<br />
<br />
This is another pursuing. For this pursuing, you shall take it to both sides. Step long if you wish to traverse. Because the pursuing is manifold and this is the pursuing when someone has attacked you and will move away from you or withdraw, then chase them and ward yourself.<br />
<br />
This is about the overrunning. Note here that this overrunning is when someone overruns the opponent from the outside with might with the pommel turned out and this is an outside overrunning which is even better, therefore when someone will overrun you, then lift your sword strongly in the air, so that they cannot overrun you. Note the gloss.<br />
<br />
This is also about the overrunning and this is an overrunning on the inside.<br />
And whoever targets below<br />
And if someone overruns you, you will become shamed<br />
and when it sparks above<br />
Then displace it, that I will laud<br />
Make your work<br />
soft or hard and press it twice<br />
<br />
However you wish. Note the gloss.<br />
<br />
<br />
This is also an overrunning and is armed and enters into wrestling with it. Therefore precisely notice that the one wants to throw the other over the left foot and is included in the overrunning if one wishes to seek it, Note the gloss as it is pictured below.<br />
<br />
This is also an overrunning with the pommel and an armed overrunning with wrestling like before. Move in and throw them with it and do it like it is pictured below. Note the gloss overrunning like this.<br />
<br />
This is about the displacing. Whoever cleaves down from the roof, displace their cut with the short edge of the sword. Then if they are soft, let it go around your head and strike them with the crosswise cut. But if they are hard, then do not strike, take and wind them onto your sword and work. Note the gloss as it is pictured below.<br />
<br />
A displacing<br />
<br />
This is a displacing on the other side and one also undertakes it with the short edge as before and notice whether the weak and strong is soft or hard. Note the gloss.<br />
<br />
A displacing<br />
<br />
They lay in the longpoint<br />
This is about the displacing. Suddenly disrupt Hew, stab. The one behind lies in the longpoint and the forward one displaces them with a displacing.<br />
<br />
A displacing<br />
<br />
A longpoint<br />
This is another displacing and the forward one displaces the point of the other. Note the gloss.<br />
<br />
A displacing<br />
<br />
A longpoint<br />
This is: Whoever wishes to displace<br />
Suddenly disrupts hew, stab<br />
And whoever stabs at you<br />
See that your point hits and their's breaks<br />
From both sides<br />
Connect if you wish to traverse<br />
<br />
This is also a displacing. Note the gloss.<br />
<br />
A displacing<br />
<br />
A longpoint<br />
This is: whoever wishes to displace, suddenly disrupts cut, thrust and is also a displacing. Note the gloss as it is pictured below.<br />
<br />
This is the first downward slice across the arm and swiftly slice the resistance and flee with your application and pay attention and undertake the slice with might and do it like this (Note the gloss) as it is pictured below.<br />
<br />
This is the other downward slice, also undertake it with the long edge. Note the gloss.<br />
<br />
This is about the upward slice, the third. With it, slice off the resistance through both arms. Note this as it is pictured below and undertake it swiftly and immediately move out. Note the gloss.<br />
<br />
This is the fourth slice. Also undertake it as you see it pictured below and undertake it strong or soft, as you wish and immediately fly away and take care that you complete your slice. Note the gloss.<br />
<br />
This is also an downward slice. Take it as you see it pictured below. Slice off from the resistance and fly and move out such that they cannot respond with the pursuing. Note the gloss.<br />
<br />
Item. This is the farewell slice. The forward one conducts it like this and draws upwards strong and long, up from below, through their right arm and flies away. Note the gloss.<br />
<br />
This is the other farewell slice to the other side. Undertake it like this as it is pictured below and take it up suddenly and move out backwards so that they cannot reach you.<br />
<br />
This is about the hand pressing. Press the sword into the hands and do it swiftly. Turn your sword forwards, flat through the hands.<br />
<br />
This is also a hand pressing. Undertake it like this. Take your sword and strike for their opening and press them stringly away from you. Note the gloss of this and take heed of how they bear.<br />
<br />
This is about the hangings, etc. Turn out one hand from the other. In all application hew, stab, position, soft or hard with their application. This is the hanging that crosses itself as you see pictured below. Note the Gloss. This is one hanging on the first side. Understand this precisely.<br />
<br />
This is the hanging on the other side. Do it with a shortened sword and heft the point further downward as you see it pictured below and the two hangings are good interventions in all situations. Note the gloss.<br />
<br />
The window breaker<br />
<br />
Item. This is the speaking window. Break and make the stance freely and gauge their situation. Cross yours with the strong and wind down through to them and note it as you see it pictured below. Note the gloss.<br />
<br />
A longpoint<br />
<br />
This is about the four false points and is one of the longpoints and they go to both sides. Notice here, that the longpoint goes into their face and is good for any situation. With it, one sets up the war. Note the gloss as it is pictured below.<br />
<br />
This is the second secret point. Take it as you see it pictured above. This also goes into the face, so observe and see what is good about that.<br />
<br />
This is the third secret point and is a false point. Note it as it is pictured above. You can also undertake the passing through or the disengaging as you wish. Undertake the passage through like so: go down through to the opponent with the point. Note the gloss.<br />
<br />
This is the fourth false point. Take it as you see it pictured above, as well. It forces the sword from their hand and is also a good point and take heed and note of this as you see it pictured.<br />
<br />
This is again a false point and a false footstep. Undertake it as it you see it pictured above. When they fall upon your sword, wind up with your sword so that you stand in the long intervention. Note the gloss.<br />
<br />
This one stands in the unicorn<br />
<br />
This is also a false point and comes from the speaking window and then undertake it as it you see it pictured above and that is the unicorn. Note the gloss.<br />
<br />
Item. This is the crown. They hold their sword armed already in the hand and take watch, ready with the crown. This is good in all ways for all weapons and be strong or weak therein as you wish. Note the gloss.<br />
<br />
This is the cut through the crown. Undertake it as beautifully as you see it pictured. In any situation, if you wish to make a slice just remember the gloss of the cut in the crown.<br />
<br />
Item. This here is the break of the crown. Note it as beautifully as you see it pictured. Whoever lifts the sword upwards, they break the crown by the wrenching of the sword with the cross. Pay attention here when they wrench the crown away. Note the gloss.<br />
<br />
The long Zettel has an end here and god help us swiftly. The crown is the last of all and the best of all, etc.<br />
<br />
1523</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Dresden_Gloss_Fragment&diff=135191User:Christian Trosclair/Translations/Dresden Gloss Fragment2022-07-27T21:57:22Z<p>Christian Trosclair: </p>
<hr />
<div>Whoever cuts at you from above,<br />
The Wrath cut point threatens them.<br />
If they become aware of it,<br />
Abscond above without fear.<br />
<br />
Look at it like this: When someone strikes at you from high, strike the wrathcut (using the long edge as he taught you) into their strike with the long edge of your sword against their sword and immediately wind your point into their face with command, that is, with strength. And if they become aware of it, that is of the point, and parry it with a free parry, then abscond above as absconding has been taught to you. For when someone parries freely, you should abscond or else lead the strike to the closest thing against their sword as I have taught this to you, for it arrives earlier than absconding. However they parry you and if they will also parry this other strike, then immediately make one more of the same upon that or a continuous winding with a thrust or strike.<br />
<br />
Also if someone strikes at you, know that you can fully conduct just the wrathcut alone therein. And you are barely blocked, when you conduct it correctly as you are taught it and it is hellish to parry. When you wish to harm someone, then conduct it against the opponent. They can do whatever they want. They can strike or thrust at you, but then they must block it so you come to the previously depicted plays.<br />
<br />
Item. When you fence with someone, whatever they strike at you that doesn't come right straight from high down onto you, block that with the crook. When the Zettel says: "Whoever parries well, Disrupts many cuts with stepping" That is, if someone strikes at you, then drive crooked upon it and cut so that you pre-empt any work and wind your point or a strike forwards so they must block you, so that you again come to more strikes that you can then conduct against them: the failer or thrust or a continuous wind or some other stroke or drop over them when someone parries you too low or drives too wide during their blocking.<br />
<br />
Item. You shall also conduct handsome displacements of cuts or thrusts as you are taught it, if you do not chase after them too crudely and your point points towards their face for a thrust each time. And if they strike from your displacement to the other side, then do not chase them, rather wind as if you will displace again on the other side, but remain and thrust so that you have parried and then they must rid your thrust so that you again come to your work.<br />
<br />
Item. Note if someone knows something of the Zettel and parries your play crooked, if they then wind the thrust forwards as well, heed it but passionlessly displace their thrust or strike and in that, shove your thrust or strike forwards with it. In this way you always work such that they must parry you as surely as you them. And when you practice this yourself so that you are perfect with it when you block someone, then you may confound and break whatever they have brought against you because they must always break off short and block you, etc.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Danzig&diff=135190User:Christian Trosclair/Translations/Danzig2022-07-27T21:56:51Z<p>Christian Trosclair: </p>
<hr />
<div>Here the gloss and the explanation of the Zettel of the longsword begins,<br />
<br />
which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had versified and produced. And that is the reason this art belongs to princes and lords, knights and squires that they should learn and know this. For this reason, he had allowed it to be written in cryptic and misleading words, so that no one could recognize and comprehend it. And he had this done in light of the half-baked masters of defense, whose art amounts to little, so that his art would not be revealed nor become coarsened by these masters. These same cryptic and misleading words of the Zettel are clarified and laid straight in the glosses hereafter in such a way that anyone that can already otherwise fence can recognize and comprehend them.<br />
<br />
Here, precisely note whatever is written in red in the beginning of the written plays hereafter. This is the text of the cryptic words of the Zettel of the longsword. The subsequent black writing, this is the gloss and the explanation of the cryptic and misleading words of the Zettel.<br />
<br />
This is the forward.<br />
<br />
Young knight learn<br />
To have love for god, honor women<br />
So that you expand your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and charge in,<br />
Flow onwards, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<ref>lit: All art has length and measure</ref><br />
<br />
This is a general lesson of the long sword in which much good art is held<br />
<br />
Text<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with your left foot forwards and cut from your right side, if you then do not accompany the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind it, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with your right foot forwards and cut from the left side, if you do not then also accompany the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always accompany the cut with the right foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
In the same way for the companion play (crossing from the left side) you shall always render cut and footstep together with each other.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is dismantled and they become struck for this reason.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Gloss: Note this means when you come to the opponent with the initiation of fencing, from that point, whatever you wish to fence, conduct that with the entire strength of the body and in this fashion toward their head and toward their body from close proximity and remain with the point in front of their face or their breast so that they cannot disengage in front of the point. If they parry with strength and let their point go off away from you to the side, then give them a wound on the arm.<br />
<br />
Or if they rise up high with the arms with an act of parrying, then strike below with a free cut to their body and with that, immediately step back. Thus are they struck before they become aware of it.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to initiate from the right side. It is also the same for a righty from the left side.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this means that you shall see and understand the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you correctly see and comprehend these things and have not forgotten the word Indes therein, in all plays that you conduct, then you are indeed a good master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in battle and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This means that you should always come before, be it with a cut or with a stab, before the opponent does. And when you preempt them with a cut or what have you so that they must parry you, then Indes work swiftly for yourself in their act of parrying with your sword or whatever, with other plays so that they cannot come to any work.<br />
<br />
Here note what is here called the after.<br />
<br />
The after, these are the breaks against all plays and cuts that one conducts upon you and look at it like this. When the opponent preempts you with a cut so that you must parry them, then Indes work swiftly to the nearest opening during your act of parrying using your sword so that you break their before with your after.<br />
<br />
Here note the weak and the strong of the sword.<br />
<br />
The weak and the strong, look at it like this. On the sword, from the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be explained to you hereafter.<br />
<br />
This is the text and the gloss of the five cuts.<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to hew these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall hew these cuts with their plays will be explained to you hereafter.<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing and Overrunn, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better recognize and understand them.<br />
<br />
The first, these are the five cuts as they are specifically named<br />
<br />
Item: The first is called the wrathcut<br />
Item: The second, the crooked cut<br />
Item: The third, the crosswise cut<br />
Item: The fourth, the cockeyed cut<br />
Item: The fifth, the part cut<br />
<br />
Now note the components<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overruning<br />
The fifth, the displacing<br />
The sixth, is the disengaging<br />
the seventh, is the withdrawing suddenly<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth is the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings<br />
<br />
And what you should fence from the components and how you should acquire yourself openings by hanging and the winding, you will find these written hereafter one after the other in the order above.<br />
<br />
Here the text and the gloss begin<br />
<br />
The first is about the wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
<br />
Gloss: Note the wrathcut interrupts any descending cut with the point and is yet nothing other than a simple peasant strike. Conduct it like this: when you come to the opponent with the initiation of fencing, if they subsequently cleave in at your head from high from their right side, then you wrathfully cleave in with them from high from your right side as well, atop their sword without any act of parrying. (marginalia: into the weakness of their sword) If they are then soft against your sword, then shoot the point in at them long, straight ahead and stab them in the face or breast, then lodge against them.<br />
<br />
This is the text and the gloss of another play of the wrathcut<br />
<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Gloss: Note this is when you cleave in with the wrathcut, then shoot the point in long into their face or breast as was written before. Then if they become aware of the point and parry strongly and press your sword to your side, then with your sword against their sword's blade, rise high off upwards, away from their sword and cut back in at the opponent's head again on the other side against their blade. This is called absconding above.<br />
<br />
Break it like this<br />
<br />
When they abscond above, then bind in against their sword from above with the long edge towards their head.<br />
<br />
This is again the text and the gloss of the wrathcut<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Gloss: Note that this is when you cleave in with the wrathcut. If they parry and remain strong against the sword with their act of parrying, then remain strongly in opposition with your sword against their sword and rise up high with your arms and wind against their sword with your hilt forwards, in front of your head and thrust into their face from above. If they become aware of the thrust and rise up with the arms high and parry with their hilt, then remain standing like this with your hilt in front of your head and set your point below onto their neck or onto their breast between both of their arms.<br />
<br />
This is the text and the gloss of a lesson of the wrathcut<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
Without rush, your war is not hasty.<br />
<br />
Gloss: Note this is when the opponent has bound against your sword with a cut or with a stab or however else. You should not let yourself be too hasty with the windings, because it is done this way: You precisely note first whether it is soft or hard when one sword clashes onto another. And after you have perceived that, then work Indes with the winding according to the soft and according to the hard, always to the nearest opening as will be explained and conveyed to you hereafter in the plays.<br />
<br />
This is the text and the gloss of the war.<br />
<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
<br />
Gloss: Note the war, these are the winds and the work which continues into the four openings with the point. Conduct it like this: When you cleave in with the wrathcut, then as soon as they parry, rise sufficiently up with your arms and against their sword "wind" in your point to the upper opening of their left side from above. Then, if they displace your upper thrust, remain standing in the winding like this with the hilt in front of your head and still to their left side, let your point sink down to the lower opening. Then if they chase your sword with an act of parrying, seek the lower opening of their right side with your point. Then if they chase your sword further with an act of parrying, then rise up with your sword to your left side and hang in your point to the upper opening of their right side. In this way they become shamed above and below via the war if you otherwise conduct it correctly.<br />
<br />
This is again the text and the gloss of a lesson of the wrathcut<br />
<br />
In all winds<br />
Cut, stab, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Gloss: Note this is for when you cleave in with the wrathcut. You should be quite well practiced and quite polished with the windings because each winding has three particular plays, that is, a cut, a stab and a slice. And when you wind against the sword, then you should completely make sure that you do not conduct the incorrect play. Therefore you should not cut when you should stab and not slice when you should cut and not stab when you should slice. And you should always know which play to conduct that is rightfully called for in all encounters and binds of the sword else if you wish to dishonor or confound the masters that set themselves against you.<br />
<br />
And how you shall conduct the windings and how they are numbered, you can find that written in the last play of the Zettel that says: "Who fully commands and correctly breaks..."<br />
<br />
This is the text and the gloss of the four openings<br />
<br />
Know the four openings<br />
Take aim so that you strike wisely<br />
Into any movement<br />
Without doubt however they are situated.<br />
<br />
Gloss: Note whoever wishes to be a master of the sword, they shall know how one shall seek the openings with art, if they otherwise wish fence correctly and wisely. Above the girdle, the first opening is the right side, the second the left. Below the girdle the other two are the right and left sides. It follows that there are just two applications from which one may seek the openings. In the first one can seek them from the initiation of fencing by pursuing and by the shooting in of the long point. In the second, one shall seek them with the eight winds when one has bound the opponent against the sword.<br />
<br />
You shall understand it like this. When you come to the opponent with the initiation of fencing, you shall boldly, without any fear, with a cut or a stab, target whichever one of the four openings that you may best get to. And do not heed whatever it is that they conduct or fence against you. By doing this, you constrain your opponent so that they must parry you. And when they have parried, then immediately seek the nearest opening again by winding against their sword in the act of parrying. Always target the openings of the opponent in this fashion and not to the sword like in the play here which says "Lodge against four regions, Learn to remain upon them if you wish to finish"<br />
<br />
(marginalia: with the shooting in of the long point and with pursuing, seek the openings)<br />
<br />
This is the text and the gloss of how one shall break the four openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss: Note when opponent cleaves in at you, if you then wish to set yourself up against them and secure the opening from them with art so that they must allow themselves to be struck without their consent, then conduct the doubling against the strong of their sword and conduct the mutating when they are weak against the sword. For I say to you truthfully, that when facing you they cannot protect themselves from strikes nor can they come to blows themselves.<br />
<br />
Here note how you shall conduct doubling to both sides<br />
<br />
Note when they initiate a cut from their right shoulder, then also cleave in strongly from above with them at the same time from your right to their head. If they parry and stay strong against the sword, then 'Indes', rise up with your arms and thrust your sword's pommel under your right arm using your left hand and strike them on their head with the long edge and crossed arms and from behind their sword's blade.<br />
<br />
Note, if they cleave in from above to your head with their long edge and you do it back to them the same way, if they then stay strong against the sword, then immediately rise up with your arms and strike them on their head using your short edge and from behind their sword's blade.<br />
<br />
(marginalia: I have taught it and warr with the sword and crossing under to the other side)<br />
<br />
Here note how one shall conduct the mutating to both sides<br />
<br />
Note when you cleave in strongly from your right shoulder and they parry and are soft against your sword, then "wind" the short edge against their sword to your left side and rise up sufficiently with your arms and pass over their sword with your sword's blade and stab them in their lower opening.<br />
<br />
Another<br />
<br />
Note when when you cleave in at their head up from your left side, if they parry and are soft against your sword, then rise up with your arms and hang your point down from up over their sword and stab them in their lower opening. You may also conduct these two plays from any attack from after the point you sense weak and strong against their sword.<br />
<br />
These are the trials of the sword and whoever wins them is worthy of praise.<br />
<br />
This is the text and the gloss of the crooked cut with its plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Whoever waits well crooked<br />
Disrupts many cuts with stepping.<br />
<br />
Note the crooked cut is one of the four parries against the four guards because with them one breaks the guards that are called the ox here and also rising and descending cuts. Conduct it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and spring facing them well to your right side with your right foot and strike them across their hands with the long edge from crossed arms.<br />
<br />
Another<br />
<br />
Note you can also conduct the crooked cut from the barrier guard on both sides. Take yourself into the guard like this. When you come to the opponent with the initiation of fencing, then stand with your left foot forwards and hold your sword such that the long edge is above with your point on the ground by your right side and present yourself open with your left side. Then, if they cut into your opening, spring away from the cut, facing them, with the right foot well to your right side and from the long edge strike them with crossed hands on their hands with your point.<br />
<br />
Item<br />
<br />
Take yourself to your left side with the barrier guard like this. When you come to the opponent with the initiation of fencing, do it with your right foot forwards and hold your sword upon the ground by your left side with crossed hands such that the short edge is up and present yourself open with your right side. Then if they cut into your opening, then spring away from the cut, facing them, with your left foot well to their right side and strike them in the spring with the short edge across their hands.<br />
<br />
This is the text and the gloss of a good play from the crooked cut<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Conduct it like this. When you come to the opponent with the initiation of fencing, then either lay down your sword to the right side into the barrier guard and stand with your left foot forwards or hold it on your right shoulder. Then if they cut at the opening from above, cut across their cut with your long edge from criss-crossed arms. And as soon as the swords spark together, then 'Indes', wind your short edge against their sword facing your left side and stab them in the face. Or if you don't want to thrust, then 'Indes', cut to their head or to their body with your short edge.<br />
<br />
This is again the text and the gloss of one from the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
Gloss: Note this is for when the opponent cleaves in from their right side from above. So rise up with your hands high and act as if you wish to bind against their sword with the crooked cut and pass through below their sword with your point and stab them in the face or in the breast on the other side and take care that you are well covered with your hilt in front of your face.<br />
<br />
[Marginal note in a different hand:] against the ox<br />
<br />
You can also break the guard of the ox with this play. Conduct it like this. When you go to them with the initiation of fencing, if they then stand facing you and hold their sword with their hilt in front of their head on their left side, then throw your sword on your right shoulder and act as if you wish to bind against their sword with the crooked cut and cut short and with that disengage below their sword and shoot your point in long to the other side under their sword into their throat so they must parry. With this you come to strikes and other work with the sword.<br />
<br />
[Marginal note in a different hand:] crooked cut w. Which breaks the guard of the ox<br />
<br />
This is again the text and the gloss of one of the plays from the crooked cut<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
For they truthfully<br />
Do not know where they are without danger<br />
<br />
Gloss: Note whenever you conduct the crooked cut, you will always make yourself open with it. Look at it like this, when you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from your sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions that they should shield themselves from your cuts and thrusts.<br />
<br />
Here begins the text and the gloss of the crosswise cut with its plays<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is hewn down from above. Conduct the crosswise cut like this, when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they stand facing you and hold their sword with outstretched arms high over their head and threaten to cleave in from above, come with your cut before they do and spring well to your right side with your right foot and in that spring, wind your sword with your hilt in front of your head such that your thumb comes under and strike them with the short edge against their left side in the head<br />
<br />
Or if they come before you do with their cut down from above, then spring away from their cut with your right foot, well to your right side with the previously mentioned act of parrying so that you catch their cut in your hilt and strike them with the crosswise cut on the left side of their head<br />
<br />
Here note the break against the crosswise cut<br />
<br />
Note when you stand facing the opponent in the roof guard, boldly cleave in at their head from above. Then if they spring away from your cut and intend to arrive first with the crosswise cut and strike you with it on the left side of your head, fall upon their sword with your long edge. Then if they strike around to your other side with the crosswise cut, 'Indes' you go forth ahead of them under their sword and in front of yourself against their neck so that they slash themselves with your sword.<br />
<br />
Note when you have bound the opponent against your sword, if they then strike from your sword around to the other side with the crosswise cut, then fall into their hands or upon their arms with your long edge and press their arms away from you with everything you've got with a slice, and from that slice of their arms strike them on their head with your sword.<br />
<br />
Here note the break against the upper slice into the arm<br />
<br />
Note when you strike the opponent with the crosswise cut to their right side, if they then fall into your arm with a slice, then strike them in their mouth with your short edge from behind their sword's blade by doubling.<br />
<br />
Again, this is the text and the gloss of a play from the crosswise cut<br />
<br />
Cross with the strong<br />
Remember your work with it<br />
<br />
Gloss: Note when you wish to strike the crosswise cut, you shall strike with the entire strength of the body and you shall always bind against their sword with the strong of your sword. With that, you secure their opening. Look at it like this: When you make a crosswise cut from your right side, if they parry and bind strongly against your sword with it, then conduct the doubling or right from of crosswise cut, knock their sword off to the side with your hilt and strike them on the other side with it.<br />
<br />
Yet another<br />
<br />
When you make a strong crosswise cut from your right side, if they parry and are soft against the sword, then either drive the short edge of your sword against their neck on their right side and spring behind their left foot with your right foot and drag them over it like this with your sword's blade or conduct the mutating into their lower opening.<br />
<br />
Break it like this<br />
<br />
When the opponent drives their sword against your neck, rise up inside of their sword with your pommel and let your blade hang down and shove their sword away from your neck and strike in at their head from above by snapping. Or strike them by doubling with your right hand up over their sword and beneathe their face while they have their sword against your neck.<br />
<br />
This is the text and the gloss of the crosswise strike to the four openings<br />
<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head by spinging<br />
<br />
Gloss: Note you have heard before that the ox and the plow are either two positions or two guards, but here they indicate the four openings. The ox, which are the upper two openings, the right and the left side of the head and the plow which are the two lower, the right and the left side below the belt of the opponent. You shall turn to each of these four openings with the crosswise strike in one sortie<ref>lit: zufechten</ref>.<br />
<br />
You should also remember that in broad terms, you should always spring out off to one side facing the opponent with each and every crosswise strike so that you can fully connect to the head and take care that you are fully covered the entire time with your hilt up in front of your head.<br />
<br />
Here note a break against the lower crosswise strikes<br />
<br />
Note when the opponent strikes at your head with the crosswise from their right side to your left side, parry with the long edge and keep your point in front of their breast. Then if they strike around from your sword to your lower right opening using the crosswise strike, then you also make a crosswise strike down through between you and them also against their right side and with that bind against their sword and staying in the bind, stab them 'Indes' in the lower opening<br />
<br />
This is the text and the gloss of a play that is called the failer<br />
<br />
The failer misleads<br />
It wounds according to desire from below<br />
<br />
Gloss: The failer is a play whereby many fencers that like to parry and also those that fence to the sword and not to the openings become deceived and wounded according to desire and and are beaten.<br />
<br />
Note when you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free descending cut and suddenly withdraw the cut and strike at the lower openings of their left or right side, whichever you wish, with the crosswise strike. And take care that you are fully covered by your hilt over your head. You can also conduct crosswise cut like this.<br />
<br />
This is the text and the gloss of a play that is here called the inverter<br />
<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
<br />
Gloss: Note the inverter is called the halfcut or the hand-turner. With it, one constrains the opponent so that you can rush through and capture with wrestling.<br />
<br />
Conduct it like this:<br />
<br />
When you go toward the opponent with the initiation of fencing, go with the left foot forwards and hew the halfcut from the right side with an inverted long edge over and over, up and down in time with your left foot until you arrive at the opponent. And as soon as you bind against their sword with it, then 'Indes' hang your point inward from above and stab them in the face. If they parry the thrust and rise up high with there arms, then rush through.<br />
<br />
Or if they remain with their hands low with their act of parrying, then seize their right elbow with your left hand and hold them firmly and spring in front of their right with your left foot and shove them over your foot like this.<br />
<br />
Or if you do not wish to shove them over your foot by the elbow with your left hand as was written above, then pass your left hand back around their body and throw them in front of you across your left hip.<br />
<br />
This is again the text and the gloss about the failer<br />
<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step in left and do not be lazy<br />
<br />
Gloss: Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling or fall into the slice with your sword across both their arms.<br />
<br />
In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is availble to you or whenever you wish.<br />
<br />
Here begins the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Note the cockeyed cut breaks the guard here called the plow and is a good, strange and grim cut because it breaks into cuts and into thrusts with violence and goes forth with an inverted sword. This is why many masters of the sword have nothing to say about this cut.<br />
<br />
Here note how one shall conduct the cockeyed cut<br />
<br />
Note when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they cleave in at the head from above, twist your sword and hew against their cut up over their sword at their head with your short edge, long with extended arms. Then if they are also cunning and aborts during the cut of your sword and will disengage below, let the point shoot in forward and long during the cut so that they cannot disengage below.<br />
<br />
Another<br />
<br />
When you stand facing the opponent holding your sword on your right shoulder, if they then stand facing you in the guard of the plow and will initiate a thrust from below, cleave in with the cockeyed cut long from above and shoot in the point long into their breast so they cannot reach you below with their thrust.<br />
<br />
This is the text and the gloss on a lesson from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
Gloss: Note this lesson. When you come to the opponent with the initiation of fencing, you shall sneak a glance and see whether they fence short against you. You can recognize this whenever they initiate a cut and do not extend their arms out away from themselves while cutting. Thus their sword is shortened.<br />
<br />
Or if you lie in the guard of the fool and they will then fall upon you with their sword crooked, their sword is again shortened.<br />
<br />
Or if they move themselves against you into the guard of the ox or the plow, their sword is again shortened. Also know that all windings of the sword ahead of the opponent are short and withdraw the sword. And against whichever fencers that conduct the windings in this way, freely disengage from your cuts and thrusts and shoot in the long point to the closest opening from this, thereby pressuring them so that they must parry and you come to your proper work.<br />
<br />
This is the text and the gloss of how one breaks long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
And take the neck without fear<br />
<br />
Gloss: Note when you come to the opponent with the initiation of fencing, if they then stand facing you and hold the long point toward your face or breast, hold your sword on your right shoulder and focus your gaze on their point and act as if you will strike at it and cut strongly against their sword with your short edge using the cockeyed cut. And with that, shoot in your point into their neck using an entrance of your right foot.<br />
<br />
This is again the text and the gloss of a play from the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Gloss: Note this is another break for when your opponent stands in the long point facing you. Focus your gaze upon their head and act as if you will strike them there and strike them on their hands with your point from the cockeyed cut.<br />
<br />
Here begins the text and the gloss of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Gloss: Note the part cut breaks the guard that is here called the fool and to that end, it is quite dangerous to the face and with it's turn, the breast.<br />
<br />
Conduct it like this<br />
<br />
When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge.<br />
<br />
Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.<br />
<br />
This is the text and the gloss about the four positions<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptable to you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from.<br />
<br />
The first guard is called the ox. Put yourself together like this here: stand with your left foot forwards and hold your sword next to your right side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face.<br />
<br />
Note, Put yourself in ox on the left like this: stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face. This is the ox on both sides.<br />
<br />
This is the second guard<br />
<br />
Note that the second guard is called the plow. Put yourself together like this here: Set up with the left foot forwards and hold your sword with crossed hands with the pommel down by your right side at the hip such that the short edge is above and your point against their face.<br />
<br />
Note. Put yourself in plow on the left side like this: stand with your right foot forwards and hold your sword by your right side with the pommel low at the hip such that the long edge is above and your point is in line with their face. This is the plow on both sides.<br />
<br />
This is the third guard<br />
<br />
Note the third guard is called the fool. Put yourself together like this here: stand with your right foot forwards and hold your sword in front of you with extended arms with the point upon the ground with your short edge turned upwards<br />
<br />
This is the fourth guard<br />
<br />
Note the fourth guard is called roof guard. Put yourself together like this here: stand with your left foot forwards and hold your sword on your right shoulder or with upstretched arms high over your head and stand in guard like this.<br />
<br />
This is the text and the gloss of the four parries<br />
<br />
Four are the parries<br />
Which also severly disrupt the positions<br />
<br />
Gloss: Note you have heard before that there are four guards. You shall also know this about the four parries: they break these same four guards. Furthermore, there is no actual parrying is called for in these, because the four parries are four cuts that break them.<br />
<br />
Note the first cut is the crooked cut which breaks the guard that here is called the ox.<br />
<br />
Note the second cut. This is the crosswise cut which breaks the roof guard<br />
<br />
Note the third cut. This is the cockeyed cut which breaks the guard that here is called the plow<br />
<br />
Note the fourth cut. This is the part cut which breaks the guard that here is called the fool<br />
<br />
And how you should break the four guards with the cuts shall be found written previously in these same cuts.<br />
<br />
This is the text and the gloss about how one shall not parry<br />
<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
<br />
Gloss. Note this is about how one shall not parry like the common fencers do. When they parry, they keep their point up in the air or to one side. This shows that they do not know to seek the four openings in the act of parrying. Therefore, they often become struck. But when you parry, parry with your cut or with your thrust and 'Indes' seek the nearest opening with the point so no master can strike you without their own harm.<br />
<br />
This is the text and the gloss about when someone has parried you and what you should conduct against that.<br />
<br />
If you are parried<br />
And as that is arriving<br />
Heed what I advise:<br />
Break loose, cut quickly with violence.<br />
<br />
Gloss. Note this is about when someone has parried you and will not withdraw themselves from your sword and intends to not allow you to come to any plays. In this case, rise up on their sword's blade with your sword as if you would abscond from their sword, but stay against their sword and cut back in against their blade directly at their head using your long edge.<br />
<br />
This is the text and the gloss about the four lodgings<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss. Note there are four lodgings that are called for in earnest combat. You shall conduct them when you wish to immediately slay or injure your opponent. Conduct them like this: When you initiate fencing with the opponent with your sword, move yourself with your sword into the guard of the ox or the guard of the plow. If they will then cleave in from above or initiate a thrust from below, note during the moment when they lift up their sword and will strike or will draw down toward themselves to thrust at you, that you go first and shoot in the long point to their nearest opening before they bring forth their cut or thrust and see if you can lodge against them. Do the same thing when they initiate an rising cut. When this happens, shoot in the point the moment before they go up with their rising cut. Conduct this to both sides.<br />
<br />
Then if they become aware of the lodging against, keep your sword against theirs and swiftly work to the nearest opening<br />
<br />
This is the text and the gloss of the pursuing<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be conducted with great caution from cuts and thrusts against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Conduct pursuing like this<br />
<br />
When you come to the opponent with the initiation of fencing, do it with your left foot forwards in the roof guard and watch quite attentively to what they fence against you. If they cleave in long from above, take heed that they do not reach you with their cut and not during the cut when their sword goes toward the ground, then spring in with your right foot, cleave in at their head from above before they can come up with their sword so that they are stricken.<br />
<br />
The play written hereafter is called enticement to the outside<br />
<br />
Note when the opponent misses their attack and you pursue into the opening with their cut, if they then rise up with their sword and come against your sword from below, remain strong upon it. Then if they firmly lift your sword upwards with theirs, spring behind their right foot with your left and strike them on the right side of their head with the crosswise cut or whatever, immediately working back around to their left side or otherwise with other plays thereafter, as you sense whether they are soft or hard at the sword.<br />
<br />
Here note a good pursuing at the sword from rising cuts<br />
<br />
Note when you fence against your opponent from rising cuts or from the sweeps or lay against them in the guard that is here called the fool. Then if they fall upon your sword with theirs before you can come upwards with something, stay against their sword like this with yours below and lift upwards. Then if they wind in their point into your face or breast while on your sword, do not let them get away from your sword and adhearing to it and work with your point to their nearest opening. But if they strike around away from your sword then either follow behind or pursue them again with your point like before.<br />
<br />
Note you shall pursue them from all cuts and from all guards as soon as you recognize when they miss their attack or they open themselves with their sword. But take care that you neither open yourself up nor miss your attack with your pursuing. Note this on both sides.<br />
<br />
Precisely note here the text and the gloss about feeling and about the word that is here called Indes.<br />
<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel and cannot perceive the term 'Indes' in it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall quite fully study the two things for all situations so that you correctly comprehend it.<br />
<br />
Here note the lesson about feeling and about the word that is called Indes<br />
<br />
Note when you come to the opponent with the initiation of fencing and one binds the other on the sword, in this, immediately feel as the swords clash together whether they have bound on soft or hard and as soon as you have sensed this, then reflect on the Indes. This means that you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Here you shall note<br />
<br />
That feeling and the word Indes are one thing, for one cannot be without the other. Look at it like this: When you bind against their sword, you must immediately feel whether they are soft or hard at the sword using the word Indes. And when you have felt that, then you must work 'Indes' according to the soft and according to the hard. Like this, they are nothing but one thing. And the word Indes, this is for all plays from beginning to end. Look at it like this:<br />
<br />
Indes doubles, Indes mutates,<br />
Indes disengages, Indes rushes through,<br />
Indes takes the slice, Indes wrestles with,<br />
Indes takes the sword, Indes does what your heart desires.<br />
Indes, this is a sharp word.<br />
<br />
With it, all masters of the sword that neither know nor understand it will be carved up. This is the key of the art.<br />
<br />
Here again note the text and the gloss about pursuing<br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge and slice firmly.<br />
<br />
Here note the text and the gloss about the overruning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Gloss. Note that this is about when you come to the opponent with the initiation of fencing, if they then cut from below to the lower openings, do not parry that, rather cleave in strong at their head from above. Or if they initiate a cut with rising cuts, then before they come up with their rising cut, shoot in the point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Here note that this is the text and the gloss of how one shall displace thrust and cut<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Conduct it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, then advance your left foot and setup against them in the guard of plow from your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side, your short edge against their sword engaging their thrust and displace it with that and step in with your right foot with that and stab them Indes in their face or in their breast.<br />
<br />
Another play<br />
<br />
Note when you setup in plow from your right side, if they then cleave in from above at your head on your left side, rise up with your sword, and with that wind to your left side against their cut such that your hilt is in front of your head and also step in with it with your right foot and stab them in their face or their breast. Conduct this play to both sides from the plow.<br />
<br />
This is the text with the gloss about how one shall disengage<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct it against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
Conduct the disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in strongly from above. Then if they cut back at you but to your sword and not to your body, then during your cut, let your point rush through below their sword before they bind onto your sword and stab them in the breast on the other side. Then if they become aware of the thrust, and immediately chase that thrust with an act of parrying, then disengage again. Always do this when they move behind your sword with a parry.<br />
<br />
Or<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Conduct this against all cuts where the opponent strikes at your sword.<br />
<br />
Precisely note,<br />
<br />
How you should disengage in such a way that the opponent does not lodge against you while you disengage. Look at it like this: When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<br />
<br />
Here note the text and the gloss about the withdrawing suddenly at the sword<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Gloss. Note withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword and remain still in the bind of the sword and await to see whether one will cut off in front of them or withdraw from the sword so that they might then pursue into the opening. To make a fool of or mislead these masters, conduct the withdrawing suddenly against them like this: Cut in strongly from above at their head from your right side. Then if they drive forwards strongly with their sword during your cut and will either parry or cut into your sword, then suddenly withdraw your sword towards yourself before they bind you and stab them on the other side. Do this against all engagements and binds of the sword.<br />
<br />
Note another withdrawing suddenly<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and withdraw suddenly your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Here note the text and the gloss about the runing through and about the wrestling with the sword<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Note rushing through and wrestling are double in the sword. For rushing through is both body wrestlings and then thereafter, the arm wrestlings and they are appropriate to conduct against the fencers that like to rush in.<br />
<br />
Conduct the first rushing through like this<br />
<br />
Note when the opponent rushes in on you and rises up high with their arms and wishes to overwhelm you with strength from above, rise up with your arms as well and hold your sword over your head with your left hand by the pommel and let your blade hang down behind over your back and pass your head down through their arms toward their right side and spring with your right foot behind their right and with that spring, drive ahead of them toward their left side with your right arm well around their body and fasten them like this to your right hip and throw them backwards on their head in front of yourself.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. These two wrestlings go to both sides.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shove their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hip and throw them behind you. Conduct these two wrestlings on both sides.<br />
<br />
Now note the arm wrestlings with the sword here:<br />
<br />
Note when the opponent rushes in on you at the sword and holds their hands low, invert your left hand and between both of their hands seize their right with it and with that drag them to your left side and using your right, strike them with your sword across their head.<br />
<br />
Or<br />
<br />
If you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Another arm wrestling<br />
<br />
Note when the opponent rushes in at the sword and is low with their hands, let your left hand go from the sword and with your right crosswise out over their right hand and press down with that and seize them by their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Another arm wrestling<br />
<br />
Note when one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and lift them upwards with this. Like this, you can either break their arm or throw them over your left leg in front of you, whichever you wish.<br />
<br />
Here note a sword disarm<br />
<br />
Note when the opponent rushes in on you at the sword, invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Another sword disarm<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and drag them up to your right side with it, so that you keep both swords.<br />
<br />
Here note the text and the gloss about cutting off<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
Gloss. Note this is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from rising cuts or from sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneath with your sword against their sword's blade, away from their sword and immedately cut back in against their sword from above on the other side at their mouth<br />
<br />
Yet another<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
Here note the text and the gloss about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Gloss. Note the four slices. Firstly, know that the upper two are appropriate to conduct against the fencers that like to strike around from the bind of the sword or from an act of parrying to the other side with the crosswise cut or what have you.<br />
<br />
Break that like this<br />
<br />
When they bind against your sword on your left side and immediately strike back around from that with their left foot on your right side, fall across both their arms from above with your long edge and press them away from you with a slice. You shall always conduct this to either side when they strike around from an act of parrying or cuts away from the sword.<br />
<br />
Note<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Conduct them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and drop into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and drop into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
Here note the text and the gloss about the transfromation of the slice<br />
<br />
Turn your slice<br />
To flatten, press the hands<br />
<br />
Gloss. Note that this is how you should conduct the upper two slices from the lower two. Look at it like this: When the opponent rushes in on you with upstretched arms on your left side, invert your sword and drop into their arms with your long edge below their pommel and press firmly upwards and with that step to their right side and wind your pommel down through underneath and do not comr away from their arms with your sword. And turn your sword into the upper slice from the lower slice with your long edge across their arms.<br />
<br />
Or<br />
<br />
If the opponent rushes in on you on your right side with upstretched arms, then turn your sword into their arms and under their pommel and press firmly upwards and with that step to their left side, also let your pommel cross through below and turn your sword up over their arms with your long edge and press them away from you with that.<br />
<br />
Here note the text and the gloss of the two lower hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, this is the plow on both sides and when you fence or wish to fence from those, you shall also have the feeling of whether they are soft or hard therein, in cuts and in thrusts and in all binds of the sword.<br />
<br />
You shall also conduct four winds from those and from each winding appropriately conduct one cut, one thrust or one slice and in other situations conduct all other applications as you would from the two upper hangings.<br />
<br />
Here note the text and the gloss about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should place yourself with your sword into the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. Whoever fences from it correctly can constrain the opponent with it, such that they must allow themselves to be struck without their consent and cannot come back to neither strikes nor thrusts before your point.<br />
<br />
Arrange yourself in the speaking window like this:<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such so that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge against their sword and stand freely and watch their situation and for whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their opening. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in their sword.<br />
<br />
This is another stance<br />
<br />
And is also called the speaking window. Note when you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can conduct all plays from the long point like this.<br />
<br />
Here note the text and the gloss of the explanation of the four hangings and the eight windings of the sword to which the Zettel adhears to.<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangings are four and Zettel for the ox above from both sides which are the two upper hangings and the plow below from both sides which are the two lower hangings. From the four hangings you shall deliver eight winds, four from the ox and four from the plow. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is, a cut, a thrust or a slice.<br />
<br />
Precisely note hereafter how you shall conduct the four winds from the two upper hangings, that is, from the ox both from the right side and from the left side.<br />
<br />
Conduct the first two winds just from the right side like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword in front of your head on your right side in the ox. If they subsequently cleave in from above from their right side, wind your short edge against their cut, your short edge against their sword, again in ox and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries your thrust with strength and force your sword off to the side, then remain on their sword and wind back to your right side up into ox and thrust in at their face from above. These are the two winds of the sword from the upper hanging of the right side.<br />
<br />
Here note that there are two winds from the ox on the left side. Conduct them like this:<br />
<br />
When you come to the opponent with the initiation of fencing, setup in ox from your left side. If they subsequently cleave in from above from their left side, wind your long edge against their sword to your right side opposing their cut and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries the thrust and press your sword to the side, then remain on their sword and wind the long edge onto their sword back to your left side and thrust in at their face from above. These are the four winds from the two upper hangings both from the left and from the right sides.<br />
<br />
Now you shall know<br />
<br />
That the plow from both sides, they are the two lower hangings. When you either move yourself into them or wish to fence from them, you shall conduct four winds both from the left and from the right sides, with all of their applications as you would from the upper hangings. In this way the windings become eight. And note every time you wind, in each one of the windings, you decide on the cut or on the thrust or on the slice. In this way, the twenty four plays come from the eight winds. And how you shall conduct the twenty four plays from the eight windings, you shall find all of this written in the glosses before.<br />
<br />
Quite precisely note here<br />
<br />
That you cannot correctly conduct the eight windings unless they are done with stepping from both sides and also that you must quite precisely gauge ahead of time nothing more than the two applications. They are: First, when they bind against your sword, whether they are soft or hard in their application. Second, wind and work to the four openings as is written before. Also know that all fencers that wind on the sword and do not know the feeling in the sword, they become struck. Therefore educate yourself so that you fully understand feeling and the word Indes, because all the art of fencing comes from these two things.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Anonymous_15thC_Poem&diff=135189User:Christian Trosclair/Translations/Anonymous 15thC Poem2022-07-27T21:56:26Z<p>Christian Trosclair: </p>
<hr />
<div>Descending cut is for thrust<ref>Zorn</ref><br />
Rising cut breaks simply<ref>Krump</ref><br />
Lateral cut in the wide<ref>Zwerch</ref><br />
Now ponder what this means<br />
<br />
In the switch cut, seek the gauche<ref>Schiel</ref><br />
Look for a displacement<br />
Therein you wind the plunge cut<ref>Schiller mit Sheitler</ref><br />
If you wish to find the face uncovered<br />
<br />
Then from the part cut<ref>Scheiteler</ref><br />
Strike the short edge down<br />
Invert the plunge cut when down below<br />
Therein seek and learn.<br />
<br />
In the iron point, take watch<ref>Now in the fool</ref><br />
Rise up with your point<br />
End up in the unicorn once more<ref> to threaten the face</ref><br />
<br />
Your roses in a little wheel<ref>on the way up</ref><br />
Suddenly withdraw engagements to give good opportunities<br />
<br />
Shield cut clashes together<ref>Kron</ref><br />
Wing accosts the ears<ref>unterhau counter</ref><br />
<br />
Waker will stay<ref>Point sink counter</ref><br />
Conducting strokes will go<ref>exit with slice</ref><br />
<br />
Approaching first, [then] pursuing is the snare<br />
Bouncing, overrunning and the slice<br />
<br />
That is a general teaching<br />
Orient yourself thereupon<br />
<br />
This proclaims the knowledge<br />
That this art is able to to extoll.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/3227a_Longsword&diff=135188User:Christian Trosclair/Translations/3227a Longsword2022-07-27T21:56:00Z<p>Christian Trosclair: </p>
<hr />
<div>Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.<br />
<br />
And before any incidents and confrontations, you shall note and know that there is but one art of the sword and it may have been invented and conceived many hundred years ago. And this is the foundation and core of all of the arts of fencing.<br />
<br />
And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.<br />
<br />
Not that he invented and conceived it himself, as was written before, rather he had traveled through many lands and through that sought the legitimate and truthful art for the sake that he would truly experience and learn it.<br />
<br />
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.<br />
<br />
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 invented and conceived some new art and understand the art of fencing better and more greatly, day by day.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 someone. With these, you dither and delay yourself so that you lose that chance.<br />
<br />
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 reach it and posses it, swiftly and quickly and preferably with one strike. Because with four or six, you choose to dither and as a result the opponent approaches effortlessly.<br />
<br />
This is because the Vorschlag is one great advantage of this fencing as you will hear hereafter in this text<br />
<br />
Therein Liechtenauer names 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, that even still fundamentally derives from his art.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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,<br />
<br />
because the sword is just like a scale.<br />
<br />
For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.<br />
<br />
Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them<br />
<br />
just as if you shall stand upright upon a scale, stepping backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.<br />
<br />
And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.<br />
<br />
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.<br />
<br />
Also the situation often necessitates two short steps for one long.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And then as soon as <ref>The silver "soon" was added later above the line</ref> you arrive at the opponent and have their measure so that you think you will posses and reach 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.<br />
<br />
One shall also always prefer to target the upper openings rather than the lower and one comes in over the hilt with cuts or with thrusts, boldly and quickly. Because you reach the opponent much better and further over the hilt than under it. And one is also much surer of all fencing like this and the upper attack one is much better than the lower one. But if it happens that you are nearer to the lower, then you must target that, as this often occurs.<br />
<br />
Also know that one shall always come up on the right side of the opponent in their applications. Because you can better control the opponent in all confrontations of fencing or wrestling than directly in front of them.<br />
<br />
And whoever both knows and delivers this play well, they are not a bad fencer.<br />
<br />
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.<br />
<br />
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.<br />
<br />
In all fencing<br />
Requisite is: The help of God of righteousness,<br />
A straight and healthy body,<br />
A soundly manufactured sword, especially,<br />
The Before, The After, Weak, Strong<br />
Indes, the word with which to distinguish by.<br />
Cuts, thrusts, slices, pressing,<br />
Position, defending, shoves, feeling, disengaging,<br />
Winding and hanging,<br />
Checks, sweeps, springs, grabbing, wrangling,<br />
Speed, audacity,<br />
Prudence, astuteness and ingenuity<br />
Acumen, premeditation, ability<br />
Measure, obscuration,<br />
Practice and good spirit,<br />
Mobility, flexibility, good steps.<br />
In these seven couplets<ref>lit: verses</ref><br />
The fundamental principles<br />
And concerns<br />
And the entire matter<br />
Of all of the art of fencing are labelled for you.<br />
You shall consider these correctly<br />
As you will in fact<br />
And in detail hereafter<br />
Hear and read<br />
Of each according to their ways.<br />
Fencer, take heed of this<br />
So they will completely introduce to you both the art<br />
Of the entire sword<br />
And good robust manly applications.<br />
<br />
Motion, that beautiful word,<br />
Is the heart and crown of fencing<br />
The entire matter<br />
Of fencing with all the concerns<br />
And the sound components<br />
Of the fundamentals. These movements<br />
Are labelled by name<br />
And will be introduced to you better hereafter.<br />
However you then fence,<br />
You are to be subsequently well versed with it<br />
And are to stay in motion<br />
And do not pause the moment you<br />
Begin to fence<br />
Then you execute with authority<br />
Continuously and decisively<br />
Boldly one after the other<br />
In one fluid motion<br />
Without pause, without gaps<br />
So that the opponent cannot come<br />
To strikes. Of this you take advantage<br />
And the opponent harm.<br />
Because they cannot come away<br />
From you unstruck.<br />
Just do this according to this advice<br />
And according to this teaching<br />
That is written now<br />
For I say to you truthfully,<br />
The opponent does not defend themselves without danger.<br />
If you understand this<br />
They cannot come to blows with anything.<br />
<br />
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.<br />
<br />
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<ref>latin</ref><br />
<br />
This is the general preface of the unarmored fencing on foot. Mark this well.<br />
<br />
Young knight learn<br />
to love God. Ever honor women,<br />
Thus cultivate your honor.<br />
Practice knightcraft and learn<br />
art that decorates you<br />
and in wars serves you well.<br />
Wrestling's good grips,<br />
Lance, spear, sword and messer,<br />
manfully brandish<br />
and in other hands ruin.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Thereupon you hold,<br />
all things have time and place.<br />
And whatever you wish to conduct,<br />
you shall stay in the realm of good reason.<br />
In earnest or in play,<br />
have a joyous spirit with moderation<br />
so that you may pay attention<br />
and consider with a good spirit<br />
whatever you shall command<br />
and whip up against the opponent.<br />
Because a good spirit with authority<br />
makes someone's rebuke timid.<br />
Thereafter, orient yourself.<br />
Give no advantage with anything.<br />
Avoid imprudence.<br />
Do not step in front of four or six<br />
with your overconfidence.<br />
Be modest, that is good for you.<br />
It is a brave man<br />
that dares to confront their equal.<br />
It is not shameful<br />
to flee four or six at hand.<br />
If one cannot flee,<br />
then do something cunning, that is my advice.<br />
<br />
This is a general lesson of the sword:<br />
<br />
If you wish to show skill,<br />
Move yourself left and right with cutting.<br />
And left with right<br />
Is what you strongly desire to fence.<br />
Whoever chases after cuts,<br />
They permit themselves to enjoy the art in small amounts.<br />
Cut from close whatever you wish,<br />
No changer comes on your shield.<br />
Do not cut to the sword.<br />
Rather, keep watch of the openings.<br />
To the head, to the body,<br />
Do not omit the stingers.<br />
With the entire body<br />
Fence whatever you desire to conduct strongly.<br />
Listen here to what is bad:<br />
Do not fence from above left if you are right.<br />
And if you are left,<br />
You are severely hindered on the right.<br />
So always prefer<br />
To fence from above left downwards.<br />
The Before, The After the two things<br />
are the one origin of all art.<br />
Weak and strong,<br />
Indes, mark this word with them.<br />
So you can learn<br />
To defend yourself with art and work.<br />
If you terrify easily,<br />
Never learn any fencing.<br />
Audacity and swiftness,<br />
Prudence, astuteness and ingenuity,<br />
Acumen, concealment,<br />
Measure, obscuration, scouting and skill<br />
Fencing will have<br />
And carry a joyous spirit.<br />
<br />
General gloss hereafter.<ref>latin</ref><br />
<br />
First of all, note and know that the point of the sword is the center, the middle and the core of the sword from which all applications leave and come back into it.<br />
<br />
Thus the hangings and the windings are the tilts and the turns of the center and of the core. From them, quite a few good plays of fencing also come.<br />
<br />
And they were invented and conceived so that a fencer, who in this regard initiates a cut or thrust directly into the point, of course may not hit every single time; yet they can hit someone with those same cutting, thrusting or slicing plays; by stepping out and in; and by lateral stepping or springing.<br />
<br />
And if you mislaid or over extended the point of your sword by shooting or by stepping all out, 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.<br />
<br />
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.<br />
<br />
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 it's 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
