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Difference between revisions of "Joachim Meyer"

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| <p><small>[]</small> '''To the Noble High-born Prince and Lord, Lord Georg Hansen Count Palatine of the Rhine Duke of Bavaria, Count at Veldenz and Lord of Lutzelstein, my gracious Prince and Lord'''</p>
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| <p>'''To the Noble High-born Prince and Lord, Lord Georg Hansen Count Palatine of the Rhine Duke of Bavaria, Count at Veldenz and Lord of Lutzelstein, my gracious Prince and Lord'''</p>
 
| {{section|Page:MS Bibl. 2465 IIIr.jpg|1|lbl=IIIr.1}}
 
| {{section|Page:MS Bibl. 2465 IIIr.jpg|1|lbl=IIIr.1}}
  
 
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| <p><small>[]</small> Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord. The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent. Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''Stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''Stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one ''Stuck'' is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''Stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''Stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
+
| <p>Noble high-born Prince, Your Princely Grace, my submissive obedient willing and diligent service is ready at all times, gracious Lord. The ancient scholars have not in vain made the art of fencing famous with all praise and diligence to all and the same enthusiastic princes and lords imagined especially because of the greater part of chivalrous fights and excellent deeds, hence an origin was taken and credibly told, by which many of the most famous minds are so awakened and strengthened that they may be praised and honored for their high observance and administration of war, and will be magnificent. Therefore, up to the present day, the inspired practice and the art of fencing has not fallen to any decline but has retained its old praises and worthiness by all, the youth are instructed in many noble deeds and practices, solely in accordance with all the arts, intact and undamaged, in the old traditional standings, and have become infatuated. But since I have heard and understood how that Your Princely Grace bears no displeasure to such honorable fencing but much more gracious respect to such fighting ''Stucken'', and how they are not to be divided, and that as such, their virtues are composed in writing, the same to give Your Grace an easy account of all these ''Stucke'', done to keep and retain the much covered arts quite free from defects, in subservience, I shall not spare my diligence, in which, Your Princely Grace, through my submissive means and ways, and as much as I have learned from youth and sought to describe and show here. Which and although it might be a little longer than I myself hoped, and that Your Princely Grace shall forgive and take into account that such multiple works require so much time and effort to write. To this end, it would not be enough that one weapon, two or three is taught and delivered to you, but rather that one ''Stuck'' is attached to the other like in a chain, one thing after another is noted, and experience is gained, and one weapon is the teacher of another, I have been caused to assemble the entire fencing art, as if it was very proper and I, in consideration, have ascribed this tract to Your Princely Grace as a princely person, and have produced it solely by the limited ''Stucken'' of the same, for Your Princely Grace, giving their proper titles and names, how I know and am obliged to do, also in good part so that the teaching can be clearly understood, and brought to this point, that some ''Stucken'' are so completely incomprehensible for and to the hand, that I myself may scarcely understand again their same proper titles and reverence, not to mention where the honorific words should remain, so that it might be of use to someone, that thus not intentionally, but rather without obscuring the art, the pieces have been written with general words. I must show that the understanding is clearly taken without any error, even where one can apply a school law, the following may you learn and understand for yourself, but with what effort and work it will be done, an art that must be arranged and learned in practice alone, delivered here in writing for the eyes, and equally beheld as if they were to be practiced with the hands and the whole body. Put to paper and penned, especially those which were previously attempted and understood by few, I submissively give Your Princely Grace a high princely understanding and a graceful submission for your acceptance, from my slight ability to reveal the fencing arts in an understandable way, and to disclose the same in an intelligible manner sparing neither diligence nor effort (although the same content might be unremarkable). However, Your Princely Grace, I am most hopeful that you will graciously accept and embrace such a work as I have done, which has been carried out according to my will and how then such work has verily flowed from a loyal heart to Your Princely Grace in all possible service and in devoted submissiveness, from me as a faithful servant hereby most diligently commanded in graciousness, dated 7 March 1561.
 
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{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
 
{{section|Page:MS Bibl. 2465 IIIr.jpg|2|lbl=IIIr.2|p=1}} {{paget|Page:MS Bibl. 2465|IIIv|jpg|p=1}} {{paget|Page:MS Bibl. 2465|IVr|jpg|p=1}} {{section|Page:MS Bibl. 2465 IVv.jpg|1|lbl=IVv.1|p=1}}
  
 
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| <p><small>[]</small> Your Princely Grace</p>
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| <p>Your Princely Grace</p>
  
 
<p>&emsp;&emsp;Subservient, Obedient, Willing,</p>
 
<p>&emsp;&emsp;Subservient, Obedient, Willing,</p>
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| <p><small>[]</small> <small>[]</small> Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. Attacking, following after, withdrawal or ending, then to the first in the onset send your attacks through the guards and cuts like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. And lastly to the ending, or the withdrawal, how orderly each one will hereafter be diligently written and taught.</p>
+
| <p><small>[1]</small> Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. Attacking, following after, withdrawal or ending, then to the first in the onset send your attacks through the guards and cuts like they follow afterwards here, however to the other parts and the middle work, this will be reprinted with the handworks, and a mixture of convenient cuts. And lastly to the ending, or the withdrawal, how orderly each one will hereafter be diligently written and taught.</p>
 
| {{section|Page:MS Bibl. 2465 001r.jpg|1|lbl=1r.1}}
 
| {{section|Page:MS Bibl. 2465 001r.jpg|1|lbl=1r.1}}
  
 
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|  
| <p><small>[]</small> Further, you should note the Before and After, Weak and Strong. The Before is when you drive with your ''Stücken'' so that he cannot come to his senses, especially by positioning yourself as close as he is, and how he defends before your ''Stücken'' and these same wants to break and bar, with this, he runs off the Before to you. The After is, when you have been rushed upon by your opponent how it is reported above. Thus you should respond ''Indes'' quickly with convenient work, with this, you are strongest on his ''Stücken'', when you go on with your work in the Before, and in this you are crowded so that you must displace him After, thus is a constant changing with the Before and After, now you have it, then he does, but he who does not pay attention to it, he will never learn to fence.</p>
+
| <p><small>[2]</small> Further, you should note the Before and After, Weak and Strong. The Before is when you drive with your ''Stücken'' so that he cannot come to his senses, especially by positioning yourself as close as he is, and how he defends before your ''Stücken'' and these same wants to break and bar, with this, he runs off the Before to you. The After is, when you have been rushed upon by your opponent how it is reported above. Thus you should respond ''Indes'' quickly with convenient work, with this, you are strongest on his ''Stücken'', when you go on with your work in the Before, and in this you are crowded so that you must displace him After, thus is a constant changing with the Before and After, now you have it, then he does, but he who does not pay attention to it, he will never learn to fence.</p>
 
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{{section|Page:MS Bibl. 2465 001r.jpg|2|lbl=1r.2|p=1}} {{section|Page:MS Bibl. 2465 001v.jpg|1|lbl=1v.1|p=1}}
 
{{section|Page:MS Bibl. 2465 001r.jpg|2|lbl=1r.2|p=1}} {{section|Page:MS Bibl. 2465 001v.jpg|1|lbl=1v.1|p=1}}
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| rowspan="2" | [[File:MS Bibl. 2465 001v.jpg|400px|center]]
 
| rowspan="2" | [[File:MS Bibl. 2465 001v.jpg|400px|center]]
| <p><small>[]</small> '''Divisions of the sword to the Weak and Strong'''</p>
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| <p><small>[3]</small> '''Divisions of the sword to the Weak and Strong'''</p>
  
 
<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the blade which is known as the Strong, from the middle to the most forward, is the Weak.</p>
 
<p>The Sword is firstly divided in two parts, namely from the grip to the middle of the blade which is known as the Strong, from the middle to the most forward, is the Weak.</p>
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| <p><small>[]</small> Item: The sword is further divided in four parts how the figure shows. With the inward part, that is the haft, and (with it) the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
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| <p><small>[4]</small> Item: The sword is further divided in four parts how the figure shows. With the inward part, that is the haft, and (with it) the work with the pommel and cross and haft will be understood, in the next part, thereafter will the work with cutting and pushing and what belongs to the Strong be understood, to the third part of the sword should be noted the alterable work of the Weak and Strong after opportunity and liking. Which alone is extremely weak for you to work properly to the Openings.</p>
 
| {{section|Page:MS Bibl. 2465 001v.jpg|3|lbl=1v.3}}
 
| {{section|Page:MS Bibl. 2465 001v.jpg|3|lbl=1v.3}}
  
 
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Hard and Soft'''</p>
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| <p><small>[5]</small> '''Hard and Soft'''</p>
  
 
<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.</p>
 
<p>Thus you shall mark in the binding of the swords, as you shall feel if he has become hard or soft in the bind, with the cut.</p>
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| <p><small>[]</small> In order that the sword fencing and the following ''Stuck'' are understandable, I will explain my following ''Zedel'', how I want the words to have understanding, according to the order N (namely) beginning, middle and end.</p>
+
| <p><small>[6]</small> In order that the sword fencing and the following ''Stuck'' are understandable, I will explain my following ''Zedel'', how I want the words to have understanding, according to the order N (namely) beginning, middle and end.</p>
 
| {{section|Page:MS Bibl. 2465 002r.jpg|1|lbl=2r.1}}
 
| {{section|Page:MS Bibl. 2465 002r.jpg|1|lbl=2r.1}}
  
 
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|-  
 
|  
 
|  
| <p><small>[]</small> '''''Zedel'''''</p>
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| <p><small>[7]</small> '''''Zedel'''''</p>
  
 
The 4 Main Guards, namely Tag, Fool, Ox, Plow.</p>
 
The 4 Main Guards, namely Tag, Fool, Ox, Plow.</p>
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|-  
 
|  
 
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| <p><small>[]</small> The 8 Secondary Guards, Long Point, Iron Gate, Hanging Point, Speak Window, Key, Side Guard, Barrier Guard and Wrath Guard.</p>
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| <p><small>[8]</small> The 8 Secondary Guards, Long Point, Iron Gate, Hanging Point, Speak Window, Key, Side Guard, Barrier Guard and Wrath Guard.</p>
 
| {{section|Page:MS Bibl. 2465 002r.jpg|3|lbl=2r.3}}
 
| {{section|Page:MS Bibl. 2465 002r.jpg|3|lbl=2r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> The 5 Master Cuts, Wrath Strike, Crooked Strike, Thwart Strike, Scalp Strike, Squinter Strike.</p>
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| <p><small>[9]</small> The 5 Master Cuts, Wrath Strike, Crooked Strike, Thwart Strike, Scalp Strike, Squinter Strike.</p>
 
| {{section|Page:MS Bibl. 2465 002r.jpg|4|lbl=2r.4}}
 
| {{section|Page:MS Bibl. 2465 002r.jpg|4|lbl=2r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> The 6 forbidden Cuts, Blind Cut, Rebound Cut, Short Cut, Joint Cut, Clashing Cut, Winding Cut.</p>
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| <p><small>[10]</small> The 6 forbidden Cuts, Blind Cut, Rebound Cut, Short Cut, Joint Cut, Clashing Cut, Winding Cut.</p>
 
| {{section|Page:MS Bibl. 2465 002r.jpg|5|lbl=2r.5}}
 
| {{section|Page:MS Bibl. 2465 002r.jpg|5|lbl=2r.5}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Handworks'''</p>
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| <p><small>[11]</small> '''Handworks'''</p>
  
 
<p>Binding on, Remaining, Slicing, Striking around, Chasing after, Snapping around, running off, Doubling, Deceiving, Flitting, Failing, Circle, Looping, Winding, Winding through, Reversing, Changing through, Running over, Setting off, Cutting away, Pulling, Hand pushing, Sliding, Hanging, Barring, Blocking, Wrenching out, Gripping over, Weak pushing.<ref>Up to this point, the text matches the Lund manuscript, folia 6r to 7r.</ref></p>
 
<p>Binding on, Remaining, Slicing, Striking around, Chasing after, Snapping around, running off, Doubling, Deceiving, Flitting, Failing, Circle, Looping, Winding, Winding through, Reversing, Changing through, Running over, Setting off, Cutting away, Pulling, Hand pushing, Sliding, Hanging, Barring, Blocking, Wrenching out, Gripping over, Weak pushing.<ref>Up to this point, the text matches the Lund manuscript, folia 6r to 7r.</ref></p>
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|  
 
|  
| <p><small>[]</small> '''Of the 4 Guards'''</p>
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| <p><small>[12]</small> '''Of the 4 Guards'''</p>
  
 
<p>First of all, the ancients not only used the 4 guards for good in attacking, but also hid our so-called fencing summarily in them, that namely they had told and intended with all high guards the cuts from above. With the Fool, however, all cuts from below were therefore called Fool, because all things from below are to be regarded as contrary to what comes from above. They have therefore composed their whole fencing in two cuts namely from above and from below so that no cut can be thrown, for it must be from above or from below and even if one cuts a Middle or Thwart Strike, then that cut still has a common name with the High or Low Cut, then just as no Middle Cut can be made, unless it will go somewhat from below or above. So by the Ox and the Plow they intended the thrust, that is, the upper and lower thrust, which, however, in our present time is not in the fencing for several reasons, I will then save Oxen and Plow together with the thrusts until the rapier, where I will then extensively cover it.</p>
 
<p>First of all, the ancients not only used the 4 guards for good in attacking, but also hid our so-called fencing summarily in them, that namely they had told and intended with all high guards the cuts from above. With the Fool, however, all cuts from below were therefore called Fool, because all things from below are to be regarded as contrary to what comes from above. They have therefore composed their whole fencing in two cuts namely from above and from below so that no cut can be thrown, for it must be from above or from below and even if one cuts a Middle or Thwart Strike, then that cut still has a common name with the High or Low Cut, then just as no Middle Cut can be made, unless it will go somewhat from below or above. So by the Ox and the Plow they intended the thrust, that is, the upper and lower thrust, which, however, in our present time is not in the fencing for several reasons, I will then save Oxen and Plow together with the thrusts until the rapier, where I will then extensively cover it.</p>
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| <p><small>[]</small> But how each guard is to be made or understood will be recorded in figures.</p>
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| <p><small>[13]</small> But how each guard is to be made or understood will be recorded in figures.</p>
 
| {{section|Page:MS Bibl. 2465 002v.jpg|2|lbl=2v.2}}
 
| {{section|Page:MS Bibl. 2465 002v.jpg|2|lbl=2v.2}}
  
 
|-  
 
|-  
 
|  
 
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| <p><small>[]</small> '''Wrath Cut'''</p>
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| <p><small>[14]</small> '''Wrath Cut'''</p>
  
