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Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund) and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var 82]] (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/1561-joachim-meyer-dedicated-a-fencing-book-to-the-pfalzgrafen-of-pfalz-veldenz-2/ 1561 Joachim Meyer dedicated a fencing book to the Pfalzgrafen of Pfalz-Veldenz]". ''Hans Talhoffer ~ as seen by Jens P. Kleinau''. 04 July 2011. Retrieved 14 February 2015.</ref> Dwarfing these works is the massive book he published in 1570 entitled "[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|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]]". 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 dussacks, and rapiers with ball tips.
 
Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the [[Joachim Meyers Fäktbok (MS A.4º.2)|MS A.4º.2]] (Lund) and the [[Fechtbuch zu Ross und zu Fuss (MS Var.82)|MS Var 82]] (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.<ref>[[Jens P. Kleinau]]. "[http://talhoffer.wordpress.com/2011/07/04/1561-joachim-meyer-dedicated-a-fencing-book-to-the-pfalzgrafen-of-pfalz-veldenz-2/ 1561 Joachim Meyer dedicated a fencing book to the Pfalzgrafen of Pfalz-Veldenz]". ''Hans Talhoffer ~ as seen by Jens P. Kleinau''. 04 July 2011. Retrieved 14 February 2015.</ref> Dwarfing these works is the massive book he published in 1570 entitled "[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|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]]". 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 dussacks, and rapiers with ball tips.
  
The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents 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 Paurñfeyndt]] (via [[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|Christian Egenolff's reprint]]) and Liechtenauer glossators [[Sigmund ain Ringeck]] and [[Jud 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).
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The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents 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 Paurñfeyndt]] (via [[Der Altenn Fechter anfengliche kunst (Christian Egenolff)|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 part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack 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.<ref>Roberts, James. "[http://www.hroarr.com/system-vs-syllabus-meyers-1560-and-1570-sidesword-texts/ System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts]". Hroarr.com, 2014. Retrieved 14 February 2015.</ref> Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,<ref>[[Roger Norling]]. "[http://hroarr.com/the-dussack/ The Dussack - a weapon of war]". Hroarr.com, 2012. Retrieved 6 October 2015.</ref> combines the old [[Messer]] teachings of [[Johannes Lecküchner]] and the dussack teachings of Andre Paurñfeyndt 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 dussack 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 second part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack 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.<ref>Roberts, James. "[http://www.hroarr.com/system-vs-syllabus-meyers-1560-and-1570-sidesword-texts/ System vs Syllabus: Meyer’s 1560 and 1570 sidesword texts]". Hroarr.com, 2014. Retrieved 14 February 2015.</ref> Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,<ref>[[Roger Norling]]. "[http://hroarr.com/the-dussack/ The Dussack - a weapon of war]". Hroarr.com, 2012. Retrieved 6 October 2015.</ref> combines the old [[Messer]] teachings of [[Johannes Lecküchner]] and the dussack teachings of Andre Paurñfeyndt 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 dussack 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.
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! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
  
 
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<p>[[File:MS A.4º.2 02v.jpg|400px|center]]</p>
 
<p>[[File:MS A.4º.2 02v.jpg|400px|center]]</p>
 
| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p>
 
| <p>'''To the Well born Lord, Duke Ottbo Count of Solms, Lord of Munzenberg and Sonnewaldt my Gracious Sir'''</p>
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| class="noline" | <p>Your Grace</p>
  
 
<p>Subserviently Willing</p>
 
<p>Subserviently Willing</p>
  
 
<p>Joachim Meyer<br/>Fencing Master</p>
 
<p>Joachim Meyer<br/>Fencing Master</p>
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! <p>{{rating|C}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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<section begin="credits1"/>
 
<section begin="credits1"/>
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p>
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| class="noline" | <p>Such input I have seen fit to make for purposes of clearer understanding, so that with this Book each onward going shall become easier to understand, thus easier to modify, and thus initially to learn, and thus I shall see such Knightly arts grow onward, and will now with the first Letter of this chapter, whose first purpose is to teach usefulness, instruct by moving on to present the Four Targets.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl=1.2vc}}
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/25|3|lbl=1.2vc}}
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p>
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| class="noline" | <p>The means to learn what follows from the Stances, Strikes, and Targets is undertaken here more easily, in that these descriptions and presentations are enough for one to flow on.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl=1.4rc}}
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/28|3|lbl=1.4rc}}
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
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| class="noline" | <p>The fourth is the Weak, through which Changing, Rushing, Slinging, and similar such will duly be used in fencing, of which in what follows there will be many examples and pieces.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=1.5rf}}
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/30|6|lbl=1.5rf}}
  
