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| occupation          = [[Fencing master]]{{#set:occupation=encing master}}
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| occupation          = [[Fencing master]]{{#set:occupation=fencing master}}
 
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| movement            = [[Johannes Liechtenauer|Liechtenauer tradition]]
 
| movement            = [[Johannes Liechtenauer|Liechtenauer tradition]]
 
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| notableworks        =  
| archetype            = [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] (1539)
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| archetype            =
| manuscript(s)        =
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| manuscript(s)        = [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] (1539)
 
| principal manuscript(s)=
 
| principal manuscript(s)=
 
| first printed edition=  
 
| first printed edition=  
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| influences          = {{plainlist
 
| influences          = {{plainlist
 
  | [[Hans Seydenfaden von Erfurt]]
 
  | [[Hans Seydenfaden von Erfurt]]
  | [[Sigmund Schining ain Ringeck]]
+
  | [[Sigmund ain Ringeck]]
 
}}
 
}}
 
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| influenced          =  
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| below                =  
 
}}
 
}}
'''Hans Medel von Salzburg''' (Hans Niedel, Hans Mendel) was an early [[century::16th century]] [[nationality::German]] [[fencing master]]. Salzburg is a city in northern Austria, and he seems to have operated as a burgher and ''Schirmmeister'' there from at least 1503.<ref>''Mitteilungen der Gesellschaft für Salzburger Landeskunde'', vol. 40. Salzburg, 1900. p 177.</ref> Little else is known about this master, but he seems to have been associated with the tradition of [[Johannes Liechtenauer]]. He may have traced his lineage through [[Hans Seydenfaden von Erfurt]], a member of the Society of Liechtenauer,<ref>[[Paulus Kal|Kal, Paulus]]. Untitled [manuscript]. [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1507]]. Munich, Germany: [[Bayerische Staatsbibliothek]], 1470.</ref> as Medel's text is the only known source outside of the [[Paulus Kal]]'s honor role that mentions the earlier master's name.
+
'''Hans Medel von Salzburg''' (Hans Niedel, Hans Mendel) was an early [[century::16th century]] [[nationality::German]] [[fencing master]]. Salzburg is a city in northern Austria, and he seems to have operated as a burgher and ''Schirmmeister'' there from at least 1503.<ref>''Mitteilungen der Gesellschaft für Salzburger Landeskunde'', vol. 40. Salzburg, 1900. p 177.</ref> Little else is known about this master, but he seems to have been associated with the tradition of [[Johannes Liechtenauer]]. He may have traced his lineage through [[Hans Seydenfaden von Erfurt]], a member of the [[Fellowship of Liechtenauer]],<ref>The Fellowship of Liechtenauer is recorded in three versions of [[Paulus Kal]]'s treatise: [[Paulus Kal Fechtbuch (MS 1825)|MS 1825]] (1460s), [[Paulus Kal Fechtbuch (Cgm 1507)|Cgm 1570]] (ca. 1470), and [[Paulus Kal Fechtbuch (MS KK5126)|MS KK5126]] (1480s).</ref> as Medel's text is the only known source that mentions teachings from the earlier master.
  
Medel's name is attached to a treatise on swordsmanship from 1539, including an annotated version of [[Sigmund Schining ain Ringeck]]'s [[gloss]] and an original work on fencing from "the Seven Stances". This treatise later passed into the library of [[Paulus Hector Mair]], who bound it into the current [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] some time after 1566.
+
Medel's name is attached to a manuscript treatise on swordsmanship from 1539, including an incomplete [[gloss]] of Liechtenauer's [[Recital]] and an addendum on fencing based on "the Seven Stances"; it seems to have been written by a student or associate of Medel rather than the master himself. This gloss is unique in the Liechtenauer tradition in that it not only offers unique commentary on the Recital, but also both quotes and occasionally offers criticisms of and corrections to the earlier glosses of [[Sigmund ain Ringeck]] and [[Nicolaüs]]. In a few places the gloss specifically describes a teaching of Hans Seydenfaden or Hans Medel, but in several more it merely attributes the teaching to "Master Hans" without indicating which one.
 +
 
 +
This manuscript eventually passed into the library of [[Paulus Hector Mair]], who bound it into the current [[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]] some time after 1566; unfortunately, the extant fragment of the gloss terminates abruptly at the beginning of the section on Zucken, and the remainder is currently lost.
  
 
== Treatise ==
 
== Treatise ==
  
 
{{master begin
 
{{master begin
  | title = [[Long Sword]] Gloss
+
  | title = Long Sword Gloss
  | width = 76em
+
  | width = 90em
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | Images
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]]<br/>by [[Anton Kohutovič]], [[Andreas Engström]], and [[Christian Trosclair]]</p>
+
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Andreas Engström]], [[Anton Kohutovič]], <br/>and [[Christian Trosclair]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
| '''Johannes Liechtenauer's Fencing Art. (1539)'''
+
| <p>Here the recital itself 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. By the grace of god he had let the recital be written with obscure and disguised 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 obscure and disguised words of the recital glossed and interpreted as lay written here in this book, so that any one fencer who can otherwise fight properly may well go through and understand. And thereafter also enriched and improved by other masters and especially through Master Hans Medel from Salzburg which then follows after this.</p>
Here the recital iteself 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. By the grace of god he had let the recital be written with obscure and disguised 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 obscure and disguised words of the recital glossed and interpreted as lay written here in this book, so that any one fencer who can otherwise fight properly may well go through and understand. And thereafter also enriched and improved by other masters and especially through master Hans Medel from Salzburg which then follows after this.
+
| {{section|Page:Cod.I.6.2º.5 21r.jpg|1|lbl=21r}}
| '''• 1539 • Johannes Liechenawers Fechtkunst'''
 
HIe hebt sich an die Zetl in der geschribenn stet die ritterliche kunst des langen schwertes die geticht Vnd gemacht hat Johannes liechtenawer der ain grosser maister in der kunst ist gewesen dem got genad Der hatt die Zetl geschriben vnd geticht mitt verporgen vnd verdeckten wortenn darumb das die kunst nit gemain soll werden Vnd die selben verporgen vnd verdeckten wort der Zetl hat maister Sigmund Schninig der diser Zeit des hochgeboren Fursten vnd herren Herrn Albrechtz pfaltzgraue bey Rein vnd hertzog in Baiern schirmaister gewesen ist Also glosirt vnd außgelegt Alß dann in disem buch hernach geschriben steet das ain Jeder vechter wol vernemen vnd vesteen mag der anderst recht vechtenn kan Vnd darnach auch von andern maistern gemert vnd gebessert vnd besunder durch maister hansen medel von Saltzburg wie dann hye nachuolget
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''This is the forward.'''
+
| <p>'''This is the forward.'''</p>
Young knight learn to have love for god, also honor women. Thus increase your honor, cultivate knightly virtue and learn are that decorates you and in war compels to honor. Good fetter of lightness, glaive, spear and messer; manfully brandish and, in other hands, ruin. Cut into that and hurry, rush in. Hit or let go so that the wise hate it, then one see praises. Thereupon they hold, all art has reach and angulation.
+
{| class="zettel"
| '''Das ist Die vorrede'''
+
|-
Junckritter lere / got liebhaben Ioch frawen ere / So wechst dein ere / Vber ritterschafft vnd lere / kunst die dich zieret / vnd in kriegen zw eren hoffieret / Ringes gute fesser / Glefney sper swert vnd messer Manlich bederben / vnd in andern henden verderben Haw drein vnd hurt rausch hyn triff oder lass farn das In die weisen hassen den man sycht preisen darauf sy fassen / all kunst haben leng vnd massenn
+
| <small>1</small>
 +
| ''Young knight learn<br/>&emsp;loveth god, furthermore honor women.''
 +
|-
 +
| <small>2</small>
 +
| ''Thus cultivate your honor,<br/>&emsp;practice chivalry and learn''
 +
|-
 +
| <small>3</small>
 +
| ''art that decorates you <br/>&emsp;and in war compels to honor.''
 +
|-
 +
| <small>4</small>
 +
| ''Wrestling, good grappler,<br/>&emsp;glaive, spear and messer;''
 +
|-
 +
| <small>5</small>
 +
| ''manfully brandish<br/>&emsp;and, in other hands, ruin.''
 +
|-
 +
| <small>6</small>
 +
| ''Hew therein and hurry,<br/>&emsp;rush onwards. Hit or let drive''
 +
|-
 +
| <small>7</small>
 +
| ''Those maturing in this wisdom,<br/>&emsp;This one sees praises.''
 +
|-
 +
| <small>8</small>
 +
| ''Hold yourself to this,<br/>&emsp;all art has length and measure.''
 +
|}
 +
| {{section|Page:Cod.I.6.2º.5 21r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''This is the test about many good general lessons of the long sword.'''
+
| <p>'''This is the text about many good general lessons of the long sword.'''</p>
If you wish to exhibit the art, then go left and right with cutting and left with right is what you strongly desire to fence.
+
{| class="zettel"
 
+
|-
Gloss. Note, this is the first lesson of the long sword if you shall learn to cut the hews correctly from both sides if you wish to otherwise fence strongly and correctly. Understand it thusly: When you wish to cut from the right side, see that your left foot stands forward. If you then cut an over-cut from the right side, then follow after the cut with the right foot. If you do not do this, then the cut is false and incorrect. When your right side remains there behind, the cut is thus shortened and can not have it's correct path downward to the other side before the left foot. Similarly, when you cut from the left side and the cut is not follwed with the left foot, then the cut also false. Therefore note from whichever side you cut, that you follow-after the cut with the same foot if you want to correctly execute all your plays with strength and as such all other cuts shall be hewn.
+
| <small>9</small>
| '''Das ist der text von vil guter gemainer lere des langn swertz'''
+
| ''If you wish to examine the art,<br/>&emsp;then go left and right with hewing''
Wiltu kunst schawen / so biß glinck gen vnd recht mit hawen / Vnd glinck mit rechtem / ist das dw starck begerst zefechtenn / Glosa
+
|-
 
+
| <small>10</small>
Merck das ist die erst lere des langen schwertz das dw die hew von baiden seitten recht solt lernen hawen ist das dw anderst starck vnd recht vechten wilt das vernym allso Wan dw wilt hawen von der rechten seitten So sich das dein lincker fueß vor stee Hawstu dan den oberhaw von der rechten seitten so volg dem haw nach mit dem rechten fueß Thustu das nit '''[21v]''' So ist der haw falsch vnd vngerecht Wann dein rechte seitten pleibt da hinden so ist der haw zekurtz vnd mag sein rechten gang vndersich zw der anderen seitten vor dem lincken fueß nit gehaben Deßgleichen wan dw hawst von der glincken seitten vnd dem haw nit nachuolget mit dem glincken fueß so ist der haw auch falsch Darumb merck von welcher seitten dw hawest das dw mit dem selben fueß dem haw nachuolgest so magstu mit sterck alle deine stuck gerecht treiben Vnd also sollen auch all ander hew gehawen werdenn
+
| ''and left with right<br/>&emsp;that is, if you desire to fence strongly.''
 +
|}
 +
<p>'''Gloss:''' Note, this is the first lesson of the long sword if you shall learn to hew the hews correctly from both sides if you wish to otherwise fence strongly and correctly. Understand it like this: When you wish to hew from the right side, see that your left foot stands forward. If you then hew an over-hew from the right side, then follow after the hew with the right foot. If you do not do this, then the hew is false and incorrect. When your right side remains there behind, the hew is thus shortened and can not have it's correct path downward to the other side before the left foot. Similarly, when you hew from the left side and the hew is not followed with the left foot, then the hew also false. Therefore note from whichever side you hew, that you follow-after the hew with the same foot if you want to correctly deploy all your plays with strength and as such all other hews shall be hewn.</p>
 +
|  
 +
{{section|Page:Cod.I.6.2º.5 21r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 21v.jpg|1|lbl=21v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a text about a lesson'''
+
| <p>'''Again a text about a lesson'''</p>
Whoever goesafter cuts, they demand little joy from their art. Cut closely whatever you wish. No changing-through comes upon your cross. To the head, to the body, do not omit the biters. Fence with the entire body whatever you desire to execute strongly.
+
{| class="zettel"
 
+
|-
Gloss: When you come to someone with the onset, then you shall not look to his cut nor wait as he executes it against you. Because all fencers that watch and wait upon the cut of someone else and will do nothing than parry, they shall enjoy such art less because they often become struck by that. Therefore cut and thrust to the opening. Item. Also note: Everything that you wish to fence, execute that with the entire strength of your body and with that cleave-in closely to the head and to the body so he may not change through before your sword and with that cut shall not omit the biters to the nearest opening in the binding-on of the swords that will be explained hereafter in the five cuts and other plays.
+
| <small>11</small>
| '''Aber Ain text von ainer lere'''
+
| ''Whoever goes after hews,<br/>&emsp;They allow themselves to hardly enjoy the art.''
Wer nachgeet hawen / der bedarff sich kunst wenig frawen / Haw nachent was dw wilt / kain durchwechsel kumpt an deinen schilt / Zw kopf zw leib / die Zeck nit vermeid / Mit gantzem leibe vicht was dw starck gerest treiben Glosa
+
|-
 
+
| <small>12</small>
Wann dw mit dem zuuechten zw ainem kumbst so soltu auff seinen haw nit sehen noch warten wie er die gegen dir treibt wan all vechter die da sehen vnd warten auff aines anderen haw vnd wöllent anderst nicht thun dan versetzen die sollen sich sölcher kunst wenig freyen wan die werden da bey offt geschlagen Darumb schlah vnd stich die plösse Item auch merck Alles das dw vechten wilt das treib mit gantzer sterck deines leibs vnd haw damit nahent ein zw kopf vnd zw leib so mag er vor deinem ort nit durchwechseln Vnd mit dem haw solt in dem anpinden des swertz der zeck nit vermeiden zw der nechsten plösse die hernach in den fünf hewen vnd anderen stucken ausgericht werden
+
| ''Hew closely whatever you wish.<br/>&emsp;No changing-through comes upon your cross.''
 +
|-
 +
| <small>13</small>
 +
| ''To the head, to the body<br/>&emsp;do not omit the biters.''
 +
|-
 +
| <small>14</small>
 +
| ''Fence with the entire body<br/>&emsp;whatever you desire to deploy strongly.''
 +
|}
 +
<p>'''Gloss:''' When you come to someone with the approach, then you shall not look to his hew nor wait as he deploys it against you. Because all fencers that watch and wait upon the hew of someone else and will do nothing than displace, they shall enjoy such art less because they often become struck by that. Therefore hew and thrust to the opening.</p>
 +
| {{section|Page:Cod.I.6.2º.5 21v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again, text of a lesson.'''
+
| <p>Item. Also note: Everything that you wish to fence, deploy that with the entire strength of your body and with that cleave-in closely to the head and to the body so he may not change through before your sword and with that hew shall not omit the biters to the nearest opening in the binding-on of the swords that will be explained hereafter in the five hews and other plays.</p>
Hear what is bad. Do not fence above left if you are below right. And also severly hindered in the right, if you are left.
+
| {{section|Page:Cod.I.6.2º.5 21v.jpg|3|lbl=-}}
 
 
Gloss: This lesson hits upon two people, a lefty and a righty. Understand it thusly: When you come to the onset with someone, if you a righty and intend to strike-into the opponent, then do not cut the first cut from the left side, because that is weak and cannot, with that, hold against when one binds strongly upon that. Therefore cut from your right side, then you can work strongly upon the sword with art, whatever you wish. Similarly, if you are a lefty, also do not cut from the right side, because that art is quite wild for a lefty to execute from the right side. Similarly it is also for a righty from the left side.
 
| '''Aber text ainer lere'''
 
Hör was da schlecht ist / ficht nit oben linck so dw vnden recht bist Vnd ob dw glinck bist Im rechten auch ser hinckest Glosa
 
 
 
Die lere trifft an zwo person ainen lincken vnd ainen rechten das vernym also wan dw mit ainem züüechten kumest bistu gerecht vnd vermainst den man zeschlachen so haw den ersten haw nit von der lincken seitten wan der ist schwach vnd magst domit nit widerhalten wan man dir starck darauff '''[22r]''' pindet Darumb haw von der rechten seitten So magstu starck an dem swert mit kunst arbaitten was dw wilt Desgleichen bistu linck so haw auch nit von der rechten seitten wan die kunst ist gar wild ainem lincken zetreiben von der rechten seitten desgleich ist auch ainem rechten von der lincken seitten
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''A text of a lesson about the before and the after.'''
+
| <p>'''Again, text of a lesson.'''</p>
Before and after, the two things are the one source of all art. Weak and strong, in-the-moment, with those note that word if you desire to work and ward with art. If you frighten easily, never learn any fencing.
+
{| class="zettel"
 
+
|-  
Gloss: This is so that, before any confrontation, you shall understand and capture the two things, that is, the before and the after. Thereafter the weak and the strong of the sword and of the word in-the-moment. From those come the entire foundation and origin of all of the fencing. When you properly capture the things and do not furtherwards forget the word in-the-moment in all plays that you execute, you will be a good master.
+
| <small>15</small>
| '''Ain text ainer lere von dem vor vnd nach'''
+
| ''Hear what is bad.<br/>&emsp;Do not fence above left if you are below right.''
Vor vnd nach die zway ding Send aller kunst ain vrsprung Schwech vnd stercke / Indeß / das wort domit mercke So magstu leren mit kunst arbaiten vnd weren / Erschrickst dw gerne kain vechten nymer lerne Glosa
 
 
 
Das ist das dw vor allen sachen wol solt versteen vnd vernemen die zwai ding das ist das vor vnd das nach Darnach swech vnd sterck des swertz vnd des wortz indeß darauß kumpt der gantz grundt vnd vrsprung aller kunst des vechtens wan dw die ding recht vernimbst vnd vorauß das wort Indeß nit vergist in allen stucken die dw treibst bistu wol ain guter maister
 
 
 
 
|-  
 
|-  
 +
| <small>16</small>
 +
| ''And also severely hindered<br/>&emsp;in the right, if you are left.''
 +
|}
 +
<p>'''Gloss:''' This lesson hits upon two people, a lefty and a righty. Understand it like this: When you come to the approach with someone, if you are a righty and intend to strike-into the opponent, then do not hew the first hew from the left side, because that is weak and cannot, with that, hold against when one binds strongly upon that. Therefore hew from your right side, then you can work strongly upon the sword with art, whatever you wish. Similarly, if you are a lefty, also do not hew from the right side, because that art is quite wild for a lefty to deploy from the right side. Similarly it is also for a righty from the left side.</p>
 
|  
 
|  
| '''The Before.'''
+
{{section|Page:Cod.I.6.2º.5 21v.jpg|4|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 22r.jpg|1|lbl=22r|p=1}}
The before, this is so that you shall always come before with a cut or with a thrust into the opening, so that he must parry. Then work in the parrying swirftly before you wit hthe sword from one opening to the other so that he may not come before your work into his. But if he runs-in, then come before with the wrestling or point running.
 
| '''Das vor'''
 
Das vor das ist das dw albeg vor kummen solt <sup>ob du wolt</sup> mit ainem haw oder mit ainem stich Im zw der plosse So muß er dir versetzen So arbait in der versatzung behentlich für dich mit dem swert von ainer plössen zw der anderen So mag er vor deiner arbait zw seiner nicht kummen Aber laufft er dir ein so khum vor mit dem ringen oder ort lauffen
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''The After.'''
+
| <p>'''A text of a lesson about the before and the after.'''</p>
The after is when you cannot come in the before (or otherwise will not take it), so await upon the after. That is the break upon any play that he executes upon you. Understand it thusly: When he comes before, so that you must parry him, then in-the-moment work swiftly with the after to the nearest opening in front of you. Thus, you hit him before he brings forth his play. In this way, you yet win the before and he remains after. In the afer and in the before, you shall also note how you shall work with the word in-the-moment according to the weak and according to the strong of his sword and understand it thusly: From the hilt of the sword the midpart of the blade, the sword has it's strong, with that you may hold against [it] well when someone binds upon you therein; and has it's weak from the middle beyond to the point, you cannot hold aginst [it] there. And when you understand the things correctly, then you may work with the art properly and with that ward yourself and furthermore teach princes and lords so that they may well understand this art in play and in earnest. But if you frighten easily, then you should never learn this art about fencing, because you will become struck by any art. Therefore you shall not learn it because a blood drained heart does no good in fencing.
+
{| class="zettel"
| '''Das nach'''
+
|-
Das nach ist so dw zw dem vor nit kummen magst <sup>oder sunst nit dem nemen wöllest</sup> so wart auf das nach das send die pruch auff alle stuck die er auf dich treibt das vernim also wan er vor kumbt daß dw Im versetzen must So arbait mit der versatzung Indeß behentlich für dich zw der nachsten plösse So triffstu In ee wan er sein stuck verbringt Also gewinstu aber das vor vnd er pleibt nach Auch soltu in dem nach vnd in dem vor mercken wie dw mit dem wort Indeß arbaiten solt nach der swech vnd nach sterck seines swertes Vnd das vernym also Von dem gehiltz des swertz biß in die mitte der klingen hat das swert sein stercke damit dw wol magst widerhalten wann man dir darein pindet vnd fürbaß von der mitten biß an das ort hat es sein schwech da magstu '''[22v]''' nicht widergehalten vnd wann dw die ding recht versteest So magstu mit kunst wol arbaiten vnd dich darmitt weren vnd furbaß lerenn fursten vnd herren das sy mit diser kunst wol mugen besteen in schimpf vnd in ernst Aber erschrickstu gern so soltu die kunst vom vechten nymer leren Wan dw wurdest bey aller kunst geschlagen darumb soltu sy nicht leren wan ain plod vertzagt hertz thut kain gut in dem vechtenn
+
| <small>17</small>
 +
| ''Before and after, the two thing<br/>&emsp;are the one source of all art.
 +
|-
 +
| <small>18</small>
 +
| ''Weak and strong, in-the-moment,<br/>&emsp;with those note that word''
 +
|-
 +
| <small>19</small>
 +
| ''if you desire<br/>&emsp;to work and ward with art.''
 +
|-
 +
| <small>20</small>
 +
| ''If you frighten easily,<br/>&emsp;never learn any fencing.''
 +
|}
 +
<p>'''Gloss:''' This is so that, before any confrontation, you shall understand and capture the two things, that is, the before and the after. Thereafter the weak and the strong of the sword and of the word in-the-moment. From those come the entire foundation and origin of all of the fencing. When you capture the things correctly and furthermore do not forget the word in-the-moment in all plays that you deploy, you will be a good master.</p>
 +
| {{section|Page:Cod.I.6.2º.5 22r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''The text about the five cuts.'''
+
| <p>'''The Before.'''</p>
Learn the five cuts, from the correct<ref>alt: right</ref> hand<ref>alt: side</ref> against the weapon,<ref>alt: defense</ref> that we laud, easily esitmating the artificing.<ref>the artist/professional doing their work</ref><ref>alt: gladly valuing in the arts</ref><ref>alt: gladly valuing with kindness</ref>
 
 
 
Gloss: Note the recital lists five hidden cuts about which many that name themselves master do not know to say: That you should not learn to cut differently from the correct<ref>alt: right</ref> side against them, when they position themselves against you in defence<ref>alt: weapon</ref> and if you select one of the cuts from the five, then one may hit with the first strike. And whoever can break the cuts without his harm and especially whatever work thereafter goes with it, that will be praised by the masters of the recital, thus his art shall be accredited to him better than another fencer that cannot fence against the five cuts. And how you shall cut the five cuts, you will find that in those very cuts in the recital hereafter written and taught.
 
| '''Der text von den fünf hewen'''
 
Fünff häw lere, von der gerechten hand wider die were, der wir geloben, zw kunsten gern zelonen Glosa
 
  
Merck die Zetl setzt fünff verporgen hew da von vil die sich maister nennent nit wissen zesagen die soltu anderst nit leren hawen wann von der rechten seitten gegen dem der sich gegen dir stelt zw der were vnd versuch ob dw mit ainem haw auß den funfen den man mit dem ersten schlag magst treffen vnd wer dir die hew prechen kan an sein schaden vnd besunder was darauf geet mit Ietlicher arbait der wirt gelobet von den maistern der zetl das Im sein kunst pas gelonet soll werden wann ainem anderen vechter der wider die funff hew nit vechten kan vnd wie dw die funff hew hawen solt das findstu in den selben hewen in der zetl hye nach geschriben vnd gelert
+
<p>The before, this is so that you shall (if you wish) always come before with a hew or with a thrust into the opening, so that he must displace. Then work in the displacement swiftly before you with the sword from one opening to the other so that he may not come before your work into his. But if he runs-in, then come before with the wrestling or point running.</p>
 +
| {{section|Page:Cod.I.6.2º.5 22r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''The text about the chief plays of the recital.'''
+
| <p>'''The After.'''</p>
Wrath-cut, crooked, thwart has squinter with scalper fool parries following-after, run-over set the cut, change-through, pull run-through, slice-away, press the hands hang and with openings strike, catch, sweep, thrust with blows.
 
  
Gloss: Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names and are seventeen in number, and it begins with the five cuts. The first cut is called the wrath-cut. The second, the crooked-cut. The third, thwart-cut. The fourth, the squint-cut. The fifth, the part-cut. Then the other twelve plays begins.
+
<p>The after is when you cannot come in the before (or otherwise will not take it), so await upon the after. That is the break upon any play that he deploys upon you. Understand it like this: When he comes before, so that you must displace him, then in-the-moment work swiftly with the after to the nearest opening in front of you. Thus, you hit him before he brings forth his play. In this way, you yet win the before and he remains after.</p>
| '''Der text von den hawbt stucken der Zetl'''
+
| {{section|Page:Cod.I.6..5 22r.jpg|4|lbl=-}}
Zornhaw krump Twir hat schilher mit schaitler Alber versetzt / nachraisen überlauff hew setzt durchwechsel zuck durchlauf abschneid hendt druck heng wind mit plössen, Schlach vach streich stich mit stössen Glosa
 
  
Merck hye werden genant die rechten haubtstuck der zetl vnd kunst des langen swertz wie ietlichs haisset besunder mit seinen namen vnd send sibentzehen an der zal vnd hebent sich an an den fünff hewen Der erst haw haist der zornhaw der ander der krumphaw Der dritt der twirhaw der vierdt der schilhaw Der funft der schaittlhaw Nun hebent sich die anderen zwelff stuck an
+
|-
 +
|
 +
| <p>In the after and in the before, you shall also note how you shall work with the word in-the-moment according to the weak and according to the strong of his sword and understand it like this: From the hilt of the sword the mid-part of the blade, the sword has its strong, with that you may hold against [it] well when someone binds upon you therein; and has its weak from the middle beyond to the point, you cannot hold against [it] there. And when you understand the things correctly, then you may work with the art properly and with that ward yourself and furthermore teach princes and lords so that they may well understand this art in play and in earnest. But if you frighten easily, then you should never learn this art about fencing, because you will become struck by any art. Therefore you shall not learn it because a blood drained heart does no good in fencing.</p>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 22r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 22v.jpg|1|lbl=22v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| The first or sixth in the numbering is called the four guards or positions.
+
| <p>'''The text about the five hews.'''</p>
The seventh, the parries.
+
{| class="zettel"
The eighth, the racing-after.
+
|-  
The ninth, the running-over.
+
| <small>21</small>
The X, the setting-aside.
+
| ''Learn the five hews,<br/>&emsp;from the correct<ref>alt: right</ref> hand<ref>alt: side</ref> against the weapon,''<ref>alt: defense</ref>
The XI, the changing-through.
 
The XII, the disengaging.
 
The XIII, the running-through.
 
The XIV, the slicing-aside.
 
The XV, the hand pressing.
 
The XVI, the hangings.
 
The XVII, the windings.
 
And how you shall uncover with the hanging and the winding and execute all the afore named plays, you will find it all taught and written hereafter in the explanation and glosses of the recital, etc.
 
| Das erst oder an der zal das sechst haissent die vier huten oder leger
 
das sibent die versetzen
 
das acht die nachraisen
 
das newndt die überlauffen
 
das x die absetzen
 
das xj die durchwechseln
 
das xij die zucken
 
Das xiij die durchlauffen
 
das xiiij die abschneiden
 
das xv die hendt drucken
 
das xvj die hengen
 
das xvij die winden '''[23r]'''
 
vnd wie dw dich mit den hengen vnd winden emplossen sollt Vnd alle vorgenante stuck zetreiben findestu alles hyenach gelert vnd geschriben in der auslegung vnd glosen der zetl etc
 
 
 
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_23r.jpg|250px|center]]
+
| <small>22</small>
| '''The text on the wrath-cut with its plays and works.'''
+
| ''that we laud,<br/>&emsp;easily estimating the artificing.''<ref>the artist/professional doing their work</ref><ref>alt: gladly valuing in the arts</ref><ref>alt: gladly valuing with kindness</ref>
Who over-cuts you, wrath-cut
+
|}
Threaten<ref>eindrohen: to imminently threaten</ref> the point
+
<p>'''Gloss:''' Note the recital lists five hidden hews about which many that name themselves master do not know to say: That you should not learn to hew differently from the correct<ref>alt: right</ref> side against them, when they position themselves against you in defence<ref>alt: weapon</ref> and if you select one of the hews from the five, then one may hit with the first strike. And whoever can break the hews without his harm and especially whatever work thereafter goes with it, that will be praised by the masters of the recital, thus his art shall be accredited to him better than another fencer that cannot fence against the five hews. And how you shall hew the five hews, you will find that in those very hews in the recital hereafter written and taught.</p>
If he becomes aware of it,
+
| {{section|Page:Cod.I.6.2º.5 22v.jpg|2|lbl=-}}
Take-away without driving.
 
