Longsword Composite

Liechtenauers Blofechten 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 Dbringer 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 Liechtenauers 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 Marxbrder and the Veiterfechter.
Collected here in this document are several of the most significant commentaries on Liechtenauers 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 Dbringer
Hausbuch, as translated by David Lindholm,
4
followed by Liechtenauers Zedel in as complete a form as is currently available. In this
presentation of the poem, the main text is Keith Farrells translation of the Dresden version of Sigmund von Ein Ringecks treatise;
5
the
italic text is Lindholms translation of the additional verses unique to the Dbringer Hausbuch.
Following this are three rows of text and images. The top row is Lindholms translation of the anonymous gloss in the Dbringer
Hausbuch, accompanied by images from the Munich version of Paulus Kals treatise where appropriate.
6
In a few places, this is
augmented by the brief fragment of anonymous commentary found on ff 57r59v of Codex Ringeck,
7
cast in italic text with the
transcription in green. The middle row consists of Farrells translation of the Dresden version of Ringecks treatise, accompanied by
images from the Glasgow version of the treatise,
8
Hans Medels 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 transcripti on. The
bottom row includes Mike Rasmussons translation
11
of the Krakow version
12
of the Anonymous Gloss of Liechtenauers 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 Masters 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
abiski, Grzegorz. "Unarmored Longsword Combat by Master Liechtenauer via Priest Dbringer." 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 Dbringer: fechtbuch from 1389. Document circulated online, 2005.
5
Farrell, Keith. MS Dresden C487: Commentary by Sigmund Ringeck on Liechtenauers 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: Schsische 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: Universittsbibliothek Augsburg, 1539.
10
Anonymous. Untitled [manuscript]. Cod.I.6.4.2. Augsburg, Germany: Universittsbibliothek Augsburg, ca. 1470.
11
Rasmusson, Mike. Goliath. Schielhau.org, 2005.
12
Anonymous. Goliath [manuscript]. MS Germ.Quart.2020. Krakw, Poland: Biblioteka Jagielloska, 15101520.
13
Anonymous. Untitled [manuscript]. Cod.44.A.8. Rome, Italy: Biblioteca dellAccademia Nazionale dei Lincei e Corsiniana, 1452.
14
Anonymous. Untitled [manuscript]. Codex I.6.4.3. Augsburg, Germany: Universittsbibliothek Augsburg, ca. 1450s.
15
Anonymous. Untitled [manuscript]. MS M.I.29. Salzburg, Austria: Universittsbibliothek Salzburg, 1491.
16
Hagedorn, Dierk. Hammaborg Historical Swordsmanship. http://www.hammaborg.de/en/transkriptionen/index.php.
Here begins Master Liechtenauers 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
Liechtenauers 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,
Exercises 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 asremember 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 Liechtenauers 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.

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 shallbefore 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 opponents
openings. 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 Liechtenauers 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
anothers 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.


Here Begins the Knightly Art of the Long Sword

In Saint Georges 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 de langen
schwerts ~
[3r] IN sant Jrgen namen hbt an die kunst de fechtens
die gedicht vnd gemacht hat Johanns liechtnawer der ain
hocher maister In den kunste~ gewesen ist dem gott gendig
s
De ersten mitt dem langen schwert Dar nach mitt dem spie
Vnnd dem schwert zu ro Vnnd och mitt dem kurczen schwert
zu dem kampf als her nach geschriben stat ~~~~~~
[3r] Alhe hebt sich an dye zedel der Ritterlichen kunst
des fechtens dye do geticht vnd gemacht hat Johans
Liechtenawer der ain hocher maister In den knsten
gewesen ist dem got genadig se
Des ersten mit dem langen swert Dar nach mit der glefen
vnd mit dem swert zw ro Dar nach mit dem krtzen swert zw
champf vnd dar umb d kust fur~sten vnd herren Ritter vnd
knechten zw gehrt das sy dy wissen vnd lernen sullen So hat er
die selbig kunst igleich besunder lassen schreiben mit verporgen
vnd verdackten woten Dar umb das s nit yderman vernemen
noch versteen sol als du s her nach geschriben wirst vinden vnd
hat das getan durch der leichtfertigen schirmaister willen De
Irr kunst gering wegen das sein kunst von den selbigen maister
nicht gemain noch geoffenwart sol werden solichen lewten die
dye kunst In wirden nicht behalten als an da der kunst zw
gehrt ~
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 fue /
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 stge lse schon
Messer bockler has v rken
Taeg darde vnd schilt
Miden allen zu ringe~ uff du wilt
Mandleich bederben
vnd In ander henden verderben
Haw drein vnd hurt dar
Rausch hin trif oder la far
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 frlichen mut / mit limpf /
So magstu achten
vnd mit gutem mute betrachten /
Was du salt fren
vnd keyn im dich rren /
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 bermut /
bis sitik das ist dir gut /
Der ist eyn kner 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 frwen
Haw nahent was du wild
kain wechslr kumpt an deinen schilt
Haw nicht czu~ swerte /
zonder / stets der bloe warte /
zw kopff zu leib
de zegt nicht vermed
Mit gantzem leib
vicht was du starck gerest treben
Hr was da slecht ist
Vicht nicht oben linck So du recht pist
Vnd ab dw linck pist
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, guardssoft 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.
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 nmmer geler
Kunheit vnd rischeit /
vorsichtikeit list vnd klugheit
Vornu~ft verborge~heit /
moe bevorbetrachtu~ge / hobsheit
fetikeit
/
Wil fechten haben
vnd frlichs gemte tragen
ffnff hw lere von der
recht hant wer dy were
denn wir geloben
In kunsten ger zw lon
komet un der rechte grund
Daz ist ltzeln fechtern kund

Das ist der / text / in deme her neet / dy fnff / hewe vnd
andere stcke des fecht
Zor haw krump twer
hat schiler mitt schaitlar
Alber vorsetzt
nachraissen hw setzt
berlouffen bind wol an
nit stand luog wa er kan
Durch wechsel zuck
durchlauff Abschneid hende druck
heng wind mit plsen
Schlach vach streich stich mit stssen

Das ist von deme Czornhawe etc
Wer dir berhwt
zorhaw ort dem drawt
wirt er es gewar
Nm oben ab ne far
Pi starck her wider
wind stich sicht leger waich oder ers nm es nyder
Das eben merck
haw stich leger waich oder hert
Inndes vnd var nach
an hrt Dein krieg sey nicht gach

Das ist der krieck
Wes der krieg Rempt
oben nden wirt er beschempt
In allen winden
Haw stich schndt lere vinden
Auch soltu mit
prufen Haw stich oder schnd
In allen treffen
den maister wiltu sy effen ~
Haw nicht czum swerte /
zonder stets der blen warte /
Czu koppe czu leibe /
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.

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 blen kere /
Wer weite vm~e hewet /
d wt 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 [?] begyen

Das ist von den vier blssen etc etc
Vier plssen wisse
Reme so schlestu gewisse
An alle vare
An zwefel wie er geparr
hastu es vernomen zu kain
schlag mag er komen

Von den vier blssen / wy man dy bricht

Wildu dich rechen
Dye vier plss kunstlich prechen
Oben duplir
Nyden recht mutir
Ich sag fur war
Sich schtzt 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 maister 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 wei vor war
wo es sey ane far

Das ist von deme Twerehawe / etc
Twer benympt
was vom tag her chmpt
Twer mit der sterck
Dein arbait do mit meck
Twer zw dem pflueg
zw dem ochsen hart gefg
Was sich wol twert
mit sprngen dem haupt gevert
Veler wer frt
Von vnden nach wnscher rurt
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
Durchluffer auch mit ringt
den elpogen
Gewi nm spring im in die wage
Veler zwifach
Trifft mann den schnit mit mach
Zwifach es frpas
Scheitt in linck vnd pis nicht las ~
wen alles vechte~
wil rischeit hab von rechte /
Dorczu auch kunheit
vorsichtikeit list vnde klugheit

Das ist von deme schilhawe : ~
Schiler ain pricht
was pffel slecht oder sticht
wer wechsel drawt
schiler dar aus Inn beraubt
Schil krtzt er dich an
Durch wechsel gesigt im an
Schill zw dem ort
vnd nym den hals ane vorcht
Schill zw dem ber
haubt hend wild du bedber ~
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 betwben
Die faller in kunst berowben

Das ist von deme scheitelhawe etc ~
Der scheitlar
dem antltzt ist gevar
Mit seiner kar
der prft vast gefer
was von m kmpt
D kron das abnympt
Schneid durch dye kron
So prichstu sye hart schon
De striche druck
Mit schntten s ab zuck ~
Den scheitelhaw ich preize /
k~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 unmr ~

Das it von vier vorsetczen
Vier sind vor setzen
dye d leger auch sere letzen
Vor fursetzen hett dich
Geschicht das auch ser es mt dich
Ob dir vor setzt ist
vnd wie das dar chmen ist
Hr was ich dir ratte
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.
Rei 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 begnne
vnd prff de gefert
Ob s sind waich oder hert
Das ful lere
Inndes das wort schneidet sere
Nach rasen 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 gczem leibe /
nochreize / deyn ort io da pleibe /
lere auch behende /
reize~ / zo magstu wol enden

Das ist von berlawfen / 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 drkt neder
berlawf in slach sere weder /
Von beiden seite~
berlawf vnd merke dy sneiden /

Das ist von abesetczen / das lere wol ~
Lere absetzen
haw stich kunstlich letzen
wer auff 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
durchwechsel In schier vindet
Wen du durchwechselt hast /
slach stich / ader winde nicht laz /
Haw nicht czu~ swte /
durchwechsel do mete warte

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, guardssoft or hard.

About Speaking Window:
Doing the speaking window:
stand straight, observe what he does.
Strike in, when he twitches.

Das ist vom Czcken / ffecht merke /
Trit nahent Inn pinden
Das zucken gibt gute fnde
Zuck trifft er zuck mer
Arbait erfinde Das tut ym we
Zuck allen treffen
den maister wiltu s effen
Czuk/ab vom swerte /
vnd gedenke io deyner ferte / durchlawf /

Das ist von durchlawfen / n 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 d herten
von vnden in baiden geferten
Vier sind der schndt
Zwen vnden zwen oben mit
Czwir wer wol sneidet /
den schaden her gne meidet /
Sneit nicht in vreize /
betrachte~ io vor dy reize /
du magst wol sneiden
alle krewtz / nr reisen vormeiden /
wiltu ane schade~ bleibe~ /
zo bis nicht gee mt de~ / sneide~

Das ist von hende drcken/ etc etc
Das schwertt bind zu der flche
truckh in die hend von die
Dein schneid wende
zw flechen druck de hende
Eyn anders / ist wenden
eyns winden / das dritten hengen /
Wiltu mache~ vordrossen /
dy vechter / zo drucke mit stssen /
Ober dy hende /
hewstu hewet man snete behe~de /
Czewch och dy~ snete /
obe~ aus ber de~ hewpte /
Wer he~de drckit /
ane schade~ / vor fi~ger czckit /

Das ist von hengen / ffecht daz lere / ~
Zwa hengen werden
Aus ein hant von der erden
In allem geferte
Haw stich leger waich oder herte

Das ist v sprech fenster dy aurichtu~g
Sprechfenster mach
Stant freileich besich sein sache
Slach in das er schnobe
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 fr war
Sich schtz 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 flen 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 wind
wen aus den henge~ /
saltu dy wi~den bre~gen /

Das ist die beschliessung der zedel
Wer wol frt vnd recht pricht
vnd endlich gar bericht
vnd pricht besunder
Igleichs in dre wunder
wer recht wol henget
vnd winden do mit pringet
V winden acht
Mit recht wegen betracht
vnd zo[?] ir eine
Der selben winden selbdritt ich meine
So sind ir zwaintzigk
vnd vier zell s antzigk
von paiden seitt
Acht winden lere mit schreiten
Vnd pruef de gefert
Nicht mer nr waich oder hert


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 vlegu~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 s
der hatt die zedel lauen schrbe~ mitt verborgen v verdeckte~
worten Daru~b dz die kunst nitt gemain solt werde~ Vnd die
selbige~ vborgne v verdeckte wort hatt maister [11r]
Sigmund ain ringeck der zt des hochgeborne~ frsten v
herre her aulbrecht pfalczgrauen b Rin v herczog in baern
schirmaiste~ Glosieret v augelegt al hie in disem biechlin
her nach geschrben stt dz s ain ede~ fechter wol vermen
vnd vestan mag der da ande~st fechten kan ~
[9v] Alhe 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 gendig sey vnd
dar vmb das die kunst frsten vnd herren Ritt vnd knechten zu
gehrt das s die wissen vnd lernen sullen Dar vmb hat er s
lass schreiben mit verporgen vnd verdachten worten das s
eder man nicht vernemen vnd versten sol vnd hat das getan
durch der leichtfertigen schirmaister willen die ir kunst gering
wegen das von den selbigen maister 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 s ydermann wol vernemen vnd
versten mag der do anders fechten kan
He merck eben auff was im anfang der hernachgeschriben
stuck mit rot geschrib ist das ist der text der verporgen wort der
zedel des langen swertz vnd albeg die nachst swartz geschrib
schrifft das ist die glos vnd die aus legu~g der verporgen vnd
verdachten wort der zedel
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 gutter gemainer lere des langen
schwerts
Willtu kunst schowen
Sich linck gen v recht mitt hawen
V linck mitt rechtem /
ist dz du starck gerst fechten :

