liechtenauer composite - meetup

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Liechtenauers Bloßfechten Page 1 Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a 13th or 14th century German fencing master. He was likely born in the early to mid 1300s, possibly in Lichtenau, Mittelfranken (Franconia). Unfortunately, no direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the so-called “Döbringer Hausbuch”, 1 the oldest text in the tradition, who stated that "Master Liechtenauer learnt and mastered [the] Art in a thorough and rightful way, but he did not invent and put together this Art, as it is stated before. Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art." 2 He seems to have been alive at the time of the creation of this text (or the manuscript it was copied from), generally assumed to be in 1389. The estimate of Liechtenauer’s lifetime is based on this assumption, and could be significant ly earlier or later, depending on the actual origins of that manuscript. 3 Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zedel, or "teaching", is generally attributed to him by these masters (many other masters and manuscripts quote some version this poem without attribution). Later masters in the tradition often wrote extensive glosses or commentaries on this poem, including those found in this document. Liechtenauer's influence on the German fencing tradition as we currently understand it cannot be overstated. The masters on Paulus Kal's roll of the "Society of Liechtenauer" were responsible for many of the most significant fencing manuals of the 15th century. Liechtenauer and his teachings were also the focus of many of the fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter. Collected here in this document are several of the most significant commentaries on Liechtenauer’s verse of the Fifteenth Cen tury, arranged in such a fashion as to facilitate study and training. First you will find the long introductory comments from the Döbringer Hausbuch, as translated by David Lindholm, 4 followed by Liechtenauer’s Zedel in as complete a form as is currently available. In this presentation of the poem, the main text is Keith Farrell’s translation of the Dresden version of Sigmund von Ein Ringeck’s treatise; 5 the italic text is Lindholm’s translation of the additional verses unique to the Döbringer Hausbuch. Following this are three rows of text and images. The top row is Lindholm’s translation of the anonymous gloss in the Döbring er Hausbuch, accompanied by images from the Munich version of Paulus Kal’s treatise where appropriate. 6 In a few places, this is augmented by the brief fragment of anonymous commentary found on ff 57r 59v of Codex Ringeck, 7 cast in italic text with the transcription in green. The middle row consists of Farrell’s translation of the Dresden version of Ringeck’s treatise, accompanied by images from the Glasgow version of the treatise, 8 Hans Medel’s revision of the text, 9 and the Codex Wallerstein. 10 In places where the Glasgow version includes additional text beyond the Dresden version, that text is presented in italics with green transcription. The bottom row includes Mike Rasmusson’s translation 11 of the Krakow version 12 of the Anonymous Gloss of Liechtenauer’s verse, as well as images from that manuscript. Where the Rome, 13 Augsburg, 14 or Salzburg 15 versions include additional text, that text can also be found in green italics. All transcriptions used in this document were made by Dierk Hagedorn. 16 The layout of this document and the concordance of the three commentaries on the Grand Master’s teachings are my own, as are any errors. It is my hope that this document will serve to advance the study of the Art and benefit the community of its modern practitioners. Distribute this document as widely as you like, but do not remove this introduction. Michael Chidester Lead Designer, Wiktenauer Senior Researcher, True Edge Academy Lifetime Member, HEMA Alliance 1 Anonymous. Untitled [manuscript]. MS 3227a. Nuremberg, Germany: Germanisches Nationalmuseum, ca. 1389. 2 Żabiński, Grzegorz. "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3 3 Tobler, Christian Henry. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-1-6 4 Lindholm, David. Cod.HS.3227a or Hanko Döbringer: fechtbuch from 1389. Document circulated online, 2005. 5 Farrell, Keith. MS Dresden C487: Commentary by Sigmund Ringeck on Liechtenauer’s Longsword. Academy of Historical Arts, 2011. 6 Kal, Paulus. Untitled [manuscript]. CGM 1507. Munich, Germany: Bayerische Staatsbibliothek, 1470. 7 Anonymous. Untitled [manuscript]. MS Dresd.C.487. Dresden, Germany: Sächsische Landesbibliothek, ca. 15041519. 8 Anonymous. Untitled [manuscript]. E.1939.65.341. Glasgow, Scotland: Glasgow Museums, 1508. 9 Medel, Hans. Untitled [manuscript]. Cod.I.6.2°.5. Augsburg, Germany: Universitätsbibliothek Augsburg, 1539. 10 Anonymous. Untitled [manuscript]. Cod.I.6.4°.2. Augsburg, Germany: Universitätsbibliothek Augsburg, ca. 1470. 11 Rasmusson, Mike. Goliath. Schielhau.org, 2005. 12 Anonymous. Goliath [manuscript]. MS Germ.Quart.2020. Kraków, Poland: Biblioteka Jagiellońska, 15101520. 13 Anonymous. Untitled [manuscript]. Cod.44.A.8. Rome, Italy: Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana, 1452. 14 Anonymous. Untitled [manuscript]. Codex I.6.4°.3. Augsburg, Germany: Universitätsbibliothek Augsburg, ca. 1450s. 15 Anonymous. Untitled [manuscript]. MS M.I.29. Salzburg, Austria: Universitätsbibliothek Salzburg, 1491. 16 Hagedorn, Dierk. Hammaborg Historical Swordsmanship. http://www.hammaborg.de/en/transkriptionen/index.php .

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Page 1: Liechtenauer Composite - Meetup

Liechtenauers Bloßfechten — Page 1Johannes Liechtenauer (Hans Lichtenauer, Lichtnawer) was a 13th or 14th century German fencing master. He was likely born in

the early to mid 1300s, possibly in Lichtenau, Mittelfranken (Franconia). Unfortunately, no direct record of his life or teachings currently exists, and all that we know of both comes from the writings of other masters and scholars. The only account of his life was written by the anonymous author of the so-called “Döbringer Hausbuch”,1 the oldest text in the tradition, who stated that "Master Liechtenauer learnt and mastered [the] Art in a thorough and rightful way, but he did not invent and put together this Art, as it is stated before. Instead, he traveled and searched many countries with the will of learning and mastering this rightful and true Art."2 He seems to have been alive at the time of the creation of this text (or the manuscript it was copied from), generally assumed to be in 1389. The estimate of Liechtenauer’s lifetime is based on this assumption, and could be significantly earlier or later, depending on the actual origins of that manuscript.3

Liechtenauer was described by many later masters as the "high master" or "grand master" of the art, and a long poem called the Zedel, or "teaching", is generally attributed to him by these masters (many other masters and manuscripts quote some version this poem without attribution). Later masters in the tradition often wrote extensive glosses or commentaries on this poem, including those found in this document. Liechtenauer's influence on the German fencing tradition as we currently understand it cannot be overstated. The masters on Paulus Kal's roll of the "Society of Liechtenauer" were responsible for many of the most significant fencing manuals of the 15th century. Liechtenauer and his teachings were also the focus of many of the fencing guilds that arose in the 15th and 16th centuries, including the Marxbrüder and the Veiterfechter.

Collected here in this document are several of the most significant commentaries on Liechtenauer’s verse of the Fifteenth Century, arranged in such a fashion as to facilitate study and training. First you will find the long introductory comments from the Döbringer Hausbuch, as translated by David Lindholm,4 followed by Liechtenauer’s Zedel in as complete a form as is currently available. In this presentation of the poem, the main text is Keith Farrell’s translation of the Dresden version of Sigmund von Ein Ringeck’s treatise;5 the italic text is Lindholm’s translation of the additional verses unique to the Döbringer Hausbuch.

Following this are three rows of text and images. The top row is Lindholm’s translation of the anonymous gloss in the Döbringer Hausbuch, accompanied by images from the Munich version of Paulus Kal’s treatise where appropriate.6 In a few places, this is augmented by the brief fragment of anonymous commentary found on ff 57r–59v of Codex Ringeck,7 cast in italic text with the transcription in green. The middle row consists of Farrell’s translation of the Dresden version of Ringeck’s treatise, accompanied by images from the Glasgow version of the treatise,8 Hans Medel’s revision of the text,9 and the Codex Wallerstein.10 In places where the Glasgow version includes additional text beyond the Dresden version, that text is presented in italics with green transcription. The bottom row includes Mike Rasmusson’s translation11 of the Krakow version12 of the Anonymous Gloss of Liechtenauer’s verse, as well as images from that manuscript. Where the Rome,13 Augsburg,14 or Salzburg15 versions include additional text, that text can also be found in green italics. All transcriptions used in this document were made by Dierk Hagedorn.16 The layout of this document and the concordance of the three commentaries on the Grand Master’s teachings are my own, as are any errors.

It is my hope that this document will serve to advance the study of the Art and benefit the community of its modern practitioners. Distribute this document as widely as you like, but do not remove this introduction.

Michael Chidester Lead Designer, Wiktenauer Senior Researcher, True Edge Academy Lifetime Member, HEMA Alliance

1 Anonymous. Untitled [manuscript]. MS 3227a. Nuremberg, Germany: Germanisches Nationalmuseum, ca. 1389.

2 Żabiński, Grzegorz. "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." Masters of Medieval and Renaissance Martial Arts. Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008. ISBN 978-1-58160-668-3

3 Tobler, Christian Henry. "Chicken and Eggs: Which Master Came First?" In Saint George's Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. ISBN 978-0-9825911-1-6

4 Lindholm, David. Cod.HS.3227a or Hanko Döbringer: fechtbuch from 1389. Document circulated online, 2005. 5 Farrell, Keith. MS Dresden C487: Commentary by Sigmund Ringeck on Liechtenauer’s Longsword. Academy of Historical Arts, 2011. 6 Kal, Paulus. Untitled [manuscript]. CGM 1507. Munich, Germany: Bayerische Staatsbibliothek, 1470. 7 Anonymous. Untitled [manuscript]. MS Dresd.C.487. Dresden, Germany: Sächsische Landesbibliothek, ca. 1504–1519. 8 Anonymous. Untitled [manuscript]. E.1939.65.341. Glasgow, Scotland: Glasgow Museums, 1508. 9 Medel, Hans. Untitled [manuscript]. Cod.I.6.2°.5. Augsburg, Germany: Universitätsbibliothek Augsburg, 1539. 10 Anonymous. Untitled [manuscript]. Cod.I.6.4°.2. Augsburg, Germany: Universitätsbibliothek Augsburg, ca. 1470. 11 Rasmusson, Mike. Goliath. Schielhau.org, 2005. 12 Anonymous. Goliath [manuscript]. MS Germ.Quart.2020. Kraków, Poland: Biblioteka Jagiellońska, 1510–1520. 13 Anonymous. Untitled [manuscript]. Cod.44.A.8. Rome, Italy: Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana, 1452. 14 Anonymous. Untitled [manuscript]. Codex I.6.4°.3. Augsburg, Germany: Universitätsbibliothek Augsburg, ca. 1450s. 15 Anonymous. Untitled [manuscript]. MS M.I.29. Salzburg, Austria: Universitätsbibliothek Salzburg, 1491. 16 Hagedorn, Dierk. Hammaborg Historical Swordsmanship. http://www.hammaborg.de/en/transkriptionen/index.php.

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Liechtenauers Bloßfechten — Page 2 Here begins Master Liechtenauer’s art of fencing with the sword,

on foot and on horseback, in armor and without. And before all things you should know and understand that the sword is only one art and it was devised and thought out hundreds of years ago. This art is the foundation and core and it was completely understood and known by Master Liechtenauer. Not that he himself devised or thought out what is described, but he traveled and searched through many lands since he wanted to learn and experience this art. And this art is quite earnest and righteous, and it goes from the nearest in search of the closest and goes straight and right when you wish to cut or thrust. So that when you want to attack someone it is as if you had a cord tied to the point or edge of your sword and this leads the point or edge to an opening.

For you should cut or thrust in the shortest and nearest way possible. For in this righteous fencing do not make wide or ungainly parries or fence in large movements by which people restrict themselves. Many Leychmeistere say that they themselves have thought out a new art of fencing that they improve from day to day. But I would like to see one who could think up a fencing move or a strike which does not come from Liechtenauer’s art. Often they want to alter or give a new name to a technique, all out of their own heads and think up wide reaching fencing and parries and often make two or three strikes when one would be enough or stepping through and thrust, and for this they receive praise from the ignorant. With their bad parries and wide fencing they try to look dangerous with wide and long strikes that are slow and with these they perform strikes that miss and create openings in themselves. They have no proper reach in their fencing and that belongs not to real fencing but only to school fencing and the exercises for their own sake. But real fencing goes straight and is simple in all things without holding back or being restricted just as if a string had been tied or as if they had been connected. When you cut or thrust at another in front of you, then no cuts or thrusts before or behind, nor besides or wide reaching movements or many strikes will help if you hold back and lose the chance. Instead you must strike straight and direct to the man, to the head or to the body whatever is the closest and quickest. This must be done with speed and rather with one strike than with four or six which will again leave you hanging and giving the opponent a chance to hit you.

The Vorschlag is a great advantage in the fencing as you will hear in the text. Therefore Liechtenauer says that only five strikes with other techniques should you use in real fencing. And he teaches these straight and simple and does them as quickly and as direct as possible. And you will lay under you all the drumming and new inventions by the Leychmeistere since these [five strikes] are the foundation of his art.

Note and know also that it is not possible to explain the art of fencing as well with words as one can show it with the hand. Therefore open your mind and ponder well and the more you train yourself in play the more you will think of it in earnest. For practice is better than art, your exercise does well without the art, but the art is not much good without the exercise.

Know also that a good fencer should before all things know his sword and be able to grip it well with both hands, between the cross guard and the pommel since you will then be safer than if you did grip it with one hand on the pommel. And you will also strike harder and truer, with the pommel swinging

itself and turning in the strike you will strike harder than if you were holding the pommel. When you pull the pommel in the strike you will not come as perfect or as strongly. For the sword is like a scale, if a sword is large and heavy then the pommel must also be large and heavy to balance it like a scale.

Also know that when you fence with another you should step with caution and be sure in them [the steps or movements] as if you were standing on a scale and adapt accordingly if you go forward or backward as is fitting. Easy and quickly with good heart and good knowledge or sense you should go and without fear, as you will know hereafter.

You should also show reach in your fencing as is suitable and not step too wide, so that you can pull back and be ready for another step backwards or forwards. Often two shorter steps will happen before a long one. And often you must make a short leap with short steps, and often you must make a good step or leap.

And what you would try readily in earnest or in play, should be hidden from him so that he does not know what you intend to try against him.

And when you close with him thinking that you have the correct measure and believe that you can reach him, and then you shall go at him quickly and with speed to the head and to the body. You will hit or miss and win the Vorschlag, and not let him come to anything as you will hear hereafter in the true teaching.

You should always look for the upper Blossen rather than the lower, and go over his hilt with cuts or thrusts artfully and quickly. For you have better reach over the hilt than under it and you are also much safer in all your fencing. The upper touch is much better than the lower. But it may also happen that you are closer to the lower opening and therefore seek it, as often happens.

Also know that one should close in with him from the right hand side in the fencing, and in all things in fencing and in wrestling you take him better like this than straight on. And if you know this technique and make use of it, then you are not a bad fencer.

Also know that when you wish to fence in earnest, then you shall have a finished piece in [your mind], any [technique or strategy] you want that is complete and correct and hold it in all seriousness and firmly in your mind when you want to close with him as if you would say “This is what I intend!”. And then you will have success with the help of God and not go wrong. You do what you should when you bravely rush the opponent with the Vorschlag as you will know hereafter.

What pertains to all fighting Is the rightful help of God, Ready and healthy body, And especially a ready sword. One should notice the words “Before,” “after,” “weak,” “strong,” “as soon as”; Plus strikes, thrusts, slices, pressing, Guards, protecting, thrusts, feeling, “withdrawing,” “Windings” and “hangings,” Slices from below, leaps, grasps, wrestling, Knowledge and courage, Prudence, smartness and wisdom, Reach, secrecy, Mind, reason, deliberateness, readiness,

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Liechtenauers Bloßfechten — Page 3Exercises and good health, Movement, dexterity, good steps. In these verses there Are fundaments, principles And pertinence, And the entire matter of The whole art of swordsmanship Is named for you. You should consider them well, As you will further Hear or read it, In an exact and precise manner. Swordsman, take it for true: Profess the art, indeed For the whole sword, And many good fellows. Movement, this beautiful word, Is the heart of swordsmanship and the crown Of the whole matter Of swordsmanship, will all the belongings And articles Of the foundation, which are Called with their names, And will be known to you afterward. If someone fights, He should be well familiar with them. And he should be in the movement, and not In the rest, And when fighting starts, He should drive it correctly, Always and finally, One after another, he should Stay bravely in the rush, Immediately with no delay, So that the other gets not to strike. This way, he will profit from it, And the other will be injured When the other may not part from him Without having been beaten, Provided that he does According to advice and teaching Which is written in this way: “I say for truth That he protects himself not without fear; If you understand this, He gets not to strike.”

Here note that constant motion [Frequens motus] holds the beginning, middle and the end of all fencing according to this art and teaching. That is you should quickly do the beginning, the middle and the end without delay and without any hindrances from the opponent and not letting him strike at you. That concept comes from the two words Vor and Nach, that is the Vorschlag and the Nachschlag, in the middle… This is the general foreword to the blossfechten on foot, note this well.

If you want to show the art, Make sure to go from the left and strike from the right, And go from the right and strike from the left,

If you want to strike strongly. He who only strikes after, Will not enjoy the art. Strike at him as you wish, No deceptive strike will hit your shield. Do not strike at the sword, But wait for the openings. At the head, at the torso, Do not avoid “withdrawing.” Do with the entire body What you want to perform strongly. Listen what is wrong to do: Strike not from above to the left if you are right-handed, And if you are left-handed, You also miss a good deal from the right. Thus, strike rather From above downward to the left. “Before” and “after,” these two things, Are the source of all the arts. “Weak” and “strong,” “As soon as”—remember these words, So that you may learn To work and defend yourself with the art. If you are fearful, Never learn any art of fighting. Bravery and quickness, Prudence, cunning and wisdom Reason, secrecy, Reach, deliberateness, readiness Will have fight And carry joy.

Here follows a general teaching: Before all know and note that the point of the sword is the centre and also its centre and core and from this comes all fencing and all returns to it. So the Hengen and the Winden is the hanging in and the going around of the centre and from these good fencing will be done, and it is so thought out and discovered that a fencer who like so always cuts or thrusts at the point [Of the opponents weapon] do not always hit well. But with these techniques Hawende, Stechende or Sneydende, stepping in or out [Abe und czutreten], stepping around [Umbeschreiten] or a leap [Springen], will hit the other. And if someone shoots or steps forward with the point and lengthens or moves it forward, the other cannot hurt or shorten you with Winden or stepping out [Czutreten]. Then the opponent cannot come into safe techniques and pieces such as the cut, thrust or slice. For Liechtenauer’s art is founded on principles of all the fencing skills and on the art of the sword. Cuts, thrusts and slices as you will hear later here, how to do techniques and defend against what the other does, and how to do one out of the other if one (technique) is defended against, then the other technique will hit and have success.

Secondly know and note that not one thing on the sword is without its use or reason. Therefore you should use the point [Ort], both edges [Sneiden], cross guard [Gehilcze] and pommel [Klos] and all that is on the sword. As they are meant to be used in the art of fencing as is done in the exercises as you will find hereafter see and hear.

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Liechtenauers Bloßfechten — Page 4 Also know and note that when he says that you should show

art, then he intends that the artful fencer should place his left foot forward and strike with it from the right side straight at the man with true strikes as soon as you see how you can take him and reach him with your own steps. Also when you want to fence strongly, then fence from the left side with the whole body and with full force to the head and to the body wherever you can hit – and never to his sword, but as if he (the opponent) does not have a sword or as if you cannot see. And you shall not disdain any following or contacts made, but always work and remain in motion so the he cannot come to blows.

He (Liechtenauer) also means that you should not step straight in with the blows, but from the side at an angle so that you come in from the side where you can reach him easier than from the front. When you cut or thrust at him, he will not be able to defend with other techniques and neither lead it away by Durchwechsel as long as the cuts or thrusts are to the man, to the Blossen to the head and the body with steps and leaps in from the side.

Also note and know what he says here, Vor, Nach, the two things do, he names the five words; Vor, Nach, Weich, Hart, Indes. On these words hinge the whole art of Liechtenauer, and they are the foundation and cornerstone of all fencing on foot or on horseback, Harnusche or Blos. Regardless if you hit or miss, as Liechtenauer says, strike and rush in and then follow no matter if you hit or miss. The word Vor means that a good fencer will always win the Vorschlag. When you step or leap in to close with the opponent as soon as you see that you can reach him with step or leap, then you shall close with strikes to the Blossen and fence at the head or the body without any fear at all as you will surely win against him. Therefore when you win the Vorschlag then it is no matter if it is good or painful for the opponent, and you will also be sure in your steps and should do them well measured neither too long nor too short. When you now do the Vorschlag if you hit then follow up the hit quickly, but if the other defends against the Vorschlag whether it was a cut or a thrust and turns it away and leads with his sword, then you shall remain on the sword if you were deflected from the opening and feel if the opponent is Hart or Weich and Stark or Swach on the sword. And when you notice this, then be hard or soft against the opponent as he defends himself. And then Indes should you do the Nachschlag before the opponent has a chance to come to blows, that is as soon as the opponent defends against the Vorschlag as you do that, attack other Blossen with other techniques speedily. And always be in motion, this will force the opponent to be on the defense and not be able to come to blows himself. For he who defends against strikes is always in greater danger than the one who strikes, since he must either defend or allow himself to be hit if he is to have a chance to strike a blow himself. That is why Liechtenauer says; “I say truthfully, no man can defend without danger”. If you have understood this he will not come to blows, and you already know the five words that this art consists of. Therefore in all swordplay someone who strikes will often defeat a Master if he is bold and gain the Vorschlag according to this teaching.

With the word Vor as has been told before, he [Liechtenauer] means that you with a good Vorschlag shall close in without fear or hesitation and strike at the Blossen, to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you. Then before the opponent can

gather himself and come back, you shall do the Nachschlag so that he will have to defend yet again and not be able to strike himself. Thus when you strike the Vorschlag and the opponent defends against this, in the defense you will always be first to reach the Nachschlag before the opponent. As soon as you can you should go with the pommel to the head or come in with the Zwerchhaw that is always good to do, or you can throw the sword forward crosswise in and by that enter into other techniques. You can also initiate other good moves since the opponent will not be able to strike. You shall hear how you do one thing from another so that the opponent cannot come at you without being struck, if you act according to this teaching. You shall do with one mind and one strike the Vorschlag and the Nachschlag quickly one after the other, and when it happens that the opponent defends against the strike, then he will do this with his sword and you will be on his sword. And when the opponent is slow and late then you can remain on his sword and right away Wind and note and Fulen if the other gathers himself in order to move away or not. If he moves off when you have come on the sword in front of one another and extend the points at one another to the Blossen, then you shall—before the opponent has time to gather himself in order to cut or thrust—follow him with the point and do a good thrust to the chest or something like that as quickly and directly as you can. That is you should not let him escape unharmed from the sword. Since you know at once that you have a shorter way to the opponent since you already have your point on the [his] sword, as close and as short as possible. Then if you move away to do another cut or thrust and you do a wide movement, then the opponent will always be able to beat you to the Nachschlag with a cut or thrust, then he can hit you with the Vorschlag. And this is what Liechtenauer means with the word Nach. When you have done the Vorschlag then you shall without any delay do the Nachschlag and you should also stay in motion and do one thing after another. If the first [attack] does not work then the second, the third or the fourth will hit, and you shall not let the opponent come to blows. Since no one has greater advantage than he who fights according to the teaching of the five words. But if it is so that the opponent remains on the sword after his defense and is on the sword, and it has occurred that you remain with him on the sword and he has not done the Nachschlag then you shall turn Wind and remain with him on the sword. And you shall notice straight away if the opponent is Swach or Stark. If it is so that you feel and notice that the opponent is Stark and Herte and firm [Veste] on the sword and intends to push your sword away, then you shall be Swach and Weich and give way to his strength and let the opponent push his sword to the side and go with this. You shall then leave his sword quickly and speedily and move away and go at his Blossen to the head and the body with cuts and thrusts or with slices, in the simplest and shortest way that you can. Since the harder and surer someone presses and pushes with his sword, while the other is weak against and let his sword yield, the wider his sword is pushed to the side the more open he will become and the other can then hit him as he pleases before the other can gather himself again and attack with a new cut or thrust. But if the opponent is weak and soft at the sword and you notice this well and feel, then you should be strong and hard against the sword and should let your point go straight and hard on his sword, at his openings as directly as possible. Just as if there was a thread tied to your point leading you in the shortest way to the opponent’s

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Liechtenauers Bloßfechten — Page 5openings. And this thrust you should do when you are notice that the opponent is weak and allow his sword to be pushed back and allows himself to get hit, or if he is strong and defends and displace the thrust (pushes you aside). If the opponent remains strong at the sword and deflects the sword and defends against the thrust, that is that he pushes the sword swiftly away, you should be soft and yielding and let your sword yield before you and then speedily go at his openings with cuts, thrusts or slices in any way you can. This is what Liechtenauer means by the words Weich and Hart. And this comes from the authorities as Aristotle said in the book Peri Hermanias; [opposed near him set wise men shine forth or abandon opposition]. Weak against strong, hard against soft and vice versa . Because when it is strong against strong, the stronger one will always win. That is why Liechtenauer’s swordsmanship is a true art that the weaker wins more easily by use of his art than the stronger by using his strength. Otherwise what use would the art be? Therefore learn well to Fuhlen in swordplay. As Liechtenauer says, learn how to feel. Indes is a sharp word. Thus when you find yourself on another’s sword, feel well if he is weak or strong at the sword,

then Indes follow and know what is appropriate for you to do according to the aforesaid teaching and art. Then he will not be able to leave your sword without getting hurt. Thus Liechtenauer says “Strike so that he moves, if he withdraws from you”. After this teaching you understand how you will win the Vorschlag and as soon as you have done this, then quickly and without any delay do the Nachschlag that is the second, third or fourth cut, slice or thrust so that he cannot come to blows himself. If you then find yourself on his sword, then be sure that you feel and do as before has been described, since this is the basic tenet of swordsmanship: that a man is always in motion and never at rest, and it is also based on Fuhlen, so do as it is stated above. No matter what you do or attempt to do, always have length [Limpf] and Masse. If you have won the Vorschlag then do not perform it too slowly, but move fast so that you can gather yourself for the Nachschlag as well. That is why Liechtenauer says “Always know this, that all things have length and measure”. And understand this in relation to stepping and all other pieces of swordsmanship.

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Here Begins the Knightly Art of the Long Sword In Saint George’s name, here begins the art of fighting, written in verse by Johannes Liechtenauer, who was a great Master of the art, God have mercy on him. It begins first with the long sword, afterwards the spear and sword on horseback, and also the half sword in battle, all written down in what follows.

[2v] Hie hept sich an die Ritterlich kunst deß langen schwerts ~ [3r] IN sant Jörgen namen höbt an die kunst deß fechtens die gedicht vnd gemacht hat Johanns liechtnawer der ain hocher maister In den kunste~ gewesen ist dem gott genädig sÿ Deß ersten mitt dem langen schwert Dar nach mitt dem spieß Vnnd dem schwert zu° roß Vnnd och mitt dem kurczen schwert zu° dem kampf als her nach geschriben stat ~~~~~~

[3r] Alhÿe hebt sich an dye zedel der Ritterlichen kunst des fechtens dye do geticht vnd gemacht hat Johans Liechtenawer der ain hocher maister In den künsten gewesen ist dem got genadig seÿ Des ersten mit dem langen swert Dar nach mit der glefen vnd mit dem swert zw roß Dar nach mit dem kürtzen swert zw° champf vnd dar umb dÿ kuñst fur~sten vnd herren Ritter vnd knechten zw gehört das sy dy wissen vnd lernen sullen So hat er die selbig kunst igleich besunder lassen schreiben mit verporgen vnd verdackten wo°ten Dar umb das sÿ nit yderman vernemen noch versteen sol als du sÿ her nach geschriben wirst vinden vnd hat das getan durch der leichtfertigen schirmaister willen Dÿe Irr kunst gering wegen das sein kunst von den selbigen maisterñ nicht gemain noch geoffenwart sol werden solichen lewten die dye kunst In wirden nicht behalten als an dañ der kunst zw gehört ~

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This is the general foreword to the blossfechten on foot, note this well Young knight, learn to always honour women, and love God, so increase your honour. Practice chivalry and learn arts which improve you and in the battle bring honour. Wrestle well, understand the lance, spear and sword and use the knife like a man. Cut fiercely! Storm forwards: Hit or miss; The well-experienced hate that which seeks to cut them. This you shall understand: all arts have length and measure. Do what you wish to do with good understanding. In earnest or in play have good heart with measure. Thus you beware and look with good cheer; this is what you shall do and how you go against him. For good heart and force makes your opponent weak, govern yourself after this; never give an advantage for nothing. Do not be rash; do not first do four or six. With your overconfidence be moderate, which is good for you. He is a brave man who fights his own weaknesses. It is no shame to flee when four or six (foes) are at hand. This is a general teaching of the sword. If you would like to see skill, see that you go to the left then right with the cuts. And left with right, if you want to fight strongly. He who goes after the cut, receives little joy from his skills. Cut closely, then do what you want so he will not be able to change-through your defence. Do not strike to the sword; instead go for the Blossen, Strike to the head, to the body, do not refrain from swift strikes. Fence with the whole body if you want do this with strength. Hear what is bad, do not fence from the left if you are right-handed, and if you are left-handed,

Das ist eyne gemeyne vorrede / des blozfechtens czu fuße / Das merke wol Junck ritter lere Got lieb haben frawen Jo ere So wechst dein ere Vbe ritterschafft vnd lere kunst dye dich zyret vnd In kriegen zu eren hofiret Dagge swert stãge lãse schon Messer bockler has vñ rõken Taegñ darde vnd schilt Miden allen zu ringe~ uff du wilt Mandleich bederben vnd In anderñ henden verderben Haw drein vnd hurt dar Rausch hin trif oder la farñ Das yn die weyssen Hassen dye mann sicht preysen Dar auff dich fasse Alle kunst haben leng vnd masse Vnd was du trei wilt treiben / by guter vornu~ft saltu bleiben / Czu ernst ader czu schimpf / habe frölichen mut / mit limpf / So magstu achten vnd mit gutem mute betrachten / Was du salt füren vnd keyn im dich rüren / Wen guter mut mit kraft / macht eyns wedersache czagehaft / Dornoch dich richte / gib keynem forteil mit ichte / Tumkunheit meide / vier ader sechs nicht vortreibe / Mit deynem öbermut / bis sitik das ist dir gut / Der ist eyn küner man der synen gleichen tar bestan / Is ist nicht schande vier ader sechze flien von hande / Das ist eyne gemeyne lere des swertes Wildu kunst schauen Sich linck gen und recht mit hawen Vnd linck mit rechten Ist das du starck gerest vechten wer nach get hauen Der darff sich kunst wenig fräwen Haw nahent was du wild kain wechslär kumpt an deinen schilt Haw nicht czu~ swerte / zonder / stets der bloße warte / zw° kopff zu° leib dÿe zegt nicht vermeÿd Mit gantzem leib vicht was du starck gerest treÿben Hör was da slecht ist Vicht nicht oben linck So du recht pist Vnd ab dw linck pist

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you are weak from the right. and fence rather from high left to low (on the right). “Before” and “After”, these two things, all other skills spring from these. “Weak” and “Strong”, “Instantly”, mark well these words. So you can learn to work skillfully and defend yourself. If you become gentle and timid, you will never learn anything about fencing. Knowledge and skill, cunning, prudence and wisdom, reason, secrecy, reach, foreknowing and readiness. this fencing desire and cheerfully do. Learn five cuts from the right hand. He who can defend himself with these, he should be praised, his skill rewards him well. This is the text where the five strikes and other pieces are mentioned. Wrath strike, crooked strike, crosswise, squinting, with Parting breaking the Fool, Pursuing, hew-set; Overloping, bind on well; Stand not still, look what foe could do; change through, twitch, rush in, slice, press the hands, hanging guard, and with openings, strike, catch, sweep and thrust with the point. This is regarding the Zornhaw That which cuts from above, the Zornhau threatens him with the point. If he recognises this, so lift off above without danger. Become stronger against and thrust! If he marks this, take it below. Note to train this: cut, thrusts, guards—soft and hard. “Instant” and “Before”, “After” without hurry. Do not seek close combat prematurely. This is the Battle Those who aim for close combat before they are ready, are cut down. In all windings learn correctly to find the cut and the thrust. You shall also test with cut, thrust or slice, in all fights if you want to beat the masters. Do not strike at the sword, but always to the openings, to the head, the body

Im rechten aug sere hinckes Vor und nach dy zway ding Sind aller kunst ain vrsprinck Swech vnd sterck Inndes Das wort do mit mit merck So magstu lernen Mit kunst arbaitten vnd weren Erschrickstu gern kain vechten nÿmmer gelerñ Kunheit vnd rischeit / vorsichtikeit list vnd klugheit Vornu~ft verborge~heit / moße bevorbetrachtu~ge / hobsheitfetikeit / Wil fechten haben vnd frölichs gemüte tragen ffünff häw lere von der rechtñ hant wer dy were denn wir geloben In kunsten gerñ zw° lon komet unß der rechte grund Daz ist lützeln fechtern kund Das ist der / text / in deme her neñet / dy fünff / hewe vnd andere stöcke des fecht° Zorñ haw krump twer hat schiler mitt schaitlar Alber vorsetzt nachraissen höw setzt überlouffen bind wol an nit stand luog waß er kan Durch wechsel zuck durchlauff Abschneid hende druck heng wind mit plösen Schlach vach streich stich mit stössen Das ist von deme Czornhawe etc Wer dir öberhäwt zorñhaw ort dem drawt wirt er es gewar Nÿm oben ab öne far Piß starck her wider wind stich sicht leger waich oder ers nÿm es nyder Das eben merck haw stich leger waich oder hert Inndes vnd var nach an hürt Dein krieg sey nicht gach Das ist der krieck Wes der krieg Rempt oben nÿden wirt er beschempt In allen winden Haw stich schnÿdt lere vinden Auch soltu mit prufen Haw stich oder schnÿd In allen treffen den maisterñ wiltu sy effen ~ Haw nicht czum swerte / zonder stets der blößen warte / Czu koppe czu leibe /

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if you wish to remain unharmed. If you hit or miss, always search for the openings, in all teachings turn the point to the openings. He who strikes widely around, he will often become seriously shamed. Always cut and thrust at the closest openings. This is on the four openings Wit the four openings – Foe has eight, thus you surely hit. Strike not by chance, Look even how he behaves / initiates. If you have understood this, he can hardly come to blows. If you wish to take revenge, then artfully break the four openings. If you would like to find revenge, skillfully break up the four openings: double over, mutate below correctly. Certainly I say this: no master defends himself without risk. If you have understood this, he can hardly come to blows. This is on the Krumphawe Strike the Krumphau deftly, cast the point towards the hands. He who uses the Krumphau well with a step, he is able to defend against cuts. Cut crookedly against the flat side of the masters, if you want to weaken them. When it comes from above stand back, this I shall praise. Do not Krump, cut short, then see changing-through. Krumps that foil you; the Noble War confuses him, so that he truthfully does not know where he shall be without danger. This is on the Twerehaw The Zwerchau takes away that which comes from above. Zwerch with the “strong”; mark well your work with this. Zwerch against the plough, and strike powerfully against the ox. He who Zwerches well with a spring, threatens the head. He who does a good feint, strikes from below how he wishes.

wiltu an schaden bleyben / du trefts ader ader velest • zo trachte das du der blossen remest In aller lere / den ort / keyn den blößen kere / Wer weite vm~e hewet / d° w°t oft sere bescheme[t] Off das aller neste / bre~ge hewe stiche dar gew[?] Vnd salt auch io schreite~ / eyme czu der rechte~ seiten / [?] ader iagens [?] begyñen Das ist von den vier blössen etc etc Vier plössen wisse Reme so schlestu gewisse An alle vare An zweÿfel wie er geparr hastu es vernomen zu kain schlag mag er komen Von den vier blössen / wy man dy bricht Wildu dich rechen Dye vier plöss kunstlich prechen Oben duplir Nyden recht mutir Ich sag fur war Sich schützt kein man ane far Hastu vornomen zu slag mag er klain kummen Das ist von deme krumphawe / etc Krump auff behende wirff dein ort auff dye hende krump wer wol setzt ~ Mit schriten vil haw letzt Haw krump zu° flechen Den maisterñ wiltu sy swechen wenn es glitzst oben So stand ab das wil ich loben krump nit kurtz haw Durch wechsel do mit schaw krump wer dich Irret Der edel kriegk in vor wirret Das er nicht weiß vor war wo es sey ane far Das ist von deme Twerehawe / etc Twer benympt was vom tag her chümpt Twer mit der sterck Dein arbait do mit me°ck Twer zw dem pflueg zw dem ochsen hart gefüg Was sich wol twert mit sprüngen dem haupt gevert Veler wer fürt Von vnden nach wünscher rurt

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The turner subdues, runs through and grapples. Take the elbow certainly, spring against him in the movement. Feint twofold, strike him, thus do the cut. Continue doubly with this, step to the left and do not be slow. Since all fencing desires quickness from the right, and also courage, caution and understanding. This is regarding the Shilhawe The Schielhau counters that which a buffalo cuts or thrusts. That which threatens with changing is robbed by the Schielhau. Strike the Schielhau when he closes with you, change through, against his face. Search with the point and take his neck without fear. Search against the head above if you want to damage the hands. Strike a Schil to the right, this is how you wish to fence. So may you stun him well – Those failures bereave him of art. The Schil I do praise, if it does not come too slowly. This is regarding the Scheitelhawe The parter is a danger for the face. With his turning, very dangerous for the breast. That which comes from him, the Crown takes away. Slice through the Crown, so you break this guard quickly. Press with the sword, with more slicing you draw backwards. The Scheitelhaw I praise, if it does not come too slowly. About the Four Wards: Four wards alone – Hold onto those, and curse the vulgar. Ox, plough, fool, from-roof – There are no others for you. This is regarding the four Vorsetczen The displacements are four, that also greatly trouble the four guards. Beware, for to defend, it becomes very difficult for you. If you are displaced and if it comes to this, hear what I advise:

Vekerrer twingt Durchläuffer auch mit ringt den elpogen Gewiß nÿm spring im in die wage Veler zwifach Trifft mann den schnit mit mach Zwifach es fürpas Scheitt in linck vnd pis nicht las ~ wen alles vechte~ wil rischeit habñ von rechte / Dorczu auch kunheit • vorsichtikeit list vnde klugheit Das ist von deme schilhawe : ~ Schiler ain pricht was püffel slecht oder sticht wer wechsel drawt schiler dar aus Inn beraubt Schil kürtzt er dich an Durch wechsel gesigt im an Schill zw dem ort vnd nym den hals ane vorcht Schill zw° dem öberñ haubt hend wild du bedöberñ ~ Schil ken dem rechten / is daz du wol gerest vechte~ / den schilhaw ich preize • ku~pt her dar nicht czu leiz[e] So machst du in wol betöwben Die faller in kunst berowben Das ist von deme scheitelhawe etc ~ Der scheitlar dem antlützt ist gevar Mit seiner kar der prüft vast gefer was von ÿm kümpt Dÿ kron das abnympt Schneid durch dye kron So prichstu sye hart schon Dÿe striche druck Mit schnÿtten sÿ ab zuck ~ Den scheitelhaw ich preize / kü~pt her dar / nicht czu leize / Das ist von den vier leger / etc ~ Vier leger allain Da von halt vnd fleuch dye gemain Ochs pflueg alber vom tag sey dir nicht unmär ~ Das it von vier vorsetczen Vier sind vor setzen dye dÿ leger auch sere letzen Vor fursetzen hüett dich Geschicht das auch ser es müt dich Ob dir vor setzt ist vnd wie das dar chömen ist Hör was ich dir ratte

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go up, strike quickly and swiftly. Attack four ends, therefore stop him, if you want to learn to finish. He, who displaces well, will hurt many strikes in the swordplay for you come handily into the Hengen from the displacements. This is regarding attacking after Learn to follow after twofold, or cut in the defence. Two outer takings. Thereafter you shall start your work. And test the movements, if they are weak or strong. Learn to Feel. “Instantly” is a word which cuts sharply. Follow after twofold, meet him as he does the old slice. Follow all hits if you whish to emulate the strong one. In all teachings, turn the point into the face and Nochreize with all your body then your point will do well. Learn to attack with skill and you will make a good ending. This is regarding Oberlawfen; Swordsman, take notice. The one who aims underneath, reach over him, so he will be defeated. When it clashes above, be strong: that I will praise. Do your work or strike hard twice. He who presses you down, Oeberlawf him and strike hard against him. From both sides Oeberlawf and notice the edges. This is regarding the Abesetczen, learn it well Learn to set aside, skillfully arrest cuts and thrusts. That which is thrust against you, meet him with your point and he is countered. From both sides you always strike if you take a step. In all teachings turn your point into his face. This is regarding the Durchwechsel Learn to change-through on both sides, hurt him with thrusts. He who binds against you the changing-through finds him quickly. When you have “changed through”, cut, thrust or Wind. Do not strike at the sword but Durchwechsel and do not wait for it.