To the head, to the body
 
Do not omit the biters<ref>Zeck: a biting insect, ie: a tick.</ref>
 
 
 
Gloss: When one will strike you to the head from his right side with an over-cut, so you cut as well against it with a wrath-cut from your right side, especially if he defends softly on the sword, and in the cut, throw-in the wrath-point into his face and thrust. If he then sees it and notices and parries, then take-away above and strike around it from your left shoulder to his right with the short edge if it goes nearer<ref>alt: closer, sooner</ref> than the other. And break the biters to the head, to the body if you can. You may also properly take-away with the long edge, there after striking or severing<ref>this is usually the term for the severing of limbs/extremities, though can mean cutting while exiting</ref> from him, etc.
 
| '''Der text von dem zornhaw mit seinen stucken und arbaitenn'''
 
Wer dir oberhawt zornhaw /
 
ort ein draw /
 
Wirt er es gewar /
 
nym oben ab anefar.
 
Zw kopf zw leib /
 
die zeck nit vermeid
 
 
 
Glosa Wann ainer von seiner rechten seitten mit ainem obernhaw dich zw deinen kopf schlagen will so haw dw auch von deiner rechten seitten mit ainem zornhaw hinwider <sup>besunder so er waich am Schwert were</sup> und im haw würff im den zornort ein zw dem gesicht und stoß Sicht er dann das und mercktz und versetzts So nym oben ab und schlag herumb von deiner lincken achsel im zw seiner rechten mit mit[sic] kurtzer schneid gat ist neher dann die ander / Und prauch die zeck zw kopf zw leib ob dw magst Dw magst auch wol im abnemen mit der langen schneiden schlagen darnach kriegen oder abhawen von im etc
 
  
 
|-  
 
|-  
 
|  
 
|  
| Item. The wrath-cut is nothing other than a strong wrathful over-cut like a simple peaseant strike and is obscurely named in the record for the over-cut. The same as with the other four cuts that will follow hereafter with their particular names. So that they, with their content and plays, are not common to everyone.
+
| <p>'''The text about the chief plays of the recital.'''</p>
| Item der Zornhaw ist nichtz anderst dann ain starcker Zornichlicher oberhaw <sup>als ain schlecht pawrn schlag</sup> und wirt in der zetl verporgenlichen für den oberhaw genennet mit sampt den andern vier hewen die hye nachvolgen werden auch mit iren besondern namen Damit sy mit irem innhalt und stucken nit yederman gemain seyen
+
{| class="zettel"
 +
|-
 +
| <small>23</small>
 +
| ''Wrath-hew, crooked, thwart<br/>&emsp;has squinter with scalper''
 +
|-
 +
| <small>24</small>
 +
| ''fool displaces<br/>&emsp;following-after, run-over set the hew,''
 +
|-
 +
| <small>25</small>
 +
| ''change-through, pull, run-through,<br/>&emsp;cut-off, press the hands''
 +
|-
 +
| <small>26</small>
 +
| ''hang and with openings strike,<br/>&emsp;catch, stroke, thrust with blows.''
 +
|}
 +
<p>'''Gloss:''' Note, here the proper principal-plays of the art of the long sword are named, as all are specifically titled with their names and are seventeen in number, and it begins with the five hews. The first hew is called the wrath-hew. The second, the crooked-hew. The third, thwart-hew. The fourth, the squint-hew. The fifth, the part-hew.</p>
 +
| {{section|Page:Cod.I.6.2º.5 22v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The taking-away is nothing other than when you have bound-upon with someone from over-cuts and go-up upon his sword and draw your sword above, around his sword or point, to the other side or shoulder into another cut to his other side or opening.
+
| <p>Then the other twelve plays begin. The first or sixth in the numbering is called the four guards or positions. The seventh, the displaces. The eighth, the racing-after. The ninth, the running-over. The X, the offsetting. The XI, the changing-through. The XII, the disengaging. The XIII, the running-through. The XIV, the cutting-off. The XV, the hand pressing. The XVI, the hangings. The XVII, the windings.</p>
| Das abnemen ist nichtz anderst dann so dw mit ainem anpunden hast auß oberhewen und an seinen swert aufgeest und zeuchst dein swert oben umb sein swert oder ort auf die andern seitten oder achsel zw ainem anderen haw im zw der anderen seitten oder plössen
+
| {{section|Page:Cod.I.6.2º.5 22v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Break against the taking-away.'''
+
| <p>And how you shall uncover with the hanging and the winding and deploy all the aforenamed plays, you will find it all taught and written hereafter in the explanation and glosses of the recital, etc.</p>
If one takes-away and strikes to your other side, then bind or lay-into him, that is, wind-in strongly with the short edge into the ears and goes to both sides, also called doubling and mutating.
+
| {{section|Page:Cod.I.6.2º.5 23r.jpg|1|lbl=23r}}
| '''Bruch wider das abnemen'''
 
So ainer abnympt und schlecht dir zw der anderen seitten So verpind im oder leg im zw Das ist wind im starck ein mit kurtzer schneid zw den orenn Und geet auff baiden seitten Haist auch duplirt und mutirt
 
  
 
|-  
 
|-  
|  
+
| [[File:Cod.I.6.2º.5_23r.jpg|400x400px|center]]
| '''A different taking-away'''
+
| <section begin="wrath-1"/><p>'''The text on the wrath-hew with its plays and works.'''</p>
As Master Hans Medel lays-out and betters: If you wish to take-away, when you have threatened him with your point then take away with the short edge and do not strike to his right with an over-cut. If he then flies-on again, wind crooked against him sideways to the earth. If he will then go up again and strike at you to your left, strike in-the-moment against it, again with the short edge, to his right under his sword or wait upon him again into the after and wind-in to his right crooked into his head. Remember the harrassers with the short edge upon his head.
+
{| class="zettel"
| '''Anderst abgenommen'''
+
|-
Als maister hans niedel auslegt und besser So dw abnemen wilt Wenn dw im mit deinen ort hast gedräwt so nym ab mit der kurtzen schneid und nit mit oberhaw schlecht zw seiner rechten So er dann liüd anfligt so wind im krump hinwider auff die erden schier Wolt er dann wider aufgeen und schlagen dir zw deiner lincken so schlag indeß herwider aber mit kurtzer schneid zw seiner rechten under seim(sic) swert Oder aber pleib an im in dem nach und wind im krump ein zw seiner rechten zw dem hawbt Merck die zeck mit der kurtzen schneid auf sein hawbt
+
| <small>27</small>
 +
| ''Who over-hews you, wrath-hew<br/>&emsp;Threatens<ref>eindrohen: to imminently threaten</ref> the point.''
 +
|-
 +
| <small>28</small>
 +
| ''If he becomes aware of it,<br/>&emsp;Take-off without driving.''
 +
|-
 +
| <small style="color:#696969;">[13]</small>
 +
| ''To the head, to the body<br/>&emsp;Do not omit the biters''<ref>Zeck: a biting insect, ie: a tick.</ref>
 +
|}
 +
<p>'''Gloss:''' When one will fell you with an over-hew to the head from his right side, then you hew as well against it with a wrath-hew from your right side (especially if he stays soft against the sword) and in the hew, launch the wrath-point into his face and thrust.<includeonly></p></includeonly><section end="wrath-1"/> <section begin="wrath-2"/><includeonly><p></includeonly>If he subsequently sees it and notices and displaces, then take-off above and strike around it from your left shoulder to his right with the short edge if it goes nearer<ref>alt: closer, sooner</ref> than the other. And break the biters to the head, to the body if you can. You may also properly take-off colliding with the long edge, there after warring or separating<ref>this is usually the term for the severing of limbs/extremities, though it can mean hewing while exiting or just separating</ref> from him, etc.</p><section end="wrath-2"/>
 +
| {{section|Page:Cod.I.6.2º.5 23r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again the text'''
+
| <section begin="wrath-3"/><p>Item. The wrath-hew is nothing other than a strong wrathful over-hew like a simple peasant strike and is obscurely named in the record for the over-hew. The same as with the other four hews that will follow hereafter with their particular names. So that they, with their principles and plays, are not common to everyone.</p><section end="wrath-3"/>
Be strong against it
+
| {{section|Page:Cod.I.6.2º.5 23v.jpg|1|lbl=23v}}
Wind thrust, if he sees it above, then take it below
 
 
 
Gloss: If you have both bound-upon with an over-cut and wrath-cut and have not yet thrown with the point. If he is then strong upon the sword, then be strong out-against and wind-up on the sword into the thrust or stab. If he then sees it and will ward and fend-off and drive up into the air with the parrying; then, where it has connected, set the point underneath between his arms upon the breast or take-away with either the short or long edge as above as the others maintain. Or rather, when you fence with another, if he binds softly upon the sword, then drive further with the sword strongly and lay-upon him upon the neck and back him to the side. But if he binds-on hard and strong, then be strong against and wind the short edge upon his sword and thrust and snap quickly back around it and strike to his right side with the short edge --if you go closer. Or rather, if you have wound the short edge upon his sword, then strike-against<ref>widerschlagen: to strike against, in a reverbating sense</ref> him to the same side, down to the head.
 
| '''Aber ain text'''
 
Biß starck herwider /
 
wind stich sicht ers oben so nym es nider
 
 
 
Glosa So ir baid wie oben mit oberhaw und zornhaw angebunden habt und doch nit mit dem ort verworffen Ist er dann starck am swert so piß hinwider starck und winde auf an dem swert zw dem stoss oder stich Sicht ers dann und will dir das weren und abweisen und auffert in die höch mit der versatzung so setz im wo es fueg hat den ort undten zwischen sein armen an die prust Oder nym aber ab wie oben mit kurtzer oder langer schneid als etlich mainent Oder aber wann dw mit ainem vichtest bindt er waich an dem swert so var starck fürbaß mit deinem swert und leg ym an an den hals und ruck yn auff die seitten Bindt er aber harrt an und starck so pis wider starck und wendt die kurtzen schneid an sein swert und stos und schnappe schnell wider herumb und schlag zw seiner rechten seitten mit kurtzer schneid gatist neher Oder aber so dw an seinen swert die kurtz schneid gewendst so schlag im auf der selben seitten wider nider auf den kopf
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Be strong against it'''
+
| <section begin="wrath-4"/><p>'''The taking-off''' is nothing other than when you have bound on with someone from over-hews and go-up upon his sword and draw your sword above, around his sword or point, to the other side or shoulder into another hew to his other side or opening.</p><section end="wrath-4"/>
As Master Hans Medel says: If you will bind-upon another with the wrath-cut and point, then be strong against him in the binding-upon with the thwart-cut. If he then sees that, then take-away again with the crooked or short edge to his right as above with its work, etc. You may also properly remain after your short strike and go-after him.
+
| {{section|Page:Cod.I.6.2º.5 23v.jpg|2|lbl=-}}
| '''Biß starck herwider'''
 
Als maister hans Medl sagt So dw mit zornhaw ainem vnd ort anpinden wilt so pis starck Im anpinden mit der twir gegen ym sicht er dann das, so nym aber ab mit krump oder kurtzer schneid zw seiner rechten wie oben mit seiner arbait etc Dw magst auch wol nach deinem kurtzen schlag pleiben vnd Im nachgeen
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''A good text of a good common lesson'''
+
| <section begin="wrath-5"/><p>'''Break against the taking-off.'''</p>
Always note this: cut, stab, position, soft or hard. In-the-moment drive after without hurry. Let your war not be rash. Whoever aspires to that in the war, they become shamed above.
 
  
Gloss: This is so that you shall accuruately consider when one binds upon your sword with a cut or thrust or otherwise whether he is soft or hard. As you perceive or feel it then wind in-the-moment with the war according to the soft or hard to the nearest opening, then you shall know what seems best to you in-the-moment: whether you should work with the before or with the after. Yet you should not be too hasty with the inciting of the war, because the war is nothing other than the windings in the sword. They are to be wisely executed upon whoever that does not understand or know them well.
+
<p>If one takes-off and strikes to your other side, then bind or lay-into him, that is, wind-in strongly with the short edge into the ears and goes to both sides, also called doubling and mutating.</p><section end="wrath-5/>
| '''Ain text ainer guten gemainer lere'''
+
| {{section|Page:Cod.I.6.2º.5 23v.jpg|3|lbl=-}}
Das eben mercke hew stich leger waich oder herrte Indes var nach anhurt dein krieg sey nicht gach Wes der krieg remet In dem wirt er oben beschemet Glosa
 
 
 
Das ist das dw eben mercken sollt wann dir ainer mit ainem haw oder stich oder sunst an dein swert pindt ob er am swert waich oder herrt sey So dw das empfindest oder fülst <sup>So wend Indeß nach der waych oder hertin nach der nechten ploß mit dem krieg</sup> so <sup>andz</sup> soltu Indes wissen welches dir am pesten zimpt ob dw mit dem vor oder mit dem nach arbaiten solt Aber dw solt mit dem an hurten des kriegs nit zegach sein wann der krieg ist nichtz anderst dann die winden in dem swert die sindt wißlich ze treibenn wer die nit wol kan oder versteet
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''A text: How one shall correctly find cut [and] thrust. A lesson:'''
+
| <section begin="wrath-6"/><p>'''A different taking-off'''</p>
In all winding learn to correctly find cut, thrust, slice. You shall also test the offending position whether it is soft or hard, etc. (Master Hans also calls for this back in other places) Cut, thrust or slice in all hits of the masters if you wish to confound them.
 
  
Gloss: This is so that you shall learn to find cut, thrust, and slice in all winding, also so you shall be quite ready with all winding upon the sword. Because each winding has three particular plays, that is: a cut, a stab and a slice. And when you wind upon the sword, so you shall quite precisely test, so that you do not incorrectly select the play that is called for in the winding. Hence, you do not cut when you shall thrust and not thrust when you shall slice and when one parries the one, so you hit with the other. Hence, if one parries your stab, then execute the cut. If one runs-in upon you, then execute the under-slice into his arm. Note this in all hits and bindings-on of the sword if you wish to mock the masters that set themselves against you and do not understand.
+
<p>As Master Hans Medel lays-out and betters: If you wish to take-off, when you have threatened him with your point then take away with the short edge and do not strike to his right with an over-hew. If he then flies-on again, wind crooked out against him immediately to the earth. If he will then go up again and strike at you to your left, strike in-the-moment against it, again with the short edge, to his right under his[sic] sword or wait upon him again into the after and wind-in to his right crooked into his head. Remember the biters with the short edge upon his head.</p><section end="wrath-6"/>
| '''Ain text wie man in den winden hew stich gerecht soll findenn ain lere'''
+
| {{section|Page:Cod.I.6.2º.5 23v.jpg|4|lbl=-}}
In allen winden hew stich schnit lere recht finden Auch soltu mitte brüfen die geferte leger ob er sey waich oder herrte etc (da hört maister hans auff etlich setzen das auch hinzwe) häw stich oder schnite in allen treffen den maisteren wiltu sy effenn Glosa
 
  
Das ist das dw in allen winden hew stich schnit recht finden solt also das dw mit allen winden am swert gantz fertig sollt sein wann ain ietlichs winden hat drew besunder stuck Das ist ain haw ain stich vnd ain schnit vnd '''[24v]''' wen dw windest am swert so soltu gar eben brüfen das dw die stuck mit nichte vnrecht treffest die in die winden gehoren Also das dw nicht hawest wen dw stechen solt vnd nicht stechest wen dw schneiden solt vnd wan man dir der ains versetzt das dw yn treffest mit dem andern Also versetzt man dir den stich so treib den haw Laufft man dir ein so treib den vndern schnidt in sein arm das merck in allen treffen vnd anpinden der swert wiltu anderst die meister effen die sich wider dich setzen vnd nit versteen
+
|-
 +
|
 +
| <section begin="wrath-7"/><p>'''Again the text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>29</small>
 +
| ''Be strong against it<br/>&emsp;Wind thrust, if he sees it above, then take it below''
 +
|}
 +
<p>'''Gloss:''' If you have both bound on with an over-hew and wrath-hew as above and have not yet thrown with the point. If he is then strong upon the sword, then be strong out against and wind-up on the sword into the thrust or stab. If he then sees it and will ward it and fend-off and drive up into the air with the displacement; then, where it has connected, set the point underneath between his arms upon the breast</p><section end="wrath-7"/>
 +
| {{section|Page:Cod.I.6.2º.5 23v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_24v.jpg|250px|center]]
+
|  
| '''About the four openings'''
+
| <section begin="wrath-8"/><p>Or take-off with either the short or long edge as above as the others maintain.</p><section end="wrath-8"/>
Know to target the four openings, so you strike wisely upon any drive without doubt as he bears.
+
| {{section|Page:Cod.I.6.2º.5 23v.jpg|6|lbl=-}}
  
Gloss: You shall here note the four openings upon the opponent that you shall always fence-into. The first opening is the right side, the second the left side; above the girdle of the man. The other two are the right and the left sides below the girdle. Take precise note of the openings in the onset with whichever opening he opens himself against you. Target that cunningly without danger with the shooting-in of the long-point and with riding-after and also with the winding upon the sword and otherwise with all attacks and do not heed as he bears against you, thus if you perceive wisely and strike a strike thereupon, then that is exquisite and allows him to not come into his plays. And always target the opening and not the sword. If (he) will parry you, then work further to the closest opening with the war or otherwise.
+
|-
| '''Von den vier plössen'''
+
|
Vier plosse wisse zw remen so schlechstu gewisse An alle var on zweifell wie er gepar
+
| <section begin="wrath-9"/><p>Or rather, when you fence with another, if he binds softly upon the sword, then drive further with the sword strongly and lay-upon him upon the neck and drag him to the side. But if he binds-on hard and strong, then be strong against and wind the short edge upon his sword and thrust and snap quickly back around it and strike to his right side with the short edge—if you go closer. Or rather, if you have wound the short edge upon his sword, then strike-against<ref>widerschlagen: to strike against, in a reverberating sense</ref> him to the same side, down to the head.</p><section end="wrath-9"/>
 +
|  
 +
{{section|Page:Cod.I.6.2º.5 23v.jpg|7|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 24r.jpg|1|lbl=24r|p=1}}
  
Glosa Hye soltu mercken die vier plössen an dem manne da dw alweg zufechten solt Die erst plosse ist die recht seitten die ander die linck seitten oberhalb der gürtl des mans Die ander zwo sind auch die recht vnd die linck seitten vnderhalb der gürtl Der plösse nym eben war in dem zufechten mit welcher plössen er sich gegen dir emplösse der selben reme künlich an far mit einschiessen des langen orts vnd mit nachraisen vnd auch mit den winden am swerte vnd sunst mit allen geferten vnd acht nit wie er gegen dir gepar so sichstu gewiß vnd schlechst schleg darauff die da trefflich sein vnd lest In zw seinen stucken nit kumen vnd rem albeg der ploss vnd nit des swertz Wirt dir versetzt so arbait fürbas zu der nechsten plöss mit krieg oder anderen
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''How one shall break the four openings'''
+
| <section begin="wrath-10"/><p>'''Be strong against it'''</p>
If you wish to vindicate yourself, artfully break the four openings. Above, double; below right, mutate. I say to you trufully, no one protects themselves without danger. If you have understood this, he may come to little.
 
  
Gloss: As master Hans Medel has said: If you have bound-upon with someone from ernest over-cuts or otherwise and wish to take vengence for yourself and into that opening he wishes to strike, [you] have parried and broken. If he then strikes back around to the other side into the other opening of your head with taking-away or otherwise, then you shall again break the openings, that is, striking with the doubling or the mutating so that you break the opening from one side to the other and becomes stuck and you parry and strike as one without harm.
+
<p>As Master Hans Medel says: If you will bind on another with the wrath-hew and point, then be strong in the binding-on with the thwart against him. If he then sees that, then take-off again with the crooked or short edge to his right as above with its work, etc. You may also properly remain after your short strike and go-after him.</p><section end="wrath-10"/>
| '''Wie man die vier plossen prechen soll'''
+
| {{section|Page:Cod.I.6.2º.5 24r.jpg|2|lbl=-}}
Wiltu dich rechen die vier plossen kunstlichen prechenn Obn duplier nyden recht mutier Ich sag dir fürbar sich schützt kain man anefar, Hastu sy vernomen zw schlag mag er klaine kumen
 
 
 
Glosa Als maister hans medl sagt Ist So dw mit ainem auß oberen ernstlichen hewen oder sunst angepunden hast vnd dich rechen wilt vnd die ploss darzwe er dir schlagen wolt versetzt hast vnd gebrochenn schlecht er dan widerumb dir zw der anderen seitten zw der anderen plosse deines haubtz mit abnemen oder sunst So soltu Im die ploss aber prechen das ist mit dem duplieren vnd mutieren schlagen So prichstu die plossen von ainer seitten zw der anderen vnd wirt geschlagen vnd dw versetzst vnd schlechst ains mals on schadenn
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Here note how you shall execute the doubling to both sides.'''
+
| <p>'''A good text of a good common lesson'''</p>
You shall make the doubling thusly: When he has bound-upon you with an over-cut, or otherwise, from his right side to your left, etc and strikes you back again around it to your right side, then do nothing more as soon as you perceive the moment he strikes, then wind-in your sword under his sword to the side with the short edge upon his left side. So if he becomes struck and is bound or laid-into at once, that is then called the doubling above and breaking the openings with that. You may also make the doubling against his right side, yet you must wind-in crooked, etc. If he will strike around, after your doubling into your left side to the head, then mutate to his right.
+
{| class="zettel"
| '''Hie merck wie Du Das duplieren treiben solt zu beyden seyten'''
+
|-
Das duplieren soltu also machen wan er dir von seiner rechten seitten mit ainem oberhaw oder sunst dir anpunden hat dir zw deiner lincken etc vnd schlecht dir herumb wider zw deiner rechten seitten So thue nit mer als pald dw das empfindest die weil er schlecht so wind vnder seinen swert dein swert mit kurtzer schneid Im neben ein zw dem kopf auf sein lincke seitten so wirt er geschlagen vnd ist dem verpinden oder zulegen gleich Das haist dan oben duplirt vnd domit die plössen prechen Auch magstu das duplieren gegen seiner rechten seitten auch machen doch mustu krump einwinden etc Ob er nach deinem duplieren wölte widerumb schlahen dir zw dein linken seitten zw deinem haubt So mutier Im zw seiner rechten
+
| <small>30</small>
 +
| ''Always note this:<br/>&emsp;cut, stab, position, soft or hard.''
 +
|-
 +
| <small>31</small>
 +
| ''In-the-moment drive after<br/>&emsp;without hurry. Let your war not be rash.''
 +
|-
 +
| <small>32</small>
 +
| ''Whoever aspires to that in the war,<br/>&emsp;they become shamed above.''
 +
|}
 +
<p>'''Gloss:''' This is so that you shall accurately consider when one binds upon your sword with a hew or thrust or otherwise whether he is soft or hard. As you perceive or feel it then wind in-the-moment with the war according to the soft or hard to the nearest opening, then you shall know what seems best to you in-the-moment: whether you should work with the before or with the after. Yet you should not be too hasty with the inciting of the war, because the war is nothing other than the windings in the sword. They are to be wisely deployd upon whoever that does not understand or know them well.</p>
 +
| {{section|Page:Cod.I.6.2º.5 24r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Here note how you shall execute the mutating to both sides.'''
+
| <p>'''A text: How one shall correctly find hew [and] thrust. A lesson:'''</p>
Make the mutating thusly: When you have just doubled-in and broken the opening as is taught above, if he then strikes back around again to your left side, etc. If he will not strike against it, then you must allow nothing lesser to go through, as above. Then allow your point to go through it, between you both and strike him into the under openings. So if you always wind under against it with your sword or point, then you break each opening in the same way such that he does not know truthfully where he is without danger and may not come properly to striking. This is called mutating below right and breaking the openings artfully and vindicated as master Hans Medel von Salzburg says.
+
{| class="zettel"
| '''Hie merck wie du Das mutieren treiben solt zu beyden seyten'''
+
|-  
Das mutieren mach also So dw Im eben ein duplirt hast vnd die plos gebrochen wie oben gelert ist Wolt er dann herwiderumb schlahen dir zw deiner lincken seitten etc Ob aber er nit herwider schlahen wolt so magstu nichtz minder zwischen durchlassen geen wie oben etc So lass resch dein ort zwischen ewer baider herdurch geen vnnd schlag Im zw der anderen ploss des kopfs seiner rechten seitten Schlecht er dan dir aus dem selben zu den vnderen plössen So wind dw alweg mit deinem swert oder ort vnden herwider So brichstu ym also alle plösse das er nit wais fürbar wo er ist anefar vnd nit wol zu schlegen kummen mag das haist niden recht mutirt vnd die plossen künstlichen prochenn vnd gerochen Also sagt maister hanns medl von Saltzpurg
+
| <small>33</small>
 
+
| ''In all winding<br/>&emsp;learn to correctly find hew, thrust, cut.''
 +
|-
 +
| <small>34</small>
 +
| ''You shall also<br/>&emsp;test <span style="color:#696969;">[the offending<br/>position whether it is soft or hard, etc.]*</span><br/>&emsp;cut, thrust or cut''
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_25v.jpg|250px|center]]
+
| <small>35</small>
| '''The crooked-cut with its plays.'''
+
| ''in all hits<br/>&emsp;of the masters if you wish to confound them.''
Crook-up swiftly, throw the point upon the hands.
+
|}
 +
<p>'''Gloss:''' This is so that you shall learn to find hew, thrust, and cut in all winding, also so you shall be quite ready with all winding upon the sword. Because each winding has three particular plays, that is: a hew, a stab and a cut. And when you wind upon the sword, so you shall quite precisely test, so that you do not incorrectly select the play that is called for in the winding. Hence, you do not hew when you shall thrust and not thrust when you shall cut and when one displaces the one, so you hit with the other. Hence, if one displaces your stab, then deploy the hew. If one runs-in upon you, then deploy the under-cut into his arm. Note this in all hits and bindings-on of the sword if you wish to mock the masters that set themselves against you and do not understand.</p>
  
Gloss: This is how you shall crooked-cut to the hands. Execute it thusly: Stand with your left foot forward, well into the scales, and hold your sword crooked, that is with crossed hands such that the long edge stands upwards, with the point out forward upon the ground. And the first play according to the text executes thusly: When one cuts-into you from his right shoulder with an over- or under-cut, so step inward into him with your right foot in-the-moment against him and let the crossed hand or the crook go-up and set-aside the cut with your sword with the long edge or point thrown well out-over his hand against<ref>towards</ref> his left side. Thereafter, war and work as you wish. But if he throws you with the hand here-over with power with his going-up, then let it go easily and make a strike around it around your head into his left side with the short or long edge, whichever briefly goes nearer. If he breaks that with mutating against you, stand therein, so you must break your crooked-cut there-against. It also breaks over- and under-cuts and is one of the four parries against the four guards such as the oxen.
+
<p>* Master Hans also calls for this back in other places.</p>
| '''Der Krumphaw mit seinen stuckenn'''
+
|
KRump auf behende / würff Im den ort auf die hende Glosa
+
{{section|Page:Cod.I.6.2º.5 24r.jpg|4|lbl=-|p=1}} {{section|Page:Cod.I.6..5 24v.jpg|1|lbl=24v|p=1}}
  
Das ist wie dw krump hawen solt zw den henden den treib also Stee mit deinem glincken fues fur vnd halt dein swert mit dem ort auf die erde fürsich hinauß krump das ist mit gekreutzten henden das die lang schneid vbersich stee wol in der wag vnd das erst stuck nach dem text treib also wen ainer dir von seiner rechten achsel mit ainem ober oder vnderhaw zwhawt So schreit wol zw Im hinein mit deinem rechten fueß Indes gegen ym vnd lass die kreutzten hendt oder das krump aufgeen vnd setz Im den haw ab mit deinem swert mit langer schneid oder ort wol hinüber geworffen auf sein hendt gegen seiner linckenn seitten darnach krieg vnd arbait wie dw wilt Würfft er aber dich mit den henden heruber mit gwalt mit seinem aufgeen So lass gern geen vnd mach herumb vmb dein haubt ain straich Im zw seiner lincken seitten mit kurtzer oder langer schneid die kurtz get neher Er pricht dir das mit mutieren gegen dir dar Inn stündt so magstu dein krumphaw dargegen prauchenn auch ober vnd vnderhaw pricht er vnd ist der vier versetzen ains wider die vier huten als den ochsen
+
{{section|Page:Cod.I.6.2º.5 24r.jpg|5|lbl=-|p=1}}
 +
 
 +
|-
 +
| [[File:Cod.I.6.2º.5_24v.jpg|400x400px|center]]
 +
| <p>'''About the four openings'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>36</small>
 +
| ''Know to target the four openings,<br/>&emsp;so you strike wisely''
 +
|-
 +
| <small>37</small>
 +
| ''upon any drive<br/>&emsp;without doubt as he bears.''
 +
|}
 +
<p>'''Gloss:''' You shall here note the four openings upon the opponent that you shall always initiate-fencing. The first opening is the right side, the second the left side; above the girdle of the man. The other two are the right and the left sides below the girdle. Take precise note of the openings in the approach with whichever opening he opens himself against you. Target that cunningly without danger with the shooting-in of the long-point and with racing-after and also with the winding upon the sword and otherwise with all attacks and do not heed as he bears against you, thus if you perceive wisely and strike a strike thereupon, then that is exquisite and allows him to not come into his plays. And always target the opening and not the sword. If (he) will displace you, then work further to the closest opening with the war or otherwise.</p>
 +
| {{section|Page:Cod.I.6.2º.5 24v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| Rule: Give yourself a firm opening in the crooked-cut.
+
| <p>'''How one shall break the four openings'''</p>
| Regula gib dich In dem Krumphaw vast bloß etc
+
{| class="zettel"
 +
|-
 +
| <small>38</small>
 +
| ''If you wish to reckon yourself,<br/>&emsp;artfully break the four openings.''
 +
|-
 +
| <small>39</small>
 +
| ''Above, double;<br/>&emsp;below right, mutate.''
 +
|-
 +
| <small>40</small>
 +
| ''I say to you truthfully,<br/>&emsp;no one protects themselves without danger.''
 +
|-
 +
| <small>41</small>
 +
| ''If you have understood this,<br/>&emsp;he may come to little.''
 +
|}
 +
<p>'''Gloss:''' As Master Hans Medel has said: If you have bound on with someone from earnest over-hews or otherwise and wish to take reckon<ref>rechnen: compute, take into account, align</ref> yourself and the opening. In this, he will have displaced and broken your strikes. If he then strikes back around to the other side into the other opening of your head with taking-off or otherwise, then you shall again break the openings, that is, striking with the doubling or the mutating so that you break the opening from one side to the other and becomes struck and you displace and strike as one without harm.</p>
 +
| {{section|Page:Cod.I.6.2º.5 25r.jpg|1|lbl=25r}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_26r.jpg|250px|center]]
+
|  
| '''Again a play'''
+
| <p>'''Here note how you shall deploy the doubling to both sides.'''</p>
Whoever properly sets crooked, Disrupts many cuts with stepping.
 