By the word "The Before", he means that every good fencer shall posess 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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
But If the opponent wards off your Vorschlag, be it 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because one who shall defend themselves and fixate on the oncoming strikes, they are always in greater danger than those that strike at them because they must always either ward off those strikes or must allow themselves to be hit, so that they themselves can burdensomely come to blows.<br />
<br />
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they cannot come to blows if you otherwise perform according to the five words. This sermon completely gets at this and all fencing" This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<br />
<br />
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.<br />
<br />
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 into to their first.<br />
<br />
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.<br />
<br />
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. It is also fully possible for you to arrive at the situation whereby you ward the opponent's Vorschlag such that you must ward it off with your sword and and in this way the opponent must surely come against your sword.<br />
<br />
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against the sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.<br />
<br />
If the opponent withdraws themselves, just as you both come together upon the sword and the points extend to the openings against each other, then with their withdrawing, before the opponent 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 directly forward, wherever you can connect most surest and closest, in this way the opponent cannot come away from your sword unharmed with anything.<br />
<br />
This is because, with your following, you were, to be sure, closer at hand to the opponent with it as you sent your point forwards, targeting them against their sword according to what is closest and shortest, when the opponent delivers a new cut or thrust wide around with their withdrawal.<br />
<br />
In this way, to be sure, you always come earlier into your Nachschlag's or The Nachstich's than the opponent to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After"<br />
<br />
The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly of 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,<br />
<br />
because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<br />
<br />
But if the opponent stays with it against the sword, as they have come against your sword, such that you have remained with the opponent against their sword and they have not yet executed the Nachschlag, then you shall wind and stay with them in this way against the opponent's sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 against their sword, move in strongly with your point 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard"<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently? 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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". 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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is the text, wherein he names the five cuts and other plays of fencing.<br />
<br />
Learn five cuts<br />
from the right hand against the weapon<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursue and Overrun, disrupt attacks<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
This is about the Wrath cut, etc.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern.<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this<br />
Cuts, thrusts, position, soft or hard<br />
Indes and The Before, The After<br />
Without rush, your war is not hasty.<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
In all winds<br />
Cut, stab, slice learn to find<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
Do not cut to the sword,<br />
Rather, keep watch for the openings<br />
Of the head, of the body<br />
If you wish to remain without harm<br />
You hit or miss<br />
Considering as follows so that you target the openings<br />
In every lesson,<br />
Turn the point toward the openings.<br />
Whoever cuts around widely,<br />
They will often be shamed severely.<br />
In the most direct way possible,<br />
Deliver sudden cuts, stabs wisely<ref>`wisely` inferred from the summary</ref>.<br />
And one shall also always step<br />
To their right side<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
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."<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
And the afore mentioned 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.<br />
<br />
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<br />
<br />
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.<br />
<br />
One can also take 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.<br />
<br />
Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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 center of all other plays here as was written about well before.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And if it comes to be 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, rotating and positioning yourself against it, as you will hear of better hereafter.<br />
<br />
And the point, as soon as you come against the sword of the opponent, it 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.<br />
<br />
This is about the four openings, etc, etc.<br />
<br />
Know the four openings<br />
Target so that you strike wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is about the crooked cut, etc.<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, cut short<br />
With that, look for the disengage<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
For they do not truthfully know<br />
Where they are without danger<br />
<br />
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.<br />
<br />
What Liechtenauer means by this is that if you will command this cut well, you shall step well out sideways<ref>to the side, apart, sidways</ref> to the right side, then deliver your attack<br />
<br />
and you shall crooked cut fully and swiftly<br />
<br />
and you shall throw or shoot your point over the opponent's hilt onto their hands<br />
<br />
and you shall cut to the opponent's flat. Then if you hit their flat, remain strong upon it and press firmly<br />
<br />
and you shall cut with your flat. Then if you hit their sword, remain strong upon it and press firmly<br />
<br />
and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices<br />
<br />
and you shall not cut too short with anything<br />
<br />
and you shall not forget about disengaging, when it merits it<br />
<br />
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.<br />
<br />
This is about the crosswise cut, etc.<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof.<br />
Cross with the strong<br />
Remember your work with it.<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
The failer misleads<br />
It wounds according to desire from below<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step to the left and do not be lazy<br />
<br />
Because all fencing<br />
Will by all rights have speed<br />
Also in it: audacity,<br />
Prudence, astuteness and ingenuity<br />
<br />
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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<br />
<br />
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.<br />
<br />
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<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
And you shall then crosswise cut to both sides to ox and to plow. That is, into the high openings and into the low ones respectively 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.<br />
<br />
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.<br />
<br />
This is about the cockeyed cut, etc.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
And take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands.<br />
Cock an eye against the right<br />
If it is that you desire to fence well.<br />
The cockeyed cut I prize,<br />
if it does not arrive too lazily.<br />
<br />
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 named and it genuinely goes in askance or oblique, stepped off to one side to the right with a twisted sword and hand flipped over.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging<br />
<br />
and you shall cut cockeyed with the point to the throat, boldly without fear<br />
<br />
And wherever you see swords<br />
Yanked from their sheaths by the both of you<br />
Right then you shall become strong<br />
And precisely pay attention to their steps all at once.<br />
The Before, The After, the two things<br />
Gauge and pounce by precept<br />
Follow up all hits<br />
If you wish to make a fool of the strong.<br />
If they defend, then suddenly withdraw.<br />
Thrust. If they defend, press into them.<br />
The windings and the hangings,<br />
Learn to artfully carry out.<br />
And gauge the opponent's applications<br />
To see if they are soft or hard.<br />
If they fence with strength,<br />
Then you are artfully equipped.<br />
And if they attack wide or long,<br />
Shooting defeats them<br />
With your deadly rigor<ref>In all other extant versions this is "point"</ref><br />
If they defend themselves, hit without fear.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Do not attack the sword,<br />
Rather keep watch for the openings<br />
You hit or miss<br />
Then keep it in your mind that you target the openings<br />
With both hands<br />
Learn to bring your point to the eyes.<br />
Always fence with sense<br />
And win the Vorschlag every time.<br />
The opponent hits or misses,<br />
Immediately take target with the Nachschlag's<br />
On both sides,<br />
Step to the right of the opponent<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
This is about the hair-cut, etc.<br />
<br />
The part cut<br />
Is dangerous to the face<br />
With its turn<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
The scalp-cut I prize<br />
If it arrives not too lazily.<br />
<br />
This is about the four positions, etc.<br />
<br />
Four positions alone<br />
Defend from those and eschew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptible to you<br />
<br />
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The second guard, ox is the high hanging from the shoulder.<br />
<br />
The Fool truly breaks<br />
Whatever the opponent cuts or thrusts<br />
Sweep using hanging<br />
Immediately place the pursuit<br />
<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<br />
<br />
The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the four parries<br />
<br />
Four are the parries<br />
Which also severely disrupt the positions<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
If you are parried,<br />
And as it happens<br />
Heed what I advise:<br />
Strike off, cut swiftly with violence<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish.<br />
Whoever parries well,<br />
This fencer disrupts many cuts.<br />
Because in the hangings<br />
You swiftly come with the parries.<br />
<br />
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.<br />
<br />
And however you, be it from above or below, carry off or dismiss the opponent's cut, thrust or slice with your sword can fully be termed parrying.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one explosive movement.<br />
<br />
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,<br />
<br />
for however lightly you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<br />
<br />
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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<br />
<br />
This is about the pursuing, etc, etc<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's application<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
Pursuing twice,<br />
Make the old slice with it.<br />
Follow all hits<br />
Then strengthen if you wish to dishonor the masters<br />
In every lesson,<br />
Turn the point against one's face.<br />
With the entire body<br />
Pursue, always keep your point there.<br />
Also learn to swiftly<br />
Pursue, so you can end well.<br />
<br />
This is about the overrunning. Fencer look into this.<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
Whoever presses you down,<br />
Overrun them, slash sharply again.<br />
From both sides<br />
Overrun and remember the slices.<br />
<br />
This is about displacing. Learn this well.<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
In every lesson,<br />
Turn the point against one's face.<br />
<br />
This is about the disengaging, etc, etc.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
If you have changed through,<br />
Do not slash, thrust nor wind lazily.<br />
Do not cut into the sword<br />
Disengage, with that watch.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and when you feel that you connected, fully follow through.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<br />
<br />
And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<br />
<br />
This is about withdrawing suddenly. Fencer note.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
If they work, wind, that does them harm.<br />
Suddenly withdraw all engagements of the masters<br />
If you wish to dishonor them<br />
Suddenly withdraw off of the sword<br />
And always be mindful of your path.<br />
<br />
This is about rushing through. Look closely.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
Rush through and shove.<br />
Invert if they reach for the pommel.<br />
<br />
This is about cutting off, etc, etc<br />
<br />
Cut off the hard ones<br />
From below in both paths.<br />
Four are the slices<br />
With two from below, two from above.<br />
Crosswise cut whoever would slice.<br />
It easily evades the harm.<br />
Do not slice in fright,<br />
Always be wary of pursuing.<br />
You can slice well<br />
Any cross, just omit the pursuit.<br />
If you wish to remain without harm,<br />
Then do not be too eager with the slicing.<br />
<br />
This is about the hand pressing, etc, etc.<br />
<br />
Turn your edge<br />
Into the flats. Press the hands.<br />
Another is turning<br />
One's winding. The third, hanging.<br />
If you wish to make the fencers<br />
Weary, then press with collision<br />
Over the hands,<br />
If one cuts, slice swiftly.<br />
Also draw your slices<br />
Up out over the head.<br />
Whoever presses the hands<br />
Without harm, suddenly retracts the forefinger.<br />
<br />
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<br />
<br />
for however lightly you hesitate and delay yourself, you take harm.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<br />
<br />
The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<br />
<br />
This is about the hanging. Fencer learn this, etc.<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
That is, if you remain<br />
Against the sword, also conduct with it<br />
Cuts, thrusts or slices.<br />
With that, note the feeling<br />
Without any preference.<br />
You shall also not flee from the sword<br />
Because master applications<br />
Are against the sword by rights.<br />
Whoever binds against you<br />
The war wrestles with them sharply.<br />
The noble winds<br />
Can also surely find them<br />
With cuts, with thrusts,<br />
With slices you tenaciously find them.<br />
In all winds<br />
You shall find cuts, stabs, slices.<br />
The noble hanging<br />
Cannot exist without the winds.<br />
Because from the hangings<br />
You shall bring the winds.<br />
<br />
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.<br />
<br />
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword<br />
<br />
and you shall wind<br />
<br />
and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always examine and note whether they are soft or hard against your sword.<br />
<br />
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<br />
<br />
and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
From both sides<br />
Learn eight winds with stepping.<br />
And always unite them.<br />
Combine the winds with three plays<br />
So are they twenty<br />
And four. Simply count them.<br />
Fencer, mind this<br />
And consider the winds correctly<br />
And learn to command them well<br />
So you can attack the four openings<br />
Because each opening<br />
Objectively has six wounders.<br />
<br />
Gloss. Here note and know that the winds are the rightful art and cornerstone 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".<br />
<br />
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.<br />
<br />
And that is completely against the winds and against Liechtenauer's art because there is no strength. Why would anyone's art differ? You should always prioritize strength.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Pauernfeyndt&diff=134980User:Christian Trosclair/Translations/Pauernfeyndt2022-07-10T16:01:17Z<p>Christian Trosclair: </p>
<hr />
<div>An examination of the Knightly Art of Fighting by Andre Paurnfeindt, Freifechter of Vienna, Austria, towards a clear comprehension and concise understanding thereof.<br />
<br />
To the Sublime Magnificent Prince and Lord, Sir Matthäus of the Holy Roman See, Cardinal of St. Angelo, Papal Legate, Bishop of Gurk, Coadjuctor of the Diocese of Salzburg etc; Andre Paurnfeindt, Freifechter and his Magnificence the Cardinal's loyal bodyguard, offers his humble service.<br />
<br />
O' Sublime in God the Father, Magnificent Prince and Merciful Lord; after a great deterioration and lack of attention became apparent to me, for this reason, in the name of impressionable youth amid daily practice, I have decided to concisely record the Knightly Art of Fighting and thoroughly explain the Zettel in order to avoid gambling, debauchery, bad company, etc. Such an explanation I wish to accredit and dedicate to your Princely Grace. With this, I prostrate myself before your Magnificence in all humility.<br />
<br />
In short, I have formulated three chapters in which the Lore and Essence of Fighting is concisely summarized, not for the elder fencers, but for the young students, so that enjoyment and practice grows daily in them. From all of this I have briefly proposed twelve rules from which expertise, subtlety and agility can develop in you. In this way, you learn from a master of the sword or from a sworn Freifechter and not from misbegotten fencers, like when one blind man leads the other and both fall into a ditch.<br />
<br />
If leaf and grass grew<br />
As fast as envy and hate<br />
Then sheep and cattle would have<br />
A good winter this year.<br />
<br />
Do not let yourself scoff at these twelve rules,<br />
From them great art may sprout from you.<br />
<br />
The First<br />
<br />
Whichever leg<ref>lit: foot, but can and often mean the leg</ref> stands forward, bend it.<br />
The hind one supports the body above outstretched.<br />
<br />
The Second<br />
<br />
Fence upright with a straight body.<br />
Drive a powerful posture from that length.<br />
<br />
The Third<br />
<br />
Strike and step with one another.<br />
But set your feet against one another.<br />
<br />
The Fourth<br />
<br />
Those who chase after cuts<br />
Do not allow themselves to enjoy the art.<br />
<br />
The Fifth<br />
<br />
Note what the flat is.<br />
Do not fence left if you are right.<br />
<br />
The Sixth<br />
<br />
Seek weak and strong<br />
Indes, note this word precisely.<br />
<br />
The Seventh<br />
<br />
Recognize soft or hard.<br />
Pursuing is your application.<br />
<br />
The Eighth<br />
<br />
Strike before and after.<br />
Do not be hasty to rush in.<br />
<br />
The Ninth<br />
<br />
Fence at the body from close.<br />
Do not omit the stingers.<ref>alt: flesh wounds, tag hits.</ref><br />
<br />
The Tenth<br />
<br />
Step close in the bind.<br />
Otherwise you will be wounded.<br />
<br />
The Eleventh<br />
<br />
[That which is] in front of the hand is called the long edge.<br />
Seldom guide an act of parrying to the short.<br />
<br />
The Twelfth<br />
<br />
If you frighten easily,<br />
Do not learn to fence.<br />
<br />
The first chapter teaches<br />
how one should employ expertise in the long sword, whichever is used with both hands, such as the battle sword, riding sword, estoc, and many others which I will for brevity's sake leave out.<br />
<br />
A Zettel fencer I proclaim myself,<br />
Indomitable in Sword and Messer.<br />
In strength, weakness, short and long,<br />
I do violence to my opponent.<br />
Indes, pay attention! Understand me correctly.<br />
Hit them before they strike their position<br />
<br />
Then I have another one on top of that.<br />
With this, my art sells quite expensively.<br />
Now I conduct my work unhindered,<br />
Right in smoothly to the body, toward the blade<br />
To make slice, strike, thrust; then right back out.<br />
If you wish to learn thoroughly, come to me.<br />
<br />
The first resting place is named High Point or Ox as the elders will and it will be assumed hereon.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this.<br />
Cut, thrust, position, soft or hard<br />
Indes and before and after<br />
Without collision your war is not to be hasty<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
In all windings<br />
Cut, thrust, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to weaken them.<br />
<br />
The wing cut<br />
Undertake the wing cut from the upper guard or high point. The first strike to the left ear from the roof, the second from below with a step to your left side, the third strike to the head from behind.<br />
<br />
Break<br />
If someone initiates a wing cut, parry the first from the roof. The second, pin down with the long edge from below and grab their sword's pommel with your left hand, then you throw them over their sword.<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, thrust to clash with<br />
<br />
Crown cut<br />
Step and strike through to the opponent's ear from above with the long edge. The second step and strike down from above to the right ear with the short edge. The third, strike from behind with the long edge.<br />
<br />
Break<br />
When someone executes a crown cut, catch the first. For the second, situate your short edge against their neck so that they injure themselves themself.<br />
<br />
Failer<br />
Undertake the failer from the high point. Cut short to the opponent's left ear explosively and step towards their right side with your left foot. And hammer in the second strike long to the right ear. Keep high with good parrying<br />
<br />
Break<br />
Cut from above from the ox against the opponent, down through the roses and land your short edge in their face. Veer off short and make a followup strike with the long edge.<br />
<br />
Play<br />
<br />
Against their strike, punch through with a cut<ref>literally: cut through agains their strike. The separable durch-hauen means to strike through something to create an opening. See: https://www.woerterbuchnetz.de/DWB2/2DURCHHAUEN</ref> and step in the triangle with your right foot such that you make yourself completely open so to cause them to initiate a cut at your opening. After that happens, step with your left foot and make a followup strike from the hand.<br />
<br />
About the 4 openings<br />
Know the four openings<br />
Take aim so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated<br />
<br />
Breaking the four openings<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Hurling<br />
Undertake hurling from the upper guard. Cut against the opponent to their left ear with your long edge. If they parry that, act as if you will suddenly withdraw and remain on their left ear with your short edge. Suddenly withdraw and hurl onto their right ear with the flat.<br />
<br />
Break<br />
If someone starts to hurl at you, let the first strike detach and parry the second down from above with the long edge so that you can pin it down or suppress it.<br />
<br />
Shooting though<br />
You can also undertake shooting through from the high point. Cut down from above and with the short edge and inverted hand, down through the roses and into the opponent's face. Let it briefly run off and follow up with the long edge.<br />
<br />
Break<br />
When someone shoots through, and will lay the short edge against you so that you cannot otherwise work, take your sword by the point and strike your cross against their head.<br />
<br />
Iron Door<br />
The third resting place is named the iron door or the cross according to the elders.<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
Cross with the strong<br />
Note your work with it.<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head by springing<br />
The failer misleads<br />
Wounding from below according to desire<br />
The inverter constrains<br />
Slipping through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
From the roof<br />
Position yourself in the iron door with braced hands. If someone strikes at you from the roof, thake their strike from the roof with your short edge and step after them with the long edge.<br />
<br />
Break<br />
Conduct the failer against them. If they lie in the iron door, then they are driven out in vain and uncover themselves.<br />
<br />
Overshooting<br />
Position yourself as before with braced hands, step in with the short edge shot over to the opponent's left ear and make a follow up strike with the long edge.<br />
<br />
Breaking<br />
When someone overshoots the short edge, turn the strike away so that you come to strike against strike and the same work.<br />
<br />
About parrying<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
The second resting place is named the hanging point and is duel.<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Hanging point<br />
The hanging point lands with the right foot forwards, like in the figure, with the flat below the face, entering short; and parry high whatever strike that will be struck from the roof. Let it run off short and follow up with a strike long.<br />
<br />
Break<br />
Drive the right foot forwards from the right side. If someone lies still in the hanging point, position the short edge on their right ear so they are not permitted to suddenly withdraw and wherever they do withdraw, they uncover themselves.<br />
<br />
Counter break<br />
Whenever someone positions the short edge against your neck, twist your hands with your sword and bar them from above with the long edge and grab their pommel with your left hand and throw them over their sword to the left side.<br />
<br />
Whichever one now lives on the ground,<br />
They will be disgraced by no one.<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
According to the old art, but according to our exquisite new art we have different names, but nonetheless is one idea. High point, Hanging point, Iron door, Plow. They are manifold.<br />
<br />
Overgripping<br />
You can also undertake overgripping from high point. Reach over your cross with your right hand into the blade such that your finger stands on the blade. If someone initiates a strike, strike against them with your strong such that you overwhelm their sword, keeping threat and suddenly withdraw your flat against their right ear and veer high into your act of parrying.<br />
<br />
Break<br />
When someone overgrips, bait them with a strike and suddenly withdraw short, make a follow up strike long or else break it with a failer or a crown cut, etc.<br />
<br />
REMAINING<br />
Position yourself in the high guard or high point, and cut to the opponent's left ear with your long edge, and act as if you will suddenly withdraw, but remain against their left ear with your short edge, thereafter suddenly withdraw and make a follow up cut with the long edge.<br />
<br />
Break<br />
When someone remains with their short edge against your right ear, remain on the other side as well. If they indeed pull away first, then they strike themselves the same way.<br />
<br />
Splendid! I have already figured out myself how<br />
To displace to both places<ref>alt: points, ends</ref><br />
I preserve the before, yet not too long.<br />
The openings will be wide open to me.<br />
No position will be good for you.<br />
I hit you in the after from a carefree spirit.<br />
With it, I come swiftly to work<br />
Just you wait until I bind you first.<br />
<br />
About overrunning<br />
Whoever takes aim from below<br />
Overrun it, they will be shamed.<br />
When it clashes above,<br />
Then dismount, This I will praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Triangle<br />
Position yourself with braced hands in front of your face. If someone strikes the buffalo from high point, twist your hands up from below and step into a false step and shield yourself short such that they roll down your flat, thereafter make a follow up strike long with a step<br />
<br />
Break<br />
When you have missed your attack of the opponent, rise up with your pommel so you are also shielded. Let them roll down as well and work with them according to advantage.<br />
<br />
About Displacing<br />
Learn to displace<br />
Skillfully disrupting cuts and thrusts<br />
Whoever thrusts at you<br />
Their point breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Rushing through<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Rule<br />
Remember whenever you initiate a thrust, that you always wind your sword under your right shoulder using the pommel when you hit with your point.<br />
<br />
About Disengaging<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds or slices the opponent<br />
<br />
About suddenly withdrawing<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good finds.<br />
Suddenly withdraw. If they engage, suddenly withdraw again.<br />
That does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Combat Play<br />
Position yourself against the opponent as before. Grab the middle of your sword's blade with your left hand and thrust towards their face so that they must shield themselves and carry off your thrust. Follow them with a step and release your left hand from your sword. Reach across both of their hands with your pommel and position your edge against their neck and position them into weakness so that you throw them.<br />
<br />
Beak<br />
When someone has lodged their sword against you and and will throw you, release your right hand from your sword and shove their left elbow from below so that they must turn themselves.<br />
<br />
Play<br />
If someone has lodged against your breast, take hold of their sword with your left hand forward by the point and thrust your sword behind their left leg and press against them with your breast and with your left hand against their breast, shove them back backwards over your sword.<br />
<br />
About pursuing<br />
Learn to pursue<br />
Twice or slice into the weapon<br />
Two as well to the outside<br />
Your work begins thereafter<br />
And gauge the applications<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this here cuts sharply<br />
Pursuing twice,<br />
If on connects, make the old slice with it.<br />
<br />
Plow<br />
The fourth resting place is named the plow. Whatever the buffalo strikes at you, step into the triangle with the right foot and shield yourself short with your flat such that they roll off. Thereafter follow them with your left foot and make a follow up strike with your long edge.<br />
<br />
Break<br />
When someone parries you and you have missed, yank your pommel upwards so that you are well covered and let them roll off of it in the same way conceived in Hildebrand or Lightning cuts.<br />
<br />
About cutting off<br />
Cut off the hard ones<br />
From below in both paths<br />
Four are the slices<br />
Below two, above with it.<br />
<br />
Play<br />
When you find someone in plow, overshoot them, be it with your short or long edge, before they come to their work. In this way, you bar them from neither suddenly withdrawing nor striking. This will not fail you if you seize them in their resting position.<br />
<br />
About the cockeyed cut<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
Take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
The short and long are my reservoir<br />
They safeguard me at all times<br />
Out of which, I drive all my work<br />
Strong to the blade, smooth to the body<br />
Therein I can perceive your strength<br />
I break yours with weakness from that moment on,<br />
If you misfire, pay attention right quick<br />
To what my master has taught me.<br />
<br />
About withdrawing suddenly<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good finds.<br />
Suddenly withdraw. If they engage, suddenly withdraw again.<br />
Do work that does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
About binding up<br />
If someone binds you from above, gauge whether they lie hard or soft. If they lie hard, then wind down through the roses towards their face, onto their left ear, so that you wind out their sword and uncover them with it. But if they suddenly withdraw and strike, veer up into your act of parrying.<br />
<br />
Break<br />
If someone binds you from above, and lies firm such that they will not allow you to withdraw, lift your pommel upwards and let the point go in in between their hands and yank towards yourself so that they must let go.<br />
<br />
Wrenching out<br />
If someone binds you, and lies firm in the bind against your sword, reach over both of their hands with your hilt and wrench down towards yourself, with this you uncover them and strike.<br />
<br />
Regarding the slice, trust me against your strong.<br />
Yet remember doubling.<br />
This window can occlude well.<br />
If you wish to please me, undertake your work.<br />
<br />
About the part cut<br />
The part cut Is a threat to the face<br />
With it's turn The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the thrusts<br />
By slicing withdraw it<br />
<br />
About rushing through<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
About the speaking window<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps,<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
A play<br />
When someone lies before you in the speaking window, reach over their hilt and between their hands with your pommel and latch onto their hilt with your left thumb and pull toward yourself so that you uncover them and strike them with that.<br />
<br />
Another<br />
When someone lies in the speaking window, position your self in exactly the same way. If they will not work shove them with your left hand on their right hand such that they turn themselves and uncovers them with it.<br />
<br />
About hanging<br />
Two hangings emerge<br />
From the ground out of each place<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
About hand pressing<br />
Turn your slice<br />
To flatten, press your hands<br />
<br />
A play<br />
When someone lies in the speaking window, position your self in the same way as well and reach over your sword with the fingers of your right hand and latch their sword to yours. With that you press their hands.<br />
<br />
Sword disarm<br />
When you find someone in the speaking window or crosswise cut, reach over their right hand up from the outside with your left hand and position them into weakness with your left foot to the outside, across their right knee pit and draw them away from you so that they must let their sword drop.<br />
<br />
A throw<br />
When someone rushes in at the sword and has bound high, quickly move your right arm into their left breast and position them into weakness with your right foot well behind their right knee pit and throw them down.<br />
<br />
Another<br />
When someone rushes in, shove them on their right elbow with your left hand and step in front of their left foot with your right foot and let them plunge over it.<br />
<br />
Holding someone prone<br />
If you throw someone onto their belly, sit atop them and step over their arm so you are able to break it.<br />
<br />
Item. Two plays of the long sword. The first play is called:<br />
The inverter constrains<br />
Slipping through and also wrestles with it.<br />
<br />
The other play is called:<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
<br />
Eight wrestlings come from these two plays<br />
<br />
Sword disarm<br />
Note. If someone lies high in the cross or the speaking window, release your back hand from your sword and reach between their hands with your pommel. Afterwards, retract your pommel with your hand inverted and wrench toward your left side so that you take their sword.<br />
<br />
Another<br />
But if they lie low, reach over their haft with the pommel of your sword and take your pommel down into a clinch and wind towards your right side so that you either throw them over your sword or they must let the sword go.<br />
<br />
A throw<br />
When someone engages high in their act of parrying and will not part, reach behind their right foot with your left foot and with your right arm into their left breast and throw them off their feet, over your left leg.<br />
<br />
Holding someone prone<br />
If you throw someone on their belly, drop your right knee onto their back and reach forward to the top of their head, grab their hair and pull up and crank their neck so they will fall back onto their belly if they try to stand.<br />
<br />
An upsweep play<br />
Item. When you lay in the side guard on your left side and someone makes a descending cut at you from their right shoulder, sweep up firmly up from below into their sword with your short edge. If someone stands strong and is not too high with the hands, double in between them and their sword with the short edge to their left ear.<br />
<br />
Another<br />
When you sweep up against the opponent's sword and they hold strong back, immediately strike their left side with the crosswise cut and again, double between [them and] their sword and strike at their right ear with the long edge.<br />
<br />
Another<br />
When you sweep up against the opponent's sword and they are weak at the sword and with their hands low, cut toward their opening above with the long edge.<br />
<br />
Another<br />
When you sweep against the opponent's sword and they rise up high and wind, strengthen with the long edge, but if they strike with the crosswise cut, strike to their left side with a step off.<br />
<br />
Another<br />
When you lie in the side guard or conduct the sweeps against someone, if they then hold their sword crosswise in front of themselves and will drop onto your sword and are high with their arms, sweep against their sword from below and thrust under their sword, into their breast.<br />
<br />
Another<br />
If they are low with their hands and will rise up, then sweep through and thrust on the other side into their breast, whereupon it has disengaged.<br />
<br />
Another<br />
When you sweep through, drop onto their sword with your long edge and wind toward your left side such that your thumb comes under and speed against the right side of the opponent's neck with your strong and spring with your right foot and back them over it.<br />
<br />
Another<br />
When you disengage out of sweeping and come up atop their sword on the other side you can just as well conduct the plays as before with stingers and with everything as before, on all sides.<br />
<br />
Fencing out of displacing<br />
When you fence with someone and come close to them, come into plow and conduct it swiftly by turning from one side to the other, such that your point always stays in front of yourself. From this you can conduct parrying. This is the narrows and in them you can strengthen with the long edge and from this conduct all the previous plays. You can also displace cut and thrust and break misaligned ones and seek the opening with your point.<br />
<br />
Side Guard<br />
When you fence with someone and come close to them, stand with the left foot forward and position your sword with the point upon the ground on your right side, such that the long edge is up. This goes on both sides.<br />
<br />
A play from side guard<br />
If someone initiates a cut from above or wherever it is, cleave in crooked to their opening with a step out.<br />
<br />
Another<br />
Drive in the inverter with your point in their face. When they bindup, strengthen with the long edge and you can conduct all the plays that are previous in the sweeps.<br />
<br />
Explanation of the advice<br />
When you fence with someone, extend your arms long, away from you and rest your thumb up atop your sword and turn your swor with your point away from you. With this you can drive up swiftly from below to your left side and move towards the opponent. From there, you can disengage to whichever side you wish or whatever play suits you, according to advantage.<br />
<br />
Breaking the crosswise cut<br />
When you stay in the roof guard and someone attacks you with a crosswise cut, simultaneously cleave in the wrathcut and bind them strongly in the middle of their sword and if they will strike around with a crosswise cut, then crosswise cut ahead of them into their neck. You can also conduct all plays that are in the sweeps.<br />
<br />
Another<br />
Note, when you execute a crosswise cut and someone will preempt you with a crosswise cut against your neck from below your sword, indes, drop atop their sword strongly with your long edge so that it is broken and take the next opening that becomes availble to you.<br />
<br />
About the wrathcut<br />
When you fence with someone and cleave in with the wrathcut or however else down from above and they parry that and rise up with their arms and you both rush in on each other and they are then so circumspect that they will take your slice from below the hands into your arms, follow their sword downwards with your long edge and press down, thus you have broken them.<br />
<br />
Another<br />
But when you arrive with your arms high and someone does as well and they rush in and want to bash you between the eyes or in the breast with their pommel through your arms from below your hands, speed downwards with your pommel, with your arms strong and heave towards yourself and strike them on their head with your sword.<br />
<br />
Combat play<br />
Stab the opponent in the face on the inside and slip down through and stab them in the face on the outside. But if they defend that, step between both of their legs with your left foot and reach out over their left leg with your pommel into the pit of their knee and lift up with your pommel and with your left shoulder push them away from you from up high so that they fall.<br />
<br />
Break<br />
When someone speeds into the pit of your left knee with their pommel, reach up from below and grab onto their elbow behind their left hand with your right hand and take their weight.<br />
<br />
Combat play<br />
Stab the opponent in the face on the inside and lodge against them. If they defend that, withdraw suddenly and stab them on the other side. But if they defend that and sweep your point aside, quickly move your pommel over their right shoulder and around their neck and spring behind their left foot with your right and throw them over it.<br />
<br />
Break<br />
When someone has slipped over your right shoulder and around your neck with their pommel, seize their right elbow with your left hand and shove them away from you so that you gain their side.<br />
<br />
Another break<br />
When someone has slipped around your neck with their pommel, seize their right arm with your left hand and hold it firmly and turn yourself away from them to your right side and throw them over your left hip.<br />
<br />
The distillation of the long sword<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And carries out windings correctly with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
Gauge these applications<br />
As soft or hard<br />
<br />
Do not focus on more than you understand<br />
So that you do not end up behind the wagon<br />
<br />
Excerpt of the short sword<br />
<br />
The short sword rightens you<br />
Whoever thrusts at you,<br />
With your shield<br />
If you wish to make them mild.<br />
Five lessons<br />
That guide with correct sense.<br />
Two upon the right,<br />
Learn to fence with these.<br />
As many on the left<br />
Compose yourself to not waver<br />
And before the opponent<br />
Do not let yourself worry<br />
If they are above,<br />
Stay below, that I will praise<br />
Learn to displace with your shield<br />
Wind in so you can disrupt the masters<br />
If they allow that<br />
Grab between their legs, don't be lax.<br />
Step, break<br />
Whatever one does, it comes to nothing.<br />
If they take target of you high<br />
Grab the sword far in the middle, they will be shamed.<br />
Go through. If they come from below,<br />
Displace, grab them by their neck, so that you can wound them.<br />
Make staff, sword wind in.<br />
Bring the pommels together, then you have won.<br />
Learn to wind in from both sides<br />
Then you can find the art.<br />
Do not hold yourself so close<br />
That you will not act<br />
Follow swiftly, then you gauge it<br />
For with that, you dupe them.<br />
<br />
The first precept<br />
Note, If someone is high, then you are low, but if they are low, then you are high. When you are low on your right side and hold your sword in your right hand and your point in your left, if they thrust at you from above, then displace with your point, wind into their left arm with your pommel and yank them forwards. Or displace them with your point and fasten their sword to yours and with your pommel, reach up for their right arm from below and press up. Or, when you clasp the sword with their point to yours, you can also reach into the middle with your pommel and step behind them. Whoever contests this, after you have struck them together and grab the sword in your left hand and the point in your right hand, then displace with your pommel, wind inside their left arm with your point and onto the outside of their right arm with your point and yank them forward.<br />
<br />
The second precept<br />
On the other hand, if you are high on your right side and hold your sword in your right hand and your point in your left and someone thrusts up at you from below, you can shoot through. then, if you wish, you can displace with your point and clasp their sword to yours and grab them by their neck with your pommel and step behind them. Or, when you have displaced with your point, strike at their knee with the pommel of your sword or reach behind the pit of their knee with your pommel and pull it against you or grab them by their neck with your pommel and pull them down forwards. But, if you have struck and hold your sword in your left hand and your point in your right and they thrust up at you from below, then displace with your pommel and clasp their sword to yours and grab them by their neck with your point and step backwards.<br />
<br />
The third precept<br />
Note, When you are on the left side and are high and hold your sword in your right hand and the point in your left and someone thrusts up at you from below, parry with your half-sword such that your pommel goes down at the moment of your parry and wind inside their left arm with your pommel and onto the outside of their right arm with your pommel and yank them forwards. And when you hold your sword in your left hand and your point in your right and stand high on your left side and someone thrusts up at you from below, parry with your half-sword such that your point goes down at the moment of your parry, then wind inside their left arm with your point and onto the outside of their right arm with your pommel and yank them forward.<br />
<br />
The fourth precept<br />
On the other hand, if you are low on your left side and someone thrusts at you from above and you hold your sword in your right hand and your point in your other hand, parry with your half-sword such that your point goes up at the moment of your parry, then wind inside their left arm with your pommel and onto the outside of their right arm with your point. If they let go, grab between their legs with your pommel and press up away from you. You can do this every time you wind in, just always step backwards in your winding in. But if you clasp your sword in your left hand and your point in your right and someone thrusts at you from above, parry with your half-sword such that your point goes down at the moment of your parry, then wind inside their left arm with your point and onto the outside of their right arm with your pommel and yank them forward. In the previous play, if turn your point upwards, you have both the winding in and the shooting through, below and above and if someone strikes or thrusts at you, then be ready for the wrenching down or the winding in.<br />
<br />
Note the half sword to the face and to the belly and the thrust downwards with the cross and with the pommel between the eyes or around the neck and step around them.<br />
<br />
Rushing in<br />
When you wish to rush in, which I firmly do not recommend, let your sword drop when you go in on someone, grab inside their right hand with your left and with your right hand grab onto the inside of their right leg and slip under their right armpit, then left them and carry them away wherever you wish.<br />
<br />
Break<br />
When someone wishes to run in on you, drive over both of their arms with your right arm and press them firmly into you with your arms, step behind their right foot eith your right and turn yourself to your left side so they fall.<br />
<br />
Breaking rushing in<br />
When someone wishes to run in on you at the sword, release your right hand from your sword and seize the outside of their right hand with your hand inverted and yank them into you, grab onto their elbow with your left hand and take away their balance.<br />
<br />
Another<br />
Release your hand from your sword and with your right, drive over their right hand and press them down with it and with your left hand, take their balance away by their elbow.<br />
<br />
Sword disarm<br />
When you have clasped their sword against yours in your left hand and they remain low with their arms, drive up over their sword in front of their right hand with your pommel and wrench to your right side, so that both sword stay with you.<br />
<br />
The second chapter teaches how one shall use their messer advantageously and it has not declined by way of its diverse applicability and it is a predecessor and the chief basis of the other weapons that are used with one hand such as the dussack or dagger, wide dagger or short sword and many other one handed weapons which I will leave out for brevity.<br />
<br />
The first play<br />
Position yourself against the opponent, your left side forwards such that your haft lies by your knee and your point against them. If they strike at you from high, step in the triangle or a false step and shield yourself short and make a follow up strike long<br />
<br />
Break<br />
If someone positions themselves as in the picture, position yourself in highpoint and strike a failer at their left ear, then they shield themselves in vain and you win yourself a full strike from their strike.<br />
<br />
Dismembering<br />
Position yourself as it is here. If someone initiates a strike, thrust your messer inwards against their arm from below such that they dismember themselves upon it. This is often used whenever you sit at a table and the opponent stands in front of it or else they are on horseback.<br />
<br />
Break<br />
When you notice that someone will try to get you to dismember yourself, strike at them with a failer so that they respond in vain, the result of which is that they cannot attain a full strike against you.<br />
<br />
Play<br />
Position yourself against the opponent with your left foot forwards, your point extended well away from you. Place a thrust in their face, then swiftly take it back and hammer it in long. But if they ward that strike, let it run off short and take other work according to advantage.<br />
<br />
Break<br />
When someone lies against you in this way, come from the side and take their strong with the back of your messer and cut through. In this way you uncover them and can come to freer work.<br />
<br />
Failer<br />
Undertake the failer from high point, your left foot forwards and your messer in the air with extended arms. Cut through to the opponent's left ear with a step and let your messer rush through a second step and strike at their right ear with the high parrying action<br />
<br />
Break<br />
When someone executes a failer strike at you, cut down through from above such that you take their second strike away from the control of their hand with the back of your messer, clearing it so you are free to strike and uncover them.<br />
<br />
Play<br />
When opponent initiates a cut from above, immediately cleave in with them and step wth your left foot well to their right side. Let it go empty and draw the turkish pull from the hand over their right arm.<br />
<br />
Play<br />
Position yourself with your left foot forward, such that your messer with its point lies in front of your foot. If someone initiates a strike at you, either take their strike from roof guard away with the back of your messer or shoot your point up into their face or else whip the wind stroke around your head.<br />
<br />
Break<br />
Position yourself with your right foot forward such that your messer is against the side your breast, your thumb underneath and the edge up. If you notice that the opponent will shoot up over, then drive their strike away and out of control of their hand short, then step and make a follow up strike long.<br />
<br />
Another<br />
Position yourself with your right foot forward, your messer against your breast, your edge up, your point towards the opponent. In this way you are either able to strike the change cut from below or above or else thrust your point into their face and swiftly take it back, thus you accumulate a parrying action along with your strike over the right arm.<br />
<br />
Break<br />
If someone lay against you in this way, lash out at them and let your first strike rush through short, step and strike long into their face from roof guard.<br />
<br />
Play<br />
Position yourself with your right foot forward, your messer at your knee, with your hand inverted. If someone strikes at you from roof guard, step away from their strike with your left foot and turn it away with the back of your messer and draw it over their right hand.<br />
<br />
Play<br />
When someone meets you with a sword or pig spear and you only have a messer, position yourself as shown here. If they strike a buffalo strike from roof guard, step in the triangle and parry the strike short, in this way they err by opening themselves up, so swiftly make a follow up step and strike before they come to their senses.<br />
<br />
Break<br />
When you have missed your attack, yank your pommel up such that the opponent unloads on your flat, which gains you a powerful strike upon them.<br />
<br />
Play<br />
When someone meets you with a sword or dussack or other weapons and you do not have any weapon, take precise note of their strike and step into the triangle or into a false step and grasp the top of their right hand with your right hand and with your left hand grab their right elbow, take their momentum and sling them to the ground.<br />
<br />
With empty hands<br />
When someone initiates a thrust with their dussack from below, drop your left hand on their right hand and hold it firmly and grab their messer with your right hand inverted and twist their messer up from below with their point towards their body and press against the messer from behind with your chest so that you stab them with their own weapon.<br />
<br />
The Key<br />
This is called the key because it disarms all devices and it goes like this. When someone thrusts at you with a messer, dagger or awl and you do not have any weapon in your hands, stand still and place your hands one atop of the other crosswise in front you. From this you can disarm any device one thrusts at you, above or below.<br />
<br />
These are the breaks from the key with empty hands<br />
When someone initiates a thrust from above with a dussack, invert your right hand and clasp their right arm up by their hand and wrench it around and with your left hand, take their balance at their elbow and slam them onto the ground<br />
<br />
Another with empty hands<br />
When someone initiates a thrust from below, grab their arm with both hands and rush their arm through and wrench it around so that you break their arm and take their messer.<br />
<br />
Seize their arm with both hands and wrench it around and turn yourself through to your right side and break their arm over your left shoulder.<br />
<br />
With weaponless hands<br />
Seize their arm with both hands and step fully into them, turn yourself to your right side and break their arm atop your chest.<br />
<br />
Or execute wrestling<br />
Quickly move your left hand against the front of their throat and step behind their right foot with your left foot and throw them over your left knee with your foot.<br />
<br />
Another with empty hands<br />
Seize their right hand with your left and with your right seize them underneath their elbow and yank them towards you with it and with your left hand shove them away from you and spring behind their left foot with your right and throw them over your right knee with your foot.<br />
<br />
How one shall restrain someone thrown<br />
When you throw someone, always fall on their right side with your right knee between their legs and with your left hand, fall forward into their neck and do not be too eager, so that you do not fall too far over them and then seize their weapon and work with it according to your landing.<br />
<br />
Another<br />
If someone falls on their back, grab both of their legs below the knees with both hands and lift them up and drop between their legs onto their testicles with your knee and in this way hold both of their legs with one hand and work with your weapon with the other.<br />
<br />
Rushing in<br />
When someone strikes a buffalo strike from roof guard, strike outward such that they don't overrun you. If they strike into your strike, take your messer in your left hand close to the point and rush under their strike in such a way that you land it in side their strike while their swing is over their head and quickly move in completely back behind the pit of their knee. Thereafter, draw them towards you such that they fall backwards on their head.<br />
<br />
Another<br />
When someone hands over a buffalo strike to you, set the back of your messer on your left arm with strength such that they do not slam you to the ground. And spring under their strike with a high parrying action, grab their right hand with your left and break their arm from the hand. You uncover them with this and deliver a buffalo strike, etc.<br />
<br />
Play<br />
When someone has broken your right hand, follow behind the strike and grab their right shoulder with your left hand and position them into weakness with your right foot behind the pit of their left knee and shove them away from you so that they fall.<br />
<br />
Thrust breaking<br />
Whenever someone initiates a thrust, be it from above or below, carry it away from your face with the back of your messer and execute the wind strike upon them or other work.<br />
<br />
Break<br />
Whenever you notice someone will break your thrust suddenly abort it so that they cannot mount you, in this way they err and open themselves up with it.<br />
<br />
Removing the wing<br />
Set yourself up with your right foot forwards with an inverted hanging point. If someone strikes up from below into your face, step and cut under their right shoulder from below and invert your right hand with armpit slicing. Push against their right shoulder with your left hand so that they must turn and uncover themselves.<br />
<br />
Break<br />
Whenever someone cuts into your armpit and will remove your "wing", reach over their right hand, through their arms with your messer, behind their haft and retrieve your messer near the point with your hand inverted and barred and then pull towards yourself so that you take their messer.<br />
<br />
Messer disarm<br />
Note when someone initiates a strike such that you have misfired, wrap your arm around their dussack and force it upwards, turn yourself away from them and take it over your shoulder.<br />
<br />
Break<br />
Fall upon them to wrestle from behind<br />
<br />
Counter break<br />
Thrust into their genitals from through their legs.<br />
<br />
Double thrust<br />
Thrust into their face from above such that they do not catch your thrust. Take another step, thrust with your hand turned around, also from above. With this you have a parrying action in taking it away, let it run off short, then you win a sure strike.<br />
<br />
The third chapter summarizes expertise in the staff which is the source of many weapons, such as the long spear, javelin, boar spear, halberd, and pike. Similar ones are given many peculiar names I will not list for the sake of brevity.<br />
<br />
Binding<br />
The staff has eight parrying actions. Four binds with two above and two below with one on each side in any hand and two in the middle of the staff.<br />
<br />
Play<br />
When you bind their staff from above from your right side, shoot your point into their breast or work it over their staff into their right shoulder. If they ward it, strike into their right side from below with the other point of your staff or else bind against their staff from the outside and strike it out of their right hand.<br />
<br />
Play<br />
When you bind your opponent, whichever hand it is, hold your forward hand still and swiftly yank your staff back with the other hand. With your forward hand thrust it into their breast with the other point to both sides.<br />
<br />
Play<br />
If you bind your opponent from above, keep that point against their staff and whisk your other point below, against their arm and lift it up with force and rush completely through and throw them over your leg.<br />
<br />
Break<br />
When someone does that to you, shoot your point over their staff and strike them on their head with the other point.<br />
<br />
Play<br />
When someone binds you from above with half staff, take their upper point out of their hand with your lower point, step, shove and strike, so that you can come to further work without harm.<br />
<br />
Break<br />
When someone takes your point away, let your lower point shoot into their face and drop into a calm and confident parry. But if they thrust, turn it away from your face so that they come back into your control.<br />
<br />
Play<br />
Position yourself into a parry, your staff on the ground in front of you, the other point in front of your face. If someone initiates a thrust, wind their staff using your staff above your hand. You uncover them with this. Accompany that thrust [with one] to their face.<br />
<br />
Break<br />
When someone winds your staff out, recede from their thrust and throw them overhead so that you win a full strike with your parry.<br />
<br />
Play<br />
If someone initiates a strike down to your feet or knees with their staff, then throw your staff to your left side, drive against their strike with your point to the ground and spring behind their left foot with your right so that you gain an advantage.<br />
<br />
Play<br />
Thrust into their face from the inside. ut if they ward and turn away your thrust, quickly move your other point around their neck over their right shoulder and spring behind their left foot with your right and throw them over it.<br />
<br />
Break<br />
When someone moves their staff around your neck, grab their right arm with your left hand and turn away from them to your right side and throw them over your left hip.<br />
<br />
Play<br />
Position yourself with your left foot forwards, your staff in front of your face in a powerful thrust, bait them with a thrust, take it back, reach atop your staff with your right hand and strike with your hand inverted and step inside, fully into them, thus they will draw up a parry. With that, you can work further.<br />
<br />
Break<br />
When someone strikes across your hand, do not respond to the strike with any parry, thus they misfire in proportion to it's power and that clears the opening for you to their harm.<br />
<br />
With half staff<br />
<br />
Position yourself with your right foot forward, your staff in both hands, gripped in the middle. If someone sets into your face with power, take it from roof guard with the back point, in this way you acquire the freedom to thrust or strike.<br />
<br />
Break<br />
When someone intrudes with half staff and rattles you about the ears, fall back and set into their face with authority. No one comes away from you without harm.<br />
<br />
Play<br />
If someone initiates a thrust from below, do not defend it, rather set into their face.<br />
<br />
Break<br />
If someone sets into your face, simlutaneously thrust in with them and pay attention to their left arm.<br />
<br />
Play<br />
Position yourself with your right foot forwards, such that your staff lies behind you ready for a strike. Yank and throw your staff to their right side from extension so that they must shield themselves from harm and must give you a swing to the left side.<br />
<br />
Break<br />
When someone throws their staff into your sides, place your point onto the ground and turn away to both sides. Thereafter follow up with a thrust into their face or move your staff between their legs and throw them.<br />
<br />
Play<br />
If someone thrusts into your face such that you should defend, displace their thrust with the forward point (your right hand) and set into their face.<br />
<br />
Play<br />
When someone lets your strike miss and your strike trails off in vain or they refrained to extend, therefore you misfire; always yank your staff upwards, therefore you shield yourself and come to further work.<br />
<br />
Break<br />
When someone has misfired and managed to accomplish their parry, thrust down from above into their face from the inside so that they must turn away your thrust. And when then defend your thrust, strengthen yourself against them, such that your point becomes wound between both their hands and their body, then you take their staff out of their hands.<br />
<br />
Play<br />
Position yourself with your left foot forward, your staff in the air. Strike through short to the opponent's left shoulder such that they cannot catch your strike and step on in long with the second strike so that you can immediately work at their side.<br />
<br />
Break<br />
Whenever someone strikes through short, let it flit away and intervene in the speaking window such that their strike comes between both your hands. Thereafter, thrust your point into their chest.<br />
<br />
Play<br />
If someone were to strike to the pit of your left knee, with your right hand turn your staff towards the ground and with your left hand hold the other point in front of your face and catch their strike between both your hands and with your staff, wind it from below, up over their staff near their hands and lift up to your side so that you pull their staff from their hands.<br />
<br />
Play<br />
When someone strikes down from above at your head with their staff, catch their strike between both of your hands with your staff and with the forward part of your staff wind down from above over their hands to your left side and firmly pull towards yourself to your left side so that you pull their staff from their hands.<br />
<br />
If someone strikes at your forward hand with their staff, break it as you would have broken the high strike to the head above.<br />
<br />
There is not a person alive who can please everyone.<ref>rephrasing of Ovid's "Cunctis qui placeat non credo quomodo vivat"</ref><br />
<br />
If I were wished woe,<br />
Then I would cut back bitterly<br />
<br />
With this very excerpt of the Knightly Art of Fighting, I have been moved by many reasons to express this Knightly Art, yet in keeping that particularly diligent in mind, I have strived for conciseness in this little book which I dedicate and present to my students, to which there is no doubt they stand to be diminished, rather than growing and improving day by day, at the point I a mistake somewhere (because to err is human) being careless in obligation, of which I wholly and humbly accept about myself. So, if God bestows upon me grace and health, I will be diligent and will shortly in a new year present to you another and more serious explanation, which will prove itself to be valuable and serious, where the art will be honored daily in complete service to your reign.<br />
<br />
Cobbler, do not make judgements above the shoe.<ref>rephrasing of the proverb from Pliny, "ne supra crepidam sutor iudicaret"</ref><br />
<br />
Vienna, Austria by Hieronymous Vietor<ref>Hieronymous Büttner</ref> 1516</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Nicola%C3%BCs&diff=134979User:Christian Trosclair/Translations/Nicolaüs2022-07-10T16:00:52Z<p>Christian Trosclair: </p>
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<div>Descending cut<br />
Wrathcut<br />
Wrathpoint<br />
The Warcut<br />
The Four openings<br />
Crooked cut<br />
crosswise cut<br />
Ox and plow<br />
Cockeyed cut<br />
part cut<br />
The Four positions<br />
The Four parries<br />
The Pursuing<br />
Overrunning<br />
Displacing<br />
Cutting off<br />
Two Hangers<br />
The Speaking window<br />
The Crown<br />
<br />
The plays of the sword by Johannes Liechtenauer.<br />
<br />
The seven master cuts<br />
<br />
The Wrathcut<br />
The Crooked cut<br />
The Half cut<br />
The Crosswise cut<br />
The Crosswise switch cut<br />
The part cut<br />
The Crown cut<br />
<br />
This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long Zettel of the the longsword of Liechtenauer's art.<br />
<br />
Here it begins, the Zettel of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way...<br />
<br />
Young knight learn<br />
To have love for god, honor women and maidens<br />
So that you expand your praise and honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and storm in,<br />
Keep rolling, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again erronious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.<br />
<br />
This is the text of another lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.<br />
<br />
Text. Another lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cleave in, to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot disengage ((with before)) the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and with that, immediately step back before they come to their senses. Thus, they are struck.<br />
<br />
Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or breast, so that they cannot disengage in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately spring back from that.<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.<br />
<br />
Text<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.<br />
<br />
Note what is called the after.<br />
<br />
This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.<br />
<br />
Now you should also know about the weak and the strong of the sword.<br />
<br />
Get the sense of it like this. From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref><br />
<br />
Now hear the text of the five cuts<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.<br />
<br />
This is the text about the components of the Zettel<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, thrust to clash with<br />
<br />
These are the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named and is seventeen side by side.<br />
<br />
This first are the five cryptic cuts as they are designated each in particular<br />
<br />
Item The first the wrathcut<br />
crooked cut<br />
crosswise cut<br />
cockeyed cut<br />
part cut<br />
<br />
Item note the plays<br />
<br />
Of these: The four guards<br />
The four parries<br />
The pursuing<br />
The overruning<br />
The displacing<br />
The disengaging<br />
The suddenly withdrawing<br />
The rushing through<br />
The cutting off<br />
The hand pressing<br />
The hangings<br />
The windings<br />
<br />
And what you should fence from the components and how you should give yourself openings with the hangings and the windings, those will be clarified. <ref> Augsburg II: You will find those one after the other hereafter</ref><br />
<br />
The wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsber II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or breast. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.<br />
<br />
The second play of the wrathcut text<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Note this is how you shall work with your point form the wrathcut and understand it like this. When you cleave in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and lodge against your point upon them below.<br />
<br />
One more play from the wrathcut text<br />
<br />
Precisely note this.<br />
Cut, thrust, position, soft or hard<br />
Indes and before and after<br />
Without collision your war is not to be hasty<br />
<br />
This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.<br />
<br />
The text of the war<br />
<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cleave in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry<ref>Augsburg II: displace. (Matches the Lew)</ref> the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
This is the text<br />
<br />
In all windings<br />
Cut, thrust, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely gauge and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well and delivers windings with it..."<br />
<br />
The text of the four openings<br />
<br />
Know the four openings<br />
Hunt so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut<ref>Augsburg II omits: or cut</ref> it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword<ref>Augsburg II: not of the sword. (Matches the Lew)</ref> with all cuts and thrusts<ref>Vienna omits: with all cuts and thrusts</ref><br />
<br />
And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Lodge against four regions, remain thereupon to learn winding"<ref>The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, p105r. https://wiktenauer.com/wiki/Page:MS_KK5126_105r.jpg</ref>.<br />
