KNIGHTLY 鵽 DUELING 鵾 This page intentionally left blank. KNIGHTLY 鵽 DUELING 鵾 The Fighting Arts of German Chivalry transcription, translation, and commentary by 鵽 Jeffrey Hull 鵾 with transcription by Monika Maziarz and Grzegorz Zabinski Knightly Dueling: The Fighting Arts of German Chivalry by Jeffrey Hull, with Monika Maziarz and Grzegorz Zabinski Translation and commentary copyright © 2007, 2008 by Jeffrey Hull Transcription in Causes for Dueling, Getting Ready, Leutold vs. Unknown, and Unarmoured Fighting copyright © 2007 by Jeffrey Hull Transcription in Horse Fighting, Half-Swording, Dagger Fighting, and Holding Down and Standing Up copyright © 2004 by Monika Maziarz Transcription in Mark Verses and Duel Fighting copyright © 2001 by Grzegorz Zabinski Conceptually restored artwork copyright © 2007 by Donald Lepping Conceptually restored artwork copyright © 2006 by Tracey Zoeller Front cover picture: Untitled, folio 124r of the Fechtbuch (1459-Thott) by the German fight-master Hans Talhoffer. Rear cover picture: Hie sitzend sy bed ~ Here they both be sitting folio 85r of the Fechtbuch (1459-Thott) by the German fight-master Hans Talhoffer. Notice: No horse was harmed or injured in any way during the making of this work. This work may be regarded as revising any previous edition of similar past work that I have done. JLH In honor of all those who must fight to survive. This page intentionally left blank. Contents ‫ﱝ‬‫ﱝ‬ Chivalry 1 Causes for Dueling 3 Mark Verses 11 Horse Fighting 23 Duel Fighting 61 Half-Swording 97 Dagger Fighting 109 Holding Down and Staying Upon 119 Training the Youth 125 Getting Ready 129 Leutold versus Unknown 137 Unarmoured Fighting 155 Variety 173 Artifacts 201 Lexicons 205 Endnotes 217 Bibliography 227 Acknowledgments 239 About the Authors 241 vii This page intentionally left blank. Warning ‫ﱝ‬‫ﱝ‬ Many of the techniques depicted in this book are extremely dangerous and potentially deadly. It is not the intent of the author or publisher to encourage readers to attempt any of them without proper professional supervision and training. Attempting to do so can result in severe injury or death. Do not attempt any of these techniques or drills without the supervision of a certified instructor. The author, publisher, and distributors of this book disclaim any liability from any damage or injuries of any type that a reader or user of information contained within this book may incur from the use or misuse of said information. This book is for academic study only. ix Note on Pictures ‫ﱝ‬‫ﱝ‬ Some reproductions of original illustrations display “ghosting,” or “bleed-through” of ink from the following pages. This bleed-through is contained on the original pages, and faithful reproduction of the images meant the unavoidable inclusion of the ghosted images. It is not a printing error. Despite such ghosting, the old illustrations herein are clear and dynamic in their action portrayals. xi Preface ‫ﱝ‬‫ﱝ‬ Let me tell you about this book called Knightly Dueling. I wrote it because nobody either could or would tell me what I really wanted to know about chivalry—the actual martial arts of the knightly duel, how knights actually fought. I wrote it because I wanted to know about their fighting. This book offers you—the reader, the martial artist, the scholar, the medievalist, whomever—the words and deeds, the ideas and pictures, the actual methods for fighting of medieval and Renaissance German knights. Thus this book offers you the German chivalric art of fighting. Indeed, chivalry deserves rescue from romantic academic notions that have distorted what it really meant to the knights of yore. Knightly Dueling means to restore chivalry to its rightful martial place. In order to recover true chivalry, this book revives the knightly combatives of medieval and Renaissance Europe’s most warlike entity—thus it revives the Kampf (duel) of Germany. I did my best to bring this about by translating the teachings on Kampffechten (duel fighting) of 14th to 16th century Fechtmeister (fight masters/fencing masters), who wrote and edited Fechtbücher (fight books/fencing manuals) for Ritter (knights) and Knechte (troopers), based largely upon the tradition of Johann Liechtenauer (1350–1420), the early Hochmeister (high master) of the German Kunst des Fechtens (art of fighting/martial arts). Master Liechtenauer was and is acknowledged for setting his combative Lehre (lore) into Merkverse (mark verses/memory verses), which later masters recorded into fight books, often providing their own Glossa (commentary), all for methodically teaching that lore to later generations of fighting men. Those fight books were written by such masters as Hanko “the Priest” Döbringer (1389), Hans Talhoffer (1443–1467), Peter von Danzig (1452), Andre Lignitzer (1452), and Martein Hundtfeltz (1452), all of whom are found in this present book. Their lore for dueling dealt mainly with techniques and tactics of Harnischfechten (harness fencing/armoured fighting) between two knights wielding the three main dueling weapons of Glev/Spiesz, Langes Schwert, and Degen (lance/spear, longsword, and dagger); using Kampfringen (duel wrestling/combat wrestling) as needed; while in earnest combat both upon foot and upon horse. When ahorse, the nature of that armoured duel fighting could actually include any and all of those aforesaid elements and was termed Roszfechten (horse fighting). And naturally, their lore also dealt with unarmoured longsword fighting, which was termed Bloszfechten (bare fencing/unarmoured fighting). This book is meant to be an omnibus of such fighting Kraft (prowess), showing in some good measure many of the kaleidoscopic aspects of Ritterschaft/Rittertum (chivalry)—mainly the martial, yet also the legal, artifactual, social, and literary. It gives you Middle High German transcriptions, as well as the first and only modern English translations, of various works from various fight books. To briefly describe each chapter: Chivalry makes a definitive statement about just what is meant by that word in this book relevant to chivalric European martial arts. Causes for Dueling tells of the moral and legal grounds for dueling according to Talhoffer—the why, when, where, and how of challenge to duel between two nobles or knights. xi Knightly Dueling Mark Verses offers the earliest poetic verses of German fighting lore by Master Liechtenauer via Döbringer, and later via von Danzig. Horse Fighting via von Danzig provides the martial art of combat ahorse, where the knights strove to win by basically hunting each other from horseback with lance and sword. Duel Fighting via von Danzig provides the crux of this book, the martial art of armoured combat afoot, where the knights strove to win by a specialized fight with lance/spear, longsword, and dagger, as well as wrestling. Half-Swording via Lignitzer provides expanded coverage of armoured combat afoot with the longsword, distinctive and unique for its gripping, targeting, and striking. Dagger Fighting via Lignitzer provides specific coverage of armoured fencing with daggers, sometimes used in surprising manner, part of the brutal endgame of the armoured duel. Holding Down and Staying Upon via Hundtfeltz provides some down-and-dirty pinning and ground fighting, another part of the brutal endgame of armoured duel. Training the Youth gives an expository essay on the often-ignored subject of athletically and martially developing the untrained noble youth into a fighting nobleman. Getting Ready according to Talhoffer provides helpful, even unexpected, advice and regimen for the nobleman needing to train for a mortal duel. Leutold versus Unknown according to Talhoffer provides, via text and pictures, the blow-by-blow progression of a legendary duel fought by the German lord Leutold von Königsegg versus an unknown foe in the middle 15th century. Unarmoured Fighting provides the Twenty Directives of Liechtenauer via Talhoffer, thus the basic principles, of vigorous longsword fencing in little or no armour. Variety offers the diversity of additional and alternative armaments for knightly dueling, including pollaxe, halberd, and tuck. Also addressed are dueling as opposed to tourney, combat imagery from various literary sources, and miscellaneous interesting graphics. Artifacts offers a concise photographic survey of some actual artifactual arms and armour from the dueling days of Germany. Lexicons offers words related to dueling from an out-of-print Middle High German dictionary, plus an original, first-of-its-kind glossary of Middle High German armamentary terms. Endnotes offers further and detailed explanation of certain pointed and interesting subjects. Bibliography offers a listing of over 170 primary and secondary works of medieval and modern literature related either directly or indirectly to martial arts of chivalric Germany. Ultimately, this book is meant to help the resurrection of almost lost and virtually forgotten European combatives. It is meant to help those who, if nothing else, realize that fighting men of the past knew what they were doing in regards to their combatives, even if we, their humble modern inheritors, struggle to comprehend the full story. So, I welcome you to read and learn about the old-time combatives of the great and manly knights of Germany, which I have been honored, hopefully, to understand in some good way and, in turn, to convey unto you. Jeffrey Hull Kansas, 2008 xii Chivalry ‫ﱝ‬‫ﱝ‬ So what is it that I mean by chivalry? Well, not the manifold ideas, either past or modern, of how the knight ought best to conduct himself socially, ethically, or spiritually—although all those aspects existed, are important to understand, and are duly addressed later in this book. Rather, what is meant here by chivalry is very much its root sense in the French chevalerie, not unlike the root sense found in the German equivalents Ritterschaft and Rittertum, meanings going back to the 12th and 13th centuries. So understand this—chivalry means the European warriors who were horse riders; who could and did fight each other upon horse and upon foot; with spears, swords, and daggers during the Middle Ages and Renaissance. It is that simple. Clearly understand, then, that I am talking about those men and their fighting, and not really their society and its manners. This chivalry is what one finds in the Fechtbuch rather than the Romanze. It is the chivalry that deserves to be free of the sometimes stifling notions and distortions of modern academia, sport fencing, nobility, orders, heraldry, and entertainment. It is the chivalry that equates with knighthood, the chivalry of the martial artist. It is the original chivalry—the one having prowess (Kraft) as its primary quality. Thus that is the chivalry you shall find in this book—the words and deeds of 15th century German chivalry as found in the combative lore during the time bridging the Middle Ages and Renaissance that taught the knight how to fight and win when dueling to the death with another knight. So let us go unashamed and unafraid into their world. William Marshal Lances Baldwin Guisnes from Chronica Majora by Matthew Paris (England, 1240–1253). 1 Knightly Dueling Daz ist die rustung zw der czeit jm Tewtzschlant gewest. 1498. AD This is the armatura that exists at this time in Germany. 1498. AD Albrecht Dürer (drawing, 1498). What more may be said—this is simply the most artistic yet accurate coeval portrayal of German dueling armatura. 2 Causes for Dueling ‫ﱝ‬‫ﱝ‬ The fight-master Hans Talhoffer stated in his Fechtbuch of 1459 that there were seven causes for fighting, recognized by his 15th century Germany as lawful reasons for one man to challenge another to judicial dueling, to trial by combat: Murder: This was arguably more narrowly defined in Renaissance Germany than today, when/where it was considered more justified for a man to kill in some cases. It suffices to assume that what modern society considers “first-degree murder” equaled “murder” back then—the planned, willful, unwarranted, malicious killing of another human. Treason: Probably trying secretly to overthrow or kill one’s national leader, whether duke, prince, king, or emperor, or working against the common weal of one’s homeland. Heresy: This likely was more broadly defined in Renaissance Germany than today. It would have meant specifically dissent from, practice counter to, or denial of the doctrines of the Catholic Church, yet also any outright blasphemy against God, the saints, or Mary. Becoming an urger of disloyalty to one’s lord: Not much different from treason, except that it seems to mean openly inciting rebellion, and it may apply more specifically to one’s personal overlord. Betrayal in strife or otherwise: Again, similar to treason, but indicating any divulgence of knowledge or revealing of secrets, whether witting or unwitting, active or passive, business or martial. Once more, whether at war or peace, such was not tolerated. Falsehood: Lying, cheating, oath breaking, fraud—basically, any dishonesty. Using either a maiden or lady: Any violation of a woman, such as rape and perhaps unsanctified intimate relations, or even unwarranted breaking of betrothal. Such wrongs were regarded in Renaissance Germany not only as morally loathsome but practically unwise, since such outrage would assure swift and vengeful retaliation by the offended female’s kinfolk. Ideally, one would like to think this article applied to all women, high or low. Whether these causes were by order of German princes or kings, at the behest of Teutonic common law and tradition, or by consensus of fight masters is not told to us by Talhoffer, although surely those whom he instructed clearly knew. It may have been according to all such authority. It seems obvious that the inverse of those crimes equals seven virtues that make for Talhoffer’s “Chivalric Code”: 3 Knightly Dueling Guardianship Citizenship Holyness Loyalty Trustworthiness Truthfulness Honor It should also be noted that in context of the prospect of dueling one’s own transgressive comrade, Talhoffer stated flatly and grimly, in one of the most honest asides in all martial arts literature, that dueling is wantonness (muotwill). Conflict of any two causes was not addressed; e.g., one’s own lord is found to be a murderer, violator, or liar. Presumably, the law recognized he no longer deserved loyalty from a knight. (See Endnote #1 for historical documentation of the dangerous world of judicial duels.) ‫ﱝ‬‫ﱝ‬ (8r) Hie vint man geschriben von dem kempfen Jtem wie daz nu sy daz die decretaleß kempf verbieten So hat doch die gewonhait herbracht von kaisern und künigen fürsten und hern noch gestatten und kempfen laussen und Darzu glichen schierm gebent und besunder und umb ettliche sachn und Artikeln Alß her nach geschriben staut Here finds one written of judicial combat—thus what now be decreed as forbidden of all combatants. So by and by, it has become the custom of emperors and kings, princes and lords, to whom one likens himself and emulates, that one is obliged to fight, especially regarding several causes and articles which are written down hereafter. Jtem zu dem ersten maul daz jm nymant gern sin Eer laut abschniden mit wortten ainem der sin genoß ist Er wolte Er hebet mit Jm kempfen wie wol er doch mit recht wol von Im kem ob er wölte und Darumb so ist kämpfen ain muotwill Yet firstly this—nobody is happy when one of his comrades cuts him up with loud words. He who would have at dueling with such a comrade, indeed he is within his rights and may well fight him if he would. Thus dueling is wantonness. Jtem der Sachen und Ardickelen sind siben Darumb man noch pfligt zu kempfen Jtem Daz erst ist mortt Daz ander verräterniß Das dritt ketzerÿ Daz vierd wölher an sinem herrn trulos wirt Daz fünfft um sanckniß in striten oder sunßt Daz sechst um valsch Daz sibent da. ainer junckfrowen oder frowen benotzogt Now those aforesaid causes and articles are seven, wherefore a man has duty to fight. Thus the first is murder. The second is treason. The third is heresy. The fourth is becoming an urger of disloyalty to one’s lord. The fifth is betrayal in strife or otherwise. The sixth is falsehood. The seventh is using either a maiden or lady. Item spricht ain man den andern kempflich an Der sol komen für gericht und sol durch sinen That is why one man challenges another to duel. Such a man shall come before court and shall lay down his case 4 Causes for Dueling fürsprechen sin sach für legen Darumb er in dem an clagt und sol den man nennen mit dem touff namen und zünamen So ist recht Daz er in für gericht lad und in der stund beclag uff dryen gerichten nach ain ander kumpt er denn nit und uanttwurt sich nach nymant von sinen wegen so mag er sich fürbaß nit mer veranttwurten. through his own advocacy. Therefore he who accuses shall name the man by baptized name and surname. At the appointed hour it is right that he who calls for the tribunal also complains to three tribunes after the accused comes—unless either one comes not and answers for himself. Yet nobody of one’s ilk may do so, for truly one may answer better for himself. (8v) Er bewyse dann Ehafte nott alß recht sy so sol man in verurtailen alß ser in daz sin bott Und (?) halb landes begriffen haut je dar nach alß die ansprach ist gegangen Darnach sol daz urtail ouch gan Jtem der da kempflich angesprochen wirt uff den dryen gerichten und er ainost zuo der antwort kumpt und legnet Darum man in an gesprochen hat und sprich er sy des also unschuldig und der sag uff in daz nit war sy und daz wöll er widerumb mit kempfen beherte und uff in daz wysen alß denn recht sy in dem land DarInn eß sy und forttert dar über mit urtail (!) seinen lertag. So werdent Im sechß wochen ertailt zu sinem lertag und vier tag von dem gericht werdent Im ouch ertailt Daruff sie kempfen süllent alß in dem land gewonhait und recht ist Jtem versprechent sich zwen man wilkürlich gen einander ainß kampfig vor gericht den git man auch sechß wochen lertag und sol in frid bannen baiden und wolcher under den den frid brech uber den richter man on den kampf alß recht ist Then the accuser proves his need be just and right. So shall the man under accusation, as much as his accuser, comprehend and likewise this helps the land. Only after all the testimony is done shall verdict be rendered. Thus he who was challenged, he comes singularly before the three tribunes to respond and gainsay. Therefore the man who was challenged, he speaks thus that he be blameless and he repeats that the accusations be not true and thereover he would honor with duel/combat upon that knowledge, as then be right for and required by the land wherein this be and so thereupon is dealt his training time. So he is dealt six weeks and four days from this tribunal for his training time. Thereupon is also dealt that the men shall duel/combat as is customary and right in the land. Thus the two men pledge willingly to go before court and go combatively/get to dueling against each other—each also with about six weeks of training time in peace, during which either or both are banished if someone breaks peace—thus not until when it is agreed upon as right by the judge how one may lawfully meet the other. Wie ainerdem andern mit recht uß gan mag Jtem ist daz ain man kempflich angesprochen wiert von aim der nit alß guot ist alß er Dem mag er mit recht uß gan ob er wil oder ob ain man echt loß gesagt würde oder worden wer Dem mag man ouch des kampfes absin Item spricht aber der edler den mindern an zu kempfen so mag das den minden nit wol absin Thus is one man challenged to fight by another man. The man said to be not as good by the other—he may with right meet that other, if he will. Or if a man would be said or become spurious, then he may instead disregard the duel. Thus indeed the noble challenge the craven to dueling—so may the craven not well disregard that. (9r) Jtem wie aber zwen mann nit mit ainender mügent kempfen und wolcher wil under den den zweyen dem andern wol uß gan mag Item wenn zwen mann gesinnt sind biß uff die fünffte Sipp oder näher Die mügent durch Recht nit mit ein ander kempfen und des müssn Thus why indeed two men may not duel/combat one another; though whichever among them, of the two, may well want to meet the other: Thus these two men are intent to duel—except they who are within five places of kinship, they may not rectify with one another by dueling; which seven men must 5 Knightly Dueling Siben manner schwern Die vatter und muotter halb maege sind swear, who may be of either the paternal or maternal half of either man’s family. Jtem wie aber ainer dem andern kampfes absin mag mit solichem gelimpf alß hie geschribn stät Jtem ob ain lamer man oder einer der böse ougen hett und kampfes an gesprochen wirt der mag sich deß auch wol behellffen und dem gesunden uß gan Eß sy Denn Daz wyse lüt daz gelich nach der person machen und daz müssent wyß lüt uff ir aid tun und daz also glich machen Es mag auch der lam oder mit den bosen ougen wol ainen an Ir statt gewinnen Der für jre ainen kempfe Thus how indeed one or the other may disregard the duel, if he has such a handicap as written and stated here: Thus if a lame man, or one who has bad eyes, becomes challenged to duel. Yet if he may well manage somehow to meet the sound one, it be then the wise decree to make this person on par with the other; and that wise decree must be done upon their oath; such that just as well the lamed or poorly sighted man thus may well win instead of the other one in any duel of theirs. Item wenn also die sechß wochen uß sind und der letst tag komen ist den in der richter beschaiden haut Daruff kempfen sullen So sullen sie beide für den richter komen mit solichem ertzögen und in solichen Acht Alß die gewonheit und daz recht lert jn dem lande dar Inn sie kempfen sullen oder nach dem alß sie mit ainander gewillkürt habent Jtem etc Jtem so soll da der cleger schweren Daz er der sach Darum er dem ainen man zugesprochen haut schuldig sy und denn so sol man in ainen ring machen und grieß wartten und urttail geben (9v) nach wyser lute raut und nach des landeß gewonhait und wo uff den tag in den ring mit kumpt den urttailt man sigeloß Jr In irre denn Ehafte nott Die sol er bewysen alß recht ist When thus the six weeks are past and the last day is come, then the judge has summoned them, whereupon shall be combat. So shall they both come before the judge with such training and in such respect as the customs and law teach in the land wherein the duel shall be, or accordingly as they have otherwise willingly agreed and so forth. Thus so there, the complainant shall swear that he therefore has cause for fighting the other, and that he has deemed the other man guilty. And then shall the judge assign a ring and “grit wardens” and verdict; and counsel wise decrees according to the customs of the land; whereupon the day in the ring arrives for the verdict. One erring man defeated as honor demands, which he shall take as proof and as rightful/lawful. Hie staut wie man sich halten sol wenn die kempfer in dem Ring komen sind uff die stund und uff die zit so man pheindiglich (?) kempfen sol Wenn die kempfer also in den ring komen sind So sol der richter von stund an alle stür und ler vesteklich verbieten by lyb und guot und sol nicht gestatten daz man ainem für den andern nicht zulege und sol inß beiden machen so er jmer gelichest mag ungenerde Here is stated how one shall hold oneself when the combatants are come into the ring upon the appointed hour, at which time one thus shall duel the other adversarially: When the combatants are thus come into the ring, then from that hour the judge shall strictly forbid all disturbance and advice, by health and by wealth; and he shall not allow one or the other to be aided by someone else; thus shall each both do combat exclusively; so may the judge intimidate any rabble. Das ist waß Recht wer ob der kempfer ainer uss dem ring fluch oder getriben wurd Item wolcher kempfer uss dem Ring kumpt Ee Denn der kampf ain ende haut Er werde daruß geschlagen von dem andern oder fluche daruß oder wie er daruß käme oder aber ob er der That which is lawful if one of the combatants flees out, or becomes driven out, of the ring: Thus whichever combatant comes out of the ring, before then the duel has its deadly ending, because he becomes knocked out of the ring by the other or he flees thereout, or however else he comes thereout, or indeed he admits 6 Causes for Dueling sache vergicht Darumb man in denn mit recht an gesprochen haut Den sol man sigeloß urttailen oder wolcher den andern erschlecht und ertötett der haut gesiget that the other man’s position regarding the cause for challenge is right—then shall that man be adjudged defeated, or otherwise slain and killed; for another man has conquered him. Denn sol man aber Richten alß des landes gewonhait und Recht ist Darumb Sie dem mit / ainander gekemppffet hand Then a man shall rectify indeed as is lawful and customary in the land. And thereby they have battled one another. (10r) Nun merck uff dissen punten der ist notturfftlich zü uerstend Item des ersten So soltu den maister wol erkennen der dich lerren wil dz sin kunst recht und gewer sy und dz er frum sy und dich nit veruntrüwe und dich nit verkürtz in der lerr und wiß die gwer zü zerbraitten da mit er kempffen wil Och sol er den maister nit uff nemen er schwer im dann sin frumen zwerbent und sin schaden zwendent deß glich sol er dem maister wider umb sweren sin kunst nit witter zleren Now mark this bond that you need to understand: Thus firstly you should know well the master who will teach you; that his art be right and protective; and that he be pious/sober; and that he not embezzle you; and that he not shorten/beguile the lore; and that he wits to broaden the arsenal wherewith he will battle. However, should that master not accept that, swearing upon his profits ingratiatingly and his prejudices devotedly and thus shall his ilk become masters because of him—then swear neither to further nor to teach his so-called art. Hie merck uff den maister Jtem der maister der ain understat zu leren der sol wißen daß er den man wol erken den er lerren wil ob er sie schwach oder starck Und ob er gäch zornig sÿ oder senfftmüttig och ob er gütten auttem hab oder nit / och ob er arbaitten müg in die harz Und wenn du Inn wol erkunet haust in der lerz und wz arbait er uermag dar nach müstu in lerren Dz Jm nütz ist gen simen vind Och sol der kempffer und der maister sich hütten dz sie niemand zu sehen laussend und In sunder sie gwer da mit sy arbaittent Und sich baid hütten vor uil geselschafft und von dem vechten wenig sagen dz kain abmercken da von kom Here heed the master: Thus the master, who has a student to teach, he shall wit that he recognize well the man whom he will teach; whether he be weak or strong and if he be hot-headed or gentle minded; whether he has good breathing/endurance or not; and whether he may work heartily. So when you the master have well recognized him as into the lore and what work he is able to do, thereafter you must teach the student such that it avails him against his foes. Yet the combatant and the master shall guard that they let no man see them nor also the arsenal with which they work. And they both shall guard their doings from much of society, and say little of the fighting, so that no notice is made thereof. Von kuntschafft Wie der kempffer und der maister kuntschafft möchte hon zu rem widertal wz sin wesen wer ob er sÿ strarck oder swach ob er och sy gechzornig oder nit und wie sin touff nan hieß ob man wölt dar uß brattiüern (?) oder vechnen Es ist och nottürfftig Zu wissen wz maister in lerr / dz man sich dar nach müg richten About patronage: How the combatant and the master want to relate: remit the fee and reciprocate. What be his nature? If he be strong or weak, if yet he be hot-headed or not; and how his top heats up if someone would quarrel or fight. It is also needful to wit by the master who teaches him: that the man strives to set himself aright. Wenn er nun gelert ist und in den schrancken sol gon So sol er zu dem Ersten bichten (!) dar nach sol Jm ain priester ain meß lesen von unßer frowen und von sant When now the combatant is taught and shall go within the barriers: So firstly, when he shall fight, accordingly shall he hear a priest say mass, in honor of Our Lady Mary and of Saint 7 Knightly Dueling Jörgen und der priester sol Jm segnen sant Johanne mynen und den kempfer geben dar nach sol der maister jn ernstlich versüchen (10v) Und inn under richten dar uff er bliben sol Und sol in uff kain ding haissen acht hon dann uff sin vind und den ernstlich an schowen George patron of knights, and the priest shall bless him in the name of Saint John of the Gospel, with which the combatant agrees. Accordingly the master shall try earnestly to advise the combatant one last time; whereupon the combatant shall stay within the barriers; and shall react to nothing, yet regard his foe and earnestly look at him. Merck uff dz Infueren Jtem wenn der man kompt In den schrancken So sol er machen mit dem rechten füß ain krütz und mit der hand ainß an an die brust und sol für sich gon Im namen des vatterß und sunß und deß hai-ligen gaistß Dann sind in die grieß wartten nemen und sind jnn fürren gegen der sunnen umbhe So sol dann der kempfer die fürsten und herren bitten und die umb den kraiß stand / dz sÿ Im wölle helffen got bitten Dz er Im sig wölle geben gegen sinem vind und alz er war und recht hab Mark the presentation when one thus comes within the barriers: So shall he make one cross with the right foot and one cross with the right hand at his breast and shall sign in the name of the Father and Son and the Holy Ghost. The grit wardens bearing staves or spears take the men in and present them and they turn round in the sun. So then shall each combatant bid well the witnessing princes and lords; and they stand around the circle, as each bids God would help him and would give him victory over his foe, as He has truth and right. Dar nach sol man jn setzen in den sessel Wenn er nun gesessen ist So soll man Im fürspannen ain tüch und sin bar hinder Jm an den schrancken und sine gwer sind wol gehenckt sin und gericht nach nottürfft Thereafter shall one sit down in the chair: When he is now seated, so shall someone overspan him with a tent, and his bier is behind him at the barriers, and his arsenal is well arrayed and is lawful and ready for his needs/as required by court. Die grieß wartten oder täpffer Der maister und die grieß wartten söllend mercken uff den richter oder uff den der den kampff an lauffen wirt wann der rüfft Zu dem ersten mal so sol er den man haisen uff ston und dz tüch von Jm Ziehen und wann man rüfft Zü dem dritten mäl So sol er jn haissen hin gon und Jn got enpfelhen The grit wardens or armigers: The master and grit wardens should heed the judge, or whomever else then as agreed previously. Dueling is started at the first call—so shall he the judge call the combatants to stand up and draw up from the tents; and when he has called for the third time, calling them by name, then he goes thence and commends them unto God. Von dem nach richter Jtem der kempffer sol wartten daß Im nützit an dem lib über den ring oder schrancken uß gang dann wz dar über kem so stat der nach richter an dem schrancken der hott imß ab mit recht ob er angerüft wirt Of the aftermath states the judge: Thus the combatant shall ward his body as avails him, within the ring or barriers; and then go out when he overcomes. So states the judge the aftermath at the barriers—that the combatant has proven himself everso right, if he becomes called the winner. X Talhoffer X Talhoffer 8 Causes for Dueling Knight, wearing field harness, with armiger and weaponry, enters barriers ready for duel—Talhoffer (1459). 9 This page intentionally left blank. Mark Verses ‫ﱝ‬‫ﱝ‬ LIECHTENAUER MARK VERSES FOR DUELING VIA DÖBRINGER These are the merkverse (mark verses/memory verses) of German grand fight master Johann Liechtenauer (1350–1420), according to his evident contemporary and student, Hanko “the Priest” Döbringer, as scribed in 1389. They tell of the actual techniques for German chivalric fighting—how their noble knights dueled each other, both ahorse and afoot, in full armoured harness, with lances/spears, longswords, daggers, and wrestling. Such mark verses were used to teach knowledge of fechten (fighting/fencing) to knights in a way that let them recall and speak their martial arts lore in rhythmic and rhyming form. This cryptic poetry is the closest thing to the actual words of Liechtenauer himself, being the earliest known and coeval version of his fighting lore. Indeed, the Döbringer mark verses may be considered to hold the urvokabular of Liechtenauer, which is vital to verifying and clarifying the vocabulary of later German fencing masters, as well as containing many unique lines of its own. These mark verses (folios 53r–60v), which actually are presented non sequitur to the part dealing with bloszfechten (unarmoured fighting), deal only with the dueling arts of armoured combat—roszfechten (horse fighting) and kampffechten (duel fighting—akin to Middle English kempen), with ringen (wrestling/grappling) dealt with as needed. However, unlike with his version of the Liechtenauer bloszfechten, Döbringer did not provide any glossa (commentary) for the roszfechten and kampfechten. Judicious use of (!) is made to indicate where original scribal errors seem to exist. Any text strike through (like this) is accurate to the manuscript. Please understand that if the mark verses seem confusing and cryptic, it is because they were meant to be that way. The German fechtmeister (fight masters) of yore were secretive about their arts, striving to make sure that only they and their trusted students learned the true arts of fighting. But do not worry—the same or similar verses get treated with glossa (via von Danzig) later in this chapter. ‫ﱝ‬‫ﱝ‬ 53r) Hie hebt sich nu an das fechten czu rosse in harnuesche mit sper und swerte etc Jung ritter lere / got lib haben frawen io ere / So wechst deyn ere Uebe ritterschaft und lere kunst / dy dich cziret / und in krigen etc ut supra in preambulo etc Now here starts the horse fighting in harness with spear and sword, etcetera. Young knight, learn to have love for God, yes, honor for women—so your own honor grows via chivalry. And learn art which dignifies you and distinguishes you in war etcetera, as above in the preamble, etcetera. Deyn sper berichte / kegen reiten mache czu nichte Und vor an wisse / dyn roz das gorte gewisse Your spear readies—charging achieves not And furthermore, wit that your horse is girded certainly 11 Knightly Dueling Du salt wol merken dy glefney bederben mit sterke Wiltu czu / rynen / zo fasse den czam lang mit synnen Dornoch zo streiche / dy glefney czwer oeber eyn seite So merk dy seiten / zo du mit kunst gerest streiten haw dreyn nicht czuecke / von scheiden / link czu im ruecke So reit mit synnen czo du abesetczen ruchest gewynnen Wiltu abesetczen / und brechen / syne kunst do mete letczen Dy glefney czu vorne / ruecke dor under und nym sy ane czorne Hoch an du setcze / swenke durchfar wiltu in letczen greif im seyn rechte / czo vestu in ane fechten You should well mark, wielding the lance with strength Will you run up? Then seize the bridle, reach with aim Thus accordingly sweep the lance, across over one side Thus mark the sides—then you arrest strife with art Hew you not therein? Draw from sheath—move left side to foe Thus ride with aim, thus by offsetting you move to win Will you offset and counter his art, thereby undoing him? The lance to the front, move thereunder and take it without wrath High you attack, swing, move through, you will undo him, grapple him upon his right, thus you seize him without fighting Begreif seyn were / mit dem ros dich umbekere Ach magstu rangen / wen du in hast umbevangen Wiltu aber vorflien / czo schicke deyn pfert czu umbeczihen Dornoch abesetcze / mit winden in sere ietcze aber schicke dich umbe / daz du sitzt ynder kruemme (53v) Voer allen sachen / saltu mit fleisse achten Der edlen leren / dy im blozfechten ist geschreben Indes und vor noch / saltu hie wol merken och Rischeit und kunheit / vorsichtikeit list und klugheit (54) Blank (55r) Ab sichs vorwandelt / das swert keyn (!) swerte wirt wirt (!) gehandelt Recht fasse dy sterke / taschenhawe du in suechen merke lere wol stark schoten / alle treffen ane var / mit noeten An setze ane vare / wer stroiff heng in czu dem hare Grip his weapon, with the horse turn yourself around Alas! You may wrestle when you have surrounded him Will you instead flee? Then place your horse so as to draw around Offset accordingly while winding him forthwith Yet send yourself roundabout while you crouch Above all other tactics, you should diligently regard The noble lore which is written in the unarmoured fighting/fencing—Instantly, Before and After These also you should well mark indeed—quickness and boldness, foresight, cunning and cleverness If it evolves—such that sword versus sword shall resolve—then get right, get the strong—you mark him, seeking to hew pawingly Learn well strong flourishing—meeting all without fear as needed—attack without fear—whoever prowls, hang it to his hair Wiltu gernet / lang iagen sere mueet wer das nue weret / zo wind das selbe awge vorseret Wert her das voerbas / vach den czawm weze nicht las Bedenke dy blossen suche messer nicht warte kloetzen In aller were / deyn ort / keyn der blossen kere Will you readily hunt long? That is highly courageous— someone wards that now—thus wind, the same injures eyes—he wards that further—catch the bridle, be not last Bethink the gaps—seek not messer, watch for clefts In all warding/With all weaponry your point turns against the gaps Learn twain sweeps—with empty hands versus the weaponry The sheep hold wards all holds—get him face-to-face Also mark which side to ride where you best arrest Whoever will hew at you—forsetting shall please you And winding slash (?), behind and before, stab quite courageously Accordingly hew off/get away—have the bridle, right leg turns aside Czwene striche lere / mit lerer hand keyn der were Der schofgriff / weret alle griffe undern awgen veret Auch merke dy seiten ido (!) du of vorteil gerest reiten Wer of dich wil hawen vorsetczen saltu dich frawen Und winden snete / hinden und vorne stich sere mete Dornoch abehawe / zawm hat / rech beyn zonder drawe 12 Mark Verses Wen du erst windest / ruche ansetzen / etwas du bindest wer of dich synnet / und synt swert czu durchrynnen gewynnet An (!) czweivel wint an / wiltu keynen schaden von im han Dy link seite merke / deyn erbeit auch mete sterke winden vorsetzt / swert lang / los hangen zo ist her geletzt When you first wind, move attacking, somewhat you bind Whoever focuses upon you and ponders winning by running his sword through you Without doubt wind on/deploy—you will have no harm from him Mark the left side, your work also courageous and strong Winding forsets, sword reaches, gets to hanging—so is he undone Dornoch in blende / der dich mit vorsetzen wil scheden Accordingly by blinding/by illusion he will harm you with forsetting Ane sorge nym war / var im balde under arm da So without sorrow take guard/perceive, move to him quickly under his arm there Reach right, get to hanging—that I laud—you will wrestle Recht lang los hangen / das lobe ich gancz wiltu rangen Druek vast mit stoessen / vom czawm / stiche messer reme der blossen Ube dy kunst czu vorne / in schimpf / zo gedenkstu ir in czorne (55v to 57r) Blank (57v) Der schofgrif weret / wer ringens sich czu dir keret Als undern awgen / ane (!) greife lere mete flawgen (!) Press tightly with jolting/thrusting from bridle—messer stabs and rams the gaps Whenever the art is foremost in sparring, then you recall it in wrath Wer dich an fellet / weder reitens der wirt gefellet Rangens czur erden / oebergrief in recht mit gebeiden Czu beiden seiten / du in an ler dich alweder reiten der schofgrif mit lobe / wert alle griffe undern ogen (58r) Ab du wilt reiten / roslawfens czur andern seiten der sterke schote / ane setcze do mete noete wer weret dir das / weite swert vach natrag der handlas Whoever assaults you, confront—he engages, so wrestle to the earth—grapple him rightly with bearing To both sides you train yourself to do all confronting— the sheep hold laudably wards all holds face-to-face If you will ride, then lope the horse to the other side—the strong lunge, attack therewith in need Someone wards that, so wave sword—catch and carry near the handle Or turn around, ready to hunt—with all arts of weaponry—he hunts who places to vantage If you go to hunt—and intend hunting left Grope for his sword—and wrestle and jolt very staunchly The sheep hold wards whoever turns to wrestle you As face-to-face—assault him empty-handed while striking Ader umbe kere // ruet czu iagen der were mit allen kuensten / der iagt den schicke noch guensten ab du voriagest / und ane danke linke iagst Deyn (!) swert auf taste / Und rangen stoz sere mete vaste (58v) Iagt man rechtens / halb kere link / warte vechtens Mit armen vahen / zo mag dir keyn schade nahen kere anderweit umbe / ab dy roz nue hin spruengen Someone hunts to your right—so half-turn left, reckon on fighting, with arms catching—Thus none may hurt you nearing Turn around the other way if the horse now springs past (59r) Wiltu an fassen / neben reitens nicht saltu lassen das zunne (?) czeigen / linke ermol treib wiltu neigen Will you grapple, yet riding near shall not let you? The sundial—left vambrace drives, you will tilt 13 Knightly Dueling Das vorhawe (!) taste kegen nacken druek zere vaste das her sich swenket / selben (!) weder auf / sich gelenket The forehead touches—press very tightly—so that he topples—and seldom returns wer dir do remet / oebirgreif den der wirt beschemet Druk arm an hawpt / der grif ofte zatel rawbet den vorgrif merke / der bricht voerbas syne sterke Whoever jostles you with that—grapple him, he becomes shamed—press arm to head—that hold often robs saddles Will you indeed test yourself? Letting the catching clear from you Mark foresight—it further counters his strength (59v) Ab sich vorrukt / das swert keyn sper wirt geczukt Der strich io war / nym sprink vach ringens yle czu ym If it progresses/gets chaotic—the sword becomes drawn against spear—take guard, yes, for the thrust—so spring, catch, wrestle, hasten to him link lang von hantslach sprink weislich und den vach Ab her wil czuecken von schneiden (!) vach und druek in / das her dy bloesse mit swertes orte vordroesse beder unde hantschuch under dy awgen dy blosse recht zuch Left reaches, strike from hand—spring wisely and then catch—yet he will draw from sheath, catch and press into that—be first to vex gaps with the sword point Leather and gauntlets—face-to-face—rightly tap the gaps Vorboten ringen / weislichen czu lere brengen Czu fleissen (!) vinde dy dy starken do mete vinde (!) In aller lere / den ort kegen der blossen kere Forbidden wrestling—wisely train how to bring foes to locking—which you ? the strong therewith In all lore, turn the point against the gaps (60r) Wer abesynnet / vechtens czu fusse begynnet der schicke syn sper / czwey sten am anhegen (!) rechte wer Whoever fights fruitlessly begins again on foot He places his spear—two stances rightly start the weaponry Sper und orte / den vorstich ane vorchte Sprink und setz recht an / wert her czuk das sigt ym an Spear and point—then thrust first without fear Spring and attack rightly—he wards—so tug—that defeats him Will you thrust forth/first? With tugging learn weapon countering Mark—will he draw from sheath and will he flee—so nearing you shall catch him—yea, wisely watch for that Where one has drawn his sword from sheath—both have aimed and tried Thus shall one strengthen—marking the hurling indeed Before and After—the two things prove wise—learn with launching Follow all meetings—the strong you will mock He wards, so tug—you stab, he wards, yes, move to him If he fights long, then you are ready artfully He attacks you quite strongly—the lunging defeats him With his slaying hammer—he protects himself, yet you meet without fear—with both hands—learn bringing the point to eyes You must guard the forward foot by striking Wilt aber dy masen / des vahens leicht von dir lasen Wiltu vorstechen / mit czuecken lere were brechen Merk wil her czihen / von scheiden und wil her flyen So salt im nahen / y warte weislich des vachen (60v) Wo man von scheiden / swert zuecken siet von in beiden do sal man sterken dy schrete eben mete merken Vor / noch dy zwey dink sint aller / pruefe mit lere abesprink Volge allen treffen / den starken wiltu sye / effen Wert her czo czuecke / stich wert her io czu ym ruecke Ab her lank fichtet / zo bistu kuenslich berichtet greift her auch sterke an / das schissen sigt ym an Mit synen slaen harte / schuetzt her sich trif ane forte Mit beiden henden / czu augen ort lere brengen Des fuerden fusses / mit slegen du hueten muesest 14 Mark Verses LIECHTENAUER MARK VERSES FOR DUELING VIA VON DANZIG These are the merkverse of Johann Liechtenauer according to the later fight master Peter von Danzig in his Fechtbuch (fight book) scribed in 1452. As with the Döbringer mark verses, these tell of the techniques for German chivalric fighting and were used to teach Liechtenauer’s knowledge to knights in a way that let them recall and speak their martial arts lore in rhythmic and rhyming form. These mark verses, which also are presented non sequitur to the part dealing with bloszfechten (unarmoured fighting), set the stage for the similar mark verses with full glossa for the roszfechten (horse fighting) and kampffechten (duel fighting) presented later in the Fechtbuch. Although there may be some noticeable differences between a given mark verse here and one in the later parts, the versions agree, if not precisely then largely. Notice that in the actual manuscript, the text for each rubric of folios 7v–8r is literally described within each circle or figure (figur)—as seen in the photographs later in this book (see “Artifacts”). It is a great help to have two copies of the mark verses in the same source for purpose of comparison and comprehension of the fighting lore. Notice that below the merkverse are spaced to match how von Danzig dealt with them in the folios of his glossa, thus presented in sensible stanzas or rubrics, instead of all running together as per the layout in his earlier folios. Again, please understand that if the mark verses seem confusing and cryptic, it is because they were meant to be that way. That is why masters like von Danzig chose to make commentary for them. ‫ﱝ‬‫ﱝ‬ Portrait of Johann Liechtenauer as found in von Danzig’s Fechtbuch (1452). 15 Knightly Dueling (6r) Daß ist maister Johansen liechtenäwer rosß vechten This is Master Johann Liechtenauer’s horse fighting (6v) Dein sper bericht / Gegen reiten mach zů nicht / Your spear readies—charging achieves not Ob eß empfalle / Dein end ym ab schnalle / If it drops, then your end undoes him Haw drein nicht zucke / von schaiden linck zu ym rucke / Greiff in sein rechten / So fechstu in ane fechten / Hew you not therein? Draw from sheath—move left side to him—attack his right side—so you fight him without fencing Daß gleffen slechen fechten / Sittigklich an hurt lere prechen / The lances thrusting and fighting—lance gracefully— learn countering Ob eß eß sich vor wandelt / Daß swert gegen swert wirt gehandelt / Recht vaß dy sterck taschen haw tü süch / und merck If it evolves—such that sword versus sword shall resolve—then get right, get the strong—by pawing hew you seek and mark ler wol starck schütten / Allen treffen an (!) far do mit nött in (!) / An secz an (!) far / wer straifft heng im zů dem har / Learn well strong lunging—meeting all without fear, there as needed—attack without fear—whoever prowls, hang it to his hair Wiltu gerüt lanck / iagen daß sere müt / Wer daß nu wert / Do wind daß aug vorsert / wert erß furpaß / Vach zawm und weß nicht laß / Will you readily hunt long? That is highly courageous— someone wards that now—wind there, that injures eyes—he wards it further—catch bridle and be not last Bedenck die plöß / Snech (!) plösß messer nicht wartt klösß / Bethink the gaps—seek not messer, watch for clefts Zwen streich ler / Mit lärer hant gegen di der wer / Learn twain sweeps—with empty hands versus the weaponry Der schaff grif weret / wer sich ringenß / Zů dir keret / alß under augen / angreif in recht mit flaugen (!) / The sheep hold wards whoever turns to wrestle you—as face-to-face—assault him rightly while striking wer dich an felt / wider reittenß der wirt gefelt / hangenß zů der erden / über greiff in recht mit geperden / Whoever assaults you, approach—he engages, so hang to the earth—grapple him rightly with bearing Zu paiden seitten / du in an ler dich alle wider reitten / To both sides you train yourself to do all approaching Ab du wilt reiten / Rosß lauffß zu der anderen seyten / Dye sterck schütte / an secz da mit in note / wer wert dir daß / weit swert vach trag na der handt haß / If you will ride, then lope the horse to the other side—the strong lunge, attack therewith in need—someone wards that, so wave sword—catch and carry near handle Oder umb ker / geruet zů / iagen der were / Mit allen kunsten / der iagt der schick nach grunsten (!) / Or turn around, ready to hunt—with all arts of weaponry—he hunts who places to vantage 16 Mark Verses Ab du wer iagst / und an danck linck iagst / Sein swert auff taste / und ring stös mit (7r) faste / Iagt man rechtenß / halt (!) ker umb wart vechtenß / Mit armen vahen / So mag dir kain schad nachen / If you hunt someone—and intend hunting left—grope for his sword—and wrestle and jolt staunchly Someone hunts to your right—so half-turn around, reckon on fighting, with arms catching—Thus none may hurt you nearing Dye messer nemen / Behalten ler an schomen / The messer taking—learn to keep without shame den ungenatten den starcken / In werwant / Ir slacher ir stechen / wer dirbt an alß (!) vechten / The unnamed versus the strong—deployed to their striking and their thrusting—it destroys all fighting Wiltu an fassen / Neben reittenß soltu nicht lassen / Daß sunnen zaigen / linck ermel treib wiltu naigen / Daß vor haubt taste / Gegen nack druck sere faste / Daß er sich swencket / und selden wider auff gelencket / Will you grapple, yet riding near shall not let you? The sundial—left-vambrace drives, you will tilt—the forehead touches—press very tightly—so that he topples— and seldom returns wer dir daß rempt / uber greiff den der wirt beschempt / Druck armen zu haubt / Der griff offt satel beraupt / Whoever jostles you with that—grapple him, he becomes shamed—press arm to head—that hold often robs the saddle wiltu aber dich massen / deß vahenß liecht von dir lassen / Ringenß den gefangen hin ane schnure / Will you indeed test yourself? Letting the catching clear from you—wrestling then—tied up without cordage Den vorgreiff merck / Der pricht furpaß sein sterck Mark foresight—it further counters his strength ~ (7v) Die erst figur + Jag von der prust zu seiner rechten hand The first figure + Hunt from the breast to his right hand. Die ander figur + umbkere mit dem Rozz Zewch sein rechter hande mitt deiner lingken The second figure + Turn around with the horse, tug his right hand with your left hand. Die dritt figur + Mit strayffen Satel nyem oder wer nymbe The third figure + By prowling—take saddle or take weapon. Die vyerdt figur + Secz an hoch swing durch var oder Swert prich The fourth figure + Attack high, swing, move through or sword counter. Die funfft figur + Daz schuten vorgengk allen treffebb hawen unnd stechen The fifth figure + The lunging goes before all meeting, hewing, and thrusting. Die sechst figur + Greyff an mit peyden henndten die sterck The sixth figure + Attack the strong with both hands. Die sybendt figur + Hie heb an den man taschen haw zu suechen The seventh figure + Here, start at the man, seeking to pawingly hew. Die achtt figur + Wenndt Im die rechte hanndt secze The eighth figure + Wend him the right hand, put the 17 Knightly Dueling den ortt zu den augen senck point to the eyes and sink. Die newnt figur + wer den stich wertt dem (!) vach sein rechte handt in dein lincken The ninth figure + Someone wards the thrust—so then catch his right hand in your left. Die Zechent figur + Suechee (!) die plosß arm ader hanndt schuech undt ir den augen The tenth figure + Seek the gaps—arms or gauntlets and injure the eyes. Die ayndlesst figur + Druck vast stosß von czawm sueche sein messer The eleventh figure + Press tightly, shove from bridle, seek his messer. Die Zwolfft figur + Mitt lerer hanndt lere zwen strich gegen alle were The twelfth figure + With empty hands, twain sweeps versus all weaponry. Die dreiczechent figur + Der schaf gref wertt alle griff Ringenß undter augenn The thirteenth figure + The sheep hold wards all holds— wrestle face-to-face. Dein Sper bericht etc Ob eß einphal etc Haw dreyn nichtt Zuckh et cettera Your spear readies etc. If it drops etc. No knockouts? Draw etcetera. Glosa lingck zu Im ruck Greyff in sein rechten so vechst da In ane vechtenn Commentary: Move left side to him—attack his right side—so you fight there without fencing. (8r) Die vierczendt figur + Anderways kere umb so die Rozz hynn hurtten The fourteenth figure + Otherwise, turn around—so the horses hurtle past. Die funffczend figur + In der nech vach die hanndt verkere sein anttlicz da der nack ist The fifteenth figure + At close range catch the hand, invert his face, there the neck is. Die sechczechend figur + Die were vach in der weytt In dein wider Reytten The sixteenth figure + Catch the weapons within range during your approaching. Daz sybenczechend figur + Jagst die lingk so vall auf Swertes kloss stoss undter augenn The seventeenth figure + You hunt the left, so afflict the sword, cleave or thrust face-to-face. Die achtczechendt figur + Iage zu der rechtten hanndt mitt Irer kunsten The eighteenth figure + Hunt to the right hand with injuring arts. Die nëwnczechent figur + Secz an den ortt gegen dem gesichtte The nineteenth figure + Attack with the point toward the face. Die czwanczigst figur + Schutt gegen allen treffen Diee ynnner werdenn The twentieth figure + Lunge against all meetings whenever those happen. Die ain und czwaynczigist figur + Die sterck in dem anheben DarInn dich recht schicke The twenty-first figure + The strength in the starting— place yourself rightly therein. 