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Difference between revisions of "Hans Medel"

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| <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>
+
| <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>
 
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<p>''If you wish to exhibit the art,<br/>then go left and right with cutting<br/>and left with right<br/>is what you strongly desire to fence.''</p>
 
<p>''If you wish to exhibit the art,<br/>then go left and right with cutting<br/>and left with right<br/>is what you strongly desire to fence.''</p>
  
<p>'''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 followed 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.</p>
+
<p>'''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 followed 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.</p>
 
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<p>''Whoever goes after cuts,<br/>they demand little joy from their art.<br/>Cut closely whatever you wish.<br/>No changing-through comes upon your cross.<br/>To the head, to the body<br/>do not omit the biters.<br/>Fence with the entire body<br/>whatever you desire to execute strongly.''</p>
 
<p>''Whoever goes after cuts,<br/>they demand little joy from their art.<br/>Cut closely whatever you wish.<br/>No changing-through comes upon your cross.<br/>To the head, to the body<br/>do not omit the biters.<br/>Fence with the entire body<br/>whatever you desire to execute strongly.''</p>
  
<p>'''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.</p>
+
<p>'''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.</p>
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| <p>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.</p>
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<p>''Hear what is bad.<br/>Do not fence above left if you are below right.<br/>And also severely hindered<br/>in the right, if you are left.''</p>
 
<p>''Hear what is bad.<br/>Do not fence above left if you are below right.<br/>And also severely hindered<br/>in the right, if you are left.''</p>
  
<p>'''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 are 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.</p>
+
<p>'''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 are 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.</p>
 
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<p>''Before and after, the two thing<br/>are the one source of all art.<br/>Weak and strong, in-the-moment,<br/>with those note that word<br/>if you desire<br/>to work and ward with art.<br/>If you frighten easily,<br/>never learn any fencing.''</p>
 
<p>''Before and after, the two thing<br/>are the one source of all art.<br/>Weak and strong, in-the-moment,<br/>with those note that word<br/>if you desire<br/>to work and ward with art.<br/>If you frighten easily,<br/>never learn any fencing.''</p>
  
<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 execute, you will be a good master.</p>
+
<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 execute, you will be a good master.</p>
 
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<p>''Learn the five cuts,<br/>from the correct<ref>alt: right</ref> hand<ref>alt: side</ref> against the weapon,<ref>alt: defense</ref><br/>that we laud,<br/>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></p>
 
<p>''Learn the five cuts,<br/>from the correct<ref>alt: right</ref> hand<ref>alt: side</ref> against the weapon,<ref>alt: defense</ref><br/>that we laud,<br/>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></p>
  
<p>'''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.</p>
+
<p>'''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.</p>
 
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<p>''Wrath-cut, crooked, thwart<br/>has squinter with scalper<br/>fool parries<br/>following-after, run-over set the cut,<br/>change-through, pull, run-through,<br/>slice-away, press the hands<br/>hang and with openings strike,<br/>catch, sweep, thrust with blows.''</p>
 
<p>''Wrath-cut, crooked, thwart<br/>has squinter with scalper<br/>fool parries<br/>following-after, run-over set the cut,<br/>change-through, pull, run-through,<br/>slice-away, press the hands<br/>hang and with openings strike,<br/>catch, sweep, thrust with blows.''</p>
  
<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 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.</p>
+
<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 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.</p>
 
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<p>''If you wish to vindicate yourself,<br/>artfully break the four openings.<br/>Above, double;<br/>below right, mutate.<br/>I say to you truthfully,<br/>no one protects themselves without danger.<br/>If you have understood this,<br/>he may come to little.''</p>
 
<p>''If you wish to vindicate yourself,<br/>artfully break the four openings.<br/>Above, double;<br/>below right, mutate.<br/>I say to you truthfully,<br/>no one protects themselves without danger.<br/>If you have understood this,<br/>he may come to little.''</p>
  