Glosa Merck dz ist die erst lere des [12r] langes schwercz dz du
die hew v baden stten recht solt lernen hawen Ist dz du
annders starck v 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 gt genyne ler des langen schwertz /
doch ist vil gtter verborgen knst 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 hw solt lernen gerecht hawen ist das du
anders starck vechten wilt

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 nm allso Wenn du wilt howe~ von der rechten stten
So sich dz dein k lincker fu vor stee V wenn du wilt howe~
v der lincken stten so sich dz dein rechter fu vor stee Haw
Hustu dann den ober haw von der rechten stten so folg dem
haw nach mitt dem rechten fu tust du dz nicht / so ist der
how falsch vnd vngerecht wann dein [12v] rechte sten pleibpt
dahinden Daru~ ist der haw zu kurcz v mag sein rechten gang
vndersich zu der rechten sten andere~ stten vor dem lincken
fu nicht gehaben
Des glchen wenn du hawst von der lyncken stten vnd dem
haw nicht nachfolgest mitt dem lincken fu so ist der haw och
falsch Daru~ so merck von welcher stten du haust / dz du mitt
dem selbige~n fu haw nachfolgest so magstu mitt sterck alle
dein stuck gerecht trbe Vnnd also sllen 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 nm also wenn dw mit dem lincken fues vor stest
vnd haust vor deiner rechten seitt 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 ander 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 seten das thue albeg mit dem rechten
fuess dem haw nach volgest Des selben geleichen te auch wenn
du haust von der lincken seitten So gibt sich dein leib do mit
recht in die wag Also werden d hw lanck vnd gerecht gehauen
~
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.
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 bloe 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 v aine~ lere
Wer nach gat hawen /
der darff sich kunst wenig frwen
Haw nachent wa du wilt
kain wechsel kumpt in dein schilt
Zu koppff zu lbe /
die zeck nicht vermde /
mitt ganczem lb
ficht wa du strarck gerst zu trben :

Glosa Wenn du mitt dem zufechten zu im kumpst so solt du vff
sein hew nicht sechen noch warten wie er die gegen dir trbt
wann alle fechte~ die do sechen v warten vff aines anderen
hew Vnnd wellend ander nicht nicht~ thon [13v] da
verseczen die durffen sich sllicher kunst wenig frwen wann s
werden do b 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 frwen

Glosa das ist wenn du mit dem zu vecht zu im kumpst So
soltu nicht still sten vnd auff sein hw sehen noch warten was
er gegen dir vicht wist das alle vechter dye do sehen vnd warten
auff eins ander hw vnd wollen anders nicht thuen wenn vor
setzen die bedrffen sich solicher kunst gar wenig frwen wenn
s ist vernicht vnd werden do pey geslagen

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 trb mitt
ganczer strck deines lbs Vnnd haw im do mitt nahent ein zu
kopff v zu lb so mag er vor dinem ort nicht durch wechslen
V mitt dem haw solt du im den anbinden des schwerts der zek
zeckrure nicht vermyden zu der nchsten bl di dir hernach
in den fnff hewen vnd in anderen stucken vgericht [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 wechslr kumpt an dein schilt
Zu koppf zw leib
die zeck nit ver meid
Mit gantzm~ leib
vicht was du starck gerest treben ~

[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 hw im do mit nahent ein zu kopf vnd zu leib vnd
pleib im mit dem ort fur dem gesicht oder der prst so kan er fur
dem ort nicht durch gewechsel vor setzt er mit sterck vnd lest
denn ort von dir aus gen auff d seitt So gib im ein zeck rr auf
den arm~
Oder vert er mit der vorsatzu~g hoch auff mit den armen So
slach im mit einem freen haw vnden zu dem leib vnd trit pald
do mit zu ruck So ist er geslagen ee wenn er sein Inn wirt
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.

Her 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
Hre wa du schlecht ist /
ficht nitt oben linck / so du recht bist
V ob du linck bist
Im rechte~ auch ser hinckest :

Glosa Mrck die lere trifft an zwu personen aine~ lincken vnd
ain grechten / v mainest den man zu schlagen So haw den
ersten haw Das vernm also Wann du mitt zu fechten zu im
kumpst Bist du dann gerecht v mainest den man zu schlachen
So haw den erste~ haw nicht von der lingen stten Wann der
ist schwach vnd magst damitt nicht [14v] wider gehalten wann
man dir starck daruff bindt Darum so haw der rechten stten /
so magst du starck am schwert mitt kunst arbaten wa 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
stten Des glich ist es och aine~ rechten von der lincken stten
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
Hr 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 vernm also wenn du mit dem zu vechten zu m
kumpst pistu denn gerecht so haw mit namen den ersten haw
nicht von der lincken setten 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 ~
Before and after, these two things,
Are the source of all the arts.
Weak and strong,
As soon asremember 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 recht
link
ischen 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 /
moe bevorbetrachtu~ge / hobsheit
fetikeit
/
Wil fechten haben
vnd frlichs gemte 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.
Da ist der text v lere ain lere von vor und nach
Vor v nach die zwa dinck /
snd aller kunst ain vrsprimg
Schwch v strck /
In/des / da wort domitt mrck
So magst [15r] du leren
mitt kunst arbaiten v were
Er schrickstu gern /
kain fechten nim~er lern geler :

Glosa Merck dz ist dz du vor allen sachen wol solt verston da
vor und da nach / wann die zwa ding sind ain vrspru~g do
alle kunst des fechten augt
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 d tzwa dinck
Sind aller ku~st ein vrspring
Swech vnd sterck
Inndes das wort do mit merck
So magstu ler
Mit kunst arbaitten vnd weren
Der schrickestu ger
kain uecht nmer geler

Glosa Merck das ist das du vor allen sachen recht solt vernemen
vnd ver sten dy tzwa 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 vernmpst v 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 frsten vnd
herren das s mit rechter gunst des swertz wol mgen besten In
kampff vnd in erst

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
Da vernm also Da for das vor da ist dz du all weg solt
vorkum~en mitt aine~ haw ode~ mitt aine~ sch stich Im zu der
bl Ee wann er dir zu der deinen so mu er dir verseczen / so
arbat in der versachung behentlich fr dich mitt dem schwert
[15v] von ainer be bl zu der andere~ so mag er vor deiner
arbat zu seine~ stucken nicht kom~en Aber laufft er dir ein
enn 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 kmen es se mit dem haw
oder mit dem stich ee wenn er vnd wenn du ee kumpst mit dem
haw oder sst das er dir vor setz mes So arbait Inndes
behentlich In der versatzung fr dich mit dem swert oder snst
mit ander stucken So mag er zu kainen arbait komen ~

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 mrck was da hasst da nach
Mrck magstu zu dem vor nitt kom~en So wart uff dz nach dz
snd die brch uff allen stuck die er vff dich trbt Das vernm
also Wann er vorkumpt da du ihm verseczen must So arbait
mitt der versczung / Indes behentlich fr dich zu der nchsten
bl So triffestdu in ee Wann [16r] er sein stuck verbringtt Also
gewinstu aber dz f vor V er blpt nach Auch soltu in dem vor
v nach mrcken 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 prch wider alle stuck vnd hw die man
auff dich treibt vnd das vernm 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 plss So
prichstu m sein vor mit deinem nach ~

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
heartit does not help youit defeats all of your skills.
der strck seines schwert
Vnd das vernm Also Von dem gehulcze des schwerts by bi in
die mitten der clingen Hatt dz schwert fin sin strcke dar mitt
du wol magst wide~ gehalten wann man dir dar an bindt V
frba von der mitt bi an den ort hat es sein schwch da magst
nitt nicht wider [16v] gehalten V wenn du die ding recht
verstest So magstu mitt kunst wol arbaitten v dich darmitt
wren v frba lerne~ frsten v her~e dz s mitt der
selbige~ kunst wol mgen besten In schim~pff v in ernst Aber
erschrckstu gern so saltu die kunst des fechtens nitt lerne~
Wann ain blds verzags hercz dz tut kain gut wann es wirt b
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 vernm also am swert von dem
gehltz pis in die mitt der klingen so ist die sterck des swertz
vnd frpas 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
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 neet / dy fnff / hewe
vnd andere stcke 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 v den fnf hewen
Fnff hew lere von der
[17r] rechten hand Wer dz wre
dem wir geloben / in kunsten
gern zu lonen ~:

Merck die zedel seczt fnff verborgne hew Da von vil maiste~
des schwerts nicht wissen zuo zu sagen Die soltu anders nicht
lerne~ hawen wann v der rechten stten gege~ dem der sich
gegen dir stllet zu der were V versuch b du mitt aine~ haw
vs den fnffen den man mitt dem ersten schlag mgest treffen
Wer dir die brechenn kan on seine~ schaden / so wirt im gelopt
Von dem maiste~ der zedeln da im siner kunst [17v] bas
gelonet soll werde~ dann aine~ andern fechtern der wde~ die
funff hew nicht fechten kann V wie du die fnff hew howen
solt / dz fndest 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 hwen vnd die glos
[12v] ffnff hw lere von der
rechten hant wer die were
dem wir geloben In kunst
ger zu lonen

Glosa Merck es sind fnff verporgen hw 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
ander maister das ym seiner kunst pas gelont sol werden
denn einem andern vechter vnd wie man die hw mit ir
stucken hawen sol das wirt dir hernach vor klert werden

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 berlawft
hewe letzt / Durchwechselt czukt
durchlawft / abesneit hende drukt /
Henge wind mit blen / slag
vach strich stich mit sten /:~
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 v den stucken de~ zedeln
Zorn haw krump zwerch hat
Schiller / mitt schaittler
Alber verseczt / nachrasen Vberlauff
hav haw seczet Durch wechsel zuck
durch lauff abschnide / hende dn druck /
heng v mitt blssen schlach
vach strech sch stich mitt stossen :

Glosa [18r] Mrck hie werden genampt die rechten haptstucke
der kunst de langen schwerts wie ettlichs besunde~ haist mit
dem namen / da du die dester ba ver sten kndest Der ist
sibenzechen an der zal Vnd heben sich an den funff hewen an /
Item num nun mrck 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
Zor hw krumpp twer hat
schiler mit schaitlar
Alber vorsetzt Nachraisen vberlauff
haw setzt Durchwechsel zuck
durchlauf abschneid hende druck
heng wind mit plssen
Slach vach streich stich mit stssen ~

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 s dester pas erkennen v vorsten
kindest
Das erst das sind die fnff hw 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 fnfft der schaitel haw

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 [berlaufen],
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 Drcken],
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 da sind die vier [18v] htten
Das sbent die vier verseczen
Das acht die nachraisen
Das neindt die berlauffen
Das J zechend die abseczen
Da alfft da durchwechlen
Das zwlfft da zucken
Da drzehend die durchluffen :/
da vierzehend die abschnden :
da funffzehend die hend trucken
Da sechzehend die hengen
Da sibenzehend da sind die winden
Vnnd wie du dich mitt den heng~ und winden enplsen solt Vnd
wie du alle vorgenampte stuck trben solt da 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 hutten ~
Item Das ander die vier vorsetz
Item dritt die nachreisen
Item das vierd berlauffen
Item Das funft die absetz
Item das sechst ist das durch wechsel
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 plo geb solt Das wirstu also nach ein
ander am nagst hernach geschriben vinden
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 edgeas has been described earlieragainst 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 schlcht So
schlach [57v] den zornhaw mittder lange~ schnide~ al er dir
gewst 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 he hebt sich an der text vnd die glos
Des ersten von dem zorhw mit seinen stucken

Wer dir oberhawt
zorhaw ort dem drawt

Glosa Merck der zorhaw pricht mit dem ort alle oberhaw vnd
ist doch anders nicht wenn ein slchter paur slagk vnd den
treib also Wenn dw mit dem zu vechten zu ym kumst haut er
dir denn von seiner recht 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 m
swert so se im den ort gericht fr sich lanck ein vnd stich im
zu dem [13v] gesicht oder der prst So setz im an
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.