18 Mark Verses Die czwo und czwainczigist figur + Daz ist nun der sper lawff der dem andern begigendt undter augen The twenty-second figure + That is now the spear-run— he encounters the other face-to-face. Die drey und czwainczigist figur + Der ungenant griff wer nymbtt oder velt In The twenty-third figure + The unnamed hold takes weaponry or fells him. Die vier und czwainczigist figur + ob man dich Jagt zu bayden Seytten kere umb lingk so er rechte kumbt The twenty-fourth figure + If someone hunts you to both sides, then turn around left so he comes right. Die funff und czwainczigist figur + Der mezzer nemenn und behalden gedenck The twenty-fifth figure + The messer taking and keeping—think of it. Die sechssundczwainczigist figur + Ubergreif wer dich an velet oder thue Im wider Reyttenß The twenty-sixth figure + Grapple whoever assaults you, approaching him. Wild du ansazzen neben reittenß not solt du lasen daz sunnen czaigen linczk ermel treib wildu naygen Will you attack, yet riding near shall not let you? The sundial—left-vambrace drives, you will tilt. Wer dir daz rembt ubergreifft den der wurd beschämbt druck arm zu haubt der griff offt sattel berawbitt Whoever jostles you with that—grapple him, he becomes shamed—press arm to head—that hold often robs the saddle. ‫ﱝ‬‫ﱝ‬ (8v) Hie hebt sich an maister Johanßen liechtenawerß kunst dem got genädig sey mit dem kurczen swert zů kampff Here starts the art with the shortened sword/halfsword for duel by Master Johann Liechtenauer—God be merciful to him! Wer ab synt / ffechtenß zů fuesß begint / Whoever fights fruitlessly begins again on foot Der schick sein sper zway sten / an heben recht wer / He places his spear—two stances rightly start the weaponry Sper und ort / Den vorstich stich an vorcht / Spear and point—then thrust first, pierce prepared Spring wind secz recht an / wer er zuck daß gesigt im an / Spring, wind, attack rightly—he wards—so tug—that defeats him Wiltu vor stechen / mit zucken lere wer prechen / Will you thrust forth? With tugging learn weapon countering Merck wil er zyhen / von schaiden und wil er er (!) fliechen / So saltu im nahen / Zů weißleich wart deß vahen Mark—will he draw from sheath and will he flee—so nearing you shall catch him—so wisely watch for that ‫ﱝ‬‫ﱝ‬ 19 Knightly Dueling Daß sind dye ringen zů champff These are the wrestlings for duel. O du wild ringen / hinder pain recht lere springen / Rigel fur schiessen daß vor pain kunstlich schliessen / Oh, you will wrestle—then rightly learn springing behind legs—shooting forth the bolt, artfully locking the foreleg von paiden henden / ob du mit kunst gerest enden / From both hands if you desire ending it with art Ob eß sich vor ruckt / Daß swert gegen sper wirt gezuckt / Der stich In war nym / Spring vach ringenß eil zů ym / If it progresses/gets chaotic—the sword becomes drawn against spear—take guard for his thrust—so spring, catch, wrestle, hasten to him linck lanck von hant slach / Spring weisleich und den vach / aber wil zucken von schaiden vach / und druck in daß er dy plösß / Mit swerteß ort verdroß / Left reaches, strike from hand—spring wisely and then catch—yet he will draw from sheath, catch and press into that—be first to vex gaps with the sword point leder und hantschuech / under augen dy plösß recht suech / Leather and gauntlets—face-to-face—rightly seek the gaps Verpotne ringen / Weisleich zů lere pringen / zů schliessen viende / Die starken do mit vber winde / Forbidden wrestling—wisely train how to bring foes to locking—overcome the strong therewith In aller lere / dein ort gegen der plösß kere / In all lore, turn the point against the gaps wo man von schaiden swert zuck sicht von in paiden / So sol man stercken / Die schütten recht eben mercken / Where one has drawn his sword from sheath—then both have aimed and tried—so shall one strengthen—mark the hurling rightly indeed Vor und (9r) nach dye zway dingk / prueff weysleich lere mit ob spring / Before and after—the two things prove wise—learn with launching volg allen treffen den starcken wiltu sy effen / wer (!) er so zuck / Stich wert er / In zů ym ruck / Follow all meetings—the strong you will mock—he wards, so tug—you stab, he wards, move into him Ob er lanck vichtet / So pistu kunstlich berichtet / If he fights long, then you are ready artfully Greift er auch sterck an / Daß schiessen gesigt ym an / He attacks you quite strongly—the lunging defeats him mit seinem slahen den ort / Schützt er sich triff anne vorcht / Mit paiden henden / Dein ort zů den augen lere wenden / With his slaughtering point—he protects himself, yet you meet without fear—with both hands—the point to the eyes, learn winding Deß vorderen fuesß / mit slegen du hütten müest You must guard the forward foot by striking (See Endnote #2 about the relationship of folios 9r and 69r.) 20 Mark Verses ‫ﱝ‬‫ﱝ‬ Halbes schwert stich versus mortschlag—from Codex Wallerstein (1380–1390 and 1450s). These German knights are bedecked in the manner coeval to Liechtenauer and Döbringer. They wield the three main armaments of kampffechten—speer, langes schwert, and degen. 21 This page intentionally left blank. Horse Fighting ‫ﱝ‬‫ﱝ‬ LIECHTENAUER AND HIS HORSE FIGHTING Firstly, the horse fighting (roszfechten) of fight-master Johann Liechtenauer (1350–1420), appearing in folios 39r–52r of the Fechtbuch by Peter von Danzig (1452), is indeed the fighting of horsemen and not of horses. It is lore for struggle on the dueling field, which finds utility on the battlefield as well. Masters other than von Danzig have covered this same Liechtenauer roszfechten—Hanko Döbringer (1389), Sigmund Ringeck (1440s), Jud Lew (1452), and Hans von Speyer (1491)—and of course it is included in the later fight books Goliath (1510–1520) and De Arte Athletica by Paulus Hector Mair (1542). All these versions differ from each other yet keep to an overriding likeness of content. However, it seems apparent that von Danzig and Ringeck share more similarity to each other, as conversely Lew and von Speyer share more similarity. Also, von Danzig and Ringeck tried to stay closer to the language of the Liechtenauer mark verses in their commentaries than did Lew and von Speyer in their commentaries. Indeed, Lew and von Speyer often deleted or changed wording by interpolation and frequent overexplanation, whereas von Danzig and Ringeck tended to leave wording unchanged amid their interpretation. And then Hans Talhoffer (1443) gave us all the mark verses yet no commentary for his version of Liechtenauer’s horse fighting. So, it helps to compare these various versions of the roszfechten. To address the naming: literally translating roszfechten as “horse fighting” is most reasonable—if it worked for the Germans of yore, it should be good enough for us. To call it “cavalry” misleads the reader into thinking it referred to mass-army tactics rather than a kind of dueling tactics; to call it “horsemanship” conveys nothing of its martial nature; to call it “equestrian” wrongly conveys idea of sport; and both “mounted combat” and “riding fighting” make one rightly ask: upon what? Thus men fighting on horseback, from horses, upon horses, mounted on horses—it all adds up to “horse fighting.” This roszfechten must have required the rider already to be an advanced horseman before he ever learned its fighting skills. Despite certain differences, this roszfechten is really a horse-borne kind of kampffechten (duel fighting), and indeed, the latter is overlapped by the former, as its opening gambits deal with mismatch of horseman versus footman (53r–54v), thus one seeming to flow into the other, and so their sequence according to Liechtenauer via von Danzig is quite fitting. Their relationship seems wittingly reinforced, as evinced by repetition of certain instruction—for instance how Figure 10 in 45r of the roszfechten (Sůch die plösß arm leder hantschůch / vnder den augen) is basically repeated in 58r of the kampffechten (Leder und hantschuech unden den augen die plössen recht sůech) in the von Danzig fechtbuch. Ultimately, realize this: dynamic, circular hunting (jagen) is the nature of Liechtenauer horse fighting. HORSES, ARMS, AND ARMOUR Certain assumptions about the horse (rosz) and its rider’s roszfechten must be made, as helped by artwork of such struggles approximate to 1452, by/via Hans Talhoffer (1459 and 1467), Paulus Kal (1462 and 1460–1470), Albrecht Dürer (1490–1505), Goliath and others, and by works like Bem Cavalgar by Dom 23 Knightly Dueling Duarte (1438). From such we know that the horses tended to be male, since stallions tended to be stronger and more aggressive than mares, thus they would have been the choice for battle. Such horses had tails bobbed and tied, and hooves iron shod. The men wore high-legged boots and spurs. The saddlery had high bows, either high or low cantles, girth straps, shoulder and hind straps, and stirrups—a very utilitarian design. The bridlery included halters, with large curved versions of curb bits, fitted with double reins—thus for very seasoned riders needing much control of their well-trained horses. One may notice how nicely Dürer portrays such harness in his artworks, as in This Is the Armatura (1498) and several others. Horses had either no armour or merely chanfrons and crinets—mobility and speed were paramount. The kinds of horses were probably destriers or coursers, although you could do this stuff on any fit, trained, willing horse. These knights probably rode their steeds in the style which Dom Duarte termed bravante, thus his first, as well as his related second and third styles—which if multiple, would agree with his advocacy of riding adaptability—but no gineta and no barebacking (his fourth and fifth) are indicated. (For more about Dom Duarte and bravante, refer to The Royal Book of Jousting, Horsemanship and Knightly Combat by Antonio Franco Preto, Chivalry Bookshelf, 2005.) Liechtenauer via von Danzig speaks of the three main weapons upon horse—the lance/spear (glefen/sper/spiesß), the kind for battlefield and not for tourney; the dagger (degen), either a ballock or rondel; and the sword (swert), which could be a longsword, bastard sword, or even shortsword (more about that later). Such arms and armour are featured prominently and consistently in the text and pictures of multiple fechtbücher, as per Gladiatoria (1435–1440), Talhoffer, Kal, Goliath, and others. And he does mention messer (messer), which in the mark verses often seems synonymous with swert, hence “sword,” rather than the weapon more like a falchion. The swords are wielded mostly single-handed by right-handers, although halfswording appears. The reins are held in the left hand. An interesting word appears throughout—glev (lance/spear). By 1452 it was a centuries-old archaic German term for “lance” or “spear” (not to be confused with the other meaning of “sword”), used that way at least since Parzival (1220). It had come from Old French glaive and was akin to Polish glewja. In a related sense in other contexts, the German glev also meant the same as another kind of English “lance”—the basic tactical unit of feudal armies throughout medieval Europe, consisting of three to five cavalry and equivalent supporting infantry. More to the meaning here, the Ordonnances des Rois de France of 1306, regarding judicial combat, use the term glaive for lance or spear. This sort of lance was indeed a kind of spear, with a long, sharp point rather than a coronal point. Although the fighting men are amply stated as riding and combating against each other wearing full harness (harnasch) of plate armour—not to be confused with horse harness—most of this lore could also apply to those going unarmoured. Thus where it says plößen, that actually means “gaps [in armour],” and not “openings” as often found in bloszfechten (unarmoured fighting). Thus a great deal of the striking is thrusting (stichen), which of course is the mainstay of harnischfechten (armoured fighting), yet hewing (hawen) is instructed often enough, sometimes naming the long edge (langen schneid). However, slashing (schnitten of other texts) is quite absent. Consider again that one is told often enough to ride to the foe and make hewing strikes with his sword or messer—which nixes the false notion that Europe lacked weaponry for its cavalry equal to any Asian saber or scimitar. It is arguable that perhaps more hewing is evinced despite the armouring because, unlike fighting afoot, a man could gain more power for an effective cleaving strike while ahorse. We see much earlier texts like the Louis IX Bible (circa 1250) portray armoured knights hewing armoured foes at percussion point about two-thirds to three-quarter blade length from cross, even versus helms—something especially availing as foes meet in forward motion upon horses (see “Variety”). Indeed, as well remarked and as doubtlessly felt in riding, be aware that the horse may carry you forward into the foe with power (dich dein roß mit gewalt fur In trüg)—which corresponds with remarks by Dom Duarte, wherein he recommended the equivalent of mittelhau and zornhau upon horse, since rider and horse best transferred their combined forces into 24 Horse Fighting the foe through those kinds of strikes (see Endnote #3). And realize this—just unhorsing a foe with a sword strike is very dangerous to him, even if such does not breach his armour. Also of interest are the illustrations from the aforesaid Talhoffer and Goliath, where relevant equestrian moves are shown by men armoured, partly armoured, and unarmoured; plus, both those tend to show the sword sheath rigged at the left. Notice there is some shortened sword/half-sword (kurtzen swert/halben swert) at the end of this present lore, done presumably with reins adrift over forearm or elbow. So it seems that Liechtenuaer’s horse fighting was fit for varying mounted conflicts. Here the basic root word for equestrian movement is reitten (riding). Accordingly, we find “charging” is indicated both by gegen reitten and zwsammen reitten; “lancing” is indicated by hurtten/an hurtten (akin to English “hurtle”—see Endnote #4)—not to be confused with hurtt an (push at) or hyn hurtten (hurtle past)— and much the same in spirit as sper lauf (literally “spear-run”). Other movements include an reitten (advancing [to]), auf reitten (riding upon [to attack]), and wider reitten (approaching). Other supportive elements include vmbkeren (turning around) and vertrüg/für trüg (carried forward [by horse]). Notice freyen translated as “free”—but it may mean more contextually “with arms apart” or “up high.” Notice treffen means either “hitting [with weapon]” or “meeting [of weapons],” depending upon context. Understand that the lancing (hurtten) of duel was more dynamic and more dangerous than the jousting (tjostieren) of coeval tourney of the 14th through 16th centuries. Thus knights were basically outfitted for the battlefield—the armour they wore was sleek battle harness and not bloated tourney harness; their weaponry was sharp and unadorned; they bore no shields or only small targes; the horses were unarmoured or only in chanfrons and crinets; there was no central tilt rail dividing them; there was no crowd cheering them and no pretty maidens awaiting them. They were trying to kill each other utilizing techniques and tactics that could have been utilized on the battlefield. It was a hunt, not a collision. Arguably, the lancers had more in common with later Cheyenne warriors of 19th century American West than coeval jousters. We must consider that some of the plays seem to imply untold cues from rider to horse in order to complete some of these movements. Even when portrayal of the action of both rider and horse seems rather full, anyone who has ridden a horse would probably agree that there is often more happening here than we are told. Surely the knowledgeable knight of the past could do those things—proper cueing with the arms via hands and reins or even palms and elbows; with the legs and feet via spurs and stirrups, and via thighs, knees, and calves; with shifting of bodyweight; and of course with the voice. Plus, his well-trained steed may have needed no cues to make certain moves. Many maneuvers here, both explicit and implied, agree with the basic tactics of many horse-fighting sources: charging; utilizing a simple set of strikes; striking as you stand in stirrups and in time with your horse’s moves to lend force; being ready to change course as needed; clearing one’s own horse while attacking; swerving after attacks; wrestling when needed; and keeping balance primary to staying mounted. To do such, the horses needed to be highly trained in military dressage of lead changing, turning, halting, collecting, charging, and fleeing (see Endnote #5). Such things are found not only in Liechtenauer’s Roszfechten (1385–1390) but also such other sources as Fiore dei Liberi’s Flos Duellatorum (1410) and Dom Duarte’s Bem Cavalgar (1438). Notice certain words found throughout that identify the basic harness of these horses—satel (saddle), satelpogen (saddle bow), zaum (bridle/reins), steickleder (stirrups). Although there is at least one attack sabotaging the horse harness, Liechtenauer via von Danzig advises no attack of the horse itself, although such did happen (as in the kampffechten). However, such was probably avoided as much as possible, likely since horses were highly valued booty from a duel or battle—although contrastingly, dei Liberi gleefully advises to attack horses frequently enough. Whether that contrast evinces differing reverence for horses between German and Italian culture of that time is quite arguable and not the focus here (see Endnote #6). It is not indicated whether the horses are bedecked in any armour. Nowadays one needs to realize that anywhere wrestling was designated, the generally unspoken under25 Knightly Dueling standing was that one or the other combatant, if not both, probably had his dagger drawn and ready for this close range—whether in horse fighting or duel fighting. This is strongly implied by von Danzig and is clearly portrayed in Goliath. No mention is made of any targe (tartsche) like those seen in Kal (1462), but such is not necessarily precluded, as it was something that was common enough for the lancing phase of combat, even taken then onto foot. There is mention, however, of the war hat (eysenhuet), something clearly seen in Talhoffer (1450 and 1459) and Kal (1462). THE FIGHT LORE We can be fairly certain where the merkverse (mark verses) of Liechtenauer begin and end and where the gloßen (commentaries) of von Danzig begin and end. However, I offer that we think of it as Liechtenauer via von Danzig to distinguish and delineate what is said in this specific work. One may notice straightaway how the translation of the commentary makes more sense than that of the confusing mark verses. Well, that is the way it should be. The mark verses of Liechtenauer are supposed to be “secret and subtle” (ver porgen/vnd ver dackten)—they are obtuse and cryptic on purpose. That is why the commentaries of later masters like Döbringer, Ringeck, and von Danzig “clarified and laid out” (verklert/vnd auß gelegt) the earlier fight lore for their later fight-book readers/hearers who lacked firsthand knowledge. Thus a literal translation of mark verses and an interpretive translation of commentary are vindicated—because that is what von Danzig did. Von Danzig presents this lore in a fashion pell-mell to its order of presentation by the cryptic “TwentySix Figures” of Liechtenauer’s horse fighting—thus out of sequence to the circles found amid folios 6v–8r near the beginning of his Fechtbuch. However, it seems that von Danzig has a method in mind, and does indeed explicate the actual content of all 26 figures (see Endnote #7), so we can accept his rearrangement and just learn the lore as he chose to present it. By the way, similar circular horse-lore figures are found in other fight books, such as the Figuoren des Roszfechtens in Goliath and similar figures in Fecht und Ringerbuch (1508, Glasgow) and Paulus Hector Mair. Von Danzig does not have illustrations accompanying his Bavarian German text. However, the later Goliath portrays some of the plays described by Liechtenauer via von Danzig, in pictures and in copy of text. Pictures from fight books by Talhoffer and Kal also show noticeably relevant portrayals. Judicious use of (!) are made to indicate where original scribal errors seem to exist. To avoid confusion, please notice that the anomalous interpolated folio 40Ar–40Av is correctly present and enumerated. Notice use of archaic “ye” (ir) for second person plural—that is correct. Here gehültz means “cross”— although in bloszfechten it can mean “cross/crux.” Notice da mit—“therewith,” “thereby,” or even “while,” depending upon context. Notice the difficulty of determining whether a given use of wer means “whoever” or “someone” or “weaponry.” Synonyms in the text for “work” include arbait, macht, and thůen. The tricky warten may mean “watch,” “beware,” “watch for,” “reckon on,” “get ready for,” or even “ward”—all arguable depending upon context. One may notice colorful descriptions for some of the moves in this horse fighting. Liechtenauer via von Danzig speaks of hunting (jagen) the foe, alternatively “chasing” or “pursuing.” This evinces the nature of duel lancing well—the horsemen circling like predators to get at each other in a way unlike the linear, structured performance of later tourney jousting. Indeed, Dom Duarte insisted that hunting wild beasts helped lancing. So it is justified to translate jagen rather literally. Liechtenauer via von Danzig also tells of catching (vahen) a foe’s arms with your bridle, such that he is devoured (ver slungen) by it, and likewise speaks of prowling (straiffen). One of the sword strikes is termed the treacherous hew (düekisch haw)—a nice cleaving strike to the back of a foe’s neck—which for some reason Jud Lew terms “Turkish” (Türckisch) while von Speyer simply agrees it is “treacherous” (tueckist). Another is the pawing hew (taschen haw)/pawing (taschenn)—actually 26 Horse Fighting an oblique or flat strike with the blade that parries the foe’s blade and sets up a thrust, equivalent to the rebatendo of dei Liberi. Notice lunging (schütten/schiessen)—a one-armed thrust with a weapon, perhaps at times a version of offsetting (absetzen). Notice streich/strich meaning “sweep”—a move whereby one forsets lance versus lance, and the similar sweep strike (streich slacht), done with lance or sword. The sheep hold (schaff griff) has one wrangling his foe much like a shepherd, and slumber time (slumen zaigen) is a ruthless knockout throw, which a merkverse (7r) alternately calls sundial (sunnen zaigen)—both shown by Kal (1462). Within the commentary for slumber time is a German pun involving sich schwäncket (topple) and swanck (joke), which unfortunately does not convey in English, although that passage is still quite droll. The phrase vnder augen, which Talhoffer (1467) also used, means literally “under eyes” or contextually “face-to-face,” all equivalent to French vis-à-vis. Notice stös/stoß, a highly dynamic, quite contextual, and often mistranslated word that was used in both unarmoured and armoured, unarmed and armed combatives, which here can mean “punch,” “kick,” “shove,” “pummel,” thus any sort of “jolt,” but only rarely “thrust/stab [with blade point].” A curious phrase, with assumed scribal error (not auß but alß), infers that the swords meant were bastard swords or even shortswords, something which Talhoffer and Kal collectively portray in their fight books: So vor setz zwischen deinenn henden in die klingen / vnd begreiff In der vor satzung mit der lincken hant deine swertz knopt / vnd slach In mit eine freyen ober haw (52r) auß (!?) dem langen swert zw dem kopff So forset between your hands in the middle of your blade, and during the forsetting grip your sword pommel with the left hand, and strike him to the head with a free over-hew, like unto longsword. Von Danzig eventually treats us to social commentary when he berates the deceptive/the ingratiating (die betrogen) of his time who heeded not rightful art (rechter kunst). PARRYING WITH THE LONG EDGE Folio 48r has descriptions of parrying with the long edge of the sword while upon horse: Haut er dir denn oben ein zw dein kopf / So var auf / vnd versetz mit der langen schneid daß dein ort zw deiner lincken seitten stee / vnd reitt an yn / vnd begreiff yn mit dein° lincken hant sein rechte / vnd stoß yn mit dem knopf vnder daß gesicht Then he hews high at you to the head. So move up and forset with the long edge so that your point aims to your left side as you advance to him, and with your left hand grip his right hand as you punch him with the pommel under his face. 27 Knightly Dueling . . . haut er dir denn oben ein zw° dem kopf / So vorsetzt mit der langen schneid / vnd haw Im auß der vorsatzung einen freyen oberhaw zw° dem kopf . . . and then he hews high at you to the head. So forset with the long edge, and hew him out of the forsetting with a free over-hew to the head. This is best understood kinetically as the long edge of one’s sword at the flat of the foe’s sword. It entails swinging the sword in such a manner that it does its work cleanly and powerfully, displacing the foe’s blade so that one may strike the foe in the same flowing movement. The rider wants his blade neither to bite nor become bitten in contacting the foe’s blade—thus hindering the flow of his swing while damaging his blade. Likewise, he does not want his foe to overtake and trap his blade with the perpendicular cross—thus letting the foe neutralize his weapon. Also, he does not want to risk shattering his blade—thus destroying his wieldy weapon. So he does not want to forset edge-to-edge, which is just dumb, undynamic, desperate blocking. Thus the superior way to interpret and do this is to forset at the flat of the foe’s oncoming blade with the long edge of one’s blade in a graceful, swooping, overhead arc that displaces the foe’s blade yet avoids the parallel cross. Then one’s own blade swings back and around quite naturally, returning the sword forward from above and into driving either the hard punch with the pommel or the hearty strike with the selfsame long edge. That is the right way to do it with the weapon. ‫ﱝ‬‫ﱝ‬ (39v) Hye hebt Sich an die gloß vnd die auß legůg der zetel der kunst deß roß vechtenß die gedicht / vnd gemacht hat / Johanneß liechtenawer / Der ein hoher meister In der kunst gewesen ist dem got genedig sey / vnd dar vmb daß die kunst fürsten / vnd hern Ritter / vnd knechten zw° gehört daß sy die lernen / vnd wissen süllen / So hat er die kunst lassen schreiben mit ver porgen / vnd ver dackten worten / Dar vmb daß sy yeder man nicht vernemen noch versten sol / vnd daß hat er getan durch der leichtfertigen schirm maister willen / Die ir kunst gering wegen daß von den selbigen sein kunst nicht geoffenbart (!) noch gemain solt werden vonn solichen lewten die die kunst in wirden nicht kunden behalden Alß denn der kunst zw gehört / vnd die selbigen ver porgen / vnd verdackten wort deß rosß vechtenß die stenn hie hernach In der glosen / Also verklert / vnd auß gelegt / Daß sy yeder man wol vernemen / vnd versten mag der do anderß vechten kan Here starts the commentary and the interpretation of the summary of horse fighting that Johann Liechtenauer has versified and made. He is become one high master of the art, whom God has graced, and unto whose art hearken princes and lords, knights and troopers, so that they shall learn and wit such. Thus he has let the art be written with secret and subtle words, so that not just anyone shall understand it. Had he done this through the will of some frivolous fencing master, then it be trifling false art—because from the selfsame shall come art not outstanding, but rather middling. From such lot the art cannot grow. Keeping then to the art as heard here, and the selfsame secret and subtle words of the horse fighting, that stand hereafter in the commentary, thus clarified and laid out—then any man may comprehend and understand those well, so he can fight another. Hie merck den text vnd die gloß vov (!) einer gemainn ler ze rosß Here mark the text and the commentary for one common lore for horse fighting 28 Horse Fighting Dein sper bericht Gegen reitten mach zů nicht Your spear readies—charging achieves not Glosa / merck daß ist wenn dw reittest mit deiner glefen / vnd einer gegen dir auch mit ainer / So soltu vor alln sachen do mit wissen drey hůten / vnd auß den hůten soltu ym zu hannt Commentary: Mark this is when you charge with your lance and someone charges you with his lance. So regarding that, you should wit the three wards for lance/spear, above all other tactics, and out of those wards you should handle the foe. (40r) Daß ersten in dem an heben mit deiner glefen dye sein absetzen mit kunst / vnd mit sterck / Also daß dw In do mit also treffest Firstly, at the start with your lance, there be offsetting with art and with strength, so that you meet him thusly therewith. Daß lert die ain vnd zwaintzigist figur That teaches the twenty-first figure Die spricht also / Die sterck in dem anheben dar Inn dich recht schick Which speaks thusly: The strength in the starting—place yourself rightly therein. Item Daß ist die erst hůt zů rosß / Do schick dich also mit vasß dein glefen mit dem hindern ort vnder daz recht wf vchsen / vnd rechk ym daß voder tail auf daß langist mit dem ort gegen dem gesicht Thus This is the first ward for lance upon horse—place yourself so you clutch your lance with the hindpart under the right axilla, and stretch the forepart to its longest at foe with the point toward his face. Merck daß Ist die ander hůt zw° rosß Mark this is the second ward for lance upon horse Do schick dich also mit vasß dein glefen mit dem hyndern ort vnder daß recht vchsen / vnd lasß sy zw deiner lincken seittn nyder hangen neben deineß rosseß halß / vnd reitt also zw Im Place yourself so you clutch your lance with the hindpart under the right axilla and let it hang down to your left side, near your horse’s neck, and ride thusly to foe. Merck daß ist die dritt hůt zw rosß Mark this is the third ward for lance upon horse Do schick dich also mit vasß dein glefen In der mitt mit paiden henden / vnd halt sy für dir twergß auff dem satelpogen daß der ort zw deiner lincken seitten pleib / vnd reitt also zů Im Place yourself so that you seize your lance in the middle with both hands, and hold it before you, across and upon the saddle bow, so that the point stays to your left side, and ride thusly to foe. Daß ist der text vnd die gloß der stuck auß den dreyen hůten This is the text and the commentary for the plays out of the three wards Ab eß emphalle dein end Im abschnalle If it drops, then your end undoes him Glosa merck daß stuck treib auß der erstn hůt Commentary: Mark this play drives out of the first ward. Also wenn dw dein glefen auff daß lengst auß dem arm gegen / Im gereckt (40v) hast / vnd er dy sein wider Thus when you have stretched your lance to its longest out of the arm toward foe, and he likewise approaches 29 Knightly Dueling gegen dir / So reitt auf in vnd / vnd thů alß dw In aber In daß gesicht wollest stechen / vnd wenn dw nahent zw Im kumpst / So lasß dein glefen voren nyder sincken / vnd wechsel do mit vnden durch sein glefen zů seiner rechtn seitten so trifftu / vnd er nit you charging, then ride upon him yet do as if you would thrust him to the face upon his left side, and when you come near to him, then let your lance sink down forward, and change therewith under and past his lance to his right side. So you hit his face and he hits not. Daß lert die erst figur / Die spricht also Iag von der prüst zw sein° rechent hant That teaches the first figure Which speaks thusly: Hunt from the breast to his right hand. Merck daß stuck / treib auß der andern hůt / Also / wenn dw mit Im zůsamen reittest / So lasß dein glefen vorn nyder sincken zw deiner lincken seitten treibt er denn auff dich mit der glefen / So streich slecht auff zů deiner rechten seitten mit dein° glefen an die sein / vnd heb do mit ein wenig vbersich / So trifstu / vnd er nicht Mark the play Drive out of the second ward thusly when you and foe charge together and you let your lance sink down forward to your left side, then he drives upon you with his lance. So sweep-strike up to your right side with your lance at his lance, and heave therewith a little upward. So you hit and he does not. Daß lert die achtzehent figur / Die spricht also / Iag zw der rechten hant mit iren künsten That teaches the eighteenth figure Which speaks thusly: Hunt to the right hand with injuring arts. Merck daß stuck / Treib auß der drittn hůt also / wenn dw mit Im zwsammen reittest / So halt dein glefen mit paiden henden In der mitt fur dir twerchß auf dem satelpogen / Reitt er denn auf dich mit der glefen / So streich mit dem vndern (!) tail deiner glefen zw sein° rechten seitten an die sein / vnd slach dein glefen do mit vnder dein rechteß vchsen / vnd reit fur dich so triffestu / vnd er nicht / Auch soltu auß allen dreyen hůttn mit der lincken hant der glefen zw hilff kömen durch der sterck willen Mark the play Drive out of the third ward thusly when you and foe charge together. So hold your lance with both hands in the middle before you, across and upon the saddle bow. He then rides upon you with the lance, so sweep with the forepart of your lance to his right side at his lance, and therewith strike your lance under his right axilla, and ride forth. So you hit and he does not. Also, out of all three wards you should move with the left hand to help with the lance, through the strength of will. Daß lert die sechst figur / Die spricht also greif an mit paiden henden die sterck That teaches the sixth figure Which speaks thusly: Attack the strong with both hands. (40Ar) Hye merck ein besunder stuck mit der kurzen glefen gegen der langen Here mark one special play with the short lance against the long lance Merck / wenn dw hast ein kurze glefen vnd er ein lange / So reit sittigklich gegen Im / Vnd halt im denn ort auß dem arm gegn dem gesicht vnd wenn eß kumpt an daß treffen / So lasß den zawm varn / vnd lait In mit der lincken hant sein glefen ab auff dein lincke seitten / vnd reit für dich / vnd setz ym an Mark when you have a short lance and foe a long lance. So charge him gracefully, and hold the point out of the arm toward his face, and when it comes to the meeting, then let the bridle drift and turn aside his lance upon the left side, and ride forth, and set upon him. Daß lert die zwelfft figur That teaches the twelfth figure Die spricht also / mit lee lerer hant lere zwen struch gegen aller were Which speaks thusly: With empty hands—twain sweeps versus all weaponry. 30 Horse Fighting Haw (!) Daß ist der text vnd die gloß von einer ler vnd von ringen zw° rosß Here—this is the text and the commentary for some lore and for wrestling upon horse Haw drein nicht zucke von schaide linck zw Im rucke Greif in sein rechten So vechstu in an (!) vechten Hew you not therein? Draw from sheath—move left side to him—attack his right side—so you fight him without fencing Merck die ler wen ir paid zw samen reittet mit den glefen / Ist denn sach daß ir ped do mit verfelt / wildu In denn vahen an alleß vechten / So lasß dein glefen zw hant fallen / vnd zeuch wider swert noch messer / vnd wendt dich mit deiner lincken seitten an sein rechte / vnd wart auff sein rechtn arm / vnd treib die hernach geschriben ringen Mark this lore when you and foe both charge together with the lances. So that is the tactic whereby ye both fail to hit decisively. Yet would you catch him in all fighting? Then let your lance fall from hand, and draw back your sword or messer, and wend yourself with your left side at his right side, and watch for his right arm, and drive the wrestling written hereafter. Hie merck zway ringen Here mark two wrestlings Merck / wenn dw kumpst mit deiner lincken seitten an sein rechte / So begreiff (40Av) sein rechte hant mit deiner rechten / vnd wurff In mit dem vngenanten griff oder mit dem verporgen grieff / vnd wie dw die zway ringen treiben solt daß vvindestu hernach geschriben Mark when you go at foe’s right side with your left side. So grip his right hand with your right hand, and throw him with the unnamed hold or with the secret hold. And how you shall drive those two wrestlings, that you find written hereafter. Hie merck ein swert nemen Here mark one sword taking Merck / wenn du mit der lincken seitten kumpst an sein rechte / hat er denn dein (!) swert getzogen / vnd vert auff mit dem arm / vnd will dich slahen / So begreiff mit der lincken hannt sein rechten arm hinder dem elpogen / vnd stoß In do mit oben von dir / Vn erheb vnden mit dem lincken fuesß sein rechtn vnder dem steickleder / vnd begreiff mit der rechtn hant sein swert pey dem knopf / vnd ruck eß do mit zw° dir / So nympstu Im daß swert vnd stoß in also dar zw° vom rosß Mark when you go at foe’s right side with your left side, and then he has drawn his sword and moves up with the arm and would strike you. So with the left hand grip his right arm behind the elbow, and shove him therewith, high from you, and heave up underneath his right foot with the left foot under the stirrup, and with the right hand grip his sword by its pommel, and thereby yank it to you. So you take from him his sword, and shove him thusly from his horse. Daß lert die drit figur / Die spricht also mit straiffen satelrim (!) oder wer nympt That teaches the third figure Which speaks thusly: By prowling—take saddle or take weapon. Merck wenn dw mit der rechten seitten kumpst an sein rechte so treib die hernach geschriben Ringen Mark when you go at foe’s right side with your right side. So drive the wrestling written hereafter Merck / wenn ir paid vorselt habt mit den glefen magstu den mit der lincken seitten nicht kumen an sein rechte so halt / vnd wurff In mit dem slunnen (!) zaigen oder mit dem schaff griff / vnd wie dw die zwai ringen treiben solt daß vindestu hernach geschriben Mark when both you and foe have tried with the lances, and then you may not go at his right side with your left side. So hold and throw him with slumber time or with sheep hold. And how you shall drive those two wrestlings, that you find written hereafter. 31 Knightly Dueling Aber ein ringen Again one wrestling Merck / wenn du kumpst mit der rechten seitten an sein rechte hat er denn sein swert gezogen / vnd (41r) vert do mit auff / vnd will slahen / So begreiff mit der lincken hant sein rechten arm hinder dem elpogen / vnd heb In vest / vnd mit der rechten begreiff sein swert pey dem knopff / vnd ruck Im daß auß der hannt Mark when you go at foe’s right side with your right side, then he has drawn his sword and moves up therewith and would strike. So with the left hand grip his right arm behind the elbow and heave him staunchly, and with the right hand grip his sword by the pommel and yank it from him out of hand. Oder Nym / Im mit der rechten sein messer oder sünst ander were / vnd arbait Im do mit zw° der plösß Or With your right hand take from him his messer, or whatever other weapon, and work at him therewith to the gaps in armour. Daß lert dir ainlift figur / Die spricht also / Druck vast stoß vom zawm / vnd suech sein messer That teaches the eleventh figure Which speaks thusly: Press tightly, shove from bridle and seek his messer. Daß sind zway swert nemen These are two sword takings Wenn du kunpst mit deiner rechtn seittn an sein rechte hat er denn sein swert getzogen / vnd vert auf / vnd wil slachen / So var mit dem rechtn arm aufwendig vber sein rechten / vnd druck den also vndersich In dein rechte seittn / vnd reit für dich so nympstu ym sein swert When you go at foe’s right side with your right side, then he has drawn his sword and moves up, and would strike, then move with the right arm outside over his right arm and press it thusly downward to your right side, and ride forth—so you take from him his sword. Oder / var mit dem rechten arm Innwendig auf vber sein rechten / vnd druck den vorn an dein prust / vnd reyt für dich / So nympstu Im aber sein swert Or move with the right arm inside, up over his right arm, and press it to the front of your breast, and ride forth. So again you take from him his sword. Aber ein ringen Again one wrestling Merck / wenn dw kumpst mit dein° rechtn seitten an sein rechte hat er denn sein swert gezogen / vnd vert do mit auf / vnd wil slachen / So begreiff mit der gerechten hant sein rechten arm hinder dem elpogen / vnd stoß In do mit oben von dir / vnd erheb in vnden mit dem rechtn füesß seinen rechten vnder dem steickleder / vnd stoß in oben von dir mit der (41v) lincken hant / So velt er Mark when you go at foe’s right side with your right side, then he has drawn his sword, and moves up therewith, and would strike. So with the right hand grip his right arm behind the elbow, and shove him therewith, high from you, and heave him up with the right foot underneath the stirrup of his right foot, and shove him high from you with the left hand. So he falls. Merck ein guet Ringen Mark some good wrestling Wenn dw kumpst mit der rechten seittn an sein rechte / So begreiff mit der lincken hant sein rechte / vnd ruck in für dein prust vnd wendt dein rosß von Im / vnd zeuch In also vom rosß When you go at foe’s right side with your right side, then with the left hand grip his right hand, and yank him before your breast, and wend your horse from him, and tug him thusly from his horse. Daß lert die ander figur / Die spricht also vmbker mit That teaches the second figure Which speaks thusly: 32 Horse Fighting dem rosß zeuch sein swert rechte hannt mit deiner lincken Turn around with the horse, tug his right hand with your left hand. Daß ist der text vnd die gloß von einer ler zů rosß This is the text and the commentary for some lore upon horse Daß glefen stechen vechten sittgklich an hurtt lere prechen The lances thrusting and fighting—lance gracefully— learn countering Merck die ler wenn er auf dich reitt mit einer glefen / wiltu den mit kunst wider gegen / Im arbaittn so soltu gar sittlich gegen Im reitten / So magstu Im wol mit dein glefen die sein absetzen / vnd sunst ander vortail an gewinnen mit dem swert oder wirstu zw dem man hurttn oder rennen / So magstu kein stuck recht getreiben / vnd pist dar zw° selber nicht sicher auff dem rosß Mark this lore: When foe rides upon you with a lance, and likewise you would work with art charging, then you should charge him really gracefully. So may you offset his lance well with your lance, or else may gain vantage with the sword, or you get to lancing or running at the man. If not, then you may drive no play rightly, and are not selfassured upon the horse. Daß lert die zway vnd zwaintzigst figur / Die spricht also / Daß ist mu (!) der sper lauf der dem andern begegent vnder augen That teaches the twenty-second figure Which speaks thusly: That is now the spear run—he encounters the other face-to-face. Hie hebt sich an die kunst mit dem swert zw rosß / Merck / wenn dw wild vechten zů rosß mit dem swert / So soltu do mit wissen fünff hůtten Here starts the art of the sword upon horse Mark when you would fight upon horse with the sword. So should you wit five wards for it. Daß ist die erst hůt / Wenn dw siezt auf dem rosß / So halt dein swert mit der rechten hant pey der hant (42r) hab / vnd leg eß mit der klingen auf deinen lincken arm This is the first ward When you sit upon the horse, then hold your sword by its handle with the right hand, and lay it with the blade upon your left arm. Daß ist die ander hůt / Wenn dw sitzt auf dem rosß so halt dein swert mit der rechten hant auf deiner rechten seitten hoch über dem haubt / vnd heng Im den ort gegen dem gesicht This is the second ward When you sit upon the horse, then hold your sword with the right hand upon your right side, high over the head, and hang the point toward the face of foe. Daß ist die dritt hůt / Wenn du sitzt auf dem rosß so halt dein swert mit der rechten hant neben deinem rechten pein / vnd daß der ort vber sich gegen dem mann stee This is the third ward When you sit upon the horse, then hold your sword with the right hand near your right leg, so that you aim the point upward toward the man. Daß ist die vierd hůt / Wenn du sitzt auff dem rosß so halt dein swert Inn der rechtn hannt / vnd setz den knopf an den satel pogen / vnd daß der ort gegen dem mann This is the fourth ward When you sit upon the horse, then hold your sword in the right hand and set the pommel on the saddle bow, so that you aim the point toward the man. Daß ist dye fünft hůt / Wenn du sitzt auf dem rosß so halt dein swert mit der rechten hannt pei der hanthab / This is the fifth ward When you sit upon the horse, then hold your sword by the handle with the right hand, and 33 Knightly Dueling vnd mit der lincken greiff mittn In die klingen / vnd hald eß für dir twerchß auff dem satel with the left hand grip in the middle of the blade, and hold it before you, across and upon the saddle. Hie merck den text vnd die gloß von dem taschenn Here mark the text and the commentary for the pawing Ob eß sich vor wandelt Daß swert gegen swert wirt gehandelt Recht vaß die sterck Taschn haw du sich vn merck If it evolves—such that sword versus sword shall resolve—then get right, get the strong—by pawing hew you seek and mark Glosa / Merck daß ist / Ob ir paide werdt kömen von den glefen vnd solt vechten mit swerten / So merck wenn dw zů Im reittest daß dw dein swert legst auf den lincken arm in die hůt / vnd reyt ym geleich vnder augen zw° seiner rechtenn seitten / haut er dann auff dich oder sticht (42v) dir zw° dem gesicht / So var auff / vnd vor setz daß dein ort ste gegen seiner rechtn seitten / vnd stich / Im / Inndeß zw° dem gesicht vorsetzt er denn stich / vnd vert do mit hoch auf / So haw In mit der langen schneid nach dem zawm oder nach der lincken hant Oder / Ob dich daß roß vertrüg so häw Im nach dem rechten pain in dem hyn rennen Commentary: Mark this is if both you and foe have gone from the lances and shall fight with swords. So mark when you ride to him, that you lay your sword upon the left arm, thus in the first ward, and advance to him as if face-to-face to his right side, then he hews upon you or thrusts at you to the face. So move up and forset, so that your point aims toward his right side, and thrust him instantly to the face. If he forsets the thrust and thereby moves up high, then hew him with the long edge to the bridle or to the left hand. Or if the horse carried you forward, then hew him to the right leg while running yonder. Daß lert die sibent figur / Die spricht also hie heb an den man taschen haw zw° sůchen That teaches the seventh figure Which speaks thusly: Here, start at the man, seeking to pawingly hew. Hie merck den text vnd die gloß wie dw den man am swert twingen solt zw° rosß Here mark the text and the commentary for how you shall force the man at the sword while upon horse Lere wol starck schütten allen treffen an far do mit nott In Setz an anfär heng Im zwm har Learn well strong lunging—meeting all without fear, there as needed—attack without fear—whoever prowls, hang it to his hair Glosa / Merck daß ist da dw Im mit allen häwen / vnd in allen geferten albeg starck solt an pinden an sein swert / vnd In am swert nöten / vnd twingen mit dem ort / vnd künleich ver suechen ob dw In magst an gesetzen / vor setzt er vnd reitt do mit nahen an dich / so var mit deinem knopf von vnden auff durch sein swert Im vber sein lincke achsel vmb den halß / vnd kum mit der lincken hant hinder seinen ruck deinem knopf zů hilff / vnd zeuch in für dich auff die seitten Commentary: Mark this is when you should bind foe at his sword—with any hewing, and always strongly whatever the danger, and when in need at the sword, and forcing with the point, and cunningly trying. If you may have set upon him and he forsets you while he rides near to you, then move with your pommel from beneath, up past his sword, over his left shoulder and around the throat, and move with the left hand behind his back to help yank your pommel, and tug him before you to the side. Daß lert die sechst (!!!) figur / Die spricht also daß schütten vor genck allen eressten treffen hawen vnd stechen That teaches the fifth figure Which speaks thusly: The lunging goes before all meeting, hewing, and thrusting. 34 Horse Fighting Daß Ist ein anderß stuck This is another play Merck / wenn du im ein hauft (!) vor setzt er (43r) vnd reitt do mit nahent an dich / So begreiff sein rechte hant mit deiner lincken / vnd mit der rechten setz Im den ort in daß gesicht Mark when you hew high at foe and he forsets while he rides near to you. So with your left hand grip his right hand, and with your right hand put the point to him in the face. Daß lert die acht figur / Die spricht also / wend Im die recht hant setz den ort zů den augen sein That teaches the eighth figure Which speaks thusly: Wend him the right hand, put the point to the eyes of him. Aber ein guet stuck Again one good play Merck / wenn du Im oben ein haust vorsetzt er / vnd kumpt da mit nahen an dich / So var Im mit dem gehültz deineß swertz vnder den kynpacken / vnd mit der lincken hant begreif in auf seiner lincken seittn pey dem eysenhuet oder pey dem kopff / vnd zeuch yn do mit zw° dir / vnd mit dem gehültz stöß In oben von dir / so velt er vom rosß Mark when you hew high at foe and he forsets while he comes near to you. So move at him with the cross of your sword under his knee joint, and with the left hand grip him upon his left side by his war hat or by the head, and tug him therewith to you, and with the cross shove him high from you, so he falls from horse. Aber ein ringen Again one wrestling Merck / wenn dw Im oben ein haust vor setzt er hoch / vnd chumpt do mit nahent an dich / So var ym mit dem gehültz deinß swertzß vndern den arm hinder seine elpogen / vnd stoß oben von dir vnd var mit dem rechten fuesß vnder seinen rechten / vnd heb do mit auf So / So velt er vom rosß Mark when you hew high at foe and he forsets high while he comes near to you. So move at him with the cross of your sword under the arm behind his elbow, and shove high from you, and move with the right foot under his right foot, and heave up therewith. So he falls from horse. Daß ist aber ein stuck Again this is one play Merck / wenn dw Im oben ein haust vor setzt er den haw mit der twer / So var hoch auff mit dem swert / vnd heng ym den ort zů dem gesicht vber sein swert / vnd setz ym an Mark when you hew high at foe and he forsets the hew with the thwarter. So move up high with the sword, and hang the point to his face, over his sword, and set upon him. Oder Wenn du ym den ort vber sein swert gehangen hast chüpt (!) er dann do mit nahent an dich / So var (43v) Im mit dem rechten arm durch seinen rechtn / Vnd druck den arm vast in dein rechte seittn / Vnd reit für dich / So nympstu Im sein swert Or When you have overhung his sword with your point, then he comes near to you with his sword, then move at him with the right arm past his right arm, and press his arm tightly to your right side, and ride forth. So you take from him his sword. Daß lert die vierd figur / Die spricht also / Setz an hoch swing durchfar oder swert pricht That teaches the fourth figure Which speaks thusly: Attack high, swing, move through or sword counter. 35 Knightly Dueling Daß ist ein swert nemen This is one sword taking Merck / wenn dw zů Im reittest so leg dein swert auf den lincken arm Inn die hůt haut er dir denn oben ein zw dem kopff / So var auff vnd vor setz daß dein ort gegen deiner lincken seitten ste / vnd reitt do mit an in / vnd var mit dem knopff Innwendig auf vber sein rechte hant vorn pei dem gehultz / vnd druck sein hant mit deinem arm vast an dein prust / vnd reit für dich so nympstu Im sein wert (!) Mark when you ride to foe, then lay your sword upon the left arm, thus in the first ward, then he hews high at you to the head. So move up and forset so that your point aims toward your left side, and advance to him therewith, and move with the pommel inside, up over his right hand, past the cross, and press his hand with your arm, tightly to your breast, and ride forth—so you take from him his sword. Aber ein swert nemen zw rosß Again one sword taking upon horse Merck / wenn du Im oben ein haust vor setzt er / vnd chumpt do mit nahent an dich / So var Im mit dem knopf aussen vber sein rechte hant / vnd stoß die hant mit dem gehültz für dich zw deinem satelpogen / vnd begreiff mit der lincken hant seinen swertzknopf / vnd reit fur dich so nympstu Im sein swert Mark when you hew high at foe, then he forsets, and thereby comes near to you. So move at him with the pommel outside and over his right hand, and shove that hand with the cross before you to your saddle bow, with the left hand grip his sword pommel, and ride forth—so you take from him his sword. Hie merck den text vnd die gloß von ein stechen vnd ein winden mit dem swert zw rosß Here mark the text and the commentary for high thrusting and winding with the sword upon horse Wildw geruet lanck jagen Daß sere müet (44r) Wert (!) daß nw° wert So wind daß aug vor sert wert erß fürpaß vach zawm vnd weß nicht lasß Will you readily hunt long? That is highly courageous—someone wards that now—so wind, that injures eyes—he wards it further—catch bridle and be not last Glosa / Merck daß ist ob dw geruet wild vechten in dem an reitten daß soltu thuen von deinem rechten pain auß der neben hůt mit stichen auß dem langen ort / vnd merck / wenn er den stich vor setzt daß du Im den ort am swert ein windest zw dem gesicht do mit twingstu In daß dw magst kumen zw andern stucken / vnd wie dw winden solt daß vindestu / her nach geschriben in dem nagsten stuck Commentary: Mark this is if you would readily fight while advancing, thus what you should do from your right leg out of the near ward and with thrusting out of the long point. So mark when foe forsets the thrust so that at the sword you wind your point to his face, and therewith you force him, so that you may go to another play. And how you should wind, that you find written hereafter in the next play. Daß lert die newntzehent figur / Die spricht also / Setz an den ort gegen dem gesicht That teaches the nineteenth figure Which speaks thusly: Attack with the point toward the face. Hie merck ein gůt stuck zw° rosß mit dem swert vnd ein vahen mit dem zawn Here mark one good play upon horse with the sword, and some catching with the bridle. Merck daß erst stuck auß der neben hůt vom rechten pain Daß treib also / wenn du zw Im reittest so halt dein swert neben deinem rechten pain In der hůt / vnd stick ym lanck auß gerackten armen zw dem gesicht / Vor Mark this first play out of the near ward from the right leg. Drive that thusly when you ride to foe: So hold your sword near your right leg, thus in the third ward, and thrust him long, with outstretched arm, to the face. He 36 Horse Fighting setzt er den stich / So var auff am swert mit der rechten hant In die ober hůt / Vnd heng ym den ort zw dem gesicht pleibt er am swert / vnd reitt nahent an dich so var mit der lincken hant Innwendig auff vber sein rechten arm / vnd slach Im den zawm do mit dar vber / vnd begreiff mit lincke verkartter hant deinen zawm wider vnder seinem rechten arm / vnd hald vest As / Also ist er ver slungen mit dem zawm forsets the thrust, so move up at his sword with the right hand into the high ward, and hang the point at him to the face. But if he stays at the sword and rides near to you, then move with the left hand inside, up and over his right arm, and strike him thereover with the reins in hand, then move under his right arm with your left inverted hand and grip your reins again, and hold fast. Thus he is devoured by the bridle. (44v) Merck aber ein stuck Mark again one play Wenn dw zw° ym reittest / So stich ym auß der neben hůt zw dem gesicht / wertt er den stich / vnd reitt do mit nahen an dich / So begreiff sein rechte hant mit deiner lincken / vnd arbait mit dem swert zw der plösß / Oder würf In mit dem schaff griff od’ sünst mit andern ringen When you ride to foe and thrust him out of the near ward to the face, and he wards the thrust while he rides near to you. So with your left hand grip his right hand, and work with the sword to the gaps, or throw him with the sheep hold, or else with other wrestling. Daß lert die Newnt figur / Die spricht also / wer den stich wert dem (!) vach sein rechte hant in dein lincke That teaches the ninth figure Which speaks thusly: Someone wards the thrust—so then catch his right hand in your left. Daß haist der düekisch haw This is called the treacherous hew Merck stich yn auß der hůt vom rechten pain zw dem gesicht / und wind die kurz schneid an sein swert / Vor setzt er den stich vnd reitt neben deiner rechten seitten hin wegk / So haw Im mit der langen schneid hynden zw dem halß Mark when you thrust at foe to the face, out of the third ward, that one of the right leg, and wind the short edge at his sword, and he forsets the thrust and rides away near your right side. So hew him with the long edge, behind to the neck. Hie merck wie du auß der hůt vom satelpogen zw rosß von paiden seittn solt absetzen Here mark how you should offset out of the ward of the saddle bow, upon horse from both sides Merck / wenn dw zw Im reittest / So halt dein swert mit dem knopf an den satel pogen / haut er dir denn oben ein zw dem kopf zů deiner lincken seittn / So var auff mit dem swert gegen seinem haw auch auff dein lincke seitten / vnd wind die kurtz schneid an sein swert / vnd stich Im zů dem gesicht Mark when you ride to foe and hold your sword with the pommel at the saddle bow, thus in the fourth ward, then he hews high at you to the head to your left side. So move up with the sword against his hew, also up your left side, and wind the short edge at his sword, and thrust him to the face. Oder Haut er dir oben ein zw deiner rechten seittn / So var auf mit dem swert auch auff dein rechte seitten / vnd wind ym die lang schneid (45r) an sein swert / vnd stich ym oben ein zw dem gesicht Also / soltu auch absetzen wen er auf dich sticht mit der glefen / wenn die winden / vnd die absetzen sind die pöst kunst zů rosß Or He hews high at you to your right side. So move up with the sword, also up your right side, and wind the long edge at his sword, and thrust him high to the face. Thus you should also offset when he thrusts upon you with the lance, when the winding and the offsetting are the best arts upon horse. 