Difference between revisions of "Johannes Liechtenauer/Michael Chidester LS 2025"

Revision as of 15:37, 1 July 2025

The Record^[1] of the chivalric art of fighting, which was composed and created by Johannes Liechtenauer (God rest his soul), grand master of the art, begins here: first with the extended sword,^[2] then with the lance and sword on horseback and with the retracted sword in the duel. Since the art belongs to princes, lords, knights, and soldiers, and they should learn and know it, he allowed this art to be written down. But because of frivolous fencing masters^[3] who would trivialize the art, it's written in obscure and cryptic words (as you'll find written below) so that not just anyone will learn or understand it, and that way those masters can't make his art common or open among people who won't treat it with proper respect.

The Preface^[4]^[5]^[6]

1	Young knight, learn first: have love for god, And honor women—that I laud.^[7]
2	So that your honor great may grow, Practice chivalry and know^[8]
3	Arts that adorn you well in play And bring you fame in war some day.^[9]
4	Gain wrestling's artful holds with might; With lance, spear, sword, and knife do fight,^[10]


5	And wield them all with gallant hand,^[11] So that against you none may stand.^[12]^[13]

6	Cut here and there and close with this; Charge through and you will hit or miss.^[14]
7	The wise ones hate and will disdain All those who praise themselves in vain;
8	So grasp when all is said and done: All art needs measure, moderation.^[15]

A common lesson^[16]

9	If you would bring the art to light, See left advance and strike with right,
10	For you will find that left with right Is how you may most strongly fight.
11	Who waits and follows after blows, Will little joy in this art know.^[17]
12	Cut close to them; your will revealed,^[18] No changer comes to breach your shield;^[19]
13	Toward head and body, forth you race, The skirmish you should then embrace.^[20]
14	And always fight with all your strength, Your body tight at any length.^[21]

15	A simple rule you should not slight:^[22] Fence not from left when you are right.
16	If on your left is how you fight, You'll be quite clumsy on the right.
17	Before and After, these two things:^[23] The font from which all true art springs.
18	With Strong and Weak, you'll rule the bind;^[24] The word ‘Within’ bear well in mind.^[25]
19	Learn onward in this art until You can defend and work with skill.
20	But if you easily get spooked, Then fencing is a poor pursuit.^[26]

^[27]

21	Five strikes you must now learn to heed, Perform them with your right hand’s speed;

22	Those fencers skilled whose art we vow To reward well will show us how:^[28]

The text^[29]

23	The wrathful one hates crook and cross;^[30] So cock your eye and parting cause.^[31]
24	A fool will parry all strikes, so Pursue, run down, and set the blow.^[32]

25	Change it through, pull your point back, Run through, slice off, or hands attack.
26	Then angle, turn, expose them more, Strike, catch, sweep, and push your point fore.

27	When from above they cut in near, The point of wrath makes danger clear.
28	If they should sense the threat and shove, Care not, just take it off above.
29	Or if they're strong, then more strength show And thrust—if seen, take it below.
30	Bear this in mind once in the fray: Cut, thrust, then Hard or Soft you lay,
31	‘Within’, and then drive after more, But calmly—do not rush to war;
32	If at the war above they aim, Go down below and bring them shame.
33	In every turn inside the bind, Cut, thrust, and slice you'll learn to find;
34	You also must learn to assess Which one of them would serve you best,
35	So that, whenever steel meets steel, The masters you'll confound with zeal.

36	Know there are but four exposures; Clear your path and aim for closure,
37	In every threat, in each attack, Without regard for how they act.

38	If first they strike, revenge is sweet; Exploit these four exposures neat:
39	To strike above you should redouble; Transmute below to cause them trouble.
40	Now let me make this plain and clear: No one defends without some fear,

41	And if this truth one learns and knows, Then scarcely can they come to blows.

42	Throw a curve with crooked grace; Onto their hands your point will race.
43	Curve in to set aside down low, And step to hinder many blows.
44	Cut crookedly up toward the flat, Subvert the masters' strength with that.
45	When steel on steel above should spark, Stand fast and I will praise your art.
46	Curve not: cut short, your plan concealed, Then with it, changing through reveal.
47	Who crookedly leads you astray, The noble war will them dismay;
48	They'll truly have no way to know Where they'd be safe from any blow.

49	The cross takes what from sky comes down, Rewarding all with glory's crown.
50	The cross in Strength performed its deed, Your work remains, take careful heed.
51	When to the plow you drive across, Yoke it hard then to the ox.
52	Cross yourself and take a leap, And threaten heads while yours you keep.
53	Mislead by missing skillfully; Go low and harry willfully.
54	Inversion forces and constrains; Run through and wrestling holds you'll gain:
55	Their elbow take; be sure, then leap; Done right, their balance you will reap.
56	Now then, miss twice, and when you hit, Just make a classic slice with it.
57	The second time you miss, I say To step in left, and don't delay.

58	When buffalo will cut or thrust, The cockeye breaks and enters thus.
59	If, with the changer, threat they lay, The cockeye robs them anyway.
60	If you see that they're shorting you, Take your revenge by changing through.
61	Down to their point you cock your eye, But, fearless, take their neck up high.
62	Or cock your eye up to their part, If you would spoil their hands with art.

63	Cut from your part to seek your prize And threaten them under the eyes.
64	Then turn and take it down below, And threats against their heart bestow.
65	Whatever from your part descends, Their lofty crown can well defend.
66	Slice through their crown, refuse to kneel, Its glory broken by your steel.
67	With sweeping cuts press your attack; Slice through and then pull yourself back.

68	In four lairs only should you lie; Hold there and vulgar guards decry.
69	The ox that plows, the foolish one, And from the day you should not shun.

70	Now four displacements learn with care, Which also flush them from their lair.
71	Be mindful of displacement's game, It guards you well or brings you shame.
72	Should you become displaced at last, However this has come to pass,
73	Then listen now to what I say: Wrench off, cut in, and don't delay.
74	Set on to four extremities, Learn to remain and end with ease.

75	Learn to pursue, then learn it twice; Or into their defenses slice.
76	When they're outside, there take them on In two forms; start what work you want.
77	Then gauge each threat with hand and blade: If pushing Hard or Softly laid;
78	For this you must learn how to feel; The word ‘Within’ cuts deep as steel.
79	Pursue again, and if you hit, Then make the same old slice with it.