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 thisthat is to say, the pointand defends
with an open parry, so take off abovejust 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
bindas I have shown for youwith 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 zor haus
Wirt er es gewar
So nm oben ab ane far

Glosa Merck das ist wenn du nn im mit dem zorhaw ein haust
So seu im den ort lanck ein zu dem gesicht oder prst als vor
geschriben stet wirt er denn orts gewar vnd vor setzt starck vnd
druckt dir dein swert auf die seitt So rei mit deinem swert an
seiner swertz clingen vber sich auf oben ab von seinem swert
vnd haw m zw der ander 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 ~~ ~

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~ da abneme~
Mrck wenn du mitt ainem starck am schwert bindest Ruckt er
dan sein schwert bersich oben abe von dine~ schwert v haw~t
dir zu der andere~ stten am schwert wider en zuo dem kopffe
So bind starck mitt der langen schnden Im oben en 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 nt weiter vbersich vff reissen
mit dinem schwertt dan bi an sinen ortt Indes schlag yn wider yn
zu dem kopff ~~
Itm~ eyn bruch wider dz abnemen wan er dir oben ab nmpt 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 nmpt so pind an seinem swert
starck oben ein ze seinem kopff mit der langen schneid ~

Itm~ eyn ander bruch
Indes so er ab nmpt so dritt besitz v dem schlag vnd arbeytt
im zue nechsten blo mit dem haulbe ~

alliud
Itm~ wan du mit der verkerte~ hant v 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 rei starck hyndersich so
nmbstu Im dz schwertt vnd din ort gat im zu dem gesichtt ~~
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 correctlyas you have learned hereand 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 wi b ainer vff dich schlecht da du den zornot allain och
wol darin magst trben / Vnnd du bist och verseczt wenn du den
recht trbst al du des vnderricht bist Vnnd ist b zu verseczen
Wann du aine~ v~bel zu wllst So tr trb in vff aine~ er mach
wa er wl er schlach ode~ stech vff dich So mu er den
versecze~ So kumpstu zu den vorgemelten stucken ~

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

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.

When you use the winding against him and thrust down from
aboveas mentioned alreadyand 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.

[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 nmb oben ab oder ander arbeit nm dir daru
~

alliud ~
Itm~ wan du oben abgenmen 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~ v eynander machen vnd mit dem ortt
stossen ~~
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 abovebefore, after, as soon as, weak,
strong, and strikes, thrusts and cutsyou 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~ wrter / 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 zor haw
Das eben merck
haw stich leger waich oder hert
Inndes vnd var nach
An hurtt dein krieg se nicht gach

Glosa Merck das ist wenn er dir mit einem haw oder mit eine~
stich oder snst 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 plss als dir her nach in den stucken
vorklert vnd aus gericht wirt
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 ob / des du remest / zo triffestu vnden als du wirst hre~
wy sich eyns aus dem andn macht / noch rechtvertiger kunst /
besu~der hewe stiche snete / Vnd salt nicht czu eyns swte
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 trb also Wam [!] du Im mitt dem zorn haw~ In
haw~est Al bald er dann verseczt so far wol vff mitt den armen
v wind im den ort am schwert ein zu der obern bl verseczt
er denn den stich So blb sten in de~ winden v stich mitt dem
ort die vnder bl folgt er dann frba mitt der versaczu~ge
dem ss schwert nach so far mitt dem ort vnde~ sn schwert
durch v heng im den ort oben ein zu de~ andere~ bl sine~
rechten stten Also wirt er mitt dem krieg oben v vnden
beschmpt Ist da du die ge[22r]frt andrest recht kanst trben~
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 nden wirt er beschempt

Glosa Merck der krieg das sein die winden vnd die arbait die dar
auf get mit dem ort zu den vier plssen vnd den treib also wenn
du mit dem zorhaw einhawst Als pald er denn versetzt so var
wol auf mit den armen vnd wind im den ort m swert oben ein
zu der ber plss seiner lincken seitten Setzt er denn den ober
stich ab so pleib also sten in dem winden mit dem gehultz vor
deinem haubt vnd las den ort nider sincken zu der vnder plss
aber seine lincken seitten volgt er denn mit der vor satzu~g
deinem swert noch So suech mit dem ort die vnder ploss seiner
recht seitt Volgt er denn frpas 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 ber plss seiner rechten
seitten Also wirt er mit dem krieg oben vnd nden beschempt
Ist das du In anders recht treibst
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.
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
prfen hewe stiche ader snete /
In allen treffen /
den meistern wiltu sie effen /
Haw nicht czum swerte /
zonder stets der blen 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 blen kere /
Wer weite vm~e hewet /
d wt 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
brch brffen / hew stich oder schnitt
In allen treffen
den maistern wilt du s effen :

Glosa Da ist da du in allen winden hew stich v schnitt recht
finden solt Also wenn du windest dz du da mitt zu handt solt
brffen weches dir vnder den de dren da best s zu triben al
also dz du nicht hav~est wann du steche~ solt v nit schnidest
wa du hawen solt v nicht stechest [22v] wann du schniden
solt V mrck wan man dir der anes verseczt dz du in mitt
dem andern treffest Also / versecz man dir den stich so trb
treb den haw Laufft man dir enn so treb den vndern schnitt
In sin arm morck in allen treffen v 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 zorhaw
In allen winden
haw stich snt lere vinden
Auch soltu nit
prfen haw stich ode schnit
In allen treffen
Den maister wiltu s effen

Glosa Merck das ist wenn [15r] du im mit dem zorhaw ein
haust So soltu mit den winden am swert gar wol gebt vnd
gantz fertig sein wenn ein iglichs winden hat dre 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 gehrent 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 gehrt dar zu zu
treiben in allen treffen vnd an pinden des swertz wildu anders
die maister effen
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 [?] begyen

Auch mag m vorneme~ / das der erste vse mochte alzo
stehen / wem du berhewest czornhaw / deme drewt der ort /
des czornhaws etc. Nr 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 gent mge~ werdn / das [24r] das ist der berhaw / vnd
der vnderhaw / von beiden seiten / dy sint dy hawpt hewe vnd
gru~t aller ander hewe / wy wol dy selb vrsachlich vnd
gru~tlich / auch kome~ aus dem orte des swtes / 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 frt vnd recht pricht ~ ~
Itm~ wan du machen wilt eyn haulb vnd ein stich vnd eyn
schnidt So thn 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 bede arm ~
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
adversarys 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 ones 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
others 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 m alle hewe vnd stiche ader leger / letzt
vnd bricht / vnd aus den man auch yn dy vier he~ge~ ku~pt /
aus den m[g] wol ku~st treib mag / als m hernoch wirt horen

/ Vnd wy ey~ m 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 gewue / 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 swt ku~pt / mt
dem swte / 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~ mchte / vnd io of das neste / vnd nicht
weit vem / das ien icht e queme wen deser / ab sich deser icht
lasse~ vnd zme~ wrde / vnd czu trege wer / ad czu weit
wolde dar kome~ vnd czu vre vem

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 swordrather 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 blo 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 blo ist die recht stt sett
die ander ist die link sett oberhalben der girtel de man Die
ander zwuo sind och die recht vnd die linck setten vnderhalben
der girtel Der blossen nm eben war in dem zufechten mitt
welcher er sich gege~ dir enblsse der selbigen reme knstlichen
on far mitt einschiessen des langen orts mit nachraisen v sunst
mit allen gefrten v acht nitt wie er mit sne~ gefrten gegen
dir bar gebar So vichtest du gewis vnnd schlechst schlege
daru 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 plssen
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 plss mit kunst suechen sol wil er anders
gerecht vnd gewis vechten Die erst plss ist die recht seit die
ander die linck oberhalb der [15v] grtel des mans die ander
zwo plss das sind auch die recht vnd linck sett vnderhalb der
gurtel Nu sind zwa gefert dar aus man die plssen suechen sol
Zw dem ersten sol man s suechen aus dem zw fechten mit
nach rasen vnd mit ein schiessen des langen ortes Zw dem
ander mal sol man s suechen mit den acht winden wenn einer
dem ander an das swert gepunden hat
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 m
kumst das dw albeg mit einem haw oder mit einem stich
kunleich an alle vorcht solt reme~ der vier plssen 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 plss
vnd also rem albeg der plssen 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 plo der man gegen dir entplost der
selben plo reme knlichen an var mit n schissen des langen
ortz vnd mit noch riessen vnd mit winde~ am schwertt [17v] vnd
auch sns mit namen allen gefertenn vnd acht nicht wie er mit
sinen gefertem gegen dir gebare so schlechstu In gewis ~
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 blssen / wy man dy bricht
WIltu dich rechen /
vier bl ssen ku~stlichen brechen /
Oben duplire
do neden rechte~ mutire /
Ich sage vorware /
sich schtzt 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.

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 glo von de~ dupliern vnd von dem
mutier Wie die brechen die vier blossen ~
Wilt du rechen
Die vier blossen knstlich brechen
Oben duplir /
vnden recht mutier
Ich sag dir fr war /
sich scu schcz kain maiste~ an far
Haustu es recht vernom~en
zu schlage mag er klain kom~en :

Glosa Da ist Wann du dich an eine~ rechen wilt also / dz du im
die vier blossen mitt kunst wilt brechen d So trb dz dupliern
zu der oberen bo blssen gen de~ strcki seines schwerts v da
mutiern zu der anderen bls [24r] So sag ich dir fr war da
er sich dar von nitt schczen 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 plssen sol
prech
Wiltu dich rechen
Die vier plss kunstlich prechen
Oben duplier
Niden recht mutir
Ich sag dir fr wr
Sich schutzt [16r] kain man ane far
Hastu vernomen
zu slag mag er klain kmen etc.

Glosa Merck wenn dir einer erstlich ein hawt wiltu dich dann
an im rechten vnd m die plssen mit kunst an gewinnen das er
sich an seinem danck slahen mues lassen So dreib das duplir
gegen der sterck seins swertz vnd das mutir wenn er swach am
swert ist So sag ich dir fur war Das er sich fr dir vor slegen
nicht beschtzen mag vnd kan selber zu slegen nicht kmen

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


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.

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~ stken stucken
Krump vff behende /
wirff den ort vff die hende :

Glosa Da ist wie du krump solt hawen zu den henden v da
stuck trb also wenn er dir von deine~ recht~ stten mitt aine~
obern ode~ vndern haw~ zu der blss haw~et So [25r] spring
vs dem haw mitt dinem recht~ fu gege~ im wol vff sin
Lincke stten v schlach in mit gecrczenten 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 hw letzet

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.

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:
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 v dem krumphaw
Item wann du mitt aine~ fichtest wa aine~ zu dir schlcht da
nitt recht gerichts von oben ab vff [58v] dich kompt da versecz
mitt der krinn Wann die Zedel spricht
Wer kru~mp wol verseczt
mitt sti strtten vil hew verseczt leczt
Das ist so ainer zu dir schlecht So far im krump daruff vnd so
hau~st du da ee komen / alber arbat arbat / vnnd wind im
dine~ ort zu oder aine~ schlag So mu er dir verseczen So
kmpst du aber zu mer straichen die du denn vff in magst
trben Veller / oder sto oder / ewich winde~ oder sunst strech /
oder berfallen Wann dir aine~ z nider verseczet oder zu wit
frt mitt der versaczung ~~~~
Krump wer wol seczet
mitt schrtten er vil hew~ leczet ~:

Glosa Da ist wie du mitt dem komp krump haw die obern hw
abseczen solt da stuck trb also Wann er dir von sme sine~
rechten stten oben ein hawet zu der blos so schrt mitt dem
rechten fu vff sn lincke sten v~ber sin schwert / mit dem ort
[25v] vff die erden In die schranckhte dz trb zu baden
stten Och magstu In v dem abseczen vff dz haupt schlachen ~
Another technique from the Krumphau.

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.

To set aside with the Krumphau (Cont.)
You shall also use handsome setting-asides against cuts and thrustsas
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.
Item och solt du hpschlichen absecze~ [59r] trben vff hew
oder stich al du de vnder richt bist Dz du nitt zu grob dar
nach farst Vnnd dz dein ort allmal gege~ sine~ angesicht stee zu
aine~ sto V ist da er von dine~ absecze~ schlecht vff die
anderen stten So far im nitt nach v wind sam v du vff die
andern stten wllest och abseczen Vnnd blb vnnd stos sto so
bist du verseczt vnnd so mu er dine~ sto retten So kumpst du
aber zu dine~ arbat
Item morck b aine~ och etwas der zedel kan v dir dine stuck
krump verseczt So windt [59v] er din den sto och zu So hab
achtu~g daruff vnd secz im sinen stich ode~ schlag seberlich ab
v darin scheub im dine~ sto mitt zu ode~ aine~ schlag Also
da du allweg arbaitst da er dir al schier mu verseczen al
du im Vnd we du dich de bst da du de fertig bist we du
aine~ verseczst / da du nichtst arbaitst es enen sto ode~
schlag So magstu den Irre v pricht im da er frsich vff dich
genom~en hat wann er mu e daz din vor brechen v
verseczen ~


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 treb v der schrankhut also
Item hawet aine~ dir oben zu oder von vnden vff So haw~ du
im krump ein zu der bl mitt aine~ vtrtt /
Item oder haw~ im krump zum flechten vnd al bald es klczt
So [52r] such die nach mitt der kurczen schnid~ schnde~ ~~~

It~ od oder tr trb den verkerer mitt dem ort zu sine~ gesicht v
we er dir anbindt So sterck mitt der lange~ schniden v magst
alle stuck I trben die vor genampt sind in den strchen ~
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.