Reiß ab haw schnell mit drate Setz an vier enden pleib dar auff lere wildu enden wer wol vorsetczit / der vechte vil hewe letczit / wen yn dy hengen / ku~pstu mt vorsetcze~ behe~de / Das ist von nochreisen etc etc Nach raisen lere zwifach oder scheneid in die were zway ewssere mynne der arbait dar nach begÿnne vnd prüff dÿe gefert Ob sÿ sind waich oder hert Das fulñ lere Inndes das wort schneidet sere Nach raÿsen zwifach Trifft mann den alten schnit mit mach ~ Volge allen treffen • den starken wiltu sy effen / In aller lere / den ort key~ ey~s gesichte kere / Mit gãczem leibe / nochreize / deyn ort io da pleibe / lere auch behende / reize~ / zo magstu wol enden Das ist von öberlawfen / ffechter sich czu / Wer vnnden rempt vber lauff denn der wirt beschempt wenn es klitzst oben So sterck das ger ich loben ~ Dein arbait mache Oder herte druck zwifache Wer dich drükt neder • öberlawf in • slach sere weder / Von beiden seite~ öberlawf vnd merke dy sneiden / Das ist von abesetczen / das lere wol ~ Lere absetzen haw stich kunstlich letzen wer au°ff dich sticht Dein ort trifft vnd seinen pricht Von paiden seitten Triff alle mal wiltu schreiten In aller lere / dey~ ort key~ ey~s gesichte kere / Das ist vom durchwechsel / etc etc Durchwechsel lere von paiden seitten stich mit sere Wer auff dich pindet du°rchwechsel In schier vindet Wen du durchwechselt hast / slach stich / ader winde nicht laz / Haw nicht czu~ sw°te / durchwechsel • do mete warte

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This is regarding Czucken, take note swordsman. Step in closer in the bind, the twitching gives you a good deal. Twitch! Meet it, then twitch again. Find openings to work: then give pain. Twitch in all fights against the masters, if you want to trick them. Czuk the sword and consider your path. This is regarding the Durchlawfen, now look Run-through! Let it hang with the pommel, grip if you want to grapple. When someone is strong against you: remember to run-through. Durchlawff, thrust and turn if he grabs the pommel. This is regarding the slicing off. Slice by the obstacles, from below threaten him. Four are the slices, two below and two above. If you slice well crosswise, you will eagerly avoid injury. Do not slice in haste, first consider the attack. You can slice well against all crosses; only leave the pulling (back/around). If you wish to be without hurt, then do not go as you slice off. This is regarding pressing the hands Wind the edge, to avoid, press the hands. One thing is turning, another is Winden, the third Hengen. If you want to press the swordsman, then press with a thrust. From above the hands you cut the slices well. Pull around with the slices as well, above him, over the head. If you press the hands, you will withdraw your fingers without injury. This is regarding the Hengen: swordsman learn this. There are two hangings from each hand to the ground. In all movements: strikes, thrusts, guards—soft or hard. About Speaking Window: Doing the speaking window: stand straight, observe what he does. Strike in, when he twitches.

Das ist vom Czücken / ffecht° merke / Trit nahent Inn pinden Das zucken gibt gu°te fünde Zuck trifft er zuck mer Arbait erfinde Das tu°t ym we Zuck allen treffen den maisterñ wiltu sÿ effen Czuk/ab vom swerte / vnd gedenke io deyner ferte / durchlawf / Das ist von durchlawfen / nü sich Durchlauff las hangen Mit dein knopff greiff wiltu rangen Wer gegen dir sterckt durchlauff do mit merck Durchlawf / vnd stos / vorkere / greift her noch dem klos / Das ist von abesneiden etc etc ~ Schneid ab dÿ herten von vnden in baiden geferten Vier sind der schnÿdt Zwen vnden zwen oben mit Czwir wer wol sneidet / den schaden her g°ne meidet / Sneit nicht in vreize / betrachte~ io vor dy reize / du magst wol sneiden • alle krewtz / nür reisen vormeiden / wiltu ane schade~ bleibe~ / zo bis nicht gee mt de~ / sneide~ Das ist von hende drücken/ etc etc Das schwertt bind zu der flöche truckh in die hend von die Dein schneid wende zw flechen druck dÿe hende Eyn anders / ist wenden • eyns winden / das dritten hengen / Wiltu mache~ vordrossen / dy vechter / zo drucke mit stössen / Ober dy hende / hewstu hewet man snete behe~de / Czewch och dy~ snete / obe~ aus öber de~ hewpte / Wer he~de drückit / ane schade~ / vor fi~ger czückit / Das ist von hengen / ffecht° daz lere / ~ Zwaÿ hengen werden Aus ein° hant von der erden In allem geferte Haw stich leger waich oder herte Das ist võ sprech fenster dy außrichtu~g Sprechfenster mach Stant freileich besich sein sache Slach in das er schnobe

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About the one who draws himself away from you, truly I say this to you: no man can truly defend himself without danger! If you have understood this correctly, he can rarely come to blows. If it happens that you are on the sword, then you should also do cuts, thrusts or slices, and remember Fuelen and not move away from the sword without reason. A masterful technique is done rightfully/correctly on the sword. He who binds with you, the war will wrestle him seriously. The noble Winden finds him for sure. With cuts, with thrusts and with slices you will find him. In all Winden, cuts, thrusts and slices should you find well. The noble Hengen would not exist without Winden, since out of the Hengen you shall make the Winden. The Conclusion of the Zedel He who does well, who counters correctly and diligently and who understands completely, and especially who counters everyone by the three wounders, he who lets go completely and takes it into the wind by eight windings, and who understands correctly that each of the windings are threefold, so I mean that there are twenty and four, counted on both sides. Learn the eight windings with steps. And test all techniques no more than you test for weak or hard.

wer sich fur dir zeuhet abe Ich sag dir für war Sich schütz kain man ane far Hastu vernum~en zu slag mag er clain kummen Is das du bleibest am swerte da mete auch treibest / Hewe stiche ader snete / das fülen merke mete / An alles vorczhczihen / vom swerte du auch nicht salt flien / wen meister gefechte / ist am swerte von rechte / wer an dich bindet / der krik mit im sere ringet / Das edle winden / kan in auch schire vinden / Mit hewen mit stichen mit sneten vindest in werlichen / In allen winden hewe stiche snete saltu vinden / Das edle hengen / wil nicht syn an dy windñ wen aus den henge~ / saltu dy wi~den bre~gen / Das ist die beschliessung der zedel Wer wol fürt vnd recht pricht vnd endlich gar bericht vnd pricht besunder Igleichs in dreÿ wunder wer recht wol henget vnd winden do mit pringet Vñ winden acht Mit rechtñ wegen betracht vnd zo[?] ir eine Der selben winden selbdritt ich meine So sind ir zwaintzigk vnd vier zell sÿ antzigk von paiden seittñ Acht winden lere mit schreiten Vnd pruef dÿe gefert Nicht mer nür waich oder hert

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Here begins the explanation of the markverses, in which lies recorded the knightly art of the longsword, composed and formed by Johannes Liechtenauer, who was a great master in the art, may God be merciful to him. He wrote the markverses with deep and hidden words, so that the art would not be widely known. And these deep and hidden words have been by Master Sigmund Ringeck, fencing master to the highborn prince and noble Lord Albrecht, Count Palatine of Rhine and Duke of Bavaria, recorded and explained in this little book which now follows, so that every fighter who otherwise can fight, shall be able to take these and understand them.

[10v] Hie hept sich an die vßlegu~g der zedel in der geschriben stett die Ritterlich kunst des langes schwerts Die gedicht vnd gemacht hat Johannes lichtenawer der ain grosser maiste~ in der kunst gewesen ist dem gott genedig sÿ der hatt die zedel laußen schrÿbe~ mitt verborgen vñ verdeckte~ worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die selbige~ v°borgneñ vñ verdeckte wort hatt maister [11r] Sigmund ain ringeck der zÿt des hochgeborne~ fürsten vñ herreñ herñ aulbrecht pfalczgrauen bÿ Rin vñ herczog in baÿern schirmaiste~ Glosieret vñ außgelegt alß hie in disem biechlin her nach geschrÿben stät dz sÿ ain ÿede~ fechter wol verömen vnd vestan mag der da ande~st fechten kan ~

[9v] Alhÿe hebt sich an die Glos vnd die auslegu~g der zedel des langen swertz Die gedicht vnd gemacht hat Johannes liechtenauer der ein hoher maister in der kunst gewesen ist dem got genädig sey vnd dar vmb das die kunst fürsten vnd herren Ritt° vnd knechten zu° gehört das sÿ die wissen vnd lernen sullen Dar vmb hat er sÿ lassñ schreiben mit verporgen vnd verdachten worten das sÿ ÿeder man nicht vernemen vnd versten sol vnd hat das getan durch der leichtfertigen schirmaister willen die ir kunst gering wegen das von den selbigen maisterñ sein kunst nicht geoffenwart noch gemein solt werden vnd die selbigen verporgen vnd verdackten wort der zedel die stenn hernach in der glosen Also verklert vnd aus gelegt das sÿ ydermann wol vernemen vnd versten mag der do anders fechten kan Hÿe merck eben auff was im anfang der hernachgeschriben stuck mit rot geschribñ ist das ist der text der verporgen wort der zedel des langen swertz vnd albeg die nachst swartz geschribñ schrifft das ist die glos vnd die aus legu~g der verporgen vnd verdachten wort der zedel

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This is a Common Teaching of the Sword If you want to show the art, Make sure to go from the left and strike from the right, And go from the right and strike from the left, If you want to strike strongly.

[18v] Das ist eyne gemeyne lere des swertes WIltu kunst schawen sich link gen vnd recht mete hawen / Vnd link mit rechten is das du stark gerest fechten /

Many good general lessons about the longsword. If you would like to see skill, see that you go to the left then right with the cuts. And left with right, if you want to fight strongly. This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight strongly and correctly.

Das ist der text von vil gu°tter gemainer lere des langen schwerts Willtu kunst schowen Sich linck gen vñ recht mitt hawen Vñ linck mitt rechtem / ist dz du starck gerst fechten :• Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du die hew võ baÿden sÿtten recht solt lernen hawen Ist dz du annders starck vñ gerecht fechten wilt

The text expanding from the verses follows from here; Text If you will show art, send yourself to Left and Right in striking, and left with right is how you fence correctly and strongly. Glosa Mark that this is the first art of the long sword, that before all things, to learn the strikes rightly, you will always fence strongly, …

Hie hebt sich an ein güt genyne ler des langen schwertz / doch ist vil gütter verborgen künst dar in beschlossenn ~ Text wiltu kunst schauen Sich linck gen vnd recht mit hauen vnd linck mit rechten Ist das du starck gerest vechten Glosa Merck das ist die erst kunst des langenn swertz Das du vor allen dingen die häw solt lernen gerecht hawen ist das du anders starck vechten wilt

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Many good general lessons about the longsword (Cont.) When you want to cut from the right side, stand with your left foot forwards; and when you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards the other side, in front of the left foot. Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of your techniques correctly and with strength. And in the same way should all the other cuts be performed.

Dz ver nÿm allso Wenn du wilt howe~ von der rechten sÿtten So sich dz dein k lincker fu°ß vor stee Vñ wenn du wilt howe~ võ der lincken sÿtten so sich dz dein rechter fu°ß vor stee Haw Häustu dann den ober haw° von der rechten sÿtten so folg dem haw nach mitt dem rechten fu°ß tu°st du dz nicht / so ist der how falsch vnd vngerecht wann dein [12v] rechte sÿten pleibpt dahinden Daru~ ist der haw zu° kurcz vñ mag sein rechten gang vndersich zu° der rechten sÿten andere~ sÿtten vor dem lincken fu°ß nicht gehaben Des glÿchen wenn du haw°st von der lyncken sÿtten vnd dem haw nicht nachfolgest mitt dem lincken fu°ß so ist der haw° och falsch Daru~ so merck von welcher sÿtten du haust / dz du mitt dem selbige~n fu°ß haw° nachfolgest so magstu mitt sterck alle dein stuck gerecht trÿbeñ Vnnd also süllen alle andere hew° [13r] och gehawen werden ~:•

The text expanding from the verses follows from here; (Cont.) And undertake this thus: When you stand with the left foot forward, and strike from your right side, your step with the right foot will not follow after the strike, thus making the strike weak and incorrect. When your right stays behind, onward the strike will be short. Also don't make your right step go to the other side, putting it under yourself and ahead of your left foot, else the play further from the left side shall happen with the step and strike on other sides.

vnd das ver nÿm also wenn dw mit dem lincken fues vor stest vnd haust vor deiner rechten seittñ volgstu dann dem haw nicht nach mit deinem zu° trit deins rechten fuess So ist der haw valsch vnd vngerecht wenn dein rechte seitt die pleibt da hinden dar vmb wirt der haw zu° kurtz vnd mag seinen rechten gangk zu° der anderñ seitten vor dem lincken fuess vndersich nicht gehaben Oder Stestu mit dem rechten fuess vor vnd haust von der lincken [10v] seytten volgstu denn mit dem lincken fuess dem haw auch nicht nach So ist der haw aber valsch Dar vmb so merck wenn dw haust von der rechten seÿten das thue albeg mit dem rechten fuess dem haw nach volgest Des selben geleichen tüe auch wenn du haust von der lincken seitten So gibt sich dein leib do mit recht in die wag Also werden dÿ häw lanck vnd gerecht gehauen ~

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This is a Common Teaching of the Sword (Cont) He who only strikes after, Will not enjoy the art. Strike at him as you wish, No deceptive strike will hit your shield. Do not strike at the sword, But wait for the openings. At the head, at the torso, Do not avoid “withdrawing.” Do with the entire body What you want to perform strongly.

Wer noch get hewen der darf sich kunst kleyne frewen / haw nu was du wilt keyn wechsler kawm an dich schild / Haw nicht czu~ swerte / zonder / stets der bloße warte / Czu koppe czu leibe dy czecken do nicht vormeide / Mit ganczem leiben ficht was du stark gerest treiben /

A further lesson. He who goes after the cut, receives little joy from his skills. Cut closely, then do what you want so he will not be able to change-through your defence. Strike to the head, to the body, do not refrain from swift strikes. Fence with the whole body if you want do this with strength. When you come against him in Zufechten you shall not await his attack, and neither shall you wait to see what he is thinking about doing to you. All fencers who are hesitant and wait for the incoming attack, and do nothing other than to ward it away, they gain very little joy from this sort of practice because they are often beaten.

Der text aber võ aine~ lere Wer nach gat haw°en / der darff sich kunst wenig fröwen Haw nachent waß du wilt kain wechsel kumpt in dein schilt Zu° koppff zu° lÿbe / die zeck nicht vermÿde / mitt ganczem lÿb ficht waß du strarck gerst zu° trÿben :• Glosa Wenn du mitt dem zu°fechten zu° im kumpst so solt du vff sein hew nicht sechen noch warten wie er die gegen dir trÿbt wann alle fechte~ die do sechen vñ warten vff aines anderen hew Vnnd wellend anderß nichtß nicht~ thon [13v] dañ verseczen die durffen sich söllicher kunst wenig fröwen wann sÿ werden do bÿ offt geschlagen

Text of a lesson He who strikes after deserves a joyless art. Glosa That is when you come to him in fencing, then you shall not stay still and wait to see with what strike he would fight against you. Know that all fencers who wait to see the other's strike and who will do nothing but displace the other, deserve indeed less joy in their art when they are overcome and struck.

Das ist der text vnd die glos aber von ainer ler wer nach get hawen der darff sich kunst wenig fräwen Glosa das ist wenn du mit dem zu° vechtñ zu° im kumpst So soltu nicht still sten vnd auff sein häw sehen noch warten was er gegen dir vicht wist das alle vechter dye do sehen vnd warten auff eins anderñ häw vnd wollen anders nicht thuen wenn vor setzen die bedürffen sich solicher kunst gar wenig fräwen wenn sÿ ist vernicht vnd werden do pey geslagen

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A further lesson (Cont.) Always fight with the strength of the whole body! Cut close into him, to the head and to the body, so he cannot change-through in front of your point. And when the cut ends up in the bind you shall not hesitate but shall quickly and fluently make attacks against the nearest opening, using the five strikes and other techniques that will be described later.

Item du solt mercken alles dz du fechten wilt dz trüb mitt ganczer störck deines lÿbs Vnnd haw im do mitt nahent ein zu° kopff vñ zu° lÿb so mag er vor dinem ort nicht durch wechslen Vñ mitt dem haw° solt du im den anbinden des schwerts der zek zeckru°re nicht vermyden zu° der nächsten blöß di dir hernach in den fünff hewen vnd in anderen stucken vßgericht [14r] werden

Text Strike closely at him as you will, that nothing comes unto your hilt, head, or body, allow no attack. With the entire body fence as strongly as you can drive. Glosa When you come to him in pre-fencing, as you would then fence, then drive with your body's full strength, and strike closely to him, one to his head, and to his body, and always keep your point ahead at his face or chest, Thus he can't change through past the point. If he displaces strongly, and your point goes off to the side, then give him a withdrawing slice to the arm, Or if his arms go high in the displacement, then hit him with a free strike below to his body and step backward with it. Thus he is struck even as he would (strike) himself.

Das ist der text vnd die glos aber von ein° lere Haw nahent was du wilt kain wechslär kumpt an dein schilt Zu° koppf zw leib die zeck nit ver meid Mit gantzm~ leib vicht was du starck gerest treÿben ~ [11r] Glosa Merck das ist wenn du mit dem zu vechten zu Im kumpst was du den vechten wild das treib mit gantz° sterck des leibs vnd häw im do mit nahent ein zu° kopf vnd zu leib vnd pleib im mit dem ort fur dem gesicht oder der prüst so kan er fur dem ort nicht durch gewechselñ vor setzt er mit sterck vnd lest denn ort von dir aus gen auff dÿ seittñ So gib im ein zeck rür auf den arm~ Oder vert er mit der vorsatzu~g hoch auff mit den armen So slach im mit einem freÿen haw vnden zu° dem leib vnd trit pald do mit zu° ruck So ist er geslagen ee wenn er sein Inn wirt

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This is a Common Teaching of the Sword (Cont) Listen what is wrong to do: Strike not from above to the left if you are right-handed, And if you are left-handed, You also miss a good deal from the right.

Höer was do slecht ist / ficht nicht oben link zo du recht pist / Vnd ob du link pist ym rechten auch sere hinkest /

Another lesson. Hear what is bad, do not fence from the left if you are right-handed, and if you are left-handed, you are weak from the right. This lesson applies to two types of people: those who are left-handed and those who are right-handed. When you come against him in Zufechten, if you are right-handed and want to strike him, you must not throw your first cut from your left side. That is because this is weak and cannot bring strength to bear if he binds the strong of his blade against you. Therefore, cut from your right side, so you can be strong and skillful in the bind and can do as you will. Similarly, if you are left handed, do not cut from the right, because the art is pointless when a left-hander tries to fence from the right side. Likewise this statement applies to a right-hander fencing from the left side.

aber ain lere Höre waß du schlecht ist / ficht nitt oben linck / so du recht bist Vñ ob du linck bist Im rechte~ auch ser hinckest •: Glosa Mörck die lere trifft an zwu° personen aine~ lincken vnd ain grechten / vñ mainest den man zu° schlagen So haw° den ersten haw° Das vernÿm also Wann du mitt zu° fechten zu° im kumpst Bist du dann gerecht vñ mainest den man zu° schlachen So haw den erste~ haw° nicht von der lingen sÿtten Wann der ist schwach vnd magst damitt nicht [14v] wider gehalten wann man dir starck daruff bindt Darum so haw der rechten sÿtten / so magst du starck am schwert mitt kunst arbaÿten waß du wilt Des gelichen Bist du linck so haw° och nitt von der rechtt~ wenn die kunst ist gar wild aine~ lincken ze triben von der rechten sÿtten Des glich ist es och aine~ rechten von der lincken sÿtten

Text Hear what is bad, fight not to left, if you are right, and if you are left, the right is very limiting Glosa This lesson is intended for two people, one right handed and one left, and regards how you should strike, that one is weak when he strikes the first strike not to engage, and this is shown thus: when you come to him in pre-fencing, and are on the right, then undertake not to strike the first strike from the left side where he is weak and does not want to engage again and he strikes strong with you, so onward strike from the right where you will engage strongly and work at the sword. Similarly if you are left then strike the first not from the right side, as it is wild for the leftie to drive the art entirely from the right side, similarly for the right from the left side.

Das ist der text vnd die glos Aber von einer ler Hör was da slecht ist Vicht nicht oben linck so du recht pist Ob dw linck pist Im rechten aug sere hinckes Glosa Merck das ist ein ler vnd trift an zwo person Einem gerechten vnd einem lincken Vnd ist wie dw solt hauen das man dir die swech in dem swert mit dem ersten haw nicht an gewinn vnd das vernÿm also wenn du mit dem zu° vechten zu ÿm kumpst pistu denn gerecht so haw mit namen den ersten haw nicht von der lincken seÿtten wenn er ist swach vnd magst [11v] da mit nicht wider gehalden wenn er mit dir starck ein haut Da von so haw von der rechten so magstu wol starck wider gehalten vnd am swert arbaitten was dw wild Des geleichen pistu linck So haw auch den ersten haw nicht von der rechten seitten wenn es ist einem lincken gar wild ku~st zu° treiben von der rechten seitten Des geleichen ist auch einem rechten von der lincken seitten ~

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This is a Common Teaching of the Sword (Cont) “Before” and “after,” these two things, Are the source of all the arts. “Weak” and “strong,” “As soon as”—remember these words, So that you may learn To work and defend yourself with the art. If you are fearful, Never learn any art of fighting. Bravery and quickness, Prudence, cunning and wisdom Will have fight And carry joy. Reason, secrecy, reach, Deliberateness, readiness

So vicht io liber von oben rechtlinkischen nider / Vor noch dy czwey dink syn allen kunsten eyn orsprink / Swach vnde sterke Indes das wort mete merke / So machstu lere~ mit / vnd erb / kunst vnd erbeit dich weren / Irschrikstu gerne / key~ fechte~ nym~er lerne / Kunheit vnd rischeit / vorsichtikeit list vnd klugheit Vornu~ft verborge~heit / moße bevorbetrachtu~ge / hobsheitfetikeit / Wil fechten haben vnd frölichs gemüte tragen

A lesson about “Before” and “After”. “Before” and “After”, these two things, all other skills spring from these. “Weak” and “Strong”, “Instantly”, mark well these words. So you can learn to work skillfully and defend yourself. If you become gentle and timid, you will never learn anything about fencing. Mark well that more than anything else you must understand “Before” and “After”, because these two concepts are the grounding from which all fencing comes.

Daß ist der text vñ lere ain lere von vor und nach Vor vñ nach die zwaÿ dinck / sÿnd aller kunst ain vrsprimg Schwöch vñ störck / In/des / daß wort domitt mörck So magst [15r] du leren mitt kunst arbaiten vñ wereñ Er schrickstu gern / kain fechten nim~er lern gelerñ •: Glosa Merck dz ist dz du vor allen sachen wol solt verston daß vor und daß nach / wann die zwaÿ ding sind ain vrspru~g do alle kunst des fechtenß außgät

Text Before and After, the two things, all arts are from one spring. Weak and Strong, Immediately, do mark this word, thus you will learn work and weapon with Art, know well that no fencing is never learned Glosa You should first of all rightly undertake and understand two things, that is the Before and the After, and thereafter the weak and strong of the sword and then the word Immediately. From here grows the whole foundation of all fencing arts. When you undertake and understand these things rightly and not forget the word Immediately in all plays, you will drive. Thus will you be a good master of the sword and princes and nobles shall learn well with what proper art of the sword one would choose to fight best and in earnest.

Das ist dert text vnd die glos aber von einer ler Vor vnd nach dÿ tzwaÿ dinck Sind aller ku~st ein vrspring Swech vnd sterck Inndes das wort do mit merck So magstu lerñ Mit kunst arbaitten vnd weren Der schrickestu gerñ kain uechtñ nÿmer gelerñ Glosa Merck das ist das du vor allen sachen recht solt vernemen vnd ver sten dy tzwaÿ dinck Das ist das vor vnd das nach vnd dar nach swech vnd sterck des swertzs vnd des wortz inndes wenn dar aus get der gantz grunt aller kunst des fechtens wenn du die dinck recht vernÿmpst vñ verstest vnd dar zu° des wortz Inndes nicht vergist In allen stucken die dw treibest So pistu wol ein gueter maister des swertz vnd magst wol lernen fürsten vnd herren das sÿ mit rechter gunst des swertz wol mügen besten In kampff vnd in erñst

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The “Before” Mark also: “Before” means that you shall always perform a strike or thrust against his openings, before he does the same to you. Then he must defend against you! And work deftly both in the defence and in moving your sword from one opening to another, so he cannot have the chance to perform his own techniques between yours. But if he rushes in close to you, deal with him through wrestling.

Das vor Daß vernÿm also Daß for das vor daß ist dz du all weg solt vorkum~en mitt aine~ haw° ode~ mitt aine~ sch stich Im zu° der blöß Ee wann er dir zu der deinen so mu°ß er dir verseczen / so arbaÿt in der versachung behentlich für dich mitt dem schwert [15v] von ainer be blöß zu° der andere~ so mag er vor deiner arbaÿt zu° seine~ stucken nicht kom~en Aber laufft er dir ein eÿnn So kom~e fo vor mitt dem ringen ~~~~~

What the Before is That is that you shall always come before, be it with the strike or with the stab, as when you come to him with a strike or otherwise so that he must displace you, Immediately work ahead nimbly with the sword in the displacement or else with other plays, that he can then come to no work.

Hier merck was da haist das vor [12r] Das ist das du albeg solt vor kömen es seÿ mit dem haw oder mit dem stich ee wenn er vnd wenn du ee kumpst mit dem haw oder süst das er dir vor setzñ mües So arbait Inndes behentlich In der versatzung für dich mit dem swert oder sünst mit anderñ stucken So mag er zu° kainen arbait komen ~

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Mark, that which is called “After”. Mark, that if you cannot come in the “Before”, wait for the “After”. This will defeat all techniques that he does against you. When he comes at you so that you must defend yourself against him, so work deftly “in the Instant” with your defence against his nearest opening, so strike him before he can finish his technique. Thus you win the “Before” and he is left in the “After”. You shall also know how you can use “the Instant” against his “weak” and “strong” parts of the sword.

Hie mörck was da haÿsst daß nach Mörck magstu zu° dem vor nitt kom~en So wart uff dz nach dz sÿnd die brüch uff allen stu°ck die er vff dich trÿbt Das vernÿm also Wann er vorkumpt daß du ihm verseczen mu°st So arbait mitt der versäczung / Indes behentlich für dich zu° der nächsten blöß So triffestdu in ee Wann [16r] er sein stuck verbringtt Also gewinstu aber dz f vor Vñ er blÿpt nach Auch soltu in dem vor vñ nach mörcken wie du mitt wort / in des / arbaitten solt nach der schwech vnd nach

What the After is Is to counter all plays away, and strike to drive the opponent from you, And to take this on even as he comes with the strike, so you must displace. Immediately nimbly work to the next opening and thus break his Before with your After.

Hye merck was da haist das nach Das nach das sind die prüch wider alle stuck vnd häw die man auff dich treibt vnd das vernÿm also wenn er ee ku~pt mit dem haw wenn du das im versetzen muest So arbait Inndes mit dein° vorsatzung behendlich mit dem swert zu° der nagsten plöss So prichstu ÿm sein vor mit deinem nach ~

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The Strong of the Sword From the hilt of the sword to the blade's centre the sword is “strong”, and with this you can meet against his blade when you bind against it. And further, from the middle to the point the sword is “weak”, which should not be brought against his blade. And when you really understand these things you can work skillfully and defend yourself well, and later teach princes and lords, so that they with these same skills can protect themselves well in play and earnest. But if you become ghtened easily you should not learn fighting arts, because a weak and frightened heart—it does not help you—it defeats all of your skills.

der störck seines schwertß Vnd das vernÿm Also Von dem gehulcze des schwerts by biß in die mitten der clingen Hatt dz schwert fin sin störcke dar mitt du wol magst wide~ gehalten wann man dir dar an bindt Vñ fürbaß von der mitt biß an den ort hat es sein schwöch da magst nitt nicht wider [16v] gehalten Vñ wenn du die ding recht verstest So magstu mitt kunst wol arbaitten vñ dich darmitt wören vñ fürbaß lerne~ fürsten vñ her~eñ dz sÿ mitt der selbige~ kunst wol mügen besten In schim~pff vñ in ernst Aber erschrckstu gern so saltu die kunst des fechtens nitt lerne~ Wann ain blöds verzags hercz dz tu°t kain gu°t wann es wirt bÿ aller kunst geschlagen ~~~

Of the Weak and Strong of the Sword Weak and Strong are taken thus, on the sword from the hilt to the middle of the blade, this is the strong of the sword, and farther past the middle to the point is the weak, and how you shall work with the weak and strong of the sword shall be clarified afterward.

Hier merck die swech vnd die sterck des swertz Die swech vnd die sterck vernÿm also am swert von dem gehültz pis in die mitt der klingen so ist die sterck des swertz vnd fürpas vber die mitt pis an den ort ist die swech vnd wie du mit der sterck deines swertz nach der swech seins swertz arbaitten solt das wir dir hernach vorklert

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This is the Text Where He Names the Five Strikes and Other Elements of Swordsmanship. Learn the five strikes from the Right hand against the defense—

[23r] Das ist der / text / in deme her neñet / dy fünff / hewe vnd andere stöcke des fecht° FVnf hewe lere von der rechten hant were dy were /

The Five cuts. Learn five cuts from the right hand. He who can defend himself with these, he should be praised, his skill rewards him well. Mark well, the teaching verses present five secret cuts, which many swordmasters do not know to speak about. You will learn not to strike any other cuts when you come from the right side against one who stands against you in defence. And try if you can to hit an opponent with the first strike using one of these five cuts. The one who can counter with these against an opponent without being hurt will be praised by the master of the markverses, and his skill shall reward him more than another fencer who cannot fence with the five cuts. And how you shall throw the five cuts you will find hereafter recorded in the verses that talk about these same five cuts.

Der text võ den fünf hewen Fünff hew° lere von der [17r] rechten hand Wer dz wäre dem wir geloben / in kunsten gern zu° lonen ~:• Merck die zedel seczt fünff verborgne hew° Da von vil maiste~ des schwerts nicht wissen zuo zu° sagen Die soltu anders nicht lerne~ hawen wann võ der rechten sÿtten gege~ dem der sich gegen dir stöllet zu° der were Vñ versu°ch öb du mitt aine~ haw vsß den fünffen den man mitt dem ersten schlag mügest treffen Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt Von dem maiste~ der zedeln daß im siner kunst [17v] bas gelonet soll werde~ dann aine~ andern fechtern der wÿde~ die funff hew nicht fechten kann Vñ wie du die fünff hew howen solt / dz fündest du in den selbigen funff hewen her nach geschriben /

Text of the Five Strikes Teach Five strikes from the right hand, that the weapon will be exalted by a praiseworthy art. There are five secret strikes of which many masters of the sword know nothing to say. These you shall learn to strike well from the right side , which you can then strike with proper art to break and damage the fencer, which will be praised by other masters. How these shall be learned fully and how to strike when one fences in your plays will be clarified afterward.

Das ist der text von funff häwen vnd die glos [12v] ffünff häw lere von der rechten hant wer die were dem wir geloben In kunstñ gerñ zu° lonen Glosa Merck es sind fünff verporgen häw do vil maister des swertz nichtz von wissen zu° sagen die soltu von der rechten seitten recht lernen hawen wellich vechter dir denn die haw mit rechter kunst an schaden prechen kan dem wirt gelobt von anderñ maisterñ das ym seiner kunst pas gelont sol werden denn einem andern vechter vnd wie man die häw mit irñ stucken hawen sol das wirt dir hernach vor klert werden

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Rage strike, crooked, cross, Squint, and scalp. Also the fool, counters, attacks after, overruns, Hurts the strikes, changes through, withdraws, Runs through, slices off, presses the hands, Hangs, winds with openings, strikes, Catches strikes, and thrusts with pushing.

Cornhaw • krump • twere • hat schiler mit scheitelere / Alber vorsatzt • nochreist • öberlawft hewe letzt / Durchwechselt • czukt • durchlawft / abesneit • hende drukt / Henge • wind mit blößen / slag vach • strich • stich mit stößen /:~

The techniques of the markverses. Wrath strike, crooked strike, crosswise, squinting, with Parting breaking the Fool, follow after, go over, cut, change through, twitch, rush in, slice, press the hands, hanging guard, and with openings, strike, catch, sweep and thrust with the point. Here are listed the correct and most important techniques in fighting with the longsword, they are named specifically so that you may understand them better. They are seventeen in number and begin with the five cuts. The first cut is called the wrath strike [Zornhau], the second is the crooked strike [Krumphau], the third is the crosswise strike [Zwerchau], the fourth is the squinting strike [Schielhau], the fifth is the parting strike [Scheitelhau],

Das ist der võ den stucken de~ zedeln Zorn haw • krump • zwerch hat Schiller / mitt schaittler Alber verseczt / nachraÿsen Vberlauff hav haw seczet Durch wechsel zuck durch lauff abschnide / hende dn druck / heng vñ mitt blössen schlach vach streÿch sch stich mitt stossen •: Glosa [18r] Mörck hie werden genampt die rechten haüptstucke der kunst deß langen schwerts wie ÿettlichs besunde~ haist mit dem namen / daß du die dester baß ver sten kündest Der ist sibenzechen an der zal Vnd heben sich an den funff hewen an / Item num nun mörck der erst haw haist der zorn haw Der ander der krump haw Der drit der zwer haw Der viert der schill haw Der funfft der schaittel/haw

Text on the verses' parts Wrathful strike, Arc, Cross, has Glance, with Vertex, Fool displaces, Travelling After, Overrun, lets strike, Change through, Disengage, Run Through, Slice Away, Hand Hit, Wind with openings, Slash against strikes, Stab with thrusting, Here will be named the proper main parts of the verses of the Long Sword, as they are known, as well as their names, so onward you know well and can understand. The first are the five strikes as they are specially named. The first is called the Wrath Strike, the second the Arc Strike, the third the Cross Strike, the fourth the Glance Strike, the fifth the Vertex Strike.