  
Gloss: This is how you will set-aside the over-cuts with the crooked-cut. It executes thusly: Stand well crooked next to your left foot, which shall stand forward, crossing to the same side, that is, in the crooked setting-on with your sword with crossed hands with the point upon the ground. When he then strikes into the opening from his right side, so step and strike or set-aside and work as closest above. Yet, if you are able to fall well over the hands in the barrier-guard as others name, [it] goes to both sides. An if you stand and have your sword to the other side in the crooked setting-on and not with crossed hands, rather with open arms, then the long edge again stands above and with setting-aside as before and thereafter working with warring or otherwise. That is, that you also strike or thrust properly from the setting-aside to his head. It is also good against the fool or the flats. If he throw you over as above, then strike as above, etc.
+
<p>You shall deploy the doubling like this: When he has bound on you with an over-hew, or otherwise, from his right side to your left, etc. and strikes you back again around it to your right side, then do nothing more as soon as you perceive the moment he strikes, then wind-in your sword under his sword to the side with the short edge upon his left side so he becomes struck and is bound to it or pinned alike, that is then called the doubling above and breaking the openings with it. You may also make the doubling against his right side, yet you must wind-in crooked, etc.</p>
| '''Aber ain stuck'''
+
| {{section|Page:Cod.I.6.2º.5 25r.jpg|2|lbl=-}}
Krump wer wol setzt mit schreiten vil hew letzt Glosa
 
  
Das ist wie dw mit dem Krumphaw die obernhew absetzen wollt das treib also Stee wol krump neben deinem glincken fueß der soll vor steen überzwerch auf der selben seitten das ist in dem krumpen ansetzen mit deinem swert mit gekreutzten henden mit dem ort auf der erden wann er dann dir von seiner rechten seitten schlecht zw der ploss so schreit vnd schlag oder setz ab vnd arbait wie oben am nechsten doch magstu Im wol vber die hendt fallen mit dem ort biß auf die erdenn In die schranckhuet als etlich nennent geet auf baiden seitten Vnd so dw steest vnd hast dein swert auf der anderen seittenn in dem krumpen ansetzen vnd nit mit gekreutzten henden sunder mit offen armen so soll aber die lang schneid oben steen vnd mit absetzen wie vor vnd arbaiten Darnach mit kriegen oder andern das ist das dw In auch aus dem absetzenn auff sein haubt wol schlahenn oder stossen ist auch gut wider den alber oder flechenn Würfft er dich herüber wie obenn so schlach wie obenn etc
+
|-
 +
|
 +
| <p>If he will strike around, after your doubling into your left side to the head, then mutate to his right.</p>
 +
| {{section|Page:Cod.I.6.2º.5 25r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play'''
+
| <p>'''Here note how you shall deploy the mutating to both sides.'''</p>
Cut crooked to the flat of the masters if you wish to weaken them. When it clashes above, stand firm. That I will laud.
 
  
This is when you wish to weaken the master. So note when someone stands hanging in the flat or the fool with the right foot forward. So cut from your right side from the crooked setting-on and set him aside with crossed hands, crooked upon his sword and step toward and as soon as your sword has clashed upon it, stand firm and await upon the nach, etc. Or if you will not wait, then swiftly strike back out from the sword with the short or long edge at his head into his left side or wind the short edge upon his sword with the crooked-cut and stab into his chest or do whatever you think is good.
+
<p>Make the mutating like this: When you have just doubled-in and broken the opening as is taught above, if he will then strike back around it to your left side, etc. But if he is not to strike back here, then you must not allow anything more to go through, as above, etc. Then allow your point to go through it, between you both and strike him in the other opening of the right side of the head. If from this he then strikes to your lower openings, then you wind with the sword or point back here into the lower openings whichever way thus you break all of his openings like this so that he does not truthfully know where he is without danger and may not come well to blows. This is called 'down right mutate' and breaking and reckoning the openings as Master Hans Medl von Salzburg says.</p>
| '''Aber ain stuck'''
+
| {{section|Page:Cod.I.6.2º.5 25r.jpg|4|lbl=-}}
Haw krump zw den flechen den maistern wiltu sy schwechen / Wenn es klitzt oben so stand vest das will ich loben
 
  
Das ist wann dw die maister swechen wilt so merck wann ainer vor dir stat in der flech oder alber mit rechtem fueß vor verhengt So haw von deiner rechten seitten aus dem krumpen ansetzen vnd setz Im ab mit gekreutzten henden krump auf sein swert vnd trit zw vnd als pald dein swert klitzt auf das sein so stand vest vnd warrt auf das nach etc Oder aber wiltu nit warten so schlag resch vom swert wider auf mit der kurtzen oder langen schneid Im zw dem kopf zw seiner lincken seitten oder wind mit dem krumphaw die kurtz schneid an sein swert vnd stich In zw der brust oder mach was dich gut dunckt
+
|-
 +
| [[File:Cod.I.6.2º.5_25v.jpg|400x400px|center]]
 +
| <p>'''The crooked-hew with its plays.'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>42</small>
 +
| ''Crook-up swiftly,<br/>&emsp;throw the point upon the hands.''
 +
|}
 +
<p>'''Gloss:''' This is how you shall hew crooked to the hands. Deploy it like this: Stand with your left foot forward and hold your sword crooked out forward with the point upon the ground, that is, with crossed hands such that the long edge stands upwards well in the scales and the first play according to the text deploys like this: When one initiates a hew at you from his right shoulder with an over- or under-hew, so step in well toward him with your right foot against him in this and let the crossed hand or the crook go-up and offset the hew with your sword with the long edge or point thrown well out-over his hand against<ref>towards</ref> his left side. Thereafter, war and work as you wish. But if he over-throws you with the hands with power with his going-up, then let it go easily and make a strike around it around your head into his left side with the short or long edge, whichever course goes nearer. He breaks that with mutating against you. This hew also breaks the guards of the oxen. When someone stands therein against you, so you must break your crooked-hew there-against. It also breaks over- and under-hews and is one of the four displaces against the four guards such as the oxen.</p>
 +
| {{section|Page:Cod.I.6.2º.5 25v.jpg|1|lbl=25v}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play'''
+
| <p>''Rule: Give yourself a firm opening in the crooked-hew.''</p>
Do not crooked-cut, short-cut. With it, display the changing-through.
+
| {{section|Page:Cod.I.6.2º.5 25v.jpg|2|lbl=-}}
  
This is when he cuts or stands against you in the flat or the fool as closest above, etc. So act as if you will bind upon his sword with the crooked-cut or the setting-on, then cut short and drive-through with the point under his sword and wind or pull-through to your right side with the point between you both into a thrust to his right side and stab him in the face just as you come into the flat stance and thrust sharply<ref>severely, precisely, ruthlessly, violently</ref> in.
+
|-
| '''Aber ain stuck'''
+
| [[File:Cod.I.6.2º.5_26r.jpg|400x400px|center]]
Krump nicht kurtzhaw durchwechsel domit schaw Glosa
+
| <p>'''Again a play'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>43</small>
 +
| ''Crook whoever sets well, <br/>&emsp;With stepping, [he] disrupts many hews''
 +
|}
 +
<p>'''Gloss:''' This is how you will offset the over-hews with the crooked-hew. It deploys like this: Stand well crooked next to your left foot, which shall stand forward, crossing to the same side, that is, in the crooked setting-on with your sword with crossed hands with the point upon the ground. When he then strikes into the opening from his right side, so step and strike or offset and work as closest above. Yet, if you are able to fall well over the hands in the barrier-guard as others name, [it] goes to both sides.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26r.jpg|1|lbl=26r}}
  
Das ist wann er hawt oder steet gegen dir in der fleche oder alber wie oben am nechsten etc So thue als dw Im mit dem krumphaw oder ansetzen an sein swert binden wollest So haw kurtz vnd var mit dem ort vnder sein swert durch vnd wind oder zeuch auff dein rechte seitten mit dem ort zwischen ewer baider durch In ain stoss im auf sein rechte seitten vnd stich Im zw dem gesicht gleich als so dw in den flech standt kumest vnd stoss scharpf hinein
+
|-
 +
|
 +
| <p>And if you stand and have your sword to the other side in the crooked setting-on and not with crossed hands, rather with open arms, then the long edge again stands above and with offsetting as before and thereafter working with warring or otherwise. That is, that you also strike him properly from the offsetting to his head. This is so that you also strike or thrust him well upon his head from the offsetting. [This] is also good against the fool or the flat. If he throws you over it as above, then strike as above, etc.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play.'''
+
| <p>'''Again a play'''</p>
Whoever foils you crooked, the noble war confounds them that they do not truthfully know where they are without danger.
+
{| class="zettel"
 +
|-
 +
| <small>44</small>
 +
| ''Hew crooked to the flat <br/>&emsp;of the masters if you wish to weaken them.''
 +
|-
 +
| <small>45</small>
 +
| ''When it clashes above, <br/>&emsp; then stand <ref>In the standard verse it is 'ab', not 'fast'</ref>. That I will laud.''
 +
|}
 +
<p>This is when you wish to weaken the master. So note when someone stands hanging in the flat or the fool with the right foot forward. So hew from your right side from the crooked setting-on and offset him with crossed hands, crooked upon his sword and tread in and as soon as your sword has clashed upon it, stand firm and wait upon the after, etc. Or if you will not wait, then swiftly strike back up from the sword with the short or long edge at his head into his left side or wind the short edge on his sword with the crooked-hew and stab into his chest or do whatever you think is good.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26v.jpg|1|lbl=26v}}
  
Gloss: This is when you wish to execute the crooked-cut, you must always give an opening with it and understand it thusly. When you cleave-in from your right side or left side or bind upon his sword, from whichever side you cut, so are you open on the other. If he is also then clever and will cut from the sword to your opening and will make you err with agiliy, then remain with your sword upon his sword or cut after and wind in crooked or the point into the face and work further with the wat or strike to the openings. So he becomes confounded so that he will not feasably know where he shall guard himself in front of you against cuts or thrusts. Also if he will confound you such that he sets-upon with his sword and does not let up, etc. Then remain against his sword as above and follow-after him as above.
+
|-
| '''Aber ain stuck'''
+
|
Krump wer dich irret der edel krieg verwirret / das er nicht wais fürbar wa er sey anefar Glosa
+
| <p>'''Again a play'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>46</small>
 +
| ''Do not crooked-hew, short-hew. <br/>&emsp;With it, display the changing-through.''
 +
|}
 +
<p>'''Gloss:''' This is when he hews or stands against you in the flat or the fool as closest above, etc. So act as if you will bind upon his sword with the crooked-hew or the setting-on, then hew short and drive-through with the point under his sword and wind or pull-through to your right side with the point between you both into a thrust to his right side and stab him in the face just as you come into the flat stance and thrust sharply<ref>severely, precisely, ruthlessly, violently</ref> in.</p>
 +
| {{section|Page:Cod.I.6..5 26v.jpg|2|lbl=-}}
  
Das ist wenn dw den krumphaw treiben wilt so mustu dich albeg domit ploß geben vnd das vernym also wan dw Im mit dem krumphaw von deiner rechten seitten oder lincken einhawest oder an sein swert pindest von welcher seitten dw hawest so bistu auf der andern plos Ist er dann also gescheid vnd will dir von dem swert nach der plos hawen vnd will dich mit behendikeit irr machen so pleib mit deinem swert an seinem swert Oder haw nach vnd wind Im ein krump oder den ort zw dem gesicht vnd arbait fürbas mit dem krieg oder schlag zw den plössen so wirt er verirret das er fürbar nit wissen wirt wo er sich vor hawen oder stechen vor dir hüten soll Auch ob er dich also irren wolt das er dir aufsess mit seinem swert vnd nit auflassen etc so pleib an seinem swert wie oben vnd volge Im nach wie obenn
+
|-
 +
|
 +
| <p>'''Again a play.'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>47</small>
 +
| ''Whoever foils you crooked, <br/>&emsp;the noble war confounds them''
 +
|-
 +
| <small>48</small>
 +
| ''that they do not truthfully know <br/>&emsp;where they are without danger.''
 +
|}
 +
<p>'''Gloss:''' This is when you wish to deploy the crooked-hew, you must always give an opening with it and understand it like this. When you cleave-in from your right side or left side or bind upon his sword, from whichever side you hew, so are you open on the other. If he is also then clever and will hew from the sword to your opening and will make you err with agility, then remain with your sword upon his sword or hew after and wind in crooked or the point into the face and work further with the war or strike to the openings. So he becomes confounded so that he will not feasibly know where he shall guard himself in front of you against hews or thrusts. Also if he will confound you such that he sets-upon with his sword and does not let up, etc. Then remain against his sword as above and follow-after him as above.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_27r.jpg|250px|center]]
+
| [[File:Cod.I.6.2º.5_27r.jpg|400x400px|center]]
| '''The thwart-cut with its plays.'''
+
| <p>'''The thwart-hew with its plays.'''</p>
The thwart-cut takes-away whatever approaches from the roof.
+
{| class="zettel"
 +
|-
 +
| <small>49</small>
 +
| ''The thwart-hew takes-off<br/>&emsp;whatever approaches from the roof.''
 +
|}
 +
<p>'''Gloss:''' the thwart-hew is nothing other than the middle-hew. It breaks any hew that will either arrive or will be hewn from above downward or from the roof. You shall deploy it like this: Stand with the left foot forward and hold your sword in the middle-hew 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 above from the roof into the opening or the head, then step or spring forth against him with the right foot and offset his hew with the thwart, that is crooked, well to your left, etc. And after the offsetting, then wind-in with the short edge to his left into his head if you will remain upon his sword. War if it necessary. But if he makes a disengaging and will strike you from his left, then come-against swiftly around that with the crooked under cut into his arm, so long as [you] do not wander off too widely in the offsetting.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27r.jpg|1|lbl=27r}}
  
Gloss: the thwart-cut is nothing other than the middle-cut. It breaks any cut that will either approach or will be hewn from above downward or from the roof. You shall execute it thusly: Stand with the left foot worward and hold you sword in behind in the middle-cut at the midsection or waist by the right foot or side such that the long edge is above. And when someone cleaves-in above from the roof into the opening or the head, then step or spring forth against him with the right foot and set aside his cut with the thwart, that is crooked, well to your left, etc and after the setting-aside, then wind-in with the short edge to his left into his head if you will remain upon his sword. War if it is a necessity. But if he makes a disengaging and will strike you form his left, then come-against swiftly around that with the crooked under slice into his arm, so long as [you] do not drive away too wide in the setting-aside.
+
|-
| '''Der twirhaw mit seinen stucken'''
+
|
Twirhaw benimpt was von dem tag her kümpt Glosa
+
| <p>'''Another play'''</p>
 +
{| class="zettel"
 +
|-  
 +
| <small>50</small>
 +
| ''Thwart with the strong.<br/>&emsp;With that, remember your work.''
 +
|}
 +
<p>'''Gloss:''' This is about how you shall strengthen, break  and work strongly with any thwart-strike and like this in particular: when he will initiate a strike from above downwards like from-the-roof. So run inside against his hew strongly with the thwart just like the cut only that your thumb is underneath; and with that, strike him upon his left side or head. Thereafter if he strengthens a lot against you atop of that, then hang well and strike him from the hanging to his right side and tread with the left foot well to his right, etc, viz:<ref>videlicet: namely; to wit</ref> Hew-off<ref>abhauen: to sever or to hew in exit</ref> or War, etc.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|1|lbl=27v}}
  
Der Twirhaw ist nichtz anderst dann der mittelhaw der pricht alle hew die von oben nider oder vom tag her kummen oder gehawen werden den soltu also treiben Stee mit dem lincken fues vor vnd hallt dein swert in deiner mitte oder waich in hinten bey deinem rechten fueß oder seitten in dem mittelhaw das die lang schneid oben sey vnd wan ainer dir oben einhawt vom tag zw der plösse oder kopfe So schreit oder spring mit dem rechten fues gegen Im herfür vnd setz Im den haw ab mit der twir das ist krump wol auff dsein lincke etc vnd nach dem absetzen so wind ob dw pleiben woltest Im ein auf seinem swert zw der plos seiner rechten seitten Oder behend schlag von seinem swert mit der kurtzen schneid Im zw seiner lincken zw dem kopf krieg thut es not Ob er aber machet ain zuckenn vnd wolt dich schlagen von seiner lincken So khum resch wider mit dem vndern krumpen schnidt in sein arm darumb so verfar nit zw weit hinüber Im absetzenn
+
|-
 +
|
 +
| <p>Item. But if you sense when you bind on him with strength and he is weak upon the sword, then lay the short edge across to his right side upon his neck.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play'''
+
| <p>'''A break for the laying-on.'''</p>
Thwart with the strong. With that, remember your work.
 
  
This is so that you shall strongly break and strongly work every thwart with someone and also especially when he will strike down into you from above as from the roof. So run-in against his cut strongly with the thwart the same as with the slice, also so that your thumb is underneath, and with that strike him upon his left side or head. Thereafter, if upon that he strengthens much against you, then hang well and strike him from the hanging to his right side and step with the left foot well to his right, etc, viz:<ref>videlicet: namely; to wit</ref> Cut or War, etc. Item. But if you sense when you bind-upon him with strength and he is weak upon the sword, then lay the short side across to his right side upon his neck.
+
<p>When someone works upon you with the above, laid upon the neck as well, then release your sword from the left hand and shove his sword from the neck with the right and step with the left foot against his left side in front of both of his feet and drive closely with the left arm over both of his arms by his hilt and in front of him into the dance. Or, and better, step behind him in the scales and with the left arm on the neck, ahead or back around and throwing over the foot. Or release your sword from the left hand and strike him with the right through the mouth with the sword over his sword and grasp your sword with the left hand in the middle of the blade and shove him from you with the point, etc. If it is not good, better shove or take his weight from you by the elbow.</p>
| '''Ain ander stuck'''
+
| {{section|Page:Cod.I.6..5 27v.jpg|3|lbl=-}}
Twir mit der stercke dein arbait domit mercke Glosa
 
  
Das ist das dw mit ainem Ietlichen Twir schlag solt stercken prauchen vnd starck arbaiten vnd besunder also wann er dir von oben herab zwschlagen will als vom tag So lauff starck mit der twir gleich als mit dem schnit also das dein dawme vnden sey hinein gegen seim haw vnd schlag In damit auf sein lincke seitten oder haubt Darnach ob er starck wider dir darauf viel so heng wol vnd schlag In aus dem hengen zw seiner rechten seitten vnd trit mit dem lincken fueß wol auf sein rechte etc vz Haw oder krieg etc Item empfindestu aber wann dw mit sterck ym anbindest vnd er waich am swerte ist so leg Im die kurtz schneid zw seiner rechten seitten hinuber an den hals
+
|-
 +
|
 +
| <p>'''Yet another play.'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>51</small>
 +
| ''Thwart into the plow; <br/>&emsp;into the ox, join well.''
 +
|}
 +
<p>'''Gloss:''' This is when someone lays before you in his stance in the plow or ox. That is, when he stands with the right foot forward and lies with his sword out forward with the point on the ground. So fall upon that above<ref>alt: high</ref> with the thwart. Thereafter work in that, into the opening as it gives itself or war. But if he moves the weapon up to the head into the fool, then you may again sit-atop<ref>aufsitzen: to sit on top of something. A rider was sometimes called an 'Aufsitzer'</ref> that and work. War. Also in the same way, if someone sets upon you from the thwart or crooked hew, then remain on his sword and work in the after as in the last stance of the plow with the after.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| A break for the laying-on. When someone works upon you with the above, laid upon the neck as well, then release your sword from the left hand and shove his sword from the neck with the right and step with the left foot against his left side in front of both of his feet and drive closely with the left arm over both of his arms by his hilt and in front of him into the dance. Or, and better, step behind him in the scales and with the left arm on the neck, ahead or back around and thrown over the foot. Or release your sword from the left hand and strike him with the right through the mouth with the sword over his sword and grasp your sword with the left hand in the middle of the blade and shove him from you with the point, etc. If it is not good, better shove or take his weight from you by the elbow.
+
| <p>'''Another play.'''</p>
| Bruch für das anlegen wann dir ainer mit dem oberen arbait also an den hals legt so laß dein swert aus der lincken handt vnd mit der rechten stoss sein swert von dem hals vnd schreit mit dem lincken fues gegen seiner lincken seitten für sein baid fues vnd var mit dem lincken arm vber sein baid arm nahent bey seinem gehiltze vnd für In zw dem dantze Oder vnd pesser Schreit hinder In in die wag vnd mit dem lincken arm vornen oder hindenherumb an den hals vnd über den fues geworffen Oder aber lass dein swert aus der lincken handt vnd mit der rechten schlag Im mit dem swert über sein swert durch das maul vnd begreif dein swert mit der lincken handt mitten in der klingen vnd stoss In mit dem ort von dir etc ist nit gut pesser stoss oder nym Im das gewicht bei dem elenbog von dir
+
{| class="zettel"
 +
|-
 +
| <small>52</small>
 +
| ''Whoever thwarts themselves well, <br/>&emsp;endangers the head with springing.''
 +
|}
 +
<p>This is when you stand in the thwart and will endanger his head with strikes. So, in your thwart-hew let your point go through to the left side and in the going through, spring or step well to his left side with your right foot and strike him threateningly with the thwart to the left side of his head with the short edge yet so that you are well covered in it with the sword or hilt. Similarly it also goes to the left side with the going through and striking to his right side with the long edge, etc.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28r.jpg|1|lbl=28r}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>'''Another play from the thwart-hew called the failer'''</p>
Thwart into the plow; into the ox, join well.
+
{| class="zettel"
 +
|-
 +
| <small>53</small>
 +
| ''The failer misleads. <br/>&emsp;It wounds from below according to desire.''
 +
|}
 +
<p>'''Gloss:''' Note, any fencer that likes to displace will be dazzled and misled and easily struck with the failer. Deploy it like this: When you stand in the thwart and act as if you will strike him to his left side to the head from the thwart or from over-hews and in the hew divert or snatch away the hew and strike him with the thwart into the lower openings under his sword over to the left side of his hip or wherever it may occur to you and is called the wounding below if it is sent under under the sword and not from the under opening under the belt. Thus is he wounded according to desire and struck. War.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28r.jpg|2|lbl=-}}
  
Gloss: This is when someone lays before you in his stance in the plow or ox. That is, when he stands with the right foot forward and lies with his sword out forward with the point on the ground. So fall upon over that with the thwart. Thereafter work in, to the opening as it gives itself or war. But if he moves the weapon up to the head in the fool, then you may again set and work upon that with it. War. Also in the same way, if someone sets upon you from the thwart or crooked cut, then remain on his sword and work in the after as in the left<ref>letz: reversed, disrupted, perverted, refuting, incorrect, twisted, unjust, left</ref> stance of the plow with the after.
+
|-
| '''Aber ain stuck'''
+
|
Twir zw dem pflueg zw dem ochsen wol gefueg Glosa
+
| <p>'''Another play, the thwart inverter'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>54</small>
 +
| ''The inverter overwhelms.<br/>&emsp;Also with [it] the runner-through wrestles.''
 +
|-
 +
| <small>55</small>
 +
| ''Surely take the elbow. <br/>&emsp;Spring to him into the scales.''
 +
|}
 +
<p>'''Gloss:''' This is when you have hewn with the failer as was taught above. So strike it back around him to the left side with the thwart. If he then falls upon your sword, then swiftly hang and in the hanging, run through and take the scales from him by the elbows and step in forward with the left foot and shove him thereover. You may also make also make a wrestling in the running through as so: step behind him with the left foot and drive your left arm forward around his neck and throw him backwards over the foot. You may also properly restrain his back around his neck and throw.</p>
 +
|  
 +
{{section|Page:Cod.I.6.2º.5 28r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 28v.jpg|1|lbl=28v|p=1}}
  
Das ist wann ainer vor dir ligt in dem pflueg oder ochsen in seinem standt das ist wann er mit dem rechten fues vorstet vnd mit seinem swert fursich hinauß mit dem ort auf der erden ligt So vall Im mit der twier oben darauff darnach arbait In yn zw den plössen wie es sich gibt oder krieg Ob er aber auf wer gangen zw dem kopf in den alber so magstu ym aber mit der darauf sitzen vnd arbaiten krieg Also auch linck Sess dir aber ainer also aus der twir auf oder krump haw so pleib an seinem swert vnd arbait Im nach wie in dem letzten standt des pfluegs mit dem nach
+
|-
 +
|
 +
| <p>Others speak like this: When you have bound upon with someone, so twist your sword so that your thumb comes below, that is, into the thwart and stab him in the face with the point so you overwhelm him so that he must displace and in the displacement, run in and shove his elbow which wrestles as above, etc.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play.'''
+
| <p>Item. As for how you shall run through, you find that hereafter in the play that says: Run through, allow to hang.</p>
Whoever thwarts themselves well, endangers the head with springing.
+
| {{section|Page:Cod.I.6.2º.5 28v.jpg|3|lbl=-}}
  
This is when you stand in the thwart and will endangers his head with strikes. So, in your thwart-cut let your point go through to the left side and in the going through, spring or step well to his left side with your right foot and strike him threateningly with the thwart to the left side of his head with the short edge yet so that you are well covered in it with the sword or hilt. Similarly it also goes to the left side with the going through and striking to his right side with the long edge, etc.
+
|-
| '''Ain ander stuck'''
+
|
Was sich wol twieret mit springen dem haubt geferet
+
| <p>'''Yet another play.'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>56</small>
 +
| ''The failer hits one twice. <br/>&emsp;Make the high cut with power.''
 +
|}
 +
<p>According to Master Hansen, [he] says: This is how you have misled with the first failer and struck him to his right side, etc. as above. So strike it back around swiftly yet once more to the other right side. That's called the double, etc. You can continue trebly like this making it back around to the opening. If you then come upon his sword, such that he displaces, then war or wind with him, etc. If he will then also strike, then go after him in-the-moment with the cut in over his arm and press after.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|4|lbl=-}}
  
