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(Created page with "<section begin="1"/>{{red|b=1|This is the general preface of the unarmored fencing on foot. Mark this well.}} {| class="zettel" |- | <small>1</small> | Young knight, learn.<b...")
 
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<section begin="1"/>{{red|b=1|This is the general preface of the unarmored fencing on foot. Mark this well.}}
+
<section begin="1"/>'''This is the general preface of the unarmored fencing on foot. Mark this well.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>1</small>
 
| <small>1</small>
| Young knight, learn.<br/>&emsp;Revere God. Ever honor women,
+
| Young knight learn,<br/>&emsp;to love god and women,
 
|-  
 
|-  
 
| <small>2</small>
 
| <small>2</small>
| Thus cultivate your honor.<br/>&emsp;Practice knightcraft and learn
+
| so your honor may grow.<br/>&emsp;Practice chivalry and learn
 
|-  
 
|-  
 
| <small>3</small>
 
| <small>3</small>
| art that decorates you<br/>&emsp;and in wars serves you well.
+
| arts that adorn you<br/>&emsp;as well as serving you in conflict.
 
|-  
 
|-  
 
| <small>4</small>
 
| <small>4</small>
| Wrestling's good grips,<br/>&emsp;Lance, spear, sword and messer,
+
| Wrestle well,<br/>&emsp;bear glaive, spear, sword and knife
 
|-  
 
|-  
 
| <small>5</small>
 
| <small>5</small>
| manfully brandish<br/>&emsp;and in other hands ruin.
+
| manfully and learn<br/>&emsp;to defeat these when in the hands of others.
 
|-  
 
|-  
 
| <small>6</small>
 
| <small>6</small>
| Attack suddenly and storm in,<br/>&emsp;keep moving fluidly, engage or let pass.
+
| Strike quick and hurry at him,<br/>&emsp;rush in, not caring for hit or miss.
 
|-  
 
|-  
 
| <small>7</small>
 
| <small>7</small>
| Thus the intellectuals hate him,<br/>&emsp;Yet this one sees glories.
+
| So that you dishonour<br/>&emsp;him before the judges.
 
|-  
 
|-  
 
| <small>8</small>
 
| <small>8</small>
| Thereupon you hold,<br/>&emsp;all things have time and place.
+
| Be prepared for that:<br/>&emsp;All art has length and measure.
 
|-  
 
|-  
 
| <small class="grey">ⅰ</small>
 
| <small class="grey">ⅰ</small>
| And whatever you wish to conduct,<br/>&emsp;you shall stay in the realm of good reason.
+
| And whatever you want to do,<br/>&emsp;keep up a good common sense
 
|-  
 
|-  
 
| <small class="grey">ⅱ</small>
 
| <small class="grey">ⅱ</small>
| In earnest or in play,<br/>&emsp;have a joyous spirit with moderation
+
| Be it in earnest or in play,<br/>&emsp;have a light heart but don’t get overconfident.
 
|-  
 
|-  
 
| <small class="grey">ⅲ</small>
 
| <small class="grey">ⅲ</small>
| so that you may pay attention<br/>&emsp;and consider with a good spirit
+
| So you may see<br/>&emsp;and observe with a high spirit
 
|-  
 
|-  
 
| <small class="grey">ⅳ</small>
 
| <small class="grey">ⅳ</small>
| whatever you shall command<br/>&emsp;and whip up against the opponent.
+
| What you can use<br/>&emsp;and plan your next move against him.
 
|-  
 
|-  
 
| <small class="grey">ⅴ</small>
 
| <small class="grey">ⅴ</small>
| Because a good spirit with authority<br/>&emsp;makes someone's rebuke timid.
+
| Confronted with bravery and power,<br/>&emsp;every opponent will hesitate.  
 
|-  
 
|-  
 
| <small class="grey">ⅵ</small>
 
| <small class="grey">ⅵ</small>
| Thereafter, orient yourself.<br/>&emsp;Give no advantage with anything.
+
| Never<br/>&emsp;give him any advantage on you.
 
|-  
 
|-  
 
| <small class="grey">ⅶ</small>
 
| <small class="grey">ⅶ</small>
| Avoid imprudence.<br/>&emsp;Do not step in front of four or six
+
| Also avoid silly risks,<br/>&emsp;against four or six opponents don't advance
 
|-  
 
|-  
 
| <small class="grey">ⅷ</small>
 
| <small class="grey">ⅷ</small>
| with your overconfidence.<br/>&emsp;Be modest, that is good for you.
+
| Don't be overconfident,<br/>&emsp;maintain balance, this will serve you well.
 
|-  
 
|-  
 
| <small class="grey">ⅸ</small>
 
| <small class="grey">ⅸ</small>
| It is a brave man<br/>&emsp;that dares to confront their equal.
+
| It is a brave man<br/>&emsp;who can stand against someone of his own kind.
 
|-  
 
|-  
 
| <small class="grey">ⅹ</small>
 
| <small class="grey">ⅹ</small>
| It is not shameful<br/>&emsp;to flee four or six at hand.
+
| And it is not a shame,<br/>&emsp;against four or six opponents run from the fight.
|-
 
|
 
| <ref>Possibly: "If one cannot flee, then do something cunning, that is my advice."</ref>
 
 
|}
 
|}
 
<section end="1"/>
 
<section end="1"/>
  
<section begin="2"/>{{red|b=1|This is a general lesson of the sword:}}
+
<section begin="2"/>'''This is a general teaching for the sword.'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>9</small>
 
| <small>9</small>
| If you wish to show skill,<br/>&emsp;Move yourself left and right with cutting.
+
| If you want to show art,<br/>&emsp;move left and strike with right,
 
|-  
 
|-  
 
| <small>10</small>
 
| <small>10</small>
| And left with right<br/>&emsp;Is what you strongly desire to fence.
+
| And strike left with right,<br/>&emsp;if you intend to fence strongly.
 
|-  
 
|-  
 
| <small>11</small>
 
| <small>11</small>
| Whoever chases after cuts,<br/>&emsp;They permit themselves to enjoy the art in small amounts.
+
| He who moves after strikes<br/>&emsp;may not enjoy any art
 
|-  
 
|-  
 
| <small>12</small>
 
| <small>12</small>
| Cut from close whatever you wish,<br/>&emsp;No changer comes on your shield.
+
| Strike at him as you like,<br/>&emsp;no ''Wechsler'' will harm you.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
| Do not cut to the sword.<br/>&emsp;Rather, keep watch of the openings.
+
| Never strike to the sword,<br/>&emsp;always wait for the openings.
 
|-  
 
|-  
 
| <small>13</small>
 
| <small>13</small>
| To the head, to the body,<br/>&emsp;Do not omit the stingers.
+
| to the head or to the body,<br/>&emsp;do not shun the ''Zeckrühr''.
 
|-  
 
|-  
 
| <small>14</small>
 
| <small>14</small>
| With the entire body<br/>&emsp;Fence whatever you desire to conduct strongly.
+
| Fence with your whole body<br/>&emsp;if you want to fence strongly.
 
|-  
 
|-  
 
| <small>15</small>
 
| <small>15</small>
| Listen here to what is bad:<br/>&emsp;Do not fence from above left if you are right.
+
| Hear this is bad,<br/>&emsp;do never fence from your upper left when you are right,
 
|-  
 
|-  
 
| <small>16</small>
 
| <small>16</small>
| And if you are left,<br/>&emsp;You are severely hindered on the right.
+
| And if you are left,<br/>&emsp;you will lack severely at your right.
 