  
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p>
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| class="noline" | <p>Now much has been said about this art’s start, namely the pre-fencing against your opponent, which faces off through the Stances to the Strikes. Now the rest of the art will follow and we will move onto other parts, and in due form onto the next chapter, which is Of The Strikes.</p>
| {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/40|4|lbl=1.9vd}}
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| class="noline" | {{section|Page:Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf/40|4|lbl=1.9vd}}
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter.
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| class="noline" | What the dear reader heard only up until now, on knowing how to engage your opponent with the strikes, moving also through the middle where you will want to come further in the handwork without damage, is meanwhile however not enough without the third, which will be making a good withdrawal. Thus I will give you proper and clear direction in Withdrawing in the following chapter.
| '''[XXIIIr]''' Bißher hastu dun günstiger liber Leser nit allein gehört / auff was weis du mit den Häuwen deinen gegenpart angreiffen / sonder auch durch was mittel du im ferner in der Handtarbeit ohn dein schaden zuckommen mögest / Dieweil aber solches nit genug wo nit zum dritten ein guter abzug gemacht wirt / will ich dir in volgenden Capitel von dem abzichen rechte und klare anleitung geben.
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| class="noline" | '''[XXIIIr]''' Bißher hastu dun günstiger liber Leser nit allein gehört / auff was weis du mit den Häuwen deinen gegenpart angreiffen / sonder auch durch was mittel du im ferner in der Handtarbeit ohn dein schaden zuckommen mögest / Dieweil aber solches nit genug wo nit zum dritten ein guter abzug gemacht wirt / will ich dir in volgenden Capitel von dem abzichen rechte und klare anleitung geben.
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained.
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| class="noline" | While you will bring all this with you, in this section you will be instructed on his point, such that enough can and will be retained.
| Weil aber alle stuck solches mit sich bringen / wirstu an seinem ort so von stucken gehandelt / solches gnügsam wol können vernemmen.
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| class="noline" | Weil aber alle stuck solches mit sich bringen / wirstu an seinem ort so von stucken gehandelt / solches gnügsam wol können vernemmen.
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now.
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| class="noline" | The steps are done in three different ways, firstly backward and forward, what these are can’t be clarified much as one namely steps to or from someone. The other ones are the steps to the sides which are delineated through a triangle, namely thus: Stand in a straight line with your right foot before your opponent, and with the left behind the right step toward his left, this is the first. The second which is done double you do thus: Step as before with the right foot against his left, then follow with the left behind the right somewhat to the side to his left, and then again with the right farther to his left. The third type is the broken or stolen steps, these are accomplished thus, stand yourself as if you would step forward with your right foot, but as and when you go low, then step back with it behind the other foot. Since these are the same as described in Rapier, I will thus leave it for now.
| Der Trit aber seind drey fürneme underscheidt / Erstlich hindersich und fürsich / was diese sein darff nit vil erklerens / wann nemlich einer zu oder vom Mann trit. Zum andern seind auch trit auff die seiten / welche werden durch den Triangel abgetheilt / memlich also. Stehe auff gerater Lini mit dem rechten Fuß vor dem gegenman / und trit mit dem Lincken hinder deim Rechten / gegen seiner Lincken / und diser ist der Einfach. Der ander so doppelt gemacht helt sich also / Trit wie vor mit dem rechten Fuß gegen seiner Lincken / folg denn mit dem Lincken hinder dem Rechten gegen seiner lincken etwas zur seiten / unnd dann zum dritten mit dem Rechten wider seiner Lincken zu. Zum dritte seind die gebrochne oder verstolene Tritt / die werden also volbracht / stell dich als woltestu mit dem einen Füß vortretten / ehe und den du in aber nider setzest / so trit wider mit im hindersich zuruck hinder den andern Fuß / Diese dieweil sie eigentlich in das Rappier gehören / so will ichs daselbest hin sparen.
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| class="noline" | Der Trit aber seind drey fürneme underscheidt / Erstlich hindersich und fürsich / was diese sein darff nit vil erklerens / wann nemlich einer zu oder vom Mann trit. Zum andern seind auch trit auff die seiten / welche werden durch den Triangel abgetheilt / memlich also. Stehe auff gerater Lini mit dem rechten Fuß vor dem gegenman / und trit mit dem Lincken hinder deim Rechten / gegen seiner Lincken / und diser ist der Einfach. Der ander so doppelt gemacht helt sich also / Trit wie vor mit dem rechten Fuß gegen seiner Lincken / folg denn mit dem Lincken hinder dem Rechten gegen seiner lincken etwas zur seiten / unnd dann zum dritten mit dem Rechten wider seiner Lincken zu. Zum dritte seind die gebrochne oder verstolene Tritt / die werden also volbracht / stell dich als woltestu mit dem einen Füß vortretten / ehe und den du in aber nider setzest / so trit wider mit im hindersich zuruck hinder den andern Fuß / Diese dieweil sie eigentlich in das Rappier gehören / so will ichs daselbest hin sparen.
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted.
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| class="noline" | The expression “Intus” and what it means I will let remain Latin, however the expression “Indes” (Just As) is a good German expression and has in itself an important meaning to handy application, that one always and quickly take care, as in when you at first slash to the left, to then at the same time observe the opening to the right, then thirdly on to make sure that you attain the observed opening, where or with what actions you want to come unto it, that you don’t then make openings for your opponent and take damage. Thus retain the meaning of “Just As” so that you observe sharply, which can be much observing and undertaking, also seek to learn faking to your opponent sufficiently, since he needs to have senses in his part, and similarly what Openings you will bring, and where you will be open. Then in all these things to which the expression “Just As” has meaning, stands the whole art of fencing (as Liechtenauer said) and where you don’t undertake such to carefully and securely drive all strikes, will you advance lightly to your damage, as then all fencers will observe, which one thus overpowers and (as one said) tops out and nullifies as wanted.
| Das wörtlein Intus was es bedeutet laß ich den Latinis bleiben / aber das wörtlein Indes ist ein gut Teutsch wörtlein / un hat in sich ein ernstliche vermanung zu behender bedechtlichkeit / das einer alweg und geschwindt besonnen sey / als wan du erstlich in dem du zur Lincken schlechst / zum andern auch zugleich mit zur Rechten die Blös sehest / Denn zum dreitten ebenso wol warnemest so du der ersehenen Blöß zueiles / wo oder mit was stucken man dir zukommen möge / auff das du dich nicht an deines widerparts Blösse vergreiffest / und des schaden nemest. Also ermanet dich das wörtlein Indes / das du ein scharpff gesicht habest / welches zumal vil ersehen und warnemen / auch an deines gegenmans geberde gnugsam erlernen mögest / was für stuck er zu gebrauchen im sinn habe / und was dieselbige für Blösse mit sich bringen / und wo sie sich eröffnen werden. Dann in disen dingen allen welcher dich das wörtlein Indes ermanet / stehetalle kunst des Fechten (wie Lichtenawer sagt) unnd wo du solches nit warnimst / bedacht und fürsichtig alle Häuw führest / wirst leichtlich zu deinem schaden anlauffen / wie dann an allen Fechteren zusehen / welche einen also uberpolderen und (wie man sagt) oben aus und nirgent an wollen.
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| class="noline" | Das wörtlein Intus was es bedeutet laß ich den Latinis bleiben / aber das wörtlein Indes ist ein gut Teutsch wörtlein / un hat in sich ein ernstliche vermanung zu behender bedechtlichkeit / das einer alweg und geschwindt besonnen sey / als wan du erstlich in dem du zur Lincken schlechst / zum andern auch zugleich mit zur Rechten die Blös sehest / Denn zum dreitten ebenso wol warnemest so du der ersehenen Blöß zueiles / wo oder mit was stucken man dir zukommen möge / auff das du dich nicht an deines widerparts Blösse vergreiffest / und des schaden nemest. Also ermanet dich das wörtlein Indes / das du ein scharpff gesicht habest / welches zumal vil ersehen und warnemen / auch an deines gegenmans geberde gnugsam erlernen mögest / was für stuck er zu gebrauchen im sinn habe / und was dieselbige für Blösse mit sich bringen / und wo sie sich eröffnen werden. Dann in disen dingen allen welcher dich das wörtlein Indes ermanet / stehetalle kunst des Fechten (wie Lichtenawer sagt) unnd wo du solches nit warnimst / bedacht und fürsichtig alle Häuw führest / wirst leichtlich zu deinem schaden anlauffen / wie dann an allen Fechteren zusehen / welche einen also uberpolderen und (wie man sagt) oben aus und nirgent an wollen.