Das ist wan dw stest in der twir vnd wilt seinen haubt gefern mit schlagen So laß in deim twirhaw gegen deiner lincken seitten durchgeen den ort vnd Im durchgeen so spring oder schreit Im wol auf sein lincke seitten mit deinem rechten fues vnd schlag ym mit der twir gefarlich zw seinem haubt seiner lincken seitten mit kurtzer schneid doch das dw in dem mit dem swert oder gehiltz wol bedeckt seiest krieg Gleich also get s auch auf der lincken seitten mit durchgen vnd schlagen zw seiner rechten seitten mit langer schneid etc
+
|-
 +
|
 +
| <p>Others differ and is also called the double failer. With respect to this, one shall deploy a double misleading in an approach. The first deploys like this: When you come to him in one approach, so step or spring with the right foot so that your left foot stands in front against him and act as if you will strike to his left side with a thwart and snatch away the strike and spring forwards with the left foot to his right and strike him on the head to the right side if it is arrayed as in the first play, war.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play from the thwart-cut called the failer'''
+
| <p>'''Yet another play.'''</p>
The failer misleads. It contacts from below according to desire.
+
{| class="zettel"
 +
|-  
 +
| <small>57</small>
 +
| ''Double it further, <br/>&emsp;step in left and do not be lazy.''
 +
|}
 +
<p>'''Gloss:''' This is the closest play above as Master Hans says, [he] explains with the cut. But others say that when you have struck with the first misleading to the left side to the head, then immediately strike back around to the right side to his head and drive over his sword with the short edge from crossed arms and spring in left, that is, to your left side and cut him through the mouth with the long edge and extract<ref>ausheben: lift out</ref> yourself [to the side]<ref>conjecture, possibly: 'neben'</ref>.</p>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 28v.jpg|6|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 29r.jpg|1|lbl=29r|p=1}}
  
Gloss: Note, any fencer that likes to parry will be dazzled and misled and easily struck with the failer. Execute it thusly: When you stand in the thwart and act as if you will strike him to his left side to the head from the thwart or from over-cuts and in the cut divert or snatch away the cut and strike in with the thwart to the lower openings under his sword to the left side of his head or wherever it may occur to you and is called the contact below if it is arranged under the sword and not by the under opening under the belt. Thus is he contacted according to desire and struck. War.
+
|-
| '''Ain ander stuck aus dem Twirhaw haist der feler'''
+
|
Fäler verfüret von vnden nach wunsch er rüret Glosa
+
| <p>Item you may deploy the failer from the over-hews in the same way as from the thwart-hew whenever you wish and the thwart goes to both sides, though [it is] more effective from the right side when your left foot stands forward.</p>
 +
| {{section|Page:Cod.I.6..5 29r.jpg|2|lbl=-}}
  
Merck mit dem feler werden alle vechter die da gern versetzen geplendt vnd verfürt vnd gern geschlagen Den treib also So dw steest in der twir So thue als ob dw Im aus der twir oder aus oberhewen schlagen wölst zw seiner lincken seitten zw dem kopf vnd Im haw so verwende oder vertzuck den haw vnd schlag yn mit der twir zw der vnderen plössen vnder seinen swert hinein zw dem haubt seiner rechten seitten oder wo dir die werden mag vnd haist vnden gerürt so es vnder dem swert geschicht vnd nit von der vnder plös vnder der gürtl So ist er nach wunsch gerürt vnd geschlagen krieg
+
|-
 +
| [[File:Cod.I.6.2º.5_29r.jpg|400x400px|center]]
 +
| <p>'''This is the squint-hew with it's plays'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>58</small>
 +
| ''The squinter breaks-into<br/>&emsp;whatever the buffalo strikes or stabs.''
 +
|-
 +
| <small>59</small>
 +
| ''Whoever deploys the change, <br/>&emsp;the squinter robs him from that.''
 +
|}
 +
<p>'''Gloss:''' The squint-hew is nothing other than the change-hew. Named according to the record, the squint-hew, which is such an exquisite hew, that breaks-in<ref>alt: breaks-apart, shatters, asunders; burgles; interrupts</ref> buffaloes or thugs, which take victory by force in hews and in stabs. Deploy the hew like this: If you stand with your right foot forward and lay in the squint-hew, so that the thumb must be above on the sword. If he then hews into you from his right side, step into him swiftly in-the-moment with your left foot and offset his hew strongly with your short edge and from that, make a rapid strike from your left shoulder, crooked, with the long edge into the right side of his head, but if he comes against it very quickly and displaces your hew so that you come upon his sword, then wind-in above with power and lay your sword on his throat. If he will then escape ever with force, then follow after him just accordingly so he may not rightly escape.</p>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 29r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 29v.jpg|1|lbl=29v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play, the thwart inverter'''
+
| <p>But if you wish to let him off easy, then wind-after him with the war and between his arms as it connects, etc. But if you stand with the left foot forward, then lay your thumb below, so you may again offset his over-hew with the short edge and strike to his left side to the head with the short edge and with the right foot stepping-into. Or, offsetting over his sword, winding-in to his right side to the head or laying upon the throat, etc, war. But if he wishes to change-through in his hew, then wind-in crooked upon his sword and bring forth your work and lay upon him.</p>
The inverter overwhelms. Also with [it] the runner-through wrestles. Surely take the elbow. Spring to him into the scales.
+
| {{section|Page:Cod.I.6.2º.5 29v.jpg|2|lbl=-}}
  
Gloss: This is when you have cut with the failer as was taught above. So strike back around him to the left side with the thwart. If he then falls upon your sword, then swiftly hang and in the hanging run through him and take him by the elbow into the scales and step in forward with the left foot and shove him thereover. You may also make also make a wrestling in the running through as so: step behind him wit hthe left foot and drive your left arm forward around his neck and throw him backwards over the foot. You may also properly restrain his back around his neck and throw. Others speak thusly: When you have bound upon with someone, so twist your sword so that your thumb comes below, that is, into the thwart and stab him in the face with the point so you overwhelm him so that he must parry and in the parrying, run in and shove his elbow. It wrestles as above, etc. Item. As for how you shall run through, you find that hereafter in the play that says: Run through, allow to hang.
+
|-
| '''Ain ander stuck der twir verkerer'''
+
|
Verkerer zwinget durchlauffer auch mit ringet / Den elenbogen gewiss nym spring Im in die wage Glosa
+
| <p>'''Another play'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>60</small>
 +
| ''Squint-on if he shortens you. <br/>&emsp;Changing-through brings victory.''<ref>ansiegen: to return with victory</ref>
 +
|}
 +
<p>'''Gloss:''' This is a teaching. When you come to him with the approach, you should squint<ref>glance, discern, glean</ref> whether he stands short or badly against you. So, with this, you shall identify when he hews into you, if he then does not stretch his arms out long from himself, then the sword is shortened. If you then lay before him in the squinter or lay before you in the fool by the head<ref>Ochs</ref>, then it is again shortened. For all windings or standings crooked in the sword in front of the opponent are short and shorten the sword. To all that hold themselves like this, you shall freely change-through them with the long point out of hews and out of stabs into the face. With that you threaten them such that they must displace or allow themselves to be wounded or pierced. War. Master Hans likes to change-through if the right foot is before him and stands in the change or squinter and when one is shortened against him, especially standing in the fool<ref>Ochs</ref>.</p>
 +
| {{section|Page:Cod.I.6..5 29v.jpg|3|lbl=-}}
  
Das ist so dw mit dem feler wie oben gelert ist gehawen hast so schlag widerherumb ym zw der lincken seitten mit der twir fellt er dan dir auf dein swert so heng resch vnd lauff Im durch in dem hengen vnd nym ym die wag bey dem elenbogen vnd schreit In für mit deinem lincken fueß vnd stos yn darüber Auch magstu in dem durchlauffen ain ringen machen also Trit hinder yn mit deinem lincken fues vnd mit dem lincken arm var Im vornen vmb den hals vnd würff yn hindersich über den fues dw magst auch wol '''[28v]''' hinder seinem rucken vmb sein hals vnd werffen Etlich sagen also so dw mit ainem angepunden hast So verkere dein swert also das dein dawme vnden khum das ist in die twir vnd stich In mit dem ort zw dem gesicht so zwingstu yn das er dir versetzen muß vnd in der versatzung so lauff ym ein vnd stos ym den elenbogen der ring wie oben etc Item wie dw durchlauffen sollt das findestu hernach in dem stuck das da spricht Durchlauff las hangenn
+
|-
 +
|
 +
| <p>''If you stand crookedly or openly in the hanging displacement, as Seydenfaden had taught, it is also shortened and good for you to change-through.''</p>
 +
| {{section|Page:Cod.I.6.2º.5 29v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>'''Again a play'''</p>
The failer hits doubly. One makes the old slice with power.
+
{| class="zettel"
 +
|-
 +
| <small>61</small>
 +
| ''Squint to the point, <br/>&emsp;take the neck without fear.''
 +
|}
 +
<p>'''Gloss:''' This is the squinter that breaks the long point with a deception of the eyes. Deploy it like this according to Master Hans lesson: If you stand in the squinter and your right foot stands forward and he also stands in with his right foot forward in the fool<ref>Ochs</ref> with the flat near the left side of his head and hurries the point against you, then squint into that and act as if you will hew into that and run-in past under his sword with the left foot, crooked-hew into his neck and take the neck without any fear. Thereafter work with the war or whatever you wish.</p>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 29v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 30r.jpg|1|lbl=30r|p=1}}
  
According to master hans, [he] says: This is how you have misled with the first failer and struck him to his right side, etc. as above. So strike back around swiftly once more to the other right side. That's called the double, etc. You may withhold trebly as so: Make back around to the opening. If you then come upon his sword, such that he parries, then war or wind with him, etc.
+
|-
| '''Aber ain stuck'''
+
|
Fäler zwifach trifft man den alten schnidt mit macht krafft
+
| <p>Also do as others say: If you stand with the left foot forward in the squinter and he holds the point long or short against your face, then squint at the point and act as if you will strike into that and strike upon his sword with the short edge and with that shoot-in the point long into the right side of his neck without fear, though also step past with your right foot. War. But if you wish to take the before, then sit-atop him crooked, then again strike quickly from the sword with the short edge into his left side. War.</p>
 
+
| {{section|Page:Cod.I.6.2º.5 30r.jpg|2|lbl=-}}
Nach maister hansen sag Das ist wie dw In mit dem erstn feler verfurt hast vnd yn geschlagen zw seiner rechten seitten etc Wie oben So schlach resch noch ain mal herwiderumb Im zw der andern seiner rechten seitten das haist zwifach etc Dw magst halt dreistund also machen herwiderumb zw der plös kumbstu dann auf sein swert das er versetzt so krieg oder wind mit Im etc
 
  
 
|-  
 
|-  
 
|  
 
|  
| If he will then also strike, then go after him in-the-moment with the slice in over his arm and press after. Different than the others and also called the failer. Therefore one shall execute from that a double misleading in one onset. The first executes thusly: When you come to him with the onset, so step or spring with the right foot so that your left foot stands in front against him and act as if you will strike to his left side with a thwart and snatch away the strike and spring forwards with the left foot to his right and strike him on the head to the right side if it is arrayed as in the first play, war.
+
| <p>'''Another Play.'''</p>
| Will er dann auch schlagen so gang ym Indes nach mit dem schnit oben ein über sein arm vnd druck nach Etlich anderst vnd also das haist der zwifach feler darumb das man in ainem zwvechten zwaierlai verfurung darauß treiben sol Die ersten treib also wann dw mit dem zufechten zw ym kumbst so schreit oder spring mit dem rechten fues So dir der linck fues vornen stet gegen ym vnd thue als dw In mit ainer twir zw seiner lincken seitten zw dem kopf schlagen wöllest vnd vertzuck den schlag vnd mit dem lincken fues hinfur auf sein rechte gesprungen vnd schlag ym zw seiner rechten seitten an den kopf ist schier wie in dem ersten stuck krieg
+
{| class="zettel"
 +
|-  
 +
| <small>62</small>
 +
| ''Squint to the top of the head <br/>&emsp;if you wish to ruin the hands.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This is when you stand in the squinter with your left foot forward and he also holds himself with the left foot forward in the squinter or otherwise however he wishes. So snap in with your sword or flat to his right side into the head. If he overlooks this, then he will be quite prodigiously<ref>could also mean 'carelessly'</ref> struck and thereafter pull swiftly and from that make a hew upon his sword to his left side into his head with the short edge. War.</p>
 +
| {{section|Page:Cod.I.6.2º.5 30r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>Others speak like this: When he will cleave-in to you above or stand against you in the long point, then squint with the face as if you will strike atop the head, hew with the short edge against his hew and strike him with the point to the hands upon his sword's edge.</p>
Double it further, step in left and do not be lazy.
+
| {{section|Page:Cod.I.6.2º.5 30r.jpg|4|lbl=-}}
  
G[loss]: This is the closest play above as master hans says, [he] explains with the slice. But others say that when you have struck with the first misleading to the left side to the head, then strike swiftly back around to the right side to the head with the short side from crossed arms over his arms and spring left, that is to your left side and slice him through the 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>
+
|-
| '''Aber ain stuck'''
+
| [[File:Cod.I.6.2º.5_30v.jpg|400x400px|center]]
Zwifach es fürbas schreit yn linck vnd bis nit lass g
+
| <p>'''The squinter with scalper with it's plays'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>63</small>
 +
| ''The scalper <br/>&emsp;is a threat to the face.''
 +
|-
 +
| <small>64</small>
 +
| ''With it's turn, <br/>&emsp;the chest is quickly<ref>Alternately: strongly, firmly, steadfastly.</ref> threatened.''
 +
|}
 +
<p>'''Gloss:''' This is when you stand in the squinter with the right foot forward and someone initiates a hew at you with over-hews, etc. Then, swiftly flip your sword back around while he strikes in the plunge-hew (that is, the part-hew in the recital) with the point against him well inside in the scales under his hew or sword to the face or chest. Thereafter, work whatever you wish that is quite threatening to him.</p>
 +
| {{section|Page:Cod.I.6.2º.5 30r.jpg|5|lbl=-}}
  
Das ist oben am nechsten stuck wie maister hans sagt auslegt mit dem schnit Etlich aber sagen das sey wen dw yn mit der ersten verfürung zw seiner rechten seitten zw dem kopf geschlagen hast So schlach pald widerumb Im zw der rechten seitten ym zw dem kopf vnd var mit der kurtzen schneid aus gekreutzten armen über sein swert vnd spring ym linck das ist auf dein lincke seitten vnd schneid yn mit der langen '''[29r]''' langen schneid durch das maul vnd heb dich resch ne..auß
+
{{section|Page:Cod.I.6.2º.5 30v.jpg|1|lbl=30v}}
  
 
|-  
 
|-  
 
|  
 
|  
| Item you may execute the failer from the over-cuts in the same way as from the thwart-cut whenever you wish and the thwart goes to both sides, though [it is] more effective from the right side when your left foot stands forward.
+
| <p>Master Hans Seydenfaden also taught the scalper like this: initiate a hew straight above from the top of the head with the long edge and swiftly upon that, an under-hew to the right side of his head. Thereafter according to the two plays in his school rules with other strikes, treads and deception.</p>
| Item dw magst den feler aus den oberhewen gleich treiben als aus dem twirhaw wan dw wilt Vnd die twir get zw baiden seitten doch statlicher wan dein lincker fues vor steet von der rechten seitten
+
| {{section|Page:Cod.I.6.2º.5 30v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_29r.jpg|250px|center]]
+
|  
| '''This is the squint-cut with it's plays'''
+
| <p>'''Another play. How the crown breaks the scalper.'''</p>
The squint-cut breaks-into whatever the buffalo strikes or stabs. Whoever executes the change, the squinter robs him from that.
+
{| class="zettel"
 +
|-
 +
| <small>65</small>
 +
| ''What comes from him, <br/>&emsp;the crown takes away.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This is when someone has thrown-in the point at you with the scalper as is first taught. So break the crown against it, because it breaks the scalper like this: If he also stands as such, then fall into the hew with your hilt over<ref>across</ref> his blade or over<ref>across</ref> the grip between both hands and back off so he will be struck upon the head, etc. This is called the crown.</p>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 30v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 31r.jpg|1|lbl=31r|p=1}}
  
Gloss: The squint-cut is nothing other than the change-cut. Named according to the record, the squint-cut, which is such an exquisite cut, that breaks-into buffalos or ruffians, which take victory by force in cuts and in stabs. Execute the cut thusly: If you stand with your right foot forward and lay in the squint-cut, then the thumb must be above on the sword. If he then cuts into you from his right side, step into him swiftly in-the-moment with your left foot and set-aside his cut strongly with your short edge and from that, make a rapid strike from your left shoulder, crooked, with the long edge into the right side of his head, but if he comes against it very quickly and parries your cut so that you come upon his sword, then wind-in above with power and lay your sword on his throat. If he will then escape ever with force, then follow after him just mercifully so he may not rightly escape. But if you wish to allow him to escape easily, then wind-after him with the war and between his arms as it connects, etc. But if you stand with the left foot forward, then lay your thumb below, so you may again set-aside his over-cut with the short edge and strike to his left side to the head with the short edge and with the right foot stepping-into. Or, setting-aside over his sword, winding-in to his right side to the head or laying upon the throat, etc, war. But if he wishes to change-through in his cut, then wind-in crooked upon his sword and bring forth your work and lay upon him.
+
|-
| '''Das ist der schilhaw mit seinen stuckenn'''
+
| rowspan="2" | [[File:Cod.I.6.2º.5_31r.jpg|400x400px|center]]
Schilher einpricht, was puffel schlecht oder sticht Wer wechsel treibt, schilher yn daraus beraubt Glosa
+
| <p>Others differ like this: When you hew-in above with the scalper, if he then displaces high with the sword gripped with an armed hand or athwart over the head. That is called the crown against Seydenfaden's scalper and with that run-in with shoving, etc. It also takes-off the scalper. This also breaks someone like this again as above with the hilt thrown over that and cast down.</p>
 +
| {{section|Page:Cod.I.6..5 31r.jpg|2|lbl=-}}
  
Schilhaw ist nichtz anders dan der wechselhaw nach der Zetl schilhaw genent der ist ain solcher treffentlicher haw der den puffeln oder püben die sich maisterschafft annemen mit gewalt einpricht in hewen vnd in stichen Den haw treib also So dw steest mit dem gerechten fues vor vnd ligst in dem schilhaw so muß der dawm oben sein an dem swert hawt er dann zw dir von seiner rechten '''[29v]''' seitten schrit resch Indes zw ym mit deinem lincken fues vnd setz ym den haw ab starck mit deiner kurtzen schneid vnd mach dar auß ainen behenden straich von deiner lincken achsell zw dem kopf seiner rechten seitten krump mit der langen schneid kumbt er aber herwider so pald vnd versetzt dir den haw also das dw auf sein swert kumbst So wind ym mit krafft oben ein vnd leg ym dein swert an den hals wolt er dan Ie mit gwalt her auß so volg ym nur gütlich nach so mag er nit wol herauß Wiltu yn aber gern herauß lassen So wind Im nach mit dem krieg vnd zwischen sein arme wie es fuegt etc So dw aber mit dem lincken fues vor steest so ligt dein dawme vnden so magst aber domit der kurtzen schneid sein oberhew absetzen vnd schlagen zw seiner lincken seitten zw dem kopf mit der kurtzen schneid vnd mit dem rechten fues zugeschritten Oder ym absetzen über sein swert ym eingewunden zw seiner rechten seitten zw dem kopf oder hals angelegt etc krieg Ob aber er in seinem haw dir wolt durchwechseln so wind ym krump ein auf seinen swert vnd verbring dein arbait fursich hin vnd leg ym an
+
|-
 +
| <p>'''Another play. How the cut breaks the crown.'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>66</small>
 +
| ''Hew through the crown, <br/>&emsp;so you break the hard beautifully.''
 +
|-
 +
| <small>67</small>
 +
| ''Press the strike. <br/>&emsp;It backs-off with cutting.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This is when someone backs off the scalper with the crown in the same way as above. So follow after him and backing him so you cut him on the head, etc. Then you separate off to the side.</p>
 +
| {{section|Page:Cod.I.6.2º.5 31r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play'''
+
| <p>Others differ like this: when he displaces the scalper or otherwise a hew with the armed crown and with that runs-in, then take the cut under his hands, into his arms and press firmly upward and with the stroke back yourself off with it.</p>
Squint-on if he shortens you. Changing-through brings victory<ref>ansiegen: to return with victory</ref>.
+
| {{section|Page:Cod.I.6.2º.5 31v.jpg|1|lbl=31v}}
  
Gloss: This is a teaching. When you come to him with the onset, you should squint<ref>glance, discern, glean</ref> whether he stands short or straight against you. So, with this, you shall identify when he cuts into you, if he then does not stretch his arms out long from himself, then the sword is shortened. If you then lay before him in the squinter or lay before you in the fool by the head<ref>Ochs</ref>, then it is again shortened. For all windings or standings crooked in the sword in front of the opponent are short and shorten the sword. To all that hold themselves thusly, you shall freely change-through them with the long point out of cuts and out of stabs into the face. With that you threaten them such that they must parry or allow themselves to be wounded or pierced. War. Master Hans easily<ref>likes to</ref> changes-through if the right foot is before him and stands in the change or squinter and when one is shortened against him, especially standing in the fool<ref>Ochs</ref>.
+
|-
| '''Ain ander stuck'''
+
| rowspan="2" | [[File:Cod.I.6.2º.5_31v.jpg|400x400px|center]]
Schill kürtzt er dich an durchwechsl gesigt ym an Glos
+
| <p>'''About the four positions'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>68</small>
 +
| ''Four positions alone, <br/>&emsp;from those on holds and flee the common.''
 +
|-
 +
| <small>69</small>
 +
| ''Ox, plow, fool, <br/>&emsp;from-the-roof. The three things are not worthless to you.''
 +
|-  
 +
| <small style="color:#696969;">69a</small>
 +
| ''Says Master Hans Medel.''
 +
|}
 +
<p>'''Gloss:''' This is so that you shall hold from no positions other than from the four positions alone that are named here. They are often named the four guards, that is: ox, plow, fool, from-the-roof.</p>
 +
| {{section|Page:Cod.I.6.2º.5 31v.jpg|2|lbl=-}}
  
Das ist ain lere wan dw mit dem zufechten zw ym khumbst so soltu schilhen ob er kurtz gegen dir stet oder schlecht Das soltu bey dem erkennen wann er dir zwhawt reckt er dann den arm mit dem haw nit lang von Im so ist das swert verkürtzt Ligstu dann vor ym in dem schilher oder ligt vor dir Im alber bey dem haubt so ist es aber verkürtzt dann alle winden oder krump steen in dem swert vor dem man sind kurtz vnd verkurtzen das swert Den allen die sich also halten den soltu frölich durchwechseln aus hawen vnd aus stichen mit dem langen ort zw dem gesicht damit zwingstu sy das sy müssen versetzen oder sich schlagen oder stossen lassen krieg Maister hans wechselt gern durch so ym der gerecht fues vor ist vnd ym wechsel oder schilher steet wann ainer kurtz gegen ym ist besunder Im alber stet
+
|-
 +
| <p>'''The first position, that is, the ox.'''</p>
  
|-
+
<p>Make it like this according to Master Hans: Stand with the right foot forward and hold your sword upon your left side below the knee, the point against the man, a little upwards such that the thumb stands against you on the sword and the long edge upwards. Also stand in the same way so that your left foot stands forward yet with crooked or crossed arms and again the thumb against you and the short edge upwards.</p>
 
|  
 
|  
| [Margin] If you stand crookedly or openly in the hanging parrying, as Seydenfaden had taught, it is also shortened and good for you to change-through
+
{{section|Page:Cod.I.6.2º.5 31v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 32r.jpg|1|lbl=32r|p=1}}
| <sup>So dw steest in der verhangenden versatzung krump oder offen wie Seydenfaden gelert hat ist auch kurtz vnd dir gut durchwechseln</sup>
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play'''
+
| <p>'''The second is the plow.'''</p>
Squint to the point, take the neck without fear.
 
  
Gloss: This is the squinter that breaks the long point with a deception of the eyes. Execute it thusly according to Master Hans lesson: If you stand in the squinter and your right foot stands forward and he also stands in with his right foot forward in the fool<ref>Ochs</ref> with the flat near the left side of his head and hurries the point against you, then squint into that and act as if you will cut into that and run-in past under his sword with the left foot, crooked-cut into his neck and take the neck without any fear. Thereafter work with the war or whatever you wish. Also do as others say: If you stand with the left foot forward in the squinter and he holds the point long or short against your face, then squint at the point and act as if you will strike into that and strike upon his sword with the short edge and with that shoot-in the point long into the right side of his neck without fear, though also step past with your right foot. War. But if you wish to take the before, then set-upon him crooked, then again strike quickly from the sword with the short edge into his left side. War.
+
<p>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, then you may also make it, although it is somewhat shorter against the man.</p>
| '''Aber ain stuck'''
+
| {{section|Page:Cod.I.6..5 32r.jpg|2|lbl=-}}
Schill zu dem ort nym den hals ane vorcht Glosa
 
 
 
'''[30r]''' Das ist das der schilher pricht den langen ort mit ainem betriegen des gesichtz das treib also Nach maister hansen lere So dw steest in dem schilher vnd dein rechter fus vor stet vnd er gegen dir auch mit seinem rechten fues vor stet in dem alber mit flach neben seinem haubt der lincken seitten vnd resch gegen dir den ort so schilhe ym darzue vnd thue als dw ym dar zw hawen wollest vnd lauf ym mit deinem lincken fues hinfür vnder sein swert hinein krump zw seinem hals vnd nym ym den hals on alle vorcht Darnach arbait mit krieg oder was dw wilt Also thue auch als etlichs sagen So dw mit deinem lincken fuß vorsteest in dem schilher vnd er dir den ort gegen deinem gesicht oder prust helt lanck oder kurtz so schilhe ym zw dem ort vnd thue als wöllest dw ym darzw schlagen vnd schlag mit der kurtzen schneid ym auf sein swert vnd schews ym den ort damit lanck ein zw dem hals ane vorcht seiner rechten seitten doch schreit auch mit deinem rechten fus hinfür krieg Wiltu aber das vor nemen so dw ym krump auf sitzst So schlag pald wider vom swert ym zw seiner lincken seitten mit kurtzer schneid krieg
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another Play.'''
+
| <p>'''The third is the Fool.'''</p>
Squint to the top of the forehead if you wish to astonish<ref>can also mean `to tame or incapacitate`</ref> its side.<ref>This is a markedly different reading of the verse from the usual: `squint to the top of the forehead if you wish to incapacitate the hands` Hand can either mean `hand` or `side` and Medel adds `sy` which refers to the head</ref>
 
  
Gloss Master Hans: This is when you stand in the squinter with your left foot forward and he also holds himself with the left foot forward in the squinter or otherwise as he will. So snap with your sword or flat to his right side into the head. If he overlooks this, then he will be quite prodigously<ref>could also mean 'carelessly'</ref> struck and thereafter pull swiftly and from that make a cut upon his sword to his left side into his head with the short edge. War. Others say as well: When he will cleave-in to you above or stand against you in the long point, then squint with the face as if you will strike atop the head, cut with the short edge against his cut and strike him with the point to the hands upon his sword's edge
+
<p>Make it like this: Stand with the right foot forwards and hold your sword with the hilt next to your head to the left side, not crooked or crosswise, the point against the opponent or in the flat, the thumb by you. But if the left foot stands forwards, then again hold your sword upon the right side next to your head crooked or crosswise, the point against the man, again the thumb against you.</p>
| '''Ain ander stuck'''
+
| {{section|Page:Cod.I.6.2º.5 32r.jpg|3|lbl=-}}
Schill zw den oberen haubt hendt wiltu sy bedoberen
 
 
 
Glosa Maister hans Das ist so dw steest in dem schilher vnd mit dem rechten fues vor Vnd er auch mit seinem rechten fues vor vnd auch in dem schilher oder halt sunst wie er wöll so schnapp ym mit deinem swert oder flechin zw seiner rechten seitten zw dem kopf Vbersicht ers so wirt er gar liederlich geschlagen Vnd zuck darnach resch vnd mach dar aus auf sein lincke seitten ain haw auf sein swert zw dem haubt mit kurtzer schneid krieg Etlich sagen also wann er dir oben einhawen will oder in dem langen ort gegen dir steet So schilh mit dem gesicht als dw yn auff das haubt schlahenn wöllest haw mit der kurtzen schneid gegen seinem haw vnd schlag yn an seines schwertz klingenn mit dem ort auf die hende
 
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_30v.jpg|250px|center]]
+
|  
| '''The squinter with scalper with it's plays'''
+
| <p>'''The fourth position is the from-the-roof.'''</p>
The scalper is a threat to the face. With it's turn, the chest is quickly<ref>Alternately: strongly, firmly, steadfastly.</ref> threatened.
 
