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Difference between revisions of "Nicolaüs"

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Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of the other branches together. The structure and contents of this branch very closely align with Branch B, lacking most of the unique plays of Branch A and including the gloss of the short sword, but the actual text is more consistent with that of Branch A (though not identical). The other substantial copy of Branch C is the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg version II]] (1553), which was created by Paulus Hector Mair based on the writings of [[Antonius Rast]], and which segues into the text of [[Ringeck]]'s gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm Hutter]]; one of these, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533) assigns the text a much earlier origin, stating that it was devised by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.
 
Branch C is first attested in the [[Paulus Kal Fechtbuch (MS KK5126)|Vienna version]] (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of the other branches together. The structure and contents of this branch very closely align with Branch B, lacking most of the unique plays of Branch A and including the gloss of the short sword, but the actual text is more consistent with that of Branch A (though not identical). The other substantial copy of Branch C is the [[Rast Fechtbuch (Reichsstadt "Schätze" Nr. 82)|Augsburg version II]] (1553), which was created by Paulus Hector Mair based on the writings of [[Antonius Rast]], and which segues into the text of [[Ringeck]]'s gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of [[Jörg Wilhalm Hutter]]; one of these, [[Gregor Erhart Fechtbuch (MS E.1939.65.354)|Glasgow II]] (1533) assigns the text a much earlier origin, stating that it was devised by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.
  
== Treatise ==
+
--~ [[user:Michael Chidester|Michael Chidester]] <sup>([[user talk:Michael Chidester|Contact]])</sup> 22:50, 21 February 2020 (UTC)== Treatise ==
  
 
While all branches were originally presented in a single concordance in the [[pseudo-Peter von Danzig]] article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of [[Jud Lew]], Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.
 
While all branches were originally presented in a single concordance in the [[pseudo-Peter von Danzig]] article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of [[Jud Lew]], Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.
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<section end="credits"/>
 
<section end="credits"/>
 
|-  
 
|-  
| <p><ref name="cgm3712">In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref>Descending cut<br/>
+
| <p>[A]<ref name="cgm3712">In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.</ref> Descending cut<br/>Wrathcut<br/>Wrathpoint<br/>The Warcut<br/>The Four openings<br/>Crooked cut<br/>Cross cut<br/>Ox and plow<br/>Cockeyed cut<br/>Hair cut<br/>The Four positions<br/>The Four parries<br/>The Racing behind<br/>Overrunning<br/>Displacing<br/>Cutting off<br/>Two Hangers<br/>The Speaking window<br/>The Crown</p>
Wrathcut<br/>
 
Wrathpoint<br/>
 
The Warcut<br/>
 
The Four openings<br/>
 
Crooked cut<br/>
 
Cross cut<br/>
 
Ox and plow<br/>
 
Cockeyed cut<br/>
 
Hair cut<br/>
 
The Four positions<br/>
 
The Four parries<br/>
 
The Racing behind<br/>
 
Overrunning<br/>
 
Displacing<br/>
 
Cutting off<br/>
 
Two Hangers<br/>
 
The Speaking window<br/>
 
The Crown</p>
 
  
 
<p>The plays of the sword by Johannes Liechtenauer.</p>
 
<p>The plays of the sword by Johannes Liechtenauer.</p>
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|-  
 
|-  
| <p><ref name="cgm3712"/>'''The seven master cuts'''</p>
+
| <p>[B]<ref name="cgm3712"/> '''The seven master cuts'''</p>
  
<p>The Wrathcut<br/>
+
<p>The Wrath cut<br/>The Crooked cut<br/>The Half cut<br/>The Crosswise cut<br/>The Cross Change cut<br/>The Hair cut<br/>The Crown cut</p>
The Crooked cut<br/>
 