Das ist der text vnd die glos von stucken der zedel Zorñ häw krumpp twer hat schiler mit schaitlar Alber vorsetzt Nachraisen vberlauff haw setzt Durchwechsel zuck durchlauf abschneid hende druck heng wind mit plössen Slach vach streich stich mit stössen ~ Glosa Merck hie werdent dir genant die rechten hauppt stuck der zedel des langen swertz wie sie haissen iglichs besunder mit seine~ namen dar vmb das du sÿ dester pas erkennen vñ vorsten kindest Das erst das sind die fünff häw wie die besunder genant sein Item Der erst haist der zorenhaw Item der ander der kru~p haw Item Der dritt der twer haw Item der vierd der schilhaw Item Der fünfft der schaitel haw

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The techniques of the markverses (Cont.) the sixth: these are the four guards [Vier Leger], the seventh is the four displacements [Vier Versetzen], the eighth is travelling after [Nachreissen], the ninth is the over reaching [Überlaufen], the tenth is the setting aside [Absetzen], the eleventh is changing through [Durchwechseln], the twelfth is the twitching [Zucken], the thirteenth is the running through [Durchlaufen], the fourteenth is the cutting [Abschneiden], the fifteenth is the hand pressing [Hende Drücken], the sixteenth is the hanging [Hengen], the seventeenth: this is the windings [Winden]. And how you will perform the hanging and windings, and how you shall perform all these named techniques, all this you will find written hereafter.

der sechst daß sind die vier [18v] hütten Das sÿbent die vier verseczen Das acht die nachraisen Das neindt die überlauffen Das J zechend die abseczen Daß aÿlfft daß durchwechßlen Das zwülfft daß zucken Daß drÿzehend die durchläuffen :/ daß vierzehend die abschnÿden : daß funffzehend die hend trucken Daß sechzehend die hengen Daß sibenzehend daß sind die winden Vnnd wie du dich mitt den heng~ und winden enplösen solt Vnd wie du alle vorgenampte stuck trÿben solt daß vindestu alles her nach geschriben ~~~~:•

Now mark these elements, the first being the four Guards, the next the four Displacements, the third the Travelling After, the fourth Running Over, the fifth the Setting Aside, the sixth is Changing Through, the seventh is Disengaging, the eighth Charging Through, the ninth is Slicing Off, the tenth is Hand Hitting, the eleventh is Hanging, the twelth is the Winding. And how you shall fence from the elements and how you shall gain openings with the Hanging and Winding so that you will go from one to the next, you will find described after here.

Nu merck die stuck [13r] Das erst das sein die vier hu°tten ~ Item Das ander die vier vorsetzñ Item dritt die nachreisen Item das vierd überlauffen Item Das funft die absetzñ Item das sechst ist das durch wechselñ Item Das sibent ist das zucken Item das acht das durch lauffen Item Das newnt das ab schneiden Item das zehent ist das hent drucken Item Das ainlifft das sind die hengen Item das tzwelifft das sind die winden Vnd was du aus den stucken fechten solt vnd wie du dich mit den hengen vnd winden ploß gebñ solt Das wirstu also nach ein ander am nagstñ hernach geschriben vinden

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This is About the “Rage Strike.” Whoever strikes at you from above, Strike the “rage strike” and thrust at him… Glossa. Here notice and know that Liechtenauer calls the “rage strike” a strike from above delivered from the shoulder, as to anyone in his anger and rage no other strike is as ready as this strike from above done from the shoulder toward the man. That is why Liechtenauer means that if one strikes to you with a strike from above, you should strike the “rage strike” against him… Further commentary on the Zornhau. He who strikes at you is threatened by the Zornhau-ort. When someone strikes at you from above, cut a Zornhau with the long edge—as has been described earlier—against his cut onto his sword with the long edge…

Wer dir aber hawet / Zornhaw° ort im drawet Das Verstand Also Wann aine~ von dach vff dich schlöcht So schlach [57v] den zornhaw° mittder lange~ schnide~ alß er dir gewÿst ist In sinen schlag an sin Schwert mitt der lange~ schnid~

Do the Zornhau (wrath strike) with these techniques. That which cuts from above, the Zornhau threatens him with the point. When someone cuts ahainst you from above from their right side, so cut with a strong Zornhau with the long edge from your right shoulder…

Mark that you come here to the first text and glosa on the Wrath Strike with its plays Text To him who strikes you from above, Wrath Strike point concludes. Glosa The Wrath Strike counters all high strikes with the point. And it is indeed nothing other than a bad peasant strike. Deploy it thus: when you come to him in the pre-fencing: if he strikes to you from his right side high to the head, then to this also strike from high on your right (note in margin: in the weak on the sword) wrathfully displacing with him on his sword, …

Merck hÿe hebt sich an der text vnd die glos Des ersten von dem zorñhäw mit seinen stucken Wer dir oberhawt zorñhaw ort dem drawt Glosa Merck der zorñhaw pricht mit dem ort alle oberhaw vnd ist doch anders nicht wenn ein slächter paurñ slagk vnd den treib also Wenn dw mit dem zu° vechten zu ym kumst haut er dir denn von seiner rechtñ seitten oben ein zu° dem kopff So haw auch von dein° rechten seitten von oben an alle vor satzung Mit im zornigklich ein auf sein swert Ist er denn waich öm swert so seüß im den ort gericht für sich lanck ein vnd stich im zu° dem [13v] gesicht oder der prüst So setz im an

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This is About the “Rage Strike.” (Cont.) …so that you shoot your point quickly toward him… Further commentary on the Zornhau (Cont.) …and immediately wind your point towards him, to his face, with might; that is to say, powerfully…

Do the Zornhau with these techniques (Cont.) If he is weak in the bind, thrust in with the point along his blade to his face, and threaten to stab him.

Mark that you come here to the first text and glosa on the Wrath Strike with its plays (Cont.) …if he is then weak on the sword, then aim to shoot ahead with the point and stab to his face, or attack the chest between the arms.

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This is About the “Rage Strike.” (Cont.) …If he becomes aware of it, “Take away” from above with no fear… …If he defends against the thrust, withdraw quickly above, and go to the other side of his sword… This is the Zornhau with its Techniques (Cont.) … If he notices this then take off above without danger. And if he becomes aware of this—that is to say, the point—and defends with an “open” parry, so take off above—just as the taking-off has been shown to you, how you shall take off when someone parries you “freely.” Or otherwise hold the strike against the nearest opening in the bind—as I have shown for you—with that, you should come to him with a technique as described earlier instead of with the taking-off. If he parries you and if this strike is also parried, immediately do the same again, or a continuous winding with a thrust or a cut.

Another technique from the Zornhau. If he recognises this, so lift off above without danger. When you thrust after a Zornhau and he becomes aware of the point and strongly defends against the thrust, twitch your sword up, over and away from his sword and cut him on the other side of his sword up into his head.

Text If he wards, then take off high without driving Glosa When you strike him with the Wrath Strike, then thrust the point long to his face or chest as described before. If he is wary of the point and strongly displaces and pushes your point to the side, then wrench off from his sword (note in margin: take off high) high above you with your sword on his sword's blade, and strike one to his other side, still again on his sword's blade, to his head, this is called taking off high.

Das ist der text vnd die glos aber eins stuck des zorñ haus Wirt er es gewar So nÿm oben ab ane far Glosa Merck das ist wenn du nn im mit dem zorñhaw ein haust So seuß im den ort lanck ein zu dem gesicht oder prüst als vor geschriben stet wirt er denn orts gewar vnd vor setzt starck vnd druckt dir dein swert auf die seittñ So reiß mit deinem swert an seiner swertz clingen vber sich auf oben ab von seinem swert vnd haw ÿm zw der anderñ seitten aber an seiner swertz klingen wider ein zu° dem kopff das haist oben ab genomen alliud Itm~ wan du dem zorn haulb machen willt so magstu mit der rechte~ hantt schlagen vnd mit der lincken hantt hinde~ woll vff yn vnd dar noch mit der verkerte~ hant machen den ortt vnte~ herab vnd durch gang ~~ ~

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A counter to the taking-away. When you bind strongly against him and he twitches away his sword up and over your sword and in the bind cuts against you on the other side of your sword to your head, so bind (strike) strongly with the long edge in against his head.

Ain bruch wide~ daß abneme~ Mörck wenn du mitt ainem starck am schwert bindest Ruckt er dan sein schwert übersich oben abe von dine~ schwert vñ haw~t dir zu° der andere~ sÿtten am schwert wider eÿn zuo dem kopffe So bind starck mitt der langen schnÿden Im oben eÿn zu° dem kopffe ~~

Counter against the take off When he takes off high, then bind strongly on his sword above to his head with the long edge.

Itm~ du magst auch Im ab nemen nÿt weiter vbersich vff reissen mit dinem schwertt dan biß an sinen ortt Indes schlag yn wider yn zu dem kopff ~~ Itm~ eyn bruch wider dz abnemen wan er dir oben ab nÿmpt vnd haulbt dir zu dem kopff vff diner rechte~ site~ so wind din schwertt mit der kurtzen schnide~ ein wenig vff dz sin vnnd [14v] schlag indes mit der langen schnide~ zu dem kopff Pruch wider das abnemen Also prich das wenn er oben ab nÿmpt so pind an seinem swert starck oben ein ze seinem kopff mit der langen schneid ~ Itm~ eyn ander bruch Indes so er ab nÿmpt so dritt besitz vß dem schlag vnd arbeytt im zue nechsten bloß mit dem haulbe ~

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alliud Itm~ wan du mit der verkerte~ hant vß dem zorn haulb geschlagen hast vnd er fertt vff vnd versetz dir so far also mit diner verkerte~ hant vff sinen rechte~ site~ an sinen buch durch vnd wind im den rechte~ elnbogen vber sin vnd din schwertt vnd halt vast so hastu In beschlossen oder ruck mit diner lincke~ rechte~ site~ uff din lincke vnd reiß starck hyndersich so nÿmbstu Im dz schwertt vnd din ort gat im zu dem gesichtt ~~

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Further Commentary on the Zornhau Know also, if one cuts against you: that there are only benets when you use the “Zornort”, and you also defend yourself when you use it correctly—as you have learned here—and it is dicult to defend against. When you really want to come against someone, use this against him, whatever he then does, cutting or thrusting against you. He must defend against it, and so you can use the techniques named earlier.

Auch wiß öb ainer vff dich schlecht daß du den zornot allain och wol darin magst trÿben / Vnnd du bist och verseczt wenn du den recht trÿbst alß du des vnderricht bist Vnnd ist böß zu° verseczen Wann du aine~ v~bel zu° wöllst So tr trÿb in vff aine~ er mach waß er wöl er schlach ode~ stech vff dich So mu°ß er den versecze~ So kumpstu zu° den vorgemelten stucken ~

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This is About the “Rage Strike.” (Cont.) …Be stronger against it, Wind and thrust; if he notices that, take it down… …If he defends against it, be hard and strong “on the sword” and wind and thrust quickly and bravely. If he defends against the thrust, throw and strike quickly below to the legs wherever you may hit, so that you always drive one attack after the other so that he not deliver any strikes…

Another technique from the Zornhau. Become stronger against and thrust! If he marks this, take it below. When you cut in against him with a Zornhau and he defends himself and holds backs, strong against you in the bind, so become strong again against him in the bind and push up with the “strong” of the sword against the “weak” of his sword, and wind your hilt high in front of your head, and thrust down from above into his face. Another technique from the Zornhau. When you use the winding against him and thrust down from above—as mentioned already—and he pushes up high with the hands and uses the hilt to defend against your upper thrust, so stand in the winding and thrust your point downwards between his arms and chest.

Text Be stronger, wind farther, stab, stab first, then take it farther. Glosa That is when you strike him with a Wrath Strike, if he displaces and stays strong on the sword in the displacement, then also stay with your sword strong on his sword and drive upward with your arms and wind your quillons onto his sword going forward to his head and stab high into his face, if he becomes aware of the stab and (note in margin: with the short edge) drives up high with his arms, and displaces with the quillons, then stay standing with your hilt in front of your head and send your point below to the throat, or to the chest between his arms, as will be told later.

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This is About the “Rage Strike.” (Cont.) [Image carried over from previous play]

Itm~ so du also vff din rechte site~ gewinde~ hast vnd er hatt den stich versetz so wind eyn wenig wider vff din lincke vnd setz im den ort auch an herab In die brust versetz er dan den ortt so zuck din schwertt an dich vnd schlag Im wider zu dem kopff versetz er dan so nÿmb oben ab oder ander arbeit nÿm dir daruß ~ alliud ~ Itm~ wan du oben abgenümen hast vnd er hat dir also versetz zu dem andern mall vnd sticht mit dir so far woll vff mit den armen vnd wind im die kurtz schnid in die schwech siner klinge~ vnd stich im zu dem gesicht oder wind vff din rechte site~ an siner klingen in die schwech vnd stich im aber zu dem gesicht auch magstu beyde winde~ vß eynander machen vnd mit dem ortt stossen ~~

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This is About the “Rage Strike.” (Cont.) …Notice this: Strikes, thrusts, guards, “soft” or “hard,” “As soon as,” “before” and “after.” without strength do not be too quick to the “war…” …And the words above—”before,” “after,” “as soon as,” “weak,” “strong,” and strikes, thrusts and cuts—you should always understand them well and by no means forget those in the fight…

… Das eben merke • hewe • stiche • leger weich ader herte / Indes vnd • vor • noch / ane hurt deme krige sey nicht goch / … …Vnd dy vorgesproche~ wörter / vor / noch / Indes / swach / stark / vnd hewe / stiche vnd snete / der saltu czu male wol gedenken / vnd mit nichte vorgessen in deme gefechte / …

A good lesson. Note to train this: cut, thrusts, guards--soft and hard. “Instant” and “Before”, “After” without hurry. Do not seek close combat prematurely. Those who aim for close combat before they are ready, are cut down. When one binds against your sword with a cut or thrust or anything else, you must find out whether he is soft or hard in the bind. And when you find this, you will “Instantly” know what is best to do, to attack him with “Before” or “After”. But in the attack you shall not be too hasty to go into close combat [Krieg], because close combat is nothing other than the windings in the bind.

Text of a lesson on the Wrath Strike Mark well, strike stab stances light or hard, Immediately* and truly after, onward the war will not be awkward. Glosa When he has bound on your sword with a strike or stab or otherwise, then you should not let yourself stop even in your winds, the before will be gained by marking if he is weak or strong when one sword clashes against the other and, as you have determined this, immediately work first by winding against the light and the hard, always to the next opening, as will be clarified and examined in plays after this.

Das ist der text vnd die glos von einer ler aus dem zorñ haw Das eben merck haw stich leger waich oder hert Inndes vnd var nach An hurtt dein krieg seÿ nicht gach Glosa Merck das ist wenn er dir mit einem haw oder mit eine~ stich oder sünst an dein swert gepunden hat so soltu dir mit den winden nicht zu° gach lassen sein es sey dann das du vor gar eben merckst wenn ein swert an das ander klitzst ob er im pant waich oder hert ist vnd wenn du das empfunden hast erst so arbait Inndes mit den winden nach der waich vnd nach der hert albeg zu° der nagsten plöss als dir her nach in den stucken vorklert vnd aus gericht wirt

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This is About the “Rage Strike.” (Cont.) …What the “war” strikes Above it shames below …Moreover, you should not hurry with the “war,” because if your attack from above, which you deliver, misses, you then hit from below, as you will hear: How one is delivered from the other according to the rightful art, especially strikes, thrusts and cuts. And you should not strike to his sword but to him, to the head or torso, where one may…

…wes der krig remet / oben / neden wirt her beschemet / … …Auch saltu nicht sere eylen mit deme krige / den ab dir ey~s velet obñ / des du remest / zo triffestu vnden als du wirst höre~ wy sich eyns aus dem and°n macht / noch rechtvertiger kunst / besu~der hewe stiche snete / Vnd salt nicht czu eyns sw°te hawe~ / zonder czu im selber / czu koppe vnd czu leibe / wo eyn° mag etc…

A good lesson (Cont.) Perform close combat like this: when you cut against him with a Zornhau, when he defends himself quickly, you shall go up in an orderly fashion with the arms and wind against his sword with your point in against the upper opening. If he defends against this thrust, stand in the winding and thrust with the point into the lower openings. If he follows further after the sword in self defence, go under his sword with the point through to the other side and hang your point over in against the other opening on his right side. In this way he will be cut down in close combat both above and below, because you (unlike he) can perform the movements correctly.

Item den krieg trÿb also Wam [!] du Im mitt dem zorn haw~ In haw~est Alß bald er dann verseczt so far wol vff mitt den armen vñ wind im den ort am schwert ein zu° der obern blöß verseczt er denn den stich So blÿb sten in de~ winden vñ stich mitt dem ort die vnder blöß folgt er dann fürbaß mitt der versaczu~ge dem ss schwert nach so far mitt dem ort vnde~ sÿn schwert durch vñ heng im den ort oben ein zu° de~ andere~ blöß sine~ rechten sÿtten Also wirt er mitt dem krieg oben vñ vnden beschämpt Ist daß du die ge[22r]fört andrest recht kanst trÿben~

Text on the War When the war roams above, below he will be shamed. The War is the Winding and the work to the four openings with the point that comes from it, and deploy this thus: when you strike with the Wrath Strike, as soon as he displaces then drive full forward with your arms and immediately wind the point high on his sword to the upper opening on his left side. If he then displaces the high stab, then stay standing in the wind with your hilt in front of your head, and let your point sink below to your left side, if he follows after your sword in displacement, then drive on to his left side with the sword and send the point up to his upper right opening, thus will he be shamed with the war high and low, in that you drive properly from one to the other.

Das Ist der text vnd die glos von dem krieg [14v] Wes der krieg rempt Oben nÿden wirt er beschempt Glosa Merck der krieg das sein die winden vnd die arbait die dar auf get mit dem ort zu den vier plössen vnd den treib also wenn du mit dem zorñhaw einhawst Als pald er denn versetzt so var wol auf mit den armen vnd wind im den ort öm swert oben ein zu der öberñ plöss seiner lincken seitten Setzt er denn den oberñ stich ab so pleib also sten in dem winden mit dem gehultz vor deinem haubt vnd las den ort nider sincken zu° der vnderñ plöss aber seine lincken seitten volgt er denn mit der vor satzu~g deinem swert noch So suech mit dem ort die vnder ploss seiner rechtñ seittñ Volgt er denn fürpas mit der vorsatzung deinem swert noch So var auff mit dem swert auf dein lincke seitten vnd heng im den ort oben ein zu° der öberñ plöss seiner rechten seitten Also wirt er mit dem krieg oben vnd nÿden beschempt Ist das du In anders recht treibst

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This is About the “Rage Strike.” (Cont.) …In all “windings” Learn to find strikes, thrusts and slices; You should also Check strikes, thrusts and slices In all the attacks Of the masters, if you want to fool them. Do not strike at the sword, But wait for the openings. At the head at the torso, If you want to remain without injury. No matter you hit or miss, Proceed so that you injure the openings. In all the teaching, Turn your point against the openings. Whoever strikes widely Around is often shamed…

…In allen winden • hewe • stiche • snete • lere finden / Auch saltu mete prüfen hewe stiche ader snete / In allen treffen / den meistern wiltu sie effen / Haw nicht czum swerte / zonder stets der blößen warte / Czu koppe czu leibe / wiltu an schaden bleyben / du trefts ader ader velest • zo trachte das du der blossen remest In aller lere / den ort / keyn den blößen kere / Wer weite vm~e hewet / d° w°t oft sere bescheme[t] …

How one in all windings shall find correct cuts and thrusts. In all windings learn correctly to find the cut and the thrust. You shall also test with cut, thrust or slice, in all fights if you want to beat the masters. That is to say that you should in all windings find the correct cut, thrust or slice in this manner: when you wind, you shall become immediately aware of which the three will work best for you to use. This is so that you do not cut when you should thrust, and that you do not slice when you should cut, and so that you do not thrust when you should slice. And mark: when your opponent defends against the one, you should strike with the other. Also: if one defends against your thrust then use the cut. If he rushes in towards you, use the lower slice against his arm. Remember this in all fights and binds with the sword, if you want to defeat the masters who set themselves against you.

Wie man In allen winden hew° stich recht vinden sol ~ In allen winden hew stich recht lern finden Auch soltdu mit brüch brüffen / hew stich oder schnitt In allen treffen den maistern wilt du sÿ effen •: Glosa Daß ist daß du in allen winden hew stich vñ schnitt recht finden solt Also wenn du windest dz du da mitt zu° handt solt brüffen weches dir vnder den de drÿen daß best sÿ zu° triben al also dz du nicht hav~est wann du steche~ solt vñ nit schnidest wañ du hawen solt vñ nicht stechest [22v] wann du schniden solt Vñ mörck wan man dir der aÿnes verseczt dz du in mitt dem andern treffest Also / versecz man dir den stich so trÿb treÿb den haw° Laufft man dir eÿnn so treÿb den vndern schnitt In sin arm morck in allen treffen vñ anbinden der schwert wilt du anderst die maister effen die sich wider dich seczen ~~:~:•

Text of a lesson In all windings, strike stab slice, learn to find, also should you not test, strike stab or slice, in all engagements, you will lose the mastery. This is when you strike with the Wrath Strike, then you should remember well to end completely with the Windings, and a single wind has three particular elements, that is one strike, one slice, and one stab, and when you wind on the sword, then you should indeed consider well that these elements aren't driven wrongly. Take heed in the winding that you not strike when you should stab, and not slice when you should strike, and not stab when you should slice. Thus you shall always know the elements, that by properly heeding them you will drive all meetings and bindings with the sword, otherwise you will fail or lose the mastery when one displaces against you.

Das ist der text vnd die glos aber ein° ler aus dem zorñhaw In allen winden haw stich snÿt lere vinden Auch soltu nit prüfen haw stich ode° schnit In allen treffen Den maisterñ wiltu sÿ effen Glosa Merck das ist wenn [15r] du im mit dem zorñhaw ein haust So soltu mit den winden am swert gar wol geübt vnd gantz fertig sein wenn ein iglichs winden hat dreÿ besunder stuck Das ist ein haw ein stich vnd ein schnidt vnd wenn du windest am swert So soltu gar eben gedencken das du die stuck nicht vnrecht treibst die in die winden gehörent Also das dw nicht haust wenn du stechen solt vnd nit schneidest wenn du hauen solt vnd nicht stichst wenn du schneiden solt vnd also soltu das stuck albeg wissen das mit recht gehört dar zu zu treiben in allen treffen vnd an pinden des swertz wildu anders die maister effen

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This is About the “Rage Strike.” (Cont.) …Perform your strikes And thrusts to the closest targets. And you should also step Well to the foe to the right side Or begin… …It may be also understood that the first verse means that to whom you strike from above with the “rage strike,” threaten him with the point of the “rage strike.” Thus, do according to this teaching, and be always in movement, no matter you hit or miss, so that someone may not deliver his strike; and step well sideways with your strikes. Also know that there are only two strikes out of all the strikes, as they may always be called, that is the strike from above and the strike from below from both sides. These are the main strikes and the rudiment of all other strikes, as they also come in their reason and principle from the point of the sword that is the core and the center of all the other techniques, as it was rightfully stated before…

…Off das aller neste / bre~ge hewe stiche dar gew[?] Vnd salt auch io schreite~ / eyme czu der rechte~ seiten / [?] ader iagens [?] begyñen… …Auch mag mã vorneme~ / das der erste v°se mochte alzo stehen / wem du öberhewest czornhaw / deme drewt der ort / des czornhaws etc. Nür tu noch deser lere / vnd bis vm~erm° i~ / motu / du treffest ad° nicht / daz ien° nicht czu slage kome vnd schret io wol besytz aus / mit den hewen / Auch wisse das nur czwene hewe seyn aus den alle ander hewe wy dy komen wy dy vm~er genãt möge~ werdn / das [24r] das ist der öberhaw / vnd der vnderhaw / von beiden seiten / dy sint dy hawpt hewe vnd gru~t aller ander hewe / wy wol dy selbñ vrsachlich vnd gru~tlich / auch kome~ aus dem orte des sw°tes / der do ist der kern vnd das czentru~ aller and° stocke / als das wol vor ist geschrebn…

Text of a lesson (Cont.) How you shall deploy the windings, and how many there are, you will find described in the last part of the verses, which will speak of what will deploy well and what will counter properly.

oder teuschen die sich wider dich setzen vnd wie du die winden treiben solt vnd wie vil ir ist an der zal das vindestu in dem letzten stuck der zedel geschriben das da also spricht

Wer wol fürt vnd recht pricht ~ ~ Itm~ wan du machen wilt eyn haulb vnd ein stich vnd eyn schnidt So thün Im also haulb kuenlich yn von diner rechte~ site~ den zorn haulb Indes wind im den ortt eyn vff sin lincke site~ vnd stich im zu dem gesicht [17r] siner lincken Indes drit mit dinem lincken fus vff sin rechte~ vnd schnid in mit der langen schnide~ vber sin beÿde arm ~

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This is About the “Rage Strike.” (Cont.) … And from the same strikes come the “four counters” on both sides, with that one strikes and breaks all the strikes and thrusts and guards, and from that one also comes to the four “hangings,” from that one may well drive the art, as one will listen to it afterward. And when one fights, one should always turn the point against adversary’s face or breast, so that he always must take care that one does not deliver quicker than he does, as one gets closer than any other to gets to oneself. And if it occurred that one obtains the “first strike,” one needs to be certain, sure, and fast with the “windings.” And as soon as one performed the “winding,” one should immediately go, rapidly and fast, and one’s point should always desire his breast and turn and place itself against it, as you will listen to it afterward. And the point, as soon as one gets “on the sword” with him, should always be around a half-ell in front of the other’s breast or face; and one is to understand well whether one may get there and in the closest manner and not far, so that he does not get there sooner than one, in case one waited and delayed and went too far or wanted to go too far or at too great a distance.

…vnd aus den selbe~ hewe~ kome~ dy vier vorsetcze~ von beiden seite~ / mt den mã alle hewe vnd stiche ader leger / letzt vnd bricht / vnd aus den man auch yn dy vier he~ge~ ku~pt / aus den mã[g] wol ku~st treibñ mag / als mã hernoch wirt horen / Vnd wy ey~ mã nur ficht / zo sal io allemal den ort key~ eyns gesichte / ader brust keren / zo mus sich iener alleczeit besorgen das her icht e kome we~ her / wen her io neher czu im hat we~ ien° / Vnd ab is alzo queme / das ien° den vorslag gewuñe / zo sal deser sicher vnd gewis / vnd snelle seyn mit dem wende~ / vnd als bald als her im gewendet hat / zo sal her czu hant czuvaren rich risch vnd balde / vnd syn ort sal allemal iens brust begeren vnd sich keyn der kere~ vnd stellen / als du hernoch wirst bas hore~ / Vnd der ort / als bald her eyme an das sw°t ku~pt / mt dem sw°te / der sal allemal kawme vem eyne halbe ele / verre / von iens brust ader gesichte seyn / vnd des gar wol war nemen ab h° yndert dar kome~ möchte / vnd io of das neste / vnd nicht weit vem / das ien° icht e queme wen deser / ab sich deser icht lasse~ vnd züme~ würde / vnd czu trege wer / ad° czu weit wolde dar kome~ vnd czu v°re vem

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This is About the Four Openings. Know the four openings, Attack so that you strike surely, With no fear and hesitation, Is how you proceed. Glossa. Here notice that Liechtenauer divides the man into four parts, as if he drew a line on him from the scalp downward on his body, up to between his legs; and another line crossward along the belt on his body. This way four quarters originate: one right and one left, above the belt, and also below the belt. These are the four openings, and each of them has its special attacks. Attack them, and never the sword—rather the openings.

The four openings. Learn four openings, aim to strike these with safety, without any risk, without doubt about what he can do. Here you will learn about people's four openings, against which you will always fence. The first opening is on the right sight, the second on the left side, above the man's belt. The other two are likewise on the right and left sides under the belt. Always pay attention to the openings in Zufechten. His openings you shall skillfully seek without danger: with thrusts with the the outstretched point [Langenort], with travelling after and with all other techniques. And do not pay heed to what he tries to do with his techniques against you, but fence with belief and throw strikes that are excellent and that do not allow him to come at you with his own techniques.

Von den vier blossen Vier bloß wisse / rem so schlechstu gewisse an alle for / on zwifel wie er gebar •: Glosa Hie soltu morcken die vier blossen an dem man da du all wegen zu° fechten [23r] solt Die erst bloß ist die recht sÿtt seÿtt die ander ist die link seÿtt oberhalben der girtel deß manß Die ander zwuo sind och die recht vnd die linck seÿtten vnderhalben der girtel Der blossen nÿm eben war in dem zu°fechten mitt welcher er sich gege~ dir enblösse der selbigen reme künstlichen on far mitt einschiessen des langen orts mit nachraisen vñ sunst mit allen geförten vñ acht nitt wie er mit sÿne~ geförten gegen dir bar gebar So vichtest du gewisß vnnd schlechst schlege daruß die do treffenlich sind vnd lau laust in domitt zu° seine~ stucken nitt komen ~:~

Of the four Openings Know four openings, roam, thus you hit wisely, in all attacks double where he is wary. Glosa If one wants to be a master of the sword, he should know how to break the four openings with art, and then he will fence properly and wisely. The first opening is the right side, the second the left, both above the belt, the other two are on the left and right side, both under the belt. One should seek the openings by driving on to two from the pre-fencing by following after and shooting with the long point. The second time one should probe with the eight windings, when one binds from one to another on the sword,

Das ist der text vnd die glos von den vier plössen Vier plossen wisse Reme so slechstu gewisse In alle far An tzweifel wie er gepar Glosa Merck wer ein maister des swertz sein wil Der sol wissen die wie man die vier plöss mit kunst suechen sol wil er anders gerecht vnd gewis vechten Die erst plöss ist die recht seit die ander die linck oberhalb der [15v] gürtel des mans die anderñ zwo plöss das sind auch die recht vnd linck seÿtt vnderhalb der gurtel Nu sind zwaÿ gefert dar aus man die plössen suechen sol Zw dem ersten sol man sÿ suechen aus dem zw fechten mit nach raÿsen vnd mit ein schiessen des langen ortes Zw dem anderñ mal sol man sÿ suechen mit den acht winden wenn einer dem anderñ an das swert gepunden hat

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This is About the Four Openings (Cont.) [Image carried over from previous play]

This is the Text and Gloss of the Four Openings (Cont.) …this you should also understand when you come to him in pre-fencing that you should always drive as best as one can to all with a strike or a stab into the four openings and pay no attention to what he deploys or fences against you. Thus you will force your opponent so that he must displace and, when he has displaced, then seek quickly for the next opening by winding in the displacement on the sword, and thus always roam to his openings and fence not to his sword, in this part you will achieve placement at four end points, stay there and thus end the lesson.

Das soltu also ver sten wenn du mit dem zw° vechten zu° ÿm kumst das dw albeg mit einem haw oder mit einem stich kunleich an alle vorcht solt reme~ der vier plössen eine zu welicher dw am pesten kumen magst vnd acht nicht was er gegen dir treibt oder vicht Do mit twingstu den man das er dir vor setzen mues vnd wenn er hat versetzt so suech pald in der versatzu~g mit den winden an seinem swert aber die nagst plöss vnd also rem albeg der plössen des mans vnd vicht nicht zw dem swert In dem stuck das da also spricht

Setz an vier enden pleib dar auff lere wiltu enden ~ ~ ~ ~

Itm~ du solt wissen welche ploß der man gegen dir entplost der selben ploß reme künlichen an var mit ÿn schissen des langen ortz vnd mit noch riessen vnd mit winde~ am schwertt [17v] vnd auch süns mit namen allen gefertenn vnd acht nicht wie er mit sinen gefertem gegen dir gebare so schlechstu In gewisß ~

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About the Four Openings, How One Breaks Them. If you want to take revenge, And break the four openings as the art says, “Double” from above And “mutate” from below. I tell you for the truth That no man may protect himself without fear. If you understand this, He gets not to strike.

Von den vier blössen / wy man dy bricht WIltu dich rechen / vier bl össen ku~stlichen brechen / Oben duplire do neden rechte~ mutire / Ich sage vorware / sich schötzt keyn man ane vare / Hastu vornomen / czu slage mag her kleyne komen ~

Explanation of doubling and mutating: how these break the four openings. If you would like to find revenge, skillfully break up the four openings: double over, mutate below correctly. Certainly I say this: no master defends himself without risk. If you have understood this, he can hardly come to blows. When you would like to skillfully break up the four openings for him, use the doubling against the upper openings and the mutating against the other openings. Certainly I say to you that he cannot defend himself against this, and can succeed with neither cut nor thrust.

Der text vnd die gloß von de~ dupliern vnd von dem mutierñ Wie die brechen die vier blossen ~ Wilt du rechen Die vier blossen künstlich brechen Oben duplir / vnden recht mutier Ich sag dir für war / sich scu schücz kain maiste~ an far Haustu es recht vernom~en zu° schlage mag er klain kom~en •: Glosa Daß ist Wann du dich an eine~ rechen wilt also / dz du im die vier blossen mitt kunst wilt brechen d So trÿb dz dupliern zu° der oberen bo blössen gen de~ störcki seines schwerts vñ daß mutiern zu° der anderen blösß [24r] So sag ich dir für war daß er sich dar von nitt schüczen kan vnd mag weder zu° schlachen noch zu° stechen komen ~

How one shall break the four openings If you will reckon to break the four openings with art, double above, transform below right. I say to you be aware onward, you shoot no man without driving, if you've reached him, make a close hit, then he won't advance Glosa When you have first struck, if you you then reckon to wind to his four openings with art so that he must let you strike as you please, then drive a double against the strong of his sword and then transform when he is weak at the sword, thus I say onward be aware that he won't be able to shoot in the Before as he wants, and so cannot come to strike.

Das ist der text vnd die glos wie man die vier plössen sol prechñ Wiltu dich rechen Die vier plöss kunstlich prechen Oben duplier Niden recht mutir Ich sag dir für wär Sich schutzt [16r] kain man ane far Hastu vernomen zu° slag mag er klain kümen etc. Glosa Merck wenn dir einer erñstlich ein hawt wiltu dich dann an im rechten vnd ÿm die plössen mit kunst an gewinnen das er sich an seinem danck slahen mues lassen So dreib das duplirñ gegen der sterck seins swertz vnd das mutirñ wenn er swach am swert ist So sag ich dir fur war Das er sich für dir vor slegen nicht beschützen mag vnd kan selber zu° slegen nicht kümen

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Doubling. When you cut in with a Zornhau or another Oberhau and he defends himself strongly, so “nstantly” thrust your pommel in under your right arm with your left hand, and cut him in the bind over the face with crossed hands, between the sword and the man. Or cut him with the sword in the head.

How you shall drive the Doubling to both sides Mark when he strikes high to you from his right shoulder, then also strike similarly strong and high from your right to his head, if he displaces and stays strong on the sword, then drive on Immediately with your arms and thrust your sword's pommel under your right arm with your left hand, and with crossed arms strike the long edge behind his sword's blade onto his head. Another If he strikes high to your head with the long edge from his left shoulder, then do the same, onward if he then stays strong on the sword, then drive your arms up quickly and strike with the short edge behind his sword's blade to his head. Thus how your sword goes to war and strikes was taught

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Mutating. When you bind against his sword with an Oberhau or something similar, so wind the short edge against his sword and go up in an orderly fashion with the arms; and hang your sword blade over his sword on the outside and thrust into him through the lower openings. This can be done on both sides.

How one shall drive transforming to both sides When you have struck him strongly above to the head from your right shoulder, if he displaces and is weak on the sword, then wind the short edge on his sword to your left side and, driving well up with your arms, drive your sword's blade high over his sword and stab his lower opening. Another When you have struck high to his head from your left side and he displaces and is weak on the sword, then drive up with your arms and hang the point over his sword from above and stab to his second opening. Thus you will drive the two elements from all strikes as you find him weak and strong on the sword. Thus are fencing and work with the sword retained to be praised.

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This is About the “Crooked Strike.” Deliver a “crooked” strike skillfully, Throw your point to the hands. Who performs the “crooked strike” well With steps, that hurts many strikes… Glossa. Here notice and know that the “crooked strike” is a strike from above which goes with a good step sideways in a crooked manner. That is why Liechtenauer means that whoever wants to deliver this strike well, should step well sideways to the right while performing this strike. And he should strike in a “crooked” manner well and skillfully, and should throw or shoot his point to the other at his hands above his hilt, and should strike with his flat…

Do the Krumphau (crooked strike) with these techniques. Strike the Krumphau deftly, cast the point towards the hands. This is how you shall strike the Krumphau against the hands. When he cuts from his right side against an opening with an Oberhau or Underhau, take a spring away from the strike with your right foot, far out to his left side; and cut with crossed arms with the point to the hands…

Der krumphaw° mitt sine~ stüken stucken Krump vff behende / wirff den ort vff die hende •: Glosa Daß ist wie du krump solt haw°en zu° den henden vñ daß stuck trÿb also wenn er dir von deine~ recht~ sÿtten mitt aine~ obern ode~ vndern haw~ zu° der blöss haw~et So [25r] spring vsß dem haw° mitt dinem recht~ fu°ß gege~ im wol vff sin Lincke sÿtten vñ schlach in mit gecrüczenten arme~ mitt dem ort vff die hende

Text on the Arc Strike (Krumphau) with its plays Arc out nimbly, throw your point to the hands, Arc to whom would attack, striding much allows strikes.

Das ist der text vnd die glos von dem krump haw mit seinen stucken krump auf behende wirff den ort auf die hende krump wer wol setzet Mit schritten vil häw letzet

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Do the Krumphau with these techniques (Cont.) And even try this technique against him when he stands against you in the Ox guard.

Text on the Arc Strike with its plays (Cont.) Glosa The arc strike is one of the four displacements against the four guards, in that with it one breaks the guard named the Ox, and it also drives onto the Over and Under Strikes. When you come to him in the pre-fencing, if he stands against you holding his sword before his head in the guard of the Ox, on his left side, then put your left foot forward, and hold your sword on your right shoulder, in the guard, and spring with the right foot well to your right side against him, and strike him with the long edge, from crossed arms, over the hands.

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To set aside with the Krumphau. When you fence with someone: all that he strikes against you that does not come directly from above, these you should displace with the Krumphau, as the markverses say:

He who uses the Krumphau well with a step, he is able to defend against cuts.

If someone cuts against you, do the Krumphau against him in the manner you have seen before this. Work from the Fool [Alber], and wind your point against him or cut, thus he must defend himself against you. And then you come to more sweeps, which you can use against him. Feint or thrust, or wind continuously or else sweep; or fall onto, when he displaces you downwards or parries you too far out to the side.