<br />
The text of the breaking of the four openings<br />
<br />
If you wish estimate how<br />
To artfully break the four openings<br />
Double above<br />
Mutate right below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is for when the opponent cleaves in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Here note how you shall conduct the doubling on both sides.<br />
<br />
When the opponent initiates a cut from above from their right shoulder, cleave in from above with<ref>Vienna omits with</ref> them with<ref>Augsburg II omits with</ref> strength at their head with your right as well. If they parry and stays strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge<ref>Augsburg II omits: with the short edge</ref> to their head.<br />
<br />
Item. If you cleave in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.<br />
<br />
Note how you shall conduct the mutating from both sides<br />
<br />
Item. When you cleave in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms<ref>Vienna omits: and with that, drop back down with your arms</ref> and thrust into their lower opening.<br />
<br />
When you initiate a cut from your left side to the opponent's head<ref> Vienna: pommel</ref>, then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.<br />
<br />
The crooked cut with the text of it's play<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder spring with the right, well to your right side, and strike them across their hands with the long edge from crossed arms<br />
<br />
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold<ref>Augsburg II omits holding</ref> your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.<br />
<br />
Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then spring to your left side with your left foot well away from the cut and strike them while springing over their hands with the short edge.<br />
<br />
Text<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it clatters above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it on your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.<ref>Vienna: entire stuck missing. Abridged from pPvD</ref><br />
<br />
The text from one of the plays of the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and with that disenge below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.<br />
<br />
Text<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you'll always make yourself open with it. Look at it like this, when you cleave in or bind their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield themselves from your cuts and your thrusts.<br />
<br />
Here begins the crosswise cut with it's plays<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cleave in from above and come before yours,<ref>Augsburg II omits: "threatens to cleave in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew</ref> then advance your left foot and hold your sword with the flat on your right shoulder and spring well to your right side with your right foot and wind your sword in front of your face by the hilt while springing such that your thumb goes underneath and strike them on the left side of their head with your short edge. But if they go forwards with their cut before you do, then spring away from the cut well to your right side with your right foot using the same afore written act of parrying such that you catch their cut in their hilt and then strike in with the crosswise cleave in the afore named place.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
This is: when you strike via the crosswise cut, you should strike with the entire strength of your body, because you constrain the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the crosswise cut, if the opponent parries and binds strong against your sword with it, then either execute doubling or from your crosswise cut drive their sword away with your hilt and strike them on the other side of their head. When you initiate a cut via the crosswise cut and the opponent parries and binds soft against the sword, then execute mutating into their lower opening or drive your sword to the other side against their neck and spring behind their left foot with your right an drag them over it with your sword.<br />
<br />
Gloss: This is When you initiate a cut via the crosswise cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the crosswise cut. Or if they will rush in, then take the slice under their arms or await the wrestling.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Here note the cross strikes to the four openings.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and spring well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always spring out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.<br />
<br />
This is the text of the play that here is called the failer<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Execute the failer like this<br />
<br />
When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them on that side with the crosswise cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side<br />
<br />
This is the text of the play which here is called the inverter.<br />
<br />
The inverter compels<br />
Slipping through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you rush through him and hold them correctly with wrestling.<br />
<br />
Execute the inverter like this<br />
<br />
When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
The text<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right<ref>Vienna: left</ref> shoulder and when it is right for you, spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
You can also just as well execute the failer from descending cuts as you would from the cross strikes.<br />
<br />
Here begins the text of the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Know that the cockeyed cut is a good<ref>Vienna omits</ref>, strange and grim<ref>Augsburg II: notable</ref> play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.<br />
<br />
Item. Execute the cockeyed cut like this<br />
<br />
The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and halts the cut of their sword<ref>Augsburg II: aborts during the cut of your sword</ref> and chang through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.<br />
<br />
Item. Another play<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the breast of the opponent in such a way that they cannot reach you with their thrust.<br />
<br />
The text of yet another play from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are shortened. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again shortened. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again shortened. Also know that all winds before the opponent are short and withdraw the sword and freely disengage out of cuts and thrusts using long point against all that fence against you in this way, with this you constrain them so that they must parry or allow themselves to be struck.<br />
<br />
This is the text of how you shall break long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play versus the long point using a deception of the face. Execute it like this<ref>Vienna: omits this line</ref> When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
The text of yet another play of the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.<br />
<br />
The text of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<ref>Vienna omits</ref><br />
By slicing withdraw it<ref>Vienna omits</ref><br />
<br />
Gloss: The part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or breast. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and drive your slice using pressing and withdraw yourself with it.<br />
<br />
This is the text about the four positions or guards<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.<br />
<br />
The second is called the plow.<br />
<br />
Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed<ref>Munich I: inverted/twisted</ref> hands such that the short edge is up and your point is against the opponent's face.<br />
<br />
Item on the left side.<br />
<br />
The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.<br />
<br />
The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of<ref>Vienna and Augsburg II omits</ref> your point upon the ground and such that the short edge is turned<ref>Vienna omits</ref> up.<br />
<br />
This is the text about If you are parried, as that is arriving<br />
<br />
The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword on your right shoulder or with your point<ref>Vienna and Augsburg II omits</ref> high over your head with extended arms and stand in the guard like this.<br />
<br />
This is the text about the parries<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
Item the second is the crosswise cut which breaks the roof guard<br />
<br />
Item the third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.<br />
<br />
This is the text<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.<br />
<br />
Item another one<br />
<br />
When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.<br />
<br />
This is the text of the four lodgings against<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss: Lodging is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to execute where you wish to deliver an immediate end with your sword.<br />
<br />
[Vienna]<br />
And lodging is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cleave in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you lodge against them. Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your lodging and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play.<br />
<br />
[others]<br />
Item. Execute the lodging like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cleave in from above or initiate a thrust from their right side, then come forwards with a act of parrying, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them. But if they cleave in from their left side, shoot in your point to the opening of their right side.<br />
<br />
Item. When the opponent initiates a cut up from below from their right side, shoot in your point and lodge against them. Also do the same when they cut up from below from their left side. Then if they become aware of the lodge and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.<br />
<br />
[Vienna]<br />
Then if they withdraw themselves from your sword, execute the pursuing which will be explained to you hereafter.<br />
<br />
This is the text about how you shall pursue<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Execute the first play of pursuing like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck<br />
<br />
The is the enticement to the outside<ref>Wolfenbüttel: Broken gate to the outside</ref><br />
<br />
When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them<ref>Vienna omits</ref> below their sword and toward<ref>Augsburg II omits</ref> their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
A good pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you<ref>Augsburg and the others follow the lew: "either cleave in from the act of parrying or wind in against your sword"</ref> , then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you<ref>The others follow the lew: "either misfires or ..."</ref> or uncovers themselves in front of you with their cut.<br />
<br />
This is the text about feeling and about the word Indes<br />
<br />
Learn to feel it<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.<br />
<br />
Note feeling like this:<br />
<br />
Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Item. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this: Indes disengages, Indes slips through. Indes takes the slice, Indes wrestles with. Indes takes the sword, Indes does what the heart desires. Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.<br />
<br />
The text about overrunning[sic]<ref>The others omit this mistake</ref><br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.<ref>The others: "and take the slice"</ref><br />
<br />
The text about overrunning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
press<ref>Vienna: through, Wolfenbüttel: "press it"</ref> twice, soft or hard.<br />
<br />
Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cleave in long from above from your right shoulder and shoot in your point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Item. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.<br />
<br />
How you shall displace cut and thrust<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displac it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their breast.<ref>The others omit "opening of"</ref><br />
<br />
Item. Another play.<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step toward the right foot and stab them in their face or breast. This play is also conducted from the plow from your left side in the same way as from your right.<br />
<br />
The text about disengaging.<br />
<br />
Learn to disengage<br />
From both sides thrusting sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
And you execute disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point rush through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then disengage above<ref>Others: again</ref> to the other side. And always execute this when the opponent moves towards your sword with an attempt to parry. The is executed on both sides.<br />
<br />
Item, another.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword and not to the openings of the body.<br />
<br />
Item, quite precisely note this play<br />
<br />
When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<ref>Vienna omits: "nor lodge against you"</ref><br />
<br />
This is the text of how you shall suddenly withdraw<br />
<br />
Tread close in binds,<br />
So that suddenly withdrawing gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<ref>Augsburg II introduces scribal error. "Thut im we" became "thut ime be.."</ref><br />
If you wish to make a fool of the masters<br />
<br />
Know that suddenly withdrawing is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off<ref>bind you down</ref><ref>Augsburg omits</ref> or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the suddenly withdrawing against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another suddenly withdrawing.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
This is the text about rushing through and about wrestling<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Slipping through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.<br />
<br />
Another wrestling<br />
<br />
Item. When the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shov their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shov their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Here note arm wrestling in the sword<br />
<br />
Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Another.<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left<ref>Vienna: right</ref> hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and spring in front of their right foot with your left and pushing them over it.<br />
<br />
Item. Another wrestling.<br />
<br />
When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove with your right hand<br />
<br />
When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<ref>Augsburg II: Keeps this with the previous play like in the Lew</ref><br />
<br />
Item. Yet another.<br />
<br />
When the opponent rushes in on you at the sword, invert your right<ref>Augsburg II has left as in the Rome</ref> hand and pass over their left<ref>Augsburg II has right as in the Rome</ref> arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another.<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.<br />
<br />
Cut off the hard ones<br />
From below with both applications<br />
<br />
This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneathe with your sword against their sword's blade, away form their sword and immedately cut back in against their sword from above at their mouth<ref>"vnd haw im am swert" is repeated. Scribal error</ref><br />
<br />
Item. Another.<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
The text about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above<ref>Augsburg II omits the rest of this passage</ref> with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
The text about the transfromation of the slice<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and step to their right side with it, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.<br />
<br />
The text about the two lower hangings<br />
<br />
Two ways of hanging emerge<br />
From the ground from one hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.<br />
<br />
You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.<br />
<br />
The text about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.<br />
<br />
Make the speaking window like this<br />
<br />
When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.<br />
<br />
Another of the long point's<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their breast. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.<br />
<br />
This is the text of the Instruction of the four hangers and the eight hangings<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And to them make singular,<br />
The winds, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight winds with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.<br />
<br />
Note here how you shall execute four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Execute them like this: When you come to the opponent with the initiation of fencing, setup in ox from from your right side, then if they cleave in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding. Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.<br />
<br />
Item The second upper hangers execute like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. Then if they cleave in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding. If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.<br />
<br />
Item. Now you shall know that you shall execute the four winds from the plow from both sides (these are the two lower hangers) with all of their applications just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall execute cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly execute the eight winds with stepping on both sides. And note as soon as you wind, you shall distinctly recognize nothing more than the two applications in each particular winden whether the they are soft or hard against your sword. Thereafter execute the play that subsequently becomes clear to you in the previous statement<br />
<br />
Item. Here ends the text from the Zettel of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slam together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.<br />
<br />
Item. It is to be known that the "neche"<ref>unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context</ref>. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the Zettel. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Medel&diff=134978User:Christian Trosclair/Translations/Medel2022-07-10T16:00:26Z<p>Christian Trosclair: </p>
<hr />
<div>23 leaves of parchment follow after. Therein the Art of Johannes Liechtenauer, the Knightly Art of Fencing, is held. With that, 17 images of the sword. Paulus Hector Mair<br />
<br />
1539 Johannes Liechtenauer's Fencing Art.<br />
Here the Zettel begins. In this, the knightly art of the long sword lies written, which Johannes Liechtenauer, who was a great master in the art, composed and created, God have mercy upon him. He had let the Zettel be written down and composed with cryptic and misleading words, so that the art shall not become common. And so Master Sigmund ein Ringeck, who was known at this time as fencing master to the highborn prince and noble Lord Albrecht, Pfalzgraf of the Rhine and Herzog of Bavaria, had these same cryptic and misleading words of the Zettel glossed and interpreted as lay written here in this book, so that any fencer who can otherwise fight properly can see and understand well. And also after that enriched and improved by other masters, especially via master Hans Medel from Salzburg which subsequently follows after this.<br />
<br />
This is the forward.<br />
Young knight, learn.<br />
Worship god, ever honor women<br />
Thus increase your honor.<br />
Practice chivalry and learn<br />
Art that decorates you<br />
And in war exalts with honor.<br />
Wrestling's good fetters,<br />
Lance, spear, sword and messer.<br />
Manfully put to good use<br />
And make useless in other's hands<br />
Attack suddenly and charge.<br />
Flow onwards, hit or let pass<br />
Whereupon making hostilities in these ways<br />
Seeks to praise the one.<br />
Hold yourself to this:<br />
All art has reach and measure<br />
<br />
This is the text about many good general lessons of the long sword.<br />
If you wish to examine the art,<br />
Then go left and right with cutting<br />
And left with right<br />
Is what you strongly desire to fence.<br />
<br />
Gloss: Note this is the first lesson of the long sword in which you shall learn to cut the hews correctly from both sides if you wish to otherwise fence strongly and correctly. Look at it this way: When you wish to cut from the right side, see that your left foot stands forward. If you then cut a descending cut from the right side, then accompany the cut with the right foot. If you do not do this, then the cut is wrong and incorrect. When your right side stays behind it, the cut is shortened and cannot accomplish it's correct path downward to the other side in front of the left foot.<br />
<br />
Similarly, when you cut from the left side and the cut is not accompanied with the left foot, then the cut is also wrong. Therefore note from whichever side you cut, that you accompany the cut with the same foot if you want to correctly conduct all your plays with strength and all other cuts should also be hewn in this way.<br />
<br />
Again a text about a lesson<br />
Whoever chases cuts,<br />
Allows themselves to enjoy little of the art.<br />
Cut from close proximity whatever you wish.<br />
No disengaging comes against your shield.<br />
To the head, to the body,<br />
do not omit the stingers.<br />
Fence with the entire body<br />
whatever you desire to conduct with strength.<br />
<br />
Gloss. When you arrive at the opponent initiation of fencing, you should neither watch nor await their cut as they conduct it against you. Because all fencers that watch and wait upon another's cut and wish to do nothing else than parry, tthey allow themselves to enjoy little of the art because they often become struck with it. Therefore cut and thrust to the openings.<br />
<br />
Item. You shall note that everything that you wish to fence with, conduct that with the entire strength of the body and with that, cleave in from close at the head and at the body, so they can not disengage in front of your point and with that cut, in the binding up of the swords, you shall not omit the stingers to the nearest opening. That will be delineated hereafter in the five cuts and in other plays.<br />
<br />
Again, the text of a lesson.<br />
Hear what is bad.<br />
Do not fence above left if you are below right<br />
And if you are left,<br />
In the right you are also severely hindered.<br />
<br />
Gloss. This lesson hits upon two people, one left and one right. The first cut, Look at it this way: When you come to the opponent with an initiation of fencing, if you subsequently judge and decide to strike the opponent, then do not hew the first cut from the left side. Because it is weak, and because of that, cannot not resist when one binds strongly against it. Therefore cut from the right side, so you can work whatever you wish strongly with art. The same goes if you are lefty. Then do not cut from the right side as well, because the art is quite awkward when a lefty initiates from the right side. It is also the same of a righty from the left side.<br />
<br />
A text of a lesson about the before and the after.<br />
Before and after, the two things<br />
Are the one origin of all art.<br />
Weak and strong<br />
Indes. Mark that word with these.<br />
So that you can learn<br />
To work and ward with art.<br />
If you frighten easily,<br />
Never learn any fencing<br />
<br />
Gloss: This means that, before any confrontation, you shall understand and be able to perceive the two things. That means, the before and the after and then the weak and the strong of the sword and of the word Indes. From those come the entire foundation and origin of all of fencing. When you properly perceive these things and in particular do not forget the word Indes in any plays that you conduct, you will be a good master.<br />
<br />
The Before<br />
The before, This means that you always (if you wish) come forth with a cut or with a thrust to the opponent's opening in such a way that they must parry you. Then work swiftly with your sword in front of yourself in that act of parrying from one opening to the other, so they can not come with their plays before your work. But if they rush in on you, then come before and rush in with wrestling or your point.<br />
<br />
The After.<br />
If you cannot come into the before (or otherwise do not wish to take it), then wait upon the after. These are the breaks of all plays that the opponent drives upon you.<br />
<br />
Look at it this way: When the opponent comes before such that you must parry them, swiftly work Indes to the nearest opening during the act of parrying, so that you hit them the moment before they accomplish their play. In this way, you have seized the before and they remain after. You shall also note in the before and after how you shall work with the word Indes according to the weak and according to the strong of their sword.<br />
<br />
And look at it this way: From the hilt of the sword up to the middle of the blade the sword has its strength. With that you can resist when someone binds you against it. And onward from the middle up to the point, it has its weak which cannot resist. And when you understand these things properly, you can properly work with art and with that protect yourself and furthermore teach princes and lords so that they can properly remain steadfast with the same art in play and in earnest, but if you frighten easily, you should never learn the art of fencing because you will be struck by any art. Therefore you shall not learn it because a heart drained of blood does no good in fencing.<br />
<br />
The text of the five cuts<br />
Learn five cuts<br />
from the right hand against the weapon<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Note the Zettel sets down five cryptic cuts. Many that call themselves master do not know to say that you should not teach to cut differently when from the right side against those that position themelves against you in defense. And if you select one cut from the five cuts, then one can hit with the first strike. Whoever can break that cut (and especially whatever work that comes along with it), without their harm, will be avowed by the masters of the Zettel such that their art shall become better rewarded than any other fencer that cannot fence against these five cuts. And how you shall hew the five cuts, you find that in the same five cuts written and taught in the Zettel hereafter.<br />
<br />
The text about the chief plays of the Zettel<br />
Wrathcut Crook and Cross.<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly Withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note, here the proper principal plays of the Zettel and of the art of the long sword will be names, as all are specifically titled with their names and are seventeen in number, and it begins with the five cuts.<br />
<br />
The first cut is called the wrathcut<br />
The second the crooked cut<br />
The third the crosswise cut<br />
The fourth the cockeyed cut<br />
The fifth the part cut<br />
<br />
Now the twelve other plays begin.<br />
<br />
The first, or keeping count, the sixth is called the four guards or positions<br />
The seventh the four parries<br />
The eighth, pursuing<br />
The ninth, overrunning<br />
The tenth, displacing<br />
The eleventh, disengaging<br />
The twelfth, suddenly withdrawing<br />
The thirteenth, rushing through<br />
The fourteenth, cutting off<br />
The fifteenth, hand pressing<br />
The sixteenth, hanging<br />
The seventeenth, winding<br />
<br />
And how you shall uncover by hanging and winding and conduct all the afore named plays, you will find it all taught and written hereafter in the explanation and glosses of the Zettel, etc.<br />
<br />
The text on the wrathcut with its plays and works<br />
Whoever cuts at you from above,<br />
The wrathcut point threatens them<br />
If they become aware of it,<br />
Then abscond above without concern<br />
To the head, to the body<br />
Do not omit the stingers<ref>Zeck: a biting insect, ie: a tick.</ref><br />
<br />
Gloss: Whenever the opponent will strike you from their right side to your head with a descending cut, then you cut from your right side as well with a wrathcut in counter, (especially if they are soft in the usage of their sword), and in the cut, the wrath point is cast in and thrust into their face. If they see and recognize it and parry, then abscond above and with that strike right around from your left shoulder to their right. With the short edge the gap is narrower than with the other. And apply the stingers to their head or body if you can. You can completely abscond and strike with the long edge as well; thereafter warring or exiting with a cut, etc.<br />
<br />
Item. The wrathcut is nothing other than a strong wrathful descending cut (like a simple peasant strike) and is the coded name in the Zettel for the descending cut. The same as with the other four cuts that will follow hereafter with their special names. So that they, along with their subject matter and plays, are not public to everyone.<br />
<br />
Absconding is nothing other than when you have bound with someone from descending cuts and rise up against their sword and draw your sword up around their sword or point, to your other side or shoulder into another cut to their other side or opening.<br />
<br />
Break against the absconding<br />
If someone absconds and strikes at your other side, then bind or lay into them, that is, wind in strongly into their ears with your short edge. This goes to both sides, also called doubling and mutating.<br />
<br />
A different absconding<br />
As Master Hans Medel explains and improves: If you wish to abscond, when you have threatened the opponent with your point, abscond using your short edge and do not strike to their right with a descending cut. If they fly in again, wind them away crooked, sheer to the ground. If they will then come back up and strike you on your left, then Indes, strike right back, under their sword to their right, again using the short edge or else, stay against them in the after and wind in crooked to their head on their right. Remember the stingers with the short edge upon their head.<br />
<br />
Again the text<br />
Be strong in turn<br />
Wind thrust, if they seek it above, then take it below<br />
<br />
Gloss: If you have both bound with a descending cut and wrathcut as above and have not yet thrown your point forwards, then if they are strong against your sword, then be strong in turn and wind upwards against their sword into a thrust or stab. Then if they see it and will ward and fend off and rise up into the air with an attempt to parry, set the point down between their arms against their breast where it has connected or abscond as above with either the short or long edge as the others maintain. Or else if the opponent binds softly against your sword when you fence with them, then drive onwards strongly with your sword and lodge it against their neck and drag them to the side. But if they bind hard and strong, then be strong in turn and turn the short edge against their sword and shove and snap quickly right back around it and strike to their right side. With the short edge the gap is narrower. Or else, when you have turned the short edge against their sword, strike back down atop their head on the same side.<br />
<br />
Be strong in turn<br />
Like Master Hans Medel says: If you will bind the opponent with the wrathcut and point, then be strong against them in the bind using the crosswise cut. Then if they see that, abscond again on their right with the crooked or short edge as above with its work, etc. You can also stay put after your short strike and go behind them.<br />
<br />
The text of a good general lesson<br />
Note this precisely:<br />
Cut, thrust, guard; soft or hard,<br />
Indes and before after<br />
Without rush, your war is not hasty.<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Gloss: This means that you shall accurately consider whether they are soft or hard when someone binds against your sword with a cut or thrust or whatever. As you perceive or feel it, then Indes, turn in toward the nearest opening according to the soft or hard using the war. Then Indes, you shall know what seems best to you: whether you should work with either the before or with the after. Yet you should not be too hasty during the on rush of the war, because the war is nothing other than the windings in the sword. They are to be conducted wisely against whoever that does not understand or know them well.<br />
<br />
A text: How one shall correctly find cut and thrust in winding. A lesson:<br />
<br />
In all winding<br />
Learn to correctly find cut, thrust, slice.<br />
You shall also at the same time gauge whether the application's<br />
Position, whether it is soft or hard, etc. (Master Hans calls for this out in other places as well)<br />
Cut, thrust or slice into all encounters<br />
Of the masters if you wish to dishonor them.<br />
<br />
Gloss: This means that you shall correctly learn to find cut, thrust, and slice in all winding. Also so you shall be quite polished with all winding against the sword. each one of the winds has three particular plays, that is: a cut, a stab and a slice. And when you wind against the sword, then you shall quite precisely gauge it, so that you do not incorrectly select the play that is called for in that winding. Hence, you do not cut when you should thrust and not thrust when you should slice. And when someone parries the one, you hit with the other. In this way, if someone parries your thrust, then conduct the cut. If someone rushes in on you, then drive the lower slice into their arm. Remember this in all encounters and binds of the sword if you wish to dishonor the masters that set themselves against you and do not understand.<br />
<br />
About the four openings<br />
Know the four openings<br />
Take target so that you strike wisely<br />
Against any fear<br />
Without doubt however they are situated.<br />
<br />
Gloss: You shall here note the four openings on the opponent that you should always fence to. The first opening is the right side, the second the left side; above the girdle of the opponent. The other two are the right and the left sides below the girdle. Precisely observe the openings in the initiation of fencing with whichever opening they open themselves against you. Target these boldly without danger with the shooting in of the long point and with pursuing and also with the winding against the sword and otherwise with all attacks and do not heed them as they bare against you. For if you perceive wisely and strike the strike upon that, that is indeed exquisite and does not allow them to come to their plays. And always target the opening and not the sword. If they will parry you, then work onward to the closest opening with the war or otherwise.<br />
<br />
How one shall break the four openings<br />
If you wish to set yourself up<br />
To artfully break the four openings<br />
Double up<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themelves without danger<br />
If you have properly understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss: Like master Hans Medel has said: If you have bound with someone from earnest descending cuts or whatever and wish to set yourself and the opening up. In this, they wanted to strike you; you have parried and broken them. Then if they strike back around to the other side to the other opening of your head by absconding or whatever, then you shall break their opening again, that is, striking by doubling or mutating so that you break the opening from one side to the other and they will be struck and you parry and strike as one without harm.<br />
<br />
Here note how you shall conduct the doubling on both sides.<br />
You shall make the doubling like this: When they have bound against you with a descending cut or whatever, etc from their right side to your left and strike right back around to your right side, then do nothing more than as soon as you perceive they start to strike, wind your sword in sideways at their head on their left side under their sword using your short edge. Then they are struck and are bound or intertwined simultaneously. This is then called the doubling above and with this the openings break. You can also make the doubling against their right side, yet you must wind in crooked, etc. If after your doubling they will strike back around to the left side of your head, then mutate to their right.<br />
<br />
Here note how you shall conduct the mutating to both sides.<br />
Make the mutating like this: When you have just doubled in and broken the opening as is taught above, then if they strike right back around to your left side, etc. (But even if they will not strike right back, you can nevertheless allow it to go through between as above, etc) Then allow your point to go right through between you both and strike the other opening on the right side of their head. Then if from that they strike to your lower opening, you wind right back staying underneath with your sword or point. Thus, in this way you break all of their openings such that they do not truthfully know where they are free of danger and cannot fully come to blows. This is called mutating right below and the openings are artfully broken and exploited in the manner Master Hans Medel Von Salzburg says to do so.<br />
<br />
The crooked cut with its plays.<br />
Crook up swiftly,<br />
Throw the point upon the hands.<br />
<br />
Gloss: This is how you shall cut crooked at the hands. Conduct it like this: Stand with your left foot forwards and hold your sword "crooked", (that is, with crossed hands) out ahead to the outside with your point on the ground such that the long edge stands upwards, well in balance. Conduct the first play according to the text like this: If the opponent initiates a cut from their right shoulder, be it [1] descending or [2] rising, then Indes toward the opponent, step in fully into them with your right foot and let either [1] your crossed hands or [2] the crooked cut go up and displace their cut with your sword with either [1] your long edge or [2] with your point thrown out over their hands, towards their left side. Thereafter, war and work however you wish. [2] But if they throw you back over with their hands with power during their ascent, let go willingly, and turn it into a strike right around your head to their left side with either the short or long edge (the short is closer). If they break that by mutating against you, stand there, then you can use your crooked cut against that. It also breaks rising and descending cuts and is one of the four parries against the four guards, such as the ox<ref>Plow</ref>.<br />
<br />
Rule: Provide yourself firmly open in the crooked cut.<br />
<br />
Yet another play<br />
Crook. Whoever besets well,<br />
Disrupts many cuts by stepping.<br />
<br />
Gloss: This is how you will displace descending cuts via the crooked cut. Conduct it like this: Stand well crooked by your left foot, which shall stand forward with your sword crossed over to that side with your hands crossed and with your point on the ground, that is, in the crooked lodging. Then, when the opponent strikes at your opening from their right side, step and either strike or displace or work as above. (Though you can fall across their hands fully till your point is on the ground in the barrier guard as some call it.) This goes to both sides. And stand in this way and have your sword on the other side in the crooked lodging; not with crossed hands, rather with open arms such that the long edge still stands up. And displace and work with it as before. This means that you, thereafter; during warring or otherwise, will strike or thrust at their head from the displacement. It is also good against the fool<ref>Ox</ref> or the flats. If they throw you right over as above, then strike as above, etc.<br />
<br />
Yet another play<br />
Cut crooked to the flat of the masters<br />
If you wish to weaken them.<br />
When it sparks above<br />
So stand aside, that I will laud.<br />
<br />
This is when you wish to weaken the masters. So note when someone stands hanging in the flats or the fool<ref>Ox</ref> with the right foot forward. Cut from the crooked lodging [position] on your right side and displace them crooked atop their sword with crossed hands and step in. And as soon as your sword clashes against theirs, then stand firm and wait for the after, etc. But if you do not wish to wait, then swiftly strike back up from the sword to the left side of their head with either the short of long edge or wind the short edge against their sword during the crooked cut or do what ever you think is good.<br />
<br />
Yet another play from the crooked cut<br />
Don't crook, cut short<br />
Disengage and with that expose them<br />
<br />
Gloss: This is when the opponent cuts or stands against you in the flats or the fool<ref>Ox</ref> as just above, etc, act as if you will bind against their sword with the crooked cut or a lodging, then cut short and drive through under their sword with your point and either wind or draw through to your right side into a thrust on their right side with your point between you both and stab them in their face in the same way that you come into the flat stance and thrust on in sharply.<br />
<br />
Yet another play.<br />
Whoever confounds you crooked,<br />
the noble war utterly confuses them<br />
that they do not truthfully<br />
know where they are without danger.<br />
<br />
Gloss: This is whenever you wish to conduct the crooked cut, you will always leave yourself open with it. Look at it this way: When you cleave in with a crooked cut from either your right or left side or bind against their sword, from whichever side you cut, you are then open on the other. If the opponent is also clever and will strike from your sword to your opening and tries to confound you through cunning, then either [1] abide with your sword against their sword or [2] make a pursuing cut and either [1] wind in crooked or wind in your point into their face and [1] work further via the war or [2] strike into the opening, such that they become so utterly confused that they will no longer know whether they should guard themselves from cuts or thrusts. But if they will confound you like this, such that they mount you with their sword and won't let up, etc... then stay against their sword as above and accompany them as above.<br />
<br />
The crosswise cut with its plays.<br />
The crosswise cut seizes<br />
Whatever approaches from the roof.<br />
<br />
Gloss: The crosswise cut is nothing other than the lateral cut which breaks any cut that will either arrive or will be hewn from above downward or from the roof. You shall conduct it like this: Stand with the left foot forward and hold your sword in the lateral cut in behind at the midsection or waist by the right foot or side such that the long edge is above. And when someone cleaves in from above from the roof to either the opening or the head, then step or spring right ahead towards them with the right foot and displace their cut with the crosswise cut, such that it is crooked over to your left, etc. And then after the displacement, wind to the opening of their right side if you wish to remain inside on their sword. Or, swiftly strike from the sword at their head on their left side with your short edge. War if it is necessary. But if they make a sudden withdrawal and will strike you from their left, then swiftly come back around into their arm with the crooked lower slice, but do not sweep around too widely in the air to displace them.<br />
<br />
Another play<br />
Cross with the strong.<br />
With that, remember your work.<br />
<br />
Gloss: This means that with any type of crosswise cut you shall use it to strengthen and work strongly and in this way in particular: When the opponent will initiate a strike right down from above like from roof guard, rush in strongly against their cut with the crosswise cut just like using the slice, in such a way that that your thumb is underneath, and with that strike them on their left side or head. Thereafter, if they fall against you strongly, then hang well and strike them on their right side from that hanging and step well to their right with your left foot, etc. Namely,<ref>videlicet: namely; to wit</ref><br />
<br />
Item. But if you sense when you bind them with strength that they are weak at the sword, then lay your short edge out over to their right side against their throat.<br />
<br />
A break for the laying on [of the sword against the throat]. When someone lays against your throat using the upper work in this way, then with the left hand, let your sword go and with your right, shove their sword from the throat and with your left foot, step in front of both of their feet toward their left side and with your left arm, pass over both of their arms close to their hilt and lead them to dance. Or, and better, step behind them into the fulcrum and with the left arm right around against their throat either to the front or the back and thrown over the foot. Or with the left hand, let your sword go and with your right, strike them across the mouth with your sword over their sword and with your left hand, grasp your sword in the middle of the blade and shove them away from you with your point, etc. If it is not sufficient, it is better to shove or take their load away from you by their elbow.<br />
<br />
Yet another play.<br />
Cross into the plow;<br />
Connected well to the ox.<br />
<br />
Gloss: This is when someone lays before you in their stance in the plow<ref>Fool</ref> or ox<ref>Plow</ref>. That is, when they stand with the right foot forward and lies with their sword out forward with the point on the ground, fall upon it from above using the crosswise cut. Thereafter work it into the openings as they make themselves available or war. But if they defend, go into the fool<ref>Ox</ref> at the head, then you can again war by saddling atop it and working. Also in the same way, if someone saddles atop you at the end of a crosswise cut or crooked cut from the left, then remain against their sword and work in the after like in the last stance of the plow<ref>Fool</ref> using the after.<br />
<br />
Another play.<br />
Whoever crosses themselves well,<br />
endangers the head with springing.<br />
<br />
This is: When you stand in the crosswise cut and will threaten their head with strikes, let your point pass through to your left side in your crosswise cut and in that passage through, spring or step well to their left side with your right foot and strike them threateningly with the crosswise cut to the left side of their head with the short edge yet in such a way that you are well covered in it with your sword or hilt. Similarly, it also goes to the left side by passing through and striking to their right side with the long edge, etc.<br />
<br />
Another play from the crosswise cut called the failer<br />
The failer misleads.<br />
It wounds from below according to desire.<br />
<br />
Gloss: Note that with the failer, any fencer that likes to parry will be astonished and misled and easily struck. Conduct it like this: When you stand in the crosswise cut and act as if you will strike at their head on their left side from either the crosswise cut or from descending cuts and in the cut divert or suddenly withdraw your cut and strike the opponent with a crosswise cut to the lower openings under their sword to the left side of their head or wherever it may occur to you and is called the wound from below if it happened from below their sword and not from the lower opening below the belt. In this way they are struck and wounded according to desire. War.<br />
<br />
Another play, the crosswise cut inverter<br />
The inverter compels<br />
The one who slips through wrestles as well at the same moment<br />
Take the elbow surely<br />
Spring into their stance.<br />
<br />
Gloss: This is: When you have cut with the failer as was taught above, strike right back around to their left side using the crosswise cut. Then if they fall upon your sword, swiftly hang and in that hanging rush through and take their balance by the elbow and step in forward with the left foot and shove them over it. You can also execute a bit of grappling in your rushing through like this: step behind them with the left foot and pass your left arm forward around their neck and throw them backwards over the foot. Also, You can completely pass your left arm around their neck from behind their back and throw. Some say it like this: When you have bound with someone, invert your sword so that your thumb comes below, that is, into the crosswise cut and stab them in the face with your point such that you compel them so that they must parry and in that act of parrying, slip in and shove their elbow which wrestles like above, etc.<br />
<br />
Item. As for how you shall rush through, you find that hereafter in the play that says: Rush through, let hang.<br />
<br />
Yet another play.<br />
The failer hits doubly.<br />
One makes the old slice with power.<br />
<br />
According to master hans, he says: This is for when you have misdirected the opponent with the first failer and struck them on their right side, etc. as above. Swiftly strike right back around yet one more time for the second [opening] on their right side. That's called the double, etc. You can even go right back around a third time. If you then come upon their sword, such that they parry, then war or wind with them, etc.<br />
<br />
Then If the opponent will strike as well, then Indes, go in over their arm with the slice and press behind. Some differ and this is also called the failer because one shall conduct a double misdirection in one initiation of fencing with it. Conduct the first like this: When you come to them initiation of fencing, step or spring with your right foot such that your left foot stays in front facing them and act as if you will strike to their left side with a crosswise cut and suddenly withdraw the strike and spring out ahead to their right with your left foot and strike at their head on their right side. It is quick like in the first play, war.<br />
<br />
Yet another play.<br />
Double it further,<br />
Step in left and do not be lazy.<br />
<br />
g[loss]: This is the previous play above explained with the slice as master hans says. But others say that when you have struck with the first misdirection to the head on their left side, strike immediately back around to their head on their right side and from crossed hands, pass over their sword with your short edge and spring left, that is to your left side and slice them through their mouth with the long edge and swiftly extract yourself [to the side]<ref>paper is damaged. only the letters 'ne' remain. There's enough room for two or three letters</ref><br />
<br />
Item you can conduct the failer from the descending cuts in the same way as from the crosswise cut whenever you wish and this crosswise cut goes to both sides, though it is more effective from the right side when your left foot stands forward.<br />
<br />
This is the cockeyed cut with it's plays<br />
The cockeyed cut breaks into on<br />
whatever the buffalo strikes or thrusts.<br />
Whoever conducts the change,<br />
the cockeyed cut robs them from that.<br />
<br />
Gloss: The cockeyed cut is nothing other than the switch cut. Named according to the Zettel, the cockeyed cut, which is an extremely exquisite cut, that breaks into cuts and into thrusts of the buffalos or ruffians which take victory by force. Conduct the cut like this: If you stand with your right foot forward and lay in the cockeyed cut, then the thumb must be up against the sword. Then if they cut at you from their right side, step into them swiftly, Indes, with your left foot and displace their cut strongly with your short edge and from that, make a quick strike from your left shoulder, crooked, with the long edge into the right side of their head, but if they immediately come right back and parry your cut so that you come onto their sword, then wind in from above with power and lay your sword on their throat. Then if they will continue to escape by force, then just calmly pursue them so that they can't rightly escape. But if you wish to allow them to get off easy, then wind in behind and between their arms as it connects using the war, etc. But if you stand with the left foot forward, then position your thumb underneath, so you can again displace their descending cut with the short edge and strike to their left side to the head with the short edge and with the right foot stepped in. Or, displacing over their sword, winding in, to the head on their right side or laid up against their throat, etc, war. But if in their cut they wish to disengage, then wind in crooked upon their sword and bring your work to conclusion out forward and lay up against them.<br />
<br />
Another play<br />
Cock an eye to see if they short change you.<br />
Disengaging vanquishes them.<br />
<br />
Gloss: This is a teaching: When you come to them with the initiation of fencing, you should cock an eye to see whether they stand against you shortened or straight. With this you shall identify whenever they initiate a cut. Then, if they do not stretch their arms out long from themselves, the sword is shortened. If you lay before them in the cockeyed cut or they lay before you in the fool<ref>Ox</ref> by the head, then it is again shortened. For all windings or crooked stances in the sword in front of the opponent are short and shorten the sword. To all that hold themselves like this, you shall freely disengage out of cuts and out of thrusts with the long point into the face. With it you threaten them such that they must parry or else allow themselves to be struck or stabbed. War. Master Hans likes to disengage the opponent if their right foot is ahead and they stand in either the switch cut or cockeyed cut and when one is shortened against them, especially standing in the fool<ref>Ox</ref>.<br />
<br />
[Margin] If you stand in the hanging parry crooked or open, like Seydenfaden had taught, it is also shortened and good for you to disengage<br />
<br />
Yet another play<br />
Squint to the point,<br />
take the neck without fear.<br />
<br />
Gloss: This means that the cockeyed cut that breaks the long point with a deception of the eyes. Conduct it like this according to Master Hans' lesson: If you stand in the cockeyed cut and your right foot lies forward and the opponent also stands with their right foot forward in the fool<ref>Ox</ref> with the flat near the left side of their head and speeds their point toward you, then visibly cock an eye at that and act as if you will cut into it and rush on in with your left foot forwards, under their sword [with yours] crooked into their neck and take their neck without any fear. Thereafter work with the war or whatever you wish. Also do as some say: If you stand with the left foot forward in the cockeyed cut and they hold their point either long or short against your face, then cock an eye at the point and act as if you will strike at it and strike atop their sword with your short edge and with that you shoot the point in long into the right side of their neck without fear, but still step out forward with your right foot as well. War. But if you wish to take the before, then saddle atop them crooked, then strike again immediately from their sword to their left side with your short edge. War.<br />
<br />
Also do it as some say. If you stand with your left foot forward in the cockeyed cut and the opponent holds their point log or short against your face or breast, then cock an eye at their point and act as if you will strike at it and strike atop their sword with the short edge and shoot the point in long with this without fear of their right side, but still step out forwards with your right foot as well. War. But if you wish to take the before, you saddle atop them crooked, then immediately strike again to their left side from their sword with your short edge. War.<br />
<br />
Another Play.<br />
Cock an eye at the top of the head<br />
If you wish to incapacitate the hands<br />
<br />
Gloss Master Hans: This is when you stand in the cockeyed cut with your right foot forward and the opponent also stands with the right foot forward and either in the cockeyed cut or else holds themselves as if they will do so, in this case, snap in with your sword or flat to their right side at their head. If they overlook this, then they will be quite grievously struck and thereafter suddenly and swiftly withdraw and from that make a cut upon their sword to their left side at their head with the short edge. War. Some say it like this: When they will cleave in from above or stand against you in the long point, then cock an eye using your face as if you will strike atop the head, cut against their cut using your short edge and strike them with the point to the hands from against their sword's edge.<br />
<br />
The cockeyed cut with part cut with it's plays<br />
The part cut is a threat to the face.<br />
With it's turn, the breast is quickly threatened.<br />
<br />
Gloss: This is when you stand with the right foot forwards in the cockeyed cut and the opponent initiates a cut using a descending cut. While they strike, swiftly flip your sword right back around into the plunge cut (this is the part cleave in the zettel) and the point against them fully in the fulcrum below their cut or sword into their face or breast. Thereafter work whatever you wish that is threatening to the opponent. Master Hans Seydenfaden also taught the part cut like this: Initiate a strike with your long edge straight ahead from above from the top of your head and on top of that a rising cut at the opponent's head on their right side, following up according to two plays in his school's doctrine with various strikes, footwork and misdirections.<br />
<br />
Another play. How the crown breaks the part cut.<br />
What comes from them,<br />
The crown takes away.<br />
<br />
Gloss: Master Hans. This is: when someone has thrown in the point using the part cut as was first taught, use the crown against it, because it breaks the part cut like this: If they stand in this way, then fall into the cut with your hilt across their blade or across the grip between both hands and drag down so they will be struck upon the head, etc. This is called the crown.<br />
<br />
Some differ in this way: When you cleave in from above with the part cut, then if they parry high with their sword gripped with an armed hand or crossed over their head, this is called the crown against Seydenfaden's part cut and with that, rush in and shove along with it, etc. In this way, it takes the part cut away. This also breaks an opponent like this, again as above with the hilt thrown over that and wrenched down.<br />
<br />
Another play. How the slice breaks the crown.<br />
Slice through the crown,<br />
so you break the hard beautifully.<br />
Press the strike.<br />
It drags down using slicing.<br />
<br />
Gloss: Master Hans. This is: when someone drags the part cut off using the crown in the same way as above, pursue them and drag them down so you slice them on their head, etc. Then you escape to the side.<br />
<br />
Some differ in this way: when the opponent parries the part cut or otherwise any cut with the armed crown and rushes in with it, then take the slice under their hands and into their arms and press firmly upward and with that back yourself out with a sweep.<br />
<br />
About the four positions<br />
Four positions alone,<br />
One keeps to those and flees the common.<br />
Ox, plow, fool<br />
From the roof. These three things are not worthless to you, says Master Hans Medel.<br />
<br />
Gloss: This means that you shall specifically hold no other position other than the four positions named here, which are often named the four guards, that is: ox, plow, fool, roof.<br />
<br />
The first position is the ox<ref>Plow</ref>. Make it according to Master Hans in this way: Stand with the right foot forward and hold your sword on your left side just below your knee, the point a little upwards towards the opponent such that the thumb stays against your sword facing you and the long edge up. Also stand in the same way so that your left foot stands forward yet with crooked or crossed arms and again with your thumb facing you and with your short edge upwards.<br />
<br />
The second is the plow<ref>Fool</ref>. Make it like this: Stand with the right foot forwards and lay your sword out forwards with extended arms with the point upon the ground and the long edge downwards not crooked. If you have the left foot forwards, you can do it that way, although it is somewhat shorter opposing the opponent.<br />
<br />
The third is the Fool<ref>Ox</ref>. Make it like this: Stand with your right foot forwards and hold your sword on your left side with your hilt next to your head, not crooked or crosswise, with either your point facing the opponent or hold it next to you in the flat of your thumb. But if your left foot is forward, then hold your sword crooked or crosswise on your right side next to your head, the point against the opponent, your thumb facing you again.<br />
<br />
The fourth position is the roof guard. Make it like this: Stand with the right foot forwards and hold up your sword on your right side with extended arms just like in the speaking window. Master Hans makes one thing out of the fool<ref>Ox</ref> and the roof in this way: When he stands with the right foot forwards, then he cuts down from the roof trickily<ref>Alberlich: Alber is a fool or trickster and the name of the guard it is going to</ref> and cuts through to his left side in front of himself into the fool<ref>Ox</ref>.<br />
<br />
He makes no more than three positions. And how you shall fence from the guards or positions, you shall find it before and after this. Apart from this, you can also make your work from those as follows hereafter in the seven stances, therein some positions are delineated for when an opponent wishes to break these, etc. Master Hans' Art also explains the four positions or guards differently than the others as you generally find in all other glosses which are not as satisfactory to me.<br />
<br />
Crooked- -ox<ref>Plow</ref><br />
Cross- -plow<ref>Fool</ref><br />
>breaks<<br />
part cut- -fool<ref>Ox</ref><br />
Cockeyed cut, also the crosswise cut- -roof<br />
<br />
About the four parries.<br />
Four are the parries<br />
that also severly disrupt the four positions.<br />
Guard yourself from parrying.<br />
If it happens of necessity, it beleaguers you.<br />
<br />
Gloss: You have heard before that you shall solely fence from the four positions or guards. But on the other hand, you shall also know that the four parries severely disrupt or break those same four positions. These are the four cuts: crooked cut, crosswise cut, cockeyed cut and part cut and they are nothing other than that from which one brings themselves to work. When the opponent lays before you in a position, you must use one of the four cuts against it because when sword comes against sword, the whole art is integrated, that is play and break from both people, so you must use one of the four cuts against it.<br />
<br />
In this way, if they lay in ox<ref>Plow</ref>, then fall upon it with the crooked cut or with the crosswise cut.<br />
<br />
Then if they lay before you in plow<ref>Fool</ref>, then use the crosswise cut against it.<br />
<br />
Then if they lay in the fool<ref>Ox</ref>, then use the part cut or wrathcut against it, if the part cut from the top of the head as some say will be used,<br />
<br />
Then if they lay in the position of the roof, then use the cockeyed cut against it.<br />
<br />
Also, the crosswise cut is good or better, because all by itself, it breaks three positions or guards:<br />
<br />
The position of the roof, The plow<ref>Fool</ref> and ox<ref>Plow</ref> as well according to the text from above saying "The crosswise cut seizes, etc"<br />
<br />
Also the plow<ref>Fool</ref> and the ox<ref>Plow</ref> according to the text from above: "Cross to the plow, the ox, etc"<br />
<br />
Similarly, the crooked cut not only breaks the ox<ref>Plow</ref>, but also the plow<ref>Fool</ref> and the fool<ref>Ox</ref><br />
<br />
Also, the cockeyed cut does not solely break what comes from roof guard, but also the fool<ref>Ox</ref>, if they rush in under and crooked from the cockeyed cut from their left side.<br />
<br />
Also, in the same way, you do not have to use the part cut solely against the fool<ref>Ox</ref>, but also against ox<ref>Plow</ref> and plow<ref>Fool</ref>.<br />
<br />
Therefore in this way, whatever it is that you yourself consider the best, you can change it up and apply it with the four cuts against the four positions or guards such that you disrupt them and hence bring them to the work. Thereafter work using winding in, warring, or cutting and thrusting as the opportunities arise. You find this written and taught beforehand in the five cuts and stances, and in the displacing.<br />
<br />
Therefore know that parrying isn't actually called for in this, because there are the four cuts that break them that are. Therefore do not parry and note when they cut, then you cut as well. If they stab, then you stab as well and guard yourself so that you do not parry too much, if you wish to otherwise not become struck as the catch<ref>rappen: to gather, to snatch, to seize</ref> fencers do and they willfully conduct nothing but parries.<br />
<br />
Against an act of parrying<br />
If you are parried<br />
And however it has come to this<br />
Heed what I advise:<br />
Scrape or Wrench off, cut quickly with haste<br />
<br />
Gloss. This means, as it comes to be that you have been parried, note if the opponent parries your descending cut, then pass over their leading hand wih your pommel in their attempt to parry and with that wrench it off downward and with that wrenching, strike them upon the head with your sword. Thereafter, you can drop your left hand deftly onto your blade and with your left foot, step behind them and with your left arm in front of the throat and shift and throw them over your foot and that is called an upper break in.<br />
<br />
Another play against the fulcrum.<br />
When you hew a rising cut from the right side, If the opponent then falls upon that with their sword such that you cannot come up with it and pushes you down to the side, then pass over their sword with your pommel and strike them on their head with your long edge by snapping. But if it happens on the left side, then you still pass over their sword with the pommel and step forward with the right foot and strike them with your short edge. But if, Indes, they come right against it with a push or shove during the after, then mind that you lung well into them as you wind over with your pommel and wind over their arm or hand so they cannot properly shove and hold you on the fulcrum.<br />
<br />
Another play against an act of parrying. Text:<br />
Lodge against four regions<br />
Learn to remain thereupon if you wish to finish.<br />
<br />
Gloss Master Hans: This is when you from the four lodgings (which are the two crooked lodgings to both sides, the plow<ref>Fool</ref> with the point out forward upon the ground, not crooked and roof) one of which you will take yourself forward therein or you shall stay in it and setup your work and complete the rest using the after. According to the common gloss others also say: When you cleave in from above from your right shoulder, if you then wish to quickly end with that, then note when they parry, then strike quickly around with the crosswise cut and grasp your sword in the middle of the blade and set the point into the face or lodge the four openings, to whichever you may or can best attain. And if they parry one of the lodgings, then strike them with the pommel to the other, the left side or drive over their right shoulder with the pommel in front of their neck, but spring with your right foot behind their left and move and throw them thereover. Break. Take the elbow.<br />
<br />
Item. You can also lodge against four regions from above to both sides from the stance of the wrath point near your left knee as will be taught hereafter in the seven stances. If the opponent comes to you with descending cuts in response, you lodge the point against their neck in response. But if they come with rising cuts, again, lodge against them; and given that, they come to your side and finish your work.<br />
<br />
A lesson about the pursuing.<br />
Learn the pursuing.<br />
Double or slice into the weapon.<br />
<br />
Gloss. First note this general lesson: that pursuing is many and varied and are appropriate to conduct with great prudence against the fencer that fences from free and from long cuts and otherwise does not cut with the proper art of the sword, etc. And this is according to the text: You shall properly learn pursuing, because they are double. Conduct the first like this: If the opponent will cleave in from above, then note while they pull up their sword to strike, pursue them with a cut or with a thrust and hit them in the upper opening before they come down with the cut. And if they bind you and will thereafter work from the sword, then pursue and Indes afterwards take the slice into their arm in from above with your long edge and press them strongly away from you with that, so they have no power. Each time in this way pursue them to their head from above.<br />
<br />
Another play.<br />
The second pursuing is when the opponent initiates a cut from above, then if they let their sword go to the ground during the cut, pursue them by cleaving in from above to the head before they come back up with the sword. Or if they will thrust, then note while they draw their sword towards themselves to thrust, pursue them and then stab them before they carry out their thrust, etc. But if you fence against someone from rising cuts or the sweeps or lay against them in the fool<ref>Ox</ref> or plow<ref>Fool</ref>, then if they fall upon that with their sword before you come up with yours, then stay below just like that against their sword and lift upwards. Then if they will cleave in from their act of parrying or wind in on the sword, do not let them abscond from the sword, rather pursue them thereon and work to the nearest opening with the war and the others.<br />
<br />
Item. Note you shall pursue them out of and with all cuts as soon as you realize they miss their attack in front of you or uncover themselves with their sword.<br />
<br />
A good lesson about the pursuing<br />
When you fence with someone, bind against their sword strongly, continue to stay strong and press it strongly toward their head. If they will strike around, then remain against the sword and press down strongly so they have no power. Each time in this way pursue to their head from above.<br />
<br />
In the after is something else. It is when they don't flee, but rather they stay still and come into the work or the war with you.<br />
<br />
There is a difference between the pursuing and in the after. Pursuing is in fleeing. The after is standing still, working afterwards.<br />
<br />
About the two enticements to the outside and the two enticements to the inside<br />
The two enticements to the outside and the two enticements to the inside,<br />
The work begins thereafter<br />
And gauge the opponent's applications<br />
Whether they are soft or hard<br />
<br />
Gloss: This means that you shall note that the enticements are also called pursuing and when you come against their sword with yours, you shall then gauge whether the opponent is soft or hard with their application. Thereafter, you shall begin your work. That is, like this: When someone stands against you in the enticements to the outside (because those are two, one to each side) and stands with their right foot forward and hangs with a flat sword from either the part cut, the fool<ref>Ox</ref>, or plunge cut with the point down, like with roof guard, if they stand in the enticement to the outside on their right side, then come to them as well with the same enticement to the outside from your right side countering them against their sword. And in the clashing of the sword, wind in swiftly under their sword into their head, to the opening or entirely out over to their left shoulder such that your sword comes or lays above and your thumb stands underneath. In the case they want to then exit, pursue them Indes or if they throw you over with force, then ready yourself with striking or with warring in the case you both come crooked into the winding. But if you do not wish to counter them with that, then you can mount and work upon that with the crosswise cut or other cuts, etc. That is the first enticement to the outside or Hew crooked to the flats... or Don't crooked cut, short cut.<br />
<br />
The second enticement to the outside is as follows: the opponent stands with their left foot forward and with their arms crooked as if they went up with the rising cut or something and it hangs over the left arm. So also come to them countering them in this way from your left side crooked on their sword. Wind in under their sword to the opening at their head like before or at their head from above just to their right shoulder. Thereafter work or war as before.<br />
<br />