<p>'''Gloss:''' As master Hans Medel has said: If you have bound-upon with someone from earnest over-cuts or otherwise and wish to take vengeance 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>
+
<p>'''Gloss:''' As Master Hans Medel has said: If you have bound-upon with someone from earnest over-cuts or otherwise and wish to take vengeance 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>
 
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| <p>'''Here note how you shall execute the mutating to both sides.'''</p>
 
| <p>'''Here note how you shall execute the mutating to both sides.'''</p>
  
<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.</p>
+
<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.</p>
 
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| [[File:Cod.I.6.2º.5_25v.jpg|300x300px|center]]
 
| [[File:Cod.I.6.2º.5_25v.jpg|300x300px|center]]
| '''The crooked-cut with its plays.'''
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| <p>'''The crooked-cut with its plays.'''</p>
Crook-up swiftly, throw the point upon the hands.
 
  
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>''Crook-up swiftly,<br/>throw the point upon the hands.''</p>
| '''Der Krumphaw mit seinen stuckenn'''
 
KRump auf behende / würff Im den ort auf die hende Glosa
 
  
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
+
<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>
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| Rule: Give yourself a firm opening in the crooked-cut.
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| <p>''Rule: Give yourself a firm opening in the crooked-cut.''</p>
| Regula gib dich In dem Krumphaw vast bloß etc
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| [[File:Cod.I.6.2º.5_26r.jpg|300x300px|center]]
 
| [[File:Cod.I.6.2º.5_26r.jpg|300x300px|center]]
| '''Again a play'''
+
| <p>'''Again a play'''</p>
Whoever properly sets crooked, Disrupts many cuts with stepping.
+
 
 +
<p>''Whoever properly sets crooked, <br/>Disrupts many cuts with stepping.''</p>
  
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>'''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.</p>
| '''Aber ain stuck'''
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| {{section|Page:Cod.I.6..5 26r.jpg|1|lbl=26r}}
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
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| <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 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>
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|  
 
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| '''Again a play'''
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| <p>'''Again a play'''</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>''Cut crooked to the flat <br/>of the masters if you wish to weaken them. <br/>When it clashes above, <br/>stand firm. That I will laud.''</p>
| '''Aber ain stuck'''
 
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
+
<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 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>
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| {{section|Page:Cod.I.6.2º.5 26v.jpg|1|lbl=26v}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play'''
+
| <p>'''Again a play'''</p>
Do not crooked-cut, short-cut. With it, display the changing-through.
 
  
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.
+
<p>''Do not crooked-cut, short-cut. <br/>With it, display the changing-through.''</p>
| '''Aber ain stuck'''
 
Krump nicht kurtzhaw durchwechsel domit schaw Glosa
 
  
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>'''Gloss:''' 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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26v.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.
 
  
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 agility, 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 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 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.
+
<p>''Whoever foils you crooked, <br/>the noble war confounds them <br/>that they do not truthfully know <br/>where they are without danger.''</p>
| '''Aber ain stuck'''
 
Krump wer dich irret der edel krieg verwirret / das er nicht wais fürbar wa er sey anefar Glosa
 
  
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>'''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 agility, 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 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 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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 26v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_27r.jpg|300x300px|center]]
+
| [[File:Cod.I.6.2º.5_27r.jpg|300x300px|center]]
| '''The thwart-cut with its plays.'''
+
| <p>'''The thwart-cut with its plays.'''</p>
The thwart-cut takes-away whatever approaches from the roof.
 
  
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 from 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.
+
<p>''The thwart-cut takes-away <br/>whatever approaches from the roof.''</p>
| '''Der twirhaw mit seinen stucken'''
 
Twirhaw benimpt was von dem tag her kümpt Glosa
 
  
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>'''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 from 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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27r.jpg|1|lbl=27r}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play'''
+
| <p>'''Another play'''</p>
Thwart with the strong. With that, remember your work.
+
 
 +
<p>''Thwart with the strong. <br/>With that, remember your work.''</p>
  
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>'''Gloss:''' 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.</p>
| '''Ain ander stuck'''
+
| {{section|Page:Cod.I.6.2º.5 27v.jpg|1|lbl=27v}}
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>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>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|2|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>'''A break for the laying-on.'''</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
+
 
 +
<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 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>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>'''Yet another play.'''</p>
Thwart into the plow; into the ox, join well.
 