Aber ain stuck vß dem krumphaw° Item wann du mitt aine~ fichtest waß aine~ zu° dir schlöcht daß nitt recht gerichts von oben ab vff [58v] dich kompt daß versecz mitt der krinn Wann die Zedel spricht

Wer kru~mp wol verseczt mitt sti strÿtten vil hew° verseczt leczt

Das ist so ainer zu° dir schlecht So far im krump daruff vnd so hau~st du daß ee komen / alber arbaÿt arbaÿt / vnnd wind im dine~ ort zu° oder aine~ schlag So muß er dir verseczen So kümpst du aber zu° mer straichen die du denn vff in magst trÿben Veller / oder stoß oder / ewich winde~ oder sunst streÿch / oder überfallen Wann dir aine~ z nider verseczet oder zu° wit fört mitt der versaczung ~~~~

Aber ain stuck vß dem krumphaw° Krump wer wol seczet mitt schrÿtten er vil hew~ leczet ~: Glosa Daß ist wie du mitt dem komp krump haw° die obern häw abseczen solt daß stuck trÿb also Wann er dir von sÿme sine~ rechten sÿtten oben ein hawet zu° der blosß so schrÿt mitt dem rechten fu°ß vff sÿn lincke sÿten v~ber sin schwert / mit dem ort [25v] vff die erden In die schranckhüte dz trÿb zu° baÿden sÿtten Och magstu In vß dem abseczen vff dz haupt schlachen ~

Another technique from the Krumphau. He who uses the Krumphau well with a step, he is able to defend against cuts. This is how you shall set aside all Oberhau attacks with the Krumphau. When he cuts in from above against your openings from his right side, step with your right foot out to his left side and throw your blade across his sword with the point to the ground in the Barrier guard. Test this on both sides. And from this setting aside you can cut him in the head.

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To set aside with the Krumphau (Cont.) You shall also use handsome setting-asides against cuts and thrusts—as you have learned this, so that you do not do them bigger than necessary, and so that your point is at all times towards his face, ready for a thrust. And if he from the displacement strikes round to the other side, follow after him and wind, as if you wanted to parry to the other side. Or rather stand and thrust, as you have parried and he must save himself from your thrust, so you should do your techniques. If someone else also knows something about the markverses and uses the Krumphau to displace your techniques, if he winds and thrusts against you; be aware of this and resolutely set aside his thrust or cut, and in the same motion quickly deliver your own thrust or a cut, so that you are always working in order that he must defend himself before you must parry him. And when you have trained yourself in this so that you are skillful and ready for when you displace someone, so that you do not stress yourself against a thrust or cut, you can trouble him and counter that which he does against you, because he must always counter and displace your techniques first.

Aber ain stuck vß dem krumphaw° Item och solt du hüpschlichen absecze~ [59r] trÿben vff hew° oder stich alß du deß vnder richt bist Dz du nitt zu° grob dar nach farst Vnnd dz dein ort allmal gege~ sine~ angesicht stee zu° aine~ stoß Vñ ist daß er von dine~ absecze~ schlecht vff die anderen sÿtten So far im nitt nach vñ wind sam v du vff die andern sÿtten wöllest och abseczen Vnnd blÿb vnnd stos stoß so bist du verseczt vnnd so mu°ß er dine~ stoß retten So kumpst du aber zu° dine~ arbaÿt Item morck öb aine~ och etwas der zedel kan vñ dir dine stuck krump verseczt So windt [59v] er din den stoß och zu° So hab achtu~g daruff vnd secz im sinen stich ode~ schlag seüberlich ab vñ darin scheub im dine~ stoß mitt zu° ode~ aine~ schlag Also daß du allweg arbaitst daß er dir alß schier mu°ß verseczen alß du im Vnd weñ du dich deß übst daß du deß fertig bist weñ du aine~ verseczst / daß du nichtst arbaitst es eÿnen stoß ode~ schlag So magstu den Irre vñ pricht im daß er fürsich vff dich genom~en hat wann er mu°ß ÿe daz din vor brechen vñ verseczen ~

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Use these techniques from the Schrankhut: If someone cuts at you from above or up from below, strike at him with the Krumphau to the opening with a step away. Or strike a Krumphau at him with the at of the blade and as soon as the swords come together, seek the nearest opening with the false edge. Or use the turner with the point towards his face. And when he binds against you, become strong with the long edge. And you can use all techniques which were earlier named in the sweeps.

[51v] Die stuck treÿb vß der schrankhu°t also Item hawet aine~ dir oben zu° oder von vnden vff So haw~ du im krump ein zu der blöß mitt aine~ vßtrÿtt / Item oder haw~ im krump zum flechten vnd alß bald es klüczt So [52r] su°ch die nach mitt der kurczen schnid~ schnÿde~ ~~~ It~ od oder tr trÿb den verkerer mitt dem ort zu sine~ gesicht vñ weñ er dir anbindt So sterck mitt der lange~ schniden vñ magst alle stuck I trÿben die vor genampt sind in den strÿchen ~

Another You should also try the arc strike from the barrier guard, from either side, And thus set yourself in this guard: when you come to him in the pre-fencing, then stand with the left foot forward and hold your sword close on your right side with your point to the ground so that your long edge is above, and give an opening on the left side. If he strikes to the opening, then burst out from the strike with your right foot toward him well to your right side, And strike him with crossed hands, from the long edge with the point out to his hands.

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The Schrankhut A technique is called the “fence guard.” It comes from the point, so that you put the point on the ground to whatever side you want and you prepare for “setting aside” with it. Or, it may also be called “from the gate,” as one puts the point down directly in front of oneself on the ground. And when the other strikes or thrusts then one catches the other’s sword point, by means of going up to the other with “setting aside.” And that one strikes the other equally down to the feet or up, wherever he may reach the other in the closest way. And it is also something similar to the “peacock’s tail,” as one always goes high and beats again, down or up, wheresoever one may beat.

[48v] Eyn gefechte heisset dy schrankhute / das ku~pt / aus dem orte / alzo das du den ort legst of dy erde / czu weler seite~ du wilt vnd stellest dich do mete czu~ abesetzen / Ader is mag auch genãt werdñ aus der pforte~ / wen eyn° den ort gleich von sich neder stellet of dy erdñ / vnd von wañe deñe eyner of in hewt ader sticht / zo vasse her ieme syne~ ort des sw°tes / mt dem als her key~ im of vert / mt dem abesetcze~ / vnd sla / im vnde~ czu~ füssen ader aben gleich czu wo her in al am neheste~ derreiche~ mag / vnd das ist auch etwas dem pfobe~czagel gleich / wen eyner vm~erm° alzo of vert vnd weder ned° slet vnden ader obñ / wo h° nur mag ~

Do the Schrankhut like this: When you fence with someone and come close to him, stand with the left foot forwards and put your sword with the point towards the ground on your right side, so that the true edge is upwards; and from the left side the false edge downwards and the right foot forwards.

[51v] Die schranckhu°tt die mach also Item wann du mitt aine~ fichtest vñ nahent zu° im kump kompst So stand mitt dem lincken fu°ß für vñ leg dz schwert mitt dem ort vff die erde zu° diner rechte~ sÿtten vñ dz die lang schnid oben sÿ vñ võ der lincken sÿtten die kurcz schnid vnden / vnd der fu°ß vor stee

Of the Barrier Guard Put yourself thus in the barrier guard to your left side: when you come to him with it in the pre-fencing, then stand with the right foot forward and hold your sword near your left side to the ground with crossed hands, so the short edge is above, and give an opening with your right side, if he Strikes to your opening, then burst out of the strike toward him with the left foot well to his right side, and strike in the burst with the short edge over the hands.

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This is About the “Crooked Strike.” (Cont.) …Deliver a “crooked strike” to the flat Of the masters, if you want to weaken them. If it sparks above, Step back—I will praise it… …Then, provided that he hits, he should remain firmly in it and press strongly; and he should see what he may perform, in the surest and quickest way, with strikes, thrusts or cuts…

…Haw kru~p czu~ flechen • den meistern wiltu sie swechen / Wen is klitzt oben / stant abe das wil ich loben / … … wen her deñe trift / dy fleche~ [i]enes [sw]ert / zo sal her stark dor of bleiben / vnd vaste drucken / vnd sal sehen / was her deñe am endlichste~ vnd geradste~ / dar bre~ge~ mag / mit hewen stichen ader sneten / …

Another technique from the Krumphau. Cut crookedly against the flat side of the masters, if you want to weaken them. When you want to weak a master, use this technique: when he cuts in against you from above from his right side, strike crookedly with crossed hands against his cut above the sword. Another technique from the Krumphau. When it comes from above stand back, this I shall praise. When you cut a Krumphau onto his sword, so cut immediately back up from the sword with the short edge, in and down from above onto his head. Or wind the Krumphau with the short edge against his sword and thrust into his breast.

A good bit of text regarding the Krumphau Arc strike to the flat and you will weaken the master. When it glides above then stand off so I will praise. You shall deploy this play against most binds with the sword, and drive it so: When you come to him in the pre-fencing, then lay your sword to your right side in the barrier guard and stand with the left foot forward, or hold it on the right shoulder, if he then strikes high to the opening, then strike strongly with the long edge to cross arms against his strike, and as soon as the swords clash together then immediately wind the short edge on his sword toward your left, and stab him in the face. Or if you will not stab him, then strike him immediately with the short edge, from the sword to the head or body.

Das ist der text vnd die glos eines guten stucks aus dem krump haw Haw krump zw den flechen den maisterñ wiltu sy swechen Wenn es klitzt oben So stand ab das wil ich loben Glosa Merck das stuck soltu treiben gegen den maisterñ aus dem pandt des swertz vnd das treib also Wenn dw mit dem zu° vechten zu° ÿm kumpst So leg dein swert zu° deiner rechten seitten in die schranck hu°t vnd stee mit dem lincken fuess vor oder hald es an deiner rechten achsel Haut er dir dann oben zu° der plöss So haw starck mit der langen schneid aus gekräutzten armen gegen seinem haw vnd als pald die swert zu° sam~en klitzen So wind indes gegen deiner lincken seitten die kurtz schneid an sein swert vnd stich ÿm zu° dem gesicht Oder wildu yn nicht stechen So haw ÿm Indes mit der kurtzen schneid vom swert zu° kopff oder zw° leib

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This is About the “Crooked Strike.” (Cont.) …Do not deliver a “crooked strike” but strike shortly, And show “changing through” with it. …And by no means he should strike too shortly, and he should not forget the “changing through,” if it occurs.

… Krump nicht kurcz hawe • durchwechsel do mete schawe / … … vnd sal mit nichte czu korcz hawe~ / vnd sal des durchwechsels nicht vorgessen / ab sichs gepürt /

Another technique from the Krumphau. Do not Krump, cut short, then see changing-through. When he wants to cut in from his right shoulder, pretend that you want to bind against his sword with a Krumphau. Cut short; and go through with the point under his sword and wind your hilt to your right side over your head, and stab him in the face.

Aber ain stuck vß dem krumphaw° Krum nicht kurcz haw° / durch wechsel dar mitt schow :• Glosa Das ist wenn er dir von siner rechten achseln oben ein will howen So tu° alß ob du mitt dem krumphaw° an sin schwert wöllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~ schwert durch vnd wind vff din rechte sÿttenn dein gehülcz über din höppt vnd stich im zu° dem gesicht ~~

Text on a part of the arc strike, strike an arc not a short, show changes through with it. Glosa That is when he will strike one high from his right side, then drive up high with the hands and as he strikes you will arc strike to bind on his sword, and drive the point through under his sword and stab to his other side into his face or chest, and be sure you wait to keep your hilt high before your head.

[18r] Das ist der text vnd die glos aber eins aus dem krumphaw krump nicht kurtzhaw Durchwechsel do mit schaw Glosa merck das ist wenn er dir von sein° rechten seitten oben ein wil hauen So var hoch auff mit den henden vnd thue als dw ÿm mit dem krump haw an sein swert wellest pinden vnd var mit dem ort vnd seine~ swert durch vnd stich ym zw° der anderñ seitten zu° dem gesicht oder der prust vnd wart das dw oben vor dem haubt mit dem gehültz wol gedackt seist

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Also to break the guard of the Ox with this play, you drive so when you against the Ox go to him in pre-fencing, when he stands against you and holds his sword with the hilt on his left side, in front of the head, then throw your sword to your right shoulder and act as if you would bind onto his sword with the krumphau, strike short and change through with it below his sword, and shoot your point long under his sword to the other side and at his throat so he must displace, then you will come to hit and work with the sword. [MARGIN NOTE: 16th c. script:] The Krumphau breaks the Guard Ochs

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This is About the “Crooked Strike.” (Cont.) Deliver a “crooked strike” if one irritates you, And the noble “war” will dupe him, So that he does not know for truth, Where he is without danger.

Kru~p wer dich irret • der edele krig den vor virret / Das her nicht vorwar • weis wo her sye ane var

How one should counter the Krumphau. Krumps that foil you; the Noble War confuses him, so that he truthfully does not know where he shall be without danger. When you cut against him from above or from below, from your right side; if he also cuts crookedly from him right side with crossed arms to your sword and thus foils your strike, so bind strongly with your sword. And shoot your point against his breast under the long edge of his sword.

Mörck wie man den krumphaw° brechen sol ~ [26v] Krump wer dich Irret / der edel krieg in verwü°ret Daß er fürwar nicht waÿst : wo er sÿ one far :• Glosa Daß ist Wann du im von diner rechten sÿtten ober ode~ vnden zu° haw~est Hawt er dann och von sÿner rechten sÿtten mit gekreutzen armen krump vff din schwert Vñ verir°et dir do mitt dein hew~ So blÿb mitt dine~ schwert starck an dem sine~ Vnnd schüß im vnde~ dem schwert den ort lang ein zu° der brust ~

Das ist der text vnd die glos aber eins stucks aus dem krumphaw [18v] Krump wer dich irret Der edel krieg in verwirret Das er fur war Nicht wais wo er seÿ ane far Glosa Merck wenn dw den krump haw treiben wild So müstu dich albeg do mit plos geben vnd das vernÿm also wenn du in mit dem krump haw von deiner rechten seiten ein haust oder an sein swert pindest die weil pistu plos mit der lincken seitten Ist er denn also gescheid vnd wil dir vom swert noch der plöß hawen vnd wil dich mit behendickait Ire machen So weleib mit deinem swert an dem seine~ vnd volg dar an seinem swert nach vnd wind im denn ort zw° dem gesicht vnd arbait im für pas mit dein krieg das ist mit den winden zw° den plösen So wirt er vor Irrt das er für war nicht wirt wissen welichen enden er sich für dir vor häwen oder für stechen beschützen sol etc ~

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Another counter against the Krumphau. When you cut in against him from above from your right side and he also cuts crookedly from his right side with crossed arms onto your sword and thus presses it down towards the ground, wind towards your right side; go with your arms up over your head. And thrust with your point from above against his breast. If he defends himself against this, stand with your hilt in front of your head, and work deftly with the point from one opening to the other, this is called “the NobleWar.” With this you will confuse him so totally that truthfully he will not know where he will find himself.

Ain andern brüch über den krumphaw° Mörck wenn du im von diner rechten sÿtten oben ein hawst Hawt er deñ och võ sine~ recht~ sÿtten mit gekrenczten armen komp [27r] Vff dein schwert vnd drückt dir das da mit vnder sich gen der erden So wind ge deiner rechten syte~ vnd far mit den arme~ wol vff v~ber dein hau°pt vnd secze Im dein ort obe~ an dei die brust Glosa Versetzt er dir das so plÿb also sten mit dem gehu~lcz vo° dem hau~pt vnd arbait behendtlich mit dem ort von aine~ bloß zu° der andere~ Das hayset der edel krig Da mit verwirstü In so gar Das er nit waysst wo er vor dir blibe~ sol fur war

Another defense against the Krumphau …if he pushes your sword to the ground, wind towards your right side, raise your arms over your head and thrust his breast from above. If he displaces, stand as you are with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the Noble War and with this you’ll confuse him so much that he will not know how to defend himself against your attacks.

Itm~ ein bruch wider den krümpt haulb so du im den ortt vnter sin schwertt in schuest zu siner brust druck er dan mit dem krümpt haulb din schwertt vnter sich zu der andern erden so wind gegen siner rechte~ site~ vnd far mit dem arm woll vff vber dem hauptt vnd setz im den ortt oben an sin brust versetz er dir dz so pleib also stett mit dem gehultz vor dem hauptt vnd arbeitt behendeglich mit dem ort von eÿner plos zu der andern dz [21r] heist der krieg do mit verir°est In so gar dz er nit weiß wo er sich hutte~ soll ~~

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A strike is called the “error” and comes from the “crooked strike” which is described written about after the “cross strike,” where the hand is written. It should stay before the “cross strike,” which comes from below in a crooked manner and hits him above the hilt by throwing the point as the “crooked strike” does from above downward. Whoever leads with the “error” Hits from below as one wishes…

[26v] Eyn / haw / heist der veller / vnd ku~pt aus dem kru~phaw / vnd der stet geschrebe~ noch deme twerhawe / do dy hant ist geschrebñ / vnd der sal vör deme therhawe sten / vnd der get von vnden dar krum~es vnd schiks / eyme ober deme gehilcze yn / mit ort schissen/ Recht zam der kru~phaw von obñ neder / Veller wer füret • von vnden noch wonch wonsche her ri rüret / …

A further technique from the Zwerchau, and it is called the feint (Feler). He who does a good feint, strikes from below how he wishes. With the feint all fencers who quickly leap to the defence are mislead and defeated. When you come against him in Zufechten, pretend that you want to cut him with perhaps an Oberhau to his left side. In this manner you can strike him underneath however you want and defeat him.

Text on Feinting Feints mislead from below against intent to move Glosa Feinting is a play in which many elements become blended as in you want to pull out and strike to those who will displace and fence to the sword and not the body. Mark when you come to him in pre-fencing, then move as if you would strike to the head in a free downstrike, then disengage off the strike and strike him with a cross to his lower opening on either the left or right side as you will, and see that you keep the hilt over your head as you deploy the traverse strike.

Das ist der text vnd die glos von dem stuck das da haist der veler [22r] Veler verfüret von vnden nach wünsch er rurret Glosa Der veler ist ein stuck do mit vil vecht° geplendt werden vnd nach wunsch gerürt vnd geslagen die do gerñ vor setzen vnd die do vechtent zw° dem swert vnd nicht zw° den plösen des leibs Merck wenn du mit dem ze vechten zu° ÿm kumpst So thüe als dw im mit einem freÿen oberhaw zu° dem kopff wellest slachen vnd verzuck den haw vnd slach Im mit der twer zu° der vnderñ plöss seiner lincken oder seiner rechten seitten zu° welicher dw wild vnd wart das dw mit dem gehiltz vber deine~ haubt wol gedackt seist das magstu mit dem twerhaw auch also treiben

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alliud ~ Itm~ den feller tribe also wan du mit dem zu vechte~ zu dem man kümpst so haulb die vntern haulb von beide~ site~ chümstu dan yn in mit eynem vnter haulb von diner rechte~ site~ so schueß im den ort do mit lang in zu der brust so muß er versetzen so spring bald mit dem lincke~ fus vff sin rechte site~ vnd thün als du In mit der zwer dar zu schlagen wollest vnd verzuck den haulb vnd schlag bald wider vmb zu der lincke~ site~ [24r] oder kümpstu von der lincke~ site~ mit dem vnter haulb an yn so schuß im den ort oben lang in vnd tribe dz gefertt als vor an zu dem nechsten geschreben stetht ~~

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…The “turned strike” forces— It fights the running through and wrestles: Grasp the elbow Surely, and leap in the scale…

…Vorkerer twinget / durchlawfer auch mete ringet / den ellenbogen / gewis nym / sprink yn den wogen / …

Another technique from the Zwerchau, and it is called the turner. The turner subdues, runs through and grapples. Take the elbow certainly, spring against him in the movement. When you bind against his sword with an Oberhau or Underhau, turn your sword so that your thumb comes underneath, and thrust him down from above into the face. In this way you force him to defend himself.

aber ain stuck vsß dem zwerhaw° vnd daß haÿsst der verkerer ~ Verkerer zwinget durch laeffe~ au~ch mit ringet den elenbogen gewisse nÿm spring Im In die wage Glosa Merck das stu~ck soltü also trÿbere~ wen dü In mit aine~ vnde~ oder oben haw an sin schwert bindest So verker dein schwert das din dou~me vnde kome vnd stich Im obe~ In zu° de~ gesichte So zwingstu In das er dir versetze~ mu°ß

Text on Inverting Inverting forces running through with grappling too, know to take the elbow and spring on the way. Glosa The Inverter is the name for fencing with a half strike or the twisting hand which one forces to the opponent in running through and trapping to wrestle. Do it like this: When you come to him in the Zufechten, then go with your left foot forward, and strike from your right side with the Half-Stroke with reversed long edge, again and again, following your left foot until you come to him. And as soon as you bind on his sword with this, then instantly hang the point in above, and thrust to his face. If he parries the thrust and goes high with his arms, then run through against him.

Das ist der text vnd die glos von dem stuck das da haist der ver ker°er Vor kerer twinget durchlauffer auch mit ringet Den elpogen gewiß nÿm spring ÿm in die wage Glosa Merck den ver kerer haissent dir vechter den halbt haw oder die wendhant do mit twingt man den man Das mã im mag durchlauffen vnd gefassen mit ringen den treib also ~ wenn du mit [22v] dem zu° vechten zu° im gest So gee mit dem lincken fuess vor vnd haw von der rechten seitten den halb haw mit ver kerter langer schneid ÿe vnd ÿe auff vnd nider dein lincken fuess noch pistu zu° im kumpst vnd als pald du im do mit an sein swert pindest So heng im den ort Indes oben ein vnd stich im zu° dem gesicht Vor setzt er den stich vnd vert hoch auff mit den armen So lauff im durch

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Another technique from the Zwerchau, and it is called the turner (Cont.) And in the defence, grip his right elbow with your left hand and spring with your left foot in front of his right, and stab him over it.

Text on Inverting (Cont.) If he keeps his hands low in the displacement then grab his right elbow with your left hand, hold it well and spring with the left foot ahead of his right and push him over your foot.

Oder beleibt er mit der vor satzung nider mit den henden So begreiff mit der lincken hant sein rechten elpogen vnd halt in do mit vest vnd spring mit dem lincken fuess für sein rechten vnd stös in also vber den fües

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Another technique from the Zwerchau, and it is called the turner (Cont.) Or use the turner to rush through and grapple, in the same way that you will be told for running through.

Oder lauff In mit dem verkerrer durch vnd ringe / alß dü In dem durch lauffen her nach wirst finde~

Text on Inverting (Cont.) Or if you would not push him by the elbow with your left hand over your foot as was described before, then drive with the left arm behind him around his body and throw him forward over your hip.

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..The “double error”: One hits the cut with force…

…Veller czwefache • trift man den snet mete mache / …

Another technique from the feint. Feint twofold, strike him, thus do the cut. This is called the double feint, because in the Zufechten you shall be misleading two times. Do the first like this: when you come against him in Zufechten, take a spring with the foot against him and pretend that you will cut with a Zwerchau against the left side of his head. And change the direction of the cut, to the right side of his head.

Text on just one of the Feints Feinting double makes one hit with the edge. Let it double stride left and forward with it. Glosa This names the double feint which is driven thus: when you come to him in pre-fencing then stand with the left foot forward and hold your sword on your right shoulder and when you are near then spring with your right foot to his left side and do as if you would strike a free cross strike to his left side of the head and pull out of the strike and spring with the left foot to his right side and strike to his head,

Das ist der text vnd die glos aber von einem velär Veler zwifach Trift man den schnidt mit mach Zwifach es für pas Schreit in linck vnd pis nicht las Glosa merck Das haist der zwifach veler den treib also Wenn dw mit dem zu° vechtñ [23r] zu° im kumpst So stee mit dem lincken fües vor vnd halt dein swert an deiner rechtñ achsel vnd wenn es dir eben ist So spri~g gegen ÿm wol auff mit dem rechten fuess auff sein lincke seitten vnd thu°e als dw Im mit einem freÿen twerslag zu° seiner lincken seitten zu° dem kopff wellest hauen vnd vor zuck den haw vnd spring mit dem lincken füess auff sein rechte seittñ vnd slach in do selbest hin zu° dem kopff

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…Further in a double way, Step to the left and do not be slow.

…Czwefaches vorpas • schreit yn link vnd weze nicht las /

Another technique from the feint. Continue doubly with this, step to the left and do not be slow. That is to say, when you have struck to the right side of his head with the first misleading—about which has just been written—so strike immediately round to the other side of the head, and go with the short edge with outstretched crossed arms over his sword: and “Imlincke”, that is to say on the left side, and cut in with the long edge over the face.

Text on just one of the Feints (Cont.) If he displaces and you engage his sword then spring away close to the side and cut him with the short edge behind his sword with a double to the mouth. Or fall with the sword over both his arms in the cut to also make the feint from the high strikes, thus driving full to strike from the Crosser when it is even to you or when you wish.

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This is About the “Cross Strike.” The cross strike takes away That which comes from “the roof…” Glossa. Here notice and know that for the entire sword no strike is as honest, as quick, as ready and as good as the “cross strike.” And it goes crosswise to both sides, with both edges, the “front” and the “back” one, to all the openings, lower and upper ones. And everything that comes from the roof, that is the upper strikes, or whatever comes from above downward, all this a swordsman breaks and defends against with “cross strikes,” who will perform them properly. Thus he throws the sword crosswise in front of the head, to whatever side he wants, in the same way as if he wanted to come to upper “hangings” or “windings.” But in the case of the “cross strikes” he turns the flats of the sword, the one upward and the other downward or below, and the edges crosswise to the sides, the one to the right and the other to the left side…

[27v] Das ist von deme Twerehawe / etc Twere benym~et • was von dem tage dar küm~et / … [27v] Glosa / Hie merke vnd wisse / das of dem ganczen / sw°te / keyn haw / als redlich / zo heftik zo vertik vnd zo gut ist als der twerhaw / Vnd der get dar / zam dy twer / czu beyden seiten mit beiden sneiden / der hindern vnd der vörd°n / czu allen blossen / vnden vnde oben / Vnd alles das von dem tage dar ku~pt / das sint dy öb°n hewe / ader was söst von obe~ neder gehet / das bricht vnd / weret eyner / mit den twer hewen / der dy wol kan dar bre~gen / ader das sw°t wol vörwirft / dy twer vor / das hawpt / czu weler seiten her wil / recht zam her in dy ob°n henge~ ader winden wolle kome~ / Nür das eyner in den twerhewe~ / dy flechen des sw°tes / eyne oben ader of / dy ander vnden ader neder kert / vnd dy sneiden / czu den syten / dy twer / eyne / czu der rechte~ / vnd eyne czu der linken / seiten / …

Hie hebt sich an der text vnd die glos von dem twer haw mit seinen stucken Twer benÿmpt was vom tag her chumpt Glosa Merck der twer haw pricht die hu°t vom tag vnd alle haw die von oben nÿder gehauen werden vnd die twer treib also wenn du mit dem [19r] zu° ÿm kumpst So stee mit dem lincken fuess vor vnd halt dein swert an deiner rechten achsel Stet er denn gegen dir vnd helt sein swert mit auff gerackten armen hoch vber dem haubt vnd drot dir oben ein zw° hauen So kum du vor im mit dem haw vnd spring mit dem rechten fuess wol auff dein rechte seitten gegen ÿm vnd ÿm sprung wind dein swert mit dem gehültz für dein haubt das dein dawmen vnden küm vnd slach ÿm mit der kurtzen schneid gegen seiner lincken seitten zw dem kopff

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[21v] Item wan er ee kümpt mit dem ober haulb kümpt so tritt mit dinen rechte~ fus vff sin lincken vnd schlag im zu mit der zwer haulb in sin sterck der klingen so ist sin haulb versetz Indes stos mit diner lincke~ hantt den knoff vff din rechte site~ neben sich vff so schlechstu in an dz linck ore oder magst dz dupliren die wiell du Im in sin sterck gezwirgt hast oder ist er also starck dz du dar zu nit kümen magst so stos im mit dem gehultz sin schwertt hin weck vnd schlag vff din rechte site~ vmb vnd such die andern ploß ~ Itm~ ein bruch wider den zwerch ober haulb so du Im von diner rechte~ site~ mit eynen ober haulb an sin schwertt bindest schlecht er mit der zwierch vmb sich so küm auch vor mit dem zwerch haulb vnter sin schwertt an den hals ~~

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Do the Zwerchau (crosswise strike) with these techniques. The Zwerchau takes away that which comes from above. The Zwerchau counters all strikes that cut down from above. When he cuts in from above against your head, spring with the right foot against him away from the cut, out to his left side. And as you spring turn your sword—with the hilt high in front of your head, so that your thumb comes under—and cut him with the short edge against his left side. So you catch his strike with your hilt and strike him in the head.

Der zwerhaw° mit sine~ stucken Zwerch benÿmp was võ tag her kümpt Glosa Merck de~ zwerhaw bricht alle hew die võ oben nÿder gehawe~ werde~ vnd den haw trÿb also We~ er dir oben In hawet zu° dem kopf So spring mit dem rechte~ fu°ß [27v] gen Im vß dem hawe Vff Sin lincken sytten vnd im springen verwent din schwert mit de~ gehu~ltz houch vor deine~ haupt das din dou~m vnnde~ kome vmd [!] schlach In mit der kurtze~ schnide~ zu° siner lincken sytten So vaschdü sine~ haw In din gehu~ltz vnd triffest In zu° dem kopff ~

Oder kumpt er vor mit dem haw von oben nÿder ee wenn dw So spring mit dem rechten fuess aus dem haw wol auff dein rechte seitten mit der vor geschriben vor satzung So vechstu seine~ haw in dein gehültz vnd slach ÿn mit der twer zu° der lincken seitten seines kopffs ~ [22r] Itm~ ein bruch wider ober vnd vnter zwerch schleg wan du eyne~ hast angebunde~ an sin schwertt mit eynen ober haulb vnd schlech vmb die zwierch oben oder vnte~ so plieb mit dem gehultz vor dinem hauptt vnd verwind alweg din schwertt vnd stich im mit dem ortt zu der nesten ploß so gat von beyde~ site~ zu° ~~ Itm~ wan dir eyner an bind mit eyne~ fryhen ober haulb vnd hautt den vnter zwierch haulb zu diner rechte~ site~ so blÿ also stan vnd leg im die kurtz schnid an den hals

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Counter the Zwerchau like this. When you stand in the guard Vom Tag and someone cuts against you with the Zwerchau, so immediately strike a Zornhau with the strong on top of his sword, and seek the opening with the point. And if he tries to strike round with the Zwerchau to the other side, come to him with the Zwerchau under his sword to his neck, …

[52v] Also brich die zwerck Item wann du staust In vorhu°t vom tag vñ ainer vff dich haw°et mitt der schwerch So haw° den zornhaw° glÿch mit im ein starck vff sin schwert vñ su°ch die blöß mitt dem ort vñ will er denn vm sich schlachen mitt der zwerch zu° der andern sÿtten So kom du vor mitt der zwerch mitt vnder sÿn schwert zu° sine~ halß

Here observe the counter against the Cross Strike When you stand against him in the guard of the roof then strike high to his head, if he then springs from the strike and means to come forward with a cross strike by striking to the left side of your head, then let your sword's long edge fall on his sword, if he then strikes across over to the other side, Immediately strike your sword ahead crossing under his sword to his throat so that he cuts himself with your sword.

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Counter the Zwerchau like this (Cont.) …or slice with the long edge into the arm, when he strikes round.

oder schnÿd in mitt der langen schnÿden In die arm wenn er vm schlöcht ~

Note: Mark that when you have bound on a fencer's sword, if he then flies from the sword over in a cross to the other side, then let the long edge fall on his hand or arm and hit with the edge of the sword with your arms well out from you and snap the sword's edge from his arms up to his head.

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Another technique from the Zwerchau. When you bind against his sword with the Zwerchau, if he is weak in the bind, so lay the short edge against the right side of his neck and spring with the right foot behind his left; and pull him over it with the sword.

Aber/ain stuck vß dem zwerhaw° Itm~ wan dü Im mit der zwer an sin schwert bindest Ist da er waich am schwert So leg Im die kurtze~ schnÿde~ zu° seine~ rechte~ sytten an den halß vnd spring mit dem rechte~ fu°ß hinder seine~ lincke~ vnd ru~cke In mit dem schwert daru~ber

Counter against the high cut to the arm When you strike across to his right side, if he then feints with a cut to the arm, then strike and double with the short edge behind his blade to his mouth.

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A counter against the upper Zwerchau. When you bind against his sword from the right side with an Oberhau or similar attack, if he strikes round with the Zwerchau against your other side, do the same back to him, throw a Zwerchau under his sword against his neck.

Counter against the high cut to the arm (Cont.) Or if you strike across to his left side, and he then feints a cut to the arm, then strike a double with the long edge behind his blade to his mouth. Mark if he counters the doubling when you cut high to his arm, if he doubles high to your head, thus drive on and wind against the blow with your sword below his and drive the sword's short edge to his throat.

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This is About the “Cross Strike.” (Cont.) …Strike the “cross strike” firmly, Remember what you do… …And with this “cross strike” it is quite good to get on the sword with someone. And when one gets the other on the sword, no matter how it happened, the other may get away from him with great difficulty, and will be beaten by him to both sides with “cross strikes.” Then, as one performs the “cross strike,” no matter to what side, above or below, his sword goes up with the hilt, and with the hands thrown forward in front of the head, so that he is well protected and covered. And one should deliver “cross strikes” with a certain strength…

…Twere mit der sterke / deyn arbeit do mete merke / … …Vnd mit den selbe~ twerhewe~ / ist gar gut eyme an das sw°t czu kome~ / vnd wen den eyner eyme an das sw°t ku~pt / wy das nür dar kome~ ist / zo mag ien° mülich von im kome~ / her wirt von desem geslage~ czu beiden seiten mit den twerhewe~ / den wy her eynen twerhaw nür dar bre~gt / czu weler seite~ is ist / vnden ader oben / zo get im io das sw°t obñ / mit dem gehilcze / mit vorworfner / hant / vor deme hewpte / das her io wol bewart vnd bedekt ist / Vnd eyner sal dy twerhewe / eczwas mit / sterke dar bre~ge~ / …

A technique from the Zwerchau. Zwerch with the “strong”; mark well your work with this. This is how you shall work with the \strong” from the Zwerchau. When you cut against him with the Zwerchau, think that you shall strike powerfully with the sword's \strong” against his. Hold him thus strongly in the bind then cut with crossed arms behind his sword blade, from above against the head, or cut him with the sword to the face.

Ain stuck vß dem zwerhaw° Zwer mit der stoerck den arbait do mit moerck Glosa Das ist wie dü mit der stoerck auss der zwer arbaite~ solt vnd dem thu°n also / we~ dü Im mit der zwer zu° hauest So gedenck das dü Im mit der zwer sterck deines schwerts starck In das Sin Helt den er starck wyder So schlach In am schwert mit gekrütte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff den kopff [28r] oder schnÿd In mit dem stuck dürch das mau~l ~

A bit of verse on the Cross Strike Cross with strength, mark your work with it. Glosa That is when you will strike with a Crosser, then you should strike with your body's full strength and always bind on his sword with the strong in order to win and take the openings. Thus when you have struck with a Cross from your right side, if he displaces then drive a double.

Das ist der text vnd die glos aber ein stucks aus dem twer haw Twer mit der sterck Dein arbait do mit schreck Glosa Merck das ist wenn dw mit der twer slachen wilt So soltu sÿ slachen mit gantzer sterck deins leibs vnd das dw mit der sterck deines swertz albeg pindest an sein swert Do mit gewinstu ym die plöß an Das vernÿm also Wenn dw ÿm mit der twer von dein° rechten seÿtten zw° haust vor setzt er vnd pint do mit starck an dein swert So treib das duplirñ Itm~ Ist er aber mit der versatzüng zu starck dz du zu den stucken nit kumen magst

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Another technique from the Zwerchau. When you bind against his sword from the Zwerchau with your sword's “Strong”; hold him strongly, then push his sword away from you with your hilt, down and out to your right side, and strike immediately round with the Zwerchau against his right side, against the head.

aber ain stuck vß dem zwerhaw° Merck we~ du Im vß der zwer mit der stoerck deines schwerts an sin Schwert bindest helt den er starck wÿder So stoss mit deine~ gehülcz sin schwert võ dir vnderisch vff dein rechte~ sytte~ vnd schlach bald mit der zwer wyderu~ gen siner rechte~ syten Im zu° dem kopffe ~

A Bit of Verse on the Cross Strike (Cont.) Or thrust in from the Cross with the hilt of your sword off to the side and then strike in to the other side. oder will er dir eyn louffen so nymb den schnidt vnder sinem armen ~~ Itm~ nÿmpt dich eyner by dem hals zu diner rechte~ site~ so loß din schwertt vß diner lincke~ hant vnd stos mit der rechte~ sin schwertt von dinem hals vnd schrit mit dinem lincke~ fus gege~ siner rechte~ site~ fur sin beide fus vnd far mit dinem lincken arm vber sin beide arm nohe by dem gehultz vnd fur in zu dem tantz oder stich im vnte~ zwuschen dinem beynen zu dem gemechtt ~~ Itm~ wan du mit dem zwer haulb machen wilt vff siner linck~ site~ so triff nicht vnd schlag behende vff sin rechte site~ schlecht er dan zu diner rechte~ so schnid indes starck in sin hende In das glenck siner rechte~ hant daß gat zu beide~ zu

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Another technique. When you bind against his sword with the Zwerchau, if he is weak in the bind, so press down on his sword with the Zwerchau; and lay the short edge behind his arms in front of his neck.

Ain ander stuck [28v] Itm~ wen dü Im mit der zwer an sin schwert bindest Ist er dan waich am schwert So truck mit der zwer sin schwert nÿde° vnd leg Im die kurtze~ schnÿde~ hinde~ sinen arme~ vorne~ an den halß

[20v] Aber ein annders Wenn du ÿm von deiner rechten seitten mit der twer starck zw° haust vor setzt er vnd ist waich am swert so var ÿm mit der kurtzen schneid deins swertz zw° seiner rechten seitten an den hals vnd spring mit dem rechten fuess hinder seinen lincken füeß vnd ruck yn mit der swertz klingen also darüber oder treib das mutiren im zw° der vnderñ plöss

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A counter against the counter. When you Zwerchau and someone wants to come to you with a Zwerchau under your sword to your neck, fall powerfully down onto him with the long edge on top of his sword, and thus you will counter it. Take the nearest opening that you can.