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack, Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence.
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| class="noline" | In the pre-fencing come into the right Changer, pay attention that as soon as his sword shows bearing to strike, then before him nimbly strike through above you, and strike with a Traverse from your right at the same time as his, in the strike step on to his left side, if he drives his strike directly at your head, then hit with your Traverse to his left ear, however mark that he doesn’t strike straight to your head by winding his strike with the long edge against your Traverse in the displacement, thus pull the strike with a long Traverse nimbly to his right ear, step just then with your left foot to his right, now you have attacked out of the change with two traverse strikes to each side over against the other. This you take now from the first part to this attack, Forward you will step on to Middle work, then bring yourself to the other part thus, if he slashes from your sword over to the other side, then move after him with a cut against his arm, hit with the strong of your blade, or with your hilt in a jerk away from you, just as he still threatens from the thrust, and still has not yet reached you, then drive to rush out with crossed arms and slash him with the short edge over his right arm to his head; and so that when he reaches you from the thrust, but where he stops you and sweeps away through displacing, then let your sword fly off again, and traverse to his left ear while you step away with your left foot; or where he doesn’t go off or slash around, but stays with the cut or long edge outward, then loop your sword so that your half edge comes at his, ride his sword thus on your right side, but just then let it clip off into the air, so that your hands come together again crosswise high over your head, to then slash him as before, as he reaches from the ride with the short edge over his head, step back following with the left foot, and strike a high traversing middle strike with the long edge from your right to his half, and just as it glides, then pull off to your right with a high strike. Thus you see now how there’s always one part after the other, the application and ordering through must be conceived and executed together, which makes up an entire part of Fencing. Lastly mark here also that the entire engagement can be completed in two or three strikes, where you rush to engage in the first strike, and with the second strike off again and in this strike commit either to the first or last meeting, which needs to be undertaken correctly, or you will lead on there to a third strike. Namely engage with the first, follow after with a second, but when the proper time such must be shown, that you have something worth saying, then mark how one speaks such that you will learn yourself, after which you will learn all other parts in fencing and here on retain your lessons with diligence.
| Im zufechten komm in rechten Wechsel / hab acht so bald er sein Schwerdt auffzeucht zum streich / so streich behend vor jm ubersich durch / und Hauw mit einer Zwirch von deiner Rechten zugleich mit jhm eyn / im Hauw trit wol auff sein Lincke seiten / fehrt er mit seinem Hauw gerad zu deinem Kopff / so triffestu jhm mit der Zwirch an sein linkc Ohr / merckest du aber das er nit gerad zu deinem Kopff Hauwet / sonder verwendt sein Hauw mit Langer schneidt gegen deiner Zwirch zur versatzung / so Hauwe ehe es rürt mit langer Zwirch / behend zu seinem Rechten ohr / trit Indes mit deinem lincken Fus wol umb zu seiner Rechten / jetz hastu angriffen aus dem Wechsel mit zweyen Zwirchhäuwen / zu beiden seiten gegen einander uber. Diß nimstu nun aus dem ersten theil / zu disem angriff / Ferner wiltu zur Mittelarbeit tretten / so hilfft dir das ander '''[XXVIv]''' theil also / schlecht er von deinem Schwerdt umb zur andern seiten / so reiß jhm nach mit dem Schnit auff sein Arm / truck jhn mit der sterck deiner klingen / oder mit deinem Schilt in einem ruck von dir / in dem er vom stoß noch dammelt / und sich noch nit erholet hat / so fahr in eil also mit gekreuzigten armen auff / und schlag jhn mit kurtzer schneidt uber seim rechten Arm auff sein Kopff / und solches wie bemelt ehe er sich vom stoß erholet / wo er sich aber erhielte unnd zur versatzung auffwischte / so laß dein Schwerdt wider abfliegen / unnd zwirch mit einem abtrit deines lincken Fuß zu seinem Lincken ohr / oder wo er nit abgehet oder umbschlecht / sonder bleibt mit dem Schnit oder Langer Schneid darauff / so verkehr dein Schwerdt das dein halb schneidan sein komme / riß jhm also sein Schwerdt auß auff dein Rechte seiten / in dessen aber laß in der lufft umbschnappen / damit deine hende hohe uber dein haupt wider kreutzweiß zusamen kommen / als dann schlag jhn wie vor / ehe er sich vom riß erholet mit kurtzer schneid auff sein Kopff / volgendt trit mit dem Lincken fuß zu ruck / und Hauw ein uberzwerchen Mittelhauw / mit Langer schneiden von deiner Rechten zu seinem halß / und in dem es glützt / so ziehe zu seiner Rechten mit hohen streichen ab. Also sihestu nun wie jmmer ein stuck nach dem andern / der gelegenheit und notturft nach muß gebraucht und zusamen gesetzt werden / biß das ein gantz Fechtstuck gemacht werde. Hie merck aber letzlichen / das auch gantze stuck nur mit zweyen oder dreyen streichen können vollendt werden / als da du mit dem ersten streich in eil angreiffst / und mit dem andern wider abhauwest / und in disen streichen entweders mit dem ersten oder letzten triffst / mit welchen es am füglichsten mag beschehen / oder da du es mit dreien Häwen volfürest / mit dem ersten nemlich angreiffst / den andern nachfolgest / wenn aber / und zu welcher gelegner zeit solches muß beschehen / ist hie on not davon zu sagen / der Marck wie man spricht / wirt dich solches selbst wol leren / nach dem du alle andere Fechtstuck hierin begriffen mit fleiß erlernest.
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| class="noline" | Im zufechten komm in rechten Wechsel / hab acht so bald er sein Schwerdt auffzeucht zum streich / so streich behend vor jm ubersich durch / und Hauw mit einer Zwirch von deiner Rechten zugleich mit jhm eyn / im Hauw trit wol auff sein Lincke seiten / fehrt er mit seinem Hauw gerad zu deinem Kopff / so triffestu jhm mit der Zwirch an sein linkc Ohr / merckest du aber das er nit gerad zu deinem Kopff Hauwet / sonder verwendt sein Hauw mit Langer schneidt gegen deiner Zwirch zur versatzung / so Hauwe ehe es rürt mit langer Zwirch / behend zu seinem Rechten ohr / trit Indes mit deinem lincken Fus wol umb zu seiner Rechten / jetz hastu angriffen aus dem Wechsel mit zweyen Zwirchhäuwen / zu beiden seiten gegen einander uber. Diß nimstu nun aus dem ersten theil / zu disem angriff / Ferner wiltu zur Mittelarbeit tretten / so hilfft dir das ander '''[XXVIv]''' theil also / schlecht er von deinem Schwerdt umb zur andern seiten / so reiß jhm nach mit dem Schnit auff sein Arm / truck jhn mit der sterck deiner klingen / oder mit deinem Schilt in einem ruck von dir / in dem er vom stoß noch dammelt / und sich noch nit erholet hat / so fahr in eil also mit gekreuzigten armen auff / und schlag jhn mit kurtzer schneidt uber seim rechten Arm auff sein Kopff / und solches wie bemelt ehe er sich vom stoß erholet / wo er sich aber erhielte unnd zur versatzung auffwischte / so laß dein Schwerdt wider abfliegen / unnd zwirch mit einem abtrit deines lincken Fuß zu seinem Lincken ohr / oder wo er nit abgehet oder umbschlecht / sonder bleibt mit dem Schnit oder Langer Schneid darauff / so verkehr dein Schwerdt das dein halb schneidan sein komme / riß jhm also sein Schwerdt auß auff dein Rechte seiten / in dessen aber laß in der lufft umbschnappen / damit deine hende hohe uber dein haupt wider kreutzweiß zusamen kommen / als dann schlag jhn wie vor / ehe er sich vom riß erholet mit kurtzer schneid auff sein Kopff / volgendt trit mit dem Lincken fuß zu ruck / und Hauw ein uberzwerchen Mittelhauw / mit Langer schneiden von deiner Rechten zu seinem halß / und in dem es glützt / so ziehe zu seiner Rechten mit hohen streichen ab. Also sihestu nun wie jmmer ein stuck nach dem andern / der gelegenheit und notturft nach muß gebraucht und zusamen gesetzt werden / biß das ein gantz Fechtstuck gemacht werde. Hie merck aber letzlichen / das auch gantze stuck nur mit zweyen oder dreyen streichen können vollendt werden / als da du mit dem ersten streich in eil angreiffst / und mit dem andern wider abhauwest / und in disen streichen entweders mit dem ersten oder letzten triffst / mit welchen es am füglichsten mag beschehen / oder da du es mit dreien Häwen volfürest / mit dem ersten nemlich angreiffst / den andern nachfolgest / wenn aber / und zu welcher gelegner zeit solches muß beschehen / ist hie on not davon zu sagen / der Marck wie man spricht / wirt dich solches selbst wol leren / nach dem du alle andere Fechtstuck hierin begriffen mit fleiß erlernest.
  