  
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.
+
<p>''Thwart into the plow; <br/>into the ox, join well.''</p>
| '''Aber ain stuck'''
 
Twir zw dem pflueg zw dem ochsen wol gefueg Glosa
 
  
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>'''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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 27v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play.'''
+
| <p>'''Another play.'''</p>
Whoever thwarts themselves well, endangers the head with springing.
 
  
This is when you stand in the thwart and will endanger 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.
+
<p>''Whoever thwarts themselves well, <br/>endangers the head with springing.''</p>
| '''Ain ander stuck'''
 
Was sich wol twieret mit springen dem haubt geferet
 
  
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>This is when you stand in the thwart and will endanger 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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28r.jpg|1|lbl=28r}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play from the thwart-cut called the failer'''
+
| <p>'''Another play from the thwart-cut called the failer'''</p>
The failer misleads. It contacts from below according to desire.
 
  
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.
+
<p>''The failer misleads. <br/>It contacts from below according to desire.''</p>
| '''Ain ander stuck aus dem Twirhaw haist der feler'''
 
Fäler verfüret von vnden nach wunsch er rüret Glosa
 
  
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
+
<p>'''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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play, the thwart inverter'''
+
| <p>'''Another play, the thwart inverter'''</p>
The inverter overwhelms. Also with [it] the runner-through wrestles. Surely take the elbow. Spring to him into the scales.
+
 
 +
<p>''The inverter overwhelms. <br/>Also with [it] the runner-through wrestles. <br/>Surely take the elbow. <br/>Spring to him into the scales.''</p>
 +
 
 +
<p>'''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 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}}
  
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 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. 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>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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|2|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>Item. As for how you shall run through, you find that hereafter in the play that says: Run through, allow to hang.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>'''Yet another play.'''</p>
The failer hits doubly. One makes the old slice with power.
 
  
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.
+
<p>''The failer hits doubly. <br/>One makes the old slice with power.''</p>
| '''Aber ain stuck'''
 
Fäler zwifach trifft man den alten schnidt mit macht krafft
 
  
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
+
<p>According to Han, [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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 28v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| If he will then also strike, then go after him in-the-moment with the slice in over his arm and press after. Others differ and is also called the double failer. With respect to this, one shall execute a double misleading in an 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>If he will then also strike, then go after him in-the-moment with the slice in over his arm and press after. Others differ and is also called the double failer. With respect to this, one shall execute a double misleading in an 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>
| 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
+
| {{section|Page:Cod.I.6.2º.5 28v.jpg|5|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Yet another play.'''
+
| <p>'''Yet another play.'''</p>
Double it further, step in left and do not be lazy.
 
  
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>
+
<p>''Double it further, <br/>step in left and do not be lazy.''</p>
| '''Aber ain stuck'''
 
Zwifach es fürbas schreit yn linck vnd bis nit lass g
 
  
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
+
<p>'''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></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}}
  
 
|-  
 
|-  
 
|  
 
|  
| 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>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>
| 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 29r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  [[File:Cod.I.6.2º.5_29r.jpg|300x300px|center]]
 
|  [[File:Cod.I.6.2º.5_29r.jpg|300x300px|center]]
| '''This is the squint-cut with it's plays'''
+
| <p>'''This is the squint-cut with it's plays'''</p>
The squint-cut breaks-into whatever the buffalo strikes or stabs. Whoever executes the change, the squinter robs him from that.
+
 