|-  
 
|-  
 
| <small class="grey">ⅻ</small>
 
| <small class="grey">ⅻ</small>
| So always prefer<br/>&emsp;To fence from above left downwards.
+
| So better<br/>&emsp;fence down from your upper left.
 
|-  
 
|-  
 
| <small>17</small>
 
| <small>17</small>
| The Before, The After the two things<br/>&emsp;are the wellspring of all art.
+
| ''Vor'' ''Nach'' these two things<br/>&emsp;are the source of all art.
 
|-  
 
|-  
 
| <small>18</small>
 
| <small>18</small>
| Weak and strong,<br/>&emsp;Indes, mark this word with them.
+
| ''Schwäche'' und ''Stärke'',<br/>&emsp;''Indes'' you must remember.
 
|-  
 
|-  
 
| <small>19</small>
 
| <small>19</small>
| So you can learn<br/>&emsp;To defend yourself with art and work.
+
| So you will learn<br/>&emsp;to defend yourself with art and work.
 
|-  
 
|-  
 
| <small>20</small>
 
| <small>20</small>
| If you terrify easily,<br/>&emsp;Never learn any fencing.
+
| If you are frightened easily,<br/>&emsp;you will never understand fencing,
 
|-  
 
|-  
 
| <small class="grey">ⅹⅲ</small>
 
| <small class="grey">ⅹⅲ</small>
| Audacity and swiftness,<br/>&emsp;Prudence, astuteness and ingenuity,
+
| Bravery and quickness,<br/>&emsp;carefulness wits and Intelligence
 
|-  
 
|-  
 
| <small class="grey">ⅹⅳ</small>
 
| <small class="grey">ⅹⅳ</small>
| Acumen, concealment,<br/>&emsp;Measure, obscuration, {{dec|s|scouting}} and skill
+
| Sense, stealth,<br/>&emsp;measure precognition grace skill
 
|-  
 
|-  
 
| <small class="grey">ⅹⅴ</small>
 
| <small class="grey">ⅹⅴ</small>
| Fencing will have<br/>&emsp;And bear a joyous spirit.
+
| Fencing needs all this<br/>&emsp;and a free and easy mind.
 
|}
 
|}
{{red|b=1|General gloss hereafter.}}<ref name="Latin">Latin</ref> First of all, note and know that the point of the sword is the axis, the dividing point and the core of the sword from which all applications depart and come back into it.
+
This is being followed by general comment: At first learn and know that the ''Ort'' of the sword is the centre and the means and the core of the sword. All techniques start and end with the ''Ort'', thus the ''Hängen'' and ''Winden'' are the begin and the turnings around the centre and many good fencing techniques stem from this.
 
 
Thus the hangings and the windings are the angulations and the rotations of the axis and of the core. From them, quite a few good plays of fencing also come.
 
 
 
And they were identified and worked out so that a fencer who initiates a cut or thrust directly into the point may not hit every single time of course, they can hit someone by stepping out and in and by lateral stepping or springing with those same cutting, thrusting or slicing plays.
 
 
 
And if you mislaid or overextended the point of your sword by overshooting or by overstepping, then you can realign and withdraw and shorten it again by winding or stepping back in such a fashion that you again come into the certain plays and precepts of fencing. From them, you can deliver cuts, thrusts, or slices.
 
 
 
For according to Liechtenauer's art, these cuts, thrusts and slices all come from the applications and precepts of the art of the sword, as you will hear hereafter about how one play and precept comes from the other and how one fashions one of these from the other such that if the one will be warded off, then the other hits and has success.<section end="2"/>
 
 
 
<section begin="3"/>Secondly, note and know that no part of the sword was neither invented nor conceived without a purpose. Namely, a fencer shall utilize the point, both edges, the hilt, the pommel and the like on the sword in accordance with its particular precept in the art of fencing, which these practices possess and promote in accordance as well, as you will hereafter see and hear each in particular.<section end="3"/>
 
 
 
<section begin="4"/>Also note and know by this, when he speaks, "If you wish to examine the art, etc", that he means that a skilled fencer, they shall advance the left foot and cut from the right side directly to the opponent with threatening cuts as long as they see where they can fully obtain and fully reach the opponent with their stepping.
 
 
 
And he means: "when someone wishes to fence strongly", so shall they fence out from the left side with the entire body and full power to the head and to the body alone wherever they can hit and never to the sword, in particular, they shall do it as if the opponent has no sword and as if they cannot see it and they shall not omit any stingers nor wounds, rather always be in work and in contact so that the opponent cannot come to blows.<section end="4"/>
 
 
 
<section begin="5"/>He also means that you shall neither move nor step directly behind your attacks, rather, do it somewhat sideways and curved around so that you come to the side of the opponent, where you can get at them better with everything than by frontally on.
 
 
 
Whatever you subsequently cut or thrust at the opponent at that moment, cannot be defended nor lead off well by them by disengaging in any way nor by any other techniques, provided that the cuts and thrusts go in directly to the openings, be it to the head or to the body, with lateral movement and stepping.<section end="5"/>
 
 
 
<section begin="6"/>Also note and know by this when he speaks, "The Before, The After the two things, etc" that he means the five words: The Before, The After, Weak, Strong, Indes. The entire art of Master Liechtenauer's rests upon these very words which are the foundation and the core of all fencing on foot or on horse, bare or in harness.<section end="6"/>
 
 
 
<section begin="7"/>By the word "The Before", he means that every good fencer shall possess and have won the Vorschlag every time they hit or miss. As Liechtenauer says: "Attack suddenly and storm in, keep moving fluidly, engage or let pass". Whenever you either walk or rush toward the opponent, just as soon as you can see that you can reach them with a step or with a spring, then wherever you see them open somewhere, you shall move in with confidence, be it to the head or to the body, boldly without any fear, wherever you can most certainly get them. For in this way, you always win the Vorschlag, not matter if the opponent ends up safe or not.
 
 
 
And you must also be shrewd in your stepping and shall have measured them correctly so that you do not step too short nor too long.
 
 
 
Now, whenever you execute the Vorschlag, if you connect, seamlessly follow up that hit.
 
 
 
But If the opponent wards off your Vorschlag, whether it be a cut or thrust by leading off or controlling with their sword, then while you’re still against your opponent’s sword, as they are leading you away from the opening in which you targeted, you must quite precisely note and feel whether they are soft or hard, weak or strong against your sword in their leading off and defense of your cuts and thrusts.
 
 
 
If it then happens that you clearly feel how the opponent lies in their application at that moment, and they are strong and hard; Indes, at the moment you completely notice and feel that, you shall, Indes or during the time the opponent defends themselves, be soft and weak and in that, before the opponent can come to blows, you shall then execute the Nachschlag.
 
 
 
That is to say that you shall immediately, while the opponent defends themselves and wards off your Vorschlag (be it cut or thrust), seek other applications and plays. With these, you shall again storm in and keep moving fluidly toward their openings such that you stay continuously in movement and in action. In this way you confound and rattle them. Thus the opponent has altogether so much to manage with their defending and warding off that they, the defender, cannot come to their blows.
 
 
 
Because if you defend yourself and fixate on the oncoming strikes, you are always in greater danger than those that strike at you because you must always either ward off those strikes or must allow yourself to be hit. Thus, it is difficult to come to blows.
 