 
<p>Wrath Cut is done thus, when you are in ''Zufechten'', then come in the Ox or take the sword onto the right shoulder so that the left foot stands forth, step and cut with the long edge from the right diagonally to his left whether to the head or body.</p>
 
<p>Wrath Cut is done thus, when you are in ''Zufechten'', then come in the Ox or take the sword onto the right shoulder so that the left foot stands forth, step and cut with the long edge from the right diagonally to his left whether to the head or body.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Crooked Cut'''</p>
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| <p><small>[15]</small> '''Crooked Cut'''</p>
  
 
<p>Stand with the left foot forward, hold the sword to the right, if one cuts at your opening from above, then step with your right foot well out from his strike to his left side, and cut Crooked ''Indes'' with crossed arms between his sword and head with the long edge to his arm.</p>
 
<p>Stand with the left foot forward, hold the sword to the right, if one cuts at your opening from above, then step with your right foot well out from his strike to his left side, and cut Crooked ''Indes'' with crossed arms between his sword and head with the long edge to his arm.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Thwart Cut'''</p>
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| <p><small>[16]</small> '''Thwart Cut'''</p>
  
 
<p>Stand how it is described above and hold the sword to the right like before, if one cuts at you from above then step and cut with the short edge to his strike so that the hands are high and point hangs slightly downwards and the thumb is placed under the shield.</p>
 
<p>Stand how it is described above and hold the sword to the right like before, if one cuts at you from above then step and cut with the short edge to his strike so that the hands are high and point hangs slightly downwards and the thumb is placed under the shield.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Scalp Cut'''</p>
+
| <p><small>[17]</small> '''Scalp Cut'''</p>
  
 
<p>The Scalp Cut is a straight cut from above to the head.</p>
 
<p>The Scalp Cut is a straight cut from above to the head.</p>
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|  
 
|  
| <p><small>[]</small> '''Squinter Cut'''</p>
+
| <p><small>[18]</small> '''Squinter Cut'''</p>
  
 
<p>In the ''Zufechten'' come as described before and hold the sword as described before, if one cuts at you then step and cut in with crossed hands from above simultaneously with him like all things from the Crooked Cut are told.</p>
 
<p>In the ''Zufechten'' come as described before and hold the sword as described before, if one cuts at you then step and cut in with crossed hands from above simultaneously with him like all things from the Crooked Cut are told.</p>
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|  
 
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| <p><small>[]</small> '''Scalper'''</p>
+
| <p><small>[19]</small> '''Scalper'''</p>
  
 
<p>Is done thusly, stand in the Ox like the figure of the Ox shows and cut from below with the half edge through the scalp line so that the weapon flies upwards into the Roof Guard.</p>
 
<p>Is done thusly, stand in the Ox like the figure of the Ox shows and cut from below with the half edge through the scalp line so that the weapon flies upwards into the Roof Guard.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Blind Cut'''</p>
+
| <p><small>[20]</small> '''Blind Cut'''</p>
  
 
<p>In ''Zufechten'' come into the right Plow, instantly step and heave the hands upwards to the hanging on the right side, threaten him to the right with the haft, instantly flick with the flat and crossed hands to his left ear.</p>
 
<p>In ''Zufechten'' come into the right Plow, instantly step and heave the hands upwards to the hanging on the right side, threaten him to the right with the haft, instantly flick with the flat and crossed hands to his left ear.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Rebound Cut'''</p>
+
| <p><small>[21]</small> '''Rebound Cut'''</p>
  
 
<p>So, in the ''Zufechten'' come into the right Ox, instantly pull the sword around the head step and cut with the inside flat horizontally onto his sword, allow the hands to rebound and strike in again with the flat overhand.</p>
 
<p>So, in the ''Zufechten'' come into the right Ox, instantly pull the sword around the head step and cut with the inside flat horizontally onto his sword, allow the hands to rebound and strike in again with the flat overhand.</p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Short Cut'''</p>
+
| <p><small>[22]</small> '''Short Cut'''</p>
  
 
<p>So, stand with the right foot forward in Hanging Point, pull upwards and around your head and cut with the short edge from your lower left to his right ear or arm, in the strike your thumb shall face up.</p>
 
<p>So, stand with the right foot forward in Hanging Point, pull upwards and around your head and cut with the short edge from your lower left to his right ear or arm, in the strike your thumb shall face up.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Wrist Cut'''</p>
+
| <p><small>[23]</small> '''Wrist Cut'''</p>
  
 
<p>Item: If one stands in Speak Window and the other is too, or otherwise comes high so that his blade hangs down to the lower left, then cut with a horizontal strike up from below between the pommel or behind the pommel to the hands.</p>
 
<p>Item: If one stands in Speak Window and the other is too, or otherwise comes high so that his blade hangs down to the lower left, then cut with a horizontal strike up from below between the pommel or behind the pommel to the hands.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Clash Cut'''</p>
+
| <p><small>[24]</small> '''Clash Cut'''</p>
  
 
<p>In the ''Zufechten'' go with your sword through the Ox, step and strike overhand with the flat to his left ear so that your half edge slides downwards to his right shoulder.<ref>Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words ''mit Glitschen = to slither, to slide, to glide, to move with sliding.</ref></p>
 
<p>In the ''Zufechten'' go with your sword through the Ox, step and strike overhand with the flat to his left ear so that your half edge slides downwards to his right shoulder.<ref>Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words ''mit Glitschen = to slither, to slide, to glide, to move with sliding.</ref></p>
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|-  
 
|  
 
|  
| <p><small>[]</small> '''Winding Cut'''</p>
+
| <p><small>[25]</small> '''Winding Cut'''</p>
  
 
<p>If one stands before you with outstretched arms in the Long Point, then come in the ''Zufechten'' with the right foot forward, the sword in Hanging Point. Instantly pull around the head and cut with the long edge from the left outside and over his right arm so that your sword appears to swing between his head and sword to his left shoulder, pull back around again to the horizontal cut or Long Point.</p>
 
<p>If one stands before you with outstretched arms in the Long Point, then come in the ''Zufechten'' with the right foot forward, the sword in Hanging Point. Instantly pull around the head and cut with the long edge from the left outside and over his right arm so that your sword appears to swing between his head and sword to his left shoulder, pull back around again to the horizontal cut or Long Point.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Middle or handworks in the following after'''</p>
+
| <p><small>[26]</small> '''Middle or handworks in the following after'''</p>
  
 
<p>Binding on may have no other explanation than that every fencer knows well when the swords come together and have bound.</p>
 
<p>Binding on may have no other explanation than that every fencer knows well when the swords come together and have bound.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Remaining'''</p>
+
| <p><small>[27]</small> '''Remaining'''</p>
  
 
<p>Is thus understood when one cuts into an opening with the long edge and at once would pull back to himself as if to cut to another opening, but does not, and instead cuts again with the short edge on the same line, that is called remaining, when one remains with cutting on one opening.</p>
 
<p>Is thus understood when one cuts into an opening with the long edge and at once would pull back to himself as if to cut to another opening, but does not, and instead cuts again with the short edge on the same line, that is called remaining, when one remains with cutting on one opening.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Slicing'''</p>
+
| <p><small>[28]</small> '''Slicing'''</p>
  
 
<p>If one has bound on to your sword’s blade, then note when he strikes around and goes away from your sword, then slice him strongly with the long edge to his arm, there are four slices; two from above, from below and to both sides.</p>
 
<p>If one has bound on to your sword’s blade, then note when he strikes around and goes away from your sword, then slice him strongly with the long edge to his arm, there are four slices; two from above, from below and to both sides.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Cutting around'''</p>
+
| <p><small>[29]</small> '''Cutting around'''</p>
  
 
<p>Is when one cuts around to another opening from the bind.</p>
 
<p>Is when one cuts around to another opening from the bind.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Chasing after'''</p>
+
| <p><small>[30]</small> '''Chasing after'''</p>
  
 
<p>Chasing after is following after his sword to the next opening, so namely of this you should know, when one cuts from above at you, and in the meantime draws up his sword for the strike then you hurry in before he fully springs his stroke, the work is rather good against those who strike around widely.</p>
 
<p>Chasing after is following after his sword to the next opening, so namely of this you should know, when one cuts from above at you, and in the meantime draws up his sword for the strike then you hurry in before he fully springs his stroke, the work is rather good against those who strike around widely.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Snapping around'''</p>
+
| <p><small>[31]</small> '''Snapping around'''</p>
  
 
<p>Note: When one has bound on your sword, and is hard in the bind, then let your sword fall down below you, then instantly heave your bind upwards and snap around to another opening.</p>
 
<p>Note: When one has bound on your sword, and is hard in the bind, then let your sword fall down below you, then instantly heave your bind upwards and snap around to another opening.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Running off'''</p>
+
| <p><small>[32]</small> '''Running off'''</p>
  
 
<p>Running off is when I allow it to run off to one side or another and is self explanatory.</p>
 
<p>Running off is when I allow it to run off to one side or another and is self explanatory.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Doubling'''</p>
+
| <p><small>[33]</small> '''Doubling'''</p>
  
 
<p>Doubling is when you allow it once or twice to run off, and also to double.</p>
 
<p>Doubling is when you allow it once or twice to run off, and also to double.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Deceiving'''</p>
+
| <p><small>[34]</small> '''Deceiving'''</p>
  
 
<p>That is when you look at an opening and make as if you would cut there, but you don’t and instead cut somewhere else, this is the second Squinter with the face.</p>
 
<p>That is when you look at an opening and make as if you would cut there, but you don’t and instead cut somewhere else, this is the second Squinter with the face.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Flying'''</p>
+
| <p><small>[35]</small> '''Flying'''</p>
  
 
<p>Note when you have cut in to an opening, once it touches then pull around your head in a flight in the air to the next opening, if he slips in after then do not allow it to touch but rather let it fly from one opening to another until you have an opening, or otherwise come to comparable work.</p>
 
<p>Note when you have cut in to an opening, once it touches then pull around your head in a flight in the air to the next opening, if he slips in after then do not allow it to touch but rather let it fly from one opening to another until you have an opening, or otherwise come to comparable work.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Failing'''</p>
+
| <p><small>[36]</small> '''Failing'''</p>
  
 
<p>In the approach cut him to an opening, once you note that he will parry, then do not allow it to touch, rather allow it to fail, run off and cut instantly to another opening.</p>
 
<p>In the approach cut him to an opening, once you note that he will parry, then do not allow it to touch, rather allow it to fail, run off and cut instantly to another opening.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Circling'''</p>
+
| <p><small>[37]</small> '''Circling'''</p>
  
 
<p>Thus you stand before one in the Speak window, then cut from above with the half edge and crossed arms and fail (with it) beside his right ear, in the failing, cut again with the long edge to the same target, namely his right ear.</p>
 
<p>Thus you stand before one in the Speak window, then cut from above with the half edge and crossed arms and fail (with it) beside his right ear, in the failing, cut again with the long edge to the same target, namely his right ear.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Looping'''</p>
+
| <p><small>[38]</small> '''Looping'''</p>
  
 
<p>Looping is when one jerks back from an opening in a swing and in the air lets it run off one time, and from this running off cuts in there again to both sides with a flight above the head.</p>
 
<p>Looping is when one jerks back from an opening in a swing and in the air lets it run off one time, and from this running off cuts in there again to both sides with a flight above the head.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Winding'''</p>
+
| <p><small>[39]</small> '''Winding'''</p>
  
 
<p>When you have bound with him, then remain with the edge on his blade, turn the half edge inwards to his head.</p>
 
<p>When you have bound with him, then remain with the edge on his blade, turn the half edge inwards to his head.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Winding through'''</p>
+
| <p><small>[40]</small> '''Winding through'''</p>
  
 
<p>When you have cut at him with a Wrath Cut, and when it clashes wind with the hilt down through, instantly reach over with the pommel above his blade or arms and wrench downwards or work further to your favor.</p>
 
<p>When you have cut at him with a Wrath Cut, and when it clashes wind with the hilt down through, instantly reach over with the pommel above his blade or arms and wrench downwards or work further to your favor.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Reversing'''</p>
+
| <p><small>[41]</small> '''Reversing'''</p>
  
 
<p>Reversing is when two have bound together and in the bind, one thrusts his pommel through below his right arm, thus he comes with his hands crossed over both his arms, or one comes with the half edge on the other, so that you can constrain him or allow it to run through.</p>
 
<p>Reversing is when two have bound together and in the bind, one thrusts his pommel through below his right arm, thus he comes with his hands crossed over both his arms, or one comes with the half edge on the other, so that you can constrain him or allow it to run through.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Changing - Changing through'''</p>
+
| <p><small>[42]</small> '''Changing - Changing through'''</p>
  
 
<p>Change belongs to the fencers who cut to the sword and not to the body. the same, one should change through, so when you note that he wants to meet your oncoming strike, then jerk and cut to the other side, that is called Changing.</p>
 
<p>Change belongs to the fencers who cut to the sword and not to the body. the same, one should change through, so when you note that he wants to meet your oncoming strike, then jerk and cut to the other side, that is called Changing.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Running over'''</p>
+
| <p><small>[43]</small> '''Running over'''</p>
  
 
<p>Running over works from the low cuts, when one will cut at you from below, then fall on it from above with the long edge, as soon as he drives out from you to defend, then let your cut run over and work to the next opening from which he came.</p>
 
<p>Running over works from the low cuts, when one will cut at you from below, then fall on it from above with the long edge, as soon as he drives out from you to defend, then let your cut run over and work to the next opening from which he came.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Setting off'''</p>
+
| <p><small>[44]</small> '''Setting off'''</p>
  
 
<p>Note when you stand in Long Point and he goes to fight you, then set him off from both sides one strike to another, work to him ''Indes'' with the half edge.</p>
 
<p>Note when you stand in Long Point and he goes to fight you, then set him off from both sides one strike to another, work to him ''Indes'' with the half edge.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Cutting off'''</p>
+
| <p><small>[45]</small> '''Cutting off'''</p>
  
 
<p>Cutting off is when one is hard on you with the long edge and you cut them away from you.</p>
 
<p>Cutting off is when one is hard on you with the long edge and you cut them away from you.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Pulling'''</p>
+
| <p><small>[46]</small> '''Pulling'''</p>
  
 
<p>Pulling is like it’s reported in the Remaining, that if one has bound on you to an opening and pulls off again, and still strikes around again there, or threatens to where he has pulled away.</p>
 