80	If down below your sword they aim, Flow over them and bring them shame.
81	When steel on steel above should spark, Stay strong and I will praise your art.
82	Work onward then with skill and ardor, Or press them hard and press them harder.

83	Learn how to set aside, and thus, With art you'll hinder cut and thrust.
84	Whoever tries to stab at you, Your point meets theirs and breaks on through.
85	From either side, both left and right, Your swords will meet if forth you stride.

86	Learn to change through, your sword untied, Then thrust sharply from either side.
87	Whomever tries to bind on you You'll swiftly find by changing through.

88	Now step in close, engage the bind, Then pull, and what you seek you'll find.
89	Pull back; if sword you meet, pull more; Devise a work that hurts them sore.
90	Pull back whenever steel meets steel And masters you’ll confound with zeal.

91	Hold pommel high, let blade hang down, Run through and wrestling abounds.
92	When strength would press and oppress you, Remember this: just run on through.

93	Whenever hardness blocks your plays, Slice off from underneath both ways.
94	There are four slices you must know: Two falling high, two rising low.

95	Turn every slice to serve your end, Their hands to press and arms to bend.


96	Two angles rise upon command, Up from the earth, out of your hand.
97	In every threat, in each foray, Cut, thrust, then Hard or Soft you lay.

98	Spread windows wide that speech may flow; Stand cheerful and hear their case so;
99	But snap the windows shut upon Whoever tries to cut and run.
100	Now let me make this plain and clear: No one defends without some fear,
101	And if this truth one learns and knows, Then scarcely can they come to blows.

102	If you lead well and break through right, To this end you may guide the fight,
103	And breaking in with flashing steel, Three wonders of the sword reveal.
104	Angle point in straight and true, And turn your sword to follow through.
105	Now eight turns note with thoughtful mind, And weigh the paths that each may find:
106	In each and every turn of sword, Three wonders wait to be explored.
107	They thus expand to twenty-four Count one by one, you won't need more.
108	From either side, both left and right, Learn these eight turns when forth you'd stride.
109	Then gauge each threat with hand and blade: But pushing Hard or Softly laid.