37 Knightly Dueling Daß ist der text vnd die gloß von den plössen deß manß This is the text and the commentary for the gaps of the armoured man Bedenck die plösß such messer nicht wartt klöß Bethink the gaps—seek not messer, watch for clefts Glosa / Merck daß ist / wenn dw also nahent zw ym kumpst daß dw Im mit dem zawm gefangen hast / oder sein rechte hant mit deiner lincken begriffen hast / so soltu gar eben bedencken zw wellicher plösß dw in am pesten gewinnen magst / vnd ob dir In der näch dein swert zw lanck würd daß dw do mit nicht gearbaitten kündest / So arbait mit dem degen oder sünst mit andern kurtzen weren / ob dw zw dein wer nicht kumen magst / So nym ym die sein / vnd arbait do mit zw den plössen zw° den dw am pösten magst kumen Daß ist zů dem gesicht oder vnder den vchsen oder aufwendig auf der hant In den nahtschůch oder inwendig In die hant zů dem tenär / Vnd in allen glencken deß harnasch / Auch soltu zw einer ferren plössen nicht zů arbaitten wenn dw ein nähere für dir sichst Commentary: Mark this is when you come near to foe, such that you have caught him with the bridle, or have gripped his right hand with your left hand. So you should really bethink yourself which gaps may best let you vanquish him—and if your sword shall become too long at close range, such that you could not work therewith. So work with the dagger or else with other short weaponry. If you may not get to your weapon, then take from him one of his weapons, and work therewith to the gaps, to those you may best get. Thus that is to the face; or under the axillas; or outside upon the hands into the gauntlets; or inside in the hands to the palms; and in all joints of the harness. Also you should not work to a farther gap when you sight a nearer gap before you. Daß lert die zehent figur That teaches the tenth figure Die spricht also / Sůch die plösß arm leder hantschůch / vnder den augen Which speaks thusly: Seek the gaps—arm leather, gauntlets, face-to-face. Daß Ist der text vnd die gloß von (45v) einer ler mit ledigen henden This is the text and the commentary for some lore with empty hands Zwen strich lere aylt lerer hant gegen der were Learn twain sweeps—hasten empty hands versus the weaponry Glosa / merck daß ist ein grosß vortail zw° rosß / daß du alle deine stuck solt treiben zw° paiden seittn mit ledigen henden gegen aller wer / Do mit ein man an dich chumpt / Dor vmb soltu deinen zaum also wissen zů halden / Daß du dein hend frey vnd ledig magst gehaben / wenn du wild / vn den zawm wechseln auß ein hant in die ander / wenn eß dir eben ist zw° den ringen oder sünst zw andern stucken / vnd wie du mit ledigen henden die stuck treibn solt / daß findestu in der glosen geschriben Commentary: Mark this is one great vantage upon horse—that you should drive all your plays to both sides with empty hands versus all weaponry. Therewith a man comes at you; whereupon you should wit to hold your bridle thusly, so that your hands may behave as you will, and the bridle changes from one hand to the other hand when it pleases you, for wrestling or else for another play. And how you should drive the plays with empty hands, that you find in the commentary written hereafter. Daß lert die xii figur / Die spricht also / mit lärer hant / zwen strich gegen aller were That teaches the twelfth figure Which speaks thusly: With empty hands, twain sweeps versus all weaponry. Daß ist der text vnd die gloß vonn dem edeln schaff griff This is the text and the commentary for the noble sheep hold 38 Horse Fighting Der schaff griff wert wer sich ringenß zů dir kert Alß vnder augen Begreiff Inn recht mit fläugen (!) The sheep hold wards whoever turns to wrestle you— as face-to-face—grapple him rightly while striking Glosa / Merck der schaf griff ist der pesten ringen ainß zů rosß / wenn man do mit (!) pricht alle ringen do mit (!) dich einer vorn anfelt oder greifft mit ringen Commentary: Mark the sheep hold is the best single wrestling upon horse when someone counters all your wrestling or assaults you frontally or grapples with wrestling. Den schaff griff treib also Drive the sheep hold thusly Wenn du mit einem zů / Rosß ringen wild / So reitt Im geleich vnder augen / vnd wart daß du kumpst mit deiner rechten seitten an die sein / Greifft er dich denn voren an mit ringen so begreiff mit der lincken hant (46r) sein rechte / vnd ruck yn für dich vnder dein prust / vnd var mit dem rechten arm vber seinen rechten / vnd begreiff do mit deinen satelpogen / vnd leg dich mit dem leib starck dar auf / vnd reit für dich / So zeuchstu / In vom rosß When you would wrestle with someone upon horse, then ride to him as if face-to-face, yet instead watch that you go at his right side with your right side. He then assaults you frontally with wrestling, so with the left hand grip his right hand, and yank him before you under your breast, and move with the right arm over his right arm, and therewith grip your saddle bow, and lay your body strongly thereupon, and ride forth. So you tug him from his horse. Daß lert die xiii figur / Die spricht also / der schaff griff wert alle griff ringenß vnder augen That teaches the thirteenth figure Which speaks thusly: The sheep hold wards all holds—wrestle face-to-face. Daß ist der text vnd die gloß wie man prechen sot (!) ettliche Ringen zw° rosß This is the text and the commentary for how one shall counter various wrestling upon horse Wer dich an vellet wider reittenß der wirt gefellet hangenß zw° der erden vbergreiff In recht mit geperden Whoever assaults you, approach—he engages, so hang to the earth—grapple him rightly with bearing Glosa / Merck daß ist / wenn dw mit einem zw° samen reittest chumpstu denn mit deiner rechten seitten an die sein / vert er denn mit dem rechten arm vber dein lincke achsel vorn vmb den halß / vnd will dich also vom rosß zyehen / So vall ym auch also vmb den seinen / vnd var mit der lincken hant hynden vmb yn / vnd begreiff do mit dein rechte hant / vnd ruck in mit paiden henden zů dir auf die seittn / So müeß er vom rosß vallen Commentary: Mark this is when you charge together with another, then you go at his right side with your right side, then he moves with the right arm over front of your left shoulder and around your throat, and he would tug you from the horse. So also assault him thusly around his throat, and move with the left hand behind and around him, and therewith grip your right hand, and with both hands yank him to you to the side. So must he fall from horse. Oder / wenn er dir mit dem rechtn arm vorn vber dein lincke achsel vmb den halß vert / So slach dein rechten arm oben vber seinen rechten vnd wurff / In mit dem schaff griff Or when he moves at you with the right arm over front of your left shoulder and around your throat, then slap your right arm high over his right arm, and throw him with the sheep hold. 39 Knightly Dueling Daß ist ein ander pruch This is another counter (46v) Merck krumpt (!) er mit der lincken seitten an dein rechte / vnd vert dir mit dem lincken arm hinden vmb den halß oder helt dich do mit pey deiner lincken achsel / So wendt dich mit dem leib gegen Im / vnd var mit dem rechten arm Inwendig auf zwischen dir vnd Im / vnd / druck den lincken arm ab mit der sterck deineß rechtn armß / so wirstu von Im ledig Mark when foe comes with the left side to your right side, and moves at you with the left arm behind and around the throat, or holds you therewith by your left shoulder. So wend yourself with the body toward him, and move with the right arm—inside, up, between you and him—and press off his left arm with the strength of your right arm, so you become unladen of him. Aber ein pruch Again one counter Merck / wenn er chumpt mit seiner lincken seitten an dein rechte / vnd velt (!) dir mit dem lincken arm hinden vmb den halß / Ist er denn ein schwacher man / So var mit dem rechten arm hinder dich von vnden auf starck vber sein lincken / vnd kum mit der lincken hant deiner rechten zw hilff / vnd druck Im sein lincken arm vast hindn indeinen nacken / Weicht er denn mit dem arm ab / So begreiff mit der lincken hant sein lincke / vnd würff im mit dem vngenentem griff oder mit dem verporgen grieff Mark when foe comes with his left side to your right side, and moves at you with the left arm behind and around the neck. So if he is a weaker man, then move with the right arm behind yourself—up from beneath—strongly over his left arm, and move with the left hand to help your right hand, and press tightly his left arm behind to your neck. If then he swerves off with the arm, then with the left hand grip his left hand, and throw him with the unnamed hold or with the secret hold. Aber ein pruch Again one counter Merck chumpt er dir mit seiner lincken seittn an dein rechte / vnd velt dir mit dem linckn arm hinden vnden vmb den leip / vnd wil ringen / So slach hinder dich von oben nyder mit der rechten hant / In auß wendig Indaß gelenck seinß lincken armß / vnd reitt fur dich Mark when foe comes with his left side to your right side, and he assaults you with the left arm—behind, under, around your body—and would wrestle. So with your right hand slap behind yourself—from above, down, outside—and into the joint of his left arm, and ride forth. Daß lert die xxvi figur / Die spricht also vber greiff wer dich an vellt oder (47r) thůe ym wider reittenß That teaches the twenty-sixth figure Which speaks thusly: Grapple whoever assaults you, approaching him. Daß Ist der text vnd die gloß einer ler zw rosß This is the text and the commentary for some lore upon horse Von paiden seitten du In an ler dich alle wider reitten From both sides you train yourself to do all approaching Glosa / Merck daß ist daß du dich In allen begegen oder an reitten nahet zw dem mann solt halten zů wellicher seittn du an In kumpst / Also chumpstu an sn sein rechte seitten / So treib die stuck behentlich die dar zw° gehorent oder chumpstu an sein lincke seitten / So treib aber waß dar zů gehört / vnd lasß In zw kainen stucken kumen Commentary: Mark that is how you should uphold yourself in all encountering or advancing, near to the man and to whichever side you go at him. Thus, if you go at his right side, then nimbly drive the play which belongs thereto. Or if you go at his left side, then drive instead what belongs thereto. And let him get to do no plays. 40 Horse Fighting Daß ist der text vnd die gloß der stuck zů der lincken seitten This is the text and the commentary for the plays to the left side Ob dw wilt reitten rosß laufß zw der andern seitten die sterck schütte An setz do mit In nötte Wer wert dir daß welt swert vach trag Na der hanthab If you will ride, then lope the horse to the other side—the strong lunge, attack therewith in need— someone wards that, so wave sword—catch and carry near handle Glosa / Merck daß ist / wenn dw Im wild zw° der lincken seitten reitten / So soltu ym auch starck an daß swert pinden / vnd warten ob du Im magst an gesetzen do mit ge twingstu In daß du wol magst kumen zw andern stucken Commentary: Mark this is when you would ride to the left side of foe. So you should bind quite strongly at the sword with him, watching whether you may set upon him and thus force him therewith, so that you may well get to other plays. Daß lert dich die xx figur That teaches you the twentieth figure Die spricht also / Schütt gegen allen treffen die ymmer werden Which speaks thusly: Lunge against all meetings whenever those happen. Hie merck daß stuck Here mark this play (47v) Wenn dw Im zů der lincken seitten zw reitest so haw ym starck ein / vnd scheuß ym den ort zů dem gesicht / vor setzt er oder sticht mit dir geleichem / ee wenn er gar an dich chumpt / So var mit dem lincken arm Innwendig auf vber sein swert / vnd druck eß also mit dem arm In dein lincke seitten vnd reitt für dich / So nympstu ym sein swert When you ride to the left side of foe, then hew at him strongly and lunge the point at his face. So then he forsets or likewise thrusts at you, indeed earlier than he can reach you. So move with the left arm—inside, up, over his sword—and press it thusly with that arm to your left side, and ride forth. So you take from him his sword. Daß lert die xvi figur / Die spricht also / die were vach In der weit In dem wider reitten That teaches the sixteenth figure Which speaks thusly: Catch the weapons within range during the approaching. Aber ein stuck Again one play Merck / wenn du ym zů der lincken seitten zw reittest / vnd ym ein haust vor setzt er / vnd reitt do mit nahent an dich / So begreiff mit der lincken hant sein rechte so arbait mit dem swert oder wart der ringen Mark when you ride to foe to the left side, and you hew at him high and he forsets while he rides near to you. So with the left hand grip his right hand, thus work with the sword or reckon on wrestling. Daß ist der text vnd die gloß ob dich dein roß mit gewalt fur In trüg This is the text and the commentary for if your horse carried you forward powerfully to foe Oder vmbker geruet zů jagen der wer nach ant allen kunsten der jagt der schick gunstn Or turn around, ready to hunt—according to all arts of weaponry—he hunts who places to vantage Glosa / Merck daß ist ein ler / Ob dich dein roß für trug daß du zů keinen stucken mochteß komen / So lasß dein Commentary: Mark this is some lore for if your horse carried you forward so that you may get to do no plays. 41 Knightly Dueling roß nicht weit von ym lauffen / Dar vmb daß eß nicht müed werd / vnd du auch gerued peleibst / vnd reitt gegen ym zů der seitten do dich teycht do dw dein vortail mit aller kunst am pösten mügst gehaben So let not your horse lope widely from foe, so that it becomes not weary, and you also are ready to stay, and so charge him to the side where you regain your vantage, with all the best arts you may have. Daß lert die xiiii figur That teaches the fourteenth figure Die spricht also / anderweit ker vmb do die roß hyn hurtten Which speaks thusly: Otherwise, turn around—there the horses hurtle past. Daß ist der text vnd die gloß ab dw an danck zw seiner lincken (48r) seitten reittest This is the text and the commentary for if you intend riding to his left side Ob dw veriagst (!) vnd andanck linck iagste Sein swert auf taste Ring stoßnnt (!) väste If you go to hunt—and then intend hunting left— grope for his sword—wrestle and jolt staunchly Glosa / Merck daß ist ob dw an danck zw sein° lincken seitten muest reitten hastu denn ein swert / vnd er auch einß / So leg daß dein auf den lincken arm in die hůt / Haut er dir denn oben ein zw dein kopf / So var auf / vnd versetz mit der langen schneid daß dein ort zw deiner lincken seitten stee / vnd reitt an yn / vnd begreiff yn mit dein° lincken hant sein rechte / vnd stoß yn mit dem knopf vnder daß gesicht Commentary: Mark this is if you intend that you must ride to foe’s left side, and when you have a sword and he also has a sword. So lay that sword of yours upon the left arm, thus in the first ward. Then he hews high at you to the head. So move up and forset with the long edge so that your point aims to your left side as you advance to him, and with your left hand grip his right hand as you punch him with the pommel under his face. Daß lert die xvii figur That teaches the seventeenth figure Die spricht also jagstu linck / So vall auff swerteß kloß stoß vnder augen Which speaks thusly: You hunt the left, so aflict the sword, cleave or thrust face-to-face Aber ein stuck Again one play Merck / wenn dw reittest zw sein° lincken seittn so leg dein swert auff dein lincken arm in die hůt haut er dir denn oben ein zw° dem kopf / So vorsetzt mit der langen schneid / vnd haw Im auß der vorsatzung einen freyen oberhaw zw° dem kopf Mark when you ride to foe’s left side, then lay your sword upon your left arm, thus in the first ward, and then he hews high at you to the head. So forset with the long edge, and hew him out of the forsetting with a free overhew to the head. Daß ist der text vnd die gloß von den hindern ansetzen This is the text and the commentary for the back attack Jagt man rechten halb ker vmb wart vechtenß mit armen vahen So mag dir kein schad nahent Someone hunts to your right—so half-turn around, reckon on fighting, with arms catching—Thus none may hurt you nearing Glosa / merck daß ist ein ler / Ob sach wer daß dir ainer den ruck an gewinn / oder sünst hinden an dich köm eß Commentary: Mark this is some lore, for when someone besets you with tactics at your back, or else comes at you 42 Horse Fighting wär mit einem spiesß / oder mit einem swert / So merck wil er dir hynden setzen (48v) an dein rechte seitten / So wentt dich auß dem stich auff dein lincke / Oder setzt er dir hinden an dein lincke seitten / So went dich auß dem stich gegen ym auff dein rechte seittn / vnd reitt do mit an yn / vnd arbait mit dem swert oder mit dem ringen from behind, whether it be with a spear or with a sword. So mark when he would set upon you from behind to your right side, then wend yourself out of the thrust upon your left side. Or if he sets upon you from behind to your left side, then wend yourself out of the thrust toward him upon your right side, while you advance to him and work with the sword or with wrestling. Daß lert die xxiiii figur That teaches the twenty-fourth figure Die spricht also / Ob man dich jagt von paiden seitten ker vmb linck so er recht chumpt Which speaks thusly: If someone hunts you from both sides, then turn around left so he comes right. Merck ein behendickait mit dem spiesß Mark some agility with the spear Merck / wenn dw vor Im weg jagst / vn hast ein glefen / vnd er auch eine Jagt er dir nach so halt dein glefen auf deiner rechtn achseln / vnd merck / wenn er hinden schier an dich chümpt so heb dein glefen vber daß haupt yb auf dein lincke achsel / vnd wennt dich gegen ym auff dein lincke seitten / vnd slach do mit dein glefen vnder dein arm / Also chüpstu ym do mit gerad vnder augen Mark when you hunt foe away before you, and you have a lance and he also has a lance, then he hunts after you. So hold your lance upon your right shoulder, and mark when he almost gets behind you, then heave your lance overhead and upon your left shoulder, and wend yourself toward him upon your left side while you slap your lance under your arm. Thus you go to him therewith, directly face-to-face. Merck swert wider den spieß Mark sword versus the spear Wenn dw hast ein swert / vnd er ein glefen / So leg dein swert auf den lincken arm in die hůt / Reitt er denn auf dich mit der glefen zw deiner lincken seitten so reitt sittigclich wider gegen ym / vnd wenn er chupt zw dem treffen / So var auff mit dem knopf / vnd lasß die klingen in der hant gegen dein° lincken seitten / vnd setz ym die glefen da mit ab When you have a sword and foe has a lance, then lay your sword upon the left arm, thus in the first ward. Then he rides upon you with the lance to your left side, so likewise approach him charging gracefully, and when he comes to meeting, then move up with the pommel and let the blade in the hand go toward your left side, and offset his lance therewith. Oder reitt er dir zw der rechtn seitten so streich slacht auff mit dem swert an sein glefen zw seiner rechten seitten / vnd var auff in daß öber geheng / vnd setz ym an (49r) in daß gesicht Or if he rides upon you to the right side, then sweepstrike up with the sword at his lance to his right side, and move up into the overhanging, and set upon him to the face. Daß ist der text vnd die gloß vom swert nemen This is the text and the commentary for sword taking Der messer nemen behalten lere an (!) schemen The messer taking—learn to keep without shame Glosa / merck wenn dw zw Im reittest / vnd an yn kumpst mit deiner rechten seitten an die sein / So haw ym oben starck ein zw° dem kopf / vnd stich ym zw dem gesicht Commentary: Mark when you ride to foe, and go at him with your right side at his right side. So strongly hew at him high to the head, and then thrust him to the face. 43 Knightly Dueling Vorsetzt er den stich so hurtt an yn / vnd begreiff mit lincker verkärter hant sein rechten arm vorn vnder seinem knopf / vnd halt yn also vest / vnd peug dein lincken arm außwertz an dem gepint seinß swertz / So mueß er daß swert lassen vallen / Dennoch magstu yn halden mit der ain hant / vnd mit der andern slach But foe forsets the thrust, so push at him, and with your left inverted hand grip his right arm under front of his pommel, and thusly hold him fast, and bend your left arm outward at his sword handle. So must he let the sword fall. Thereafter, you may hold him with the one hand and strike him with the other hand. Daß lert die xv figur That teaches the twenty-fifth figure Die spricht also / Der messer nemen vnd behalden gedenck tc (!) Which speaks thusly: The messer taking and keeping— think of it. Daß ist der text vnd die gloß von dem stuck daß da haist der vngenat griff This is the text and the commentary for the play that is called the unnamed hold Den vngenanten den starcken In in verwant Ir slahen Ir stechen ver dirbt an alleß vechtn The unnamed versus the strong—deployed to their striking and their thrusting—it destroys all fighting Glosa / merck daß ringen haist der vngenant griff dar vmb daß eß yederman nicht versten sol / wenn man macht do mit einem starcken alle sein häw / vnd stich zw nicht an alleß vechten / wenn man In recht do mit begreifft den treib also Commentary: Mark this wrestling is called the unnamed hold, so that not just anyone shall understand it. When someone works therewith versus a strong foe, then all foe’s hews and stabs are nixed in all fighting when that someone grips him rightly therewith. Drive it thusly Merck wenn du chumpst mit dein° lincken seitten an sein rechte hat er denn sein (49v) sein swert getzogen oder sünst ein ander wer / vnd wil dich slachen oder stechen / So begreiff mit der rechten hant sein rechte / vnd ruck sy für dein prust / vnd leg dich mit dem leib starck dar auff / vnd reitt für dich / So prichstu Im den arm oder er müß vallen Mark when you go with your left side at foe’s right side, and then his sword be drawn or else another weapon, and he would strike or stab you. So with the right hand grip his right hand, and yank it before your breast, and lay your body strongly thereupon, and ride forth. So you break his arm or he must fall. Oder wiltu in nicht werffen / wenn du seinen arm für dich geruckst hast / So begreiff mit der lincken hant seinen rechten elpogen / vnd stoß da mit von dir / vnd mit der rechten begreiff sein swertz knopf / vnd rück den zů dir so nympstu ym sein swert Or if you would not throw him when you have yanked his arm before you, then with the left hand grip his right elbow, and shove therewith from you, and with the right hand grip his sword pommel, and yank it to you—so you take from him his sword. Daß lert die drey vnd tzwaintzigist figur That teaches the twenty-third figure Die spricht also / Der vngenant grif / were nympt oder veltt In Which speaks thusly: The unnamed hold takes weaponry or fells him. Daß Ist der text vnd die gloß von dem slumen tzaigen This is the text and the commentary for slumber time Wiltu an fassen Neben reittenß nicht soltu lassen Will you grapple, yet riding near shall not let you? 44 Horse Fighting Daß slumen zaigen linck ermt (!) treib wiltu naigen Daß vor haubt taste gegen nack druck sere vaste Daß er sich schwäncket vnd selden wider auf gelencket The slumber time—left vambrace drives, you will tilt—the forehead touches—press very tightly—so that he topples—and seldom returns Glosa merck daß slummen zaigen ist ein guet ringen zw° rosß / Daß magstu treiben zw allen seitten / wenn dw nahent an den man kumpst Commentary: Mark this slumber time is one good wrestling upon horse. You may drive this to all sides, when you come near to the man. Merck daß treib also / wenn dw mit ym zw° samen reittest / vnd wild ringen / So halt dich nahent zů ym chumpstu denn mit deiner rechten seitten an die sein / So var mit der lincken hant hinden vmb yn (50r) vnd begreiff do mit sein lincken arm / vnd zeuch In do mit vast zw dir / vnd mit der rechten hant var Im vnden an den kintpackn / vnd stöß ym do mit sein antlütz vber sich zů perg gegen der slumen / So gewint er den swanck / vnd velt fur dich / Oder / vnd kumpstu mit der lincken seitten an sein rechte / So vasß In alß vor / vnd wurff in hinder dich Mark this—drive thusly When you charge together with foe and would wrestle. So uphold yourself near to him, then you go at his right side with your right side. So move with the left hand behind and around him and therewith grip his left arm, and tug him tightly to you therewith, while with the right hand you move at him underneath to the jaw and therewith punch his face upward—to bury him in slumber. So he gets the joke, and falls before you. Or instead you go at his right side with the left side, so grapple him as before, yet throw him behind you. Daß lert die xv figur That teaches the fifteenth figure Die spricht also / In der näch vach die hant ver ker sein antlütz do der nack ist Which speaks thusly: At close range catch the hand, invert his face, there the neck is. Daß ist der text vnd die gloß wie man pricht daß slumen zaigen This is the text and the commentary for how one counters that slumber time Wer dir daß rempt vbergreiff den der wirt beschempt Druck arm zů haubt der grif oft satel beraubt Whoever jostles you with that—grapple him, he becomes shamed—press arm to head—that hold often robs the saddle Glosa / merck den pruch treib also / wenn er chumpt mit seiner rechten seitten an die dein / vnd felt (!) dir mit der rechten hant vnden an den kintpacken / vnd wil dich also von ym stossen / So slach deinen rechten arm vber seinen rechten / vnd druck yn an dein prust / vnd reitt fur dich so ist eß geprochen / Oder prich eß mit dem schaf griff / Vnd wie dz Im den arm zů haupt drucken solt daß vindestu vorn in dem strauffen geschriben Commentary: Mark, drive the counter thusly for when foe comes with his right side at your right side, and moves at you with the right hand underneath to the jaw, and would thus shove you from him. So slap your right arm over his right arm, and press him to your breast, and ride forth—so it is countered. Or counter it with the sheep hold. And how you should press his arm to the head—that you find written of and covered further. Daß ist der text vnd die gloß vonn dem ver porgen ringen This is the text and the commentary for the secret wrestling. Wiltu aber dich massen deß vahenß liecht (50v) von dir lassen Ringenß den fure Gefangen hin ane schnure Will you indeed test yourself? Letting the catching clear from you—lead him to wrestling—tied up without cordage 45 Knightly Dueling Glosa merck daß ist ein verporgenß ringen zw° rosß / vnd hat nicht namen alß die andern ringen haben / Daß sol man an daß liecht nicht lassen kömen noch yeden man sehen lassen Commentary: Mark this is some secret wrestling upon horse, and has not a name as does other wrestling, so that one shall neither let it come to light, nor let just anyone see it. Merck daß treib also / wenn du mit ym zů samen reittest / So wart daß du Im chumpst mit deiner lincken seitten an sein rechte / vnd begreiff mit der rechten hant sein rechte / vnd ruck die fur dich / vnd mit der lincken hant begreiff begreiff (!) sein rechten elpogen vnd stoß den vbersich / vnd peug Im mit der rechten hant sein rechten arm gar wol oben vber deinen lincken / vnd heb mit dem lincken arm vbersich / Also ist er gefangen an (!) alle pant / vnd magst yn also füren wo dw hin wild / oder den arm prechen Mark, drive it thusly When you charge together with foe, then watch that you go at his right side with your left side, and with the right hand grip his right hand, and yank it before you, and with the left hand grip his right elbow and shove that upward, and with the right hand bend his right arm completely above and over your left arm, and heave upward with the left arm. Thus he is tied without any bonds, and you may thus lead him where you will, or break the arm. Daß ist der text vnd die gloß von dem vor vnd von dem nach This is the text and the commentary for the Before and for the After Den vor griff merck Der pricht fürpaß sein sterck Mark foresight—it further counters his strength Glosa merck daß ist ein ler daß dw gar eben solt mercken auf den vor griff wenn ir sein zwen / Der ein daß ist / wenn du vorkumpst / vnd begreifst yn ee wenn er dich / Der ander ist / wenn er vor chumpt / vnd begreifft dich ee wen du yn / vnd auff die zway ding so soltu deine stuck gar gerecht wissen zů treibn / Vnd daß vernym also / Begreifstu yn vor (51r) So treib deinew stuck do mit behendtleich so mag er dir sy nicht geprechen / Oder begreifft er dich vor so wart daß dw Im daß behendtlich prechest / So mag er zů dem stuck nicht kumen / Deß geleichen soltu die zway ding mercken mit aller wer zů rosß / Do mit werden die betrogen die sich auff ir sterck verlassen / vnd vor rechter kunst nicht wöllen halden Commentary: Mark this is some lore, that indeed you should mark. Regarding foresight, there be two of the kind. The one is when you initiate and grapple foe earlier than he does to you. The other is when he initiates and grapples you earlier than you do to him. And so regarding those two things you should wit how to drive your plays correctly indeed. So take guard thusly: You grapple him first, thus drive your play nimbly, so he may not counter it. Or he grapples you first, so watch that you counter his play nimbly. So may he not get to any plays. Likewise, you should mark those two things for all weaponry upon horse, thereby warding the deceptive/the ingratiating, who rely upon their strength, and who would not heed rightful art. Hie merck daß vechten mit dem kurtzen swert zů rosß Mark here this fighting with the shortened sword/half-sword upon horse Wenn du gegen ym reitteßt / So halt dein swert mit der rechten hant pey der hanthab / Vnd mit der lincken greiff mitten in die klingen / vnd leg eß also fur dich auf den satelpogen / Reitt er dir denn auff dein rechte seitten gegen dir / vnd haut dir oben ein zů dein kopff / So vor setzt mit dem swert von deiner lincken hannt vn stich Im zw dem gesicht / Oder chumpt er ze nahent an dich daß dw Im nicht zw° stechen oder an setzen magst When you charge foe, then hold your sword by the handle with the right hand, and with the left hand grip in the middle of the blade, and lay is thusly before you upon the saddle bow. Then he charges you upon your right side and hews high at you to the head. So forset with the sword from your left hand and stab him to the face. Or if he comes so near to you that you may not stab him or set upon him, then move at him with the forepart 46 Horse Fighting / So var ym mit dem vodern tail deinß swertz vorn vber sein lincke achsel vmb den halß / vnd ruck yn do mit zw dir auf die seitt / So feltt er of your sword, over front of his left shoulder and around the neck, and yank him to you therewith to the side. So he falls. Aber ein stuck mit dem kurtzen swert Again one play with the half-sword Wenn dw gegen ym reitest mit dem kurtzen swert / Reitt er dir denn zů der rechten seitten / vnd sticht dir zw dem leib / Daß setz slächt ab mit dem kurtzen (51v) swert / vnd setz ym an oder sticht er dir zů dem gesicht / So var auf gegen dem stich / vnd wind Im den ort oben ein zů dem gesicht oder kumpt er do mit nahent an dich so wart der ringen When you charge foe with the half-sword, then he rides to your right side and thrusts at you to the body, then offset his strike with the half-sword, and set upon him. Or if he thrusts at you to the face, then move up against the thrust and wind the point high at him to the face. Or if he comes therewith near to you, then reckon on wrestling. Aber ein stuck Again one play Merck reittestu mit halbem swert zw seiner lincken seitten / Sticht er dir denn zů dem leib / So var auff mit dem knopf gegen deiner lincken seitten / vnd lasß die klingen neben dir nyder hangen auch zw deiner lincken / vnd setz Im den stich also ab mit dem kurzen swert vnd setz Im an Mark when you ride with the half-sword to foe’s left side, then he thrusts at you to the body. So move up with the pommel toward your left side, and let the blade hang down near you also to your left side, and thus offset his thrust with the half-sword, and set upon him. Aber ein stuck Again one play Merck reittestu Im mit halben swertt zw seiner lincken seitten haut er dir denn oben ein zů dem kopf / So vor setz zwischn paiden henden / Indaß swert / vnd laß daß swert auß der rechten hant / vnd kum do mit der lincken zů hilff mitten in die klingen / vnd slach In mit dem knopff zw dem haupt oder zw dem lincken elpogen Mark when you ride with the half-sword to foe’s left side, then he hews high at you to the head. So forset between both hands, in the middle of your sword, and let your sword out of the right hand and move therewith to help the left hand at the blade middle, and strike him with the pommel to the head or to the left elbow. Aber ein Stuck Again one play Merck / wenn dw Im mit halbm swert reittest zw seiner k lincken seitten haut er dir denn oben ein zů dem kopf / So vor setz zwischen deinenn henden in die klingen / vnd begreiff In der vor satzung mit der lincken hant deine swertz knopt / vnd slach In mit eine freyen ober haw (52r) auß (!?) dem langen swert zw dem kopff Mark when you ride with the half-sword to foe’s left side, then he hews high at you to the head. So forset between your hands in the middle of your blade, and during the forsetting grip your sword pommel with the left hand, and strike him to the head with a free over-hew, like unto longsword. Hie merck mit halbem swert gegen der glefen Mark this here—with half-sword against the lance Merck / wenn dw reittest gegen ym mit halbem swert / Vnd er wider gegen dir mir (!) seiner glefen zw dein rechten seittn / So merck wenn eß get an daß treffen / So var auff mit dem halben swert auf dein rechte seitten Mark, when you charge foe with half-sword and he likewise approaches you charging with his lance to your right side. So mark when it gets to the meeting, then move up with the half-sword, up your right side against 47 Knightly Dueling gegen der glefen / vnd setz den stich ab / vnd reitt do mit an yn / vnd stich ym zw dem gesicht oder setz ym an the lance, and offset the thrust while you advance to him and stab him to the face or set upon him. Aber ein stuck mit dem kurzen swert zw° Rosß gegen der glefen Again one play with the half-sword upon horse, against the lance Merck wenn dw reittest mit dem halben swert / Jagt er denn auff dich mit der glefen zw deiner lincken seitten / vnd wil dir an setzen / So var auf mit dem knopf gegen deiner lincken seitten / vnd lasß den ort neben dir nyder hangen / Auch zw der deiner lincken seitten / vnd setz ab mit dem kurzen swert / vnd reit do mit an yn / vnd setz vm an / Magstu zw dem an setzen nicht chůmen / So wart der ringen rc (52v) Blank Mark when you ride with the half-sword, then foe hunts toward you with the lance to your left side, and would set upon you. So move up with the pommel toward his left side, and let the point hang down near you also to your left side, and offset with the half-sword while you advance to him and set upon him. If you may not get to the attack, then reckon on wrestling, etcetera End ‫ﱝ‬‫ﱝ‬ 48 Horse Fighting PLAYS FOR LANCE OF LIECHTENAUER HORSE FIGHTING VIA GOLIATH IMAGERY AND VON DANZIG TEXT Although text for the roszfechten of Liechtenauer is common enough in the fechtbücher corpus, imagery for it is not. However, the imagery in the Goliath manual does nicely, and one ought to keep in mind that congruent imagery can be found in a variety of other manuals—German ones like Talhoffer (1450, 1459, 1467), Kal (1462), and Mair (1542), and also Italian ones like dei Liberi (1410). The text is, of course, my translation of the appropriate passages from von Danzig. Notice that the barriers and space are not to scale with the riders—the area would have been more like that of either a modern dressage arena or rodeo grounds. These plays go out of the three basic wards for mounted lance. (40r) Thus This is the first ward for lance upon horse—place yourself so you clutch your lance with the hindpart under the right axilla, and stretch the forepart to its longest at foe with the point toward his face . . . If it drops, then your end undoes him . . . Commentary: Mark this play drives out of the first ward. Thus when you have stretched (40v) your lance to its longest out of the arm toward foe, and he likewise approaches you charging, then ride upon him yet do as if you would thrust him to the face upon his left side, and when you come near to him, then let your lance sink down forward, and change therewith under and past his lance to his right side. So you hit his face and he hits not. 49 Knightly Dueling (40r) Mark this is the second ward for lance upon horse Place yourself so you clutch your lance with the hindpart under the right axilla and let it hang down to your left side, near your horse’s neck, and ride thusly to foe . . . (40v) Mark the play Drive out of the second ward thusly when you and foe charge together and you let your lance sink down forward to your left side, then he drives upon you with his lance. So sweep-strike up to your right side with your lance at his lance, and heave therewith a little upward. So you hit and he does not. (40r) Mark this is the third ward for lance upon horse Place yourself so that you seize your lance in the middle with both hands, and hold it before you, across and upon the saddle bow, so that the point stays to your left side, and ride thusly to foe . . . (40v) Mark the play Drive out of the third ward thusly when you and foe charge together. So hold your lance with both hands in the middle before you, across and upon the saddle bow. He then rides upon you with the lance, so sweep with the forepart of your lance to his right side at his lance, and therewith strike your lance under his right axilla, and ride forth. So you hit and he does not. Also, out of all three wards you should move with the left hand to help with the lance, through the strength of will. 50 Horse Fighting WARDS AND STRIKES FOR SWORD FROM KAL VERSION OF LIECHTENAUER HORSE FIGHTING First ward Over-hewing Thrusting Fourth ward 51 Knightly Dueling WARDS AND STRIKES FOR SWORD FROM TALHOFFER (1459) AND GOLIATH VERSIONS OF LIECHTENAUER HORSE FIGHTING Third ward Second ward Ride to right side and thrust to face Fifth ward, move up and wind point to face Same play as Again one play with the half-sword (51r–51v) of von Danzig. 52 Horse Fighting WARDS FOR SWORD OF LIECHTENAUER HORSE FIGHTING VIA GOLIATH First ward 53 Knightly Dueling Second ward Fourth ward Third ward Fifth ward 54 Horse Fighting OTHER HORSE FIGHTING SCENES Horseman covers with lance—Talhoffer (1459). Forsetting an over-hew—Talhoffer (1459). 55 Knightly Dueling Lance versus sword—Talhoffer (1459). Attacks with swords from third ward and variant of second ward—Talhoffer (1459). 56 Horse Fighting COUPLE PLAYS OF LIECHTENAUER VIA VON DANZIG HORSE FIGHTING AS PORTRAYED BY GOLIATH If it evolves—such that sword versus sword shall resolve—then get right, get the strong—by pawing-hew you seek and mark (42r–42v) of von Danzig Here mark this play (47r–47v) of von Danzig. 57 Knightly Dueling VARIOUS SCENES OF HORSE FIGHTING FROM TALHOFFER SHOWING ITS “HUNTING” NATURE AS CHARACTERIZED BY LIECHTENAUER We can see a marked difference in the nature of horse fighting as per the Fechtbuch (1450) by Hans Talhoffer compared to tourney jousting as per the Turnierbuch (1477–1489) by Marx Walther or Freydal (1512–1515) or even Theuerdank (1517) (see “Variety”). For example, Freydal portrays tourney jousters with tilt rail, exploding lances, and grotesque helms, an entertaining scence that differs from what Talhoffer portrays—dynamically circling riders in open field, wearing war hats and bearing sharp lances, who are hunting each other. The tourney jousting of the 14th to 16th centuries was unquestionably dangerous combat sport— yet it simply was not the same as the coeval horse fighting, which was deadly mortal combat. The nature of the horse fighting seen in these circa 1450 portrayals is remarkably similar to that suggested by the portrayal from three centuries earlier, William Marshal Lances Baldwin Guisnes from Chronica Majora by Matthew Paris (England, 1240–1253), as seen in the first chapter of this book, “Chivalry.” 58 Horse Fighting 59 This page intentionally left blank. Duel Fighting LIECHTENUAER AND THE DUEL The duel fighting (kampffechten) by fight-master Johann Liechtenauer that appears in folios 53r–72v of the Fechtbuch from 1452 by Peter von Danzig, was the earnest fight of judicial duel, trial by combat, wager of battle, duel of chivalry, or campfight. It was about prowess—not about courtesy, academy, or play. It was combat that happened because one man challenged another of grievous fault or crime. Liechtenauer does not state those causes for challenging—however, we may guess the causes were akin to those stated later by Hans Talhoffer (1459): murder, treason, heresy, becoming an urger of disloyalty to one’s lord, betrayal in strife or otherwise, falsehood, and using either a maiden or lady. Such causes led men in Germanic dominions to challenge each other, and similarly led men throughout medieval and Renaissance Europe to make challenge (see Endnote #8). Versions of Liechtenauer’s mark verses for duel fighting appear in works by other later masters, like that of Hans Talhoffer (1443). Incidentally, trial by combat was not the same as trial by ordeal, as some would characterize it—for it was a fight and not a torture (see Endnote #9). Since judicial combat was over gravely serious matters, it often ended seriously—with the death of one or both the fighters. This was not the same as coeval scholastic fencing, or scamp skirmishing, or tourney gaming—this was bloody fighting. Lawfully sanctioned dueling would have involved claiming and challenging before tribunal, setting rules, appointing a date, training, arriving at the barriers, arraying deadly battlefield weaponry, and finally judge(s) witnessing the often deadly ending (see Endnote #10). All this is affirmed by a variety of historical sources, notably again Talhoffer, Sigmund Ringeck (1440s), Paulus Kal (1462), Gladiatoria (1435–1440), and Hans Czynner (1538). Both Priest Hanko Döbringer (1389) and Gladiatoria clearly distinguished the sparring (schimpfe) of school and tourney from the earnestness (ernste) of duel and battle. Notice that this kampffechten attributed to Liechtenauer is not to be confused with the other kampffechten ostensibly attributable “only” to von Danzig, although each version does indeed appear in his same Fechtbuch—the former on folios 53r–72r and the latter on folios 108r–113v thereof. The latter is really just a severely short summary of the former, and indeed, von Danzig honestly attributes both to Liechtenauer. Likewise, we find much similarity in the kurzes schwert by Andre Lignitzer found in 73r–79v of Von Danzig Fechtbuch. ARMS AND ARMOUR The knights in such duels would have worn harness and wielded weaponry as sharp, tough, and deadly as what they took to the battlefield. One may notice, in contradiction to certain pernicious notions, that the kampffechten advocated by Liechtenauer is filled with down-and-dirty tactics—stabs to the face, body throws, kicks to the knees, hilt wrenches, stabs to bollix, and so forth. This is how they really fought in olden times—and anyone nowadays who has been in a real hand-to-hand fight for his health and life would tell you to do likewise. 61 Knightly Dueling Liechtenauer via von Danzig speaks of dueling armoured (gewappent) in full-plate (geschäpft) harness (harnasch) with gaps (plösen/plösß/plössen) at its joints (gelencken). Notice that in armoured context, die ring (literally “the rings”) means “the fauld,” whether of maille skirt or plate hoops. He also speaks of the three main weapons for the duel—the lance/spear (glefen/sper)—the kind for battlefield and not for tourney; the dagger (degen), either a ballock or rondel; and the sword (swert), most likely longsword or bastard sword. Such array are featured prominently and consistently in the text and pictures of multiple fechtbücher, as per Talhoffer (1450, 1459, and 1467), Kal (1462 and 1460–1470), Codex Wallerstein (1380–1390 and 1450s), Gladiatoria (1435–1440), Goliath (1510–1520), and De Arte Athletica by Paulus Hector Mair (1542). And there is mention of messer (messer), which in the mark verses often seems synonymous with swert, hence “sword,” rather than the weapon more like a falchion. Notice that unlike with horse fighting, for translation of glefen in duel fighting I chose “spear” mostly instead of “lance” when both fighters were clearly afoot and/or hurling said weapon. And keep in mind that helms were always worn and not discarded. Von Danzig advocates an array of striking (slachen), thrusts/stabs (stich), morte strikes/pommel strikes (slahent ort), wrenching (reissen), shortened sword/half-sword (kurczen swert), and wrestling (ringen). Notice that half-sword is done wearing gauntlets (hantschuech) and vambraces (ermel, as per roszfechten), as expected in armour. This kampffechten does not have any hewing (hawen) as found in bloszfechten (unarmoured fighting) or even in roszfechten (horse fighting), and certainly no slashing (schnitten of other texts)— thus its fight is mostly thrusting (stichen). All in all, the kampffechten of Liechtenauer via von Danzig constitutes a kind of harnischfechten (armoured fighting) and has a relationship to roszfechten. The swords are wielded mostly double-handed by right-handers—keeping that in mind helps the reader to orientate the described actions of the combatants. Von Danzig is emphatic about the dagger as one of the three main weapons for dueling and its importance to the endgame. Also, it should be understood that where there is wrestling, there are probably drawn daggers as well. We definitely find the weapon in other texts of the German lineage like Codex Wallerstein, Gladiatoria, Talhoffer, and Goliath, since each presents dagger fighting suitable to and/or portrayed in armoured dueling. Notice that pollaxe (axt/agst) is not mentioned, which is no surprise since here the knights start ahorse and then go afoot. No mention is made of targe (tartzen) as seen in MS KK5013 (1425–1430), Gladiatoria, and Talhoffer (1459), although such is not necessarily precluded. No indication is made about visors up or down, but we see both choices portrayed in coeval fight books. Reasons for risking the face may have been identity confirmation, better vision, ventilation, or spoken damnation. The plate-armour harness meant here was custom fitted and had even mass distribution. Along with its arming clothes, such well-articulated harness may have weighed only about 55 pounds. It allowed the man wearing it to run, jump, roll, tumble, vault, and even fall down, then stand up again. It was not an overly heavy, clumsy hindrance; it did protect quite well from cleaving strikes; and it was made of steel. Such was the craftwork of various centers of great German armourer guilds of the 14th to 16th centuries—Augsburg, Innsbruck, Landshut, and Nürnberg. THE FIGHT LORE As with the roszfechten, we can be fairly certain where the merkverse (mark verses) of Liechtenauer’s kampffechten begin and end and where the gloßen (commentaries) of von Danzig begin and end. However, I again offer that we think of it as Liechtenauer via von Danzig, to distinguish and delineate what is said in this specific work. One will notice how the translation of the commentary makes more sense than the confusing mark verses, but again, that is the way it should be. The mark verses of Liechtenauer are supposed to be “secret and subtle” (verporgen/und verdachten)—they are obtuse and cryptic on purpose. That is why the commentaries by later masters like Döbringer, Ringeck, and von Danzig “clarified and laid out” (verklert/und auß gelegt) the earlier fight lore for their later fight-book readers/hearers. 62 Duel Fighting Unfortunately, von Danzig does not have pictures accompanying his Bavarian German text. However, the later Goliath portrays some of the plays described by Liechtenauer via von Danzig, in pictures and in copy of text. Pictures from fight books by Talhoffer, Kal, and MS KK5013 also show noticeably relevant portrayals. Von Danzig’s version of kampffechten is the most complete. There is prolific use of homonyms. Notice pruch—it may mean either “break” or “counter,” either in the sense of breaking a limb or of countering a move, depending upon context. Likewise regarding durch—it may mean either “through” or “past” in context. Notice stös/stoß, a highly dynamic, quite contextual, and often mistranslated word, which here can mean “punch,” “kick, “shove,” “pummel,” thus any “jolt,” but only rarely “thrust/stab [with blade point].” Also notice the threefold nature of vall—meaning usually “fall” but sometimes “get” or “drop”—not to be confused with anfall equaling “assault.” And take nahent—“nearing,” “near,” or “just.” The word stee—mostly “stand,” sometimes “aim.” The word gehört—it may mean “hearken,” “belong,” or “counter.” The word chüm/kum—“come,” “go,” “move,” or “get.” Lastly, the word auf/auff was tricky—as it may mean either “upon” or “up.” Here gehültz means “cross”—although in bloszfechten it can mean “cross/crux.” A really sticky wicket is treffen, which means either “hitting [with weapon]” or “meeting [of weapons],” depending highly upon context. A word which depends upon the specialized context of the harnischfechten here is plössen, meaning “gaps [in armour],” which is supported by presence of aforesaid gelencken (joints), and readily apparent from the descriptions of the moves. This differs from the broader meaning for plössen of “openings” in the hewing-thrusting-slashing spectrum of bloszfechten, where the whole body is targeted at its quadrants. Usually ruck means “yank,” but sometimes “shift,” a variance as per Andre Lignitzer (1452). Notice “death strikes”/“murder jolts” (mort stoß) like Ringeck. There are, of course, synonyms too—like varen and kumen, both can mean “moving.” Notice that gelencken and knyckel mean “joints,” interchanging for body and harness, plus practically equaling plössen or “gaps [in armour].” Each of these adverbs—oben, obern, uber, ubersich, unden, under, undersich, vor, voren, vorn—arguably displays its respective variety of closely related meanings. Notice my literal translation of freyleich as “freely”—although it may mean more precisely “with arms apart/high” and/or “with legs apart/high.” There is a noticeable use of a double negative (So mag er zu kainem pruch nicht kumen), which I translated with the intent in mind, thus as a simple unconfusing single negative (“So may he not get to do any countering”). Other confusing words are schütten/schiessen: for spear it means “hurling”; for sword it means “lunging,” which is a one-armed thrust, perhaps a version of offsetting (abseczen)—none of which is helped by the further confusion of a second use of vor schiessen, which really should be ver schliessen, thus “locking/shutting.” And none of which ought to be confused with schützt/beschutzen (protecting). The phrase vnder augen, which Talhoffer (1467) also used, means literally “under eyes” or contextually “face-toface,” all equivalent to French vis-à-vis. Notice that judicious use of (!) are made to indicate where original scribal errors seem to be. Lastly, realize some interpolation was needed for lance (53v–55r). PARRYING WITH THE FLAT It seems in folio 68r of the von Danzig fight book we find even more proof of parrying with the flat than already amply exists among the larger corpus of relevant coeval texts: 63 Knightly Dueling So merck alß pald dein swert mit der vorsatzung klitzt an daß sein . . . So mark that as soon as your sword claps at his sword with the forsetting . . . Here, the word vorsatzung is doubtlessly linked contextually with the word klitzt, a form of the verb klitzen, that according to the Grimm Brothers is equivalent to klitschen/klatschen, meaning “clapping,” “slapping,” “striking with the flat [of something].” That is positive proof of making vorsatzung with the flat of one’s sword blade to the flat or edge of the other sword blade, and not each edge-to-edge. That phrase, along with instances in this same text of streich...ab meaning “swat/swipe,” all in similar contexts of forsetting, makes for a convincing case based upon historical terminology, helped by insight from kinetically right martial praxis. JUDICIAL DUELING AND TOURNEY AND DUELS OF HONOUR The focus of many modern scholars on tourney (whether mêlée or joust) and its artificial combat, combined with fixation upon an idealized chivalry, has distracted from and even distorted study of earnest fighting—which designates a range of deadly struggles, including self-defense, judicial duel, and warfare. Let us consider the fight masters or fight books that deal exclusively with earnest fighting—Peter von Danzig, Sigmund Ringeck, Hans Talhoffer, Paulus Kal, Hans von Speyer, Hans Czynner, MS KK5013, Gladiatoria, Goliath, Paulus Hector Mair, and so forth. Hanko Döbringer clearly distinguished the sparring (schimpfe) of school and tourney from the earnestness (ernste) of duel and battle as early as 1389, a distinction which probably existed for a full century before him, and which certainly existed afterward as late as Gladiatoria. Keep in mind that in German, the terms, turnier and kempfen are clearly distinct, at least according to fechtmeister—for the historical evolution of dueling and tourney differ. The tourneys witnessed by William Marshal, Chrétien de Troyes, and Ulrich von Liechtenstein in the 12th and 13th centuries were basically small, contained battles, fought by various social classes of knights, with battlefield weaponry and armour, with intent to capture, ransom, profit, and—supposedly—service unto ladies. Indeed, such tourneys (turnier) were really more like duels (kämpfe) described in Parzival (1220) by Wolfram von Eschenbach than like tourneys of later times. The tourneys witnessed by Peter Suchenwirt and Das Kloster der Minne in the 14th century were controlled combats with blunt weaponry yet battlefield armour, performing the functions of military training for the knighthood and of punishing bad aristocrats via bully beatings en masse. The tourneys witnessed by Rene D’Anjou, Antoine de la Sale, and Ludwig von Eyb in the 15th and 16th centuries were sporting combats, fought by an elite nobility, with blunt weaponry and bloated armour, with intent to socialize, show off, and compete for prizes. Yet ideally such had been meant as training for duel and war as Talhoffer asserts in 1450-Ambraser (refer to “Getting Ready”). Eventually this trend devolved tourneys into elitist, dandified play-combat contests during the 17th century, as witnessed by Bonaventura Pistofilo’s ridiculous Il Torneo (1627) and Fuß Turnier und Ritterstreit Artikul (1600s). Even the deeds of arms witnessed by Olivier de la Marche in the 15th century, such as the combats with estocs between Galiot de Baltasin and Phillipe de Ternant (1446) or that between Jacques de Lalaing and Jacques d’Avanchies (1450), were events limited, outfitted, supported, and refereed for the health and safety of the combatants—although such tough-guy contests could and often did escalate to mortality. Consider also that the word and practice zweikampf appeared in Germany only after the middle 16th century, concurrent with proliferation of the rapier in Germany, France, and Italy and its obscenely crass “duels of honor,” with attendant differences of meaning, conduct, and values—and it neither appears in the early fight books nor equates in said ways with the kempfen or ernst[kampf ] or fechten described by early fight masters. 