<p>Pulling is like it’s reported in the Remaining, that if one has bound on you to an opening and pulls off again, and still strikes around again there, or threatens to where he has pulled away.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Hand pushing'''</p>
+
| <p><small>[47]</small> '''Hand pushing'''</p>
  
 
<p>Note when one pulls off from you and drives upwards, then follow after him with the long edge on his hands and push him away from you.</p>
 
<p>Note when one pulls off from you and drives upwards, then follow after him with the long edge on his hands and push him away from you.</p>
Line 482: Line 482:
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Sliding'''</p>
+
| <p><small>[48]</small> '''Sliding'''</p>
  
 
<p>If you stand in Wrath Guard and one cuts at you from above then drive out with the arms and raise the blade over your head and catch the strike on the flat of your blade. That is called Sliding.</p>
 
<p>If you stand in Wrath Guard and one cuts at you from above then drive out with the arms and raise the blade over your head and catch the strike on the flat of your blade. That is called Sliding.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Hanging'''</p>
+
| <p><small>[49]</small> '''Hanging'''</p>
  
 
<p>Hanging is various, namely to constrain while hanging over.</p>
 
<p>Hanging is various, namely to constrain while hanging over.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Blocking'''</p>
+
| <p><small>[50]</small> '''Blocking'''</p>
  
 
<p>Note when one comes forth at you with quick running off, deceiving, or flitting in order that I may prevent him from reaching me, thus I fall on him with the slice on his sword or arms, and I block his (sword) so that he cannot work well, and I follow after with convenient work.</p>
 
<p>Note when one comes forth at you with quick running off, deceiving, or flitting in order that I may prevent him from reaching me, thus I fall on him with the slice on his sword or arms, and I block his (sword) so that he cannot work well, and I follow after with convenient work.</p>
Line 505: Line 505:
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Barring'''</p>
+
| <p><small>[51]</small> '''Barring'''</p>
  
 
<p>Then if one stands in Changer or the Fool before you, fall on him quickly thereafter with the long edge.</p>
 
<p>Then if one stands in Changer or the Fool before you, fall on him quickly thereafter with the long edge.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Wrenching'''</p>
+
| <p><small>[52]</small> '''Wrenching'''</p>
  
 
<p>If someone binds you on your sword in whatever way that happens, reverse it and wrench out.</p>
 
<p>If someone binds you on your sword in whatever way that happens, reverse it and wrench out.</p>
Line 525: Line 525:
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Grabbing over'''</p>
+
| <p><small>[53]</small> '''Grabbing over'''</p>
  
 
<p>Note when two come close together and both have their arms up high, reverse your right hand on the sword and reach over both his arms with the blade and wrench downwards to one side. You may also reach over with the pommel.</p>
 
<p>Note when two come close together and both have their arms up high, reverse your right hand on the sword and reach over both his arms with the blade and wrench downwards to one side. You may also reach over with the pommel.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Weak pushing'''</p>
+
| <p><small>[54]</small> '''Weak pushing'''</p>
  
 
<p>When two come close together and are once again high with the arms, then release your left hand from the sword and grab him behind his right elbow and push him away from you.</p>
 
<p>When two come close together and are once again high with the arms, then release your left hand from the sword and grab him behind his right elbow and push him away from you.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Therefore, I have for this reason slightly explained another, so that the following ''Stuck'' are better understood, which are not only in the sword, but rather also in other weapons to be noted and understood.</p>
+
| <p><small>[55]</small> Therefore, I have for this reason slightly explained another, so that the following ''Stuck'' are better understood, which are not only in the sword, but rather also in other weapons to be noted and understood.</p>
 
| {{section|Page:MS Bibl. 2465 007v.jpg|4|lbl=7v.4}}
 
| {{section|Page:MS Bibl. 2465 007v.jpg|4|lbl=7v.4}}
  
 
|-  
 
|-  
 
| rowspan="2" | [[File:MS Bibl. 2465 008r.jpg|400px|center]]
 
| rowspan="2" | [[File:MS Bibl. 2465 008r.jpg|400px|center]]
| <p><small>[]</small> '''Of the four openings and divisions of the man how one should use (them) in the Sword'''<ref>The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.</ref></p>
+
| <p><small>[56]</small> '''Of the four openings and divisions of the man how one should use (them) in the Sword'''<ref>The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.</ref></p>
  
 
<p>First, the man is divided into two parts namely left and right as shown by the (vertical) line in the above figure<ref>Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?</ref> from above to below but then into two parts namely in the lower and upper, which the two upper parts are divided in the Ox the other two to the Plow.
 
<p>First, the man is divided into two parts namely left and right as shown by the (vertical) line in the above figure<ref>Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?</ref> from above to below but then into two parts namely in the lower and upper, which the two upper parts are divided in the Ox the other two to the Plow.
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|-  
 
|-  
| <p><small>[]</small> First, notice to which opening he leads his sword, lower or upper, to the right or to the left, and when you have seen that, then attack it as soon as possible, be it to an upper opening or elsewhere, of this, take an example.</p>
+
| <p><small>[57]</small> First, notice to which opening he leads his sword, lower or upper, to the right or to the left, and when you have seen that, then attack it as soon as possible, be it to an upper opening or elsewhere, of this, take an example.</p>
 
| {{section|Page:MS Bibl. 2465 008v.jpg|1|lbl=8v.1}}
 
| {{section|Page:MS Bibl. 2465 008v.jpg|1|lbl=8v.1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> In the Onset when you both come together and you see that he holds his sword to his upper right, whether it is in the Ox or Wrath Cut, then attack to his left lower opening, not with the intent to hit, but rather to incite him to meet you, as soon as it clashes or touches, then pull around your head and strike above to the opening from which he came, namely to his right ear with the half edge and crossed hands, that is the correct Squinting Cut.</p>
+
| <p><small>[58]</small> In the Onset when you both come together and you see that he holds his sword to his upper right, whether it is in the Ox or Wrath Cut, then attack to his left lower opening, not with the intent to hit, but rather to incite him to meet you, as soon as it clashes or touches, then pull around your head and strike above to the opening from which he came, namely to his right ear with the half edge and crossed hands, that is the correct Squinting Cut.</p>
 
| {{section|Page:MS Bibl. 2465 008v.jpg|2|lbl=8v.2}}
 
| {{section|Page:MS Bibl. 2465 008v.jpg|2|lbl=8v.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Another'''</p>
+
| <p><small>[59]</small> '''Another'''</p>
  
 
<p>In the ''Zufechten'' when the opponent holds his sword on the left, then go through before him from your right, and cut with strength to his right. As soon as he slips after the strike, then pull in a loop to the left opening, if he slips after it again, then let it fly back around, thus going from one opening to the other, crosswise and against each other according to opportunity. Every fighter should be accustomed to be promptly heedful in all hits, from whichever opening the cut has come, instantly to follow after there. And before I conclude I will add the teaching concerning parrying. It is written in the ancient ''Zedel'', "Who often parries is often hit".</p>
 
<p>In the ''Zufechten'' when the opponent holds his sword on the left, then go through before him from your right, and cut with strength to his right. As soon as he slips after the strike, then pull in a loop to the left opening, if he slips after it again, then let it fly back around, thus going from one opening to the other, crosswise and against each other according to opportunity. Every fighter should be accustomed to be promptly heedful in all hits, from whichever opening the cut has come, instantly to follow after there. And before I conclude I will add the teaching concerning parrying. It is written in the ancient ''Zedel'', "Who often parries is often hit".</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Item: Liechtenauer says in his secret words "Guard yourself against parrying, if need befalls you it will hurt you". Therefore every fighter should be accustomed to be the first to attack and finish, then if every fighter is accustomed to watch and wait for another, this same rarely comes away without harm, or at the least does not achieve very much. A proper fighter however does not parry much unless he has a great advantage. And when the opponent strikes so he strikes too, if the opponent thrusts then he thrusts too, if the opponent steps, he steps also. For when two like strokes come together, they bring their parrying with them, and when someone cuts from above and you cut against it with a Thwart, then you parry and hit at the same time. Likewise you shall pay attention to simultaneous cutting and take good heed of your advantage in it. Therefore, every fencer should know that he should quickly consider, as mentioned above, when two good fencers come together, which I consider is the same as shown before.<ref>Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”</ref></p>
+
| <p><small>[60]</small> Item: Liechtenauer says in his secret words "Guard yourself against parrying, if need befalls you it will hurt you". Therefore every fighter should be accustomed to be the first to attack and finish, then if every fighter is accustomed to watch and wait for another, this same rarely comes away without harm, or at the least does not achieve very much. A proper fighter however does not parry much unless he has a great advantage. And when the opponent strikes so he strikes too, if the opponent thrusts then he thrusts too, if the opponent steps, he steps also. For when two like strokes come together, they bring their parrying with them, and when someone cuts from above and you cut against it with a Thwart, then you parry and hit at the same time. Likewise you shall pay attention to simultaneous cutting and take good heed of your advantage in it. Therefore, every fencer should know that he should quickly consider, as mentioned above, when two good fencers come together, which I consider is the same as shown before.<ref>Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”</ref></p>
 
|  
 
|  
 
{{section|Page:MS Bibl. 2465 008v.jpg|4|lbl=8v.4|p=1}} {{section|Page:MS Bibl. 2465 009r.jpg|1|lbl=9r.1|p=1}}
 
{{section|Page:MS Bibl. 2465 008v.jpg|4|lbl=8v.4|p=1}} {{section|Page:MS Bibl. 2465 009r.jpg|1|lbl=9r.1|p=1}}
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Thus I have briefly summarized and presented sword fencing and all needful techniques, and also explained the somewhat obscure words in part, and thereafter integrated them into an attack combination, dividing it into three parts, namely (as I said initially) the beginning or attack, the followup or middle-work, the last withdrawal or end. So that you may understand it better I will repeat briefly, as follows: for the attack I have presented the guards, in which you should not tarry and wait, but through which you should attack to the uttermost with one or two of the described cuts according to opportunity. Now when you have attacked and the Before has run off from you, then in the second part you shall follow up with all kinds of proper handworks, so you keep the Before, these handworks are also presented above. Thirdly you should crowd and confine him with handworks so that you can come to the withdrawal without harm.</p>
+
| <p><small>[61]</small> Thus I have briefly summarized and presented sword fencing and all needful techniques, and also explained the somewhat obscure words in part, and thereafter integrated them into an attack combination, dividing it into three parts, namely (as I said initially) the beginning or attack, the followup or middle-work, the last withdrawal or end. So that you may understand it better I will repeat briefly, as follows: for the attack I have presented the guards, in which you should not tarry and wait, but through which you should attack to the uttermost with one or two of the described cuts according to opportunity. Now when you have attacked and the Before has run off from you, then in the second part you shall follow up with all kinds of proper handworks, so you keep the Before, these handworks are also presented above. Thirdly you should crowd and confine him with handworks so that you can come to the withdrawal without harm.</p>
 
|  
 
|  
 
{{section|Page:MS Bibl. 2465 009r.jpg|2|lbl=9r.2|p=1}} {{section|Page:MS Bibl. 2465 009v.jpg|1|lbl=9v.1|p=1}}
 
{{section|Page:MS Bibl. 2465 009r.jpg|2|lbl=9r.2|p=1}} {{section|Page:MS Bibl. 2465 009v.jpg|1|lbl=9v.1|p=1}}
Line 580: Line 580:
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Of this I will give an example'''</p>
+
| <p><small>[62]</small> '''Of this I will give an example'''</p>
  
 
<p>When someone fights against you from the Roof Guard, then come in the ''Zufechten'' into the Side Guard, you shall not wait there longer than until he pulls up his sword for the stroke, as soon as he brings his sword up in the air, then meet him with a Thwart Strike, once it clashes, then cut quickly again back around with a long Thwart to the other side on his sword, that is the Attack. If he strikes around, then slice after, if he parries, then deceive him, if he escapes then chase him, if he is hard then you are soft, if he strikes then counter it, if he parries then strike. Thirdly, also pay attention instantly for your opportunity to withdraw.</p>
 
<p>When someone fights against you from the Roof Guard, then come in the ''Zufechten'' into the Side Guard, you shall not wait there longer than until he pulls up his sword for the stroke, as soon as he brings his sword up in the air, then meet him with a Thwart Strike, once it clashes, then cut quickly again back around with a long Thwart to the other side on his sword, that is the Attack. If he strikes around, then slice after, if he parries, then deceive him, if he escapes then chase him, if he is hard then you are soft, if he strikes then counter it, if he parries then strike. Thirdly, also pay attention instantly for your opportunity to withdraw.</p>
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|-  
 
|-  
|  
+
| [[File:MS Bibl. 2465 010r.jpg|400px|center]]
| <p><small>[]</small> '''Follow several ''Stücke'' which one otherwise cannot understand without using figures.'''</p>
+
| <p><small>[63]</small> '''Follow several ''Stücke'' which one otherwise cannot understand without using figures.'''</p>
 +
 
 +
<p>Note when you are in the ''Zufechten'' so come in the Ox, and as soon as you can reach him, then make like you would stab him in the face, but pull and cut from below to the left Plow, so that he must parry, then instantly release your hand from the grip and use it to grab your blade in the middle, and with the pommel above over his right arm, wrench downwards, drive with the blade around his neck, step with the left behind his right, throw him over your forward most leg.</p>
 
| {{section|Page:MS Bibl. 2465 009v.jpg|3|lbl=9v.3}}
 
| {{section|Page:MS Bibl. 2465 009v.jpg|3|lbl=9v.3}}
  
|-
+
{{paget|Page:MS Bibl. 2465|010r|jpg}}
| [[File:MS Bibl. 2465 010r.jpg|400px|center]]
 
| <p><small>[]</small> Note when you are in the ''Zufechten'' so come in the Ox, and as soon as you can reach him, then make like you would stab him in the face, but pull and cut from below to the left Plow, so that he must parry, then instantly release your hand from the grip and use it to grab your blade in the middle, and with the pommel above over his right arm, wrench downwards, drive with the blade around his neck, step with the left behind his right, throw him over your forward most leg.</p>
 
| {{paget|Page:MS Bibl. 2465|010r|jpg}}
 
  
 
|-  
 
|-  
 
| [[File:MS Bibl. 2465 010v.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 010v.jpg|400px|center]]
| <p><small>[]</small> '''Sword Taking'''<p>
+
| <p><small>[64]</small> '''Sword Taking'''<p>
  
 
<p>Note if he binds on the middle of your sword blade, then release your left hand from the pommel and grab the middle of both blades with it, then drive the grip or pommel above and over both his arms jerk with the bind to you, how it is shown here.</p.
 