↑ Zettel is a tricky word to translate. The closest English cognate is “schedule” (both come from the Latin schedula), but only in the more obscure legal sense of a formal list, not the familiar sense of a timetable. It’s commonly used in modern German to denote a short list or a scrap of paper that could hold a list (like a receipt). Zettel is translated as “record” here (and capitalized and italicized as the title of a written work), but other common translations include “epitome”, “notes”, and “recital”.
↑ The literal translation here would be “long sword”, but since it isn’t the sword that’s long and instead it’s holding the sword with both hands on the grip that ‘lengthens’ it, “extended sword” seems clearer. Compare “retracted sword” in the dueling lessons, which refers to placing the left hand on the blade. An alternative interpretation might be that the amount of blade extending in front of the hands is long in the langen Schwert grip and short in the kurtzen Schwert grip.
↑ The spelling Schirmeister is ambiguous. A Schirmmeister is a fencing teacher, using the late medieval term for fencing (schirmen rather than fechten). A Schirrmeister is an aristocrat’s stablemaster, or a logistics officer in a military setting in charge of animals and anything pulled by animals (wagons, cannon, etc.). ‘Schirmeister’ could be a spelling of either one; Hans Medel reads it as the former. The Leichmeistere ridiculed by the author of ms. 3227^a in their introduction, often translated as “dance masters” or “play masters”, might be a shortening of this phrase (leichtfertigen schirmaister).
↑ The individual section headings don't seem to be part of Liechtenauer's original Record—or at least, the scribes seem to have treated them as non-authoritative and felt free to expand, contract, modify, or omit them entirely. They are only included here in abbreviated form and can be hidden along with the footnotes.
↑ Jay Acutt has pointed out that the structure of the Record of the extended sword could be framed in terms of Classical rhetoric following Cicero and others, in which case this preface is the exordium, the introduction that appeals to the audience by declares the speaker's or writer's ethos.
↑ This preface to the Record is quoted by the glossators but rarely glossed by them (see the notes below for exceptions).
↑ Many in the Kunst des Fechtens community are inclined to discard or this verse or openly declare it fraudulent or evidence of some kind of LARP (Live-Action RolePlay), but all of the known students of early masters in Liechtenauer's tradition were indeed knights and princes, so there's no basis on which to argue that Liechtenauer was directing his teachings to anyone by members of the nobility. ‘Liechtenauer’ is a non-noble surname as are most of the other names associated with his tradition, but that should be no surprise considering the occupation of fencing master was typically one that the lower classes performed for the nobility, just like hunting master and any number of other such services.
↑ Jens P. Kleinau has pointed out that in the first couplet, the second line is much longer than most in the Record, while in this second couplet, the version used by the Lew gloss only includes the first line and the version appearing in H. Beringer and Hans Folz only includes the second line. This may be evidence of combining two early proto-Records, each of which mentioned loving god in the first couplet and honoring women as the first line of the second couplet. See his 2020 blog post for more details.
↑ In the same blog post, Jens P. Kleinau points out that the mention of Ehre (rendered “fame" in this line to avoid repetition) may be a later addition to the text, since some versions have sehre instead of zu Ehre, which makes the phrase and meter smoother; additionally, the idea of warfare as an avenue of increasing one's honor is mostly absent from contemporary literature. Hofieren is to serve, often in a feudal or courtly sense, so the alternate rhymed version would be “And serve you well in war some day”.
↑ Messer is a term that we often associate with the iconic German machete-like knife taught by Johannes Lecküchner and others, but both historically and today it can refer to any kind of knife; mentions of it in the Record are usually interpreted as referring to daggers by the glossators.
↑ Literally “manly”, not “gallant”, but I've used ungendered language for the most part in this translation because I want readers to be able to more easily see themselves and their training partners in it regardless of their genders.
↑ Bederben and verderben could be read as synonyms in Early New High German (ENHG), both meaning “to destroy”, but that doesn't make sense in context so we tend to read bederben in its Middle High German (MHG) definition of “to use”. Beringer uniquely has ‘bedurfen=need or make use of’, which reinforces this reading and could represent an earlier, less ambiguous phrasing.
↑ Jens-Peter sees a division here where the moralistic/inspirational address to the young knight ends and practical advice to a fencing student begins. I disagree, and think couplets 6–9 are still about mindset and morality in fighting.
↑ This couplet isn't directly glosses, but is discussed by the author of ms. 3227^a in his gloss of the common lesson.
↑ These two terms are translated in all kinds of ways, from the abstract/geometric (dimension and extension) to the colloquial (time and place, weighed and measured) to the fencing-specific (distance and reach). My translation goes with a more moralistic read, outlining two qualities the young knight needs to develop, both of which point to the cardinal virtue of temperance. This line is sort of glossed in sword section of the Augsburg Group manuscripts.
↑ Classical rhetoric would label this section the narratio, the statement of basic facts and the nature of the things being discussed.
↑ This is interpreted as an admonition against passively waiting for your opponent's actions in the early glosses, but I phrased it in a way that it could also lead Andre Paurenfeyndt and Joachim Meyer to turn it into a teaching about footwork.
↑ This line is contentious because it encapsulates two approaches to striking among students of Liechtenauer in the 21st century: it either advises you to approach close to your opponent and then cut so you're sure of hitting their head or body with your edge, or it advises you to cut so that your sword approaches close to your opponent and then hit their face or chest with your point; I hold with the latter interpretation, which seems most in line with the instructions in the Sigmund ain Ringeck, Pseudo-Peter von Danzig, and Lew glosses (RDL).
↑ ‘Schilt=shield’ is often treated as synonymous with the flanges that appear on some 15th-16th century fencing swords, but there's no textual support for this (no, not even in Joachim Meyer's treatises). ‘Shield’ instead seems to refer to the entire lower portion of the sword most often used for defense: the crossguard, the Strength of the blade (see below), and yes, also any flanges that appear near the shoulder of the sword.
↑ Zecken is typically translated with a variety of words suggesting minor strikes (and Zeck also means “tick”, leading some to read it as something like “bug bites”), but the Lexer gives an alternative reading of “skirmish” or harassing actions. Rühren is “to stir up”, “to cause something to move”, and “to touch or hit” (including “to land a blow in fencing”); I summarize these senses as “harrying”. Zeckrühr doesn’t appear in Grimm or the Lexer, so I read it as a compound of these two words and render it as “harrying strikes” to express the idea of harrassing during a skirmish. (Thanks to Christian Trosclair for digging up the zecken lemma.) The terms Zecken and Zeckrühr are not used again in the Record or in the glosses for any other section, so it’s hard to be sure what this term means. There are hints, though: the gloss of this verse in Hans Medel’s gloss repeats this couplet when it covers the take-away (after couplet 28), the misser is described as rühren, and two specific pieces are given in the gloss of this couplet in the Pseudo-Peter von Danzig and Lew glosses. Based on these examples, I surmise that it's the term for actions that exit a bind and strike to a new exposure, creating a nice contrast between the skirmish and the ‘Krieg=war’ (described further on, in which you remain in the bind and attack by turning your sword).
↑ More literally “When you want to drive something strongly, fence with your whole body”, but I went with this translation because one of my objectives was to make this stick in people's brains, and “always fight with all your strength” has been part of our collective subconscious in Kunst des Fechtens ever it since was used by Sigmund ain Ringeck translators at the turn of the 21st century. Also, not much rhymes with ‘strength’.
↑ Schlecht often means “bad”, but it can also mean “straight, direct, simple”, and that makes more sense here. (Thanks to Stephen Cheney for pointing this out.)
↑ This line is the same as the first line of dueling couplet 62.
↑ RDL read this as referring to the parts of the sword—the ‘Strength’ of the sword is the part closer to the hand and the ‘Weakness’ of the sword is part near the tip (perhaps specifically from the center of balance to the cross and from the center of percussion to the tip, as swordsmith Paul Champagne (God rest his soul) once opined.); in between is the ‘middle’, and this is where two other words, ‘Hardness’ and ‘Softness’, are felt. Conversely, the author of ms. 3227^a doesn't clearly distinguish these two sets of words and typically refers to things as being both “Hard and Strong” or “Soft and Weak” (perhaps owing to their love of hendiadys).
↑ The meaning of the word Indes changes significantly from MHG to ENHG. It may be translated “within” or “inside” in both languages, but in MHG, Indes was primarily a spatial adverb (i.e., within a place or location) and in ENHG it became primarily a temporal adverb (i.e., within a time or event). Liechtenauer’s Record seems to have been written in the midst of this transition and straddles both senses: the word ‘Within’ is used to describe actions the instant (time) when you have felt the pressure of the bind (place) and must choose a response. By the time of Joachim Meyer, this linguistic evolution was complete and this is perhaps what lead him to accuse masters who taught a spacial interpretation of Indes to be conflating it with the Latin word Intus, which does indeed align closely with the MHG
↑ Erschricken is often translated as “frighten”, but according to Grimm, it's in the sense of a ‘jump-scare’ rather than a feeling of terror. This verse isn't about cowardice or running away, but rather about panicking and doing something stupid when attacked. (Thanks to Jessica Finley for first pointing this out to me.)
↑ This quatrain is often appended to the end of the common lesson, but the author of ms. 3227^a places it as the beginning of the list of main pieces of the Record, and I think it makes the most sense there, where the five are actually listed and named.
↑ This couplet is omitted from the Record in ms. 3227^a; it's also worded awkwardly (in German) and doesn't rhyme. It's possible that this was a late addition to the Record and perhaps even not authored by Liechtenauer.
↑ In Classical rhetoric, the third segment would be the partitio, the outline of the argument.
↑ Krumm und Twer is an expression meaning something like "to and fro" (per Jessica Finley). Likewise, the Zornhaw is described by both RDL and the author of ms. 3227^a as a schlect haw, and schlect und krumm is an expression meaning "straight and crooked" (per Christian Trosclair). But since this couplet is clearly designed to be mnemonic rather than a functional description, I devised something memorable.
↑ Schiller mit Scheitler is listed as one of the six techniques that the Brotherhood of St. Mark would test prospective masters on, but neither RDL nor the author of ms. 3227^a make any effort to explain these two things in context with each other. Hans Medel offers a play that he labels that way, though, and Hans Talhoffer modifies a verse in the Schiller to include a reference to the Scheitel (see below).
↑ This couplet is strange; it can be read as describing the first five main pieces, but if that were the intent, we'd expect to see Leger, Versetzt, / Nachreisen, überlauff, absetzt (which would even have the same meter). Instead, it says ‘Alber=poplar tree or foolish’ in the first line and and ‘haw setzt=set the cut’ (or, more commonly, ‘haw letzt=hinders cuts’). This might signify that it was manipulated to make it more memorable than a simple list would be, so I similarly tried to phrase it into a narrative sentence.