The Half cut<br/>
 
The Crosswise cut<br/>
 
The Cross change cut<br/>
 
The Hair cut<br/>
 
The Crown cut</p>
 
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
| <p>This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.</p>
+
| <p>[C] This is the text about the three winds, that is, a cut, a thrust, a slice, a sweep and it is also the text and expository gloss of the long recital of the the longsword of Liechtenauer's art.</p>
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
| <p>Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way…</p>
+
| <p>[1] Here it begins, the recital of the knightly art of fencing is written herein, which Johannes Liechtenauer, God be merciful to him, who is known to be a high master of the art, had created as lies written hereafter. The first with the long sword, thereafter with the spear on horseback and also with the short sword in battle and it begins in this way…</p>
 
|  
 
|  
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|1|lbl=1r}}
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|-  
 
|-  
|  
+
| <p>[2]</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|}
 
|}
 
|  
 
|  
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
+
| <p><br/></p>
 +
 
 +
{{section|Page:Reichsstadt "Schätze" Nr. 82 001r.jpg|2|lbl=-}}
 
|  
 
|  
 
|  
 
|  
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|-  
 
|-  
| <p><br/></p>
+
| <p>[3]</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|-  
 
|-  
| <p>'''This is the text of another lesson'''</p>
+
| <p>[4] '''This is the text of another lesson'''</p>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|-  
 
|-  
| <p>'''Text. Another lesson'''</p>
+
| <p>[5] '''Text. Another lesson'''</p>
 
 
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
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|-  
 
|-  
|  
+
| <p>[6] </p>
 +
{| class="zettel"
 +
|-
 +
| <small>15</small>
 +
| Now hear what is bad<br/>Do not fence southpaw from above if you are orthodox
 +
|-
 +
| <small>16</small>
 +
| And if you are a southpaw<br/>You also quite awkward in orthodox
 +
|}
 +
<p>Gloss: Note this is a lesson that hits upon two people, an orthodox and a southpaw and it is also how you shall cut so that one cannot win the weak of your sword with the first cut. Understand it like this. When you come to the opponent with the initiation of fencing, if you are orthodox, then do not cut the first cut from the left side by choice because it is weak and with it you cannot hold fast when they cut in with you strongly. Therefore, cut from the right so you can stay in contact with full strength and work whatever you wish at the sword. In the same way if you are southpaw, then also do not cut the first cut from the right side because it is quite undependable art for a southpaw to drive from the right side. It is also the same for an orthodox from the left side.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|8|lbl=-|p=1}}
 
{{section|Page:MS KK5126 106r.jpg|7|lbl=-|p=1}} {{section|Page:MS KK5126 106r.jpg|8|lbl=-|p=1}}
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|-  
 
|-  
|  
+
| <p>[7] '''Text'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>17</small>
 +
| Before and After, the two things<br/>Are the singular origin of the entire art.
 +
|-
 +
| <small>18</small>
 +
| Weak and strong<br/>Indes, note them with this word
 +
|-
 +
| <small>19</small>
 +
| So that you may learn<br/>To work and ward with art.
 +
|-
 +
| <small>20</small>
 +
| Whoever frightens easily<br/>Never learns to fence.
 +
|}
 +
<p>Gloss: Note this is about how you shall understand and get the sense of the two things correctly for all situations. This is the before and the after and after that, the weak and the strong of the sword and the word Indes, because the entire art of fencing comes from those. When you have correctly taken in and comprehend these things and have not forgotten the word Indes therein in all plays that you conduct, then you are indeed a good fencer<ref>Augsburg terminates here.</ref> and master of the sword and can fully teach princes and lords so that they may keep with the proper art of the sword in play and in earnest.</p>
 
| {{section|Page:MS KK5126 106r.jpg|9|lbl=-}}
 
| {{section|Page:MS KK5126 106r.jpg|9|lbl=-}}
  
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|-  
 
|-  
|  
+
| <p>[8] '''Here note what is here called the before.'''</p>
 +
 
 +
<p>This is when you precede the opponent with a cut or what have you so that they must parry you, then Indes work swiftly using your sword in front of yourself within the parry or whatever with other plays<ref>Vienna: threats</ref> so that they cannot come to any work.</p>
 
| {{section|Page:MS KK5126 106v.jpg|2|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|2|lbl=-}}
 
|  
 
|  
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|-  
 
|-  
|  
+
| <p>[9] '''Note what is called the after.'''</p>
 +
 
 +
<p>This is when the opponent precedes you with a cut so that you must parry them, then Indes work swiftly to the nearest opening with your act of parrying using your sword so that you seize their before the after and this is called before and after.</p>
 
| {{section|Page:MS KK5126 106v.jpg|3|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|2|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|2|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[10] '''Now you should also know about the weak and the strong of the sword.'''</p>
 +
 