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 others 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 peacocks 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
gent werd aus der pforte~ / wen eyn den ort gleich von sich
neder stellet of dy erd / vnd von wae dee eyner of in hewt
ader sticht / zo vasse her ieme syne~ ort des swtes / mt dem als
her key~ im of vert / mt dem abesetcze~ / vnd sla / im vnde~
czu~ fssen 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 ob / 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 schranckhutt die mach also
Item wann du mitt aine~ fichtest v nahent zu im kump kompst
So stand mitt dem lincken fu fr v leg dz schwert mitt dem
ort vff die erde zu diner rechte~ stten v dz die lang schnid
oben s v v der lincken stten die kurcz schnid vnden / vnd
der fu 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.

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 backI 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 dee trift / dy fleche~ [i]enes [sw]ert / zo sal her
stark dor of bleiben / vnd vaste drucken / vnd sal sehen / was
her dee am endlichste~ vnd geradste~ / dar bre~ge~ mag / mit
hewen stichen ader sneten /
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.

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 maister wiltu sy swechen
Wenn es klitzt oben
So stand ab das wil ich loben

Glosa Merck das stuck soltu treiben gegen den maister aus dem
pandt des swertz vnd das treib also Wenn dw mit dem zu
vechten zu m kumpst So leg dein swert zu deiner rechten
seitten in die schranck hut vnd stee mit dem lincken fuess vor
oder hald es an deiner rechten achsel Haut er dir dann oben zu
der plss So haw starck mit der langen schneid aus gekrutzten
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 m zu dem gesicht Oder wildu
yn nicht stechen So haw m Indes mit der kurtzen schneid vom
swert zu kopff oder zw leib
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 geprt /
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.
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 al ob du mitt dem krumphaw an sin schwert
wllest binden Vnnd kurcz vnd far mitt dem ort vnde~ sn sine~
schwert durch vnd wind vff din rechte sttenn dein gehlcz
ber din hppt 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
m mit dem krump haw an sein swert wellest pinden vnd var
mit dem ort vnd seine~ swert durch vnd stich ym zw der
ander seitten zu dem gesicht oder der prust vnd wart das dw
oben vor dem haubt mit dem gehltz wol gedackt seist

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

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.
Mrck wie man den krumphaw brechen sol ~
[26v] Krump wer dich Irret /
der edel krieg in verwret
Da er frwar nicht wast :
wo er s one far :

Glosa Da ist Wann du im von diner rechten stten ober ode~
vnden zu haw~est Hawt er dann och von sner rechten stten
mit gekreutzen armen krump vff din schwert V veriret dir do
mitt dein hew~ So blb mitt dine~ schwert starck an dem sine~
Vnnd sch 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 se ane far

Glosa Merck wenn dw den krump haw treiben wild So mstu
dich albeg do mit plos geben vnd das vernm 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 pl
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 fr pas mit
dein krieg das ist mit den winden zw den plsen So wirt er vor
Irrt das er fr war nicht wirt wissen welichen enden er sich fr
dir vor hwen oder fr stechen beschtzen sol etc ~

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 brch ber den krumphaw
Mrck wenn du im von diner rechten stten oben ein hawst
Hawt er de och v sine~ recht~ stten mit gekrenczten armen
komp [27r] Vff dein schwert vnd drckt 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 haupt vnd secze Im dein ort obe~
an dei die brust
Glosa Versetzt er dir das so plb also sten mit dem gehu~lcz vo
dem hau~pt vnd arbait behendtlich mit dem ort von aine~ blo
zu der andere~ Das hayset der edel krig Da mit verwirst 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
youll confuse him so much that he will not know how to defend
himself against your attacks.
Itm~ ein bruch wider den krmpt haulb
so du im den ortt vnter sin schwertt in schuest zu siner brust
druck er dan mit dem krmpt 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 ener plos
zu der andern dz [21r] heist der krieg do mit verirest In so gar
dz er nit wei wo er sich hutte~ soll ~~
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 geschreb / vnd der sal vr 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 ob neder /

Veller wer fret
von vnden noch wonch wonsche her ri rret /
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 verfret
von vnden nach wnsch er rurret

Glosa Der veler ist ein stuck do mit vil vecht geplendt werden
vnd nach wunsch gerrt vnd geslagen die do ger vor setzen
vnd die do vechtent zw dem swert vnd nicht zw den plsen des
leibs
Merck wenn du mit dem ze vechten zu m kumpst So the als
dw im mit einem freen oberhaw zu dem kopff wellest slachen
vnd verzuck den haw vnd slach Im mit der twer zu der vnder
plss 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

alliud ~
Itm~ den feller tribe also wan du mit dem zu vechte~ zu dem
man kmpst so haulb die vntern haulb von beide~ site~ chmstu
dan yn in mit eynem vnter haulb von diner rechte~ site~ so
schue im den ort do mit lang in zu der brust so mu er
versetzen so spring bald mit dem lincke~ fus vff sin rechte site~
vnd thn 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 kmpstu von der lincke~ site~ mit dem vnter haulb an
yn so schu im den ort oben lang in vnd tribe dz gefertt als vor
an zu dem nechsten geschreben stetht ~~

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 vs dem zwerhaw vnd da hasst der
verkerer ~
Verkerer zwinget
durch laeffe~ au~ch mit ringet
den elenbogen gewisse nm
spring Im In die wage

Glosa Merck das stu~ck solt also trbere~ wen d 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
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 kerer
Vor kerer twinget
durchlauffer auch mit ringet
Den elpogen gewi nm
spring m in die wage

Glosa Merck den ver kerer haissent dir vechter den halbt haw
oder die wendhant do mit twingt man den man Das m 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 e vnd e 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

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 fr sein rechten vnd
sts in also vber den fes

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 / al d 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.


..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 velr
Veler zwifach
Trift man den schnidt mit mach
Zwifach es fr pas
Schreit in linck vnd pis nicht las

Glosa merck Das haist der zwifach veler den treib also Wenn dw
mit dem zu vecht [23r] zu im kumpst So stee mit dem lincken
fes vor vnd halt dein swert an deiner recht achsel vnd wenn
es dir eben ist So spri~g gegen m wol auff mit dem rechten
fuess auff sein lincke seitten vnd thue als dw Im mit einem
freen twerslag zu seiner lincken seitten zu dem kopff wellest
hauen vnd vor zuck den haw vnd spring mit dem lincken fess
auff sein rechte seitt vnd slach in do selbest hin zu dem kopff

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 misleadingabout 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.

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 km~et /

[27v] Glosa / Hie merke vnd wisse / das of dem ganczen / swte
/ 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 vrdn / czu
allen blossen / vnden vnde oben / Vnd alles das von dem tage
dar ku~pt / das sint dy bn hewe / ader was sst von obe~ neder
gehet / das bricht vnd / weret eyner / mit den twer hewen / der
dy wol kan dar bre~gen / ader das swt wol vrwirft / dy twer
vor / das hawpt / czu weler seiten her wil / recht zam her in dy
obn henge~ ader winden wolle kome~ / Nr das eyner in den
twerhewe~ / dy flechen des swtes / 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 benmpt
was vom tag her chumpt

Glosa Merck der twer haw pricht die hut vom tag vnd alle haw
die von oben nder gehauen werden vnd die twer treib also wenn
du mit dem [19r] zu m 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 m vnd m sprung wind dein swert mit dem
gehltz fr dein haubt das dein dawmen vnden km vnd slach
m mit der kurtzen schneid gegen seiner lincken seitten zw dem
kopff

[21v] Item wan er ee kmpt mit dem ober haulb kmpt 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 kmen magst so stos im mit dem
gehultz sin schwertt hin weck vnd schlag vff din rechte site~
vmb vnd such die andern plo ~

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 km
auch vor mit dem zwerch haulb vnter sin schwertt an den hals
~~

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 swordwith the hilt high in front
of your head, so that your thumb comes underand 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 benmp
was v tag her kmpt

Glosa Merck de~ zwerhaw bricht alle hew die v oben nder
gehawe~ werde~ vnd den haw trb also We~ er dir oben In
hawet zu dem kopf So spring mit dem rechte~ fu [27v] gen
Im v 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 vaschd sine~ haw In din
gehu~ltz vnd triffest In zu dem kopff ~

Oder kumpt er vor mit dem haw von oben nder 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 gehltz vnd slach n 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 plo 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 bl also
stan vnd leg im die kurtz schnid an den hals


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 vorhut vom tag v ainer vff dich hawet
mitt der schwerch So haw den zornhaw glch mit im ein
starck vff sin schwert v such die bl mitt dem ort v will er
denn vm sich schlachen mitt der zwerch zu der andern stten
So kom du vor mitt der zwerch mitt vnder sn schwert zu sine~
hal
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.


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

oder schnd in mitt der langen schnden In die arm wenn er vm
schlcht ~
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.


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 v dem zwerhaw
Itm~ wan d Im mit der zwer an sin schwert bindest Ist da er
waich am schwert So leg Im die kurtze~ schnde~ zu seine~
rechte~ sytten an den hal vnd spring mit dem rechte~ fu
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.


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.

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 swt
czu kome~ / vnd wen den eyner eyme an das swt ku~pt / wy
das nr dar kome~ ist / zo mag ien mlich von im kome~ / her
wirt von desem geslage~ czu beiden seiten mit den twerhewe~ /
den wy her eynen twerhaw nr dar bre~gt / czu weler seite~ is
ist / vnden ader oben / zo get im io das swt ob / 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 v dem zwerhaw
Zwer mit der stoerck
den arbait do mit moerck

Glosa Das ist wie d mit der stoerck auss der zwer arbaite~ solt
vnd dem thun also / we~ d Im mit der zwer zu hauest So
gedenck das d Im mit der zwer sterck deines schwerts starck In
das Sin Helt den er starck wyder So schlach In am schwert mit
gekrtte~ gekru~czte~ arme~ hinder seines schwertz klinge~ vff
den kopff [28r] oder schnd In mit dem stuck drch 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
s slachen mit gantzer sterck deins leibs vnd das dw mit der
sterck deines swertz albeg pindest an sein swert Do mit
gewinstu ym die pl an Das vernm also Wenn dw m mit der
twer von dein rechten setten zw haust vor setzt er vnd pint do
mit starck an dein swert So treib das duplir
Itm~ Ist er aber mit der versatzng zu starck dz du zu den
stucken nit kumen magst

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 v dem zwerhaw
Merck we~ du Im v der zwer mit der stoerck deines schwerts
an sin Schwert bindest helt den er starck wder So stoss mit
deine~ gehlcz sin schwert v 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~ nmpt dich eyner by dem hals zu diner rechte~ site~ so lo
din schwertt v 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 da gat zu beide~ zu


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 d Im mit der zwer an sin schwert bindest Ist er
dan waich am schwert So truck mit der zwer sin schwert nde
vnd leg Im die kurtze~ schnde~ hinde~ sinen arme~ vorne~ an
den hal
[20v] Aber ein annders
Wenn du m von deiner rechten seitten mit der twer starck zw
haust vor setzt er vnd ist waich am swert so var m mit der
kurtzen schneid deins swertz zw seiner rechten seitten an den
hals vnd spring mit dem rechten fuess hinder seinen lincken
fe vnd ruck yn mit der swertz klingen also darber
oder treib das mutiren im zw der vnder plss

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 v dir och ainer mitt der zwerch wolt
forne~ fr komen vnder dine~ schwert an den hal So fall im
nider mitt der langen schnde~ starck vff sin schwert So ist es
gebrochen nm die nchsten bl 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 m oben
ein ze dem kopff mit dem schnappen Oder slach yn mit dem
duplir mit der recht hant oben vber sein swert vnter das
gesicht die weil er sein swert an deinem hals hat ~
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.

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 dee den vorslag alzo gewi~t mt de~ twerhaw her
treffe / czu der eyne~ seyte~ / her treffe ader vele / zo sal her
dee als balde in eyme rawsche im~ediate an vndloz / den
nochslag gewien / mit dem twerhaw czu der andn seiten / mit
der vrdn sneiden / e den sich ien key~s slags ader ichsichcz
irhole / noch d vorgeschrebe~ lere / Vnd sal dee twern czu
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 fess vor vnd wenn es dir eben ist So spring mit
dem rechten fess geg m wol auff sein lincke seitten vnd
slach n aus der twer mit krafft gegen sein lincken seitten zw
der vnder plss Das haist zw dem phlueg geslagen vor setzt
[21v] er So slach im pald zw der ber pl sein rechten
seitten Das haist zw dem ochsen vnd treib dann die twer sleg
behendlich albeg ainen zu dem ochsen vnd den ander zw dem
phleg krutzweis von ein seitten zw der ander das ist zw
kopff vnd zu leib
What you cross strike
With a leap you endanger.