[53r] Ain bru~ch wide~ den bru~ch Item wann du zwerchst vñ dir och ainer mitt der zwerch wolt forne~ für komen vnder dine~ schwert an den halß So fall im nider mitt der langen schnÿde~ starck vff sin schwert So ist es gebrochen nÿm die nächsten blöß die dir werden mag ~~~~:•

Counter When you have had a sword driven to the throat, then drive your sword inward with the pommel up and let the blade hang down and thrust his sword from your throat and strike high to his head with a snap, or strike a double with the right hand high over his sword and under the face while he has his sword at your throat.

Also prich das wenn dir ein° mit dem swert an den hals fert so far Inwendig seins swert auff mit dem knopff vnd lass die klingen nid° hangen vnd stos sein swert do mit von deine~ hals vnd slach ÿm oben ein ze dem kopff mit dem schnappen Oder slach yn mit dem duplirñ mit der rechtñ hant oben vber sein swert vnter das gesicht die weil er sein swert an deinem hals hat ~

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This is About the “Cross Strike.” (Cont.) …Strike the cross strike to the “plough,” To the “ox” hard and precisely… ...And then one should deliver “cross strikes” to both sides, to the “ox” and to the “plough,” that is, to the upper and the lower openings, from one side to the other, above and below, continuously and with no delay, so that one is always in motion and does not let the other get to strike. And as often as one delivers the “cross strike,” above or below, one should deliver the strike well and throw the sword high in front of his head, so that one covers well.

Twere czu dem pfluge • czu den ochsen herte gefuge /

How one shall strike against the four openings with the Zwerchau. Zwerch against the plough, and strike powerfully against the ox. This is how you shall strike against the four openings with the Zwerchau when you go against someone. When you come against him in Zufechten; when it becomes suitable for you, spring against him and cut with the Zwerchau against the lower opening on his left side. This is called \to strike against the plough”.

Text on striking across to the four openings Cross to the Plough, fly hard to the Ox. That is you cross to the head with a spring. Glosa You heard the Ox and the Plough being named before. These two stances or guards are named here as they address the four openings, for the Ox the upper two openings and the right and left of the head, the plough is to the lower two openings on the left and the right below the opponent's belt. You should also aim for these same four openings with cross strikes in pre-fencing.

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This is About the “Cross Strike.” (Cont.) And when one gets the “first strike” with the “cross strike” to any side, no matter whether he hits or misses, one should at once, in a single go, immediately and with no delay get the “strike after” with the “cross strike” to the other side with the “front” edge, before the adversary manages to recover from the strike, according to the aforementioned teaching.

Vnd we~ her deñe den vorslag alzo gewi~t mt de~ twerhaw her treffe / czu der eyne~ seyte~ / her treffe ader vele / zo sal her deñe als balde in eyme rawsche im~ediate an vnd°loz / den nochslag gewiñen / mit dem twerhaw czu der and°n seiten / mit der vörd°n sneiden / e den sich ien° key~s slags ader ichsichcz irhole / noch d° vorgeschrebe~ lere / Vnd sal deñe twern czu…

Another technique from the Zwerchau. When you have cut against the lower opening with the Zwerchau, so strike immediately with the Zwerchau against the other side upwards into the head. This is called “to strike against the ox”. And continue to strike quickly a Zwerchau against the ochs and another against the plough, crosswise from one side to the other. And cut him after with an Oberhau in against the head and thus draw yourself back from him.

Thus strike the cross to the four openings When you come to your opponent in pre-fencing, stand with your left foot forward and when you are in range spring against his left side with the right foot and strike an artful cross to his left side's lower opening. This is called striking to the Plough. If he displaces then hit him quickly to the upper right opening, which is to the Ox, and then always drive the cross strike nimbly, one to the Ox and another to the Plough, across from one side to the other, that is to the head and to the body.

Merck also slach die twer sleg zw den vier plossen Merck wenn dw mit dem zu° vechten zu° ym kumpst So stee mit dem lincken füess vor vnd wenn es dir eben ist So spring mit dem rechten füess gegñ ÿm wol auff sein lincke seitten vnd slach ÿn aus der twer mit krafft gegen sein° lincken seitten zw° der vnderñ plöss Das haist zw° dem phlueg geslagen vor setzt [21v] er So slach im pald zw° der öberñ plöß sein° rechten seitten Das haist zw° dem ochsen vnd treib dann die twer sleg behendlich albeg ainen zu° dem ochsen vnd den anderñ zw° dem phlüeg kräutzweis von ein° seitten zw° der anderñ das ist zw° kopff vnd zu° leib

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This is About the “Cross Strike.” (Cont.) …What you cross strike With a leap you endanger. …And when one must fight for one’s neck, one should try with this teaching stated above so that one gets the “first strike” with a good “cross strike.” When one fights the other, as soon as one learns that one may reach the other with a step or a leap, so that one hits the other from above to the head with a “cross strike” from above from the right side with the back edge. And one should let the point shoot, and one should deliver the “cross strike” well so that the point drives well and winds or turns around the head of the other like a thong. Therefore, if one delivers the “cross strikes” well with a good stepping aside or leap, the other may protect or defend himself with difficulty.

…Was sich wol tweret mit sprü~gen dem hew geferet / Vnd wen eyner vem syne~ hals sölde fechten So solde her schaffen / mit her der vorgeschrebñ [28r] lere / das her mit eyme gute~ twerhawe den vorslag / gewuñe / wen her mit eyme czu gi~ge als balde als her irkente / das her ienen dir reichen mochte/ mit eyne~ schrete ader spronge das her deñe dar placzte / mit eyme twerhaw obñ von der rechte~ seiten / mit der hindern sneidñ ieme gleich obñ czu hawpte czu / vnd sal den ort lassen schiessen / vnd sal gar wol tweren das sich der ort wol lenke / vnd winde / ader gorte vm iens hawpt / zam eyn rime / we deñe wen eyner wol tweret / mit eyme gute~ ausschrete ader spronge / zo mag sichs ien° mülich schutze~ / ader abewe~de~ /

[This is the Text and the Teaching] He who Zwerches well with a spring, threatens the head. That is to say, that in all of your Zwerchau strikes you shall take a proper spring out to the side where you want to strike him. So you can strike him well in the head. And see to it in the spring that you are properly protected from above with your hilt above and in front of your head.

Das ist der text vnd ein ler dau~on Waß sich wol zwerch mit springe~ dem haupt geferet Glosa das ist das dü mit ainem yden zwerschlage wol vß solt springe~ Im vff die sytte~ / do dü Im zu° schlage~ wylt so mag stü In wol treffe~ zu° siene~ haupt vnd wart das dü In dem spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck sÿest

Thus strike the cross to the four openings (Cont.) You should also consider that you always shall spring far to his side in every cross strike, thus you will hit well to the head, but be sure that you meanwhile keep your hilt high before your head.

Auch soltu gedenken das du mit eine~ yeden twerslag albeg weit solt aus springen gegen im auff ein seitten So magstu in wol zu° dem haubt treffen vnd wart auch das du die weil oben vor dem haubt mit dem gehültz wol gedackt seist

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Hie merck den pruch wider die vnderñ twer schleg / Merck / wen du im von deiner rechtñ seittñ an sein schwert pindest / schlecht er dan vom schwert vmb mit der twer dir zu der andern plõs deiner rechtñ seittñ / so pleib mit deinem gehiltz vber deinem haubt / vnd verwendt dein schwertz kling vndter sich gegen seinem haw / vnd stich im zu der vndtern plõs / als am nachstñ hernach gemalt stet /

Counter against the Lower Cross Strike When he strikes you with a Cross from his right side high to your head's left, then displace with the long edge and stay with the point in front of the chest, if he then strikes from the sword over with a cross to your lower right opening, then you also strike across through low between you and also to his right side, and so bind on his sword and immediately stab to his lower opening.

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This is About the “Squint Strike.” The “squint strike” breaks That which a fool strikes or thrusts. Whoever threatens with changing, The “squint strike” robs him of it… Glossa. Here notice and know that a “squint strike” is an upper strike from the right side, with the back edge of the sword, that is also called the left side. And it comes as if squinting or it goes simultaneously from a step to the right, with a turned sword and the hand thrown forward. And the same strike breaks what a buffalo, that is a peasant, wants to strike, from above downward as they are used to doing, in the same way as the “cross strike” breaks it, as it was stated before. And whoever threatens to change through is shamed by the squint strike. And one should deliver the squint strikes well and long enough, and throw the point quickly, otherwise one will be impeded with “changing through…”

[28v] Das ist von deme schilhawe : ~ SChiler in bricht • was püffel nü slet ader sticht / wer wechsel drawet • schiler dor aus in berawbet / … / Glosa / Hie merke vnd wisse das eyn kru~phawschilhaw / ist eyn öberhaw von der / rechten seiten / mit der hindern sneiden des sw°tes / dy die linke seite ist genãt / vnd get recht zam schilende ader schiks dar / czu eyner zeite~ aus geschreten / czu der rechten / mit vorwantem sw°te / vnd vorworfner hant / Vnd der selbe haw der bricht als das püffel / das ist ey~ pawer / mag geslaen / von obñ neder als sie phleken czu tuen / Recht zam der twerhaw auch das selbe bricht / als vor ist geschreben / Vnd wer mit durchwechsel drewt / der wirt mit dem schilhaw beschemet / Vnd eyn° sal wol schilhawe~ vnd lank genuk / vnd den ort vaste schissen / anders her wirt gehindert / mit / durchwechsel / …

Do the Schielhau (squinting strike) with these techniques. The Schielhau counters that which a buffalo cuts or thrusts. That which threatens with changing is robbed by the Schielhau. The Schielhau is a strike which counters cuts and thrusts from the buffalos—those who take their mastery through violent strength.

Der schilhaw° mitt sine~ stucken Schiller ein bricht waß bufleʳ schlecht order stÿcht / Wer wech sel trawet schiller In dar vß beraubet Glosa Hie merck Der schiller ist ain haw der dem buffle~ buffeln die sich maysterschafft an nem~e~ mit gwalt In bricht In hawe~ vnd steche~

Here you rise to the Glance Strike with its plays Text Glance strikes break once what buffalos strike or stab, Changed defense concludes glancing outside to deny Glosa The Glancer breaks the guard named the Plough and is a particularly well applied strike as it breaks strikes and stabs with force and closes with an inverted sword, many masters of the sword know not what to say of this strike

Hie hebt sich an der schilhaw mit seinen stucken Schilär ein pricht was püffel schlecht oder sticht wer wechsel draut Schilär dar aus In beraupt Glosa Merck der schilär pricht die hu°t die do haist der pflugk vnd ist ein seltzam [23v] gu°t eñhaft haw wenn er pricht mit gewalt ein Inn haw vnd in stichen vnd get zu° mit verkärtem swert Dar vmb sind viel maister des swertz die von dem haw nicht wissen ze sagen ~

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Do the Schielhau with these techniques (Cont.) Do the strike like this: when he cuts in against you from his right side, you should also cut from your right side with the short edge with the arms outstretched against his cut, against the \weak” of his sword and cut him on his right shoulder. If he changes through, shoot in with the cut, long edge against the breast…

How one shall strike the glancer Mark when you come to him in the pre-fencing to stand with the left foot forward and hold your sword on your right shoulder, if he strikes then to your head from above then twist your sword and strike long against his strike with your arms above and the short edge right over his sword to his head. If he is then unsuccessful and disabled on your sword and would then change through below, then let your point shoot far forward from yourself so he won't try to change through below.

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Do the Schielhau with these techniques (Cont.) And you can also strike this, when he stands against you in the Plough guard [Pflug] or when he wants to thrust into you from below.

Another When you stand against him and hold your sword on your right shoulder, if he then stands against you in the guard of the plough and would stab you from below, then strike him with the glancer to point high and long to his chest, thus he will not reach you with the stab from below.

Item ein ander stuck wenn dw gegen ÿm stest vnd beheldest dein swert an deiner rechten achsel stet er denn gegen dir in der hu°t des phluegs vnd wil dir vnden zu° stechen So haw In mit dem schilär lanck oben ein vnd scheuss Im den ort lanck ein zu° der prust So mag er dich mit dem stich vnden nicht erlangen ~ Itm~ ein anders wen du gege~ im stest vnd hast din schwertt an diner rechte~ achseln stett er dann wider gegen dir in der hutt des pfugs vnd dreutt dir vnte~ zu stechen so verwind den haulb ÿm mit der kurtzen schnide~ lanck oben In so mag er dich vnte~ mit dem stich nit erlangenn ~

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This is About the “Squint Strike.” (Cont.) …Strike a “squint strike”; if he shortens, Then “changing through” vanquishes him… …And one is to deliver the squint strike well with the point, bravely and with no fear to the throat. And where one may see that they both pull swords from the sheaths, one should fight strong and notice the steps with it…

…Schil kürczt her dich an • das durchwechsel das sigt ym an / … … Vnd / eyner sal / wol schiln mit dem orte / czu dem halse ku~lich ane vorchte / Vnd [29v] Wo man von scheidñ / sw°t czucken siet von in beiden / Do sal mã sterken / vnd dy schrete ebñ mete merken / …

Another technique from the Schielhau. Strike the Schielhau when he closes with you, change through, against his face. This is a lesson: you shall search with the look and notice carefully, if he fights close to you. This you shall mark when he cuts against you and his arm does not stretch out in the cut, so you will strike too. And in the strike go with the point under his blade to the other side, and thrust in against the face. Itm~ allen vechterñ die da kurtz fechtñ / auß dem ochsn / aus dem pflueg / vnd mit allen winden vor dem man / den wechsl frõlich durch / auß hawen vnd aüs stechñ mit dem langen ort / damit bestengistu~ (?) sy an dem schwert das sy dich mu~essñ zu dem abent lassen kume~ / vnd sy schlagen

Text of a lesson on the Glance Strike Glance short on his Changes Through onto his face Glosa Mark the lesson when you come to him in pre-fencing, then you should glance to the face and see if he would fence short against you, so by it you should know when he would strike right at you, if he does not strike with his arms long from him then his strike will be shortened, Or when you stand before him in the fool's guard if he will then arc to fall out with the sword, then his sword is shortened, Or when he stands against you in the guard of the Ox or the Plough, then his sword is shortened. Also know that all windings with the sword are short in front of the opponent and shorten the sword and the Changes which the fencer then drives through freely from strikes and from stabs and shots in the long point, those that you force from one opening to the next so that he must displace, thus you come to work properly.

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Itm~ ein ander lere wan du mit dem zu vechte~ zu im gest so soltu schillen mit dem gesicht ob er kurtz gegen dir vicht dz soltu also erkennen wan er dir zu haulbt reckt er dan die arm nit lang vß von Im mit dem haulb so ist sin schwertt verkurtzett vnd allen vechtern die so kurtz vechte~ den wechsel frolich durch auß haulben vnd auß stichen mit dem [26v] langen ort do mit bestetigestu sie an dem schwertt dz sie dich müssen zu dem an binde~ lassen kumen vnd sich schlagen loßen ~~

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This is About the “Squint Strike.” (Cont.) …Strike the “squint strike” to the point, And take the throat with no fear… …”Before” and “after,” these two things, check them and learn leaping away. Follow all the hits of the strong, if you want to fool them. If he defends against, “withdraw;” if he defends against that, then strike well to him. Learn to perform “windings” and “hangings” as the art says, and check the intentions, whether they are “soft” or “hard.” If he fights strongly, be familiar with the art. If he attacks far or long, shooting vanquishes him. with his strikes he hardly protects himself—so hit with no fear. Rush in and hurt, attack continuously no matter you hit or miss…

…Schil czu dem orte • vnd nym den hals ane vorchte / … …Vor / noch / dy czwey dink / prüfe / vnd mt lere abe sprink / Volge allen treffen / den starken / wiltu sy effen / Wert her so czucke / stich / wert her / io czu ym rücke / Dy winden / vnd hengen / lere kunstlichen dar brengen / Vnd prüfe dy ferte / ab sy sint weich aber herte / Ab her deñe stark vicht zo bistu ku~stlich bericht / Vnd greiffet her weite ader lenge an / das schissen gesigt im an / Mit synem slaen / harte schützt her sich • triff ane forchte / Haw dreyn vnd hurt dar / rawsche hin / trif ader la varn / …

Another technique from the Schielhau. Search with the point and take his neck without fear. Mark well; to strike the Schielhau breaks the long point; and then do this: when he stands against you and holds the point with outstretched arms towards the face or chest, so stand with the left foot forward and search with the gaze against the point, and pretend as if you want to strike against the point; and strike powerfully with the short edge above his sword, and thrust with the point along with the blade against the neck with a step towards him with the right foot.

Text on how one breaks the Long Point with the Glancer Glance to the point and take the throat without effort When you come to him in pre-fencing, if he then stands against you and holds the long point to your face or chest then hold your sword on the right shoulder and glance facing the point and act as if you would strike and then strike strongly with the glancer with the short edge onto his sword and shoot the point long to his throat with a step ahead with the right foot.

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This is About the “Squint Strike.” (Cont.) …Strike the “squint strike” to the upper head, And be willing to use the hands. Strike the “squint strike” to the right If you want to fight correctly. I praise the “squint strike” Provided that it does not come too slowly. …Do not strike at the sword but wait for the openings. No matter you hit or miss, proceed so that you injure the openings. with both hands learn to bring the point to the eyes. Fight well with good mind and always get the “first strike.” No matter he hits or misses, attack immediately with the “strike after.” To both sides, step to his right hand so that you may begin swordsmanship or wrestling with profit.

…Schil in dem öbern • hawpte hende wiltu bedöbern / Schil ken dem rechten / is daz du wol gerest vechte~ / den schilhaw ich preize • ku~pt her dar nicht czu leiz[e] … Haw nicht czum sw°te / zonder stetzs der blössen warte / Du treffest ader velest / zo trachte das du der blössen remest / Mit beiden henden / czu~ oge~ ort lere bre~gen / fficht io mt syñen / vnd allemal den vorslag gewyñe / her treffe ader vele / mit dem nochslage czu hant reme / Czu~ beiden seiten / czu der rechten / seitemit im schreite / So magstu mit gewyñe / fechtens ader ringens begynnen /

Another technique from the Schielhau. Search against the head above if you want to damage the hands. When he wants to cut in against you from above, so search with the gaze as if you want to hit him above the head. And strike with the short edge against his cut, and strike along his blade with the point onto the hands.

Text on just one element of the Glance Strike Glance high to the lead hand should you threaten Glosa Mark that this is a second counter when he stands against you in the long point, then glance at him with with your face to his head and act as if you would strike onto it, and strike him from the glance strike with the point over his hands. When he wants to cut in against you from above, so search with the gaze as if you want to hit him above the head. And strike with the short edge against his cut, and strike along his blade with the point onto the hands.

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This is About the “Scalp Strike.” The “scalp strike,” Your face is in danger…

[30r] Das ist von deme scheitelhawe etc ~ DEr scheitelere • deyn antlitz ist ym gefere / …

Do the Scheitelhau (the parting strike) with these techniques. The parter is a danger for the face. The parter is dangerous for the face and the breast. When he stands against you in the fool's guard [Alber], cut with the long edge from the “long parting” from above and down; and keep the arms high in the cut, and hang with the point in against the face.

Ain ande~ß stuck vß de~ schillhaw° Der schayteler mitt sine~ stucken Der schaytler dem antlytz ist gefer Hie merck der schaÿtler ist dem antlÿtz vnd der bru~st gefaerlich den tryb also We~ er gen dir stat In der hu°t aulber So haw mit der langen schnÿde võ der lange schaÿttlen obe~ nÿder vnd belÿb [33r] mit dem haw hoch mit de~ arme~ vnd heng Im mit de~ ort ein zu° dem gesÿchte

Of the Vertex Strike Text The top of the face is endangered… The Vertex breaks the guard called fool and endangers the face and the chest with your turn. Then drive this thus, when you come to him in pre-fencing, and he stands against you in the fool's guard, then put your left foot forward and hold your sword in guard on your right shoulder and spring to him and strike strongly with the long edge from above to his head,

Hie hebt sich an der text vnd die glos von dem schaitelhaw De°m schaitlär dem antlutz ist gevär... Glosa Merck der schaitlär pricht die hu°t die da haist alber vnd ist dar zu° dem antlütz vnd der prust mit seiner ker gar gevardlich Den treib also Wenn dw mit dem zu° vechten zw° ÿm kumpst legt er sich denn gegen dir in die hu°t alber So setz den lincken fuess vor vnd halt dein swert an deiner rechten achsel Inn der hu°t vnd spring zw° Im vnd haw mit der langen schneid starck von oben nider Im zu° dem kopff

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This is About the “Scalp Strike.” (Cont.) …With its speed It endangers the breast a lot…

…Mit seinem karen • der broste vaste gewaren / …

A technique from the parter. With his turning, very dangerous for the breast. When you cut from above with the Scheitelhau and hang your point in his face, if he defends himself against your point by pushing it up and away with the hilt, then turn your sword with the hilt high in front of your head and stab him downwards into the chest.

Of the Vertex Strike (Cont.) … with your turn threatening the chest… … when he displaces the strike so his point and grip are above and to each side in the stance called the Crown, then keep your arms high and with your left hand raise the sword's pommel high and sink your point over his guard to his chest, … When you cut from above with the Scheitelhau and hang your point in his face, if he defends himself against your point by pushing it up and away with the hilt, then turn your sword with the hilt high in front of your head and stab him downwards into the chest.

...Mit seiner ker Der prust vast gever... …Vor setzt er denn haw das sein ort vnd das ain gehultz paide übersich stenn das selb haist die kron So beleib hoch mit den armen vnd heb mit der lincken hant deinen swertz knopf vber sich vnd senck im den ort vber sein gehültz zw der prust… Itm~ merck so du im mit dem schittler oben yn haulbest vnd gehengt zu dem gesicht stost er dan mit dem gehultz den ort vast vbersich so ve°kere din schwertt mit dem gehultz fast vber sich fur din hauptt vnd setz im den ortt vnte~ an sin brust ~~

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This is About the “Scalp Strike.” (Cont.) …What comes from it, That takes the “crown” off…

…Was von ym kümet • dy crone das abe nym~et / …

How the Crown counters the parter. That which comes from him, the Crown takes away. When you cut in against him from above with the Scheitelhau, if he defends himself with the hilt over his head: this defence is called the Crown. And with that he can rush in close to you.

Wie die kron den schaÿtler bricht Waß võ Im komp / die kron das abnÿmpt Glosa Merck wan dü Im mit dem schaittler oben ein hawest / versetzt er mit de~ gehulcze hoch [33v] ob ob sine~ haupt Die versatzu~ng hayst die kron vnd laufft dir do mit eÿm

Of the Vertex Strike (Cont.) …Whatever comes from him, it's taken with the Crown,…

...was von ÿm kumpt Die kron das ab nÿmpt...

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This is About the “Scalp Strike.” (Cont.) …Slice through the “crown” So that you break it immediately. Press the slices, Withdraw them with slicing. I praise the “scalp strike” Provided that it does not come too slowly. Liechtenauer states the four guards only, because they come from the upper and lower hangings, from which one may perform attacks certainly.

…Sneyt durch dy krone • zo brichstu sie harte schone / Dy striche drücke • mit sneten sie abe rücke / Den scheitelhaw ich preize / kü~pt her dar / nicht czu leize / [32r] lichtnawer helt nur eczwas võ den vier leger dorv~me das sy aus den ober vnd vnder henge~ gehñ doraus mã schire mag gechte bre~gen etc

How the slice counters the Crown. Slice through the Crown, so you break this guard quickly. Press with the sword, with more slicing you draw backwards. When he defends against the Scheitelhau or some other cut with the Crown and tries to rush in against you, pull the slice under his hands in his arm and press hard upwards, to break the Crown. And turn your sword from the under slice to the over slice, and thus draw back.

Of the Vertex Strike (Cont.) … cut through the crown then break hard as the strike hits, pull out with a slice. …if he thrusts his sword to push your point away, then wind your sword below his crown with a cut to his arm and hit, thus breaking the crown again, and with the hit then cut hard on the arm and pull out with a slice. When he defends against the Scheitelhau or some other cut with the Crown and tries to rush in against you, pull the slice under his hands in his arm and press hard upwards, to break the Crown. And turn your sword from the under slice to the over slice, and thus draw back. Itm~ wan du eynem den schittler haulb wilt mache~ so magstu In dem den ortt lang vnter sine~ hende~ durch lossen gan zu dem gesicht siner rechte~ site~ vnd lang hÿneÿn gestrecktt ~~

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This is About the Four Guards. Four guards only— Know them and flee from the mob. The “ox,” the “plough,” the “fool,” “From the roof”—should not be strange for you. Glossa. Here he calls the four guards or four defenses which are to be known. Before all the things one should not remain in them for too long. That is why Liechtenauer has a proverb: “Who rests, he is dead; who moves, he is still alive.” And this concerns the guards, that one should rather move with attacks than such a man who waits in the guard by means of that he tends to miss the chance. Another Guard, the “Ox,” is the “upper hanging” from the shoulder. The “fool” breaks well, what one strikes or thrusts, attack with the “hangings,” do simultaneously the “attacking after.”

The four guards. Only four guards will you hold, and damn those that are commonly known. “Ox”, “Plough”, “Fool”, “From the Roof “, with these you will not be unfamiliar. This means that you shall not assume any other guards other than these four that are now to be described. The first guard. The Ox [Ochs]. Hold it like this: stand with the left foot forwards, and hold your sword beside and slightly in front of the right side of your head, and let the point hang towards his face.

Das ist der text vnd die glos von den vier legerñ [25v] Vier leger allain da von halt vnd fleuch die gemain Ochs phlueg alber vom tag seÿ dir nicht vnn mär Glosa Merck die vier leger das sein die vier hu°ten da du aus fechten solt Die erst hu°tt ist vnd haist der ochs do schick dich also mit Stee mit dem lincken fuess vor vñ halt dein swert neben deiner rechten seittñ mit dem gehültz vor dem haubt das dein dawmen vnder dem swert sey vnd heng ÿm den ort gegen dem gesicht

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The Third Guard, the “Fool,” is the “lower hanging,” with that one whoever does it well breaks all the strikes and thrusts.

The second guard. The Plough [Pflug]. Hold it like this: stand with the left foot forward, and hold your sword with crossed hands beside and slightly above your right knee, in such a way that the point is towards his face.

This is the second guard The second guard is called the Plough and set yourself in it thus, Stand with the left foot forward and hold your sword with crossed hands with the pommel under you near your right side on the hip so that the short edge is above and the point stands against him in his face. On the left side set yourself in the guard of the plough thus, Stand with the right foot forward and hold your sword near the left side with the pommel under you to the hip so that the long edge is above and the point stands in his face. This is the plough on both sides.

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The First Guard the “Plough,” is when one puts the point in front of himself on the ground or at one’s side, after setting aside. This is called otherwise the “fence guard” or the “gate.”

The third guard. The Fool [Alber]. Hold it like this: stand with your right foot forwards, and hold your sword with outstretched arms in front of you with the point towards the ground.

Das ist die dritt hu°t Merck die hu°tt haist alber do schick dich also mit Stee mit dem rechten füess vor vnd halt dein swert mit gerackten armen für dir mit dem ort auff der erd das die kurtz schneid oben gewäntt seÿ ~

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The Fourth Guard, from the Roof, is the “long point.” Whoever leads it well with straightened arms, cannot be hit well with either strikes or thrusts. It may also be called the hanging above-the-head. Also know that one breaks all the guards and defenses with the strikes, so that as one strikes bravely to the other, the other must defend against and protect himself. That is why Liechtenauer does not state much about the guards or defenses, but he rather maintains that one ought to care to acquire the “first strike” before the opponent. Whoever counters well, his swordsmanship hurts many strikes; that is because you come quickly with counters to the “hangings.”

The fourth guard. From the Roof [Vom Tag]. Hold it like this: stand with the left foot forwards, and hold your sword at your right shoulder. Or hold it with outstretched arms above your head. And how you shall fence from these guards, you will find described in this book.

Das ist die vierd hu°t Merck die hu°tt haist vom tag Do schick dich also mit Stee mit dem lincken fueß vor vnd halt dein swert an deiner rechtñ achsel oder mit auff gerackten armen hoch über dem haubt vnd stee also in der hu°t ~

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This is About the “Four Counters.” There are four “counters,” That also hurt the guards a lot. Protect yourself from parries— Desire indeed to do so, if those happen to you… Glossa. Here notice that there are four “counters” on both sides, from each side one upper and one lower. And they hurt or break all the defenses or guards. And how you deflect or drive aside the strikes, thrusts or cuts of someone, from above or from below, it may also be called “countering…”

[32v] Das it von vier vorsetczen VIer sint vorsetczen • dy dy leger auch sere letczen / Vorsetczen hüt dich • geschiet das auch sere müt dich / … / Glosa / Hie merke / das vier vorsetczen sint / czu beiden / seiten / czu itlich° seiten / eyn obers / vnd eyns venders / vnd dy letcze~ ader brechñ / alle[illegible] hute~ ader leger / vnd wy du von obñ / ader von vnde~ / eyme / hewe stiche ader snete / mit deyme sw°te abeleitest / ader abweisest / das mag wol heissen vorsetcze~ / …

These are the four displacements, which obstruct or break the four guards. The displacements are four, that also greatly trouble the four guards. Beware, for to defend, it becomes very difficult for you. You have earlier heard that you shall only fight from the four guards. So you shall now also know the four displacements. These are four strikes. The first strike is the crooked strike [Krumphau]. This breaks the Ox guard [Ochs]. The second strike is the crosswise strike [Zwerchau]. This breaks the Roof guard [Vom Tag]. The third strike is the squinting strike [Schielhau]. This breaks the Plough guard [Pflug]. The fourth strike is the parting strike [Scheitelhau]. This breaks the Fool's guard [Alber].

Daz ist der text vnd die glos von den vier versetzñ / die die vier leger prechen / Vier sind versetze~ Die die lege~ au~ch ser letze~ võ versetze~ hiet dich / geschicht es ser es [35r] mÿt dich Glosa Merck dü hast vor gehort das dü alain vß viern legern vechte~ solt So solt dü och nu~n wyssen die vier versetzu~ng Das sind vier hew Der erst/haw° Ist der krumpfhaw der bricht die hu~t des ochsen der ander ist der zwerhaw der bricht die hu~tt vom tage der dritt dr ist der schÿllhaw der bricht die hu~t deß pflu°gs der vierdt ist der schaittler der bricht die hu°t alber /

Text of the four Displacements Four are the displacements also used for addressing the stances Glosa You heard before what the four guards are, now you shall also know the four displacements that break those four guards, also know to use no other displacement as there are four strikes that you shall counter with, the first strike is the Arc Strike This breaks the guard named the Ox. The second strike is the Cross Strike This breaks the guard of the Roof. The third strike is the Glancer This breaks the guard called the Plough. The fourth strike is the Vertex This breaks the guard called fool. And how to break the four guards with the strikes is found described before this under the same named strikes.

Das ist der text vnd die glos von den vier vor setzen Vier sind vor setzen Die die leger auch sere letzen Glosa Merck du hast vor gehört was da sind die vier hu°tten So soltu nw auch wissen die vier vorsetzen die die selbigen vier hütten prechen Och gehort kain vor setzen dar zw° nicht Wenn es sind vier häw die sÿ prechen Merck ~ der erst haw ist der krumphaw der pricht die hu°t die do haist der ochs ~~~~ [26v] Merck Der ander haw das ist der twer haw der pricht die hu°t vom tag Merck Der dritt haw das ist der schilär der pricht die hu°t die da haist der phlueg ~ Merck Der vierd haw das ist der schaitlär der pricht die hu°t die da haist alber vnd wie dw die vier hu°ten mit den hauen prechen solt das vindestu vorñ in den selbigen häwen geschriben dar vmb hut dich vor versetzen gege~ den hutte~ wiltu anders mit schlegen nit geschendt werdenn ~~

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These are the four displacements, which obstruct or break the four guards (Cont.) And beware of all displacements, when they are used by poor fencers. When he cuts, strike also, and when he thrusts, you thrust too. And how you shall strike and thrust, that you will find described for the five cuts and in this section.

Vnd hÿt dich võ alle~ versetze~ die die schlechte~ vechter trÿbe~ vnd merck we~ er hawt / So haw och / vnd we~ er sticht so stych och / Vnd wie dü hawe~ vnd stechen solt / das findest dü In de~ fünff hewe~ vnd In den absetze~ geschrybe~ ~

Text when one shall not displace Before displacing guard yourself, place it to your best advantage That is you should not displace as the common fencer does. When they displace then they hold their point high or to one side, so understand that they do not know how to use the point in the displacement to seek onward and are often hit. Thus when you would displace, then displace with your strike or with your stab and Immediately search for the next opening with the point, thus you will not be mastered and struck to your damage.

Das ist der dext vnd die glos das man nicht vor setzen sol Vor versetzen huett dich Geschicht das auch sere müetzs dich Glosa Merck das ist das du nicht versetzen solt als die gemainen vechter thuen wenn die versetzen So halden sÿ iren ort in die hoch oder auff ein seitten vnd das ist ze versten das sy in der versatzu~g mit dem ort die vier plöß nicht wissen zw süchen Dar vmb werden sie offt geschlagen oder wenn dw versetzen wild So ver setz mit deinem haw oder mit deinem stich vnd suech Indes mit dem ort die nächst plöß So mag dich kain maister an seinen schaden geschlachen

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This is About the “Four Counters.” (Cont.) …In case you are parried, If it comes to that, Listen to what I advise you: Pull back, strike quickly in a hurry… …And if you are “countered,” no matter how it happens, withdraw rapidly and strike quickly again in one rush. If it happens, however, that you “counter” or deflect a strike or a thrust of someone, you should immediately step forward and follow on the sword so that he does not withdraw. And then you should do what you may do, but if you are slow and delay, it will be detrimental for you…

A technique against the displacements. If you are displaced and if it comes to this, hear what I advise: go up, strike quickly and swiftly.

[35v] Ain stuck wide~ die versäczu~g Ob dier versetzt ist / vnd wie das dar kome~ ist / hoere was ich rate / rays abe / haw schnel mit dratte

Text how one shall drive the displacement farther If you are displaced and as it comes in now hear what I advise, wrench off, strike fast in line. That is when one has displaced you and will not extract from the sword and intends that you will not be allowed to come to a play, then wrench upward with your sword on his sword's blade, as if you would take off from his sword from above, and stay on the sword and strike him hitting on the blade again with the long edge onto his head.

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A technique against the displacements (Cont.) If it has happened that you have been displaced, mark this well: if one of your Oberhau attacks becomes displaced, so go into the displacement with the pommel over his forward hand and tear downwards with that; and cut in the tearing in with the sword from above against the head.

Another Note: if one of your Oberhau attacks becomes displaced, so go into the displacement with the pommel over his forward hand and tear downwards with that; and cut in the tearing in with the sword from above against the head.

Itm~ eyn anders wen er dir versetzet hatt so rieß mit dinem schwertt an siner schwe°t clinge~ vbersich vff gege~ sinem ortt als du im oben wollest ab nemen so blyb am schwertt vnd haulb im schlecht an der klinge~ wider yn zu dem kopff ~~ [31r] Itm~ ob dir der ober haulb versetzt ist vnd nohent an in chümpt so far mit dem knoff vber sin versetzte hantt vnd rieß do mit vndersich vnd mit dem reissen schlag in do mit dem schwertt vff din kopff ~~

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This is About the “Four Counters.” (Cont.)

A technique against the displacements. When you strike an Underhau from the right side, if he drops with his sword on top of yours do that you cannot come up with it, so go swiftly with the pommel over his sword and cut with powerful movement with the long edge against the head. Or if he drops onto your sword towards your left side, so cut him with the short edge.

Another When you strike an Underhau from the right side, if he drops with his sword on top of yours do that you cannot come up with it, so go swiftly with the pommel over his sword and cut with powerful movement with the long edge against the head. Or if he drops onto your sword towards your left side, so cut him with the short edge.

alliud ~ Itm merck so du haulbst ein vnter haulb von diner rechte~ site~ felt er dir dan mit sinem schwe°t vff dz din dz du dar mit nit vff kümen magst so far behendlich mit dem knopff vber sin schwe°t vnd rieß din clinge~ vnte~ von der siner vnnd schlag in mit den schnappen mit der lange~ schnide~ züm felt er dir aber gegen dir der lincke~ site~ vff dz schwe°t so schlag in mit der kurtzen schnide~

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This is About the “Four Counters.” (Cont.) …Set upon four ends, Remain in this, if you want to finish the teaching. …You should also turn well and always direct your point against his breast, so that he must take care about it. A good swordsman should also learn to come to the sword of someone, and he may do it well with “counters,” as they come from the four strikes, from each side a strike from above and a strike from below. And they change into the four “hangings,” because as soon as one “counters” from below or from above, one should immediately come into the “hangings.” And as one deflects all the strikes and thrusts with the “front” edge, it is in the same way with the “counters.”

…Setzt an vier enden • bleib droffe kere wiltu enden / wer wol vorsetczit / der vechte vil hewe letczit / wen yn dy hengen / ku~pstu mt vorsetcze~ behe~de / …Auch saltu wol we~de~ / vnd allemal dey~ ort keren key~s ey~s brust / zo mus h° sich besorgen / Auch sal ey~ guter fechter / wol lerne~ / eyme an das swert kome~ kome~ / vnd das mag / her wol tue~ / mt den vorsetcze~ / wen dy kome~ aus den vier hewe~ / võ itzlicher seite~ / ey~ öb°haw vnd ey~ venderhaw / vnd gen yn dy vier henge~ we~ als bald als eyn° vorsetzt võ vnde~ / ader von obñ / zo sal her czu hãt yn dy he~gen komen • Vnd als her mt der vörd°n sneiden / alle hewe vnd stiche / abewe~dt / als ist es mt den vorsetczen /

About following-after. Learn to follow after twofold, or cut in the defence. You shall learn well to follow after, and they are two in number. The first you do like this, when he tries to cut you from above. Wait until he draws the sword back and up for the strike, and follow after him with a cut or with a thrust and aim for the upper openings, before he can do his strike. Or fall with the long edge from above onto his arm and press him away from you with this… …Or if he wants to thrust at you, pay attention for when he positions his sword against you for the thrust, and follow after him and thrust in, before can perform his thrust… [Note that in the original sequence, this second paragraph comes after that listed below as Another Nachreissen.]