 +
<p>Get the sense of it like this.  From the hilt to the midpoint of the blade, this is the strong of the sword and further past the midpoint to the point of the sword is the weak. And how you shall work with the strong of your sword according to the weak of their sword will be introduced to you and clarified hereafter.<ref>Augsburg II: You will learn about this hereafter</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|4|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|3|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 002v.jpg|3|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[11] '''Now hear the text of the five cuts'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>21</small>
 +
| Learn five cuts<br/>From the right hand, whoever invests in these,
 +
|-
 +
| <small>22</small>
 +
| We swear to them<br/>To gladly pay them back in skills.
 +
|}
 +
<p>Gloss: Note there are five concealed cuts that many masters of the sword know nothing of which to speak of. You shall learn to execute these from the right side. Whichever fencer that can break the cuts with the proper art without harm, they will be valued by other masters, for their art shall be more worthwhile to them than other fencers. And how one shall execute these cuts with their plays will be explained to you hereafter.</p>
 
| {{section|Page:MS KK5126 106v.jpg|5|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|5|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|3|lbl=1v}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|3|lbl=1v}}
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|-  
 
|-  
|  
+
| <p>[12] '''This is the text about the components of the recital'''</p>
 +
{| class="zettel"
 +
|-
 +
| <small>23</small>
 +
| Wrathcut Crook and Cross,<br/>If the Squinter keeps with the Hair cut,
 +
|-
 +
| <small>24</small>
 +
| The Fool parries.<br/>Racing behind, Overrunning, places the attack
 +
|-
 +
| <small>25</small>
 +
| Change through, Yank,<br/>Slip through, cut off, press the hands
 +
|-
 +
| <small>26</small>
 +
| Tilt and Turn to uncover with<br/>Slash, catch, sweep, thrust to clash with
 +
|}
 +
<p>These are the correct chief components of the recital of the long sword have been named for you as they are each designated with its name so that you can better understand them and the whole of it is 17 side by side.<ref>Augsburg II: "Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side."</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|6|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|6|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|4|lbl=-}}
 
| {{section|Page:Reichsstadt "Schätze" Nr. 82 001v.jpg|4|lbl=-}}
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|-  
 
|-  
|  
+
| <p>[13] '''This first are the five concealed cuts as they are designated each in particular'''</p>
 +
 
 +
<p>Item The first the wrathcut<br/>crooked cut<br/>cross cut<br/>cockeyed cut<br/>hair cut</p>
 +
 
 +
<p>'''Item note the plays'''</p>
 +
 
 +
<p>Of these: The four guards<br/>The four parries<br/>The racing behind<br/>The overrunning<br/>The displacing<br/>The changing through<br/>The yanking<br/>The slipping through<br/>The cutting off<br/>The hand pressing<br/>The hangings<br/>The windings</p>
 +
 
 +
<p>And what you should fence from the components and how you should give yourself openings with the hangings and the windings, you will find those one after the other hereafter.<ref>Vienna: "those will be clarified.</ref></p>
 