 
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! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
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| Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.
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| class="noline" | Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.
| Also verstehstu nun das das dritte stuck im Fechten davon oben gemelt nichts anders ist / dann [XXXv] ein rechte Practick / der zwey ersten Hauptstuck im Fechten / durch welche Practick gelehrt wirt / wie du solche nach zufelliger gelegenheit / nemlich im ersten Hauptstuck die Leger unnd Häuw verwandlen / ablauffen durchwechseln verfliegen unnd fehlen lasset / damit dem versetzer unnd abtrager solche Häuw entführet werden / desgleichen im andern Hauptstuck des versetzens / lert dich die Practick wie du jm deine versatzung entzuckest / jhm nachreisest / schnidest / truckest etc. Damit du jhn auch umb seine häuw das er die vergebens / oder auff das wenigest zu seinem fürgenomen ziel nicht volführe noch ende. Und ist das die summa aller Practick / nemlich das du erstlich deinen gegen gegenfechter durch die Leger / mit dem hauwen manliche unnd ohn schaden / zu seinem nachtheil / mit was listigkeit unnd behender verführung das geschehen kann / angreiffest / unnd nach dem du jhn als dann angriffen / jhne ferner mit obligender oder gleicher handtarbeit jhn also trengest / auff das du demnach zum dritten sicher nach deinem gefallen eintweders abziehest / oder wo er dir weichen müste / du jhm fürsichtig nach folgest / wie ferner aber solche Practick sich erstrecke und auff wie vilerley arth dieselbigen beide in den namen und im Fechten gebraucht werden / findestu hievor im Capitel von der handtarbeit weitleuffiger beschriben / will derwegen nun fürter das Fechten aus den Legern zu beschreiben furt fahren.
+
| class="noline" | Also verstehstu nun das das dritte stuck im Fechten davon oben gemelt nichts anders ist / dann [XXXv] ein rechte Practick / der zwey ersten Hauptstuck im Fechten / durch welche Practick gelehrt wirt / wie du solche nach zufelliger gelegenheit / nemlich im ersten Hauptstuck die Leger unnd Häuw verwandlen / ablauffen durchwechseln verfliegen unnd fehlen lasset / damit dem versetzer unnd abtrager solche Häuw entführet werden / desgleichen im andern Hauptstuck des versetzens / lert dich die Practick wie du jm deine versatzung entzuckest / jhm nachreisest / schnidest / truckest etc. Damit du jhn auch umb seine häuw das er die vergebens / oder auff das wenigest zu seinem fürgenomen ziel nicht volführe noch ende. Und ist das die summa aller Practick / nemlich das du erstlich deinen gegen gegenfechter durch die Leger / mit dem hauwen manliche unnd ohn schaden / zu seinem nachtheil / mit was listigkeit unnd behender verführung das geschehen kann / angreiffest / unnd nach dem du jhn als dann angriffen / jhne ferner mit obligender oder gleicher handtarbeit jhn also trengest / auff das du demnach zum dritten sicher nach deinem gefallen eintweders abziehest / oder wo er dir weichen müste / du jhm fürsichtig nach folgest / wie ferner aber solche Practick sich erstrecke und auff wie vilerley arth dieselbigen beide in den namen und im Fechten gebraucht werden / findestu hievor im Capitel von der handtarbeit weitleuffiger beschriben / will derwegen nun fürter das Fechten aus den Legern zu beschreiben furt fahren.
  