 +
<p>''The squint-cut breaks-into <br/>whatever the buffalo strikes or stabs. <br/>Whoever executes the change, <br/>the squinter robs him from that.''</p>
  
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.
+
<p>'''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 buffaloes 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.</p>
| '''Das ist der schilhaw mit seinen stuckenn'''
+
|
Schilher einpricht, was puffel schlecht oder sticht Wer wechsel treibt, schilher yn daraus beraubt Glosa
+
{{section|Page:Cod.I.6.2º.5 29r.jpg|3|lbl=-|p=1}} {{section|Page:Cod.I.6..5 29v.jpg|1|lbl=29v|p=1}}
  
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>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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 29v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play'''
+
| <p>'''Another play'''</p>
Squint-on if he shortens you. Changing-through brings victory<ref>ansiegen: to return with victory</ref>.
 
  
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>.
+
<p>''Squint-on if he shortens you. <br/>Changing-through brings victory.''<ref>ansiegen: to return with victory</ref></p>
| '''Ain ander stuck'''
 
Schill kürtzt er dich an durchwechsl gesigt ym an Glos
 
  
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>'''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>.</p>
 +
| {{section|Page:Cod.I.6.2º.5 29v.jpg|3|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| [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
+
| <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.''</p>
| <sup>So dw steest in der verhangenden versatzung krump oder offen wie Seydenfaden gelert hat ist auch kurtz vnd dir gut durchwechseln</sup>
+
| {{section|Page:Cod.I.6.2º.5 29v.jpg|4|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Again a play'''
+
| <p>'''Again a play'''</p>
Squint to the point, take the neck without fear.
+
 
 +
<p>''Squint to the point, <br/>take the neck without fear.''</p>
  
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>'''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.</p>
| '''Aber ain stuck'''
+
|
Schill zu dem ort nym den hals ane vorcht Glosa
+
{{section|Page:Cod.I.6.2º.5 29v.jpg|5|lbl=-|p=1}} {{section|Page:Cod.I.6..5 30r.jpg|1|lbl=30r|p=1}}
  
'''[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
+
|-
 +
|
 +
| <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 set-upon 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=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another Play.'''
+
| <p>'''Another Play.'''</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 prodigiously<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>''Squint to the top of the forehead <br/>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></p>
| '''Ain ander stuck'''
 
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
+
<p>'''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 prodigiously<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>
 +
| {{section|Page:Cod.I.6.2º.5 30r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_30v.jpg|300x300px|center]]
+
| [[File:Cod.I.6.2º.5_30v.jpg|300x300px|center]]
| '''The squinter with scalper with it's plays'''
+
| <p>'''The squinter with scalper with it's plays'''</p>
The scalper is a threat to the face. With it's turn, the chest is quickly<ref>Alternately: strongly, firmly, steadfastly.</ref> threatened.
+
 
 +
<p>''The scalper <br/>is a threat to the face. <br/>With it's turn, <br/>the chest is quickly<ref>Alternately: strongly, firmly, steadfastly.</ref> threatened.''</p>
 +
 
 +
<p>'''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. Thereafter, work whatever you wish that is quite threatening to him.</p>
 +
| {{section|Page:Cod.I.6.2º.5 30r.jpg|4|lbl=-}}
  
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.
+
{{section|Page:Cod.I.6..5 30v.jpg|1|lbl=30v}}
| '''Schilher mit schaitler mit seinen stuckenn'''
 
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 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>
 +
| {{section|Page:Cod.I.6.2º.5 30v.jpg|2|lbl=-}}
  
 
|-  
 
|-  
 
|  
 
|  
| '''Another play. How the crown breaks the scalper.'''
+
| <p>'''Another play. How the crown breaks the scalper.'''</p>
What comes from him, the crown takes away.
 