  
Gloss: This is when you stand in the squinter with the right foot forward and someone hews-into you with over-cuts, etc. So swiftly throw your sword back around into the plunge-cut while he strikes, this is the scalper in the recital and the point against him well inside in the scales under his cut or sword into the face or chest. Therefter, work whatever you wish that is quite threatening to him. Master hans seydenfaden also taught the scalper thusly: straight above from the top of the head striking-into with the long edge and swiftly upon that, an under-cut to the right side of his head. Thereafter according to the two plays in his school rules with other strikes, steps and deception.
+
<p>Make it like this: Stand with the right foot forwards and hold your sword upwards to your right side with extended arms just as in the speaking window.</p>
| '''Schilher mit schaitler mit seinen stuckenn'''
+
| {{section|Page:Cod.I.6..5 32r.jpg|4|lbl=-}}
Der schaitler dem antlitz ist geuar / mit seiner kar der brust vast geuar Glosa
 
  
Das ist so dw steest in dem schilher mit rechtem fues vor vnd ainer hawt dir zw mit oberhewen etc So verwirff resch dein swert hindenherumb die weil er schlecht in den sturzhaw dass ist der schaitler in der zetl vnd den ort gegen ym wol hinein in der wag vnder seinem haw oder swert zw dem angesicht oder prust darnach arbait was dw willt das ist ym gar geuarlich Maister hans seydenfaden leret auch also den schaitler gerichtz oben von der schaittel zuschlagen mit langer schneid vnd resch darauf ain vnderhaw ym zw der rechten seitten zw dem haubt Darnach noch zway stuck in seinem schulrecht mit etlichen schlegen triten vnd verfurung
+
|-
 +
|
 +
| <p>Master Hans makes one thing out of the fool from-the-roof like this: When he stands with the right foot forwards, then he guilelessly hews-down from-the-roof and hews-through before him upon the left side in the fool. This he calls the 'fool from the roof' and makes no more than three positions. And how you shall fence from the guards or positions, you shall find that before and herafter. Also in particular, you may make your work from those as it follows hereafter in the seven stances. Therein other positions are handled if someone will break yours<ref>your leger</ref>, etc. </p>
 +
| {{section|Page:Cod.I.6.2º.5 32r.jpg|5|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play. How the crown breaks the scalper.'''
+
| <p>Master Hansen's art also explains the four positions or guards differently than some as you generally find in all other glosses which are not as sensible to me.</p>
What comes from him, the crown takes away.
+
| {{section|Page:Cod.I.6.2º.5 32r.jpg|6|lbl=-}}
  
Gloss Master Hans: This is when someone has thrown-in the point at you with the scalper as is first taught. So break the crown against it, because it breaks the scalper thusly: If he also stands as such, then fall into the cut with your hilt over his blade or over the grip between both hands and move aside so he will be struck upon the head, etc. This is called the crown.
+
|-  
| '''Ain ander stuck wie die kron bricht den schaitler'''
+
|  
Was von ym kümbt / die kron abnymbt Glosa
+
| <pre>Crooked  \            / Ox
 
+
Thwart    \  breaks  / Plow
Maister hans Das ist so dir ainer mit dem schaitler den ort eingeworffen hat wie am ersten gelert ist so prauch die kron darwider dann sy pricht den schaitler Also so er also steet so vall ym In dem haw mit deinem gehiltz über sein klingen oder vber das gefes zwischen baider henden vnd ruck ab so wirt er geschlagen auf den kopf etc Das haist er die kron
+
Scalper  /          \  Fool
 +
Squinter /            \ From-the-Roof
 +
(also Thwart)</pre>
 +
|
 +
{{section|Page:Cod.I.6.2º.5 32r.jpg|7|lbl=-|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| Others differ thusly: When you cut-in above with the scalper, if he then parries high with the sword gripped with an armed hand or athwart over the head. That is called the crown against seydenfaden's scalper and with that run-in with shoving, etc. It also takes away the scalper. It also breaks one as such again as above with the hilt thrown over that and cast down.
+
| <p>'''About the four displaces.'''</p>
| Etlich anderst also wenn dw ym mit dem schaitler oben ein hawst versetzt er dann hoch mit dem swert gefast mit gewapneter handt oder dem haubt vber zwerchs das haist die kron wider seidenfadens schaitler vnd lauff darmit ein mit stossen etc Die nymbt also den schaitler ab Die pricht man auch also wider Wie oben mit dem gehiltz darüber geworffen vnd nider gerissen
+
{| class="zettel"
 
 
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_31r.jpg|250px|center]]
+
| <small>70</small>
| '''Another play. How the slice breaks the crown.'''
+
| ''Four are the displaces <br/>&emsp;that also severely disrupt the four positions.''
Slice through the crown, so you break the hard beautifully. Press the strike. It moves-aside with slicing.
 
 
 
Gloss Master Hans: This is when someone moves the scalper aside with the crown in the same way as above. So follow after him and move him so you slice him in the head, etc. Then you withdraw to the side.
 
| '''Ain ander stuck wie der schnit pricht die krone'''
 
Schneid durch die krone so prichstu sy harrt schone Die strych drucke mit schniten sy abrucke Glosa
 
 
 
Maister hans das ist wann ainer dir mit der krone also wie oben mit seinem gehiltz den schaitlhaw abruckt So volg ym nach vnd ym rucken so schneidstu yn an sein haubt etc So dw beseitz abweisest
 
 
 
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_31v.jpg|250px|center]]
+
| <small>71</small>
| Other differ thusly: when he parries the scalper or otherwise a cut with the armed crown and with that runs-in, then take the slice under his hands, into his arms and press firmly upward and with the strike move yourself aside with it.
+
| ''Guard yourself before Interposing. <br/>&emsp;If it happens of necessity, it beleaguers you.''
| '''[31v]''' Etlich anderst also wann er dir den schaitler oder sunst ain haw versetzt mit der gewapneten krone vnd dir domit einlaufft So nym den schnit vnder sein henden in sein arme vnd trucke vast vbersich vnd mit dem straich rucke dich damit ab
+
|}
 +
<p>'''Gloss:''' You have heard before that you shall solely fence from the four positions or guards. So, you shall also know that the four displacements in return severely disrupt or break those same four positions. They are the four hews: crooked, thwart, squinter and scalper and they are nothing other than what one thence brings with him to the work. When he lies before you in a position, then when sword comes upon sword, so is each art with one another, that is, play and break from them both. Thus, you must break one of the four hews against it.</p>
 +
|  
 +
{{section|Page:Cod.I.6.2º.5 32r.jpg|8|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 32v.jpg|1|lbl=32v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the four positions'''
+
| <p>In the same way, if he lies in the oxen, then fall upon that with the crooked-hew or with the thwart. If he then lies before you in the plow, then break the thwart-hew against that. If he then lies in the fool, then break the scalper or wrath-hew against that. When the scalp-hew from the top of the head will be taken, as others say, he then lies in the position from-the-roof, then break the squinter against that.</p>
Four positions alone, from those on holds and flee the common. Ox, plow, fool, from-the-roof. The three things are not worthless to you. Says Master Hans Medel.
+
| {{section|Page:Cod.I.6.2º.5 32v.jpg|2|lbl=-}}
 
 
Gloss: This is so that you shall hold from no positions other than from the four positions alone that are named here. They are often named the four guards, that is: ox, plow, fool, from-the-roof.
 
| '''Von den vier legern'''
 
Vier leger allain da von haltman vnd fleuchtz die gemain Ochs pflueg alber vom tag die drei ding sind dir nit vnmer Sagt Maister hans medl Glosa
 
  
Das ist das dw sunst von kainem leger halten solt dann allain von den vier legern die hye genant sind Sy werden offt genennt die vier huten das ist ochs pflueg alber vom tag
 
  
 
|-  
 
|-  
 
|  
 
|  
| The first position, that is, the ox. Make it thusly according to Master Hans: Stand with the irght foot forward and hold your sword upon your left side below the knee, the point against the man, a little upwards such that the thumb stands against you on the sword and the long edge upwards. Also stand in the same way so that your left foot stands forward yet with crooked or crossed arms and again the thumb against you and the short edge upwards.
+
| <p>{{blue|Also, the thwart-hew is good or better, because it alone breaks three positions or guards: the position from-the-roof, also the plow and the oxen according to the text above saying "The thwart takes-off, etc". Also the plow and the oxen according to the text above "Thwart to the plow, the oxen, etc." Similarly, the crooked-hew not only breaks the oxen, but also the plow and the fool. Also the squinter not only breaks from-the-roof, also the fool if he runs-in under and crooked from the squinter from his left side. Also, in the same way, the scalper not only breaks against the fool, rather also against the oxen and the plow.}}</p>
| Das erst leger das ist der ochs das mach also nach maister hansen Ste mit dem rechten fues vor vnd hallt dein swert auf deiner lincken seitten vnderhalb der knye den ort gegen dem mann ain wenig übersich das dein dawme gegen dir stand an dem swert vnd die lang schneid vbersich Also stand auch so dein lincker '''[32r]''' fues vor stet doch krump oder mit kreutzten armen vnd aber der dawme gegen dir vnd die kurtz schneid vbersich
+
| {{section|Page:Cod.I.6.2º.5 32v.jpg|3|lbl=-}}
 +
 
  
 
|-  
 
|-  
 
|  
 
|  
| The second is the plow. Make it thusly: 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, then you may also make it, although it is somewhat shorter against the man.
+
| <p>Therefore whatever you consider yourself the best like this, you may divert and break it with the four hews against the four positions or hews. Thus you disrupt them and hence bring them to the work. Thereafter work with winding-in, warring, or hewing and thrusting as it gives itself. You find that written and taught beforehand in the five hews and stances, and in the offsetting. Therefore know that no displacing is called for in them, because the four hews that break them are called for. Therefore do not displace, and note when he hews, then you hew as well. If he stabs, then you stab as well and guard yourself so that you do not displace too much, if you wish to otherwise not become struck as the catch-fencers<ref>rappen: to gather, to snatch, to seize</ref> do (and they can deploy nothing but displaces).</p>
| Das ander ist der pflueg das mach also Stand mit dem gerechten fues vor vnd leg dein swert mit gestrackten armen fursich hin auß mit dem ort auf die erden vnd die langen schneid vndersich nit krumb So dw den lincken fues vor hast so magstu das auch also machen ab es ist etwas kürtzer gegen dem mann
+
| {{section|Page:Cod.I.6.2º.5 32v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The third is the Fool. Make it thusly: Stand with the right foot forwards and hold your sword with the hilt next to your head to the left side, not crooked or crosswise, the point against the opponent or in the flat, the thumb by you. But if the left foot stands forwards, then again hold your sword upon the irght side next to your head crooked or crosswise, the point against the man, again the thumb against you.
+
| <p>'''Against the displacement'''</p>
| Das dritt ist der Alber das mach also stand mit dem rechten fues vor vnd hallt dein swert mit dem gehiltz neben deinem haubt auf der gelincken seitten nit krumb oder kreutzweis den ort gegen dem man oder in der flech der dawme bey dir So aber der linck fues vor stet so hallt aber dein swert auf der rechten seitten neben dem haubt krump oder kreutzweis den ort gegen dem man aber den dawmen gegen dir
+
{| class="zettel"
 
+
|-
 +
| <small>72</small>
 +
| ''If you are parried <br/>&emsp;and as that comes to be,''
 
|-  
 
|-  
 +
| <small>73</small>
 +
| ''hear what I advise you: <br/>&emsp;stroke- or wrench-off, hew quickly with haste.''
 +
|}
 +
<p>'''Gloss:''' That is, however it comes to be that you have become parried, then note: if he displaces an over-hew, then drive into the displacement with the pommel above his shifted hand and with that wrench it off downward and with the wrenching, strike him upon the head with the sword. Thereafter, you may fall with the left hand well into the blade and step behind him with the left foot and with the left arm in front of the throat and throw and balance him over the foot and that is called an over break-in.</p>
 
|  
 
|  
| The fourth position is the from-the-roof. Make it thusly: Stand with the right foot forwards and hold your sword upwards to your right side with extended arms just as in the speaking window. Master Hans makes one thing out of the fool from-the-roof thusly: When he stands with the right foot forwards, then he guilelessly cuts-down from-the-roof and makes no more than three positions and how you shall fence from the guards or positions, you shall find it before and hereafter. Particularly, you may also make your work from those as follows hereafter in the seven stances, therein other positions are understood if someone wishes to break them, etc. Master Hans also explains the four positions or guards differently than the others as you generally find in all other glosses which are not as deceptive to me.
+
{{section|Page:Cod.I.6.2º.5 32v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6..5 33r.jpg|1|lbl=33r|p=1}}
| Das vierd leger ist das vom tag das mach also Stand mit dem gerechtn fues vor vnd halt dein swert auf der rechten seitten über sich mit gestreckten armen gleich als in dem Sprechfenster Maister hans macht aus dem alber vomtag ain ding Also wann er stet mit dem rechten fues vor so hawt er vom tag alberlich nider vnd haut vor ym auf der lincken seitten durch in den alber das haist er albervomtag vnd macht nit mer dann drew leger Vnd wie dw aus den huten oder legeren vechten solt das findstu vor vnd hernach Auch besunder magstu dein arbait daraus machen wie hernach volgt in den siben stenden dar ynn etlich leger begriffen sindt Ob man dir die prechen wolt etc maister hansen kunst Auch legent die vier leger oder huten etlich anderst auß als dw gewönlich findst in allen andern glosen das mir nit als gefelt
 
  
 
|-  
 
|-  
 
|  
 
|  
| Crooked- -ox
+
| <p>'''Another play against the scales.'''</p>
  
Thwart- -plow
+
<p>When you hew and under-hew from the right side. If he then falls upon that with the sword, such that you cannot come-up with it and forces you down to the side, then drive swiftly over his sword with the pommel and strike him with the snapping with the long edge to the head. But if it happens upon the left side, then drive again over his sword with the pommel and tread forward with the right foot and strike him with the short edge. But if he comes against it with the after in-the-moment, in the same way with the shove or pushing, then think as you wind-over with the pommel, then tread well into him and wind well over his arm or hand so he may not push well and hold yourself in the scales.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33r.jpg|2|lbl=-}}
  
>breaks<
+
|-
 +
|
 +
| <p>'''Another play against the displacement. Text:'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>74</small>
 +
| ''Set upon the four ends, <br/>&emsp;remain thereupon, if you wish to learn to end.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This is when you [?]<ref>no apparent verb here. A similar construction appears below with the added phrase: "set-upon upon the four endings to both sides"</ref> from the four settings-on, those are: the two crooked settings-on to both sides, the plow with the point out forward upon the ground, not crooked and from-the-roof. You will take one of which for yourself. Therein or upon there you shall remain and carry out and finish your work  with the after.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33r.jpg|3|lbl=-}}
  
scalper- -fool
+
|-  
 +
|
 +
| <p>According to the common gloss, others speak like this: When you cleave-in to him from your right shoulder, if you then wish to immediately end with that, then note when he displaces, then strike immediately around with the thwart and grasp your sword in the middle of the blade and set the point into the face or set upon the four openings, to whichever you may or can best come.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33r.jpg|4|lbl=-}}
  
Squinter, also the thwart- -from-the-roof
+
|-
| Krump- -ochs
+
|
 +
| <p>And if he displaces one of your settings-on, then strike him with the pommel into the other on his left side or drive over his right shoulder with the pommel in front of his neck, but spring with your right foot behind his left and backed and thrown thereover.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33v.jpg|1|lbl=33v}}
  
Twir- -pflueg
+
|-  
 +
|
 +
| <p>'''Break. Take the elbow.'''</p>
  
>bricht<
+
<p>Item. You may also set-upon upon the four endings to both sides from the stance of the wrath-point beside your left knee as will be taught hereafter in the seven stances. Thereafter he comes to you with over-hews. Thereafter, set the point upon his neck. But if he comes with under-hews, again set-on to that and he comes to your side and finish your work.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33v.jpg|2|lbl=-}}
  
Schaitler- -alber
+
|-  
 
+
|
Schilher auch twier- -vom tag
+
| <p>'''A lesson about the racing-after.'''</p>
 +
{| class="zettel"
 +
|-  
 +
| <small>75</small>
 +
| ''Learn the racing-after. <br/>&emsp;Double or cut into the weapon.''
 +
|}
 +
<p>'''Gloss:''' Firstly note a general lesson that the racings-after are many and diverse and are called to deploy with great prudence against the fencer that fences from free and from long hews and otherwise does not hew with the proper art of the sword, etc. And this is according to the text: You shall properly learn the racings-after, because they are double.</p>
 +
| {{section|Page:Cod.I.6.2º.5 33v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the four parries.'''
+
| <p>The first deploys like this: If he will cleave-in to you above, then note while he draws up the sword into the strike, race-after him with a hew or with a thrust and hit him in the upper opening before he comes down with the hew. And if he binds-upon you and will thereafter work from the sword, then follow after and in-the-moment take the cut out after with the long edge in over into the arm and press him strongly from you with that, so he has no power. In the same way, always race-after him strongly above into the head.</p>
Four are the parries that also severly disrupt the four positions. Guard yourself before Interposing. If it happens of necessity, it beleaguers you.
+
| {{section|Page:Cod.I.6..5 33v.jpg|4|lbl=-}}
 
 
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. They are the four cuts: crooked, thwart, squinter and scalper and they are nothing other than that which one thence carries him to the work. When he lies before you in a position, then when sword comes upon sword, so is each art with one another, that is, play and break from them both. Thus, you must break one of the four cuts against it. In the same way, if he lies in the oxen, then fall upon that with the crooked-cut or with the thwart. If he then lies before you in the plow, then break the thwart-cut against that. If he then lies in the fool, then break the scalper or wrath-cut against that. When the scalp-cut from the top of the head will be taken, as others say, if he then lies in the position from-the-roof, then break the squinter against that. Also, the thwart-cut is good or better, because it allone breaks three positions or guards: the position from-the-roof, also the plow and the oxen according to the text above saying "The thwart takes-away, etc". Also the plow and the oxen according to the text above: "Thwart to the plow, the oxen, etc". The same, the crooked-cut not only breaks the oxen, but also the plow and the fool if he runs-in under and crooked from the squinter from his left side. Also, in the same way, the scalper not only breaks against the fool, rather also against the oxen and the plow. Therefore whatever you consider the best as such that you may turn and break it with the four cuts against the four positions or cuts. Thus you disrupt it and hence bring it to the work. Thereafter work with winding-in, warring, or cutting and thrusting as it gives itself. You find that written and taught beforehand in the five cuts and stances, and in the setting-aside. Therefore know that there is no parry called for in them<ref>the leger or hut</ref>, because, the four cuts that break them are called for. Therefore do not parry and note when he cuts, then you cut as well. If he stabs, 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 can execute nothing but parries.
 
| '''Von den vier versetzenn'''
 
Vier sind der versetzen die die vier leger auch sere letzen, vor versetzen huet dich gschicht das not es müet dich Glosa
 
 
 
Dw hast vor gehört das dw allain aus vier legern oder huten vechten solt So soltu auch wissen die vier versetzen dargegen die die selben vier leger sere letzen oder brechen das sindt die '''[32v]''' vier hew Krump Twier Schilher vnd Schaitler vnd das ist nicht anderst dann das man mit ym daraus pringt zw der arbait wann er in ainem leger vor dir ligt Dann wann swert an swert kumpt so ist alle kunst bey ainander das ist stuck vnd brüch von yn baiden So mustu der vier hew ain dargegen prauchen Also ligt er in dem ochsen so vall Im darauf mit dem krump haw oder mit twir Ligt er dann vor dir in dem pflueg So prauch darwider den twirhaw ligt er dann ym alber so prauch den schaitler oder zornhaw darwider wenn der schaitelhaw von der schaittl genomen wirt als etlich sagen Ligt er dann ym leger vom tage so prauch den schilher darwider Also gut ist oder pesser der twirhaw dann er allain pricht drew leger oder huten das leger vom tag auch den pflueg vnd den ochsen Nach dem text oben gesagt Twir benymb etc Auch den pflueg vnd ochsen nach dem text oben Twir zw dem pflueg dem ochsen etc Das gleichen der krump bricht nit allain den ochsen auch den pflueg vnd alber Auch der schilher bricht nit allain das vom vom tag auch den alber so er ym aus dem schilher kump vnden einlaufft von seiner lincken seitten Also magstu auch den schaitler nit allain wider den alber prauchen sunder auch wider den ochsen vnd pflueg Darumb was dich am besten beduncket also magstu es verkeren vnd prauchen mit den vier hewen wider die vier leger oder huten So letzestu sy vnd pringest sy daraus zw der arbait Darnach arbait wie es sich begibt mit einwinden kriegen oder hewen vnd stichen das findst dw da vornen in den funf hewen vnd stenden vnd in den absetzen geschriben vnd gelert Darumb wiss das kain versetzen darzue nit gehört wann es sind vier hew die darzue gehoren die sy prechen Darumb versetz nit vnd merck wann er haw so haw auch Sticht er so stich auch vnd huet dich das dw nit zeuil versetzest wiltu anderst nit geschlagen werden als die raben vechter thund vnd treibent die nichtz kunnent dann versetzen
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Against the parrying'''
+
| <p>'''Another play.'''</p>
If you are parried and as that comes to be, hear what I adise you: sweep- or wrench-aside, cut quickly with haste.
 
  
Gloss: This is as you come into that, such that you have become parried, so note: if he parries an over-cut, then drive into the parrying with the pommel above his parried hand and with that wrench it aside downward and with the wrenching, strike him upon the head with the sword. Thereafter, you may fall with the left hand well into the blade and step behind him with the left foot and with the left arm in front of the throat and throw and balance him over the foot and that is called an over break-in.
+
<p>The second racing-after is when he initiates a hew at you from above, if he then with the hew lets his sword go to the ground, then race-after him with a hew in above to the head before he comes up with the sword. Or if he will thrust you, then note while he draw the sword to him into the thrust, then race-after him and then stab him before he carries out his thrust, etc.</p>
| '''Wider die versatzung'''
+
| {{section|Page:Cod.I.6.2º.5 33v.jpg|5|lbl=-}}
Ob dir versetzt ist vnd wie das dar zue kummen ist hör was ich dir rate streich oder reiss ab haw schnell mit drate Glosa
 
 
 
Das ist wies dar zw kummen ist das dir versetzt worden ist '''[33r]''' So merck versetzt er dir ainen oberhaw so var Im in der versatzung mit dem knopf über sein versetzte hand vnd reiss damit vndersich ab vnd mit dem reissen schlag In mit dem swert auf den kopf Dw magst darnach mit der lincken handt wol in die klingen vallen vnd hinter yn treten mit dem lincken fues vnd mit dem lincken arm vorn an den hals vnd yn über den fues wegen vnd werffen vnd haist ain ober einpruch
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play against the scales.'''
+
| <p>But if you fence against someone from under-hews or the strokes or lay against him in the fool or plow, if he then falls upon that with the sword before you come up with yours, then remain as such below, on the sword and left upwards. If he will then cleave-in from the displacement or wind-in on the sword, then do not let him take-off from the sword, rather follow-after him thereon and work to the nearest opening with the war and the others.</p>
When you cut and under-cut from the right side. If he then falls upon that with the sword, such that you cannot come-up with it and pushes you down in the side, so drive timely over his sword with the pommel and strike him with the snapping with the long edge to the head. But if it happens upon the left side, then drive again over his sword with the pommel and step with the right foot forward and strike him with the short edge. But if he comes against it with the after in-the-moment, in the same way with the shove or displacing, then think as you wind-over with the pommel, then step well into him and wind over his arm or hand so he may not properly displace and hold you in the scales.
+
|  
| '''Ain ander stuck wider die wag'''
+
{{section|Page:Cod.I.6.2º.5 33v.jpg|6|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 34r.jpg|1|lbl=34r|p=1}}
Wenn dw hawst ainen vnderhaw von der rechten seitten fellt er dir dann mit dem swert darauf das dw damit nit aufkummen magst vnd dringet dich nider in die seitten so var behentlich mit dem knopf über sein swert vnd schlag yn mit dem schnappen mit der langen schneid zw dem kopf geschicht es aber auf der lincken seitten so var aber mit dem knopf vber sein swert vnd trit mit dem rechten fues für vnd schlag yn mit der kurtzen schneid kumbt er aber indes herwider mit dem nach also mit dem stos oder schieben So denck wenn dw mit dem knopf wilt überwinden So trit wol In yn vnd wind wol vber sein arm oder hendt so mag er nit wol schiebenn vnd halt dich in der wag
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play against the parry. Text:'''
+
| <p>Item. Note you shall race-after him from and with all hews as soon as you realizes he mis-hews or uncovers himself with the sword.</p>
Set upon the four ends, remain thereupon, if you wish to learn to end.
+
| {{section|Page:Cod.I.6.2º.5 34r.jpg|2|lbl=-}}
  
Gloss Master Hans: This is when you [?]<ref>no apparent verb here. A similar construction appears below with the added pharse: "set-upon upon the four endings to both sides"</ref> from the four settings-on, those are: the two crooked settings-on to both sides, the plow with the point out forward upon the ground, not crooked and from-the-roof. You will therein take one of which for yourself or you shall remain upon that and bring-forth your work and finishing the advance with the after. According to the comon gloss others also say: When you cleave-in to him from your right shoulder, if you then wish to quickly end with that, then note when he parries, then strike quickly around with the thwart and grasp your sword in the middle of the blade and set the point into the face or set upon the four openings, to whichever you may or can best arrive. And if he parries one of the settings-on, then strike him with the pommel to the other, the left side or drive over his right shoulder with the pommel in front of his neck, but spring with your right foot behind his left and move and throw him thereover. Break. Take the elbow.
+
|-
| '''Ain ander stuck wider die versatzung text'''
+
| [[File:Cod.I.6..5_34r.jpg|400x400px|center]]
Setz an vier enden bleib darauf lere wiltu enden
+
| <p>'''A good lesson about the racing-after'''</p>
  
Glosa Maister hansen Das ist wenn dw auß den vier ansetzen das sind die zwai krumpen ansetzen nach baiden seitten der pflueg mit dem ort fursich hinauß auf der erden nit krump vnd vom tag ains welches dw wilt fur dich nymbst dar ynn oder auf dem soltu pleiben vnd dein arbait verpringen vnd volenden fursich mit dem nach Etlich nach gemainer glos sagen also wenn dw ym von deiner rechten achsel oben einhawest wiltu dann pald domit enden so merck wann er versetzt so schlag pald vmb mit der twir vnd begreiff mit dem schlag dein swert mit der lincken handt mitten in der klingen vnd setz ym den ort in das gesicht oder setz ym an die vier plössen zw welcher dw am pasten kummen magst oder kanst '''[33v]''' Vnd so er dir der ansetzen ains versetzt so schlag In mit dem knopf zw der anderen seiner lincken seitten Oder var ym mit dem knopf über sein rechte achsel vornen an den hals doch spring ym mit deinem rechten fues hinder seinen lincken vnd darüber geruckt vnd geworffen Bruch nym den elenpogen
+
<p>When you fence with someone, then bind upon his sword strongly and remain like this laying strongly and press him strongly to the head. If he will strike-around, then remain upon the sword and press down strongly so he has no power. In the same way, always race-after him strongly above into the head.</p>
 +
| {{section|Page:Cod.I.6.2º.5 34r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| Item. You may also set-upon upon the four endings to both sides from the stance of the wrath-point near your left knee as will be taught hereafter in the seven stances. Thereafter he comes to you with over-cuts. Thereafter, set the point upon his neck. But if he comes with under-cuts, again set-on to that and he comes to your side and finish your work.
+
| <p>In the after is one other. So if he doesn't flee, rather stays still and comes into the work or the war with you.</p>
| Item dw magst auch auß dem standt des zornortz neben deinem lincken knye wie hernach in den siben stenden gelert wirt an vier enden ansetzen oben nach baiden seitten darnach er dir mit oberhewen kumpt darnach setz ym den ort an den hals Kumpt er aber mit vnderhewen setz ym aber an nach dem vnd er dir nach der seitten kumbt vnd vollende dein arbait
+
| {{section|Page:Cod.I.6.2º.5 34r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''A lesson about the racing-after.'''
+
| <p>There is a difference between the racing-after and in the after. Racing-after is in the fleeing<ref>alt: flying</ref>. The after is in the standing still, working after.</p>
Learn the racing-after. Double or slice into the weapon.
+
| {{section|Page:Cod.I.6.2º.5 34r.jpg|5|lbl=-}}
 
 
Gloss: Firstly note a general lesson that the racings-after are many and diverse and are called to execute 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 the racings-after, because they are double. The first executes thusly: If he will cleave-in to you above, then note while he pulls up his sword into the strike, race-after him with a cut or with a thrust and hit him in the upper opening before he comes down with the cut. And if he binds-upon you and will thereafter work from the sword, then follow after and in-the-moment take the slice behind with the long edge in over into the arm and press him strongly from you with that, so he has no power. In the same way, always race-after him strongly above into the head.
 