[1] Zettel is a tricky word to translate. The closest English cognate is “schedule” (both come from the Latin schedula), but only in the more obscure legal sense of a formal list, not the familiar sense of a timetable. It’s commonly used in modern German to denote a short list or a scrap of paper that could hold a list (like a receipt). Zettel is translated as “record” here (and capitalized and italicized as the title of a written work), but other common translations include “epitome”, “notes”, and “recital”.

[2] The literal translation here would be “long sword”, but since it isn’t the sword that’s long and instead it’s holding the sword with both hands on the grip that ‘lengthens’ it, “extended sword” seems clearer. Compare “retracted sword” in the dueling lessons, which refers to placing the left hand on the blade. An alternative interpretation might be that the amount of blade extending in front of the hands is long in the langen Schwert grip and short in the kurtzen Schwert grip.

[3] The spelling Schirmeister is ambiguous. A Schirmmeister is a fencing teacher, using the late medieval term for fencing (schirmen rather than fechten). A Schirrmeister is an aristocrat’s stablemaster, or a logistics officer in a military setting in charge of animals and anything pulled by animals (wagons, cannon, etc.). ‘Schirmeister’ could be a spelling of either one; Hans Medel reads it as the former. The Leichmeistere ridiculed by the author of ms. 3227^a in their introduction, often translated as “dance masters” or “play masters”, might be a shortening of this phrase (leichtfertigen schirmaister).

[4] The individual section headings don't seem to be part of Liechtenauer's original Record—or at least, the scribes seem to have treated them as non-authoritative and felt free to expand, contract, modify, or omit them entirely. They are only included here in abbreviated form and can be hidden along with the footnotes.

[5] Jay Acutt has pointed out that the structure of the Record of the extended sword could be framed in terms of Classical rhetoric following Cicero and others, in which case this preface is the exordium, the introduction that appeals to the audience by declares the speaker's or writer's ethos.

[6] This preface to the Record is quoted by the glossators but rarely glossed by them (see the notes below for exceptions).

[7] Many in the Kunst des Fechtens community are inclined to discard or this verse or openly declare it fraudulent or evidence of some kind of LARP (Live-Action RolePlay), but all of the known students of early masters in Liechtenauer's tradition were indeed knights and princes, so there's no basis on which to argue that Liechtenauer was directing his teachings to anyone by members of the nobility. ‘Liechtenauer’ is a non-noble surname as are most of the other names associated with his tradition, but that should be no surprise considering the occupation of fencing master was typically one that the lower classes performed for the nobility, just like hunting master and any number of other such services.

[8] Jens P. Kleinau has pointed out that in the first couplet, the second line is much longer than most in the Record, while in this second couplet, the version used by the Lew gloss only includes the first line and the version appearing in H. Beringer and Hans Folz only includes the second line. This may be evidence of combining two early proto-Records, each of which mentioned loving god in the first couplet and honoring women as the first line of the second couplet. See his 2020 blog post for more details.

[9] In the same blog post, Jens P. Kleinau points out that the mention of Ehre (rendered “fame" in this line to avoid repetition) may be a later addition to the text, since some versions have sehre instead of zu Ehre, which makes the phrase and meter smoother; additionally, the idea of warfare as an avenue of increasing one's honor is mostly absent from contemporary literature. Hofieren is to serve, often in a feudal or courtly sense, so the alternate rhymed version would be “And serve you well in war some day”.

[10] Messer is a term that we often associate with the iconic German machete-like knife taught by Johannes Lecküchner and others, but both historically and today it can refer to any kind of knife; mentions of it in the Record are usually interpreted as referring to daggers by the glossators.

[11] Literally “manly”, not “gallant”, but I've used ungendered language for the most part in this translation because I want readers to be able to more easily see themselves and their training partners in it regardless of their genders.

[12] Bederben and verderben could be read as synonyms in Early New High German (ENHG), both meaning “to destroy”, but that doesn't make sense in context so we tend to read bederben in its Middle High German (MHG) definition of “to use”. Beringer uniquely has ‘bedurfen=need or make use of’, which reinforces this reading and could represent an earlier, less ambiguous phrasing.

[13] Jens-Peter sees a division here where the moralistic/inspirational address to the young knight ends and practical advice to a fencing student begins. I disagree, and think couplets 6–9 are still about mindset and morality in fighting.

[14] This couplet isn't directly glosses, but is discussed by the author of ms. 3227^a in his gloss of the common lesson.

[15] These two terms are translated in all kinds of ways, from the abstract/geometric (dimension and extension) to the colloquial (time and place, weighed and measured) to the fencing-specific (distance and reach). My translation goes with a more moralistic read, outlining two qualities the young knight needs to develop, both of which point to the cardinal virtue of temperance. This line is sort of glossed in sword section of the Augsburg Group manuscripts.

[16] Classical rhetoric would label this section the narratio, the statement of basic facts and the nature of the things being discussed.

[17] This is interpreted as an admonition against passively waiting for your opponent's actions in the early glosses, but I phrased it in a way that it could also lead Andre Paurenfeyndt and Joachim Meyer to turn it into a teaching about footwork.

[18] This line is contentious because it encapsulates two approaches to striking among students of Liechtenauer in the 21st century: it either advises you to approach close to your opponent and then cut so you're sure of hitting their head or body with your edge, or it advises you to cut so that your sword approaches close to your opponent and then hit their face or chest with your point; I hold with the latter interpretation, which seems most in line with the instructions in the Sigmund ain Ringeck, Pseudo-Peter von Danzig, and Lew glosses (RDL).

[19] ‘Schilt=shield’ is often treated as synonymous with the flanges that appear on some 15th-16th century fencing swords, but there's no textual support for this (no, not even in Joachim Meyer's treatises). ‘Shield’ instead seems to refer to the entire lower portion of the sword most often used for defense: the crossguard, the Strength of the blade (see below), and yes, also any flanges that appear near the shoulder of the sword.