And when one must fight for ones 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 spr~gen dem hew geferet /

Vnd wen eyner vem syne~ hals slde fechten So solde her
schaffen / mit her der vorgeschreb [28r] lere / das her mit
eyme gute~ twerhawe den vorslag / gewue / 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 dee dar placzte
/ mit eyme twerhaw ob von der rechte~ seiten / mit der
hindern sneid ieme gleich ob 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 dee wen eyner wol tweret / mit eyme gute~ ausschrete ader
spronge / zo mag sichs ien mlich 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
Wa sich wol zwerch
mit springe~ dem haupt geferet

Glosa das ist das d mit ainem yden zwerschlage wol v solt
springe~ Im vff die sytte~ / do d Im zu schlage~ wylt so mag
st In wol treffe~ zu siene~ haupt vnd wart das d In dem
spru~ng oben vor dine~ haupt mit diene~ gehu~ltze~ vol bedeck
sest
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 gehltz wol gedackt seist

Hie merck den pruch wider die vnder twer schleg /
Merck / wen du im von deiner recht seitt an sein schwert
pindest / schlecht er dan vom schwert vmb mit der twer dir zu
der andern pls deiner recht seitt / so pleib mit deinem gehiltz
vber deinem haubt / vnd verwendt dein schwertz kling vndter
sich gegen seinem haw / vnd stich im zu der vndtern pls / als
am nachst 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.

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 pffel n slet ader sticht /
wer wechsel drawet
schiler dor aus in berawbet /

/ Glosa / Hie merke vnd wisse das eyn kru~phaw
schilhaw
/ ist eyn
berhaw von der / rechten seiten / mit der hindern sneiden des
swtes / dy die linke seite ist gent / vnd get recht zam schilende
ader schiks dar / czu eyner zeite~ aus geschreten / czu der
rechten / mit vorwantem swte / vnd vorworfner hant / Vnd der
selbe haw der bricht als das pffel / das ist ey~ pawer / mag
geslaen / von ob 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 buffalosthose who take their mastery through violent
strength.
Der schilhaw mitt sine~ stucken
Schiller ein bricht
wa bufle schlecht order stcht /
Wer wech sel trawet
schiller In dar v 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

Schilr ein pricht
was pffel schlecht oder sticht
wer wechsel draut
Schilr dar aus In beraupt

Glosa Merck der schilr pricht die hut die do haist der pflugk
vnd ist ein seltzam [23v] gut ehaft haw wenn er pricht mit
gewalt ein Inn haw vnd in stichen vnd get zu mit verkrtem
swert Dar vmb sind viel maister des swertz die von dem haw
nicht wissen ze sagen ~

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.


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 m stest vnd beheldest dein swert an deiner
rechten achsel stet er denn gegen dir in der hut des phluegs vnd
wil dir vnden zu stechen So haw In mit dem schilr 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 m mit der
kurtzen schnide~ lanck oben In so mag er dich vnte~ mit dem
stich nit erlangenn ~
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 krczt 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 scheid / swt
czucken siet von in beiden / Do sal m sterken / vnd dy schrete
eb 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 vechter die da kurtz fecht / au dem ochsn / aus
dem pflueg / vnd mit allen winden vor dem man / den wechsl
frlich durch / au hawen vnd as stech mit dem langen ort /
damit bestengistu~ (?) sy an dem schwert das sy dich mu~ess
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.


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 v von Im mit dem
haulb so ist sin schwertt verkurtzett vnd allen vechtern die so
kurtz vechte~ den wechsel frolich durch au haulben vnd au
stichen mit dem [26v] langen ort do mit bestetigestu sie an dem
schwertt dz sie dich mssen zu dem an binde~ lassen kumen vnd
sich schlagen loen ~~
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
himselfso 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 / prfe / vnd mt lere abe sprink /
Volge allen treffen / den starken / wiltu sy effen / Wert her so
czucke / stich / wert her / io czu ym rcke / Dy winden / vnd
hengen / lere kunstlichen dar brengen / Vnd prfe dy ferte / ab
sy sint weich aber herte / Ab her dee stark vicht zo bistu
ku~stlich bericht / Vnd greiffet her weite ader lenge an / das
schissen gesigt im an / Mit synem slaen / harte schtzt her sich
triff ane forchte / Haw dreyn vnd hurt dar / rawsche hin / trif
ader la varn /
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.

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 bern
hawpte hende wiltu bedbern /
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 swte / zonder stetzs der blssen warte / Du
treffest ader velest / zo trachte das du der blssen remest / Mit
beiden henden / czu~ oge~ ort lere bre~gen / fficht io mt syen /
vnd allemal den vorslag gewye / her treffe ader vele / mit dem
nochslage czu hant reme / Czu~ beiden seiten / czu der rechten /
seite
mit
im schreite / So magstu mit gewye / fechtens ader
ringens begynnen /
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.

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~ stuck v de~ schillhaw
Der schayteler mitt sine~ stucken
Der schaytler
dem antlytz ist gefer

Hie merck der schatler ist dem antltz vnd der bru~st
gefaerlich den tryb also We~ er gen dir stat In der hut aulber So
haw mit der langen schnde v der lange schattlen obe~ nder
vnd belb [33r] mit dem haw hoch mit de~ arme~ vnd heng Im
mit de~ ort ein zu dem geschte
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

Dem schaitlr
dem antlutz ist gevr...

Glosa Merck der schaitlr pricht die hut die da haist alber vnd
ist dar zu dem antltz vnd der prust mit seiner ker gar
gevardlich Den treib also Wenn dw mit dem zu vechten zw m
kumpst legt er sich denn gegen dir in die hut alber So setz den
lincken fuess vor vnd halt dein swert an deiner rechten achsel
Inn der hut vnd spring zw Im vnd haw mit der langen schneid
starck von oben nider Im zu dem kopff
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
bersich 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 gehltz 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 vekere din schwertt mit dem gehultz fast vber sich
fur din hauptt vnd setz im den ortt vnte~ an sin brust ~~
What comes from it,
That takes the crown off

Was von ym kmet
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 schatler bricht
Wa v Im komp /
die kron das abnmpt

Glosa Merck wan d 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 em
Whatever comes from him,
it's taken with the Crown,

...was von m kumpt
Die kron das ab nmpt...

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 drcke
mit sneten sie abe rcke /
Den scheitelhaw ich preize /
k~pt her dar / nicht czu leize /

[32r] lichtnawer helt nur eczwas v den vier leger dorv~me das
sy aus den ober vnd vnder henge~ geh doraus m 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.

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 hnen gestrecktt ~~

This is About the Four Guards.
Four guards only
Know them and flee from the mob.
The ox, the plough, the fool,
From the roofshould 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 leger
[25v] Vier leger allain
da von halt vnd fleuch die gemain
Ochs phlueg alber
vom tag se dir nicht vnn mr

Glosa Merck die vier leger das sein die vier huten da du aus
fechten solt Die erst hutt ist vnd haist der ochs do schick dich
also mit Stee mit dem lincken fuess vor v halt dein swert neben
deiner rechten seitt mit dem gehltz vor dem haubt das dein
dawmen vnder dem swert sey vnd heng m den ort gegen dem
gesicht

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.

The First Guard the Plough,
is when one puts the point in front of himself on the ground or
at ones 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 hut
Merck die hutt haist alber do schick dich also mit Stee mit dem
rechten fess vor vnd halt dein swert mit gerackten armen fr
dir mit dem ort auff der erd das die kurtz schneid oben gewntt
se ~

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 hut
Merck die hutt haist vom tag Do schick dich also mit Stee mit
dem lincken fue vor vnd halt dein swert an deiner recht achsel
oder mit auff gerackten armen hoch ber dem haubt vnd stee
also in der hut ~

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 ht dich
geschiet das auch sere mt dich /

/ Glosa / Hie merke / das vier vorsetczen sint / czu beiden /
seiten / czu itlich seiten / eyn obers / vnd eyns venders / vnd dy
letcze~ ader brech / alle[illegible] hute~ ader leger / vnd wy du
von ob / ader von vnde~ / eyme / hewe stiche ader snete / mit
deyme swte 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 versetz / die die
vier leger prechen /
Vier sind versetze~
Die die lege~ au~ch ser letze~
v versetze~ hiet dich /
geschicht es ser es [35r] mt dich

Glosa Merck d hast vor gehort das d alain v viern legern
vechte~ solt So solt d 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 schllhaw der bricht die hu~t de pflugs

der vierdt ist der schaittler der bricht die hut 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 gehrt was da sind die vier hutten So
soltu nw auch wissen die vier vorsetzen die die selbigen vier
htten prechen Och gehort kain vor setzen dar zw nicht Wenn
es sind vier hw die s prechen
Merck ~ der erst haw ist der krumphaw der pricht die hut die
do haist der ochs ~~~~
[26v] Merck Der ander haw das ist der twer haw der pricht die
hut vom tag
Merck Der dritt haw das ist der schilr der pricht die hut die da
haist der phlueg ~
Merck Der vierd haw das ist der schaitlr der pricht die hut die
da haist alber vnd wie dw die vier huten mit den hauen prechen
solt das vindestu vor in den selbigen hwen geschriben dar
vmb hut dich vor versetzen gege~ den hutte~ wiltu anders mit
schlegen nit geschendt werdenn ~~

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 ht dich v alle~ versetze~ die die schlechte~ vechter trbe~
vnd merck we~ er hawt / So haw och / vnd we~ er sticht so
stych och / Vnd wie d hawe~ vnd stechen solt / das findest d
In de~ fnff 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 metzs dich

Glosa Merck das ist das du nicht versetzen solt als die gemainen
vechter thuen wenn die versetzen So halden s 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 pl nicht wissen zw schen
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 nchst pl So mag dich kain
maister an seinen schaden geschlachen
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 versczu~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.


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 rie mit dinem schwertt an siner
schwet 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
chmpt so far mit dem knoff vber sin versetzte hantt vnd rie do
mit vndersich vnd mit dem reissen schlag in do mit dem schwertt
vff din kopff ~~

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 schwet vff dz din dz du dar mit nit vff
kmen magst so far behendlich mit dem knopff vber sin schwet
vnd rie din clinge~ vnte~ von der siner vnnd schlag in mit den
schnappen mit der lange~ schnide~ zm felt er dir aber gegen dir
der lincke~ site~ vff dz schwet so schlag in mit der kurtzen
schnide~
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~ / v itzlicher seite~ / ey~ bhaw vnd ey~ venderhaw /
vnd gen yn dy vier henge~ we~ als bald als eyn vorsetzt v
vnde~ / ader von ob / zo sal her czu ht yn dy he~gen komen
Vnd als her mt der vrdn 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 Nachraen
Nach rasse lere
zwfach oder schnd In die were

Glosa Das ist das d die nach raysen wol lerne~ solt / wan s
sind zwayerlay Die erste~ trb / we~ er dir obe~ In will hawe~
So merck [37r] die wil er dz schwert vff zcht zu dem schlag so
rase im nach mitt dem hawe oder mitt aine~ stich v triff in
zu den obern bl ee er mit de~ haw wide~ kump ode~ fall im
mitt de~ lange~ schnide~ oben in sin arm v truck in domitt von
dir
Ode~ will er dich stechen so mrck die wil er dz schwert zu
im zcht zu dem stich so ra im nach v 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 gehrent zw dem erst
die soltu treib 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 hut 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 km du vor vnd scheus Im den langen ort [27v] ein zw der
nagsten plss ee wenn er den haw oder den stich vorpringt vnd wart ob
dw ym magst an gesetzen des geleichen thue 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
km vor mit der versatzung vnd schu im den ort lang In zu der
nechsten plo siner rechte~ site~ ~~

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
schu im den ort lang In zu der nesten plo siner lincke~ site~ ~
Itm~ oder hautt er dir zu von vnte~ vff von siner lincken site~ so
schu im den ort lang In zu der vntern plo 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 m behendtleich zw der nagsten plss ~
Itm~ du solt auch dz wissen als bald ir zu same~ kmpt Im zr
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 plo 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 m dir
ein ruer loen ~
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
Zwa esserw mnne
Der arbait dar nach begnne
vnd prf die gefert
Ob s sind waich oder hert

Glosa Merck der nachraisen ist vil vnd manigerla vnd gehrt
zw treiben au hwen vnd aus stichen mit grosser frsichtigkait
gegen den vechter die da aus freem vnd langen hwen fechten
vnd snst von rechter kunst des swertz nicht wollen halden ~

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 v oben zu hawst la er dam [!] sein schwert
mitt dem haw nider gen zu der erden So ra 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.