64 Duel Fighting Unlike tourney or duels of honor, such great change never happened to judicial dueling. Until it died out, duel fighting as witnessed and taught by von Danzig, Ringeck, and Talhoffer in the 15th century stayed that same old, dark, wanton thing that it always had been, since the days when men struggled at einvigi (“one-kill— unregulated single combat) and holmganga (“island-going”—regulated, ritualized single combat) during the Völkerwanderung: fighting likely to kill someone, fought potentially by anyone versus anyone, over some grave matter, with battlefield weaponry and armour, with intent to prove one man right and another wrong. ‫ﱝ‬‫ﱝ‬ (53r) All hye hebt sich an die gloß und die außlegung der zedel der kunst deß kampffechtenß / Die gedicht und gemacht hat Johanneß Liechtenawer der ein hoher maister in der kunst gewesen ist dem göt genädig sey / und dar umb daß die kunst fürsten / und herren / Ritter und knechten zu gehört daß sy die lernen / und wissen süllen / So hat er die kunst lassen schreiben mit verporgen / und verdachten worten / Dar umb daß sy yderman nicht vornemen nocch versten sol / und hat daß getan durch der leichtfertigen schirrmaister (!) willen / die ir kunst gering wegen daß von der den selbigen sein kunst nicht geoffenwartt noch gemain solt werden sollichen leitten die die kunst In wirden nicht chünnenn halden / alß denn der kunst zu gehört und die selbigen verporgen / und verdachten wort deß kampffß vechtenß die stenn hie hernach / In der gloßen / also verklert / und auß gelegt daß sy yder man wol ver nemen / und ver sten mag der do anderß vechten kan All this starts here—the commentary and the interpretation of the summary of duel fighting that Johann Liechtenauer has versified and made. He is become one high master of the art, whom God has graced, and unto whose art hearken princes and lords, knights and troopers, so that they shall learn and wit such. Thus he has let the art be written with secret and subtle words, so that not just anyone shall understand it. Had this been done through the will of some frivolous fencing master, then it be trifling false art—because from the selfsame shall come art not outstanding, but rather middling. Such cultivating of the art cannot grow it. Holding then to the art as heard here, and the selfsame secret and subtle words of the duel fighting, that stand hereafter in the commentary, thus clarified and laid out—then any man may comprehend and understand those well, so he can fight another. Hie hebt sich an die vor red Here starts the foreword / Junck / Ritter lere / Got lieb haben frauen / zů ere / So wechst dein ere / ub ritterschaft / und lere / Kunst die dich zyret / und In kriegen zu eren hofiret / Ringenß gůt vesser / Glefen sper swert / und messer (53v) / mandleich bederben / und In anderen henden / verderben / haw drein / und hürt dar / Rausch hyn tritt oder la (!) faren / Daß yn die weisen / hassen die man sicht preisen / Darauf dich fasse / alle kunst haben leng und masse Young knight learn to have love for God and honor for women—thus your honor grows via chivalry. And learn art which dignifies you and distinguishes you honorably in war: wrestling’s good locks, lance, spear, sword, and messer—manly wielding, and by either hand, destroying—hew therein and lance there—rush in, tread or move there. Within that wisdom is what one seeks to praise and for you to grasp—all arts have dimension and mass. Daß ist der text und die gloß einer gemainen ler zu kampff This is the text and the commentary for one common lore of dueling Wer ab sinnet vechtenß zu fuesß beginnet Whoever fights fruitlessly begins again on foot 65 Knightly Dueling / Glosa / merk daß ist ein ler / man mag vechten In harnasch zu fuesß / und zů rosß / Dar nach alß sich zwen verwilligent und auch waß daß recht außweist / und wär eß sach daß du dich mit eiem solt slachen oder vechten zů rosß / und dëucht dich daß er dit do mit zu gescheid oder zů mächtig wer / So trit ab zu fuesß / und vicht mit ym auß der hernach geschriben kunst Commentary: Mark this is some lore. One may fight in harness on foot and upon horse—thus you accordingly choose of the two which proves right. And were it tactics such that you shall strike and fight upon horse, and it seems to you that he with whom you do this becomes too clever or too mighty, then dismount, go afoot and fight with him, according to the art written hereafter. Daß ist der text und die gloß von zawaien stënden This is the text and commentary for twain stances Der schick sein sper zwai sten anheben recht wer / Glosa / merck daß ist wenn du abgetreten pist vom rosß / So soltu zu hant deß ersten In dem anheben wissen zwen stënt / Der erst stant ist wie du dich mit der glefen schicken solt ze kampf / Der ander ist / wie du dich solst schicken mit (!) dem swert / Auch soltu wissen mit der glefne zwen besunder stänt He places his spear—two stances rightly start the weaponry Commentary: Mark this is when you are dismounted from your horse. Thus you shall wit to take cover at the start with either of two stances with your spear/lance. The first stance is how you shall place yourself with just the lance in duel—the second is how you shall place yourself with both the lance and the sword. So shall you wit the two special stances with the lance. (54r) / Der erst stant ist und gehört zu dem ober auff dem rosß beleibt / Der ander stant gehört zu dem ob er auch abtritt gegen (!) den zwaien stenden / Soltu die stuck gerecht wissen zu treiben die dir hernach am nagsten verklert werden The first low stance counters him who stays mounted upon the horse. The second high stance counters him who dismounts into either of the two stances. You shall wit how to drive plays correctly—first when afoot versus ahorse, and then afoot versus afoot—which becomes clarified hereafter just next. Daß ist daß erst stuck / Merck mit dem ersten stuck schick dich also / wenn du abgetretten pist vom rosß / und er nicht ab treten wil / So ste mit dem lincken fuesß vor / und secz dein glefen zu deiner rechten seitten in die erd / und halt den ort gegen ym zu welicher seitten er dir denn zů reitt / uaff die selbig seitten wendt dich albeg gegen Im / und weiß ym mit deiner glefen die sein ab und secz Im do mit an This is the first play Mark with the first play that you place yourself thusly. When you are dismounted from your horse and your foe will not dismount, then stand with the left foot forward and set your lance to your right side, with its butt in the earth, and hold the point toward him, to whichever side he rides at you then. Upon the same side always wend yourself toward him, and deflect his lance with your lance, and therewith set upon him. Aber ein stuck / Wenn du abgetreten pist zu rosß fuesß pleibt er denn auf dem rosß / So ste mit dem lincken fueß vor und halt dein glefen In der mitt mit paiden henden fur dich twerchß / Also daß der voder ort lenger sey dann der hynder / Reitt er dann auff dich mit der glefen / So streich vast mit dem voderen tail deiner glefen zu seiner rechten seitten an die sein / und secz im do mit an mit einem auß tritt auf ein seitten Again one play When you are dismounted onto foot and foe stays then upon horse, then stand with the left foot forward and hold your lance in its middle, across and before you with both hands, such that the forepoint lengthens farther than the hindpoint. He then rides at you with the lance, so sweep staunchly with the forepart of your lance to his lance’s right side, and therewith set upon him with one outward step to one side. 66 Duel Fighting Aber ein stuck (54v) / Merck / wenn du ab getreten pist zů fuesß pleibt er denn auf dem rosß / So halt dein glefen neben deiner rechten seitten in der underen hůt mit dem ort gegen ym / Reitt er denn mit der glefen auf dich zů deiner lincken seitten / So secz ab mit der glefen auch zu deiner lincken seitten / und spring auf dein rechte seitten / und secz ym an Again one play Mark when you are dismounted onto foot and foe stays then upon the horse. So hold your lance near your right side in the low ward with the point toward him. He then rides at you with the lance toward your left side, so offset that with your lance likewise to your left side, and spring to your right side and set upon him. Aber ein annderß stuck / Merck / wenn du abgetreten pist zů fuesß / Reitt er denn auf dich mit dem swert / So stich Im mit der glefen zu den plösen / und wart ob du Im magst an geseczen / und daß thůe mit auß springen auf ein seitten Again one other play Mark when you are dismounted onto foot and foe then rides at you with the sword. So thrust him with the lance to the gaps in his armour, and watch when you may set upon him—and you do that by springing out to one side. Aber ein annderß stuck / Merck / wenn du abgetreten pist / Beleibt er dann auf dem rosß / und reitt auf dich mit dem swert / So secz dein glefen mit dem ort auf daß ferrist fur dich in die erden und / wenn er auf dich reitt / So var du mit der glefen seinem rosß zwischen die vorderen pein / und spring auf ein seitten / und vorsuech ob du In also mit sampt dem rosß umb geberffen magst Again one other play Mark when you are dismounted and foe then stays upon the horse and rides upon you with the sword. So set the butt of your lance into the earth with the point at its farthest before you, and when he rides at you, then you move with the lance between the forelegs of his horse and spring to one side while trying, if you may, thus to overthrow the horse. Daß ist der text und die gloß deß anderen (!) stancz wenn ir paid abgetreten seit zu fuesß mit der glefen wider die glefen zu kampff This is the text and the commentary for the first stance and the second stance when ye both are dismounted onto foot with spear versus spear in duel (55r) Sper und ort denn vor stich stich an voricht / Glosa / merck daß ist der ander (!) stant / wenn er auch abgetreten ist / und behelt sein glefen / und thůe du die dein / So schick dich also gegen ym ste mit dem lincken fuesß vor / und halt dein glefen neben deiner rechten seitten In der underen hůt / und wart da du Im albeg ee zů stichst / wenn er dir / Oder halt dein glefen mit der rechten hant uber sein / dein haubt zu dem schůß / und tritt also zu Im / und wart daß du ee scheust wenn er / und volg pald dem schusß nach zu Im mit dem swert gegen der glefen die dir hernach In anderen stucken vorklert werden Spear and point—then thrust first, pierce prepared Commentary: Mark this is the first stance. When foe is also dismounted and keeps his spear and you keep your spear, then place yourself thusly against him—stand with your left foot forward and hold your spear near your right side in the low ward, and watch that you always thrust earlier than he does to you. Or in the second stance, hold your spear with the right hand in the high ward for the hurl, and tread forth to him thusly, and watch that you hurl earlier than he does, and after that hurl at him you quickly follow with your awaiting sword wielded against his spear—which becomes clarified for you hereafter in other plays—but first attacking, tugging and wrestling. Daß ist der text und die gloß von an seczen und von zucken mit der glefen zů kampf This is the text and the commentary for attacking and for tugging with the spear in duel 67 Knightly Dueling Spring wind secz recht an wert er zuck daß gesigt Im an / Glosa merck daß ist ein anderß / wenn ir paid abgetreten seit zu fuesß / und yeder hat sein glefen / wiltu denn nicht schiessen / als vor geschriben stet / So halt dein glefen neben deiner rechten seitten in der underen hůt / und gee also zu Im / und stich yn kůndleich zu dem gesicht auß gestrackten armen / Sticht er denn mit dir geleich ein / So var auf mit deiner glefen an den seinen In daß ober geheng / und spring do mit zu Im / und secz ym oben an / Vert (55v) er denn auf mit den armen / und wert den oberen stich / So zuck / und setz Im den ort under sein linckß uchsen In die plösß / oder sunst wo du hyn magst / und dring In vor dir hyn Spring, wind, attack rightly—he wards—so tug—that defeats him Commentary: Mark this is one other play for when you and foe both are dismounted onto foot and each has his spear. So then you will not hurl as written aforesaid. Thus instead hold your spear near your right side in the low ward and go at foe thusly, and thrust him cunningly to the face with outstretched arms. If then likewise he thrusts high, then with both your arms move up with your spear against his spear into the overhanging, which is really just the high ward, and therewith spring to him and set upon him high. If then he moves up with the arms and wards that high thrust, then tug and put the point to him into the gap under his left axilla, or into wherever you may, and push yourself forth into him. Daß ist der text und die gloß von einer ler wie man zucken sol This is the text and the commentary for some lore about how one shall tug Wiltu vor stechen mit zucken lere wer prechen / Glosa / merck daß ist / wenn du yim wilt vor stechen ee wenn er dir oder sunst vor chümpst mit dem stich / vor seczt er den stich / So soltu / Inndeß wissen wie du durch wechseln oder zucken solt daß er dir icht (!) an seczt die weil du durch zuckest / Und daß / vernym also / vor seczt er den stich starck mit der glefen / und lest den ort neben dir beseitt auß gen / So zuck pald und stich Im zu der anderen seitten / Oder pleibt er dir in der vorsaczung mit dem ort vor dem gesicht / So zuck nicht durch so beleib mit deiner glefen an der seinen / und arbait zů der plösß / Darnach als du emphindest ob er hert oder waich angepunden hat Will you thrust forth? With tugging learn weapon countering Commentary: Mark this is when you would thrust forth earlier than foe does to you, or else you initiate with the thrust and he forsets your thrust. So you should wit instantly how you should change through or tug, so that he not set upon you while you tug through. And so take guard thusly: so if he forsets the thrust strongly with the spear and lets the point go out, near and beside you, then tug quickly and thrust him to the other side. Or if he keeps you in the forsetting with the point toward your face, then tug not through—thus stay with your spear on his spear and work to the gaps after you feel whether he has bound hard or soft. Daß ist der text und die gloß wie man daß zucken prechen sol This is the text and the commentary for how one shall counter the tugging Merck wil er zyhen von schaiden und wil er fliehen So soltu ym nahent Ia weisleich wart vahen / Glosa merck / Daß ist / Ob er vor chumpt mit dem stich daß du Im vor (56r) seczen muest / So vorsecz also daß dein ort nicht weyt neben Im beseitt / auß gee / Sunder beleib ym do mit nahent / vor dem gesicht oder der prust zuck er denn oder wechselt durch daß vorsecz ym nicht / und volg ym nach mit dem ort / und secz ym an die weil er durch zuckt / Triffstu yn denn recht mit dem an sacz / Mark—will he draw from sheath and will he flee—so nearing you shall catch him—yes wisely watch for it Commentary: Mark this is if foe initiates with the thrust that you must forset. Thus forset so that your point goes not out wide beside him, rather stay at him with your point near and before the face or the breast. If then he tugs or changes through that, then forset not, yet follow after him with the point and set upon him while he tugs through. Then you meet rightly with the attack, so push 68 Duel Fighting So dring yn also für dich hyn / und lasß yn von dem ort nicht abkomen / Wil er denn mit abtretten hindersich zu ruck auß dem ort fliechen oder hinder sich dar auß springen / oder wil sich also auß dem stich wenden / und wendt dir zu ein seitten / So spring zu ym / und wart daß du In ia weisleich / und recht begreiffest mit armen prüchen oder sünst mit anderen ringen him thusly before you, and let him not get away from the point. If then he would flee from the point by backtreading behind himself to the rear, or would spring thereout behind, or thus would wend himself out from the thrust, and wends to one side of you—then spring to him, and yes, watch that you grapple him wisely and rightly, by breaking arms or else by other wrestling. Daß ist der text und die gloß von ringen zu kampf This is the text and the commentary for wrestling in duel/combat Ob du wild ringen hinder pain recht lere springen Rigel vor schiessen Daß vor pain kunstlich vor schiessen (!) / Glosa / merck / daß ist ob du mit Im ringen wilt / So solt du vor allen sachen wissen wie du / In recht / Im solt springen hinder seinen vor geseczten fueß / und den selben fueß solstu yn mit der kunst vor rigelen / und versliessen die dir hernach vorklert wirt If you will wrestle—then rightly learn springing behind legs—shooting forth the bolt, artfully locking the foreleg Commentary: Mark this is if you would wrestle with foe. Thus you should wit, above all other tactics, how rightly you should spring behind his forward foot, and you should bolt and lock his same foot with the art, which becomes clarified for you hereafter. Daß ist ein Ringen (56v) / Merck wenn du In an velst mit ringen / und er dich wider / So sich aber ein fueß hat für geseczt oder nicht hat er denn kainen vor / So ruck yn zů dir oder stoß yn von dir so mueß er für treten / Schreitt er dann vor mit dem lincken fuesß so spring pald mit dem rechten fuesß hynder seinen lincken / und peug dein rechstz / ky knye / und druck yn do mit hinden in sein lincke knyckel / und ruck yn mit paiden henden dar über This is one wrestling Mark when you set upon foe with wrestling, and he does likewise to you. When indeed he has set one foot before him or neither forward, then either yank him to you or shove him from you, and thus he must tread forth. So if he steps forward with the left foot, then you spring quickly with the right foot behind his left foot, then bend your right knee and therewith press in behind his left knee joint, and yank him thereover with both hands. Ein ander Ringen / Wenn du Im springst mit dem rechten fuesß hinder sein lincken / So schreit mit dem lincken fuesß hin nach zwischen seinew paide fuesß / und fasß sein linckß knye zwischen deine paide knye / und hald eß do mit vestt / und stoß yn mit der lincken hannt voren an die hauben / und mit der rechten zeuch yn hynden auff die seitten / So fellt er Another wrestling When you spring to foe with the right foot behind his left foot, then step with the left foot—into, after, between both his feet—and seize his left knee between both your knees, and therewith hold it fast, and shove him with the left hand, frontally to his head, while with the right hand you tug him behind to the side. So he falls. Ein ander ringen / Merck wenn du In fast mit ringen / und er dich wider / Stet er denn mit dem lincken fuesß vor / So spring mit dein rechten voren für sein paide füesß / und r (!) var Im mit dem rechten armen under seinen lincken durch hinden umb den leib / und fasß yn also auff die rechten hüff / und würff yn fur dich / Oder stet er mit dem rechten fuesß vor / So spring mit dem lincken für sein paide Another wrestling Mark when you seize foe with wrestling, and he does likewise to you. When he stands with the left foot forward, then with your right foot spring in front before both his feet, and move at him with the right arm under his left arm—past, behind, around his body—and seize him thusly to your right hip, and throw him before you. Or when he stands with the right foot forward, then 69 Knightly Dueling fuesß / und var ym mit dem lincken armen hinden umb den leib / und wurff yn für dich über dein lincke hüff spring with the left foot before both his feet, and move at him with the left arm behind and around his body, and throw him before you over your left hip. (57r) Daß ist der text und die gloß daß man alle ringen sol wissen zu paiden seitten zů treiben This is the text and the commentary so that one shall wit how to drive all wrestling to both sides Von paiden henden ob du mit kunst gerest zu enden / Glosa / merck / daß ist wenn du kunstleichen enden wild mit ringen / So soltu die ringen von paiden seitten wissen ze treiben / und daß vernym also / wenn Im springst mit dem rechten fuesß hinder sein lincken / alß vor geschriben stet tritt er denn ym sprung oder die weil du springst mit dem lincken fuesß zu ruck / So schreit ym pald nach mit dem lincken fuesß hinder sein rechten / und treib die verrideln (!) / und die versliessen die du vor vernomen hast From both hands if you desire to end it with art Commentary: Mark this is when you would end it artfully with wrestling. Thus you should wit how to drive wrestling from both sides at your foe. And so take guard thusly: When you spring with the right foot behind his left foot as written aforesaid. He then either treads into your springing or treads back with the left foot while you spring, whereupon you step after him quickly with the left foot behind his right foot, and drive the bolting and the locking which have guarded you before. Daß ist der text und die gloß der stuck die mal sol treiben mit dem swert gegen der glefen This is the text and the commentary for when you shall drive the plays with the sword against the spear Ob eß sich verrůckt daß swert gegen sper wirt ge zuckt Der stich Ia war nym Spring vach ringenß eil zu ym / Glosa merck daß ist wenn du dein glefen verschossen hast / Behelt er denn die sein / So nym gar eben war wie er sy gefast hab / Ob er den ort lanck oder kurcz für sein vor geseczte hant läst fur gen / und ob er dir oben oder unden do mit wil zu stechen Hie merck daß stuck . . . If it progresses/gets chaotic—the sword becomes drawn against spear—yes, take guard for the thrust— so spring, catch, wrestle, hasten to him Commentary: Mark this is when you have hurled your spear and foe then keeps his spear. So take guard just how exactly he has composed himself—thus if he lets the point go forth long or short before his front hand, and if he would thrust at you high or low therewith. Here mark the play written hereafter . . . (57v) / Wenn du hast ein swert / und er ein glefen hat er sy dann kurcz gefast / und stelt sich do mit In die öber hůt / So leg dein swert auf dein linckß knye in die (!) hůt / Sticht er dir denn oben ein zu dem gesicht / So var auf / und versecz den stich mit dem swert fur deiner lincken hant gegen seiner rechten seitten / und var do mit auf an seiner glefen in die öber hůt / und spring zu Im / und secz ym an / Triffstu yn dann nit recht mit dem an sacz / So lasß zu hant dein swert vallen / und eyl zu ym / und wart der ringen When you have a sword and he has a spear, and then he be composed short and places himself therewith into the high ward. So lay your sword over your left knee in the third ward, then he thrusts high at you to the face, so move up and forset the thrust with the sword before your left hand against his right side, and therewith move up at his spear into the high ward as you spring to him, and set upon him. If you met him then not rightly in the attack, then let your sword fall from the hand, and hasten to him and reckon on wrestling. Aber ein Stuck / Wenn du hast ein swert / und er ein glefen / Stet er denn do mit gegen dir In der underen hůt / und hat sein glefen kurcz gevast / So stee mit deinem swert auch gegen ym in der underen hůt / Sticht er dir denn unden Again one play When you have a sword and foe a spear, and then he stands against you therewith in the low ward, and has his spear composed short, then also stand with your sword against him in the low ward. Then he thrusts at you low, 70 Duel Fighting zů so secz den stich ab mit dem swert für deiner lincken hant / und var ym mit dem knopf vorden uber sein rechte achsel umb den hals / und spring mit dem rechten fuesß hinder sein lincken / und ruck yn mit dem knopf über dein rechtz knye so offset the thrust with the sword before your left hand, and move at him with the pommel forward, over his right shoulder around the neck, and spring with the right foot behind his left foot, and with the pommel yank him over your right knee. Daß ist der text und die gloß von der vorsaczung mit der kincken (!) hant gegen der glefen This is the text and the commentary for the forsetting with the left hand against the spear Linck lanck von hant slach Spring weysleich und denn vach Ob er wil zuchen von schaiden vach und drucke daß er (58r) die plösß mit swerteß ort verdrösß / Glosa merck daß ist / wenn du hast ein swert / und er ein glefen / Stet er denn gegen dir do mit in der oberen hůt / und hat sy gefast daß ym der ort lanck für sein vorgesaczte hant auß get / So halt dein swert gegen ym auch yn einer hůt / Sticht er dir denn oben ein zu dem gesicht so slach yn mit der lincken hant sein glefne beseitt ab / und begreiff dein swert pald wider mit der lincken hant mitten in der klingen / und spring zu ym / und secz ym an Ein annderß stuck / Merck wenn du hast ein swert / und er ein glefen lëst er denn den ort lanck für die hant auß gen / und sticht dir do mit unden zů dem gemächt / So begreif sein glefen mit der lincken hant / und halt sy do mit fest / und stich yn mit dem swert unden zu den hoden zuck er denn sein glefen vast an sich / So lasß sy urbäring faren / So emplöst er die seitten do mit begreiff dein swert mit der lincken hant pald wider mittten in der klingen / und volg ym nach mit an seczen zu der selbigen seitten oder wart der ringen Left reaches, strike from hand—spring wisely and then catch—if he will draw from sheath, catch and press that—be first to vex gaps with the sword point Commentary: Mark this is when you have a sword and foe has a spear. He stands against you therewith in the high ward and has it composed so that the point goes out long before his front hand. Thus hold your sword against him, likewise in some ward. Then he thrusts high at you to the face, so with your left hand strike his spear off and aside, and grip your sword quickly again with the left hand in the middle of the blade, and spring to him and set upon him. One other play Mark when you have a sword and he a spear. When he lets the point go out long before his hands and therewith thrusts low at you to the bollix, then grip his spear with your left hand and therewith hold it fast, and thrust him with the sword, low to the bollix. Then if he tightly tugs his spear to him, then let it move unhindered whereby he bares that side, so quickly grip your sword with the left hand again in the middle of the blade, and follow after him with attack to the selfsame side or reckon on wrestling. Daß ist der text und die gloß an wellichen enden du an dem gewappendem mann die plössen suchen solt This is the text and the commentary for which endings you should seek versus an armoured man Leder und hantschuech unden den augen die plössen recht sůech Glosa (58v) / Merck daß ist wo der gewappent man am pesten zu gewinnen ist durch den harnasch / daß ist under dem gesicht oder under den uchsen / Oder In den tanär der hent oder auf dem armen hinden Inn den hantschuechen oder in den knykeln oder unden an den fuessen den süllen / und in den gelencken der armenpüg / und zwischen den painen / und an den steten da der harnasch sein gelenck hat / und die plössen soltu also suechen daß du zu einer fernern nicht solt arbaitten noch stechen / wenn du ein nahere vor dir gehaben magst Leather and gauntlets—face-to-face—rightly seek the gaps Commentary: Mark that where the armoured man is best vanquished is through the harness. Thus that is under the face; or under the axillas; or in the palms of the hands; or upon the arms behind in the gauntlets; or in the knees; or beneath to the soles of the feet; and in the elbow joints; and betwixt the legs. And understanding that the harness has its joints, thus you should seek the gaps—so that you should not work further than stabbing, when you may have someone armoured near and before you. 71 Knightly Dueling Daß ist der text und die gloß von den verpotten ringen welliche die daß sind und wie man sy treiben solt This is the text and the commentary for the forbidden wrestling—what the moves are, and how one shall drive those. Verpotne ringen weisleich zů lere pringen zů schliessen vinde die starcken da mit uber winde / Glosa merck daß ist / Ob du mit dem anseczen nicht magst chumen wenn du mit (!) ein laufest zu den vor geschriben plössen / So wart daß du die ringen weisleich zu weg pringest / und treibest die do verpoten sein von allen weisen maisteren deß swercz / daß man die auf offenwaren schüllen chainen schülfechteren lernen sol noch sehen sol lassen dar umb daß sy zu dem champf gehören daß sein armen pruch / und painpruch / und knye stösß und hoden stösß / und vinger lösung und augen griff / und mit den (59r) stucken sol ein starcker also verslossen werden daß er seiner sterck do nicht wol wirt mügen geniessen / und daß merck in der nägsten hernach geschriben ringen Forbidden wrestling—wisely train how to bring foes to locking—overcome the strong therewith Commentary: Mark this is when you may not get to set upon your foe with weaponry when you interlope with him to the aforesaid gaps. So watch that you get rid of this by wrestling wisely, and drive that which is forbidden by all wise masters of the sword, that which oftentimes one shall not learn in any scholastic fencing, nor shall be let to see. Thus said, these belong to the duel/combat— these being arm break and leg break and knee kick and bollix kick and finger wrench and eye gouge. And with these here plays, a stronger foe thus becomes locked, such that he may not well revel in his strength. And mark that in the next wrestling written hereafter. Daß erst Ringen / Merck felt er dich oben an mit sterck / und wil dich zu Im rücken / oder von ym stossen / So slach dein rechten armen aussen uber sein lincken vorne pei seiner hant und druck sein armen an dein prust mit paiden henden / und spring mit dem rechten fuesß hinder seinen lincken / und würf In auß dem fuesß über daß knye The first wrestling Mark when foe assaults you high with strength, and would yank you to him or shove you from him. So slap your right arm outside over his left arm, past his hand, and press his arm to your breast with both hands and spring with the right foot behind his left foot and throw him off his feet over the knee. Daß ist ein armenprůch / Merck velt er dir mit paiden henden in die armen und thů ym wider / heltt er dich denn nicht vest / So begreiff mit der rechten hent sein rechten armen vorne pei seiner rechten hant oder pey den vingeren / und halt yn do pey fest und mit der lincken vasß In pey dem rechten elpogen / und stoß Im den ubersich / und peug mit der rechten hant sein rechten armen uber dein lincken / und heb mit dem lincken armen sein rechten über sich / So prichstu Im den armen oder würffst In für dich This is an arm break Mark when foe gets at you with both hands on the arms and you do likewise to him. When he holds you not fast, then with your right hand grip his right arm past his hand, or by the fingers, and hold him fast while with the left hand you seize him by the right elbow and then shove him over himself, then with your right hand bend his right arm over your left arm, and with your left arm heave his right arm upward. Thus you break his arm or throw him before you. Ain Ringen und ain armenprůch (59v) / Merck felt er dich an mit paiden henden In die armen oder an die prust / helt er dich denn nicht vest / So begreiff sein rechte hant mit deiner rechten / und zeuch In also do mir (!) fur dich / und mit der lincken vasß In pey dem elpogen / und schreitt miy (!) dem lincken fuesß für sein rechten / und ruck In also dar uber so felt er / Oder / wenn du In mit dem rechten One wrestling and one arm break Mark when foe gets at you with both hands on your arms or on your breast. When he holds you not fast, then with your right hand grip his right hand and tug him before you thusly therewith, and with the left hand seize him by the elbow and step with the left foot before his right foot, and yank him thusly thereover—so he falls. Or when you tug 72 Duel Fighting armen für dich zeuchst / So vall Im starck mit der prust dar auf / So prichstu Im den armen him before you with the right arm, then drop upon him strongly, covering with your breast—so you break his arm. Aber ein ringen / Merck wenn er dich an felt mit ringen / So begreiff mit der lincken hant seinen rechten armen vorne pey der hant / und ruck yn zů dir auf dein lincke seitten und slach dein rechten armen mit sterck über seinen rechten In daß gelenck seinß elpogenß / und prich mit der lincken hant sein rechten armen über dein rechten / und spring mit dem rechten fuesß hinder sein rechten / und wurf in über dein rechte hüff hüf Again one wrestling Mark when foe gets at you with wrestling. So with your left hand grip his right arm past the hand, and yank him to you up your left side, and slap your right arm with strength over his right arm, in the joint of his elbow, and with the left hand break his right arm over your right arm, and spring with the right foot behind his right foot and throw him over your right hip. Daß ist aber ein Ringen / Merck wenn du mit ym ringest / und chumpst mit dem leib nahent an In / fert er dir denn mit dem lincken armen uber dein rechte achsel umb den halß / So var mit dem rechten armen aussen (60r) uber sein lincken uber daß gelenck deß elpogenß / und chum mit der lincken hant deiner rechten zů hilff / und druck mit paiden henden under sich / und spring mit dem rechten fuesß für sein lincken / und wendt dich von ym auf dein lincke seitten / und wurff in über dein lincke hüff Again this is one wrestling Mark when you wrestle with foe and come near to him with the body, then he moves at you with the left arm over your right shoulder and around the neck. Thus you move with the right arm outside over his left arm, over the elbow joint, and move with the left hand to help your right hand, and with both hands press it downward, and spring with the right foot before his left foot, and wend yourself from him upon your left side, and throw him over your left hip. Aber ein ringen / Merck feltt er dir mit paiden henden in die armen / und du Im wider / Slecht er dir denn mit seinem lincken armen auff deinen rechten / und vert dir mit dem lincken under deinem rechten durch hinden umb den leib / So slach mit dem rechten armen starck von oben nyder yn auß wendig / In daß gelenck seineß lincken elpogen / und schreit mit dem rechten fuesß für sein lincken / und wendt dich von ym / und schlëwdor In auff dem lincke seitten Again one wrestling Mark when foe gets at you with both hands on the arms and you do likewise to him. If then he strikes upon your right arm with his left arm, and moves at you with the left arm under your right arm—past, behind, around your body—then strike him strongly with your right arm—from above, down, outside—into the joint of his left elbow, and step with the right foot before his left foot, while you wend yourself from him and launch him onto the left side. Ein ringen und ein mort stoß / Merck / wenn du yn hast gefast pey den armen / und er dich wider hat er denn ein fueß vor geseczt / und helt den gestrackt / So stoß ym mit einem fuesß auf daß selbig knye / Oder stoß yn zu den hoden / und wart daß er dir den selbigen fueß nicht begreiff do du ym mit zů stöst / Oder wenn du einen fueß vor seczt / So (60v) peug daß knye fur dich / So mag er dir mit dem stosß zu dem knye nicht geschaden One wrestling and one murder jolt Mark when you have seized foe by the arms and he does likewise to you, and then he has set forth one foot, and holds that straightened. So with one foot kick him to that same knee, or kick him to the bollix. And beware that he not grip that same foot of yours with which you kick him; or in turn when you set forth one foot, then bend that knee before you, so that foe may not hurt you with the kick to the knee. 73 Knightly Dueling Aber ein ringen / Merck / wenn du mit ym ringen wild greifft d (!) er denn nach dir mit gerackten fingeren oder mit offen henden oder begreifft dich mit ringen / und helt dich nicht fest / So wart ob du In pey deinem (!) vinger begreiffen magst / und prich ym den übersich / und für In do mit zů kraiß do mit gewingstu Im auch die seitt an / und sünst ander grosß vortail Again one wrestling Mark when you would wrestle with foe and he grasps at you with straightened fingers or with open hands, or grapples you with wrestling yet holds you not fast. So watch when you may grip him by his fingers and then break those upward, and control him therewith by the cuff and therewith you vanquish him also to the side to even greater vantage. Daß ist ein armenpruch / Merck wurfstu In nider / und er velt auf den pauch / und reckt sein armen von ym / So knye ym pald mit einem knye auff einen armen in sein gelenck deß elpogenß / und begreif ym den selbigen armen vorne mit deiner hant / und ruck do mit über sich / So prichstu ym den armen This is an arm break Mark when you throw foe down and he falls upon his belly with his arms stretched out from him. So kneel upon him quickly, with one knee upon any arm in its elbow joint, and grip the same forearm with your hands and therewith yank upward—thus you break his arm. Ein underhalden und ein armenprůch / Merck würfstu In nyder / und er velt auf den pauch / So sicz pald hinden auf yn / und begreiff yn pey einem armen und zeuch Im den auf seinen ruck / und halt den fest mit einer hant / So kan er nicht auff komen / Oder wiltu Im den armen prechen den du Im heldeßt mit der ain hant / So heb mit der anderen hant den selbigen elpogen vast übersich / So prichstu ym (61r) den armen One holding down and an arm break Mark when you throw foe down and he falls upon his belly. So quickly sit upon his back, and grip him by one arm and tug it then to his back and hold it fast with one hand—thus he cannot get up. Or would you break his arm, which you hold with that one hand, then with the other hand heave the same elbow staunchly upward, thus you break his arm. Ain gůt underhalden / Merck / wurfstu yn nyder / und er velt auf den pauch / So sicz grittling (!?) hinden auf yn nahent zu seinen schultteren / und zeuch ym sein rechten armen uber dein rechtß pain uber dein diech / und sein lincken armen zeuch über dein linckß diech / So mag er nicht auf chömen / und mueß also under dir sterben One good holding down Mark when you throw foe down and he falls upon his belly. So sit rapaciously/astraddle upon his back, near to his shoulders, and tug his right arm over your right leg across your thigh, and tug his left arm across your left thigh—so may he not get up, and must thus die under you. Aber ein underhalden / Merck würfstu In nyder / und er velt auf den ruck / So val ym mit dem leib die twirch uber sein antlütz / und vasß yn pey dem halß under einen armen / und halt In also vest / und mit der anderen hant ruck ym den armen auß / Do mit er sich behelffen wil / So mag er nicht aufchömen / und arbait mit dem degen Again one holding down Mark when you throw foe down and he falls upon his back. So drop upon him with the body across and over his face, and seize him by the neck under one arm, and thus hold him fast, and with the other hand yank out the arm wherewith he would help himself, so he may neither get out nor work with his dagger. Daß ist der text und die gloß von der wer die zů dem kampf gehört und wie man mit den örteren arbaitten solt zů den plössen This is the text and the commentary for weaponry that belong to the duel and how one shall work with the points to the gaps 74 Duel Fighting In aller were den ort gegen der plösß kere / Glosa merck daß ist ein ler daß du mit aller wer die du zu dem champf gehört dem gewappenten mann den ort nindert solt anseczen / wenn zů der plösß do er zum pesten zů gewinnenn ist (61v) / und die plössen soltu mit dem ort recht wissen zů f (!) suechen / wenn eß sein drey were die haben vier örter / Die erst were / daß ist die glefen die hat einen ort / die ander were / daß ist der degen der hat auch einen ort / die dritt were daß ist daß swert daz hat zwen örtter / Der ain ort ist der spicz / der ander der knopf / und wie du mit den orteren arbaitten solt daß vindestu alleß in der gloßen geschriben von end zů endt With all weaponry, turn the point against the gaps Commentary: Mark this is some lore—that with all weaponry belonging to the duel, you should set upon and nullify the armoured man with the point. When done there, to the gaps, then he is best vanquished. And you should wit how to seek the gaps rightly with the point. When it be the three main weapons, then those have four points. The first weapon, which is the spear, it has one point. The second weapon, which is the dagger, it also has one point. The third weapon, which is the sword, it has two points—the first point is the sharp tip and the second the pommel. And how you should work with these points, you find all that written in the commentary, from end to end. Hie merck gar eben Daß ist der text und die gloß wie man sol vechten mit dem swert gegen swert zů champff auß vier hůten Here mark indeed, this is the text and the commentary for how one shall fight with the sword against another sword, in duel out of four wards Wo man von schaiden Swert zücken sicht von yn paiden So sol man stercken die schůtten recht eben merckest / Glosa merck / daß ist ein ler ob ir paide die glefen vorschossen hiet / und solt fechten mit den swerten / So soltu vor allen sachen wissen die vier hůten mit dem karczen swert / Daß auß soltu Im albeg starck zu dem gesicht stechen / Sticht er denn mit dir geleich ein oder vorseczt / So pleib ym starck am swert mit dem ort vor dem gesicht oder vor der prust / und merck eben ob er waich oder hert am swert ist / Ist er er (!) starck so treib die stuck die gegen der sterck gehorent oder ist er waich / So treib aber waß du zu der swech gehort alß dir In den stucken die man ausß den vier (62r) hůten treibt hernoch verklert wirt Where one has drawn his sword from sheath—then both have aimed and tried—so shall one strengthen— mark the hurling rightly indeed Commentary: Mark this is some lore—if you and foe both have hurled forth the spears, and shall fight with the swords. So should you wit, above all other tactics, the four wards with the shortened sword/half-sword. Out of those you should always stab foe strongly to the face. If then likewise he stabs high or forsets, then stay with him strongly at the sword, with the point toward the face or toward the breast, and mark indeed if he is hard or soft at the sword. If he is hard—then drive the play which counters the strong. Or if he is soft—then instead drive what counters the weak, as befits you. That becomes clarified hereafter, in the plays that one drives out of those four wards for half-sword. Hye merck die erst hůt mit dem kurczen swert zu champf mit Iren stucken und irer schickung / Merck daß ist die erst hůt zu champf / Do schick dich also mit / Stee mit dem lincken füesß vor / und halt dein swert mit der rechten hant pey der hanthab / und mit der lincken greif mitten in die klingen / und hald eß neben deiner rechten seitten über dein haubt / und laß Im den ort hangen gegen dem gesicht Here mark the first ward for duel with the half-sword, with its plays and their placing Mark this is the first ward for duel. So place yourself thusly—stand forth with the left foot, and with the right hand hold your sword by the handle, and with the left hand grip in the middle of the blade, and hold it near your right side over the head, and let the point hang toward the face of foe. Merck daß erst stück / Wenn du stest in der oberen hůt / Stet er denn gegen Mark this first play When you stand in the high ward, and then foe stands 75 Knightly Dueling dir In der underen hůt / und wil dir unden zu stechen daß solt ym nicht weren noch vorseczen sunder stich Im zu dem gesicht / Oder secz ym oben an so mag er dich unden nicht erlangen / wenn alle oberen an seczen prechen / und ledigen die underen / Oder sticht er dir oben zů / Eß sey zu dem gesicht oder wo eß sey daß soltu ym weren / Dorumb daß er dich oben nicht über leng mit ansetzen against you in the low ward, and would stab at you low, then you should neither ward nor forset that, yet rather stab him to the face, or set upon him high. Thus foe may not reach you underneath, because all high attacks counter and punish the low attacks. Or when he stabs high at you—be it to the face or wherever it be—you should ward him such that he not overreach/outreach you high with attack. Aber ein stuck / Merck / wenn du stet in der oberen hůt sticht er dir dann unden zů / So stich von oben nyden durch zwischen dem swert / und seiner vorgesaczten hant / und druck den knopf zu der erden / und wind deinen (62v) ort an seiner swertz klingen unden durch sein swert / und secz ym an zu seiner rechten seitten Again one play Mark when you stand in the high ward and foe stabs at you low. So stab down from above, past and between his sword and his front hand, and press the pommel toward the earth and wind your point at his sword blade, under and past his sword, and set upon him to his right side. Aber ein stuck / Merck wenn du stest in der oberen hůt / So stich Im dar auß kundlich zu dem gesicht / vor seczt er mit dem swert för seiner linken hant / und beleibt dir mit dem ort vor dem gesicht und wil dir an setzen / So begreiff mit der lincken hant seinß swercz pey dem ort / und halt eß vest und stich In mit der rechten hand mit macht zu den hoden Zuckt er denn sein swert / vast an sich und wil dir daß auß der hant rucken / So lasß ym daß swert urbrigen [plötzlich] varen / So emplöst er die seitten mit dem begreif dein swert pald wider mit der lincken hant mitten in der klingen / und volg ym nach zu der selbigen seitten mit an seczen oder mit ringen Again one play Mark when you stand in the high ward, and thereout you stab foe cunningly to the face, and he forsets with the sword in front of his left hand, and stays with the point toward your face and would set upon you. So with your left hand grip his sword by the point, and hold it fast, and with your right hand stab him mightily to the bollix. Then he tugs his sword tightly to himself, and would yank that out of your hand. So let the sword move unhindered and suddenly, thus he bares that side while you grip your sword quickly again with the left hand in the middle of its blade, and follow after him to that same side with weapon attack or with wrestling. Daß ist aber ein stück / Merck wenn du stest In der oberen hůt so stich ym dar auß zů dem gesicht / Vorseczt er den stich und druckt dir den ort auff dein lincke seitten / So spring mit dem rechten fuesß hinder seinen lincken / und var Im mit dem knopf vorne über sein rechten achsel umb den halß / und ruck yn do mit uber dein rechtzß knye Again this is one play Mark when you stand in the high ward and thereout stab foe to the face, and he forsets the stab and presses your point to the left side. So spring with the right foot behind his left foot, and move at him with the pommel, over front of his right shoulder and around the neck, and yank him therewith over your right knee. Der erst pruch d wider daß stuck / Wenn er dir mit dem knopf umb den halß (63r) vert uber dein rechte achsel / So lasß dein swert vallen und begreiff mit der rechten hannt sein rechte / und mit der lincken fasß In pey dem rechten elpogen / und spring mit dem lincken fuesß sein rechte / und treib den armenpruch / oder ruck in über daß linck pain The first counter versus that play When foe moves at you with the pommel around your neck over your right shoulder, then let your sword fall and with the right hand grip his right hand, and with the left seize him by the right elbow, and spring with the left foot to his right side, and drive the arm break or yank him over the left leg. 76 Duel Fighting Ein pruch wider den prüch / Merck wenn er dir mit dem knopf umb den halß varen wil / So begreiff mit der lincken hant sein rechten elpogen / und stoß in do mit von dir und mit der rechten stich In mit macht hinden zu dem ruck A counter versus that counter Mark when foe would move at you with the pommel around your neck. So with the left hand grip his right elbow and thereby shove him from you, and with your right hand stab him behind to his back. Merck einen gůten pruch / Merck wenn er dir mit dem knopf uber dein rechte achsel umb den halß gefaren ist / So begreif mit der lincken hant von unden auf zwischen seinen paiden armen / und begreiff ym do mit sein rechten armen und haltt fest / und wendt dich von ym umb auf dein rechten seitten / und wirff In über dein lincke hüff Mark one good counter Mark when foe has moved at you with the pommel over your right shoulder around the neck. So with the left hand grip from underneath, up between both his arms, and therewith grip his right arm and hold fast, and wend yourself from him, around and upon your right side, and throw him over your left hip. Aber ein průch / Wenn er dir mit dem knopf umb den halß varen wil / So begreiff mit der lincken hant hinder seiner rechten sein swert pey der hanthab oder pey dem knopf / und druck daß undersich und secz ym mit deinem swert an wo du wild / Oder var mit ym deinem knopf under seinem rechten armen (63v) durch vorne über sein rechte hant / und ruck ym mit dem knopf die hant undersich / und secz ym an Again one counter When foe would move at you with the pommel around your neck, then with the left hand behind his right side, grip his sword—by the handle or by the pommel—and press that downward and set upon him with your sword, wherever you will. Or move at him with your pommel under his right arm—past and over front of his right hand—and with your pommel yank him downward by his right hand, and set upon him. Aber ein stuck auß der öberen hůt / Merck / wenn du Im auß der oberen hůt zů dem gesicht stichst / Velt er dir denn mit der lincken hant zwischen deinen paiden henden mitten in dein swercz klingen / So var ym mit dem knopf / wie du wild unden der oder oben uber sein lincke hant / und reisz do mit auf dein rechte seitten / und secz Im an Merck / Wie du auß der oberen hůt mit dem knopf slahen solt daß vindestu da hinden geschriben in dem stuck / Daß da spricht / Deß vorderen fuesß mit slegen du hutten müest Again one play out of the high ward Mark when you stab out of the high ward to the face of foe, and then he gets his left hand between both your hands in the middle of your sword blade. So move at him with the pommel, however you will under or over his left hand, and therewith wrench it to your right side, and set upon him. Mark how you shall strike out of the high ward with the pommel—that you shall find written in the plays hereafter. Those tell you: you must guard the forward foot by striking. Hie merck daß ist die ander hůt mit dem kurczen swert zu champf mit iren stucken und irer schickung / Daß ist die ander hůt zu champf do schick dich also mit / Ste mit dem lincken fuesß vor / und halt dein swert mit der rechten hant pey der hanthab / und mit der lincken greif mitten in die klingen / und halt eß neben deiner rechten seitten undersich mit dem knopf gegen deinem rechten knye / und daß der ort ubersich ste dem mann gegen dem gesicht / oder der prust Here mark this is the second ward for duel with the half-sword, with its plays and their placing This is the second ward for duel. So place yourself thusly—stand with the left foot forth, and with the right hand hold your sword by the handle, and with the left hand grip in the middle of the blade, and hold it near your right side, underneath with the pommel toward your right knee, so that the point aims upward toward the face of foe, or toward his breast. Daß ist daß erst stuck / Wenn du stest in der underen hůt / Stet er denn gegen This is the first play When you stand in the low ward, and then foe stands 77 Knightly Dueling dir in der oberen / und sticht dir zu dem gesicht / oder wil dir oben an (64r) seczen / So stich ym zu seiner vor gesaczten hant zu der plösß deß tenärß / Oder secz ym den ort under sein linckß üchsen in die plösß against you in the high ward and stabs at you to the face, or would set upon you high, then stab him to his front hand, to the gap at the palm. Or put the point to him in the gap under his left axilla. Daß annder Stuck / Merck / wenn du stest in der under hůt / und er in der oberen wil er dir denn oben an setzen / So begreiff mit der lincken hannt sein swert pey dem ort / und mit der rechten wind dein swert mit dem gehülcz an dein prust / und secz ym also an The second play Mark when you stand in the low ward and foe stands in the high ward, and then he would set upon you high. So with the left hand grip his sword by the point, and with the right hand wind your sword cross to your breast, and set upon him thusly. Daß dritt stuck / Merck wenn du stest in der underen hůt / So stich ym freyleich dar auß zu dem gesicht / Sticht er denn mit dir geleich ein so begreiff sein lincke hant mit deiner lincken / und mit der rechten vasß yn pey dem lincken elpogen / und treib den armenprůch Also prich daß / Wenn dir einer begreiff dein lincke hant mit seiner lincken / So var ym mit dem voderen tail deinß swercz voren über sein lincke hant / und druck do mit undersich / und setz ym an / Oder / wenn du Im sein hant mit dem swert nyder druckst / So var ym mit dem knopf uber sein rechte achsel / und wurf yn uber dein rechtz knye Daß prich also / Wenn er dir mit dem knopf uber dein rechte achsel umb den hals fert / So went dich gegen ym auf dein rechte seitten / und var ym mit dem (64v) knopf auswendig über sein rechtß pain in die knyekel / und heb do mit vast auf / So wirfstu yn hinder dich The third play Mark when you stand in the low ward and thereout stab freely at foe to the face, and then he stabs likewise. So with your left hand grip his left hand and with the right hand seize him by the left elbow and drive the arm break. Thus counter that—when someone grips you by the left hand with his left hand, then move at him with the forepart of your sword, over front of his left hand, and therewith press downward, and set upon him. Or when you press down his hand with your sword, then move at him with the pommel over his right shoulder, and throw him over your right knee. Counter that thusly—when he moves at you with the pommel over your