| {{section|Page:MS KK5126 106v.jpg|7|lbl=-}}
 
| {{section|Page:MS KK5126 106v.jpg|7|lbl=-}}
 
|  
 
|  
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|-  
 
|-  
| <p><br/></p>
+
| <p>[14] '''Text'''</p>
  
<p><br/></p>
+
<p>'''The wrathcut with its plays'''</p>
 
+
{| class="zettel"
<p><br/><br/><br/><br/></p>
+
|-
 
+
| <small>27</small>
<p>Note the wrath-hew breaks any mis-turned-hew with the point and is yet nothing other than a simple peasant strike. Work it like this: When he hews high to your head from your right side, then you also cleave in identically with him from your right side from high without any displacement, wrathfully atop his sword and let the point shoot in long forwards into his face or his chest.</p>
+
| Whoever makes a descending cut at you<br/>The point of wrathcut threatens them
 +
|-
 +
| <small>28</small>
 +
| If they become aware of it<br/>Then abscond above without concern
 +
|}
 +
<p>Note the wrathcut breaks any straying cut<ref>Augsburg II: descending cut</ref> and is just nothing more than a straight peasant blow. Execute it like this. When the opponent cuts from your<ref>sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsburg II conserves this mistake</ref> right side from above to your head<ref>Augsburg II: when the opponent strikes for your head from your right side from above</ref>, then you cut from above from your right side as well, without any act of parrying, wrathfully with them, in over atop their sword and let your point shoot in forwards and long into their face or chest. If they become aware of your point and parry with strength, then rise up with your sword against their sword's blade, up off away from their sword and cut back in against their sword's blade to their head on their other side. This is called absconding above.</p>
 
|  
 
|  
 
{{section|Page:MS KK5126 106v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 107r.jpg|1|lbl=197r|p=1}}
 
{{section|Page:MS KK5126 106v.jpg|8|lbl=-|p=1}} {{section|Page:MS KK5126 107r.jpg|1|lbl=197r|p=1}}

Revision as of 22:50, 21 February 2020

Nicolaüs Augsburger
Died after 1489
Occupation Fencing master
Citizenship Augsburg, Germany
Movement Augsburg tradition
Influences Johannes Liechtenauer
Influenced Jörg Wilhalm Hutter
Genres Fencing manual
Language Early New High German
Archetype(s) Currently lost
Manuscript(s)
Concordance by Michael Chidester

Nicolaüs was a 15th century German fencing master, presumably from Augsburg.[1] Nothing is known about this master outside of his treatise, but he seems to have been an initiate of the tradition of Johannes Liechtenauer (his treatise always appears coupled with a repetition of the grand master's Record). On or around 2 July 1489,[2] he seems to have completed some version of a gloss on fencing with the long sword, apparently based on a the anonymous pseudo-Peter von Danzig gloss of Liechtenauer's Recital.

Stemma

Early on in its history, the Pseudo-Peter von Danzig gloss seems to have split into at least three branches, and no definite copies of the unaltered original are known to survive. The gloss of Sigmund ain Ringeck also seems to be related to this work, due to the considerable overlap in text and contents, but it is currently unclear if Ringeck's gloss is based on that of pseudo-Danzig or if they both derive from an even earlier original gloss (or even if Ringeck and pseudo-Danzig are the same author and the "Ringeck" gloss should be considered a fourth branch).

Branch A, first attested in the Augsburg version (1450s) and comprising the majority of extant copies, has more plays overall than Branch B but generally shorter descriptions in areas of overlap. It also glosses only Liechtenauer's Recital on long sword and mounted fencing; in lieu of a gloss of Liechtenauer's short sword, it is generally accompanied by the short sword teachings of Andre Liegniczer and Martin Huntfeltz (or, in the case of the 1512 Vienna II, Ringeck's short sword gloss). Branch A is sometimes called the Jud Lew gloss, based on a potential attribution at the end of the mounted gloss in a few copies. Apart from the Augsburg, the other principal text in Branch A is the Salzburg version (1491), which was copied independently[3] and also incorporates twelve paragraphs from Ringeck's gloss and nineteen paragraphs from an unidentified third source. Branch A was redacted by Paulus Hector Mair (three mss., 1540s), Lienhart Sollinger (1556), and Joachim Meyer (1570), which despite being the latest is the cleanest extant version and was likely either copied directly from the original or created by comparing multiple versions to correct their errors. It was also one of the bases for Johannes Lecküchner's gloss on the Messer in the late 1470s.