  
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.
+
<p>''What comes from him, <br/>the crown takes away.''</p>
| '''Ain ander stuck wie die kron bricht den schaitler'''
 
Was von ym kümbt / die kron abnymbt Glosa
 
  
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
+
<p>'''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.</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}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:Cod.I.6.2º.5_31r.jpg|300x300px|center]]
 
| rowspan="2" | [[File:Cod.I.6.2º.5_31r.jpg|300x300px|center]]
| 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>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>
| 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
+
| {{section|Page:Cod.I.6.2º.5 31r.jpg|2|lbl=-}}
  
 
|-  
 
|-  
| '''Another play. How the slice breaks the crown.'''
+
| <p>'''Another play. How the slice breaks the crown.'''</p>
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.
+
<p>''Slice through the crown, <br/>so you break the hard beautifully. <br/>Press the strike. <br/>It moves-aside with slicing.''</p>
| '''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
+
<p>'''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.</p>
 +
| {{section|Page:Cod.I.6.2º.5 31r.jpg|3|lbl=-}}
  
 
|-  
 
|-  
| [[File:Cod.I.6.2º.5_31v.jpg|300x300px|center]]
+
| rowspan="2" | [[File:Cod.I.6.2º.5_31v.jpg|300x300px|center]]
| 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.
+
| <p>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.</p>
| '''[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
+
| {{section|Page:Cod.I.6.2º.5 31v.jpg|1|lbl=31v}}
  
 
|-  
 
|-  
|
 
 
| '''About the four positions'''
 
| '''About the four positions'''
 
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.
 
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.

Revision as of 20:12, 24 April 2016

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 Society of Liechtenauer,[2] as Medel's text is the only known source outside of the Paulus Kal's honor role that mentions the earlier master's name.

Medel's name is attached to a manuscript treatise on swordsmanship from 1539, including a gloss of Liechtenauer's Recital based on Sigmund Schining ain Ringeck's work of the previous century and an original treatise on fencing from "the Seven Stances". Medel's gloss is unique in the Liechtenauer tradition in that it not only offers commentary on the Recital but also demonstrates an awareness of the earlier glosses of Ringeck and Pseudo-Peter von Danzig and offers criticisms of and corrections to their teachings. This manuscript later passed into the library of Paulus Hector Mair, who bound it into the current Codex I.6.2º.5 some time after 1566.

Treatise

Additional Resources

References

  1. Mitteilungen der Gesellschaft für Salzburger Landeskunde, vol. 40. Salzburg, 1900. p 177.
  2. Kal, Paulus. Untitled [manuscript]. Cgm 1507. Munich, Germany: Bayerische Staatsbibliothek, 1470.
  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 can mean cutting while exiting
  15. widerschlagen: to strike against, in a reverberating sense
  16. towards
  17. severely, precisely, ruthlessly, violently
  18. videlicet: namely; to wit
  19. letz: reversed, disrupted, perverted, refuting, incorrect, twisted, unjust, left
  20. paper is damaged. only the letters 'ne' remain. There's enough room for two or three letters
  21. 21.0 21.1 21.2 21.3 21.4 21.5 21.6 21.7 21.8 21.9 The text here is hidden by a crease in the page.
  22. ansiegen: to return with victory
  23. glance, discern, glean
  24. Ochs
  25. likes to
  26. Ochs
  27. Ochs
  28. Can also mean "to tame or incapacitate".
  29. 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.
  30. could also mean 'carelessly'
  31. Alternately: strongly, firmly, steadfastly.
  32. the leger or hut
  33. rappen: to gather, to snatch, to seize
  34. no apparent verb here. A similar construction appears below with the added phrase: "set-upon upon the four endings to both sides"
  35. alt: fleeing
  36. alt: wrongs, falsehoods, meanings, diminishments, mines, minings, manners, ownings, possessings.
  37. alt: exit
  38. mitmachen: join, unite, combine, participate
  39. alternately: old
  40. marginalia: 'malz' => bad, weak
  41. alt: across
  42. alt: it
  43. alt: inside
  44. alt: misleading
  45. alt:across
  46. alt: open