<p>Note if he binds on the middle of your sword blade, then release your left hand from the pommel and grab the middle of both blades with it, then drive the grip or pommel above and over both his arms jerk with the bind to you, how it is shown here.</p.
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|-  
 
|-  
 
| [[File:MS Bibl. 2465 011r.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 011r.jpg|400px|center]]
| <p><small>[]</small> Note: Position yourself in the Iron Gate, if he cuts at you, then drive up with crossed hands and catch his strike on the Strong of your blade, and drive with the pommel over his left arm, instantly release your left hand from the hilt and grab ''Indes'' quickly with your left hand onto the middle of your blade, push it from you, thus you strike him ''Indes'' to the face.</p>
+
| <p><small>[65]</small> Note: Position yourself in the Iron Gate, if he cuts at you, then drive up with crossed hands and catch his strike on the Strong of your blade, and drive with the pommel over his left arm, instantly release your left hand from the hilt and grab ''Indes'' quickly with your left hand onto the middle of your blade, push it from you, thus you strike him ''Indes'' to the face.</p>
 
| {{paget|Page:MS Bibl. 2465|011r|jpg}}
 
| {{paget|Page:MS Bibl. 2465|011r|jpg}}
  
 
|-  
 
|-  
 
| [[File:MS Bibl. 2465 011v.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 011v.jpg|400px|center]]
| <p><small>[]</small> In the ''Zufechten'', come in the Hanging Point, take his blade away from the ground with the half edge from your left, ''Indes'' strike with the long (edge) horizontally over his hands to his right ear, ''Indes'' wind the half edge inwards to the head and again back out.<ref>Note: the image shows the opponent on the left in Barrier Guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.</ref></p>
+
| <p><small>[66]</small> In the ''Zufechten'', come in the Hanging Point, take his blade away from the ground with the half edge from your left, ''Indes'' strike with the long (edge) horizontally over his hands to his right ear, ''Indes'' wind the half edge inwards to the head and again back {{nowrap|out.<ref>Note: the image shows the opponent on the left in Barrier Guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.</ref>}}</p>
 
| {{paget|Page:MS Bibl. 2465|011v|jpg}}
 
| {{paget|Page:MS Bibl. 2465|011v|jpg}}
  
 
|-  
 
|-  
 
| [[File:MS Bibl. 2465 012r.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 012r.jpg|400px|center]]
| <p><small>[]</small> [When] you are positioned in the Barrier Guard to the left side, the right foot forward, if one cuts at you then step with your left foot well around to his right and throw the half edge<br/>
+
| <p><small>[67]</small> [When] you are positioned in the Barrier Guard to the left side, the right foot forward, if one cuts at you then step with your left foot well around to his right and throw the half edge<br/>??? against with the Weak to the head, wrench out to your right, allow the sword <br/>????? the half edge again under and into the head at the same left side.</p>
??? against with the Weak to the head, wrench out to your right, allow the sword <br/>
 
????? the half edge again under and into the head at the same left side.
 
 
| {{paget|Page:MS Bibl. 2465|012r|jpg}}
 
| {{paget|Page:MS Bibl. 2465|012r|jpg}}
  
 
|-  
 
|-  
 
| [[File:MS Bibl. 2465 012v.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 012v.jpg|400px|center]]
| <p><small>[]</small> '''Lang ort<br/>&emsp;Shieler'''</p>
+
| <p><small>[68]</small> '''Lang ort<br/>&emsp;Shieler'''</p>
  
<p>When someone does that to you, then drive with your blade against his, ''Indes'' push ???? <br/>
+
<p>When someone does that to you, then drive with your blade against his, ''Indes'' push ????<br/>through below your right arm, drive up with crossed hands, strike ????<br/>ear, and then further to the next opening with deceiving.</p>
through below your right arm, drive up with crossed hands, strike ???? <br/>
 
ear, and then further to the next opening with deceiving.</p>
 
 
| {{paget|Page:MS Bibl. 2465|012v|jpg}}
 
| {{paget|Page:MS Bibl. 2465|012v|jpg}}
  
 
|-  
 
|-  
 
| [[File:MS Bibl. 2465 013r.jpg|400px|center]]
 
| [[File:MS Bibl. 2465 013r.jpg|400px|center]]
| <p><small>[]</small> Note If one binds on you from the right, then push away with the sword, if he strikes around with his sword, then grab your shield with your hand and reach over both his hands with your sword, wrench downwards to your right side, push the pommel from you.</p>
+
| <p><small>[69]</small> Note If one binds on you from the right, then push away with the sword, if he strikes around with his sword, then grab your shield with your hand and reach over both his hands with your sword, wrench downwards to your right side, push the pommel from you.</p>
 
| {{paget|Page:MS Bibl. 2465|013r|jpg}}
 
| {{paget|Page:MS Bibl. 2465|013r|jpg}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Because it happens at the present time that people will run in together with each other, and strike deliberately at the fists, fingers and wrists, and yet only a few will know how to guard and protect themselves, therefore, I want to give a short and good lesson on how such things are to be changed and countered.</p>
+
| <p><small>[70]</small> Because it happens at the present time that people will run in together with each other, and strike deliberately at the fists, fingers and wrists, and yet only a few will know how to guard and protect themselves, therefore, I want to give a short and good lesson on how such things are to be changed and countered.</p>
 
| {{section|Page:MS Bibl. 2465 013v.jpg|1|lbl=13v.1}}
 
| {{section|Page:MS Bibl. 2465 013v.jpg|1|lbl=13v.1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> First of all, you should notice when someone comes near to you in such a way that you are in a bind or standing close, and you have the (sword) above the head in the speaking window or Roof, and one cuts directly at your fingers or fists, then cut against his incoming strike with a Thwart Cut, and step well out from his strike, to the side to which you have cut the Thwart, then Thwart again at once back around to the other opening. When you are well prepared for it and understand it well, then you can always hit him as often as he cuts at your fingers.</p>
+
| <p><small>[71]</small> First of all, you should notice when someone comes near to you in such a way that you are in a bind or standing close, and you have the (sword) above the head in the speaking window or Roof, and one cuts directly at your fingers or fists, then cut against his incoming strike with a Thwart Cut, and step well out from his strike, to the side to which you have cut the Thwart, then Thwart again at once back around to the other opening. When you are well prepared for it and understand it well, then you can always hit him as often as he cuts at your fingers.</p>
 
| {{section|Page:MS Bibl. 2465 013v.jpg|2|lbl=13v.2}}
 
| {{section|Page:MS Bibl. 2465 013v.jpg|2|lbl=13v.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Item: You may also strike over with the same Crown Cut when he strikes after from his right at your fingers, then strike in with the flat from your right to his left simultaneously with him so that your long edge comes onto his sword, and your cross is put horizontally, step well out from his cut to the side to which you have cut, that is call the Crown Cut.</p>
+
| <p><small>[72]</small> Item: You may also strike over with the same Crown Cut when he strikes after from his right at your fingers, then strike in with the flat from your right to his left simultaneously with him so that your long edge comes onto his sword, and your cross is put horizontally, step well out from his cut to the side to which you have cut, that is call the Crown Cut.</p>
 
| {{section|Page:MS Bibl. 2465 013v.jpg|3|lbl=13v.3}}
 
| {{section|Page:MS Bibl. 2465 013v.jpg|3|lbl=13v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> But if he cuts at you from his left to your fingers, then also cut in simultaneously with the flat and crossed hands, so that the long edge of the blade clashes in on his blade, and your cross is put horizontally in the Crown, when you make this Crown Cut correctly, then always hit with the sharp edge by the half edge, however if you are too far from him and he cuts after at your hands, then cut him to the head, and with that you protect yourself in parrying, thus you have defended your fingers from damage, but if he cuts in simultaneously with a step, then spring with every cut to his parrying with closing.</p>
+
| <p><small>[73]</small> But if he cuts at you from his left to your fingers, then also cut in simultaneously with the flat and crossed hands, so that the long edge of the blade clashes in on his blade, and your cross is put horizontally in the Crown, when you make this Crown Cut correctly, then always hit with the sharp edge by the half edge, however if you are too far from him and he cuts after at your hands, then cut him to the head, and with that you protect yourself in parrying, thus you have defended your fingers from damage, but if he cuts in simultaneously with a step, then spring with every cut to his parrying with closing.</p>
 
|  
 
|  
 
{{section|Page:MS Bibl. 2465 013v.jpg|4|lbl=13v.4|p=1}} {{section|Page:MS Bibl. 2465 014r.jpg|1|lbl=14r.1|p=1}}
 
{{section|Page:MS Bibl. 2465 013v.jpg|4|lbl=13v.4|p=1}} {{section|Page:MS Bibl. 2465 014r.jpg|1|lbl=14r.1|p=1}}
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Follow the second part of the Sword Fencing in which it will be taught how to use the guards and cuts together with their associated work as taught in the first part and should also be brought into use'''<ref>To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the [[Johannes Liechtenauer]] article and the various [[gloss]]es to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the verses in this section are found in [[Christian Egenolff]]'s 1531 edition of [[Andre Paurenfeyndt]]'s treatise&mdash;except the "First Rhyme", verses 17-20. ~[[Michael Chidester]]</ref></p>
+
| <p><small>[1]</small> '''Follow the second part of the Sword Fencing in which it will be taught how to use the guards and cuts together with their associated work as taught in the first part and should also be brought into use'''<ref>To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the [[Johannes Liechtenauer]] article and the various [[gloss]]es to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the verses in this section are found in [[Christian Egenolff]]'s 1531 edition of [[Andre Paurenfeyndt]]'s treatise&mdash;except the "First Rhyme", verses 17-20. ~[[Michael Chidester]]</ref></p>
  
 
<p>I will tell you much more about the Cuts and school-related things, but I will explain the rhymes that were made with hidden words by the ancients so that the art did not become too common. And about the guards, binding, shooting off, remaining, winding, chasing after, running through, and those which are subsequently described in the ''Indes''.<ref>Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r</ref></p>
 
<p>I will tell you much more about the Cuts and school-related things, but I will explain the rhymes that were made with hidden words by the ancients so that the art did not become too common. And about the guards, binding, shooting off, remaining, winding, chasing after, running through, and those which are subsequently described in the ''Indes''.<ref>Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r</ref></p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''The First Rhyme'''</p>
+
| <p><small>[2]</small> '''The First Rhyme'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''''Indes'''''</p>
+
| <p><small>[3]</small> '''''Indes'''''</p>
  
 
<p>In the word ''Indes'' stands all the art of fencing, then it decides all things as Liechtenauer's old ''Zedel'' and other ''Zedel'' say of it. As can be seen hereafter in the rhymes.</p>
 
<p>In the word ''Indes'' stands all the art of fencing, then it decides all things as Liechtenauer's old ''Zedel'' and other ''Zedel'' say of it. As can be seen hereafter in the rhymes.</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> ''Indes'' counters, <br/>''Indes'' stabs, <br/>''Indes'' pushes, <br/>''Indes'' pulls, <br/>''Indes'' travels after, <br/>''Indes'' is not too high, <br/>''Indes'' tests out the danger, <br/>if he is hard or soft, <ref>These two lines are a paraphrase of verse 77 of Liechtenauer's ''Zedel''. ~[[Michael Chidester|MCC]]</ref><br/>''Indes'' goes in, <br/>''Indes'' seeks the opponent without fear, <br/>''Indes'' wrestles, <br/>''Indes'' constraints, <br/>''Indes'' does not bind on, <br/>''Indes'' deceives the opponent, <br/>''Indes'' strikes to the openings, <br/>''Indes'' thrusts with thrusting, <br/>''Indes'' with the slice<br/> a better work one will not find, <br/>''Indes'' takes the sword, <br/>''Indes'' does what your heart desires.<ref>This rhyming section is reminiscent of the eight-line ''Indes'' poem found in several of the 15th century [[gloss]]es (despite not being part of Liechtenauer's ''Zedel''), but only the last two lines are the same. ~[[Michael Chidester|MCC]]</ref></p>
+
| <p><small>[4]</small> ''Indes'' counters, <br/>''Indes'' stabs, <br/>''Indes'' pushes, <br/>''Indes'' pulls, <br/>''Indes'' travels after, <br/>''Indes'' is not too high, <br/>''Indes'' tests out the danger, <br/>if he is hard or soft, <ref>These two lines are a paraphrase of verse 77 of Liechtenauer's ''Zedel''. ~[[Michael Chidester|MCC]]</ref><br/>''Indes'' goes in, <br/>''Indes'' seeks the opponent without fear, <br/>''Indes'' wrestles, <br/>''Indes'' constraints, <br/>''Indes'' does not bind on, <br/>''Indes'' deceives the opponent, <br/>''Indes'' strikes to the openings, <br/>''Indes'' thrusts with thrusting, <br/>''Indes'' with the slice<br/> a better work one will not find, <br/>''Indes'' takes the sword, <br/>''Indes'' does what your heart desires.<ref>This rhyming section is reminiscent of the eight-line ''Indes'' poem found in several of the 15th century [[gloss]]es (despite not being part of Liechtenauer's ''Zedel''), but only the last two lines are the same. ~[[Michael Chidester|MCC]]</ref></p>
 
| {{section|Page:MS Bibl. 2465 014v.jpg|3|lbl=14v.3}}
 
| {{section|Page:MS Bibl. 2465 014v.jpg|3|lbl=14v.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''''Indes'' pay attention understand me correctly <br/>Hit him before he is in a guard'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/13|page 4v]].</ref></p>
+
| <p><small>[5]</small> '''''Indes'' pay attention understand me correctly <br/>Hit him before he is in a guard'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/13|page 4v]].</ref></p>
  