[20] Zecken is typically translated with a variety of words suggesting minor strikes (and Zeck also means “tick”, leading some to read it as something like “bug bites”), but the Lexer gives an alternative reading of “skirmish” or harassing actions. Rühren is “to stir up”, “to cause something to move”, and “to touch or hit” (including “to land a blow in fencing”); I summarize these senses as “harrying”. Zeckrühr doesn’t appear in Grimm or the Lexer, so I read it as a compound of these two words and render it as “harrying strikes” to express the idea of harrassing during a skirmish. (Thanks to Christian Trosclair for digging up the zecken lemma.) The terms Zecken and Zeckrühr are not used again in the Record or in the glosses for any other section, so it’s hard to be sure what this term means. There are hints, though: the gloss of this verse in Hans Medel’s gloss repeats this couplet when it covers the take-away (after couplet 28), the misser is described as rühren, and two specific pieces are given in the gloss of this couplet in the Pseudo-Peter von Danzig and Lew glosses. Based on these examples, I surmise that it's the term for actions that exit a bind and strike to a new exposure, creating a nice contrast between the skirmish and the ‘Krieg=war’ (described further on, in which you remain in the bind and attack by turning your sword).

[21] More literally “When you want to drive something strongly, fence with your whole body”, but I went with this translation because one of my objectives was to make this stick in people's brains, and “always fight with all your strength” has been part of our collective subconscious in Kunst des Fechtens ever it since was used by Sigmund ain Ringeck translators at the turn of the 21st century. Also, not much rhymes with ‘strength’.

[22] Schlecht often means “bad”, but it can also mean “straight, direct, simple”, and that makes more sense here. (Thanks to Stephen Cheney for pointing this out.)

[23] This line is the same as the first line of dueling couplet 62.

[24] RDL read this as referring to the parts of the sword—the ‘Strength’ of the sword is the part closer to the hand and the ‘Weakness’ of the sword is part near the tip (perhaps specifically from the center of balance to the cross and from the center of percussion to the tip, as swordsmith Paul Champagne (God rest his soul) once opined.); in between is the ‘middle’, and this is where two other words, ‘Hardness’ and ‘Softness’, are felt. Conversely, the author of ms. 3227^a doesn't clearly distinguish these two sets of words and typically refers to things as being both “Hard and Strong” or “Soft and Weak” (perhaps owing to their love of hendiadys).

[25] The meaning of the word Indes changes significantly from MHG to ENHG. It may be translated “within” or “inside” in both languages, but in MHG, Indes was primarily a spatial adverb (i.e., within a place or location) and in ENHG it became primarily a temporal adverb (i.e., within a time or event). Liechtenauer’s Record seems to have been written in the midst of this transition and straddles both senses: the word ‘Within’ is used to describe actions the instant (time) when you have felt the pressure of the bind (place) and must choose a response. By the time of Joachim Meyer, this linguistic evolution was complete and this is perhaps what lead him to accuse masters who taught a spacial interpretation of Indes to be conflating it with the Latin word Intus, which does indeed align closely with the MHG

[26] Erschricken is often translated as “frighten”, but according to Grimm, it's in the sense of a ‘jump-scare’ rather than a feeling of terror. This verse isn't about cowardice or running away, but rather about panicking and doing something stupid when attacked. (Thanks to Jessica Finley for first pointing this out to me.)

[27] This quatrain is often appended to the end of the common lesson, but the author of ms. 3227^a places it as the beginning of the list of main pieces of the Record, and I think it makes the most sense there, where the five are actually listed and named.

[28] This couplet is omitted from the Record in ms. 3227^a; it's also worded awkwardly (in German) and doesn't rhyme. It's possible that this was a late addition to the Record and perhaps even not authored by Liechtenauer.

[29] In Classical rhetoric, the third segment would be the partitio, the outline of the argument.

[30] Krumm und Twer is an expression meaning something like "to and fro" (per Jessica Finley). Likewise, the Zornhaw is described by both RDL and the author of ms. 3227^a as a schlect haw, and schlect und krumm is an expression meaning "straight and crooked" (per Christian Trosclair). But since this couplet is clearly designed to be mnemonic rather than a functional description, I devised something memorable.

[31] Schiller mit Scheitler is listed as one of the six techniques that the Brotherhood of St. Mark would test prospective masters on, but neither RDL nor the author of ms. 3227^a make any effort to explain these two things in context with each other. Hans Medel offers a play that he labels that way, though, and Hans Talhoffer modifies a verse in the Schiller to include a reference to the Scheitel (see below).

[32] This couplet is strange; it can be read as describing the first five main pieces, but if that were the intent, we'd expect to see Leger, Versetzt, / Nachreisen, überlauff, absetzt (which would even have the same meter). Instead, it says ‘Alber=poplar tree or foolish’ in the first line and and ‘haw setzt=set the cut’ (or, more commonly, ‘haw letzt=hinders cuts’). This might signify that it was manipulated to make it more memorable than a simple list would be, so I similarly tried to phrase it into a narrative sentence.