 
 
About this Liechtenauer says: "I say to you truthfully, no one defends themselves without danger. If you have understood this, the opponent cannot come to blows if you otherwise perform according to the five words. This lecture completely gets at this and all fencing".<section end="7"/>
 
 
 
<section begin="8"/>This is why a peasant often strikes a master, because they have been bold and have won the Vorschlag according to this lesson.<section end="8"/>
 
 
 
<section begin="9"/>Because with the word, "The Before", as was spoken about earlier, he means that you should boldly storm in and keep moving fluidly toward their openings with a good Vorschlag or first strike, without any fear, to the head or to the body. You either hit or miss in such a way that you suddenly rattle the opponent and startle them such that they do not know what to do about it and also before they recover themselves against it again or come back at you, that you then immediately execute the Nachschlag and the opponent has truly so much to manage to defend and to warding off that they cannot possibly come to blows.
 
 
 
Because if you execute the first strike or the Vorschlag and the opponent then wards, in that very warding off and defending, you always come into the Nachschlag's earlier than the opponent comes to their first.
 
 
 
Then you can immediately start to work with your pommel or possibly come into the crosswise cuts (these are especially good) or else cast the crosswise cut over the sword. By this you arrive at other applications or else you can initiate many other things before the opponent comes to blows as you will hear how you fashion from one to the other such that the opponent cannot come away from you unstruck if you otherwise execute according to this lesson.
 
  
That is to say you shall execute the Vorschlag and the Nachschlag promptly and swiftly after each other as if it were possible to accomplish it together with a single thought and with single strike.<section end="9"/>
+
These have been invented so that a fencer, who immediately strikes at the ''Ort'' and yet does not hit instantly, may employ the before mentioned Techniques in combination with strikes thrusts and cuts, with stepping off or in, and with stepping around or jumping, in order to hit his adversary. And if someone has shot his ''Ort'' out too far, by thrusting or lunging, he can recover or shorten it by employing the ''Winden'' or stepping off, so that he again may use those appropriate techniques and principles of fencing. From there he again may strike thrust or cut, because according to Liechtenauer's art, strikes thrusts and cuts stem from all fencing techniques and principles. And later you will hear, how one technique and principle stems from the other and how they can be used in succession, so that if one method is being defended, the other hits and succeeds.<section end="2"/>
  
<section begin="10"/>It is also entirely possible to come to this if the opponent wards the Vorschlag, they must ward it with their sword. In this way, they must come against your sword.
+
<section begin="3"/>Secondly, you should learn that there is nothing about the sword that has been invented for without reason and that a fencer should make use of the ''Ort'', of both edges, the hilt and the pommel. Each of these has its own special methods in the art of fencing. And how to practice this, you will see and hear later<section end="3"/>
  
And then if the opponent is somewhat sluggish and lax, it is then possible for you to remain against their sword and you shall immediately wind and quite precisely note and feel whether or not they will withdraw themselves from your sword.<section end="10"/>
+
<section begin="4"/>Also know and learn, by the verse beginning with “If you want to show art etc” it is meant that an artful fencer should place his left foot in front and strike from the right side directly to the man, and with threatening strikes just as long as he sees where he may hit him and reach him with his stepping. And when he says “if you intend to fence strongly” so he says that you should fence upwards from the left side with the whole body and with all strength, to the head or to the body wherever he may hit. And never strike to the sword but just work like would not have a weapon or if you don't see it, and should not avoid ''Zeckrühr'' or taps, and permanently be in motion, work and contact, so the opponent may not come to strikes.<section end="4"/>
  
<section begin="11"/>If the opponent withdraws, just as you both come together against swords and the points extend to the openings against each other, then with the opponent's withdrawal, before they can recover themselves again for a new cut or thrust against you, immediately follow them with your point, with a good thrust to their breast or anywhere straight forward, wherever you can connect the surest and closest, in this way the opponent cannot come away from your sword with anything unharmed.
+
<section begin="5"/>Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. Whatever he strikes to thrusts at his opponent, it will not be defended by any ''Durchwechsel'' or other techniques, if the strikes or thrusts are directed at the man and at the openings, to the head or to the body, with stepping around or other footwork.<section end="5"/>
  
This is because when the opponent delivered a new cut or thrust wide around with their withdrawal, you were surely closer at hand to the opponent with your following as you sent your point forwards, targeting them against their sword according to what is closest and shortest.
+
<section begin="6"/>Also know and learn when he speaks: “''Vor'' ''Nach'' those two… etc” there he means the five words, ''Vor'' ''Nach'' ''Schwach'' ''Stark'' ''Indes'' and within these words lies all art of Master Liechtenauer and these are the basic foundation and the core of all fencing on foot or mounted, with armour and without.<section end="6"/>
  
Truly in this way, you always come earlier into your Nachschlag's or Nachstich's than the opponent can get to their first.
+
<section begin="7"/>By the word “''Vor''” he means that every good fencer should always gain the ''Vorschlag'', may he hit or miss. And when Liechtenauer says “Strike and hurry to the man, rush in may it hit or miss”. This means, as soon he approaches his adversary by stepping or running, he should instantly attack as soon as he is sure he could reach him with either a step or a jump. Then he must attack to his head or to his body, without any fear to the opening which he can hit best. So he should gain the ''Vorschlag'', and it is not imp''Ort''ant, if it directly hurts the adversary or not. He must also be sure with the correct measure of his steps, so that he may not step too short or too long.
  
And this is what Liechtenauer means by the word, "The After".
+
If he now hits with the ''Vorschlag'', so instantly follow through with the hit. However, if the defends the ''Vorschlag'' so that he turns aside or leads off the attack, be it a strike or a thrust, away from the intended opening with his sword, you should now, with the swords are still being in contact, feel or be aware whether he is soft or hard, weak or strong at the sword.
  
The moment you have executed the Vorschlag, you shall immediately execute the Nachschlag seamlessly off the previous action and stay continuously in motion and action and continuously conduct one after the other. If the first fails, the second, third, or fourth hits and the opponent truly cannot come to blows, because you cannot have any greater advantage of fencing than when you execute these five words according to this lesson.<section end="11"/>
+
If he now feels how the adversary acts in his fencing, if he is strong or hard, in the very moment he realizes this he should, while the adversary is still protecting himself, become soft and weak and in the case of the adversary being weak, vice versa. To make sure that one cannot come to strikes, he should instantly execute the ''Nachschlag'', that means that he attacks again while the other is still protecting himself from the ''Vorschlag'', be it with a strike or a thrust. So he can employ different techniques for hurrying or rushing towards his openings and thus he is permanently in motion and very close to him and this should make him so irritated and confused that he is only busy protecting himself and cannot come to his own strikes. If one has to defend himself or has to be aware of the strikes which are directed against him, he is in much greater danger than the one who strikes at him, because he either can defend or be hit. And this makes it very difficult for him to gain the opp''Ort''unity for his own strikes. So Liechtenauer says: I tell you truthfully, no one defends without danger, if you understood this, he will not come to strikes.
  