 
<p>'''Interpretation'''</p>
 
<p>'''Interpretation'''</p>
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|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Thus it is true there are many good guards, but it is better to not lay in a guard at all because you can notice how one wants to fence from the same, that in the striking it may not be seen.</p>
+
| <p><small>[6]</small> Thus it is true there are many good guards, but it is better to not lay in a guard at all because you can notice how one wants to fence from the same, that in the striking it may not be seen.</p>
 
| {{section|Page:MS Bibl. 2465 015r.jpg|2|lbl=15r.2}}
 
| {{section|Page:MS Bibl. 2465 015r.jpg|2|lbl=15r.2}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> Ox, Plow, Fool, from the Roof, are the best guards, but the Side Guard from both sides is most safe but do not try to long with it. If you are to overtake one, then it is shadowed by the old ''Zedel''.</p>
+
| <p><small>[7]</small> Ox, Plow, Fool, from the Roof, are the best guards, but the Side Guard from both sides is most safe but do not try to long with it. If you are to overtake one, then it is shadowed by the old ''Zedel''.</p>
 
| {{section|Page:MS Bibl. 2465 015r.jpg|3|lbl=15r.3}}
 
| {{section|Page:MS Bibl. 2465 015r.jpg|3|lbl=15r.3}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''No guard is worth it to you<br/>In the After you hit him from free courage<br/>With it you come quickly to the work<br/>So wait until I first bind you.'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/18|page 7r]].</ref></p>
+
| <p><small>[8]</small> '''No guard is worth it to you<br/>In the After you hit him from free courage<br/>With it you come quickly to the work<br/>So wait until I first bind you.'''<ref>This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, [[Page:Der Allten Fechter gründtliche Kunst (Christian Egenolff) 1531-1537.pdf/18|page 7r]].</ref></p>
 
| {{section|Page:MS Bibl. 2465 015r.jpg|4|lbl=15r.4}}
 
| {{section|Page:MS Bibl. 2465 015r.jpg|4|lbl=15r.4}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Of the Parrying'''</p>
+
| <p><small>[9]</small> '''Of the Parrying'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|-  
 
|-  
 
|  
 
|  
|  
+
| <p><small>[10]</small></p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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<p>Although I have written in the first part extensively about the 4 openings, I want to explain the contents and make them explicit. The rhyme stands in the old ''Zedel'' and the Frankfurt ''Zedel'' but there is no interpretation about what are the 4 openings, what is "taking aim", what is "to drive on against everyone", what is "how he bears". When one reads the rhymes already for so long, then one knows much about it afterwards, when he interprets the rhymes, and is showed freely with a sword, I thought a lot about it, I would like to see a master who can tell me the truth about aiming. But you should then understand the rhyme. The four openings are two above by the head and shoulders, and two by the elbows. But aiming* is when you strike to the upper openings and soon you see that the man has noticed, and does not slip after, then throw your sword in a Loop, or circle, you don’t lay on though, but rather to an opening on the arm, which you certainly have, that is called aiming. But what is; without any danger, that is when the opponent has not seen that you should strike, what is; however he acts, that is to all openings, then would the ''Zedel'' say, you hit him when his defense becomes open, he who knows well the four openings, can make wonder out of them, but the noble work can not be written in the books, one must prove it with iron.</p>
 
<p>Although I have written in the first part extensively about the 4 openings, I want to explain the contents and make them explicit. The rhyme stands in the old ''Zedel'' and the Frankfurt ''Zedel'' but there is no interpretation about what are the 4 openings, what is "taking aim", what is "to drive on against everyone", what is "how he bears". When one reads the rhymes already for so long, then one knows much about it afterwards, when he interprets the rhymes, and is showed freely with a sword, I thought a lot about it, I would like to see a master who can tell me the truth about aiming. But you should then understand the rhyme. The four openings are two above by the head and shoulders, and two by the elbows. But aiming* is when you strike to the upper openings and soon you see that the man has noticed, and does not slip after, then throw your sword in a Loop, or circle, you don’t lay on though, but rather to an opening on the arm, which you certainly have, that is called aiming. But what is; without any danger, that is when the opponent has not seen that you should strike, what is; however he acts, that is to all openings, then would the ''Zedel'' say, you hit him when his defense becomes open, he who knows well the four openings, can make wonder out of them, but the noble work can not be written in the books, one must prove it with iron.</p>
|  
+
| <p><br/></p>
 
{{section|Page:MS Bibl. 2465 015v.jpg|2|lbl=15v.2|p=1}} {{section|Page:MS Bibl. 2465 016r.jpg|1|lbl=16r.1|p=1}}
 
{{section|Page:MS Bibl. 2465 015v.jpg|2|lbl=15v.2|p=1}} {{section|Page:MS Bibl. 2465 016r.jpg|1|lbl=16r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''More about the four openings'''</p>
+
| <p><small>[11]</small> '''More about the four openings'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
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|-  
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|  
 
|  
|  
+
| <p><small>[12]</small></p>
 
{| class="zettel"
 
{| class="zettel"
 
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|}
 
|}
 
<p>That is when someone cuts at you from the Roof Guard, thus you have gone against him and in the air turned the edge crosswise and struck at both his hands, step with both feet well to his left side, this is how the ''Stuck'' starts.</p>
 
<p>That is when someone cuts at you from the Roof Guard, thus you have gone against him and in the air turned the edge crosswise and struck at both his hands, step with both feet well to his left side, this is how the ''Stuck'' starts.</p>
| {{section|Page:MS Bibl. 2465 016v.jpg|1|lbl=16v.1}}
+
| <p><br/></p>
 +
{{section|Page:MS Bibl. 2465 016v.jpg|1|lbl=16v.1}}
  
 
|-  
 
|-  
 
|  
 
|  
|  
+
| <p><small>[13]</small></p>
 
{| class="zettel"
 
{| class="zettel"
 
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<p>This you must understand when one cuts at you from his upper right, then cut against him and step with your right foot well to his left side, now turn the sword crosswise with arms crossed thus you come over his sword in the Barrier Guard, now slice ''Indes'' to his jaw and neck with the long edge, hence it has noble and good works and goes with the correct ''Indes''.</p>
 
<p>This you must understand when one cuts at you from his upper right, then cut against him and step with your right foot well to his left side, now turn the sword crosswise with arms crossed thus you come over his sword in the Barrier Guard, now slice ''Indes'' to his jaw and neck with the long edge, hence it has noble and good works and goes with the correct ''Indes''.</p>
| {{section|Page:MS Bibl. 2465 016v.jpg|2|lbl=16v.2}}
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<p>Understand this when one cuts from above at you from the Guard of the Roof, thus also cut against him from your right side but with crossed arms, thus you come with your short edge onto his flat and weaken his strike, now cut ''Indes'' the upper slice between his sword and the man, thus you come however to the previous work, and do not forget to step with the right foot to his left side, thus the higher the ''Stuck'' goes the better it is and you are parrying well.</p>
 
<p>Understand this when one cuts from above at you from the Guard of the Roof, thus also cut against him from your right side but with crossed arms, thus you come with your short edge onto his flat and weaken his strike, now cut ''Indes'' the upper slice between his sword and the man, thus you come however to the previous work, and do not forget to step with the right foot to his left side, thus the higher the ''Stuck'' goes the better it is and you are parrying well.</p>
| {{section|Page:MS Bibl. 2465 016v.jpg|3|lbl=16v.3}}
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| <p><br/></p>
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| <p><small>[15]</small></p>
 
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<p>This is the best saying in the whole ''Zedel'', for he who understands it correctly, is a fencer, as soon as or as often as it clashes or flashes above, that is, when you see the strike is coming or has come on your sword, so move off, that is searching wrathfully, and once he is open, strike a Thwart to the left ear, correctly with the long edge, that is what drives all of fencing, when someone strikes on to your sword blade, that you move off, search for openings with the Thwarter, Slice, Strike around, wrench out into the snapping, slice secretly, ''Indes'' fly away or fail, and what openings he gives you should be considered, do not forget to step.</p>
 
<p>This is the best saying in the whole ''Zedel'', for he who understands it correctly, is a fencer, as soon as or as often as it clashes or flashes above, that is, when you see the strike is coming or has come on your sword, so move off, that is searching wrathfully, and once he is open, strike a Thwart to the left ear, correctly with the long edge, that is what drives all of fencing, when someone strikes on to your sword blade, that you move off, search for openings with the Thwarter, Slice, Strike around, wrench out into the snapping, slice secretly, ''Indes'' fly away or fail, and what openings he gives you should be considered, do not forget to step.</p>
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| <p><small>[16]</small></p>
 
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Note when someone cuts at you from his right shoulder, so do as if you would bind onto his sword with the Short Cut, that is with the half edge, but do not do it, rather cast your sword short and through in under his, it is a good and secret going through, now thrust to his right breast, so you must go well to his right, the long edge comes upwards with the thrust, now search for an opening, allowing the sword to fly low, if the opponent is close to you, then push his hands, slice ''Indes'', wrench away, if someone fails at your opening, then cut that strongly away, do not forget to step.</p>
 
Note when someone cuts at you from his right shoulder, so do as if you would bind onto his sword with the Short Cut, that is with the half edge, but do not do it, rather cast your sword short and through in under his, it is a good and secret going through, now thrust to his right breast, so you must go well to his right, the long edge comes upwards with the thrust, now search for an opening, allowing the sword to fly low, if the opponent is close to you, then push his hands, slice ''Indes'', wrench away, if someone fails at your opening, then cut that strongly away, do not forget to step.</p>
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| <p><small>[17]</small></p>
 
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<p>That ''stuck'' is nearly like the previous, then when you cut in at him from above or below, and he will do a Crooked Cut to your strike, but fails halfway to you above your sword, then position your sword under his with a thrust to his breast, step well to his right side, now seek to work from the previous ''stuck'', that both ''stuck'' give nearly the same understanding.</p>
 
<p>That ''stuck'' is nearly like the previous, then when you cut in at him from above or below, and he will do a Crooked Cut to your strike, but fails halfway to you above your sword, then position your sword under his with a thrust to his breast, step well to his right side, now seek to work from the previous ''stuck'', that both ''stuck'' give nearly the same understanding.</p>
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| <p><br/></p>
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<p>That is an epitome from a saying, then where the Thwart does not defend, so it would happen from half fencing, what comes from the Roof, that takes them freely away, but there is more to it than that, as it is written hereafter in the ancient ''Zedel''.</p>
 
<p>That is an epitome from a saying, then where the Thwart does not defend, so it would happen from half fencing, what comes from the Roof, that takes them freely away, but there is more to it than that, as it is written hereafter in the ancient ''Zedel''.</p>
| {{section|Page:MS Bibl. 2465 017v.jpg|2|lbl=17v.2}}
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| <p><br/></p>
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| <p><small>[19]</small></p>
 
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<p>''Indes'' takes the sword,<br/>''Indes'' does what your heart desires.</p>
 
<p>''Indes'' takes the sword,<br/>''Indes'' does what your heart desires.</p>
| {{section|Page:MS Bibl. 2465 017v.jpg|3|lbl=17v.3}}
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| <p><small>[20]</small></p>
 
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<p>When someone is positioned in the Plow, then Thwart at his Plow, so he must Get Up!</p>
 
<p>When someone is positioned in the Plow, then Thwart at his Plow, so he must Get Up!</p>
| {{section|Page:MS Bibl. 2465 017v.jpg|4|lbl=17v.4}}
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| <p><br/></p>
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|-  
 
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|  
| <p><small>[]</small> '''To the Ox hard together'''</p>
+
| <p><small>[21]</small> '''To the Ox hard together'''</p>
  
 
<p>When someone stands in the Ox, so do it [Thwart] until he must start fencing from the guard, and when he first starts to work he stays in the Ox and does not want to get out of the Side Guard, thus he must defend and attack, when he has attacked, then hold yourself to the saying, “When it clashes above, move away, That I will Praise” When coming from below strike to strike, Thwart to Thwart, step to step, slice to slice, that moves forth.</p>
 
<p>When someone stands in the Ox, so do it [Thwart] until he must start fencing from the guard, and when he first starts to work he stays in the Ox and does not want to get out of the Side Guard, thus he must defend and attack, when he has attacked, then hold yourself to the saying, “When it clashes above, move away, That I will Praise” When coming from below strike to strike, Thwart to Thwart, step to step, slice to slice, that moves forth.</p>
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| <p><small>[22]</small></p>
 
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<p>That is when you spring well in the Thwarter, so is your Thwart Strike to the head of the man who fights with you, nearly dangerous, for it goes deep to the Ox.</p>
 
<p>That is when you spring well in the Thwarter, so is your Thwart Strike to the head of the man who fights with you, nearly dangerous, for it goes deep to the Ox.</p>
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| <p><small>[23]</small></p>
 
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<p>Which then the long Failer takes correctly and steps secretly in the triangle with the right foot to the opponent’s right side, allow the failure to fly well, to hit or fail according to your wishes, because it is seldom that someone will break it or parry it.</p>
 
<p>Which then the long Failer takes correctly and steps secretly in the triangle with the right foot to the opponent’s right side, allow the failure to fly well, to hit or fail according to your wishes, because it is seldom that someone will break it or parry it.</p>
 
+
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| <p><small>[24]</small></p>
 
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<p>That is called Reversing when your sword is between his sword and his body, your pommel is upwards, your short edge is on his short edge, thus you constrain the opponent so that he may not work, if you will then run through, that is, after his cut or through his right arm running forth, that is after his cut, thus you may simultaneously begin to wrestle and grab at the elbow and thereafter the man is winning, then you must take to wrestling for you then you can’t always allow yourself to wrestle and fence, like it is written in the books, because much more often happens, and therefore you must be aware of it.</p>
 
<p>That is called Reversing when your sword is between his sword and his body, your pommel is upwards, your short edge is on his short edge, thus you constrain the opponent so that he may not work, if you will then run through, that is, after his cut or through his right arm running forth, that is after his cut, thus you may simultaneously begin to wrestle and grab at the elbow and thereafter the man is winning, then you must take to wrestling for you then you can’t always allow yourself to wrestle and fence, like it is written in the books, because much more often happens, and therefore you must be aware of it.</p>
|  
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{{section|Page:MS Bibl. 2465 018r.jpg|4|lbl=18r.4|p=1}} {{section|Page:MS Bibl. 2465 018v.jpg|1|lbl=18v.1|p=1}}
 
{{section|Page:MS Bibl. 2465 018r.jpg|4|lbl=18r.4|p=1}} {{section|Page:MS Bibl. 2465 018v.jpg|1|lbl=18v.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
|  
| <p><small>[]</small> '''Failer Twice'''</p>
+
| <p><small>[25]</small> '''Failer Twice'''</p>
  
 
<p>In ''Zufechten'', fail in deep enough at his left ear with the long edge, if he slips after, and will parry, so cast your sword in a circle and present it at his right ear, as soon as you see that you have touched swords, or hit, then you may use the ancient Slice,<ref>This is a reference to Liechtenauer verses 56 and 79. ~[[Michael Chidester|MCC]]</ref> that is doing the (handwork) Remaining, you push your sword over both his arms with the long edge so that he cannot defend it. However, what is the saying: “Double Failer, Step left until not allowed”.<ref>Liechtenauer verse 57. ~[[Michael Chidester|MCC]]</ref> It is all in a ''stuck'', and relies on one another, that when you slice or push to the arms, then you must continue it twice, that is, you must step around well to the opponent with the left foot. That is called Stepping in Left, until not allowed, with it the rhyme means that you must go quickly, so that the opponent doesn’t also veer away, and this is called Doubling.</p>
 