right shoulder and around the neck, then wind yourself toward him upon your right side, and move at him with the pommel outside and over his right leg into the knee joint, and therewith heave up staunchly. Thus you throw him behind you. Daß vierd stuck / Merck wenn du stest in der underen hůt / und er in der oberen / wil er dir denn oben anseczen / So stich Im uber seiner vorgesaczten hant durch / und dein (!) swert / und druck den knopff gegen der erden / und setz Im an zu seiner rechten seitten The fourth play Mark when you stand in the low ward and foe stands in the high ward, then he would set upon you high. So stab through to him, over his front hand and his sword, and press the pommel toward the earth, and set upon him to his right side. Daß fünfft stuck ist ein pruch wider daß durchstechen / Merck wenn du Im auß der underen hůt zustichß / Sticht er dir denn auß der oberen hůt / durch zwischen deiner vorgesaczten hant / und dem swert / und druck den knopf gegen der erden / und wil dir ansetzen so merck die weil er den knopf nyden druckt / So var auf am swert in die öbere hůt und secz ym an The fifth play is a counter versus the stab through Mark when you stab at him out of the low ward, then he stabs at you out of the high ward, through and between your front hand and the sword, and presses the pommel toward the earth, and would set upon you. So mark when he presses down the pommel—then move up with your sword at his sword, into the high ward, and set upon him. 78 Duel Fighting Daß ist daß sechst stuck / Wenn du stest in der underen hůt / So stich ym freyleich dar auß starck zu dem gesicht / Sticht er denn mit dir geleich ein / und beleibt dir mit dem ort vor dem gesicht / und wil dir ansetzen / So var auf am swert in die ober hůt / und setz ym an in daß gesicht / vert er denn auch auff mit dem lincken armen / und wil do mit vorsetzen / So zuck / und setz ym den ort under sein linckß vichsen / und dring für dich This is the sixth play When you stand in the low ward, then stab freely at foe thereout strongly to the face, then likewise he stabs high, and stays with the point before your face, and would set upon you—then move up with your sword at his sword into the high ward, and set upon him to the face. Then he also moves up with the left arm and would forset therewith. So tug and put the point to him, under his left axilla, and push him before you. (65r) Daß sibent stuck / Merck / wenn du stest in der underen hůt / So stich ym starck dar auß / Innwendig zů dem gesicht / Vor seczt er so zuck durch / und stich ym auß wendig zu dem gesicht / Vor seczt er fürpaß / und druckt dir den ort auf dein lincke seitten / So trit zu ym und stoß ym mit dem gehülcz under sein linckeß üchsen / und var ym mit dem voderen tail durch zwischen seine pain und heb mit dem swert sein linckeß pain In der knyekel vast übersich auf mit der lincken hant / und mit der rechten stoß Im oben mit dem gehültz vast von dir / So felt er This is the seventh play Mark when you stand in the low ward, and stab thereout at foe, inside to the face, and he forsets. So tug through and stab him outside to the face. He forsets further and presses you with the point upon your left side, so tread to him and shove him with the cross, under his left axilla, and move at him, through with the forepart of your sword between his legs, and staunchly heave his left leg upward with your sword in his knee joint, up with the left hand, and with the right hand staunchly shove him from you, high with the cross. So he falls. Also prich daß stuck / Merck wenn er dir mit dem voderen tail seinß swertz voren zwischen die pain fert In dein lincke knybel / und heb domit auf / So begreif mit der lincken hant sein rechten elpogen / und stoß in do mit von dir Thus counter that play Mark when foe moves at you with the forepart of his sword, in front between the legs at your left knee joint, and heaves up therewith. So with the left hand grip his right elbow and shove him from you therewith. Daß ist ein anderß stuck / Wenn du Im mit der lincken hant sein rechten elpogen begriffen hast / So begreif mit der rechten sein rechten armen voren pey der hant / und treib den armen pruch / und würff in für dich This is one other play When you have gripped his right elbow with the left hand, then with the right hand grip his right arm past the hand, and drive the arm break, and throw him before you. Daß acht stuck / Stich ym auß der underen hůt auswendig zu dem gesicht / vorsetzt er den (65v) stich mit sterck / So var im mit dem knopf auswendig in sein lincke knybel / und ruck mit dem knopf zu dir / und leg dich mit der rechten seitten oben starck in Inn / So velt er Daß stuck prich also / Wenn du dir einer mit dem knopf vert aussen über dein linckeß pain in die knybel / So begreif mit der lincken hant sein lincke / und mit der rechten begreiff sein lincken elpogen / und treib den armenpruch / und würf in für dich The eighth play Out of the low ward you stab outside to the face of foe, and he forsets the stab with strength, so move at him with the pommel outside into his left knee joint, and yank toward you with the pommel, and lay into him strongly with your right side over him. So he falls. Counter that play thusly—when someone moves at you with the pommel outside over your left leg, into the knee joint, then with the left hand grip his left hand, and with the right hand grip his left elbow, and drive the arm break, and throw him before you. 79 Knightly Dueling Daß newnt stuck / Merck / wenn du Im auß der underen hůt starck zu dem gesicht / Stichst / vert er denn mit dem knophf unden durch dein swert / und wil do mit abseczen oder reissen so beleib mit dem ort starck für In / und druck sein rechte hant mit dem swert nyder die weil er durch vert und secz ym an The ninth play Mark when you stab strongly out of the low ward to the face of foe, and then he moves with the pommel under and past your sword, and would offset or wrench therewith. So stay with the point strongly before him, and press down his right hand with the sword while he moves past, and set upon him. Daß zehent stuck / Merck / wenn du Im auß der / underenn hůt starck zu dem gesicht stichst / Velt er dir denn mit lincker verkorter hannt voren In dem swert / So wind daß swert mit dem ort aussen über sein lincke hant in die öber hůt / und secz ym an The tenth play Mark when you stab strongly out of the low ward to the face of foe, and then he gets his left inverted hand in front to the sword. So wind the sword with the point outside over his left hand, into the high ward, and set upon him. Daß XI stuck ist ein swert nemen / Merck / wenn du ym auß der underen hůt starck zu dem gesicht stichst / Sticht (66r) er denn mit dir geleich ein / So begreiff sein swert in der mitt mit lincker vorkarter hant / und halt sy paide vest / und var mit dem knopf unden durch sein swert / und růck do mit uber sich auff dein rechte seitten / So nympstu Im sein swert Also prich daß / Wenn dir einer mit seiner lincken hant geg begreifft dein swert In der mitt zu dem seinem / und wil dir daß mit dem knopf unden durch auß reissen / So merck die weil er dein swert vast in die linck hant zů dem seinen / So var auf in die öber hůt / und setz Im an The eleventh play is a sword taking Mark when you stab strongly out of the low ward to the face of foe, then likewise he stabs high. So grip his sword in the middle with your left inverted hand, and hold both blades fast, and move with the pommel under and past his sword, and yank upward therewith, up your right side. So you take his sword. Thus counter that—when someone grips in the middle of both your sword and his sword with his left hand, and would wrench that out with the pommel, under and through—so mark when he seizes your sword tightly to his sword in the left hand, and move up into the high ward, and set upon him. Daß XII stuck / Merck wenn du stest in der / underen hůt / So stich ym starck dar auß unden zů den hoden / velt er dir denn mit der lincken hant in dein swert / und tů ym wider in daß sein / So würf sein swert auß der lincken hant / und begreif daß dein domit wider mitten in der klingen / und wind den ort aussen über sein lincke hant in die ober hůt / und setz Im an The twelfth play Mark when you stand in the low ward, and thereout you stab strongly low to the bollix of foe, then he gets at your sword with the left hand, and you do likewise to his sword. So fling his sword out with your left hand, and therewith grip your sword again in the middle of its blade, and wind the point out over his left hand, into the high ward, and set upon him. Daß XIII stuck / Merck / wenn du Im auß den underen hůten zu stichst / velt er dir denn mit der lincken hant in dein swert / und tů ym wider in daß sein / So wurf Im dein swert mit dem knopf für die fuesß (66v) / und begreiff sein lincke hant mit dem lincken / und mit der rechten sein lincken elpogen / und treib den armenpruch / Oder wenn du ym dein swert fur die fuesß geworfen hast / So stoß yn mit der lincken hant voren an die prust und begreiff yn mit The thirteenth play Mark when you stab forth, out of the low ward, and then foe gets at your sword with the left hand, and you do likewise to his sword. So fling your sword toward him with the pommel before the feet, and with your left hand grip his left hand, and with your right hand seize his left elbow, and drive the arm break. Or when you have flung your sword toward him before the feet, then with the left hand shove him frontally to the breast while with the 80 Duel Fighting der rechten in seiner lincken knybel und ruck in do mit zu dir / und stoß mit der lincken oben oben (!) von dir so velt er Auch soltu wissen / Daß du auß der underen hůt mit dem knopf auch wol slahen magst / alß auß der oberen / wenn eß dir eben ist right hand grip him in his left knee joint, and therewith yank him to you low as you shove him from you high with the left hand—so he falls. Also you should wit that you may strike out of the low ward with the pommel as well as out of the high ward, when it pleases you. Hie merck daß ist die dritt hůt mit dem kurtzen swert zu champf mit iren stucken und schickung / Merck in die dritt hůt zu champf schick dich also / Ste mit dem lincken fuesß vor / und halt dein swert mit der rechten hand pey der hanthab / und mit der lincken greiff mitten in die klingen / und leg eß die twer uber dein linckß knye in die hůt dar auß prich Im seine stuck mit vorsaczung Here mark this in the third ward for duel with the half-sword, with its plays and their placing Mark this is the third ward for duel. So place yourself thusly—stand with the left foot forth and with the right hand hold your sword by the handle, and with the left hand grip in the middle of the blade and lay it across and over your left knee—thus into the third ward. Thereout you counter foe and his plays by forsetting. Daß erst stuck / Merck wenn du hast dein swert uber dein lincken knye in die hůt / Sticht er dir denn auß der oberen hůt zu dem gesicht / So setz den stich ab mit dem swert für deiner lincken hant gegen seiner rechten seitten / und var auf in die ober hůt / und setz im an / Oder versetz den stich zwischen deinen paiden henden in die swercz klingen / und (67r) var ym mit dem knopf über sein vor gesaczte hant / und ruck do mit undersich und secz ym an The first play Mark when you have your sword over your left knee, thus in the third ward, then foe stabs at you out of the high ward to the face. So offset that stab with the sword before your left hand toward his right side, and move up into the high ward, and set upon him. Or forset the stab at the sword blade between both your hands, and move at him with the pommel over his front hand, and yank downward therewith, and set upon him. Aber ein stuck / Merck / wenn du hast dein swert uber dein lincken knye in der hůt / Sticht er dir denn zu dem gesicht / So var mit dem knopf unden durch sein swert / und setz ym do mit den stich ab für seiner lincken hant / und setz ym an One other play Mark when you have your sword over your left knee, thus in the third ward, then foe stabs at you to the face. So move with the pommel under and past his sword, and offset his stab therewith, before his left hand, and set upon him. Aber ein Stuck / Merck / wenn du hast dein swert über dem lincken knye in der hůt / Sticht er dir denn zu dem gesicht / So var unden durch mit dem knopf uber sein swert hinder sein vor gesaczte hant / und ruck im die hant do mit under sich / und setz ym an / Oder ist er dir zů starck daß du Im die hant von dem swert nicht gerucken magst / So wind den knopf von unden auff aussen uber sein lincke hant / und stoß yn von dir und setz ym do mit an Auch soltu wissen / Daß du die sleg mit dem knopf nicht paß vorsetzen magst / wenn auß der hůt vom lincken knye / Daß vindestu hernach geschriben in dem stuck / Daß da spricht / Mit seinen schlahen dein ort One other play Mark when you have your sword over the left knee, thus in the third ward, then he stabs at your face. So move under and past with the pommel, over his sword and behind his front hand, and therewith yank him downward by that hand, and set upon him. Or if he is too strong for you, such that you may not yank his hand from the sword, then wind the pommel from underneath—up, outside, over his left hand—and shove him from you, and set upon him therewith. Also you should wit that you really may not forset the strike with the pommel, when tried out of the third ward, that of the left knee. That you find written in the plays hereafter. Those tell you: with his striking—your point. 81 Knightly Dueling Hie merck daß ist die vierd hůt mit dem kurczen swert zu champf mit iren stucken und iren schickung (67v) / Merck in die vierd hůt zu champf schick dich also halt dein swert mit der rechten hant pey der hanthab / und mit der lincken greif mitten in die klingen / und hald eß under deinem rechten uchsen / und setz daß ain gehulcz voren vast an die prust / und halt den ort gegen dem mann Here mark this is the fourth ward for duel with the half-sword, with its plays and their placing Mark how to place yourself into the fourth ward for duel. Thus with the right hand hold your sword by the handle, and with the left hand grip the middle of the blade, and hold it under your right axilla, and set the cross in front of and tightly to the breast, and hold the point toward the man. Merck ein gute ler / Wisß in die vierd hůt soltu chömen auß allen anderen hůten mit an setzen / Daß vernym also / wenn du Im auß einer hůt zu stichst / Ist denn sach daß du ym recht triffst daß dein ort hast in dem harnasch / So wind alß pald daß gehultz an dein prust In die hůt / und dring yn also vor dir hyn / und lasß yn von dem ort nicht abchömen / So mag er wider nicht gestechen noch geslachen Mark some good lore Wit that you should get into the fourth ward by attacking out of any of the other wards. So take guard thusly: when you stab at foe out of one of those other wards, then the tactic is that you hit rightly so that your point hastens into his harness. So forthwith wind the cross to your breast, thus into the fourth ward, and press him thus forward and yonder, and let him not get away from the point. So may he neither stab nor strike. Daß ist aber ein ler / Merck / alles daß du an setzen wild daß setz in daß gesicht / oder an den halß / oder an sein lincke achsel / oder under sein linckß üchsen / und wenn du Im hast an gesetzt / so merck ist er lenger wenn du pist / So tring yn also vor dir hyn / und wart daß dein ort ubersich aufget / und ym in die ring wol gesetzt sey / Oder ist er kurtzer / wenn du so lasß dein swert mit der hant under sich ab sincken piß auf dein rechte huff / und daß dein ort ubersich stee / und ym in den harnasch wol gesetzt sey / und dring (68r) yn also vor dir hyn Again this is some lore Mark any of them whom you would attack, as to when you go for the face, or for the neck, or over his left shoulder or under his left axilla. When you have set upon foe, then mark whether he is taller than you are—so press him thus forward and yonder, and watch that your point goes up and over, that it be well set into the fauld. Or mark whether he is shorter than you—so let your hands sink down with the sword until at your right hip, so that your point aims upward, and be well set into his harness, and press him thus forward and yonder. Daß ist der text und die gloß von den zwaien dingen daß ain haist daß vor daß ander haist daß nach This is the text and the commentary for the Twain Things—the one called the Before and the other called the After Vor und nach die zway dingk prüff weisleich lere mit ab sprünck / Glosa / merck daß ist daß du vor allen sachen solt wissen daß vor / und daß nach / wenn auß den zwaien dingen get alle kunst zu champf / und merck daß vor daß ist daß du albeg solt vor chummen ee wenn er / Eß sey mit dem stich oder mit dem slag so mueß er dir vorsetzen / und alß pald alß er mit der vorsatzung / oder sünst an dein swert pindt / So treib / Inndeß dein stuck behentleich / Dar nach alß du prüeffst ob er waich oder hert am swert ist / So mag er zu kainem pruch nicht kumen Before and After—the two things prove wise—learn with launching Commentary: Mark this is what you should wit—above all other tactics—the Before and the After. Out of these two things go all the art of dueling. And mark what is the Before—that always you should initiate earlier than foe, whether it be with the thrust or with the strike, so he must forset you. And as soon as he forsets or instead binds at your sword, then instantly drive your play nimbly, according to proof of whether he is soft or hard at the sword. So may he not get to do any countering. 82 Duel Fighting Hie merck waß da haist daß nach / Daß nach daß sind die prüch wider alle stuck die man auf dich treibt / Daß vernym also / wenn er vor chümpt mit dem stich / oder slag ee wenn du daß du Im vorsetzen müest / So merck alß pald dein swert mit der vorsatzung klitzt an daß sein / So suech / Inndeß mit dem ort die nachgst plösß / oder wart der ringen / So gewingstu ym mit der vorsatzung daß ist mit dem nach sein vor an Here mark what is called the After The After are those counters versus all plays that the man drives upon you. So take guard thusly: When foe initiates with the thrust or strike, earlier than you do that, then you must forset him. So mark that as soon as your sword claps at his sword with the forsetting, then seek instantly the next/nearest gap with the point, or reckon on wrestling. So you vanquish him with the forsetting, which thus happens after and versus his stab or strike before. Hie merck wie man sol ab treten zu champf (68v) / Wisß daß zu dem champf vechten nicht mer gehört denn ein abtritt/ und ein zu tritt / und sunst vest gestanden / Dar umb daß man nicht müed wird Inn dem harnasch / und dar vernym also / Ist sach daß er dich über eylt hat daß du (!) mit dem swert / oder sünst zu kainer vorsaczung chummen magst / So trit pald zu ruck mit dem vor gesaczten / und wart daß du Im Inndeß pald wider an setzt / oder pegreifft mit ringen mit einem zu trit deß selbing fuesß / So du vor mit ab getreten pist Here mark how one shall withdraw in duel Wit that in duel fighting, there belong nothing more than one backward step and one forward step, or else standing fast. Because of that, one becomes not weary in the harness. And take guard there thusly, when the tactic that foe does with the sword overwhelms you, or else when you may not get to do forsetting: so tread backward quickly with your forward foot, yet watch that you quickly set upon him instantly or grapple him with wrestling as you tread forth again with that same foot. Thus by withdrawing, you do something before he does anything. Daß ist der text und die gloß von nach raysen zu champf This is the text and the commentary for pursuing in duel Volg allen treffen den starcken wiltu sy effen wert er so zück stich wert er Ia zü ym ruck / Glosa / merck / wiltu die starcken effen oder tewschen die do weit / und lanck vechten / und mit sterck ir dingk wellen über winden / und von rechten kunsten nicht halden / die selbigen soltu uber eylen mit nach raysen / und mit durch zucken / als dir yn dem nägsten stuck vor kler wirt Follow all meetings—the strong you will mock—he wards, so tug—you stab, he wards, yes move to him Commentary: Mark when you would mock or hoax the strong, who fight wide and lengthy, waving at and overcoming specters, and holding not to rightful art. You should overwhelm the selfsame with pursuing, and with tugging through, as becomes clarified for you in the next play. Hie merck daß stuck / Merck / wenn du chëmpfen solt dëucht dich denn daß dir dein kempfer zu starck wer / So halt dein swert in einer hůt / und trit do mit kunleich zu Im / und merck gar eben wenn er sein swert an sich zeucht / und wil stechen / oder slachen mit dem knopf In dem so volg (69r) ym pald nach / und über eyl yn mit dem ort und setz ym an ee wenn er den stich oder den slag verpringt / wirt er denn deß ansetzenß gewar / und vert weit für mit dem swert / und vorsetzt daß sein ort neben dir beseitt auß get / So zuck durch / und stich ym zu der anderen seitten / Wert er daß zu dem anderen mal / So zuck aber durch / und daß thůe alß oft alß oft er vorsetzt / und ruck oder eyl do mit pald zu / Im durch Here mark the play You should mark when you are dueling, when it seems to you that your dueling foe becomes too strong. So hold your sword in one of the wards while you tread to him cunningly, and mark indeed when he tugs his sword to himself, and would stab with point or strike with the pommel—so instantly follow him, quickly after, and overwhelm him with the point and set upon him earlier than he brings forth the thrust or the strike. Then if he becomes aware of that attack, and moves forth widely with the sword and forsets so that his point goes out, near and beside you, then tug through and thrust him to the other side. He wards that a second time, so tug through again—and that 83 Knightly Dueling deß willen ob du ym nicht recht getroffen hiettest mit dem ansetzen / Daß du in denn magst begreiffen mit ringen / Wisß daß ist die kunst wider alle die vechter die do lanck / und weit vorseczen / und vechtent zu dem swert / und nicht zu den plössen deß leibez works as often as he forsets—and thereby shift or hasten quickly to him at your will. If you have not met him rightly with the attack, then you may grapple him with wrestling. Wit that is the art versus all the fighters who do lengthy and wide forsetting, and fight to the sword and not to the gaps to the body. Daß ist der text und die gloß wie du dich solt abledigen vom swert wenn man dir do mit hat an gesetzt und dich do mit tringt This is the text and the commentary for how you shall unload someone’s sword when he has set upon you therewith, and pushes therewith Greift er auch sterck an daß schiessen gesigt ym an / Glosa merck daß ist / wenn er dir hat an geseczt / und du ym wider / wil er dich denn mit sterck uber dringen / So begreiff sein lincke hant mit deiner lincken auff seiner swerczklingen pey dem fingeren / und halt sy do mit vest / und stich mit der rechten hant mit dem swert oben durch zwischen seiner vorgesaczten hant / und seinem swert / und druck den knopf nyder / und secz ym den ort gegen seiner rechten seitten (69v) / In sein gesicht / und prich ym mit deiner lincken hant sein lincke uber dein swertz klingen Ein annderß / Oder stich ym mit paiden henden oben durch zwischen dem swert / und seiner vorgesaczten hant / und druck den knopf gegen der erden / und wind den ort an seinem swert gegen seiner rechten seitten / und setz ym an Aber ein losung / Wenn er dir hat an geseczt / und dringt / So stich yn under in den tenär der hant do er sein swert in der mitt pey heldet / Oder hat er die hant umb gewäntt so stich yn dar ein von oben nyder / und wenn der stich hafft / So fur In do mit zu dem kraisß Ein anderß / Oder stich yn außwendig deß armeß / do er daß swert in der mitt pey heltt hinden in den hantschuech / und wenn der stich hafft / So lauf mit der hant fur dich zu dem kraisß / do mit gewingstu ym auch die seitt an / und andrew grosse vortail Aber ein losung / Merck hat er dir an geseczt an dein lincke achsel / und du Im wider an die sein / So tritt zu ruck mit dem lincken fuesß / und wendt dein lincke seitt auch von ym / So hafft dein ort / und der sein nicht / Oder hat er dir gesaczt an dein rechte achsel / und du Im wider an die sein / So trit zu ruck mit dem rechten fuesß so hafft aber dein ort / und der sein nicht Aber ein losung / Merck wenn er dir hat gesetzt an dein lincke achsel / und du ym wider an die sein / So ruck deinen knopf voren an dein prust / und dring also für dich / So hastu yn uber lengt He attacks you quite strongly—the lunging defeats him Commentary: Mark this is when foe has set upon you, and you do likewise to him. Then he would overwhelm you with strength. So with your left hand grip his left hand which is at his sword blade, by its fingers, and while you hold those fast, then with the right hand thrust with the sword—high, through, between his front hand and his sword—and press the pommel down, and put the point to him, against his right side, into his face, and counter him with your left hand at his left hand, over your sword blade. Another Or stab him with both hands—high, through, between the sword and his front hand—and press the pommel toward the earth, and wind the point on his sword toward his right side, and set upon him. Again one loosening When he has set upon you and pushes, then stab him under into the palm of the hand with which he holds his sword in its middle. Or if he has wended his hand around, then stab him therein, down from above, and when the stab sticks, then control him therewith by the cuff. One other Or stab him outside to the arm, behind in the gauntlet of his hand which holds the sword in its middle, and when the stab sticks, then surge with the hand before yourself to the cuff and therewith you vanquish him also to the side to even greater vantage. Again one loosening Mark when he has set upon you at the left shoulder, and you do likewise to him. So tread back with the left foot and also wend your left side from him, then your point sticks and his point does not. Or he has set upon your right shoulder, and you do likewise to him, then tread back with the right foot and your point sticks but his point does not. Again one loosening Mark when he has set upon your left shoulder and you do likewise to him. So yank your pommel in front of and to your breast, and push thusly before you—thus you have overreached/outreached him. 84 Duel Fighting (70r) Daß ist der text und die gloß der vorsatzung wider die sleg mit dem knopf This is the text and the commentary for the forsetting versus the strike with the pommel Mit seinem slachenden ort Schützt er sich Triff ane vorcht Mit paiden hendenn den ort zů den augen lere wenden / Glosa merck daß slahent ort daß ist der knopf / Ob er sich für dir do mit wil beschutzen / und dich uberlauffen mit grossen schlegen die soltu ym an (!) alle vorcht kundleich mit dem swert vorsetzen / und in der vorsatzung den ort mit paiden henden albeg in daß gesicht wenden oder stoß / und reiß mit dem knopf alß dir hernach vorklert wirt In den nagsten stucken With his slaughtering point—he protects himself, yet you meet without fear—with both hands—the point to the eyes, learn winding Commentary: Mark that the slaughtering point is the pommel. If foe would protect himself therewith before you, and overlope you with great strikes, then you should forset him cunningly with the sword without any fear. And in the forsetting you should always wind the point into his face with both hands, or punch and wrench with the pommel as clarified for you hereafter in the next play. Daß ist die erst vorsatzung wider die sleg mit dem knopf / Merck ist einer starck / und maint er woll dich mit dem knopf nyder slahen / So stee gegen / Im / und halt dein swert uber dein lincken knye in der hůt / Slecht er dir denn mit dem knopf von seiner rechten achsel oben ein zů dem haubt / So streich ym den slagk ab mit dem swert für deiner lincken hant von deiner lincken seitten gegen seiner rechten / und var auf in die ober hůt / und setz ym den ort in daß gesicht / Oder slecht er dir mit dem knopf von seiner lincken seitten oben ein zů dem haubt / So streich ym den slagck ab mit dem swert für deiner lincken hant von (70v) deiner rechten seitten gegen seiner lincken und setz ym an This is the first forsetting versus the strike with the pommel Mark when someone is strong and he would mean to strike you down with the pommel. So stand against him and hold your sword over your left knee, thus in the third ward. Then he strikes at you with the pommel from his right shoulder, high to the head. So swat his strike with the sword before your left hand, from your left side toward his right side as you move up into the high ward, and put the point to his face. Or if he strikes at you with the pommel from his left side, high to the head, then swat his strike with the sword before your left hand, from your right side toward his left side, and set upon him. Aber ein vorsatzung / Merck wenn du hast dein swert über dem linckem knye in der hůt / Ist er denn nicht starck und slecht dir mit dem knopf oben ein / So trit ym kundleich ein / und vach den slach zwischen deinen paiden henden mitten in dem swertz klingen / und var auf in die ober hůt und secz ym an / Oder var Im mit dem knopf über sein vorgesatzte hant / und rück yn zu dir und setz ym an Another forsetting Mark when you have your sword over the left knee in the third ward, and foe is not strong and he strikes at you with the pommel high. So tread into him cunningly and catch the strike in the middle of your sword blade between both your hands as you move up into the high ward, and set upon him. Or move at him with the pommel over his front hand and yank him to you and set upon him. Merck ein vorsaczung und ein swert nemen / Merck / wenn du hast dein swert über dein lincken knye in der hůt / Ist er denn nicht starck / und slecht dir mit dem knopf zu dem haubt / So vach den slach mitten in die klingen / und var mit dem knopf aussen uber sein swert nahent hinder dem gehülcz / und reiß do mit undersich auf dein rechte seitten / So nympstu ym sein swert / und setz ym dar zů an Mark a forsetting and a sword taking Mark when you have your sword over your left knee in the third ward, and foe is not strong and he strikes at you with the pommel to the head. So catch the strike in the middle of the blade, and move with the pommel outside over his sword just behind the cross, and wrench downward therewith, upon your right side. So you take his sword from him, and thereto set upon him. 85 Knightly Dueling Merck aber ein vorsatzung und ein swert nemen / Wenn du hat dein swert über dem (71r) lincken knye in der hůt / Slecht er dir denn mit dem knopf zu deinem lincken knye / So wend deinen knopf zü der erden und den ort übersich / und vach den slach mitten in dem swercz klingen / und var mit dem knopf unden durch im oben uber sein swert nahent hinder seinem gehülcz und ruck ubersich auf dein rechte seitten / So nympstu im sein swert Mark again one forsetting and one sword taking When you have your sword over the left knee in the third ward, then foe strikes at you with the pommel to your left knee. So wind your pommel toward the earth and the point upward, and catch the strike in the middle of the sword blade, and move with the pommel under and past him, high over his sword, just behind his cross, and yank upward upon your right side. So you take his sword from him. Aber ein vorsatzung / Merck / wenn du hast dein swert über dem lincken knye oder stest sünst in einer anderen hůt / Slecht er dir denn mit dem knopf unden zů dem knöchen deineß lincken fuësß / So halt dein swert fest in der lincken hant / und wirff eß mit dem knopf auß der rechten hant gegen seinem slag in die erden auf dein lincke seitten / und spring do mit zů ym / und wart der armenpruch oder sünst ander ringen Again one forsetting Mark when you have your sword over the left knee or rather in one of the other wards, and then foe strikes at you with the pommel beneath to the ankle of your left foot. So hold fast your sword in the left hand and fling it out of the right hand, with the pommel toward his strike and into the earth upon your left side, and spring to him therewith, and reckon on the arm break or else some other wrestling. Daß ist der text und die gloß wie man mit dem knopf schlahen sol This is the text and the commentary for how one shall strike with the pommel Deß voderen fuesß mit slegen du huetten müest / Glosa / merck der schlahent ort daß ist der swertz knopff do mit soltu ym slahen zu seinen vorgesaczten gliden / der soltu gar (71v) eben remen / daß du Im die do mit recht treffest / und die sleg soltu also zu wege pringen halt dein swert In der öberen hůt über dem haubt / und thue alß du im dar auß in daß gesicht wöllest stechen oder an setzen mit dem (!) laß dein swert varen auß der rechten hant / und chüm do mit der lincken hant zu hilff mitten in die klingen / und slach ym mit dem knopf zu dem knye (!) seineß vor gesetzten hant do er daß swert in der mitt mit heldet / Auch magstu im zů dem haubt oder zu dem elpogen oder zu der achsel do mit slahen / wenn eß dir eben ist You must guard the forward foot by striking Commentary: Mark the slaughtering point—which is the sword pommel—with it you should strike foe to his forward limbs, you should target those indeed, so that you hit him rightly, and thus you should bring the strikes to fruition. Hold your sword in the high ward over the head, and do to him as if you would stab thereout into his face or would set upon him with the point—yet let your sword move out of the right hand and move therewith to help the left hand at the blade middle, and strike him with the pommel to the knee, or to his front hand with which he holds his sword in its middle. Thereby you also may strike him to the head or to the elbow or to the shoulder, as it pleases you. Hie merck die arbaitt mit dem degen zu champff / Nu soltu wissen daß daß maisten tailß alleß champffechtenß in harnasch chumpt auf daß letzt zů dem degen vechten / und zů den / Ringen / Dar umb so merck / wenn du mit ym ein laufest / So wart anderß nicht wenn der ringen und lasß deinen degen stecken in der schaiden / wenn du magst im do mit nicht geschaden durch den harnasch die weil er vor dir stet / und hindert dich in der hant / wenn du In solt vassen Here mark the work with the dagger in duel Now you should wit this—most all duel fighting in harness finally comes down to dagger fighting and to wrestling. So mark thusly when you interlope with foe, that you reckon not on other than wrestling and thus let your dagger be stuck in its sheath, since you may not hurt him through the harness therewith while he stands before you and hinders via his hands. Yet when you shall have seized him with wrestling or when you have 86 Duel Fighting mit ringen oder wenn du In geworffen hast / und sein mächtig ist pist erst so arbait mit dem degen zů den plössen die (72r) dir hernach am nagsten vorklert werden / und vorklert sind worden thrown him, and thus you be mighty and first to draw, then work with the dagger to the gaps, which becomes clarified for you hereafter in the next plays, and has been clarified already. Ein annderß / Merck / wenn du mit ym chumpst zů / Ringen wirfestu In denn auf den ruck / So vall ym mit dem leib uber sein antlütz / und vasß yn pey dem halß under einen armen / So ist er vorplent / und mag dar zů nicht wol auf chömen mit welicher hant er denn nach dir greifft so stich Im nach zu der plöß deß tenärß oder stich yn under daß üchsen / Oder arbait In mit dem degen unden zu dem geschäpft / und zu allen gelencken wo dich deücht do du in am pesten gewinnen magst Another Mark when you get to wrestling with foe, then you throw him upon his back. Then drop upon him with the body over his face and seize him by the neck under one arm. Thus he is blinded and he may not very well get up. So then to whichever hand he grabs at you, stab at him to the gap at its palm, or stab him under that axilla. Or work at him with the dagger, underneath the plates and to all joints, where it seems best to you that you may vanquish him. Ein annderß / Merck / würffstu yn mit ringen auf den pauch / So sicz pald auf in und begreiff mit der rechten hant sein rechte / und zeuch die hinden auf seinen ruck / und hald die vest mit der lincken hant / und mit der rechten stich ym in die selbig hannt zů der plosß deß tänerß oder zů der plosß under den üchsen / Oder wenn er velt magstu In denn pey einem fueß begreiffen / So stich yn mit dem degen unden in die solen deß selbigen fuesß (72v) Blank Another Mark when you throw him upon the belly with wrestling. So quickly sit upon him, and with your right hand grip his right hand, and tug that behind to his back, and hold it fast with the left hand, then with the right hand stab him in his right hand to the gap at its palm, or to the gap under the axilla. Or when he falls, you may grip him then by one foot, and thus stab him with the dagger beneath into the sole of that same foot. End ‫ﱝ‬‫ﱝ‬ 87 Knightly Dueling WHEN MISMATCH EVOLVES DURING DUELING—HORSEMAN VERSUS FOOTMAN Lance ahorse versus lance afoot—Kal (1462). When in need, overthrow the horse by tripping—Kal (1462). 88 Duel Fighting TWO BASIC WARDS FOR LANCE/SPEAR FROM MS KK5013 EQUIVALENT TO THOSE OF LIECHTENAUER DUEL FIGHTING Low ward—for thrusting and forsetting, one variant with sword tandemly and other variant with targe. (For more about targes, see “Variety” and “Artifacts.”) High ward—variants for hurling and for thrusting and forsetting. 89 Knightly Dueling FORSETTING SPEAR HURLING Spear-hurl forset with longsword and spear tandemly—Talhoffer (1459). Counter spear-hurl forset with cradled longsword and spaudler—Talhoffer (1459). 90 Duel Fighting SWORD VERSUS SPEAR Sword and gauntlet versus spear—Kal (1462). Lance/spear versus sword—Kal (1462). Keep in mind that equestrian could become pedestrian spear. 91 Knightly Dueling FOUR WARDS FOR HALF-SWORD FROM TALHOFFER (1450) EQUIVALENT TO THOSE OF LIECHTENAUER DUEL FIGHTING (Notice: These three scenes are repeated later in this book.) Third ward First ward Second ward Pressing from fourth ward versus pressing from first ward. 92 Guard the forward foot Duel Fighting VARIOUS PLAYS OF LIECHTENAUER VIA VON DANZIG DUEL FIGHTING AS PORTRAYED BY GOLIATH This is one wrestling (56r–56v) of von Danzig. One wrestling and one murder-jolt (60r–60v) of von Danzig. Again one play (62r–62v) of von Danzig. 93 Knightly Dueling Again this is one play (62v) of von Danzig. The first counter versus that play (62v–63r) of von Danzig. SPEAR, SWORD, DAGGER: THE THREE MAIN WEAPONS FOR GERMAN DUEL FIGHTING OF LIECHTENAUER’S TRADITION As seen in MS KK5013 (1425–1430). 94 Duel Fighting DUEL-FIGHTING AND HALF-SWORDING—LIKE LIECHTENAUER AND LIGNITZER— SOLOTHURNER FECHTBUCH Passing to one’s vantage. Tread, wrench, heave, press, and throw. 95 This page intentionally left blank. Half-Swording ‫ﱝ‬‫ﱝ‬ It is helpful to consider the kurzes schwert (shortened sword) of Andre Lignitzer via von Danzig from his Fechtbuch of 1452 in order to better understand the swordsmanship of the kampffechten (duel fighting). This means, of course, wielding the longsword or bastard sword with one hand gripping the handle and the other hand gripping the blade—the same as halbes schwert (half-sword)—and doing the appropriate moves therewith, such as like thrusts, morte strikes, and hilt wrenches, along with needed footwork and grappling. It basically means wielding the longsword like a short spear or a pollaxe—thus none of this has to do with “shortsword” fighting. The following lore can give some insight into the dynamics of similar or identical moves in the kampffechten of Liechtenauer via von Danzig. Indeed, as Andre and his brother Jacob were both recorded by Paulus Kal (1462) on the famous list of Liechtenauer-tradition masters (as Andre Ligniczer and Jacob Ligniczer), then it is accurate to consider this lore by Lignitzer as his own development of Liechtenauer’s kampffechten. (Not unlike what Talhoffer did, yet somehow Lignitzer did not get himself excluded from that list as Talhoffer managed to do.) Thus understand that half-swording is the way by which these plays work, and indeed Liechtenauer’s four basic wards for it are indicated in the text that follows. Notice how every part of the hilt—cross, handle, pommel—is expected for possible use as the impactor, which speaks to the sturdy and proper construction (including the underlying tang) of the historical longsword, something sorely lacking in many modern replicas thereof. Notice, unsurprisingly, certain of these moves work better in harness than in arming clothes alone. Also notice that the shifting of grip for morte striking is a tricky one, with one hand at midway and the other near point, but it is described here by Lignitzer (78r–78v), described previously by von Danzig (71r–71v) for the knopf schlahen (pommel striking), is shown often by Talhoffer, and is implied by Kal. One thing to notice here and in the rest of Von Danzig Fechtbuch is the difference between the footwork of treten (treading), schreiten (stepping), and springen (springing). The first is a long traverse, often done as one strikes; the second is a short stride, often done before or during a variety of techniques; and the third is basically leaping while one does whatever. These differences are crucial to understanding the range and realities of the “infighting” of harnischfechten (harness/armoured fighting), as well as the nature of bloszfechten (unarmoured fighting). Notice that in the text the word gewicht is synonymous with the more common waage—both meaning “balance.” Notice würf may mean “throw,” “fling,” or even “wrap,” depending upon context. Notice that aber can mean any of these—“again,” “instead,” “but/yet,” “indeed.” Notice also there are a few differences between the kurzes schwert of Lignitzer via von Danzig and that of contemporary Hundßfeld via Jud Lew (1452)—for example in the fourth morte strike, Lignitzer tells you to strike the foe’s knee joint (knyepüg), whereas Hundßfeld tells you to strike the foe’s jaw (kinpack). One may also notice differences between this text and that of Hündsfelder via von Speyer (1491). Lastly, sometimes certain interpolations were needed for readability. Note that the later manual by Hans Czynner (1538) covers very similar armoured fencing. 97 Knightly Dueling ‫ﱝ‬‫ﱝ‬ (73r) Hye hebt sich an Maister Andreß kunst genant der Lignitzer Dem got genädig sey Daß kurtz swert zw gewappenter hant zů geleicher ritterlicher were Here starts the art of Master Andre—named “the Lignitzer”—God be merciful to him! This is his halfsword/shortened sword for armoured hands and likewise for knightly weaponry. Item nym daß swert mit der rechten hant pey dem pint / vnd mit der lincken greif mitten in die klingen / vnd gee vast in man / So mueß er stechen oder slahen / Doch kum vor piß rasch greif fährlich vnd pleib nahent Thus with the right hand take the sword by the handle and with the left hand grip in the middle of the blade, and go tightly into the man—thus he must stab or strike—indeed go forth, be swift, grapple daringly and stay near. Daß erst stuck The first play Item stich ym Inwendig zw° seine gesicht / Wert er dir daß / So var durch vnd setz ym aufwendig in sein gesicht / Wert er dir daß fürpaß / vnd streicht dir den ort also ab so wind mit deinem knopf ym vber sein rechte achsel / vnd spring mit dem rechten pain hinder sein linkß / vnd würf yn vber ruck Thus stab at foe inside to his face—if he wards that, then move past and set upon him outside to his face. He wards that further and swats your point—so wind with your pommel toward him over his right shoulder, and with the right leg spring behind his left leg, and throw him backward. Der wider pruch The counter against that Item wer dir daß tůt vnd hat dir den knopf an den halß geworfen / So var mit der lincken hant von vnden auf zwischen seinen paiden arm / vnd begreif yn pey seine rechten arm / vnd swing dich den von ym auf dein rechte seitten / vnd - würff In vber die hüf Thus someone does that to you and has wrapped the pommel to your throat. So move with your left hand from under, up between both his arms, and grip him by his right arm, and then swing yourself from him upon your right side, and throw him over your hip. Aber ein pruch auf daß erst stuck Again one counter for the first play (73v) Item wenn er dir den knopf vmb den halß wil werfen / So greiff mit der linckn hant von dir / vnd greiff hinder sein rechte hant an daß pint / vnd nym den knopf / vnd zeuch den vndersich / vnd setz ym mit deinem swert an wo du wild Thus when foe would wrap the pommel around your throat. So with your left hand grip it—thus grip behind his right hand at the handle—and take the pommel and tug that underneath, and set upon him with your sword, where you will. Ein pruch dal wider den pruch One counter against that counter Item wenn er dir knopf begriffen hat / So wind mit deinem knopf von vnden auf aufwendig vmb sein lincke hant / vnd schreit mit deinem rechten pain für dich / vnd stoß yn mit deiner klingen an sein lincken arm Thus when foe has gripped your pommel. So wind with your pommel from under, up outside around his left hand, and step forward with your right leg, and jolt him with your blade to his left arm. 98 Half-Swording Daß ander stuck The second play Item stich ym aber den ersten stich zw seinem gesicht / vnd thůe zw dem andern mal alß du ym aber Inwendig zw seinem gesicht wöllest stechen / Inndeß var durch / vnd setz ym aufwendig zw° seinem gesicht an wenn er dir daß wert / So schreit mit deinem rechten pain hinder sein linckß / vnd stösß in mit dem gehültz in sein lincke vchsen / vnd stoß ein wenig vber sich so veltt er Thus stab at foe again with that first stab to his face, and do again like previously, as if you would stab him inside to his face—yet instead instantly move past, and set upon him outside to his face. If he wards that, then step with your right leg behind his left, and punch him with the cross into his left axilla, and jolt it a little upward— so he falls. Der wider pruch The counter against that Item wer dir daß tůt / So schreit mit deinem lincken pain hinder dich / vnd vach den stoß zwischen dein paide hende in die klingen / vnd wind mit dem knopf von vnden auf zwischen sein paide (74r) arm / vnd wind mit deine knopf von vn den auf vber sein lincke hant / vnd spring mit deine lincken pain hinder sein rechtz / vnd stoß ym paide swert vber sein halß / So hastu ym den ruck an gewunnen Thus someone does that to you. So step with your left leg behind yourself, and catch that punch of the cross in the blade between both your hands, and wind with the pommel from under, up between both his arms, and wind with your pommel over his left hand, and spring with your left leg behind his right leg, and shove him with both swords across his throat. Thus move into him and you have won. Ein wider pruch wider den One counter against that counter Item wer dir paide swert über den halß wil stossen / So stee freyleich still mit deinem rechten pain / vnd lasß dein swert faren pey dem pind / vnd greif mit deinem rechten arm hinden vmb seinen ruck / vnd ruck yn pey der mitt / So wurfstu in an (!) zweifel Thus someone would shove both swords across your throat. So stand freely and still with your right leg, and let your sword move by letting go its handle, and with your right arm grapple behind and around his back, and yank him by the waist, thus doubtlessly you throw him. Daß dritt stuck The third play Item stich ym aber Inwendig zů seinem gesicht / vnd var in dem andern stich durch / vnd stich ym aufwendig zw dem gesicht / Wert er dir daß aber / So schreit mit dem lincken pain zwischen seine paide / vnd greif mit deinem knopff aussen vber sein linckß pain in sein knyepüg / vnd leg dich mit der lincken achsel oben fast in yn / vnd heb vnden fast auf / vnd druck auf sein lincke seitten Thus stab at foe again inside to his face, yet move into that other man as you stab past, then stab him outside to the face. But he wards that, so step with the left leg between both his legs, and grip with your pommel out over his left leg into his knee joint, and lay into him with the left shoulder high and tight, and heave him up staunchly from under, and press upon his left side. Der widerpruch The counter against that Item wer dir mit dem chnopf wil varen in die knyepüg dem greif mit deiner lincken hant hinder sein lincke hant pey dem arm / vnd greif mit [dein°] rechtn (74v) rechten (!) hant von vnden auf ym an den elpogen / vnd daß dein vinger oben ste / vnd würf yn auf daß maul Thus whoever would move with the pommel into the knee joint—you grip him by the arm with your left hand behind his left hand, and with your right hand grip from under, up at that elbow, such that your fingers reach upward, and throw him upon his face. 99 Knightly Dueling Daß vierd stuck The fourth play Item wenn du Im Inwendig zw dem gesicht stichest / vnd er dir wider / So sich eben auf sein swert / vnd begreiff sein swert pey der klingen in die hant vnd setz im den ort an vnder sein linkß vchsen Thus when you stab at him inside to the face, and he does so against you—then indeed beware his sword—and grip his sword blade in your left hand, and set upon him with the point under his left axilla. Wert er dir daß / vnd begreifft dir dein swert auch alß dw daß sein hast / So arbait auß einem reissen alß hernach geschriben stet auß wellichem du wild Yet he wards that and grips your sword also, just as you have done to his sword—so utilize a wrenching as written hereafter, whichever you will. Daß erst reissen The first wrenching Item stich ym Inwendig zw dem gesicht Thus stab at foe inside to the face. Wert er dir daß / vnd setzt dir den stich ab / So wind mit deine knopf von vnden auf auf dein lincke seittn / vnd oben vber sein swertz klingen zwischen sein paide hend / vnd reiß vast an dich / So reistu in sein lincke hant von der klingen / So stich ym denn zw° dem gemächt / Ist er dir zw starck daß dw Im die hant von dem swert nicht gereissen magst / So wind mit deinem knopf aber von vnden auf auf dein rechte seittn vber sein lincke hant / vnd stoß in mit der klingen in sein lincke seitten von dir Yet he wards that, and offsets your stab. So wind with your pommel from under, up upon his left side, and high over his sword blade, between both his hands, and wrench tightly to you—thus you wrench his left hand from the blade—so then stab him to the bollix. But is he too strong, such that you may not wrench the sword from his hands? Then wind with your pommel again from under, up upon his right side, over his left hand, and shove him from you with the blade into his left side. Daß ander reyssen The second wrenching Item stich ym / Inwendig zů seinem ge (75r) sicht / vnd wind aber mit dem knopf auff dein lincke seitten von vnden auf vber sein klingen zwischen seiner hant reyß aber vast an dich / vnd stich ym aber zů seinem gemäch Thus stab foe inside to his face, and wind with the pommel again upon your left side from under, up over his blade between his hands, wrench again tightly to you, and stab him again to his bollix. Wert er dir daß vnd vecht dir daß swert / vnd dw daß sein daß paide swert gefangen sein / So würff dein swert mit dem knopf ym in sein rechte seitten / vnd spring mit deinem rechten pain hinder sein linkß / vnd nym den ruck / vnd heb in den eineß tzwerchen fingerß hoch von der erden / vnd slach in mit deinem rechten fuesß auß wendig an sein rechten enckel / vnd wurff in auf sein rechte seitten Yet he wards that, and fights you for the sword, and you fight him for his sword, such that both swords are seized. So fling your sword with the pommel into his right side, and spring with your right leg behind his left leg, and take his back; then with the fingers of both your hands crisscrossed, heave him high from the earth while with your right foot you kick him outside to his right ankle— thus you throw him upon his right side. Daß dritt reysßen The third wrenching Item thůe ym geleich alß oben geschriben stet / vnd ob paide swert gefangen warn / So würf ym aber den knopf in sein rechte seitten / vnd spring mit dem rechten pain Thus do to foe as written above, and if both swords become seized, then fling the pommel into his right side again, and with the right leg spring behind his left leg, 100 Half-Swording hinder sein linckß / vnd greiff in mit deiner rechten hant yn pey seine lincken arspacken / vnd greiff mit dein° lincken hant von vnden auf ym an seinen kinpacken / vnd zeuch vnden an dich / vnd stoß oben von dir / So felt er an den ruck and with your right hand grip in by his left buttock, and with your left hand grip from under up at his jaw, and tug to you low while you shove from you high—thus he falls onto his back. Der wider pruch The counter against that Item wer dir mit der lincken hannt vert vnder den kinpacken / vnd dich (75v) mit seiner rechten hant pey dem lincken arspacken hat / vnd wil dich vber ruck werffen / So greif mit deiner lincken hant ym auf sein lincke / vnd begreif yn pey den fingern / vnd prich im die hant auf dein lincke seitten / vnd var mit deiner rechtn hant an sein lincken elpogen / vnd nym im daß gewicht Thus someone moves at you with his left hand under your jaw and has you by the left buttock with his right hand, and would throw you backward. So with your left hand grip him upon his left hand, thus by its fingers, and break that hand upon your left side, and move with your right hand to his left elbow, and take his balance from him. Daß vierd reyssen The fourth wrenching Item ist daß aber paidew swert gefangen sein / So würf ym aber deinen knopf in sein rechte seitten / vnd spring Im mit dem rechten pain hinder sein linkß / vnd begreif in mit deiner lincken hant hinder seiner lincken hant pey dem arm / vnd greif mit deiner rechten hant in pey seinem elpogen vnd nym daß gewicht Thus again both swords are seized. So again fling your pommel into foe’s right side, and spring toward him with your right leg behind his left leg, and with your left hand grip him by the left arm behind his hand, and with your right hand grip him by his elbow, and take his balance from him. Daß fünfft reyssen The fifth wrenching Item / wenn er dir den swert gefangen hat / vnd du daß sein / So gee durch paidew swert auf dein lincke seittn / So windestu ym sein swert auß daß er dir daß lassen mueß / Helt er denn sein swert vnd lest dir daß dein / So thůe alß dw In zw° dem gemächt wöllest stechen / Wert er dir daß / vnd greift mit sein° lincken hant nach dem swert / So stich vnden durch sein swert auf sein rechte seitten ym vber sein rechten arm an sein prust so prichstu ym sein swert (76r) auß seiner hant / So würf sein swert mit dem ort gegen ym / vnd mit deine swert fall in die ober hůt Thus when foe has seized your sword and you have seized his sword. So go past both swords upon your left side, thus you wind his sword out such that he must let go of your sword. If then he holds his sword and lets you hold your sword, then do as if you would stab him to the bollix, and when he wards that and grasps for your sword with his left hand, then stab beneath past his sword up his right side over his right arm—thus you break his sword to his breast and out his hand while you fling his sword with your point against him as you get into the high ward with your own sword. Der wider pruch The counter against that Item wer dir daß thůet / vnd dir durch paidew swert lauffen wil / So stoß ym paide swert vber den halß / vnd mach die scher Thus someone does that to you, and would run past you with both swords. So shove him with both swords across the throat and make the shears. 