 
|}
 
|}
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  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>{{rating|C|Draft Translation (from the 1570)}}<br/>by [[Mike Rasmusson]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
Line 1,735: Line 1,735:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| Also bistu nun bißher in disen ersten und andern theils disses Schwerdt fechtens / eigentlichen underrichtet worden / beide von des Manns und denn auch von des Schwerdts theilung / folgents vom zufechten / Mittelarbeiten und Abziehen / neben andern notwendigen stucken und lehren / sampt den Exempeln im andern theil so aus dem ersten gezogen / was ferner andere hie zu notwendige stuck belanget / wirstu im folgenden Buch vom Schwerdt fechten gnugsam bescheidt finden / sovil ich dißmal zuschreiben für hab.
+
| class="noline" | Also bistu nun bißher in disen ersten und andern theils disses Schwerdt fechtens / eigentlichen underrichtet worden / beide von des Manns und denn auch von des Schwerdts theilung / folgents vom zufechten / Mittelarbeiten und Abziehen / neben andern notwendigen stucken und lehren / sampt den Exempeln im andern theil so aus dem ersten gezogen / was ferner andere hie zu notwendige stuck belanget / wirstu im folgenden Buch vom Schwerdt fechten gnugsam bescheidt finden / sovil ich dißmal zuschreiben für hab.
  