<p>In ''Zufechten'', fail in deep enough at his left ear with the long edge, if he slips after, and will parry, so cast your sword in a circle and present it at his right ear, as soon as you see that you have touched swords, or hit, then you may use the ancient Slice,<ref>This is a reference to Liechtenauer verses 56 and 79. ~[[Michael Chidester|MCC]]</ref> that is doing the (handwork) Remaining, you push your sword over both his arms with the long edge so that he cannot defend it. However, what is the saying: “Double Failer, Step left until not allowed”.<ref>Liechtenauer verse 57. ~[[Michael Chidester|MCC]]</ref> It is all in a ''stuck'', and relies on one another, that when you slice or push to the arms, then you must continue it twice, that is, you must step around well to the opponent with the left foot. That is called Stepping in Left, until not allowed, with it the rhyme means that you must go quickly, so that the opponent doesn’t also veer away, and this is called Doubling.</p>
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| <p><small>[26]</small></p>
 
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<p>This is when someone strikes a Buffel Strike at you, it is a long and hard peasant’s strike from the Roof Guard, you then strike around from your right shoulder against him, however you turn your sword and strike in part together to his head and sword, now you have broken the Buffel with the Squinter, and hit with it. Now further, the ''stuck'' has just begun.</p>
 
<p>This is when someone strikes a Buffel Strike at you, it is a long and hard peasant’s strike from the Roof Guard, you then strike around from your right shoulder against him, however you turn your sword and strike in part together to his head and sword, now you have broken the Buffel with the Squinter, and hit with it. Now further, the ''stuck'' has just begun.</p>
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| <p><br/></p>
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| <p><small>[27]</small></p>
 
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<p>So understand that one who is so lively and makes as if he would Buffel, but doesn’t do it, and rather changes or goes through, that you don’t let yourself change through in error, but he trusts his changing through, and hopes to gain something, however you have in the meantime hit him with the Squinter to the head because his changing through made him completely open, that is known as The robbing from the Squinter, from those who change through before you.</p>
 
<p>So understand that one who is so lively and makes as if he would Buffel, but doesn’t do it, and rather changes or goes through, that you don’t let yourself change through in error, but he trusts his changing through, and hopes to gain something, however you have in the meantime hit him with the Squinter to the head because his changing through made him completely open, that is known as The robbing from the Squinter, from those who change through before you.</p>
| {{section|Page:MS Bibl. 2465 019r.jpg|2|lbl=19r.2}}
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| <p><br/></p>
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| <p><small>[28]</small></p>
 
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<p>The saying is made for he who wants to change through against one who will use the Squinter Cut, that is, if he extends his arms short away from himself, so he may not well reach you, then you may easily change through, thus you come to him with stepping and thrust to his right side, that is called overcoming, it is much talked about, you come to him, and bring him out of his work and take him.</p>
 
<p>The saying is made for he who wants to change through against one who will use the Squinter Cut, that is, if he extends his arms short away from himself, so he may not well reach you, then you may easily change through, thus you come to him with stepping and thrust to his right side, that is called overcoming, it is much talked about, you come to him, and bring him out of his work and take him.</p>
|  
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| <p><small>[29]</small></p>
 
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<p>When an opponent extends his point long out towards you, which quite a few fencers have in use, so put your point at him, and position yourself as if you would cut from there, long and from above at him. but don’t do that, instead cut short and strongly thereafter, now step at once and thrust him to the neck, this is a good old thrust which also serves you well in battle, the ancient fencers have fenced much using these things, but nowadays the thrust is not favored, because of the running in, that is.</p>
 
<p>When an opponent extends his point long out towards you, which quite a few fencers have in use, so put your point at him, and position yourself as if you would cut from there, long and from above at him. but don’t do that, instead cut short and strongly thereafter, now step at once and thrust him to the neck, this is a good old thrust which also serves you well in battle, the ancient fencers have fenced much using these things, but nowadays the thrust is not favored, because of the running in, that is.</p>
| {{section|Page:MS Bibl. 2465 019v.jpg|2|lbl=19v.2}}
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| <p><br/></p>
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| <p><small>[30]</small></p>
 
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<p>It is good for the fencers who want to use their heads and their work will quickly be brought about, if he runs too high with the Crown, then slice him with the lower slice to both fists, is still better.</p>
 
<p>It is good for the fencers who want to use their heads and their work will quickly be brought about, if he runs too high with the Crown, then slice him with the lower slice to both fists, is still better.</p>
|  
+
| <p><br/></p>
 
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{{section|Page:MS Bibl. 2465 019v.jpg|3|lbl=19v.3|p=1}} {{section|Page:MS Bibl. 2465 020r.jpg|1|lbl=20r.1|p=1}}
  
 
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| <p><small>[31]</small></p>
 
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<p>Chasing after is an exceptionally good work, however very few are the fencers who do it correctly. Now note that this is the chasing after, when one will cut in at you from above, and as he draws up his sword to strike, so rush to him before he brings his strike, the work is all good against those who cut around too wide in the onset, then because they have their sword so far away, thus they are easier to reach, but the word Doubled means that you shall overtake me, when I have allowed my sword to fall or go nearly to the ground after the strike, so you must be cautious against the man who gladly allows his sword to fall nearly to the ground, then you must cut in at his head with the Head Strike, that is Doubling after shrewdly. In summation: when the opponent brings his sword in the air, then Chase after when he goes too far behind himself, ''Indes'' cut in the onset, then commit yourself to the chasing after, because the saying is made so well for the traveling after.</p>
 
<p>Chasing after is an exceptionally good work, however very few are the fencers who do it correctly. Now note that this is the chasing after, when one will cut in at you from above, and as he draws up his sword to strike, so rush to him before he brings his strike, the work is all good against those who cut around too wide in the onset, then because they have their sword so far away, thus they are easier to reach, but the word Doubled means that you shall overtake me, when I have allowed my sword to fall or go nearly to the ground after the strike, so you must be cautious against the man who gladly allows his sword to fall nearly to the ground, then you must cut in at his head with the Head Strike, that is Doubling after shrewdly. In summation: when the opponent brings his sword in the air, then Chase after when he goes too far behind himself, ''Indes'' cut in the onset, then commit yourself to the chasing after, because the saying is made so well for the traveling after.</p>
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{{section|Page:MS Bibl. 2465 020r.jpg|2|lbl=20r.2|p=1}} {{section|Page:MS Bibl. 2465 020v.jpg|1|lbl=20v.1|p=1}}
 
{{section|Page:MS Bibl. 2465 020r.jpg|2|lbl=20r.2|p=1}} {{section|Page:MS Bibl. 2465 020v.jpg|1|lbl=20v.1|p=1}}
  
 
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| <p><small>[32]</small></p>
 
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<p>So that you shall also understand the ''Zedelfechter'' who laid out the saying for me, when you are chasing after, then go henceforth with a thrust or a winding to the face, thereafter travel into a High Cut then thrust or wind to the face or chest, do the same when you chase after one who has thrust too low and cuts, those are the “two within,” then the opponent will snap after the thrust and then wants to displace, so in the meantime you stifle his sword and just work to another opening, that is a good and masterful thing, now fall on him with the cut.</p>
 
<p>So that you shall also understand the ''Zedelfechter'' who laid out the saying for me, when you are chasing after, then go henceforth with a thrust or a winding to the face, thereafter travel into a High Cut then thrust or wind to the face or chest, do the same when you chase after one who has thrust too low and cuts, those are the “two within,” then the opponent will snap after the thrust and then wants to displace, so in the meantime you stifle his sword and just work to another opening, that is a good and masterful thing, now fall on him with the cut.</p>
| {{section|Page:MS Bibl. 2465 020v.jpg|2|lbl=20v.2}}
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| <p><br/></p>
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{{section|Page:MS Bibl. 2465 020v.jpg|2|lbl=20v.2}}
  
 
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| <p><small>[33]</small></p>
 
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<p>Feeling is nothing more than testing, binding on, or searching, so that feeling, testing and binding on is a thing, then the feeling is a simple word in all fencing, test whether the opponent fights hard or soft, if he cuts or pushes hard after, then pull your sword fine and softly, thus you will certainly find an opening, because the hard fencers reveal it themselves. But why is there a saying right after this “''Indes'' the word cuts severely”, therefore, one is a gentle and fast swordsman who cuts around at once so you are there with the slices, thus it is broken.</p>
 
<p>Feeling is nothing more than testing, binding on, or searching, so that feeling, testing and binding on is a thing, then the feeling is a simple word in all fencing, test whether the opponent fights hard or soft, if he cuts or pushes hard after, then pull your sword fine and softly, thus you will certainly find an opening, because the hard fencers reveal it themselves. But why is there a saying right after this “''Indes'' the word cuts severely”, therefore, one is a gentle and fast swordsman who cuts around at once so you are there with the slices, thus it is broken.</p>
|  
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{{section|Page:MS Bibl. 2465 020v.jpg|3|lbl=20v.3|p=1}} {{section|Page:MS Bibl. 2465 021r.jpg|1|lbl=21r.1|p=1}}
 
{{section|Page:MS Bibl. 2465 020v.jpg|3|lbl=20v.3|p=1}} {{section|Page:MS Bibl. 2465 021r.jpg|1|lbl=21r.1|p=1}}
  
 
|-  
 
|-  
 
|  
 
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| <p><small>[34]</small></p>
 
{| class="zettel"
 
{| class="zettel"
 
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<p>The hard ones are nothing other than Hard strikes, both attacks are nothing other than hard strikes from both sides. So when you go in against a strong strike with the slice, and if he is skillful and strikes around to the other side however strong, then slice his strike down or away from you, some people think that this is already the ''Indes'', and allow themselves to beat, and cut away the strike with slicing, however this is not the ''Indes'', it is more like long edge, but some people rely on it, so if you like to cut, you must use failing, or changing through or Crooked cutting, thus you force him to defend against other thrusts.</p>
 
<p>The hard ones are nothing other than Hard strikes, both attacks are nothing other than hard strikes from both sides. So when you go in against a strong strike with the slice, and if he is skillful and strikes around to the other side however strong, then slice his strike down or away from you, some people think that this is already the ''Indes'', and allow themselves to beat, and cut away the strike with slicing, however this is not the ''Indes'', it is more like long edge, but some people rely on it, so if you like to cut, you must use failing, or changing through or Crooked cutting, thus you force him to defend against other thrusts.</p>
| {{section|Page:MS Bibl. 2465 021r.jpg|2|lbl=21r.2}}
+
| <p><br/></p>
 +
{{section|Page:MS Bibl. 2465 021r.jpg|2|lbl=21r.2}}
  
 
|-  
 
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|  
 
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| <p><small>[]</small> '''From the Stepping'''</p>
+
| <p><small>[35]</small> '''From the Stepping'''</p>
  
 
<p>Stepping breaks, what one fights, he who does not do it, it fights one to the ground as he wills it, if he does not do it correctly, he is unsuccessful, therefore the saying in the twelve rules is made and understood:</p>
 
<p>Stepping breaks, what one fights, he who does not do it, it fights one to the ground as he wills it, if he does not do it correctly, he is unsuccessful, therefore the saying in the twelve rules is made and understood:</p>

Revision as of 00:15, 8 April 2024

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Georg Johann Ⅰ
  • Otto von Solms
  • Johann Casimir
  • Johann Albrecht
Movement Freifechter
Influences
Influenced
Genres Fencing manual
Language Early New High German
Notable work(s) Gründtliche Beschreibung der... Kunst des
Fechtens
(1570)
Manuscript(s)
First printed
english edition
Forgeng, 2006
Concordance by Michael Chidester
Translations
Signature Joachim Meyer sig.jpg

Joachim Meyer (ca. 1537 - 1571)[1] was a 16th century German cutler, Freifechter, and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the later years of his life he devised at least four distinct and quite extensive fencing manuals. Meyer's writings incorporate both the traditional Germanic technical syllabus and contemporary systems that he encountered in his travels, including Italian rapier fencing. In addition to his fencing practice, Meyer was a Burgher and a master cutler.[2]

Meyer was born in Basel,[3] where he presumably apprenticed as a cutler. He writes in his books that he traveled widely in his youth, most likely a reference to the traditional Walz that journeyman craftsmen were required to take before being eligible for mastery and membership in a guild. Journeymen were often sent to stand watch and participate in town and city militias (a responsibility that would have been amplified for the warlike cutlers' guild), and Meyer learned a great deal about foreign fencing systems during his travels. It's been speculated by some fencing historians that he trained specifically in the Bolognese school of fencing, but this doesn't stand up to closer analysis.[4]

Records show that by 4 June 1560 he had settled in Strasbourg, where he married Appolonia Ruhlman (Ruelman)[1] and was granted the rank of master cutler. His interests had already moved beyond smithing, however, and in 1561, Meyer's petition to the City Council of Strasbourg for the right to hold a Fechtschule was granted. He would repeat this in 1563, 1566, 1567 and 1568;[5] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS Bibl. 2465) in 1561 for Georg Johann Ⅰ, Count Palatine of Veldenz,[6] and his second (MS A.4º.2) in 1568 for Otto (later Count of Solms-Sonnewalde).[7] Both of these manuscripts contain a series of lessons on training with long sword, dusack, and rapier; the 1561 also covers dagger, polearms, and armored fencing. His third manuscript (MS Var.82), written between 1563 and 1571 and containing a dedication at the end to Heinrich, Count of Eberstein, is of a decidedly different nature. Like many fencing manuscripts from the previous century, it is an anthology of treatises by a number of prominent German masters including Sigmund ain Ringeck, pseudo-Peter von Danzig, and Martin Syber, and also includes a brief outline by Meyer himself on a system of rapier fencing based on German Messer teachings.

Finally, on 24 February 1570, Meyer completed an enormous treatise entitled Gründtliche Beschreibung, der freyen Ritterlichen unnd Adelichen kunst des Fechtens, in allerley gebreuchlichen Wehren, mit vil schönen und nützlichen Figuren gezieret und fürgestellet ("A Thorough Description of the Free, Chivalric, and Noble Art of Fencing, Showing Various Customary Defenses, Affected and Put Forth with Many Handsome and Useful Drawings"); it was dedicated to Johann Casimir, Count Palatine of Simmern,[6] and illustrated at the workshop of Tobias Stimmer.[8] It contains all of the weapons of the 1561 and '68 manuscripts apart from fencing in armor, and dramatically expands his teachings on each.