There first enticement to the inside is as follows: If the opponent again stands with the right foot forward and holds their sword down by the leg or knee for a thrust like in the ox<ref>Plow</ref>, then also come into opposition in the same way from your left with your right foot forward and in that thrust step into them with your left foot and the swords clash against each other. It is then possible that you both wind against each other, then you both come into the work crooked. Thereafter war and work as you wish. It is possible that the both of you also make a sudden withdrawal from that with a strike right around from their right shoulder to their left side, to their head, or take the lower slice, etc. which will double or mutate [respectively].<br />
<br />
The other enticement to the inside is as follows: The opponent stands with the left foot forward and holds their sword as before, though it must be crooked on the side, then conduct the work against them as before just above. When it is skewed to the side, you will again break their sudden withdrawal then double or mutate however it connects best either according to the work or according to the side, thus they will be struck deaf, etc or sliced. You can also, as before, if you do not wish to use the counter enticement, work the stance or enticement against if with other things such as the crosswise cut or the wrathcut or other displacements or lodgings against and then work as you wish, etc. In this way you have the four enticements explained with their work. However you shall begin it, the common glosses explain differently, but that is not satisfactory to me, etc. This work the opponent can also conduct against you.<br />
<br />
A lesson about the feeling and the word Indes.<br />
Learn the feeling.<br />
Indes, the word cuts sharply.<br />
<br />
Gloss: This means that you shall learn and understand the word, Indes, properly, because the two things belong together and one cannot exist without the other and are the great art of fencing. Look at it this way: When someone binds against the sword, you shall immediately feel or perceive in that, as the swords clash together, whether they have bound soft or hard and as you have perceived that, then think of the word Indes, This means that in that perceiving, you shall work swiftly according to the soft or the hard to the nearest opening. Thus they will be easily struck before they become aware of themselves.<br />
<br />
Item. You shall think upon the word Indes in all binds of the sword, because:<br />
<br />
Indes doubles, Indes mutates;<br />
Indes rushes [through], Indes disengages;<br />
Indes takes the slice, Indes wrestles with;<br />
Indes takes the sword away from them, Indes does whatever the heart desires in the art.<br />
<br />
Indes is a sharp word. With it all fencers that do not know of the word become cut. And the word Indes is the key, with it the entire art of fencing will be unlocked. Also with that is the before and especially the after with the strong and the weak. These three things break all plays and art that one may conduct or conceive. Because when sword comes upon sword, the entire art is integrated.<br />
<br />
Another about the pursuing<br />
Pursue twice,<br />
If someone makes contact, make the old slice from it.<br />
<br />
Gloss Note the you shall conduct the pursuing doubly, that is, to both sides and also bring the slice thereon. Look at it this way: When they miss their attack before you, whether it is from their right or left side, then cut just behind them to the opening without worry. Then if they rise up and bind against the sword from below, then note as soon as one sword clashes against the other, slice at their neck or fall Indes atop their arm with the long edge and take the slice. Conduct this on both sides.<br />
<br />
About overrunning<br />
Whoever takes aim from below,<br />
overrun them from above. They will be shamed.<br />
When it clashes above,<br />
then strengthen, that I will laud.<br />
Make you work,<br />
soft or hard or press twice.<br />
<br />
Gloss Master Hans. This is when someone binds you, then you shall stengthen the bind and if they immediately strike around towards your lower openings and target accordingly, then Indes run on in over them and either press behind by pushing or shoving, or in from above with the slice. War.<br />
<br />
Some speak like this according to the common gloss, about how you shall overrun when someone initiates fencing you from below. Look at it this way: When you come to the opponent with the initiation of fencing, if they initiate a cut or a thrust from below, do not parry that, rather note when their rising cut or thrust goes toward you, then cleave in long from above from their[sic?] right shoulder and shoot the point in long from above at their face or breast and lodge against them so they cannot reach you. Then if they rise up from below and parry, then remain strong against their sword with your long edge (that's called being strengthened) and quickly work to the nearest opening or await upon the after with the war. And any descending cut and any upper lodging overreaches the lower path, in this way they become ashamed above.<br />
<br />
About the displacing<br />
Learn to displace.<br />
To skillfully disrupt cut, thrust.<br />
Whoever thrusts at you<br />
Such that your point hits and their breaks<br />
From both sides<br />
Hit any time when you step.<br />
<br />
Gloss Master Hans. This means you shall learn to displace artfully disrupting cut, thrust also breaking point or edge like this: If someone cuts or thrusts against you, casually displace and break the point or edge from all positions and attacks or stances and mount from all sides as they encroach you and meet their point or edge with your point or sword and displacing fully and from that make a strike in from above at the head with the short edge to whichever side makes itself available. Thereafter work Indes using the after and war. Or<ref>marginalia: 'ma?es' => bad</ref> else according to the interpretive intent of others as they conduct displacing: When you come to them initiation of fencing, then if they position themselves against you in, say, the plow<ref>Fool</ref>, as they call it (but I call it the ox<ref>Plow</ref> down by the knee) and act as if they will thrust into you, the advance your left foot and stand facing them in the ox<ref>Plow</ref> as well on your right side with crossed arms or hands and leave yourself open on your left side. Then if they thrust into your opening, then wind to your left side with your sword against their sword opposing their thrust and step in with your right foot and with it displace such that the point always remains standing against them and Indes stab them in the face or breast. Thus, your point hits and theirs does not. Or also make a strike and otherwise do whatever you wish if you would like to work with the warring. But if you stand against someone as above in the ox<ref>Plow</ref> and would like to thrust them, then if they cut down from above to your left opening, then go up against their cut with your sword and wind in, to their side (openly or crookedly as the situation provides) and step in with it and wind the point sharply into their face or breast. Thereafter, work or war.<br />
<br />
About the disengaging<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds against you<br />
Disengaging surely finds them<br />
<br />
Gloss: Disengaging is many and varied. You can conduct them from all guards or cuts against the fencers that like to parry and those that cut at the sword and not to the openings of the body. You must learn to conduct this quite well with prudence so that one does not lodge against you nor otherwise come in while you disengage. Conduct it like this: When you come to them with the initiation of fencing, cleave in at their head from above. Then if they initiate a cut in response against your sword and not to the openings of your body, then let your point rush through below during the cut before they bind you against the sword and stab them into the other side, etc. If they become aware of the thrust and immediately chase your thrust with their sword and will parry, then disengage again to the other side. And always conduct it when they move toward your sword with an act of parrying. Conduct this on both sides, war.<br />
<br />
Another play.<br />
When you come to the opponent with the initiation of fencing set your left foot forward and hold the long point against their face. Then if they cut to the sword either from above or below and will strike it away or bind strongly against it, then let the point sink downward and disengage and stab them toward the other side. And conduct this against all cuts where someone cuts to your sword and not to the openings of the body.<br />
<br />
Another play.<br />
Note this play precisely when the opponent parries you and allows their point to go out sideways next to you in their act of parrying. When this happens, boldly disengage and thrust toward the other side. Or if they remain with their point in front of your face or otherwise toward the other openings of your body, then do not disengage and remain against their sword and work to their nearest opening so they cannot pursue nor lodge against you. War.<br />
<br />
About the Sudden Withdrawing<br />
[text missing]<br />
<br />
Hereafter follows the seven stances. Wherein noteworthy work to utilize against the opponent instead of other common fencing is explained :-<br />
<br />
The seven stances<br />
The first is when you stand as if you are in the plunge or the part cut yet with the flat of your sword upon your right thumb, fully forward, on the fulcrum with point sunken and right foot forward and keep yourself fully open with the left side. Called the Fool (others c[all it] the sideways ox)<br />
<br />
The second is: Hold your sword by the pommel next to your left leg and with the point a little upwards towards the opponent yet so that the same left foot stands forward. This is commonly called the wrath point or equally the ox<ref>Plow</ref> but just only when the left foot stands forward.<br />
<br />
The third stance is when you stand as before, then from that left side draw right back around to the right into the speaking window or into the position or guard "roof"<br />
<br />
The fourth stance: Drop from the speaking window to the left side with the crook crossed over against your front foot. One commonly calls this the iron gate or the lodging from the crook[ed cut]. Against the right foot follows after.<br />
<br />
The fifth stance is the same as before to the other side next to the right foot yet not crooked. Open, not crossed.<br />
<br />
The sixth stance comes from the previous being thrown out forward from the right side with the point behind right over into the crook yet your left foot comes forward along with the point fully opposing the opponent.<br />
<br />
The seventh: From that very crook held, [make] a strike straight up from the left and to the right and with the point on the ground forwards fully into extension and balance, not crooked is called the plow<ref>Fool</ref>. Some call it the fool.<br />
<br />
Item. Out of all of these, the second, third, fourth and fifth are called the four lodgings.<br />
<br />
Thereafter you shall note the work that goes from each stance or may generally go at first.<br />
<br />
Work from the part cut, plunge or fool<ref>Ox</ref> according to Master Hans using the after.<br />
<br />
First: Work from the part cut, plunge or fool<ref>Ox</ref> as Master Hans calls it using the after. If you lay before the opponent in the part cut hanging flat as shown above and you await the work of the opponent against you, then if they will initiate a strike with a descending cut to your left side or opening, stand still and go straight up against the opponent to the left side of their head with the crosswise cut, where they are open with an uninverted sword. War if it becomes necessary to do.<br />
<br />
The second: Then if they mount your sword with their descending cut and strike back around with a rising cut or otherwise to your right side, then Indes pursue them swiftly with the stance or extended sword and thrust into their face with whatever you can. War if it becomes necessary. You can also completely disengage as soon as they mount and thrust to their right side. Thereafter strike to their left.<br />
<br />
=> Item. In everything afterwards as you put yourself in the middle of things you shall remain standing like this and work Indes and not shoft out of the way. It then ruins the work of the opponent by striking or mutating however the opponent then holds themself against you.<br />
<br />
The third: If you stand as before and they will disengage, you then pursue and step toward them and wind in crooked to their head. War if it is necessary. For one shall wind crooked against all disengages.<br />
<br />
The fourth: If you stand as before and they mount atop it crooked, you shall strengthen against them. Then if they will strike to the opening of your left side, then pursue them with the war and your sword to their right shoulder and lay your sword against their neck. If they will subsequently ward that, then Indes, ward yourself again with the war according to the work as it demands. War if it is necessary or pursue them smoothly everywhere, so they cannot become completely free.<br />
<br />
Break. But if they hold strongly, then wind yourself into them under their sword and step behind their right foot with your left and with the left arm against the front of their neck and throw and if the throwing comes to nothing, then you pursue them smoothly. But if they will wind themself out of it with force, then wind in with the pommel between their arms. Break against them, shove the elbow.<br />
<br />
The fifth: If you stand as before and the opponent stands against you in the crosswise cut and with that they strike against your sword, then pursue them Indes and wind in crooked into their head. If it is necessary to do, then use the war as before.<br />
<br />
The sixth: If you stand as before and if they will then jab or thrust out of ox<ref>Plow</ref> from their left side to your right, then Indes swiftly step and wind in crooked into the head. If it is necessary afterwards, use the war. You can use that in all plays where it makes itself available.<br />
<br />
Cut crooked to the flat of the masters if you wish to weaken them. This means that the crooked cut breaks this stance with it's work as you wind in it's explanation in the Zettel. Or: Crook not, short cut. this is the disengaging or use the enticement to the outside against it. But if they will make a sudden withdrawal from their thrust, then fall into the crook as before and remain standing therein.<br />
<br />
Item. In all plays, if someone either binds against you or will mount you, then you can withdraw suddenly and make a rising cut into their right side and back around with the short edge into the other side<br />
<br />
Work from the second stance, the wrath point, using the after is laid out:<br />
The first play: When you stand in the second stance as written and instructed above, etc. If someone then draws up long and wide and if they intend to strike you with a descending cut from their right into your wrath point, then go straight up Indes with the wrath point against their throat and thrust, etc. War if it is necessary. In the thrust, go up into the flat in such a way that your thumb comes under.<br />
<br />
The second: When you stand as before in the wrath point, then if the opponent rushes and will thrust out of the ox<ref>Plow</ref> from their left to your right side, then Indes step forward with your right foot and from your counter thrust make a sudden withdrawal right back around and make a strike from your right shoulder to their left side with your short edge. Use the war if it is necessary. In the counter, you can also mutate to their right side to the head.<br />
<br />
The third: When you stand as before and they stand in front of you in the speaking window or roof guard, then go up against them into their face with the wrath point. Then if they mount your sword, then Indes you can completely wind in crooked with a step. Or as soon as they mount, Indes make a rising cut to their right side to the head and back around with the short edge to the other side. If it is necessary to do, then war. But if they will make a rising cut after mounting, then step swiftly Indes and thrust on in forwards with your hands and sword.<br />
<br />
You can completely thrust as well after mounting or before disengaging. War.<br />
<br />
The fourth: If you stand as before and again go up with the wrath point as before. Then if they counter with the enticement to the outside against your sword, then wind in crooked and step in after and war if it is necessary to do or work as is taught below in the enticement to the outside in the Zettel<br />
<br />
The fifth: When you stand as before and go up as before into the thrust and then if the opponent mounts your sword from the crooked lodging from the right side, then if they will work to the right side, swiftly enter into the war from behind with the thrust. But if they work to the left, then wind crooked against them against their sword and stand still. War to their head. Or, if you do not wish to wind, then keep against them, stay using the after.<br />
<br />
Work from the third stance,<br />
The speaking window, using the after<br />
<br />
The first play: When you stand as in the third stance as above in the speaking window, if someone then rushes in with force with their act of parrying like with the window or sword crossed over and looks through the arms, then mount smoothly. Then if they will continue to work wherever they will go, then pursue them with the war, etc. [the war] goes from both sides. Also, if the war comes from their left side, they need to rush in crooked.<br />
<br />
The second: When you stand in the speaking window as before and the opponent will wait you out with a descending cut and in that throw in the point, etc. Then mount them again long. If they will again continue to work, then pursue them with the war as before. But if they abscond, then you can completely double. It does not go well to the other, left side.<br />
<br />
The third: When you stand as before and the opponent stands in the cockeyed cut or change on their right side and rises up and intends to strike your sword away in the weak, then you make a sudden withdrawal right back around and strike them crooked upon their right side. War if it is necessary to do. The sudden withdrawing and warring go to both sides. You can also double and mutate wherever they suddenly withdraw when it makes sense.<br />
<br />
The fourth: When you stand as before and the opponent will carry off your sword in their rising from the crooked lodging as before, then suddenly withdraw again as before. War if it is necessary to do. The sudden withdrawing and war goes to both sides. You can again double and mutate them if they suddenly rectract.<br />
<br />
The fifth: When you stand as before in the speaking window and the opponent will initiate a strike from their right side with a descending cut to your left opening and make a sudden withdrawal or sudden switch to your right, then, Indes, pursue them with the crook to their head, etc. War if it is necessary. On the other side: parry long or crooked, war.<br />
<br />
Work from the fourth stance,<br />
Mounting crooked using the after.<br />
<br />
The first: When you stand in the crooked lodging to your left side, then if the opponent means to seek the openings of your right side with thrusts from the ox<ref>Plow</ref>, or else strikes; then rise up against them and displace them on their sword well out over their hands with a forward step and await their work and war. Then if they will overthrow you with force, let go so that you come to the war or strike or work inward in the crook and lay upon their neck.<br />
<br />
The second: When you stand as before and the opponent from either their strike or thrust makes a sudden withdrawal to your left side, then Indes rush in swiftly with the lower slice into their arm well into the air. Wherever they will subsequently be lifted, then pursue them with the war.<br />
<br />
The third: When you stand as before and the opponent strikes at you with a free descending cut from their right side, then step in deeply toward the opponent and from the crooked lodging, displace them fully from behind. Then if they over throw your sword, then let it go and strike and war.<br />
<br />
The fourth: When you stand as before and the opponent will act as if they will make a descending cut and suddenly withdraws and will strike you on your left side, then swiftly fall into your displacement or rise into the lower slice. War.<br />
<br />
The fifth: When you stand as before and the opponent also opposes you in the crooked lodging on their right side and they rise and intends to strike you crooked to your right side, then make a simple displacement, etc and await the war. You can completely disengage well in that as well, etc. War if it is necessary.<br />
<br />
Item. Whenever one does not find the opponent when they suddenly withdraw, one should fall into the lower slice.<br />
<br />
Work from the fifth<br />
<br />
The first: When you stand in the crooked lodging upon your right side and the opponent counters you on their right and means to strike you with a descending cut, then displace with crooked hands and if they then do not throw you right up over, let go again and strike crooked to their right. war.<br />
<br />
The second: When you stand in the crooked lodging upon your right side as before and the opponent again makes a descending cut against you from their right, withdraws suddenly and strikes to your right, then Indes, work swiftly against them crooked with the lower slice again, etc. War. It is like the other one yet on the opposite side.<br />
<br />
The third: When you stand on the right as before and the opponent rushes in from their right side with the window up from below; then, again, displace them and war.<br />
<br />
The fourth: When you stand as before and the opponent rushes in again as before and from that makes a sudden withdrawal and will strike to your right side, then apply the crooked slice against them again in from below. War.<br />
<br />
The fifth: When you stand as before on the right and the opponent is also in the crooked lodging off their right like you, then move toward them against their sword so that you come into the enticement to the outside and wind in toward them in the crook and war. You can also completely wait upon their work. Then if they will go up, then counter them with your point, so that they run onto your point.<br />
<br />
Work from the sixth stance<br />
Crooked cut out forward using the after<br />
<br />
The first: When you stand in the crooked cut out forward with the point upon the ground, the left foot forward and the opponent will initiate a strike with a descending cut from their right, then throw the point well out over onto their hands. Then if they will lever you up with force, lay you sword crooked upon their neck and slice yourself away from them or, during their overpowering, let it go around into a strike to their left. War.<br />
<br />
The second: When you stand as before and the opponent will thrust out of ox<ref>Plow</ref> from their left side, then, again, throw your point upon their hands as before. War if they they throw you right over, etc, as before, but if they thrust from the right, then crook against them. but if they suddenly withdraw durqing their thrust and make a strike from the left shoulder, then you slice up crooked into their arm.<br />
<br />
The third: When you stand as before in the crooked cut and the opponent is again in ox<ref>Plow</ref> upon their left side and from ox<ref>Plow</ref> makes a sudden withdrawal and will strike you on your left, then Indes make the open lower slice from their right side, if they suddenly withdraw, then slice crooked like above.<br />
<br />
The fourth: When you stand as before and the opponent will strike or mount from their right side from the crooked lodging, then draw up your sword from your left side right around to your right shoulder with a step and strike into them on their left side to their head. War crooked with the short edge or else if you will not do these, then go up against their sword from the crooked cut opposing them with open arms and displace them and wind the point into their face, so that you immediately come together in the part cut or in the roof or fool<ref>Ox</ref> and thrust or go in straight. Crook atop it if it is closer.<br />
<br />
The fifth: When you stand as before in the crooked cut and the opponent stands in the enticement to the outside, then also go up against them in the enticement to the outside. Thereafter: work, etc. Or if they go up into the thrust, then you go up in the thrust, work or wind in, etc.<br />
<br />
Work from the seventh stance<br />
Is the plow using the after<br />
<br />
The first: When you stand in the plow<ref>Fool</ref> with the right foot forward and the opponent will rush upon you with their sword with strike or thrust, then go straight up and displace them, step forward, war, etc. It also happens in the same way using the displacement when they rush from their right side. War, etc.<br />
<br />
The second: When you stand as before in the plow<ref>Fool</ref> and the opponent mounts atop your sword from their left using the crosswise cut, then remain on their sword and go up with them into the war, etc.<br />
<br />
Do it in this way as well when the opponent mounts atop you using the crosswise cut from their right side. Conduct the disengaging, if you wish. If they will mount or suddenly withdraw in the disengaging, make a strike into their side according to the work.<br />
<br />
The third: When you stand as before and the opponent will thrust out of <ref>Plow</ref> from their right side to your right and, from that, makes a sudden withdrawal and will strike you on your left side, then make the open lower slice into their arm. War.<br />
<br />
But if you do not wish to slice, then mutate. But if the opponent is again on the right, then double if you do not wish to slice, but rather wish to break and strike. But if they will thrust from their left side and not suddenly withdraw, then wind in crooked against them, etc. You can also suddenly withdraw and strike in your rising up or displacing when they thrust at you, etc. War.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Lew&diff=134977User:Christian Trosclair/Translations/Lew2022-07-10T15:59:50Z<p>Christian Trosclair: </p>
<hr />
<div>A short commentary of the afore pictured stances in the sword further accompanies<br />
<br />
Young knight learn<br />
To have love for god, honor maidens and women<br />
Then accumulate your lessons<br />
and learn<br />
Art that decorates you<br />
And in war exalts with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and Messer<br />
like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and engage<br />
Let it hang or let it go.<br />
So that one can masterfully praise<br />
Your knowledge<br />
<br />
Here it begins, a good general lesson of the long sword, yet there is much good cryptic art locked<ref>alt: enclosed, defined, deduced</ref> herein.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right<br />
If you desire to fence strongly.<br />
<br />
The first lesson of the long sword is that before anything you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with the left foot forwards and cut from your right side, this cut is then erronious and incorrect. Because when your right side remains behind it, the cut<ref>"the cut" omitted by the Salzburg</ref> becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also follow the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always follow the cut with the right <ref>"side" inserted by Salzburg</ref> foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and wait around for their attacks until they initiate one at you. Know that all fencers that just watch for someone's cut and then will do nothing other than parry, they allow themselves to enjoy quite little of the art, because by doing so, they become gravely struck.<br />
<br />
Cut from close proximity whatever you wish<br />
No change enters your shield<br />
To the head, to the body<br />
Do not omit the blows<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Look at it like this, when you come to the opponent with the initiation of fencing. Whatever you subsequently wish to fence, drive that with the entire strength of the body and with that, cleave in at the opponent's head from close proximity and at that moment, you simultaneously constrain them so that they must parry and cannot come to any disengaging in front of that because you come too close to them with your point. If they then come strongly against your sword with an act of parrying<ref>Salzburg: "with the strong"</ref>, then give them a wound on their left arm and with that, step back before they come to their senses.<br />
<br />
Hear what is bad therein<br />
Do not fence on the left if you are a righty<br />
And if you are a lefty<br />
You also quite awkward in fencing<ref>Salzburg/Rostock: on the right</ref><br />
<br />
This is a good lesson that touches upon a lefty and a righty and know this, however you shall cut, do it such that someone cannot overcome <ref>alt: crumple, crush, win by force, conquer</ref> the weakness in your sword in the initial cut and look at it like this, when you come to the opponent with the initiation of fencing, if you are a righty and wish to fence strongly, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they bind you. But<ref>Augsburg: "or"</ref> if you cut from the right side, then you may hold very strongly in opposition and work whatever you wish at the sword.<br />
<br />
In the same way if you are a lefty, then again do not cut the first cut from the right side. For it is quite undependable art for a righty to drive from the left side and it is also the same for a lefty from the right side.<br />
<br />
Before and After, the two things<br />
Are the singular origin of all art.<br />
Weakness and strength<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
If you frighten easily<br />
Don't ever learn to fence.<ref>Salzburg: "the art or to fence"</ref><br />
<br />
This means that before anything you shall see and understand the two things correctly. This means the before and the after and weakness and strength and the word Indes, because the entire art of fencing comes from those. When you correctly see and understand the [two] things and do not forget the word Indes in all plays therein that you conduct, then you are indeed a good master of the sword and can teach princes and lords well so that they can keep to the proper art of the sword in play and in earnest.<br />
<br />
Item. When you come first with your cut or whatever such that they must parry you, then work swiftly Indes with your sword in front of you or otherwise with other plays and do not let them come any further with any work.<br />
<br />
Item. When the opponent comes first with their cut, such that you must then parry them, then Indes work swiftly with your sword or whatever during the act of parrying so that you deprive them of the before with the after, this is called before and after.<br />
<br />
Item. Now before anything, you shall know about the weakness and strength of the sword. Look at it like this: From the hilt to the midpoint, that is the strong, from the midpoint to the point is the weak and how you should work according to the weak and with the strong at the sword, you shall find all of that written hereafter.<br />
<br />
Learn five cuts<br />
From the right hand, against the weapon<br />
Because we believe<br />
To pay off in skills easily<br />
<br />
Note there are five cryptic cuts. Whoever can break them with the proper art without harm, they will be praised by<ref>Salzburg, Rostock: "before"</ref> other masters and is appropriate that their skills shall become better valued than the others. And how you shall execute<ref>lit: cut</ref> these cuts with three plays, you will find all of these written hereafter.<br />
<br />
Wrathcut Crooked<ref>Salzburg: "Crooked cut"</ref> and Crosswise<ref>Salzburg: "Crosswise cut"</ref>,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, overrunning, displaces<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt<ref>lit: "hang"</ref> and Turn<ref>lit: "wind"</ref> to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note the correct chief components of the art of the long sword will be named for you here as they designate each with its name so that you can see and understand all the better.<br />
<br />
First note the five cuts<br />
<br />
The first is called the wrathcut<br />
The second, the crooked cut<br />
The third, the crosswise cut<br />
The fourth, the cockeyed cut<br />
The fifth, the part cut<br />
<br />
Item: Now note the plays after this.<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overrunning<br />
The fifth, the displacing<br />
The sixth, the disengaging<br />
the seventh, the sudden withdrawal<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth, the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings.<br />
<br />
In this way, the cuts and the plays seventeen.<ref>Mair: twelve</ref> You will find them and what you should fence from them written identically one after the other hereafter.<br />
<br />
Here it begins, the skills of the longsword. First, the wrathcut.<br />
<br />
Wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Item:<ref>omitted from Salzburg and Rostock</ref> Know that the wrathcut breaks any descending cut with the point and is yet nothing more than a simple peasant strike.<ref>Salzburg: "cut"</ref> Execute it like this. When the opponent cuts at your head from above from their right side<ref>Salzburg omits "side"</ref>, then cut from your right side from above with them as well, wrathfully, directly and without any act of parrying, up atop their sword and let your point shoot in directly forwards into their face or breast. Then if they become aware of the point and parry with strength, then rise upwards with your sword, against their sword's blade, to the top, up off away from their sword and cut at their head. This is called absconding above.<br />
<br />
Another<br />
<br />
Item: When you wish to make the wrathcut, you can strike with the right hand and with the left hand fully up in from behind. Thereafter you bring down your point below with an inverted hand and go through.<br />
<br />
Item: You can also abscond and rise up with your sword no further than just to their point. Indes, strike back in at their head.<br />
<br />
Item: A break against the absconding<br />
<br />
When they abscond above and cut at the right side of your head, wind your sword inward a little with your short edge on theirs, and Indes, strike at their head with the long edge.<br />
<br />
Item: Another break<br />
<br />
Indes, if they abscond, then step to the side away from their strike and work with their cut to their nearest opening.<br />
<br />
Another<br />
<br />
Item: When you have struck from the wrathcut with your inverted hand and the opponent rises up and parries you, then pass through just so to their right side with your inverted hand against their belly and wrap your right elbow and your sword over theirs and hold firm, so that you have locked them. Or drag your right side to your left and wrench back strongly so that you take their sword from them and your point goes into their face.<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
This means<ref>Mair: "This is a lesson"</ref> when you cleave in wrathfully with the opponent, if they withstand this with strength and you do not wish to abscond above, be strong in turn, and rise up to your right side with your arms, and turn the short edge against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and lodge against your point against them below.<br />
<br />
Item: If you have wound to your right side like this and the opponent has parried your thrust, then wind a little back to your left, and lodge against your point right down into their breast as well. Then if they parry your point, suddenly withdraw your sword back toward yourself and strike again at their head. Then if they parry that, abscond above or undertake other work from there.<br />
<br />
Another<br />
<br />
Item: When you have absconded above and the opponent has parried in this fashion for the second time and sticks<ref>Assuming this is a misspelling or variant of "stecken"; otherwise, the phrase is "stabs with you" which is nonsensical in context.</ref> with you, then rise sufficiently up with your arms and wind your short edge into the weak of their blade and stab them in their face or wind to your right side against their blade into their weak and again stab them in their face (You can also make both windings from each other) and thrust with your point.<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
And guard that your war is not hasty<br />
<br />
This is a lesson when the opponent binds against your sword with a cut or with a thrust. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note forward whether it is soft or hard when one<ref>corrected from 'sein', see Danzig</ref> sword clashes against another or is in the bind. And as soon as you sense this, then wind Indes and work with the war, according to the soft and according to the hard, to the nearest opening. And this is called the before and the after, which you have learned of before.<br />
<br />
For the one whose war takes aim from above<br />
They will be shamed from below.<br />
<br />
Know that the windings and the work from them with the point to the four openings, that is called the war. Conduct it like this: When you cleave in with the wrathcut, then as soon as they parry, rise up with your arms and wind your point in from above into the upper opening of their left side against their sword. Then if they displace the thrust, then remain standing with the winding like this and let your point sink back down <ref>Mair: to their left side</ref>. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword with another act of parrying, then rise up to your right side with your sword. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
In all winds<br />
Learn to find cut, stab, slice<br />
Also with that you shall gauge<br />
Cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you must be quite polished with all winds on the sword, because each one of the windings has three distinct plays, that is, one cut, one thrust and one slice; and whenever you wind on the sword, you must gauge and recognize quite accurately so that you do not conduct the incorrect play that is called for in the winding so that you do not cut when you should thrust and not slice when you should cut and also not thrust when you should slice. And you shall conduct that in such a way that when the opponent parries the one, you hit with the other. Furthermore, you should always find the correct plays that are by rights appropriate to conduct in all engagement of and windings against the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well..."<br />
<br />
Item: When you wish to make a cut and a thrust and a slice, do it like this. Hew the wrathcut in boldly from your right side. Indes, wind your point in, to their left side and thrust at the left side of their face. Indes, step to their right with your left foot and slice them across both their arms with your long edge.<br />
<br />
Know the four openings<br />
Take aim so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
This is when you come<ref>"come" is omitted in the Salzburg</ref> to the opponent with the initiation of fencing. If you subsequently wish to fence surely, then you should not expressly cut at their sword. Rather, you should target the four openings. [The first opening] this is the right side, the second, the left above the belt of the opponent. The other two openings, these are the left and right sides below the belt.<ref>"of the opponent… of the belt" omitted from the Salzburg. This omission is probably a scribal error, jumping to the second instance of der gürttell.</ref> Select one of these openings and boldly initiate a cut there and do not worry about what they fence against you. If they then parry, immediately work to the nearest opening in that act of parrying. In this way, focus on the body and not the sword.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This means whenever the opponent cleaves in earnestly, if you wish to then set yourself up against them to break the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of the sword<ref>Salzburg omits "of the sword"</ref> and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Item. Execute the doubling like this: When the opponent initiates a cut from above from their right shoulder; cleave in strongly from above as well in the same way from your right shoulder to their head. Then if they parry that cut with strength, then immediately rise up with your arms and shove your pommel under your right arm with your left hand and strike them upon their head from crossed arms with the long edge from behind their sword's blade.<br />
<br />
Item. Or if you have bound their sword with your long edge from your left side, then immediately rise up with your arms and remain like this against their sword, and strike them upon their head from behind their sword's blade with your short edge.<br />
<br />
Item. Execute the mutating on the right side like this: When you cleave in strongly from above from your right shoulder, if the opponent parries and is soft at the sword, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above, and with that move up on the arms<ref>Augsburg: "move on the arms"</ref> and thrust into their other opening.<br />
<br />
Item. The mutating from the right side. When you have bound with your long edge from your right side, then immediately rise up with your arms and remain on the sword like this, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with than move sufficiently with the arms and thrust down into their lower opening of their right side.<br />
<br />
Item. Or if you cut against the opponent's sword with your long edge from the left side, then rise up with your arms and keep the same edge on the sword [and thrust]<ref>see below</ref> into the lower opening. In this way you can execute the two plays from all cuts after you have sensed the weakness and strength in the sword, etc.<br />
<br />
Item. The mutating on the left side: Or if you have bound against the opponent's sword with your long edge, then rise up with your arms and keep the same edge against their sword and again wind the short edge over their sword, and rise sufficiently up with your arms and hang your point over their sword from above and thrust into the lower opening of their left side. In this way, you can also conduct these two plays from all cuts after you have sensed the weakness and strength in the sword.<br />
<br />
The crooked cut with it's plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the boar and the rising cut.<ref>In the Rome (Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring well to your right side with the right foot, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards. This is how you shall cut crooked to the hands. Conduct the play like so. When the opponent initiates a cut from your right side with either a descending cut or a rising cut, spring away from the cut,well to their left side, with your right foot facing the opponent and strike them from extended arms with the point atop their hands. Turn. With that, one wars the oxen and also the boar and the rising cut/<ref>In the Rome(Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Execute it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring with the right foot, well to your right side, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut<ref>Mair omits "the cut"</ref> well to the right side, with your right foot facing them and shove the pommel of your sword under your right arm and strike them from the long edge with crossed hands with your point upon their hands<br />
<br />
Item. In this way, send yourself to your left side using the barrier guard. When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then step to your left side with your left foot well away from the cut and strike them over their hands during the step with the short edge.<ref>"with the short edge" omitted in the Salzburg</ref><br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Note you shall conduct this play against the masters from the bind of the sword.<ref>Salzburg: "that cut from the bind of the sword"</ref> And remember this as well: When you come to the opponent with the initiation of fencing, bring your sword into the barrier guard on your right side or hold it atop your right shoulder. Then if they cut at the opening from above, then cut strongly with crossed arms against their cut with the long edge. And as soon as the swords spark together, then 'Indes' wind toward your left side with your sword and rise up with your arms and stab them in the face. Or if you don't want to thrust, then note as soon as it sparks, then 'Indes' cut to their head or to their body with the short edge.<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Execute it like this: when you go to the opponent with the initiation of fencing<ref> Salzburg: "come to the copponent"</ref>, if they subsequently stay in guard and hold their sword in front of their head on their left side, then throw your sword to your right shoulder<ref>"the head, then throw your sword on" omitted from Mair. This is probably a scribal error, jumping from dem to dein.</ref> and act as if you want to bind against their sword with the crooked cut and cut short and with that disengage below and shoot your point in long into the opening on their other side so that they must parry. With this you come to blows and to other work with the sword.<br />
<br />
You can also make this play when they initiate a descending cut from their right shoulder.<br />
<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you must always present yourself open with it. Look at it like this, whenever you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side in the meantime. If they are also crafty and will cut from the sword to your opening and make you stray with agility, then keep your sword against theirs and follow their cut on their sword and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield<ref>Rostock and Salzburg add: "or guard"</ref> themselves from your cuts and your thrusts.<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head, in guard and watches you, then note when you come close to them, advance your left foot and hold your sword with the flat on your right shoulder. If they then lift a foot in your direction and threaten to strike you, then you come before and spring well to your right side with your right foot and in the spring turn your sword in front of your head by the hilt in such a way that your thumb comes under and strike them on the left side of their head with your short edge.<br />
<br />
Item. When they come first with the descending cut, then step to their left side with your right foot, and strike into the strong of their blade with the crosswise cut such that their strike is parried. Indes, shove your pommel up sideways to your right side with your left hand such that you strike them at their left ear. Or, you can double that while you have crossed them at their strong. Or, if they are so strong that you cannot come to this, then shove their sword away with your hilt and strike around to your right side and seek the other opening.<br />
<br />
Item. But if they come forth with the cut earlier than you, then spring away from the cut with your right foot sufficiently to your right side with the afore written act of parrying and strike them with the crosswise cleave in the afore named place.<br />
<br />
Item. A break against the upper and lower cross strike<br />
<br />
When you have bound against their sword with a descending cut and strike around the crosswise cut high or low, then keeping the hilt in front of your head, twist your sword forwards either way and stab them in the nearest opening with the point. This enters from both sides.<br />
<br />
Item. When one bindsyou with a free descending cut and cuts the lower crosswise cut to your right side, then stay standing like this and lay the short edge against their neck.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
Note This is so that when you cut with the crosswise cut, you shall do it with strength. If they parry, then rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword with your strong, work over their sword to either the lower opening or high against their neck by mutating. But if you cannot come to that, then work behind their sword with a strike to the head using doubling.<br />
<br />
Item. But if they are so strong with their act of parrying, that you cannot get to that play, then shove their sword away with your hilt and strike them on the other side with the crosswise cut. Or, if they will rush in on you, then take the slice under their arms.<br />
<br />
Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.<br />
<br />
Item. When you wish to take initiative with a crosswise cut to their left side, don't hit, and swiftly strike to their right side. If they then strike at your right, then Indes, slice into their hands at the joint of their right hand.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Item. Here note the crosswise cuts to the four openings<br />
<br />
Item. When you come to the opponent with the initiation of fencing, if they then stand opposite you in the roof guard, spring facing them well to your right side with your right foot and strike them through total art at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body.<br />
<br />
Item. you should also remember that you shall always spring out to one side with each and every cross strike so that you can really hit the opponent in the head with it and be mindful that you will be well covered with your hilt up in front of your head.<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Another<br />
<br />
Item. Execute the failer like this: When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them with the crosswise cut, abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the remainder of the application like it was just written above.<br />
<br />
The inverter constrains<br />
Slipping through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Note that you shall deliver the inverter covertly<ref>mair: extended</ref> in the initiation of fencing. For with it, you constrain the opponent such that you can rush through and properly seize them with wrestling.<br />
<br />
Item. Execute the inverter like this: When you, with the initiation of fencing, have moved half way into it<ref>Mair: When you arrive at the opponent with the initiation of fencing and have moved half way into it</ref>, move the other half forward toward the opponent over and over with the left foot in front and make a free rising cut from the right side after each advance in accordance with the left foot and with the cut invert and turn the long edge of the sword and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through. But if they stay low with their hands during the act of parrying, then seize their right elbow with your left hand and hold firmly and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer and conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder and when you see that they are high, then spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Know that the cockeyed cut is a good, strange and grim play, for it breaks in by cut and by thrust with violence and goes in with an inverted sword. This is why many masters of the sword have nothing to say about this cut and the guard that is called here, the plow as well.<br />
<br />
Item. The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and spring forward with your right foot and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and aborts during the cut of your sword and disengages below, then remain with your point in front of their face from long arms so that they can neither harm you, nor come through below.<br />
<br />
Item. Another play.<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and threaten to stab you from below, then cleave in long from above with the short edge by means of the cockeyed cut and shoot your point into the face or breast of the opponent in such a way that they cannot reach you with their thrust from below.<br />
<br />
Item. Another.<br />
<br />
When you stand opposite the opponent and have your sword on your right shoulder, if they then stand in retaliation opposite you in the guard of the plow and threaten to stab you from below, twist the cut with the short edge in long from above in such a way that they cannot reach you with their thrust from below.<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
This is a lesson. When you start to move in with the initiation of fencing, you shall cock an eye or look to see whether your opponent fences with you short. And understand the shortening of the sword like this: When the opponent does not extend their arms long from themselves during the cut, they are shortened. If you bring yourself into the fool's guard and they will fall upon that with their sword, they are again shortened. If they fence against you from either ox or plow, that is also shortened and all windings in front of the opponent, these are all short and you shall disengage such fencers. With that, you constrain them so that they must parry, so that you can then strike and work freely with the sword and with wrestling as well.<br />
<br />
Item. Another lesson.<br />
<br />
When you move toward the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences shortly against you. You shall recognize it like this: When the opponent initiates a cut at you, if they then do not extend their arms long from themselves during the cut, their sword is shortened. And all fencers that fence too shortly, freely disengage them, from either cuts or from thrusts using long point. With this you zero in on them against your sword such that they must allow you to come into a bind and allow themselves to be struck.<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play against long point using a deception of the face. Execute it like this: When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with your short edge via the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When the opponent stands against you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands with your point via the cockeyed cut.<br />
<br />
You can also do this when they make a free descending cut in at you from above. Focus on their head as if you will strike there and cut against their cut with the short edge and strike down against their sword's blade onto their hands with your point.<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
This is how you should drive the failer to both sides and look at it like this. When you come to the opponent with the initiation of fencing, advance your left foot and hold your sword on your right shoulder and when you see that they are suitable to you, then spring towards them, well out to your right side with your right foot and act as if you will cut them with a descending cut on the left side of their head. If they then speed forward with an act of parrying, then suddenly yank the cut back up and immediately spring around to the left side of the opponent with your left foot and in your spring, act as if you will strike them on the right side and suddenly withdraw and spring back around to their left side with your right foot and with that, strike in freely on the same side<br />
<br />
The parter with it's plays<br />
<br />
The part cut<br />
With it's turn<br />
The face<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Know that the part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn.<br />
<br />
Item. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they then bring themselves into the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring at them with your right foot and cut down from above strongly and keep your arms high and drop your point down into their face or breast. Then if they parry with the crown such that the point and the hilt both stand up against their sword; and they rise up with it and push your point upwards, then rotate your sword under their kron, into their arms using the slice and press. In this way, the crown is broken again. And during the pressing, take the slice and withdraw yourself with it and step close to them if they parry again.<br />
<br />
Item. When you wish to execute the part cut to the opponent, you can let your point go through alongside, down below their hands and extended out long into the right side of their face.<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from. The first guard is called the ox.<br />
<br />
Item. Put yourself into the ox like this: stand with the left foot forwards and hold your sword on your right side with your hilt in front of your head, such that your short edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword on your left side with your hilt in front of your head such that your long edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. The second guard is called the plow. For this, put yourself together like this: advance your left foot and hold your sword with crossed hands down on your right side with your pommel near your right hip such that your short edge is up and your point lifts up forwards against your opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: advance your right foot and hold your sword down at your left hip by your left side such that your long edge is turned up and your point lifts up against your opponent's face.<br />
<br />
Item. The third is called the fool and put yourself together like this: advance your left foot and hold your sword in front of you with extended arms with your point upon the ground and such that the short edge is up.<br />
<br />
Item. The fourth guard is called roof guard and put yourself together like this: advance your left foot and hold your sword high above your head with outstretched arms and turn your long edge forwards and let your point hang a little to the back and stand in guard like this.<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Note you have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that break the four guards.<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
The second is the crosswise cut which breaks the roof guard<br />
<br />
The third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool.<br />
<br />
And how you shall drive the correct play of the four cuts against the guards, you will find written previously in the cuts. To this end, guard yourself from parrying against the guards if you wish to otherwise not be harmed by strikes.<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that rise up with your sword and strike quickly with the short edge or at the opponent's head via doubling.<br />
<br />
Item. One other.<br />
<br />
When the opponent has parried you, race up toward their point with your sword against their sword's blade as if you would abscond above, then remain against the sword and cut straight back to their head against their edge.<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Know that lodging is an earnest play because it moves into the area of the four openings and it is appropriate to conduct when you wish to give an immediate conclusion using the sword.<br />
<br />
Item. Execute lodging like this: When you come to the opponent with the initiation of fencing, bring yourself into the guard of the ox or of the plow with your sword. Then if the opponent will cleave in from above or initiate a thrust from their right side, come forwards with a parrying action, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them.<br />
<br />
Item. Or if they cut from their left side, come forwards with a parrying action and shoot the point straight in at the nearest opening of their right side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their right side, then shoot the point straight in at the nearest opening of their left side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their left side, then shoot the point straight in at the lower opening of their right side and always take care of the execution of the lodging during this. Then if they become aware of your shooting in and parry, then stay atop that using your sword and swiftly work to the nearest openings.<br />
<br />
Item. You should also know this: As soon as you both come together into the fight and as soon as they lift up their sword and will strike around, just then, you shall fall into point and thrust at the nearest opening. But if they won't conduct anything with the sword, then you should do that with your sword and as soon as or at the moment you complete a strike, at that moment, Indes, you fall into point. If you can conduct the lodging correctly, then the opponent must move or shift hard. It has to allow you a wound.<br />
<br />
Learn to pursue<br />
Twice or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's'application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Item. The first play of pursuing<br />
<br />
Execute it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck.<br />
<br />
Item. Another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword and this is the enticement to the outside.<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them below their sword and toward their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
Item. Yet another pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you bring yourself into the fool's guard facing them, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. If they will either cleave in from the act of parrying or wind in against your sword, then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Another<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either misses their attack or uncovers themselves in front of you with their sword.<br />
<br />
Learn to feel<br />
Indes, this here cuts sharply<br />
<br />
Know that at the sword, feeling and the term 'Indes' is the greastest art and whoever is or wishes to be a master of the sword yet they cannot feel nor marry the term 'Indes' to it, they are not a master. They are a buffalo of the sword. Therefore you shall quite fully study the term Indes and feeling for all situations so that you correctly comprehend it.<br />
<br />
Item. Note the ability to feel like this: When you come to the opponent with the initiation of fencing and one binds another against their sword, you shall immediately feel whether they have bound soft or hard while the swords clash together and as soon as you sense soft or hard, then reflect on the term Indes. That is, you shall swiftly work and feel together at once with your sword so that they are struck before they come to their senses.<br />
<br />
Item. You shall now know that the ability to feel and the term Indes cannot exist without each other and understand it like this: When you bind against the opponent's sword, then you must feel soft or hard using the term Indes and when you feel, then you must again work Indes. In this way, they always occur with each other, because the term Indes is in all plays.<br />
<br />
Note it like so: Indes doubles, Indes mutates, Indes disengages, Indes slips across, Indes takes the slice, Indes wrestles together, Indes takes the sword, Indes does what the heart desires, Indes is a sharp word. With it, all masters of the sword and those that do not understand nor know of this term Indes will be struck down.<br />
<br />
Pursuing twice,<br />
Make the old slice with it.<br />
<br />
This is so that you shall conduct the pursuing to both sides and deliver the slice therein as well. Look at it like this: When the opponent misses their attack before you, be it from either the right or from the left side, freely cut behind it into the opening. Then if they rise up and bind against your sword from below, then immediately note when one sword clashes against the other and then, 'Indes', fall upon their arm with your long edge and either press downwards with your edge or execute a slice at their mouth.<br />
<br />
Whoever twists upwards<ref>S. "takes aim from below", which matches the standard Recital. R. "whoever winds from below".</ref><br />
Overrun it, they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I will praise.<br />
Make your work<br />
Or press twice.<br />
<br />
This is when the opponent initiates fencing from below and how you shall overrun them. Look at it like this: When you come to the opponent with the initiation of fencing, then if they initiate a cut from below, do not parry them, rather note when their rising cut moves to oppose you, then cut long from above from your right shoulder and shoot in long either into their face or into their breast and lodge against them such that they cannot reach you from below. And if they rise up from below and parry, then remain against their sword with your long edge and work swiftly to the nearest opening.<br />
<br />
Item. Note when you have strongly bound against the opponent's sword, if they from their act of parrying strike around<ref>mair: under</ref> you to your other side, then bind them strongly on their sword again from above towards their head with your long edge and work to the opening as before. Conduct this to both sides.<br />
<br />
Learn to displace<br />
Skillfully disrupting cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you'll step.<br />
<br />
Note when you come to the opponent with the initiation of fencing, if they subsequently set themselves against you as if they will thrust, then advance your left foot and position yourself in the guard of the plow on the right side and offering yourself open on your left. Then if they thrust into your opening, then wind to your left side with your sword against their thrust, your short edge opposing their thrust and with that displace such that your point stays facing them and with that step in with your right foot and Indes stab them either in the face or in the breast.<br />
<br />
Item. Another play<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step in with your right foot and stab them in their face or breast. This play is also conducted in this way from the plow on your left side.<br />
<br />
Item. You can also conduct displacing from either rising cuts or descending cuts. When you are positioned high with your sword and will then make a descending cut, during the cut wind into the ox on your right side and displac cut or thrust to your left side back into the ox. Indes, either thrust or double or make whatever you wish. This goes to both sides.<br />
<br />
If you subsequently lay in the switch cut, twist your sword into the plow and displace cut or thrust, "Indes", work swiftly to the nearest opening with every application. This goes to both sides.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds or slices the opponent<br />
<br />
Know that disengaging is many and varied and you can conduct them from any cut against fencers that cut to the sword and not to the openings of the opponent. You shall learn to conduct them quite well with prudence such that the opponent does not lodge against you while you disengage.<br />
<br />
Item. Execute disengaging like this: When you come to the opponent with the initiation of fencing, cleave in long at the opponent's head, if they subsequently cut against your sword and not at your body, then let your point disengage below during the cut before they bind against your sword and stab them on the other side. Then if they become aware of the thrust and immediately chase your thrust with their sword with an act of parrying, then disengage again to the other side. And always conduct this when the opponent chases after your sword with an act of parrying on either side.<br />
<br />
Item. Another disengaging.<br />
<br />
When you come to the opponent with the initiation of fencing, then advance your left foot and hold the long point against your opponent's face. Then if they will cut at your sword from either above or from below and intend to either bat it away or bind against it strongly, then let your point sink down and stab them on the other side and execute this against all cuts.<br />
<br />
Item. Note this play quite precisely.<br />
<br />
When the opponent has parried you or has otherwise bound against your sword, if at the sword, they do not hold their point toward the openings of your body and let it go out next to you, off to your side, then boldly disengage. But if they remain with their point in front of your face or toward your openings, then do not disengage and remain at the sword and work with that to their nearest opening so they cannot pursue you nor lodge against you.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Withdraw suddenly. If they engage, withdraw suddenly again.<br />
It reveals work that does them harm.<br />
Withdraw suddenly from all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Know that withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either miss their attack in front of it or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct a sudden withdrawal against them like this: Cut in strongly from above at their head from your right side, if the opponent speeds toward it and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another play.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Wrestling in the long sword<br />
<br />
Note rushing through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them down on their head in front of you.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in with uplifted arms and you do the same, slip your head through to their right side and step forwards in front of their right foot with your right and pass your right arm through below the opponent's right arm, around their body and sink yourself down a little and fasten them to your right hip and throw them behind you. You shall conduct this initiation of wrestling on both sides.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in on you to your right and is high with their arms and you are as well, hold your sword in your hand and shove their arms away from you with that and spring forwards in front of their right foot with your left and pass your arm way back around their body and sink yourself down a little and fasten them to your left hip and throw them on their face.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Execute these two wrestlings on both sides.<br />
<br />
Note whenever the opponent rushes in into your sword and holds their arms down so you cannot rush through, conduct these wrestlings written hereafter.<br />
<br />
Item. Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag<ref>S: force</ref> them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then let your left hand go forwards away from your sword and with your pommel, pass over their right hand from the outside and press down with it and with your left, catch the opponent by their right elbow and with your left foot, spring in front of their right and push them over it.<br />
<br />
Item. Another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then let your sword drop and invert your right hand and with it seize their right from the outside and with your left catch the opponent by their right elbow and with your left foot spring in front of their right and and with your right hand shove their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
This is a break against the over binding<ref>S., M., R. "over-winding"</ref> of your sword. Execute it like this: When you fence with your opponent from rising cuts or from antagonizing cuts or if you lay against your opponent in the guard here called the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below, and lift firmly upwards with your short edge. If they subsequently push down strongly, then with your sword against their sword's blade, sweep off backwards, away from their sword from below and immedately cut back in against their sword from above into their face.<br />
<br />
Item. Another wrestling.<br />
<br />
When you initiate fencing to your opponent's body with rising cuts<ref>L: "When you fence to your opponent with rising cuts"</ref> or if you lay in fool's guard, if they subsequently fall upon your sword near your hilt with their own such that their point goes out to your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword to your left side, then swiftly rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping or springing.<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note these four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. Premptively break that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike around from an act of parrying.<br />
<br />
Item. The two slices from below are appropriate to conduct against the fencers that rush in with uplifted arms. Execute them like this: When the opponent bindsagainst your sword, be it with an act of parrying or whatever, if they subsequently rise up high with their arms and rush in, to your left side, then twist your sword around into their arms with your long edge under their hilt so that your thumb comes below and press upwards with the slice.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, then twist your sword around into their arms with your short edge under their hilt so that your thumb comes below and press upwards with the slice. These are the four slices.<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then twist your sword around into their arms with your long edge under their hilt and press upwards firmly and with that, step to their right side and with that, turn<ref>a: wind</ref> your pommel through below and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Item. If the opponent runs in with uplifted arms to your right side, the turn<ref>s: wind</ref> your sword into their arms with your short edge underneath their hilt and press upwards firmly and step to their left side and let your pommel go through below and turn your sword over their arms into the slice with your long edge and press them away from you.<br />
<br />
About the hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Know that the two hangings from the ground, this is the plow from each side. In these, in cuts and thrusts and in the bind of the sword you shall posess the ability to feel whether the opponent is soft or hard.<br />