<section begin="12"/>But if the opponent stays with you against your sword, as they have come against it with their warding and defending and this has drawn them out such that you have remained with them against the sword and have not yet executed the Nachschlag, then you shall wind and stay with them in this way against their sword and you shall quite precisely note and feel whether the opponent is either weak or strong against your sword.<section end="12"/>
+
If these five words, which this teaching and all other fencing is based upon, are not adhered,<section end="7"/>
  
<section begin="13"/>Then if you note and feel that the opponent is strong, hard and fixed against your sword and at that moment intends to force their sword out, you shall then be weak and soft in response and you shall yield and give way to their strength and you shall let their sword push through and travel with their forcing such that when they do that, you shall then deftly let their sword promptly and swiftly slide draw away, and you shall deftly speed in towards their openings, either to their head or their body with cuts, thrusts and slices only where you can approach the closest and the surest.
+
<section begin="8"/>then this is the reason why a brave peasant often defeats a master by winning the ''Vorschlag''.<section end="8"/>
  
Because when you are weak and soft in response and let their sword slide away and you yield to them in this way, the harder and the surer the opponent pushes and presses with their sword, the further and the wider they then push their sword away such that they become completely open so that you can then hit our wound them according to desire before they can recover themselves from their own cut or thrust.<section end="13"/>
+
<section begin="9"/>Now it has been said before that that Liechtenauer expresses he should bravely and without fear rush in with a good ''Vorschlag'' or the first strike to the head or body may he hit or miss, so that he strikes him just as stunning and frightening him so he does not know what he can do against him. Also it has been said that he should strike the ''Nachschlag'' before he recovers or might come to his own strikes. this also means this you should work in a manner that he is permanently busy with protecting and defending.
  
<section begin="14"/>But if the opponent is weak and soft against the sword in this way, just as you clearly note and feel that, you shall then be strong and hard against their sword in response and you shall then move in strongly with your point while against their sword and keep moving on in fluidly, directly to their openings, wherever you can, that is closest, just as if a cord or thread were bound at the end of your point, which guides your point to their opening in the shortest way.
+
And if he defends against the ''Vorschlag'', he instantly comes to the ''Nachschlag'' while the adversary is still defending for example, by rushing in with the pommel or transitioning into the ''Zwerchhau'', which are generally good. He can generally transition into the ''Zwerch'' position, so he may use other technique which he may begin before the adversary can execute his own attack. And you will hear how you generate one technique from the other, if you follow this advice. That is he should execute with one thought and just as with one strike if possible the ''Vorschlag'' and the ''Nachschlag'', quickly in succession.<section end="9"/>
  
And with the thrust that you just executed, you become fully aware whether the opponent is so weak that the opponent lets your sword force them out and allows themselves be struck.<section end="14"/>
+
<section begin="10"/>It may happen that one has to defend the adversary's ''Vorschlag''. So he would defend it by getting at his sword – and if he is a little slow or indecisive so he would want to stay at the sword and use the ''winden'' and feel if the adversary wants to pull back from the bind or not.<section end="10"/>
  
<section begin="15"/>But if the opponent becomes strong against your sword in turn and defends and leads off your thrust in this way, such that they force your sword away, you shall again become weak and soft in response and shall allow their sword to slide away and yield to them and swiftly seek their openings with cuts, thrusts and slices, however you readily can.
+
<section begin="11"/>If one moves off, now that they were just bound at the sword, and the points are facing against each other to the openings, the skilled fencer has followed directly with the point, before the adversary can recover from his pulling-off, thereby executing a good thrust to the chest or anywhere where he could hit him best. And this is the method that the opponent cannot leave the bind unharmed, because with this following he gets nearer by thrusting the point forward at the sword, following the principle of the nearest and shortest target.  
  
And this is what Liechtenauer means by the words, "Soft and Hard".
+
And if the opponent tries to attack newly with long strikes or thrusts after pulling off, he may always gain the ''Nachschlag'' or a thrust rather than with the first strike. Liechtenauer means this by the word “''Nach''”; if one has struck the ''Vorschlag'' so he should move in and without break strike the ''Nachschlag'' (in the same movement) and thus he should be permanently in movement and in contact, constantly using one technique after the other. So, if the first one fails, the second, the third or the fourth my hit not letting the opponent come to strikes because no one will ever have any significant advantage in fencing, except him who works according to this teaching and these five words.<section end="11"/>
  
And this follows the authorities. As Aristotle spoke in the book ''Perihermanias'': "Opposites positioned near themselves shine greater, or rather; opposites which adjoin, augment. Weak against strong, hard against soft, and the contrary." For should it be strong against strong, then the stronger would win every time.
+
<section begin="12"/>Now if it happens that the opponent does stay at the sword after he displaced, and now it comes that he also stays at the sword – not having done the ''Nachschlag'' yet – so he shall wind and stand at the sword, and he should note and feel if the adversary is weak or strong at the sword.<section end="12"/>
  
Therefore Liechtenauer undertakes fencing according to the more equitable and durable art, so that one weaker and cunning with their art wins as surely as one stronger with their strength.
+
<section begin="13"/>And if he now feels that the opponent is strong, hard and rigid at the sword and only plans to press into him with his sword, so he should become weak and soft and completely give up his strength against the opponent. And thus he should let go of the opponent's sword, so it may whip and move off with the pressure. And now he can slide and pull off his sword quickly and then go for the opponent's openings quickly and nimbly, to the head or to the body, with strikes, thrusts and cuts, wherever he may hit surest and most direct.  
  
How could the art work differently?<section end="15"/>
+
Because the harder the opponent presses with the sword, the farther his sword is flung aside when he suddenly becomes soft and lets the sword slide off. So the opponent will be left open so that he can touch or hit as he wishes before the opponent may recover and come to his own strike or thrust.<section end="13"/>
  
<section begin="16"/>Therefore fencer, learn to feel well in the manner Liechtenauer spoke: "Learn the feeling. Indes, that word slices sharply", because when you are against the sword of the opponent and at that moment clearly feel whether the opponent is weak or strong against the sword, Indes or during that, so then you can consider and know what you shall execute against the opponent according to the aforementioned lore and art well.
+
<section begin="14"/>If the opponent now is weak and soft at the sword and he feels and notices this, so he should be strong and hard at the sword and should rush in quickly forcefully at the sword, directly and frontal to the next best accessible opening. Just like as a string would be attached to the point which would pull and turn his point to the nearest opening, as to achieve the thrust.<section end="14"/>
  
Because the opponent truly cannot withdraw themselves from harm with anything. Liechtenauer said it: "Strike such that it snaps whoever withdraws before you".<section end="16"/>
+
<section begin="15"/>Now if the opponent is strong and defends the thrust and displaces it by becoming strong at the sword, so that the opponent presses into the sword again, so again he should become weak and soft and let his sword slide off. And in this evading he should seek the openings quickly with strikes thrusts or cuts, as he wishes. And this is what Liechtenauer means with the words “soft and hard”.
  
<section begin="17"/>If you act according to this lesson, persisting in this way well so that you always have possessed and won the Vorschlag and as soon as you execute that, you then execute the Nachschlag (that is, the second, the third or the fourth strike, be it cut or stab) afterwards in one fluid motion, immediately without refrain then the opponent can never come to blows.
+
And this concept is from the ''auctoritas'' when Aristoteles says in the book ''peyarmenias'': Oppositions shine more clearly if placed next to each other than directly opposing them<ref>conflicting</ref>
  
If you then come onto the sword with them, be sure in feeling and execute as was written before.
+
Weak against strong, hard against weak and vice versa. If it should be only strong against strong, the stronger will always win. That is the reason why Liechtenauer's fencing is real and correct art, so that a weak man can win with his art and wits in the same manner a strong man can do with his strength and it would be no art otherwise.<section end="15"/>
  