Von Nachraÿßen Nach raÿsse lere zwÿfach oder schnÿd In die were Glosa Das ist das dü die nach raysen wol lerne~ solt / wan sÿ sind zwayerlay Die erste~ trÿb / we~ er dir obe~ In will hawe~ So merck [37r] die wil er dz schwert vff zücht zu° dem schlag so raÿse im nach mitt dem hawe oder mitt aine~ stich vñ triff in zu° den obern blöß ee er mit de~ haw° wide~ kump ode~ fall im mitt de~ lange~ schnide~ oben in sin arm vñ truck in domitt von dir… …Ode~ will er dich stechen so mörck die wil er dz schwert zu° im zücht zu° dem stich so raÿß im nach vñ stich in ee wan er sinen stich valbringt ~~

Text on four attacks Attack to four endings, onward stay would you end the lesson Glosa There are four attacks to know should you drive in earnest, when you would soon hit or drive when you approach him in pre-fencing, then stand yourself with the sword in the Ox guard or the Plough, if he would then strike from above or stab below, then observe as he raises his sword up to hit or pulls back low in order to stab you, then come forward and shoot into the long point to the next opening. As and when he brings forth the strike or stab, look to see if you may attack. Similarly also do this when he strikes low to you then shoot the point to him as and when he comes with the low strike and drive it to both sides.

Das ist der text vnd die glos von vier an setzen Setz an vier enden pleib dar auf lere wildu enden Glosa Merck es sein vier ann setzen die gehörent zw° dem erñst die soltu treibñ wenn dw einen pald slachen wild oder letzen Die treib also wenn du mit dem swert zw° fechten zw° Im kumpst So leg dich mit dem swert Inn die hu°t des ochsens oder des phluegs wil er dir denn oben ein hawen oder vnden zw° stechen So merck die weil er sein swert auff hebt vnd wil slachenoder vnden zw° Im zeucht vnd wil dich stechen So küm du vor vnd scheus Im den langen ort [27v] ein zw° der nagsten plöss ee wenn er den haw oder den stich vorpringt vnd wart ob dw ym magst an gesetzen des geleichen thu°e auch wenn er dir mit vnderhauen zw° haut So scheus im den ort ein ee wenn er mit dem haw vnden auff kumpt vnd das treib zw° paiden seitten Itm~ oder hautt er dan von oben ein von siner lincken site~ so küm vor mit der versatzung vnd schuß im den ort lang In zu der nechsten ploß siner rechte~ site~ ~~

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If he becomes wary of the attack then stay with your sword toward him and work nimbly to the next opening.

Item oder hewet er dir zu von vnden auff von seiner rechten seitten etc. Itm~ oder hautt er dir zu von vnte~ vff von siner rechte~ site~ so schuß im den ort lang In zu der nesten ploß siner lincke~ site~ ~ Itm~ oder hautt er dir zu von vnte~ vff von siner lincken site~ so schuß im den ort lang In zu der vntern ploß siner rechte~ site~ vnd wart allbegen do mit des angesichtz Wirt er denn des an setzen gewar So pleib mit deinem swert an dem seinen vnd arbait ÿm behendtleich zw° der nagsten plöss ~ Itm~ du solt auch dz wissen als bald ir zu same~ kümpt Im z°r vechte~ vnd als bald er sin schwert [32r] uber hebt vnd will vmb schlagen also bald soltu in den ortt fallen vnd stechen noch der nesten ploß wil er aber mit dem schwertt nicht gen so soltu selber mit dinen schwert gen vnd als bald oder als vfft du eyne~ schlag endest als vfft fal indes In den ortt kanstu die ansetzen rechtt triben so mag er sich hartt wegen oder regen es müß dir ein ruer loßen ~

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This is About “Attacking After.” Learn to “attack after” In a twofold way, or slice in the defense.

Das ist von nochreisen etc etc NOchreisen lere • czwefach s ader sneit in dy were /

Das ist der text vnd die glos von dem nachraisen Nachraisen lere zwifach oder schneid in die were Zwaÿ eüsserw mÿnne Der arbait dar nach begÿnne vnd prüf die gefert Ob sÿ sind waich oder hert Glosa Merck der nachraisen ist vil vnd manigerlaÿ vnd gehört zw treiben auß häwen vnd aus stichen mit grosser fürsichtigkait gegen den vechterñ die da aus freÿem vnd langen häwen fechten vnd sünst von rechter kunst des swertz nicht wollen halden ~

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Another following-after. When he cuts against you from above and he continues downwards towards the ground with his sword, follow after him with an Oberhau to the head, before he comes up with the sword.

Aber ain nachraisen It~ wann er dir võ oben zu° hawst laß er dam [!] sein schwert mitt dem haw nider gen zu° der erden So raÿß im nach mitt aine~ haw oben ein zu° dem kopfe ee er mitt de~ schwert vff ku~pt…

Drive the Travelling After Thus When you come to him in pre-fencing, then stand with the left foot forward in the guard of the roof and be well aware of what he would fence against you. If he strikes high to your left, then wait so that he will not reach you with the strike, and meanwhile observe when his sword goes below him to the ground then spring with the right foot and strike him high to the head as and when his sword goes farther out, thus he is struck.

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This is About “Attacking After.” (Cont) Two “outside takings,” Begin the work thereafter And check the intentions, If they are “soft” or “hard.”

About the outer takings. Two outer takings. Thereafter you shall start your work. And test the movements, if they are weak or strong. The two outer takings are two followings-after with the sword. When he cuts in front of you, travel after him. If he defends himself against this, and you are left with your sword against his, feel to see if he is weak or strong in the bind. If he then strongly lifts your sword up and away with it, reach your sword to the outside over his and thrust in against the lower openings.

The following play is called the outside take. When he would strike to you and you travel after him with a strike to the opening, if he then soon drives off with the sword and comes below you onto your sword then stay strong on the sword with yours hard over his then spring behind his right with your left foot and hit him with a cross or similar to the right of his head and work soon again over to his left side with doubling or other similar elements as you find if he is soft or hard on the sword. Itm~ aber ein ander stuck wan er sich vor dir verhaulbet vnd du im noch haulbst pinstestu den vff sin schwert siner lincke~ site~ schlecht er dan vsß der versatzung mit der zwer bald vmb dich zu diner rechte~ site~ so küm im Indes mit der were vorn fur vnter sin schwertt gege~ siner l/ site~ vnd haulb sinen haulb noch zu der rechte~ [33r] site~ oder tribe den schnidt ym vber sin arm zü dem kopff ~~

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The other outer taking. When you fence against him with Underhau or with other techniques that come against him from below, if he overpowers you and winds from above against your sword before you can come up with, you are left with your sword under his and so hold strongly against it. If he winds and threatens your upper opening, so follow after with the sword and catch the weak of his sword with the long edge and push downwards, and thrust into his face.

Die ander eu~ßer nÿm Itm~ wen du geim fichtest~ vß vnder hawe~ oder su~nst vß [38r] den vndere~ geferte~ v~berylet er dich den vnd windt dir vff da schwert / ee / wã dü do mit vff komest So blieb mit dem schwert starck vnde~ an dem sine~ we~der den vnd arbait dir zu° dem obern blöß So volg mit dem schwert nach vnd mit der lange~ schnÿden nÿm Im die stich schwoech sines schwerts vnd truck nyder vnd stich Im zu° dem gesicht

A good travel-after on the sword out of low strikes When you fence against him from low strikes or out of a strike, or stand against him in the guard named Fool, if he feints then with the sword onto yours as and when you so come forth, then stay low with your sword on his and lift upward, if he winds on the sword bringing his point at your face or chest, then don't let him come off the sword and from there follow after him to work your point to the next opening. If he strikes over from the sword then follow or travel after him with the point but, as before, … Another See that you shall, from all strikes and guards, follow after him as soon as you can when he has struck or opened with the sword before you, and when you yourself have opened or struck, wait so that you will not be followed after, observe this on both sides.

Hie merck ein guet nachraisen am swert aus vnder häwen Merck wenn du gegen im vichtest aus vnder hawen oder aus den streichen oder ligst gegen Im In der hu°t die da [28v] haist alber Velt er dir denn mit dem swert auff das dein ee wenn du do mit auff kumpst So pleib also mit dem swert vnden an dem seinem vnd heb übersich Wint er dir denn am swert den ort ein zw° dem gesicht oder der prust So lass in vom swert nicht ab vnd volg Im dar an nach vnd arbait Im mit dem ort zu° der nagsten plöß Oder slecht er vom swert vmb so volg oder raiß In mit dem ort aber nach als vor alliud ~ Merck Dw solt aus allen häwen vñ aus allen hu°ttñ im nach raisen als pald dw erkenst wenn er sich von dir verhaut oder emplöst mit dem swert oder wart das du dich mit dem nach raisen selber nicht emplöst noch verhaust vnd das merck zw paiden seitten ~

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This is About “Attacking After.” (Cont) Learn to “feel” The word “as soon as” which cuts a lot. “Attack after” twofold— Make the “old cut.” Follow all meetings At blade-strongs if you will fool them. In all the teaching, Turn your point against his face. “Attack after” with the entire body, So that your point stays on, And learn to attack skillfully That you may end well.

Das fülen lere • Indes • das wort sneidet sere / Reisen czwefache • den alden snet mete mache / Volge allen treffen • den starken wiltu sy effen / In aller lere / den ort key~ ey~s gesichte kere / Mit gãczem leibe / nochreize / deyn ort io da pleibe / lere auch behende / reize~ / zo magstu wol enden

About the Feeling and about the word “Instantly”. Learn to Feel. “Instantly” is a word which cuts sharply. You will learn this carefully, and understand, Feeling and the word “Instantly”, because these two things go together and are the highest arts in the fencing.

Das ist der text vnd die glos von dem fu~len vnd von dem wort Inndes / Das fule~ lere In des das wõrt schnÿdet sere Glosa das ist das dü das füle~ / vnd das wort In das wol lerne~ / vnd verstan solt wan die zwÿ ding gehoeren zu° same~ vnd sind die groeßte ku~nste zu° de~ fechte~

Mark here the lesson on Feeling and on the word Immediately Text Teach the feeling. The word Immediately cuts sharply.

Hie merck eben den text vnd die glos von dem fülñ vnd von dem wort das da Inndes haisset Das fülñ lere Inndes das wort schneidet sere Glosa Merck das fülñ vnd das wort Inndes die gröst vnd die pëst kunst im swert ist vnd wer ein maister des swertz ist oder sein wil vnd kan nicht das fülñ vnd vernÿmpt nicht dar zw das wort Inndes So ist er nicht ein maister wenn er [29r] ist ein püffel des swertz Dar vmb soltu die tzwai ding vor allen sachen gar wol lernen das dw si recht verstest ~

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About the Feeling and about the word “Instantly” (Cont.) When one binds the other with the sword, so you will, in the same moment that the swords strike together, already feel if he has bound soft or hard. And as soon as you have felt this, think of the word “Instantly”: that is to say, that you in the same instant that you feel this, quickly work against the soft and against the hard with the sword towards the nearest opening. Thus he will be cut down before he understands what is happening.

Vnd das vernÿm [38v] also we~ ainer dem andere~ an das schwert bindt / So soltü In dem alß de schweet zu° same~ glütz schon zu° hand fulle~ / eber waych oder hort angebunde~ hab / Vnd alß bald dü das empfindest hau~st So gedenck an das wort / In des / das ist das dü In den selbe~ enpfinde~ behendtliche~ nach der waich vnd nach der hort mit dem mit schwert solt arbaite~ zu° der nechste~ bloß So wirt er/geschlage~ ee wann er sin gewar wirt ~

When you come to him in pre-fencing and one or another has bound on the sword, then you should, just as the swords clash together, feel by hand if he has bound soft or hard and, as soon as you have determined this, then think of the word Immediately in that by it you will find how you will work nimbly on the sword so that he is hit even as he would ward.

Hie merck die ler von dem fülñ vnd von dem wort das da haist Inndes Merck wenn du mit dem zu° vechten zw° Im kumpst vnd einer dem anderñ an das swert pindet So soltu In dem als die swert zw° sammen klitzñ zw° hant fül ob er waich oder hert an gepünden hat vnd als pald dw das emphunden hast So gedenck an das wort Inndes Das ist das dw In dem selbigen emphinden behendlich solt arbaitten am swert so ist er geslagen ee wenn er sein gewar wirt

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About the Feeling and about the word “Instantly” (Cont.) In all bindings with the sword you shall think of the word “Instantly”, because “Instantly” doubles and “Instantly” mutates, “Instantly” runs through and “Instantly” takes the cut, “Instantly” wrestles, “Instantly” takes the sword from him, “Instantly” does in the art all that your heart desires. “Instantly” is a sharp word, which cuts all those fencers who do not know something about the word. And the word “Instantly” is also the key, whereby all fencing art is unlocked.

Itm~ du solt an das wort / Indes / In alle~ an binde~ des schwertz gedencken wann / wan Indes dupliert vñ / Indes / muttiert Indes / laufft durch vñ / Indes / nimpt de~ schnitt / Indes / ringt mitt / vn Indes / nimpt im dz schwert / Indes tu°t in de~ kunst [39r] waß dein hercz beger / Indes ist / ein scharpffes wort damitt alle fechte~ verschnitten werden bÿ des wortz worts nichten wissen Vñ dz wort Indes ist och der schlissele damit alle kunst de fechtens vffgeschlossen wirt ~~~~~~:•

Mark that Feeling and the word Immediately are one thing and one is not considered without the other when you bind on his sword. Thus take full to hand the word Immediately, if he is soft or hard and when you have felt this then you must now work against the soft and against the hard at the sword. Thus when both are not one thing, the word Immediately is foremost of all elements and use this thus: Immediately doubles, Immediately transforms, Immediately changes through, Immediately charges through, Immediately gains the slice, Immediately gains the grapple, Immediately takes the sword, Immediately does what your heart desires, Immediately is a sharp word that cuts all masters of the sword, the word is not ingrained without knowing that this is the key to the art.

Hie soltu mercken Das das fülñ vnd das wort Inndes ein dinck ist vnd ains an das ander nicht gesein mag vnd das vernÿm also weñ du Im an sein swert pindest So müstu ze hant mit dem wort Inndes fülñ Aber am swert waich oder har hert ist vnd wenn dw hast gefült So müstu aber Inndes arbaitten nach der waich vnd nach der hert am swert Also sein sÿ paidew nicht wenn ein dinck vnd das wort Inndes das ist zw° vor aus In allen stucken vnd das vernÿm also Inndes dupliert Inndes mutirt ~~ [29v] Inndes wechselt durch Inndes laufft durch Inndes nÿmpt den schnit Indes ringet mit Inndes nÿmpt das swert Inndes thuet was dein hertz begert Inndes das ist ein scharffes wort Do mit alle maister des swertz vorschnÿten werden die das wort nicht wissen noch vernömen Das ist der schlüssel der kunst ~

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This is About “Attacking After.” (Cont) “Attack after” twofold— Make the “old cut.” Follow all meetings At blade-strongs if you will fool them. In all the teaching, Turn your point against his face. “Attack after” with the entire body, So that your point stays on, And learn to attack skillfully That you may end well.

Following after. Follow after twofold, meet him as he does the old slice. When he cuts against you and his point passes you, so follow after him with a strike against the upper openings. If he goes up and winds against you from below with the sword, pay attention to the sword blades against each other, and fall with the long edge from the bind over his arm, and push him away from you. Or slice him from the bind in over the face. Do this to both sides.

Text regarding the Travelling After Traveling after hits one twice done with the old slice Glosa That is you shall travel after to both sides and don't forget the slices inward. Take this on when he would strike before you from high on the right or left side, then strike after him driving to the opening he makes and bind below on the sword, so mark as soon as one sword glides on the other, then slice him Immediately to his throat or let your long edge fall on his arm and slice closely.

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This is About “Overrunning.” Swordsman, Notice It. If someone strikes below, Run him over, and he becomes shamed. If it sparks above, Be strong, I praise it eagerly. Do your work, Or press firmly in a twofold way. If one presses you down, Run him over and strike firmly again. Run over from both sides And watch the edges.

[33v] Das ist von öberlawfen / ffechter sich czu / WEr vnden remet • öberlawf den / der wirt beschemet / Wen is klitzt oben • so sterke das ger ich loben / Deyn erbeit mache • ader herte drücke czwefache / Wer dich drükt neder • öberlawf in • slach sere weder / Von beiden seite~ öberlawf vnd merke dy sneiden /

About reaching-over. The one who aims underneath, reach over him, so he will be defeated. When it clashes above, be strong: that I will praise. Do your work or strike hard twice. In Zufechten, when he aims for a lower opening with a cut or a thrust, do not defend yourself against it. Rather, wait until you can reach over him with a strike from above against the head or a thrust from above, so he will be defeated by you, because all Oberhau and all high attacks reach further than lower strikes.

Text on the overunning He who roams below overrunning will then shame him. When it glides thus strong above I will praise that well, make your work or hit hard twice. That is when you come to him with pre-fencing, if he then strikes you below to the low openings then don't displace him but strike him strongly from above to his head, or if he strikes to you with low strikes, then be aware as and when he comes out with the low strike, then shoot the point long to his face or chest and attack him high so he won't want to reach you below. All high attacks break and baffle the low ones. If he drives then to you below on your sword, then stay with the long edge strong on his sword and work nimbly to the next opening, or let him work and Immediately you can hit him.

Hie merck den text vnd die glos von den vberlauffen [30r] Wer vnden rempt Vber lauf den der wirt beschempt wenn es klitzt oben So sterck das ger ich loben Dein arbait mache oder herte druck zwifache Glosa merck das ist wenn dw mit dem zu° vechten zw° Im kumpst haut er dir deñ vnden zw° den vnderñ plössen das vor setz im nicht sunder haw Im oben starck ein zw° dem kopff Oder haut er dir zw° mit vnder hawen So merck ee wenn er mit dem vnderhaw auff kumpt So scheüß Im den ort oben lanck ein zw° dem gesicht oder der prust vnd setz ÿm oben an so mag er dich vnden nicht erlangen wenn alle oberñ an setzen prechñ vnd ledigen die vnder vert er denn auff vnd pindt dir vnden an dein swert so pleib mit der langen schneid starck auff dem swert vnd arbait behentlich zw der nagsten plöss oder lass in arbaitten vnd kum dw Inndes so trifestu In

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Text on the overunning (Cont.) Itm~ merck wen du im starck vff sin schwertt bindest gebünde~ hast schlecht er dan vß der versatzüng vmb dir zu der andern siten so bind im aber mit der lange~ schnide~ starck vff din schwertt oben zu dem kopff vnd arbeit zu der ploß als vor dz tribe zu beÿde~ site~

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This is About “Setting Aside.” Learn It Well. Learn to “set aside,” To hurt skillfully the strikes and thrusts. Who thrusts at you, Meets your point and breaks his own. Hit always from both sides And be willing to step. In all the teaching, Turn your point against his face.

[34r] Das ist von abesetczen / das lere wol ~ LEre abesetczen • hewe stiche kü~stlichen letczen / Wer auf dich sticht • dyn ort trift vnd seynen bricht / Von payden seyten • trif allemal wiltu schreiten / In aller lere / dey~ ort key~ ey~s gesichte kere /

How one shall set aside cuts and thrusts. Learn to set aside, skillfully arrest cuts and thrusts. That which is thrust against you, meet him with your point and he is countered. From both sides you always strike if you take a step. You shall learn to skillfully set aside cuts and thrusts, so that your point strikes him and he is countered. When someone stands against you and holds his sword as if he thinks to thrust at you from below, stand against him in the Plough guard [Pflug] on your right side and give yourself an opening on the left side. If he then thrusts from below to this opening, wind with your sword against his thrust, out to your left side, and step towards him with your right foot, so you can hit with your point as he misses.

Text on how one shall parry stabs and strikes Teach setting aside weapons artfully laid strike stab, stab out from you, your point hits and counters his, hit from both sides, at all times you will stride Glosa Observe the setting aside, when you come to him in pre-fencing drive thus if he stands against you as if he would stab: put your left foot forward and stand against him in the guard of the Plough on your right side and give an opening with your left side, if he stabs to that opening then wind the sword onto his stab to your left side with the short edge on his sword, setting it aside, and stride then with your right foot and stab him Immediately to his face or chest.

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Note How to Fence From the Absetzen If you are fencing with someone and come close to him, assume the guard of the Pflug. Do this quickly and with Winden from one side to the other. Aim the point of your sword where you please. From this you can parry; that is how close it is. And you can get stronger with the long edge from this position and perform all the aforementioned techniques. You can also deflect strikes and thrusts and break them with the Winden and seek openings with the point of the sword.

[51r] Mörck ain zu° fechten vß den absäczen Item wann du mitt aine~ fichtest vnd wenn du nachend zu° im kompst So kom in dem pflu°g vñ trÿb den behentlich mitt winden võ aine~ sÿtten zu° der andern Vñ dz din ort stets dir belib Vnd vß dem magst du trÿben daß verseczen / daß ist die nech vñ zu° dem magstu stercken mitt der laig langen schniden vñ daruß trÿben alle vorgenampte stu~ck och magstu hew° vnd stich abseczen vnd die schlechtlich brechen mitt winden / vnd mitt dem ort deß blöß süchen /

Another technique for setting aside. When you stand against him in the Plough guard [Pflug] on your left side: if he cuts at you towards the upper opening on your left side then go up and out to the left side with the sword against his cut, with the hilt in front of the head; and step towards him with the right foot and thrust at his face.

Another Play When you stand in the guard of the plough on your right side and he strikes high to your head's left side, then ward off with the sword and wind it against his strike on your left side with the hilt in front of your head, and stride then with your right foot, and stab to his face or chest driving this play to both sides. Itm~ die ab setzen magstu auch triben vß ober haulben vnd vß vnter haulben wen du mit dem schwertt hoch ligst vnd wilt den ober haulb machen Im haulb wind vff din rechte siten In den ochsen so setz Im ab heulb oder stich zu diner lincken site~ wider in den ochsen Indes stich im alwege~ zu dem gesicht oder duplirer oder mach wz du wilt dz gath von beide~ site~ zu° ~ Itm~ ligstü dan In dem wechsell haulb so verwind din schwertt In den pflug vnd setz ab haulb oder stich Indes arbeit behendeglich zu der nesten ploesß mit allen geferte~ dz gat von beÿd~ site~ ~~

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This is About “Changing Through.” Learn to “change through” From both sides, thrust with force. Whoever “binds” on you, That is surely found by “changing through.” When you have “changed through,” Strike, thrust or “wind.” Do not strike to the sword, “Change through” and do not wait with it. Glossa. Here notice that the “changing through” comes exactly to both sides from above downward, and from below upward, if one otherwise drives it quickly…

[34v] Das ist vom durchwechsel / etc etc DVrchwechsel lere • von payden seyten stich mete sere / Wer auf dich bindet • durchwechsel in schire vindet / Wen du durchwechselt hast / slach stich / ader winde nicht laz / Haw nicht czu~ sw°te / durchwechsel • do mete warte / Glosa / :~ Hie merke / das durchwechsel gar gerade czugehet / czu beiden seiten / von oben neder / vnd von vnden of / wer is and°s rischlich treibet /

About changing-through. Learn to change-through on both sides, hurt him with thrusts. He who binds against you the changing-through finds him quickly.

[40v] Von durchwechslen [41r] Durchwechslen lere / võ baÿden sÿtten stich mitt sere Wer vff dich bindet durchwechsel in schier bin findet •:

Text on how one shall change through Teach changing through from both sides, with weapons bound well on yours, change through in finding the blade The change through is much and you shall drive it properly against the fencer who likes to displace and strike to the sword, not to the body's openings, this you shall learn well, drive with leading ahead to the man who does not attack or come forward while you are changing through.

Das ist der text mit der glos wie man sol durchwechselñ Durchwechsel lere von paiden seitten stich mit sere wer auf dich pindet Durchwechsel In schir vindet [31r] Glosa Merck der durchwechsel ist vil vnd manigerlaÿ Die soltu treiben gegen den vechterñ die do gerñ vorsetzen vnd die do hawen zw dem swert vnd nicht zw° den plössen des leibs Die soltu gar wol lernen treiben mit fürsichtigkait das mann dir icht an setz oder sünst ein kum dieweil du durchwechselst

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This is About “Changing Through.” (Cont.) …If you want to “change through” from the right hand from above downward strike from above exactly to him, so that you shoot your point to him to the left side above the hilt and that you hit this little hole and little window well, between the edge and the hilt. If you have hit, you have won…

About changing-through. You shall learn carefully to change-through. When you strike or thrust in against him in Zufechten and he tries to bind against the sword with a cut or a parry, let the point sweep through under his sword, and hurt him with a thrust to the other side, quickly find one of his openings. Itm~ wirt er dan des stichs war vnd fert im mit der versatzung nach / so wechsl aber durch zu der anderñ seÿttñ /

Drive the change through thus. When you come to him with pre-fencing then strike him a high strong one, if he strikes then in return against your sword and not your body, then in the strike let the point sink through, swiping below the sword as and when he binds on your sword, and stab to his chest on the other side. If he is aware of the stab and drives the sword stabbing right after with displacement, then change through and always do this when he drives with displacment against the sword.

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This is About “Changing Through.” (Cont.) …If he defends against this so that he deflects your point and presses with his sword away, let your point fall down from the same side under his sword, around to the other side, not far around but below on his sword, so that next you may—and go quite quickly—above the hilt with a good complete thrust. And when you feel that you hit, follow well and as you do from one side, from below or from above, do from the other side. And when one “binds” with you, rush on his sword toward his opening with your point. If he defends against it, “change through” as before, or “wind” and feel his intention whether it is “soft” or “hard.” According to this, seek with the strikes, thrusts or cuts toward the openings.

triftz du / zo hastu geseget / gesigt / wert her dir das / mit deme das her dyn ort abe/weist vnd hin drückt / mit seyme sw°te / So la dyn ort sinken von der selben seiten vnder seyme swerte hervem / czu der and°n seiten / nicht weit vem / zonder vnden an sym sw°te / zo du neste magst / vnd da var ym gar rischlich / öber dem gehilcze yn / mit eyme guten volkomen stiche / vnd wen du fülest das du trifts / zo volge wol noch Vnd alz du võ eyner seite~ tust / vnde~ ad° oben / zo tu võ der and°n / Vnd wer mit dir anbindet / zo rawsche an sym sw°te hin keyn seyner blöße / mit dym orte / w°t her zo durchwechsel / also vor / ader wind vnd füle sein geferte / ab is sey weich ader herte / dornoch süch hewe stiche / ad° snete / key~ de~ blößen /

Another When you come to him with pre-fencing then set your left foot forward and hold the long point into his face, if he strikes from above down onto or from below onto your sword and will smite it away or bind strong on it, then let your point sink below it and stab to the other side. This drives against all strikes where your opponent strikes to the sword.

Itm~ ein anders so du zu im kumbst / so setz dein lincke~ fueß vor vnd halt im dz lang gege~ de~ gesicht haut er dã obe~ oder vndte~ zu dem schwert / vnd wil das hin weg schlagñ / so laß dein ort vntersich sincken vnd stich in zu der andern plõs der anderñ seyttñ vnd thue das gegen allen hewen /

Another When you come to him with pre-fencing then set your left foot forward and hold the long point into his face, if he strikes from above down onto or from below onto your sword and will smite it away or bind strong on it, then let your point sink below it and stab to the other side. This drives against all strikes where your opponent strikes to the sword. Mark this You should change through while the opponent truly engages, then you change through and do it thus, when he displaces you and lets his point go outward to the side, then change through inward and stab him on the other side. If he stays with the point at your face or against other openings then don't change through but stay on his sword and work on it to the next opening so he can't travel or engage again.

Item aber ein durchwechseln Wenn dw mit dem zü fechten zw Im kumpst So setz den lincken fues vor vnd halt Im den langen ort gegen dem gesicht hawt er dir deñ von oben nider oder von unden auff zw dem swert vnd wil dir das wegck slahen oder starck dar an pinden So lass den ort vndersich sencken vnd stich Im zw° der anderñ seitten das treib gegen [31v] allen häwen do mit man dir zu° dem swert hawt Item das stuck mercke gar eben Wie dw solt durch wechselñ das man dir die weil icht an setz die weil dw durch wechselst vnd das vernÿm also wenn er dir vor setzt vnd lest den ort neben dir beseit aus gen So wechsel kündlich durch vnd stich ym zw° der anderñ seitten Oder pleibt er dir mit dem ort vor dem gesicht oder sunst gegen anderñ plössen So wechsel nicht durch beleib am swert vnd arbait do mit zu° der nagsten plöss So mag er dir nicht nach geraisen noch ansetzen

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This is About “Withdrawing.” Swordsman, Notice. Step now in “binding,” “Withdrawing” gives good discoveries. “Withdraw,” if he hits, “withdraw” again, Work, “wind,” that does him pain. “Withdraw” from all the hits Of the masters, if you want to fool them. “Withdraw” from the sword And consider carefully your way.

[35r] Das ist vom Czücken / ffecht° merke / Trit nü in bünde • das czücken gibt gute fünde / Czük / trift her / czucke/me • erbeit her / wind / das tut im we / Czük alle treffen • den meist°n wiltu sye effen / Czuk/ab vom swerte / vnd gedenke io deyner ferte / durchlawf /

About the twitching. Step in closer in the bind, the twitching gives you a good deal. Twitch! Meet it, then twitch again. Find openings to work: then give pain. Twitch in all fights against the masters, if you want to trick them. When you come against him in Zufechten, strike powerfully from above from your right shoulder in against his head. If he binds against the sword with a parry or suchlike, step in closer to him in the bind and twitch your sword up and away from his and cut back down against him on the other side of the head. If he defends himself this second him, strike back to the rst side from above and work deftly against the upper openings that open to you, with doubling and other techniques.

Text on Disengaging on the sword Step close in binding the disengaging gives good finding. Disenge his hits disengaging finds more work, do this always as disengaging all engagements will attain you the mastery. Know to drive the Disengaging against masters who bind strongly on the sword and stay on the sword in the bind, and wait to see if he would strike off from you or pull off of the sword, that you can then follow after to the opening...

Hie merck den text vnd die glos von den zucken am swert Trit nahent in pünden das zucken gibt gu°te fünde Zuck trift er zuck mer Arbait erfinde Das thuet ÿm we Zuck allen treffen den maisterñ wiltu sy effen Glosa merck das zucken gehört zu° treibñ gegen den maisterñ die do starck an das swert pinden vnd am pant des swertz beleiben still sten vnd wöllen warten ob man sich für In ab wolt hawen oder vom swert ab tzÿehen Das sÿ denn möchten nachgeraisen zu° der plöss

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A technique against the displacements. Attack four ends, therefore stop him, if you want to learn to finish. When you strike in against him from above from your right shoulder and want to end him quickly, mark this: when he displaces, immediately strike round with the Zwerchau. And grip your sword with your left hand in the middle of the blade, and thrust with the point into his face. Or attack him against the four openings, whichever you can come at best. [Note that in the original sequence, this paragraph and the next appear at the end of the section on Displacement.]

Text on Disengaging on the sword (Cont.) ...to reach or touch the same master, then drive the disengaging against him thus: strike him strongly from the right side high to the head, if he drives forward in the strike strongly with the sword and will displace or strike to the sword, then disengage your sword nimbly as and when you bind on and stab him on the other side, do this against all hits and binds of the sword. [Note that this image is not paired with the text in Goliath. It appears at the end of the longsword section without accompanying text.]

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A technique against the displacements. When you set the point to his face with the halfswording and he displaces this, so strike him with the pommel to the other side of his head. Or spring with the right foot behind his left, and go with the pommel over his right shoulder in front and round the neck and therefore pull him over your right leg.

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Mark here another disengaging When he has bound onto your sword and then stays against you in the bind waiting to see if you would pull off of the sword, then do as if you would disengage yet stay on the sword and pull your sword on the half edge to you and stab him soon again on the sword to the face or chest, if you don't hit rightly with the stab then work with doubling or any other element that is the best for you.

Merck ein ander zucken Wenn er dir an dein swert gepunden hat Stet er denn gegen dir am pannt vnd wart ob dw dich vom swert wöllest ab ziehen So thue als wollest zuchken vnd pleib am swert vnd zuck dein swert pis zw halber klingen an dich vnd stich Im pald am swert wider ein zw dem gesicht oder der prust triffstu In denn nicht recht mit dem stich So arbait mit dem duplirñ oder sunst mit anderñ stucken was dir das pëst ist ~

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This is about “running through.” Now, notice. “Run through,” let it hang With the pommel, grasp, if you want to wrestle. If one presses you, Remember about “running through.” “Run through” and hit, Turn if he grasped the hilt.

[35v] Das ist von durchlawfen / nü sich DVrchlawf loz hangen • mit dem knawf / greif wiltu rangen / Wer kegen der sterke / durchlawfir do mete merke / Durchlawf / vnd stos / vorkere / greift her noch dem klos /

About running-through. Run-through! Let it hang with the pommel, grip if you want to grapple. When someone is strong against you: remember to run-through.

Von durchlauffen ~ Durchlauff lauß hangen : mitt dem knopffe grÿff wilt du range~ Wer gegen dir störcke / durchlauff damitt mörcke •:

Text on charging through with grappling on the sword Let Charging Through hang with the pommel grab should you wrestle. He who would charge through strongly against you, you mark with it. The charging through and grappling are doubled when charging through with the sword, that is to grapple the body, So the arm grapple is afterward, and pay attention to drive against the fencer who charges openly.

Hie merck den text vnd die glos von den durchlauffen vnd von den ringen Im swert Durchlauf lass hangen Mit dem knopf greif wiltu rangen wer gegen dir sterck durchlaüf do mit merck [32v] Glosa merck die durchlauffen vnd die ringñ sind zwaierlaÿ Im swert wenn die durchlauffen das sind die leibt ringen So sind denn dar nach die arm~ ringen vnd die gehörent zw° treiben gegen den vechterñ die do gerñ ein lauffent ~

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About running-through. When one rushes in closer to the other and goes up with the arms and wants to overpower you above with the strong; go up with your own arms and hold your sword by the pommel with the left hand over your head, and let the blade hang behind over your back. And run with your head through under his right arm and spring with the right foot behind his right foot. And as you spring, go with your right arm in front of and around his chest, and catch him around the side with your right hip and cast down him in front of you.

At first drive the charge through thus Mark when he charges and drives high with the arms and would overpower you from above with the strong, then you also drive out your arms out and hold your sword with the left hand close over your head and let your blade hang back behind you and charge through with your head through the arms to his right side and spring with the right foot behind his right and in the spring drive with your right arm against his left side ahead well around the body and trap him thus on your right hip and throw him over backward on his head.

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Another running-through. When he rushes in towards you and powerfully tries to overpower you above with the sword, hold your sword by the pommel with the left hand and let the blade hang behind over your back, and run with the head through under his right arm and stand med with right foot in front of his right foot, and go with the right arm behind and around his chest, and catch him with the right hip and cast him down behind you.

Wrestling a body When he charges you with outreaching arms and you to him, then charge through him with your head to his right side and let your sword hang behind over your back, as was described before, stand and stride with your right foot ahead in front of his right and drive through behind him with your right arm under his right arm throw his body behind you over your right hip. These two wrestles drive to both sides.

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A wrestle with the sword. When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot in front of his right foot, and go with the left arm behind and around his chest, and catch him with the left hip and cast him down in front of you. But watch out so that it does not go wrong for you.

Ain Ringen im schwert [43r] It~ wann aine~ dem andern einlaufft so lauß dein schwert vß der k lincken hand vñ halt es in der rechten vñ stoß sein schwert mitt dine~ gehültze vff din rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß für sine~ rechte~ vñ far im mitt dem lincken arm hinden wol vm de~ lÿb vñ fasse in vff din lincke hüffe vñ wirff in für dich ~ Doch lu°g dz es dir nit fel ~

Still wrestling a body When he charges to your right and has his arms high and you are also thus, then hold your sword in the right hand with the pommel overhead and thrust the hilt to his arm and your sword away from you and spring with the left foot forward in front of both his feet and drive the left arm fully behind and around the body and hold him on the left hip to throw him in front of you.

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Another wrestle with the sword. When one rushes in towards the other, release your sword with the left hand and hold it with the right; and with the hilt thrust his sword out to the right side away from you, and spring with the left foot behind of his right foot, and go with the left arm in front of and under his chest, and catch him with the left hip and cast him backwards over your foot.

Aber ain ringen im schwert It~ wann aine~ dem andern ein laufft so lauß din schwert vsß der lincken hand vñ halt es in der rechten vñ stoß mitt dem ghültz sein schwert vff din rechte sÿtten võ dir / vñ spring mitt dem lincken fu°ß hinder [43v] seine~ rechten vñ far im mitt dem lincken arme vornen vnde~ sin brüste wol vm den lÿb vñ wirff vñ vff dein fu°ß hindersich ~

Still wrestling a body When he charges to you with his arms high and you do so too, then hold your sword in the right hand and thrust your arm to him and spring with the left foot behind his right and drive through from below with the left arm in front of his chest on the left side and trap him on the left hip and throw him behind you. These two wrestles drive to both sides. Merck wan er dir In laufft Im schwertt vñ helt sin arm nider dz du Im nit magst durch lovffen so tribe disse noch geschriben ringen

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The following is arm wrenching in the sword Mark when he charges to you with the sword and holds his hands low, then turn your left hand and grasp to his right with it inward between both his hands and shove in with it to the left and with the right hand hit him atop the head with the sword. Another If you would not hit him then spring with your right foot behind his left and drive ahead to him with the right arm or backward around the throat and then throw him over your right knee.

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Another wrestle with the sword. When you rush in towards another, release your sword with the left hand and hold it with the right. And go with the pommel outside and over his right arm, and thus twitch it downwards. And grip his right elbow with your left hand and spring with the left foot in front of his right foot, and pull him over the foot out to your right side.

An arm grapple When he charges to you with the sword and is low with his hands, then release your left from your sword and with the right drive with the pommel out over his right hand and push down with it and with your left hand grab him by his right elbow and spring with the left foot in front of his right and then push him over.