101 Knightly Dueling Ain wider pruch wider den pruch One counter against that counter Item / wenn er dir die scher° hat gemacht / so greif mit deiner rechten hant von vnden auf hinder sein rechte in daß pindt daß dein negel an den fingern vbersich sten vnd würf denn dein swert vast von dir auf dein lincke seitten / vnd ker dich gegen ym auch auf dein lincke seittn vnd wind mit seinem knopf aussen vber sein rechte hant / vnd slach yn mit dem knopf vnd mit dem gehültz wo dw hyn wild Thus when foe has made the shears against you. So with your right hand grip from under up behind his right hand at the handle—such that your fingernails stay upward—and then fling your sword staunchly from you upon your left side, and also turn yourself against him upon your left side, and wind with his pommel out over his right hand, and strike him with the pommel and with the cross, wherever you will. Daß sechst reissen The sixth wrenching Item / wenn die swert paide gefangen sein / so würf den chnopf vast von dir auf dein rechte seitten / vnd ym auff sein lincke seitten vnd spring mit deinem rechten pain hinder sein linkß / vnd greif mit deiner rechten hannt von vnden auf in sein rechte vchsen / vnd heb mit seine swert vber sich / So würfstu in auf dein rechte seitten daß ist daß pest / vnd daß letzt vnder den [reyssen] Thus when both the swords are seized. So fling the pommel staunchly from you upon your right side—thus against foe upon his left side—and spring with your right leg behind his left leg, and with your right hand grip from under, up into his right axilla, and with his sword heave upward, thus you throw him upon your right side. That is the best and the last of the wrenchings. (76v) Daß Ist aber ein stuck Again this is one play Item sticht er dir zw dem gemächt / So stich im auch zw dem gemächt einen stich / Den andern stich / Stich von oben nyder vber sein lincke hant zwischen sein paiden arm / vnd wind mit dem knopf von vnden auf in sein rechte seitten schreit mit deine rechten pain hinder sein linckß / vnd würf In vber die drech Thus foe stabs at you to the bollix. So also stab him once to the bollix, then another stab from high down over his left hand between both his arms, and wind with the pommel from low up into his right side as you step with your right leg behind his left leg and throw him over the waist. Der wider pruch The counter against that Item / wer dir daß tůt so lasß dein swert gen pey der klingen / vnd greif mit deiner lincken hant hinden vber sein schulter / vnd begreif dein swert wider pey der klingen / vnd druck yn vast zů dir / vnd swing dich von Im auf dein rechte seittn Thus someone does that to you. So let go of your sword blade, and with your left hand grip behind over his shoulder, and grip your sword blade again, and press him tightly to you, and swing yourself from him upon your right side. Aber ein stuck Again one play Item arbait er mit dir hoch / vnd sticht dir zw dem gesicht / So stich von vnden auf zwischen seinen paiden armen / vnd vber sein lincke achsel begreiff yn mit deiner lincken hant hinder seine linckn / vnd würf dein swert mit dem pint auf dein lincke achsel / vnd greif mit deiner rechten in sein lincken elpogen stoß vast von vnden auf / vnd nym ym daß gewicht / So pleibt daß swert Thus foe works at you high and stabs at you to the face. So stab from low up between both his arms and over his left shoulder while you grip him behind his left hand with your left hand and while you wrap your sword onto your left shoulder with the handle—then with your right hand grip into his left elbow while you shove him staunchly upward from beneath—and take the balance 102 Half-Swording vnder seinem lincken arm zwischen ewer paider from him while the sword stays under his left arm between ye both. Aber ein stuck Again one play (77r) Item arbait er aber hoch mit dir / So stich aber vnden auf zwischen sein paidn arm / vnd lasß dein lincke hant varn von der clingen / vnd greif oben vber sein swert vasth (!) / vnd begreif dein swert wider pey der clingen vnd stoß ym paide swert denn vber / den halß hinden vber seinen rucken gar obhin in sein paide knyepüg / vnd reiß vast vnden an dich / vnd mit dem haubt stoß oben vast von dir so würfstu In auf den ruck Thus again foe works at you high. So again stab from beneath upward between both his arms, and let your left hand move from your blade high over his sword, reach and grip your sword blade again, and then with both the swords across the throat shove him yonder, over his back, indeed downward into both his knee joints, and wrench tightly to you below, and with the head jolt him high, staunchly from you, so you throw him on his back. Ein pruch da wider One counter against that Item / wer dir daß tůt / vnd wil dir paide swert vber den halß stosen / So var mit deiner rechten hant In sein lincke seittn vber seinen ruck / vnd schreit mit deine rechten pain vorn für sein linckß pain / vnd würf in vber die hüff / Der pruch get zw paiden seitten Thus someone does that to you and would shove both swords across your throat. So move with your right hand into his left side around his back, and step forth with your right leg before his left leg, and throw him over your hip. That counter works to both sides. Aber ein stuck Again one play Item stich ym Inwendig zw dem gesicht / vnd begreiff denn sein swert pey der clingen zw deinem swert in dein lincke hant / vnd wind mit dem knopf von vnden auf hinder sein rechte hant / vnd heb denn vast vber sich / vnd reysß denn auf dein rechte seitten / So pleibt dir sein swert auf deinem rechtn arm / daß ist daß swert nemen Thus stab foe inside to the face, and then grip his sword blade to your sword blade in your left hand, and wind with the pommel from under up behind his right hand, and then heave staunchly upward as you wrench up his right side, while thus his sword stays upon your right arm. That is the sword taking. Aber ein stuck Again one play (77v) Item / wenn du ym ein laufst so stich ym aufwendig zw dem gesicht / vnd greif mit dein° lincken hant Im zwischen sein paide hende in sein swertz klingen / vnd lasß denn dein swert fallen / vnd greif mit dein° rechten hant hinder sein lincke auch in sein swertz clingen / vnd druck mit deiner rechten hant sein swert vast zw dir in dein rechte seitten / So greif denn mit deiner lincken hant von oben nyder zwischen seiner paider arm ym hinder sein rechte hant in sein pint / vnd wind denn mit seinem chnopf von vnden auf zwischen sein paide arm so nympstu Im sein swert Thus when you interlope the foe. So stab him outside to the face, and with your left hand grip his sword blade between both his hands, and then let your own sword fall, and with your right hand also grip behind his left hand at his sword blade, and with your right hand press his sword tightly to you into your right side, thus then with your left hand grip from above, down between both his arms—behind his right hand at his handle—and then wind with his pommel from under, up between both his arms—thus you take from him his sword. 103 Knightly Dueling Ein wider pruch One counter against that Item wer dir daß tůt / vnd dir daß swert nemen / vnd aufwinden wil / So greif mit deiner rechten hant hinder sein rechte / vnd mit deiner lincken hinder sein rechten elpogen / So gewingstu ym den ruck an Thus someone does that to you and would wind up and take your sword. So with your right hand grip behind his right hand, and with your left hand grip behind his right elbow—thus you move into him and have won. Aber ein stuck Again one play Item wenn ir paide vmb ein swert kriegt / So tracht daß dw hast dein lincke hant hinder seiner rechten in seinem pint / vnd dein rechte hant zwischen seiner peiden hendt in seiner swertz klingen / So begreif in denn mit deiner lincken hant hinder seinem rechten / vnd greif denn mit deiner rechten von vnden auf vnder sein rechten arm / vnd schreit mit deinem rechten pain hinder sein linkß (78r) Zucht er daß pain hindersich / So schreitt zwischen seine paide pain / vnd stoß ym dann sein arm mit der lincken hant von dir auf dein lincke seitten / vnd zeuch Im mit der rechten hant sein rechten arm vast an dich / vnd ein wenig vber sich auf dein rechte seitten so feltt er Thus when ye both struggle for one sword. So strive such that you have your left hand behind foe’s right hand at his handle, and your right hand between both his hands at his sword blade. Thus then you grip in with your left hand behind his right hand, you thus grip with your right hand from beneath, up under his right arm, and step with your right leg behind his left leg. Then he tugs that left leg behind himself, so you step between both his legs and then with your left hand shove him by his right arm, from you upon your left side, and with your right hand tug him by his right arm, tightly to you and a little upward upon your right side—thus he falls. (78r) Hye heben sich an die mortschleg Thus here start the morte strikes Der erst mortschlag trit vast In in / vnd tůe sam dw in Inwendig zw dem gesicht wellest stechen / vnd lasß denn dein rechte hant varen vonn deinem pint / vnd kum do mit deiner lincken hant zw° hilff in die swertz klingen / vnd slach in mit dem knopf oder mit dem gehultz / oder mit dem pint zů seine haubt The first morte strike Tread closely to foe and juxtapose inside as if you would stab to face. Then let your right hand move from your handle and go therewith to help your left hand upon the sword blade, and strike him with the pommel or with the cross or with the handle, to his head. Ein pruch do wider One counter against that Item wer dir zw dem kopff slecht / So vach den slack zwischen deine paiden henden in dein swertz clingen / vnd wind mit dem knopf auf dein lincke seitten vber sein gehültz / vnd ruck vast an dich / So zeuchstu im daß swert auß seinen henden Thus someone strikes at you to the head. So catch the strike at the sword blade between both your hands, and wind with the pommel upon your left side over his cross, and yank it tightly to you—thus you tug his sword out of his hands. Der ander mortslagk The second morte strike Item stich ym aber / Inwendig zw dem gesicht / vnd lasß aber dein swert varn (78v) mit dem pindt / vnd begreif aber dein swert mit paiden henden pey der clingen / vnd slach yn mit dem chnopf zw der lincken achsel Thus stab foe again inside to the face, yet instead let your sword move forth with its handle, and grip your sword blade with both hands, and strike him with the pommel to the left shoulder. 104 Half-Swording Ein pruch da wider One counter against that Item vach den slagk zwischen dein paide hend in die clingen / vnd wind mit dem knopf von oben nyder vber sein gehultz / vnd ruck vast an dich / So nympstu ym aber sein swert alß vor Thus catch the strike in the blade between both your hands and wind with the pommel from above downward over his cross and yank tightly to you. So again you take from him his sword, just as before. Der dritt mortschlagk The third morte strike Den dritten mortschlagk den thůe zw seinem lincken elpogen / vnd den prich alß dw die vorigen zwen geprochen hast The third morte strike—do it to foe’s left elbow, as you have done to other areas. And counter it as you have countered the two aforesaid. Der vierd mortschlagk The fourth morte strike Item tůe sam dw In zw° seinem gesicht wöllest stechen / vnd slach in mit dem knopf an sein lincke knyepüg Thus juxtapose as if you would stab foe to the face, and instead strike him with the pommel to his left knee joint. Der pruch da wider The second counter against that Wer dir zw der lincken knyepüg slecht / So vach den slagk zwischen dein paide hend in dein swertz clingen / vnd daß dein knopf gegen der erden stee / vnd wind auf dein rechte seittn von vnden auf / vnd ruck vast hindersich / So nympstu ym sein swert Someone strikes at you to the left knee joint. So catch the strike at the sword blade between both your hands, such that your pommel stays toward the earth, and wind your weapon upon your right side, up from underneath, and yank tightly behind him—thus you take from him his sword. Der fünfft mortslagk The fifth morte strike Item tůe aber sam du ym wilt an setzen (79r) Inwendig in daß gesicht / vnd slach In mit dem knopf nyden in seine lincken enckel Thus juxtapose as if you would attack foe inside to the face, and instead strike him with the pommel underneath, into his left ankle. Ein pruch da wider One counter against that Item wer dir zw dem lincken enckel slecht / So lasß dein swert varn pey dem knopf / vnd mit dem pint in die erd / So vechstu den slagk in daß gehultz / vnd spring rasch mit deine rechten pain hinder sein lincke seitten / So gewinstu ym den ruck an Thus someone strikes at you to the ankle. So let your sword move forth by its pommel and with the handle into the earth—so you catch that strike in the cross—and spring swiftly with your right leg behind his left side; thus you move into him and have won. Vier an setzen Four attacks Gee rasch in In / vnd setz ym an sein gesicht / oder an den halß / oder an sein prust / oder vnder sein linckeß vchsen Go swiftly into foe and attack him with the point at his face or at the throat or at his breast or under his left axilla. 105 Knightly Dueling Ein pruch One counter Hat er dir an gesetzt mit seine swert an dein prust / So var mit der lincken hant von oben nyder auf sein swert / vn halt daß vest pey dem ort / vnd stich den mit deine swert hinder sein linkß pain / vnd schewb mit deiner prust ein wenig fur dich vnd zuck denn deinen leib pald ale auß seinem ort / vnd stoß yn mit deiner lincken hant vnder sein gesicht / oder an sein prust hinder sich vber dein swert Thus foe has attacked you with his sword at your breast. So move from above to below with your left hand upon his sword, and hold that fast by the point, and then stab with your sword behind his left leg, and shove with your breast a little forward as you then withdraw your body quickly out the way of his point, and with your left hand jolt him under his face or to his breast, backward over your sword. Ein ander pruch One other counter Item Hat er dir aber an gesetzt / vnd du ym auch / So stich mit deine swert hinder (79v) seinen hantschůch / vnd lauf für dich auf sein lincke seitten Thus foe has attacked you again, and also you attacked him. So stab with your sword behind his gauntlet and surge forward upon your left side. Aber ein lösung Again one loosening Item wenn ir paide swert habt an gesetzt / So greif mit deiner lincken hant aussen vber sein lincke / vnd zeuch den ort ein / vnd stich von vnden auf in sein lincken tenär Thus when ye both have attacked with swords. So grip with your left hand out over foe’s left hand and snatch his point, then stab from under up into his left palm. Aber ein losung Again another loosening Item / wenn er dir hat an gesetzt an dein prust / vnd wil dich dringen / So stich mit dem swert von oben nyder vber sein lincken arm zwischen seiner paider hennd / vnd wind mit deinem knopf von vnden auf gegen seiner rechten seitten so prichstu ymß Thus when foe has attacked you to your breast with his point and would push you. So stab with your sword from above to below over his left arm, between both his hands, and wind with your pommel from beneath, up toward his right side—thus you counter him. Ein wider pruch One counter against that Item wer dir daß tůt / So lasß dein lincke hant von der clingen / vnd schreit mit deine lincken pain fur In begreif dein swert wider pey der clingen / vnd druck in vast zw° dir / vnd swing dich denn auf dein rechte seitten / So wurfstu yn fur dich nyder Thus someone does that to you. So let go your blade with your left hand while you step with your left leg before foe, then grip your sword blade again and press him tightly to you, and then swing yourself upon your right side—thus you throw him down before you. ‫ﱝ‬‫ﱝ‬ 106 Half-Swording FOUR WARDS FOR HALF-SWORD FROM KAL EQUIVALENT TO THOSE OF LIECHTENAUER DUEL FIGHTING Third ward Second ward Fourth ward First ward 107 Knightly Dueling MORTE STRIKES OF LIGNITZER AS PORTRAYED BY KAL Low stab to bollix versus third morte strike to elbow. High stab to face or throat versus fourth morte strike to knee. 108 Dagger Fighting ‫ﱝ‬‫ﱝ‬ Having progressed through the likely stages of the duel—lance and/or sword upon horse, then spear and/or sword upon foot—and the knights somehow find themselves still at odds and neither vanquished, then it would finally have to be settled by the very serious endgame where each fights with his dagger (degen). The mettle of this lowly common weapon was proven in the close-range fight. Said dagger could be either of ballock or rondel design—yet ballock seems the one here, as die scheiben (the [single] disc) of hilt that constitutes the pommel is mentioned. Although a number of other weapons could and did figure into knightly judicial combat—including the mace, pole flail, halberd and, of course, the notorious pollaxe—von Danzig is emphatic that the three main and basic weapons of the German duel were the lance/spear, the longsword, and the dagger. One may notice that the moves of dagger fighting are verifiably almost the same as those of wrestling (ringen)—except, of course, each man has a dagger in hand. Because only sparse description is found in the preceding lore for dagger, yet said lore makes it quite clear that the dagger was something a knight needed to know how to wield both ahorse and afoot, I have chosen to include the degenfechten (dagger fighting) of Andre Lignitzer via von Danzig from his Fechtbuch of 1452. These plays (stuck) are not as extensive a system as may be found elsewhere in the corpus of Kunst des Fechtens, but they are vicious and effective and would certainly have served a man better than nothing. Again, something that went without saying in 1452 yet needs realizing nowadays is that anywhere wrestling was designated in either horse fighting or duel fighting, the generally unspoken understanding was that one or the other combatant, if not both, probably had his dagger drawn and ready for this range. We definitely find this weapon in such other texts of the German lineage as Codex Wallerstein, Gladiatoria, Talhoffer, and Goliath, since each presents dagger fighting suitable to and/or portrayed in armoured dueling. It is interesting to realize that a great deal of what works for armoured dagger fighting works for unarmoured, and vice versa—plus the symmetry of this sort of combat allows everything to work on both sides. Notice that indeed denckn arm/hand means “left arm/hand” and not “dagger arm/hand”—an easy mistake to make—and that vach may mean either “catch” or “seize,” depending on context. Notice the spars (sparren)—this is the ubiquitous “X block” against a downward stab when one is unarmed. Lastly, keep in mind something that goes for dagger fighting as well as all fight lore in this book: although the plays describe action in step-by-step fashion, it should be understood that moves take place very quickly, with great strength and speed. Thus what may take somebody 30 seconds to read probably takes no more than 3 seconds to do, when done for real with prowess. This should go without saying—yet sadly, so many just do not get that. 109 Knightly Dueling ‫ﱝ‬‫ﱝ‬ (85r) Hie heben sich an Maister Andreß Lignitzerß stuck mit dem degen Here start Master Andre Lignitzer’s plays with the dagger Merck daß erst stuck mit dem degen Mark the first play with the dagger / Sticht er dir von oben nyder zw deine gesicht / oder der prust / So var mit deine denckn arm von vnden auf / vnd vach den stich in deinen arm / vnd greif mit der dencken hant von Inwendig aussen vber sein rechten arm / vnd druck In vast in dein dencke seitten / vnd stich yn denn mit deine degen zw seinem gesicht Foe stabs at you from high down to your face or your breast. So move with your left arm from low to high, and catch his stabbing arm on your arm, and with your left hand grip from inside out over his right arm, and press it tightly into your left side, and then with your dagger stab him to his face. Daß ander Stuck The second play Thůet er sam er dir oben zw dem gesicht well stechen / vnd macht dir einen feler / vnd wil dich in die seitten stechen / So vach den stich in dein dencken arm vnd / vnd wind denn mit deiner dencken hant von vnden auf vber sein rechte hant / vnd druck vast an dich an dein prust / vn stich in mit deinem degen zw seinem gesicht Foe juxtaposes as if he would stab you to the face, and makes a fake at you, and instead would stab you in the side. So catch the stabbing arm on your left arm, and then wind with your left hand from under up over his right hand, and press it tightly to you to your breast, and with your dagger stab him to his face. Daß dritt stuck The third play Hat er den degen gefast daß die scheiben pey seine daumen stet / vnd sticht dir oben aber zw dem gesicht / So var mit deiner dencken hant von vnden auf / Inwendig seinß rechten armß aufwendig vber sein rechte hant / vnd vach ym die hant / vnd den degen in dein dencke vchsen / vnd setz ym mit deine degen an / wo dw wild If foe has grabbed his dagger such that his thumb is by the disc, and he indeed stabs high at you to the face— then move with your left hand from under, up inside his right arm and outside over his right hand, and seize his hand and its dagger beneath your left axilla, and set upon him with your dagger, wherever you will. (85v) Daß vierd stuck The fourth play Hat er den degen aber daß die scheiben pey dem daumen stet / vnd sticht dir zw der seitten oder zw dem gemacht / So var mit deiner lincken hant von oben nyder / vnd stich mit deine degen vnder sein rechte hant / vnd druck mit deiner dencken hant vndersich / vnd mit deiner rechten hant vber sich heb / vnd druck vast an dein prust / vnd swing dich von ym auf sein rechte seitten Again foe has his dagger such that the thumb is by the disc, and he stabs at you to the side or to the bollix. So move with your left hand from above to below and stab with your dagger under his right hand, then press down with your left hand while you heave up with your right hand, and press tightly to your breast as you swing yourself from him upon his right side. 110 Dagger Fighting Daß fünfft stuck The fifth play Hat er den degen gefast daß die scheiben an seinem clainem vinger stet / vnd sticht aber von oben nyder / So vasß deinen degen auch also stich dw von oben nyder gegen seine stich / vnd vber sein rechte hant / So greiff denn mit deiner dencken hant vnder deiner rechten hant In dein degen klingen / vnd druck deinen arm vast zw° samen / vnd ruck yn vast hinder sich / Daß ist daß verschliessen Foe has grabbed his dagger such that his little finger is by the disc, and indeed he stabs from high to low. Thus grab your dagger also, thus you stab from high to low toward his stab and over his right hand as you step to avoid. So then with your left hand grip under your right hand at your dagger blade, and press your arms tightly together, and yank him staunchly backward. That is the locking. Daß sechst stuck The sixth play Hat er seinen degen getzogen / vnd dw deinen nicht / vnd sticht dir oben zw° / So var mit deine rechten arm von vnden auf / vnd begreif yn mit deiner rechten hant hinder seiner rechten / vnd var mit deiner dencken hant von vnden auf an sein rechten elpogen / vnd nym ym daß gewicht / vnd stoß ym den (86r) arm gar vber deinen dencken arm / vnd würf tauß eß oder sibene Foe has drawn his dagger yet you have not drawn your dagger, and he stabs at you from high. So move with your right arm from under upward, and with your right hand grip him behind his right hand, and with your left hand move from under up at his right elbow, and take his balance from him as you shove him by that arm well over your left arm and throw. Do it or the seventh play. Daß sibent stuck The seventh play Hat er sein degen ee gezogen denn dw den deinen / vnd sticht dir oben zw° / So vach den stich in den dencken arm vnd var von Inwendig außen vber dem rechten arm / vnd druck in dein dencke seitten / vnd swing dich von ym auf dein rechte seitten / So prichstu ym dem arm / Wiltu yn werffen auf den ruck / So spring mit deine rechten pain auf dein dencke seitten / vnd greif mit deiner rechtn seittn hant vnder sein rechten arm / So wurfstu in vber die hüff Foe has drawn his dagger before you have drawn yours, and he stabs at you from high. So catch the stabbing arm on your left arm and move from inside, out over the right arm, and press it to your left side and swing yourself from him upon your right side—thus you break his arm. Would you throw him upon his back? Then spring with your right leg upon your left side, and with your right hand grip under his right arm—thus you throw him over your hip. Daß acht stuck The eighth play Hat er aber den degen gezogen / vnd du den deinen nicht / So stee freyleich für In / vnd mach den sparren / Stich er dir denn oben zw° / So arbait Im nach dem gewicht (86v) Blank Again foe has drawn his dagger and you have not drawn your dagger, so stand freely before him and yet make the spars to catch his dagger arm as he stabs at you from above—thus work at him to take the balance. ‫ﱝ‬‫ﱝ‬ 111 Knightly Dueling DAGGER FIGHTING IN HARNESS FROM MS KK5013 SIMILAR TO PLAYS IN LIGNITZER VIA VON DANZIG The spars, high and low (high is like eighth play—low is a variant). First play Sixth play 112 Dagger Fighting DAGGER FIGHTING IN ARMING CLOTHES FROM TALHOFFER (1450) SIMILAR TO PLAYS IN LIGNITZER VIA VON DANZIG Each fighter tries to do the third play to the other. The eighth play—the spars catch the stab from above. 113 Knightly Dueling DAGGER FIGHTING IN ARMING CLOTHES FROM TALHOFFER (1467) The following moves could most certainly find their place in an armoured duel, as well as aiding the knight in mundane self-defense. Here is fighting with daggers: God preserve us! Stabbed from roof—Forset and wended. Strike from high to low—Forset from low to high. 114 Dagger Fighting Catch and stab or slash—Stab from high countered. Wrap, lock, and throw—Stab done then undone. 115 Knightly Dueling Again, moves wieldy to both armoured and unarmoured fighting, which also relate to the holding down that follows. Arms go up and down to catch stab from high, and then throw. That throw achieved and hold down. 116 Dagger Fighting Forset, grapple high and grapple low, throw—Stab from high fully exerted. Start of that same play. The master himself has overseen these plays and takes part in both. 117 This page intentionally left blank. Holding Down and Staying Upon ‫ﱝ‬‫ﱝ‬ What follows are arguably the most brutal combatives for a duel: wrestling upon the ground, often with daggers drawn, both knights trying to put an end to the struggle, the final ringen moves of the armoured degenfechten endgame. This was called unterhalten (holding down/covering) and aufstehen (staying upon) or aufkommen (recovering). The lore for that is by Martein Hundtfeltz via von Danzig from his Fechtbuch of 1452. Unterhalten deals with keeping the foe on the ground beneath you; aufstehen deals with getting yourself from beneath the foe and getting above him instead. Although past combative ringen was usually devoid of ground fighting, we do find such was integral to its use in harness—although it is clear that recovering dominance and gaining one’s footing again was still important. Notice that also described here are quite literally some “dirty tricks”—thus probably why von Danzig included some unterhalten in his verpoten ringen. Notice that although I translated most of the definite articles (der, den, dem) as possessives (his, your) in order to describe the wrestling more clearly, I chose usually to leave “the dagger” intact, as it may be either man’s dagger that gets utilized, depending upon the kinetics and juxtapositions that happen during these plays. Notice too the somewhat archaic references to surcoat (wappenrock) and pommel (knopf) (of quillondagger) that may indicate a genitive date for this specific lore of late 14th century. Note that the terms unterhalten and aufstehen may be alternately translated as “pinning down” and “ground fighting,” as in the book Sigmund Ringeck’s Knightly Arts of Combat by David Lindholm and Peter Svärd (see “Bibliography”). Please realize that these plays required more interpolation than most others, so admittedly there is some room for alternative ideas as to how to do them. Similar yet incomplete lore is found in Goliath (1510–1520). ‫ﱝ‬‫ﱝ‬ (90v) Hie hebt sich an maister marteinß hundtfeltz kunst die vnder halden vnd die auf sten Im harnasch zů kampf Here starts Master Martein Hundtfeltz art of holding down and staying upon for dueling in harness. (91r) Merck wenn er felt so fall Im albeg zů der rechten seitten / vnd mit dem rechten knye fall zwischen sein pain / vnd mit der lincken hant fal fur seinen halß / vnd piß nicht zů jach daß du nicht zu fer° vber In fellest / vn greif nach seine degen / vnd zeuch denn deine nicht du habst in den gewiß / wil er dir denn in den degen fallen so stich in zů der hant Mark when foe falls—so always fall upon him to his right side–where his dagger is likely secured—and fall with your right knee between his legs as you fall forward with your left hand/arm at his throat. And be not so rash that you fail to cover him. And grab for his dagger, yet draw not your own dagger that you have secured. If then he would snatch your dagger, then stab him to the hand. 119 Knightly Dueling Ein anderß halden A second hold Nym sein rechten arm zwischen deine pain / vnd leg dich auf in / tzw twirchß vn streck dich vast vnd halt deine pain fest zů samen / vnd greif mit der lincken hant in sein lin ken arm / vnd hald in also / vnd arbait mit der rechten hant mit dem degen daß get zů paiden seittn Take foe’s right arm between both your legs and lay yourself across it and stretch yourself staunchly and hold your legs fast together, and with your left hand grip his left arm and hold it thusly. And with your right hand work with the dagger. That goes for both sides. Aber ein halden Again one hold Wenn du neben in fellest so nym sein haubt vnder dein linkß vchsen / vnd vmb vach in mit dem halß / vnd leg dich mit dem leib oben vber sein antlütz / vnd arbait mit der rechten hant When you fall nearby your foe, then take his head/helm under your left axilla as you wrap his neck with your left arm, and lay yourself with your body above and over his face, and work with your right hand. Aber ein halden Again one hold Felt er auf den ruck so fall im mit deine rechten kny zwischen sein pain / vnd vaß Im den rechten arm in dem lincke knye püg / vnd sitz dar auf / vnd begreif sein lin cke hant mit deiner rechten / vnd ruck Im die vnder seinen halß / vnd hald in fest mit der lincken hant / vnd arbait mit (91v) der rechten mit dem degen Foe falls upon his back—so fall upon him with your right knee between his legs, and seize his right arm within your left knee joint, and sit thereupon, and grip his left hand with your right hand and yank that under his neck, and hold him fast with your left hand and with the right hand work with the dagger. Aber ein hald Again one hold Wirfstu In auf den ruck so vall mit deine lincken knye in sein rechten arm / vnd mit der lincken für sein halß / vnd do mit druck in fast / vnd begreif ym sein lincke hant mit der rechten / vnd greif mit der lincken der rechten zů hilff / vnd hald ym sein lincke hant mit deiner lincken / vnd arbait mit dem degen mit der rechten You throw foe upon his back—so fall with your left knee into his right arm and with the left arm before his throat, and press him tightly therewith, and with your right hand grip his left hand, and with your left hand grip so to help your right hand, and with your left hand hold his left hand, and with your right hand work with the dagger. ein anderß halden A second hold Felt er auf den ruck / so begreif im paide pain vnder den knyen mit paiden henden / vnd heb sy auf vnd fall Im mit dem knye zwischen seine pain auf die hoden / vnd hald Im also paide pain mit einer hant / vnd arbait mit der andern mit dem degen Foe falls upon his back—so with both your hands grip both his legs under his knees and heave up, and thus fall upon him with your knee between his legs into his bollix, and hold him thusly, both legs with one hand/arm, and with your other hand work with the dagger. 120 Holding Down and Staying Upon Aber ein halden Again one hold Item pey dem halß mit der lincken vber die kel / Item vnder dem rechten arm durch / vnd vber dem halß Thus by the neck with your left hand/arm over his throat. Thus under his right arm, past and over his neck. Würfstu in auf den pauch You throw foe upon his belly So vall du mit ym dem rechten kny hinden in daß schloß vnd mit der lincken hant greif vber sein haubt vorn an daß visir / vnd zeuch vbersich / vnd mit dem knye druck nyder / Ist sein visir offen so greif mit den vingern in seine augen / oder greif mit paiden henden an die hauben / vnd vordre Inn den halß so felt er wi der auf den pauch So you fall upon foe with your right knee behind him such that you lock, and with your left hand grip over his helm in front of its visor and tug upward, and with your knee press down. Is his visor open? Then with your fingers claw his eyes, or with both hands grasp his helm and crank his neck—thus he falls again upon his belly. Ein arm pruch One arm break (92r) Item felt er auf den pauch so fall mit eine knye auf sein arm im gelenck / vnd prich vbersich / Item wenn er auf dem pauch leit so sitz auf in vnd schreit vber sein arm / vnd prich ym sy / Item sitz ym auf sein achsel sch ritling / vnd zeuch ym den kopf vber sich Thus foe falls upon his belly—so fall with one knee upon his arm in its joint, and break upward. Thus when he lays on his belly, then sit upon him, straddle his arm and break it. Thus sit upon his shoulders, straddling, and tug his head upward. Item sein rechte hant auf dem ruck wol vber sich gedaucht / Item greift er dir in dein vi sir mit den vingern wenn eß offen ist von vnden auf / wenn du auf dem pauch leist so schlach mit dein° lincken hant an sein lincke / oder mit der rechten auf sein rechte / vnd ruck an dich vnd druck dein haubt zů der erden / vnd hilf mit henden vnd mit fuessen so kumpstu auf Thus it seems his right hand is upon your back. Thus with the fingers of his left hand he claws at you in your visor when it is open, up from underneath, when you lay upon your belly. So with your left hand strike at his left hand, or with your right hand yank his right hand to yourself while you press your helm to the earth, and with your hands and feet helping you recover. Aber ein pruch Again one counter Item begreif sein lincke hant mit deiner lincken / vnd zuck an dich fall auf den ruck vnd mit der rechten hant begreif sein pain / vnd heb vbersich so kumpstu auf Thus with your left hand grip foe’s left hand and tug it to yourself while you fall/roll onto your back, and with your right hand grip his leg and heave upward—thus you recover. 121 Knightly Dueling Ob du auf den ruck felst If you fall upon your back Item ob dich einer auf den ruck würft so merck in dem alß du fellest so leg dein lincke hant auf dein prust / vnd wenn er auf dich felt so begreif mit dein° lincken hant seinen lincken elpogen / vnd mit dein° rechten hant greif vnder sein linkß kny / vn heb vber sich / vnd mit dem leib schupff dich rasch auf in dem fäl so chumpstu auf yn Thus if someone throws you upon your back. So mark this—as you fall then clutch your left hand to your breast, and when he falls upon you then with your left hand grip his left elbow, and with your right hand grip under his left knee and heave upward, and with your body shift yourself swiftly upon him during his fall—thus you recover and cover him. Ein ander pruch A second counter (92v) Oder pring deinn lincken arm vmb sein halß / vnd heb mit dem rechten pain / vnd hilf mit der rechten hant Or bring your left arm around foe’s neck, and heave him with your right leg as your right hand helps. Item magstu daß nicht getůn / vnd er mit dem degen arbait so schupf dich albeg auf wertz magstu dein lincke hant nicht (!) gewin nen so greif ym vnder sein hant vnder den degen / vnd tů die hant zw° wenn du greiffen wild / vnd wen du Im die hant gefast hast so greiff mit der rechten an sein lincken elpogen / vnd heb vbersich zuck daß recht kny zů dir / vnd besich ob du Im magst von dir gestossen Thus you may not have done that, and foe works with the dagger–so always shift yourself outward, and so may your left hand not become seized. So with your left hand grip him under his dagger hand beneath its dagger—and aid that hand while you grapple–thus when you have seized that hand of his, then with your right hand grip his left elbow—that of his empty hand–and heave upward while you tug your right knee to yourself, and reckon whether you may shove/kick him from you. Ein gůt halden in den ringen One good hold for wrestling Begreif mit der rechten hant sein rechtn arm hinder seiner rechten hant / vnd mit deiner lincken hant nym ym daß gewicht pei seine rechten elpogen / vnd stoß sein re chten arm mit deiner rechten hant wol vber deinen lincken arm vnd dritt hinder In / vnd hald In also fest hastu In nicht ge worfen / so begreif sein rechtß pain vnder dem knye When both you and foe are standing—so with your right hand grip his right arm behind his right hand, so at the wrist, and with your left hand take his balance by taking his elbow, and with your right hand shove his right arm well over your left arm while you tread behind him, and thus hold him fast. If you have not thrown him yet, then grip his right leg under its knee. Daß ist ein lere This is some lore Hastu einen vnder dich geworffen so schneid oder reiß ein grosß stuck auß seine wappen rock stich ym daß in sein visir mit dein degen / vn lasß in daß nicht auß gewinnen If you have thrown foe under you, then cut or rip a big patch out of his surcoat and then stick that into his visor with your dagger, and let him not pull that out. That is good for when it is muddy. Or throw foe so that his visor 122 Holding Down and Staying Upon daß ist gut wen eß kotig ist / oder würf Im daß visir voller staubß / oder gemülß oder stich mit dem degen erden auß vnd würf / Imß in daß gesicht fills with dirt or muck, or stab / scoop the earth with your dagger and toss a clump of that into his face. ein andere ler Some other lore (93r) Merck magstu kain plösß an ym gesehen so schneid ym auß dem wappenrock auf den armen / oder die hosen / vnd waß dw sichst von nesteln die schneid auf vnd vin destu ein gurtel die schneid auch auf do vin destu etwaß an daß dir gůt wirt /vnd sich gar eben an seinen degen Mark that when you may see no gaps on him, then cut foe out of his surcoat or his rerebraces or his cuisses— and whatever you see beneath you cut away from its thongs. So if you find any belt—then indeed cut that away. There you find whatever on him that would do you good to cut away. Indeed—look for his dagger. Merck du magst In auch slahen mit dem knopf / oder stossen zů dem hertzen / wenn er leit oder zů den achseln oder zů andern gelencken Mark that when foe lays out, then you may indeed strike with the pommel or thrust to the heart, or to the shoulders, or to other joints. Merck in dem verreiben slach oben oder vnden an sein enckel / vnd zeuch oben auf sein seittn mit der rechten Mark that as you do the grinding strike to foe, above or below at his ankle, that you tug high up his side with the right hand. Also sůch auch die plössen hinden zw dem leib zů dem gesicht zwischn den schultern Inwendig vnder den vchsen / vnd zuck nicht wider piß er (!) sichert Thus indeed, seek the gaps—behind to the body, to the face, between the shoulders, inside under the axillas— and withdraw not, until you are certain that he be dead. ‫ﱝ‬‫ﱝ‬ 123 Knightly Dueling Some holding down and stabbing from MS KK5013 (1425–1430), similar to some from Hundtfeltz. 124 Training the Youth ‫ﱝ‬‫ﱝ‬ The fight books tell us a little of the early martial training of noble youth (junker) yet tell us much more, of course, about later martial training of noble teenagers and adults meant to make them knights (ritter) ready to survive any eventual dueling and battle. However, it should be obvious that boys did not become knights overnight. Knights could do their martial arts because of years of training, a basic fact often lost upon modern academics, reenactors, and the general public. So I would like to try to illuminate something about boyhood training of knightly youth. It seems that a picture of youthful training for the vocation of arms is actually given to us by the period sagas, epics, and romances, one supportive of the fight books. Those literary works from which noble German youth heard and/or read about the training of other noble youth were derived from Teutonic, Arthurian, and Hellenic mythologies. Any and all such training, exercise, practice, or regimen was termed übung by various fight masters, who undoubtedly utilized it to get their fighters fit for combat, to be able to do what fighting required. All those sources—whether guerre lettres or belle lettres—show that medieval and Renaissance German martial artists understood the concept and value of training. Indeed in that regard, German belle lettres (Kudrun, Nibelungenlied, Biterolf und Dietlieb, Wolfdietrich, Beowulf, Wigalois, Meleranz, Parzival, Tristan und Isolde, Lanzelet, Trojanische Krieg, Alexanderlied) often confirmed, or at least did not contradict, the guerre lettres (Döbringer, Ringeck, Talhoffer, von Danzig, Kal, Mair, Meyer). Certain later historians have recognized that German belle lettres described early knightly training—e.g., Büsching (1823), Schultz (1889 and 1892), and von Wedel (1904). The following summary of such youthful training may be substantiated by all the aforesaid lettres (refer to “Bibliography”). In his earliest youth, the boy was trained in the handling of weaponry for when someday he should become an able knight. Until age seven, the boy’s mother and other kinswomen primarily cultivated him, but already then arms and armour exercise and practice must have begun, should it bring the boy to the desired or required mastership. Perhaps the father did that himself. If not, then preferably he entrusted that development to an able uncle or other kinsman, perhaps a befriended knight—thus boy (knabe) became squire (knappe). Later, he who could do so had a fight master provide his son all weaponry training, teaching the vocation of arms. If not in such a position, then he would let those skills be taught to his son in house, entrusting him to one of his experienced sergeants. Whoever the teacher, he must certainly have kept his students busy, and certainly some boys must have been more studious than others. Customarily, one also started to teach a youth riding (reiten) quite early—for to hold sway over the steed, to be a steady rider, was indeed one of the main goals during the knight’s lifetime. Upon his skill at horsemanship depended his fortunes in tourney, in dueling, and in battle, as well as just cross-country travel. The upbringing of the knight likewise included early hardening via trials of exertion, privation, and finally adaptation, being exposed to that from earliest youth—for chivalry/knighthood demanded a sound, powerful body and mind. If he could not withstand these tests, it was certainly the better for him to abandon becoming a knight and do otherwise, like go into a cloister to undertake holy and scholarly work, maybe later to get a good benefice. Arguably that served, de facto, an almost eugenic function for European culture: those who proved warriors became men with breeding lives, and those who proved priests became men with celibate lives. 125 Knightly Dueling The regimen started early, beginning at age seven with wrestling and athletics, developing by age 12 with fencing and riding, and completing by age 15 ability at all chivalric arts, with full knighting by age 21. (However, perfection of prowess must have been a lifelong pursuit.) The training could be harsh and wearying and was comprised of a variety of activities. The boys first partook of wrestling (ringen), running, swimming, springing, climbing, archery, stone throwing, and spear throwing. In turn came fighting with sword and shield/buckler, dagger, messer, staff/cudgel, spear, and longsword (langes schwert). Also at this time, horse fighting (roszfechten) was taken up and tested by dressage, quintain, and jousting, and of course eventually by bohorts and tourneys. Likewise hunting (jagen) of boar, deer, and aurochs with spear, javelin, bow, and crossbow was part of the young knight’s aggressive and nutritive development. The youth partook also of more sportive social activities, like dancing (where he interacted with maidens), hurling (where he competed with other youth), chess (for tactical thinking), falconry, and even ice skating—for such fun had its time and place too. Also, the youth learnt true courtesy, the kind born of martial arts. Likely it was something akin to what Liechtenauer via Döbringer (86r) stated, that “all courtesy comes from wrestling” (alle hobischeit kompt von deme ringen). Indeed nothing, whether inside or outside martial arts, teaches humility, respect, and fortitude so well as getting repeatedly slammed to the earth by another unarmed combatant while one’s unarmed self tries to achieve the same. All such activities made the youth into a well-shaped fighter with healthy body and mind. It is a reasonable guess that a fight master would have considered all that previous youthful training to be the foundation for the advanced and manly fight training. All such activity helped lead a man to get ready for winning at the greatest challenges of his fighting life—dueling and battle. ‫ﱝ‬‫ﱝ‬ Detail from Sol. 126 Training the Youth Sol from the Hausbuch von Schloss Wolfegg (1480). Knightly German youth training at stone throwing, staff fighting, wrestling, and longsword fencing, as conducted by a master and senior fencer in a field near a church on a sunny day with many activities. 127 This page intentionally left blank. Getting Ready ‫ﱝ‬‫ﱝ‬ What follows is the exposition and relevant depictions (plates A–B and 1–12 below) from the 1450Ambraser edition of the fechtbuch by Master Hans Talhoffer of what he felt needful to state and illustrate for a man getting ready for duel. Some of the things Talhoffer emphasized in his handwritten exposition may seem odd to us, but he laid out his basic lessons quite artfully from the same logical teachings of Liechtenauer, as found perhaps more obviously in the works of Talhoffer’s contemporaries—Ringeck, von Danzig, and Kal. Talhoffer’s lessons here, especially the depictions, ought to be taken as instructive summary of the longsword harness fighting that apparently availed his lordly student von Königsegg in his own duel (see “Leutold versus Unknown”). Notice that Talhoffer counsels not just about fighting itself, but also patronage, mindset, secrecy, training, diet, scholarship, ethics, protocol, spirituality, chivalry, pastimes, and the courting of women. Notice that Talhoffer speaks of joust and tourney as part of training for the greater goal of prowess at duel fighting. Notice, as with other texts, there is some needed interpolation. The pictures and translations of their respective captions follow the translation of the exposition. ‫ﱝ‬‫ﱝ‬ (pl.A) Item Es ist zů wissen des Ersten wen ain bydrmann Ze schaf·fen hätte (?) das Im geschriben wäre zů dem ernst oder er aim schreÿbe so sol er gedencken daß er sulle nach aim maister der In zů dem kampf versorgen kind (!) und sol Im den Maister hays·sen globen das er Im treůlich sein kůnst mit tail und sein Haymlichaÿt nit sag und Auch nit wider In seÿ das er die kůnst niemann wissen Laß die er In Ler This is the first item to wit. When an honest man— whether he becomes challenged or he challenges someone—has to get to earnest fighting, then he should think of this: he shall retain a master who knows about the duel/combat. And the man shall call him the master and believe him, so that the master imparts his art unto the man truly; and in turn, the man tells not his secrets. And so that the man be not counter to the master, then the man lets nobody wit the art which his master teaches him. Item Es sol aůch der Jůnckher sich hůten daß er nit vil gehayms mit den Leůten hab daß sein heymlichayt nemann erfar ynd daß Im nit werd vergeben und besůnder so sol er altag frů auff stän und höre ain meß und dar nach haÿm gän und sol essen ain schnytten sant Johans prott und sich arbayten zwo stůnde In der Ler und nit vil faists dings essen und nach mittag aber zwo stůnde und Thus it shall also guard/behoove the young lord that he not share many secrets with other folk, such that his secrecy informs nobody, and so that it becomes not given away. And thus especially to get ready for duel: every day he shall get up early and hear a mass, and thereafter go home; and he shall eat a bit of Saint John’s bread; and then work out for two hours in the lore of 129 Knightly Dueling ze nacht so er schlaffen will gän so sol essen ain růgk schwarzes brot auch ainem kalten wasser das macht Im guten ätem und weyt umb das hercz fighting; and at noontime, not eat many fatty things; and afternoon, he shall work out again for two hours; and at night, so that he will go to sleep, then he shall eat a loaf of rugged black bread and also drink cold water. All that gives him good breathing and a broad chest. Item wa den das da solte fůr sich gan so sol er schreyben In ain stat die Im dan dar zw gefale umb Inlass und umb gleichen schÿrm und wan Im das zw gesagt wirdt so sol er begern das man Im am freÿß gelayde gib fur sich selb und alle die da mit Im dar komen If then this duel should go on, then in a town he shall post challenge, whatever pleases him thereof, around the entryways and around similar shelters. And when that becomes told, then he shall demand that his foe and he get their own free escorts for oneself and one’s entire entourage. Item Eß sol auch der schyrm maister den Jungkher nemen der da kempfen wil und sol In furen an ain haymlich stat (!) alß In ain kirchen und sol In hayssen nyder knyen und got pitten das er Im verleich ain gluckhaft stunde und Im verleich sůg das er seinem feind angesůg Thus this also—the fencing master shall take the young lord who will duel there, and shall conduct him to a secret place, as into a church, and shall call upon him to kneel down and to pray God that he grant him one lucky hour and grant him victory, such that he defeats his foe. Und ain gůt hercz und starck feůst hab Das ist auch fast gůt dar zů And have a good heart and strong fists— All that is also quite good for dueling. ‫ﱝ‬‫ﱝ‬ (pl.B) Jůng man nůn lern Got lieb han und frawen ern Red frawen wol Und pyß manlich dan man sol Hůt dich von lůgen Und von schamlichen trugen Secz dein syn auff erlich sach Und gedenckh nach ritterschaft Mit frewden ÿben Stainwerffen und stainschůben Tanczen und springen Fechten und ringen Stechen und turnÿrn Schön frawen hofiren Ains schympf sonder schärz Fechten wil haben ain hercz Junkh mann erschrackstů gern So soltů nit fechten lern Es wird verloren kunst Wen von dem schlag der důnst Young man—this now learn: Have for God love, and for women honor; Converse with women well And be manly, as a man shall; Guard yourself from lying And from shameful deceiving; Set your mind to noble causes And contemplate chivalry With your joyful training— Stone throwing and stone lifting, Dancing and springing, Fencing and wrestling, Jousting and tourneying, And beautiful women courting. If one spars rather than jests Then his fighting will have heart. Young man, if you tend to frightening, Then you should not learn fighting; It becomes forlorn art When the dust of battle 130 Getting Ready Und die grossen straich Machen ein zag hercz pald waich Dar auff merck Und prauch all dein sterck Als in der rechten wag Nach guter kunst so frag Und sich dein buch gar eben an So finstu es gmalen vor da stan Nůn hab ains mans mut Gen dem der da unrecht thůt Wiltů mit eren beleyben So soltů die warhayt treyben Hůt dich von dem bösen Die trew nit kunden lösen Hastů das recht vernůmen So gesel dich zů den frumen Wen man dir rat wil geben So soltůß mercken gar eben So magst dů verstan do peÿ Ob es dir gůt oder schad sey Also red der Talhoffer Nun merckh auff die rechte mer Dů solt dich gar wol besynen Wan dů wilt fechten oder ringen Und merckh auf der vechtens treu Da sy dir ist nu neů Getraů nit yder mann Und stand fast alß der perr Das dů nit schlipfest hin und her And the great strikes Make a faint heart quite weak. Fathom that, And exert all your strength. As for the rightful way— Ask after the good art, And really look at your book, Thus you find it portrayed there. Now have a man’s courage Against them who do you wrong, Then you will stay with honor, Thus you shall further the truth; Guard yourself from the wicked, The trusty lose not the knowledge; When you have taken guard of the right, Then you have joined with the pious. When someone would give you counsel, Then you should mark indeed— So may you understand thereby— Whether for you it be good or bad. Thus speaks the Talhoffer. Now fathom the rightful some more— You should consider really well When you would fence or wrestle; And fathom the fighting truly Then it becomes new instantly. Trust not just any man, And stand fast as the bear, So that you not slip here and there. Nu wil Lwtold von Kungksegg lernen zů den Ernst von dem Talhoffer Got erlaß unß aller schwer Now will Leutold von Königsegg learn about the earnest fighting of/from the Talhoffer—God spare us all hardship! ‫ﱝ‬‫ﱝ‬ (See Endnote #11 for more about sparring and training. See Endnote #12 for chivalric relationship of the sexes.) 131 Knightly Dueling (A) (B) (1) (2) 132 Getting Ready (3) (4) (5) (6) 133 Knightly Dueling (7) (8) (9) (10) 134 Getting Ready (11) (12) ‫ﱝ‬‫ﱝ‬ (1) No text. (1) Here, as he kneels before his own heraldic shield, bier and God, Leutold prays that the Lord grant him victory in the duel. [The empty banner may have been meant for Leutold himself to inscribe, but he never did.] (2) Das ist die Erst anlaitůng darInn man ain lert gan vnd besunder die ober nach dem stand vnd ist auch gut für stechen ~ Das ist der ander stand Im furtell (2) That is the first gambit: Therein one learns to go. Especially this high ward depends upon foe’s stance, and it is also good versus thrusting. ~ That is the second stance to one’s vantage. [See Endnote #13.] (3) Das ist die ander anlaittůng von Unden uff ~ Das ist die ober versatzung und Im der andern anlaittung (3) That is the second gambit, from under up ~ That is the high forsetting and into the second gambit. (4) Das ist der drytt anlaittůng und der recht stand in der rů ~ Hye ist der anlaitt und stät In dem vierden stand (4) That is the third gambit and the right stance for resting ~ Here is that gambit, plus he stands in the fourth stance. (5) Hie hat er schwert und spiesß in den henden und stat für schiessen (5) Here he has sword and spear in his hands and stands ready versus hurling. 135 Knightly Dueling (6) Das ist der ander stand für schiessen (6) That is the second stance versus hurling. (7) Das ist die Mittel anlaittůng (7) That is the middle gambit. (8) Der stat in seiner hůt (8) He stands in his ward. (9) Der stat in der Nidern versatzung (9) He stands in the low forsetting . . . (10) Der Schlecht im nach seim fůß (10) . . . He strikes foe to his foot. (11) Da fürt er dem mort schlag (11) There he directs the morte strike . . . (12) Da will er den straich weren (12) . . . There he will ward that strike. ‫ﱝ‬‫ﱝ‬ (See Endnote #14 regarding 1450-Ambraser and true mastership.) 