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@@ Line 1: / Line 1: @@
 <section begin="1"/>{{red|b=1|The ''Record''<ref>''Zettel'' is a tricky word to translate. The closest English cognate is “schedule” (both come from the Latin ''schedula''), but only in the more obscure legal sense of a formal list, not the familiar sense of a timetable. It’s commonly used in modern German to denote a short list or a scrap of paper that could hold a list (like a receipt). ''Zettel'' is translated as “record” here (and capitalized and italicized as the title of a written work), but other common translations include “epitome”, “notes”, and “recital”.</ref> of the chivalric art of fighting, which was composed and created by Johannes Liechtenauer (God rest his soul), grand master of the art, begins here:}} first with the extended sword,<ref>The literal translation here would be “long sword”, but since it isn’t the ''sword'' that’s long and instead it’s holding the sword with both hands on the grip that ‘lengthens’ it, “extended sword” seems clearer. Compare “retracted sword” in the dueling lessons, which refers to placing the left hand on the blade. An alternative interpretation might be that the amount of blade extending in front of the hands is ''long'' in the ''langen Schwert'' grip and ''short'' in the ''kurtzen Schwert'' grip.</ref> then with the lance and sword on horseback and with the retracted sword in the duel. Since the art belongs to princes, lords, knights, and soldiers, and they should learn and know it, he allowed this art to be written down. But because of frivolous fencing masters<ref>The spelling ''Schirmeister'' is ambiguous. A ''Schirmmeister'' is a fencing teacher, using the late medieval term for fencing (''schirmen'' rather than ''fechten''). A ''Schirrmeister'' is an aristocrat’s stablemaster, or a logistics officer in a military setting in charge of animals and anything pulled by animals (wagons, cannon, etc.). ‘''Schirmeister''’ could be a spelling of either one; Hans Medel reads it as the former. The ''Leichmeistere'' ridiculed by [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] in their introduction, often translated as “dance masters” or “play masters”, might be a shortening of this phrase (''leichtfertigen schirmaister'').</ref> who would trivialize the art, it's written in obscure and cryptic words (as you'll find written below) so that not just anyone will learn or understand it, and that way those masters can't make his art common or open among people who won't treat it with proper respect.<section end="1"/>
-<section begin="2"/>{{red|b=1|The Preface}}<ref>The individual section headings don't seem to be part of Liechtenauer's original ''Record''&mdash;or at least, the scribes seem to have treated them as non-authoritative and felt free to expand, contract, modify, or omit them entirely. They are only included here in abbreviated form and can be hidden along with the footnotes.</ref><ref>This preface to the ''Record'' is quoted by the glossators but rarely glossed by them (see the notes below for exceptions).</ref>
+<section begin="2"/>{{red|b=1|The Preface}}<ref>The individual section headings don't seem to be part of Liechtenauer's original ''Record''&mdash;or at least, the scribes seem to have treated them as non-authoritative and felt free to expand, contract, modify, or omit them entirely. They are only included here in abbreviated form and can be hidden along with the footnotes.</ref><ref>[[Jay Acutt]] has pointed out that the structure of the ''Record'' of the extended sword could be framed in terms of Classical rhetoric following Cicero and others, in which case this preface is the ''exordium'', the introduction that appeals to the audience by declares the speaker's or writer's ethos.</ref><ref>This preface to the ''Record'' is quoted by the glossators but rarely glossed by them (see the notes below for exceptions).</ref>
 {| class="zettel"
 |-
 | <small>1</small>
-| Young knight, learn first: have love for god,<br/>&emsp;And honor women—that I laud.
+| Young knight, learn first: have love for god,<br/>&emsp;And honor women—that I laud.<ref>Many in the ''Kunst des Fechtens'' community are inclined to discard or this verse or openly declare it fraudulent or evidence of some kind of <small>LARP</small> (Live-Action RolePlay), but all of the known students of early masters in Liechtenauer's tradition were indeed knights and princes, so there's no basis on which to argue that Liechtenauer was directing his teachings to anyone by members of the nobility. ‘Liechtenauer’ is a non-noble surname as are most of the other names associated with his tradition, but that should be no surprise considering the occupation of fencing master was typically one that the lower classes performed for the nobility, just like hunting master and any number of other such services.</ref>
 |-
 | <small>2</small>
@@ Line 11: / Line 11: @@
 |-
 | <small>3</small>
-| Arts that adorn you well in play<br/>&emsp;And bring you fame in war some day.<ref>In [https://talhoffer.wordpress.com/2020/10/29/liechtenauer-new-glosses-preface/ the same blog post], [[Jens P. Kleinau]] points out that the mention of ''Ehre'' (rendered “fame" in this line) may be a later addition to the text, since some versions have ''sehre'' instead of ''zu Ehre'', which makes the phrase and meter smoother, and the idea of warfare as an avenue of increasing one's honor is mostly absent from contemporary literature. ''Hofieren'' is to serve, often in a feudal or courtly sense, so the alternate rhymed version would be “And serve you well in war some day”.</ref>
+| Arts that adorn you well in play<br/>&emsp;And bring you fame in war some day.<ref>In [https://talhoffer.wordpress.com/2020/10/29/liechtenauer-new-glosses-preface/ the same blog post], [[Jens P. Kleinau]] points out that the mention of ''Ehre'' (rendered “fame" in this line to avoid repetition) may be a later addition to the text, since some versions have ''sehre'' instead of ''zu Ehre'', which makes the phrase and meter smoother; additionally, the idea of warfare as an avenue of increasing one's honor is mostly absent from contemporary literature. ''Hofieren'' is to serve, often in a feudal or courtly sense, so the alternate rhymed version would be “And serve you well in war some day”.</ref>
 |-
 | <small>4</small>
@@ Line 23: / Line 23: @@
 |-
 | <small>5</small>
-| And wield them all with gallant hand,<ref>Literally “manly”, not “gallant”, but I've used ungendered language for the most part in this translation because I want readers to be able to more easily see themselves and their training partners in it regardless of their genders.</ref><br/>&emsp;So that against you none may stand.<ref>''Bederben'' and ''verderben'' could be read as synonyms in Early New High German, both meaning “to destroy”, but that doesn't make sense in context so we tend to read ''bederben'' in its Middle High German definition of “to use”. Beringer uniquely has "''bedurfen''=need or make use of", which reinforces this reading and could represent an earlier, less ambiguous phrasing.</ref><ref>Jens-Peter sees a division here where the moralistic/inspirational address to the young knight ends and practical advice to a fencing student begins. I disagree, and think couplets 6&ndash;9 are still about mindset and morality in fighting.</ref>