<br />
You shall also know how to conduct four windings from them. And from each particular one: a cut, a thrust and a slice, like from the upper hangings.<br />
<br />
Item. Note the hangings in this way as well: When you come to the opponent with the initiation of fencing, then position yourself in the plow or the switch cut, it can be on either side. hang your sword's pommel [down] towards the ground and thrust up from that hanging into the opponent's face in from below. If they then shove your point upwards by parrying, then stay like that against the sword and rise up with your pommel and hang your point in at their face from above and in these two, you shall conduct every application with cuts, thrusts and slices.<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Whoever withdraws themselves before you,<br />
Strike them so that it snaps.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Note you have heard before about how you should place yourself into the four guards with your sword in front of your opponent, you shall know that the speaking window is a guard in which you can stand fully secure in and this guard is the long point which is the nobelest and the best defence in the sword. Whoever can fence from it correctly, they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and therefore cannot easily come to blows.<br />
<br />
Item. Make the speaking window like this: Whenever you move toward your opponent with the initiation of Fencing, with whichever cut you subsequently come against them, be it a rising or descending cut, always let your point shoot in long from your arms with your cut into their face or breast. With this you constrain them so that they must parry or bind. And when they have bound like this, remain strong against their sword with your long edge and stand easy and watch their situation for whatever they will further fence. If they draw themselves back off from your sword, then follow behind them with your point toward their face or breast; or if they strike around leaving the bind to the other side, then slice strongly across their arms and work in from above to their head. But if they will not withdraw from your sword, nor strike around, then work by doubling or else using other plays thereafter as you sense whether they are strong or weak against your sword.<br />
<br />
Item. So you shall know that the speaking windows are two guards from the longpoint. One against the sword and the other in front of the opponent before you either bind against their sword or before the swords clash together and yet they are nothing more than a single guard.<br />
<br />
Item. I say to you truthfully that the longpoint is the noblest<ref>s: best</ref> defence against the sword because with it you constrain the opponent such that they must allow you to strike them and therefore cannot come to blows whatsoever. For this reason you shall drive your point into the breast or into the face of the opponent with all cuts and from there extended further thrusts and strikes.<br />
<br />
Item. This is also called the speaking window. When you have alomst come to the opponent with the initiation of fencing, then advance your left foot and hold your point extended from your arms against the opponent's face or breast the moment before you bind against their sword and stand easy and watch for whatever they will fence against you. If the opponent subsequently cleaves in from above, then move up with your sword and wind into the ox against their cut and stab them in their face. But if they cut at your sword and not at your body, the boldly disengage and stab them on the other side. Or if they rush in and are high with their arms, then conduct the lower slice. but if they are low with their arms then seek the wrestling. In this way you can execute all plays from your arms which seem best to you.<br />
<br />
The distillation of the new Zettel<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And carries out windings with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
This is a lesson and exhortation of the art of the sword so that you shall be extremely well ready and practiced therein so that you shall command them instantly and correctly conduct the breaks against the opponent's plays with agility. In this way, upon each break you shall conduct one of the three wounders that will be explained to you hereafter. You shall also know about the four hangings, which are the two lower and the two upper. The upper, that is the ox; the lower, that is the plow; on both sides and from these four hangings you shall carry out eight windings and you shall correctly judge and consder these eight winds so that you specifically conduct a cut, a thrust and a slice from each winding. These are the afore written four winds.<br />
<br />
Item. Here note how you shall conduct eight winds from the the four hangings. The first overhanging has two winds. Conduct them like this: When come to the opponent with the initiation of fencing, then setup in ox from your right side. Then if they cut at your left side from above, then wind against their cut, your short edge against their sword again in ox and thrust in at their face from above. This is one winding. If they displace your thrust toward their left side, then stay against their sword and wind back to your right side into the ox, your long edge against their sword and thrust in at their face from above. This is one hanging from your right side with two winds against their sword.<br />
<br />
Another<br />
<br />
Item. The second overhanging, again with two winds. Conduct it like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. If the opponent subsequently cleaves in from above to your right side, then wind against their cut, the long edge against their sword and thrust in at their face from above. This is yet another winding. If the opponent displaces your thrust toward your right side, then stay against their sword and wind back to your left side into the ox, the short edge against their sword and thrust in at their face from above. This is the second overhanging from your left side, again with two winds against their sword.<br />
<br />
Item. Now you shall know that from the two lower hangings, that is the plow from both sides, you shall also conduct four winds with all their applications like from the upper. These are the eight winds. And every time you wind, reflect specifically on the cut and on the thrust and on the slice in each and every winding. In this way we arrive at twenty four from these eight winds. And from whichever one of the winds you shall, conduct the cut or the thrust or the slice against which plays and against which attacks, you will find all of that before, written in the plays.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Danzig&diff=134976User:Christian Trosclair/Translations/Danzig2022-07-10T15:59:28Z<p>Christian Trosclair: </p>
<hr />
<div>Here the gloss and the explanation of the Zettel of the longsword begins,<br />
<br />
which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had versified and produced. And that is the reason this art belongs to princes and lords, knights and squires that they should learn and know this. For this reason, he had allowed it to be written in cryptic and misleading words, so that no one could recognize and comprehend it. And he had this done in light of the half-baked masters of defense, whose art amounts to little, so that his art would not be revealed nor become coarsened by these masters. These same cryptic and misleading words of the Zettel are clarified and laid straight in the glosses hereafter in such a way that anyone that can already otherwise fence can recognize and comprehend them.<br />
<br />
Here, precisely note whatever is written in red in the beginning of the written plays hereafter. This is the text of the cryptic words of the Zettel of the longsword. The subsequent black writing, this is the gloss and the explanation of the cryptic and misleading words of the Zettel.<br />
<br />
This is the forward.<br />
<br />
Young knight learn<br />
To have love for god, honor women<br />
So that you expand your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and charge in,<br />
Flow onwards, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<ref>lit: All art has length and measure</ref><br />
<br />
This is a general lesson of the long sword in which much good art is held<br />
<br />
Text<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with your left foot forwards and cut from your right side, if you then do not accompany the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind it, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with your right foot forwards and cut from the left side, if you do not then also accompany the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always accompany the cut with the right foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
In the same way for the companion play (crossing from the left side) you shall always render cut and footstep together with each other.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is dismantled and they become struck for this reason.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Gloss: Note this means when you come to the opponent with the initiation of fencing, from that point, whatever you wish to fence, drive that with the entire strength of the body and in this fashion toward their head and toward their body from close proximity and remain with the point in front of their face or their breast so that they cannot disengage in front of the point. If they parry with strength and let their point go off away from you to the side, then give them a wound on the arm.<br />
<br />
Or if they rise up high with the arms with an act of parrying, then strike below with a free cut to their body and with that, immediately step back. Thus are they struck before they become aware of it.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this means that you shall see and understand the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you correctly see and comprehend these things and have not forgotten the word Indes therein, in all plays that you conduct, then you are indeed a good master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in battle and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This means that you should always come before, be it with a cut or with a stab, before the opponent does. And when you preempt them with a cut or what have you so that they must parry you, then Indes work swiftly for yourself in their act of parrying with your sword or whatever, with other plays so that they cannot come to any work.<br />
<br />
Here note what is here called the after.<br />
<br />
The after, these are the breaks against all plays and cuts that one drives upon you and look at it like this. When the opponent preempts you with a cut so that you must parry them, then Indes work swiftly to the nearest opening during your act of parrying using your sword so that you break their before with your after.<br />
<br />
Here note the weak and the strong of the sword.<br />
<br />
The weak and the strong, look at it like this. On the sword, from the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be explained to you hereafter.<br />
<br />
This is the text and the gloss of the five cuts.<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing and Overrunn, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better recognize and understand them.<br />
<br />
The first, these are the five cuts as they are specifically named<br />
<br />
Item: The first is called the wrathcut<br />
Item: The second, the crooked cut<br />
Item: The third, the crosswise cut<br />
Item: The fourth, the cockeyed cut<br />
Item: The fifth, the part cut<br />
<br />
Now note the components<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overruning<br />
The fifth, the displacing<br />
The sixth, is the disengaging<br />
the seventh, is the withdrawing suddenly<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth is the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings<br />
<br />
And what you should fence from the components and how you should acquire yourself openings by hanging and the winding, you will find these written hereafter one after the other in the order above.<br />
<br />
Here the text and the gloss begin<br />
<br />
The first is about the wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
<br />
Gloss: Note the wrathcut interrupts any descending cut with the point and is yet nothing other than a simple peasant strike. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently cleave in at your head from high from their right side, then you wrathfully cleave in with them from high from your right side as well, atop their sword without any act of parrying. (marginalia: into the weakness of their sword) If they are then soft against your sword, then shoot the point in at them long, straight ahead and stab them in the face or breast, then lodge against them.<br />
<br />
This is the text and the gloss of another play of the wrathcut<br />
<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Gloss: Note this is when you cleave in with the wrathcut, then shoot the point in long into their face or breast as was written before. Then if they become aware of the point and parry strongly and press your sword to your side, then with your sword against their sword's blade, rise high off upwards, away from their sword and cut back in at the opponent's head again on the other side against their blade. This is called absconding above.<br />
<br />
Break it like this<br />
<br />
When they abscond above, then bind in against their sword from above with the long edge towards their head.<br />
<br />
This is again the text and the gloss of the wrathcut<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Gloss: Note that this is when you cleave in with the wrathcut. If they parry and remain strong against the sword with their act of parrying, then remain strongly in opposition with your sword against their sword and rise up high with your arms and wind against their sword with your hilt forwards, in front of your head and thrust into their face from above. If they become aware of the thrust and rise up with the arms high and parry with their hilt, then remain standing like this with your hilt in front of your head and set your point below onto their neck or onto their breast between both of their arms.<br />
<br />
This is the text and the gloss of a lesson of the wrathcut<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
Without rush, your war is not hasty.<br />
<br />
Gloss: Note this is when the opponent has bound against your sword with a cut or with a stab or however else. You should not let yourself be too hasty with the windings, because it is done this way: You precisely note first whether it is soft or hard when one sword clashes onto another. And after you have perceived that, then work Indes with the winding according to the soft and according to the hard, always to the nearest opening as will be explained and conveyed to you hereafter in the plays.<br />
<br />
This is the text and the gloss of the war.<br />
<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
<br />
Gloss: Note the war, these are the winds and the work which continues into the four openings with the point. Execute it like this: When you cleave in with the wrathcut, then as soon as they parry, rise sufficiently up with your arms and against their sword "wind" in your point to the upper opening of their left side from above. Then, if they displace your upper thrust, remain standing in the winding like this with the hilt in front of your head and still to their left side, let your point sink down to the lower opening. Then if they chase your sword with an act of parrying, seek the lower opening of their right side with your point. Then if they chase your sword further with an act of parrying, then rise up with your sword to your left side and hang in your point to the upper opening of their right side. In this way they become shamed above and below via the war if you otherwise execute it correctly.<br />
<br />
This is again the text and the gloss of a lesson of the wrathcut<br />
<br />
In all winds<br />
Cut, stab, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Gloss: Note this is for when you cleave in with the wrathcut. You should be quite well practiced and quite polished with the windings because each winding has three particular plays, that is, a cut, a stab and a slice. And when you wind against the sword, then you should completely make sure that you do not conduct the incorrect play. Therefore you should not cut when you should stab and not slice when you should cut and not stab when you should slice. And you should always know which play to conduct that is rightfully called for in all encounters and binds of the sword else if you wish to dishonor or confound the masters that set themselves against you.<br />
<br />
And how you shall conduct the windings and how they are numbered, you can find that written in the last play of the Zettel that says: "Who fully commands and correctly breaks..."<br />
<br />
This is the text and the gloss of the four openings<br />
<br />
Know the four openings<br />
Take aim so that you strike wisely<br />
Into any movement<br />
Without doubt however they are situated.<br />
<br />
Gloss: Note whoever wishes to be a master of the sword, they shall know how one shall seek the openings with art, if they otherwise wish fence correctly and wisely. Above the girdle, the first opening is the right side, the second the left. Below the girdle the other two are the right and left sides. It follows that there are just two applications from which one may seek the openings. In the first one can seek them from the initiation of fencing by pursuing and by the shooting in of the long point. In the second, one shall seek them with the eight winds when one has bound the opponent against the sword.<br />
<br />
You shall understand it like this. When you come to the opponent with the initiation of fencing, you shall boldly, without any fear, with a cut or a stab, target whichever one of the four openings that you may best get to. And do not heed whatever it is that they conduct or fence against you. By doing this, you constrain your opponent so that they must parry you. And when they have parried, then immediately seek the nearest opening again by winding against their sword in the act of parrying. Always target the openings of the opponent in this fashion and not to the sword like in the play here which says "Lodge against four regions, Learn to remain upon them if you wish to finish"<br />
<br />
(marginalia: with the shooting in of the long point and with pursuing, seek the openings)<br />
<br />
This is the text and the gloss of how one shall break the four openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss: Note when opponent cleaves in at you, if you then wish to set yourself up against them and secure the opening from them with art so that they must allow themselves to be struck without their consent, then execute the doubling against the strong of their sword and execute the mutating when they are weak against the sword. For I say to you truthfully, that when facing you they cannot protect themselves from strikes nor can they come to blows themselves.<br />
<br />
Here note how you shall conduct doubling to both sides<br />
<br />
Note when they initiate a cut from their right shoulder, then also cleave in strongly from above with them at the same time from your right to their head. If they parry and stay strong against the sword, then 'Indes', rise up with your arms and thrust your sword's pommel under your right arm using your left hand and strike them on their head with the long edge and crossed arms and from behind their sword's blade.<br />
<br />
Note, if they cleave in from above to your head with their long edge and you do it back to them the same way, if they then stay strong against the sword, then immediately rise up with your arms and strike them on their head using your short edge and from behind their sword's blade.<br />
<br />
(marginalia: I have taught it and warr with the sword and crossing under to the other side)<br />
<br />
Here note how one shall execute the mutating to both sides<br />
<br />
Note when you cleave in strongly from your right shoulder and they parry and are soft against your sword, then "wind" the short edge against their sword to your left side and rise up sufficiently with your arms and pass over their sword with your sword's blade and stab them in their lower opening.<br />
<br />
Another<br />
<br />
Note when when you cleave in at their head up from your left side, if they parry and are soft against your sword, then rise up with your arms and hang your point down from up over their sword and stab them in their lower opening. You may also conduct these two plays from any attack from after the point you sense weak and strong against their sword.<br />
<br />
These are the trials of the sword and whoever wins them is worthy of praise.<br />
<br />
This is the text and the gloss of the crooked cut with its plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Whoever waits well crooked<br />
Disrupts many cuts with stepping.<br />
<br />
Note the crooked cut is one of the four parries against the four guards because with them one breaks the guards that are called the ox here and also rising and descending cuts. Execute it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and spring facing them well to your right side with your right foot and strike them across their hands with the long edge from crossed arms.<br />
<br />
Another<br />
<br />
Note you can also execute the crooked cut from the barrier guard on both sides. Take yourself into the guard like this. When you come to the opponent with the initiation of fencing, then stand with your left foot forwards and hold your sword such that the long edge is above with your point on the ground by your right side and present yourself open with your left side. Then, if they cut into your opening, spring away from the cut, facing them, with the right foot well to your right side and from the long edge strike them with crossed hands on their hands with your point.<br />
<br />
Item<br />
<br />
Take yourself to your left side with the barrier guard like this. When you come to the opponent with the initiation of fencing, do it with your right foot forwards and hold your sword upon the ground by your left side with crossed hands such that the short edge is up and present yourself open with your right side. Then if they cut into your opening, then spring away from the cut, facing them, with your left foot well to their right side and strike them in the spring with the short edge across their hands.<br />
<br />
This is the text and the gloss of a good play from the crooked cut<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, then either lay down your sword to the right side into the barrier guard and stand with your left foot forwards or hold it on your right shoulder. Then if they cut at the opening from above, cut across their cut with your long edge from criss-crossed arms. And as soon as the swords spark together, then 'Indes', wind your short edge against their sword facing your left side and stab them in the face. Or if you don't want to thrust, then 'Indes', cut to their head or to their body with your short edge.<br />
<br />
This is again the text and the gloss of one from the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
Gloss: Note this is for when the opponent cleaves in from their right side from above. So rise up with your hands high and act as if you wish to bind against their sword with the crooked cut and pass through below their sword with your point and stab them in the face or in the breast on the other side and take care that you are well covered with your hilt in front of your face.<br />
<br />
[Marginal note in a different hand:] against the ox<br />
<br />
You can also break the guard of the ox with this play. Execute it like this. When you go to them with the initiation of fencing, if they then stand facing you and hold their sword with their hilt in front of their head on their left side, then throw your sword on your right shoulder and act as if you wish to bind against their sword with the crooked cut and cut short and with that disengage below their sword and shoot your point in long to the other side under their sword into their throat so they must parry. With this you come to strikes and other work with the sword.<br />
<br />
[Marginal note in a different hand:] crooked cut w. Which breaks the guard of the ox<br />
<br />
This is again the text and the gloss of one of the plays from the crooked cut<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
For they truthfully<br />
Do not know where they are without danger<br />
<br />
Gloss: Note whenever you conduct the crooked cut, you will always make yourself open with it. Look at it like this, when you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from your sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions that they should shield themselves from your cuts and thrusts.<br />
<br />
Here begins the text and the gloss of the crosswise cut with its plays<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is hewn down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they stand facing you and hold their sword with outstretched arms high over their head and threaten to cleave in from above, come with your cut before they do and spring well to your right side with your right foot and in that spring, wind your sword with your hilt in front of your head such that your thumb comes under and strike them with the short edge against their left side in the head<br />
<br />
Or if they come before you do with their cut down from above, then spring away from their cut with your right foot, well to your right side with the previously mentioned act of parrying so that you catch their cut in your hilt and strike them with the crosswise cut on the left side of their head<br />
<br />
Here note the break against the crosswise cut<br />
<br />
Note when you stand facing the opponent in the roof guard, boldly cleave in at their head from above. Then if they spring away from your cut and intend to arrive first with the crosswise cut and strike you with it on the left side of your head, fall upon their sword with your long edge. Then if they strike around to your other side with the crosswise cut, 'Indes' you go forth ahead of them under their sword and in front of yourself against their neck so that they slash themselves with your sword.<br />
<br />
Note when you have bound the opponent against your sword, if they then strike from your sword around to the other side with the crosswise cut, then fall into their hands or upon their arms with your long edge and press their arms away from you with everything you've got with a slice, and from that slice of their arms strike them on their head with your sword.<br />
<br />
Here note the break against the upper slice into the arm<br />
<br />
Note when you strike the opponent with the crosswise cut to their right side, if they then fall into your arm with a slice, then strike them in their mouth with your short edge from behind their sword's blade by doubling.<br />
<br />
Again, this is the text and the gloss of a play from the crosswise cut<br />
<br />
Cross with the strong<br />
Remember your work with it<br />
<br />
Gloss: Note when you wish to strike the crosswise cut, you shall strike with the entire strength of the body and you shall always bind against their sword with the strong of your sword. With that, you secure their opening. Look at it like this: When you make a crosswise cut from your right side, if they parry and bind strongly against your sword with it, then execute the doubling or right from of crosswise cut, knock their sword off to the side with your hilt and strike them on the other side with it.<br />
<br />
Yet another<br />
<br />
When you make a strong crosswise cut from your right side, if they parry and are soft against the sword, then either drive the short edge of your sword against their neck on their right side and spring behind their left foot with your right foot and drag them over it like this with your sword's blade or execute the mutating into their lower opening.<br />
<br />
Break it like this<br />
<br />
When the opponent drives their sword against your neck, rise up inside of their sword with your pommel and let your blade hang down and shove their sword away from your neck and strike in at their head from above by snapping. Or strike them by doubling with your right hand up over their sword and beneathe their face while they have their sword against your neck.<br />
<br />
This is the text and the gloss of the crosswise strike to the four openings<br />
<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head by spinging<br />
<br />
Gloss: Note you have heard before that the ox and the plow are either two positions or two guards, but here they indicate the four openings. The ox, which are the upper two openings, the right and the left side of the head and the plow which are the two lower, the right and the left side below the belt of the opponent. You shall turn to each of these four openings with the crosswise strike in one sortie<ref>lit: zufechten</ref>.<br />
<br />
You should also remember that in broad terms, you should always spring out off to one side facing the opponent with each and every crosswise strike so that you can fully connect to the head and take care that you are fully covered the entire time with your hilt up in front of your head.<br />
<br />
Here note a break against the lower crosswise strikes<br />
<br />
Note when the opponent strikes at your head with the crosswise from their right side to your left side, parry with the long edge and keep your point in front of their breast. Then if they strike around from your sword to your lower right opening using the crosswise strike, then you also make a crosswise strike down through between you and them also against their right side and with that bind against their sword and staying in the bind, stab them 'Indes' in the lower opening<br />
<br />
This is the text and the gloss of a play that is called the failer<br />
<br />
The failer misleads<br />
It wounds according to desire from below<br />
<br />
Gloss: The failer is a play whereby many fencers that like to parry and also those that fence to the sword and not to the openings become deceived and wounded according to desire and and are beaten.<br />
<br />
Note when you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free descending cut and suddenly withdraw the cut and strike at the lower openings of their left or right side, whichever you wish, with the crosswise strike. And take care that you are fully covered by your hilt over your head. You can also conduct crosswise cut like this.<br />
<br />
This is the text and the gloss of a play that is here called the inverter<br />
<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
<br />
Gloss: Note the inverter is called the halfcut or the hand-turner. With it, one constrains the opponent so that you can rush through and capture with wrestling.<br />
<br />
Execute it like this:<br />
<br />
When you go toward the opponent with the initiation of fencing, go with the left foot forwards and execute the halfcut from the right side with an inverted long edge over and over, up and down in time with your left foot until you arrive at the opponent. And as soon as you bind against their sword with it, then 'Indes' hang your point inward from above and stab them in the face. If they parry the thrust and rise up high with there arms, then rush through.<br />
<br />
Or if they remain with their hands low with their act of parrying, then seize their right elbow with your left hand and hold them firmly and spring in front of their right with your left foot and shove them over your foot like this.<br />
<br />
Or if you do not wish to shove them over your foot by the elbow with your left hand as was written above, then pass your left hand back around their body and throw them in front of you across your left hip.<br />
<br />
This is again the text and the gloss about the failer<br />
<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step in left and do not be lazy<br />
<br />
Gloss: Note this is called the double failer. Execute it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling or fall into the slice with your sword across both their arms.<br />
<br />
In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is availble to you or whenever you wish.<br />
<br />
Here begins the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Note the cockeyed cut breaks the guard here called the plow and is a good, strange and grim cut because it breaks into cuts and into thrusts with violence and goes forth with an inverted sword. This is why many masters of the sword have nothing to say about this cut.<br />
<br />
Here note how one shall conduct the cockeyed cut<br />
<br />
Note when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they cleave in at the head from above, twist your sword and hew against their cut up over their sword at their head with your short edge, long with extended arms. Then if they are also cunning and aborts during the cut of your sword and will disengage below, let the point shoot in forward and long during the cut so that they cannot disengage below.<br />
<br />
Another<br />
<br />
When you stand facing the opponent holding your sword on your right shoulder, if they then stand facing you in the guard of the plow and will initiate a thrust from below, cleave in with the cockeyed cut long from above and shoot in the point long into their breast so they cannot reach you below with their thrust.<br />
<br />
This is the text and the gloss on a lesson from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
Gloss: Note this lesson. When you come to the opponent with the initiation of fencing, you shall sneak a glance and see whether they fence short against you. You can recognize this whenever they initiate a cut and do not extend their arms out away from themselves while cutting. Thus their sword is shortened.<br />
<br />
Or if you lie in the guard of the fool and they will then fall upon you with their sword crooked, their sword is again shortened.<br />
<br />
Or if they move themselves against you into the guard of the ox or the plow, their sword is again shortened. Also know that all windings of the sword ahead of the opponent are short and withdraw the sword. And against whichever fencers that execute the windings in this way, freely disengage from your cuts and thrusts and shoot in the long point to the closest opening from this, thereby pressuring them so that they must parry and you come to your proper work.<br />
<br />
This is the text and the gloss of how one breaks long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
And take the neck without fear<br />
<br />
Gloss: Note when you come to the opponent with the initiation of fencing, if they then stand facing you and hold the long point toward your face or breast, hold your sword on your right shoulder and focus your gaze on their point and act as if you will strike at it and cut strongly against their sword with your short edge using the cockeyed cut. And with that, shoot in your point into their neck using an entrance of your right foot.<br />
<br />
This is again the text and the gloss of a play from the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Gloss: Note this is another break for when your opponent stands in the long point facing you. Focus your gaze upon their head and act as if you will strike them there and strike them on their hands with your point from the cockeyed cut.<br />
<br />
Here begins the text and the gloss of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Gloss: Note the part cut breaks the guard that is here called the fool and to that end, it is quite dangerous to the face and with it's turn, the breast.<br />
<br />
Execute it like this<br />
<br />
When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge.<br />
<br />
Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.<br />
<br />
This is the text and the gloss about the four positions<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptable to you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from.<br />
<br />
The first guard is called the ox. Put yourself together like this here: stand with your left foot forwards and hold your sword next to your right side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face.<br />
<br />
Note, Put yourself in ox on the left like this: stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face. This is the ox on both sides.<br />
<br />
This is the second guard<br />
<br />
Note that the second guard is called the plow. Put yourself together like this here: Set up with the left foot forwards and hold your sword with crossed hands with the pommel down by your right side at the hip such that the short edge is above and your point against their face.<br />
<br />
Note. Put yourself in plow on the left side like this: stand with your right foot forwards and hold your sword by your right side with the pommel low at the hip such that the long edge is above and your point is in line with their face. This is the plow on both sides.<br />
<br />
This is the third guard<br />
<br />
Note the third guard is called the fool. Put yourself together like this here: stand with your right foot forwards and hold your sword in front of you with extended arms with the point upon the ground with your short edge turned upwards<br />
<br />
This is the fourth guard<br />
<br />
Note the fourth guard is called roof guard. Put yourself together like this here: stand with your left foot forwards and hold your sword on your right shoulder or with upstretched arms high over your head and stand in guard like this.<br />
<br />
This is the text and the gloss of the four parries<br />
<br />
Four are the parries<br />
Which also severly disrupt the positions<br />
<br />
Gloss: Note you have heard before that there are four guards. You shall also know this about the four parries: they break these same four guards. Furthermore, there is no actual parrying is called for in these, because the four parries are four cuts that break them.<br />
<br />
Note the first cut is the crooked cut which breaks the guard that here is called the ox.<br />
<br />
Note the second cut. This is the crosswise cut which breaks the roof guard<br />
<br />
Note the third cut. This is the cockeyed cut which breaks the guard that here is called the plow<br />
<br />
Note the fourth cut. This is the part cut which breaks the guard that here is called the fool<br />
<br />
And how you should break the four guards with the cuts shall be found written previously in these same cuts.<br />
<br />
This is the text and the gloss about how one shall not parry<br />
<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
<br />
Gloss. Note this is about how one shall not parry like the common fencers do. When they parry, they keep their point up in the air or to one side. This shows that they do not know to seek the four openings in the act of parrying. Therefore, they often become struck. But when you parry, parry with your cut or with your thrust and 'Indes' seek the nearest opening with the point so no master can strike you without their own harm.<br />
<br />
This is the text and the gloss about when someone has parried you and what you should conduct against that.<br />
<br />
If you are parried<br />
And as that is arriving<br />
Heed what I advise:<br />
Break loose, cut quickly with violence.<br />
<br />
Gloss. Note this is about when someone has parried you and will not withdraw themselves from your sword and intends to not allow you to come to any plays. In this case, rise up on their sword's blade with your sword as if you would abscond from their sword, but stay against their sword and cut back in against their blade directly at their head using your long edge.<br />
<br />
This is the text and the gloss about the four lodgings<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss. Note there are four lodgings that are called for in earnest combat. You shall conduct them when you wish to immediately slay or injure your opponent. Drive them like this: When you initiate fencing with the opponent with your sword, move yourself with your sword into the guard of the ox or the guard of the plow. If they will then cleave in from above or initiate a thrust from below, note during the moment when they lift up their sword and will strike or will draw down toward themselves to thrust at you, that you go first and shoot in the long point to their nearest opening before they bring forth their cut or thrust and see if you can lodge against them. Do the same thing when they initiate an rising cut. When this happens, shoot in the point the moment before they go up with their rising cut. Execute this to both sides.<br />
<br />
Then if they become aware of the lodging against, keep your sword against theirs and swiftly work to the nearest opening<br />
<br />
This is the text and the gloss of the pursuing<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution from cuts and thrusts against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Execute pursuing like this<br />
<br />
When you come to the opponent with the initiation of fencing, do it with your left foot forwards in the roof guard and watch quite attentively to what they fence against you. If they cleave in long from above, take heed that they do not reach you with their cut and not during the cut when their sword goes toward the ground, then spring in with your right foot, cleave in at their head from above before they can come up with their sword so that they are stricken.<br />
<br />
The play written hereafter is called enticement to the outside<br />
<br />
Note when the opponent misses their attack and you pursue into the opening with their cut, if they then rise up with their sword and come against your sword from below, remain strong upon it. Then if they firmly lift your sword upwards with theirs, spring behind their right foot with your left and strike them on the right side of their head with the crosswise cut or whatever, immediately working back around to their left side or otherwise with other plays thereafter, as you sense whether they are soft or hard at the sword.<br />
<br />
Here note a good pursuing at the sword from rising cuts<br />
<br />
Note when you fence against your opponent from rising cuts or from the sweeps or lay against them in the guard that is here called the fool. Then if they fall upon your sword with theirs before you can come upwards with something, stay against their sword like this with yours below and lift upwards. Then if they wind in their point into your face or breast while on your sword, do not let them get away from your sword and adhearing to it and work with your point to their nearest opening. But if they strike around away from your sword then either follow behind or pursue them again with your point like before.<br />
<br />
Note you shall pursue them from all cuts and from all guards as soon as you recognize when they miss their attack or they open themselves with their sword. But take care that you neither open yourself up nor miss your attack with your pursuing. Note this on both sides.<br />
<br />
Precisely note here the text and the gloss about feeling and about the word that is here called Indes.<br />
<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel and cannot perceive the term 'Indes' in it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall quite fully study the two things for all situations so that you correctly comprehend it.<br />
<br />
Here note the lesson about feeling and about the word that is called Indes<br />
<br />
Note when you come to the opponent with the initiation of fencing and one binds the other on the sword, in this, immediately feel as the swords clash together whether they have bound on soft or hard and as soon as you have sensed this, then reflect on the Indes. This means that you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Here you shall note<br />
<br />
That feeling and the word Indes are one thing, for one cannot be without the other. Look at it like this: When you bind against their sword, you must immediately feel whether they are soft or hard at the sword using the word Indes. And when you have felt that, then you must work 'Indes' according to the soft and according to the hard. Like this, they are nothing but one thing. And the word Indes, this is for all plays from beginning to end. Look at it like this:<br />
<br />
Indes doubles, Indes mutates,<br />
Indes disengages, Indes rushes through,<br />
Indes takes the slice, Indes wrestles with,<br />
Indes takes the sword, Indes does what your heart desires.<br />
Indes, this is a sharp word.<br />
<br />
With it, all masters of the sword that neither know nor understand it will be carved up. This is the key of the art.<br />
<br />
Here again note the text and the gloss about pursuing<br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge and slice firmly.<br />
<br />
Here note the text and the gloss about the overruning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Gloss. Note that this is about when you come to the opponent with the initiation of fencing, if they then cut from below to the lower openings, do not parry that, rather cleave in strong at their head from above. Or if they initiate a cut with rising cuts, then before they come up with their rising cut, shoot in the point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Here note that this is the text and the gloss of how one shall displace thrust and cut<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, then advance your left foot and setup against them in the guard of plow from your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side, your short edge against their sword engaging their thrust and displace it with that and step in with your right foot with that and stab them Indes in their face or in their breast.<br />
<br />
Another play<br />
<br />
Note when you setup in plow from your right side, if they then cleave in from above at your head on your left side, rise up with your sword, and with that wind to your left side against their cut such that your hilt is in front of your head and also step in with it with your right foot and stab them in their face or their breast. Execute this play to both sides from the plow.<br />
<br />
This is the text with the gloss about how one shall disengage<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct it against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
Execute the disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in strongly from above. Then if they cut back at you but to your sword and not to your body, then during your cut, let your point rush through below their sword before they bind onto your sword and stab them in the breast on the other side. Then if they become aware of the thrust, and immediately chase that thrust with an act of parrying, then disengage again. Always do this when they move behind your sword with a parry.<br />
<br />
Or<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword.<br />
<br />
Precisely note,<br />
<br />
How you should disengage in such a way that the opponent does not lodge against you while you disengage. Look at it like this: When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<br />
<br />
Here note the text and the gloss about the withdrawing suddenly at the sword<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Gloss. Note withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword and remain still in the bind of the sword and await to see whether one will cut off in front of them or withdraw from the sword so that they might then pursue into the opening. To make a fool of or mislead these masters, conduct the withdrawing suddenly against them like this: Cut in strongly from above at their head from your right side. Then if they drive forwards strongly with their sword during your cut and will either parry or cut into your sword, then suddenly withdraw your sword towards yourself before they bind you and stab them on the other side. Do this against all engagements and binds of the sword.<br />
<br />
Note another withdrawing suddenly<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and withdraw suddenly your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Here note the text and the gloss about the runing through and about the wrestling with the sword<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Note rushing through and wrestling are double in the sword. For rushing through is both body wrestlings and then thereafter, the arm wrestlings and they are appropriate to conduct against the fencers that like to rush in.<br />
<br />
Execute the first rushing through like this<br />
<br />
Note when the opponent rushes in on you and rises up high with their arms and wishes to overwhelm you with strength from above, rise up with your arms as well and hold your sword over your head with your left hand by the pommel and let your blade hang down behind over your back and pass your head down through their arms toward their right side and spring with your right foot behind their right and with that spring, drive ahead of them toward their left side with your right arm well around their body and fasten them like this to your right hip and throw them backwards on their head in front of yourself.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. These two wrestlings go to both sides.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shove their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hip and throw them behind you. Execute these two wrestlings on both sides.<br />
<br />
Now note the arm wrestlings with the sword here:<br />
<br />
Note when the opponent rushes in on you at the sword and holds their hands low, invert your left hand and between both of their hands seize their right with it and with that drag them to your left side and using your right, strike them with your sword across their head.<br />
<br />
Or<br />
<br />
If you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Another arm wrestling<br />
<br />
Note when the opponent rushes in at the sword and is low with their hands, let your left hand go from the sword and with your right crosswise out over their right hand and press down with that and seize them by their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Another arm wrestling<br />
<br />
Note when one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and lift them upwards with this. Like this, you can either break their arm or throw them over your left leg in front of you, whichever you wish.<br />
<br />
Here note a sword disarm<br />
<br />
Note when the opponent rushes in on you at the sword, invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Another sword disarm<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and drag them up to your right side with it, so that you keep both swords.<br />
<br />
Here note the text and the gloss about cutting off<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
Gloss. Note this is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from rising cuts or from sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneath with your sword against their sword's blade, away from their sword and immedately cut back in against their sword from above on the other side at their mouth<br />
<br />
Yet another<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
Here note the text and the gloss about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Gloss. Note the four slices. Firstly, know that the upper two are appropriate to conduct against the fencers that like to strike around from the bind of the sword or from an act of parrying to the other side with the crosswise cut or what have you.<br />
<br />
Break that like this<br />
<br />
When they bind against your sword on your left side and immediately strike back around from that with their left foot on your right side, fall across both their arms from above with your long edge and press them away from you with a slice. You shall always conduct this to either side when they strike around from an act of parrying or cuts away from the sword.<br />
<br />
Note<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and drop into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and drop into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
Here note the text and the gloss about the transfromation of the slice<br />
<br />
Turn your slice<br />
To flatten, press the hands<br />
<br />
Gloss. Note that this is how you should conduct the upper two slices from the lower two. Look at it like this: When the opponent rushes in on you with upstretched arms on your left side, invert your sword and drop into their arms with your long edge below their pommel and press firmly upwards and with that step to their right side and wind your pommel down through underneath and do not comr away from their arms with your sword. And turn your sword into the upper slice from the lower slice with your long edge across their arms.<br />
<br />
Or<br />
<br />
If the opponent rushes in on you on your right side with upstretched arms, then turn your sword into their arms and under their pommel and press firmly upwards and with that step to their left side, also let your pommel cross through below and turn your sword up over their arms with your long edge and press them away from you with that.<br />
<br />
Here note the text and the gloss of the two lower hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, this is the plow on both sides and when you fence or wish to fence from those, you shall also have the feeling of whether they are soft or hard therein, in cuts and in thrusts and in all binds of the sword.<br />
<br />
You shall also conduct four winds from those and from each winding appropriately conduct one cut, one thrust or one slice and in other situations conduct all other applications as you would from the two upper hangings.<br />
<br />
Here note the text and the gloss about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should place yourself with your sword into the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. Whoever fences from it correctly can constrain the opponent with it, such that they must allow themselves to be struck without their consent and cannot come back to neither strikes nor thrusts before your point.<br />
<br />
Arrange yourself in the speaking window like this:<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such so that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge against their sword and stand freely and watch their situation and for whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their opening. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in their sword.<br />
<br />
This is another stance<br />
<br />
And is also called the speaking window. Note when you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can conduct all plays from the long point like this.<br />
<br />
Here note the text and the gloss of the explanation of the four hangings and the eight windings of the sword to which the Zettel adhears to.<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangings are four and Zettel for the ox above from both sides which are the two upper hangings and the plow below from both sides which are the two lower hangings. From the four hangings you shall deliver eight winds, four from the ox and four from the plow. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is, a cut, a thrust or a slice.<br />
<br />
Precisely note hereafter how you shall conduct the four winds from the two upper hangings, that is, from the ox both from the right side and from the left side.<br />
<br />
Execute the first two winds just from the right side like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword in front of your head on your right side in the ox. If they subsequently cleave in from above from their right side, wind your short edge against their cut, your short edge against their sword, again in ox and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries your thrust with strength and force your sword off to the side, then remain on their sword and wind back to your right side up into ox and thrust in at their face from above. These are the two winds of the sword from the upper hanging of the right side.<br />
<br />
Here note that there are two winds from the ox on the left side. Execute them like this:<br />
<br />
When you come to the opponent with the initiation of fencing, setup in ox from your left side. If they subsequently cleave in from above from their left side, wind your long edge against their sword to your right side opposing their cut and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries the thrust and press your sword to the side, then remain on their sword and wind the long edge onto their sword back to your left side and thrust in at their face from above. These are the four winds from the two upper hangings both from the left and from the right sides.<br />
<br />
Now you shall know<br />
<br />
That the plow from both sides, they are the two lower hangings. When you either move yourself into them or wish to fence from them, you shall conduct four winds both from the left and from the right sides, with all of their applications as you would from the upper hangings. In this way the windings become eight. And note every time you wind, in each one of the windings, you decide on the cut or on the thrust or on the slice. In this way, the twenty four plays come from the eight winds. And how you shall conduct the twenty four plays from the eight windings, you shall find all of this written in the glosses before.<br />
<br />
Quite precisely note here<br />
<br />
That you cannot correctly conduct the eight windings unless they are done with stepping from both sides and also that you must quite precisely gauge ahead of time nothing more than the two applications. They are: First, when they bind against your sword, whether they are soft or hard in their application. Second, wind and work to the four openings as is written before. Also know that all fencers that wind on the sword and do not know the feeling in the sword, they become struck. Therefore educate yourself so that you fully understand feeling and the word Indes, because all the art of fencing comes from these two things.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/3227a_Longsword&diff=134975User:Christian Trosclair/Translations/3227a Longsword2022-07-10T15:59:03Z<p>Christian Trosclair: </p>
<hr />
<div>Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.<br />
<br />
And before any incidents and confrontations, you shall note and know that there is but one art of the sword and it may have been invented and conceived many hundred years ago. And this is the foundation and core of all of the arts of fencing.<br />
<br />
And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.<br />
<br />
Not that he invented and conceived it himself, as was written before, rather he had traveled through many lands and through that sought the legitimate and truthful art for the sake that he would experience and learn it.<br />
<br />
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.<br />
<br />
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 invented and conceived some new art and understand the art of fencing better and more greatly, day by day.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 someone. With these, you dither and delay yourself so that you lose that chance.<br />
<br />
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 reach it and posses it, swiftly and quickly and preferably with one strike. Because with four or six, you choose to dither and as a result the opponent approaches effortlessly.<br />
<br />
This is because the Vorschlag is one great advantage of this fencing as you will hear hereafter in this text<br />
<br />
Therein Liechtenauer names 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, that even still fundamentally derives from his art.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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,<br />
<br />
because the sword is just like a scale.<br />
<br />
For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.<br />
<br />
Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them<br />
<br />
just as if you shall stand upright upon a scale, stepping backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.<br />
<br />
And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.<br />
<br />
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.<br />
<br />
Also the situation often necessitates two short steps for one long.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And then as soon as <ref>The silver "soon" was added later above the line</ref> you arrive at the opponent and have their measure so that you think you will posses and reach 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.<br />
<br />
One shall also always prefer to target the upper openings rather than the lower and one comes in over the hilt with cuts or with thrusts, boldly and quickly. Because you reach the opponent much better and further over the hilt than under it. And one is also much surer of all fencing like this and the upper attack one is much better than the lower one. But if it happens that you are nearer to the lower, then you must target that, as this often occurs.<br />
<br />
Also know that one shall always come up on the right side of the opponent in their applications. Because you can better control the opponent in all confrontations of fencing or wrestling than directly in front of them.<br />
<br />
And whoever both knows and delivers this play well, they are not a bad fencer.<br />
<br />
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.<br />
<br />
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.<br />
<br />
In all fencing<br />
Requisite is: The help of God of righteousness,<br />
A straight and healthy body,<br />
A soundly manufactured sword, especially,<br />
The Before, The After, Weak, Strong<br />
Indes, the word with which to distinguish by.<br />
Cuts, thrusts, slices, pressing,<br />
Position, defending, shoves, feeling, disengaging,<br />
Winding and hanging,<br />
Checks, sweeps, springs, grabbing, wrangling,<br />
Speed, audacity,<br />
Prudence, astuteness and ingenuity<br />
Acumen, premeditation, ability<br />
Measure, obscuration,<br />
Practice and good spirit,<br />
Mobility, flexibility, good steps.<br />
In these seven couplets<ref>lit: verses</ref><br />
The fundamental principles<br />
And concerns<br />
And the entire matter<br />
Of all of the art of fencing are labelled for you.<br />
You shall consider these correctly<br />
As you will in fact<br />
And in detail hereafter<br />
Hear and read<br />
Of each according to their ways.<br />
Fencer, take heed of this<br />
So they will completely introduce to you both the art<br />
Of the entire sword<br />
And good robust manly applications.<br />
<br />
Motion, that beautiful word,<br />
Is the heart and crown of fencing<br />
The entire matter<br />
Of fencing with all the concerns<br />
And the sound components<br />
Of the fundamentals. These movements<br />
Are labelled by name<br />
And will be introduced to you better hereafter.<br />
However you then fence,<br />
You are to be subsequently well versed with it<br />
And are to stay in motion<br />
And do not pause the moment you<br />
Begin to fence<br />
Then you execute with authority<br />
Continuously and decisively<br />
Boldly one after the other<br />
In one fluid motion<br />
Without pause, without gaps<br />
So that the opponent cannot come<br />
To strikes. Of this you take advantage<br />
And the opponent harm.<br />
Because they cannot come away<br />
From you unstruck.<br />
Just do this according to this advice<br />
And according to this teaching<br />
That is written now<br />
For I say to you truthfully,<br />
The opponent does not defend themselves without danger.<br />
If you understand this<br />
They cannot come to blows with anything.<br />
<br />
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.<br />
<br />
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<ref>latin</ref><br />
<br />
This is the general preface of the unarmored fencing on foot. Mark this well.<br />
<br />
Young knight learn<br />
to love God. Ever honor women,<br />
Thus cultivate your honor.<br />
Practice knightcraft and learn<br />
art that decorates you<br />
and in wars serves you well.<br />
Wrestling's good grips,<br />
Lance, spear, sword and messer,<br />
manfully brandish<br />
and in other hands ruin.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Thereupon you hold,<br />
all things have time and place.<br />
And whatever you wish to conduct,<br />
you shall stay in the realm of good reason.<br />
In earnest or in play,<br />
have a joyous spirit with moderation<br />
so that you may pay attention<br />
and consider with a good spirit<br />
whatever you shall command<br />
and whip up against the opponent.<br />
Because a good spirit with authority<br />
makes someone's rebuke timid.<br />
Thereafter, orient yourself.<br />
Give no advantage with anything.<br />
Avoid imprudence.<br />
Do not step in front of four or six<br />
with your overconfidence.<br />
Be modest, that is good for you.<br />
It is a brave man<br />
that dares to confront their equal.<br />
It is not shameful<br />
to flee four or six at hand.<br />
If one cannot flee,<br />
then do something cunning, that is my advice.<br />
<br />
This is a general lesson of the sword:<br />
<br />
If you wish to show skill,<br />
Move yourself left and right with cutting.<br />
And left with right<br />
Is what you strongly desire to fence.<br />
Whoever chases after cuts,<br />
They permit themselves to enjoy the art in small amounts.<br />
Cut from close whatever you wish,<br />
No changer comes on your shield.<br />
Do not cut to the sword.<br />
Rather, keep watch of the openings.<br />
To the head, to the body,<br />
Do not omit the stingers.<br />
With the entire body<br />
Fence whatever you desire to conduct strongly.<br />
Listen here to what is bad:<br />
Do not fence from above left if you are right.<br />
And if you are left,<br />
You are severely hindered on the right.<br />
So always prefer<br />
To fence from above left downwards.<br />
The Before, The After the two things<br />
are the one origin of all art.<br />
Weak and strong,<br />
Indes, mark this word with them.<br />
So you can learn<br />
To defend yourself with art and work.<br />
If you terrify easily,<br />
Never learn any fencing.<br />
Audacity and swiftness,<br />
Prudence, astuteness and ingenuity,<br />
Acumen, concealment,<br />
Measure, obscuration, scouting and skill<br />
Fencing will have<br />
And carry a joyous spirit.<br />
<br />
General gloss hereafter.<ref>latin</ref><br />
<br />
First of all, note and know that the point of the sword is the center, the middle and the core of the sword from which all applications leave and come back into it.<br />
<br />
Thus the hangings and the windings are the tilts and the turns of the center and of the core. From them, quite a few good plays of fencing also come.<br />
<br />
And they were invented and conceived so that a fencer, who in this regard initiates a cut or thrust directly into the point, of course may not hit every single time; yet they can hit someone with those same cutting, thrusting or slicing plays; by stepping out and in; and by lateral stepping or springing.<br />
<br />
And if you mislaid or over extended the point of your sword by shooting or by stepping all out, 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.<br />
<br />
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.<br />
<br />
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 it's 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
By the word "The Before", he means that every good fencer shall posess 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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
But If the opponent wards off your Vorschlag, be it 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because one who shall defend themselves and fixate on the oncoming strikes, they are always in greater danger than those that strike at them because they must always either ward off those strikes or must allow themselves to be hit, so that they themselves can burdensomely come to blows.<br />
<br />
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they cannot come to blows if you otherwise perform according to the five words. This sermon completely gets at this and all fencing" This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<br />
<br />
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.<br />
<br />
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 into to their first.<br />
<br />
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.<br />
<br />
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. It is also fully possible for you to arrive at the situation whereby you ward the opponent's Vorschlag such that you must ward it off with your sword and and in this way the opponent must surely come against your sword.<br />
<br />
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against the sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.<br />
<br />
If the opponent withdraws themselves, just as you both come together upon the sword and the points extend to the openings against each other, then with their withdrawing, before the opponent 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 directly forward, wherever you can connect most surest and closest, in this way the opponent cannot come away from your sword unharmed with anything.<br />
<br />
This is because, with your following, you were, to be sure, closer at hand to the opponent with it as you sent your point forwards, targeting them against their sword according to what is closest and shortest, when the opponent delivers a new cut or thrust wide around with their withdrawal.<br />
<br />
In this way, to be sure, you always come earlier into your Nachschlag's or The Nachstich's than the opponent to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After"<br />
<br />
The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly of 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,<br />
<br />
because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<br />
<br />
But if the opponent stays with it against the sword, as they have come against your sword, such that you have remained with the opponent against their sword and they have not yet executed the Nachschlag, then you shall wind and stay with them in this way against the opponent's sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 against their sword, move in strongly with your point 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.<br />
<br />
And with that thrust that you 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.<br />
<br />
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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard"<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently? 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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". 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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is the text, wherein he names the five cuts and other plays of fencing.<br />
<br />
Learn five cuts<br />
from the right hand against the weapon<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursue and Overrun, disrupt attacks<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
This is about the Wrath cut, etc.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern.<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this<br />
Cuts, thrusts, position, soft or hard<br />
Indes and The Before, The After<br />
Without rush, your war is not hasty.<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
In all winds<br />
Cut, stab, slice learn to find<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
Do not cut to the sword,<br />
Rather, keep watch for the openings<br />
Of the head, of the body<br />
If you wish to remain without harm<br />
You hit or miss<br />
Considering as follows so that you target the openings<br />
In every lesson,<br />
Turn the point toward the openings.<br />
Whoever cuts around widely,<br />
They will often be shamed severely.<br />
In the most direct way possible,<br />
Deliver sudden cuts, stabs wisely<ref>`wisely` inferred from the summary</ref>.<br />
And one shall also always step<br />
To their right side<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
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."<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
And the afore mentioned 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.<br />
<br />
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<br />
<br />
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.<br />
<br />
One can also take 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.<br />
<br />
Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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 center of all other plays here as was written about well before.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And if it comes to be 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, rotating and positioning yourself against it, as you will hear of better hereafter.<br />
<br />
And the point, as soon as you come against the sword of the opponent, it 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.<br />
<br />
This is about the four openings, etc, etc.<br />
<br />
Know the four openings<br />
Target so that you strike wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is about the crooked cut, etc.<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, cut short<br />
With that, look for the disengage<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
For they do not truthfully know<br />
Where they are without danger<br />
<br />
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.<br />
<br />