136 Leutold versus Unknown ‫ﱝ‬‫ﱝ‬ Now that you are familiar with the main elements and phrases of German duel fighting, it is fitting to present a well-known yet little-understood example of 15th century duel upon foot that contains many of those elements—the duel of Leutold versus Unknown. This duel is almost regarded as mythic, even while it has been disregarded as historic. I hope that my analysis may help to change that—for although mythic is fine, it seems worthwhile to reckon what may have been historic as well. This dramatic account may prove surprising to some and controversial to others. This duel happened sometime between 1440 and 1450. It involved a range of dynamic maneuvers upon foot in armour with spears, longswords, and daggers, and it was fought by Leutold von Königsegg against an unnamed foe for unknown reasons. The duel is presented most completely by Hans Talhoffer in his 1450Ambraser edition, plates 13 to 40 via Hergsell, and identified as portraying a struggle involving von Königsegg. It is also featured in abridged forms in his 1443-Gothaer, 1459-Thott, and 1467-Gothaer editions, bereft of any specific identity. In plates 13–16 and 33–40 it is certain who is Leutold and who is Unknown, yet in plates 17–32 it is uncertain. This is really not important for martial lessons to be gained, but it is somewhat confusing. No single duel could ever really be called “typical,” as each fight is distinct from every other, starting with infinite permutations of action—so it is something of a case study. Yet this duel does evince a variety of techniques, from textbook to unique, that makes it quite fascinating. We know a little bit of the patronage and friendship between Hans and Leutold. Circa 1443 to 1455, Talhoffer probably made his way as a kind of fight-master-errant, journeying throughout Swabia, Franconia, Bavaria, and Switzerland. During that time, it seems he was personal trainer to von Königsegg and masterof-arms to his royal army. All the while, he made fight-book editions for himself and for patrons like von Königsegg (e.g., the 1450-Ambraser) and Brüder von Stain. Talhoffer’s portrayal of the dueling of two armoured knights, fighting with spears, longswords, and daggers, with attendant armigers and ready biers, and the final bloody victory, is a scene repeated in 1450, 1459, and 1467. It is thought that this scene is a retelling of an actual duel that von Königsegg fought and won according to the training that Talhoffer had him undergo. It is safe to say that because of this, von Königsegg probably respected Talhoffer as any modern captain would respect his worthy sergeant. Interestingly, in 1450-Ambraser there is textual reference to [lanzen]stechen and turnyrn, which Talhoffer distinguishes from the fechten and ernst[kampf ] that he taught von Königsegg. Indeed, this is one of the rare occasions when he mentions tourney, and he only does so to mark real fighting as distinct therefrom. Incidentally, there is no reason to think, as some have proposed, that hurling of spears at these duels was somehow only ceremonial instead of martial, merely launched as a mock threat without any actual aiming, a skeuomorphic ritual by Christian knights, related to ritual by heathen warriors of the past. Those notions ignore two things—a spear hurled could just as easily seek and shoot into the gaps of harness as a spear thrusted; and the defensive deeds of the portrayed knights make it quite clear that they took spear hurling as a willful dangerous threat, just as past warriors must have done so. A modern harness fencer replicating those deeds would be foolish to regard such casually. Regarding those hurling spears, it is reasonable to conjecture those were actually javelins that were part of one’s auxiliary arsenal at the duel. The viewer of the images may notice certain things. The scenes may not be exactly to proper scale, thus 137 Knightly Dueling perspective may be somewhat off; consequently, the figures may be depicted as closer than appropriate for some situations (or maybe not). However, the techniques themselves are not suspect, and some can certainly be found in various manuals and can be replicated today by accomplished modern harness fencers. Notice the style of the suits of armour portrayed, what is distinctive about that generation of full-plate harness—thus we see a hybrid helm, really a sort of sallet-armet; bulgy cuirass with besegews, multihoop fauld, and triangular tassets; floral spaudlers; articulated gauntlets; full cuisses; and maille gussets/voiders. Also notice that during the fight the knights always keep their helms on their heads (at least when they could help it). It ought to be realized that Talhoffer was innovative in his codicological presentation of the duel, as his format anticipated the graphic novel by several centuries—except, of course, this duel involved real heroics. However, one need only look inside any Catholic cathedral existent during the time of his chivalric Germany to see that such a format does not differ from the Stations of the Cross, wherein Christ as hero is readily discerned. For the scenes of the duel, I provide transcription and translation of their captions, and furthermore, an interpretive prose rendering of the whole thing as narrative to help the modern reader. Please realize that parts of the second Talhoffer scene (plate 14) are conceptually restored by graphic artist and martial artist Donald Lepping. (14) Hie gat er In den schrank und tregt Im der talhoffer den zeüg vor (14) Here Leutold goes within the barriers as Talhoffer leads the march. (13) Hie legt hans talhoffer lwtold von küngsegg an (13) Here Hans Talhoffer armours Leutold von Königsegg. 138 Leutold versus Unknown (15) Da siezt Lwtold von Kungsegg (15) There sits Leutold von Königsegg . . . (16) Und da sein widersach (16) . . . And there be his adversary. 139 Knightly Dueling (17) Der will schiessen (17) He will hurl his spear. (18) Da wert er den schutzs (18) There he wards against the hurl. 140 Leutold versus Unknown (19) Da hat er den schusz usz geschlagen (19) There he has deflected the hurl. (20) Da laufft er In an (20) There he rushes upon him. 141 Knightly Dueling (22) Das ist das faůchen umb den hals und werffen (22) That is the catching around the throat and its throw. (21) Da sind sy zemen kumen In die arbait und sůcht yetlicher die blösz uff sein vortaill (21) There they are come together into the work and each seeks some gap to his own vantage. 142 Leutold versus Unknown (23) Da ständs im getrang (23) Those are stances for pressing. (24) Das furen bey dem hantschuch (24) Controlling by the gauntlet. 143 Knightly Dueling (25) Das schwert nemen (25) The sword taking. (26) Hie hat er den schlag verseczt (26) Here he has forset the strike. 144 Leutold versus Unknown (28) Da schlwpft er durch und will das schwert nemen (28) There he slips through and will take the sword . . . (27) Da hat er verseczt und went Im den spiez In das visier (27) There he has forset the strike and wends his point into the visor. 145 Knightly Dueling (29) Das ist der bruch (29) . . . And that is the counter. (30) Hie ist er Im InSchliessen und will In nider wegen (30) Here he has locked him and will put him down. 146 Leutold versus Unknown (31) Da sucht er In mit dem tegen (31) There he seeks to get him with the dagger. (32) Da ligend sy und sucht yetlicher sein vortaill (32) There they lay and each seeks some vantage. 147 Knightly Dueling (33) Da hat er In ubergriffen und zuckt In uff (33) There he has grappled the foe and hoists him. (34) Da wirfft er In nider (34) There he throws him down. 148 Leutold versus Unknown (35) Da bricht er Im die hůben uff (35) There he breaks open the foe’s helm. (36) Hie hat er In erstochen (36) Here he has stabbed him. 149 Knightly Dueling (37) Da ist er uff gestanden und lůgt ob noch reg (37) There he has stood up and looks whether foe yet stirs. (38) Da zwcht man ab (38) There they strip the man. 150 Leutold versus Unknown (39) Da legt man In die bairen (39) There they lay the man in the bier. (40) Da tancket er gott (40) There he thanks God. 151 Knightly Dueling DUEL OF LEUTOLD VERSUS UNKNOWN—GERMANY, CIRCA 1450 (13) Fight-master Hans Talhoffer armours Lord Leutold von Königsegg in his plate harness, helping him to fit, tie, and strap its pieces to maille-reinforced arming clothes covering the knight’s body, with helm awaiting on ground. (14) Leutold goes within the wooden barriers around the gently sloping dueling ground while holding his dagger, while Talhoffer leads the march while acting as armiger bearing spear and longsword, and while the herald follows bearing the banner screen. (Refer to 1459-Thott folio 84v and 1467-Gothaer plate 68.) (15) Leutold von Königsegg sits fully armoured in a wooden chair decorated with horse heads at the girth of the barriers. His herald keeps the banner screen in place for privacy as Leutold gets himself together. In the foreground is the small heraldic shield. In the background is an awaiting bier draped with the flag of Saint Maurice. (1459-Thott folio 85r-left and 1467-Gothaer plate 69-left.) (16) The adversary, Unknown, also sits fully armoured in a wooden chair at the girth of the barriers. His herald keeps the banner screen in place for privacy as Unknown gets himself together. In the background is an awaiting bier draped with the flag of Saint George. (1459-Thott folio 85r-right and 1467-Gothaer plate 69right.) (17) The one knight will hurl his spear, as he cradles his longsword with his other arm, while standing upon apparently sloping and/or uneven ground. (1459-Thott folio 85v-left and 1467-Gothaer plate 70-right.) (18) The other knight wards against the hurl of the one knight, while he holds his spear and longsword in tandem in what is actually the third ward for half-sword. (1459-Thott folio 85v-right and 1467-Gothaer plate 70-left.) (19) The one knight has deflected the apparent counter-spear-hurl of the other knight, with his cradled longsword and spaudler, by swatting high to shed it midair, as his other hand grips his dagger. (1459-Thott folios 86r–86v and 1467-Gothaer plate 71.) (20) The other knight rushes upon the one knight while halfway maintaining second ward, thus following that spear hurl with a longsword attack. (21) The knights have come together into the work of binding and winding at close range with their longswords, each in second ward. Each knight seeks to strike some gap in the other’s harness with the point of his longsword, naturally to his own vantage. (Second ward is also called brentschirn [fire poker] by Talhoffer—1459-Thott folio 88r and 1467-Gothaer plate 39.) (22) While at work in the previous scene, Right Knight treads behind and catches Left Knight around the throat with the hilt of his longsword as he seizes both blades together with the off hand and would then make the finishing throw back over his leg. (23) Left Knight attacks from fourth ward and Right Knight attacks from first ward. Out of those stances each drives forth and presses his point into the other, most likely aiming at axillas, meaning to push the other back or off balance and/or pierce his gaps or, failing that, getting to some work. (1467-Gothaer plate 43.) 152 Leutold versus Unknown (24) Right Knight is controlling the arm of Left Knight by thrusting his sword point into the cuff of the gauntlet, while perhaps hurting the hand as well. Right Knight is spinning Left Knight around while pushing against his shoulder with the off hand, driving back Left Knight and/or unbalancing him. (1467-Gothaer plate 44.) (25) Each knight started from second ward. So Left Knight drove his sword high into first ward, then Right Knight let go the blade with the front hand and wended his longsword through and back as he trod, which caused Left Knight to seize that blade with his front hand. In turn, Right Knight seized both blades below to shear those together, which loosens Left Knight’s seizure so that Right Knight may take his longsword. (Complex, yet happens very quickly. 1459-Thott folio 88v and 1467-Gothaer plate 40.) (26) Right Knight started from any of the three half-sword wards, and Left Knight started from high morte ward. So Right Knight has trodden and has forset the morte strike of Left Knight in midstrike, then wrenches his hilt into Left Knight’s throat and throws him over his leg. (This plate seems badly misdrawn. The portrayed kinetics are unworkable—sometimes graphical mistakes did happen. Thus my interpretation is based upon Right Knight having his arm and blade instead at the other side of Left Knight’s blade, and Left Knight having his right leg forward instead of his left leg. 1459-Thott folio 87v and 1467-Gothaer plates 53 and 74.) (27) Left Knight started from Talhoffer’s inverted ward, and Right Knight started from high morte ward. So Left Knight drove his longsword high into first ward and has forset the morte strike of Right Knight at blade flat, and forthwith wends the point to thrust into Right Knight’s visor. (1459-Thott folio 87r and 1467Gothaer plates 72–73.) (28) Each knight started in second ward and had seized the blade of the other with his front hand. So Left Knight slips through and will take the longsword of Right Knight by leveraging at his shoulder as he twists and steps away . . . (1467-Gothaer plate 49.) (29) . . . and so Right Knight counters that by tugging both blades while kicking forth his left foot into the back/butt of Left Knight. (1459-Thott folio 92r and 1467-Gothaer plate 59.) (30) Each knight started from second ward. So Right Knight trod just behind Left Knight’s front leg as he let go his blade with the front hand to grab Left Knight’s front hand, while with the front arm he clamped and pressed Left Knight’s blade to his side while he wended his longsword down between Left Knight’s front arm and blade—and thus has locked Left Knight’s limb and weapon and will now put him down by throwing him . . . (Reading it is slow and confusing—yet doing it is fast and dynamic. 1459-Thott folio 92v and 1467Gothaer plate 60.) (31) . . . and thus having thrown Left Knight so that he falls upon his belly with one arm twisted beneath and his body covering both longswords, Right Knight now pounces upon him and seeks to get him with the dagger . . . (1459-Thott folio 93r.) (32) . . . and so now the knights lay upon the ground, wrestling in manner of holding down, and each seeks some vantage by locking, breaking, or stabbing the other. (33) Apparently each knight stood up and took up his longsword, and each probably started again in plough ward, perhaps trying to recover a bit. So curiously, Unknown drove up into roof ward and over-hewed instead of thrust—which proves his undoing. Because then Leutold forset the strike in order to bind, where153 Knightly Dueling upon he forsook his own longsword and has grappled Unknown and now hoists him . . . (1467-Gothaer plates 29, 30, and 87.) (34) . . . and so Leutold has locked Unknown around his arm and under his groin, scooped him up as he twists, and throws him down to the ground . . . (1459-Thott folio 134r and 1467-Gothaer plate 210-right.) (35) . . . so then both knights draw their daggers—and despite falling upon his back, Unknown stabs back and up into Leutold’s upper thigh/hip just under his tasset while he grabs to block Leutold’s weapon arm— yet in his wrath Leutold is unstoppable, and so he breaks open Unknown’s helm by yanking and prying bevor and visor with hand and dagger . . . (36) . . . and finally Leutold has stabbed Unknown with his dagger so many times to face and throat that he has killed that man dead, there in the dueling place, in front of God and everybody. (1459-Thott folios 136r and 137v.) (37) Weary and wounded, Leutold has taken up his longsword and stood up. Leutold looks to see whether Unknown yet stirs—and of course he does not, since he bleeds to death. (38) Some peasants strip the armour from the body of Unknown, perhaps as a prize for Leutold and/or as a fee to the state for all the trouble. (39) Some peasants lay the body of Unknown in the waiting bier with its flag ready to drape and candles burning in solemnity. (1459-Thott folio 94r.) (40) There Leutold thanks the Lord Jesus his God in Heaven for the victory over Unknown, while Talhoffer stands again as armiger and the heraldic shield appears once more. (Note the banner is empty. 1459-Thott folio 93v-left.) ‫ﱝ‬‫ﱝ‬ 154 Unarmoured Fighting ‫ﱝ‬‫ﱝ‬ UNARMOURED LONGSWORD FENCING AS ARMAMENTARY BASIS What the German fight masters in the tradition of Johann Liechtenauer called bloszfechten translates into English as “unarmoured fighting,” “fighting bare,” or more contextually “unarmoured longsword fencing.” This bloszfechten served as the basis for combatives with other weaponry in the German school or style—messer, pollaxe, staff—yet like all Kunst des Fechtens also incorporated use of wrestling and dagger as needed. Liechtenauer devised a set of directives (ausrichtung) for this unarmoured fighting, which numbered from 17 to 20, depending on which student of his tradition made explication thereof. Every major military fight master offered his version of the directives via his own version of the Liechtenauer bloszfechten (circa 1380)—Hanko Döbringer, Sigmund Ringeck, Peter von Danzig, Paulus Kal, Hans von Speyer, and even that renegade Hans Talhoffer—thus all of them honored the German high master and his deadly method of fighting with the longsword (langes schwert). Howsoever fencing may have evolved thereafter, civilian-guild fight masters quite obviously continued the tradition—Paulus Hector Mair, Joachim Meyer, Jakob Sutor—since bloszfechten techniques later served as the basis for most of the expansive repetoire of federfechten (feather fencing/civilian fencing). The German sword, in all its variety during the 15th century, was made with great craftsmanship of highquality steel; was resilient, hard, and strong; and was the equal or better of any other sword in the history of the world. The longsword was the premier and fundamental weapon of Renaissance German martial arts. It was generally wielded with both hands, though sometimes with one hand; it was double-edged, broad, and straight; generally tapering; usually diamond and/or partly fullered; with a blade length of about 34 to 42 inches and 42 to 54 inches overall length; 3 to 4 pounds and well balanced. The steel hilt was diverse, including lobed and spiked straight crosses, and faceted scent stopper, smooth pear, tetrahedron, wheel, and even pointy diamond pommels. The grip around the tang was hardwood, wrapped in leather or wire. The steel blade was likely differentially sharpened. The various swords portrayed in the 15th century fight books— whether longswords, bastard swords, or shortswords—are classified in the Oakeshott sword typology as versions of XV, XVa, XVI, XVIa, XVIII, XVIIIa and XVIIIb. The German tradition itself for the longsword or war sword is supported by artifacts documented in Records of the Medieval Sword by Ewart Oakeshott. This was necessitated by the environment, armour, and physique of combatants in warfare such as the Northern Crusades (1147–1410) and the Danish-German Wars (1219–1370). Such was witnessed by French chronicles that stated it was Almaine in origin. In a comment from his Fechtbuch of 1389, Döbringer said this one art of swordsmanship may have been founded many hundreds of years before his time (das nuer eyne kunst ist des swertes / und dy mag vor manche hundert jaren sein funden). We may even read of the longsword in The Knight’s Tale (1387) by Geoffrey Chaucer, mentioned during the duel of Arcita versus Palamon to win Emelye (With long swerd and with mace fighteth youre fille / Gooth now youre wey; this is the lordes wille). A famous artifactual longsword of warfaring design that matches many portrayed in fight books is the “Order of the Dragon Longsword,” residing now in Mansion House, York. This gorgeous German-Hungarian 155 Knightly Dueling weapon was a gift from Kaiser Sigismund to King Henry V when he visited in 1416 during mediation to bring an end to the Hundred Years War between England and France. Although fancy and ceremonial, it has the design of a battle-worthy OT-XV or XVIII sword (see “Artifacts”). According to Liechtenauer, there are three basic ways of striking with the longsword: Hew (how): Cleaving by a sundering strike with the edge of the blade. Slash (schnit): Cutting by drawing, pushing, or raking with the edge of the blade. Thrust or Stab (stich): Piercing with the point of the blade. Various fight masters quite correctly devoted many folios of manuscript landscape to wielding of the longsword for unarmoured fighting. So here I shall offer the reader transcription, translation, and summarizing glossary of Talhoffer’s version of the directives of Liechtenauer (1459-Thott). For anyone who wants extensive martial interpretation of the Liechtenauer method, he/she may now find many modern works dealing with his bloszfechten. The best of such works, superior and insightful, is the book Sigmund Ringeck’s Knightly Art of the Longsword by David Lindholm and Peter Svärd (see “Bibliography”). ‫ﱝ‬‫ﱝ‬ (2v) Die tailung der kunst nach dem text den nähsten (!) weg zü dem mann zü schlahen oder zuo stossen (2v) The Dealing of the Art into Directives according to the Rightful Way for the Man to strike or thrust with his Longsword in Unarmoured Fighting: Zorn how du krumo zwerh how schihler mit schaitler Aulber versetzt nachraissen höw setzt überlouffen bind wol an nit stand luog waß er kan Durch wechsel zuck Durch louff hend truck wer wind in die blössin Slachfach straich stich mit stössen Wrath-hew, crumpler, thwarter; Squint-hew, with skuller Forset fool; Pursuing, hew-set; Overloping, bind on well; Stand not still, look what foe could do; Change through, tug; Run through, press hands; Wind into the openings; Strike, catch, strike—thrust with jolting. Das ist von dem zorn how der underschid wer dier Oberhowt zorn how ortt dem trowt und wirt erß gewar Nymß obnen ab vnd folfar biß stercker wind wÿder stich sicht erß // so nymß nider Daz also eben merck Ob sin leger sy waich oder hört This is what distinguishes the Directive about Wrath-Hew: Someone over-hews you, So wrath-hew and swivel your point; If he wards that, Then take off high and fulfill, Be stronger by counter-winding; Thrust, yet he sights it, So take it down— Thus mark indeed Whether his ward be soft or hard. 156 Unarmoured Fighting Jn dem far nach hört an krieg sy dir nit gauch waß der krieg rempt Der wirt obnen nider geschempt Du machst in allen hewen winden Jm how ler stich vinden ouch soltu Mit Mercken stich oder schnit Jn allen treffen wiltu den maister effen The Directive about Instantly, Before, After: Hearken—so your struggle be not gauche. He whose struggle rudders, From above he becomes shamed below; In all hewing you may then wind— Thus in the hew learn to find the thrust; Likewise should you mark When to thrust or slash; Thus in all meetings You will mock the masters. (3r) von den vir plößen vier plöß wisse Der hab acht so schlechtu gewisse nit slach ungefar lug eben Wie er gebaer (3r) The Directive about the Four Openings: Wit the four openings— Foe has eight, thus you surely hit. Strike not by chance, Look indeed how he behaves. Die vier plöß brechen Wiltu dich rechen Die vier ploß künstlich brechen obnen toplir unden recht mutir So sag ich ouch dier fürbaß stand vest und biß nit laß und erschrick ab kainen man stand und sich in ernstlich an hastuß denn recht vernomen zuo dem slag mag er nit kumen The Directive about Breaching the Four Openings: Would you reckon how to breach The four openings artfully— Then up high, duplicate, And down low, rightly mutate. So I say to you further: Stand fast and be not lax, And frighten at no man, Stand and look at him earnestly; You have then taken guard rightly— Foe gets not to strike you. von krumm // wiedre schnyd da kumm Werff. krum uff sin hende Slach den ort nach sinr lende und darby wol versetz Mit schaitler vil höw letst how uff sin fleche so tuostu in schwechen wenn eß knuolt obnen So nym ab Daz wil ich loben und wer krum zu dir how Durch wechsel du in schow wil er dich Jrren Der krieg in verfieret Daz er nit nympt war wa er ist ungefar The Directive about Crumpler: Counter-slash goes there, Throw crumpler upon foe’s hands, Counter-strike his loin with the point And thereby you forset well. With skuller you undo many hews— Thus hew upon his flats, So do you weaken him. When it clashes high, Then take off—that will I laud. And whoever crumple-hews to you— Show him what-for by changing through. Would he mislead you— Then lure him into struggle, Such that he takes not his guard How dangerously he is caught. 157 Knightly Dueling (3v) Die tailung der kunst nach dem text den Rechten weg und die uß richtung der zwierhin Die zwierh benympt waß von dem tag her kympt und die zwierh mit der stercke Din arbait darby mercke Zwierh zuo dem pfluog Zuo dem ochsen hart gefuog Waß sich wol zwircht mit springen Dem (!) mag ouch gar wol gelingen Den fäler darmit fiern unden uff mit wunsch her rieren verkere mit zwingen Durch louff ouch mit ringen Den elenbog nym in der waug und mach den fäler nit traeg zwifachß fürbaß schnid lingg yn und biß nit laß (3v) The Dealing of the Art according to the Text of the Rightful Way. And so now the Directive for the Thwarter: The thwarter takes away What comes from roof; And so thwart with the strong, Mark your work thereby; Thwart to the plough, Rebound hard to the ox. When you thwart well by springing, Then you may indeed well-succeed. Control with the failure, Move up from beneath as you wish; Invert with force, Run through, wrestle too, Take foe’s elbow and the balance, Thus make the failure, not sloth. Twofold further— Slash him left, and be not lax. Daz ist die uß richtung von der schillherin Schylher ain bricht waß püfler schlecht oder sticht wer von wechselhow drowt Schilher daruß in beroubt Schlecht er kurtz und ist dir gran Durchwechsel so gesigest im an Schilh zu dem ortte Nym den halß ane forchte Schilh zu der obern schaittel Schlach starck wil er din baitten (!) (4r) So machst du in wol betöwben Die faller in kunst berowben This is the Directive for the Squinter: Squinter counters What some buffalo strikes or thrusts. Whoever turns from changing-hew/reversing-hew, Squinter bereaves him thereof. If foe strikes short and grieves you yet, Then change through to defeat him. Squint to his point, Take the throat without fear. Squint to his upper skull, Strike strongly—he will aid you. (4r) So may you stun him well— Those failures bereave him of art. Daz ist von dem schaittler Die ussrichtung etc Der schaittler dem anttlüt ist gefar Mit siner kur Der prust vast gefar waß vom Im da kumpt Die kron daz ab nympt Schnyd durch die kron So brichstu sie gar schon Die straich truck Mit schniden ab zuck This is the Directive for the Skuller, etc: The skuller is dangerous to the face, And by its turning, Really dangerous to the breast. Whatever comes from foe: The crown—take off from that, So slash through that crown, Thus you counter, be quite ready, Press the strike And withdraw by slashing. 158 Unarmoured Fighting Von den vier leger Vier leger alain Danan halt und fluoch die gemain ochß pfluog aulber vom tag sindz dir nit Unmer About the Directive for the Four Wards: Four wards alone— Hold onto those, and curse the vulgar. Ox, plough, fool, from roof— There are no others for you. Von den Vir Versetzen vier sind versetzen die die leger ouch ser letzen Vor versetzen hiet dich gschichtz dir nott eß miet dich ob dir versetzt ist (!) Wie Daz Dar komen ist So merck waß ich dir raute strych ab haw schnell und draute setz an vier enden an blyb stan und besicht den man About the Directive for the Four Forsettings: Four are the forsettings That indeed undo the wards. Guard yourself against forsetting— Fortune demands you need to do this. If you are forset As it is getting there, Then mark what I advise: Swat, hew quickly, get away; Set upon four endings/openings, Remain standing and counteract the foe. (4v) Daz ist von dem nach raisen Nach raisen lere verhow Dich mit zusere Sin höw recht vernymmp Din arbaitt dar nach beginn und brüff sin geferte ob sie syent waich oder hörte und lerne in Daß Den alten schnit mit macht (4v) This Directive is about Pursuing: Learn pursuing— Foe thrashes at you rashly, So rightly take guard for his hewing, Thereupon your work begins; And so test his threats, Whether those be soft or hard. And so learn instancy, And the old-slash with might. von dem Überlouffen wer des lybß unden remet Den uber louff der wirt obnen nider geschemet wenn eß plitzt oben sterck eß daz ger ich lobn und din arbaitt mache oder truck eß zwifache This Directive is about Overloping: Whoever rudders beneath the body Overlope him high— From above he becomes shamed below; When it blitzes high, So strong that, I truly laud; And so do your work, Or press it twofold. Vom absetzen kanstu die rechtn absetzen All höw und stich sie dir letzen Der uff dich sticht Driff den ort daz im bricht von baiden sitten triff allemal darzu schritten This Directive is about Offsetting: If you can offset rightly, Then you may undo all hews and thrusts. Foe thrusts at you— Intercept the point, that counters him; From both sides Always meet by stepping forth. Vom Durch wechsel Durchwechsel lere This Directive is about Changing-Through: Learn changing-through— 159 Knightly Dueling von baiden siten stich nit (!) sere Der uff dich bindet Durch wechsel in schier findet From both sides thrust harmfully. Whoever binds upon you, Change through to find where to shear him. vom zucken alle treffen tuo naher eyn binden Die zucken gend gut finden (5r) Zuck trift erß tzuck mer Arbait er find in dut im we zuck alle treffen den maistern wiltu sie effen This Directive is about Tugging All Meetings: Too near at binding— Find how the tugging goes well; (5r) Tug, foe meets, so tug more And work—he finds it does him woe. Tug all meetings— The masters, you will mock them. Vom durch louff Durch louff lauß hengen Mit dem knopf griff wilt ringen Wer gegen dir stercke Durch louff damit mercke This Directive is about Running-Through: Run through, let the sword hang, Grip it by the pommel—you will wrestle. Whoever goes against you strongly, Mark that you run through. vom abschniden Schnid ab die hörte von unden in baiden geferte vier sind der schnit zwen unden zwen obnen mit This Directive is about Stop-Cutting: Cut foe to stop, with hardness; From under you endanger both sides; Four are the slashes— Twain under and twain over. vom hennd trucken Din schnyd ver wende jn die zwierh gar behende und gang nach an den man stoss mit dem ghiltz schon wiltu denn nit schallen so hastu zway eynfallen This Directive is about Hands-Pressing: Deploy your slashes And thwarter to foe quite nimbly; And go after, at the man, Jolt with the cross already, Then you will not be stunned— So have you twice-assaulted. Von den Zwain hengen Wer dir zestarck welle sin heng fall im oben eyn zwey hengen werden uß ainer hand von der erden Doch in allem geferte So machstu sin waich oder hörte This Directive is about Twain Hangings: Whoever flows too strongly at you— Hang and beset him high. Two hangings happen Out of either hand and from the Earth. Yet in all threatening You may thus be soft or hard. Von sprech venster Sprechfenster mache stand frolich besich für sache wer sich var dir zühet abe Slah uff in Daz eß schnape (5v) luog und schüch kain man This Directive is about Speaking Window: Make speaking window— Stand freely, survey foe’s tactics, Whoever moves at you, tug off/withdraw— Then strike upon him, that snaps it; (5v) No man lies to and scares you, 160 Unarmoured Fighting eß schatt mit waß er kan hastuß recht vernomen Zu dem slag lauß in nit komen It shadows whatever he can do, You have rightly taken guard— It lets foe not get to strike. Die besliessung der Zetel Wer wol bricht und endlich gar bericht und brichz besunder Jeglichß in Drue winden (?) wer wol hengt und winden dar mit bringt und wint mit achte mit rechter betrachte Darmit ir aine Die winden selbdritt ich maine So sind ir zwaintzig und vier zel sie aintzig Von baiden siten Acht winden mit schriten spricht hannß talhofer got lauß unnß aller schwer The Conclusion of the Liechtenauer Summary: Whoever counters well And finally indeed readies And counters especially Any by three windings/three wonders. Whoever hangs well He brings winding therewith, And thus winds with perception. With correct meditation, Therewith they are one, The windings move themselves, I mean. Thusly so are any of the Twenty Directives— And four times for each opening makes eighty moves. Thus from both sides high and low, Eight windings with stepping. So speaks Hans Talhoffer: God spare us all hardship! ‫ﱝ‬‫ﱝ‬ 161 Knightly Dueling PORTRAYAL OF A BLOSZFECHTEN LONGSWORD DUEL FROM A LATER LITERARY ARTISTIC SOURCE Flambergen, woodcut from Petrarcas, printed by Heinrich Steyner (Augsburg, 1539). It seems that the combatant at left either stands in ward of hengen or even ochs, or has just started striking with unterhau from nebenhut, or has just stricken with sturzhau from vom tag or ochs. It seems that the combatant at right stands in an upright version of zornhut, meaning to strike with zornhau. Notice especially that seemingly odd kind of zornhut is actually corroborated by illustrations in fight books by Hans Talhoffer (1443-Gothaer) and Paulus Hector Mair (1542). Notice that both combatants seem to be left-handed. Notice in the background the rushing wagon train ignoring the scene, the knaves wrestling each other, and the enthused boys with shocked father witnessing the fight. Considering the year, the portrayed weaponry was somewhat archaic for the time—although certainly specimens of such older armaments must certainly have existed and were doubtlessly wielded nonetheless. 162 Unarmoured Fighting TWENTY DIRECTIVES OF LIECHTENAUER FOR UNARMOURED FIGHTING WITH LONGSWORD VIA TALHOFFER In his edition of 1459, Talhoffer offers the fighter the Twenty Directives (Zwaintzig Ussrichtung, folios 1r–5v) of Liechtenauer, a core of fencing moves and concepts, much as offered by other masters in the tradition of Kunst des Fechtens. These directives are the basic yet complete set of the best tactical techniques that Talhoffer would have required the longswordsman to learn. Many of the terms for the directives, when translated rather literally, are quite self-explanatory: 1st—Wrath Hew (zornhow). A diagonal long-edge over-hew with arms apart—and perhaps also a high thrust with arms apart. The most basic powerful strike. 2nd—Instantly, Before, and After (in dem, far & nach). Striking instantly during, or before, or after the foe attacks, without being stricken oneself. Thus getting there or initiating just as, first, or next. 3rd—Four Openings (vier plöß). Wherever the foe is bare to attack, generally corresponding to the body quartered by a cross (+), which are simply the bodily targets for striking. 4th—Breaching the Four Openings (vier plöß brechen), or Duplicating and Mutating (toplir & mutir). When at binding of swords with the foe, you sense whether he binds hard or soft. If the bind relays hard, then you duplicate your strike to the other high opening—thus another oberhow. If the bind relays soft, then you mutate your strike into a thrust at its respective low opening—thus into sturzhow. Thus from binding you may breach any given one of the foe’s four openings as the situation demands. (See 20th.) 5th—Crumpler (krumm). A diagonal over-hew with the long edge and with arms crossed. 6th—Thwarter (zwierhin). A high middle-hew with either edge and with crossguard aloft. 7th—Squinter (schillherin). A high over-hew with the short edge and with arms apart, either diagonal or vertical. 8th—Skuller (schaittler). A vertical over-hew with the long edge, usually to the skull of the foe. 9th—Four Wards (vier leger): Ox (ochß) is a ward whereby you stand left-leg forward and hold the sword with hilt high and back, beside the head, such that the point is aimed at the foe’s face or chest with the long edge horizontally upward—like a bovine horn. Roof (tag) is a ward whereby you stand left-leg forward and hold the sword overhead or over shoulder, the blade angled upward and back—hence your sword is above you like the roof of a house. Plough (pfluog) is a ward whereby you stand left-leg forward and hold the sword with hilt at waist height and pommel at hip, blade angled forward and point aimed upward at the foe’s face or chest— the fighter and his sword looking like the tiller at the plow. Fool (aulber) is a ward whereby you stand right-leg forward and hold the sword forth, angled downward with short edge up and point centered—thus your lowered blade misleading the foe into thinking you are a fool and thus making him the fool. 163 Knightly Dueling 10th—Four Forsettings (vier versetzen). First, the meaning of “forsetting”—setting the foe’s ward or strike out of the way before his sword strikes you by driving your sword to meet and divert his sword and meaning to strike him at the same time or forthwith. It is done kinetically, not statically, and while treading, shifting, or torquing. Also called displacing or parrying. So before the foe attacks, you forset his given ward with a given strike. All these may be driven from the same roof ward: You forset ox with crumpler. You forset roof with thwarter. You forset plough with squinter. You forset fool with skuller. 11th—Pursuing (nachreisen). The foe attacks so the fighter counterattacks into it or avoids then attacks— thus you strike instantly or after. Also called nextraiding, traveling after, reacting, counteracting. 12th—Overloping (überlouffen). Overreaching a low strike with a high strike, helped by avoiding. 13th—Offsetting (absetzen) or Hew Setting (höw setzt). Turning away or deflecting the foe’s blade by forward spiral motion of your blade as you drive a thrust to strike him at the same time—really a kind of winding. (See 14th.) 14th—Changing Through (durch wechsel). Shifting, sidestepping, and/or changing your angle of attack, usually to thrust, and often done from binding and/or to avoid further meeting of blades. Thus you adapt instantly to the situation by making your ward or strike evolve suddenly into a strike to an available opening. (See 13th, 15th, and 20th.) 15th—Tugging All Meetings (zucken alle treffen). Yanking, pulling, or withdrawing your sword—or disengaging quickly from crossing, engaging, or binding of the swords or even a failed attack—so you may drive another attack. 16th—Running Through (durch louff). Advancing beneath the foe’s attack in order to slash or wrestle him. You reach with one arm as the other arm keeps your sword. 17th—Stop Cutting (abschniden). Slashing over or under the foe’s arms as he would drive to strike you, or even thrusting into him as he drives to strike. (See 18th.) 18th—Hands Pressing (hennd trucken). A special kind of rotational stop cutting, whereby you drive your long edge to the underside of foe’s upraised forearms or hands, then revolve around those with the same long edge to drive it upon the topside of his lowering arms as finally you shove him away with the blade. (See 17th.) 19th—Twain Hangings (zwain hengen). Forsetting or offsetting the foe’s blade by driving your hilt high or low to let your point or pommel hang toward the ground, thus in ox or plough, whence you may thrust. If high, your blade is under foe’s blade; if low, then your blade is over foe’s blade. 20th—Speaking Window (sprech venster) or Winding (winden). To wind, twist or turn your binding sword quickly from where the blades touch via the fulcrum of your elbows or wrists to bring your sword 164 Unarmoured Fighting around to strike from another angle, often pivoting it either at or around foe’s ward or sword. It is letting your blade relay whether the foe binds hard or soft. (See 4th and 14th.) The beauty of these Liechtenauer directives, that Talhoffer and many other masters furthered, is how well they interrelate. For example, if we just consider the vier versetzen, those offer the fencer the ability to counter the vier leger, from one ward thereof, tag. From said ward, in the timing before the foe attacks (vor), you may krumphaw versus ochß, zwerchhaw versus tag, schielhaw versus pfluog, and schaytelhaw versus aulber. So within that single combative set, we find six directives, and a technique and a tactic that are each part of two other directives. Such relationships may be found among any variety of other directives KNIGHTLY WIELDING Again, although Liechtenauer’s directives make it obvious that bloszfechten differs significantly from harnischfechten, the main weapon for both is the same—the longsword. German knights trained at both methods, and sometimes they may even have chosen bloszfechten as their means of dueling. Reasons could vary for fighting a knightly duel unarmoured instead of armoured—court order, astrological imperative, or personal martial preference. Lastly, the prominence given by fight masters in their fight books to unarmoured longsword fencing is quite obvious, most all of them starting the course of lessons with bloszfechten. For example, Ringeck goes so far as to tell the jungk ritter (young knight) that the martial arts of longsword, spear, messer, and dagger are needed for war, that learning such means love for God and honor for women, just before beginning the fight book with extensive text and commentary for Liechtenauer bloszfechten. That devotion to unarmoured longsword fencing actually typifies the emphasis that all the major German fight masters made in their teaching of Kunst des Fechtens. Howsoever unique each German fight master was in the way that he taught, he did so with unarmoured longsword fighting as the mainstay of his fencing, which in turn means it was the mainstay of the German knight. ‫ﱝ‬‫ﱝ‬ 165 Knightly Dueling FOUR WARDS FOR UNARMOURED FIGHTING OF LIECHTENAUER, AS DONE BY VON DANZIG Plough Roof Ox 166 Fool Unarmoured Fighting FOUR WARDS FOR UNARMOURED FIGHTING OF LIECHTENAUER, AS DONE BY KAL Ox Plough Fool Roof 167 Knightly Dueling FOUR WARDS FOR UNARMOURED FIGHTING OF LIECHTENAUER—SOLOTHURNER FECHTBUCH Ox Plough Fool Roof 168 Unarmoured Fighting WARDS AND STRIKES MAKE A CONTINUUM, AS SHOWN BY TALHOFFER (1467) Here we see longswordsmen driving to and from wards, which shows the kinetically valid and martially sound principle that wards should be dynamic stances wherefrom one drives offense rather than only keeps static defense. This is misunderstood by some modern fencers and scholars—that wards become strikes and strikes become wards. Oberhauw (Over-Hew)—Roof Ward or Wrath Ward becomes Fool Ward or Changing Ward. Underhow (Under-Hew)—Changing Ward becomes Wrath Ward. 169 Knightly Dueling Sturtzhow (Pouncing Hew)—Ox Ward becomes Barrier Ward. Wechsselhow (Changing Hew)—Changing Ward becomes Nearby Ward. 170 Unarmoured Fighting Das lang Zorn ortt (The Long Thrust of Wrath)—Plough Ward becomes Long-Point Ward. Darfür ist das geschrenckt ortt (Versus that is the Crosswise Thrust)—Ox Ward or Roof Ward becomes Ox Ward. 171 Knightly Dueling Die geschrenckt schwechin (The Crosswise Ward weakens Foe)—Pouncing Hew becomes Barrier Ward. Der stat In der Hůt (He stands in the Ward of left Ox)—Ox Ward becomes Pouncing Hew. (See Endnote #15 for calculation of the force of the Zornhau.) 172 Variety ‫ﱝ‬‫ﱝ‬ This chapter shows the diversity of additional and alternative armaments for knightly dueling—sword and targe, pollaxe, halberd, bastard sword and battlefield pavise, and tuck. Some were deployed by both nobility and commoners, like sword and buckler and messer, while another was used exclusively by commoners, the dueling pavise. This chapter also addresses dueling combat as distinct from tourney combat and looks at portrayals of knightly combat in literary imagery. Plus there are some miscellaneous surprises. USE OF TARGES DURING DUEL FIGHTING IN TALHOFFER However ludic this portrayal may be from the Bellifortis chapter of Talhoffer’s 1459-Thott edition, of how to take advantage of sunlight reflecting from harness to blind the eyesight of a foe, this scene does show serious duel fighting with longswords or perhaps bastard swords, freshly drawn from discarded scabbards and belting, and with proper fencing technique for harness. Each man half-swords his weapon, in correct Liechtenauer kurzes schwert (shortened sword/half-sword) wards, with his targe (tartsche) slung around onto his back, awaiting the best chance to strike his foe. Notice that one man wears the latest schaller while the other man wears a standard war hat. And it should be remarked that this trick of using glare apparently was not considered cheating. Dueling with longswords and targes—Talhoffer (1459). 173 Knightly Dueling (35v) Merck wo die sunn dem gold oder liechten glantze harnasch nach gaut so sol der schilt vor gaen Also über windet ain manlicher vechter sinen veÿent mit der sunnen hilff der sunnen glantz in dem gold oder in dem liechten schöne | harnasch sendet gemist dar uß in der veÿent ougen (35v) Mark where the sun gleams upon the gold or polishment of the harness and goes thereafter. So shall a manly fighter advance the shield and overcome his foe with the sun’s help. The sun glints in the gilding, or shines in the mirroring, of the pretty plate armour, which thus sends rays thereout and into the foe’s eyes. USE OF TARGES DURING DUEL FIGHTING IN CODEX WALLERSTEIN Scenes like this from Codex Wallerstein, which show knights afoot with targes—and in such other sources as the earlier MS KK5013 and Gladiatoria, plus later by Paulus Hector Mair—imply that knights often kept hold not only of lances/spears (glefen) but also targes (tartschen) when they dismounted their horses, a possibility well supported by the overlap of roszfechten and kampffechten presented by von Danzig (although he actually mentions no targes). This targe had the kite shield and triangle shield as its forebears, although it is far smaller and nimbler. Despite compilation of the codex in the 1450s, the knights wear somewhat archaic harness—bascinets, aventails, etc. Such portrayal indicates an earlier part of the manuscript, circa 1380–1390. Thus in its own way, the codex serves as a de facto homage to the continuity of dueling tradition from earlier times, showing past armamentary designs (i.e., “granddaddy’s kit”). Notice the three main dueling weapons—spears about two ells (90 inches) of length, longswords with special morte-strike pommels, and the trusty daggers. Notice also targes and surcoats bedecked with crosses. Ready to fight, with spears, daggers, swords, and targes—Codex Wallerstein (1380–1390 and 1450s). 174 Variety And here they fight—Codex Wallerstein (1380–1390 and 1450s). 175 Knightly Dueling OTHER DUELING WEAPONRY—POLLAXE Although Liechtenauer does not deal with it, the pollaxe (axt/agst) was used in knightly dueling. It was taught in various German, Burgundian-French, and Italian fencing texts—Hans Talhoffer (1443, 1459, and 1467) and Paulus Kal (1462); Le Jeu de la Hache (15th century); and Fiore dei Liberi (1410). Pollaxe shares technical similarity with both half-sword and spear. These scenes are from Talhoffer’s 1443-Gothaer; similar are seen in Kal’s 1462-Bayerisch. Enter, hook, and unload versus tug, hang, attack, or wrench. High strike gets forset—now perhaps binding and winding. 176 Variety From binding—wind and lunge to take his axe—speed thusly. Wrenching the leg versus striking the head. 177 Knightly Dueling Thrusting to axilla versus wrenching the crotch. Hooking throat versus thrusting to face. (See Endnote #16 for reference to other polearms in context of war weaponry.) 178 Variety OTHER DUELING WEAPONRY—HALBERD A weapon sharing much technical similarity with spear and pollaxe, the halberd (hellebarde) seems to have found favor among some as a dueling weapon, depending upon the time, place, and personality. Notably, Mair has a whole chapter in De Arte Athletica (1542) devoted to halberd (bipennis), albeit with fighters in arming clothes. Perusal of the pollaxe fighting of Talhoffer (1443, 1459, and 1467) or that of the Burgundian-French treatise for pollaxe, Le Jeu de la Hache (15th century), reveals many things that may be done with halberd (which is, after all, a kind of hache). Again the emperor and his foe duel with halberds— Theuerdank (1517). The emperor and his foe duel each other with halberds— Weißkunig (1509). 179 Knightly Dueling Two foremost high strikes with halberd, from above and to the left—De Arte Athletica (1542). Stances for low strikes with halberd, from beneath and to both sides—De Arte Athletica (1542). (See Endnote #16 for reference to other polearms in context of war weaponry.) 180 Variety OTHER DUELING WEAPONRY—BASTARD SWORD AND BATTLEFIELD PAVISE In these scenes we see elegant bastard swords and battlefield pavises, called böhmischen schild (Bohemian shield). And by luck, the personage in the first scene is no less than Kaiser Maximilian I (with rose device), and in the second, Drakul Wayvode . . . belli tepestate, thus Vlad Dracula (yes, that is right). Maximilian seems to do either zornhau (wrath hew) or knopfschlag (pommel strike). Vlad just seems to be waiting his foe to arrive for the fight. The emperor and his foe duel each other with swords and pavises—Weißkunig (1509). Dracula awaits—Chronica Hungarorum (1488). 181 Knightly Dueling OTHER DUELING WEAPONRY—SWORD AND BUCKLER Perhaps a rare choice for later judicial duels—but certainly a popular choice in earlier times—sword and buckler was a favorite for martial training, the original schirmen (fencing). It seems that when the pairing was utilized for dueling, it was done so unarmoured. The scenes here—from Talhoffer (1459) and Kal (1462)—show wards and techniques analogous to those portrayed by Walpurgis (1280–1320). Ringeck (1440s) provides six dynamic plays according to Liechtenauer. Notice that in one scene messers and bucklers are used instead—a pairing that must certainly have been common enough. The ambidexterity and cunning that sword and buckler develop certainly aid wielding of other weaponry. (Please realize that parts of the second and third Talhoffer scenes are conceptually restored by graphic artist Tracey Zoeller, upon advice from author Jeffrey Hull based on analogs in Talhoffer’s 1467 edition.) Sword and buckler dueling—Talhoffer (1459). Sword and buckler dueling—Talhoffer (1459). Sword and buckler dueling—Talhoffer (1459). Messer and buckler dueling—Talhoffer (1459). 182 Variety Sword and buckler dueling—Kal (1462). Sword and buckler dueling—Kal (1462). 183 Knightly Dueling OTHER DUELING WEAPONRY—DUELING PAVISE The bizarre images here portray another sort of dueling—done with the specialized dueling pavise (simply called schilt), either alone or paired with sword (schwert) or mace/club (kolben). It seems this sort of dueling was most likely relegated to the middle class, thus would not really be knightly dueling of the high class, although this sort of thing may have been done by knights for sport. However, pavise dueling done by a couple of middle-class artisans, or perhaps even by husband and wife (although that probably involved different weaponry), could be just as serious and deadly as anything done by knights. Notice that the cross-bedecked outfits and pavises indicate religious ritual was involved. As one can see, the designs could be rather plain to quite elaborately hooked and spiked. The dueling pavise of 15th century Germany may have evolved from the scutis et baculis (kite shields and staves) of 12th century France—armament that could be assigned to commoners for judicial combat. Later, Mair (1542) would show swords and spiked pavises (or even spiked targes) as noble-class weaponry for armoured dueling, but such pairing was likely a strange convention of the 16th century, if it actually was done at all. Dueling with pavises—Talhoffer (1459). Pavises and swords by Swabian rules—Talhoffer (1459). Pavises and maces/clubs by Franconian rules—Talhoffer (1459). 184 Variety OTHER DUELING WEAPONRY—TUCK The tuck, touk, stock, estoc, stocco—this weapon is certainly related to the manifold words for “thrust/stab/foin” that were to be found throughout medieval Europe—English stoken, French estocquer, Italian stoccado, German stechen/stichen/tucken. The German equivalent of the tuck, what they called by the rather inclusive term of kampfschwert (duel sword), was some sort of foining sword or sword-like weapon, meant for half-sword harness combat, perhaps especially for dueling. There are two likely permutations. The first may have been a Type XV, XVII, XVIII, or XXa longsword/bastard sword (sometimes with spiked hilt), like the swords for the harnischfechten of kampf commonly portrayed in fechtbücher like Gladiatoria (1430–1435), Codex Wallerstein (1380–1390 and 1450s), Talhoffer (Thott-1459, folios 107r–108v and Gothaer-1467, plates 37–78), Solothurner Fechtbuch (1520, plates 50–51, 54–55), and Mair (1542)—thus what Lexer acutely termed gladius bis acutus. The second may have been a more bizarre weapon (of varying pierce-oriented cross-sectional geometry), like a giant spike, a monstrous rondel dagger, or even a sword-spear, as portrayed by Solothurner Fechtbuch (1520, plates 52–53), thus what Lexer imaginatively termed romphea. Incidentally, it seems in Middle French that d’estoc means not only a foining kind of longsword (Épée longue et droite) but a kind of foining with a longsword (Avec la pointe de l’épée)—thus it may accurately equate in Middle German both with the weapon of kampfschwert and with the method of halbes schwert/kurzes schwert. So really one could argue that the tuck was not necessarily an “other” kind of dueling weapon but really a kind of modified or specialized longsword. (See Endnote #16 for reference to tuck in context of other war weaponry.) Lock arm and turn away to throw— Solothurner Fechtbuch (1520). Grapple, turn, and press down to throw— Solothurner Fechtbuch (1520). 185 Knightly Dueling WEAPON FOR UNPLANNED DUELING—MESSER The messer (falchion, fauchon, badelaire, storta) was a basic and common weapon and tool of farmers, huntsmen, and troopers. While the largest fight book devoted to messer is by Hans Lecküchner (1482), in which he presents his Kunst des Messerfechtens, the weapon was featured prominently by Codex Wallerstein, Talhoffer, Kal, Dürer, and elsewhere in Kunst des Fechtens. Its simple, compact, ergonomic design and easier-forged, single-edged blade made the armament appealing for a nobleman to carry when he went around unarmoured, attending to his more mundane duties in a variety of environments. Likewise, it was appealing to the more lowly trooper and man-at-arms of Europe, as well as any street fighter. The messer was something you could use and abuse. However, it was something suited more to selfdefense and labor rather than armoured dueling—which is fine, but that should be realized. For example, out of over 400 folios in his manual, Lecküchner mentions kampf only once and harnisch only once, when he states in folio 54r that a specific technique was borrowed from armoured dueling. So it seems indicated, not just by the obvious nature of the weapon’s design but by the nature of harnischfechten and by the most minimal mention in relation to kampffechten, that the messer simply was not a weapon for armoured dueling of the nobility. However, it is certain that it was considered significant by fight masters, who urged or compelled both noble knights and common troopers to learn how to wield this useful peasant’s weapon for selfdefense and warfare, probably for unlawful skirmishes on streets and roads, and simply for completion of one’s fencing arsenal and repertoire. Lookout Bastion Right Boar 186 Left Boar Variety Right Steer Left Steer Play derived from armoured dueling. 