Aber ein arm~ ringen Merck wenn er dir ein laufft Im swertvñ ist nÿder mit den henden So lass dein lincke hant varñ vom swert vnd mit der rechtñ var Im mit dem knopff aussen vber sein rechte hant vnd druck do mit nÿder vnd begreiff ÿm mit der lincken hant peÿ seine~ rechten elpogen vnd spring mit dem denckñ fuess fur sein rechten vnd stos in also dar vber ~

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Another wrestle with the sword. When one rushes in towards the other, so go with the reversed left hand over his right arm and grip your right arm; and push his right arm over his left with your right arm, and spring with your right foot behind his right foot, and turn away from him to your left side, and so cast him over your right hip.

Abe~ ain ringe~ im schwert Item wenn ainer dem andern [44r] eÿnlaufft So far mitt lincker verkörter hand über sine~ rechten arm Vñ begrÿff da mitt dinem rechten arm vñ d druck mitt dinem rechten arm sine~ rechten über dine~ lincken vñ spring mitt dine~ rechten fu°ß hinder sinen rechten Vñ wende dich von im vff dine lincke sÿtten So wirffestu in über din rechten hüffe ~

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Still an arm grapple When he charges to you with the sword, then let your sword fall and turn your right hand and grasp outward to his right and with the left grip him by the right elbow and spring with the left foot ahead of his right and with your right hand thrust his right arm over your left and so lift him upward, thus you can break his arm or throw him from yourself over the left leg if you want.

Aber ain ander ringen Item wan dir ainer ein laufft im schwert / etc so laß dein schwert fallen / vnd verker dein rechte hant / vnd begreiff damit sein rechte außwendig / vnd mit der lincken fas in peÿ dem rechtn Elpogeñ / vnd sprin[g] mit dem lincken füeß für sein rechtñ / vnd stos mit der rechten han[t] sein rechtn arm~ / vber dein lincken / vnd heb in damit vbersich / also is[t] er uerrieglt / vnd magst Im also den arm~ prechen / oder für dich vbe[r] das pain werffen

Still an arm grapple When he charges to you with the sword, then let your sword fall and turn your right hand and grasp outward to his right and with the left grip him by the right elbow and spring with the left foot ahead of his right and with your right hand thrust his right arm over your left and so lift him upward, thus you can break his arm or throw him from yourself over the left leg if you want.

Aber ein arm~ ringen Merck wenn er dir ein laufft im swert So lass dein swert vallen vnd ver ker dein rechte hant vnd begreiff do mit sein rechte auswendige vnd mit der lincken vaß In peÿ dem rechtñ elpogen vnd spring mit dem lincken fuess fur sein rechten vnd stos mit der rechten hant seinen rechtñ arm~ über deinen lincken vnd heb In do mit vbersich Also magstu Im den arm~ prechen oder für dich vber das linck pain werffen ob dw wild

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Another wrestle with the sword. When one rushes in towards the other, turn your left hand and go with it over his right arm; and grip his sword's handle between his two hands, and pull it out to your left side, and so you will take the sword from him. This will be very bad for him.

Mark here a taking of the sword Mark when one charges in to you with the sword, then turn your left hand and drive it over his right arm and then grasp his sword between both hands on the grip and push it to your left side. Thus you have taken his sword.

Hie merck ein swert nemen [34r] Merck wenn man dir ein lauf Im swert So verker dein lincke hant vnd var do mit vber sein rechten arm~ vnd begreiff do mit sein swert zwischen seinen paiden hendñ peÿ der hanthab vnd ruck do mit auff dein lincke seitten So nÿmpstu Im sein swert

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A sword capture. When he parries or in another manner binds against your sword, grip with a turned left hand both the swords by the blades. And hold them tightly together and go with the right hand out to your left side with the pommel from below round to the other side over both his hands; and pull upwards out to your right side; you will hold both swords.

Still a sword taking. When he displaces or otherwise binds on your sword then grasp the sword's middle with the left hand and hold both tight and drive the right hand through down with the pommel forward over both his hands and then pull upward to your right side, thus you keep both swords.

Aber ein swert nemen Merck wenn er dir vorsetzt oder sünst an dein swert pint So begreiff mit der lincken hant paide swert mitten in den klingen vnd halt sÿ paide vest zw° sãmen vnd var mit der rechten hant vnden durch mit dem knopf vorñ vber sein pede hendt vnd ruck do mit vbersich auff dein rechte seitten so peleiben dir paide swert ~

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This is About “Slicing Off.” “Slice off” the attacks, From below in both directions. There are four slices— Two from below and two from above.

[36r] Das ist von abesneiden etc etc ~ SNeit abe dy herten / von vnden in beiden ferten / Vier sint der snete / czwene vnden • czwene oben mete /

About slicing. Slice by the obstacles, from below threaten him. Four are the slices, two below and two above.

Von abschniden ~ Schÿde ab die hörten / von vnde~ in baÿden geferten Vier sind der schnitt / zwen vnden zwen oben mit •:

Of the cutting off Cut off hard from below ward in both. That is what you shall deploy when one binds strongly on your sword from above or feints from there, and so use this when you pre-fence from the low strike or from striking up from or when standing against him in the Fool's guard, if he feints out then with the sword as and when you come out from this, then stay low on your sword and raise the short edge closely above you, if he then hits your sword hard downward then strike low with your sword on his sword's blade, take off from his sword behind you, and quickly again strike to the other side onto his sword and high to his mouth.

Hie merck den text vnd die glos von abschneÿden Schneid ab die herten von vnden In paiden gefertten Glosa merck das ist was dw solt treibñ wenn man dir starck oben auff dein swert pintt oder dar auff velt vnd das vernÿm also v Wenn du zu° vichtest aus den vnder häwen oder aus den streichen oder ligst gegen Im In der hu°t alber Velt er dir denn mit dem swert [34v] auff das dein ee wenn du do mit auff ku~pst So pleib vnden an dem swert vnd heb mit der kurtzen schneid vast vber sich Druckt er denn dein swert vast nyder So streich vnden mit deinem swert mit an seiner swertz klingen hinder sich ab von seinem swert vnd haw In zw° der anderñ seitten an seinem swert pald wider oben ein zw° dem maul ~

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About slicing (Cont.) There are four slices. Understand this: when he rushes in towards you and goes high up with the arms and wants to overpower you with strength from above against your left side, wind your sword and fall with the long edge with crossed hands under his hilt against his arm; and press upwards with the slice. Or if he rushes in towards your right side, fall with the short edge against his arm and press upwards as before.

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Yet another When you pre-fence with low strikes or rush in the Fool's guard, if he feints out then with the sword near to your hilt as and when you come out from this so that your point goes out to your right side, then drive out nimbly with the pommel over his sword and hit him on the head with the long edge, or if he binds onto your sword so that your point goes off to the left side, then drive with the pommel over his sword and hit to his head with the short edge. This is called the clipping.

Aber ein anders Wenn du zw° vichtest mit vnder häwen oder ligst in der hu°t alber Velt er denn mit dem swert auff das dein nahent pey dem gehültz ee wenn du do mit auff chumpst das sein ort zw° deiner rechten seitten auß rechten seyten aus get So var behendlich auff mit dem knopff vber sein swert vn[d schlag in mit der] langen schneid zw° dem kopf Oder pint er dir auff das swert das sein [ort zu°] deiner lincken seitten So var mit dem knopf vber sein swert vnd slach In mit der kurtzen schneid zw° dem haupt das haist das schnappen ~

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This is About “Slicing Off.” (Cont) Whoever slice well crosswise Eagerly avoids the injury. Do not slice in anger, Consider well before delivering. You may slice well Crosswise, but avoid pulling. If you want to remain without injury, Do not go while slicing.

Another slice. When someone binds your sword to your left side and strikes round from the sword with the Zwerchau or suchlike to your right side, spring with the left foot out to his right side away from the strike, and fall with the long edge from above over both arms. Do this on both sides.

Aber ain schnitt It~ den schnidt trÿb also Wenn dir aine~ an dz schwert bindt gege~ dine~ lincken sÿtten vnd schlecht vmb vom schwert mitt der zwerche oder sunst dir zuo der rechten sÿtten So spring mitt dem lincken fu°ß vß dem haw° vff sin rechte sÿttenn vñ fall im mitt der langen schniden oben uber baÿde arm Das tr trÿb zu [46r] baiden sÿttenn ~

Text on the four cuts Four are the slices, with two below and two above Know the four slices, the first being the two above to know to drive against the fencer that would slash well over from the displacement or from the bind of the sword to the other side with the thwart or similar. To counter this, when he binds on your sword to your left side and soon slashes with it around again with the left foot on his right side, then drop with the long edge above over both his arms and punch the edge away from you. This you should always drive to both sides when he slashes around or strikes off the sword from the displacement.

Hie merck den text vnd die glos von den vier schnÿten Vier sind der schnit Zwen vnden zwen oben mit Glosa Merck die vier schnit wiß des erstñ die zwen öberñ die gehorent zw° treiben [35r] gegen den vechterñ die auss der versatzu~g oder aus dem pant des swertz gerñ vmb slachen mit der twer oder sünst zw° der anderñ seitten Das prich also wenn er dir an dein swert pint zw deiner lincken seitten vnd slecht do mit pald wider vmb mit dem lincken fuess auf sein rechte seitten So val im mit der langen schneid oben vber paide arm~ vnd druck mit dem schnit von dir Das soltu treiben zu° paiden seitten albeg wenn er aus der vorsatzung vmbschlecht oder haut vom swert

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Another slice. When with a strike or in some other manner you bind strongly with his sword; let him pull his sword away from you and strike from above to your head. Then wind your sword with the hilt in front of your head and slice his arm from below; and thrust the point in the slice down into his breast.

Aber ain schnitt It~ wann du im mitt aine~ haw oder sunst starck vff sin schwert [45v] bindest laust er/dann sein schwert abschnappen võ dem dine~ vmd [!] schlecht dir oben zu° dem kopff So verwende din schwert mitt dem gehültz für dein haupt vñ schiy schnÿd im vnden durch sin arm vñ secz im mitt dem schnitt vnde~ den ort vnden an sin brust ~

Text on the four cuts (Cont.) Mark So that driving the two lower cuts against the fencer can be understood, do these well charging in with arms stretched out above in the drive, thus when he binds on your sword and drives out high with the arms and strides to your left side, then twist your sword ahead so that your thumb comes under it and let your long edge fall below the pommel and hit with an upward cut to his arms. If he strides to you with arms stretched above to your right side then twist your sword ahead so that your thumb comes below it and let the short edge fall below his pommel and hit with an upward cut to the arms. These are the four cuts.

Merck Das die zwen vnderñ schnit gehörent zw° treiben gegen den vechterñ die do geren ein lauffen mit aus geräckten armen die treib also wenn er dir an dein swert pint vnd vert hoch auff mit den armen vnd laufft dir ein zw° deiner lincken seitten So verwent dein swert das dein daum vnden küm vnd val im mit der langen schneid vnder dem knopf in sein arm~ vnd druck mit dem schnit vbersich Oder laufft er dir ein mit aus gerackten armen zw° deiner rechten seitten So verwendt dein swert das dein dawm vnden küm vnd val ÿm mit der kurtzen schneid vnder seine~ knopf in die arm~ vnd druck mit dem schnit vbersich Das sind die vier schnÿt ~

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This is About “Pressing the Hands.” Turn your edge, “Press the hands” in the plane. One thing is “turning,” The other is “windings,” the third is “hangings.” If you want to make The swordsmen reluctant, press while pushing. Above the hands One delivers the cuts skillfully; Also deliver the cuts Above from above the head. Whoever “presses the hands,” Withdraws the fingers without injury. Also know that as soon as you deflect his strike or thrust with “turning,” you should immediately step forward and go quickly to him. In case you wait and delay, you will suffer injury.

[36v] Das ist von hende drücken/ etc etc DEyn sneide wende / czum flechen drücke dy hende / Eyn anders / ist wenden • eyns winden / das dritten hengen / Wiltu mache~ vordrossen / dy vechter / zo drucke mit stössen / Ober dy hende / hewstu hewet man snete behe~de / Czewch och dy~ snete / obe~ aus öber de~ hewpte / Wer he~de drückit / ane schade~ / vor fi~ger czückit / Auch wisse / als bald / als du mt dem we~de~ / eyme ey~ haw ader stich / abe we~dest / zo saltu czu hãt czu trete~ / vnd rischlich dar varn czu eyme / wy leichte du dich last vnd zümest / zo ny~stu schaden

About the transforming of the slice. Wind the edge, to avoid, press the hands. When you can come with an under-slice to his arm when he rushes in, so that your point goes out to his right side; press upwards with the slice. And in the pressing, spring with the left foot out to his right side, and wind your sword with the long edge from above over his arms so that your point goes out to his left side; and press his arms away from you.

Das ist der text vnd glos von der verwandlung der schnÿdtt Die schnÿde wende / zu° flechen druck die hende Glosa Daß ist wann du im in dein einlauffen kanst mitt dem vndern schnitt vnden in sin arm daß dein ort gege~ sinenr rechten sÿtten außgät So tuck mitt dem schnitt vast übersich / vñ mitt dem trucken spring mitte de~ lincken fu°ß vff sÿn rechte sÿtten vñ wende din schwert mitt der lange~ schniden oben über sein arme dz din ort gege~ siner lincken sÿtten vß gee vñ truck sin arm domitt von dir ~

Text on converting the cut Your cut twisted to flat hits the hands Analysis This is how you shall drive from the two lower cuts to the two high ones, take this thus, when he strides in to your left side with arms stretched overhead then twist your sword ahead and let your long edge fall under his pommel to his arm and almost hit upward and stride with it on his right side and wind the pommel through below and don't come away from his arms with the sword then wind the sword from below to cut above over his arm with the long edge.

Hie merck den text vnd die glos von der verwandlu~g der schnit Dein schnidt wende zwflechen druck dÿe hende [35v] Glosa Merck das ist wie du aus den vnderñ tzwaÿen schnÿten solt treyben die zwen oberñ Das vernym also Wenn er dir ein laufft zu° deiner lincken seitten mit auff gerackten armen So verwendt dein swert vnd val ym mit der langen schneid vnder seinen knopf in die arm~ vnd druck vast vbersich vnd schreit da mit auff sein rechte seiten vnd windt den knopf vnden durch vnd kum mit dem swert nicht von seinen armen vnd went das swert aus dem vnderñ schnit In den oberñ mit der langen schneid vber sein arm~ vnd druck mit dem schnÿt vber sich

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This is About “Pressing the Hands.” (Cont.) Also notice and know that one deflects with the front edge of the sword from the mid-edge to the hilt all the strikes or thrusts. And the closer to one’s hilt a strike or a thrust comes to this edge, as soon as one has “turned” the front edge, the firmer and the stronger one may deflect these strikes or thrusts. That is because the closer to the hilt, the stronger and the firmer, and the closer to the point, the weaker and the more feeble. That is why he who wants to be a good swordsman, should learn above other things to “turn” well, so that as one “turns” well, one comes immediately to the “windings,” from which he may drive the entire art and beauty of swordsmanship. The front edge on the sword is called the “true” edge and all the strikes or thrusts are spoiled by means of “turning.”

Auch merke vnd wisse / das man mit der vördern sneiden des swertes / vom mittel der selben sneiden / bis czu deme gehilcze / alle hewe ad° stiche abewendet / Vnd e neher eyme / eyn haw ader stich czu syme gehilcze ku~pt / of der selben sneiden / mit deme als her im gewendet hat dy selbe vörder sneide / e bas / vnd e kreftiger / her dy selben hewe ader stiche / abewenden mag / Weñe e neher czum gehilcze e sterker vnd e / mechtiger / Vnd e neher/czum orte / e quesw [?] e swecher vnd e krenkher / Dorvem wer eyn guter fechter wil seyn / der sal vör allen dingen lernen wol abewenden / Wen mit dem das her wol abewendet ku~pt her czu hant yn dy winden / aus den her wol ku~st vnd höbscheit mag treibe~ dez gefechtez / Dy vörder sneyde / am sw°te heist dy rechte sneide / vnd alle hewe ad° stiche sint vorterbe~ mt de~ we~de~

Against the slice from below to the arms. When you strike against someone and he parries it and goes up with the hilt, and you do likewise, and you both rush in close together, you should do the under-slice. And if he tries to do the under-slice under your hands into the arm, follow after his sword downwards with the long edge and push down, so that you have countered it. And seek the opening. But when you come high with the arms, and he does the same, and you both rush in; and if he tries then to stab you to the chest or under the eyes with the pommel through the arms under your hands, go powerfully downwards with the pommel with the arms, so you have countered that. When you have bound with someone, and he changes through the pommel and adopts the halfsword; this you counter simply with the upperslice. And in the slice you can come into the halfsword and attack him.

[53r] Wider den schnitt vnden zu° den armen Item wann du aine~ von oben eÿn hawst vnd er dz verseczt vnd fört hauch vff mitt dem gehülcz vnnd du och vñ lauffend mitt ainander eÿn So nim den vndenrn vndern schnitt vñ ob er dir den schnitt nem~en wöllt Vnnde~ din hend In die arm So volg sine~ schwet schwert nach vndersich mitt der [53v] lange~ schnÿden vñ truck nÿder nider So haustu es gebrochen vñ su°ch die bloß ~~~~ Item wenn du aber hoch mitt den arme~ kümpst / vnd gene~ och also Vnnd lauff aber eÿn Vnnd wölt er dich dann mitt dem knopff durch den arm vnder dinen henden vnder die och ogen oder an die bru~st stossen So far vndersich mitt dem knopff starck mitt den armen So haustu es gebrochen ~ It~ wann du mitt aine~ angebunden häst vñ wechslet er durch mitt dem knopff vñ felt in daß halb schwert daß brich schlecht mitt dem ober [54r] schnitt Vnd im schnitt mag magstu in dz halb schwert fallen vñ im anseczen ~~~~~~:~

Text on converting the cut (Cont.)

Oder laufft er dir ein mit auff gerackten armen zw° dein° rechten seitten So verwendt dein swert das dein dawm vnden kum v So wend im dein swert mit der kurtzen schneid vnder dem knopf in sein arm~ vnd druck vast vbersich vnd schreit do mit auff sein lincke seitten vnd lass den knopf mit vnden durch gen vnd wendt dein swert mit der langen schneid oben vber sein arm~ vnd druck mit dem schnÿt von dir ~

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This is About “Hangings.” Swordsman, Learn It. Two “hangings” Are from one hand from the ground. In all the attacks, Strikes, thrusts, guards, “soft” or “hard…” Glossa. Here notice and know that from each side there are two “hangings,” a lower “hanging” and an upper “hanging” with which you may get at him well “on the sword”. If it happens that you “bind” with someone, or you otherwise get with him “on the sword,” you should remain “on the sword” and you should “wind” and should stay with him thusly whenever you get out of the strikes from above and the strikes from below joyously and in good mood bravely and with no fear “on the sword.” And you should see, notice and wait well for what he wants to do or what his matters are that he wants to perform against you. And this staying on the sword is called by Liechtenauer a “speaking window…”

Das ist von hengen / ffecht° daz lere / ~ Czwey hengen werden / aus eyner hant von der erden / In allen geferten / hewe stiche leger weich ader herte / … / Glosa / etc Hie merke vnd wisse das czu itzlicher seiten sint czwey hengen / Eyn vnderhengen / vnd eyn öbirhengen / mit den du eyme wol an das swert magst komen / wen dy kome~ aus den öb°hewe~ vnd vnderhewen / Wen das nu geschiet / das du mit eyme an bindest / ader wy du süst mit im an das swert kömps zo salt du an dem swerte bleybñ vnd salt vnd salt winden • vnd salt alzo mit im gar [37v] frölichen / mit gutem mute / vnd künlichen an alle vorchte / an dem sw°te stehen / Vnd salt gar ebñ sehen / merken vnd warten was her wolle tuen / ader was syne sache sey / der her key~ dir pflegen wölle / Vnd daz stehen / alzo an deme swerte / das heisset lichtnaw° eyn sprechvanster /

About the two hangings. There are two hangings from each hand to the ground. In all movements: strikes, thrusts, guards—soft or hard.

Das ist der text vnd dÿ glos von zwaÿen henngen Zwaÿ hengen werden / vß ainer hand von der erden In allem [46v] gefert / hew stich Leger ode~ waich oder hert

Text on the two low hangings Two hangings will be up from the earth on one hand, in all driven strikes stab stances light or hard The two hangings from the ground would be the plough on both sides and when you would fence or have fenced from it then in striking and in stabbing and in all bindings of the swords you should feel in them if he is light or hard on the sword, … …from this you shall drive four windings and from each winding specifically one strike, one slice, one stab and still all other deployments driveable from the two high hangings.

Hie merck den text vnd die glos von den zwaien vnder hengen Zwaÿ hengen werden Aus einer hant von der erden In allem gefert Haw stich leger waich oder hert [36r] Glosa Merck die tzweÿ hengen von der erden das ist der phlueg zw paiden seitten vnd wenn dw dar aus vechten wild oder vichtest So soltu dar Inn auch haben das fülñ In hawen vnd Inn stichen vnd in allen an pinden des swertz ob er dar Inn waich oder hert ist Auch soltu dar aus treibñ vier winden vnd aus einem yedem winden besunder ein haw ein stich vnd ein schnit vnd sünst auch alle gefert treiben als aus den zwaÿen öberñ hengen ~

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This is About “Hangings.” Swordsman, Learn It. (Cont) …And as you stay with him “on the sword,” you should notice and feel well his intentions, whether they are “soft” or “hard,” and according to that you should direct yourself, as it has been often stated before. If it occurs that he “withdraws from the sword” before all other matters, before you actually begin, you should immediately follow him and should beat, strike or thrust at him, whatever you may perform in the surest way before he comes to do anything else. However, if he remains with you “on the sword” check well and notice whether he is “soft” or “hard” “on the sword.” If he is “soft” and “weak,” you should go forward quickly and bravely and attack with your strong and you should push away and press his sword. Then, search his openings, to the head or to the body, to wherever you may get. In case he is “hard” and “strong” on the sword and he wants to push you aside firmly and press on you, you should be “soft” and “weak” against his strong, and you should weaken his strength and his pressing with your sword…

Vnd wen du nü mit im alzo an dem sw°te stehst / zo salt du gar ebñ merken vnd fülen syne geferte / ab sie sint weich aber herte / dornoch salt du dich deñe richte~ als vor ofte gesproche~ ist / Ist / das her sich vör allen sachen / e deñe du noch ichsicht begyñest / abe czewt von deme sw°te / zo salt du czu hant noch volgen vnd salt in slaen hawe~ ader steche~ was du am schiresten magst dar bre~gen / e den her czu keyn°leye dinge kome / weñe du hast io neher czu im mit dem das du am sw°te blibest / vnd dyn ort key~ im reckest / we~ iener mit syme abe czihen / den e her sich ey~s slags erholt dir dar brengt / zo var czu hãt dar mt dy~ orte / Bleibt her aber mit dir an dem sw°te / zo prüfe / io vnd merke / ab her sy weich aber herte an dem swerte / Ist das her ist / weich vnd swach / zo saltu rischlichen vnd künlichen volvaren vnd dar hurten / mit dyner sterke / vnd salt / im syn swert hin dringen vnd drücken / vnd süche~ syne bloßen / czu koppe ader czu leibe / wo du nür czu magst komen / Ist iener a° deñe herte vnd stark an deme sw°te / vnd meynt dich vaste hin dringen vnd stossen / zo saltu deñe weich vnd

About the two hangings (Cont.) There are two hangings from each hand and on each side towards the ground. When you bind against his sword with a lower setting-aside to your left side; hang your pommel to the ground and thrust him from below up into the face from the hanging. If he pushes your point upwards with a parry, stay in the bind and go up with him, and hang the point from above downwards towards his face. And in the two hangings you shall deftly use all techniques: strikes, thrusts and slice; in the binding against the sword notice if he is soft or hard.

Glosa Mörck eß sind zwaÿ hengen vß ainer hand vñ võ ainer sÿtten von der erden die trÿb also Wann du im mit dem vndern abseczen gege~ dine~ lincken sÿtten an sin schwert bindest So heng dinen schwert knopff gegen der erden vñ stich im von vnde~ auff vß dem henge~ zu° dem gesichte stost er dann mitt verseczeñ dinen ort übersich uff So blÿb also am schwert vñ far mitt im vff vñ heng im den ort võ oben nider zu° dem gesicht Vñ in den zwaÿen henge~ solt du alle gefert behentlich trÿben Hew° stich vñ schnitt Darnach alß du in dem anbinden der schwert enpfindest ober damitt waich oder hört sÿ ist ~~

Itm~ dz henge~ merck auch also wen du mit dem zu vechte~ kümpst zu dem man so leg dich in den pflug oder in den wechsel haulb es sy von welcher site~ es woll so heng din schwerttz knopf gege~ der erde~ vnd stos in von vnte~ auff vsß den henge~ zu dem gesicht stost er dan den ort mit versetzen vber sich so pleÿb also am schwertt vnd far vff mit dem knopf vnd heng im den ort oben In zu dem gesicht vnd in den zweÿhen haulben soltu alle gefertt triben mit haulben stichen oder schnitten ~~

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This is About “Hangings.” Swordsman, Learn It. (Cont) …Do the “speaking-window,” Stand joyous, look at his matters. Strike so that he moves And/or “withdraws” from you. I tell you for truth, No man defends himself without fear. If you understand that, He gets not to deliver his strike… …As you have neared him as you remain “on the sword” and you direct your point against him, then do so before his “withdrawing” lets him perform a strike. Thus, go immediately at him with your point and into the weakening, as his sword presses and goes aside, as it has also been stated before. Then, or at the moment as it happens to him and before he may come back, so that he not get to strike or thrust, you should yourself take to his openings with strikes, thrusts or cuts, wherever you may get to him in the surest manner, according…

About the speaking window (Sprechfenster). Doing the speaking window: stand straight, observe what he does. Strike in, when he twitches. About the one who draws himself away from you, truly I say this to you: no man can truly defend himself without danger! If you have understood this correctly, he can rarely come to blows. It is called the “speaking window”:

[47r] Das ist der text vnd die glos von dem sprechvenster Sprechfenste~ mach stand frÿlich besiche sin sach Schlage in dz er schnappe wer sich vor dir zühet abe Ich sag dir für ware / sich schüczt kain man one fare Haustu recht vernom~en zu° schlage mag er klain kum~en Glosa Mörck dz haisset dz sprechfenster

Text on the Window Breaker Make the Window Breaker straightly into his intent, strike so that he snaps the weapon you display to him before you, yet I say onward you shoot no man without driving, if you seek to hit he will not come forth You have heard before that when you are before the man with the sword, you should place yourself in the four guards from which you shall fence, so now you shall also know that the window breaker is also a guard with which you can stand securely, and this guard is the long point, the noblest and best sword ward out from which you can fence that forces the man so he must let you hit as you please and make the point come forward again still to hit and to stab.

Hie merck den text vnd die glos von dem sprechfenster Sprechfenster mache Stant freÿleich besich seine sache Schlach in das er schnabe Wer sich fur dir zeuchet abe Ich sag dir fur war Sich schützet kain man ane var Hastu ver nomen zw schlag mag er klein chumen Glosa merck dw hast vor gehört wie dw dich vor dem mann mit dem swert solt schicken In die vier hu°tten dar aus dw vechten solt So soltu auch nw wissen das sprechfenster das ist auch ein hu°t dar Inn dw wol sicher sten magst vnd die hu°t das ist der lang ort der ist die edelst vnd die pëst wer am swert wer do recht dar aus vechten kan der twingt do [36v] mit den mann das er sich an seinen danck schlahen müess lassen vnd mag vor dem ort wider vor zw° slegen noch zw° stichen kömen

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This is About “Hangings.” Swordsman, Learn It. (Cont) …If you remain “On the sword” and by means of this You drive strikes, thrusts or slices, Notice the “feeling.” Without any hesitation, You should not escape “from the sword”; Also because a master’s technique Is rightful “on the sword…” …to the teaching stated above, rapidly, bravely and quickly, so that he gets not to strike. That is why Liechtenauer says: “I tell you for truth, no man may defend himself without fear. If you understand it, he gets not to strike.” By this he means that no one may protect himself versus you, without fear or injury, if you do according to the teaching stated above. If you acquire and deliver the “first strike,” your adversary must defend himself or must let himself be beaten. Thus, if you deliver the “first strike,” no matter you hit or miss, you should rapidly and at once deliver the “strike after” before he gets to strike…

…Is das du bleibest am swerte da mete auch treibest / Hewe stiche ader snete / das fülen merke mete / An alles vorczhczihen / vom swerte du auch nicht salt flien / wen meister gefechte / ist am swerte von rechte / … …magst / noch der vorgeschrebñ lere / risch / künlich vnd snelle das io iener mit nichte czu slage kome Dorvm spricht lichtnaw° / ich sag vorwar • sich schutzt key~ man ane var / Hastu vornomen / czu slage mag er kleyne kome~ / Do mitt meynt her / das sich keyn° mag ane var ader ane schaden schutcze~ / Is das du tust noch der geschrebñ lere / Ab du im den vorslag gewyñest vnd tust den mus io iener were~ / ad° mus sich lasse slaen / wen du deñe den vorslag tust / du trefst ader velest / zo saltu rischlich vnd in eyme rawsche den nochslag tue~ / e deñ…

About the speaking window (Cont.) when he binds against the sword with a strike or parry, hold strongly with the long edge against his sword with outstretched arms, with the point in front of his face, and stand calmly and observe what he tries to do against you. If he strikes round with the sword in an Oberhau against you to your other side, follow after and bind powerfully on his cut with the long edge from above in to the head. Or if he strikes round in a Zwerchau, fall with the upper slice against his arms. Or if he twitches the sword and thinks to stab you from below, follow after him in the bind, and thrust into him from above.

Wenn er dir mitt hewen ode~ verseczenn an dz schwert bindet So belib starck auß gerechtenn armen mitt der lange~ schniden am schwert mitt dem ort im vor dem gesichte vñ stand freÿlich vnd besich sin sach was er gege~ dir trÿben wöll It~ schlecht er vom schwert vmb mitt aine~ oberhaw° dir zu° der andere~ sÿtten So bind mitt storck sine~ haw mitt nach [47v] mitt der langen schniden im obeb ein zu° dem kopff Oder schlecht er vmb mitt de~ zwer So fall im mitt dem obern schnitt in die arme Oder zuckt er sin schwert an sich vñ will dir vnnden zu° stechen So raise im nach an dem schwerte vñ secz im oben an

How you shall put yourself in the Window Breaker When you go to him in pre-fencing with whichever strike, coming then onward as with a low or high strike, then let your point always shoot in long to his face or chest by which you force him to displace or bind on the sword and, when when he has thus bound, then stay freely with the long edge strong on his sword and straight into the intent of what he would fence against you, if he seems to go back off of the sword, then follow with it or to an opening; Or if he flies off the sword striking around to your other side, then bind strongly against his strike high to the head;

Inn Das sprechfenster schick dich also Wenn du mit dem zu° vechten zw ÿm gest mit welichem haw du denn an ÿn kumpst es seÿ vnder oder ein ober haw So lass ÿm den ort albeg lanck mit dem haw ein schiessen zw dem gesicht oder der prust Do mit twingstu In das er dir vor setzen mues oder an das swert pinden vnd wenn er also an gepunden hat so pleib im starck mit der langen schneid auff dem swert vnd stee freyleich vnd besich sein sach was er für pas gegen dir vechten well zeucht er sich zw ruck ab vom swert So volg ÿm nach mit dem ort zw der plöss Oder slecht er vom swert vmb dir zw der anderñ seittñ So pint seinem haw nach Im starck oben ein zu° dem kopf

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This is About “Hangings.” Swordsman, Learn It. (Cont) …Without any hesitation, You should not escape “from the sword”; Also because a master’s technique Is rightful “on the sword.” Whoever “binds” on you, The “war” fights him a lot. Also noble “winding” Can find him for sure… …Therefore, if you want to deliver the “first strike,” you should also deliver the “strike after” as if in one thought and intention, as if you wanted to deliver them together if it were possible. That is why he says: “Before” and “after,” “these two things, etc.” Thus, if you deliver the “first strike,” no matter you hit or miss, do also at once the “strike after,” rapidly and quickly, so that he gets not to strike. And thus you should also be able to beat him at all things of swordsmanship. And as soon as you get to him the sooner, and acquire the “first strike,” then deliver immediately the “strike after,” as you…

…wer an dich bindet / der krik mit im sere ringet / Das edle winden / kan in auch schire vinden / Mit hewen mit stichen mit sneten vindest in werlichen / In allen winden hewe stiche snete saltu vinden / … … Deñe wen du den vorslag wilt tue~ / zo saltu recht / zã yn eyme gedanke vnd mute den nochslag auch tue~ / recht zam du sy mit ey~nander wellest tue~ / we~ is möglich were / Dorvm spricht her / vor • noch / dy cwey dink etc ~ den tust du den vorslag / du treffest / ader velest / zo tu io / in eyme rawsche / risch vnd snelle den nochslag / das iener mit nichte [38v] czu slage kome / vnd alzo saltu schaffen das du yn allen sache~ des fechtens io e komest deñe iener / vnd als balde als du e kum~est deñe ien° / vnd den vorslag gewiñest / zo tu czu hãt den nochslag / …

About the speaking window (Cont.) Or if he does not draw back from the sword, nor strikes round, work in the bind with the doubling and with other techniques—all because you mark if he is soft or hard in the bind.

It~ oder will er sich vom schwert nicht abziechen noch umbschlachen So arbait du am schwert mitt dem duplieren vñ sunst mitt andere~ stucken darnach alß du enpfindest die waich vnd die hört am schwert

How you shall put yourself in the Window Breaker (Cont.) Or if he will not pull away from the sword after striking around then work by doubling or with other similar elements afterward as you find him weak or strong on the sword.

oder wil er sich vom swert nicht abzÿehen noch vmb slahen So arbait mit dem duplirñ oder sünst mit anderñ stucken Darnach als dw emphindest swech vnd sterck ÿm swert Itm~ so soltu die sprerch fenster dz sindt zwo hutte auß dem lange~ ortt ein am schwert vnd die ander vor dem man ee wan du ÿm [42r] an sin schwertt bindest oder die schwertt zu samen glictzen vnd ist doch In Im selber nit mer dan eyn hute~ ~~ Itm~ y ich sage vor ware dz der lang ortt die best were ist am schwert wan do mit zwingstu den man dz er sich schlagen muß loßen vnd do vor zu z keynen schlag mag kumen dar vmb soltu mit allen heulben den ort eyn triben dem man zu der brust oder zu dem gesicht vnd furbas dar vß triben stich vnd schlech

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This is About “Hangings.” Swordsman, Learn It. (Cont) …The noble “hanging” Does not exist without “winding,” As from the “hangings” You should perform the “windings.” …should not deliver the “first strike” if you do not have the “strike after” in your intention and mind so that you always be in motion and at no rate be idle or delay, but always drive one after the other, rapidly and quickly, so that he may not get to anything. For truth, if you do so, he must be very good whoever gets away unbeaten by you. That is why it happens often with this art or this vantage that a peasant or one unlearnt beats a good master because he delivers the “first strike” and rushes in bravely. It may be due to disregard that one hits as soon as, and shames and beats, the other. That is because he who receives the strikes and wants to wait for defense, is in greater danger than he who attacks and acquires the “first strike…”

…Das edle hengen / wil nicht syn an dy windñ wen aus den henge~ / saltu dy wi~den bre~gen / … Wen du salt key~ vorslag tue~ / du habst io / de~ nochslag auch mete ym synne vnd ym mute / also dastu vm~mer in motu seist / vnd mit nichte feyerst ader last / zonder vm~erm° eyns noch dem and°n treibst / risch vnd snelle das iener czu keyne~ dingen moge kome~ / Vorwar tustu / das / zo mus her gar eyn guter syn der ungeslage~ von dir kum~t / Weñe mt der selben ku~st / ader mt dem vorteil das / ku~pt is oft / das ey~ pawer ader eyn ungelarter eyn gute~ meist° / slet / mt deme • das her den vorslag tuet / vnd künlich dar hurt / den wy leiche ist das obersehñ / das in/deß trift vnd in alzo beschemet vnd slet / deñe eyn° der der slege war nym~et / vnd des schütcze~s wil warten / der ist io in grosser var / deñe ien° der do of in slet / vnd den vorslag gewyñet / …

That which is called the “long point” (Langenort). Before you come too close to him in Zufechten, set your left foot forwards and hold the point towards him with outstretched arms towards the face or the chest. If he cuts at you from above and down towards your head, wind with the sword against his cut and stab him in the face. Or if he cuts from above or from below against your sword and tries to knock the point away, change through and stab him on the other side into the opening. Or if he meets the sword powerfully with the cut, let your sword snap round. Thus you strike in against the head. If he rushes in towards you, grapple or slice him. Watch out so that it does not go wrong for you!

Hie merck wie du solst sten in dem langen ort vnd was stuck du daraus treiben solst / Mörck Ee wenn du mitt dem zu°fechten zu° nahent an In kümst So secze dine~ lincken fu°ß vor vnd halt Im den ort auß gerächten [124r] armen lang gegen dem gesicht oder der bru~st Hawt er denn dir oben nider zu° dem kopffe So wind mitt dem schwert gegen sine~ haw° vñ stich im zu° dem gesicht Oder hawt er võ oben nider ode~ võ vnde~ auff dir zu° dem schwert vñ will dir de~ ort wegk schlachen So wechsel durch vñ stich im zu° der andere~ sÿtten zu° der blöß Oder trifft er dir mitt dem haw° dz schwert mit störcke so lauß din schwert vmb schnappen So triffest du in zu° dem kopff Oder laufft er dir ein So trÿb die ringen oder den schnitt ~~~~~ Lu°g dz es dir nitt fel

This is another mode. And this is also the Window Breaker. Mark when you have come to him with pre-fencing, then set your left foot forward and hold your arms in the long point toward his face or chest, like when you bind onto his sword, and stand freely against what he would fence to you, if he strikes long and high to your head, then drive out and wind the sword into the Ox against his strike and stab to his face; or if he strikes to your sword and not your body then change through and stab him on the other side; If he strides in and his arms are high, then drive below the cut or charge through to him with wrestling; If his arms are low, then resort to grappling the arms; thus you drive all aspects of the long point.