+| And wield them all with gallant hand,<ref>Literally “manly”, not “gallant”, but I've used ungendered language for the most part in this translation because I want readers to be able to more easily see themselves and their training partners in it regardless of their genders.</ref><br/>&emsp;So that against you none may stand.<ref>''Bederben'' and ''verderben'' could be read as synonyms in Early New High German (<small>ENHG</small>), both meaning “to destroy”, but that doesn't make sense in context so we tend to read ''bederben'' in its Middle High German (<small>MHG</small>) definition of “to use”. Beringer uniquely has ‘''bedurfen''=need or make use of’, which reinforces this reading and could represent an earlier, less ambiguous phrasing.</ref><ref>Jens-Peter sees a division here where the moralistic/inspirational address to the young knight ends and practical advice to a fencing student begins. I disagree, and think couplets 6&ndash;9 are still about mindset and morality in fighting.</ref>
 |- id="LSChidesterHTG5a"
 |
@@ Line 29: / Line 29: @@
 |-
 | <small>6</small>
-| Cut here and there and close with this;<br/>&emsp;Charge through and you will hit or miss.<ref>This couplet is only glossed by [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]].</ref>
+| Cut here and there and close with this;<br/>&emsp;Charge through and you will hit or miss.<ref>This couplet isn't directly glosses, but is discussed by [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] in his gloss of the common lesson.</ref>
 |-
 | <small>7</small>
@@ Line 38: / Line 38: @@
 |}<section end="2"/>
-<section begin="3"/>{{red|b=1|A common lesson}}<br/><br/>
+<section begin="3"/>{{red|b=1|A common lesson}}<ref>Classical rhetoric would label this section the ''narratio'', the statement of basic facts and the nature of the things being discussed.</ref><br/><br/>
 {| class="zettel"
 |-
@@ Line 48: / Line 48: @@
 |-
 | <small>11</small>
-| Who waits and follows after blows,<br/>&emsp;Will little joy in this art know.
+| Who waits and follows after blows,<br/>&emsp;Will little joy in this art know.<ref>This is interpreted as an admonition against passively waiting for your opponent's actions in the early glosses, but I phrased it in a way that it could also lead [[Andre Paurenfeyndt]] and [[Joachim Meyer]] to turn it into a teaching about footwork.</ref>
 |-
 | <small>12</small>
-| Cut close to them; your will revealed,<br/>&emsp;No changer comes to breach your shield;
+| Cut close to them; your will revealed,<ref>This line is contentious because it encapsulates two approaches to striking among students of Liechtenauer in the 21st century: it either advises you to approach close to your opponent and then cut so you're sure of hitting their head or body with your edge, or it advises you to cut so that your sword approaches close to your opponent and then hit their face or chest with your point; I hold with the latter interpretation, which seems most in line with the instructions in the [[Sigmund ain Ringeck]], [[Pseudo-Peter von Danzig]], and [[Lew]] glosses (<small>RDL</small>).</ref><br/>&emsp;No changer comes to breach your shield;<ref>‘''Schilt''=shield’ is often treated as synonymous with the flanges that appear on some 15th-16th century fencing swords, but there's no textual support for this (no, not even in [[Joachim Meyer]]'s treatises). ‘Shield’ instead seems to refer to the entire lower portion of the sword most often used for defense: the crossguard, the Strength of the blade (see below), and yes, also any flanges that appear near the shoulder of the sword.</ref>
 |-
 | <small>13</small>
-| Toward head and body, forth you race,<br/>&emsp;The skirmish you should then embrace.<ref>''Zecken'' is typically translated with a variety of words suggesting minor strikes (and ''Zeck'' also means “tick”, leading some to read it as something like “bug bites”), but the Lexer gives an alternative reading of “skirmish” or harassing actions. ''Rühren'' is “to stir up”, “to cause something to move”, and “to touch or hit” (including “to land a blow in fencing”); I summarize these senses as “harrying”. ''Zeckrühr'' doesn’t appear in Grimm or the Lexer, so I read it as a compound of these two words and render it as “harrying strikes” to express the idea of harrassing during a skirmish. (Thanks to [[Christian Trosclair]] for digging up the ''zecken'' lemma.) The terms ''Zecken'' and ''Zeckrühr'' are not used again in the ''Record'' or in the glosses for any other section, so it’s hard to be sure what this term means. There are hints, though: the gloss of this verse in [[Hans Medel]]’s gloss repeats this couplet when it covers the take-away (after couplet 28), the misser is described as ''rühren'', and some specific pieces are given in the gloss of this couplet in the [[Pseudo-Peter von Danzig]] and [[Lew]] glosses. Based on these examples, I surmise that it's the term for actions that exit a bind and strike to a new exposure, creating a nice contrast between the skirmish and the ‘''Krieg''=war’ (described further on).</ref>
+| Toward head and body, forth you race,<br/>&emsp;The skirmish you should then embrace.<ref>''Zecken'' is typically translated with a variety of words suggesting minor strikes (and ''Zeck'' also means “tick”, leading some to read it as something like “bug bites”), but the Lexer gives an alternative reading of “skirmish” or harassing actions. ''Rühren'' is “to stir up”, “to cause something to move”, and “to touch or hit” (including “to land a blow in fencing”); I summarize these senses as “harrying”. ''Zeckrühr'' doesn’t appear in Grimm or the Lexer, so I read it as a compound of these two words and render it as “harrying strikes” to express the idea of harrassing during a skirmish. (Thanks to [[Christian Trosclair]] for digging up the ''zecken'' lemma.) The terms ''Zecken'' and ''Zeckrühr'' are not used again in the ''Record'' or in the glosses for any other section, so it’s hard to be sure what this term means. There are hints, though: the gloss of this verse in [[Hans Medel]]’s gloss repeats this couplet when it covers the take-away (after couplet 28), the misser is described as ''rühren'', and two specific pieces are given in the gloss of this couplet in the [[Pseudo-Peter von Danzig]] and [[Lew]] glosses. Based on these examples, I surmise that it's the term for actions that exit a bind and strike to a new exposure, creating a nice contrast between the skirmish and the ‘''Krieg''=war’ (described further on, in which you remain in the bind and attack by turning your sword).</ref>
 |-
 | <small>14</small>
-| And always fight with all your strength,<br/>&emsp;Your body tight at any length.