What Liechtenauer means by this is that if you will conduct this cut well, you shall step well out sideways<ref>to the side, apart, sidways</ref> to the right side, then deliver your attack<br />
<br />
and you shall crooked cut fully and swiftly<br />
<br />
and you shall throw or shoot your point over the opponent's hilt onto their hands<br />
<br />
and you shall cut to the opponent's flat. Then if you hit their flat, remain strong upon it and press firmly<br />
<br />
and you shall cut with your flat. Then if you hit their sword, remain strong upon it and press firmly<br />
<br />
and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices<br />
<br />
and you shall not cut too short with anything<br />
<br />
and you shall not forget about disengaging, when it merits it<br />
<br />
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.<br />
<br />
This is about the crosswise cut, etc.<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof.<br />
Cross with the strong<br />
Remember your work with it.<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
The failer misleads<br />
It wounds according to desire from below<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step to the left and do not be lazy<br />
<br />
Because all fencing<br />
Will by all rights have speed<br />
Also in it: audacity,<br />
Prudence, astuteness and ingenuity<br />
<br />
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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<br />
<br />
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.<br />
<br />
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<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
And you shall then crosswise cut to both sides to ox and to plow. That is, into the high openings and into the low ones respectively 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.<br />
<br />
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.<br />
<br />
This is about the cockeyed cut, etc.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
And take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands.<br />
Cock an eye against the right<br />
If it is that you desire to fence well.<br />
The cockeyed cut I prize,<br />
if it does not arrive too lazily.<br />
<br />
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 named and it genuinely goes in askance or oblique, stepped off to one side to the right with a twisted sword and hand flipped over.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging<br />
<br />
and you shall cut cockeyed with the point to the throat, boldly without fear<br />
<br />
And wherever you see swords<br />
Yanked from their sheaths by the both of you<br />
Right then you shall become strong<br />
And precisely pay attention to their steps all at once.<br />
The Before, The After, the two things<br />
Gauge and pounce by precept<br />
Follow up all hits<br />
If you wish to make a fool of the strong.<br />
If they defend, then suddenly withdraw.<br />
Thrust. If they defend, press into them.<br />
The windings and the hangings,<br />
Learn to artfully carry out.<br />
And gauge the opponent's applications<br />
To see if they are soft or hard.<br />
If they fence with strength,<br />
Then you are artfully equipped.<br />
And if they attack wide or long,<br />
Shooting defeats them<br />
With your deadly rigor<ref>In all other extant versions this is "point"</ref><br />
If they defend themselves, hit without fear.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Do not attack the sword,<br />
Rather keep watch for the openings<br />
You hit or miss<br />
Then keep it in your mind that you target the openings<br />
With both hands<br />
Learn to bring your point to the eyes.<br />
Always fence with sense<br />
And win the Vorschlag every time.<br />
The opponent hits or misses,<br />
Immediately take target with the Nachschlag's<br />
On both sides,<br />
Step to the right of the opponent<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
This is about the hair-cut, etc.<br />
<br />
The part cut<br />
Is dangerous to the face<br />
With its turn<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
The scalp-cut I prize<br />
If it arrives not too lazily.<br />
<br />
This is about the four positions, etc.<br />
<br />
Four positions alone<br />
Defend from those and eschew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptible to you<br />
<br />
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The second guard, ox is the high hanging from the shoulder.<br />
<br />
The Fool truly breaks<br />
Whatever the opponent cuts or thrusts<br />
Sweep using hanging<br />
Immediately place the pursuit<br />
<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<br />
<br />
The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the four parries<br />
<br />
Four are the parries<br />
Which also severely disrupt the positions<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
If you are parried,<br />
And as it happens<br />
Heed what I advise:<br />
Strike off, cut swiftly with violence<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish.<br />
Whoever parries well,<br />
This fencer disrupts many cuts.<br />
Because in the hangings<br />
You swiftly come with the parries.<br />
<br />
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.<br />
<br />
And however you, be it from above or below, carry off or dismiss the opponent's cut, thrust or slice with your sword can fully be termed parrying.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one explosive movement.<br />
<br />
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,<br />
<br />
for however lightly you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<br />
<br />
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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<br />
<br />
This is about the pursuing, etc, etc<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two enticements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's application<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
Pursuing twice,<br />
Make the old slice with it.<br />
Follow all hits<br />
Then strengthen if you wish to dishonor the masters<br />
In every lesson,<br />
Turn the point against one's face.<br />
With the entire body<br />
Pursue, always keep your point there.<br />
Also learn to swiftly<br />
Pursue, so you can end well.<br />
<br />
This is about the overrunning. Fencer look into this.<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
Whoever presses you down,<br />
Overrun them, slash sharply again.<br />
From both sides<br />
Overrun and remember the slices.<br />
<br />
This is about displacing. Learn this well.<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
In every lesson,<br />
Turn the point against one's face.<br />
<br />
This is about the disengaging, etc, etc.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
If you have changed through,<br />
Do not slash, thrust nor wind lazily.<br />
Do not cut into the sword<br />
Disengage, with that watch.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and when you feel that you connected, fully follow through.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<br />
<br />
And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<br />
<br />
This is about withdrawing suddenly. Fencer note.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
If they work, wind, that does them harm.<br />
Suddenly withdraw all engagements of the masters<br />
If you wish to dishonor them<br />
Suddenly withdraw off of the sword<br />
And always be mindful of your path.<br />
<br />
This is about rushing through. Look closely.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
Rush through and shove.<br />
Invert if they reach for the pommel.<br />
<br />
This is about cutting off, etc, etc<br />
<br />
Cut off the hard ones<br />
From below in both paths.<br />
Four are the slices<br />
With two from below, two from above.<br />
Crosswise cut whoever would slice.<br />
It easily evades the harm.<br />
Do not slice in fright,<br />
Always be wary of pursuing.<br />
You can slice well<br />
Any cross, just omit the pursuit.<br />
If you wish to remain without harm,<br />
Then do not be too eager with the slicing.<br />
<br />
This is about the hand pressing, etc, etc.<br />
<br />
Turn your edge<br />
Into the flats. Press the hands.<br />
Another is turning<br />
One's winding. The third, hanging.<br />
If you wish to make the fencers<br />
Weary, then press with collision<br />
Over the hands,<br />
If one cuts, slice swiftly.<br />
Also draw your slices<br />
Up out over the head.<br />
Whoever presses the hands<br />
Without harm, suddenly retracts the forefinger.<br />
<br />
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<br />
<br />
for however lightly you hesitate and delay yourself, you take harm.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<br />
<br />
The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<br />
<br />
This is about the hanging. Fencer learn this, etc.<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
That is, if you remain<br />
Against the sword, also conduct with it<br />
Cuts, thrusts or slices.<br />
With that, note the feeling<br />
Without any preference.<br />
You shall also not flee from the sword<br />
Because master applications<br />
Are against the sword by rights.<br />
Whoever binds against you<br />
The war wrestles with them sharply.<br />
The noble winds<br />
Can also surely find them<br />
With cuts, with thrusts,<br />
With slices you tenaciously find them.<br />
In all winds<br />
You shall find cuts, stabs, slices.<br />
The noble hanging<br />
Cannot exist without the winds.<br />
Because from the hangings<br />
You shall bring the winds.<br />
<br />
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.<br />
<br />
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword<br />
<br />
and you shall wind<br />
<br />
and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always examine and note whether they are soft or hard against your sword.<br />
<br />
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<br />
<br />
and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
For with this skill or with this advantage, it often happens that a peasant or someone unlearned slays a good master by it because they do conduct the Vorschlag and boldly storm in.<br />
<br />
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.<br />
<br />
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.<br />
<br />
From both sides<br />
Learn eight winds with stepping.<br />
And always unite them.<br />
Combine the winds with three plays<br />
So are they twenty<br />
And four. Simply count them.<br />
Fencer, mind this<br />
And consider the winds correctly<br />
And learn to command them well<br />
So you can attack the four openings<br />
Because each opening<br />
Objectively has six wounders.<br />
<br />
Gloss. Here note and know that the winds are the rightful art and cornerstone 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".<br />
<br />
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.<br />
<br />
And that is completely against the winds and against Liechtenauer's art because there is no strength. Why would anyone's art differ? You should always prioritize strength.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Nicola%C3%BCs&diff=134974User:Christian Trosclair/Translations/Nicolaüs2022-07-10T15:48:37Z<p>Christian Trosclair: </p>
<hr />
<div>Descending cut<br />
Wrathcut<br />
Wrathpoint<br />
The Warcut<br />
The Four openings<br />
Crooked cut<br />
crosswise cut<br />
Ox and plow<br />
Cockeyed cut<br />
part cut<br />
The Four positions<br />
The Four parries<br />
The Pursuing<br />
Overrunning<br />
Displacing<br />
Cutting off<br />
Two Hangers<br />
The Speaking window<br />
The Crown<br />
<br />
The plays of the sword by Johannes Liechtenauer.<br />
<br />
The seven master cuts<br />
<br />
The Wrathcut<br />
The Crooked cut<br />
The Half cut<br />
The Crosswise cut<br />
The Crosswise switch cut<br />
The part cut<br />
The Crown cut<br />
<br />
This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long Zettel of the the longsword of Liechtenauer's art.<br />
<br />
Here it begins, the Zettel of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way...<br />
<br />
Young knight learn<br />
To have love for god, honor women and maidens<br />
So that you expand your praise and honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and storm in,<br />
Keep rolling, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly and understand it like this. When you stand with the left foot forwards and cut from your right side, if you then do not support the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also support<ref>Vienna: cleave closely behind</ref>the cut with your left foot, then the cut is again erronious<ref>Vienna: completely wrong</ref>. Therefore, see to it that when you cut from the right side that you always support the cut with the right foot. Do the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts will be hewn correctly.<br />
<br />
This is the text of another lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This is: When you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is for naught and they become struck for this reason. Therefore, strike and seek the openings.<br />
<br />
Text. Another lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Understand that like this. When you arrive at the opponent with the initiation of fencing, then whatever you wish to fence, do that with the entire strength of your body and with that cleave in, to either their head or to their body from close proximity and remain with your point in front of their face, so they cannot disengage ((with before)) the point. Then if they parry with strength and allow their point to go up in the air or to one side and remains low with their hands, then give them a flesh wound on their arm or rise up high with your sword when they parry and strike below to their body with a free cut and with that, immediately step back before they come to their senses. Thus, they are struck.<br />
<br />
Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or breast, so that they cannot disengage in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately spring back from that.<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.<br />
<br />
Text<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.<br />
<br />
Note what is called the after.<br />
<br />
This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.<br />
<br />
Now you should also know about the weak and the strong of the sword.<br />
<br />
Get the sense of it like this. From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref><br />
<br />
Now hear the text of the five cuts<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.<br />
<br />
This is the text about the components of the Zettel<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, Overrunning, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, thrust to clash with<br />
<br />
These are the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named and is seventeen side by side.<br />
<br />
This first are the five cryptic cuts as they are designated each in particular<br />
<br />
Item The first the wrathcut<br />
crooked cut<br />
crosswise cut<br />
cockeyed cut<br />
part cut<br />
<br />
Item note the plays<br />
<br />
Of these: The four guards<br />
The four parries<br />
The pursuing<br />
The overruning<br />
The displacing<br />
The disengaging<br />
The suddenly withdrawing<br />
The rushing through<br />
The cutting off<br />
The hand pressing<br />
The hangings<br />
The windings<br />
<br />
And what you should fence from the components and how you should give yourself openings with the hangings and the windings, those will be clarified. <ref> Augsburg II: You will find those one after the other hereafter</ref><br />
<br />
The wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsber II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or breast. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.<br />
<br />
The second play of the wrathcut text<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Note this is how you shall work with your point form the wrathcut and understand it like this. When you cleave in wrathfully with the opponent. Then if they weather this with strength and you do not wish to abscond above, be strong back against their sword, and rise up with your arms and wind against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and keep your hilt in front of your face and lodge against your point upon them below.<br />
<br />
One more play from the wrathcut text<br />
<br />
Precisely note this.<br />
Cut, thrust, position, soft or hard<br />
Indes and before and after<br />
Without collision your war is not to be hasty<br />
<br />
This is a lesson when they bind onto your sword with a cut or with a thrust or however else. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note whether it is soft or hard when one sword clashes against another. And as soon as you sense this, then wind Indes and work continually to the nearest opening with the war, according to the soft and according to the hard. And this is called the before and the after which you have learned of before.<br />
<br />
The text of the war<br />
<br />
Whoever hunts the war<br />
Above, will be exposed below.<br />
<br />
Note the windings and the work from them with the point to the four openings is called the war. Conduct it like this: When you cleave in with the wrathcut, as soon as then they parry, rise up with your arms and twist in your point into the upper opening of their left side high against their sword. Then if they parry<ref>Augsburg II: displace. (Matches the Lew)</ref> the thrust from above, then remain standing like this during the winding and let your point sink down back to their left side. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword further with an act of parrying, then rise up with your sword to your right side. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
This is the text<br />
<br />
In all windings<br />
Cut, thrust, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, thrust or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you should be quite polished with all windings on the sword, because each one of the windings has three particular plays, that is, a cut, a thrust and a slice; and when you wind on the sword, you shall quite precisely gauge and note so that you do not conduct the incorrect play that is called for in the winding. Expressly that you do not cut when you should thrust and not slice when you should cut and not and also not thrust when you should slice. And furthermore you should always wind the correct plays that are by rights appropriate to conduct in all engagements and windings on of the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well and delivers windings with it..."<br />
<br />
The text of the four openings<br />
<br />
Know the four openings<br />
Hunt so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
You shall know the four openings on a person. The first opening is the right side and the second the left above the girdle of the man. the other two, they are also the right and the left sides below the girdle, if you wish to strike or cut<ref>Augsburg II omits: or cut</ref> it surely. When you come upon the opponent with the initiation of fencing, then select one of those openings at that moment and initiate a cut skillfully to that opening and not to the sword and do not pay attention to whatever they against you. Then if they parry your cut, then immediately work in the act of parrying with the point or otherwise high to the nearest opening. And always watch like this for the openings of the body and of the sword<ref>Augsburg II: not of the sword. (Matches the Lew)</ref> with all cuts and thrusts<ref>Vienna omits: with all cuts and thrusts</ref><br />
<br />
And how you shall hunt the four openings and fence into them will be explained to you hereafter in the play that says there: "Lodge against four regions, remain thereupon to learn winding"<ref>The verse matching this is slightly different further down: "Learn to remain upon them if you wish to finish", but this phrasing does somewhat exist in the version of the zettel without the gloss in the Vienna, p105r. https://wiktenauer.com/wiki/Page:MS_KK5126_105r.jpg</ref>.<br />
<br />
The text of the breaking of the four openings<br />
<br />
If you wish estimate how<br />
To artfully break the four openings<br />
Double above<br />
Mutate right below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is for when the opponent cleaves in earnestly. If you wish to then set yourself up against them to break and win the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of their sword and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Here note how you shall conduct the doubling on both sides.<br />
<br />
When the opponent initiates a cut from above from their right shoulder, cleave in from above with<ref>Vienna omits with</ref> them with<ref>Augsburg II omits with</ref> strength at their head with your right as well. If they parry and stays strong against their sword, then Indes, rise up with your arms and thrust your pommel under your right arm with your left hand and strike them with the long edge from crossed arms from behind their sword's blade with the short edge<ref>Augsburg II omits: with the short edge</ref> to their head.<br />
<br />
Item. If you cleave in from above from your left side with your long edge to their head, if they parry and remain strong in the sword, then immediately rise up with your arms and strike them from behind their sword's blade with the short edge upon their head.<br />
<br />
Note how you shall conduct the mutating from both sides<br />
<br />
Item. When you cleave in strongly from above from your right shoulder to the opponent's head, if they parry and are soft against the sword, then wind your short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with that, drop back down with your arms<ref>Vienna omits: and with that, drop back down with your arms</ref> and thrust into their lower opening.<br />
<br />
When you initiate a cut from your left side to the opponent's head<ref> Vienna: pommel</ref>, then if they parry and is soft against the sword, then rise up with your atms and keep your long edge against their sword and hang your point over their sword from above into their lower opening. You can conduct these two plays in this way from all cuts from the point after which you sense weakness or strength at the sword.<br />
<br />
The crooked cut with the text of it's play<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the descending and the rising cut. Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder spring with the right, well to your right side, and strike them across their hands with the long edge from crossed arms<br />
<br />
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold<ref>Augsburg II omits holding</ref> your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut well to the right side, with your right foot facing them and strike them with crossed hands with the point of the long edge upon their hand.<br />
<br />
Send yourself to your left side with the barrier guard like this: When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then spring to your left side with your left foot well away from the cut and strike them while springing over their hands with the short edge.<br />
<br />
Text<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it clatters above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, position your sword in the barrier guard to the right side or hold it on your right shoulder. Then if they cut at the opening from above, cut across theirs with your long edge from criss-crossed arms, 'Indes', cut to their head or to their body with your short edge.<ref>Vienna: entire stuck missing. Abridged from pPvD</ref><br />
<br />
The text from one of the plays of the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently stay in that guard and hold their sword in front of their head on their left side, then throw your sword at you right shoulder and act as if you want to bind against their sword via the crooked cut and cut short and with that disenge below and shoot your point in long under their sword to the other side, so that they must parry. With this you come to blows and to other work with your sword.<br />
<br />
Text<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you'll always make yourself open with it. Look at it like this, when you cleave in or bind their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from the sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield themselves from your cuts and your thrusts.<br />
<br />
Here begins the crosswise cut with it's plays<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head in guard and threatens to cleave in from above and come before yours,<ref>Augsburg II omits: "threatens to cleave in from above and come before yours" and replaces it with: "and waits upon you" as per the Lew</ref> then advance your left foot and hold your sword with the flat on your right shoulder and spring well to your right side with your right foot and wind your sword in front of your face by the hilt while springing such that your thumb goes underneath and strike them on the left side of their head with your short edge. But if they go forwards with their cut before you do, then spring away from the cut well to your right side with your right foot using the same afore written act of parrying such that you catch their cut in their hilt and then strike in with the crosswise cleave in the afore named place.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
This is: when you strike via the crosswise cut, you should strike with the entire strength of your body, because you constrain the opponent with strength and win their opening with it and understand it like this. When you initiate a strike or cut from the right side via the crosswise cut, if the opponent parries and binds strong against your sword with it, then either execute doubling or from your crosswise cut drive their sword away with your hilt and strike them on the other side of their head. When you initiate a cut via the crosswise cut and the opponent parries and binds soft against the sword, then execute mutating into their lower opening or drive your sword to the other side against their neck and spring behind their left foot with your right an drag them over it with your sword.<br />
<br />
Gloss: This is When you initiate a cut via the crosswise cut, do it with strength. Then if they parry, rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword, work over their sword to either the lower opening or high against their neck by mutating. But if they are too strong mit their act of parrying, then shove their sword away and strike on their other side via the crosswise cut. Or if they will rush in, then take the slice under their arms or await the wrestling.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Here note the cross strikes to the four openings.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and spring well to your right side with your right foot facing them and strike them with your complete power at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body. You must always keep in mind that you shall always spring out to one side with each and every cross strike so that you can fully hit the opponent's head and also take care that you are well covered above all the while by your hilt.<br />
<br />
This is the text of the play that here is called the failer<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Execute the failer like this<br />
<br />
When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them on that side with the crosswise cut and abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the failer as before on the right side<br />
<br />
This is the text of the play which here is called the inverter.<br />
<br />
The inverter compels<br />
Slipping through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Gloss The inverter. This is the half cut. You shall deliver it covertly with the initiation of fencing when you want to overwhelm the opponent so that you rush through him and hold them correctly with wrestling.<br />
<br />
Execute the inverter like this<br />
<br />
When you have gone halfway with the initiation of fencing, carry out the other half of the pass forward to the opponent over and over with the left foot and make a free rising cut to the right side after every advance in accordance with the left foot and with each the cut invert and turn the long edge of the sword upwards and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through them. But if they stay low with their hands during the parry, then seize their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this. Or if you won't shove them over your foot, then pass your left arm back around their body and throw them over your hip.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
The text<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer. Conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword at your right<ref>Vienna: left</ref> shoulder and when it is right for you, spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
You can also just as well execute the failer from descending cuts as you would from the cross strikes.<br />
<br />
Here begins the text of the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Know that the cockeyed cut is a good<ref>Vienna omits</ref>, strange and grim<ref>Augsburg II: notable</ref> play, for it breaks in by cut and by thrust with violence and go in with an inverted sword. This is why many masters of the sword have nothing to say about this cut. And this cut also breaks the guard that is called here, the plow.<br />
<br />
Item. Execute the cockeyed cut like this<br />
<br />
The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and halts the cut of their sword<ref>Augsburg II: aborts during the cut of your sword</ref> and chang through below, then let your point shoot forwards and remain with your point as before so that they can not come through from below.<br />
<br />
Item. Another play<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and will stab you from below, then initiate a cut long from above with the short edge by means of the cockeyed cut and shoot in your point into the breast of the opponent in such a way that they cannot reach you with their thrust.<br />
<br />
The text of yet another play from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
When you come to the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences short against you. You shall recognize it when they initiate a cut, they do not extend their arms far from themselves, thus they are shortened. If you lie in the guard of the fool, then if the opponent will fall upon it with their sword, it is again shortened. If the opponent positions themselves against you in either the guard of the ox or of the plow, then they are again shortened. Also know that all winds before the opponent are short and withdraw the sword and freely disengage out of cuts and thrusts using long point against all that fence against you in this way, with this you constrain them so that they must parry or allow themselves to be struck.<br />
<br />
This is the text of how you shall break long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play versus the long point using a deception of the face. Execute it like this<ref>Vienna: omits this line</ref> When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with the short edge of the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
The text of yet another play of the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When they stand opposing you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands from the cockeyed cut with your point.<br />
<br />
The text of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<ref>Vienna omits</ref><br />
By slicing withdraw it<ref>Vienna omits</ref><br />
<br />
Gloss: The part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they position themselves against you in the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring into them and cut down from above strongly and keep your arms high and sinking your point downward into their face or breast. Then if they parry such that the point and the hilt both stand up on their sword (This is called the crown) and they rise up with it and shove your point upwards, then wind your sword down through their crown with your edge into their arm and press. In this way is the crown broken and drive your slice using pressing and withdraw yourself with it.<br />
<br />
This is the text about the four positions or guards<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note that you should fence from the four positions or the four guards. The first guard is called the ox. Put yourself there like this: stand with your left foot forwards and hold your sword by your right side such that your hilt stays in front of your head and your point stays against the opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that the long edge stays facing you and the point stays against the opponent's face. The ox on both sides.<br />
<br />
The second is called the plow.<br />
<br />
Put yourself there like this: advance your left foot and hold your sword at your hip, down by your right side, with crossed<ref>Munich I: inverted/twisted</ref> hands such that the short edge is up and your point is against the opponent's face.<br />
<br />
Item on the left side.<br />
<br />
The second is called the plow. Put yourself into the plow like this: Advance your left foot and hold your sword at your hip, down by your right side such that your short edge is up and your point is against the opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: Advance your right foot and hold your sword at your hip, down by your left side such that your long edge is up and your point is against the opponent's face. This is the plow to both sides.<br />
<br />
The third is called the fool. Put yourself there like this: Advance your right foot forwards and hold your sword in front of yourself with extended arms, with the tip of<ref>Vienna and Augsburg II omits</ref> your point upon the ground and such that the short edge is turned<ref>Vienna omits</ref> up.<br />
<br />
This is the text about If you are parried, as that is arriving<br />
<br />
The fourth guard is called the roof guard. Put yourself there like this: Advance your left foot and hold your sword on your right shoulder or with your point<ref>Vienna and Augsburg II omits</ref> high over your head with extended arms and stand in the guard like this.<br />
<br />
This is the text about the parries<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Gloss: You have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that they break<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
Item the second is the crosswise cut which breaks the roof guard<br />
<br />
Item the third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool and how you shall break the four guards with the cuts, you shall find that written previously in the cuts. The consequence of this is to guard yourself so that you do not parry much, if you do not wish to otherwise become struck.<br />
<br />
This is the text<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that drive up with your sword and strike quickly at the opponent's head via doubling or with the short edge.<br />
<br />
Item another one<br />
<br />
When the opponent has parried you, wrench up against their sword with your sword up toward their point as if you would abscond above and remain against their sword and cut back in against their sword with your long edge.<br />
<br />
This is the text of the four lodgings against<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss: Lodging is an serious play because out of everything, it goes into the four openings the most narrowly and it is appropriate to execute where you wish to deliver an immediate end with your sword.<br />
<br />
[Vienna]<br />
And lodging is executed like this: When you come to the opponent with the initiation of fencing, then position yourself with your sword in either the guard of the ox or of the plow. Then if the opponent will from their right side either cleave in from above or thrust in from below, note when they lift up their sword to strike or draws towards themselves below to thrust and shoot in ahead into long point into their left side opening before they can deploy their cut or thrust and see if can you lodge against them. Do the same when the opponent initiates a cut from below and this goes to both sides. Then if they become aware of your lodging and parries, then keep your sword against theirs and do not draw away from it and work quite swiftly with your sword to the nearest opening so they cannot come to any play.<br />
<br />
[others]<br />
Item. Execute the lodging like this: When you come to the opponent with the initiation of fencing, position yourself in the guard of the ox or of the plow with your sword. If the opponent will subsequently cleave in from above or initiate a thrust from their right side, then come forwards with a act of parrying, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them. But if they cleave in from their left side, shoot in your point to the opening of their right side.<br />
<br />
Item. When the opponent initiates a cut up from below from their right side, shoot in your point and lodge against them. Also do the same when they cut up from below from their left side. Then if they become aware of the lodge and parry, stay on their sword with yours and swiftly work to the nearest opening so they cannot come to any play.<br />
<br />
[Vienna]<br />
Then if they withdraw themselves from your sword, execute the pursuing which will be explained to you hereafter.<br />
<br />
This is the text about how you shall pursue<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two incitements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Execute the first play of pursuing like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck<br />
<br />
The is the incitement to the outside<ref>Wolfenbüttel: Broken gate to the outside</ref><br />
<br />
When the opponent misfires and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misfires and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them<ref>Vienna omits</ref> below their sword and toward<ref>Augsburg II omits</ref> their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
A good pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you situate yourself against them in the fool's guard, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. Then, if they will wind off you<ref>Augsburg and the others follow the lew: "either cleave in from the act of parrying or wind in against your sword"</ref> , then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either cuts before you<ref>The others follow the lew: "either misfires or ..."</ref> or uncovers themselves in front of you with their cut.<br />
<br />
This is the text about feeling and about the word Indes<br />
<br />
Learn to feel it<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel nor cannot marry the term 'Indes' to it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall fully study the two things for all situations.<br />
<br />
Note feeling like this:<br />
<br />
Note when you come to the opponent with the initiation of fencing, one binding the other on the sword, you shall in this, as the swords clash together, you shall immediately feel in the clashing whether they have bound soft or hard and as soon as you have sensed this, then reflect on the Indes. This is about how you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Item. Note that feeling and the word Indes cannot occur without the other and understand it like this. When you bind against the opponent's sword, you can feel softness or hardness with the word Indes and when you have felt it, you must still work with Indes. In this way they are always with each other, because Indes is in all Plays. Understand that like this: Indes disengages, Indes slips through. Indes takes the slice, Indes wrestles with. Indes takes the sword, Indes does what the heart desires. Indes is a sharp word, with it all masters of the sword that neither know nor understand this word are or will be carved up.<br />
<br />
The text about overrunning[sic]<ref>The others omit this mistake</ref><br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge, and immediately apply the slice to it.<ref>The others: "and take the slice"</ref><br />
<br />
The text about overrunning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
press<ref>Vienna: through, Wolfenbüttel: "press it"</ref> twice, soft or hard.<br />
<br />
Gloss. When you come to the opponent with the initiation of fencing, if they then initiate a cut from below, do not parry that. Rather, note when the rising cut moves towards you and cleave in long from above from your right shoulder and shoot in your point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Item. Note when you have strongly bound the opponent up against their sword, if they strike around you from the act of parrying to your other side, then bind them again strongly up against their sword with your long edge up into their head and work to the opening as before. This goes to both sides.<br />
<br />
How you shall displace cut and thrust<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, advance your left foot and stand facing them in the guard of the plow on your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side with your sword opposing their thrust, your short edge against their sword and displac it with that such that your point always faces your opponent and also stepping in with your right foot and stab them Indes in their face or the opening of their breast.<ref>The others omit "opening of"</ref><br />
<br />
Item. Another play.<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step toward the right foot and stab them in their face or breast. This play is also conducted from the plow from your left side in the same way as from your right.<br />
<br />
The text about disengaging.<br />
<br />
Learn to disengage<br />
From both sides thrusting sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct them against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
And you execute disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in long from above to their head. If they then counter cut against you at your sword and not to your body, then let your point rush through below during your cut, before they can bind on your sword and stab them on the other side. If they become aware of your thrust and immediately chase your thrust with their sword with an attempt to parry, then disengage above<ref>Others: again</ref> to the other side. And always execute this when the opponent moves towards your sword with an attempt to parry. The is executed on both sides.<br />
<br />
Item, another.<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword and not to the openings of the body.<br />
<br />
Item, quite precisely note this play<br />
<br />
When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings of the body, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<ref>Vienna omits: "nor lodge against you"</ref><br />
<br />
This is the text of how you shall suddenly withdraw<br />
<br />
Tread close in binds,<br />
So that suddenly withdrawing gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<ref>Augsburg II introduces scribal error. "Thut im we" became "thut ime be.."</ref><br />
If you wish to make a fool of the masters<br />
<br />
Know that suddenly withdrawing is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either tie off<ref>bind you down</ref><ref>Augsburg omits</ref> or cut off or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct the suddenly withdrawing against them like this: Cut in strongly from above at their head from your right side, if the opponent drives against that and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another suddenly withdrawing.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
This is the text about rushing through and about wrestling<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Slipping through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them backwards on their head in front of you.<br />
<br />
Another wrestling<br />
<br />
Item. When the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shov their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you on their face<br />
<br />
Item. Yet another wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shov their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Conduct these two wrestlings to both sides.<br />
<br />
Here note arm wrestling in the sword<br />
<br />
Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Another.<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then release your left<ref>Vienna: right</ref> hand from your sword forwards and pass over their right hand with your pommel from the outside and press down with it and grab the opponent by their right elbow using your left hand and spring in front of their right foot with your left and pushing them over it.<br />
<br />
Item. Another wrestling.<br />
<br />
When one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove with your right hand<br />
<br />
When the opponent rushes in on you at the sword, their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<ref>Augsburg II: Keeps this with the previous play like in the Lew</ref><br />
<br />
Item. Yet another.<br />
<br />
When the opponent rushes in on you at the sword, invert your right<ref>Augsburg II has left as in the Rome</ref> hand and pass over their left<ref>Augsburg II has right as in the Rome</ref> arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another.<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and press them up to your right side with it, so that you keep both swords.<br />
<br />
Cut off the hard ones<br />
From below with both applications<br />
<br />
This is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from the rising cuts or from the sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneathe with your sword against their sword's blade, away form their sword and immedately cut back in against their sword from above at their mouth<ref>"vnd haw im am swert" is repeated. Scribal error</ref><br />
<br />
Item. Another.<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
The text about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note the four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. It breaks that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above<ref>Augsburg II omits the rest of this passage</ref> with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike or cut around from an act of parrying.<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and collapse into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and collapse into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
The text about the transfromation of the slice<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then move your sword into their arms with your long edge under their pommel, pressing upwards firmly and step to their right side with it, winding your pommel through below as well and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, the turn your sword into their arms with your short edge underneath their hilt, pressing upwards firmly and step to their left side, letting your pommel go through below and turn your sword up over their arms with your long edge.<br />
<br />
The text about the two lower hangings<br />
<br />
Two ways of hanging emerge<br />
From the ground from one hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, these are the plows to each side and when you fence or wish to fence from those, you shall also have the feeling of whether the opponent is soft or hard therein.<br />
<br />
You shall conduct four winds from those and from each winding one cut, one thrust or one slice and outside of that conduct every application like from the two upper hangings, if you wish to otherwise fence correctly.<br />
<br />
The text about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should arrange yourself with your sword in the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and furthermore cannot come to strikes or anything before your point.<br />
<br />
Make the speaking window like this<br />
<br />
When you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can deliver all plays from the long point like this.<br />
<br />
Another of the long point's<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge on their sword and stand freely and watch their situation and whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their breast. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in the sword.<br />
<br />
This is the text of the Instruction of the four hangers and the eight hangings<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And to them make singular,<br />
The winds, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight winds with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangers are four, to which belong two from below and two from above. These are the ox and the plow. From these you shall deliver eight winds. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is: a cut, a thrust or a slice.<br />
<br />
Note here how you shall execute four winds from the upper two hangers (that is, from the ox), two from the right and two from the left. Execute them like this: When you come to the opponent with the initiation of fencing, setup in ox from from your right side, then if they cleave in from above to your left side, wind your short edge into their sword against their cut into the ox and thrust in from above into their face. This is one winding. Then, if they parry you thrust, remain at the sword and wind your short edge against their sword back up into the ox on your right side and thrust in from above into their face. There are two windings against the sword from the upper hangers from the right side.<br />
<br />
Item The second upper hangers execute like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. Then if they cleave in from above to your right side, wind your long edge against their cut onto their sword and thrust in from above into their face. This is one winding. If they displace your thrust, then remain against their sword and wind your long edge against their sword back to your left side into the ox and [thrust] in from above into their face in the ox. These are the four windings from the upper two hangers.<br />
<br />
Item. Now you shall know that you shall execute the four winds from the plow from both sides (these are the two lower hangers) with all of their applications just like the upper hangers. In this way the winds become eight and note that whenever you wind, you think about the cut and about the thrust and about the slice in each individual wind. In this way you come to twenty four from the eight winds. And how you shall execute cut, thrust and slice, you will find all of that written in the plays. You should also learn to expertly execute the eight winds with stepping on both sides. And note as soon as you wind, you shall distinctly recognize nothing more than the two applications in each particular winden whether the they are soft or hard against your sword. Thereafter execute the play that subsequently becomes clear to you in the previous statement<br />
<br />
Item. Here ends the text from the Zettel of the long sword of how one shall hold themselves in the sword: every step and measure, and cut and thrust and slam together strike and any opening and when one is soft, then you are strong and when one is strong, then you are soft, thus you find weak and strong with each other well in the guard.<br />
<br />
Item. It is to be known that the "neche"<ref>unclear: could be a small boat, or the area around something. I think this is referencing the wind and counter wind. See Ringeck for additional context</ref>. and the two hangings and the sliding and the hollow parrying, and the golden Art breaks the Art. These five plays, they break the Zettel. Also if someone finds their opponent well, they break them using one or two plays, because one cut breaks the other and one play breaks the other and one thrust breaks the other. Note the gloss.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Lew&diff=134973User:Christian Trosclair/Translations/Lew2022-07-10T15:48:11Z<p>Christian Trosclair: </p>
<hr />
<div>A short commentary of the afore pictured stances in the sword further accompanies<br />
<br />
Young knight learn<br />
To have love for god, honor maidens and women<br />
Then accumulate your lessons<br />
and learn<br />
Art that decorates you<br />
And in war exalts with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and Messer<br />
like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and engage<br />
Let it hang or let it go.<br />
So that one can masterfully praise<br />
Your knowledge<br />
<br />
Here it begins, a good general lesson of the long sword, yet there is much good cryptic art locked<ref>alt: enclosed, defined, deduced</ref> herein.<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right<br />
If you desire to fence strongly.<br />
<br />
The first lesson of the long sword is that before anything you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with the left foot forwards and cut from your right side, this cut is then erronious and incorrect. Because when your right side remains behind it, the cut<ref>"the cut" omitted by the Salzburg</ref> becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with the right foot forwards and cut from the left side, if you do not then also follow the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always follow the cut with the right <ref>"side" inserted by Salzburg</ref> foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and wait around for their attacks until they initiate one at you. Know that all fencers that just watch for someone's cut and then will do nothing other than parry, they allow themselves to enjoy quite little of the art, because by doing so, they become gravely struck.<br />
<br />
Cut from close proximity whatever you wish<br />
No change enters your shield<br />
To the head, to the body<br />
Do not omit the blows<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Look at it like this, when you come to the opponent with the initiation of fencing. Whatever you subsequently wish to fence, drive that with the entire strength of the body and with that, cleave in at the opponent's head from close proximity and at that moment, you simultaneously constrain them so that they must parry and cannot come to any disengaging in front of that because you come too close to them with your point. If they then come strongly against your sword with an act of parrying<ref>Salzburg: "with the strong"</ref>, then give them a wound on their left arm and with that, step back before they come to their senses.<br />
<br />
Hear what is bad therein<br />
Do not fence on the left if you are a righty<br />
And if you are a lefty<br />
You also quite awkward in fencing<ref>Salzburg/Rostock: on the right</ref><br />
<br />
This is a good lesson that touches upon a lefty and a righty and know this, however you shall cut, do it such that someone cannot overcome <ref>alt: crumple, crush, win by force, conquer</ref> the weakness in your sword in the initial cut and look at it like this, when you come to the opponent with the initiation of fencing, if you are a righty and wish to fence strongly, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they bind you. But<ref>Augsburg: "or"</ref> if you cut from the right side, then you may hold very strongly in opposition and work whatever you wish at the sword.<br />
<br />
In the same way if you are a lefty, then again do not cut the first cut from the right side. For it is quite undependable art for a righty to drive from the left side and it is also the same for a lefty from the right side.<br />
<br />
Before and After, the two things<br />
Are the singular origin of all art.<br />
Weakness and strength<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
If you frighten easily<br />
Don't ever learn to fence.<ref>Salzburg: "the art or to fence"</ref><br />
<br />
This means that before anything you shall see and understand the two things correctly. This means the before and the after and weakness and strength and the word Indes, because the entire art of fencing comes from those. When you correctly see and understand the [two] things and do not forget the word Indes in all plays therein that you conduct, then you are indeed a good master of the sword and can teach princes and lords well so that they can keep to the proper art of the sword in play and in earnest.<br />
<br />
Item. When you come first with your cut or whatever such that they must parry you, then work swiftly Indes with your sword in front of you or otherwise with other plays and do not let them come any further with any work.<br />
<br />
Item. When the opponent comes first with their cut, such that you must then parry them, then Indes work swiftly with your sword or whatever during the act of parrying so that you deprive them of the before with the after, this is called before and after.<br />
<br />
Item. Now before anything, you shall know about the weakness and strength of the sword. Look at it like this: From the hilt to the midpoint, that is the strong, from the midpoint to the point is the weak and how you should work according to the weak and with the strong at the sword, you shall find all of that written hereafter.<br />
<br />
Learn five cuts<br />
From the right hand, against the weapon<br />
Because we believe<br />
To pay off in skills easily<br />
<br />
Note there are five cryptic cuts. Whoever can break them with the proper art without harm, they will be praised by<ref>Salzburg, Rostock: "before"</ref> other masters and is appropriate that their skills shall become better valued than the others. And how you shall execute<ref>lit: cut</ref> these cuts with three plays, you will find all of these written hereafter.<br />
<br />
Wrathcut Crooked<ref>Salzburg: "Crooked cut"</ref> and Crosswise<ref>Salzburg: "Crosswise cut"</ref>,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing, overrunning, displaces<br />
Disengage, Suddenly withdraw,<br />
Rush through, cut off, press the hands<br />
Tilt<ref>lit: "hang"</ref> and Turn<ref>lit: "wind"</ref> to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note the correct chief components of the art of the long sword will be named for you here as they designate each with its name so that you can see and understand all the better.<br />
<br />
First note the five cuts<br />
<br />
The first is called the wrathcut<br />
The second, the crooked cut<br />
The third, the crosswise cut<br />
The fourth, the cockeyed cut<br />
The fifth, the part cut<br />
<br />
Item: Now note the plays after this.<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overrunning<br />
The fifth, the displacing<br />
The sixth, the disengaging<br />
the seventh, the sudden withdrawal<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth, the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings.<br />
<br />
In this way, the cuts and the plays seventeen.<ref>Mair: twelve</ref> You will find them and what you should fence from them written identically one after the other hereafter.<br />
<br />
Here it begins, the skills of the longsword. First, the wrathcut.<br />
<br />
Wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Item:<ref>omitted from Salzburg and Rostock</ref> Know that the wrathcut breaks any descending cut with the point and is yet nothing more than a simple peasant strike.<ref>Salzburg: "cut"</ref> Execute it like this. When the opponent cuts at your head from above from their right side<ref>Salzburg omits "side"</ref>, then cut from your right side from above with them as well, wrathfully, directly and without any act of parrying, up atop their sword and let your point shoot in directly forwards into their face or breast. Then if they become aware of the point and parry with strength, then rise upwards with your sword, against their sword's blade, to the top, up off away from their sword and cut at their head. This is called absconding above.<br />
<br />
Another<br />
<br />
Item: When you wish to make the wrathcut, you can strike with the right hand and with the left hand fully up in from behind. Thereafter you bring down your point below with an inverted hand and go through.<br />
<br />
Item: You can also abscond and rise up with your sword no further than just to their point. Indes, strike back in at their head.<br />
<br />
Item: A break against the absconding<br />
<br />
When they abscond above and cut at the right side of your head, wind your sword inward a little with your short edge on theirs, and Indes, strike at their head with the long edge.<br />
<br />
Item: Another break<br />
<br />
Indes, if they abscond, then step to the side away from their strike and work with their cut to their nearest opening.<br />
<br />
Another<br />
<br />
Item: When you have struck from the wrathcut with your inverted hand and the opponent rises up and parries you, then pass through just so to their right side with your inverted hand against their belly and wrap your right elbow and your sword over theirs and hold firm, so that you have locked them. Or drag your right side to your left and wrench back strongly so that you take their sword from them and your point goes into their face.<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
This means<ref>Mair: "This is a lesson"</ref> when you cleave in wrathfully with the opponent, if they withstand this with strength and you do not wish to abscond above, be strong in turn, and rise up to your right side with your arms, and turn the short edge against their sword and thrust in from above at their face. If they become aware of the thrust and rise up and parry, stay like this in the winding and lodge against your point against them below.<br />
<br />
Item: If you have wound to your right side like this and the opponent has parried your thrust, then wind a little back to your left, and lodge against your point right down into their breast as well. Then if they parry your point, suddenly withdraw your sword back toward yourself and strike again at their head. Then if they parry that, abscond above or undertake other work from there.<br />
<br />
Another<br />
<br />
Item: When you have absconded above and the opponent has parried in this fashion for the second time and sticks<ref>Assuming this is a misspelling or variant of "stecken"; otherwise, the phrase is "stabs with you" which is nonsensical in context.</ref> with you, then rise sufficiently up with your arms and wind your short edge into the weak of their blade and stab them in their face or wind to your right side against their blade into their weak and again stab them in their face (You can also make both windings from each other) and thrust with your point.<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
And guard that your war is not hasty<br />
<br />
This is a lesson when the opponent binds against your sword with a cut or with a thrust. You should not let yourself be too hasty with the war, that is with the windings. You then precisely note forward whether it is soft or hard when one<ref>corrected from 'sein', see Danzig</ref> sword clashes against another or is in the bind. And as soon as you sense this, then wind Indes and work with the war, according to the soft and according to the hard, to the nearest opening. And this is called the before and the after, which you have learned of before.<br />
<br />
For the one whose war takes aim from above<br />
They will be shamed from below.<br />
<br />
Know that the windings and the work from them with the point to the four openings, that is called the war. Conduct it like this: When you cleave in with the wrathcut, then as soon as they parry, rise up with your arms and wind your point in from above into the upper opening of their left side against their sword. Then if they displace the thrust, then remain standing with the winding like this and let your point sink back down <ref>Mair: to their left side</ref>. If they then chase your sword with an act of parrying, then seek the lower opening of their right side with your point. If they then chase your sword with another act of parrying, then rise up to your right side with your sword. In this way they will be exposed above and below, if you conduct it correctly.<br />
<br />
In all winds<br />
Learn to find cut, stab, slice<br />
Also with that you shall gauge<br />
Cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Know that you must be quite polished with all winds on the sword, because each one of the windings has three distinct plays, that is, one cut, one thrust and one slice; and whenever you wind on the sword, you must gauge and recognize quite accurately so that you do not conduct the incorrect play that is called for in the winding so that you do not cut when you should thrust and not slice when you should cut and also not thrust when you should slice. And you shall conduct that in such a way that when the opponent parries the one, you hit with the other. Furthermore, you should always find the correct plays that are by rights appropriate to conduct in all engagement of and windings against the sword if you otherwise wish to dishonor and confound the masters that set themselves against you. And the number of windings on the sword and how you shall conduct them, you shall find them in the last chapter of the Zettel which says, "Who hangs well..."<br />
<br />
Item: When you wish to make a cut and a thrust and a slice, do it like this. Hew the wrathcut in boldly from your right side. Indes, wind your point in, to their left side and thrust at the left side of their face. Indes, step to their right with your left foot and slice them across both their arms with your long edge.<br />
<br />
Know the four openings<br />
Take aim so that you strike quite wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
This is when you come<ref>"come" is omitted in the Salzburg</ref> to the opponent with the initiation of fencing. If you subsequently wish to fence surely, then you should not expressly cut at their sword. Rather, you should target the four openings. [The first opening] this is the right side, the second, the left above the belt of the opponent. The other two openings, these are the left and right sides below the belt.<ref>"of the opponent… of the belt" omitted from the Salzburg. This omission is probably a scribal error, jumping to the second instance of der gürttell.</ref> Select one of these openings and boldly initiate a cut there and do not worry about what they fence against you. If they then parry, immediately work to the nearest opening in that act of parrying. In this way, focus on the body and not the sword.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This means whenever the opponent cleaves in earnestly, if you wish to then set yourself up against them to break the openings with artfulness so that they must allow themselves to be hit without their permission, then conduct the doubling against the strong of the sword<ref>Salzburg omits "of the sword"</ref> and the mutating against the weak. For I say to you truthfully that they cannot protect themselves from strikes and therefore cannot come to blows.<br />
<br />
Item. Execute the doubling like this: When the opponent initiates a cut from above from their right shoulder; cleave in strongly from above as well in the same way from your right shoulder to their head. Then if they parry that cut with strength, then immediately rise up with your arms and shove your pommel under your right arm with your left hand and strike them upon their head from crossed arms with the long edge from behind their sword's blade.<br />
<br />
Item. Or if you have bound their sword with your long edge from your left side, then immediately rise up with your arms and remain like this against their sword, and strike them upon their head from behind their sword's blade with your short edge.<br />
<br />
Item. Execute the mutating on the right side like this: When you cleave in strongly from above from your right shoulder, if the opponent parries and is soft at the sword, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above, and with that move up on the arms<ref>Augsburg: "move on the arms"</ref> and thrust into their other opening.<br />
<br />
Item. The mutating from the right side. When you have bound with your long edge from your right side, then immediately rise up with your arms and remain on the sword like this, then wind the short edge against their sword to your left side and rise sufficiently up with your arms and hang your point over their sword from above and with than move sufficiently with the arms and thrust down into their lower opening of their right side.<br />
<br />
Item. Or if you cut against the opponent's sword with your long edge from the left side, then rise up with your arms and keep the same edge on the sword [and thrust]<ref>see below</ref> into the lower opening. In this way you can execute the two plays from all cuts after you have sensed the weakness and strength in the sword, etc.<br />
<br />
Item. The mutating on the left side: Or if you have bound against the opponent's sword with your long edge, then rise up with your arms and keep the same edge against their sword and again wind the short edge over their sword, and rise sufficiently up with your arms and hang your point over their sword from above and thrust into the lower opening of their left side. In this way, you can also conduct these two plays from all cuts after you have sensed the weakness and strength in the sword.<br />
<br />
The crooked cut with it's plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever parries well<br />
Disrupts many cuts with stepping.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards because with them one wars the ox and also the boar and the rising cut.<ref>In the Rome (Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Execute it like this. When you come to the opponent with the initiation of fencing, if they subsequently stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring well to your right side with the right foot, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Know that the crooked cut is one of the four parries against the four guards. This is how you shall cut crooked to the hands. Conduct the play like so. When the opponent initiates a cut from your right side with either a descending cut or a rising cut, spring away from the cut,well to their left side, with your right foot facing the opponent and strike them from extended arms with the point atop their hands. Turn. With that, one wars the oxen and also the boar and the rising cut/<ref>In the Rome(Danzig branch), it is "... Die do haist der öchss vnd auch der öber vnd den vnder haw" => "That is here called the ox and also the descending and the rising cut". In the Vienna(Nicholas branch) it is: "... da mit pricht man den ochsenn vnd auch den ober oder denn vnder[e]nn haw" => "with this one breaks the ox and also the descending or the rising cut". The likelihood is that "eber" is a scribal error. That being said, "eber" is also a guard in Lecküchner's treatise and cannot be ruled out.</ref> Execute it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left left side, then advance your left foot and hold your sword in guard on your right shoulder and from guard, spring with the right foot, well to your right side, and strike them from crossed arms with the long edge across their hands.<br />
<br />
Item. You also also conduct the crooked cut from the barrier guard from both sides. Send yourself into the guard like this. When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword upon the ground with the point next to your right side such that the long edge of the sword is turned and present yourself open like this with your left side. If they then cleave in high into your opening, then spring away from the cut<ref>Mair omits "the cut"</ref> well to the right side, with your right foot facing them and shove the pommel of your sword under your right arm and strike them from the long edge with crossed hands with your point upon their hands<br />
<br />
Item. In this way, send yourself to your left side using the barrier guard. When you come to the opponent with the initiation of fencing, advance your right foot and hold your sword upon the ground with the point by your left side with crossed hands such that the short edge of the sword is up and present yourself open with your right side. Then if they strike at the opening, then step to your left side with your left foot well away from the cut and strike them over their hands during the step with the short edge.<ref>"with the short edge" omitted in the Salzburg</ref><br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Note you shall conduct this play against the masters from the bind of the sword.<ref>Salzburg: "that cut from the bind of the sword"</ref> And remember this as well: When you come to the opponent with the initiation of fencing, bring your sword into the barrier guard on your right side or hold it atop your right shoulder. Then if they cut at the opening from above, then cut strongly with crossed arms against their cut with the long edge. And as soon as the swords spark together, then 'Indes' wind toward your left side with your sword and rise up with your arms and stab them in the face. Or if you don't want to thrust, then note as soon as it sparks, then 'Indes' cut to their head or to their body with the short edge.<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
This is a break against the guard of the ox. Execute it like this: when you go to the opponent with the initiation of fencing<ref> Salzburg: "come to the copponent"</ref>, if they subsequently stay in guard and hold their sword in front of their head on their left side, then throw your sword to your right shoulder<ref>"the head, then throw your sword on" omitted from Mair. This is probably a scribal error, jumping from dem to dein.</ref> and act as if you want to bind against their sword with the crooked cut and cut short and with that disengage below and shoot your point in long into the opening on their other side so that they must parry. With this you come to blows and to other work with the sword.<br />