| '''Von dem nachraisenn ain lere'''
 
Nachraisen lere zwifach oder schneid in die were Glosa
 
 
 
Am ersten soltu mercken ain gemaine lere das der nachraisen vil sindt vnd mancherlai vnd gehoren zetreiben mit grosser fürsichtikeit gegen den vechtern die aus freyen vnd aus langen hewen vechtend vnd sunst mit rechter kunst des swertes nit hawen etc Vnd nach dem text ist das dw die nachraisen wol lernen sollt wann sy sindt zwaierlai Die ersten treib also So er dir oben ein will hawen So merck weil er das swert auff zeucht zw dem schlag so raiß ym nach mit dem haw oder mit ainem stich vnd triff yn zw der oberen plös ee er mit dem haw nider kumpt vnd ob er dir anpinde vnd darnach von dem swert arbaiten wolt so volg nach vnd nym Indeß hinach den schnit mit der langen schneiden oben ein zw dem arm vnd druck starck yn domit von dir etc So hat er kain macht Also raise ym alltzeit starck nach oben zw dem kopf
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play.'''
+
| <p>'''About the two outer cattle-drives and the two inner cattle-drives'''</p>
The second racing-after is when he cleaves-at you from above, if he then releases his sword with the cut into the ground, then race-after him with a cut in above to the head before he koems up with the sword. OR if he will thrust you, then note while he pull the sword to him into the thrust, then race-after him and then stab him before he carries out his thrust, etc. But if you fence against someone from under-cuts or the sweeps or lay against him in the fool or plow, if he then falls upon that with the sword before you come up with yours, then remain as such below, on the sword and left upwards. If he will then cleave-in from the parry or wind-in on the sword, then do not let him take-away from the sword, rather follow-after him thereon and work to the nearest opening with the war and the others.
+
{| class="zettel"
| '''Ain ander stuck'''
+
|-
Das ander nachraisen ist Wann er dir von oben zuhawt lest er dann sein swert mit dem haw zw der erden So raiß ym nach mit ainem haw oben ein zw dem kopf Ee er mit dem swert aufkumbt Oder will er dich stechen So merck weil er das swert zw ym zeucht zw dem stich so raiß ym nach vnd stich ee dann er sein stich verbringt etc Vichstu aber gegen ainem aus vnderhewen oder aus den streichen oder ligst gegen ym Im alber oder pflueg Velt er dir dann mit dem swert auf '''[34r]''' das dein ee wann dw mit auf kumbst so pleib also vnden an dem swert vnd heb vbersich will er dir dann aus der versatzung einhawen oder am swert ein winden so lass yn vom swert nit ab nemen Sunder volge ym daran nach vnd arbait zw der nechsten plösse mit krieg vnd anderem
+
| <small>76</small>
 +
| ''The two outer cattle-drives and the two inner cattle-drives, <br/>&emsp;with them your work begins''
 +
|-
 +
| <small>77</small>
 +
| ''and test the attacks <br/>&emsp;whether they are soft or hard.''
 +
|}
 +
<p>'''Gloss:''' This is so that you shall note that the cattle-drives will also be called racing-after and when you come upon his sword with yours, then you shall test amid the attack whether he is soft or hard. Thereafter, you shall begin your work. That is as so: When someone stands against you in the outer cattle-drives (because they are two, one to each side) and stands with his right foot forward and hangs with a flat sword from the scalper, the fool or plunge-hew with the point down as with the roof, if he stands in the outer cattle-drive on his right side, then come to his as well with the same outer cattle-drive from your right side countering upon his sword and in the clashing of the sword, wind-in swiftly under his sword into the head, to the opening or all-the-way across to his left shoulder such that your sword comes or lays above and your thumb stands underneath. Wherever he will then go, then drive after him in-the-moment or if he throws you over with force, then ward yourself with striking or warring. Then you both come crooked into the winding. But if you do not wish to counter him with that, then you may also set or work with the thwart or other hews, etc. That is the first outer cattle-drive.</p>
 +
| {{section|Page:Cod.I.6.2º.5 34v.jpg|1|lbl=34v}}
  
 
|-  
 
|-  
 
|  
 
|  
| Item. Note you shall race-after him from and mit all cuts as soon as you realizes he mis-cuts or uncovers himself with the sword.
+
| <p>'''The second''' outer cattle-drive is when he stands with his left foot forward and stands with the arms crooked as if he went up with the under-hew or something and hangs over the left arm. So come to him countering him like this from your left side crooked on his sword. Wind-in to him as before under his sword to the opening or just above to his right shoulder to the head. Thereafter work or war as before.</p>
| Item merck dw solt ym auß vnd mit allen hewen nachraisen als pald dw erkenst das er sich vor dir verhawet oder emplösset mit dem swert
+
| {{section|Page:Cod.I.6.2º.5 34v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_34r.jpg|250px|center]]
+
|  
| '''A good lesson about the racing-after'''
+
| <p>'''The first''' inner cattle-drive is as so: If he again stands with the right foot forward and holds his sword down by the leg or knee for the thrust as in the oxen, then also come against it as from your left with the right forward and in the thrust tread into him with the left foot and the swords clash each into other. So you both may wind against each other, thus you both come into the work crooked. Thereafter war and work as you wish. You both may also make a disengaging from that with a strike around it to his right shoulder to his left side to the head or take the under-cut, etc. which will double or mutate.</p>
When you fence with someone, then bind upon his sword strongly and remain thusly laying strongly and press him strongly to the head. If he will strike-around, then remain upon the sword and press down strongly so he has no power. In the same way, always race-after him strongly above into the head.
+
|  
| '''Ain gute lere von dem nachraisen'''
+
{{section|Page:Cod.I.6.2º.5 34v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 35r.jpg|1|lbl=35r|p=1}}
Wann dw mit ainem vichtest so pind ym starck an sein swert vnd pleib also starck ligen vnd druck yn starck auf den kopf will er vmbschlagen so pleib an dem swert vnd druck starck nider so hat er kain macht Also raise ym altzeit starck nach oben zw dem kopf
 
  
 
|-  
 
|-  
 
|  
 
|  
| In the after is one other. So if he doesn't flee, rather stays still and comes into the work or the war with you.
+
| <p>'''The other''' inner cattle-drive is when he stands with the left foot forward and holds his sword as before, though it must be crooked to the side, then deploy the work against him as before just above. When it is turned to the side, you will again break the disengaging then double or mutate as it best joins according to the work or side, thus he will be struck deaf, etc. or cut. You may also, as before, if you do not wish to break the counter the cattle-drive, working the stance or cattle-drive with other things against that such as the thwart or the wrath-hew or other offsettings or sittings-atop and then work as you wish, etc.</p>
| Im nach ist es ain anders so fleucht er nit sunder stet still vnd kumbt in die arbait oder krieg mit dir
+
| {{section|Page:Cod.I.6.2º.5 35r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| There is a difference amongst the racing-after and in the after. Racing-after is in the flying<ref>alt: fleeing</ref>. The after is in the standing still, working after.
+
| <p>In this way you have the four cattle-drives explained with their work. How you shall begin it, the common glosses explain differently, but it is not sensible to me, etc. The opponent may also deploy this work against you.</p>
| Es ist ain vnderschaid vnder dem nachraisen vnd in dem nach Nachraisen ist in fliehen Nach ist in still stan nach arbaitenn
+
| {{section|Page:Cod.I.6.2º.5 35r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the two outer marriages<ref>alt: wrongs, falsehoods, meanings, diminishments, mines, minings, manners, ownings, possessings.</ref>and the two inner marriages'''
+
| <p>'''A lesson about the feeling and the word in-the-moment.'''</p>
The two outer marriages and the two inner marriages, with them your work begins and test the attacks whether they are soft or hard.
+
{| class="zettel"
 
+
|-
Gloss: This is so that you shall note that the marriages will also be called racing-after and when you come upon his sword with yours, then you shall test with the the attack whether he is soft or hard. Thereafter, you shall begin your work. That is as so: When someone stands against you in the outer marriages (because those are two, one to each side) and stands with his right foot forward and hangs with a flat sword from the scalper, the fool or plunge-cut with the point down as with the roof, if he stands in the outer marriage on his right side, then come to his as well with the same outer marriage from your right side countering upon his sword and in the clashing of the sword, wind-in swiftly under his sword into the head, to the opening or quite across to his left shoulder such that your sword comes or lays above and your thumb stands underneathe. Whereever he will then protect<ref>alt: exit</ref>, then drive after him in-the-moment or if he throws you over with force, then ward yourself with striking or warring. Then you both come crooked into the winding. But if you do not wish to counter him with that, then you may also set or work with the twhart or other cuts, etc. That is the first outer marriage.
+
| <small>78</small>
| '''Von den zwai ausseren mynn vnd zwo Inneren mynn'''
+
| ''Learn the feeling. <br/>&emsp;In-the-moment, the word hews sharply.''
Zwo ausser mynn vnd zwo Inner mynn, dein arbait domit beginn vnd brueff die geferte ob die sind waich oder herte Glosa
+
|}
 
+
<p>'''Gloss:''' This is so that you shall learn and understand the word, in-the-moment, properly, because the two things belong together and one may not exist upon the other and are the great art of fencing. Understand them like this: When someone binds upon the sword, you shall immediately feel or perceive in that, as the swords clash together, whether he has bound on soft or hard and as you have perceived that, then think of the word in-the-moment, This is so that in that perceiving, you shall work swiftly according to the soft or the hard to the nearest opening. Thus he will be easily struck before he becomes aware of his.</p>
Das ist das dw mercken solt das die mynen auch nachraisen gehaissen werden vnd wann dw mit ir ainer an sein swert kumbst so soltu brüfen ob er mit dem geferte waich oder hert sey darnach soltu dein arbait beginnen Dem ist also wenn ainer gegen dir stat in der ausseren myn dann der selben sind zwo nach yeder seitten aine vnd stet mit seinem rechten fues vor vnd verhengt mit flachem swert aus dem schaitler alber oder sturtzhaw mit dem ort vndersich als mit dem dache so stat er in der ausser mynn auf seiner rechten seitten so khum ym auch mit der selben ausser mynn von deiner rechten seitten engegen an sein swert vnd ym anklitzen der swert so wind Im resch vnder dem swert ein zw dem kopf zw der plöss oder gar herüber auf sein lincke achsel das dein swert oben khum oder lige vnd dein dawm vnden stand wo er dann hin wil so var ym Indes nach Oder wirfft er dich mit gwalt herüber so were dich mit schlagen oder kriegen dann in dem winden kumment ir baid krump Wiltu ym aber mit dem nit begegen so magstu ym mit twir oder anderen hewen darauf setzen vnd arbaiten etc das ist die erst ausser mynn Oder mit dem Haw krump zw den flechen etc Oder krump nit kurtzhaw
+
| {{section|Page:Cod.I.6..5 35r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The second outer marriage is when he stands with his left foot forward and stands with the arms crooked as if he went up with the under-cut or something and hangs over the left arm. So come to him countering him thusly from your left side crooked on his sword. Wind-in to him as before under his sword to the opening or just above to his right shoulder to the head. Thereafter work or war as before.
+
| <p>Item. You shall think upon the word in-the-moment in all bindings-on of the sword. Because In-the-moment doubles, in-the-moment mutates, in-the-moment runs, in-the-moment changes-through, in-the-moment takes the cut, in-the-moment wrestles with, in-the-moment takes the sword away from him, in-the-moment does whatever the heart desires in the art. In-the-moment is a sharp word. With it all fencers that do not know of the word become hew and the word in-the-moment 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, the three things break all plays and art that one may deploy or conceive. Because when sword comes upon sword, so is all art simultaneous.</p>
| Die ander ausser mynn ist so er stet mit seinem lincken fues vor vnd stet krump mit den armen als ob er mit dem vnderhaw wer etwas aufgangen vnd verhengt über den lincken arm so khum ym auch also engegen von deiner lincken seitten krump an sein swert Wind ym wie vor vnder seim swert ein zw der plösse oder bis auf sein rechte achsel oben zw dem kopfe Darnach arbait oder krieg wie vor
+
|  
 +
{{section|Page:Cod.I.6.2º.5 35r.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 35v.jpg|1|lbl=35v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| There first inner marriage is as so: If he again stands with the right foot forward and holds his sword down by the leg or knee in the thrust as in the oxen, then also come-forward aginst it as from your left with the right and in the thrust step into him with the left foot and the swords clash each other. So you both may wind against each other, thus you both come into the work crooked. Thereafter war and work as you wish. You both may also make a disengaging from that with a strike around it to his right shoulder to his left side to the head or take the under-slice, etc. which will double or mutate.
+
| <p>'''Another about the racing-after'''</p>
| Die erst Inner mynn ist also so er stet aber mit dem rechten fues vor vnd helt sein swert niden bey dem pain oder knyen zw dem stich wie in dem ochsen So khum ym '''[35r]''' auch hergegen als von deiner lincken mit dem rechten vor vnd ym stoß trit zw ym mit linckem fues vnd die swert anain ander klitzen So mögent ir baid gegenainander winden so kument ir baid krump in die arbait darnach krieg vnd arbait wie dw wilt Ir mügent auch baid ain vertzucken daraus machen mit ainem schlag herumb auf sein rechte achsel Im zw seiner lincken seitten zw dem haubt oder ainen vnderschnidt nemen etc Welcher will dupliren oder mutiren
+
{| class="zettel"
 +
|-
 +
| <small>79</small>
 +
| ''The twofold racings-after. <br/>&emsp;If one hits, combine<ref>mitmachen: join, unite, combine, participate</ref> the high<ref>alternately: old</ref> cut.''
 +
|}
 +
<p>'''Gloss:''' Note that you shall deploy the racing-after doubly, that is, to both sides and also bring the cut thereon. Understand it like this: When he mis-hews himself before you, whether it is from the right or left sides, then hew in freely after to the opening. If he then drives up and binds upon the sword below, so note as soon as one sword clashes upon the other, then cut for his neck or fall in-the-moment with the long edge upon his arm and take the cut. This deploys to both sides.</p>
 +
| {{section|Page:Cod.I.6..5 35v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The other inner marriage is when he stands with the left foot forward and holds his sword as before, though it must be crooked to the side, then execute the work against him as before just above. When it is turned to the side, you will again break the pulling then double or mutate as it best joins according to the work or side, thus he will be struck deaf, etc or sliced. You may also, as before, if you do not wish to break the counter the marriage, working the stance or marriage with other things against that such as the thwart or the wrath-cut or other settings-aside or settings-on and then work as you wish, etc. In this way you have the four marriages explained with their work. How you shall begin it, the common glosses explain differently, but it has not failed me, etc. The opponent may also execute this work against you.
+
| <p>'''About the running-over'''</p>
| Die ander Inner mynn ist so er stet mit dem lincken fues vor vnd helt sein swert wie vor doch auf der seitten muß es krump sein so treib die arbait gen ym wie vor am nechsten wann das es verkert ist nach der seitten So dw ym aber die zucken prechen wilt so mutier oder duplier wie es füeg am besten nach der arbait oder seitten so wirt er tawb geschlagen etc oder schneid Dw magst auch wie vor ob dw nit die gegen mynn prauchen wilt die stendt oder mynn mit anderen dingen dargegen arbaiten als mit der twir oder zornhaw oder anderen absetzen oder auf sitzen vnd arbaiten wie dw wilt etc Also hastu die vier mynn ausgelegt mit iren arbaiten wie dw die beginnen solt Die gemainen glosen legen anderst aus aber es gefelt mir nit etc Die arbait mag der ander gegen dir auch treiben
+
{| class="zettel"
 +
|-
 +
| <small>80</small>
 +
| ''Whoever aims below, <br/>&emsp;run-over them above. He will be shamed.''
 +
|-
 +
| <small>81</small>
 +
| ''When it clashes above, <br/>&emsp;then strengthen, that I will laud.''
 +
|-
 +
| <small>82</small>
 +
| ''Make you work, <br/>&emsp;soft or hard or press twice.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This is when someone binds-on with you, then you shall strengthen the binding-on and if he quickly strikes around to your under openings and aims for them, then in-the-moment run-over him inside and press-in after above with the slide or push or with the cut. War.</p>
 +
| {{section|Page:Cod.I.6..5 35v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''A lesson about the feeling and the word in-the-moment.'''
+
| <p>Others speak like this according to the common gloss: How you shall run-over when someone initiates fencing you below, understand that like this: When you come to him with the approach, if he initiates a hew or thrust at you below, do not displace that, rather note when his under-hew or thrust goes against you, then cleave-in long against him above from his right shoulder and shoot-in the point above long into his face or chest and set-upon him so he may not reach you. If he then drives up from below and displaces, then remain strong with the long edge (that's called strengthened) upon his sword and quickly work to the nearest opening or await upon the after with the war and any over-hew and any upward setting-on reaches-over the lower attack, like this he will be ashamed above.</p>
Learn the feeling. In-the-moment, the word cuts sharply.
+
|
 
+
{{section|Page:Cod.I.6.2º.5 35v.jpg|4|lbl=-|p=1}} {{section|Page:Cod.I.6..5 36r.jpg|1|lbl=36r|p=1}}
Gloss: This is so that you shall learn and understand the word, in-the-moment, properly, because the two things belong together and one may not exist upon the other and are the great art of fencing. Understand them thusly: When someone binds upon the sword, you shall immediately feel or perceive in that, as the swords clash together, whether he has bound-upon soft or hard and as you have perceived that, then think of the word in-the-moment, This is so that in that perceiving, you shall work swiftly according to the soft or the hard to the nearest opening. Thus he will be easily struck before he becomes aware of his. Item. You shall think upon the word in-the-moment in all bindings-on of the sword. Because In-the-moment doubles, in-the-moment mutates, in-the-moment runs, in-the-moment changes-through, in-the-moment takes the slice, in-the-moment wrestles with, in-the-moment takes the sword away from him, in-the-moment does whatever the heart desires in the art. In-the-moment is a sharp word. With it all fencers that do not know of the word become cut and the word in-the-moment 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, the three things break all plays and art that one may execute or conceive. Because when sword comes upon sword, so is all art simultaneous.
 
| '''Von dem fülen vnd dem wort indes ain lere'''
 
Das fulen lere Indes das wort schneidet sere Glosa
 
 
 
Das ist das dw das wort Indes wol lernen vnd versteen solt Wann die zway ding gehören zesamen vnd mag ains an das andere nit gsein vnd send die grosse kunst zw dem vechten Das vernym also wann ainer dem anderen an das swert pindet so soltu in dem als die swert zw samen klitzen zwhandt fülen oder empfinden ob er waich oder herrt angebunden hab Vnd als dw das empfunden hast so gedenck an das wort Indes das ist das dw in dem selbigen empfinden behentlich nach der waich oder herte arbaiten solt zw der nechsten plös so wirt er gern geschlagen ee er sein gewar wirt Item dw solt an das wort Indes in allen anbinden des swertes gedenckenn Wann Indes duplirt Indes mutirt Indes laufft Indes wechselt durch Indes nymbt den schnidt Indes ringet mit Indess '''[35v]''' nymbt ym das swert Indes thut in der kunst was dein hertz begert Indes ist ain scharpf wort domit alle vechter verschniten werden die des wortes nit wissen vnd das wort Indes ist der schlüssel damit alle kunst des vechtens aufgeschlossen werden Auch ist wol darbey das vor vnd besunder das nach mit sterck vnd swech die drew ding prechen alle stuck vnd kunst die man getreiben mag oder erdencken Dann wann swert an swert kumpt so ist alle kunst beyainander
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another about the racing-after'''
+
| <p>'''About the offsetting'''</p>
The twofold racings-after. If one hits, combine<ref>mitmachen: join, unite, combine, participate</ref> the high<ref>alternately: old</ref> slice.
+
{| class="zettel"
 
+
|-  
Gloss: Note that you shall execute the racing-after doubly, that is, to both sides and also bring the slice thereon. Understand it thusly: When he goes to cut before you, whether it is from the right or left sides, then cut in freely after to the opening. If he then drives up and binds upon the sword below, so note as soon as one sword clashes upon the other, then slice him by the neck or fall in-the-moment with the long edge upon his arm and take the slice. This executes to both sides.
+
| <small>83</small>
| '''Ain anders von dem nachraisen'''
+
| ''Learn to offset hew, thrust. <br/>&emsp;Artfully disrupt whoever''
Nachraisen zwifach trifft man den alten schnit mit macht Glosa
+
|-  
 
+
| <small>84</small>
Merck das dw die nachraisen solt zwifach treiben das ist zw baiden seitten vnd den schnit auch daran pringen Das vernym also Wann er sich vor dir verhawt es sey von der rechten oder lincken seitten so haw yn frolich nach zw der plös Vert er dann auf vnd pindt dir vnden an das swert So merck als pald ain swert an das ander klitzt so schneid ym nach dem hals Oder vall ym Indes mit der langen schneid auf sein arm vnd nym den schnit das treib zw baiden seitten
+
| ''thrusts upon you such that <br/>&emsp;your point hits and his breaks.''
 +
|-
 +
| <small>85</small>
 +
| ''Hit anytime from both sides <br/>&emsp;if you will step.''
 +
|}
 +
<p>'''Master Hans' Gloss:''' This so that you shall learn to offset artfully disrupting hew, thrust also breaking point like this: If someone hews or thrusts against you, plainly offsetting and breaking strike and point from all positions and hews or stances and sittings-atop from all sides as they encroach you and hitting the point with your point or sword and offsetting well and from that make a strike-in above with the short edge to the head to whichever side it then gives itself up. Thereafter work in-the-moment with the after and war.</p>
 +
| {{section|Page:Cod.I.6.2º.5 36r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the running-over'''
+
| <p>Or<ref>marginalia: 'malz' => bad, weak</ref> else like the other glossing means when they deploy the offsetting: When you come to him with the approach, if he then presents himself against you as so in the plow, as they call it (but I call it the ox down by the knee) and acts as if he will thrust into you, the set your left foot forward and stand against him as well in the ox to your right side with crossed arms or hands and give yourself an opening with the left side. If he then thrusts into your opening, then wind against his thrust to you left side with your sword on his sword and step into with the right foot and with that offset such that the point always remains standing against him and in-the-moment stab him in the face or chest. Thus, your point hits and his does not. Or also make a strike and otherwise do whatever you wish if you would like to work with the warring.</p>
Whoever aims below, run-over them above. He will be shamed. When it clashes above, then strengthen, that I will laud. Make you work, soft or hard or press twice.
+
| {{section|Page:Cod.I.6.2º.5 36r.jpg|3|lbl=-}}
 
 
Gloss Master Hans: This is when someone binds-on with you, then you shall stengthen the binding-on and if he quickly strikes around to your under openings and accordingly aims, then in-the-moment run-over him inside and press-in after above with the slide or push or with the slice. War.
 
| '''Von dem überlauffen'''
 
Wer vnden remet überlauff den oben wirt er beschemet wenn es clitzt oben, so sterck das ger ich loben, Dein arbait mach waich oder herte oder druck zwifach Glosa
 
 
 
Maister hansen das ist wann ainer mit dir anpindt das anpinden soltu stercken Vnd schlecht er pald vmb dir nach der vnderen plösse vnd darnach remet So überlauff ym Indes hinein vnd druck nach mit dem schieben oder stossen oder mit dem schnit oben ein krieg
 
  
 
|-  
 
|-  
 
|  
 
|  
| Others speak thusly according to the common gloss: How you shall run-over when someone initiates fencing you below, understand that thusly: When you come to him with the onset, if he cleaves-into or thrusts you below, do not parry that, rather note when his under-cut or thrust goes against you, then cleave-in long against him above from his right shoulder and shoot-in the point above long into his face or chest and set-upon him so he may not reach you. If he then drives up from below and parries, then remain strong with the long edge (that's called strengthened) upon his sword and quickly work to the nearest opening or await upon the after with the war and any over-cut and any upward setting-on reaches-over the lower attack, thusly he becomes ashamed above.
+
| <p>But if you stand against someone as above in the ox and would like to thrust him, if he then hews above downward to your left opening, then go up with your sword against his hew and wind-in him to the side (openly or crookedly as it gives itself) and the point sharply into his face or chest and step in with [it]. Thereafter, work or war.</p>
| Etlich sagen also nach gemainer glos wann dir ainer vnden zuficht wie dw yn solt überlauffen das vernym also Wann dw mit dem zufechten zw ym kumbst hawt er oder sticht dir vnden zwe das versetz ym nit aber merck wann sein vnder haw oder stich gegen dir get So haw gegen ym von seiner rechten achsel oben lanck ein vnd scheuß ym den ort oben lanck ein zw dem gesicht oder prust vnd setz ym an so mag er dich nit erlangen Vert er dann auf von vnden vnd versetzt '''[36r]''' so pleib mit der langen schneid starck (das haist gesterckt) auff seim swert vnd arbait pald zw der nechsten plösse oder wart auf das nach mit dem krieg vnd alle oberhew vnd alle über ansetzen überlangen die vnderen gfert also wirt er oben beschemt
+
| {{section|Page:Cod.I.6.2º.5 36r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the setting-aside'''
+
| <p>'''About the changing-through'''</p>
Learn to set-aside cut, thrust. Artfully disrupt whoever thrusts upon you such that your point hits and his breaks. Hit anytime from both sides if you will step.
+
{| class="zettel"
 +
|-
 +
| <small>86</small>
 +
| ''Learn the changing-through <br/>&emsp;from both sides stab with severity.''
 +
|-
 +
| <small>87</small>
 +
| ''Whoever binds upon you, <br/>&emsp;the changing-through shortly finds him.''
 +
|}
 +
<p>'''Gloss:''' The changings-through are many and varied. You may deploy them from all guards or hews against the fencer that likes to displace and that hew to the sword and not to the openings of the body. You shall learn to deploy it quite well with prudence so that one does not set-on or otherwise come-in while you change-through. Deploy it like this: When you come to him with the approach, cleave-in strongly above to the head. If he then counter-hews against you into the sword and not to the openings of the body, then let you point slip-through below during the hew before he binds you on the sword and stab him into the other side, etc. If he becomes aware of the stab and shortly drives-after the stab with the sword and will displace, then change-through again to the other side. And always deploy it when he drives to your sword with displacement. Deploy this to both sides, war.</p>
 +
| {{section|Page:Cod.I.6.2º.5 36r.jpg|5|lbl=-}}
  
Gloss Master Hans: This so that you shall learn to set-aside artfully disrupting cut, thrust also breaking point thusly: If someone cuts or thrusts against you, plainly setting-aside and breaking strike and point from all positions and cuts or stances and setting-upon from all sides as they encroach you and hitting the point with your point or sword and setting-aside well and from that make a strike-in above with the short edge to the head to whichever side it then gives itself up. Thereafter work in-the-moment with the after and war. Or<ref>marginalia: 'ma?es' => ?</ref> else according to the interpretive intent of others as they execute the setting-aside: When you come to him with the onset, if he then positions himself against you as so in the plow, as they call it (but I call it the ox down by the knee) and acts as if he will thrust into you, the set your left foot forward and stand against him as well in the ox to your right side with crossed arms or hands and give yourself an opening with the left side. If he then thrusts into your opening, then wind against his thrust to you left side with your sword on his sword and step tointo with the right foot and with that set-aside such that the point always remains standing against him and in-the-moment stab him in the face or chest. Thus, your point hits and his 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 and would like to thrust him, if he then cuts above downward to your left opening, then go up with your sword against his cut and wind-in him to the side (openly or crookedly as it gives itself) and the point sharply into his face or chest and step in with [it]. Thereafter, work or war.
+
{{section|Page:Cod.I.6..5 36v.jpg|1|lbl=36v}}
| '''Von dem absetzen'''
 
Lere absetzen haw stich künstlich letzen Wer auf dich sticht das dein ort trifft vnd sein pricht von baiden seitten triff allemal wiltu schreitenn Glosa
 
 
 
Maister hans Das ist dw solt lere absetzen hew stich künstlich letzen auch örter prechen Also so ainer gegen dir hawt oder sticht schleg vnd örter absetzen vnd prechen gewonlich aus allen glegern vnd hewen oder stenden vnd auf sitzen von allen seitten wie sy dir bekummen vnd die örter mit deinem ort treffen oder swert vnd wol absetzen vnd machen daraus ain straich mit kurtzer schneid ym oben ein zw dem kopf auf welche seitten es sich dann begibt darnach arbait Indes mit dem nach vnd krieg Oder <sup>ma?es</sup> aber als etlich glosirent maynent als die absetzen treiben Wann dw mit dem zuuechten zw ym kumbst stelt er sich dann gegen dir als in den pflueg als sy das haissent ich hais aber den ochsen niden bey den knyen vnd thut als wöll er stechen zw dir So setz dein lincken fues für vnd stee gegen ym auch in dem ochsen mit kreutzten armen oder henden zw deiner rechten seitten vnd gib dich plos mit der lincken seitten Sticht er dann dir zw der plösse so wind mit deim swert auf dein lincke seitten gegen seinem stich an sein swert vnd schreit zw mit dem rechten fues vnd setz domit ab das dem ort alweg pleib gegen ym steen vnd stich Im indes zw dem gesicht oder prust so trifft dein ort vnd der sein nit oder mach auch straich vnd anders was dw wilt magstu arbaiten mit kriegen Ob aber dw gegen ainem wie oben in dem ochsen stündest vnd yn stechen woltest hawet er dann dir zw der lincken plös oben nider So gee auf mit deinem swert gegen seinem haw vnd wind ym ein offen oder krump wie es sich gibt nach der seitten vnd schreitst mit zw vnd den ort scharpf ein zw dem angesicht oder der prust darnach arbait oder krieg
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''About the changing-through'''
+
| <p>'''Another play.'''</p>
Learn the changing-through from both sides stab with severity. Whoever binds upon you, the changing-through shortly finds him.
 