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 300 crowns), which Meyer pledged to repay by Christmas of 1571.[1] Late in 1570, Meyer accepted the position of Fechtmeister to Duke Johann Albrecht of Mecklenburg at his court in Schwerin. There Meyer hoped to sell his book for a better price than was offered locally (30 florins). Meyer sent his books ahead to Schwerin, and left from Strasbourg on 4 January 1571 after receiving his pay. He traveled the 800 miles to Schwerin in the middle of a harsh winter, arriving at the court on 10 February 1571. Two weeks later, on 24 February, Joachim Meyer died. The cause of his death is unknown, possibly disease or pneumonia.[5]

Antoni Rulman, Appolonia’s brother, became her legal guardian after Joachim’s death. On 15 May 1571, he had a letter written by the secretary of the Strasbourg city chamber and sent to the Duke of Mecklenburg stating that Antoni was now the widow Meyer’s guardian; it politely reminded the Duke who Joachim Meyer was, Meyer’s publishing efforts and considerable debt, requested that the Duke send Meyer’s personal affects and his books to Appolonia, and attempted to sell some (if not all) of the books to the Duke.[1]

Appolonia remarried in April 1572 to another cutler named Hans Kuele, bestowing upon him the status of Burgher and Meyer's substantial debts. Joachim Meyer and Hans Kuele are both mentioned in the minutes of Cutlers' Guild archives; Kuele may have made an impression if we can judge that fact by the number of times he is mentioned. It is believed that Appolonia and either her husband or her brother were involved with the second printing of his book in 1600. According to other sources, it was reprinted yet again in 1610 and in 1660.[9][10]

Contents

Treatises

Joachim Meyer's writings are preserved in three manuscripts prepared in the 1560s: the 1561 MS Bibl. 2465 (Munich), dedicated to Georg Johannes von Veldenz; the 1563-68 MS A.4º.2 (Lund), dedicated to Otto von Solms; and the MS Var. 82 (Rostock), including notes on teachings from Stephan Heinrich von Eberstein and which Meyer may have still been working at the time of his death in 1571. Dwarfing these works is the massive book he published in 1570 entitled Gründtliche Beschreibung der ...Kunst des Fechtens ("A Thorough Description of the... Art of Fencing"), dedicated to Johann Kasimir von Pfalz-Simmern. Meyer's writings purport to teach the entire art of fencing, something that he claimed had never been done before, and encompass a wide variety of teachings from disparate sources and traditions. To achieve this goal, Meyer seems to have constructed his treatises as a series of progressive lessons, describing a process for learning to fence rather than merely outlining the underlying theory or listing the techniques. In keeping with this, he illustrates his techniques with depictions of fencers in courtyards using training weapons such as two-handed foils, wooden dusacks, and rapiers with ball tips.

The first section of Meyer's treatise is devoted to the long sword (the sword in two hands), which he describes as the foundational weapon of his system, and this section devotes the most space to fundamentals like stance and footwork. His long sword system draws upon the teachings of Freifechter Andre Paurenfeyndt (via Christian Egenolff's reprint) and Liechtenauer glossators Sigmund ain Ringeck and Lew, as well as using terminology otherwise unique to the brief Recital of Martin Syber. Not content merely to compile these teachings as his contemporary Paulus Hector Mair was doing, Meyer sought to update—even reinvent—them in various ways to fit the martial climate of the late sixteenth century, including adapting many techniques to accommodate the increased momentum of a greatsword and modifying others to use beats with the flat and winding slices in place of thrusts to comply with street-fighting laws in German cities (and the rules of the Fechtschule).

The second section of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dusack and the rapier, and thereby find places for them in the German tradition. His early Lund manuscript presents a more summarized syllabus of techniques for these weapons, while his printed book goes into greater depth and is structured more in the fashion of lesson plans.[11] Meyer's dusack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[12] combines the old Messer teachings of Johannes Lecküchner and the dusack teachings of Andre Paurenfeyndt with other unknown systems (some have speculated that they might include early Polish or Hungarian saber systems). His rapier system, designed for the lighter single-hand swords spreading north from Iberian and Italian lands, seems again to be a hybrid creation, integrating both the core teachings of the 15th century Liechtenauer tradition as well as components that are characteristic of the various regional Mediterranean fencing systems (including, perhaps, teachings derived from the treatise of Achille Marozzo). Interestingly, Meyer's rapier teachings in the Rostock seem to represent an attempt to unify these two weapon system, outlining a method for rapier fencing that includes key elements of his dusack teachings; it is unclear why this method did not appear in his book, but given the dates it may be that they represent his last musings on the weapon, written in the time between the completion of his book in 1570 and his death a year later.

The third section of Meyer's treatise is omitted in the Lund manuscript but present in the Munich and the 1570, and covers dagger, wrestling, and various pole weapons; to this, the Munich adds several plays of armored fencing. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo,[13] but also include much unique content of unknown origin (perhaps the anonymous dagger teachings in his Rostock manuscript). His staff material makes up the bulk of this section, beginning with the short staff, which, like Paurenfeyndt, he uses as a training tool for various pole weapons (and possibly also the greatsword), and then moving on to the halberd before ending with the long staff (representing the pike). As with the dagger, the sources Meyer based his staff teachings on are largely unknown.