Branch B, attested first in the Rome version (1452), is found in only four manuscripts; it tends to feature slightly longer descriptions than Branch A, but includes fewer plays overall. Branch B glosses Liechtenauer's entire Recital, including the short sword section, and may therefore be considered more complete than Branch A; it also differs from Branch A in that three of the four known copies are illustrated to some extent, where none in the other branch are. The Krakow version (1535-40) seems to be an incomplete (though extensively illustrated) copy taken from the Rome,[4] while Augsburg II (1564) collects only the six illustrated wrestling plays from the Krakow. Even more anomalous is the Glasgow version (1508), consisting solely of a nearly complete redaction of the short sword gloss (assigning it to Branch B), which is appended to the opening paragraphs of Ringeck's gloss of the same section; since it accompanies Ringeck's long sword and mounted fencing glosses, a possible explanation is that the scribe lacked a complete copy of Ringeck and tried to fill in the deficit with another similar text.

Branch C is first attested in the Vienna version (1480s). It is unclear whether it was derived independently from the original, represents an intermediate evolutionary step between Branches A and B, or was created by simply merging copies of the other branches together. The structure and contents of this branch very closely align with Branch B, lacking most of the unique plays of Branch A and including the gloss of the short sword, but the actual text is more consistent with that of Branch A (though not identical). The other substantial copy of Branch C is the Augsburg version II (1553), which was created by Paulus Hector Mair based on the writings of Antonius Rast, and which segues into the text of Ringeck's gloss for the final eighteen paragraphs. A substantial fragment of Branch C is present in five additional 16th century manuscripts alongside the illustrated treatise of Jörg Wilhalm Hutter; one of these, Glasgow II (1533) assigns the text a much earlier origin, stating that it was devised by one Nicolaüs in 1489. This branch has received the least attention and is currently the least understood.

--~ Michael Chidester (Contact) 22:50, 21 February 2020 (UTC)== Treatise ==

While all branches were originally presented in a single concordance in the pseudo-Peter von Danzig article, the differences between them are extensive enough that they merit separate consideration. Thus, Branch A has been placed on the page of Jud Lew, Branch B has been retained on the main pseudo-Danzig page, and branch C is presented here.

To allow easier comparison between the two complete versions, Augsburg II is presented in the column next to Vienna, before the earlier fragmentary versions.

Additional Resources

References

  1. His work is only associated with treatises by Aurgsubrg residents.
  2. The date of the Visitation of Mary, the feast day mentioned in the Glasgow version of his treatise.
  3. Both Augsburg and Salzburg contain significant scribal errors of omission that allow us to identify manuscripts copied from them.
  4. Zabinski, pp 82-83
  5. 5.0 5.1 In Hutter, there is no demarcation between the verse and the gloss, and these two paragraphs appear to belong to the verse.
  6. Vienna: cleave closely behind
  7. Vienna: completely wrong
  8. Written "with before" in the text, which marks indicating that the words should be reversed.
  9. Augsburg: "Gloss: When you arrive at the opponent, then whatever you wish to fence, drive that with your entire strength. Strike them to the head and to the body from close proximity and remain with your point in front of their face or chest, so that they cannot change through in front of your point. And then if they bind strongly against your sword and rise up high with their sword, then strike below to their body or give them a flesh wound upon their arm before they come to their senses and immediately dart back from that."
  10. Könnte auch als »thun« gelesen werden.
  11. Augsburg terminates here.
  12. Vienna: threats
  13. Augsburg II: You will learn about this hereafter
  14. Augsburg II: "Gloss: Note here the correct chief components of the recital of the long sword have been named and is seventeen side by side."
  15. Vienna: "those will be clarified.
  16. Augsburg II: descending cut
  17. sic. The next line reads: "then you cut from above from your right side as well" It is from their right side. The Augsburg II conserves this mistake
  18. Augsburg II: when the opponent strikes for your head from your right side from above
  19. Here the Vienna version is similar to Pseudo-Peter von Danzig, whereas the Augsberg version resembles Jud Lew.
  20. leer, scowl, make a secret or subtle glance.
  21. Leer at
  22. Leer
  23. Obviously the writer left out a part here because it starts with the right Plfug and ends with the left.
  24. Versetzen. To parry, transpose.
  25. Ansetzen. to plant or position something in a specific place.
  26. Here the Vienna version is similar to Jud Lew, whereas the Augsberg version resembles Pseudo-Peter von Danzig.
  27. kainer
  28. Korrigiert aus »das«.
  29. closing-in
  30. shifting
  31. curved, hollow, empty, concave, bowed, arched