Because this is the foundation of fencing, that one is always in motion and does not pause and when the act of feeling arrives, then execute as it is laid out above.<section end="17"/>
+
<section begin="16"/>Because of this fencing teaches the feeling well as Liechtenauer says: “Learn the feeling, ''Indes'' is a word that cuts” because if you are at the sword with someone, and you are now skilled at feeling whether your opponent is weak or strong at the sword, ''indes'' or while you are in the bind, you may very well observe and plan what you should do against him. And according to this teaching and art, he may not pull off from the sword without being hurt, because Liechtenauer says: Strike that he is confused when he pulls off.<section end="16"/>
  
<section begin="18"/>And whatever you conduct and initiate, always have measure and moderation. Like, if at one moment you won the Vorschlag, then don't do it so impetuously and so powerfully that you then cannot recover yourself for the Nachschlag.
+
<section begin="17"/>Now, according to this teaching you understand well that you should try to gain the ''Vorschlag'' and as soon as you execute it, so do in one rush instantly and without break the ''Nachschlag'', and that can also be the second, third or fourth strike or thrust. So your opponent may not come to strikes. If you now bind with him so be skilled at the feeling and do as it has been written before, because this is the foundation of fencing so that you are permanently in motion and never pause or hesitate. And if it now comes to the feeling, so also do what is written before.<ref>Alternative interpretation: keep your blade on top of his.</ref><section end="17"/>
  
About this, Liechtenauer spoke: "Thereupon you hold, all things have moderation and measure". And also understand this in the stepping and in all other plays and precepts of fencing, etc.<section end="18"/>
+
<section begin="18"/>And what you begin to do, always have measure and control. When you have won the ''Vorschlag'' so don't do it too fast or too committed as you will be unable to recover yourself to do the ''Nachschlag''. That is why Liechtenauer says: Be ready for this, all things need measure and control. And this also remember when doing steps and also before all other techniques and principles of fencing.<section end="18"/>
  
<section begin="19"/>{{red|b=1|This is the text, wherein he names the five cuts and other plays of fencing.}}
+
<section begin="19"/>'''This is the text where he explains the five strikes and other techniques of fencing'''
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>21</small>
 
| <small>21</small>
| Learn five cuts<br/>&emsp;from the right hand against the weapon
+
| Learn five strikes<br/>&emsp;from the right hand against the weapons
 
|-  
 
|-  
 
| <small>23</small>
 
| <small>23</small>
| Wrathcut Crook and Cross,<br/>&emsp;If the Eye Cocker keeps with the Parter,
+
| Wrath strike, Bent strike, transversal<br/>&emsp;strike, Squinting strike with vertex strike
 
|-  
 
|-  
 
| <small>24</small>
 
| <small>24</small>
| The Fool parries.<br/>&emsp;Pursue and Overrun, disrupt attacks
+
| Fool defends,<br/>&emsp;adheres, overreaching defeats strikes
 
|-  
 
|-  
 
| <small>25</small>
 
| <small>25</small>
| Disengage, Suddenly withdraw,<br/>&emsp;Rush through, Cut off, Press the hands
+
| Changing through, pulling,<br/>&emsp;running through, cutting off, pressing the hands
 
|-  
 
|-  
 
| <small>26</small>
 
| <small>26</small>
| Tilt and Turn to uncover with<br/>&emsp;Slash, catch, sweep, stab to clash with
+
| Hang, wind to the openings,<br/>&emsp;strike, catch, swipe, thrust repeatedly
 
|}
 
|}
 
[No gloss]<section end="19"/>
 
[No gloss]<section end="19"/>
  
<section begin="20"/>{{red|b=1|This is about the Wrath cut, etc.}}
+
<section begin="20"/>'''This is about the ''Zornhau'''''<ref>Wrath strike</ref>
 
{| class="zettel"
 
{| class="zettel"
 
|-  
 
|-  
 
| <small>27</small>
 
| <small>27</small>
| Whoever makes a descending cut at you<br/>&emsp;The point of wrathcut threatens them
+
| Whoever strikes at you from above,<br/>&emsp;the point of the ''Zornhau'' endangers him.
 
|-  
 
|-  
 
| <small>28</small>
 
| <small>28</small>
| If they become aware of it<br/>&emsp;Then abscond above without concern.
+
| If he sees it,<br/>&emsp;take it up and off without danger
 
|-  
 
|-  
 
| <small>29</small>
 
| <small>29</small>
| Be strong in turn Wind.<br/>&emsp;Stab. If they see it, then take it below
+
| hold against him, wind,<br/>&emsp;and thrust again. If he sees it, strike him low.
 
|-  
 
|-  
 
| <small>30</small>
 
| <small>30</small>
| Precisely note this<br/>&emsp;Cuts, thrusts, position, soft or hard
+
| Remember this,<br/>&emsp;Strikes, thrusts and guards, be weak or be strong.
 
|-  
 
|-  
 
| <small>31</small>
 
| <small>31</small>
| Indes and Before, After<br/>&emsp;Without rush, your war is not hasty.
+
| ''Indes'', ''Vor'' und ''Nach'',<br/>&emsp;take your time and analyze the ''Krieg''.<ref>Thrust exchange from the bind</ref>
 
|-  
 
|-  
 
| <small>32</small>
 
| <small>32</small>
| For the one whose war takes aim<br/>&emsp;Above, they will be shamed below.
+
| Whoever takes the ''Krieg''<br/>&emsp;too high, he will be hit below.
 
|-  
 
|-  
 
| <small>33</small>
 
| <small>33</small>
| In all winds<br/>&emsp;Cut, stab, slice learn to find
+
| In all windings<br/>&emsp;learn how to find Strikes thrusts and cuts.
 
|-  
 
|-  
 
| <small>34</small>
 
| <small>34</small>
| Also with that you shall<br/>&emsp;Gauge cut, stab or slice
+
| Also you should<br/>&emsp;feel spontaneously if it has to be a strike, a cut or a thrust.
 
|-  
 
|-  
 
| <small>35</small>
 
| <small>35</small>
| In all encounters<br/>&emsp;Of the masters, if you wish to dishonor them.
+
| In all binds<br/>&emsp;learn to pull and jerk against the skilled fencers if you wish to fool them.
 
|-  
 
|-  
 
| <small class="grey">ⅺ</small>
 
| <small class="grey">ⅺ</small>
| Do not cut to the sword,<br/>&emsp;Rather, keep watch for the openings
+
| Never attack his sword,<br/>&emsp;always strike the openings
 
|-  
 
|-  
 
| <small class="grey">ⅹⅵ</small>
 
| <small class="grey">ⅹⅵ</small>
| Of the head, of the body <br/>&emsp;If you wish to remain without harm
+
| To the head, to the body,<br/>&emsp;never forget the tick.<ref>striking the wrist and arms</ref>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅶ</small>
 
| <small class="grey">ⅹⅶ</small>
| You hit or miss<br/>&emsp;Considering as follows so that you target the openings
+
| <br/><br/>
 
|-  
 
|-  
 
| <small class="grey">ⅹⅷ</small>
 
| <small class="grey">ⅹⅷ</small>
| In every lesson,<br/>&emsp;Turn the point toward the openings.
+
| Learn<br/>&emsp;to turn the ''Ort''<ref>point</ref> to the openings.
 
|-  
 
|-  
 
| <small class="grey">ⅹⅸ</small>
 
| <small class="grey">ⅹⅸ</small>
| Whoever cuts around widely,<br/>&emsp;They will often be shamed severely.
+
| The one who swings strikes around and wide,<br/>&emsp;will usually be defeated
 
|-  
 
|-  
 
| <small class="grey">ⅹⅹ</small>
 
| <small class="grey">ⅹⅹ</small>
| In the most direct way possible,<br/>&emsp;Deliver sudden cuts, stabs wisely.<ref>"Wisely" inferred from the summary</ref>
+
| With Strikes and thrusts<br/>&emsp;aim for the nearest and closest.  
 