+| And always fight with all your strength,<br/>&emsp;Your body tight at any length.<ref>More literally “When you want to drive something strongly, fence with your whole body”, but I went with this translation because one of my objectives was to make this stick in people's brains, and “always fight with all your strength” has been part of our collective subconscious in ''Kunst des Fechtens'' ever it since was used by [[Sigmund ain Ringeck]] translators at the turn of the 21st century. Also, not much rhymes with ‘strength’.</ref>
 |- id="LSChidesterHTKo14a"
 |
@@ Line 72: / Line 72: @@
 |-
 | <small>18</small>
-| With Strong and Weak, you'll rule the bind;<br/>&emsp;The word “Within” bear well in mind.<ref>The meaning of ''Indes'' changes significantly from Middle High German to Early New High German. It may be translated “within” or “inside” in both languages, but in MHG, ''Indes'' was primarily a spatial adverb (i.e., within a place or location) and in ENHG it became primarily a temporal adverb (i.e., within a time or event). Liechtenauer’s ''Record'' seems to have been written in the midst of this transition and straddles both senses: the word ‘Within’ is used to describe actions the instant (time) when you have felt the pressure of the bind (place) and must choose a response.</ref>
+| With Strong and Weak, you'll rule the bind;<ref><small>RDL</small> read this as referring to the parts of the sword&mdash;the ‘Strength’ of the sword is the part closer to the hand and the ‘Weakness’ of the sword is part near the tip (perhaps specifically from the center of balance to the cross and from the center of percussion to the tip, as swordsmith [[Paul Champagne]] (God rest his soul) once opined.); in between is the ‘middle’, and this is where two other words, ‘Hardness’ and ‘Softness’, are felt. Conversely, [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] doesn't clearly distinguish these two sets of words and typically refers to things as being both “Hard and Strong” or “Soft and Weak” (perhaps owing to their love of ''hendiadys'').</ref><br/>&emsp;The word ‘Within’ bear well in mind.<ref>The meaning of the word ''Indes'' changes significantly from <small>MHG</small> to <small>ENHG</small>. It may be translated “within” or “inside” in both languages, but in MHG, ''Indes'' was primarily a spatial adverb (i.e., within a place or location) and in <small>ENHG</small> it became primarily a temporal adverb (i.e., within a time or event). Liechtenauer’s ''Record'' seems to have been written in the midst of this transition and straddles both senses: the word ‘Within’ is used to describe actions the instant (time) when you have felt the pressure of the bind (place) and must choose a response. By the time of [[Joachim Meyer]], this linguistic evolution was complete and this is perhaps what lead him to accuse masters who taught a spacial interpretation of ''Indes'' to be conflating it with the Latin word ''Intus'', which does indeed align closely with the MHG</ref>
 |-
 | <small>19</small>
@@ Line 78: / Line 78: @@
 |-
 | <small>20</small>
-| But if you easily get spooked,<br/>&emsp;Then fencing is a poor pursuit.
+| But if you easily get spooked,<br/>&emsp;Then fencing is a poor pursuit.<ref>''Erschricken'' is often translated as “frighten”, but according to Grimm, it's in the sense of a ‘jump-scare’ rather than a feeling of terror. This verse isn't about cowardice or running away, but rather about panicking and doing something stupid when attacked. (Thanks to [[Jessica Finley]] for first pointing this out to me.)</ref>
 |}<section end="3"/>
-<section begin="4"/>
+<section begin="4"/><ref>This quatrain is often appended to the end of the common lesson, but [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] places it as the beginning of the list of main pieces of the ''Record'', and I think it makes the most sense there, where the five are actually listed and named.</ref>
 {| class="zettel"
 |-
@@ Line 91: / Line 91: @@
 |-
 | <small>22</small>
-| Those fencers skilled whose art we vow<br/>&emsp;To reward well will show us how:
+| Those fencers skilled whose art we vow<br/>&emsp;To reward well will show us how:<ref>This couplet is omitted from the ''Record'' in [[Pseudo-Hans Döbringer|ms. 3227<sup>a</sup>]]; it's also worded awkwardly (in German) and doesn't rhyme. It's possible that this was a late addition to the ''Record'' and perhaps even not authored by Liechtenauer.</ref>
 |}<section end="4"/>
-<section begin="5"/><br/><br/>
+<section begin="5"/>{{red|b=1|The text}}<ref>In Classical rhetoric, the third segment would be the ''partitio'', the outline of the argument.</ref>
 {| class="zettel"
 |-
 | <small>23</small>
-| The wrathful one hates crook and cross;<br/>&emsp;So cock your eye and parting cause.
+| The wrathful one hates crook and cross;<ref>''Krumm und Twer'' is an expression meaning something like "to and fro" (per [[Jessica Finley]]). Likewise, the ''Zornhaw'' is described by both <small>RDL</small> and [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] as a ''schlect haw'', and ''schlect und krumm'' is an expression meaning "straight and crooked" (per [[Christian Trosclair]]). But since this couplet is clearly designed to be mnemonic rather than a functional description, I devised something memorable.</ref><br/>&emsp;So cock your eye and parting cause.<ref>''Schiller mit Scheitler'' is listed as one of the six techniques that the Brotherhood of St. Mark would test prospective masters on, but neither <small>RDL</small> nor [[Pseudo-Hans Döbringer|the author of ms. 3227<sup>a</sup>]] make any effort to explain these two things in context with each other. [[Hans Medel]] offers a play that he labels that way, though, and [[Hans Talhoffer]] modifies a verse in the ''Schiller'' to include a reference to the ''Scheitel'' (see below).</ref>
 |-
 | <small>24</small>
-| A fool will parry all strikes, so<br/>&emsp;Pursue, run down, and set the blow.
+| A fool will parry all strikes, so<br/>&emsp;Pursue, run down, and set the blow.<ref>This couplet is strange; it can be read as describing the first five main pieces, but if that were the intent, we'd expect to see ''Leger, Versetzt, / Nachreisen, überlauff, absetzt'' (which would even have the same meter). Instead, it says ‘''Alber''=poplar tree or foolish’ in the first line and and ‘''haw setzt''=set the cut’ (or, more commonly, ‘''haw letzt''=hinders cuts’). This might signify that it was manipulated to make it more memorable than a simple list would be, so I similarly tried to phrase it into a narrative sentence.</ref>
 |- id="LSChidesterHTKo24a"
 |
@@ Line 129: / Line 129: @@
 |-
 | <small>31</small>
-| “Within”, and then drive after more,<br/>&emsp;But calmly—do not rush to war;<p id="LSChidesterHTG31a"><br/></p>
+| ‘Within’, and then drive after more,<br/>&emsp;But calmly—do not rush to war;<p id="LSChidesterHTG31a"><br/></p>
 |-
 | <small>32</small>
@@ Line 309: / Line 309: @@
 |-
 | <small>78</small>
-| For this you must learn how to feel;<br/>&emsp;The word “Within” cuts deep as steel.
+| For this you must learn how to feel;<br/>&emsp;The word ‘Within’ cuts deep as steel.
 |-
 | <small>79</small>

Difference between revisions of "Johannes Liechtenauer/Michael Chidester LS 2025"

Revision as of 15:37, 1 July 2025

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