 
|}
 
|}
 
{{master subsection end}}
 
{{master subsection end}}
  
<p style="width:100%;">The long sword material in the [[Joachim Meyers Fäktbok (MS A.4º.2)|Lund manuscript]] closely mirrors the "Third Part" of Meyer's ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der Kunst des Fechtens]]'', so they are both included in the compilation below. Though the current translation is based on the Lund, when possible we will expand it with a full translation of both, footnoting the differences.</p>
+
<p style="width:100%;">The long sword material in the [[Joachim Meyers Fäktbok (MS A.4º.2)|Lund manuscript]] closely mirrors the "Third Part" of Meyer's ''[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|Gründtliche Beschreibung der Kunst des Fechtens]]'', so they are both included in the compilation below. Though the current translation is based on the Lund, in the future we will expand it with a full translation of both, footnoting the differences.</p>
  
 
{{master subsection begin
 
{{master subsection begin
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  | width = 120em
 
  | width = 120em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p>
 
! <p>{{rating|B|Complete Translation (from the Lund)}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
Line 1,868: Line 1,868:
 
Nach dem ich guthertziger Leser bewilliget / disen meinen Fecht zedel welchen ich auß rechtem grunde der Alten zusamen gesetzt / gebessert un in ein rechte ordnung gebracht / hab ich den (damit meniglich dester mehr nutz darauß haben möcht) durch vil schöner und geschwinder stuck und Exempel auch etwas zu erkleren / unnd den zu verstehn ein kleine anleitung geben wollen / dan sie dermassen reich von stucken / un aller hand geschwindigkeit / also das wo du sie nach solcher anleitung erwigest / jhe lenger ihe mehr stuck hierauß erlernen wirst können / dan das die Reimen ohn außlegung nicht vil nutzen / ist offenbar an andern außgangenen Fechtbüchlein / und solt aber wissen das der erste theil solcher Reimen in meinem bishergelehrten Fechten gnugsam erklärt / derwegen an disem meinen anhab nemen / also.  
 
Nach dem ich guthertziger Leser bewilliget / disen meinen Fecht zedel welchen ich auß rechtem grunde der Alten zusamen gesetzt / gebessert un in ein rechte ordnung gebracht / hab ich den (damit meniglich dester mehr nutz darauß haben möcht) durch vil schöner und geschwinder stuck und Exempel auch etwas zu erkleren / unnd den zu verstehn ein kleine anleitung geben wollen / dan sie dermassen reich von stucken / un aller hand geschwindigkeit / also das wo du sie nach solcher anleitung erwigest / jhe lenger ihe mehr stuck hierauß erlernen wirst können / dan das die Reimen ohn außlegung nicht vil nutzen / ist offenbar an andern außgangenen Fechtbüchlein / und solt aber wissen das der erste theil solcher Reimen in meinem bishergelehrten Fechten gnugsam erklärt / derwegen an disem meinen anhab nemen / also.  
 
|  
 
|  
 +
 +
  
 
|-  
 
|-  
 
|  
 
|  
| '''Follow the Sword Zedel'''
+
| '''Sword Fencing'''
  
'''The Four Main guards'''
+
Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. In the Sword this is namely attacking, followed by the withdrawal or other than to the first to reach it, send your attacks through the Guards and Hew 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. Onwards to the last, or the withdrawal, how orderly each one will hereafter be diligently written and taught.
 
 
From the Roof, Fool, Ox, Plow
 
 
|  
 
|  
 
|  
 
|  
Line 1,881: Line 1,881:
 
|-  
 
|-  
 
|  
 
|  
| '''The Eight Secondary Guards'''
+
| Secondly one should note the Vor and Nach (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 close, and how he defends before your Stücken and these same would like to break and bar, with this, he runs off the Vor to you.
 
 
Long-point, Iron-door, Hanging Point, Speak-window, Key, Side Guard, Barrier Guard, Wrath Guard
 
 
|  
 
|  
 
|  
 
|  
Line 1,889: Line 1,887:
 
|-  
 
|-  
 
|  
 
|  
| '''The Five Master-Cuts'''
+
| The after is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond Indes quickly with convenient work, with this, you are strongest on his Stücken, when you lay on with your work in the Vor, and in this you are crowded so that you must displace him after, thus is a constant changing with the Vor and Nach, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.
 
 
Wrath Cut, Crooked cut, Thwart Cut, Squinter cut, Scalper
 
 
|  
 
|  
 
|  
 
|  
Line 1,897: Line 1,893:
 
|-  
 
|-  
 
|  
 
|  
| '''The Six Covert Cuts'''
+
| '''Divisions of the sword to the Weak and Strong'''
  
Blinding cut, Bouncing cut, Short cut, Knuckle cut, Clashing cut, Wind cut
+
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 furthermore is the sword divided in four parts how the figure below this shows.
 
|  
 
|  
 
|  
 
|  
Line 1,905: Line 1,901:
 
|-  
 
|-  
 
|  
 
|  
| '''Handworks in the Sword'''
+
| 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.
 