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 vs der
versatzung mit der zwer bald vmb dich zu diner rechte~ site~ so
km 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 z dem kopff ~~


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~er nm
Itm~ wen du geim fichtest~ v vnder hawe~ oder su~nst v
[38r] den vndere~ geferte~ v~berylet er dich den vnd windt dir
vff da schwert / ee / w d do mit vff komest So blieb mit dem
schwert starck vnde~ an dem sine~ we~der den vnd arbait dir
zu dem obern bl So volg mit dem schwert nach vnd mit der
lange~ schnden nm 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 hwen
Merck wenn du gegen im vichtest aus vnder hawen oder aus
den streichen oder ligst gegen Im In der hut 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 bersich 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 pl Oder slecht er vom swert vmb so volg oder rai In
mit dem ort aber nach als vor

alliud ~
Merck Dw solt aus allen hwen v aus allen hutt im nach
raisen als pald dw erkenst wenn er sich von dir verhaut oder
emplst mit dem swert oder wart das du dich mit dem nach
raisen selber nicht emplst noch verhaust vnd das merck zw
paiden seitten ~
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.
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 flen 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 gczem 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 wrt schndet sere

Glosa das ist das d das fle~ / vnd das wort In das wol lerne~ /
vnd verstan solt wan die zw ding gehoeren zu same~ vnd sind
die groete 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 fl vnd von
dem wort das da Inndes haisset

Das fl lere
Inndes das wort schneidet sere

Glosa Merck das fl vnd das wort Inndes die grst vnd die pst
kunst im swert ist vnd wer ein maister des swertz ist oder sein
wil vnd kan nicht das fl vnd vernmpt nicht dar zw das wort
Inndes So ist er nicht ein maister wenn er [29r] ist ein pffel des
swertz Dar vmb soltu die tzwai ding vor allen sachen gar wol
lernen das dw si recht verstest ~

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 vernm [38v] also we~ ainer dem andere~ an das
schwert bindt / So solt In dem al de schweet zu same~ gltz
schon zu hand fulle~ / eber waych oder hort angebunde~ hab /
Vnd al bald d das empfindest hau~st So gedenck an das wort /
In des / das ist das d In den selbe~ enpfinde~ behendtliche~
nach der waich vnd nach der hort mit dem mit schwert solt
arbaite~ zu der nechste~ blo 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 fl vnd von dem wort das da
haist Inndes
Merck wenn du mit dem zu vechten zw Im kumpst vnd einer
dem ander an das swert pindet So soltu In dem als die swert
zw sammen klitz zw hant fl ob er waich oder hert an
gepnden 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

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 v / Indes /
muttiert Indes / laufft durch v / Indes / nimpt de~ schnitt /
Indes / ringt mitt / vn Indes / nimpt im dz schwert / Indes tut in
de~ kunst [39r] wa dein hercz beger / Indes ist / ein scharpffes
wort damitt alle fechte~ verschnitten werden b des wortz worts
nichten wissen V 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 fl vnd das wort Inndes ein dinck ist vnd ains an das
ander nicht gesein mag vnd das vernm also we du Im an sein
swert pindest So mstu ze hant mit dem wort Inndes fl Aber
am swert waich oder har hert ist vnd wenn dw hast geflt So
mstu aber Inndes arbaitten nach der waich vnd nach der hert
am swert Also sein s paidew nicht wenn ein dinck vnd das
wort Inndes das ist zw vor aus In allen stucken vnd das vernm
also Inndes dupliert Inndes mutirt ~~ [29v] Inndes wechselt
durch Inndes laufft durch Inndes nmpt den schnit Indes ringet
mit Inndes nmpt das swert Inndes thuet was dein hertz begert

Inndes das ist ein scharffes wort Do mit alle maister des swertz
vorschnten werden die das wort nicht wissen noch vernmen
Das ist der schlssel der kunst ~
Attack after twofold
Make the old cut.
Follow all meetings
At blade-strongs if you will fool them.
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.

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 berlawfen / ffechter sich czu /
WEr vnden remet
berlawf den / der wirt beschemet /
Wen is klitzt oben
so sterke das ger ich loben /
Deyn erbeit mache
ader herte drcke czwefache /
Wer dich drkt neder
berlawf in slach sere weder /
Von beiden seite~
berlawf 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 de vnden zw den vnder plssen 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 sche Im den ort oben lanck ein
zw dem gesicht oder der prust vnd setz m oben an so mag er
dich vnden nicht erlangen wenn alle ober an setzen prech 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 plss oder lass in arbaitten vnd
kum dw Inndes so trifestu In

Text on the overunning (Cont.)
Itm~ merck wen du im starck vff sin schwertt bindest gebnde~
hast schlecht er dan v der versatzng 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 plo als vor dz
tribe zu bede~ site~
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.
[34r] Das ist von abesetczen / das lere wol ~
LEre abesetczen
hewe stiche k~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.

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] Mrck ain zu fechten v den absczen
Item wann du mitt aine~ fichtest vnd wenn du nachend zu im
kompst So kom in dem pflug v trb den behentlich mitt winden
v aine~ stten zu der andern V dz din ort stets dir belib Vnd
v dem magst du trben da verseczen / da ist die nech v zu
dem magstu stercken mitt der laig langen schniden v daru
trben alle vorgenampte stu~ck och magstu hew vnd stich
abseczen vnd die schlechtlich brechen mitt winden / vnd mitt
dem ort de bl schen /
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 v ober haulben vnd v
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~ ligst dan In dem wechsell haulb so verwind din schwertt
In den pflug vnd setz ab haulb oder stich Indes arbeit
behendeglich zu der nesten ploes mit allen geferte~ dz gat von
bed~ site~ ~~

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~ swte /
durchwechsel do mete warte

/ Glosa / :~ Hie merke / das durchwechsel gar gerade czugehet /
czu beiden seiten / von oben neder / vnd von vnden of / wer is
ands 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 /
v baden stten 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 durchwechsel
Durchwechsel lere
von paiden seitten stich mit sere
wer auf dich pindet
Durchwechsel In schir vindet

[31r] Glosa Merck der durchwechsel ist vil vnd manigerla Die
soltu treiben gegen den vechter die do ger vorsetzen vnd die
do hawen zw dem swert vnd nicht zw den plssen des leibs Die
soltu gar wol lernen treiben mit frsichtigkait das mann dir icht
an setz oder snst ein kum dieweil du durchwechselst
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 ander sett /

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.

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 mayand go
quite quicklyabove 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 drckt / mit seyme swte / So
la dyn ort sinken von der selben seiten vnder seyme swerte
hervem / czu der andn seiten / nicht weit vem / zonder vnden
an sym swte / zo du neste magst / vnd da var ym gar rischlich /
ber dem gehilcze yn / mit eyme guten volkomen stiche / vnd
wen du flest das du trifts / zo volge wol noch Vnd alz du v
eyner seite~ tust / vnde~ ad oben / zo tu v der andn / Vnd wer
mit dir anbindet / zo rawsche an sym swte hin keyn seyner
ble / mit dym orte / wt her zo durchwechsel / also vor / ader
wind vnd fle sein geferte / ab is sey weich ader herte / dornoch
sch hewe stiche / ad snete / key~ de~ blen /
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~ fue vor vnd halt im dz
lang gege~ de~ gesicht haut er d obe~ oder vndte~ zu dem
schwert / vnd wil das hin weg schlag / so la dein ort vntersich
sincken vnd stich in zu der andern pls der ander seytt 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 z fechten zw Im kumpst So setz den lincken
fues vor vnd halt Im den langen ort gegen dem gesicht hawt er
dir de 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 ander seitten das
treib gegen [31v] allen hwen do mit man dir zu dem swert
hawt

Item das stuck mercke gar eben
Wie dw solt durch wechsel das man dir die weil icht an setz
die weil dw durch wechselst vnd das vernm also wenn er dir
vor setzt vnd lest den ort neben dir beseit aus gen So wechsel
kndlich durch vnd stich ym zw der ander seitten
Oder pleibt er dir mit dem ort vor dem gesicht oder sunst gegen
ander plssen So wechsel nicht durch beleib am swert vnd
arbait do mit zu der nagsten plss So mag er dir nicht nach
geraisen noch ansetzen
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 Czcken / ffecht merke /
Trit n in bnde
das czcken gibt gute fnde /
Czk / trift her / czucke/me
erbeit her / wind / das tut im we /
Czk alle treffen
den meistn 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 pnden
das zucken gibt gute fnde
Zuck trift er zuck mer
Arbait erfinde Das thuet m we
Zuck allen treffen
den maister wiltu sy effen

Glosa merck das zucken gehrt zu treib gegen den maister
die do starck an das swert pinden vnd am pant des swertz
beleiben still sten vnd wllen warten ob man sich fr In ab wolt
hawen oder vom swert ab tzehen Das s denn mchten
nachgeraisen zu der plss

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.]


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.


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 wllest 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 duplir oder sunst mit
ander stucken was dir das pst ist ~
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 / n 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 lau hangen :
mitt dem knopffe grff wilt du range~
Wer gegen dir strcke /
durchlauff damitt mrcke :
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
durchlaf do mit merck

[32v] Glosa merck die durchlauffen vnd die ring sind
zwaierla Im swert wenn die durchlauffen das sind die leibt
ringen So sind denn dar nach die arm~ ringen vnd die gehrent
zw treiben gegen den vechter die do ger ein lauffent ~

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.


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.


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 lau dein schwert
v der k lincken hand v halt es in der rechten v sto sein
schwert mitt dine~ gehltze vff din rechte stten v dir / v
spring mitt dem lincken fu fr sine~ rechte~ v far im mitt
dem lincken arm hinden wol vm de~ lb v fasse in vff din
lincke hffe v wirff in fr dich ~
Doch lug 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.


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 lau din schwert vs
der lincken hand v halt es in der rechten v sto mitt dem
ghltz sein schwert vff din rechte stten v dir / v spring mitt
dem lincken fu hinder [43v] seine~ rechten v far im mitt
dem lincken arme vornen vnde~ sin brste wol vm den lb v
wirff v vff dein fu 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 v helt sin arm nider dz
du Im nit magst durch lovffen so tribe disse noch geschriben
ringen


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.


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 swertv ist nder mit den
henden So lass dein lincke hant var vom swert vnd mit der
recht var Im mit dem knopff aussen vber sein rechte hant vnd
druck do mit nder vnd begreiff m mit der lincken hant pe
seine~ rechten elpogen vnd spring mit dem denck fuess fur sein
rechten vnd stos in also dar vber ~

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] enlaufft So far mitt lincker
verkrter hand ber sine~ rechten arm V begrff da mitt dinem
rechten arm v d druck mitt dinem rechten arm sine~ rechten
ber dine~ lincken v spring mitt dine~ rechten fu hinder
sinen rechten V wende dich von im vff dine lincke stten So
wirffestu in ber din rechten hffe ~


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 la dein schwert
fallen / vnd verker dein rechte hant / vnd begreiff damit sein
rechte auwendig / vnd mit der lincken fas in pe dem rechtn
Elpoge / vnd sprin[g] mit dem lincken fe fr sein recht /
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 fr 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 va In pe dem recht elpogen
vnd spring mit dem lincken fuess fur sein rechten vnd stos mit
der rechten hant seinen recht arm~ ber deinen lincken vnd
heb In do mit vbersich Also magstu Im den arm~ prechen oder
fr dich vber das linck pain werffen ob dw wild

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 hend pe der
hanthab vnd ruck do mit auff dein lincke seitten So nmpstu Im
sein swert

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 snst an dein swert pint So
begreiff mit der lincken hant paide swert mitten in den klingen
vnd halt s paide vest zw smen vnd var mit der rechten hant
vnden durch mit dem knopf vor vber sein pede hendt vnd ruck
do mit vbersich auff dein rechte seitten so peleiben dir paide
swert ~
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.
two below and two above.
Von abschniden ~
Schde ab die hrten /
von vnde~ in baden 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 abschneden
Schneid ab die herten
von vnden In paiden gefertten

Glosa merck das ist was dw solt treib wenn man dir starck
oben auff dein swert pintt oder dar auff velt vnd das vernm
also v Wenn du zu vichtest aus den vnder hwen oder aus den
streichen oder ligst gegen Im In der hut 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 ander
seitten an seinem swert pald wider oben ein zw dem maul ~

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.