|-  
 
|-  
 
| <small class="grey">ⅹⅺ</small>
 
| <small class="grey">ⅹⅺ</small>
| And one shall also always step<br/>&emsp;To their right side
+
| Also you should step<br/>&emsp;to his right side
 
|-  
 
|-  
 
| <small class="grey">ⅹⅻ</small>
 
| <small class="grey">ⅹⅻ</small>
| So that you can begin<br/>&emsp;Fencing or wrestling with advantage.
+
| <br/><br/>
 
|}
 
|}
{{red|b=1|Gloss.}} Here note and know that Liechtenauer calls a descending cut struck from the shoulder the wrathcut, because when someone is in their wrath and fury, there is no cut as ready as this descending cut straight from the shoulder to the opponent.
+
Comment: Here learn and know that Liechtenauer strikes an ''Oberhau''<ref>Strike from above</ref> from his shoulder which is called the ''Zornhau''. For someone who is angered and wrathful, no other strike comes as ready as the ''Zornhau'', because this ''Oberhau'' strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an ''Oberhau'' against you, you should strike the ''Zornhau'' against him so that your point thrusts forward quickly. If he now defends against your point, pull the sword up and off from his blade and move to the other side of his sword. If he also defends against this, be strong against the sword and wind the point in for the thrust. If he defends this thrust, so take the sword away and strike low to his legs.
 
 
What Liechtenauer means by this is when the opponent begins to strike with a descending cut, you shall counter cut the wrathcut against them in such a way that you soundly shoot the point against them.
 
 
 
If they ward off your point, then immediately withdraw above and move in suddenly on the other side of their sword.
 
 
 
But if they defend that, then be hard and strong in the sword and boldly and immediately wind and thrust.
 
 
 
If they defend your thrust, separate and immediately initiate a cut below where you hit their legs. in such a way that you continuously conduct one after the other, so that the opponent cannot come to blows.
 
 
 
And the aforementioned words: "The Before, The After, Indes, Weak, Strong" and "cuts, thrusts and slices"; you shall fully consider these all at once and in no way forget them in your applications. <section end="20"/>
 
 
 
<section begin="21"/>You shall also not seriously rush with the war, because if something fails you above, then you hit below as you will hear about how you fashion one cut, thrust, and slice from the other according to the legitimate art.<section end="21"/>
 
 
 
<section begin="22"/>And you shall not cut at the opponent's sword, rather at the opponent, rather to the head and to the body, wherever you can, etc.
 
 
 
One can also look at it where the first verse could go like this: "Whomever you cut the wrathcut over, the point of the wrathcut threatens them, etc." Just act according to this lesson and be continuously in motion. You either hit or not such that the opponent cannot come to blows. And always step out well to the side with cuts. <section end="22"/>
 
 
 
<section begin="23"/>Also know that there are only two cuts, all other cuts come from them regardless of how they possibly come to be named.
 
  
That is the descending cut and the rising cut from both sides.
+
So constantly do one after the other thus he may not come to strikes. And always have the already mentioned words, ''Vor'' and ''Nach'' ''Indes'' ''Schwach'' ''Stark'' and strikes thrusts and cuts, in your mind and never forget these in fencing.
 +
<section end="20"/>
  
They are the chief cuts and foundation of all other cuts as these cuts fundamentally and by principle come from the point of the sword, which is the core and the axis of all other plays here as was written about well before.
+
<section begin="21"/>Furthermore, you should not hurry too much in the ''Krieg'' because if you aim above and miss so you will hit below. And how you execute one after the other, according to real art with special strikes thrusts and cuts you will hear later.<section end="21"/>
  
And from those two cuts come the four parries from both sides. With them you disrupt and break all cuts, thrusts or positions. And from them you also come into the four hangings. From them you can conduct the art well as one shall hear hereafter.
+
<section begin="22"/>And you should not strike at someone's sword but directly to him, to the head or to the body wherever you wish.  
  
And however you may fence someone in particular, you shall ever and always turn your point toward the opponent's face or breast so that the opponent must continually discourage themselves. Thus they cannot preempt you, for you are closer to them than they are to you.<section end="23"/>
+
Alternatively, you may understand the first verse as if you strike a wrath strike from above, the adversary is being endangered by the point of the wrath strike.
  
<section begin="24"/>And if it happens that the opponent has won the Vorschlag, then you shall be secure and sure and be quick with turning. And as soon as you have turned, you shall immediately speed in promptly and swiftly. And your point shall always seek the opponent's breast, turning and positioning yourself against it, as you will hear of better hereafter.
+
Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes.<section end="22"/>
  
And the point, as soon as you come against the sword of the opponent, shall always come about a half an ell away from the opponent's breast or face and take especially good care that you intend to arrive inside that and certainly in the most direct way and not wide around, so that the opponent cannot come first because of you. Provided you will not allow yourself to become lax and hesitant and ward too lazily nor be willing to arrive too wide and too far around.<section end="24"/>
+
<section begin="23"/>Also know that there are only two strikes all others are based upon. And these are the ''Oberhau''<ref>strike from above</ref> and the ''Unterhau''<ref>strike from below</ref> from both sides, which are the main strikes and the foundation if all other strikes. And these again are based on the point of the sword which is the core and the centre of all other techniques as it has been written before. And from the same strikes come the four displacements from both sides, with these you break and defeat all strikes thrusts or guards and these also lead to the hangings which can very well be used for artful techniques as you will hear later. And however you fence, always turn the point against the face or the chest of the adversary, so he has always to watch out that you do not move prior to him.<ref>the next sentence is unfinished</ref><section end="23"/>
  
 +
<section begin="24"/>And if it happened, that the adversary got the ''Vorschlag''<ref>first strike</ref> so he should be well practiced and quick with the ''Abwenden''<ref>turning-off</ref> and as soon as he has turned off the (attacks of) the adversary, he should move quickly as soon as possible, and his point should always aim for the chest as you will hear now. And the point should, as soon as he comes at the adversary's sword, be always within a half Elle<ref>roughly 30 cm</ref> of either chest or face. Also he should be well aware if he can move in boldly for the next opening. And he should never move too far around so that the adversary cannot come forward before him, which will surely happen if the adversary comes forwards and is not hesitating, slow or moves too far.<ref>''Vorreben''?</ref><section end="24"/>
 +
<!--
 
<section begin="25"/>{{red|b=1|This is about the four openings, etc, etc.}}
 
<section begin="25"/>{{red|b=1|This is about the four openings, etc, etc.}}
 
{| class="zettel"
 
{| class="zettel"
Line 897: Line 835:
  
 
And that is completely against the winds and against Liechtenauer's art because there is no strength to respond. Why would anyone's art differ? You should always prioritize strength.<section end="57"/>
 
And that is completely against the winds and against Liechtenauer's art because there is no strength to respond. Why would anyone's art differ? You should always prioritize strength.<section end="57"/>
 +
-->

Revision as of 20:57, 17 October 2022

This is the general preface of the unarmored fencing on foot. Mark this well.