  
Gloss: The changings-through are many and varied. You may execute them from all guards or cuts against the fencer that likes to parry and that cut to the sword and not to the openings of the body. You shall learn to execute it quite well with prudence so that one does not set-on or otherwise come-in while you change-through. Execute it thusly: When you come to him with the onset, cleave-in strongly above to the head. If he then counter-cuts against you into the sword and not to the openings of the body, then let you point slip-through below during the cut before he binds you on the sword and stab him into the other side, etc. If he becomes aware of the stab and shortly drives-after the stab with the sword and will parry, then change-through again to the other side. And always execute it when he drives to your sword with parrying. Execute this to both sides, war.
+
<p>When come to him with the approach, set your left foot forward and hold the long point against his face. If he then hews to the sword from above or below and will strike it away or bind-on strongly, then let the point sink downward and change-through and stab him against the other side. And deploy this against all hews where someone hews to your sword and not to the openings of the body.</p>
| '''Von dem durchwechseln'''
+
| {{section|Page:Cod.I.6.2º.5 36v.jpg|2|lbl=-}}
'''[36v]''' Durchwechseln lere von baiden seitten stich mit sere Wer auf dich pindet / Durchwechsel yn schier vindet
 
 
 
Glosa Das durchwechseln ist mancherlai vnd vil die magstu treiben aus allen huten oder hewen gegen den vechteren die do gern versetzen vnd die do hawen zw dem swert vnd nit zw den plossen des leibs die soltu gar wol leren treiben mit fursichtikait das man dir nit ansetz oder sunst einkumm die weil dw durch wechselst Das treib also wann dw mit dem zufechten zw ym kumbst so haw ym oben starck ein zw dem haubt hawt er dann wider gegen dir zw zu dem swert vnd nit zw den plossen des leibs So lass dein ort mit dem haw vnden durchwischen ee wann er dir an das swert pindt vnd stich ym zw der anderen seitten etc Wirt er des stichs gewar vnd vert mit dem swert dem stich pald nach vnd will versetzen so wechsel aber durch zw der anderen seitten vnd das treib albeg wann er dir mit versatzung nach dem swert vert das treib zw baiden seitten krieg etc
 
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play.'''
+
| <p>'''Another play.'''</p>
When come to him with the onset, set your left foot froward and hold the long point against his face. If he then cuts to the sword from above or below and will strike it away or bind-on strongly, then let the point sink downward and change-through and stab him against the other side. And execute this against all cuts where someone cuts to your sword and not to the openings of the body.
+
 
| '''Ain ander stuck'''
+
<p>Note this play precisely when he displaces you and allows the point to go out next to you to one side in the displacement. So boldly change-through and stab against the other side. Or if he remains with point before your face or otherwise against the other openings of your body, then do not change-through and remain on the sword and work to his nearest opening so he cannot race-after nor set-on you. War.</p>
Wann dw mit dem zufechten zw ym kumbst so setz dein lincken fues fur vnd halt ym den langen ort gegen dem gesicht hawt er dann von oben oder von vnden nach dem swert vnd will das hinwegk schlagen oder starck anpinden so lass den ort vndersich sincken vnd wechsel durch vnd stich ym gen der anderen seitten vnd das treib gegen allen hewen domit man dir zw dem swert hawt vnd nicht zw den plössen des leibs
+
| {{section|Page:Cod.I.6.2º.5 36v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| '''Another play.'''
+
| class="noline" | <p>'''About the Disengaging'''</p>
Note this play precisely when he parries you and allows the point to go out next to you to one side in the parrying. So boldly change-through and stab against the other side. Or if he remains with point before your face or otherwise against the other openings of your body, then do not change-through and remain on the sword and work to his nearest opening so he cannot race-after nor set-on you. War.
 
| '''Ain ander stuck'''
 
Das stuck merck eben wann er dir versetzt vnd last den ort in der versatzung neben dir beseitz ausgeen So wechsel künlich durch vnd stich gen der anderen seitten Oder pleibt er dir mit dem ort vor dem gesicht oder sunst gegen anderen plössen des leibs So wechsell nit durch vnd pleib am swert vnd arbait Im zw der nechsten plös so kan er dir nit nachraisenn noch angesetzenn krieg
 
  
|-
+
<p>[text ends]</p>
|
+
| class="noline" | {{section|Page:Cod.I.6.2º.5 36v.jpg|4|lbl=-}}
| '''About the Disengaging'''
 
[text ends]
 
| '''Von dem Zuckenn'''
 
  
 
|}
 
|}
Line 812: Line 1,077:
 
{{master begin
 
{{master begin
 
  | title = Seven Stances
 
  | title = Seven Stances
  | width = 76em
+
  | width = 90em
 
}}
 
}}
{| class="wikitable floated master"
+
{| class="master"
 
|-  
 
|-  
! id="thin" | Images
+
! <p>Illustrations</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
 
! <p>{{rating|B}}<br/>by [[Christian Trosclair]]</p>
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Codex I.6.2º.5]]<br/>by [[Anton Kohutovič]], [[Andreas Engström]], and [[Christian Trosclair]]</p>
+
! <p>[[Hans Medel Fechtbuch (Cod.I.6.2º.5)|Transcription]]{{edit index|Hans Medel Fechtbuch (Cod.I.6.2º.5)}}<br/>by [[Anton Kohutovič]], [[Andreas Engström]], <br/>and [[Christian Trosclair]]</p>
  
 
|-  
 
|-  
 
|  
 
|  
| Hereafter follows the seven stances. Therein noteworthy work to utilize against the opponent is explained :-
+
| <p>'''Hereafter follows the seven stances. Therein noteworthy work for other common fencing to utilize against the opponent is explained :~'''</p>
| Hie nach volgent siben stend darInn mercklich arbayt fur ander gemain vechten begriffen ist wider den mann zu brauchen :-
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|1|lbl=37r}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''The seven stances'''
+
| <p>{{dec|u|'''The seven stances'''}}</p>
The first is when you stand as in the plunge or the scalper yet with a flat sword upon your right thumb, well forward, in the scales with a sunken point and right foot forward and keep yourself well open with the left side. Called the Fool (others c[all it] the sideways ox)
+
 
| '''Die siben stendt'''
+
<p>'''The first''' is when you stand as in the plunge or the scalper yet with a flat sword upon your right thumb, well forward, in the scales with a sunken point and right foot forward and provide yourself well open with the left side. Called the Fool (others c[all it] the sideways ox)</p>
DEr erst ist wann dw als in dem sturtz oder schaitler steest doch mit flachem swert auf deinem rechten dawmen wol fürsich inder wag mit gesencktem ort vnd rechten fues vor vnd gib dich wol plos mit der <sup>lincken</sup> seitten haist der Alber <sup>Etlich h.. dem ochssn schier</sup>
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The second is: Hold you sword next to your left leg by the pommel and with the point a little upwards against the opponent yet so that the same left foot stands forward. This is commonly called the wrath-point or equally the ox. Just that the left foot alon stands forward.
+
| <p>'''The second''' is: Hold you sword next to your left leg by the pommel and with the point a little upwards against the opponent yet so that that left foot stands forward. This is commonly called the wrath-point or equally the ox. Solely just that the left foot stands forward.</p>
| Der ander ist hallt dein swert neben deinem lincken pain bey dem knopf vnd mit dem ort ain wenig übersich gegen dem mann doch das der selb linck fues vor stand das haist gewonlich der zornort oder des ochsen gleich nur allain das der linck fuß vor steet
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The third stance is when you stand as before, then draw back-around to the right from the same left side into the speaking-window or into the position or guard from-the-roof
+
| <p>'''The third''' stance is when you stand as before, then draw back-around to the right from the same left side into the speaking-window or into the position or guard from-the-roof</p>
| Der dritt stand ist so dw steest wie vor so zeuch von der selben lincken seitten auf die rechten hindenherumb in das Sprechfenster oder in das leger oder huet vom tag
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fourth stance: Fall across from the speaking-window to the left side with the crook against<ref>alt: across</ref> your forward foot. One commonly calls this the iron-gate or the setting-on from the crook[ed-cut]. Against the right foot follows after.
+
| <p>'''The fourth''' stance: Fall across from the speaking-window to the left side with the crook against<ref>alt: across</ref> your forward foot. One commonly calls this the iron-gate or the setting-on from the crook[ed-hew]. Against the right foot follows after.</p>
| Der vierdt stand vall aus dem Sprechfenster auf die lincken seitten mit dem krump überzwerchs gegen deinem vorderen fues haist man gewonlich die eysenn porten oder ansetzen aus dem krump gegen dem rechten fueß wie nachuolget
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|5|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fifth stance is the same as before to the other side yet not crooked next to the right foot openly, not crosswise.
+
| <p>'''The fifth''' stance is the same as before to the other side yet not crooked next to the right foot openly, not crosswise.</p>
| Der funfft standt ist geleich wie vor auf die anderen seitten doch nit krump neben dem rechten fueß offenn nit krewz wieß
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|6|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The sixth stance is from the nearest with the point behind from the right side thrown out across upon the ground forwards into the crook yet so that your left foot comes forwards with the point well against the man.
+
| <p>'''The sixth''' stance is from the nearest with the point behind from the right side thrown out across upon the ground forwards into the crook yet so that your left foot comes forwards with the point well against the man.</p>
| Der sechst standt ist aus dem nechsten mit dem ort hinten von der rechten seitten herüber geworffen in das krump fursich hinaus auf die erd doch das dein lincker fües für khum wol gegen dem mann mit dem ort
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|7|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The seventh: From the same crook deliver a strike streight up from the left and forward and to the right with the point upon the ground well into the length and scales, not crooked. Called the plow. Others call it the fool.
+
| <p>'''The seventh:''' From the same crook deliver a strike straight up from the left and forward and to the right with the point upon the ground well into the length and scales, not crooked. Called the plow. Others call it the fool.</p>
| Der sibendt aus dem selben krump schlecht auf ain straich von der lincken geholt vnd auff die rechten vnd fürsich mit dem ort auff die erdenn wol in die leng vnd wag nit krump haist der pflueg etlich hayssent das den alber
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|8|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| Item. Under them all, the second, third, fourth and fifth are called the four settings-on.
+
| <p>Item. Of them all: the second, third, fourth and fifth are called the four settings-on.</p>
| Item vnder den allen der ander dritt vierd vnd funfft haissent die vier ansetzenn
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|9|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| Thereafter you shall note the work that goes from each stance or may commonly go at first.
+
| <p>Thereafter you shall note the work that goes from each stance or may commonly go at first.</p>
| Darnach soltu mercken die arbait die außyetlichem standt geet oder gewonlich geen mag Am ersten
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|10|lbl=-}}
  
 
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| [[File:Cod.I.6.2º.5_37v.jpg|250px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_37v.jpg|400x400px|center]]
| '''Work from the scalper, plunge or fool according to Master Hans with the after.'''
+
| <p>'''Work from the scalper, plunge or fool according to Master Hans with the after.'''</p>
First: Work from the scalper, plunge or fool according to Master Hans with the after. If you lay before the oppinent in the scalper hanging flat as stands above andif you await the work of the opponent against you, if he will then strike-into with an over-cut to your left side or opening, then stand still and go-up straight with the thwart into the left side of his head, thereafter he<ref>alt: it</ref> is open with an unchanged sword. War if it becomes necessary to do.
+
 
| '''Arbait aus dem schaitler sturtz oder alber nach maister hansen mit dem nach'''
+
<p>'''First:''' Work from the scalper, plunge or fool according to Master Hans with the after. If you lay before the opponent in the scalper hanging flat as stands above and if you await the work of the opponent against you, if he will then initiate a strike with an over-hew to your left side or opening, then stand still and go-up straight with the thwart into the left side of his head, so that he is open with an uninverted sword. War if it becomes necessary to do.</p>
Am ersten Arbait aus dem schaitler sturtz oder Alber Als maister hans nent mit dem nach So dw vor dem mann ligst in dem schaitler flëch verhengt wie oben stet vnd So wartest dw des mans arbait gegen dir So er dann dir mit ainem oberhaw auf dein lincke seitten oder plös zwschlagen will So stand still vnd gee schlecht gegen ym auff mit der twir zw seinem haubt seiner lincken seitten do ist er plos mit vnuerkertem swert krieg wirt es not thun
+
| {{section|Page:Cod.I.6.2º.5 37r.jpg|11|lbl=-}}
 +
 
 +
{{section|Page:Cod.I.6.2º.5 37v.jpg|1|lbl=37v}}
  
 
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| <p>'''The second:''' If he then sits atop your sword with his over-hew and strikes back around with an under-hew or otherwise to your right side, then follow-after him swiftly in-the-moment with the stance or extended sword and thrust into his face with whatever you can. War if it becomes necessary. You may well also change-through as soon as he sits-atop and thrust into his right side. Thereafter strike to his left.</p>
| The second: If he then sets upon your sword with his over-cut and strikes back around with an under-cut or otherwise to your right side, then follow-after him swiftly in-the-moment with the stance or extended sword and thrust into his face with whatever you can. War if it becomes necessary. You may well also change-through as soon as he sets-on and thrust into his right side. Thereafter strike to his left.
+
| {{section|Page:Cod.I.6.2º.5 37v.jpg|2|lbl=-}}
| Das ander Sitzt er dann mit seinem oberhaw auff dein swert vnd schlecht widerumb mit ainem vnderhaw oder sunst dir zw der rechten seitten So volge Im behent nach Indes mit dem standt oder gestracktem swert vnd stos in sein angesicht wa mit dw magst krieg wirt es not Dw magst auch wol als pald er auf sitzt durchwechseln vnd stossen zw seiner rechten seitten darnach schlag zw seiner lincken
 
  
 
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| => Item. In everything after as you come in<ref>alt: inside</ref> you shall remain standing thusly and not turn and work it in-the-moment, then ruin the work of another with striking or mutating however the opponent then holds himself against you.
+
| <p>{{handr}} Item. In every after as you come in<ref>alt: inside</ref> you shall remain standing like this and not turn and work it in-the-moment, then ruin the work of another with striking or mutating however the opponent then holds himself against you.</p>
| => Item In allem nach wie dw hinain kumbst also soltu pleiben stet vnd nit verkeren vnd Indes arbaiten es aisch dan die arbait ain '''[38r]''' anders mit schlahen oder mutiren wie sich dann der man gegen dir hellt
+
|  
 +
{{section|Page:Cod.I.6.2º.5 37v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 38r.jpg|1|lbl=38r|p=1}}
  
 
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| The third: If you stand as before and he will change-through you then drive after and step into him and wind-in crooked to his head. War if it is necessary. For one shall wind out after crooked against all changings-through.
+
| <p>'''The third:''' If you stand as before and he will change-through you then drive after and tread into him and wind-in crooked to his head. War if it is necessary. For one shall wind out after crooked against all changings-through.</p>
| Das dritt So dw steest wie vor vnd er dir durchwechseln wolt so var nach vnd trit zw ym vnd wind Im krump ein zw dem haubt krieg ists not dann gegen allen durchwechseln soll man krump winden hin nach
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|2|lbl=-}}
  
 
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| The fourth: If you stand as before and he sets-on crooked so that you shall strengthen against him, if he will then strike to the opening of your left side, then follow after him with the war and sword upon his right shoulder and leay your sword upon his neck. If he will then ward that, then ward yourself again in-the-moment with the war according to the work as it demands. War if it is necessary or always follow after him gently, so he cannot become surely free.
+
| <p>'''The fourth:''' If you stand as before and he sits-atop you crooked so that you shall strengthen against him, if he will then strike to the opening of your left side, then follow after him with the war and sword upon his right shoulder and lay your sword upon his neck. If he will then ward that, then ward yourself again in-the-moment with the war according to the work as it demands. War if it is necessary or always follow after him gently, so he cannot become surely free.</p>
| Das vierdt So dw steest wie vor vnd er sitzt dir krump auf das soltu stercken gegen ym will er dann dich schlahen zw der plos deiner lincken seitten so volg ym nach mit dem krieg vnd swert auf sein rechte achsel vnd leg ym dein swert an seinen hals So er dann das weren wil so wer dich aber Indes mit dem krieg wie es nach der arbait geburt krieg istz not oder volg ym lintlich nach albeg so kan er nit wol ledig werden
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|3|lbl=-}}
  
 
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| Break. But if he holds strongly, then wind yourself into him under his sword and step with your left foot behind his right and throw and with the left arm in front of his neck and if the throwing helps in no way, then you follow after him gently. But if he will wind himself out with force, then wind-in with the pommel between his arms. Break there-against, shove the elbow.
+
| <p>'''Break.'''</p>
| Bruch Hellt er aber starck so wind dich vnder seinem swert zw ym vnd hinder trit In mit dem lincken fues seiner rechten vnd wurff vnd mit dem lincken arm vorn an sein hals vnd geworffen Hillfft als nicht so dw ym lind nachuolgest wil er aber sich mit gwalt herauß winden so wind mit ym ein mit deinem knopf zwischen sein arm Bruch darwider stos den elenbogen
+
 
 +
<p>But if he holds strongly, then wind yourself into him under his sword and tread in with your left foot behind his right and throw and with the left arm in front of his neck and if the throwing helps in no way, then you follow after him gently. But if he will wind himself out with force, then wind-in with the pommel between his arms. Break there-against, shove the elbow.</p>
 +
| {{section|Page:Cod.I.6.2º.5 38r.jpg|4|lbl=-}}
  
 
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| The fifth: If you stand as before and he stands against you in the thwart and with that strikes upon your sword, then follow after him in-the-moment and wind-in crooked into his head. If it is necessary to do, then break the war as before.
+
| <p>'''The fifth:''' If you stand as before and he stands against you in the thwart and with that strikes upon your sword, then follow after him in-the-moment and wind-in crooked into his head. If it is necessary to do, then break the war as before.</p>
| Das funfft So dw stest wie vor vnd er gegen dir in der twir stet vnd schlecht damit dir an dein swert so volg Im Indes nach vnd wind Im krump ein zw seinem haubt thut es not so prauch den krieg wie vor
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|5|lbl=-}}
  
 
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| The sixth: If you stand as before and if he will then stab or thrust you from the ox from his left side to your right, then in-the-moment swiftly step and wind-in crooked into the head. If it is necessary afterwards, then break the war. You may break that in all plays where it offers itself.
+
| <p>'''The sixth:''' If you stand as before and if he will then stab or thrust you from the ox from his left side to your right, then in-the-moment swiftly tread and wind-in crooked into the head. If it is necessary afterwards, then break the war. You may break that in all plays where it offers itself.</p>
| Das sechst So dw stest wie vor vnd will er dann dich auß dem ochsen von seiner lincken seitten zw deiner rechten stechen ode stossen so trit resch Indes vnd wind Im krump ein zw dem kopf thut es weiter not so prauch den krieg den magstu prauchen in allen stucken wo es sich begibt
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|6|lbl=-}}
  
 
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| Cut crooked to the flat of the masters if you wish to weaken them. This is so that the crooked-cut breaks the stance with it's work as you wind in his explanation in the recital. Or: Crook not, short cut. this is the changing-through or break the outer marriage there-against. But if he will make a disengaging from the thrust, then fall into the crook as before and remain standing therein.
+
| <p>Hew crooked to the flat of the masters if you wish to weaken them. This is so that the crooked-hew breaks the stance with its work as you wind in his explanation in the recital. Or: Crook not, short hew. this is the changing-through or break the outer cattle-drive there-against. But if he will make a disengaging from the thrust, then fall into the crook as before and remain standing therein.</p>
| Haw krump zw den flechen den maistern wiltu sy swechen das ist das der krumphaw den standt pricht mit seiner arbait als dw windest in seiner auslegung in der zetl Oder krump nit kurtz haw das ist durchwechsl oder prauch die ausser mynn darwider Oder aber zucken machen wolt aus dem stos so vall in das krump wie vor vnd pleib stet dar Inn
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|7|lbl=-}}
  
 
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| Item. In all plays, if someone binds-upon you or will set-on, then you may disengage and make an under-cut into his right side and back around with the short edge into the other side
+
| <p>Item. In all plays, if someone binds-upon you or will set-on, then you may disengage and make an under-hew into his right side and back around with the short edge into the other side.</p>
| Item in den stucken allen so man dir anpinden oder auf setzen will so magstu zucken vnd ain vnderhaw machen Im zw seiner rechten seitten vnd widerumb mit kurtzer schneid zü der andern seyten
+
| {{section|Page:Cod.I.6.2º.5 38r.jpg|8|lbl=-}}
  
 
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|-  
| [[File:Cod.I.6.2º.5_38v.jpg|250px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_38v.jpg|400x400px|center]]
| '''Work from the second stance, the wrath-point with the after'''
+
| <p>'''Work from the second stance, the wrath-point with the after split up'''</p>
The first play: When you stand in the second stance as written and taught above, etc. If someone then draws-up long and wide and if he means he will strike you with an over-cut in the wrath-point from his right, then go straight up in-the-moment with the wrath-point on his throat and thrust, etc. War if it is necessary. In the thrust, go up thusly into the flat so that your thumb comes under.
+
 
| '''Arbait aus dem anderen standt zornort mit dem nach auftails'''
+
<p>'''The first''' play: When you stand in the second stance as written and taught above, etc. If someone then draws-up long and wide and if he means he will strike you with an over-hew in the wrath-point from his right, then go straight up in-the-moment with the wrath-point on his throat and thrust, etc. War if it is necessary. In the thrust, go up like this into the flat so that your thumb comes under.</p>
Das erst Stuck so dw steest wie oben in dem anderen standt geschriben vnd gelert ist etc So ainer dann lanck vnd weit auff zeucht vnd maint er wolle dich mit oberhaw schlahen in den zorn ort von seiner rechten So gee Indes schlecht auf mit dem zornort Im an die kelen vnd stos etc krieg ist es not gee auf in die flech also das dein dawm vnden khum in den stos
+
| {{section|Page:Cod.I.6.2º.5 38v.jpg|1|lbl=38v}}
  
 
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+
| <p>'''The second:''' When you stand as before in the wrath-point, if he then runs and will thrust you from his left to your right side out of the ox, then tread forward in-the-moment with your right foot and from your counter-thrust make a disengaging back around and make a strike with the short edge from your right shoulder to his left side. Break the war if it is necessary. In this against him, you may also mutate to his right side to the head.</p>
| The second: When you stand as before in the wrath-point, if he then runs and will thrust you from his left to your right side out of the ox, then step forward in-the-moment with your right foot and from your counter-thrust make a disengaging back around and make a strike with the short edge from your right shoulder to his left side. Break the war if it is necessary. In the counter, you may also mutate to his right side to the head.
+
| {{section|Page:Cod.I.6.2º.5 38v.jpg|2|lbl=-}}
| Das ander So dw steest wie vor in dem zornort laufft dann er vnd will dich aber aus dem ochsen von seiner lincken zw deiner rechten seitten stossen So trit mit deinem rechten fues Indes fursich vnd mach aus deinem gegenstoss ain verzucken hindenherumb vnd mach ain straich von deiner rechten achsel zw seiner lincken seitten mit kurtzer schneid prauch den krieg ist es not dw magst auch In dem gegen Im mutiren zw seiner rechten seitten zw dem haubt
 
  
 
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| The third: When you stand as before and he stands forward in the speaking-window or the guard from-the-roof, then go up against him with the wrath-point into his face. If he then sets upon your sword, then you may well in-the-moment wind-in crooked with a step or as soon as he sets-upon, in-the-moment make an under-cut to his 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 he will make an under-cut after the setting-upon, then in-the-moment swiftly step and thrust in forwards with the hands and the sword.
+
| <p>'''The third:''' When you stand as before and he stands forward in the speaking-window or the guard from-the-roof, then go up against him with the wrath-point into his face. If he then sits upon your sword, then you may well in-the-moment wind-in crooked with a tread or as soon as he sits-atop, make an under-hew, in-the-moment, to his 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 he will make an under-hew after the sitting-atop, then in-the-moment swiftly tread and thrust on in forwards with the hands and the sword.</p>
| Das dritte So dw steest wie vor vnd er stet vor dir in dem Sprechfenster oder huet vom tag So gee auf gegen Im mit '''[39r]''' dem zornort in sein angesicht Sitzt er dann auf dein swert so magst wol indes mit ainem trit Im mit krump einwinden Oder als pald er auf sitz Indes ainen vnderhaw zu seiner rechten seitten machen zw dem haubt vnd widerumb mit kurtzer schneid zw der anderen seitten thut es not so krieg Wolt er aber dir ain vnderhaw machen nach dem auf sitzen So trit resch indes vnd stos mit den henden vnd swert fursich hinein
+
|
 +
{{section|Page:Cod.I.6.2º.5 38v.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 39r.jpg|1|lbl=39r|p=1}}
  
 
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| You may well also thrust the war after the setting-upon or before changing-through.
+
| <p>You may well war after the sitting-atop or before changing-through and thrusting.</p>
| Auch magstu wol nach dem aufsitzen oder vor durchwechseln vnd stossen krieg
+
| {{section|Page:Cod.I.6.2º.5 39r.jpg|2|lbl=-}}
  
 
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| rowspan="2" | [[File:Cod.I.6.2º.5_39r.jpg|400x400px|center]]
| The fourth: If you stand as before and again go up with the wrath-point as before, If he then comes in against on your sword with the outer marriage, then wind-in crooked and step-in after and war if it is necessary to do or work as is taught below in the outer marriage in the recital
+
| <p>'''The fourth:''' If you stand as before and again go up with the wrath-point as before, If he then comes in against you on your sword with the outer cattle-drive, then wind-in crooked and tread-in after and war if it is necessary to do or work as is taught below in the outer cattle-drive in the recital.</p>
| Das vierdt So dw stest wie vor vnd gest aber auf mit dem zornort wie vor kumpt er dann dir an dein swert engegen mit der aussern mynn so wind Im krump ein vnd trit nach in vnd krieg thut es not Oder arbait wie nidn in der ausser mynn gelert ist in der zetl
+
| {{section|Page:Cod.I.6.2º.5 39r.jpg|3|lbl=-}}
  
 
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| [[File:Cod.I.6.2º.5_39r.jpg|250px|center]]
+
| <p>'''The fifth:''' When you stand as before and go up as before into the thrust and if he then sits-atop your sword from the crooked setting-on from the right side, if he will then work to the right side, then swiftly drive after with the thrust into the war. But if he works to the left, then wind-in crooked, krieg, etc. Then wind against him crooked on his sword into his and stand still. But if you do not wish to wind, then stay on him with the after.</p>
| The fifth: When you stand as before and go up as before into the thrust and if he then sets upon your sword from the crooked setting-on from the right side, if he will then work to the right side, then swiftly drive after with the thrust into the war. But if he works to the left, then wind crooked against him on his sword and stand still. War into his head. Or, if you do not wish to wind, then keep staying on him with the after
+
| {{section|Page:Cod.I.6.2º.5 39r.jpg|4|lbl=-}}
| Das funfft So dw stest wie vor vnd aufgeest wie vor zw dem stos vnd sitzt er dir dann auf dein swert aus dem krumpen ansetzen von der rechten seitten Will er dir dann arbaiten zw der rechten seitten so var nach behent mit dem stoss in den krieg Arbait er aber zw der lincken so wind gegen Im krump an sein swert vnd stand still zw seinem haubt krieg Ob aber dw nit winden woltest so pleib an Im mit dem nach steet
 
  
 