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 hwen oder ligst in der hut
alber Velt er denn mit dem swert auff das dein nahent pey dem
gehltz ee wenn du do mit auff chumpst das sein ort zw deiner
rechten seitten au 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 ~
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 trb also Wenn dir aine~ an dz schwert bindt
gege~ dine~ lincken stten vnd schlecht vmb vom schwert mitt
der zwerche oder sunst dir zuo der rechten stten So spring mitt
dem lincken fu v dem haw vff sin rechte sttenn v fall im
mitt der langen schniden oben uber bade arm Das tr trb zu
[46r] baiden sttenn ~
Text on the four cuts
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 schnten
Vier sind der schnit
Zwen vnden zwen oben mit

Glosa Merck die vier schnit wi des erst die zwen ber die
gehorent zw treiben [35r] gegen den vechter die auss der
versatzu~g oder aus dem pant des swertz ger vmb slachen mit
der twer oder snst zw der ander 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

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 v dem
dine~ vmd [!] schlecht dir oben zu dem kopff So verwende din
schwert mitt dem gehltz fr dein haupt v schiy schnd im
vnden durch sin arm v 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 vnder schnit gehrent zw treiben gegen
den vechter die do geren ein lauffen mit aus gerckten 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 km 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
km vnd val m mit der kurtzen schneid vnder seine~ knopf in
die arm~ vnd druck mit dem schnit vbersich Das sind die vier
schnt ~
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 drcken/ etc etc
DEyn sneide wende /
czum flechen drcke dy hende /
Eyn anders / ist wenden
eyns winden / das dritten hengen /
Wiltu mache~ vordrossen /
dy vechter / zo drucke mit stssen /
Ober dy hende /
hewstu hewet man snete behe~de /
Czewch och dy~ snete /
obe~ aus ber de~ hewpte /
Wer he~de drckit /
ane schade~ / vor fi~ger czckit /

Auch wisse / als bald / als du mt dem we~de~ / eyme ey~ haw
ader stich / abe we~dest / zo saltu czu ht czu trete~ / vnd
rischlich dar varn czu eyme / wy leichte du dich last vnd zmest
/ 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 schndtt
Die schnde wende /
zu flechen druck die hende

Glosa Da ist wann du im in dein einlauffen kanst mitt dem
vndern schnitt vnden in sin arm da dein ort gege~ sinenr
rechten stten augt So tuck mitt dem schnitt vast bersich /
v mitt dem trucken spring mitte de~ lincken fu vff sn rechte
stten v wende din schwert mitt der lange~ schniden oben
ber sein arme dz din ort gege~ siner lincken stten v gee v
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 de hende

[35v] Glosa Merck das ist wie du aus den vnder tzwaen
schnten solt treyben die zwen ober 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 vnder schnit In den ober mit der langen
schneid vber sein arm~ vnd druck mit dem schnt vber sich
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 ones 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 vrdern 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 vrder sneide / e bas /
vnd e kreftiger / her dy selben hewe ader stiche / abewenden
mag / Wee 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 vr 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 hbscheit mag treibe~ dez gefechtez /
Dy vrder sneyde / am swte 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 en hawst vnd er dz verseczt vnd
frt hauch vff mitt dem gehlcz vnnd du och v lauffend mitt
ainander en So nim den vndenrn vndern schnitt v ob er dir
den schnitt nem~en wllt Vnnde~ din hend In die arm So volg
sine~ schwet schwert nach vndersich mitt der [53v] lange~
schnden v truck nder nider So haustu es gebrochen v such
die blo ~~~~
Item wenn du aber hoch mitt den arme~ kmpst / vnd gene~
och also Vnnd lauff aber en Vnnd wlt 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 hst v wechslet er durch
mitt dem knopff v felt in da halb schwert da brich schlecht
mitt dem ober [54r] schnitt Vnd im schnitt mag magstu in dz
halb schwert fallen v 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 schnt von dir ~
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 birhengen / mit
den du eyme wol an das swert magst komen / wen dy kome~
aus den bhewe~ vnd vnderhewen / Wen das nu geschiet / das
du mit eyme an bindest / ader wy du sst mit im an das swert
kmps zo salt du an dem swerte bleyb vnd salt vnd salt winden
vnd salt alzo mit im gar [37v] frlichen / mit gutem mute /
vnd knlichen an alle vorchte / an dem swte stehen / Vnd salt
gar eb sehen / merken vnd warten was her wolle tuen / ader
was syne sache sey / der her key~ dir pflegen wlle / 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, guardssoft or hard.
Das ist der text vnd d glos von zwaen henngen
Zwa hengen werden /
v 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
Zwa hengen werden
Aus einer hant von der erden
In allem gefert
Haw stich leger waich oder hert

[36r] Glosa Merck die tzwe 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 fl In hawen vnd
Inn stichen vnd in allen an pinden des swertz ob er dar Inn
waich oder hert ist
Auch soltu dar aus treib vier winden vnd aus einem yedem
winden besunder ein haw ein stich vnd ein schnit vnd snst
auch alle gefert treiben als aus den zwaen ber hengen ~
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 n mit im alzo an dem swte stehst / zo salt du gar
eb merken vnd flen syne geferte / ab sie sint weich aber herte
/ dornoch salt du dich dee richte~ als vor ofte gesproche~ ist /
Ist / das her sich vr allen sachen / e dee du noch ichsicht
begyest / abe czewt von deme swte / 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 keynleye dinge
kome / wee du hast io neher czu im mit dem das du am swte
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 ht dar mt dy~ orte / Bleibt her aber mit dir an dem swte /
zo prfe / io vnd merke / ab her sy weich aber herte an dem
swerte / Ist das her ist / weich vnd swach / zo saltu rischlichen
vnd knlichen volvaren vnd dar hurten / mit dyner sterke / vnd
salt / im syn swert hin dringen vnd drcken / vnd sche~ syne
bloen / czu koppe ader czu leibe / wo du nr czu magst komen
/ Ist iener a dee herte vnd stark an deme swte / vnd meynt
dich vaste hin dringen vnd stossen / zo saltu dee 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 Mrck e sind zwa hengen v ainer hand v v ainer
stten von der erden die trb also Wann du im mit dem vndern
abseczen gege~ dine~ lincken stten an sin schwert bindest So
heng dinen schwert knopff gegen der erden v stich im von
vnde~ auff v dem henge~ zu dem gesichte stost er dann mitt
versecze dinen ort bersich uff So blb also am schwert v far
mitt im vff v heng im den ort v oben nider zu dem gesicht V
in den zwaen henge~ solt du alle gefert behentlich trben Hew
stich v schnitt Darnach al du in dem anbinden der schwert
enpfindest ober damitt waich oder hrt s ist ~~
Itm~ dz henge~
merck auch also wen du mit dem zu vechte~ kmpst 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 vs den henge~ zu dem gesicht
stost er dan den ort mit versetzen vber sich so pleb also am
schwertt vnd far vff mit dem knopf vnd heng im den ort oben In
zu dem gesicht vnd in den zwehen haulben soltu alle gefertt
triben mit haulben stichen oder schnitten ~~
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 frlich besiche sin sach
Schlage in dz er schnappe
wer sich vor dir zhet abe
Ich sag dir fr ware /
sich schczt kain man one fare
Haustu recht vernom~en
zu schlage mag er klain kum~en

Glosa Mrck 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 freleich besich seine sache
Schlach in das er schnabe
Wer sich fur dir zeuchet abe
Ich sag dir fur war
Sich schtzet kain man ane var
Hastu ver nomen
zw schlag mag er klein chumen

Glosa merck dw hast vor gehrt wie dw dich vor dem mann mit
dem swert solt schicken In die vier hutten dar aus dw vechten
solt So soltu auch nw wissen das sprechfenster das ist auch ein
hut dar Inn dw wol sicher sten magst vnd die hut das ist der
lang ort der ist die edelst vnd die pst wer am swert wer do
recht dar aus vechten kan der twingt do [36v] mit den mann das
er sich an seinen danck schlahen mess lassen vnd mag vor dem
ort wider vor zw slegen noch zw stichen kmen
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 masters 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 flen merke mete /
An alles vorczhczihen /
vom swerte du auch nicht salt flien /
wen meister gefechte /
ist am swerte von rechte /

magst / noch der vorgeschreb lere / risch / knlich 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 geschreb lere / Ab du im den vorslag
gewyest vnd tust den mus io iener were~ / ad mus sich lasse
slaen / wen du dee den vorslag tust / du trefst ader velest / zo
saltu rischlich vnd in eyme rawsche den nochslag tue~ / e de
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 au gerechtenn armen mitt der lange~ schniden
am schwert mitt dem ort im vor dem gesichte v stand frelich
vnd besich sin sach was er gege~ dir trben wll

It~ schlecht er vom schwert vmb mitt aine~ oberhaw dir zu der
andere~ stten 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 v will dir vnnden zu stechen
So raise im nach an dem schwerte v 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 m gest mit welichem haw du
denn an n kumpst es se vnder oder ein ober haw So lass m
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 fr pas gegen dir vechten
well zeucht er sich zw ruck ab vom swert So volg m nach mit
dem ort zw der plss
Oder slecht er vom swert vmb dir zw der ander seitt So pint
seinem haw nach Im starck oben ein zu dem kopf
Without any hesitation,
You should not escape from the sword;
Also because a masters 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 /

Dee wen du den vorslag wilt tue~ / zo saltu recht / z yn eyme
gedanke vnd mute den nochslag auch tue~ / recht zam du sy mit
ey~nander wellest tue~ / we~ is mglich 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
dee iener / vnd als balde als du e kum~est dee ien / vnd den
vorslag gewiest / zo tu czu ht 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 v
sunst mitt andere~ stucken darnach al du enpfindest die waich
vnd die hrt 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 abzehen noch vmb slahen So
arbait mit dem duplir oder snst mit ander stucken Darnach
als dw emphindest swech vnd sterck m swert

Itm~ so soltu die sprerch fenster
dz sindt zwo hutte au dem lange~ ortt ein am schwert vnd die
ander vor dem man ee wan du m [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 mu
loen 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 v triben stich vnd schlech
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 wind
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 andn 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 / Wee 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 knlich dar hurt / den wy leiche ist das
oberseh / das in/de trift vnd in alzo beschemet vnd slet / dee
eyn der der slege war nym~et / vnd des schtcze~s wil warten /
der ist io in grosser var / dee ien der do of in slet / vnd den
vorslag gewyet /
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 /
Mrck Ee wenn du mitt dem zufechten zu nahent an In kmst
So secze dine~ lincken fu vor vnd halt Im den ort au
gerchten [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 v stich im zu dem gesicht

Oder hawt er v oben nider ode~ v vnde~ auff dir zu dem
schwert v will dir de~ ort wegk schlachen So wechsel durch v
stich im zu der andere~ stten zu der bl
Oder trifft er dir mitt dem haw dz schwert mit strcke so lau
din schwert vmb schnappen So triffest du in zu dem kopff
Oder laufft er dir ein So trb die ringen oder den schnitt ~~~~~
Lug 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 m kmen 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 frelich 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 m zu dem gesicht
Oder haut er dir zw dem swert vnd nicht zw dem leib so
wechsel durch vnd stich Im zu der ander seitt
Oder lauft er ein vnd ist hoch mit den armen so treib den
vnder schnit oder lauff m durch mit ringen
Oder Ist er nder mit den armen so wart der arm~ ringen
Also magstu allew stuck aus dem langen ort treib
Also magstu alle stuck aus den armen treiben welches dir am
pesten ist etc.
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 linke
rechte
/ seiten komest / do bist du
wol aller dinge sicher dee ien /


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~ stcke~ 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 blen rre~ /
Wen itzliche blsse /
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 verschliessng der gantze~
zettl:
Wer wol frett / v recht bricht /
vnd entlich garbericht
V bricht besunnde~
gclichs im drew wu~der
Wer recht wol henget /
vnd winden do mitt brenget
Vnd winden acht /
mitt rechten wegen etracht /
Vnd Jo Ir ane /
der winden selb dritt
ich mane So So sind ir
zwinczig / v fr
zel s einzigen Von baden sttenn /
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 verschliessng der gantze~
zettl:
Wer wol furet vnd recht pricht
vnd endlich gar bericht
Vnd prich besunder
Iglichs i~ dre wunder
wer recht wol henget
vnd wind do mit pringet
vnd winden acht
Mit recht wegen betracht
Vnd zw ir eine
Der winden selb dritt ich meine
So sind ir zwaintzigk
vnd vier zell si entzigk
von paiden seitt
Acht winden lere mit schreitten
vnd pruf die gefert
Nicht mer nr waich oder hert

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 swtes / aus den alle ander
gefechte vnd stcke kome~ / vnd is mag mlich 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 neen is / aus dem korcze~ swte / dorvm~e
das sy slecht vnd ey~veldik dar gen / vnd meyne~ das sy / aus
dem lange~ swte 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 seh ist / we~ sich eyn alzo
strekt / recht zam her eyne~ hazen wolle irlawfen / vnd daz ist
alles nicht / weder dy winden vnd weder lichtnaws kunst / wen
do ist keyne sterke weder / dee worvm~e wer anders ku~st /
solde allemal dy sterke vrczihen /
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 Da du in de~ kunst gar wol gern bericht v gepbt
[125r] solt sin gegen den do du mitt fech fichtest da du dine
brch gegen sine~ stucken also wisset z trben Da du v
aine~ eden bruch besunde~ magst gearbaitten mitt dr dreen
wunden
Auch solt du wol henge~ am schwert V au den hengen solt du
bringe~ acht winde v die winde solt du also betrachten da
du der aines selbs dritt wissest zu treben ~
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 gebet vnd bericht
sein das dw behendlich kndest fren vnd die prch gegen eines
ander vechters stucken recht dar dar aus gegen m kndest
treiben Wenn der hengen sein vier der ochs oben von paiden
seitten Das sind die ober zwa hengen vnd der phlueg vnden
von paiden seitt Das sind die vnder zwa hengen Aus den
vier hengen soltu pringen acht winden aus dem ochsen vier vnd
aus dem phlueg vier vnd die selbigen acht winden soltu frpas
also betrachten vnd recht wegen das thue aus edem winden
besunder solt treiben die dre bunder das ist ein haw ein stich
vnd ein schnt