1 Young knight learn,
 to love god and women,
2 so your honor may grow.
 Practice chivalry and learn
3 arts that adorn you
 as well as serving you in conflict.
4 Wrestle well,
 bear glaive, spear, sword and knife
5 manfully and learn
 to defeat these when in the hands of others.
6 Strike quick and hurry at him,
 rush in, not caring for hit or miss.
7 So that you dishonour
 him before the judges.
8 Be prepared for that:
 All art has length and measure.
And whatever you want to do,
 keep up a good common sense
Be it in earnest or in play,
 have a light heart but don’t get overconfident.
So you may see
 and observe with a high spirit
What you can use
 and plan your next move against him.
Confronted with bravery and power,
 every opponent will hesitate.
Never
 give him any advantage on you.
Also avoid silly risks,
 against four or six opponents don't advance
Don't be overconfident,
 maintain balance, this will serve you well.
It is a brave man
 who can stand against someone of his own kind.
And it is not a shame,
 against four or six opponents run from the fight.

This is a general teaching for the sword.

9 If you want to show art,
 move left and strike with right,
10 And strike left with right,
 if you intend to fence strongly.
11 He who moves after strikes
 may not enjoy any art
12 Strike at him as you like,
 no Wechsler will harm you.
Never strike to the sword,
 always wait for the openings.
13 to the head or to the body,
 do not shun the Zeckrühr.
14 Fence with your whole body
 if you want to fence strongly.
15 Hear this is bad,
 do never fence from your upper left when you are right,
16 And if you are left,
 you will lack severely at your right.
So better
 fence down from your upper left.
17 Vor Nach these two things
 are the source of all art.
18 Schwäche und Stärke,
Indes you must remember.
19 So you will learn
 to defend yourself with art and work.
20 If you are frightened easily,
 you will never understand fencing,
ⅹⅲ Bravery and quickness,
 carefulness wits and Intelligence
ⅹⅳ Sense, stealth,
 measure precognition grace skill
ⅹⅴ Fencing needs all this
 and a free and easy mind.

This is being followed by general comment: At first learn and know that the Ort of the sword is the centre and the means and the core of the sword. All techniques start and end with the Ort, thus the Hängen and Winden are the begin and the turnings around the centre and many good fencing techniques stem from this.

These have been invented so that a fencer, who immediately strikes at the Ort and yet does not hit instantly, may employ the before mentioned Techniques in combination with strikes thrusts and cuts, with stepping off or in, and with stepping around or jumping, in order to hit his adversary. And if someone has shot his Ort out too far, by thrusting or lunging, he can recover or shorten it by employing the Winden or stepping off, so that he again may use those appropriate techniques and principles of fencing. From there he again may strike thrust or cut, because according to Liechtenauer's art, strikes thrusts and cuts stem from all fencing techniques and principles. And later you will hear, how one technique and principle stems from the other and how they can be used in succession, so that if one method is being defended, the other hits and succeeds.

Secondly, you should learn that there is nothing about the sword that has been invented for without reason and that a fencer should make use of the Ort, of both edges, the hilt and the pommel. Each of these has its own special methods in the art of fencing. And how to practice this, you will see and hear later

Also know and learn, by the verse beginning with “If you want to show art etc” it is meant that an artful fencer should place his left foot in front and strike from the right side directly to the man, and with threatening strikes just as long as he sees where he may hit him and reach him with his stepping. And when he says “if you intend to fence strongly” so he says that you should fence upwards from the left side with the whole body and with all strength, to the head or to the body wherever he may hit. And never strike to the sword but just work like would not have a weapon or if you don't see it, and should not avoid Zeckrühr or taps, and permanently be in motion, work and contact, so the opponent may not come to strikes.

Also he means that one should not follow or step right after the strikes but always a little sideways and in a slope around, so that he gets to his flank. There he will get him much easier with any method compared to confronting him directly. Whatever he strikes to thrusts at his opponent, it will not be defended by any Durchwechsel or other techniques, if the strikes or thrusts are directed at the man and at the openings, to the head or to the body, with stepping around or other footwork.

Also know and learn when he speaks: “Vor Nach those two… etc” there he means the five words, Vor Nach Schwach Stark Indes and within these words lies all art of Master Liechtenauer and these are the basic foundation and the core of all fencing on foot or mounted, with armour and without.

By the word “Vor” he means that every good fencer should always gain the Vorschlag, may he hit or miss. And when Liechtenauer says “Strike and hurry to the man, rush in may it hit or miss”. This means, as soon he approaches his adversary by stepping or running, he should instantly attack as soon as he is sure he could reach him with either a step or a jump. Then he must attack to his head or to his body, without any fear to the opening which he can hit best. So he should gain the Vorschlag, and it is not impOrtant, if it directly hurts the adversary or not. He must also be sure with the correct measure of his steps, so that he may not step too short or too long.

If he now hits with the Vorschlag, so instantly follow through with the hit. However, if the defends the Vorschlag so that he turns aside or leads off the attack, be it a strike or a thrust, away from the intended opening with his sword, you should now, with the swords are still being in contact, feel or be aware whether he is soft or hard, weak or strong at the sword.

If he now feels how the adversary acts in his fencing, if he is strong or hard, in the very moment he realizes this he should, while the adversary is still protecting himself, become soft and weak and in the case of the adversary being weak, vice versa. To make sure that one cannot come to strikes, he should instantly execute the Nachschlag, that means that he attacks again while the other is still protecting himself from the Vorschlag, be it with a strike or a thrust. So he can employ different techniques for hurrying or rushing towards his openings and thus he is permanently in motion and very close to him and this should make him so irritated and confused that he is only busy protecting himself and cannot come to his own strikes. If one has to defend himself or has to be aware of the strikes which are directed against him, he is in much greater danger than the one who strikes at him, because he either can defend or be hit. And this makes it very difficult for him to gain the oppOrtunity for his own strikes. So Liechtenauer says: I tell you truthfully, no one defends without danger, if you understood this, he will not come to strikes.

If these five words, which this teaching and all other fencing is based upon, are not adhered,

then this is the reason why a brave peasant often defeats a master by winning the Vorschlag.

Now it has been said before that that Liechtenauer expresses he should bravely and without fear rush in with a good Vorschlag or the first strike to the head or body may he hit or miss, so that he strikes him just as stunning and frightening him so he does not know what he can do against him. Also it has been said that he should strike the Nachschlag before he recovers or might come to his own strikes. this also means this you should work in a manner that he is permanently busy with protecting and defending.

And if he defends against the Vorschlag, he instantly comes to the Nachschlag while the adversary is still defending for example, by rushing in with the pommel or transitioning into the Zwerchhau, which are generally good. He can generally transition into the Zwerch position, so he may use other technique which he may begin before the adversary can execute his own attack. And you will hear how you generate one technique from the other, if you follow this advice. That is he should execute with one thought and just as with one strike if possible the Vorschlag and the Nachschlag, quickly in succession.

It may happen that one has to defend the adversary's Vorschlag. So he would defend it by getting at his sword – and if he is a little slow or indecisive so he would want to stay at the sword and use the winden and feel if the adversary wants to pull back from the bind or not.

If one moves off, now that they were just bound at the sword, and the points are facing against each other to the openings, the skilled fencer has followed directly with the point, before the adversary can recover from his pulling-off, thereby executing a good thrust to the chest or anywhere where he could hit him best. And this is the method that the opponent cannot leave the bind unharmed, because with this following he gets nearer by thrusting the point forward at the sword, following the principle of the nearest and shortest target.

And if the opponent tries to attack newly with long strikes or thrusts after pulling off, he may always gain the Nachschlag or a thrust rather than with the first strike. Liechtenauer means this by the word “Nach”; if one has struck the Vorschlag so he should move in and without break strike the Nachschlag (in the same movement) and thus he should be permanently in movement and in contact, constantly using one technique after the other. So, if the first one fails, the second, the third or the fourth my hit not letting the opponent come to strikes because no one will ever have any significant advantage in fencing, except him who works according to this teaching and these five words.