 
Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing
 
 
|  
 
|  
 
|  
 
|  
Line 1,913: Line 1,907:
 
|-  
 
|-  
 
|  
 
|  
| '''From the Four Openings and Divisions'''
+
| '''Hard and Soft'''
  
Firstly will the opponent be divided in two sections, namely left and Right, how the Lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow.
+
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.
 
|  
 
|  
 
|  
 
|  
Line 1,921: Line 1,915:
 
|-  
 
|-  
 
|  
 
|  
| Whose use should one should thus firstly note, in which division he leads his sword under or above, to the right or the Left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:
+
| Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen. With this however the Sword fencing and the following written stuck is more understandable thus as I explain my Zedel according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.
 
|  
 
|  
 
|  
 
|  
Line 1,927: Line 1,921:
 
|-  
 
|-  
 
|  
 
|  
| In Zufechten, thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath-guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands.
+
| '''Follow the Sword Zedel'''
 +
 
 +
'''The Four Main guards'''
 +
 
 +
From the Roof, Fool, Ox, Plow
 
|  
 
|  
 
|  
 
|  
Line 1,933: Line 1,931:
 
|-  
 
|-  
 
|  
 
|  
| '''Sword Fencing'''
+
| '''The Eight Secondary Guards'''
  
Firstly will each one of the actions in Fencing be divided into three parts which are particularly good to note. In the Sword this is namely attacking, followed by the withdrawal or other than to the first to reach it, send your attacks through the Guards and Hew 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. Onwards to the last, or the withdrawal, how orderly each one will hereafter be diligently written and taught.
+
Long-point, Iron-door, Hanging Point, Speak-window, Key, Side Guard, Barrier Guard, Wrath Guard
 
|  
 
|  
 
|  
 
|  
Line 1,941: Line 1,939:
 
|-  
 
|-  
 
|  
 
|  
| Secondly one should note the Vor and Nach (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 close, and how he defends before your Stücken and these same would like to break and bar, with this, he runs off the Vor to you.
+
| '''The Five Master-Cuts'''
 +
 
 +
Wrath Cut, Crooked cut, Thwart Cut, Squinter cut, Scalper
 
|  
 
|  
 
|  
 
|  
Line 1,947: Line 1,947:
 
|-  
 
|-  
 
|  
 
|  
| The after is, when you have been rushed upon by your opponent how it is reported next and above. Thus you should respond Indes quickly with convenient work, with this, you are strongest on his Stücken, when you lay on with your work in the Vor, and in this you are crowded so that you must displace him after, thus is a constant changing with the Vor and Nach, now you have it, then he does, But he who does not pay attention to it, he will nonetheless never learn to fence.
+
| '''The Six Covert Cuts'''
 +
 
 +
Blinding cut, Bouncing cut, Short cut, Knuckle cut, Clashing cut, Wind cut
 
|  
 
|  
 
|  
 
|  
Line 1,953: Line 1,955:
 
|-  
 
|-  
 
|  
 
|  
| '''Divisions of the sword to the Weak and Strong'''
+
| '''Handworks in the Sword'''
  
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 furthermore is the sword divided in four parts how the figure below this shows.
+
Bind On, Remain, Cut, Strike Around, Travel After, Snap Around, Run Off, Doubling, Leading, Flying, Feeling, Circle, Looping, Winding, Winding Through, Reverse, Change Through, Run over, Set Off, Cut Off, Pull, Hand Press, Displace, Hanging, Blocking, Barring, Travel out, Grab over, Weak pushing
 
|  
 
|  
 
|  
 
|  
Line 1,961: Line 1,963:
 
|-  
 
|-  
 
|  
 
|  
| 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.
+
| '''From the Four Openings and Divisions'''
 +
 
 +
Firstly will the opponent be divided in two sections, namely left and Right, how the Lines in the figure above is shown, thereafter in two more divisions namely under and over, the above two openings would be the Ox, to divide the under two, the Plow.
 
|  
 
|  
 
|  
 
|  
Line 1,967: Line 1,971:
 
|-  
 
|-  
 
|  
 
|  
| '''Hard and Soft'''
+
| Whose use should one should thus firstly note, in which division he leads his sword under or above, to the right or the Left/ when you have seen that, thus attack against him at once from above, it is about the location, otherwise, take a general example of this:
 
 
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.
 
 
|  
 
|  
 
|  
 
|  
Line 1,975: Line 1,977:
 
|-  
 
|-  
 
|  
 
|  
| Item If he is yet again, strong or weak, and is usually more watchful of the weak binding before the strong, how hereafter in the fencing it can be seen. With this however the Sword fencing and the following written stuck is more understandable thus as I explain my Zedel according to the rules, as I want the words to have understanding so I have named the order; the Beginning, Middle and End.
+
| In Zufechten, thus both of you have come together, and you see that he leads his sword to his right in the high opening, in Ox or Wrath-guard, thus attack in to his lower left opening, if not, then it is much more important that you provoke him to meet you. As soon as this clashes, or will, thus pull around your head and strike him high to the opening from which he came. This is namely to his right ear, with the half edge and crossed hands. This is the correct Squinter cut.
 
|  
 
|  
 
|  
 
|  
Line 1,981: Line 1,983:
 
|-  
 
|-  
 
|  
 
|  
| '''This is the correct Squinter cut.'''
+
| '''Another'''
 
 
'''Another'''
 
  
 
Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity.
 
Thus when one holds his Sword to the left in Zufechten, then go through before him from your right and hew with strength to his right, as soon as he swipes after to the strike thus pull a looping to the left opening, if he swipes after this, however, thus allow it to fly around again, thus drive each opening to the other, crosswise and against one another after your opportunity.
Line 2,938: Line 2,938:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
|  
+
| class="noline" |  
| '''Ende des Schwerdts.'''
+
| class="noline" | '''Ende des Schwerdts.'''
 