Inn das sprechfenster schick dich also ~ Das Ist ein ander Stant vnd haist auch das sprechfenster Merck wenn dw mit dem zw fechten schir zw ÿm kömen pist So setz den lincken fues vor vnd halt Im den ort lanck aus den armen gegen dem gesicht oder der prust ee wenn dw Im an das [37r] swert pindest vnd ste freÿlich vnd besich was er gegen dir vechten wil haut er dir denn oben lanck ein zw dem kopf So var auf vnd windt mit dem swert gegen seinem haw In den ochsen vnd stich ÿm zu° dem gesicht Oder haut er dir zw dem swert vnd nicht zw dem leib so wechsel durch vnd stich Im zu° der anderñ seittñ Oder lauft er ein vnd ist hoch mit den armen so treib den vnderñ schnit oder lauff ÿm durch mit ringen Oder Ist er nÿder mit den armen so wart der arm~ ringen Also magstu allew stuck aus dem langen ort treibñ Also magstu alle stuck aus den armen treiben welches dir am pesten ist etc.

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This is About “Hangings.” Swordsman, Learn It. (Cont) … Therefore, be able to be first in all the matters of the swordsmanship and to come well to the right side of the other, and then you are surer of all things than is the other.

Dorvm~e schaffe / das du yn allen sache~ des fechtens der erste bist / vnd io eyme of dy linkerechte / seiten komest / do bist du wol aller dinge sicher deñe ien° /

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Learn eight “windings” From both sides with steps, And each of them, I mean the “windings,” with three elements. So they are twenty And four, count them one by one. Swordsman, pay attention to it And perform the “windings” correctly. And learn to lead them well, So that you may hurt the four openings, As each opening Has for sure six wounds.

[39v] VOn beiden seiten / ler acht wi~den mit schreite~ / Vnd io ir eyne / der wi~de~ mt drey~ stöcke~ meyne / So synt ir czwenczik • vnd vier / czele sy enczik / ffechter das achte / vnd dy winden rechte betrachte / Vnd lere sy wol fure~ / zo magst du dy vier blößen rüre~ / Wen itzliche blösse / hat sechs ruren gewisse /

The summary of the markverses. He who does well, who counters correctly and diligently and who understands completely, and especially who counters everyone by the three wounders, he who lets go completely and takes it into the wind by eight windings, and who understands correctly that each of the windings are threefold, so I mean that there are twentyand four, counted on both sides. Learn the eight windings with steps. And test all techniques no more than you test for weak or hard.

[124v] Das ist der text von der verschliessüng der gantze~ zettl: Wer wol fürett / vñ recht bricht / vnd entlich garbericht Vñ bricht besunnde~ ÿgclichs im drew° wu~der Wer recht wol henget / vnd winden do mitt brenget Vnd winden acht / mitt rechten wegen etracht / Vnd Jo Ir aÿne / der winden selb dritt ich maÿne So So sind ir zwinczig / vñ für zel sÿ einzigen Von baÿden sÿttenn / acht winden ler mit schritten Vnnd brieff da die gefert / nicht mer dann waich ode~ hert ~~

Text on aiming with the four hangings and the eight windings of the sword as told by the verses He who would direct and counter rightly, and would conclude, will judge and counter with only three particular wisdoms. He who would properly hang and wind will consider eight windings rightly. Indeed one in these windings will step through my twenty- four verses the same on both sides. Teach eight windings with lessons and tests, driving no longer only soft or hard;

[22r] Das ist der text von der verschliessüng der gantze~ zettl: Wer wol furet vnd recht pricht vnd endlich gar bericht Vnd prich besunder Iglichs i~ dreÿ wunder wer recht wol henget vnd windñ do mit pringet vnd winden acht Mit rechtñ wegen betracht Vnd zw ir eine Der winden selb dritt ich meine So sind ir zwaintzigk vnd vier zell si entzigk von paiden seittñ Acht winden lere mit schreitten vnd pruf die gefert Nicht mer nür waich oder hert

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Glossa. Notice here that the “windings” are the right art and the rudiment of all the swordsmanship, from which all the other techniques and elements come. And it is quite difficult to be a good swordsman without the “windings,” as certain “dancing masters” dismiss them and say that what comes from the “windings” is quite weak. And they call those “from the shortened sword,” because that be going simply and naively. And they mean that the techniques from the longsword are done with stretched arms and stretched sword, and that it comes simply and strongly from all the strength of the body, only by means of good standing. And it is terrible to see when one stretches himself as if he wanted to catch a hare. And that is all nothing, neither “windings” nor the art of Liechtenauer, as there is neither strength nor defense, as it is always the art that should go before the strength.

/ Glosa / :• Hie merke / das dy winden / sint dy rechte kunst / vnd gru~tfeste alles fechten / des sw°tes / aus den alle ander gefechte vnd stöcke kome~ / vnd is mag mülich eyn guter fechter /syn / ane dy winden / Wy wol etzliche leychmeistere • dy vornichte~ / vnd spreche~ is sy gar swach was aus den winden ku~pt / vnd neñen is / aus dem korcze~ sw°te / dorvm~e das sy slecht vnd ey~veldik dar gen / vnd meyne~ das sy / aus dem lange~ sw°te gefochte~ / was dar get / mt gestracke~ arme~ / vnd mt gestrakte~ swerte / vnd was gar veyntlich vnd stark von alle~ krefte~ des leybes dar get / nur durch wol stehens wille / vnd das is grawsam an czu sehñ ist / we~ sich eyn° alzo strekt / recht zam her eyne~ hazen wolle irlawfen / vnd daz ist alles nicht / weder dy winden vnd weder lichtnaw°s kunst / wen do ist keyne sterke weder / deñe worvm~e wer anders ku~st / solde allemal dy sterke vörczihen /

The summary of the markverses (Cont.) This is a lesson, which summarises the markverses so that they are comprehensible for you. Learn also: that you shall acquaint yourself well with and train the art by which you fence, so that you know to use your counters against his techniques. Especially that you can work with the three wounders from every counter. You shall also hang well in the bind, and from the hangings you will use eight windings, and you will study these windings, so that you know to use all of the three methods.

Glosa Das ist ain lere do die zedel kurcz Inen begriffen ist die lert also Daß du in de~ kunst gar wol gern bericht vñ geüpbt [125r] solt sin gegen den do du mitt fech fichtest daß du dine brüch gegen sine~ stucken also wisset zü trÿben Daß du vß aine~ ÿeden bruch besunde~ magst gearbaitten mitt drÿ dreÿen wunden Auch solt du wol henge~ am schwert Vñ auß den hengen solt du bringe~ acht windeñ vñ die windeñ solt du also betrachten daß du der aines selbs dritt wissest zu° treÿben ~

Text on aiming with the four hangings and the eight windings of the sword as told by the verses (Cont.) This is a meaningful lesson in the hanging and the winding of the sword, which you shall use well and aim so that you can nimbly lead and then counter against one's opponent's plays properly, driving against him with art. There are four hangings, the Ox above on both sides, these are the upper two hangings, and the plough below on both sides, these are the lower two hangings. From the four hangings you shall deploy eight windings, four from the Ox and four from the Plough, and you shall deploy these very eight windings, so consider and judge that you shall deploy the three wisdoms from every winding, that is one strike, one stab, and one slice.

Glosa Merck das ist ein ler vnd ein dermanung der hengen vnd der winden Im swert dor In soltu gar wol geübet vnd bericht sein das dw behendlich kündest füren vnd die prüch gegen eines anderñ vechters stucken recht dar dar aus gegen ÿm kündest treiben Wenn der hengen sein vier der ochs oben von paiden seitten Das sind die oberñ zwaÿ hengen vnd der phlueg vnden von paiden seittñ Das sind die vnderñ zwaÿ hengen Aus den vier hengen soltu pringen acht winden aus dem ochsen vier vnd aus dem phlueg vier vnd die selbigen acht winden soltu fürpas also betrachten vnd recht wegen das thue aus ÿedem winden besunder solt treiben die dreÿ bunder das ist ein haw ein stich vnd ein schnÿt

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How you shall use the hanging and the windings. Or if he binds above to your right side, wind the long edge against his sword towards your right side. And up with the arms and hang the point in from above and thrust him in the face. If he parries the thrust powerfully, so in the binding let the point hang in towards him from above and wind out to your left side and thrust. There are four windings from the two high bindings on the left and right sides.

Item oder d bind er dir oben an gen diner rechten sÿtten So wind och gege~ dine~ rechte~ sÿtten die langen schnid an sin schwert vñ far wol vff mitt den armen vnd heng im den ort oben ein vnd stich im zu° dem gesicht verseczt er den stich mitt störck [48r] so lauß im den ort am schwert oben ein hangen Vñ wind vff din lincke sÿtten vñ stich Daß sind vier winden vß den obern zwaÿen anbinden von der lincken vnd von der rechtten sÿtten ~

How one shall deploy the four windings from the two upper hangings, that is the Ox from both sides. How you deploy the the first two windings from the Ox only on the right side is thus: When you come to him in pre-fencing, then stand with the left foot forward and hold your sword before your head to your right side in the Ox. If he strikes one high to you from his right side, then wind the short edge on his sword to your left side in his strike into the Ox and stab him one high to the face, that is one winding. If he then displaces the stab with strength and forces your sword to the side, then stay on the sword and wind again to your right side into the Ox and stab him high to the face. These are the two windings on the sword from the first high hanging on the right side.

Hie merck eben wie du aus den oberñ zwaien hengen das ist aus dem ochsen von der rechten seitten vnd von der linken seitten solt treiben vier winden Dÿe ersten tzwaÿ winden aus dem ochsen allai~ von der rechten seitten die treib also Weñ dw mit dem zw° vechten zu° Im kumpst So stee mit dem lincken fuess vor vnd halt dein swert zw deiner rechten seittñ fur dem haubt In dem ochsen Hawt er dir denn oben ein von seiner rechten seitten So wind auff dein lincke seittñ gegen seine~m haw die kurtz schneÿd an sein swert aber in den ochsen vnd stich Im oben ein zw dem gesicht das ist ein winden Merck Vor setzt er den stich mit sterck vnd dringt dir das swert auff die seitten so pleib am swert vnd wind wider auf dein rechte seitten ober Inn den ochsen vnd stich Im oben ein zw dem gesicht das sein die zwaÿ winden am swert aus dem ainen oberñ hengen von der rechten seitten ~

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How you shall use the hanging and the windings (Cont.) There are four bindings with the sword, two over and two under. Now in every binding with the sword you will use two specific windings. If he binds above on your left side, wind the short edge against his sword and go upwards with the arms; and hang the point in from above towards him and stab him in the face. If he defends against the thrust, let the point hang in from above in the bind and wind out to you right side. There are two windings around the side of the sword.

Hie merck / wie du die hengen vnd die winden treibñ solst / Das vernÿm also Es sind vier anbinden der schwert Zwaÿ obere vñ zwaÿ vndere Nun solt du vß ÿedem anbinden der schwert zwaÿ obere besund besunde~ tr trÿbenn zwaÿ windeñ Das vernÿm also [125v] Bindt er dir oben an gegen deiner lincken sÿtten So winde die kucz kurcz schnide an sin schwert Vñ far wol vff mitt den arme~ vñ heng im den ort oben ein Vñ stich im zu° dem gesicht Verseczt er den stich So lauß den ort am schwert oben ein hangen vñ wind vff dein rechte sÿtten Daß sind zwaÿ winden an aine~ sÿtten des schwerts ~

Following are the other two windings from the Ox, on the left side, thus: When you come to him with pre-fencing then stand in the guard of the Ox on the left side, if he strikes one high to you from his left side then wind against his strike with the long edge to your right side on his sword and stab him one high to his face, this is one winding. If he displaces the stab and pushes the sword to the side, then stay on the sword and wind the long edge to your left side into the Ox on his sword and stab him one high to the face. These are the four windings from the two upper hangings on the left and right side.

Hye merck das sind die anderñ zwaÿ winden aus dem ochsen von der lincken seitten die treib Also wenn dw mit dem zu° vechten zu° ÿm kumpst So stee von dein° lincken seitten In dem ochsen haut er dir denn oben ein von seiner lincken seitten So wind gegen seinem haw auff dein rechte seittñ die lang schneid an das swert vñ stich Im oben ein zw dem gesicht das ist ein winden Merck Vor setzt er den stich vnd druckt dein swert auff die seittñ So pleib am swert vnd wind auff dein lincke seitten aber in den ochsen die lang schneid an sein swert vnd stich ÿm oben ein zw dem gesicht Das sind die vier winden aus den oberñ zwaÿen hengen von der lincken vnd von der rechtñ seittñ

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Now You Shall Know Now you shall know that from the two low bindings also you shall use four windings with all techniques you use from the over bindings: thus there are eight windings above and below. And think that from every winding you can use a strike, a slice and a thrust. And these are called the \three wounders”, which of the twenty four methods one can and should use from the eight windings. And the eight windings you shall learn well on both sides, so that with every wounder you can feel precisely if he is soft or hard in the bind, and no more. And when you have felt these two things, use the correct techniques that are companion to the windings. If you do not do this then you will be beaten despite all windings.

Ittem nun solt du wissen dz du vß den vnndern zwaÿen anbind~ auch solt trÿben vier winden mitt allen gefertenn alß vß den obern also worden der winden oben vñ vnden acht Vnd gedenck dz du vß ÿedem winden besonnde~ triben solt aine~ haw oder schnitt vnd ain stich Vnd dz haissen die drÿ drew wunder Daru~b daß man sÿ zu° viervnndzwinczig malen vß den acht winden trÿben soll [48v] vñ mag Vñ die ach winde~ solt du wol lerne~ trÿben võ baiden sÿtten Also daß du mitt ÿedem Wu°nder brieffest sin gefört Nicht mer wann dann öb er damitt waich ode~ hert am schwert sÿ Vnnd wenn du die zwaÿ ding enpfundenn hast haüst So trÿb die stuck gerecht die zu° dem winde~ gehören Wo du dz nicht tu°st So wirst du bÿ allen winden geschlagen ~~

Now you shall know That the plough on both sides comprises the lower two hangings, when you stand in it or will fence from it, then you shall deploy four windings from the left and right sides with all your drives, as was done from the upper hangings, to make the windings eight. And especially mark whenever you wind to think of the strike, the stab, and the slice in each winding. Thus twenty four plays come from the eight windings, you shall find how you drive these twenty four elements written before in the glosa.

Nw soltu wissen Das der phlueg von paiden seitten das sind die vnderñ zwaÿ hengen wenn dw dich dar ein legst oder dar aus vechten wild So soltu dar aus auch treiben von der lincken vnd von der rechten seitten vier winden mit allen iren gefertñ als aus den oberñ hengen so werden der winden acht vñ merck als offtu windest so gedenck in [38v] einem iglichem winden besunder an den häw vnd an den stich vnd an den schnÿt Also kumen aus den acht winden vier vnd tzwaintzigk stuck Vnd wie dw die vier vñ tzwaintzigk stuck aus den acht winden treiben solt das vindestu alles da vorñ In der glosen geschriben ~ ~ ~ ~ ~

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Here listen very well That if you want to drive the eight windings right, that it is with striding from both sides and above all testing nothing more than the two forces that are there when he binds on your sword, if he is weak or hard in his drive. First when you have found this then wind and work to the four openings as was written before, and know that all fencers who wind on the sword and do not know how to feel, they will be hit by winding on the sword. Onward thus be diligent that you mark well the feeling and the words Just As since from these two things comes all the arts of fencing.

Hie merck gar eben Das tu° die acht winden nicht magst recht getreiben es seÿ denn mit schreitten von paiden seitten vnd das dw vor gar eben prüfest nicht mer denn die zwaÿ gefert das sind die Wenn er an dein swert pindet ab|er in seinem gefert waich oder hert ist Erst wenn dw das emphunden hast So wind vnd arbait zu° den vier plössen als vor geschriben stet Auch wist das alle vecht° die do winden am swert vnd künnen sÿ nicht das fülñ am swert die werden peÿ den winden geschlagen Dar vmb so vleis dich das dw das fülñ vnd das wort Inndes wol merckest wenn aus den zwaien dingen get alle kunst des vechtens ~ Friß auch mir vnd dir vmb ein alten kappen

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Here begin techniques of other masters, Andreas the Jew, Jost of Nysa, Nicolaus the Prussian, and Hans Döbringer (the Priest) If there is a fighter Who would wish to dare Learn with the sword And would take to it As it is a courtly game And has much pleasure and joy For knights and squires If he fights rightfully Thus, I want to give him three pieces of advice Which he should hold firmly The first advice is quite good Who fights with little courage Wisely with no rage Such a fighter will never be lost If he otherwise fights according to the teaching He will always win The other advice is this Which I want to say quickly now That no man should be that foolish As the fighting brings pain Who wants to beat four or six He often takes much injury As there will often be a strike Which he cannot deflect Thus, he must then have Shame, mockery and also injury As such the same little jester Who wishes to withstand it It is not rightful bravery But great jesting Who wants to withstand four or six He gets nothing but receives the opposite As if he had now bought it It is much better if one in a bed Looked for and searched for rest Than to cultivate such great foolishness It often occurs that a man Must withstand four or six He does well in a chivalrous manner Or parts from them wisely That may withstand well all the men Rightfully for a brave man But let all listen to it openly Completely with no fear A clever man freely Speaks it with no insanity This is called a brave man Who equally withstands his injury Such a man I want to praise in all places Chivalrously with no misdeed Free from impropriety and audacity That he is a rightful fighter. I want to give you a third advice Which you should take from me That you should not learn to fight

[43r] Hie hebt sich an • der ander meist° gefechte / Hanko pfaffen döbringers •:~ Andres Juden • Josts von der nyssen • Niclas prewßen / etc Ist hie yndert eyn degen der sich dorczu wölle wegen Czu lernen mit dem swerte vnd sich auch doran kerte wen is ist eyn höfeliches spil vnd hat lüst vnd frewden vil vor ritter vnd vor knechten Is das her fichtet rechte So wil ich im gebñ drey rete dy sal her halden stete Der erste rat ist auch gut wer do ficht mit geringen mut witzicleich an allen czorn der fechter wirt selden vorlorn ficht her and°s noch der lere her gesigt vm~ermere Der ander rat ist das den wil ich nu sagen bas das keyn man zo tump / sal seyn weñe das selbe fechte~ bre~get pyn der vier ader seche slaen wil der nym~et ofte schaden vil weñe im wirt vil ofte eyn slag / den her nicht abe wischen mag / den mus her im nu haben Schande gespötte vnd auch de~ schaden weñe dy selben nerreleyn wellen io dy besten seyn [43v] Is ist nicht rechte kuenheit zonder eyn grosse narheit der vier ader sechse will bestan wirt im icht / daz mus h° im han zam hers im gekawfet hette Is wer vil besser in eynem bette dy weile gesucht vnd gelegen den sülcher grosser torheit pflegen Is ku~pt ofte das eyn man vier ader sechze mus bestan Tut heñe witzicleich Tut/her deñe ritterlich ader kpt/von in witczicleich der mag wol alle mal bestan Recht vor eynen künen man Doch horet alle / offenbar genczlich an alle var ffridank der kluge man Spricht das an allen wan der ist genant eyn küner man der synen gleich tar bestan den wil ich preisen an aller stat Ritterlich ane missetat von türsten vnd von ku~heit frey das her eyn rechter degen sey Den dritten rat wil ich dir gebñ den saltu vom mir of nemen du salt nicht dorvem lerne~ fechte~ •

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So that you do unto someone unjustly Fighting with a pious man If a serious necessity occurs With your art—otherwise do not compel anyone If you want to succeed In all the fighting I advise you Not to rely too much on your art And have the Supreme Rightful Swordsman in mind So that He protects you with your art And practice your art for necessity in rightfulness And not otherwise as jesting So that you may withstand all the men As a fighter and a good rightful man But because fighting is invented Then one should practice it rightly And in a good true beauty As it brings dexterity, smartness and wisdom Consequently, it also often occurs that a man Must stand against someone for honor, body and good If he wins chivalrously with his art With God and right, I praise it Here notice and know that I left on the way many of these masterly techniques, because one already has them quite rightfully in the art and swordsmanship by Liechtenauer, according to the true art. Still, for the sake of exercises and scholastic swordsmanship, I want to write about some of elements and rules of their techniques with simple and short script.

das du eyme czu vnrechte / mit dyner ku~st wölst öberlegen In sülcher weize saltu nicht pflegen [44r] fechtens mit eynem fromen man Is trete deñe erhaftige not an mit dyn° ku~st / vem zöst / nymãt dri~ge wiltu das dir sölle gelingen In allem gefechte zo rat ich dir vol/ vorlas dich of dy~ ku~st nicht czu ser vnd hab den ö dbristñ / gerechtñ fecht° vor oge~ / das her dich / by dyner ku~st icht pfloge Vnd vebe dyne ku~st czu nöten / yn rechtvertikeit vnd nicht vm~e züst • ader yn narhait So magstu alle mal bestan vör eyn fecht° / als ey~ gut° gerecht° man we~ dorvm ist derdocht fechten das man is sal veben in rechte vnd in guter worer hobischeit wen is bre~gt gelenkheit / list vnd klugheit vnde / ku~pt auch oft / das eyn man eynen vem ere / leib / vnd gut mus bestan gesigt her deñe mit syn° ku~st ritt°lich mit gote vnd mit rechte • daz lobe ich Hie merke vnd wisse / das ich vil deser meist°/gefechte vnderwege~ lasse / dorvm~e daz man sie gar / vnd auch gerecht / yn lichtnaw°s kunst vnd fechten / vor hat / noch worhaftiger ku~st / Doch durch vebunge vnd schulfechtens wille / wil ich etzliche stöcke vnd gesetze ihres gefechte~s / mit slechter vnd korczer rede schriben etc /

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This is About the “Iron Gate” Here begins with right The best technique Which the afore-named masters have Which I want to state now It is called the “iron gate” And it will immediately be known to you If it occurs that you are beset By four or six peasants quite audaciously Put forward a foot whichever one you want Make a shield for yourself with the gate Put the point on the ground Now listen what then you should cultivate You should direct yourself So that be just before your face And no one gets to you from behind Now listen how you should do Whatever they strike and thrust at you You should weaken it with setting aside Firmly upward from the ground Thus you may shame them well…

[44v] Das ist von der eyserynen pforten Hie get nü an mit rechte das aller peste gefechte das dy vorgenãten meist° habñ das wil ich dir nu sagen dy eyseryne pforte ist is genant vnd wirt dir offenbar czu hant / Ist das du bist besessen Mit vier ader sechs paw°n gar vormesse~ Setz vor wellen fus du wilt Mit der pforte~ mache du eyn schilt / den ort of dy erde lege Nu hör wes du dene salt pflege~ Dornoch du dich io salt richten das sy gar vör dynem gesichte sten vnd keyner dir kome hi~den czu / Nu hör wy du salt tun was sy of dich hawe~ vnd stechen das saltu mit abesetze~ swechen stark of von der erden zo magstu sie wol beschemen…

How one fences from the lower guards—that is to say with the sweeps. Know that it is good to fence with sweeps. Even if they are not named in the markverses, one can use the techniques from the markverses to fence from the sweeps. And the sweeps shall be done from the left side, because from the right side they are not as safe as those from the left. When you stand in the the Nebenhut out to the left side and one cuts against you down from above, sweep firmly from below up into his sword with the short edge. If he holds strongly against you and is not too high with the hands, double between the man and his sword with the short edge to the left of his neck.

Hie merck wie man fechtñ sol mit dem langen schwert / aus der huet die da haist die Eysenen pfort / vnd wie man die streichn daraus treiben sol / do vil guetter stuck aus kumen die da seltzam sein / do vil maister des schwertz nicht da von wissen zu sagen / Wiß dz vß auß den streÿchen gütt vechten ist Wie wol sÿ in der zedel nicht benampt sin So kom~en doch die stuck vsß der zedel die man daruß fichtet vichtet Vñ die streÿchen soll man trÿbenn võ der lincken sÿtten wann võ der recht~ sind sÿ nitt also gewiß alß von der lincken ~:• It~ wann du ligst In der nebenhu°t vff dine~ lincken sÿtten Vnnd ainer hawet vff dich võ oben nider So streÿch Von vnden vff vast in sin schwert mitt der kurczen schnid~ [49v] Helt er starck wider vñ ist nicht ze hoch mit den henden So duplier zwischen dem man vñ sine~ schwert ein mitt der kurczen schniden zuo sine~ lincken halß ~:•

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How one fences from the lower guards—that is to say with the sweeps (Cont.) When you sweep upwards—as previously—against his sword and he is weak in the bind and has his hands low, cut him immediately with the long edge from above into the opening. Or if he falls powerfully with the sword on top of yours, go immediately with the pommel over his sword and remain there with the hands. Then let the point go backwards to your left side; and strike him with the short edge in the head. When you sweep against his sword, if he goes up high and winds, strike him in the right side with outstretched arms and step backwards.

Item Wen du auff straichst als vor an seinem schwert helt er dan starchkt wider / so schlag pald vmb mit der twer zu seiner lincken seÿttñ / vnd duplier zwischñ dem man vnd dem schwert ein / mit der langen schneid zu seiner rechtñ seÿttñ an den hals It~ wann du vff streÿchst alß vor an sine~ schwert Ist er dann waich am schwert vñ nide~ mitt den henden So haw im zu° hand mitt der lange~ schniden oben zu° der blöß Oder fölt er dir starck mitt dem schwert vff daß din So far im bald mitt dem knopf ub über sin schwert vñ bleÿb mitt den hende~ daruff dar uff vñ laß den ort hindersich zu° diner lincken sÿtten Vnnd schnapp In mitt der kurczen schniden zu° dem haüpt ~~~:• [50r] Item weñ du Im streÿchst an sin schwert fört er hoch vff vnd windt So schlach In In die recht~ sÿtten mitt gesträchten armen Vñ tritt damitt zu° rucke ~

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How one fences from the lower guards—that is to say with the sweeps (Cont.) When you sweep up against his sword, if he goes up and winds, bind strongly with the long edge. If he strikes round with a Zwerchau, strike him in the left side with a step backwards. When you use the weapon against the man, and he holds his sword in the Zwerch in front of him and is high with the arms and tries to fall onto your sword, sweep from below against his sword and cut him onto the arms or thrust into his chest. If he is low with the hands and tries to fall on top of you, sweep through out to the other side and thrust into his chest; this is a changing-through.

It~ wann du jm vff streÿchst an sin schwert ffört er hoch vff vñ windt So sterck mitt der langen schniden Schlecht er dann vmb mit der zwerch So schlach in in die lincken sÿtten mit eine~ abtritt ~~ It~ wann du tribst die streÿchen zu° dem mann vñ helt er dañ sin schwert zwerchs vor im vnd ist hoc mitt den armen vnd will dir vff din schwert fallen So streÿch im vnden an sÿn schwert [50v] vnd schlach in vff den arm oder stoß in an die bru~st ~~ It~ ist er nider mitt den henden vnd will dir vff fallen So streÿch durch vff die anderen sÿtten vnd stoß in zu° der brust / daß ist durchgewechslet ~~

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How one fences from the lower guards—that is to say with the sweeps (Cont.) If you strike through, come down with the long edge on his sword and wind to your left so that your thumb is down. Place the strong of the long edge on the right side of his neck and leap with the right foot behind his left and jerk him over it with the move. If you change through from the strike and end up at the upper part of his sword on the other side, then you can do all the techniques as before with the Zecken and every other thing.

When you sweep through, fall with the long edge onto his sword and wind out to the left side, so that your thumb comes under. And go with the strong of the long edge against the right side of his neck, and spring with the right foot behind his left, and push him over it with the step. When you change-through from the sweeps and come to the other side onto his sword, you can perform the techniques well—as before from both sides—with fast and easy strikes and all other things.

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The Naterzungen, or “from the Point” A technique is called the “viper’s tongue” or “from the point,” and comes from the “changing through,” so that one stands in the point and does as if wanted to “change through.” As one goes at the other with the point, to both sides above the hilt with threatening thrusts, so that one always threatens the other with the point and fools him, so that other does not know where one wants to attack. As one may see where one may reach him in the surest way, one lets himself go there with the point in a complete thrust. And it must go quite rapidly, so that the other not defend against it…

[47r] Eyn gefechte heisset dy noterczunge vnd kumpt aus dem durchwechsel / ader aus dem orte / Das eyner/yn dem orte stet / vnd tut sam / her wolle durchwechseln / als vert her im mit dem orte czu beiden seite~ / ober deme gehilcze yn / mit drew stiche~ / also das her ieme vm~erm° drewt mit dem orte vnd iene~ als irre macht das her nicht weis wo im deser czu wil / wen deñe deser siet / wo her in am gewisten gehabñ mag / do vert her im yn / mt dem orte / mt eyne volkome~ stiche / vnd das mus gar risch dar gehen / das is ien° nicht weret /…

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The Pfobenzagel …And you should drive the “peacock’s tail” at them So that no one may remain well in front of you Strike from beneath in sword-fighting with counters With changing strikes strike in a hurry… …A technique is called the “peacock’s tail” and comes from the point and goes with the point around one’s sword, but in front of one’s eyes, equally around as a wheel or circle, as long as one may see where he may reach the other…

…Vnd salt mit deme pfobenczagel of sy treibñ zo mag keyn° vor dir wol bleiben Haw vnder in weitfechte~ mit paraten Mit wechselhewen haw czu drate… …Eyn gefechte heisset der pfobenczagel / vnd ku~pt aus dem orte / vnd get mit de~ orte vm eyns sw°t / aber süst eyme vor den oge~ zam ey~ rat / ader czirkel / gleich vm / So lange bis das her siet wo h°n gehabñ mag / …

That which is called “the little wheel”. When you fence with someone, stretch out your arms far in front of you so that your thumb is above the sword, and turn the sword deftly in front of you with the point going round precisely like a wheel from below out to your left side; and go in this manner against the man. And from there you can change through out to whichever side you would like or bind with him. And when you have bound you can use whatever technique you want—that which you believe will be best—as before.

[52r] Daß haist dz redel Item wann du mitt aine~ vechtest so streck din arm lanck von dir vmd vnnd daß din dawm oben blÿb vff dem schwert vnd wend dz schwert vor dir mitt dem ort vmb glÿch alß ain rad võ vnde~ vff dien lincken sÿtten behentlich vñ gang domitt zu° dem man vñ daruß so magstu [52v] durchwechslen vff welche sÿtten du wilt oder anbinden Vnnd wenn du angebunden hau~st So magstu trÿben waß stuck du wilt daß dich am besten tunckt alß vor ~

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The Krawthacke …And with the “herb hoe” So that you may sting them well But I advise ardently That toward him equally on the way… …A technique is called the “herb hoe” and comes from the “iron gate” with the point from the ground equally upward to the man and again downward. And it is quite strong, if one drives it rightly with steps equally forward, thus with everything done going upward in one step. The Weckemaister A technique is called the “baking master” and comes from the lower “hanging” on the left side, with point threatening after setting aside. And it may also well be called “from the gate,” as it places itself with the point toward one.

…vnd mit der krawthacken magstu sie wol czwacken doch rate ich zonder wan keyn in gar gleich of der ban… …Eyn gefechte heisset / dy krawthacke / vnd ku~pt aus der eiseryne~ pforte~ / mit dem orte von der erden gleich of / czu~ mañe vnd weder neder / vnd ist gar stark / wer is recht treibet / mit schrete~ gleich vorne czu / mt t itzliche~ of varn eyne~ schret getan / [47v] Eyn gefechte heisset der weckemeister / vnd ku~pt aus dem vnderhe~ge~ / czu der linken seiten / mit ort drewen noch dem abesetczen / Vnd is mag auch wol aus der pforte~ genant werden / also es sich mit deme orte key~ eyme stellet /

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Another Technique A technique is called [no name provided] and also comes from the “changing through” which one threatens with a strike from above from the right side. And one “changes through” to the left side with a good stepping aside and brings with it another strike from above, which does directly to the man, and hits in front to the scalp or crosswise in front of the face. Or do as if one wanted to do a strike from above from the right side and instead do a “pouncing strike” to the same side. And come to the left side under his sword around by stepping aside to the same side. The Drey Hew A technique is called the “three strikes,” and it is a strike from below from the right side, and then a strike from below from the left side at the strong of each sword with “setting aside.” The third strike is then directly to the scalp downward which does hit…

[48r] Eyn gefechte heisset vnd ku~pt auch aus deme durchwechsel / das eyner drewt mit eyme öbernhawe võ der rechte~ seiten / vnd durchwechselt czu der linke~ seite~ / mit eym gute~ ausschrete vnd brengt do mete ey~ and°n öberhau der do gleich czu~ mañe czu get / vnd vorne treffe/ czu d° scheitel / ader / dy twer vor daz gesichte / Ader tu zam het ey~ oberhaw wolle tue~ von der rechte~ seite~ / vnd tu ey~ störczhaw czu der selben seite~ / vnd kom czu der linke~ seite~ vnd° seyme sw°t hervem / mit eyme ausschrete czu d° selbe~ seite~ Eyn gefechte heißet / dy drey hewe / Vnd daz ist eyn venderhaw von der rechte~ seite~ / vnd deñe eyn vnd°haw võ d° linke~ seite~ stark of an iens sw°t / mit abesetze~ / den dritte~ haw deñe gleich czu der scheitel neder / d° do treffe…

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This is About the “Iron Gate” (Cont) You should at no rate remain standing still If you do not want to be a lost man Instead, whichever one at the same time Is toward you at the target To your left side To that man you should step quickly And give him a strike Which he may not swipe away And if they come again To you all full of danger You should aim well at the closest one So that it may not hit you Then, you beat one after the other But do not let yourself be too quick Together at them well Thus, you withstand well with no fear But as you learnt before As it came up in the foreword It is with great pain that the distance may remain Four or six would beat one Thus, I want to advise you now If you want to follow my teaching So that you make it to the end Leap and attack with no misfortune Before the other indeed Turns against you, as before You may well notice and pay attention Whether you with any matters Might part from them without injury Thus, leap bravely from them as I say As it is no shame or disgrace To flee from the four, six or more As you then begin As it is no shame or disgrace To flee from the four, six or more As you then begin To run and you leap from them Throw your sword crosswise Behind, well above your head And run as much as you may run Which of them still hunts you most And thinks that he is now close to you Leap aside from the way As he runs to you, swindle after Whoever rushes to you So that he cannot resist Thus, you beat him down at your wish

[45r] du mit nichte salt bleibñ stan wiltu nicht sey~ ey~ vorlorner man Sonder weler czu der selbñ vrist keyn dir an deme ende ist czu deyner linken seiten key~ deme saltu balde schreite~ vnd im gebñ eynen slag / der her nicht abelecken mag vnd ab sy weder quemen dar keyn dir alle als var den endesten du io salt abe czelen zo mag dirs nicht wol velen du slest eyne~ vor den andern noch Nur la dir nicht seyn goch Mit eynander of sy gar so bestestu wol an alle var Doch als du vor hast vornome~ wy in der vorrede dar ist kome~ das is mülich dy lenge möchte stan vier ader seche dy gesigte~ eyme an Dorvem wil ich nu raten dir wiltu and° volge~ myner ler alzo als du in czu deme am ende springest vnd hurtest ane missewe~de E deñe sich dy andern gar weder keyn dir kere~ / als vor So magstu wol merke~ vnd achte ab du mt keyn°ley sachen von in möchtest kome~ ane schade zo sprink ku~lich von in als ich sage [45v] wen is ist nicht schãde / ader vner Czu flien / vier seche ader mer weñe du deñe begynnest czu lawfen vnd von in spri~gest So wirf deyn sw°t dy twere hinden ober dyn hawpt sere vnd lawf / was du gelawfe~ magst weler dir deñe / am sureste~ noch iagt / das dich du~ket her sey dir nu na zo spri~k beseitz aus dem wege da So lawft her dir zo swinde noch wen of dich / zo ist im goch das her sich / nicht mag haldñ weder So slestu in noch wonsche derneder

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If you want to go splendidly against someone from scholastic swordsmanship in combative games, desiring to drive at him beautifully, then first shake your sword bravely and assume immediately the “fence guard” on both sides, and search for the guards broadly from one side to the other with steps. Then come to the lower “hangings” also on both sides with steps. Then come in the upper “hangings” on both sides with steps. Then come to the “cross strikes” on both sides with steps, so that as you do one of the aforementioned techniques to one side, you also step with it. If you do it on the left side, put the right foot forward and vice versa.

[52v] Wiltu weydenlich / czu eyme gehen / in schulvechte~ / zo du schimpf / vnd höscheit gerest treiben / So schöte czu~ erste~ dyn sw°t mutticleich / Vnd valle czu hant in dy schrankhute / czu beyde~ seite~ / vnd süche dy leger weydlich / von eyn° seite~ of / dy ander / mit schreten / Dornoch kom in dy venderhenge~ / auch czu beide~ seite~ / mit schrete~ / Dornoch kom / in dy öberhenge~ czu beyden seite~ / mit schrete~ / Dornoch kom in dy twer hewe / czu beiden seiten / mit schrete~ / alzo / we~ du der egnanten gefechte eyns fürest / czu eyner seite~ / das du do mete schreitest / fürest du is czu der linke~ seiten / zo secze de~ rechte~ fus vor / et eqt~ / vnd das volbre~ge als / e du czu ieme komest / als vnd°wege / wen du den czu ieme ku~pst / zo treib deñe etzwas redlichs / was do czu schimpfe tawg etc

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If you want to go splendidly against someone from scholastic swordsmanship in combative games, desiring to drive at him beautifully (Cont.) And drive it as soon as you come to him—when underway, as you come to him, drive something quickly, whatever is proper to combative games. And strike rather the upper openings than the lower ones, and go to him as if above the hilt. And think about the teaching stated above, before all the things, so that you acquire the “first strike.” And as soon as you do it, then do immediately the “strike after,” with no delay and no waiting, as if you wanted to do them together, if possible. And always drive one after the other quickly and bravely, so that if one misses then another hits, and has primacy, so that the adversary does not get to strike.

Vnd reme io liber / der ob°n / bloßen den / der vndern / vnd var im als ober dem gehilcze yn / vnd gedenke der vorgeschreben lere / vor allen sache~ / alzo das du de~ vorslag gewyñest / vnd als bald du de~ tust / zo tu czu hant de~ nochslag dornach an vnderlos vnd an zümenüss / recht zam du sy mit ey~nãder wollest tue~ / ab is mögelich were vnd treibe vm~erm° eyns noch dem and°n rischlich vnd künlich / ab eyns vele / das das and° treffe / vnd vorgank habe / vnd das io ien° mit nichte czu slage kome /