<br />
You can also make this play when they initiate a descending cut from their right shoulder.<br />
<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
Such that they do not truthfully know<br />
Where they are without danger.<br />
<br />
Note whenever you conduct the crooked cut, you must always present yourself open with it. Look at it like this, whenever you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side in the meantime. If they are also crafty and will cut from the sword to your opening and make you stray with agility, then keep your sword against theirs and follow their cut on their sword and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions they should shield<ref>Rostock and Salzburg add: "or guard"</ref> themselves from your cuts and your thrusts.<br />
<br />
The cross seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is cut down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, if they then stand facing you and hold their sword upwards with outstretched arms, high over their head, in guard and watches you, then note when you come close to them, advance your left foot and hold your sword with the flat on your right shoulder. If they then lift a foot in your direction and threaten to strike you, then you come before and spring well to your right side with your right foot and in the spring turn your sword in front of your head by the hilt in such a way that your thumb comes under and strike them on the left side of their head with your short edge.<br />
<br />
Item. When they come first with the descending cut, then step to their left side with your right foot, and strike into the strong of their blade with the crosswise cut such that their strike is parried. Indes, shove your pommel up sideways to your right side with your left hand such that you strike them at their left ear. Or, you can double that while you have crossed them at their strong. Or, if they are so strong that you cannot come to this, then shove their sword away with your hilt and strike around to your right side and seek the other opening.<br />
<br />
Item. But if they come forth with the cut earlier than you, then spring away from the cut with your right foot sufficiently to your right side with the afore written act of parrying and strike them with the crosswise cleave in the afore named place.<br />
<br />
Item. A break against the upper and lower cross strike<br />
<br />
When you have bound against their sword with a descending cut and strike around the crosswise cut high or low, then keeping the hilt in front of your head, twist your sword forwards either way and stab them in the nearest opening with the point. This enters from both sides.<br />
<br />
Item. When one bindsyou with a free descending cut and cuts the lower crosswise cut to your right side, then stay standing like this and lay the short edge against their neck.<br />
<br />
Cross with the strong<br />
Note your work with it.<br />
<br />
Note This is so that when you cut with the crosswise cut, you shall do it with strength. If they parry, then rise up to the weak of their sword with the strong of your sword. If you then seize the weak of their sword with your strong, work over their sword to either the lower opening or high against their neck by mutating. But if you cannot come to that, then work behind their sword with a strike to the head using doubling.<br />
<br />
Item. But if they are so strong with their act of parrying, that you cannot get to that play, then shove their sword away with your hilt and strike them on the other side with the crosswise cut. Or, if they will rush in on you, then take the slice under their arms.<br />
<br />
Item. If the opponent takes you by your neck on your right side, then let your sword go with your right hand and shove their sword away from your neck with your right and step across to their right side with your left foot in front of both their feet and drive over both their arms, up by their hilt with your left arm and driving them forwards in a dance or stab them down between the legs in the groin.<br />
<br />
Item. When you wish to take initiative with a crosswise cut to their left side, don't hit, and swiftly strike to their right side. If they then strike at your right, then Indes, slice into their hands at the joint of their right hand.<br />
<br />
Cross to the plow<br />
Yoke hard to the ox<br />
Whoever crosses themselves well<br />
Endangers the head with springing<br />
<br />
Note you have heard before that the ox and the plow are two guards or two positions, but here they designate the four openings. The ox: these are the two openings on the left and right side of the head. Similarly, the plow is also the left and right side of the lower half of someone's waist. You shall put all four openings to the test in one sortie with the cross strikes.<br />
<br />
Item. Here note the crosswise cuts to the four openings<br />
<br />
Item. When you come to the opponent with the initiation of fencing, if they then stand opposite you in the roof guard, spring facing them well to your right side with your right foot and strike them through total art at the ox opening of their left side with a crosswise cut from above. If they then parry your strike, immediately strike down to the plow opening on their right side, further driving the cross strike swiftly over and over, one to the ox opening and the other to the plow, from one side to the other crosswise, to the head and to the body.<br />
<br />
Item. you should also remember that you shall always spring out to one side with each and every cross strike so that you can really hit the opponent in the head with it and be mindful that you will be well covered with your hilt up in front of your head.<br />
<br />
Whoever misleads with the failer<br />
Wounds from below according to desire<br />
<br />
Note the failer is a play with which the fencers that like to parry and that strike at the sword and not to the openings of the body become confused and wounded according to desire.<br />
<br />
Another<br />
<br />
Item. Execute the failer like this: When you come to the opponent with the initiation of fencing, then make a rising cut from both sides. If you subsequently come against the opponent with the rising cut from your right side, then shoot your point long into their breast with it, so that they must parry. Then immediately spring to their right side with your left foot and act as if you will strike them with the crosswise cut, abort the cut and strike immediately back around to the left side. Or if you come against them with your rising cut from the left side, then shoot in the point long and high and conduct the remainder of the application like it was just written above.<br />
<br />
The inverter constrains<br />
Slipping through and also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance<br />
<br />
Note that you shall deliver the inverter covertly<ref>mair: extended</ref> in the initiation of fencing. For with it, you constrain the opponent such that you can rush through and properly seize them with wrestling.<br />
<br />
Item. Execute the inverter like this: When you, with the initiation of fencing, have moved half way into it<ref>Mair: When you arrive at the opponent with the initiation of fencing and have moved half way into it</ref>, move the other half forward toward the opponent over and over with the left foot in front and make a free rising cut from the right side after each advance in accordance with the left foot and with the cut invert and turn the long edge of the sword and as soon as you bind against their sword with that, Indes, hang your point in from above and stab them in the face. If they parry your thrust and rise up high with their arms, then rush through. But if they stay low with their hands during the act of parrying, then seize their right elbow with your left hand and hold firmly and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Item. And how you shall rush through, you shall find that written hereafter in the part which says: "Rush through, let the pommel hang if you wish to grapple"<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
Note this is called the double failer and conduct it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder and when you see that they are high, then spring well out to your right side with your left foot counter to them and act as if you will make a free crosswise cut to the left side of their head, abort the cut and spring all the way around to their right side with your left foot and strike them in the head with the cross strike. If they then parry and you hit their sword, then step on past close to them, on the same side and slice from behind their sword's edge into their mouth by doubling with the short edge or fall across their arms with your sword and slice. Execute this to both sides. You can also conduct the same way from a descending cut as you can from the cross strikes, if that is what you wish to do.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Know that the cockeyed cut is a good, strange and grim play, for it breaks in by cut and by thrust with violence and goes in with an inverted sword. This is why many masters of the sword have nothing to say about this cut and the guard that is called here, the plow as well.<br />
<br />
Item. The cockeyed cut is conducted like this: When you come to the opponent with the initiation of fencing, then advance your left foot and hold your sword on your right shoulder. If they then cut at your head from above, then twist your sword and spring forward with your right foot and cut long from outstetched arms with your short edge against their cut up over their sword, into their face or breast. If they are then crafty in this way and aborts during the cut of your sword and disengages below, then remain with your point in front of their face from long arms so that they can neither harm you, nor come through below.<br />
<br />
Item. Another play.<br />
<br />
When you stand opposite the opponent and hold your sword on your right shoulder. If they then stand opposite you in the guard of the plow and threaten to stab you from below, then cleave in long from above with the short edge by means of the cockeyed cut and shoot your point into the face or breast of the opponent in such a way that they cannot reach you with their thrust from below.<br />
<br />
Item. Another.<br />
<br />
When you stand opposite the opponent and have your sword on your right shoulder, if they then stand in retaliation opposite you in the guard of the plow and threaten to stab you from below, twist the cut with the short edge in long from above in such a way that they cannot reach you with their thrust from below.<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
This is a lesson. When you start to move in with the initiation of fencing, you shall cock an eye or look to see whether your opponent fences with you short. And understand the shortening of the sword like this: When the opponent does not extend their arms long from themselves during the cut, they are shortened. If you bring yourself into the fool's guard and they will fall upon that with their sword, they are again shortened. If they fence against you from either ox or plow, that is also shortened and all windings in front of the opponent, these are all short and you shall disengage such fencers. With that, you constrain them so that they must parry, so that you can then strike and work freely with the sword and with wrestling as well.<br />
<br />
Item. Another lesson.<br />
<br />
When you move toward the opponent with the initiation of fencing, you shall cock an eye to see whether the opponent fences shortly against you. You shall recognize it like this: When the opponent initiates a cut at you, if they then do not extend their arms long from themselves during the cut, their sword is shortened. And all fencers that fence too shortly, freely disengage them, from either cuts or from thrusts using long point. With this you zero in on them against your sword such that they must allow you to come into a bind and allow themselves to be struck.<br />
<br />
Cock an eye at the point<br />
Take the neck without fear<br />
<br />
Note this is a play against long point using a deception of the face. Execute it like this: When you come to the opponent with the initiation of fencing, if they then stand and hold their point against your face or breast, hold your sword on your right shoulder and focus your eyes upon their point and act as if you wish to cut there and cut strongly against their sword with your short edge via the cockeyed cut and shoot the point long at their face with a step forwards of your right foot.<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Item. When the opponent stands against you in long point, then if you wish to strike them atop their hands, focus your eyes on their face or at their head and act as if you wish to strike them there and strike them on their hands with your point via the cockeyed cut.<br />
<br />
You can also do this when they make a free descending cut in at you from above. Focus on their head as if you will strike there and cut against their cut with the short edge and strike down against their sword's blade onto their hands with your point.<br />
<br />
Double the failer<br />
If they make contact, make the slice with it<br />
Double further<br />
Stride in left and be not lax<br />
<br />
This is how you should drive the failer to both sides and look at it like this. When you come to the opponent with the initiation of fencing, advance your left foot and hold your sword on your right shoulder and when you see that they are suitable to you, then spring towards them, well out to your right side with your right foot and act as if you will cut them with a descending cut on the left side of their head. If they then speed forward with an act of parrying, then suddenly yank the cut back up and immediately spring around to the left side of the opponent with your left foot and in your spring, act as if you will strike them on the right side and suddenly withdraw and spring back around to their left side with your right foot and with that, strike in freely on the same side<br />
<br />
The parter with it's plays<br />
<br />
The part cut<br />
With it's turn<br />
The face<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Know that the part cut breaks the fool's guard and is quite threatening to the face and breast with it's turn.<br />
<br />
Item. Execute the part cut like this: When you come to the opponent with the initiation of fencing, if they then bring themselves into the fool's guard, advance your left foot and hold your sword high above your head with outstretched arms in the roof guard and spring at them with your right foot and cut down from above strongly and keep your arms high and drop your point down into their face or breast. Then if they parry with the crown such that the point and the hilt both stand up against their sword; and they rise up with it and push your point upwards, then rotate your sword under their kron, into their arms using the slice and press. In this way, the crown is broken again. And during the pressing, take the slice and withdraw yourself with it and step close to them if they parry again.<br />
<br />
Item. When you wish to execute the part cut to the opponent, you can let your point go through alongside, down below their hands and extended out long into the right side of their face.<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not dispised by you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from. The first guard is called the ox.<br />
<br />
Item. Put yourself into the ox like this: stand with the left foot forwards and hold your sword on your right side with your hilt in front of your head, such that your short edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. Put yourself into the ox on the left side like this: Stand with your right foot forwards and hold your sword on your left side with your hilt in front of your head such that your long edge faces you and maintain your point against your opponent's face.<br />
<br />
Item. The second guard is called the plow. For this, put yourself together like this: advance your left foot and hold your sword with crossed hands down on your right side with your pommel near your right hip such that your short edge is up and your point lifts up forwards against your opponent's face.<br />
<br />
Item. Put yourself into the plow on the left side like this: advance your right foot and hold your sword down at your left hip by your left side such that your long edge is turned up and your point lifts up against your opponent's face.<br />
<br />
Item. The third is called the fool and put yourself together like this: advance your left foot and hold your sword in front of you with extended arms with your point upon the ground and such that the short edge is up.<br />
<br />
Item. The fourth guard is called roof guard and put yourself together like this: advance your left foot and hold your sword high above your head with outstretched arms and turn your long edge forwards and let your point hang a little to the back and stand in guard like this.<br />
<br />
Four are the parries<br />
That severly disrupt the positions<br />
Guard yourself from parrying<br />
If it happens by necessity, it hurts you<br />
<br />
Note you have heard previously about the four guards, you shall now know that there are four parries with which you shall break the four guards. Know that no actual parries are called for in this, because it is the four cuts that break the four guards.<br />
<br />
The first is the crooked cut which breaks the guard of the ox<br />
<br />
The second is the crosswise cut which breaks the roof guard<br />
<br />
The third, this is the cockeyed cut, which breaks the guard of the plow<br />
<br />
The fourth, this is the part cut, which breaks the guard here called the fool.<br />
<br />
And how you shall drive the correct play of the four cuts against the guards, you will find written previously in the cuts. To this end, guard yourself from parrying against the guards if you wish to otherwise not be harmed by strikes.<br />
<br />
If you are parried,<br />
Note as it happens.<br />
Heed what I advise:<br />
Break loose quickly, cut with violence.<br />
<br />
Note, this is for when the opponent has parried you and will not draw themselves away from your sword and fully intends to not let you come to any play. In this case act as if you will withdraw yourself, away from their sword and suddenly withdraw your sword to you, just to the midpart of your blade and together with that rise up with your sword and strike quickly with the short edge or at the opponent's head via doubling.<br />
<br />
Item. One other.<br />
<br />
When the opponent has parried you, race up toward their point with your sword against their sword's blade as if you would abscond above, then remain against the sword and cut straight back to their head against their edge.<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Know that lodging is an earnest play because it moves into the area of the four openings and it is appropriate to conduct when you wish to give an immediate conclusion using the sword.<br />
<br />
Item. Execute lodging like this: When you come to the opponent with the initiation of fencing, bring yourself into the guard of the ox or of the plow with your sword. Then if the opponent will cleave in from above or initiate a thrust from their right side, come forwards with a parrying action, shoot in the long point to the nearest opening of their left side, and see if you can lodge against them.<br />
<br />
Item. Or if they cut from their left side, come forwards with a parrying action and shoot the point straight in at the nearest opening of their right side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their right side, then shoot the point straight in at the nearest opening of their left side.<br />
<br />
Item. Or if the opponent initiates a cut up from below from their left side, then shoot the point straight in at the lower opening of their right side and always take care of the execution of the lodging during this. Then if they become aware of your shooting in and parry, then stay atop that using your sword and swiftly work to the nearest openings.<br />
<br />
Item. You should also know this: As soon as you both come together into the fight and as soon as they lift up their sword and will strike around, just then, you shall fall into point and thrust at the nearest opening. But if they won't conduct anything with the sword, then you should do that with your sword and as soon as or at the moment you complete a strike, at that moment, Indes, you fall into point. If you can conduct the lodging correctly, then the opponent must move or shift hard. It has to allow you a wound.<br />
<br />
Learn to pursue<br />
Twice or slice into the weapon<br />
Two incitements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's'application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Item. The first play of pursuing<br />
<br />
Execute it like this: When you come to the opponent with the initiation of fencing, then advance your left foot and stand in roof guard, quite precisely observing what your opponent fences against you. Then if they cleave in long from above from their right shoulder, do not parry them and see to it that they do not reach you with their cut. Then mark the moment during the cut that their sword goes down towards the ground, then spring into them with your right foot and cleave in from above into the opening of their right side before they come back up with their sword, in this way they are struck.<br />
<br />
Item. Another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if they immediately rise up with their sword and parry, then stay strong against their sword using your long edge. if they then lift up with their sword, then spring well behind their right foot with your left and strike them on the right side of their head with a crosswise cut or whatever and immediately work back around to their left side using duplieren or with whatever other plays dependent on you sensing whether they are soft or hard against the sword and this is the incitement to the outside.<br />
<br />
Item. Yet another play.<br />
<br />
When the opponent misses their attack and you cut behind that, then if you bind against the opponent's sword on their left side and then they immediately strike around from their act of parrying to your right side, then Indes, either advance ahead of them below their sword and toward their left side with a crosswise cut across their neck or spring to their right side with your left foot and according to their cut, either strike or cut behind that to their right side or conduct the slice across their arms into their head.<br />
<br />
Item. Yet another pursuing<br />
<br />
When you fence against the opponent either from rising cuts or from the sweeps or you bring yourself into the fool's guard facing them, then if they fall upon that with their sword before you come up, then stay against their sword like this with yours below and lift upwards. If they will either cleave in from the act of parrying or wind in against your sword, then do not let them come off your sword and pursue them thereon and work to the nearest opening during this.<br />
<br />
Another<br />
<br />
Item. Note, you shall pursue the opponent from all guards and from all cuts as soon as you recognize that the opponent either misses their attack or uncovers themselves in front of you with their sword.<br />
<br />
Learn to feel<br />
Indes, this here cuts sharply<br />
<br />
Know that at the sword, feeling and the term 'Indes' is the greastest art and whoever is or wishes to be a master of the sword yet they cannot feel nor marry the term 'Indes' to it, they are not a master. They are a buffalo of the sword. Therefore you shall quite fully study the term Indes and feeling for all situations so that you correctly comprehend it.<br />
<br />
Item. Note the ability to feel like this: When you come to the opponent with the initiation of fencing and one binds another against their sword, you shall immediately feel whether they have bound soft or hard while the swords clash together and as soon as you sense soft or hard, then reflect on the term Indes. That is, you shall swiftly work and feel together at once with your sword so that they are struck before they come to their senses.<br />
<br />
Item. You shall now know that the ability to feel and the term Indes cannot exist without each other and understand it like this: When you bind against the opponent's sword, then you must feel soft or hard using the term Indes and when you feel, then you must again work Indes. In this way, they always occur with each other, because the term Indes is in all plays.<br />
<br />
Note it like so: Indes doubles, Indes mutates, Indes disengages, Indes slips across, Indes takes the slice, Indes wrestles together, Indes takes the sword, Indes does what the heart desires, Indes is a sharp word. With it, all masters of the sword and those that do not understand nor know of this term Indes will be struck down.<br />
<br />
Pursuing twice,<br />
Make the old slice with it.<br />
<br />
This is so that you shall conduct the pursuing to both sides and deliver the slice therein as well. Look at it like this: When the opponent misses their attack before you, be it from either the right or from the left side, freely cut behind it into the opening. Then if they rise up and bind against your sword from below, then immediately note when one sword clashes against the other and then, 'Indes', fall upon their arm with your long edge and either press downwards with your edge or execute a slice at their mouth.<br />
<br />
Whoever twists upwards<ref>S. "takes aim from below", which matches the standard Recital. R. "whoever winds from below".</ref><br />
Overrun it, they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I will praise.<br />
Make your work<br />
Or press twice.<br />
<br />
This is when the opponent initiates fencing from below and how you shall overrun them. Look at it like this: When you come to the opponent with the initiation of fencing, then if they initiate a cut from below, do not parry them, rather note when their rising cut moves to oppose you, then cut long from above from your right shoulder and shoot in long either into their face or into their breast and lodge against them such that they cannot reach you from below. And if they rise up from below and parry, then remain against their sword with your long edge and work swiftly to the nearest opening.<br />
<br />
Item. Note when you have strongly bound against the opponent's sword, if they from their act of parrying strike around<ref>mair: under</ref> you to your other side, then bind them strongly on their sword again from above towards their head with your long edge and work to the opening as before. Conduct this to both sides.<br />
<br />
Learn to displace<br />
Skillfully disrupting cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you'll step.<br />
<br />
Note when you come to the opponent with the initiation of fencing, if they subsequently set themselves against you as if they will thrust, then advance your left foot and position yourself in the guard of the plow on the right side and offering yourself open on your left. Then if they thrust into your opening, then wind to your left side with your sword against their thrust, your short edge opposing their thrust and with that displace such that your point stays facing them and with that step in with your right foot and Indes stab them either in the face or in the breast.<br />
<br />
Item. Another play<br />
<br />
When you stand in the plow on your right side, if the opponent subsequently cuts into your opening on your left side from above, then drive up with your sword and with that wind your hilt in the ox on your left side in front of your head and against their cut and with that step in with your right foot and stab them in their face or breast. This play is also conducted in this way from the plow on your left side.<br />
<br />
Item. You can also conduct displacing from either rising cuts or descending cuts. When you are positioned high with your sword and will then make a descending cut, during the cut wind into the ox on your right side and displac cut or thrust to your left side back into the ox. Indes, either thrust or double or make whatever you wish. This goes to both sides.<br />
<br />
If you subsequently lay in the switch cut, twist your sword into the plow and displace cut or thrust, "Indes", work swiftly to the nearest opening with every application. This goes to both sides.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds or slices the opponent<br />
<br />
Know that disengaging is many and varied and you can conduct them from any cut against fencers that cut to the sword and not to the openings of the opponent. You shall learn to conduct them quite well with prudence such that the opponent does not lodge against you while you disengage.<br />
<br />
Item. Execute disengaging like this: When you come to the opponent with the initiation of fencing, cleave in long at the opponent's head, if they subsequently cut against your sword and not at your body, then let your point disengage below during the cut before they bind against your sword and stab them on the other side. Then if they become aware of the thrust and immediately chase your thrust with their sword with an act of parrying, then disengage again to the other side. And always conduct this when the opponent chases after your sword with an act of parrying on either side.<br />
<br />
Item. Another disengaging.<br />
<br />
When you come to the opponent with the initiation of fencing, then advance your left foot and hold the long point against your opponent's face. Then if they will cut at your sword from either above or from below and intend to either bat it away or bind against it strongly, then let your point sink down and stab them on the other side and execute this against all cuts.<br />
<br />
Item. Note this play quite precisely.<br />
<br />
When the opponent has parried you or has otherwise bound against your sword, if at the sword, they do not hold their point toward the openings of your body and let it go out next to you, off to your side, then boldly disengage. But if they remain with their point in front of your face or toward your openings, then do not disengage and remain at the sword and work with that to their nearest opening so they cannot pursue you nor lodge against you.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Withdraw suddenly. If they engage, withdraw suddenly again.<br />
It reveals work that does them harm.<br />
Withdraw suddenly from all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Know that withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword by an act of parrying and against those that remain still at the sword and watch whether someone will either miss their attack in front of it or draw themselves off the sword. If you subsequently wish to deceive or make a fool of those masters, then conduct a sudden withdrawal against them like this: Cut in strongly from above at their head from your right side, if the opponent speeds toward it and will parry, then suddenly withdraw your sword toward yourself before they can bind against it, then stab them on the other side and do this in all engagements of the sword.<br />
<br />
Item. Another play.<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and suddenly withdraw your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens against you,<br />
Remember to rush through with it.<br />
<br />
Wrestling in the long sword<br />
<br />
Note rushing through and wrestling are appropriate to conduct against the masters that like to rush in and conduct it like this. When the opponent parries you and with that rises up high with their arms, rushes in and tries to overwhelm you with strength from above, then rise up with your arms as well and hold your sword above your head with your left hand by the pommel and let your blade hang down back across your back and slip beneathe their arms to their right side with your head and spring behind their right foot with your right and during the spring move your right arm against the opponent's left side, well around their body and in this way, fasten them against your right hip and throw them down on their head in front of you.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in with uplifted arms and you do the same, slip your head through to their right side and step forwards in front of their right foot with your right and pass your right arm through below the opponent's right arm, around their body and sink yourself down a little and fasten them to your right hip and throw them behind you. You shall conduct this initiation of wrestling on both sides.<br />
<br />
Item. Another wrestling<br />
<br />
When the opponent rushes in on you to your right and is high with their arms and you are as well, hold your sword in your hand and shove their arms away from you with that and spring forwards in front of their right foot with your left and pass your arm way back around their body and sink yourself down a little and fasten them to your left hip and throw them on their face.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hp and throw them behind you. Execute these two wrestlings on both sides.<br />
<br />
Note whenever the opponent rushes in into your sword and holds their arms down so you cannot rush through, conduct these wrestlings written hereafter.<br />
<br />
Item. Whenever the opponent rushes in into your sword and holds their arms down, invert your left hand and seize their right with it from the inside, between both of their hands and with that drag<ref>S: force</ref> them to your left side and strike them across their head with your sword with your right. But if you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword and is low with their hands, then let your left hand go forwards away from your sword and with your pommel, pass over their right hand from the outside and press down with it and with your left, catch the opponent by their right elbow and with your left foot, spring in front of their right and push them over it.<br />
<br />
Item. Another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Item. Yet another wrestling<br />
<br />
Whenever the opponent rushes in on you at the sword, then let your sword drop and invert your right hand and with it seize their right from the outside and with your left catch the opponent by their right elbow and with your left foot spring in front of their right and and with your right hand shove their right arm over your left and lift it upwards so that they are locked. In this way you can either break their arm or throw them over your left leg.<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
This is a break against the over binding<ref>S., M., R. "over-winding"</ref> of your sword. Execute it like this: When you fence with your opponent from rising cuts or from antagonizing cuts or if you lay against your opponent in the guard here called the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below, and lift firmly upwards with your short edge. If they subsequently push down strongly, then with your sword against their sword's blade, sweep off backwards, away from their sword from below and immedately cut back in against their sword from above into their face.<br />
<br />
Item. Another wrestling.<br />
<br />
When you initiate fencing to your opponent's body with rising cuts<ref>L: "When you fence to your opponent with rising cuts"</ref> or if you lay in fool's guard, if they subsequently fall upon your sword near your hilt with their own such that their point goes out to your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword to your left side, then swiftly rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping or springing.<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Item. Note these four slices. Firstly, the two from above are appropriate to conduct against the fencers that like to strike around to the other side from the act of parrying or from the bind of the sword. Premptively break that with the slice like this: When the opponent binds against your sword on your left side with a parry or otherwise and immediately strikes back around to your right via a crosswise cut, spring to their right side with your left foot, away from their cut and fall across both their arms from above with your long edge and press them away from you via the slice. You shall conduct this from both sides at anytime they strike around from an act of parrying.<br />
<br />
Item. The two slices from below are appropriate to conduct against the fencers that rush in with uplifted arms. Execute them like this: When the opponent bindsagainst your sword, be it with an act of parrying or whatever, if they subsequently rise up high with their arms and rush in, to your left side, then twist your sword around into their arms with your long edge under their hilt so that your thumb comes below and press upwards with the slice.<br />
<br />
Or if the opponent rushes in with uplifted arms to your right side, then twist your sword around into their arms with your short edge under their hilt so that your thumb comes below and press upwards with the slice. These are the four slices.<br />
<br />
Turn your slice<br />
To escape, press your hands<br />
<br />
This is about how you shall shift to the upper slice from the lower. Note it like this: When the opponent runs in with uplifted arms to your left side, then twist your sword around into their arms with your long edge under their hilt and press upwards firmly and with that, step to their right side and with that, turn<ref>a: wind</ref> your pommel through below and do not come away from their arms with your sword and turn your sword from the lower slice into the upper, over their arms with your long edge.<br />
<br />
Item. If the opponent runs in with uplifted arms to your right side, the turn<ref>s: wind</ref> your sword into their arms with your short edge underneath their hilt and press upwards firmly and step to their left side and let your pommel go through below and turn your sword over their arms into the slice with your long edge and press them away from you.<br />
<br />
About the hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Know that the two hangings from the ground, this is the plow from each side. In these, in cuts and thrusts and in the bind of the sword you shall posess the ability to feel whether the opponent is soft or hard.<br />
<br />
You shall also know how to conduct four windings from them. And from each particular one: a cut, a thrust and a slice, like from the upper hangings.<br />
<br />
Item. Note the hangings in this way as well: When you come to the opponent with the initiation of fencing, then position yourself in the plow or the switch cut, it can be on either side. hang your sword's pommel [down] towards the ground and thrust up from that hanging into the opponent's face in from below. If they then shove your point upwards by parrying, then stay like that against the sword and rise up with your pommel and hang your point in at their face from above and in these two, you shall conduct every application with cuts, thrusts and slices.<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Whoever withdraws themselves before you,<br />
Strike them so that it snaps.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Note you have heard before about how you should place yourself into the four guards with your sword in front of your opponent, you shall know that the speaking window is a guard in which you can stand fully secure in and this guard is the long point which is the nobelest and the best defence in the sword. Whoever can fence from it correctly, they constrain their opponent with it in such a way that the opponent must allow themselves to be struck without their consent and therefore cannot easily come to blows.<br />
<br />
Item. Make the speaking window like this: Whenever you move toward your opponent with the initiation of Fencing, with whichever cut you subsequently come against them, be it a rising or descending cut, always let your point shoot in long from your arms with your cut into their face or breast. With this you constrain them so that they must parry or bind. And when they have bound like this, remain strong against their sword with your long edge and stand easy and watch their situation for whatever they will further fence. If they draw themselves back off from your sword, then follow behind them with your point toward their face or breast; or if they strike around leaving the bind to the other side, then slice strongly across their arms and work in from above to their head. But if they will not withdraw from your sword, nor strike around, then work by doubling or else using other plays thereafter as you sense whether they are strong or weak against your sword.<br />
<br />
Item. So you shall know that the speaking windows are two guards from the longpoint. One against the sword and the other in front of the opponent before you either bind against their sword or before the swords clash together and yet they are nothing more than a single guard.<br />
<br />
Item. I say to you truthfully that the longpoint is the noblest<ref>s: best</ref> defence against the sword because with it you constrain the opponent such that they must allow you to strike them and therefore cannot come to blows whatsoever. For this reason you shall drive your point into the breast or into the face of the opponent with all cuts and from there extended further thrusts and strikes.<br />
<br />
Item. This is also called the speaking window. When you have alomst come to the opponent with the initiation of fencing, then advance your left foot and hold your point extended from your arms against the opponent's face or breast the moment before you bind against their sword and stand easy and watch for whatever they will fence against you. If the opponent subsequently cleaves in from above, then move up with your sword and wind into the ox against their cut and stab them in their face. But if they cut at your sword and not at your body, the boldly disengage and stab them on the other side. Or if they rush in and are high with their arms, then conduct the lower slice. but if they are low with their arms then seek the wrestling. In this way you can execute all plays from your arms which seem best to you.<br />
<br />
The distillation of the new Zettel<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders<br />
Who hangs consumately and correctly<br />
And carries out windings with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
This is a lesson and exhortation of the art of the sword so that you shall be extremely well ready and practiced therein so that you shall command them instantly and correctly conduct the breaks against the opponent's plays with agility. In this way, upon each break you shall conduct one of the three wounders that will be explained to you hereafter. You shall also know about the four hangings, which are the two lower and the two upper. The upper, that is the ox; the lower, that is the plow; on both sides and from these four hangings you shall carry out eight windings and you shall correctly judge and consder these eight winds so that you specifically conduct a cut, a thrust and a slice from each winding. These are the afore written four winds.<br />
<br />
Item. Here note how you shall conduct eight winds from the the four hangings. The first overhanging has two winds. Conduct them like this: When come to the opponent with the initiation of fencing, then setup in ox from your right side. Then if they cut at your left side from above, then wind against their cut, your short edge against their sword again in ox and thrust in at their face from above. This is one winding. If they displace your thrust toward their left side, then stay against their sword and wind back to your right side into the ox, your long edge against their sword and thrust in at their face from above. This is one hanging from your right side with two winds against their sword.<br />
<br />
Another<br />
<br />
Item. The second overhanging, again with two winds. Conduct it like this: When you come to the opponent with the initiation of fencing, setup in ox from your left side. If the opponent subsequently cleaves in from above to your right side, then wind against their cut, the long edge against their sword and thrust in at their face from above. This is yet another winding. If the opponent displaces your thrust toward your right side, then stay against their sword and wind back to your left side into the ox, the short edge against their sword and thrust in at their face from above. This is the second overhanging from your left side, again with two winds against their sword.<br />
<br />
Item. Now you shall know that from the two lower hangings, that is the plow from both sides, you shall also conduct four winds with all their applications like from the upper. These are the eight winds. And every time you wind, reflect specifically on the cut and on the thrust and on the slice in each and every winding. In this way we arrive at twenty four from these eight winds. And from whichever one of the winds you shall, conduct the cut or the thrust or the slice against which plays and against which attacks, you will find all of that before, written in the plays.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/Danzig&diff=134972User:Christian Trosclair/Translations/Danzig2022-07-10T15:47:47Z<p>Christian Trosclair: </p>
<hr />
<div>Here the gloss and the explanation of the Zettel of the longsword begins,<br />
<br />
which Johannes Liechtenauer, may God be merciful to him, who was known to be a high master of the art, had versified and produced. And that is the reason this art belongs to princes and lords, knights and squires that they should learn and know this. For this reason, he had allowed it to be written in cryptic and misleading words, so that no one could recognize and comprehend it. And he had this done in light of the half-baked masters of defense, whose art amounts to little, so that his art would not be revealed nor become coarsened by these masters. These same cryptic and misleading words of the Zettel are clarified and laid straight in the glosses hereafter in such a way that anyone that can already otherwise fence can recognize and comprehend them.<br />
<br />
Here, precisely note whatever is written in red in the beginning of the written plays hereafter. This is the text of the cryptic words of the Zettel of the longsword. The subsequent black writing, this is the gloss and the explanation of the cryptic and misleading words of the Zettel.<br />
<br />
This is the forward.<br />
<br />
Young knight learn<br />
To have love for god, honor women<br />
So that you expand your honor.<br />
Practice Knighthood and learn<br />
Art that decorates you<br />
And in war exalts you with honor.<br />
Use the good grips of wrestling,<br />
Lance, spear, sword, and messer<br />
Like a man<br />
And render them useless in other's hands.<br />
Attack suddenly and charge in,<br />
Flow onwards, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Hold yourself to this:<br />
All art has a time and place.<ref>lit: All art has length and measure</ref><br />
<br />
This is a general lesson of the long sword in which much good art is held<br />
<br />
Text<br />
<br />
If you wish to examine the art,<br />
Go left and right with cutting<br />
And left with right,<br />
That is, if you desire to fence strongly.<br />
<br />
Gloss: Note this is the foremost art of the long sword, that above all you should learn to cut correctly. That is, if you wish to otherwise fence strongly. Look at it like this. When you stand with your left foot forwards and cut from your right side, if you then do not accompany the cut with the ingress of your right foot, then this cut is erronious and incorrect. When your right side remains behind it, the cut becomes too short thereby and its correct path down to the other side in front of the left foot cannot happen.<br />
<br />
Or if you stand with your right foot forwards and cut from the left side, if you do not then also accompany the cut with your left foot, then the cut is again erronious. Therefore, see to it that when you cut from the right side that you always accompany the cut with the right foot. Do exactly the same when you cut from the left side so that your body brings itself correctly into balance with it. In this way, the cuts become long and are conducted correctly.<br />
<br />
In the same way for the companion play (crossing from the left side) you shall always render cut and footstep together with each other.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Whoever chases after cuts<br />
Allows themselves to enjoy little of the art.<br />
<br />
Gloss. This means when you come to the opponent with the initiation of fencing, you do not stand still and look upon their cut nor await whatever they fence against you. Know that all fencers that look out and wait upon another's cut and will do nothing other than parry, they allow themselves to enjoy quite little of the art, because it is dismantled and they become struck for this reason.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Cut from close proximity whatever you wish<br />
No changer gets past your shield<br />
To the head, to the body<br />
Do not omit the stingers<br />
With the entire body<br />
Fence whatever you desire to conduct with strength.<br />
<br />
Gloss: Note this means when you come to the opponent with the initiation of fencing, from that point, whatever you wish to fence, drive that with the entire strength of the body and in this fashion toward their head and toward their body from close proximity and remain with the point in front of their face or their breast so that they cannot disengage in front of the point. If they parry with strength and let their point go off away from you to the side, then give them a wound on the arm.<br />
<br />
Or if they rise up high with the arms with an act of parrying, then strike below with a free cut to their body and with that, immediately step back. Thus are they struck before they become aware of it.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Now hear what is bad<br />
Do not fence lefty from above if you are a righty<br />
And if you are a lefty<br />
You also quite awkward on the right<br />
<br />
Gloss: Note this is a lesson that hits upon two people, a righty and a lefty and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Look at it like this. When you come to the opponent with the initiation of fencing, if you are a righty, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cleave in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword.<br />
<br />
In the same way if you are lefty, then also do not cut the first cut from the right side because it is quite undependable art for a lefty to drive from the right side. It is also the same for a righty from the left side.<br />
<br />
This again is the text and the gloss about a lesson<br />
<br />
Before and After, the two things<br />
Are the singular origin of the entire art.<br />
Weak and strong<br />
Indes, note them with this word<br />
So that you may learn<br />
To work and ward with art.<br />
Whoever frightens easily<br />
Never learns to fence.<br />
<br />
Gloss: Note this means that you shall see and understand the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you correctly see and comprehend these things and have not forgotten the word Indes therein, in all plays that you conduct, then you are indeed a good master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in battle and in earnest.<br />
<br />
Here note what is here called the before.<br />
<br />
This means that you should always come before, be it with a cut or with a stab, before the opponent does. And when you preempt them with a cut or what have you so that they must parry you, then Indes work swiftly for yourself in their act of parrying with your sword or whatever, with other plays so that they cannot come to any work.<br />
<br />
Here note what is here called the after.<br />
<br />
The after, these are the breaks against all plays and cuts that one drives upon you and look at it like this. When the opponent preempts you with a cut so that you must parry them, then Indes work swiftly to the nearest opening during your act of parrying using your sword so that you break their before with your after.<br />
<br />
Here note the weak and the strong of the sword.<br />
<br />
The weak and the strong, look at it like this. On the sword, from the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be explained to you hereafter.<br />
<br />
This is the text and the gloss of the five cuts.<br />
<br />
Learn five cuts<br />
From the right hand against the weapon,<br />
We swear upon this<br />
To pay off in skills easily.<br />
<br />
Gloss: Note there are five cryptic cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursuing and Overrunn, places the attack<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
Gloss: Note here the correct chief components of the Zettel of the long sword have been named for you as they are each designated with its name so that you can better recognize and understand them.<br />
<br />
The first, these are the five cuts as they are specifically named<br />
<br />
Item: The first is called the wrathcut<br />
Item: The second, the crooked cut<br />
Item: The third, the crosswise cut<br />
Item: The fourth, the cockeyed cut<br />
Item: The fifth, the part cut<br />
<br />
Now note the components<br />
<br />
The first, these are the four guards<br />
The second, the four parries<br />
The third, the pursuing<br />
The fourth, the overruning<br />
The fifth, the displacing<br />
The sixth, is the disengaging<br />
the seventh, is the withdrawing suddenly<br />
The eighth, the rushing through<br />
The ninth, the cutting off<br />
The tenth is the hand pressing<br />
The eleventh, these are the hangings<br />
The twelfth, these are the windings<br />
<br />
And what you should fence from the components and how you should acquire yourself openings by hanging and the winding, you will find these written hereafter one after the other in the order above.<br />
<br />
Here the text and the gloss begin<br />
<br />
The first is about the wrathcut with it's plays<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
<br />
Gloss: Note the wrathcut interrupts any descending cut with the point and is yet nothing other than a simple peasant strike. Execute it like this: when you come to the opponent with the initiation of fencing, if they subsequently cleave in at your head from high from their right side, then you wrathfully cleave in with them from high from your right side as well, atop their sword without any act of parrying. (marginalia: into the weakness of their sword) If they are then soft against your sword, then shoot the point in at them long, straight ahead and stab them in the face or breast, then lodge against them.<br />
<br />
This is the text and the gloss of another play of the wrathcut<br />
<br />
If they become aware of it<br />
Then abscond above without concern<br />
<br />
Gloss: Note this is when you cleave in with the wrathcut, then shoot the point in long into their face or breast as was written before. Then if they become aware of the point and parry strongly and press your sword to your side, then with your sword against their sword's blade, rise high off upwards, away from their sword and cut back in at the opponent's head again on the other side against their blade. This is called absconding above.<br />
<br />
Break it like this<br />
<br />
When they abscond above, then bind in against their sword from above with the long edge towards their head.<br />
<br />
This is again the text and the gloss of the wrathcut<br />
<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
<br />
Gloss: Note that this is when you cleave in with the wrathcut. If they parry and remain strong against the sword with their act of parrying, then remain strongly in opposition with your sword against their sword and rise up high with your arms and wind against their sword with your hilt forwards, in front of your head and thrust into their face from above. If they become aware of the thrust and rise up with the arms high and parry with their hilt, then remain standing like this with your hilt in front of your head and set your point below onto their neck or onto their breast between both of their arms.<br />
<br />
This is the text and the gloss of a lesson of the wrathcut<br />
<br />
Precisely note this<br />
Cut, stab, position, soft or hard<br />
Indes and before and after<br />
Without rush, your war is not hasty.<br />
<br />
Gloss: Note this is when the opponent has bound against your sword with a cut or with a stab or however else. You should not let yourself be too hasty with the windings, because it is done this way: You precisely note first whether it is soft or hard when one sword clashes onto another. And after you have perceived that, then work Indes with the winding according to the soft and according to the hard, always to the nearest opening as will be explained and conveyed to you hereafter in the plays.<br />
<br />
This is the text and the gloss of the war.<br />
<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
<br />
Gloss: Note the war, these are the winds and the work which continues into the four openings with the point. Execute it like this: When you cleave in with the wrathcut, then as soon as they parry, rise sufficiently up with your arms and against their sword "wind" in your point to the upper opening of their left side from above. Then, if they displace your upper thrust, remain standing in the winding like this with the hilt in front of your head and still to their left side, let your point sink down to the lower opening. Then if they chase your sword with an act of parrying, seek the lower opening of their right side with your point. Then if they chase your sword further with an act of parrying, then rise up with your sword to your left side and hang in your point to the upper opening of their right side. In this way they become shamed above and below via the war if you otherwise execute it correctly.<br />
<br />
This is again the text and the gloss of a lesson of the wrathcut<br />
<br />
In all winds<br />
Cut, stab, slice learn to apply<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
<br />
Gloss: Note this is for when you cleave in with the wrathcut. You should be quite well practiced and quite polished with the windings because each winding has three particular plays, that is, a cut, a stab and a slice. And when you wind against the sword, then you should completely make sure that you do not conduct the incorrect play. Therefore you should not cut when you should stab and not slice when you should cut and not stab when you should slice. And you should always know which play to conduct that is rightfully called for in all encounters and binds of the sword else if you wish to dishonor or confound the masters that set themselves against you.<br />
<br />
And how you shall conduct the windings and how they are numbered, you can find that written in the last play of the Zettel that says: "Who fully commands and correctly breaks..."<br />
<br />
This is the text and the gloss of the four openings<br />
<br />
Know the four openings<br />
Take aim so that you strike wisely<br />
Into any movement<br />
Without doubt however they are situated.<br />
<br />
Gloss: Note whoever wishes to be a master of the sword, they shall know how one shall seek the openings with art, if they otherwise wish fence correctly and wisely. Above the girdle, the first opening is the right side, the second the left. Below the girdle the other two are the right and left sides. It follows that there are just two applications from which one may seek the openings. In the first one can seek them from the initiation of fencing by pursuing and by the shooting in of the long point. In the second, one shall seek them with the eight winds when one has bound the opponent against the sword.<br />
<br />
You shall understand it like this. When you come to the opponent with the initiation of fencing, you shall boldly, without any fear, with a cut or a stab, target whichever one of the four openings that you may best get to. And do not heed whatever it is that they conduct or fence against you. By doing this, you constrain your opponent so that they must parry you. And when they have parried, then immediately seek the nearest opening again by winding against their sword in the act of parrying. Always target the openings of the opponent in this fashion and not to the sword like in the play here which says "Lodge against four regions, Learn to remain upon them if you wish to finish"<br />
<br />
(marginalia: with the shooting in of the long point and with pursuing, seek the openings)<br />
<br />
This is the text and the gloss of how one shall break the four openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate down below<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
Gloss: Note when opponent cleaves in at you, if you then wish to set yourself up against them and secure the opening from them with art so that they must allow themselves to be struck without their consent, then execute the doubling against the strong of their sword and execute the mutating when they are weak against the sword. For I say to you truthfully, that when facing you they cannot protect themselves from strikes nor can they come to blows themselves.<br />
<br />
Here note how you shall conduct doubling to both sides<br />
<br />
Note when they initiate a cut from their right shoulder, then also cleave in strongly from above with them at the same time from your right to their head. If they parry and stay strong against the sword, then 'Indes', rise up with your arms and thrust your sword's pommel under your right arm using your left hand and strike them on their head with the long edge and crossed arms and from behind their sword's blade.<br />
<br />
Note, if they cleave in from above to your head with their long edge and you do it back to them the same way, if they then stay strong against the sword, then immediately rise up with your arms and strike them on their head using your short edge and from behind their sword's blade.<br />
<br />
(marginalia: I have taught it and warr with the sword and crossing under to the other side)<br />
<br />
Here note how one shall execute the mutating to both sides<br />
<br />
Note when you cleave in strongly from your right shoulder and they parry and are soft against your sword, then "wind" the short edge against their sword to your left side and rise up sufficiently with your arms and pass over their sword with your sword's blade and stab them in their lower opening.<br />
<br />
Another<br />
<br />
Note when when you cleave in at their head up from your left side, if they parry and are soft against your sword, then rise up with your arms and hang your point down from up over their sword and stab them in their lower opening. You may also conduct these two plays from any attack from after the point you sense weak and strong against their sword.<br />
<br />
These are the trials of the sword and whoever wins them is worthy of praise.<br />
<br />
This is the text and the gloss of the crooked cut with its plays<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Whoever waits well crooked<br />
Disrupts many cuts with stepping.<br />
<br />
Note the crooked cut is one of the four parries against the four guards because with them one breaks the guards that are called the ox here and also rising and descending cuts. Execute it like this. When you come to the opponent with the initiation of fencing, if they then stand against you and hold their sword in front of their head in the guard of the ox on their left side, then advance your left foot and hold your sword in guard on your right shoulder and spring facing them well to your right side with your right foot and strike them across their hands with the long edge from crossed arms.<br />
<br />
Another<br />
<br />
Note you can also execute the crooked cut from the barrier guard on both sides. Take yourself into the guard like this. When you come to the opponent with the initiation of fencing, then stand with your left foot forwards and hold your sword such that the long edge is above with your point on the ground by your right side and present yourself open with your left side. Then, if they cut into your opening, spring away from the cut, facing them, with the right foot well to your right side and from the long edge strike them with crossed hands on their hands with your point.<br />
<br />
Item<br />
<br />
Take yourself to your left side with the barrier guard like this. When you come to the opponent with the initiation of fencing, do it with your right foot forwards and hold your sword upon the ground by your left side with crossed hands such that the short edge is up and present yourself open with your right side. Then if they cut into your opening, then spring away from the cut, facing them, with your left foot well to their right side and strike them in the spring with the short edge across their hands.<br />
<br />
This is the text and the gloss of a good play from the crooked cut<br />
<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
<br />
Gloss: Note you shall conduct this play against the masters from the bind of the sword. Execute it like this. When you come to the opponent with the initiation of fencing, then either lay down your sword to the right side into the barrier guard and stand with your left foot forwards or hold it on your right shoulder. Then if they cut at the opening from above, cut across their cut with your long edge from criss-crossed arms. And as soon as the swords spark together, then 'Indes', wind your short edge against their sword facing your left side and stab them in the face. Or if you don't want to thrust, then 'Indes', cut to their head or to their body with your short edge.<br />
<br />
This is again the text and the gloss of one from the crooked cut<br />
<br />
Don't crook, short cut<br />
With that, look for the disengage.<br />
<br />
Gloss: Note this is for when the opponent cleaves in from their right side from above. So rise up with your hands high and act as if you wish to bind against their sword with the crooked cut and pass through below their sword with your point and stab them in the face or in the breast on the other side and take care that you are well covered with your hilt in front of your face.<br />
<br />
[Marginal note in a different hand:] against the ox<br />
<br />
You can also break the guard of the ox with this play. Execute it like this. When you go to them with the initiation of fencing, if they then stand facing you and hold their sword with their hilt in front of their head on their left side, then throw your sword on your right shoulder and act as if you wish to bind against their sword with the crooked cut and cut short and with that disengage below their sword and shoot your point in long to the other side under their sword into their throat so they must parry. With this you come to strikes and other work with the sword.<br />
<br />
[Marginal note in a different hand:] crooked cut w. Which breaks the guard of the ox<br />
<br />
This is again the text and the gloss of one of the plays from the crooked cut<br />
<br />
Crook whoever bewilders you<br />
The noble war bewilders them<br />
For they truthfully<br />
Do not know where they are without danger<br />
<br />
Gloss: Note whenever you conduct the crooked cut, you will always make yourself open with it. Look at it like this, when you cleave in or bind against their sword with the crooked cut from your right side, you are open on the left side during this. If they are also crafty and will cut from your sword to your opening and bewilder you with agility, then keep your sword against theirs and track their sword from there onward and wind your point into their face and continue to work with the war, that is, with the windings to the openings so that they become so baffled that they truthfully will not know which regions that they should shield themselves from your cuts and thrusts.<br />
<br />
Here begins the text and the gloss of the crosswise cut with its plays<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof<br />
<br />
Gloss: Note the crosswise cut breaks the roof guard and any cut that is hewn down from above. Execute the crosswise cut like this, when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they stand facing you and hold their sword with outstretched arms high over their head and threaten to cleave in from above, come with your cut before they do and spring well to your right side with your right foot and in that spring, wind your sword with your hilt in front of your head such that your thumb comes under and strike them with the short edge against their left side in the head<br />
<br />
Or if they come before you do with their cut down from above, then spring away from their cut with your right foot, well to your right side with the previously mentioned act of parrying so that you catch their cut in your hilt and strike them with the crosswise cut on the left side of their head<br />
<br />
Here note the break against the crosswise cut<br />
<br />
Note when you stand facing the opponent in the roof guard, boldly cleave in at their head from above. Then if they spring away from your cut and intend to arrive first with the crosswise cut and strike you with it on the left side of your head, fall upon their sword with your long edge. Then if they strike around to your other side with the crosswise cut, 'Indes' you go forth ahead of them under their sword and in front of yourself against their neck so that they slash themselves with your sword.<br />
<br />
Note when you have bound the opponent against your sword, if they then strike from your sword around to the other side with the crosswise cut, then fall into their hands or upon their arms with your long edge and press their arms away from you with everything you've got with a slice, and from that slice of their arms strike them on their head with your sword.<br />
<br />
Here note the break against the upper slice into the arm<br />
<br />
Note when you strike the opponent with the crosswise cut to their right side, if they then fall into your arm with a slice, then strike them in their mouth with your short edge from behind their sword's blade by doubling.<br />
<br />
Again, this is the text and the gloss of a play from the crosswise cut<br />
<br />
Cross with the strong<br />
Remember your work with it<br />
<br />
Gloss: Note when you wish to strike the crosswise cut, you shall strike with the entire strength of the body and you shall always bind against their sword with the strong of your sword. With that, you secure their opening. Look at it like this: When you make a crosswise cut from your right side, if they parry and bind strongly against your sword with it, then execute the doubling or right from of crosswise cut, knock their sword off to the side with your hilt and strike them on the other side with it.<br />
<br />
Yet another<br />
<br />
When you make a strong crosswise cut from your right side, if they parry and are soft against the sword, then either drive the short edge of your sword against their neck on their right side and spring behind their left foot with your right foot and drag them over it like this with your sword's blade or execute the mutating into their lower opening.<br />
<br />
Break it like this<br />
<br />
When the opponent drives their sword against your neck, rise up inside of their sword with your pommel and let your blade hang down and shove their sword away from your neck and strike in at their head from above by snapping. Or strike them by doubling with your right hand up over their sword and beneathe their face while they have their sword against your neck.<br />
<br />
This is the text and the gloss of the crosswise strike to the four openings<br />
<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head by spinging<br />
<br />
Gloss: Note you have heard before that the ox and the plow are either two positions or two guards, but here they indicate the four openings. The ox, which are the upper two openings, the right and the left side of the head and the plow which are the two lower, the right and the left side below the belt of the opponent. You shall turn to each of these four openings with the crosswise strike in one sortie<ref>lit: zufechten</ref>.<br />
<br />
You should also remember that in broad terms, you should always spring out off to one side facing the opponent with each and every crosswise strike so that you can fully connect to the head and take care that you are fully covered the entire time with your hilt up in front of your head.<br />
<br />
Here note a break against the lower crosswise strikes<br />
<br />
Note when the opponent strikes at your head with the crosswise from their right side to your left side, parry with the long edge and keep your point in front of their breast. Then if they strike around from your sword to your lower right opening using the crosswise strike, then you also make a crosswise strike down through between you and them also against their right side and with that bind against their sword and staying in the bind, stab them 'Indes' in the lower opening<br />
<br />
This is the text and the gloss of a play that is called the failer<br />
<br />
The failer misleads<br />
It wounds according to desire from below<br />
<br />
Gloss: The failer is a play whereby many fencers that like to parry and also those that fence to the sword and not to the openings become deceived and wounded according to desire and and are beaten.<br />
<br />
Note when you come to the opponent with the initiation of fencing, act as if you will strike at their head with a free descending cut and suddenly withdraw the cut and strike at the lower openings of their left or right side, whichever you wish, with the crosswise strike. And take care that you are fully covered by your hilt over your head. You can also conduct crosswise cut like this.<br />