'''Ordentliche'''
 
'''Ordentliche'''
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 2,956: Line 2,956:
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
Line 3,432: Line 3,432:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can Break the Guards and Strikes. E.</p>
+
| class="noline" | <p>Diligently cut the strikes once or more, one after another always through a line, twice namely once from above and again from below with the short edge, thus with this changing you can Break the Guards and Strikes. E.</p>
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 3,443: Line 3,443:
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating}}</p>
 
! <p>{{rating}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
Line 3,515: Line 3,515:
  
 
|-  
 
|-  
| [[File:Meyer 1570 Dussack P.png|400px|center]]
+
| class="noline" | [[File:Meyer 1570 Dussack P.png|400px|center]]
|
+
| class="noline" |  
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 3,532: Line 3,532:
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>{{rating|B}}<br/>by [[Kevin Maurer]]</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
 
! <p>[[Joachim Meyers Fäktbok (MS A.4º.2)|Lund Transcription]]{{edit index|Joachim Meyers Fäktbok (MS A.4º.2)}}</p>
Line 4,028: Line 4,028:
  
 
|-  
 
|-  
|  
+
| class="noline" |  
| <p>Item hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p>
+
| class="noline" | <p>Item hold you cloak long and when he cuts at you, thus strike with the cape around his blade and spring to him with striking. Thus you yourself will fight.</p>
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 4,039: Line 4,039:
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-  
 
|-  
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating}}</p>
 
! <p>{{rating}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
 
! <p>[[Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meyer)|1570 Transcription]]{{edit index|Gründtliche Beschreibung der Kunst des Fechtens (Joachim Meÿer) 1570.pdf}}</p>
Line 4,101: Line 4,101:
  
 
|-  
 
|-  
| [[File:Meyer 1570 Portrait 3.png|400px|center]]
+
| class="noline" | [[File:Meyer 1570 Portrait 3.png|400px|center]]
|  
+
| class="noline" |  
|  
+
| class="noline" |  
  
 
|}
 
|}
Line 4,112: Line 4,112:
 
  | width = 90em
 
  | width = 90em
 
}}
 
}}
{| class="floated master"
+
{| class="master"
 
|-
 
|-
! <p>Images</p>
+
! <p>Figures</p>
 
! <p>{{rating|C}}<br/>by [[Thomas Carrillo]]</p>
 
! <p>{{rating|C}}<br/>by [[Thomas Carrillo]]</p>
 
! <p>[[Fechtbuch zu Ross und zu Fuss (MS Var.82)|Rostock Transcription]]{{edit index|Fechtbuch zu Ross und zu Fuss (MS Var.82)}}<br/>by [[Dierk Hagedorn]]</p>
 
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Revision as of 23:16, 14 October 2020

Joachim Meyer
Born ca. 1537
Basel, Germany
Died 24 February 1571 (aged 34)
Schwerin, Germany
Spouse(s) Appolonia Ruhlman
Occupation
Citizenship Strasbourg
Patron
  • Johann Albrecht (?)
  • Johann Casimir
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 Freifechter and fencing master. He was the last major figure in the tradition of the German grand master Johannes Liechtenauer, and in the last years of his life he devised at least three 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 the Italian school of side sword fencing.[2] In addition to his fencing practice, Meyer was a Burgher and a master cutler.[3]

Meyer was born in Basel,[4] 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.[5]

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 petitioned the City Council of Strasbourg for the right to hold a Fechtschule (fencing competition). He would repeat this in 1563, 1566, 1567 and 1568;[6] the 1568 petition is the first extant record in which he identifies himself as a fencing master.

Meyer probably wrote his first manuscript (MS A.4º.2) in either 1560 or 1568 for Otto Count von Sulms, Minzenberg, and Sonnenwaldt.[7] Its contents seem to be a series of lessons on training with long sword, dussack, and rapier. His second manuscript (MS Var.82), written between 1563 and 1570 for Heinrich Graf von Eberst, 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 (and soon thereafter published) an enormous multi-weapon treatise entitled Gründtliche Beschreibung der Kunst des Fechtens ("A Thorough Description of the Art of Combat"); it was dedicated to Johann Casimir, Count Palatine of the Rhine, and illustrated at the workshop of Tobias Stimmer.[8]

Unfortunately, Meyer's writing and publication efforts incurred significant debts (about 1300 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.[6]

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]

Treatises

Joachim Meyer's writings are preserved in two manuscripts prepared in the 1560s, the MS A.4º.2 (Lund) and the MS Var 82 (Rostock); a third manuscript from 1561 has been lost since at least the mid-20th century, and its contents are unknown.[11] Dwarfing these works is the massive book he published in 1570 entitled "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". 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 dussacks, and rapiers with ball tips.

The first part of Meyer's treatise is devoted to the long sword (the sword in two hands), which he presents 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 Paurñfeyndt (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 part of Meyer's treatises is designed to address new weapons gaining traction in German lands, the dussack 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.[12] Meyer's dussack system, designed for the broad proto-sabers that spread into German lands from Eastern Europe in the 16th century,[13] combines the old Messer teachings of Johannes Lecküchner and the dussack teachings of Andre Paurñfeyndt 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 dussack 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 part of Meyer's treatise only appears in his published book and covers dagger, wrestling, and various pole weapons. His dagger teachings, designed primarily for urban self-defense, seem to be based in part on the writings of Bolognese master Achille Marozzo[14] and the anonymous teachings in Egenolff, 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 Paurñfeyndt, 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.