Now if it happens that the opponent does stay at the sword after he displaced, and now it comes that he also stays at the sword – not having done the Nachschlag yet – so he shall wind and stand at the sword, and he should note and feel if the adversary is weak or strong at the sword.

And if he now feels that the opponent is strong, hard and rigid at the sword and only plans to press into him with his sword, so he should become weak and soft and completely give up his strength against the opponent. And thus he should let go of the opponent's sword, so it may whip and move off with the pressure. And now he can slide and pull off his sword quickly and then go for the opponent's openings quickly and nimbly, to the head or to the body, with strikes, thrusts and cuts, wherever he may hit surest and most direct.

Because the harder the opponent presses with the sword, the farther his sword is flung aside when he suddenly becomes soft and lets the sword slide off. So the opponent will be left open so that he can touch or hit as he wishes before the opponent may recover and come to his own strike or thrust.

If the opponent now is weak and soft at the sword and he feels and notices this, so he should be strong and hard at the sword and should rush in quickly forcefully at the sword, directly and frontal to the next best accessible opening. Just like as a string would be attached to the point which would pull and turn his point to the nearest opening, as to achieve the thrust.

Now if the opponent is strong and defends the thrust and displaces it by becoming strong at the sword, so that the opponent presses into the sword again, so again he should become weak and soft and let his sword slide off. And in this evading he should seek the openings quickly with strikes thrusts or cuts, as he wishes. And this is what Liechtenauer means with the words “soft and hard”.

And this concept is from the auctoritas when Aristoteles says in the book peyarmenias: Oppositions shine more clearly if placed next to each other than directly opposing them[1]

Weak against strong, hard against weak and vice versa. If it should be only strong against strong, the stronger will always win. That is the reason why Liechtenauer's fencing is real and correct art, so that a weak man can win with his art and wits in the same manner a strong man can do with his strength and it would be no art otherwise.

Because of this fencing teaches the feeling well as Liechtenauer says: “Learn the feeling, Indes is a word that cuts” because if you are at the sword with someone, and you are now skilled at feeling whether your opponent is weak or strong at the sword, indes or while you are in the bind, you may very well observe and plan what you should do against him. And according to this teaching and art, he may not pull off from the sword without being hurt, because Liechtenauer says: Strike that he is confused when he pulls off.

Now, according to this teaching you understand well that you should try to gain the Vorschlag and as soon as you execute it, so do in one rush instantly and without break the Nachschlag, and that can also be the second, third or fourth strike or thrust. So your opponent may not come to strikes. If you now bind with him so be skilled at the feeling and do as it has been written before, because this is the foundation of fencing so that you are permanently in motion and never pause or hesitate. And if it now comes to the feeling, so also do what is written before.[2]

And what you begin to do, always have measure and control. When you have won the Vorschlag so don't do it too fast or too committed as you will be unable to recover yourself to do the Nachschlag. That is why Liechtenauer says: Be ready for this, all things need measure and control. And this also remember when doing steps and also before all other techniques and principles of fencing.

This is the text where he explains the five strikes and other techniques of fencing

21 Learn five strikes
 from the right hand against the weapons
23 Wrath strike, Bent strike, transversal
 strike, Squinting strike with vertex strike
24 Fool defends,
 adheres, overreaching defeats strikes
25 Changing through, pulling,
 running through, cutting off, pressing the hands
26 Hang, wind to the openings,
 strike, catch, swipe, thrust repeatedly

[No gloss]

This is about the Zornhau[3]

27 Whoever strikes at you from above,
 the point of the Zornhau endangers him.
28 If he sees it,
 take it up and off without danger
29 hold against him, wind,
 and thrust again. If he sees it, strike him low.
30 Remember this,
 Strikes, thrusts and guards, be weak or be strong.
31 Indes, Vor und Nach,
 take your time and analyze the Krieg.[4]
32 Whoever takes the Krieg
 too high, he will be hit below.
33 In all windings
 learn how to find Strikes thrusts and cuts.
34 Also you should
 feel spontaneously if it has to be a strike, a cut or a thrust.
35 In all binds
 learn to pull and jerk against the skilled fencers if you wish to fool them.
Never attack his sword,
 always strike the openings
ⅹⅵ To the head, to the body,
 never forget the tick.[5]
ⅹⅶ

ⅹⅷ Learn
 to turn the Ort[6] to the openings.
ⅹⅸ The one who swings strikes around and wide,
 will usually be defeated
ⅹⅹ With Strikes and thrusts
 aim for the nearest and closest.
ⅹⅺ Also you should step
 to his right side
ⅹⅻ

Comment: Here learn and know that Liechtenauer strikes an Oberhau[7] from his shoulder which is called the Zornhau. For someone who is angered and wrathful, no other strike comes as ready as the Zornhau, because this Oberhau strikes from the shoulder to the opponent, and this is why Liechtenauer says: If someone strikes an Oberhau against you, you should strike the Zornhau against him so that your point thrusts forward quickly. If he now defends against your point, pull the sword up and off from his blade and move to the other side of his sword. If he also defends against this, be strong against the sword and wind the point in for the thrust. If he defends this thrust, so take the sword away and strike low to his legs.

So constantly do one after the other thus he may not come to strikes. And always have the already mentioned words, Vor and Nach Indes Schwach Stark and strikes thrusts and cuts, in your mind and never forget these in fencing.

Furthermore, you should not hurry too much in the Krieg because if you aim above and miss so you will hit below. And how you execute one after the other, according to real art with special strikes thrusts and cuts you will hear later.

And you should not strike at someone's sword but directly to him, to the head or to the body wherever you wish.

Alternatively, you may understand the first verse as if you strike a wrath strike from above, the adversary is being endangered by the point of the wrath strike.

Now follow this teaching and stay permanently in motion, if you hit or miss, so that one cannot comes to strikes, and always step sideways off with your strikes.

Also know that there are only two strikes all others are based upon. And these are the Oberhau[8] and the Unterhau[9] from both sides, which are the main strikes and the foundation if all other strikes. And these again are based on the point of the sword which is the core and the centre of all other techniques as it has been written before. And from the same strikes come the four displacements from both sides, with these you break and defeat all strikes thrusts or guards and these also lead to the hangings which can very well be used for artful techniques as you will hear later. And however you fence, always turn the point against the face or the chest of the adversary, so he has always to watch out that you do not move prior to him.[10]

And if it happened, that the adversary got the Vorschlag[11] so he should be well practiced and quick with the Abwenden[12] and as soon as he has turned off the (attacks of) the adversary, he should move quickly as soon as possible, and his point should always aim for the chest as you will hear now. And the point should, as soon as he comes at the adversary's sword, be always within a half Elle[13] of either chest or face. Also he should be well aware if he can move in boldly for the next opening. And he should never move too far around so that the adversary cannot come forward before him, which will surely happen if the adversary comes forwards and is not hesitating, slow or moves too far.[14]

  1. conflicting
  2. Alternative interpretation: keep your blade on top of his.
  3. Wrath strike
  4. Thrust exchange from the bind
  5. striking the wrist and arms
  6. point
  7. Strike from above
  8. strike from above
  9. strike from below
  10. the next sentence is unfinished
  11. first strike
  12. turning-off
  13. roughly 30 cm
  14. Vorreben?