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| '''Work from the third stance, the speaking-window, with the after'''
+
| <p>'''Work from the third stance, the speaking-window, with the after'''</p>
The first play: When you stand as in the third stance as above in the speaking-window, if someone then runs-in with force as with the window with it's parrying or sword crossed-over and looks through the arms, then set-upon gently. If he then will continue to work wherever he will go, then follow after him with the war, etc. [the krieg] goes from both sides. Also, if the krieg goes from his left side, he needs to run-in crooked.
+
 
| '''Arbait aus dem dritten standt Sprechfenster mit dem nach'''
+
<p>'''The first''' play: When you stand as in the third stance as above in the speaking-window, if someone then runs-in with force as with the window with its displacement or sword crossed-over and looks through the arms, then sit-atop gently. If he then will continue to work wherever he will go, then follow after him with the war, etc. [The war] goes from both sides. Also, if the war goes from his left side, he needs to run-in crooked.</p>
Das erst stuck So dw steest wie in dem dritten standt wie oben in dem Sprechfenster Laufft dir dann ainer mit gwalt ein als mit dem fenster mit seiner versatzung oder swert überzwerchs vnd sicht durch die arm so sitz ym lintlich auf so er dann weiter arbaiten will wo er hin wil so volg ym nach mit dem krieg etc get von baiden seitten gat auch der krieg von seiner lincken seitten muß er krump einlauffen
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|1|lbl=39v}}
  
 
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| The second: When you stand in the speaking-window as before and he will persist with an over-cut upon you and in that throw in the point, etc. Then set-upon him again long. If he will again continue to work, thenn follow after him with the war as before. But if he takes-away, then you may well double. It does not go well to the other, left side.
+
| <p>'''The second:''' When you stand in the speaking-window as before and he will wait upon you with an over-hew and in that throw in the point, etc. Then sit-atop him again long. If he will again continue to work, then follow after him with the war as before. But if he takes-off, then you may well double. It does not go well to the other, left side.</p>
| Das ander So dw steest in dem sprechfenster wie vor vnd er auf dich harren will mit ainem obern haw vnd verwirft in dem dir den ort ein etc so sitz aber ym lanck auf So er aber weiter arbaiten will so volg Im nach mit dem krieg wie vor nymbt er aber ab so magstu wol dupliren/ geet nit wol auf der anderen lincken seitten
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|2|lbl=-}}
  
 
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| The third: When you stand as before and he in the squinter or change upon his right side and goes up and means to strike your sword away in the weak, then you make a disengaging back around and strike him crooked upon his right side. War if it is necessary to do. The disengaging and warring goes to both sides. You may also double and mutate him wherever he disengages when it makes sense.
+
| <p>'''The third:''' When you stand as before and he in the squinter or change upon his right side and goes up and means to strike your sword away in the weak, then you make a disengaging back around and strike him crooked upon his right side. War if it is necessary to do. The disengaging and warring goes to both sides. You may also double and mutate him wherever he disengages when it makes sense.</p>
| Das dritte So dw steest wie vor vnd er in dem schilher oder wechsel auf seiner rechten seitten vnd aufget vnd maint dein swert in der sweche hinweg zeschlagen So mach dw ain zucken hindenherumb vnd schlah In krump auf sein rechte seitten krieg thut es not geet auf baiden seitten zucken vnd krieg dw magst auch wo er zuckt ym duplieren vnd mutiren wen es sich zimpt
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|3|lbl=-}}
  
 
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| The fourth: When you stand as before and he will carry-aside your sword in his going-up as before from the crooked setting-on, then disengage again as before. War if it is necessary to do and the disengaging and war goes to both sides. You may again double and mutate him if he disengages.
+
| <p>'''The fourth:''' When you stand as before and he will carry-off your sword in his going-up as before from the crooked setting-on, then disengage again as before. War if it is necessary to do and the disengaging and war goes to both sides. You may again double and mutate him if he disengages.</p>
| Das vierde So dw steest wie vor vnd er will dir dein swert ab weisen in seinem aufgeen wie vor aus dem krumpen ansetzen so zuck aber wie vor krieg thut es not vnd geet auf baiden seitten das zucken vnd krieg Dw magst aber so er zuckt Im dupliren vnd mutiren
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|4|lbl=-}}
  
 
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| The fifth: When you stand as before in the speaking-window and he will strike-into you from his right side with an over-cut to your right opening and make a disengaging or transferral<ref>alt: misleading</ref> to your right, then, in-the-moment, follow in after him with the crook to his head, etc. War if it is necessary. Upon the other side: parry long or crooked, war.
+
| <p>'''The fifth:''' When you stand as before in the speaking-window and he will initiate a hew at you from his right side with an over-hew to your right opening and make in that a disengaging or misdirection to your right, then, in-the-moment, follow in after him with the crook to his head, etc. War if it is necessary. Upon the other side: displace long or crooked, war.</p>
| Das fünfft So dw steest wie vor in dem Sprechfenster vnd er will dir von seiner rechten seitten mit ainem ober haw zuschlahen zw deiner rechten plössen vnd macht darauf ain vertzucken oder verfuren zw deiner rechtenn so volg ym nach Indes mit dem krump ein zw seinem kopf etc krieg ist es not Auff der andern seitten versetz lang oder krump, krieg
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|5|lbl=-}}
  
 
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| [[File:Cod.I.6.2º.5_40r.jpg|250px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_40r.jpg|400x400px|center]]
| '''Work from the fourth stance, the crooked setting-upon with the after.'''
+
| <p>'''Work from the fourth stance, the crooked setting-upon[sic] with the after.'''</p>
The first: When you stand in the crooked setting-on to your left side, if he then means to seek the openings of your right side with thrusts from the ox, or else strikes; then go up against him and set-aside upon his sword with a stepping-into well over<ref>alt:across</ref> his hands and await his work and war. If he will then throw you over with force, then let go so that you come to the war or strike or work-in with him into the crook and lay upon his neck.
+
 
| '''Arbait aus dem vierden standt krump aufsetzen mit dem nach'''
+
<p>'''The first:''' When you stand in the crooked setting-on to your left side, if he then means to seek the openings of your right side with thrusts from the ox, or else strikes; then go up against him and offset upon his sword with a tread-in well out over<ref>alt: across</ref> his hands and await his work and war. If he will then throw you over with force, then let go so that you come to the war or strike or work-in him in the crook and lay upon his neck.</p>
Das erst So dw steest in dem krumpen ansetzen auf deiner lincken seitten So er dann von seiner lincken seitten dir maint die plossen deiner rechten seitten zesuchen mit stechen aus dem ochsen oder schlagen sunst So gee auf gegen ym vnd setz ym ab auf sein swert mit ainem zwtrit <sup>wol hinuber sein hendt</sup> vnd wart seiner arbait vnd krieg Will er dann dich mit gwalt herüber werffen so lass geen so kumbstu zw krieg oder schlagk oder arbait ym in dem krump ein vnd leg Im an den hals
+
| {{section|Page:Cod.I.6.2º.5 39v.jpg|6|lbl=-}}
 +
 
 +
{{section|Page:Cod.I.6.2º.5 40r.jpg|1|lbl=40r}}
  
 
|-  
 
|-  
|  
+
| <p>'''The second:''' When you stand as before and he makes a disengagement from his strike or thrust to your left side, then in-the-moment run swiftly in with the under-cut into his arm well into the air. Wherever he will subsequently ascend, then follow-after him with the war.</p>
| The second: When you stand as before and he makes a disengagement from his strike or thrust to your left side, then in-the-moment run swiftly in with the under-slice into his arm well into the air. Whereever he will subsequently ascend, then follow-after him with the war.
+
| {{section|Page:Cod.I.6.2º.5 40r.jpg|2|lbl=-}}
| Das ander So dw steest wie vor vnd er macht aus seinem schlag oder stos ain verzucken dir auf dein lincke seitten So lauff behend hinein Indes mit dem vnderen schnit wol in die höhe in sein arm wo er dann hinauf wil so volge Im nach mit dem krieg
 
  
 
|-  
 
|-  
 
|  
 
|  
| The third: When you stand as before and he cuts upon you with a free over-cut from his right side, then step into his well inside and set him aside well behind from the crooked setting-on. If he then throws your sword over, then let it go and strike and war.
+
| <p>'''The third:''' When you stand as before and he hews upon you with a free over-hew from his right side, then tread into him well inside and offset him from the crooked setting-on well behind. If he then throws your sword over, then let it go and strike and war.</p>
| Das dritte So dw steest wie vor vnd er hawt auf dich mit ainem freyen oberhaw von seiner rechten seitten so trit zw '''[40v]''' ym wol hinein vnd setz Im ab aus dem krumpen ansetzen wol hinden würfft er dann dein swert aber herüber so lass es geen vnd schlag vnd krieg
+
| {{section|Page:Cod.I.6.2º.5 40r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 40v.jpg|1|lbl=40v|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fourth: When you stand as before and he will act as if he will make an over-cut and disengages and will strike you to your left side, then swiftly fall into your setting-aside or going-up into the under-slice. War.
+
| <p>'''The fourth:''' When you stand as before and he will act as if he will make an over-hew and disengages and will strike you to your left side, then swiftly fall into your offsetting or going-up into the under-cut. War.</p>
| Das vierdt So dw steest wie vor vnd er thut als will er aber ainen oberhaw machen vnd vertzucks vnd will dich zw deiner lincken seitten schlahen So vall resch in deinem absetzen oder aufgeen in den vnderen schnit krieg
+
| {{section|Page:Cod.I.6.2º.5 40v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
|  
+
| rowspan="3" | [[File:Cod.I.6.2º.5_40v.jpg|400x400px|center]]
| The fifth: When you stand as before and he also counters you in the crooked setting-on on his right side and he goes-up and means to strike you crooked to your right side, then you may strike, set-aside, etc and await the war. You may even also change-through well in that, etc. War if it is necessary.
+
| <p>'''The fifth:''' When you stand as before and he also counters you in the crooked setting-on on his right side and he goes-up and means to strike you crooked to your right side, then you may strike, offset, etc. and await the war. You may even also change-through well in that, etc. War if it is necessary.</p>
| Das funfft So dw steest wie vor vnd er auch gegen dir in dem krumpen ansetzen auf seiner rechten vnd er aufgeet vnd maint dich krump zw deiner rechten zeschlahen So machstu schlecht absetzen etc Vnd wart des kriegs Dw magst auch wol in dem gar durchwechseln etc krieg istz not
+
| {{section|Page:Cod.I.6.2º.5 40v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
|  
+
| <p>Item. Often one does not find the opponent when he disengages, so one should fall in the under-cut.</p>
| Item. Often one does not find the opponent when he disengages, so one should fall in the under-slice.
+
| {{section|Page:Cod.I.6.2º.5 40v.jpg|4|lbl=-}}
| Item als offt man den man nit findt so er zuckt so soll man vallen in den vnderen schnit
 
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_40v.jpg|250px|center]]
+
| <p>'''Work from the fifth'''</p>
| '''Work from the fifth'''
+
 
The first: When you stand in the crooked setting-on upon your right side and he counters you on his right and means to strike you with an over-cut, then set-aside with crooked hands and do not uncover<ref>alt: open</ref>. If he then throws you over, then again let go and strike him crooked into his right. war.
+
<p>'''The first:''' When you stand in the crooked setting-on upon your right side and he counters you on his right and means to strike you with an over-hew, then offset with crooked hands and do not open<ref>uncross your hands</ref>. If he then throws you over, then again let go and strike him crooked into his right. War.</p>
| '''Arbait aus dem funft'''
+
|  
Das erst So dw steest in dem krumpen ansetzen auf deiner rechten seitten vnd er gegen dir auf seiner rechten vnd maint dich zeschlahen mit oberhaw so setz ab mit krumpen henden vnd thue nit auf wurfft er dann dir heruber so lass aber geen '''[41r]''' vnd schlag Im krump zw seiner rechten krieg
+
{{section|Page:Cod.I.6.2º.5 40v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 41r.jpg|1|lbl=41r|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| The second: When you stand in the crooked setting-on upon your right side as before and he makes a disengaging over-cut against you from his right and strikes at your to your right, then again, in-the-moment, swiftly make with the under-slice against him crooked, etc. the war is as the other, but reversed with the sides.
+
| <p>'''The second:''' When you stand in the crooked setting-on upon your right side as before and he makes a disengaging over-hew against you from his right and strikes at your to your right, then again, in-the-moment, swiftly make with the under-cut against him crooked, etc. the war is as the other, but reversed with the sides.</p>
| Das ander So dw steest wie vor in dem krumpen ansetzen auf deiner rechten seitten vnd er macht gegen dir aber von seiner rechten ain vertzuckten oberhaw vnd schlecht dir zw deiner rechten So mach gegen Im resch Indes aber mit dem vnderen schnit krump etc krieg Ist als das ander aber verkert mit der seitten
+
| {{section|Page:Cod.I.6.2º.5 41r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The third: When you stand right as before and he runs-in from his right side with the window from under, up; then, again, set him aside and war.
+
| <p>'''The third:''' When you stand right as before and he runs-in from his right side with the window from under, up; then, again, offset him and war.</p>
| Das dritte So dw steest recht wie vor vnd er laufft dir von seiner rechten ein mit dem venster von vnden auf so setz ym aber ab vnd krieg
+
| {{section|Page:Cod.I.6.2º.5 41r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fourth: When you stand as before and he runs again as before and form that makes a disengagement and will strikq to your right side, then again curl the crooked slice under against him. War into him.
+
| <p>'''The fourth:''' When you stand as before and he runs again as before and from that makes a disengagement and will strike to your right side, then again make the crooked cut in below against him. War into him.</p>
| Das vierdt So dw steest wie vor vnd er laufft aber wie vor vnd macht daraus ain vertzucken vnd will dich schlagen zw deiner rechten seitten so mach aber gegen ym den krummen schnidt vnden ein zw ym krieg
+
| {{section|Page:Cod.I.6.2º.5 41r.jpg|4|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_41r.jpg|250px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_41r.jpg|400x400px|center]]
| The fifth: When you stand right as before and he [is] also in the crooked setting-on upon his right as you [are], then go against him him on his sword so that you come into the outer marriage and wind-in against him in the crook and war. You may well also wait upon his work. So if he will go up, then counter him with your point, so that he runs onto the point.
+
| <p>'''The fifth:''' When you stand right as before and he [is] also in the crooked setting-on upon his right as you [are], then go against him on his sword so that you come into the outer cattle-drive and wind-in against him in the crook and war. You may well also wait upon his work. So if he will go up, then counter him with your point, so that he runs onto the point.</p>
| Das fünfte So dw steest wie vor rechtz vnd er auch auf seiner rechten in dem krumpen ansetzen wie dw So gee gegen ym an sein swert so kumbstu in die ausser mynn vnd wind gegen ym ein in krump vnd krieg Auch magstu wol seiner arbait warten so er auf wolt geen so begegen ym mit deinem ort So laufft er an den ort
+
| {{section|Page:Cod.I.6.2º.5 41r.jpg|5|lbl=-}}
  
 
|-  
 
|-  
|  
+
| <p>'''Work from the sixth stance, the crooked-hew out forward, with the after'''</p>
| '''Work form the sixth stance, the crooked-cut out forward, with the after'''
+
 
The first: When you stand in the crooked-cut out forward with the point upon the ground, the left foot forward and he will strike-into you with an over-cut from his right, then throw the point well out over, upon his hands. If he will then lever you up with force, then lay you sword crooked upon his neck and slice yourself from him or, with his overpowering, let [it] go around into a strike to his left. War.
+
<p>'''The first:''' When you stand in the crooked-hew out forward with the point upon the ground, the left foot forward and he will initiate a strike at you with an over-hew from his right, then throw the point well out over, upon his hands. If he will then lever you up with force, then lay you sword crooked upon his neck and cut yourself from him or, with his overpowering, let [it] go around you into a strike to his left. War.</p>
| '''Arbait aus dem sechsten standt krumphaw fursich hinaus mit dem nach'''
+
| {{section|Page:Cod.I.6.2º.5 41v.jpg|1|lbl=41v}}
Das erst So dw steest in dem krumphaw fursich hinaus mit dem ort auf der erden den lincken fues vor vnd er will dir mit ainem oberhaw zuschlagen von seiner rechten so würff Im den ort auf sein hendt hinüber wol will er dann dich mit gwalt aufwegen so leg Im dein swert krumb an sein hals vnd schneid dich von ym oder lass mit seinem überwegen vmbgen dir zw ainem schlag ym zw seiner lincken krieg
 
  
 
|-  
 
|-  
 
|  
 
|  
| The second: When you stand as before and he will thrust you from his left side from the ox, then, again, throw the point upon the hands as before. War. If he he throws you over, etc, as before, but if he thrusts you from the right, then crook against him. but if he disengages with the shove and makes a strike from the left shoulder, then you slice up crooked into his arm.
+
| <p>'''The second:''' When you stand as before and he will thrust you from his left side from the ox, then, again, throw the point upon the hands as before. War. If he overthrows you, etc, as before, but if he thrusts you from the right, then crook up against him. but if he disengages amid the thrust and makes a strike from the left shoulder, then you cut up crooked into his arm.</p>
| Das ander So dw steest wie vor vnd er will dich von seiner lincken seitten stossen aus dem ochsen So wirff Im aber den ort auf die hend wie vor krieg Wurfft er dich herüber etc wie vor Stost er aber von der rechten So krümb gegen Im auf Zuckt er aber mit dem stos vnd macht ain schlag von lincker achsel so schneid dw krump auf in sein arm
+
| {{section|Page:Cod.I.6.2º.5 41v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The third: when you stand as before in the crooked-cut and he [is] again in the ox upon his left side and a disengagement from the ox and will strike you into your left, then in-the-moment makes the open-under-slice from his right, if he disengages the slice, crook as above.
+
| <p>'''The third:''' when you stand as before in the crooked-hew and he [is] again in the ox upon his left side and makes a sudden withdrawal from the ox and will strike you into your left, then in-the-moment make the open-under-cut from his right side, if he disengages the cut, crook as above.</p>
| Das dritt so dw steest wie vor Im krumphaw vnd er aber auf seiner lincken seitten in dem ochsen vnd macht aus dem ochsen ain vertzucken vnd will dich schlagen zw deiner lincken so mach Indes den vnderen offen schnit von seiner rechten seitten Zuckt er schneid krump wie oben
+
| {{section|Page:Cod.I.6.2º.5 41v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fourth: When you stand as before and he will strike or set-upon from his right side from the crooked setting-on, then draw-up your sword around from your left side to the right shoulder with a step and strike into his upon his left side to the head. War, crook with the short edge or else if you will not do these, then go-up from the crooked-cut on his sword against him with open arms and set him aside and wind the point into his face, so that you come similarly as with in the scalper or in the roof or fool and thrust or go-up straight in in the crook if it is closer.
+
| <p>'''The fourth:''' When you stand as before and he will strike or sit-atop you from his right side from the crooked setting-on, then draw-up your sword around from your left side to the right shoulder with a tread and strike into his upon his left side to the head. War crooked with the short edge or else if you will not do these, then from the crooked-hew, go-up on his sword against him with open arms and offset him and wind the point into his face, so that you come similarly as with in the scalper or in the roof or fool and thrust or go straight to him. Crook up into him if it is closer.</p>
| Das vierdt So dw steest wie vor vnd er will dich von seiner rechten seitten schlahen oder aufsitzen aus dem krumpen ansetzen So zeuch auf dein swert von deiner lincken seitten herumb auf die rechten achsel mit trit vnd schlag zw ym auf seine lincken seitten zum kopf krieg krum mit kurtzer schneid oder sunst Wiltu des nit thon so gee aus dem krumphaw auf an sein swert gegen Im mit offen armen vnd setz Im ab vnd den ort wind Im zw dem angesicht So khumbstu gleich mit in den schaitler oder in das dach oder alber vnd stoss Oder gang schlecht Im krump auf in yn ist neher
+
| {{section|Page:Cod.I.6.2º.5 41v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| The fifth: When you stand as before in the crooked-cut and he in the outer marriage, then also go-up against him in the outer marriage. Thereafter: work, etc. Ir go-up into the thrust, work or wind-in, etc.
+
| <p>'''The fifth:''' When you stand as before in the crooked-hew and he in the outer cattle-drive, then also go-up against him in the outer cattle-drive. Thereafter: work, etc. Ir go-up into the thrust, work or wind in, etc.</p>
| Das funfft So dw steest wie vor Im krumphaw vnd er gegen dir in der ausser mynn So gee auch auf gegen im in die ausser mynn darnach arbait etc Oder geet auf in den stos so gee auch auf in den stos Arbait oder wind ein etc
+
| {{section|Page:Cod.I.6.2º.5 41v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_42r.jpg|250px|center]]
+
| rowspan="3" | [[File:Cod.I.6.2º.5_42r.jpg|400x400px|center]]
| '''Work from the seventh stance is the plow with the after'''
+
| <p>'''Work from the seventh stance is the plow with the after'''</p>
The first: When you stand in the plow with the right foot forward and he will run upon you with his sword with strike or thrust, then go straight up and set him aside, step into war, etc. It also goes in the same way with the setting-aside when he runs from his right side. War, etc.
+
 
| '''Arbait aus dem sibenden stand ist der pflueg mit dem nach'''
+
<p>'''The first:''' When you stand in the plow with the right foot forward and he will run upon you with his sword with strike or thrust, then go straight up and offset him, tread in, war, etc. It also goes in the same way with the offsetting when he runs from his right side. War, etc.</p>
Das erst So dw steest in dem pflueg mit deinem rechten fues vor vnd er will von seiner lincken seitten auf dich mit seinem swert lauffen mit schlag oder stich So gee schlecht auf vnd setz Im ab trit zw krieg etc Also gat es auch so er laufft von seiner rechten seitten mit dem absetzen krieg etc
+
| {{section|Page:Cod.I.6.2º.5 42r.jpg|1|lbl=42r}}
  
 
|-  
 
|-  
|  
+
| <p>'''The second:''' When you stand as before in the plow and he sits-atop upon your sword from his left with the thwart, then remain on his sword and go-up with him into the war, etc.</p>
| The second: When you stand as before in the plow and he sets-upon upon your sword from his left with the thwart, then remain on his sword and go-up with him into the war, etc.
+
| {{section|Page:Cod.I.6.2º.5 42r.jpg|2|lbl=-}}
| Das ander So dw steest wie vor in dem pflueg vnd er sitzt dir mit der twir auf von seiner lincken auf dein swert so pleib an seinem swert vnd gee mit Im auff in den krieg etc
 
  
 
|-  
 
|-  
|  
+
| <p>Also do in the same way when he sits-atop you with the thwart from his right side. Deploy the changing-through, if you wish, when he will sit-atop or disengage in the changing-through and make a strike into his side according to the work.</p>
| Also do in the same way when he sets-upon you with the thwart from his right side. Execute the changing-through, if you wish, when he will set-upon or disengage in the changing-through and make a strike into his side according to the work.
+
| {{section|Page:Cod.I.6.2º.5 42r.jpg|3|lbl=-}}
| Also thue auch so er mit der twir dir auf sitzt von seiner rechten seitten Treib durchwechsl ob dw wilt wann er auf sitzen wolt oder zuck in dem durchwechseln vnd mach ain straich ym zw seiner seitten nach der arbait
 
  
 
|-  
 
|-  
 
|  
 
|  
| The third: When you stand as before and he will thrust you from his right side to your right from the ox and, from that, makes a disengagement and will strike you into your left side, then you make the open-under-slice into his arm. War.
+
| <p>'''The third:''' When you stand as before and he will thrust you from his right side to your right from the ox and, from that, makes a disengagement and will strike you into your left side, then you make the open-under-cut into his arm. War.</p>
| Das dritt So dw steest wie vor vnd er will von seiner '''[42v]''' rechten seitten dich stossen aus dem ochsen auf dein rechte vnd macht darauß ain vertzucken vnd will dich zw deiner lincken seitten schlahen so mach dw den vnteren offen schnit ym in sein arm kriege
+
|  
 +
{{section|Page:Cod.I.6.2º.5 42r.jpg|4|lbl=-|p=1}} {{section|Page:Cod.I.6.2º.5 42v.jpg|1|lbl=42v|p=1}}
  
 
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+
| class="noline" |  
| But if you do not wish to slice, then mutate. But if he is from the right, then double him. If you do not wish to slice, then break him and strike. But if he will thrust from his left side and not disengage, then wind-in crooked against him, etc. You may also go-up or set-aside into yours when he thrust upon you, also pulling and striking, etc. War.
+
| class="noline" | <p>But if you do not wish to cut, then mutate. But if he is from the right, then double him. If you do not wish to cut, then break him and strike. But if he will thrust from his left side and not disengage, then wind-in crooked against him, etc. You may also go-up or offset into yours when he thrust upon you, also disengaging and striking, etc. War.</p>
| Wiltu aber nit schneiden so mutier Im Ist er aber von rechtem so duplir ym wenn dw nit schneiden wilt sunder ym prechen vnd schlahen wilt Stost er aber von seiner lincken seitten vnd nit zuckt So wind gegen ym ein krump etc Dw magst auch in deinem aufgeen oder absetzen so er auf dich stost auch zucken vnd schlahen etc krieg
+
| class="noline" | {{section|Page:Cod.I.6.2º.5 42v.jpg|2|lbl=-}}
  
 
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| work        = Illustrations
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| authors    = [[Universitätsbibliothek Augsburg]]
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| source link = http://www.nbn-resolving.de/urn:nbn:de:bvb:384-uba002007-6
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| source title= Universitätsbibliothek Augsburg
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Revision as of 23:17, 14 October 2020

Hans Medel von Salzburg

A play from Medel's fencing manual
Born 15th century
Died 16th century
Occupation Fencing master
Citizenship Salzburg, Germany
Movement Liechtenauer tradition
Influences
Genres Fencing manual
Language Early New High German
Manuscript(s) Codex I.6.2º.5 (1539)
Concordance by Michael Chidester
Translations Magyar fordítás

Hans Medel von Salzburg (Hans Niedel, Hans Mendel) was an early 16th century German fencing master. Salzburg is a city in northern Austria, and he seems to have operated as a burgher and Schirmmeister there from at least 1503.[1] Little else is known about this master, but he seems to have been associated with the tradition of Johannes Liechtenauer. He may have traced his lineage through Hans Seydenfaden von Erfurt, a member of the Fellowship of Liechtenauer,[2] as Medel's text is the only known source that mentions teachings from the earlier master.

Medel's name is attached to a manuscript treatise on swordsmanship from 1539, including an incomplete gloss of Liechtenauer's Recital and an addendum on fencing based on "the Seven Stances"; it seems to have been written by a student or associate of Medel rather than the master himself. This gloss is unique in the Liechtenauer tradition in that it not only offers unique commentary on the Recital, but also both quotes and occasionally offers criticisms of and corrections to the earlier glosses of Sigmund ain Ringeck and Nicolaüs. In a few places the gloss specifically describes a teaching of Hans Seydenfaden or Hans Medel, but in several more it merely attributes the teaching to "Master Hans" without indicating which one.

This manuscript eventually passed into the library of Paulus Hector Mair, who bound it into the current Codex I.6.2º.5 some time after 1566; unfortunately, the extant fragment of the gloss terminates abruptly at the beginning of the section on Zucken, and the remainder is currently lost.

Treatise

Additional Resources

References

  1. Mitteilungen der Gesellschaft für Salzburger Landeskunde, vol. 40. Salzburg, 1900. p 177.
  2. The Fellowship of Liechtenauer is recorded in three versions of Paulus Kal's treatise: MS 1825 (1460s), Cgm 1570 (ca. 1470), and MS KK5126 (1480s).
  3. alt: right
  4. alt: side
  5. alt: defense
  6. the artist/professional doing their work
  7. alt: gladly valuing in the arts
  8. alt: gladly valuing with kindness
  9. alt: right
  10. alt: weapon
  11. eindrohen: to imminently threaten
  12. Zeck: a biting insect, ie: a tick.
  13. alt: closer, sooner
  14. this is usually the term for the severing of limbs/extremities, though it can mean hewing while exiting or just separating
  15. widerschlagen: to strike against, in a reverberating sense
  16. rechnen: compute, take into account, align
  17. towards
  18. In the standard verse it is 'ab', not 'fast'
  19. severely, precisely, ruthlessly, violently
  20. videlicet: namely; to wit
  21. abhauen: to sever or to hew in exit
  22. alt: high
  23. aufsitzen: to sit on top of something. A rider was sometimes called an 'Aufsitzer'
  24. ausheben: lift out
  25. conjecture, possibly: 'neben'
  26. 26.0 26.1 26.2 26.3 26.4 26.5 26.6 26.7 26.8 26.9 The text here is hidden by a crease in the page.
  27. alt: breaks-apart, shatters, asunders; burgles; interrupts
  28. ansiegen: to return with victory
  29. glance, discern, glean
  30. Ochs
  31. Ochs
  32. Ochs
  33. could also mean 'carelessly'
  34. Alternately: strongly, firmly, steadfastly.
  35. across
  36. across
  37. your leger
  38. rappen: to gather, to snatch, to seize
  39. no apparent verb here. A similar construction appears below with the added phrase: "set-upon upon the four endings to both sides"
  40. alt: flying
  41. mitmachen: join, unite, combine, participate
  42. alternately: old
  43. marginalia: 'malz' => bad, weak
  44. Or possibly "maler"
  45. Here some pages apparently have been lost, unfortunately.
  46. alt: across
  47. alt: inside
  48. alt: across
  49. uncross your hands