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Temporary section break

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. 1.0 1.1 1.2 1.3 Dupuis, Olivier. Joachim Meyer, escrimeur libre, bourgeois de Strasbourg (1537 ? - 1571). In Maîtres et techniques de combat. Dijon: AEDEH, 2006.
  2. Naumann, Robert. Serapeum. Vol. 5. T.O. Weigel, 1844. pp 53-59.
  3. According to his wedding certificate.
  4. The influence of Achilles Marozzo's printed treatise is, however, apparent in the rapier illustrations of his 1561 manuscript and the dagger plays in his book.
  5. 5.0 5.1 Van Slambrouck, Christopher. "The Life and Work of Joachim Meyer". Meyer Frei Fechter Guild, 2010. Retrieved 29 January 2010.
  6. 6.0 6.1 Though as a prince of the Wittelsbach dynasty, he was addressed by the loftiest titles held by the family: Count Palatine of the Rhine and Duke of Bavaria.
  7. Norling, Roger. "The history of Joachim Meyer’s fencing treatise to Otto von Solms". Hroarr.com, 2012. Retrieved 14 February 2015.
  8. Whose members included Christoph Maurer and Hans Christoffel Stimmer.
  9. Schaer, Alfred. Die altdeutschen fechter und spielleute: Ein beitrag zur deutschen culturgeschichte. K.J. Trübner, 1901. p 76.
  10. Pollock, W. H., Grove, F. C., and Prévost, C. Fencing. London and Bombay: Longmans, Green, and co, 1897. pp 267-268.
  11. Roberts, James. "System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts". Hroarr.com, 2014. Retrieved 14 February 2015.
  12. Roger Norling. "The Dussack - a weapon of war". Hroarr.com, 2012. Retrieved 6 October 2015.
  13. Norling, Roger. "Meyer and Marozzo dagger comparison". Hroarr.com, 2012. Retrieved 15 February 2015.
  14. Up to this point, the text matches the Lund manuscript, folia 6r to 7r.
  15. Note: this translation could be interpreted to mean “so that your half edge slides downward [presumably on his blade], hitting his right shoulder”. Meyer used the words mit Glitschen = to slither, to slide, to glide, to move with sliding.
  16. A number in the margin refers to the illustration in page number 13.
  17. The text starts matching the Lund manuscript again here (beginning on folio 7v), continuing until the Figures.
  18. Note: The Lund also mentions “the figure above” yet that figure does not appear in the Lund! Here it does, and it could be a representation of Meyer himself?
  19. The "l" appears to be written over another letter, perhaps a "b".
  20. Note: here I have included this line for clarity from Dr. Forgeng’s 1568 Lund translation: “Therefore every fighter shall know as has been said above, for when two good fighters come together, whoever thinks quicker triumphs quicker.”
  21. Note: the image shows the opponent on the left in Barrier Guard with point to the ground, hence Meyer’s advice to “take his blade away from the ground”.
  22. 22.0 22.1 22.2 22.3 Torn page on left.
  23. 23.0 23.1 Torn page on right.
  24. To help illuminate the connections to Liechtenauer's teachings, I've added the verse numbers used in the Johannes Liechtenauer article and the various glosses to Kevin's translation. I've also added a few footnotes, and included my initials to distinguish them from Kevin's notes. Note all the verses in this section are found in Christian Egenolff's 1531 edition of Andre Paurenfeyndt's treatise—except the "First Rhyme", verses 17-20. ~Michael Chidester
  25. Note: the interpretation here is a generalized summary found in the 1570 at Ⅰ.45v—46r
  26. These two lines are a paraphrase of verse 77 of Liechtenauer's Zedel. ~MCC
  27. This rhyming section is reminiscent of the eight-line Indes poem found in several of the 15th century glosses (despite not being part of Liechtenauer's Zedel), but only the last two lines are the same. ~MCC
  28. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 4v.
  29. Unclear.
  30. This rhyme found in Egenolph's 1531 Frankfurt edition of Pauernfeindt, page 7r.
  31. Note: gesechen = may be gesehen ENHG
  32. Unclear.
  33. This is a reference to Liechtenauer verses 56 and 79. ~MCC
  34. Liechtenauer verse 57. ~MCC
  35. This is the fourth of Paurnfeyndt's Twelve Rules for the Beginner Fencer, found on page 4r of Egenolff 1531. This is particularly odd because the first line comes from Egenolff, but the second line seems to be from Liechtenauer verse 11, which the rule was based on. The version in the fourth rule is Der darff sich kunst nit frewen. ~MCC
  36. The above text appears somewhat synonymous with pages 44-45 of the Lund Dussack section, except that in the Lund Meyer says there are 12 cuts and yet here he says there are 16.
  37. This text also appears in the Lund pg 45, yet there Meyer gave an alternate name to the Watch guard as Luginslandt, here he does not mention Luginslandt. Additionally, Meyer does not include the Blind Cut in the Lund, yet here he does and it also appears in 1570 Dussack. In addition, here Meyer names the Slice and the Bow as guards. Yet in the 1560 he lists them with the guards but says they are the two parrys. Here he gives a separate paragraph about these two.
  38. Above text also appears in Lund 47v.1.
  39. The translation for this paragraph is incomplete. The missing part says something like "thus trap his hand as is drawn here, step behind him, and". ~MCC
  40. Lund 57v.1 Zornhau.
  41. The first paragraph “A good attack from the Steer” is synonymous in the 1560 57v.2. Last two paragraphs here are not found there.
  42. Unclear.
  43. Found in Lund 60v.1.
  44. Abrauschen = to shoot off.
  45. The second rule omits this sentence found in the Lund, “so that your Dussack comes onto your left shoulder”, and rather Meyer says here, “lift simultaneously your body together with the Dussack to your left side”. Then the Lund synonymously says “turn your body well after your Dussack upon your left side”.
  46. These two paragraphs found in Lund 61v.1 and 62r.1; with above noted differences.
  47. The 4th rule and other paragraph synonymous with Lund 62r.2, 62r.3
  48. The Counter to the Bow is synonymous with Lund 62v.1, except that here Meyer added the target of striking besides his parry to the face, ad also changed last line to read: “This technique often works as has been shown previously in the Bow”, while in the Lund he says “This technique often works as has been shown previously in the Bow and Change.” So he omitted the word Wechsel or Changer here.
  49. It refers to the picture set at the page with the number 31.
  50. Found in Lund 63r.1 63r.2 63r.3.
  51. Above paragraph “Breaking in over the Bow” is found in Lund 63v.1. Here Meyer added schenkel (thigh), also he added another line to the next; “zum gesicht das dein versatzung hoch pleibt” The third paragraph here is not found in the Lund.
  52. First paragraph here found as last and separate para in 63v.1 Lund. Meyer changed words here on the last line of the second paragraph from hand to haft, “so that your haft remains high”.
  53. Durcken Zug = this may mean Turkish Cut. A slice using a drawing motion, usually with a curved blade.
  54. Kniebugen = crook of knee, bend of knee.
  55. These descriptions differ in wording from the Lund.
  56. Apicem id from Latin: Apex Cut or a Scalp Cut; as also used in the Lund.
  57. Possible translation of anckell: “back of head”, as the image clearly shows a strike there.
  58. Curious typographical sign.
  59. Unclear.
  60. Note: The first paragraph of Two Constrainers appears in Lund 55v.1, but it does not include second paragraph found here from left steer.
  61. This paragraph is from Lund 56r.1, but is titled there: "a Good Stuck from the Constrainer"; here Meyer calls it an “Example”.
  62. The Rose Cut's first paragraph above is found in the Lund 56r.2, but the 2nd paragraph here is not found in Lund.
  63. Feler hau description here is mostly synonymous with the Lund 50r.1, but here Meyer ends with “how it is reported in the Boch hau”, which is not found in the Lund.
  64. Synonymous with Lund 56v.3.
  65. Synonymous with Lund 57r.1.
  66. Synonymous with Lund 57r.2.
  67. Unclear.
  68. Arbeit im einlauffen from Lund 60r.2; last 3 lines do not appear in Lund. Item etc.
  69. The isolated “s” seems a mistake and not the beginning of an unfinished word.
  70. The Drivings also appear in Lund 64v.1 – 65r.1.
  71. Note this line is missing from 6th driving here, but found in Lund 65r.1: sonderlich einem starcken zum schlachtschwert, "particularly for someone who is strong with a Battlesword".
  72. Note: The handwriting appears closer together with less spacing between sentences and words, so that maybe the author had a lot to share and yet was bound to limit the page space used? Appears Crammed together more.
  73. Unclear.
  74. Unclear.
  75. This paragraph here is from Lund 76v.1.
  76. These paragraphs found in Lund 77v.1 and 78v.1. These paragraphs found in Lund Rapier prior to this poem: Drei Lauffende Stich auss dem linken Pflug von einer seitten.
  77. Paragraph found in Lund 78v.2.
  78. From Lund 79r.1.
  79. Unclear.
  80. Gleich einer Rinder = like a Rinde or Looping technique.
  81. Found in Lund 81v.2, 82r.1, and 82r.2; changed Last line of first para 81v.2, added “den undern in obern”, the lower into the upper. 82r.1 paragraph title ox and plow different: den ochsen und pflug ineinander stechen to new Den ochsen und pflug zusamen stechen. The Ox and Plow thrusting into one another, changed to Thrusting the Ox and Plow together.
  82. This paragraph found in Lund pg 81 but without para title as above and no image. Angehest changed to mogest; several other changes with word additions. Part of paragraph titled: A Deceiving.
  83. Section of translation missing. ~MCC
  84. Handwriting appears to change here, first use of umlauted a and also the lower case g are different here, overall may be a new penman. Definitely a different person's handwriting!
  85. Second and third paragraphs here are from Lund 72v.1, 72v.2 and titled there as Change.
  86. Note: This is found in Lund 73v.3.
  87. Sprungsweise translates to “by leaping” “by skipping” drei schrit = 3 steps.
  88. In the last Stuck, Meyer actually gives units of measurement i.e., 3 schrit, a shritt is an obsolete unit of measurement roughly equal to 75 cm or 29.5 inches, so that 3 schritt would equal roughly 90 inches or 7.5 feet. Meyer also uses 2 shoe lengths, and then actually uses the word Klaffter which was: “derived from the span of a man's outstretched arms and was traditionally about 1.80 meters or 5.9 feet” (Wikipedia).
  89. Unclear.
  90. Unclear.
  91. Kelen = throat, Ancken = back of neck/head.
  92. Uchsen = armpit (grimms), Koll = Head.
  93. Ancken = back of head/neck.
  94. Offenern Schulen- this word is synonymous with the Fechtschulen, “Offenen” basically means public or Open schools. See Wassmansdorff, many original examples.
  95. Genick=neck, fingerlössen=finger severing, Mauss=ball of the hand below thumb.. Schlöff=may be Swiss variation of schläfe or temple.
  96. Translation missing.
  97. Ceci fait suite à la page de gauche
  98. 98.0 98.1 98.2 orig. dolchen; all instances of "dagger" in this document are dolchen excepy when footnoted.
  99. orig. ararmschirleinn
  100. orig. stichen, "thrust"/"stab" (context dependent); instances of stabbing that use other verbs will be footnoted.
  101. orig. Armschiene - seemingly a part of the armour
  102. orig. geordinirtt
  103. orig. schießen; see here
  104. orig. findt
  105. orig. spis
  106. orig. schwertt
  107. orig. sebell
  108. 108.0 108.1 orig. kempff degen; it can mean either “combat sword” or “combat dagger” (Source 1, Source 2). See here for a painting with kempffdegen in its caption
  109. 109.0 109.1 orig. Anngreiffen; "attacking" or "grappling"; cf. angreifen
  110. orig. zimlich
  111. alt. "endure"
  112. Ittem has many potential meanings: "further", "likewise", "the same as", and also simply as a means of 'bullet-pointing' numerous items. I've found that "likewise" works as an apt translation most of the time, but for clarity I will leave it untranslated. See this article.
  113. orig. noch eines Idenn woll gefalen
  114. orig. Reren; cf. Rohre/Röhre
  115. orig. lest
  116. orig. Schranckenn
  117. orig. dringen/thringen; refers to pressing one's point into an opponent['s armour/mail], cf. modern sense of "pushing through a crowd". See this glossary for more information
  118. orig. donerschlag; a strike with the hilt of the longsword while holding the blade
  119. orig. vnnd las Inn vorverthobenn; messy ink makes it difficult to transcribe; possible alt. "and read above beforehand"
  120. A blunt strike, as opposed to a cut or slice. See here.
  121. orig. versezen; alt. "parrying"
  122. Unclear.
  123. orig. ansezen; most likely means "pinned", "planted" (in the sense of placing your weapon or hand against an opponent, in a grappling sense); alt. "attacking" (cf. modern ansetzen). See this glossary for more information
  124. orig. erlang
  125. see nachreissen
  126. 126.0 126.1 126.2 126.3 126.4 126.5 126.6 orig. stehenn; often coupled with ansezen in this section; alt. "stand against"
  127. orig. uchsen
  128. orig. Gelenck. Refers to joints in armour, but also body parts - in the context of armoured fencing, it is most likely referring to the joints in the armour
  129. orig. greifest
  130. 130.0 130.1 130.2 130.3 orig. brich
  131. orig. anbrichen
  132. 132.00 132.01 132.02 132.03 132.04 132.05 132.06 132.07 132.08 132.09 132.10 132.11 orig. stos
  133. orig. goch
  134. 134.0 134.1 134.2 134.3 134.4 134.5 134.6 orig. schlag
  135. 135.0 135.1 135.2 see absetzen
  136. orig. drissel; cf. thrissel
  137. orig. schlag dein beidt vnder dein Recht achsell. From interpretation, the word schlag here doesn't make much sense: it's possible that beidt was intended to be said or written as bindt, as in "put your grip under your right shoulder".
  138. orig. Achsell
  139. 139.0 139.1 see Ringen
  140. 140.0 140.1 see arbeiten
  141. 141.0 141.1 141.2 141.3 141.4 141.5 orig. streich, cf. schlag
  142. 142.0 142.1 142.2 142.3 142.4 142.5 142.6 142.7 orig. inndes
  143. alt. "attacks"
  144. orig. last Er dür die seitten
  145. 145.0 145.1 orig. Ring; alt. lists
  146. orig. vergesezsten
  147. 147.0 147.1 147.2 see abzucken
  148. orig. fies
  149. 149.0 149.1 see gleich
  150. unclear transcription; possibly nim, ergo "take the weight"
  151. Unclear.
  152. orig. zwerchs
  153. 153.0 153.1 orig. degen; see kempffdegen
  154. orig. hawen. A cut or slice, as opposed to a blunt strike. See see here.
  155. 155.0 155.1 155.2 orig. bickell; most likely referring to the artificial, "mason's hammer", pickaxe shape of the crossguard in armoured fencing
  156. orig. klos
  157. orig. Stuck
  158. orig. knefftiglich, interpreted as krefftiglich
  159. orig. verfelen - described earlier in 1561 as a feint whereby you wait for your opponent to react to a strike, then change the direction of the strike
  160. orig. entgehenn
  161. orig. faren/auffaren; cf. fahren
  162. originally transcribed as knefftiglich, but krefftiglich (lit. "powerfully") seems more likely, in my opinion
  163. orig. gerecht; possible mistranscription/misspelling of gemecht, lit. "groin" or "genitals"
  164. 164.0 164.1 164.2 orig. las dein bindt fahren, lit. "let your grip drive"; alt. "release your grip and drive"
  165. Possibly "hauberk"(?).
  166. 166.0 166.1 orig. ausnemen; alt. "take out [the blade with a parry]"; "deflect"(?)
  167. orig. verzoblen; cf. verzögern
  168. lit. oben hutt; contrast Oberhutt
  169. orig. heutt; possible verb form of hutt
  170. orig. überwegest
  171. 171.0 171.1 orig. schlagen. Probably means "place" in this context.
  172. orig. sez; no accompanying adposition but I assume he means ansezen
  173. listen
  174. orig. Bundtschlag, lit. "grip strike"
  175. orig. fertt
  176. orig. wie nechst
  177. orig. oder Aber fus gesicht, lit. or but foot face, possible alt. "or his foot or face"
  178. orig. wendt
  179. orig. Reüb
  180. orig. geschmidt, lit. smithed. Possibly misspelling of Geschmeidt, which means "jewellery" - perhaps slang for gemecht ("genitals)".
  181. orig. steßen
  182. orig. abgewünnen
  183. Note that he uses the word degen but seems to refer to the aforementioned "threefold" dagger, which he referred to using the word dolchen.
  184. orig. feder
  185. orig. spietzen
  186. Reference in the left margin to picture on page 61.
  187. orig. auf dz schlos am Rucken; alt. "clasp of the back"
  188. orig. Wappenrock
  189. Unclear whether die refers to the dagger or the heart, here
  190. orig. kurz halbenn; alt. "short edge"
  191. orig. concordiren
  192. This word overwrites an initial die.
  193. The first 10 lines of this paragraph are shorter of 30% than the last four, as if there is a left place here for a picture or a diagram.
  194. The second letter looks a bit like a “b” but it is nonsense. It can be also considered like a small capital “e”.
  195. The first letter corrected from “w” by cancelling the first bow of the letter.
  196. The first letter could also read as an “l", but “b” seems more probable here.
  197. The first letter corrected from “b” by overwriting.
  198. The ink is a bit blurred, particularly in the beginning of the word which results in an ambiguous reading; stucken would be more plausible in this context but does not fit with the appearance of the first couple of letters at all.
  199. The writer first wrote hawst but the “s” has been cancelled afterwards.
  200. Recte: und.
  201. The writer first wrote arms but the final “s” has been cancelled afterwards.
  202. The letter “s” has ben cancelled just before the word den.
  203. Above the letter “i” a large circle is drawn as it is used to mark the letter “u”.
  204. Doubling of the word seitten, considered as a mistake and corrected here as the first finished a line.
  205. Setzen has been written afterwards just under ver- and looks like a catchword; however, the following page does not start with the same word. It could be a mistake of the scribe.
  206. An abbreviation sign at the end of the word tends to signify that it should be expanded to hawen, but it has been cancelled.
  207. The “h” is writen above a “e”.
  208. Unclear reading. The word has been corrected, possibly from zu, which, however, cannot be definitely affirmed.
  209. The words und oder after this word are cancelled.
  210. At this place is a sign that commonly indicates a line break or an end of a paragraph. Here, however, the following text continues in the same line.
  211. The first letter appears to be a cancelled “t”; however the reading remains ambiguous.
  212. The end of this word, sicht is inserted below the line at the right, like a catchword. However, the following written page, fol. 23r, does not start with the same word. Could be a mistake by the scribe or a clue for a missing page.
  213. After this word a large circle is drawn and its only meaning seems to complete the line to the right and avoid a big default in the right alignment.
  214. The letter “d” is cancelled just before the “b” of this word.
  215. The initial letter “b” is written above another letter, maybe a “g”.
  216. This first two letters are written above the letter “k”.
  217. A letter “b” or “l” has been written after this word but has ben cancelled.
  218. The first letter seems to superscribe an initial “I”.
  219. The writer firstly wrote an “m” as a final letter and subsequently cancelled the last leg to get an “n”.
  220. The final letter “t” is written above the line, in replacement for a previously cancelled letter.
  221. This word is written above a previous one, which is unreadable now.
  222. The first letters are difficult to make out due to a (water?) damage.
  223. The first letter of this word has been written above another, now illegible one.
  224. A letter “h” was written in the second position to begin with but cancelled afterwards.
  225. The first letter is curiously composed, but seems to have been readen as a "v".
  226. The second letter has been canceled and corrected by "o" above the line.
  227. The original text is derholhalben derhalben, which seems to be an unnecessary repetition.
  228. Doubling of the word handt, a probable mistake as the first is written a the end of the line. Same mistake as 17r.
  229. Doubling of the words den andern, probable mistake, only it is conserved here.
  230. A lone letter "h" is writen here, perhaps a beginning for “hew”, which was finally written after the digit “4”. Corrected in this edition.
  231. This sentence can be found in the printed book: « und merck wann du zur rechten undern Blöß schlechst, es sey flech, lang oder kurtz » (plate XXIXv from the 1570 edition)
  232. The third letter “h” was cancelled by overwriting it with an “l”.
  233. The letter “a” is crossed out in the beginning of the word.
  234. The first letter was first written in lower case but was corrected with an upper-case letter.
  235. Unclear reading. It appears as if the scribe first intended to write “halber” but noticed his error in the middle of the word. The reverse may be true also.
  236. The "R." has been inserted at the end of the line afterwards.
  237. Right of this place a large blank space remains until the end of the line.
  238. The written put a "n" between sch and enckel and canceled it.
  239. Linck and seitten are reversed in the manuscript but superscribed with “1” and “2” respectively in order to indicate the correct order.
  240. Corrected from Im, the first stroke of the “m” has been cancelled.
  241. Spitz uber- is clearly copied twice, this is probably an eye-skip.
  242. Correction done on sticht by canceling the last letter.
  243. This entire paragraph is justified on the right by a vertical line, unique in the manuscript.
  244. Corrected on Ⅲ.47v.
  245. Corrected on Ⅲ.47v.
  246. The "st" ligature is inverted.
  247. Typo, should be "wolt, könne".
  248. Originally printed "abzutzest", but corrected on Ⅲ.47v.
  249. Originally printed "verhauren", but corrected on Ⅲ.47v.
  250. The "t" is inverted.
  251. Ⅲ.47v indicates that this was printed "erbangen" and needed to be corrected to "erlangen", but that's not true in any copy available for consult.
  252. Originally printed "mim", but corrected on Ⅲ.47v.
  253. Originally printed "Higur", but corrected on Ⅲ.47v.
  254. Originally printed "Fellen", but corrected on Ⅲ.47v.
  255. Originally printed "gem" (with an inverted g), but corrected on Ⅲ.47v.
  256. Originally printed "allo", but corrected on Ⅲ.47v.
  257. Originally printed "Atm", but corrected on Ⅲ.47v.
  258. The first 't' is inverted.
  259. Terminal 'e' is inverted.
  260. Originally printed "bleiden", but corrected on Ⅲ.47v.
  261. Originally printed "klnie", but corrected on Ⅲ.47v.
  262. Originally printed "duch", but corrected on Ⅲ.47v.
  263. The second "e" is inverted.
  264. Originally printed "fein", but corrected on Ⅲ.47v.
  265. Originally printed "behendig ich", but corrected on Ⅲ.47v.
  266. Misnumbered 87r.
  267. 267.00 267.01 267.02 267.03 267.04 267.05 267.06 267.07 267.08 267.09 267.10 267.11 267.12 267.13 267.14 267.15 267.16 267.17 267.18 267.19 267.20 267.21 267.22 267.23 267.24 267.25 267.26 267.27 267.28 267.29 267.30 267.31 indes
  268. palm up
  269. Illegible deletion.
  270. oberhauw
  271. ‘right’ is originally written, ‘left’ is written above it
  272. short edge
  273. “Degen”, lit. dagger, could either refer to a sword or dagger.
  274. short edge
  275. Unleserliche Streichung. Illegible deletion.
  276. Unleserliche gestrichen Einfügung oberhalb der Zeile. Crossed out illegible insertion above the line.
  277. Die Schlaufe des »h« trägt ein Diärese. The loop of the “h” carries a diaeresis.
  278. Korrigiert aus »mitelhauw«. Corrected from “mitelhauw”.
  279. Leicht unleserlich. Slightly illegible.
  280. Überschriebens »vom«. Overwritten “vom”.
  281. Inserted by means of a special mark.
  282. Word inserted next to the text.
  283. Inserted nest to the text.
  284. Zwei Worte am Seitenrand nachgetragen. Two words inserted at the margin.
  285. Wort am Seitenrand nachgetragen. Word inserted at the margin.