<br />
This is the text and the gloss of a play that is here called the inverter<br />
<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
<br />
Gloss: Note the inverter is called the halfcut or the hand-turner. With it, one constrains the opponent so that you can rush through and capture with wrestling.<br />
<br />
Execute it like this:<br />
<br />
When you go toward the opponent with the initiation of fencing, go with the left foot forwards and execute the halfcut from the right side with an inverted long edge over and over, up and down in time with your left foot until you arrive at the opponent. And as soon as you bind against their sword with it, then 'Indes' hang your point inward from above and stab them in the face. If they parry the thrust and rise up high with there arms, then rush through.<br />
<br />
Or if they remain with their hands low with their act of parrying, then seize their right elbow with your left hand and hold them firmly and spring in front of their right with your left foot and shove them over your foot like this.<br />
<br />
Or if you do not wish to shove them over your foot by the elbow with your left hand as was written above, then pass your left hand back around their body and throw them in front of you across your left hip.<br />
<br />
This is again the text and the gloss about the failer<br />
<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step in left and do not be lazy<br />
<br />
Gloss: Note this is called the double failer. Execute it like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. When it is suitable to you, spring full on toward them with your right foot over to their left side and act as if you would strike them with a free crosswise strike at their head to their left side and suddenly withdraw the strike and spring to their right side with your left foot and strike them from there out into their head. If they parry and you hit their sword, then spring out off next to them on the same side and slice them in their mouth with the short edge from behind their sword by doubling or fall into the slice with your sword across both their arms.<br />
<br />
In the same way, you can also successfully conduct the failer from descending cuts just like from the crosswise strikes whenever it is availble to you or whenever you wish.<br />
<br />
Here begins the cockeyed cut with it's plays<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
<br />
Gloss: Note the cockeyed cut breaks the guard here called the plow and is a good, strange and grim cut because it breaks into cuts and into thrusts with violence and goes forth with an inverted sword. This is why many masters of the sword have nothing to say about this cut.<br />
<br />
Here note how one shall conduct the cockeyed cut<br />
<br />
Note when you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword on your right shoulder. Then if they cleave in at the head from above, twist your sword and hew against their cut up over their sword at their head with your short edge, long with extended arms. Then if they are also cunning and aborts during the cut of your sword and will disengage below, let the point shoot in forward and long during the cut so that they cannot disengage below.<br />
<br />
Another<br />
<br />
When you stand facing the opponent holding your sword on your right shoulder, if they then stand facing you in the guard of the plow and will initiate a thrust from below, cleave in with the cockeyed cut long from above and shoot in the point long into their breast so they cannot reach you below with their thrust.<br />
<br />
This is the text and the gloss on a lesson from the cockeyed cut<br />
<br />
Cock an eye. If they short change you,<br />
Disengaging defeats them.<br />
<br />
Gloss: Note this lesson. When you come to the opponent with the initiation of fencing, you shall sneak a glance and see whether they fence short against you. You can recognize this whenever they initiate a cut and do not extend their arms out away from themselves while cutting. Thus their sword is shortened.<br />
<br />
Or if you lie in the guard of the fool and they will then fall upon you with their sword crooked, their sword is again shortened.<br />
<br />
Or if they move themselves against you into the guard of the ox or the plow, their sword is again shortened. Also know that all windings of the sword ahead of the opponent are short and withdraw the sword. And against whichever fencers that execute the windings in this way, freely disengage from your cuts and thrusts and shoot in the long point to the closest opening from this, thereby pressuring them so that they must parry and you come to your proper work.<br />
<br />
This is the text and the gloss of how one breaks long point with the cockeyed cut<br />
<br />
Cock an eye at the point<br />
And take the neck without fear<br />
<br />
Gloss: Note when you come to the opponent with the initiation of fencing, if they then stand facing you and hold the long point toward your face or breast, hold your sword on your right shoulder and focus your gaze on their point and act as if you will strike at it and cut strongly against their sword with your short edge using the cockeyed cut. And with that, shoot in your point into their neck using an entrance of your right foot.<br />
<br />
This is again the text and the gloss of a play from the cockeyed cut<br />
<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands<br />
<br />
Gloss: Note this is another break for when your opponent stands in the long point facing you. Focus your gaze upon their head and act as if you will strike them there and strike them on their hands with your point from the cockeyed cut.<br />
<br />
Here begins the text and the gloss of the part cut<br />
<br />
The part cut<br />
Is a threat to the face<br />
With it's turn<br />
The breast is yet endangered.<br />
Whatever comes from them<br />
The crown removes.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
<br />
Gloss: Note the part cut breaks the guard that is here called the fool and to that end, it is quite dangerous to the face and with it's turn, the breast.<br />
<br />
Execute it like this<br />
<br />
When you come to the opponent with the initiation of fencing, if they then move themselves against you into the guard of the fool, advance your left foot and hold your sword on your right shoulder in guard and spring into them and cut down from above at their head strongly with the long edge.<br />
<br />
Then if they parry the cut such that their point and their hilt both stand up (this is called the crown), remain high with your arms and lift your sword's pommel upwards with your left hand and sink your point over their hilt and into their breast. Then if they rise up with their sword and shove your point upwards with their hilt, then wind your sword through under their crown into their arm using the slice and press. Like this, the crown is again broken. And with the pressing, slice firmly into their arms and withdraw yourself during the slice.<br />
<br />
This is the text and the gloss about the four positions<br />
<br />
Four positions alone<br />
Defend from those and eshew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptable to you<br />
<br />
Gloss: Note the four positions. These are the four guards that you shall fence from.<br />
<br />
The first guard is called the ox. Put yourself together like this here: stand with your left foot forwards and hold your sword next to your right side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face.<br />
<br />
Note, Put yourself in ox on the left like this: stand with your right foot forwards and hold your sword by your left side with your hilt in front of your head such that your thumb is underneath your sword and hang your point toward their face. This is the ox on both sides.<br />
<br />
This is the second guard<br />
<br />
Note that the second guard is called the plow. Put yourself together like this here: Set up with the left foot forwards and hold your sword with crossed hands with the pommel down by your right side at the hip such that the short edge is above and your point against their face.<br />
<br />
Note. Put yourself in plow on the left side like this: stand with your right foot forwards and hold your sword by your right side with the pommel low at the hip such that the long edge is above and your point is in line with their face. This is the plow on both sides.<br />
<br />
This is the third guard<br />
<br />
Note the third guard is called the fool. Put yourself together like this here: stand with your right foot forwards and hold your sword in front of you with extended arms with the point upon the ground with your short edge turned upwards<br />
<br />
This is the fourth guard<br />
<br />
Note the fourth guard is called roof guard. Put yourself together like this here: stand with your left foot forwards and hold your sword on your right shoulder or with upstretched arms high over your head and stand in guard like this.<br />
<br />
This is the text and the gloss of the four parries<br />
<br />
Four are the parries<br />
Which also severly disrupt the positions<br />
<br />
Gloss: Note you have heard before that there are four guards. You shall also know this about the four parries: they break these same four guards. Furthermore, there is no actual parrying is called for in these, because the four parries are four cuts that break them.<br />
<br />
Note the first cut is the crooked cut which breaks the guard that here is called the ox.<br />
<br />
Note the second cut. This is the crosswise cut which breaks the roof guard<br />
<br />
Note the third cut. This is the cockeyed cut which breaks the guard that here is called the plow<br />
<br />
Note the fourth cut. This is the part cut which breaks the guard that here is called the fool<br />
<br />
And how you should break the four guards with the cuts shall be found written previously in these same cuts.<br />
<br />
This is the text and the gloss about how one shall not parry<br />
<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
<br />
Gloss. Note this is about how one shall not parry like the common fencers do. When they parry, they keep their point up in the air or to one side. This shows that they do not know to seek the four openings in the act of parrying. Therefore, they often become struck. But when you parry, parry with your cut or with your thrust and 'Indes' seek the nearest opening with the point so no master can strike you without their own harm.<br />
<br />
This is the text and the gloss about when someone has parried you and what you should conduct against that.<br />
<br />
If you are parried<br />
And as that is arriving<br />
Heed what I advise:<br />
Break loose, cut quickly with violence.<br />
<br />
Gloss. Note this is about when someone has parried you and will not withdraw themselves from your sword and intends to not allow you to come to any plays. In this case, rise up on their sword's blade with your sword as if you would abscond from their sword, but stay against their sword and cut back in against their blade directly at their head using your long edge.<br />
<br />
This is the text and the gloss about the four lodgings<br />
<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish<br />
<br />
Gloss. Note there are four lodgings that are called for in earnest combat. You shall conduct them when you wish to immediately slay or injure your opponent. Drive them like this: When you initiate fencing with the opponent with your sword, move yourself with your sword into the guard of the ox or the guard of the plow. If they will then cleave in from above or initiate a thrust from below, note during the moment when they lift up their sword and will strike or will draw down toward themselves to thrust at you, that you go first and shoot in the long point to their nearest opening before they bring forth their cut or thrust and see if you can lodge against them. Do the same thing when they initiate an rising cut. When this happens, shoot in the point the moment before they go up with their rising cut. Execute this to both sides.<br />
<br />
Then if they become aware of the lodging against, keep your sword against theirs and swiftly work to the nearest opening<br />
<br />
This is the text and the gloss of the pursuing<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two incitements to the outside<br />
The work begins thereafter<br />
And gauge the application<br />
Whether they are soft or hard<br />
<br />
Gloss. Note pursuing is diverse and varied and is required to be executed with great caution from cuts and thrusts against the fencers that fight from free and lengthy cuts or will not otherwise keep to the proper art of the sword.<br />
<br />
Execute pursuing like this<br />
<br />
When you come to the opponent with the initiation of fencing, do it with your left foot forwards in the roof guard and watch quite attentively to what they fence against you. If they cleave in long from above, take heed that they do not reach you with their cut and not during the cut when their sword goes toward the ground, then spring in with your right foot, cleave in at their head from above before they can come up with their sword so that they are stricken.<br />
<br />
The play written hereafter is called incitement to the outside<br />
<br />
Note when the opponent misses their attack and you pursue into the opening with their cut, if they then rise up with their sword and come against your sword from below, remain strong upon it. Then if they firmly lift your sword upwards with theirs, spring behind their right foot with your left and strike them on the right side of their head with the crosswise cut or whatever, immediately working back around to their left side or otherwise with other plays thereafter, as you sense whether they are soft or hard at the sword.<br />
<br />
Here note a good pursuing at the sword from rising cuts<br />
<br />
Note when you fence against your opponent from rising cuts or from the sweeps or lay against them in the guard that is here called the fool. Then if they fall upon your sword with theirs before you can come upwards with something, stay against their sword like this with yours below and lift upwards. Then if they wind in their point into your face or breast while on your sword, do not let them get away from your sword and adhearing to it and work with your point to their nearest opening. But if they strike around away from your sword then either follow behind or pursue them again with your point like before.<br />
<br />
Note you shall pursue them from all cuts and from all guards as soon as you recognize when they miss their attack or they open themselves with their sword. But take care that you neither open yourself up nor miss your attack with your pursuing. Note this on both sides.<br />
<br />
Precisely note here the text and the gloss about feeling and about the word that is here called Indes.<br />
<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
<br />
Gloss. Note that feeling and the word 'Indes' are the greatest and the best arts of the sword and whoever is or wishes to be a master of the sword yet cannot feel and cannot perceive the term 'Indes' in it, they are in fact not a master, rather they are a buffalo of the sword. Therefore you shall quite fully study the two things for all situations so that you correctly comprehend it.<br />
<br />
Here note the lesson about feeling and about the word that is called Indes<br />
<br />
Note when you come to the opponent with the initiation of fencing and one binds the other on the sword, in this, immediately feel as the swords clash together whether they have bound on soft or hard and as soon as you have sensed this, then reflect on the Indes. This means that you shall work swiftly at the sword within that perception before the opponent comes to their senses.<br />
<br />
Here you shall note<br />
<br />
That feeling and the word Indes are one thing, for one cannot be without the other. Look at it like this: When you bind against their sword, you must immediately feel whether they are soft or hard at the sword using the word Indes. And when you have felt that, then you must work 'Indes' according to the soft and according to the hard. Like this, they are nothing but one thing. And the word Indes, this is for all plays from beginning to end. Look at it like this:<br />
<br />
Indes doubles, Indes mutates,<br />
Indes disengages, Indes rushes through,<br />
Indes takes the slice, Indes wrestles with,<br />
Indes takes the sword, Indes does what your heart desires.<br />
Indes, this is a sharp word.<br />
<br />
With it, all masters of the sword that neither know nor understand it will be carved up. This is the key of the art.<br />
<br />
Here again note the text and the gloss about pursuing<br />
<br />
Pursuing twice,<br />
If one hits, make the old slice with it.<br />
<br />
Gloss. Note this is about how you shall not forget to conduct the pursuing to both sides nor the slices therein. Look at it like this: When the opponent misses their attack before you, be it from the right or from the left side, boldly cut into the opening and follow them closely. Then if they rise up and bind against your sword from below, then note as soon as one sword clashes onto the other and then 'Indes', continue with a slice towards their neck or fall upon their arms with your long edge and slice firmly.<br />
<br />
Here note the text and the gloss about the overruning<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
<br />
Gloss. Note that this is about when you come to the opponent with the initiation of fencing, if they then cut from below to the lower openings, do not parry that, rather cleave in strong at their head from above. Or if they initiate a cut with rising cuts, then before they come up with their rising cut, shoot in the point into their face or breast long from above and lodge against them from above so they cannot reach you below. Because all of the upper lodgings break and free you from the lower. Then if they rise up and bind against your sword from below, then stay strong on their sword with your long edge and work swiftly to the nearest opening or let them work and if you come Indes then you hit them.<br />
<br />
Here note that this is the text and the gloss of how one shall displace thrust and cut<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
<br />
Gloss. Note the displacing. Execute it like this: When you come to the opponent with the initiation of fencing, if they then set themselves against you as if they will thrust, then advance your left foot and setup against them in the guard of plow from your right side and offer yourself open on your left side. Then, if they thrust into that opening, wind to your left side, your short edge against their sword engaging their thrust and displace it with that and step in with your right foot with that and stab them Indes in their face or in their breast.<br />
<br />
Another play<br />
<br />
Note when you setup in plow from your right side, if they then cleave in from above at your head on your left side, rise up with your sword, and with that wind to your left side against their cut such that your hilt is in front of your head and also step in with it with your right foot and stab them in their face or their breast. Execute this play to both sides from the plow.<br />
<br />
This is the text with the gloss about how one shall disengage<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
<br />
Gloss. Note disengaging is many and varied. You shall conduct it against the fencers that like to parry and those that cut to the sword and not to the openings of the body. You shall learn quite well to conduct this with caution so that the opponent does not lodge against you nor otherwise come in while you disengage.<br />
<br />
Execute the disengaging like this<br />
<br />
When you come to the opponent with the initiation of fencing, cleave in strongly from above. Then if they cut back at you but to your sword and not to your body, then during your cut, let your point rush through below their sword before they bind onto your sword and stab them in the breast on the other side. Then if they become aware of the thrust, and immediately chase that thrust with an act of parrying, then disengage again. Always do this when they move behind your sword with a parry.<br />
<br />
Or<br />
<br />
When you come to the opponent with the initiation of fencing, advance your left foot and hold the long point against your opponent's face. Then if they strike at your sword either down from above or up from below and will bat it away or bind against it strongly, then let your point sink down and stab them on the other side. Execute this against all cuts where the opponent strikes at your sword.<br />
<br />
Precisely note,<br />
<br />
How you should disengage in such a way that the opponent does not lodge against you while you disengage. Look at it like this: When the opponent parries you and allow their point to go off to your side, boldly disengage and stab them on the other side. Or, if they remain with their point in front of your face or toward your other openings, then do not disengage. Remain on the sword and work with that to the nearest opening such that they cannot pursue, nor lodge against you.<br />
<br />
Here note the text and the gloss about the withdrawing suddenly at the sword<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
Uncover the work that does them harm.<br />
Suddenly withdraw all engagements<br />
If you wish to make a fool of the masters<br />
<br />
Gloss. Note withdrawing suddenly is appropriate to conduct against the masters that bind strongly against the sword and remain still in the bind of the sword and await to see whether one will cut off in front of them or withdraw from the sword so that they might then pursue into the opening. To make a fool of or mislead these masters, conduct the withdrawing suddenly against them like this: Cut in strongly from above at their head from your right side. Then if they drive forwards strongly with their sword during your cut and will either parry or cut into your sword, then suddenly withdraw your sword towards yourself before they bind you and stab them on the other side. Do this against all engagements and binds of the sword.<br />
<br />
Note another withdrawing suddenly<br />
<br />
When the opponent has bound against you against your sword, if they subsequently stand opposing you in the bind and watch whether or not you withdraw from the sword, then act as if you will suddenly withdraw and stay at the sword and withdraw suddenly your sword towards yourself just to the midpart of the blade and suddenly thrust back against their sword into their face or breast. If you do not rightly connect with your thrust, then work by doubling or otherwise with other plays, whatever seems best to you.<br />
<br />
Here note the text and the gloss about the runing through and about the wrestling with the sword<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
<br />
Gloss. Note rushing through and wrestling are double in the sword. For rushing through is both body wrestlings and then thereafter, the arm wrestlings and they are appropriate to conduct against the fencers that like to rush in.<br />
<br />
Execute the first rushing through like this<br />
<br />
Note when the opponent rushes in on you and rises up high with their arms and wishes to overwhelm you with strength from above, rise up with your arms as well and hold your sword over your head with your left hand by the pommel and let your blade hang down behind over your back and pass your head down through their arms toward their right side and spring with your right foot behind their right and with that spring, drive ahead of them toward their left side with your right arm well around their body and fasten them like this to your right hip and throw them backwards on their head in front of yourself.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you with upstretched arms and you do the same, then rush through them with your head to their right side and let your sword hang back over your back as was written before and step ahead with your right foot in front of their right and drive through under their right arm back around their body with your right arm and fasten them to your right hip and throw them behind you. These two wrestlings go to both sides.<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you to your right side and is high with their arms and you are as well, hold your sword in your right hand with your pommel shored against and shove their arm and their sword away from you with your hilt and spring ahead with your left foot in front of both their feet and pass your left arm way back around their body and fasten them to your left hip and throw them in front of you<br />
<br />
Yet another body wrestling<br />
<br />
Note when the opponent rushes in on you and is high with their arms and you are as well, you shall hold your sword in your right hand and shove their arm away from you with that and spring behind their right foot with your left and pass your left arm down through in front of their breast to their left side and fasten them to your left hip and throw them behind you. Execute these two wrestlings on both sides.<br />
<br />
Now note the arm wrestlings with the sword here:<br />
<br />
Note when the opponent rushes in on you at the sword and holds their hands low, invert your left hand and between both of their hands seize their right with it and with that drag them to your left side and using your right, strike them with your sword across their head.<br />
<br />
Or<br />
<br />
If you do not wish to strike, then spring behind their left foot with your right and pass your right arm around their neck, ahead or behind and throw them over your right knee in this way.<br />
<br />
Another arm wrestling<br />
<br />
Note when the opponent rushes in at the sword and is low with their hands, let your left hand go from the sword and with your right crosswise out over their right hand and press down with that and seize them by their right elbow with your left hand and spring in front of their right foot with your left and shove them over it like this.<br />
<br />
Another arm wrestling<br />
<br />
Note when one rushes in on you at the sword, let your sword completely go and invert your right hand. And using that, take an outside grip of their right and with your left grasp them by their right elbow and spring in front of their right foot with your left and shove their right arm over your left with your right hand and lift them upwards with this. Like this, you can either break their arm or throw them over your left leg in front of you, whichever you wish.<br />
<br />
Here note a sword disarm<br />
<br />
Note when the opponent rushes in on you at the sword, invert your left hand and pass over their right arm with it and seize their sword between both of their hands and drag them to your left side with that so that you take their sword from them.<br />
<br />
Another sword disarm<br />
<br />
Note when the opponent parries you or otherwise bindsagainst your sword, seize both swords in the crossing of the blades with your left hand and hold them both firmly together and drive forwards, down through with your pommel and over both their hands and drag them up to your right side with it, so that you keep both swords.<br />
<br />
Here note the text and the gloss about cutting off<br />
<br />
Cut off the hard ones<br />
From below in both paths<br />
<br />
Gloss. Note this is what you shall do when the opponent strongly binds atop your sword from above (or falls upon it). Look at it like this: When you initiate fencing from rising cuts or from sweeps or lay against your opponent in the guard of the fool, if they then fall upon that with their sword before your come up with yours, keep against their sword from below and lift upwards with your short edge. If they subsequently press your sword down firmly, then from their sword, sweep off backwards from beneath with your sword against their sword's blade, away from their sword and immedately cut back in against their sword from above on the other side at their mouth<br />
<br />
Yet another<br />
<br />
When you initiate fencing with rising cuts or lay in the guard of the fool, if the opponent subsequently falls onto that close to your hilt, before you come up with it such that their point goes out toward your right side, then swiftly rise up over their sword with your pommel and strike them in the head with your long edge. Or if they bind atop your sword such that their point goes out to your left side, then rise up over their sword with your pommel and strike them in their head with your short edge. This is called snapping.<br />
<br />
Here note the text and the gloss about the four slices<br />
<br />
Four are the slices<br />
With two from below, two from above.<br />
<br />
Gloss. Note the four slices. Firstly, know that the upper two are appropriate to conduct against the fencers that like to strike around from the bind of the sword or from an act of parrying to the other side with the crosswise cut or what have you.<br />
<br />
Break that like this<br />
<br />
When they bind against your sword on your left side and immediately strike back around from that with their left foot on your right side, fall across both their arms from above with your long edge and press them away from you with a slice. You shall always conduct this to either side when they strike around from an act of parrying or cuts away from the sword.<br />
<br />
Note<br />
<br />
The two lower slices are appropriate to conduct against the fencers that like to rush in with outstretched arms. Execute them like this: When they bind against your sword and rises up high with their arms and rush in on your left side, twist your sword such that your thumb comes under it and drop into their arms with your long edge below their pommel and press them upwards with your slice.<br />
<br />
Or if they rush in on you on your right side with outstretched arms, rotate your sword such that your thumb comes under it and drop into their arms with your short edge below their pommel and press them upwards with your slice. These are the four slices.<br />
<br />
Here note the text and the gloss about the transfromation of the slice<br />
<br />
Turn your slice<br />
To flatten, press the hands<br />
<br />
Gloss. Note that this is how you should conduct the upper two slices from the lower two. Look at it like this: When the opponent rushes in on you with upstretched arms on your left side, invert your sword and drop into their arms with your long edge below their pommel and press firmly upwards and with that step to their right side and wind your pommel down through underneath and do not comr away from their arms with your sword. And turn your sword into the upper slice from the lower slice with your long edge across their arms.<br />
<br />
Or<br />
<br />
If the opponent rushes in on you on your right side with upstretched arms, then turn your sword into their arms and under their pommel and press firmly upwards and with that step to their left side, also let your pommel cross through below and turn your sword up over their arms with your long edge and press them away from you with that.<br />
<br />
Here note the text and the gloss of the two lower hangings<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
<br />
Gloss. Note that the two hangings from the ground, this is the plow on both sides and when you fence or wish to fence from those, you shall also have the feeling of whether they are soft or hard therein, in cuts and in thrusts and in all binds of the sword.<br />
<br />
You shall also conduct four winds from those and from each winding appropriately conduct one cut, one thrust or one slice and in other situations conduct all other applications as you would from the two upper hangings.<br />
<br />
Here note the text and the gloss about the speaking window<br />
<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
<br />
Gloss. Note you have heard before about how you should place yourself with your sword into the four guards and how you should fence from them. You should now know about the speaking window, which is also a guard that you can stand fully secure in. And this guard is the long point which is the noblest and the best guard of the sword. Whoever fences from it correctly can constrain the opponent with it, such that they must allow themselves to be struck without their consent and cannot come back to neither strikes nor thrusts before your point.<br />
<br />
Arrange yourself in the speaking window like this:<br />
<br />
Whenever you move toward your opponent with the initiation of fencing, with whichever cut you approach them, be it a rising or descending cut, always let your point shoot in long to their face or to their breast during your cut. With that you constrain them such so that they must parry or bind on the sword. And when they have bound on, remain strong with your long edge against their sword and stand freely and watch their situation and for whatever they will fence against you. If they draw themselves back off from your sword then follow after them with your point to their opening. Or if they strike around to the other side leaving your sword, then bind in behind their cut strongly from above into their head. Or if they neither withdraw from your sword nor strike around, then work by doubling or otherwise using other plays as you subsequently sense weakness or strength in their sword.<br />
<br />
This is another stance<br />
<br />
And is also called the speaking window. Note when you have almost arrived at the opponent with the initiation of fencing, advance your left foot and hold your point long from your arms and against their face or breast before you bind on their sword and stand freely and watch what they will fence against you. If they will subsequently cut long and deep at your head, then rise up and wind into the ox with your sword against their cut and stab them in their face. But if they will cut at your sword and not to your body, then disengage and stab them on the other side. If the opponent rushes in and is high with their arms, then conduct the lower slice or rush through with wrestling. If they are low with their arms, then seek the arm wrestling. You can conduct all plays from the long point like this.<br />
<br />
Here note the text and the gloss of the explanation of the four hangings and the eight windings of the sword to which the Zettel adhears to.<br />
<br />
Who fully commands and correctly breaks<br />
And makes complete irrefutable judgement<br />
And breaks each one individually<br />
Into three wounders,<br />
Who hangs consumately and correctly<br />
And delivers the winding with it<br />
And considers the eight winds<br />
With correct judgement<br />
And unites them.<br />
The windings, I differentiate trebly<br />
Thus they are twenty<br />
And four counting them individually.<br />
From both sides<br />
Learn eight windings with steps<br />
And gauge these applications<br />
Nothing more than soft or hard<br />
<br />
Note this is a lesson and an exhortation of hanging and winding. You have to be well practiced and accomplished in this so that you can both swiftly take lead and correctly conduct a break against one of another fencer's plays from them. The hangings are four and Zettel for the ox above from both sides which are the two upper hangings and the plow below from both sides which are the two lower hangings. From the four hangings you shall deliver eight winds, four from the ox and four from the plow. And you shall further consider and correctly judge these eight winds in such a way that you shall conduct from each wind one of the three wounders, that is, a cut, a thrust or a slice.<br />
<br />
Precisely note hereafter how you shall conduct the four winds from the two upper hangings, that is, from the ox both from the right side and from the left side.<br />
<br />
Execute the first two winds just from the right side like this: When you come to the opponent with the initiation of fencing, do it with your left foot forwards and hold your sword in front of your head on your right side in the ox. If they subsequently cleave in from above from their right side, wind your short edge against their cut, your short edge against their sword, again in ox and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries your thrust with strength and force your sword off to the side, then remain on their sword and wind back to your right side up into ox and thrust in at their face from above. These are the two winds of the sword from the upper hanging of the right side.<br />
<br />
Here note that there are two winds from the ox on the left side. Execute them like this:<br />
<br />
When you come to the opponent with the initiation of fencing, setup in ox from your left side. If they subsequently cleave in from above from their left side, wind your long edge against their sword to your right side opposing their cut and thrust in at their face from above. This is one wind.<br />
<br />
Note<br />
<br />
If the opponent parries the thrust and press your sword to the side, then remain on their sword and wind the long edge onto their sword back to your left side and thrust in at their face from above. These are the four winds from the two upper hangings both from the left and from the right sides.<br />
<br />
Now you shall know<br />
<br />
That the plow from both sides, they are the two lower hangings. When you either move yourself into them or wish to fence from them, you shall conduct four winds both from the left and from the right sides, with all of their applications as you would from the upper hangings. In this way the windings become eight. And note every time you wind, in each one of the windings, you decide on the cut or on the thrust or on the slice. In this way, the twenty four plays come from the eight winds. And how you shall conduct the twenty four plays from the eight windings, you shall find all of this written in the glosses before.<br />
<br />
Quite precisely note here<br />
<br />
That you cannot correctly conduct the eight windings unless they are done with stepping from both sides and also that you must quite precisely gauge ahead of time nothing more than the two applications. They are: First, when they bind against your sword, whether they are soft or hard in their application. Second, wind and work to the four openings as is written before. Also know that all fencers that wind on the sword and do not know the feeling in the sword, they become struck. Therefore educate yourself so that you fully understand feeling and the word Indes, because all the art of fencing comes from these two things.</div>Christian Trosclairhttps://wiktenauer.com/index.php?title=User:Christian_Trosclair/Translations/3227a_Longsword&diff=134971User:Christian Trosclair/Translations/3227a Longsword2022-07-10T15:47:18Z<p>Christian Trosclair: </p>
<hr />
<div>Here begins Master Liechtenauer's Art of Fencing with the Sword on Foot and on Horse, Bare and in Harness.<br />
<br />
And before any incidents and confrontations, you shall note and know that there is but one art of the sword and it may have been invented and conceived many hundred years ago. And this is the foundation and core of all of the arts of fencing.<br />
<br />
And this is what Master Liechtenauer had acquired and formulated quite completely and correctly.<br />
<br />
Not that he invented and conceived it himself, as was written before, rather he had traveled through many lands and through that sought the legitimate and truthful art for the sake that he would experience and learn it.<br />
<br />
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.<br />
<br />
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 invented and conceived some new art and understand the art of fencing better and more greatly, day by day.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 someone. With these, you dither and delay yourself so that you lose that chance.<br />
<br />
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 reach it and posses it, swiftly and quickly and preferably with one strike. Because with four or six, you choose to dither and as a result the opponent approaches effortlessly.<br />
<br />
This is because the Vorschlag is one great advantage of this fencing as you will hear hereafter in this text<br />
<br />
Therein Liechtenauer names 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, that even still fundamentally derives from his art.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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,<br />
<br />
because the sword is just like a scale.<br />
<br />
For if a sword is large and heavy, so must the pommel also be accordingly heavy, just like a scale.<br />
<br />
Also know that when you fence with someone, so shall you fully pay attention to your steps and be sure in them<br />
<br />
just as if you shall stand upright upon a scale, stepping backwards or forwards according to necessity, suitably and appropriately, swiftly and quickly.<br />
<br />
And your fencing shall completely proceed with good spirit and good demeanor or sense and without any fear as you will hear about hereafter.<br />
<br />
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.<br />
<br />
Also the situation often necessitates two short steps for one long.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And then as soon as <ref>The silver "soon" was added later above the line</ref> you arrive at the opponent and have their measure so that you think you will posses and reach 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.<br />
<br />
One shall also always prefer to target the upper openings rather than the lower and one comes in over the hilt with cuts or with thrusts, boldly and quickly. Because you reach the opponent much better and further over the hilt than under it. And one is also much surer of all fencing like this and the upper attack one is much better than the lower one. But if it happens that you are nearer to the lower, then you must target that, as this often occurs.<br />
<br />
Also know that one shall always come up on the right side of the opponent in their applications. Because you can better control the opponent in all confrontations of fencing or wrestling than directly in front of them.<br />
<br />
And whoever both knows and delivers this play well, they are not a bad fencer.<br />
<br />
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.<br />
<br />
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.<br />
<br />
In all fencing<br />
Requisite is: The help of God of righteousness,<br />
A straight and healthy body,<br />
A soundly manufactured sword, especially,<br />
The Before, The After, Weak, Strong<br />
Indes, the word with which to distinguish by.<br />
Cuts, thrusts, slices, pressing,<br />
Position, defending, shoves, feeling, disengaging,<br />
Winding and hanging,<br />
Checks, sweeps, springs, grabbing, wrangling,<br />
Speed, audacity,<br />
Prudence, astuteness and ingenuity<br />
Acumen, premeditation, ability<br />
Measure, obscuration,<br />
Practice and good spirit,<br />
Mobility, flexibility, good steps.<br />
In these seven couplets<ref>lit: verses</ref><br />
The fundamental principles<br />
And concerns<br />
And the entire matter<br />
Of all of the art of fencing are labelled for you.<br />
You shall consider these correctly<br />
As you will in fact<br />
And in detail hereafter<br />
Hear and read<br />
Of each according to their ways.<br />
Fencer, take heed of this<br />
So they will completely introduce to you both the art<br />
Of the entire sword<br />
And good robust manly applications.<br />
<br />
Motion, that beautiful word,<br />
Is the heart and crown of fencing<br />
The entire matter<br />
Of fencing with all the concerns<br />
And the sound components<br />
Of the fundamentals. These movements<br />
Are labelled by name<br />
And will be introduced to you better hereafter.<br />
However you then fence,<br />
You are to be subsequently well versed with it<br />
And are to stay in motion<br />
And do not pause the moment you<br />
Begin to fence<br />
Then you execute with authority<br />
Continuously and decisively<br />
Boldly one after the other<br />
In one fluid motion<br />
Without pause, without gaps<br />
So that the opponent cannot come<br />
To strikes. Of this you take advantage<br />
And the opponent harm.<br />
Because they cannot come away<br />
From you unstruck.<br />
Just do this according to this advice<br />
And according to this teaching<br />
That is written now<br />
For I say to you truthfully,<br />
The opponent does not defend themselves without danger.<br />
If you understand this<br />
They cannot come to blows with anything.<br />
<br />
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.<br />
<br />
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<ref>latin</ref><br />
<br />
This is the general preface of the unarmored fencing on foot. Mark this well.<br />
<br />
Young knight learn<br />
to love God. Ever honor women,<br />
Thus cultivate your honor.<br />
Practice knightcraft and learn<br />
art that decorates you<br />
and in wars serves you well.<br />
Wrestling's good grips,<br />
Lance, spear, sword and messer,<br />
manfully brandish<br />
and in other hands ruin.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Thus the intellectuals hate him,<br />
Yet this one sees glories.<br />
Thereupon you hold,<br />
all things have time and place.<br />
And whatever you wish to conduct,<br />
you shall stay in the realm of good reason.<br />
In earnest or in play,<br />
have a joyous spirit with moderation<br />
so that you may pay attention<br />
and consider with a good spirit<br />
whatever you shall command<br />
and whip up against the opponent.<br />
Because a good spirit with authority<br />
makes someone's rebuke timid.<br />
Thereafter, orient yourself.<br />
Give no advantage with anything.<br />
Avoid imprudence.<br />
Do not step in front of four or six<br />
with your overconfidence.<br />
Be modest, that is good for you.<br />
It is a brave man<br />
that dares to confront their equal.<br />
It is not shameful<br />
to flee four or six at hand.<br />
If one cannot flee,<br />
then do something cunning, that is my advice.<br />
<br />
This is a general lesson of the sword:<br />
<br />
If you wish to show skill,<br />
Move yourself left and right with cutting.<br />
And left with right<br />
Is what you strongly desire to fence.<br />
Whoever chases after cuts,<br />
They permit themselves to enjoy the art in small amounts.<br />
Cut from close whatever you wish,<br />
No changer comes on your shield.<br />
Do not cut to the sword.<br />
Rather, keep watch of the openings.<br />
To the head, to the body,<br />
Do not omit the stingers.<br />
With the entire body<br />
Fence whatever you desire to conduct strongly.<br />
Listen here to what is bad:<br />
Do not fence from above left if you are right.<br />
And if you are left,<br />
You are severely hindered on the right.<br />
So always prefer<br />
To fence from above left downwards.<br />
The Before, The After the two things<br />
are the one origin of all art.<br />
Weak and strong,<br />
Indes, mark this word with them.<br />
So you can learn<br />
To defend yourself with art and work.<br />
If you terrify easily,<br />
Never learn any fencing.<br />
Audacity and swiftness,<br />
Prudence, astuteness and ingenuity,<br />
Acumen, concealment,<br />
Measure, obscuration, scouting and skill<br />
Fencing will have<br />
And carry a joyous spirit.<br />
<br />
General gloss hereafter.<ref>latin</ref><br />
<br />
First of all, note and know that the point of the sword is the center, the middle and the core of the sword from which all applications leave and come back into it.<br />
<br />
Thus the hangings and the windings are the tilts and the turns of the center and of the core. From them, quite a few good plays of fencing also come.<br />
<br />
And they were invented and conceived so that a fencer, who in this regard initiates a cut or thrust directly into the point, of course may not hit every single time; yet they can hit someone with those same cutting, thrusting or slicing plays; by stepping out and in; and by lateral stepping or springing.<br />
<br />
And if you mislaid or over extended the point of your sword by shooting or by stepping all out, 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.<br />
<br />
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.<br />
<br />
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 it's 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
By the word "The Before", he means that every good fencer shall posess 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.<br />
<br />
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.<br />
<br />
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.<br />
<br />
But If the opponent wards off your Vorschlag, be it 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because one who shall defend themselves and fixate on the oncoming strikes, they are always in greater danger than those that strike at them because they must always either ward off those strikes or must allow themselves to be hit, so that they themselves can burdensomely come to blows.<br />
<br />
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, they cannot come to blows if you otherwise perform according to the five words. This sermon completely gets at this and all fencing" This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<br />
<br />
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.<br />
<br />
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 into to their first.<br />
<br />
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.<br />
<br />
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. It is also fully possible for you to arrive at the situation whereby you ward the opponent's Vorschlag such that you must ward it off with your sword and and in this way the opponent must surely come against your sword.<br />
<br />
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against the sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.<br />
<br />
If the opponent withdraws themselves, just as you both come together upon the sword and the points extend to the openings against each other, then with their withdrawing, before the opponent 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 directly forward, wherever you can connect most surest and closest, in this way the opponent cannot come away from your sword unharmed with anything.<br />
<br />
This is because, with your following, you were, to be sure, closer at hand to the opponent with it as you sent your point forwards, targeting them against their sword according to what is closest and shortest, when the opponent delivers a new cut or thrust wide around with their withdrawal.<br />
<br />
In this way, to be sure, you always come earlier into your Nachschlag's or The Nachstich's than the opponent to their first.<br />
<br />
And this is what Liechtenauer means by the word, "The After"<br />
<br />
The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly of 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,<br />
<br />
because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<br />
<br />
But if the opponent stays with it against the sword, as they have come against your sword, such that you have remained with the opponent against their sword and they have not yet executed the Nachschlag, then you shall wind and stay with them in this way against the opponent's sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 against their sword, move in strongly with your point 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.<br />
<br />
And with that thrust that you 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.<br />
<br />
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.<br />
<br />
And this is what Liechtenauer means by the words, "Soft and Hard"<br />
<br />
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.<br />
<br />
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.<br />
<br />
How could the art work differently? 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.<br />
<br />
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you". 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.<br />
<br />
If you then come onto the sword with them, be sure in feeling and execute as was written before.<br />
<br />
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is the text, wherein he names the five cuts and other plays of fencing.<br />
<br />
Learn five cuts<br />
from the right hand against the weapon<br />
<br />
Wrathcut Crook and Cross,<br />
If the Eye Cocker keeps with the Parter,<br />
The Fool parries.<br />
Pursue and Overrun, disrupt attacks<br />
Disengage, Suddenly withdraw,<br />
Rush through, Cut off, Press the hands<br />
Tilt and Turn to uncover with<br />
Slash, catch, sweep, stab to clash with<br />
<br />
This is about the Wrath cut, etc.<br />
<br />
Whoever makes a descending cut at you<br />
The point of wrathcut threatens them<br />
If they become aware of it<br />
Then abscond above without concern.<br />
Be strong in turn<br />
Wind. Stab. If they see it, then take it below<br />
Precisely note this<br />
Cuts, thrusts, position, soft or hard<br />
Indes and The Before, The After<br />
Without rush, your war is not hasty.<br />
For the one whose war takes aim<br />
Above, they will be shamed below.<br />
In all winds<br />
Cut, stab, slice learn to find<br />
Also with that you shall<br />
Gauge cut, stab or slice<br />
In all encounters<br />
Of the masters, if you wish to dishonor them.<br />
Do not cut to the sword,<br />
Rather, keep watch for the openings<br />
Of the head, of the body<br />
If you wish to remain without harm<br />
You hit or miss<br />
Considering as follows so that you target the openings<br />
In every lesson,<br />
Turn the point toward the openings.<br />
Whoever cuts around widely,<br />
They will often be shamed severely.<br />
In the most direct way possible,<br />
Deliver sudden cuts, stabs wisely<ref>`wisely` inferred from the summary</ref>.<br />
And one shall also always step<br />
To their right side<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
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."<br />
<br />
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.<br />
<br />
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.<br />
<br />
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.<br />
<br />
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.<br />
<br />
And the afore mentioned 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.<br />
<br />
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<br />
<br />
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.<br />
<br />
One can also take 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.<br />
<br />
Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.<br />
<br />
That is the descending cut and the rising cut from both sides.<br />
<br />
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 center of all other plays here as was written about well before.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And if it comes to be 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, rotating and positioning yourself against it, as you will hear of better hereafter.<br />
<br />
And the point, as soon as you come against the sword of the opponent, it 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.<br />
<br />
This is about the four openings, etc, etc.<br />
<br />
Know the four openings<br />
Target so that you strike wisely<br />
Without any fear<br />
Without doubt however they are situated.<br />
<br />
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,<br />
<br />
In this way they become four quarters: a right and a left above the girdle and also below the girdle in the same way.<br />
<br />
These are the four openings, each of which have their particular applications.<br />
<br />
He takes aim of these and never the sword, only the openings.<br />
<br />
If you wish arrange yourself<br />
To artfully break the four openings<br />
Double high<br />
Mutate right down<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood this,<br />
They can scarcely come to blows, etc.<br />
<br />
This is about the crooked cut, etc.<br />
<br />
Crook up swiftly<br />
Throw the point onto the hands<br />
Crook. Whoever besets well<br />
Disrupts many cuts with stepping.<br />
Cut crooked to the flats<br />
Of the masters if you wish to weaken them<br />
When it sparks above<br />
Then dismount, that I will praise<br />
Don't crook, cut short<br />
With that, look for the disengage<br />
Crook whoever tricks you<br />
The noble war bewilders them<br />
For they do not truthfully know<br />
Where they are without danger<br />
<br />
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.<br />
<br />
What Liechtenauer means by this is that if you will conduct this cut well, you shall step well out sideways<ref>to the side, apart, sidways</ref> to the right side, then deliver your attack<br />
<br />
and you shall crooked cut fully and swiftly<br />
<br />
and you shall throw or shoot your point over the opponent's hilt onto their hands<br />
<br />
and you shall cut to the opponent's flat. Then if you hit their flat, remain strong upon it and press firmly<br />
<br />
and you shall cut with your flat. Then if you hit their sword, remain strong upon it and press firmly<br />
<br />
and you shall look for whatever you can subsequently deliver most decisively and directly using cuts, thrust or slices<br />
<br />
and you shall not cut too short with anything<br />
<br />
and you shall not forget about disengaging, when it merits it<br />
<br />
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.<br />
<br />
This is about the crosswise cut, etc.<br />
<br />
The crosswise cut seizes<br />
Whatever arrives from the roof.<br />
Cross with the strong<br />
Remember your work with it.<br />
Cross to the plow<br />
Yoke it hard to the ox<br />
Whoever crosses themselves well<br />
Threatens the head<ref>The page is clipped. only 'cut' remains. This manuscript spells 'haupte' as 'cutpte'</ref> by springing<br />
The failer misleads<br />
It wounds according to desire from below<br />
The inverter constrains.<br />
The one who rushes through also wrestles with it.<br />
Take the elbow surely<br />
Spring into their stance.<br />
The failer doubles.<br />
If they make contact, make the slice with it.<br />
Double it further<br />
Step to the left and do not be lazy<br />
<br />
Because all fencing<br />
Will by all rights have speed<br />
Also in it: audacity,<br />
Prudence, astuteness and ingenuity<br />
<br />
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.<br />
<br />
And you undertake the crosswise cut together to both sides, with both edges, the back and the front; to all openings, below and above.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And it is quite good to come against the sword of the opponent with these crosswise cuts.<br />
<br />
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.<br />
<br />
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.<br />
<br />
And you shall deliver the crosswise cuts with some strength.<br />
<br />
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.<br />
<br />
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<br />
<br />
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.<br />
<br />
Because when you come in from the side well with a good step or spring offline, the opponent must arduously defend or avert this.<br />
<br />
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.<br />
<br />
And you shall then crosswise cut to both sides to ox and to plow. That is, into the high openings and into the low ones respectively 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.<br />
<br />
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.<br />
<br />
This is about the cockeyed cut, etc.<br />
<br />
The cockeyed cut breaks into<br />
Whatever the buffalo cuts or thrusts<br />
Whoever threatens to change,<br />
The cockeyed cut robs them of it.<br />
Cock an eye. If they short you,<br />
Disengaging defeats them.<br />
Cock an eye at the point<br />
And take the neck without fear<br />
Cock an eye at the top of the head<br />
If you wish to ruin the hands.<br />
Cock an eye against the right<br />
If it is that you desire to fence well.<br />
The cockeyed cut I prize,<br />
if it does not arrive too lazily.<br />
<br />
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 named and it genuinely goes in askance or oblique, stepped off to one side to the right with a twisted sword and hand flipped over.<br />
<br />
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)<br />
<br />
And whoever threatens with disengaging, they will be dishonored by the cockeyed cut.<br />
<br />
And you shall cut cockeyed fully and sufficiently long and shoot the point firmly. Otherwise, you will be harried by disengaging<br />
<br />
and you shall cut cockeyed with the point to the throat, boldly without fear<br />
<br />
And wherever you see swords<br />
Yanked from their sheaths by the both of you<br />
Right then you shall become strong<br />
And precisely pay attention to their steps all at once.<br />
The Before, The After, the two things<br />
Gauge and pounce by precept<br />
Follow up all hits<br />
If you wish to make a fool of the strong.<br />
If they defend, then suddenly withdraw.<br />
Thrust. If they defend, press into them.<br />
The windings and the hangings,<br />
Learn to artfully carry out.<br />
And gauge the opponent's applications<br />
To see if they are soft or hard.<br />
If they fence with strength,<br />
Then you are artfully equipped.<br />
And if they attack wide or long,<br />
Shooting defeats them<br />
With your deadly rigor<ref>In all other extant versions this is "point"</ref><br />
If they defend themselves, hit without fear.<br />
Attack suddenly and storm in,<br />
keep moving fluidly, engage or let pass.<br />
Do not attack the sword,<br />
Rather keep watch for the openings<br />
You hit or miss<br />
Then keep it in your mind that you target the openings<br />
With both hands<br />
Learn to bring your point to the eyes.<br />
Always fence with sense<br />
And win the Vorschlag every time.<br />
The opponent hits or misses,<br />
Immediately take target with the Nachschlag's<br />
On both sides,<br />
Step to the right of the opponent<br />
So that you can begin<br />
Fencing or wrestling with advantage.<br />
<br />
This is about the hair-cut, etc.<br />
<br />
The part cut<br />
Is dangerous to the face<br />
With its turn<br />
And the breast is firmly endangered.<br />
Whatever comes from it<br />
The crown removes it.<br />
Slice through the crown<br />
So that you break it beautifully and hard<br />
Press the sweeps<br />
By slicing withdraw it<br />
The scalp-cut I prize<br />
If it arrives not too lazily.<br />
<br />
This is about the four positions, etc.<br />
<br />
Four positions alone<br />
Defend from those and eschew the common<br />
Ox, plow, fool,<br />
From-the-roof are not contemptible to you<br />
<br />
Gloss, etc. Here he names the four positions or four guards, about which there is something to be held.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The second guard, ox is the high hanging from the shoulder.<br />
<br />
The Fool truly breaks<br />
Whatever the opponent cuts or thrusts<br />
Sweep using hanging<br />
Immediately place the pursuit<br />
<br />
The third guard, the Fool, is the low hanging, with it one breaks all cuts and thrusts whosoever commands it correctly<br />
<br />
The fourth guard, the Roof, is long point.<br />
<br />
If you direct it with extended arms, the opponent cannot hit it well with neither cut nor thrust.<br />
<br />
It can also aptly be called the hanging over the head.<br />
<br />
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.<br />
<br />
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.<br />
<br />
This is about the four parries<br />
<br />
Four are the parries<br />
Which also severely disrupt the positions<br />
Guard yourself from parrying<br />
If this happens, it also severely beleaguers you.<br />
If you are parried,<br />
And as it happens<br />
Heed what I advise:<br />
Strike off, cut swiftly with violence<br />
Lodge against four regions<br />
Learn to remain upon them if you wish to finish.<br />
Whoever parries well,<br />
This fencer disrupts many cuts.<br />
Because in the hangings<br />
You swiftly come with the parries.<br />
<br />
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.<br />
<br />
And however you, be it from above or below, carry off or dismiss the opponent's cut, thrust or slice with your sword can fully be termed parrying.<br />
<br />
And if you are parried, as that happens, withdraw swiftly and quickly initiate a cut together in one explosive movement.<br />
<br />
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,<br />
<br />
for however lightly you hesitate and delay, you take harm.<br />
<br />
You must also turn and rotate your point toward the opponent's breast every time, so that they must discourage themselves.<br />
<br />
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.<br />
<br />
For as soon as one parries from above or below, so shall they immediately come into the hangings.<br />
<br />
And like you avert all cuts and stabs with the forward edge, it is as such with the parries.<br />
<br />
This is about the pursuing, etc, etc<br />
<br />
Learn to pursue<br />
Double or slice into the weapon<br />
Two incitements to the outside<br />
The work begins thereafter<br />
And gauge the opponent's application<br />
Whether they are soft or hard<br />
Learn to feel<br />
Indes, this word cuts sharply<br />
Pursuing twice,<br />
Make the old slice with it.<br />
Follow all hits<br />
Then strengthen if you wish to dishonor the masters<br />
In every lesson,<br />
Turn the point against one's face.<br />
With the entire body<br />
Pursue, always keep your point there.<br />
Also learn to swiftly<br />
Pursue, so you can end well.<br />
<br />
This is about the overrunning. Fencer look into this.<br />
<br />
Whoever takes aim from below<br />
Overrun, then they will be shamed.<br />
When it clashes above,<br />
Strengthen, This I wish to praise.<br />
Make your work<br />
Or press hard twice.<br />
Whoever presses you down,<br />
Overrun them, slash sharply again.<br />
From both sides<br />
Overrun and remember the slices.<br />
<br />
This is about displacing. Learn this well.<br />
<br />
Learn to displace<br />
Skillfully disrupt cuts and thrusts<br />
Whoever thrusts at you<br />
Your point hits and their's breaks<br />
From both sides<br />
You will hit every time, if you step.<br />
In every lesson,<br />
Turn the point against one's face.<br />
<br />
This is about the disengaging, etc, etc.<br />
<br />
Learn to disengage<br />
From both sides stabbing sharply with it<br />
Whoever binds upon you<br />
Disengaging surely finds them<br />
If you have changed through,<br />
Do not slash, thrust nor wind lazily.<br />
Do not cut into the sword<br />
Disengage, with that watch.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and when you feel that you connected, fully follow through.<br />
<br />
And the way you execute it on one side, be it from below or above, you execute it on the other.<br />
<br />
And whoever binds with you, swiftly keep moving fluidly to their opening against their sword with your point.<br />
<br />
If they ward, then disengage as before or wind and feel their application whether it is soft or hard.<br />
<br />
Thereafter look to send cuts, thrusts, or slices to the openings.<br />
<br />
This is about withdrawing suddenly. Fencer note.<br />
<br />
Tread close in binds,<br />
So that withdrawing suddenly gives good opportunities.<br />
Suddenly withdraw. If they engage, suddenly withdraw more.<br />
If they work, wind, that does them harm.<br />
Suddenly withdraw all engagements of the masters<br />
If you wish to dishonor them<br />
Suddenly withdraw off of the sword<br />
And always be mindful of your path.<br />
<br />
This is about rushing through. Look closely.<br />
<br />
Rush through, let hang<br />
Grab with the pommel if you wish to grapple.<br />
Whoever strengthens up against you,<br />
Remember to rush through with it.<br />
Rush through and shove.<br />
Invert if they reach for the pommel.<br />
<br />
This is about cutting off, etc, etc<br />
<br />
Cut off the hard ones<br />
From below in both paths.<br />
Four are the slices<br />
With two from below, two from above.<br />
Crosswise cut whoever would slice.<br />
It easily evades the harm.<br />
Do not slice in fright,<br />
Always be wary of pursuing.<br />
You can slice well<br />
Any cross, just omit the pursuit.<br />
If you wish to remain without harm,<br />
Then do not be too eager with the slicing.<br />
<br />
This is about the hand pressing, etc, etc.<br />
<br />
Turn your edge<br />
Into the flats. Press the hands.<br />
Another is turning<br />
One's winding. The third, hanging.<br />
If you wish to make the fencers<br />
Weary, then press with collision<br />
Over the hands,<br />
If one cuts, slice swiftly.<br />
Also draw your slices<br />
Up out over the head.<br />
Whoever presses the hands<br />
Without harm, suddenly retracts the forefinger.<br />
<br />
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<br />
<br />
for however lightly you hesitate and delay yourself, you take harm.<br />
<br />
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.<br />
<br />
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.<br />
<br />
Because the nearer to the hilt, the stronger and the mightier. And the closer to the point, the weaker and the frailer.<br />
<br />
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.<br />
<br />
The forward edge of the sword is called the right edge and all cuts or thrusts are ruined by turning it.<br />
<br />
This is about the hanging. Fencer learn this, etc.<br />
<br />
Two hangings emerge<br />
From the ground out of each hand<br />
In every application<br />
Cut, Thrust, Position, Soft or Hard<br />
Make the speaking window<br />
Stand freely, watch their situation.<br />
Strike them so that it snaps<br />
Whoever withdraws themselves before you.<br />
I say to you truthfully<br />
No one defends themselves without danger<br />
If you have understood<br />
They cannot come to blows<br />
That is, if you remain<br />
Against the sword, also conduct with it<br />
Cuts, thrusts or slices.<br />
With that, note the feeling<br />
Without any preference.<br />
You shall also not flee from the sword<br />
Because master applications<br />
Are against the sword by rights.<br />
Whoever binds against you<br />
The war wrestles with them sharply.<br />
The noble winds<br />
Can also surely find them<br />
With cuts, with thrusts,<br />
With slices you tenaciously find them.<br />
In all winds<br />
You shall find cuts, stabs, slices.<br />
The noble hanging<br />
Cannot exist without the winds.<br />
Because from the hangings<br />
You shall bring the winds.<br />
<br />
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.<br />
<br />
Just as you bind with the opponent against their sword or however else you come against their sword, you must remain against their sword<br />
<br />
and you shall wind<br />
<br />
and you shall stay against their sword in this way with them, completely at ease, with a good spirit and boldly without any fear.<br />
<br />
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.<br />
<br />
And standing in this manner against the sword, Liechtenauer calls this a speaking window.<br />
<br />
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.<br />
<br />
Thereafter, you shall then orient yourself as is often spoken before.<br />
<br />
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,<br />
<br />
For you are always closer to the opponent with this because you stay against their sword and extend your point toward them.<br />
<br />
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.<br />
<br />
But if they stay with you against your sword, then always examine and note whether they are soft or hard against your sword.<br />
<br />
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<br />
<br />
and shall force and press their sword out and seek their openings to the head, to the body; just wherever you can get to.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
If you execute and win the Vorschlag, then the opponent must continually defend or allow themselves to be struck.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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<br />
<br />
and you shall orchestrate it in such a way that you always preempt the opponent in all situations of fencing.<br />
<br />
And as soon as you preempt the opponent and win the Vorschlag, immediately execute the Nachschlag.<br />
<br />
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.<br />
<br />
Truly, if you do this, whoever comes away from you unstruck, they must be quite gifted.<br />
<br />
For with this skill or with this advantage, it often happens that a peasant or someone unlearned slays a good master by it because they do conduct the Vorschlag and boldly storm in.<br />
<br />
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.<br />
<br />
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.<br />
<br />
From both sides<br />
Learn eight winds with stepping.<br />
And always unite them.<br />
Combine the winds with three plays<br />
So are they twenty<br />
And four. Simply count them.<br />
Fencer, mind this<br />
And consider the winds correctly<br />
And learn to command them well<br />
So you can attack the four openings<br />
Because each opening<br />
Objectively has six wounders.<br />
<br />
Gloss. Here note and know that the winds are the rightful art and cornerstone 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".<br />
<br />
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.<br />
<br />
And that is completely against the winds and against Liechtenauer's art because there is no strength. Why would anyone's art differ? You should always prioritize strength.</div>Christian Trosclair