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 stten So
wind och gege~ dine~ rechte~ stten die langen schnid an sin
schwert v far wol vff mitt den armen vnd heng im den ort
oben ein vnd stich im zu dem gesicht verseczt er den stich mitt
strck [48r] so lau im den ort am schwert oben ein hangen V
wind vff din lincke stten v stich Da sind vier winden v den
obern zwaen anbinden von der lincken vnd von der rechtten
stten ~
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 ober zwaien hengen das ist
aus dem ochsen von der rechten seitten vnd von der linken
seitten solt treiben vier winden
De ersten tzwa winden aus dem ochsen allai~ von der rechten
seitten die treib also We dw mit dem zw vechten zu Im
kumpst So stee mit dem lincken fuess vor vnd halt dein swert
zw deiner rechten seitt fur dem haubt In dem ochsen Hawt er
dir denn oben ein von seiner rechten seitten So wind auff dein
lincke seitt gegen seine~m haw die kurtz schned 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 zwa winden am swert aus dem ainen
ober hengen von der rechten seitten ~

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 treib solst /
Das vernm also Es sind vier anbinden der schwert Zwa obere
v zwa vndere Nun solt du v edem anbinden der schwert
zwa obere besund besunde~ tr trbenn zwa winde
Das vernm also [125v] Bindt er dir oben an gegen deiner
lincken stten So winde die kucz kurcz schnide an sin schwert
V far wol vff mitt den arme~ v heng im den ort oben ein V
stich im zu dem gesicht Verseczt er den stich So lau den ort
am schwert oben ein hangen v wind vff dein rechte stten Da
sind zwa winden an aine~ stten 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 ander zwa winden aus dem
ochsen von der lincken seitten die treib Also
wenn dw mit dem zu vechten zu m 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 seitt die lang schneid an das swert v stich Im oben ein
zw dem gesicht das ist ein winden
Merck Vor setzt er den stich vnd druckt dein swert auff die
seitt So pleib am swert vnd wind auff dein lincke seitten aber
in den ochsen die lang schneid an sein swert vnd stich m oben
ein zw dem gesicht Das sind die vier winden aus den ober
zwaen hengen von der lincken vnd von der recht seitt

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 v den vnndern zwaen anbind~ auch solt trben vier
winden mitt allen gefertenn al v den obern also worden der
winden oben v vnden acht Vnd gedenck dz du v edem
winden besonnde~ triben solt aine~ haw oder schnitt vnd ain
stich Vnd dz haissen die dr drew wunder Daru~b da man s
zu viervnndzwinczig malen v den acht winden trben soll
[48v] v mag V die ach winde~ solt du wol lerne~ trben v
baiden stten Also da du mitt edem Wunder brieffest sin
gefrt Nicht mer wann dann b er damitt waich ode~ hert am
schwert s Vnnd wenn du die zwa ding enpfundenn hast hast
So trb die stuck gerecht die zu dem winde~ gehren Wo du dz
nicht tust So wirst du b 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 vnder zwa
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 gefert als aus den ober
hengen so werden der winden acht v merck als offtu windest
so gedenck in [38v] einem iglichem winden besunder an den
hw vnd an den stich vnd an den schnt Also kumen aus den
acht winden vier vnd tzwaintzigk stuck Vnd wie dw die vier v
tzwaintzigk stuck aus den acht winden treiben solt das vindestu
alles da vor In der glosen geschriben ~ ~ ~ ~ ~

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 se denn
mit schreitten von paiden seitten vnd das dw vor gar eben
prfest nicht mer denn die zwa 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
plssen als vor geschriben stet Auch wist das alle vecht die do
winden am swert vnd knnen s nicht das fl am swert die
werden pe den winden geschlagen Dar vmb so vleis dich das
dw das fl vnd das wort Inndes wol merckest wenn aus den
zwaien dingen get alle kunst des vechtens ~

Fri auch mir vnd dir
vmb ein alten kappen
Here begin techniques of other masters, Andreas the Jew,
Jost of Nysa, Nicolaus the Prussian, and Hans Dbringer
(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 dbringers :~ Andres Juden Josts von der nyssen
Niclas prewen / etc
Ist hie yndert eyn degen
der sich dorczu wlle wegen
Czu lernen mit dem swerte
vnd sich auch doran kerte
wen is ist eyn hfeliches spil
vnd hat lst vnd frewden vil
vor ritter vnd vor knechten
Is das her fichtet rechte
So wil ich im geb 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 ands 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
wee das selbe fechte~ bre~get pyn
der vier ader seche slaen wil
der nym~et ofte schaden vil
wee im wirt vil ofte eyn slag /
den her nicht abe wischen mag /
den mus her im nu haben
Schande gesptte vnd auch de~ schaden
wee 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 slcher grosser torheit pflegen
Is ku~pt ofte das eyn man
vier ader sechze mus bestan
Tut hee witzicleich
Tut/her dee ritterlich
ader kpt/von in witczicleich
der mag wol alle mal bestan
Recht vor eynen knen man
Doch horet alle / offenbar
genczlich an alle var
ffridank der kluge man
Spricht das an allen wan
der ist genant eyn kner man
der synen gleich tar bestan
den wil ich preisen an aller stat
Ritterlich ane missetat
von trsten vnd von ku~heit frey
das her eyn rechter degen sey
Den dritten rat wil ich dir geb
den saltu vom mir of nemen
du salt nicht dorvem lerne~ fechte~

So that you do unto someone unjustly

Fighting with a pious man
If a serious necessity occurs
With your artotherwise 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 wlst berlegen
In slcher weize saltu nicht pflegen
[44r] fechtens mit eynem fromen man
Is trete dee erhaftige not an
mit dyn ku~st / vem zst / nymt dri~ge
wiltu das dir slle gelingen
In allem gefechte zo rat ich dir
vol/ vorlas dich of dy~ ku~st nicht czu ser
vnd hab den dbrist / gerecht fecht vor oge~ /
das her dich / by dyner ku~st icht pfloge
Vnd vebe dyne ku~st czu nten / yn rechtvertikeit
vnd nicht vm~e zst ader yn narhait
So magstu alle mal bestan
vr 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 dee mit syn ku~st rittlich
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 lichtnaws kunst vnd fechten / vor hat / noch worhaftiger
ku~st / Doch durch vebunge vnd schulfechtens wille / wil ich
etzliche stcke vnd gesetze ihres gefechte~s / mit slechter vnd
korczer rede schriben etc /
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 n an mit rechte
das aller peste gefechte
das dy vorgenten meist hab
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 pawn gar vormesse~
Setz vor wellen fus du wilt
Mit der pforte~ mache du eyn schilt /
den ort of dy erde lege
Nu hr wes du dene salt pflege~
Dornoch du dich io salt richten
das sy gar vr dynem gesichte
sten vnd keyner dir kome hi~den czu /
Nu hr 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 guardsthat 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 fecht 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 /
Wi dz v au den strechen gtt vechten ist Wie wol s in der
zedel nicht benampt sin So kom~en doch die stuck vs der zedel
die man daru fichtet vichtet V die strechen soll man trbenn
v der lincken stten wann v der recht~ sind s nitt also gewi
al von der lincken ~:
It~ wann du ligst In der nebenhut vff dine~ lincken stten Vnnd
ainer hawet vff dich v oben nider So strech Von vnden vff
vast in sin schwert mitt der kurczen schnid~ [49v] Helt er starck
wider v ist nicht ze hoch mit den henden So duplier zwischen
dem man v sine~ schwert ein mitt der kurczen schniden zuo
sine~ lincken hal ~:


the sweeps (Cont.)

When you sweep upwardsas previouslyagainst 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 sett / vnd duplier zwisch dem man vnd dem schwert
ein / mit der langen schneid zu seiner recht sett an den hals
It~ wann du vff strechst al vor an sine~ schwert Ist er dann
waich am schwert v nide~ mitt den henden So haw im zu
hand mitt der lange~ schniden oben zu der bl
Oder flt er dir starck mitt dem schwert vff da din So far im
bald mitt dem knopf ub ber sin schwert v bleb mitt den
hende~ daruff dar uff v la den ort hindersich zu diner lincken
stten Vnnd schnapp In mitt der kurczen schniden zu dem
hapt ~~~:
[50r] Item we du Im strechst an sin schwert frt er hoch vff
vnd windt So schlach In In die recht~ stten mitt gestrchten
armen V tritt damitt zu rucke ~


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 strechst an sin schwert ffrt er hoch vff v
windt So sterck mitt der langen schniden Schlecht er dann vmb
mit der zwerch So schlach in in die lincken stten mit eine~
abtritt ~~
It~ wann du tribst die strechen zu dem mann v helt er da
sin schwert zwerchs vor im vnd ist hoc mitt den armen vnd will
dir vff din schwert fallen So strech im vnden an sn schwert
[50v] vnd schlach in vff den arm oder sto in an die bru~st ~~
It~ ist er nider mitt den henden vnd will dir vff fallen So strech
durch vff die anderen stten vnd sto in zu der brust / da ist
durchgewechslet ~~


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
wellas before from both sideswith fast and easy strikes and
all other things.

The Naterzungen, or from the Point
A technique is called the vipers 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 dee deser
siet / wo her in am gewisten gehab 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 /

The Pfobenzagel
And you should drive the peacocks 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 peacocks tail and comes from the
point and goes with the point around ones sword, but in front
of ones 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 treib
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 swt / aber sst eyme vor
den oge~ zam ey~ rat / ader czirkel / gleich vm / So lange bis das
her siet wo hn gehab 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
wantthat which you believe will be bestas before.
[52r] Da haist dz redel
Item wann du mitt aine~ vechtest so streck din arm lanck von
dir vmd vnnd da din dawm oben blb vff dem schwert vnd
wend dz schwert vor dir mitt dem ort vmb glch al ain rad v
vnde~ vff dien lincken stten behentlich v gang domitt zu dem
man v daru so magstu [52v] durchwechslen vff welche stten
du wilt oder anbinden Vnnd wenn du angebunden hau~st So
magstu trben wa stuck du wilt da dich am besten tunckt al
vor ~

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~
mae 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 /

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 bernhawe v der
rechte~ seiten / vnd durchwechselt czu der linke~ seite~ / mit
eym gute~ ausschrete vnd brengt do mete ey~ andn berhau der
do gleich czu~ mae 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~ strczhaw czu der
selben seite~ / vnd kom czu der linke~ seite~ vnd seyme swt
hervem / mit eyme ausschrete czu d selbe~ seite~

Eyn gefechte heiet / dy drey hewe / Vnd daz ist eyn
venderhaw von der rechte~ seite~ / vnd dee eyn vndhaw v d
linke~ seite~ stark of an iens swt / mit abesetze~ / den dritte~
haw dee gleich czu der scheitel neder / d do treffe

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 bleib stan
wiltu nicht sey~ ey~ vorlorner man
Sonder weler czu der selb vrist
keyn dir an deme ende ist
czu deyner linken seiten
key~ deme saltu balde schreite~
vnd im geb 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 mlich dy lenge mchte 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 dee sich dy andern gar
weder keyn dir kere~ / als vor
So magstu wol merke~ vnd achte
ab du mt keynley sachen
von in mchtest kome~ ane schade
zo sprink ku~lich von in als ich sage
[45v] wen is ist nicht schde / ader vner
Czu flien / vier seche ader mer
wee du dee begynnest
czu lawfen vnd von in spri~gest
So wirf deyn swt dy twere
hinden ober dyn hawpt sere
vnd lawf / was du gelawfe~ magst
weler dir dee / 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 hald weder
So slestu in noch wonsche derneder

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 hscheit gerest treiben /

So schte czu~ erste~ dyn swt mutticleich / Vnd valle czu hant
in dy schrankhute / czu beyde~ seite~ / vnd sche 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 berhenge~ czu beyden seite~ /
mit schrete~ / Dornoch kom in dy twer hewe / czu beiden seiten
/ mit schrete~ / alzo / we~ du der egnanten gefechte eyns frest /
czu eyner seite~ / das du do mete schreitest / frest 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 vndwege / wen du
den czu ieme ku~pst / zo treib dee etzwas redlichs / was do czu
schimpfe tawg etc

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 himwhen 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 obn / bloen den / der vndern / vnd var
im als ober dem gehilcze yn / vnd gedenke der vorgeschreben
lere / vor allen sache~ / alzo das du de~ vorslag gewyest / vnd
als bald du de~ tust / zo tu czu hant de~ nochslag dornach an
vnderlos vnd an zmenss / recht zam du sy mit ey~nder
wollest tue~ / ab is mgelich were vnd treibe vm~erm eyns
noch dem andn rischlich vnd knlich / ab eyns vele / das das
and treffe / vnd vorgank habe / vnd das io ien mit nichte czu
slage kome /

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Liechtenauers Blofechten Page 1

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