187 Knightly Dueling LATER PORTRAYAL OF EARLIER DUELING These dueling scenes from De Arte Athletica (1542) by Paulus Hector Mair portray archaic plays with great flair. Two impositions for spear, shortened and medium. Stance that attacks the bollix, countered by averting it. 188 Variety TOURNEY COMBAT—NOT THE SAME AS DUELING COMBAT Yes, Talhoffer did show a definite tourney scene in his manual from 1459. And indeed, a fine scene it is too—heavily plate-armoured knights jousting in full tourney regalia of stechzeug, including frog-mouth helms and targes, riding in prow saddles with peytrels on chanfroned horses, charging each other with coronal lances. Notice how hazardous it is, since there is no central tilt rail dividing the jousters, which by this time was common to tourneys. Yet consider the frog-mouth helm (aka stechhelm or rennhelm): it was a heavy thing built for statically intercepting and diverting the massive shock of collision at tourney, not for glancing and ducking during the dynamic hunt of dueling. Compare the difference of the war hats, schallers, and movements in the 1450-Ambraser and 1459-Thott portrayals featured elsewhere (see “Horse Fighting”). Again, arms and armour for dueling were no different than for war—thus it was field harness and field weaponry. Considered in context, this is the one and only illustration (130v) of anything tourney-related shown in that 300-page 1459-Thott edition—and thus Talhoffer devotes no more than one-third of 1 percent of that manual to tourney. (See Endnote #16 for reference to war and its weaponry as primary compared to tourney and its weaponry.) Tourney jousting—Talhoffer (1459). 189 Knightly Dueling Tilt rail, exploding lances, and grotesque helms— Freydal (1512–1515). Yet jousting was dangerous sport—Theuerdank (1517). Foot mêlée in thick, bloated armour—Chroniques de Monstrelet (early 16th century copy). 190 Variety Horse mêlée with rebatre swords and rebatre helms— Turnierbuch by von Eyb (1500). 191 Knightly Dueling KNIGHTLY COMBAT PORTRAYALS FROM LITERARY WORKS The following are illustrations of knightly combat that accompany some chivalric belle lettres, circa 1250–1420. Although these depictions should not be considered the martially technical equal of those found in guerre lettres, nonetheless they can show some surprising accuracy, and whether German or French, do foretell things in later fechtbücher. While some depictions are not necessarily of dueling per se, the combat portrayed shows relevant things nonetheless. Naturally, the Liechtenauer tradition had its own fighting forebears, and earlier European texts like the following certainly indicate martial evolution prior to his tradition. Indeed, early dueling and warfare is literally the history leading to later dueling and warfare. (For more about belle lettres, see Endnote #17.) Louis IX Bible (French, circa 1250) Duel amid battle. By and by, dueling of two men during battle happened less and less, yet it does happen here. Notice the central pair of combatants are fighting sword versus spear. Notice the maille armour, surcoats, swords, spears, kite shield, and battleaxe. This scene bespeaks the martial bond between warfare and dueling. 192 Variety Riders battle. Here we see lances/spears similar to what Talhoffer portrays later; cleaving of helms with swords while ahorse; hauberks, great helms and war hats, curb bits and spurs; and such other armaments as axe, mace, and cleaver. Codex Manesse (Swiss-German, 1305–1340) Sword and buckler fighting. The scenes here show wards and techniques analogous to those portrayed by Walpurgis (1280–1320), Talhoffer (1459 and 1467), and Kal (1462). 193 Knightly Dueling Wards for sword ahorse? One may argue that equivalents of two of the later Liechtenauer sword wards for horse fighting are portrayed here—seemingly the second ward versus the fourth ward. Hewing to win. Dueling with swords and triangle shields, the one man cleaves down with both hands gripping his sword, undoing his foe. Notice the great helms, maille harness, the crest—and yes—fair maidens watching. Rosengarten zu Worms (German, 1418–1420) These fanciful portrayals do show accuracy too. Notice longswords, composite harness of maille and plate, bascinets, aventails, gauntlets, crests, and frog-mouth helm. Oddly, most of the wards and strikes evince hewing technique, not unlike Talhoffer’s early (1443) bloszfechten wards. The verisimilitude of most of the images here may actually portray deeds of arms—thus striking meant to knock the armoured foe around or out, so as to test him, yet with risk of some bloodshed. However, notice the mortal half-sword thrust in the last portrayal—perhaps the earliest picture of such from any German book. Sources like Ringeck (1440s) and von Danzig (1452) attribute their half-swordsmanship back to Liechtenauer (circa 1380), and Talhoffer’s half-sword (1443–1467) is traceable to him. Thus it is a safe guess that half-swording must have started by 1350, if not earlier. One may conjecture that realization of its efficacy versus armour took time for proliferation and/or overlapped prior methods for a while for various reasons—again for deeds of arms, or due to secrecy of Liechtenauer’s half-sword method, or just due to social stubbornness. 194 Variety 195 Knightly Dueling Sigenot (German, circa 1470) Although the combatants are fully armoured, strangely the artist portrayed the knight and his gigantic foe fighting from unarmoured wards, whether brandishing longsword (or club) and/or sword and buckler (or targe). One may note that the longsword wards are similar to unarmoured wards seen in fencing manuals by Talhoffer (1443) and de Liberi (1410). Regarding the sword and buckler wards, some seem like coeval ones depicted in manuals by Talhoffer (1467) and Kal (1462). The martiality of these depictions has typical belle lettres verisimilitude—considering the entire context, the combat is shown in an amalgamated and somewhat correct manner—thus decently illustrative of contemporary armament and of some actual techniques, yet requiring scrutiny on the part of the viewer and realization of proper context. 196 Variety 197 Knightly Dueling MISCELLANEOUS The emperor and his foe duel each other with spears—once again from Weißkunig (1509). Learning the spear is halfway to learning any other polearm—pollaxe, halberd, etc. Judicial duel of Otto von Grandson versus Gerhard von Estavayer. Notice how this Swiss scene of a duel with maces in 1397 from Berner Chronik by Diebold Schilling (1483) agrees with many of the particulars indicated by the fechtbücher: armoured combatants fight inside a ring within barriers, attended by armed grit wardens, with a lone judge watching and seething rabble spectating. (By the way, Spiezer Chronik of 1485 shows it with halberds instead of maces.) 198 Variety Duel of husband versus wife. Again from Berner Chronik by Diebold Schilling (1483), this may be an allegorical conflict and not really a duel, as it does seem odd that an unarmoured woman in a gown fights a fully armoured man—yet somehow she wins. Notice the halberds, longsword, dagger, war hat, and oblivious persons in background. Dueling on behalf of a woman. For the sake of an accused maiden, one knight fights as her champion against another knight who accused her of some crime punishable by burning. Notice the armour and barriers, the dropped maces, the watching judge with beard and rod of authority, and the ready bonfire. The one knight stands in half-sword first ward versus the other knight in morte-strike high ward. From a version of Ritter von Turin (1493). 199 This page intentionally left blank. Artifacts ‫ﱝ‬‫ﱝ‬ Here is a concise yet nice photographic survey of some actual artifactual arms and armour from the dueling days of Germany. You shall find historical examples of a full harness of plate armour, a longsword, a dagger, a targe, and a chanfron, plus a replica spear head, as well as facsimile of a few pages from the original Fechtbuch by von Danzig. Field harness of Siegmund von Tirol. This nicely decorated yet serviceable feldharnisch was given to von Tirol upon his wedding to Katharina von Sachsen by Augsburg’s master armourer, Lorenz Helmschmid, circa 1485. It is arguably the ultimate example of a full harness of Gothic plate armour, fit for dueling both ahorse and afoot (minus the excessive sabatons). It is possible that this harness once had tassets. (Kunsthistorisches Museum Vienna) 201 Knightly Dueling Chanfron from Southern Germany. This fancy roszhelm, circa 1490, may actually have been meant for tourney, but the design is something that could have served well as a horse’s only piece of armour in a duel. Notice it evinces damage and contains replacement plates, the center one resembling a tartsche. (Deutsches Historisches Museum, Berlin) Targe of Caspar von Ow zu Bodelshausen. This tartsche of the early 15th century has a design that was used for both dueling and tourney. Although not mentioned in Liechtenauer texts, it is seen in various fight-book portrayals of kampffechten ahorse and afoot. (Sammlungen von Ow im Schloss Wachendorf ) Spear (modern replica made by Windlass Steelcrafts, India). There were numerous original glefen circa 1000–1500 that were made to this simple, common design. (Lepping Collection) Ballock dagger. This European degen of the late 15th century has a slender triangular crosssection to its blade to aid stabbing and blade grabbing for a variety of techniques and for easy piercing of gaps. (Saint Louis Art Museum) Longsword and sheath from Order of the Dragon to Order of the Garter. This gorgeous German-Hungarian langes schwert and scheide were gifts from Kaiser Sigismund to King Henry V when he visited in 1416 during mediation attempting to bring an end to the Hundred Years War between England and France. Although ceremonial, it has the design of a battle-worthy Oakeshott Type-XV or XVIII sword. (Mansion House, City of York) (Note: All the artifacts are shown roughly to scale with each other.) 202 Artifacts FOLIOS 7v AND 8r OF THE FECHTBUCH FROM 1452 BY PETER VON DANZIG Figures 1 to 13 of Liechtenauer horse fighting. Figures 14 to 26 of Liechtenauer horse fighting. 203 Knightly Dueling FOLIOS 67v AND 68r OF THE FECHTBUCH FROM 1452 BY PETER VON DANZIG ‫ﱝ‬‫ﱝ‬ 204 Lexicons ‫ﱝ‬‫ﱝ‬ GERMAN CHIVALRIC ARMAMENTARY LEXICON It was tricky making a German-English lexicon of historical German chivalric terms for arms and armour of the period circa 1200 to 1600. Despite the fact that the majority of known surviving fight books for chivalric dueling are German, most all the analytical and expository treatises in English that deal with the study of European armour either rely on the valid yet foreign vocabulary of English terms mostly akin to French terms (as naturally some German terms are), or said treatises merely repeat many of the terms found in German “curator speak”—jargon coined by Enlightenment and Victorian antiquarians and curators, taken up by librarians, complicated by heraldists, and proliferated by collectors and dealers. So sadly, the jargon is not always based upon relevant historical sources (e.g., the modernly invented term “kastenbrust”), and indeed, tends to show ignorance of fechtbücher. Yet insofar as German academia and curatoria display such, so do English, French, and American academia and curatoria—there is enough blame to go around. And because curator-speak often shows it has forgotten earlier historical terms, it actually serves as latter-day imposition upon accurate study of earlier artifacts and their context in both coeval guerre lettres and belle lettres, which in turn makes things confusing for serious modern-day scholars, martial artists, and arms and armour makers. So despite how few the words in the following list, they are indeed authentic, verified terms from that period. Terms in italics are from various period literature (Parzival, Diu Krône, Loher und Maller, Städtechroniken Augsburg-Lübeck-Nürnberg, Berner Chronik, Theuerdank, Weißkunig, Luther’s writings, etc.); the Wörterbücher by Grimm Brothers and/or Lexer; and/or confirmed in Deutsche Turnier by Niedner. Terms in bold are directly from fechtbücher in the tradition of Liechtenauer by such later masters as Döbringer, von Danzig, Ringeck, Lignitzer, Hundtfeltz, Talhoffer, Kal, Wittenwiller, Czynner, Gunterrodt, Faulkner, Mair, and Meyer, plus such other anonymous sources as Codex Wallerstein, MS KK5013, Gladiatoria, and Goliath—although said terms may also be found in the period literature. Notice that literal translations are in parenthesis and comments in brackets. Not every compound word for every prolific root—like eisen, harnisch, ketten, messer, panzer, renn, spiesz, stech—is listed, nor should be. No terms for armaments related to federfechten, rapierfechten, or feuerwaffen are included, and very few related to bogenschiessen or turnier are included. Unfortunately, no atelier terms are included, yet some few equestrian terms are here. This lexicon may not be all-inclusive for the designated period, yet it does include its major terms, including some that were either archaic (e.g., glefen) or unused (e.g., brünne) later in the period. Admittedly, variations of spelling and unlike terms may be in the fight-book corpus for some of the things listed below. This lexicon should prove to be unique, indeed the first of its kind for German chivalric combat and dueling. agst/axt: pollaxe. arm: rerebrace (arm) [very rare term—almost always used as a bodily term]. armbrust: crossbow [for bolts—virtually the only missile weapon found in the fechtbücher]. 205 Knightly Dueling armel/ermel: vambrace (sleeve). balc/balg: sheath [pre-1300 term]. barbiere: ventail/bretache. bassler: baselard [holbein-hilted bladed weapon—dimension ranged from dagger to shortsword]. batwât: head cap/head wrap [serves as padding under coif and/or helm]. beckenhûbe: underhelm [early—beneath great helm]; basinet (basin helm) [late—lacked visor but had aventail]. bindt/pindt/gepint: handle/grip of sword (bind/binding). blate/plate: plate [of metal armour]; breastplate; back plate; cuirass. blatenrock/platenrock: coat of plates/brigandine. blatharnasch/platharnasch: plate harness. blössen: gaps of harness [practically synonymous with gelencken—used this way in harnischfechten]. blosz: unarmoured—man, technique, fight, etc. (bare). bogen: bow [for arrows]. böhmischen schild: battlefield pavise (Bohemian shield). brünne: byrnie. brustwehr: hauberk/byrnie; cuirass. buckler/buckeler/buckeller/puckeler/buggeler: buckler/bouclier. coif/coifen/kabütze/koufe/kupfe: coif. collier: aventail or gorget. darmsgurtel: girth strap binding saddle to horse (gut girdle). degen/tegen: dagger [ballock/rondel/baselard—older term for the weapon, pre-1500]. dolch/tolch: dagger [rondel—newer term for the weapon, post-1500]. druschel: pole flail/thresher. ecke: edge of blade. 206 Lexicons eisen: iron [in many compound words for harness parts—see isen and îsern]; sharpened blade [war craft]. eisenhut: war hat/kettle hat (iron hat) [venerable term spanning periods—like the helms themselves]. entwaffnen: unarmoured/unarmed. fausthammer: war hammer/war pick (fist hammer). fechten/vechten: fighting/fencing. fechter/vechter: fighter/fencer. fechterin: female fencer (fighterine/fencerix). fläche: flat of blade. gabilôt: javelin/short spear. gehiltz/gehültz: cross/crux of sword; hilt. gelencken: joints of harness [plus joints of the body—practically synonymous with blössen as per harnischfechten]. geschäpft: plates of armour. geschirre: harness/bridle and reins [for the horse]. gewappent: armoured—man, technique, fight, etc. [may also mean “armed” or “weaponized”]. gewehr: armament [sometimes it also means “gun,” but not exclusively so until after the period]. glefen/glev/glefney; glevîn, glavîe, glevîe, glëve, gleve, glevîe, glevenîe, glavîn: lance or spear. gurtel: sword belt (girdle). halsberk/halsperc: hauberk. hammer: hammer [any of various designs meant for warfare]. handschuh: gauntlet (hand shoe). hanthab/handlas: handle/grip of weapon. harnasch/harnisch: harness—full plate armour. harnaschbar: unarmoured. 207 Knightly Dueling harnaschsnuor: harness strap. harte: hammer [possibly?—quite archaic, even figurative, and contextual]. haube/haubt/hûbe: helm [or head—contextual and arguable which exactly]. hellebarde/hellen barten: halberd/voulge. helm: helm [of various designs—anything from great helm to sallet]. helmsnier/helmsnuor/huffenier: head cap/head wrap [serves as padding under coif and/or helm]. helmzier: crest (helm beast). holtz: wood. hosen: cuisses (trews) [perhaps “cuisses and greaves”—arguable]. hundskappe: basinet and visor (hound’s cap/hound’s hood). isengewant: armour. isengolze/isenkolze: chausses. isenhemde: armour (iron shirt). isenhosen: chausses (iron trews). isenkleit: armour (iron-clad/iron clothing) [reemerges modernly as eisenkleider]. îserkovertiure: barding. îsern: armour. joppe: jupon/jack; doublet. jungkher/junchêrre/jůnckher/junker: young lord [thus the typical young nobleman who is likely to duel]. kachel: poleyn (?). kampf/kempf/kempfen: duel/combat; judicial duel; fight/struggle. kampffechten: duel fighting [the actual martial arts for fighting an armoured duel]. kanz: crinet. kempfer: duel fighter/combatant [the “human weapon”]. 208 Lexicons kempferin: female duel fighter/female combatant (duel fighterine/combatrix). ketten: maille. kettenwams: jack-chained wambeson. keule: cudgel. klinge: blade of weapon. klôß: pommel of sword (clump). knopf: pommel of sword (knob). kolben: mace/club [either wooden or metal—depending whether duel was unarmoured or armoured]. kraft: prowess [the primary knightly quality—what makes an outstanding fighter]. kraiß: cuff of gauntlet (circle). krebs: breastplate (crayfish/crab). kreutz: cross of sword. küris: cuirass [both breastplate and back plate together—includes the so-called “plackart”]. kuter: couter (?). langes schwert: longsword/war sword. lanz: lance. leder: leather. lendeniere: loin belt [for girding maille harness]. meile: maille. messer: messer/falchion [in some contexts meant “bladed weapon”—thus “any dagger, messer, or sword”]. misencar/misenkar: misericorde/dagger. mordt agst/mort axt: pollaxe (morte axe). morgenstern: spiked mace (morning star). nagel: cross/quillons of messer hilt (nail). 209 Knightly Dueling nesteln: thongs/straps/lashings/arming points (nesting). ors: horse/steed/charger. ort: sharp point of any weapon. panzer/banzer: wambeson/gambeson; hauberk and wambeson together; coat of plates/brigandine. panzerarmel: maille arming sleeve. panzerkragen: coif and/or aventail. panzerrinc: maille; gussets/goussets; voiders. pfeil: bolt/arrow. reithammer: riding hammer. riemen: thongs/straps/lashings/arming points; strapping of shield. ring: ring for dueling [stone circle sometimes laid into ground within barriers—one loses if flees or is knocked out]. ring [with plural article “die”]: fauld (the rings/the hoops) [highly contextual]. ringe [with plural article “die”]: maille (the rings) [highly contextual]. ringkragen: gorget or bevor. ritter: knight. ritterschaft: chivalry. ritterzeug: the armour of a knight. rosz: horse/steed/charger [the “animal weapon”]. roszhelm: chanfron. rück: back plate (back) [basically the same as the common bodily term]. rüstung: harness [full suit of composite armour or plate armour]. sar, sarwât, sarawât, sarawe, sarwa, sarwe; sarewât, sarebât: harness [full suit of maille or composite armour]. sattel: saddle. 210 Lexicons sattelbogen: saddle bow. schale: shell of messer hilt. schaller: sallet/salade; armet (?). scheiben: pommel disc of ballock dagger; shaft disc of spear, pollaxe, or polearm [see schîben]. scheide: sheath/scabbard. schellier/schillier/schinnier/tschillier: greave or schynbald/jamber; poleyn and/or greave. schevalier: knight (chevalier/cavalier) [also the word itself was an archaic call for combatants to fight]. schîben: besegews; poleyns (?) [see scheiben]. schild/schilt: shield [highly contextual—may mean “shield,” “targe,” “pavise,” or “buckler” of various designs]. schirmschild: smooth training buckler (fencing shield); rundellen/umbo. schirmswert/schirmwâfen: blunt training sword (fencing sword); waster; rebatre sword. schlahent ort: pommel of sword (slaughtering point). schlinge: sling [for stones]. schneide: sharp edge of a weapon [of a sword, includes lang = long/true/front and kurz = short/false/back]. schôsz: fauld and/or tassets; codpiece (?). schranken: barriers [wooden railing or fencing girding the dueling grounds meant both to keep in and to keep out]. schulterblat: ailette [early]; spaudler/pauldron (shoulder blade) [late]. schulterblech: ailette [early]; spaudler/pauldron (shoulder plate/shoulder leaf ) [late]. schweinspiesz: boar spear/partisan. schwert/swert: sword [highly contextual—may mean “shortsword,” “bastard sword,” or “longsword”]. seges: scythe. spaldenier/spalier: spaudler [aka “spaulder”]. speer/sper: spear or lance. 211 Knightly Dueling spiesz/spieß: spear [perhaps sometimes more like “javelin”]. spitz: sharp point of any weapon. sporen: spurs. stahl: steel. stahlhut: great helm (steel hat). stange: staff/quarterstaff. steigleder/stîcleder: stirrup. tartsche/tartzen: targe. tenär: palm of gauntlet. treie/troie: wambeson; jack/doublet. valz: fuller of blade. vënster: eye slits/ocularia of helm (window). veszel: sword belt, baldric; belt for bearing blade. vinteile: ventail/bretache. visier: visor. wâfenhemde: wambeson. wâfenkleit/wapenkleider: suit of armour/harness (weapons clothes). wâfenunge/wâpenunge: weaponry; armatura/armaments; arsenal. waffe: weapon. wams/wambeis/wamms: wambeson/gambeson; doublet/assiette; aketon. wappenrock/wâfenroc/wâpenroc: surcoat (weapons coat) [the true “coat of arms”]. zaum: bridle/reins. zimier: crest. 212 Lexicons MIDDLE HIGH GERMAN KAMPF LEXICON The following lexicon is a reprint of all kampf and kempf entries from an out-of-print Middle High German dictionary by precisely the sort of 19th century scholar alluded to previously—Matthias Lexer. As such, there is the glaring error of having no entry for kampffechten, despite its prolific use in coeval fechtbücher. Thus one ought to carefully consider each entry found below. Yet the work of Lexer—which in turn was based upon Benecke-Müller-Zarncke—is deserving of respect, and so this “kampf lexicon” may help those who peruse it. (See Endnote #18.) kampf or kamph stm.: daß chanf DIEM. 262,17; md. kamp: einzelkampf, zweikampf (certamen, duellum: kamph, kemph, md. kamp, kempt DFG. 115a. 192b. n. gl. 142a). RUL. LAMPR. IW. PARZ. TRIST. KONR. in einen rinc ze kampfe treten TROJ. 5227. ir sint zer minne baß gestalt denn ir getân ze kampfe sît 22325. in der muoter wambe wâren si mit camphe GEN. D. 46,7. kampfes arbeit ROTH dicht. 43,33. ze kampfes zîten J.TIT. 4904. eß ist beßßer k. danne halsabe ULR. Wh. 111c. des belîbet er âne k. HELBL. 2,541. einen kampfes an sprechen LOH. 7163. einen kampfes biten ORL. 11267. des kampfes spil an nemen ib. 11280. sich veile geben mit sînem kampfe in einen strît ib. 11304. ze kampfe stân ROTH dicht. 54,21. einem kampfes genuoc geben HPT. 8,494. den k. einem bieten KARL 11841. einen mit k. bestân ib. 11797. LOH. 1579. RENN. 11591. einen man bestên ze kampe KARLM. 251, 37. 47. in kamphe stân BARL. 110,35. in den kamp komen MARLD. han. 22,40. ze kampe gân PASS. 80,4. ich wil beherten mîn reht mit kampfe LANZ. 5002. des kampfes gegen alle meister phlegen WARTB. 1,9; gerichtl. zweikampf DSP. 1,88. SWSP. 298. FREIBERG. 217; kampfspiel, turnier, palestra DFG. 406b; minnekampf, bettspiel FASN. 748,20; kampf zwischen zwei heeren STOLLE 27; bildl. leiden, Philippus leit durch got disen camp PASS. 282,12. mlat. campus, zweikampf? vgl. KUHN 1,385. DWB. 5,138 f. kampf-bære adj.: zum zweikampf tauglich LANZ. PARZ. (kampfes bære 209,10 var. camphbâre) ULR. Wh. 161b; kampære wunde (im gerichtl. zweikampf) wunde, die eines nagels tief u. eines gliedes lang ist FREIBERG. 216. 24. 25. HALT. 1066. kampf-ge-nôß or kampf-ge-nôße stswm.: freundl. teilnehmer am kampfe, mitkämpfer IW. ER. 9120. J.TIT. 4902. ULR. Wh. 114a; feindl. teilnehmer am kampfe, gegner PARZ. KRONE 2905. 20505. 28052. KARL 11907. 97. DAN. 3838. BARL. 110,36. SWANR. 931. OT. 49b. 98a. kampf-ge-schirre stn.: kampfzeug, waffen FREIBERG. vgl. kampfgezouwe. kampf-ge-selle swm.: s.v.a. kampfgenôß in erster (VIRG. 168,2. MART. 233, 50), in zweiter bedeutung HARTM. TRIST. KRONE (2924. 99. 11864. 12542. 16647). ERACL. 4809. SWANR. 1011. OT. 195b. kampf-ge-verte swm. s.v.a. kampfgenôß in zweiter bedeut. TROJ. 3531. SCHRETEL 255. kampf-ge-zouwe stn.: s.v.a. kampfgeschirre FREIBERG. kampf-hof stm.: camphof, palestra DFG. 406b. kampf-huot stm.: hut zum gerichtl. zweikampf GR.W. 3,601. kampf-hûs stn.: pugilatorium DFG. 471b. 213 Knightly Dueling kampf-kolbe swm.: welich der tiuvel heißet dich kempfen unde welich der tiuvel hât dir den kampkolben erloubet BERTH. 325,22. kempf kolb, cestus VOC. 1482. kampf-lich or kempf-lich adj.: zum kampfe gehörig, geeignet, bereit PARZ. (lâ mich für die arbeit ein kampflîcheß gîsel wesen 323,19). TRIST. LIEHT. DIOCL. kampflich wort, die förmliche ausforderung zum zweikampfe SSP. 1. 68,3, ebenso ein kempflich fürbot CHR. 2. 10 anm. 1. kempfliche sache, streitsache, die durch zweikampf entschieden wird EYB 8. kampf-lîche or kempf-lîche, -en adv.: kampflîche vehten ORL. 1649. daß er sô kampflîchen ist komen WWH. 128,25. einen kampfschilt er truoc, dâ mit er kampflîchen stuont LANZ. 1921. sein êre kempflîchen verantworten RTA. 1. 222,1. einen k. an sprechen, zum zweikampf, bes. zum gerichtskampf fordern PARZ. LOH. 830. MSH. 2,210a. DSP. 1,87. 88. SSP. 1. 62,4; 3,29. DÜR. chr. 401. FREIBERG. 217 (kemplîchen). NP. 18. MZ. 4,2 s. 5 (kemplîchen), ebenso einen k. grüeßen FDGR. 1,374b. SSP. 3,35, einen k. vor laden ib. 2,8, dar laden PARZ. kampf-meister stm. kampfrichter HALT. 1064 (a. 1374). kampf-müede adj.: vom kampfe ermüdet PARZ. LANZ. 2206. kampf-rahe swf. zwên vilâne süllen sich zebliuwen unde zeslahen vor geriht mit kampfrahen, mügen si ir reht anders niht bewæren unde ir geschiht KRONE 10759. s. rahe, s. stange. kampf-rëht stn.: das recht, das den gerichtl. zweikampf bestimmte u. ordnete (TRIST.), auch der rechtliche anspruch des einzelnen daran GR.W. 3,601. s. HALT. 1064 u. DWB. 5,155. kampf-rëhten swv.: das kampfreht ausüben, im gerichtlichen zweikampf fechten TRIST. kampf-reit stm. kampfplatz. der k. was niht wît APOLL. 5925. kampf-scheider stm. palester DFG. 406b. kampf-schilt: kampfschild LANZ., schild zum gerichtl. zweikampfe, der nicht als waffe dienen konnte DSP. 1,283. SSP. 1. 63,4. kampf-slac: schlag im kampfe, md. kampslac ELMEND. KARLM. kampf-spil stn. monomachia DFG. 367a. kampf-stat stf.: platz, wo ein zweikampf vor sich geht IW. TRIST. kampf-, kempfstat, pugilatorium VOC. 1482. kampstede DIEF. n. gl. 308b. kampf-stëchen stn.: ritterl. kampfspiel EHING. kamp-stede s. kampfstat. kampf-swërt, kempf-swërt stn.: romphea, gladius bis acutus DFG. 500a. HB. M. 509. 514. 214 Lexicons kampf-vrî adj.: kempffreier man SWSP. Senkenb. c. 53, fehler statt sempervrîer s. DSP. 1,71e (sentper vreier) SWSP. 348,1. L. 79, III u. anm. kampf-wât stf.: kriegsrüstung DIEM. kampf-wërc stn.: rüstzeug zum kampfe TRIST. kampf-wîc stmn.: zweikampf als gottesurteil RA. 929. kampf-winner stm. duellus, kampwinner DIEF. n. gl. 142a. kampf-wîse adj.: erfahren im zweikampfe, kampfkundig IW. kampf-wîse stf. was zum kampfe gehört. hei, wie ist er ze vehte und ze kampfwîse gestellet sô ze prîse TRIST. 11211. kampf-zît stf.: kampfzeit IW. 163. 252. kempfe swm.: kenpfe DIEM. MART. 21, 31. WALTH. W. v. Rh. 214,54. ECKE Z. 150, 8: der für sich od. als stellvertreter eines andern einen zweikampf unternimmt, dann überh. kämpfer, streiter RUL. IW. PARZ. TRIST. BON. KONR. (TROJ. 4034. 4246. 84. ENGELH. 4661. AL. 834). GUDR. 360,4 (hs. kempfer). HERB. 2040. ROSENG. H. 1372. 1606. 37. 1722. 1846. 2149. 2246. SERV. 636. 44. LOH. 265. 350. 6809. 7158. J.TIT. 5665. KARL 11819. 51. 11933. KRONE 12686. 12875. 81. 13772. RENN. 11584. 600. WG. 7435. MSH. 2,193a. 255b. NEIDH. XX, 10. 73,21. WARTB. 1,8. gotes kempfe ULR. Wh. 134b. MSH. 2,197a. WARTB. 95,7. 3,177a. KARL 10160. MART. 21,31. PASS. K. 86,68. 122, 7. der kempe gotes PASS. 189,11. 244,46. des tievels k. ERACL. 4812; der für miete gerichtl. zweikampf ausficht SWSP. 62,2 (sie waren rechtlos ib. 258,7. SSP. 1,38 u. RA. 677).—zu kampf s. DWB. 5,144; kempfen swv. prät.: kampfte, kanfte (: sanfte) von einem infin. kenpfen MSH. 2, 288a; md. auch kimpfen DFG. 471a: kämpfen, bes. einen zweikampf bestehen absol. dâ ist vil wol gekempfet PASS. 343,91. in dem ringe k. FASN. 1003,20. kempfen mit TROJ. ENGELH. 4675. WG. 3045. MSH. 2,288a. GA. 1. 178,34, kempf. umbe einen TROJ.; tr. einen k. mit ihm zweikampf halten HARTM. (IW. 4327 u. Bechs anm.). KARL 11818. DSP. 1,88. dekein lantman mac dekeinen burger kempfen niwan mit des burgers willen AD. 785 (a. 1293).—mit an (FRL.), er-, über-; kempfen stn.: pesser ist kempfen dann halsab FASN. 509,9; kempfer stm.: duellator, athleta, agonista DIEF. 1470, gladiator VOC. 1482. W. v. Rh. 23,35. LAUR. Sch. 908. 57; vgl. GUDR. 360,4 oben unter kempfe; kempferinne stf.: kämpferin HEINZ. 124. 42,1. kenpferîn MART. 79,79; kempfinne, kempf în stf.: dasselbe PASS. K. 190,75. 619,55. kempf-kolb s.: kampfkolbe. kempf-lich adj. s.: kampflich. 215 Knightly Dueling kempf-stat kemp-swërt s.: kampfstat, kampfswërt. kemp-lîchen adv. s.: kampflîchen. kempt s.: kampf. vor-kempfe swm.: vorkämpfer MYST. RUL. 228,9. LIT. 568. vür kempfe DAV. 53. ‫ﱝ‬‫ﱝ‬ 216 Endnotes ‫ﱝ‬‫ﱝ‬ (1) Dangerous World Some historians consider German chivalry as brutal in comparison to English or French chivalry—lacking their finery and courtesy, a wilderness of endless horror and strife. All academic conceits aside, there may be some truth to that—for German chronicles give the impression that their knights were clobbering each other left and right. There was indeed the need for expertise in the handling of weaponry by the German knight when he had to seek vindication against a personal foe before a court of law. Such combat happened far more commonly in his dangerous world than many fencers nowadays may realize, indeed, which some deny. These combats were the lawful way for nobles (or commoners) to deal with each other in an honorable decisive manner when serious disputes were intractable. We get revealing insights from historical records and accounts of such German judicial duels. Here is my translation, with interpolation, of the small but dense survey from Deutsches Leben by Schultz (1892), which contains just a sample of the many documented combats from the times and places of the fechtbücher: Thus in 1347 Benedict von Weitmail recounts a duel of two noblemen in Tyrol before Karl von Böhmen, also reported later by Heinrich Rebdorf in his Chronicle of 1359: At this time on Martyrs Adbon & Sennen Day [30 July], in the city of Eichstätt, there was fought a duel between Hopfenstadt and Perenvelder. The foregoing year on Martyrs Marcus & Marcellian Day [18 June], that same Hopfenstadt survived a similar duel at the district court of the burgrave, and also at Nürnberg with a certain Marschald von Gedingen, whom he likewise manfully vanquished and whom he spared at bidding of the lords. He was a well-known robber who plundered the Margrave Ludwig and his land for many years. He stood upon the one side and upon the other the Squire Perenvelder, the servant of the aforesaid margrave, who also gave him the horse for this duel. And so Perenvelder lost, all told. But for him many prayers from the people and pious wishes unto God, for justice was his cause, all that had to do with his side. None of the combatants became other than slain, their bodies were not mutilated. In München in 1370 was the notably Alemannic duel of Diepolt Güss and Seitz von Althain. The latter remained as victor. He did so after exhaustive combat, finally vanquishing his foe with a three-strike flurry of sword. [This was later recorded in Augsburger Chronik (1457) and retold by Paulus Hector Mair (1542). Refer to my essay “Duel of Theobald versus Seitz—Germany, 1370” for complete account and analysis.] In Wien in 1401, Willalm der Rorer wanted to combat with a certain Häussler within the barriers on the Friday after Saint Aegidius Day [01 September]; but that was hindered by the count; who also would not stand for the duel between Sigpekh and some Bohemian which should have been fought the Wednesday after Saint Margarethe’s Day [20 July]. In München in 1407, Weindl Gebelf combated with Hasperg and was stabbed. In Augsburg on 28 June 1409, Geswein Marschalk and Dietrich Hechssenacker: unarmoured behind shields, in grey frocks with swords and with messers, at the wine market within barriers. The former was stabbed. [This likely was a commoners’ duel with pavises and blades.] In Augsburg in 1412 Burkhard von Ellersbach and Hans Gumpenberger should have fought, but instead the matter was settled otherwise. At the market of Nürnberg on 18 September 1430 between the hours of 11 morning and 12 noon, two 217 Knightly Dueling French/Burgundian knights, Peter and Hugo, fought. Double barriers were prepared: they fought it out upon foot in harness and with pollaxes and with swords and with daggers. Hugo won. In Nürnberg in 1442 on Palm Sunday, the burgher Steiner [a jeweler] prevailed in commoners’ duel against his fellow burgher Hübner [a farrier]. In 1475 fought two noblemen of Count Eberhard von Württemberg— Rinhofer Sekendorffer and Smalnstein. They dwelt in Nürnberg in the house of Anthoni Muffel, and arranged the matter for 27 July before the Frauentor: to the high cross, and that Smalnstein stabbed the Sekendorffer under the groin, so that he fell down and died on the spot. [This count was the same Eberhard for whom Talhoffer produced his 1467-Gothaer edition. It is possible that all involved had trained by that master’s method.] On 30 June 1476, thus Saint Paul’s Day, one found such a duel between Ritter and Wydoge but staged instead at the famous Hagenmarkt in Braunschweig. In Ansbach in Bayern on 07 January 1478, there was fighting of Jorg von Rosenberg and Sigmund von Steten—first upon horse, then upon foot. Rosenberg was victor. And here is one more famous duel that deserves mention, which I retell from the combined versions presented by Mills in his History of Chivalry (1844) and by Büsching in his Ritterzeit und Ritterwesen (1823). In 1495 at Worms there was a legendary fight, a seeming mix of schimpf and ernst, between the German Herzog Maximilian challenged by the French chevalier Claude de Batré, an armoured deed of arms both ahorse and afoot. Although a knight of great prowess, Maximilian was hard-pressed to prevail against the gigantic Frenchman, whose combative ability reputed him a feared, even demonic, figure among noble European peers. For some time Maximilian and Claude fought hard and fast, first with lances and then with swords. At last Maximilian disarmed his foe, put him down, and then granted him mercy. Having vindicated German chivalry, Maximilian would later become the German emperor. (2) De Facto Commentary Notice in the mark verses (9r) that this couplet via von Danzig (similar to such via Döbringer) . . . Ob er lanck vichtet / So pistu kunstlich berichtet / If he fights long, then you are ready artfully . . . is not included later in his duel fighting, although it is commented upon de facto (69r) by the following, in correct continuity related to other mark verses, advising how to deal with the foe who parries widely and lengthily: . . . Ruck oder eyl do mit pald zu / Im durch deß willen ob du ym nicht recht getroffen hiettest mit dem ansetzen / Daß du in denn magst begreiffen mit ringen / Wisß daß ist die kunst wider alle die vechter die do lanck / und weit vorseczen / und vechtent zu dem swert / und nicht zu den plössen deß leibez . . . Thereby shift or hasten quickly to him at your will. If you have not met him rightly with the attack, then you may grapple him with wrestling. Wit that is the art versus all the fighters who do lengthy and wide forsetting, and fight to the sword and not to the gaps to the body. 218 Endnotes (3) Notion of “Presenting” I found an Internet post at a sword forum regarding mounted combat where someone stated that in striking from horseback, all you need do is “present” the sword—thus no need to swing—because the horse’s momentum plus the mere presence of the weapon would do all the work for you. It is true that some (yet not all) of the force from the horse’s charge or bolt may transfer through you, and thus through your weapon, and into the foe during a properly/ideally done strike from horseback. That is doubtless. However, those kinetics alone do not do it for you. You must be involved. You must drive the sword with force of your own body, whether hewing or thrusting, for it to be both effective versus a foe and safe for yourself. For like reasons, you must hurl the spear with force of your own body, or you must clutch it staunchly when lancing. (Naturally, any of that should be done in time with the horse’s strides and maneuvers.) If you put nothing into swinging it, make no real hewing or thrusting with it, then you can neither aim the weapon properly, nor transfer force properly, nor keep hold of your weapon. The force of the mounted strike depends not so much upon the horse or the weapon, but more upon the rider and how he/she is able to exert or transfer energy into the foe. But despite that, we are told by some modern academics and experts that you may merely present the weapon, and somehow it does not get wrenched from your hand, and somehow miraculously smites the target. This one is easy to test and does not need a horse to do it. Go outside with a cudgel or waster and run past either a pell or a big tree twice, holding it with one hand. The first time merely present it. What happened? It got knocked back. The second time, using your sense of measure, actively strike the pell as you go past. What happened then? You actually struck it with force and made a meaningful hit. Now imagine or test the paradigm on horse versus a pell. The first pass knocks the weapon back, perhaps wrenches it out of your hand, and maybe even injures you in the process due to lax technique. The second pass makes a solid hit, and you can still control the weapon in hand via a reasonable recovery, arcing it back, around, and above your head in an ergonomic movement into Liechtenauer’s second ward because of sensible, solid technique. Now imagine or test the paradigm in horse fighting. With the first pass, you are lucky if you almost unhorse the foe yet have not strained your elbow or shoulder or gotten hit by your own boomeranging sword. However in the second, you may well cleave into the foe or unhorse him, because you drove your sword well and can maintain reasonable control after hitting. Sometimes I find this notion of “presenting” in other modern technical fencing descriptions/assertions. Even if they call it something else, some fencers seem to hold the same idea when making wards versus attacks—just put the sword forth; it does the work for you; do not worry about driving it with your body. Nonsense. You get the point, I think. There seems to be no end of notions that evince misunderstanding of force. One may notice that both Liechtenauer and Dom Duarte have another understanding of force altogether—since each makes it quite clear that when you strike from horseback, you actually involve your own body in the kinetics. (4) Hurten hurten swv. hürten ULR. Wh. 163b. PART. B. 5186, prät. hurte, part. gehurtet, gehurt: intr. stossend losrennen PARZ. TRIST. WIG. LIEHT. ENGELH. in strîte hürten ULR. Wh. 163b. dringen unde h. GFR. 1153. hurten unde stôßen ALBR. 9,35. h. u. slahen BIT. 9134. vort hurten EILH. 3532. zesameneh. KRONE 18381. an einen h. APOLL. 7950. ûfeinen h. HERB. 5735. BIT. 9211. 29. WOLFD. 862. si hurten ûf die schilde APOLL. 19738. imperat. u. interj. hurtâ! WOLFR. LIEHT. GERH. LOH. 4492. MSH. 3,223b. HELBL. 13, 104. 182. TEICHN. 291a. OT. 439a. 446a. AB. 1,341. FASN. 511,7. - tr. stossen PARZ. WIG. dâ wart vil manec man gehurt LIVL. 1127. 2861. er was niht umbe gezücket noch gehurt in dem strîte HELBL. 1,874. er hurte in û f daß gras HERB. 5007. - intr. mit zuo, tr. mit nider, ver-, ze-. s. [From Lexer dictionary—see “Bibliography.”] 219 Knightly Dueling (5) Horsemanship and Fighting Although these portrayals all seem to be of armoured horsemen, one may notice that Talhoffer, Goliath, Mair, and other sources of Kunst des Fechtens all show basically the same horse fighting, whether unarmoured, partially, or fully armoured. With bigger forces at play while fencing upon such massive beasts, distinctions of blosz and harnisch get somewhat hybridized. Although simpler than fencing on foot, fencing on horse certainly involved more skill and complexity than cavalry fighting of mass armies, as Liechtenauer’s roszfechten was really a specialized variety of his kampffechten (duel fighting). It is quite telling that most of the text of Liechtenauer’s roszfechten is devoted to teaching the German knight how to kill his foe. Howsoever doubtlessly important tack and saddle and maneuvers and dressage of the horse were to mounted combat, little actual text is devoted to those concerns, with instructions about such basically given as needed. For that matter, certain aspects of percussion and resultant repercussion with weaponry during a moving mounted strike are not dealt with either—recoil, recovery, boomeranging, windmilling. It seems that the fechtmeister expected the ritter to already have his act together riding-wise so that lore of the fechtbuch could concentrate on the fechten instead of the reiten while upon the rosz. (6) German Roszlieben Of the 14 plays of footman versus horseman in chapter 15 of De Arte Athletica II by Mair (1542), only two show attacks to the horse; the other 12 show attacks to the rider, even as the man afoot is hard-pressed to defend himself. This seems to indicate a German valuation of the horse despite one’s own desperate situation, a disdain to wantonly waste the creature if one may instead waste the deserving human enemy. Perhaps it was a vestige of the otherwise long-forgotten ancient Celto-Teutonic horse worship that somehow was still retained in Christian Renaissance Germany. If there was an idealized chivalry that appeared sometimes amid the combative reality of the knights of yore, then perhaps it had as much to do with respect and fondness for horses as for foes. Of course, it could simply have been the desire to acquire the steed of a dead foe that caused the other knight to preserve that horse. This sort of affection seems limited to the dueling place or tourney arena and was not to be found on the battlefield, as attested by Liber de Cura Equorum (1408), the veterinary manual of the Teutonic Order, which makes quite clear that horses were hurt in war as per passages devoted to healing them of weapon-caused wounds. (7) Twenty-Six Figures Crosschecking the Twenty-Six Figures in the bloszfechten shows that von Danzig made the roszfechten complete, but he does have one thing mislabeled regarding Fifth Figure and Sixth Figure. Thus I made the Fifth Figure duly correct in my translation: Blosz: Die funfft figur ~ Daz schuten vorgengk allen treffebb hawen unnd stechen Rosz: Daß lert die sechst figur / Die spricht also daß schütten vor genck allen eressten treffen hawen vnd stechen Blosz: Die sechst figur ~ Greyff an mit peyden henndten die sterck Rosz: Daß lert die sechst figur / Die spricht also greif an mit paiden henden die sterck One may notice in the roszfechten that von Danzig lists the Twelfth Figure twice: Rosz 40Ar: Daß lert die zwelfft figur / Die spricht also / mit lee lerer hant lere zwen struch gegen aller were Rosz 45v: Daß lert die xii figur / Die spricht also / mit lärer hant / zwen strich gegen aller were The one on 40Ar is likely the result of the inherent confusion of that folio’s necessary insertion amid the 220 Endnotes preexistent folios, yet the mention there of that figure is a non sequitur and without interpretation, whereas the one on 45v has its interpretation nearby. So I just left those alone. (8) Kampf Über Alles Judicial duels served the peacekeeping purposes of various European states, lords, and monarchs by averting feuds and wars via honorable, contained, and decisive combats. Similarities abound when one compares 14th–15th century English, Scottish, French, and German rules for chivalric dueling. This is made clear by perusal of a variety of 14th–15th century sources—Ordinance of Richard II by Lord Gloucester, Act of Robert III, Maner of Battale, Order of Combats, Edict of Phillip the Fair, Fechtbuch by Hans Talhoffer (1459-Thott), and even Canterbury Tales by Geoffrey Chaucer. Their concordance gives ample proof that chivalric judicial dueling was treated much the same over most all of medieval and Renaissance Europe. For the duellum likely held in any given country: a tribunal would decide yea or nay to combat taking place; the appellant and defendant had about 40 days of training time before the court-appointed time within daylight hours; and they and their own were to keep the peace until then. Combatants generally fought armoured, both ahorse and afoot; with an equity of armament, usually of three main arms of spear, longsword, and dagger; with shield as likely addition or pollaxe as possible alternative to all those. The dueling place was on reasonably level ground or field, surrounded by high wooden barriers (7 feet—too high for a horse to jump over), with sturdy gates at east and west, all enclosing a great area (perhaps as much as 200 x 300 feet—comparable to a modern soccer field). Any watching crowd had to be quiet, and supporters therein kept their restraint, all while a single judge presided. Expenses could be covered by the forfeiture of the loser’s armaments. Combatants had to show up to fight (no others could take their place). They were attended at the barriers with their own arsenals, chairs, tents, armigers, and biers. Each swore the Christian oath unto God for the rightfulness of his respective cause, and then they were called out thrice for the combat. Whoever gave up, was disgraced, or was killed was the loser—unless the judge halted combat first, although even that didn’t always prevent mortality. Incidentally, one may notice that in England, “tourney” sometimes meant “venue”—the barriers or field—for the singular event of a judicial duel. Plus, whatever minor confusion may (or may not) have resulted from the occasional convolution in English of “tourney” and “wager of battle,” it seems in German that the terms turnier and kempfen are clearly distinct, at least according to fechtmeister. (9) Duels and Ordeals Some modern scholars insist upon equating the duel (Kampf) with the ordeal (Ordal or Gottesurteil), and consider the former a version of the latter. I think that is wrong, illogical, and senseless. The ordeal—whether that meant one had to deal with burning fire, keep from drowning in freezing water, tread over a turf-covered pit containing a lance unharmed, or whatever—was basically a torture to be endured and, if really lucky, somehow survived. Often, accusers, especially churchmen or nobles, could make ordeal-actionable accusations with impunity, and thus the accused man, or even more helplessly the accused woman, was the only one to put his/her life in peril. The ordeals were inherently unfair—a person had to face immutable physical laws against which he/she could do little or nothing to prevail, no matter how guiltless. The duel was a fight, and a man or woman could train for that, and its outcome depended upon the prowess of the two fighters. Each fighter, both accuser and accused, had to put his/her life on the line, or more precisely, into the ring. Usually the appointing tribunal sought to make the dueling fair by various regulations, including exceptions for humanitarian concerns, or for balancing big inequities, especially if between man and woman. Albeit, the bad guy (whoever that actually was) could win—but at least the good guy had, quite literally, a fighting chance to win. Thus it was rather more fair to each combatant, whether appellant or defendant. 221 Knightly Dueling The fact that the outcomes of either the duel or the ordeal were thought to be “God’s judgment” (i.e., the literal meaning of Gottesurteil) is unconvincing. Why? Because back then, everything that happened tended to be thought of as “God’s judgment.” The farmer’s crops are stricken by drought; the king of France dies in jousting; the queen of England bears a healthy child; the Crusaders invade the Holy Land; the Turks invade the Balkans; the ship makes it through the storm; the knight wins his duel—all would be considered “God’s judgment.” It was a favorite universal phrase of that time, said so often as to become almost meaningless. Plus, one does not find anywhere in the fight books where they equated the duel with the ordeal. When we read of judgment/verdict (Urteil) in those books, it is always in regards to one made by a human judge carrying out the law of the land. That alone tells us something. (10) Date and Place It may seem odd that tribunals allotted training time with fight masters to knights and nobles already accomplished at fighting. Yet they deemed such as needful and fair to the combatants, since much time was consumed by daily and mundane duties related to their class—manorial, financial, social, judicial, familial— and so a refresher course taught by fechtmeister who did the stuff all the time was in order. The reason for allotting 14 to 46 days before the date of duel is hard to say, although there are probably several numerological conjectures one may make about any given figure. Perhaps fight masters of yore simply had consensus that such time was the minimum needed to give a previously untrained individual a fighting chance and/or to review all needed moves for the already trained man. Hour of day is indicated variously in source text—dawn (prim), midmorning (terz), midday (mittag), even early nighttime (non). Also, there are the arcane astrological circles in the 1443-Gothaer edition of Talhoffer that were used by certain knightly orders to determine one’s favored day and hour of day for fighting, whereupon a combatant may have tried to manipulate a tribunal into assigning. So it seems that the sensible thing to do for any fair-minded tribunal was to assign a standard training time, and thus on the final day thereafter to assign the most neutral hour of day for start of dueling, one where the sun’s arc is at vertex and so every given point within the barriers gets the same amount of light and shadow—midday. Talhoffer and others tell of the place for dueling—schranken (barriers) and its ring (ring)—but never seem to indicate exact dimensions of either border, although Talhoffer’s 1450-Ambraser edition visually indicates that the ground itself may have been shaped into a big, gently sloping mound. The illustrations in fechtbücher and other coeval texts indicate that the barriers were an outer fence or palisade of wood, from 5 to 7 feet in height (at least when portrayed to scale). The ring, for fighting afoot, was simply a stone circle that was evenly inlaid in the ground within the barriers. It was seldom illustrated, yet we have more specific text for its dimensions. The Gelnhauser Kampfrecht, albeit scribed in the 18th century, does specify that earlier in Bavaria the total radius for the ring equaled just over 30 feet—or as it states, 26 schuh from center to inner arc, then another 4.5 schuh to outer arc, thus totaling 61 feet diameter for the ring—roughly 10 times the height of a decently tall man. If we add to that adequate space for placement of other things indicated by source texts—chairs for combatants plus their respective arsenals, grit wardens for security, and empty perimeter for combatants who must exit the ring perforce—then the wooden barriers likely spanned about 90 feet diameter minimum. And that would be just for duels designated as afoot only—the area for one designated ahorse must have been much larger. Incidentally, if we square off that 61-foot diameter circle, then we happen to get a shape that is about one-third the area of a modern dressage arena—a rectangle measuring 65 feet by 196 feet (20 meters by 60 meters). (11) Sparring and Training The sparring (schimpfe) of school/academy or tourney was distinct from the earnestness (ernste) of duel and battle. At that time, schimpfe had connotations of “fun, amusement, game” (rather than modern “insult, affront, outrage”). This connotation was relative—to the knight of olden times, sparring was fun compared to earnest 222 Endnotes combat. However, as Talhoffer states, it was no joke—if done with requisite gravity, it gave your fighting heart when later you really needed it. Despite such fight-master’s words, and the self-evident boon one gains by doing it, sparring is denied its obvious worth by some historical fencing “maestros” today. Training with sparring/bouting/freeplay as part of one’s martial arts is really one of the best ways to bloom one’s fighting prowess. (12) Mann und Frau Now we come to that favorite subject of modern academics—“gender issues.” Yet thankfully, the past fight masters, seemingly with the foresight of soothsayers, presented decisively terse fodder regarding that overblown subject. Unlike the manifold romanze, with their concerns for courtesy, perfidy, soliloquy, and adultery, the fechtbücher paint us another picture. Graciously, the words and pictures of those fight books give us a refreshingly different paradigm of woman and her relationship to man in late medieval and early Renaissance Germany. She is to be honored by the knight just as he is to love God. She is to be acknowledged as the being who bears new humanity just as the Lady Mary is revered for bearing the Lord Christ. Conversely, she may appear in arcane symbology as a weapon-wielding divinity or witch, challenging man in some fashion. She is the natural and needed companion of the knight, deserving of his time and energy even during his training for duel and war, so that indeed he has fulfillment and pleasure, thus a life beyond just martiality. She is not to suffer violation, and any such crime warrants challenge of the violator by the good knight to duel. And likewise, she is not to be discounted as a possible foe in duel, howsoever seldom or unlikely such may happen. That little-known chivalric picture, gained by putting together textual and graphical evidence from Döbringer, Walpurgis (MS I.33), von Danzig, Ringeck, Codex Guelf. 78.2 Aug. 20, Kal, Talhoffer, and others, gives us a unique, rich, multifaceted perspective on male-female relations for that time and place, a picture well worth viewing and considering in context of the rest of contemporary Europe. (13) Armoured-Unarmoured? Here is an interesting thing to consider: this seems to be about the only actual portrayal of bloszfechten done by knights in harnisch in any German fight book—Talhoffer (plate 2 of 1450-Ambraser)—since at the very least these wards are vom tag/zorn and pflug. It is at the start of the part of said manual that deals with armoured longsword dueling, which then proceeds to show many more wards that fit the standard expected handiwork of harnischfechten—thus halbes schwert, stichen, stossen, reissen, and morte schlagen. Now an armoured knight would probably bloszfechten versus an unarmoured or lightly armoured foe because he could—he would not mess around with the short-range kurzes schwert when you can use long-range hauen versus such a foe. Yet armoured knight versus armoured knight—certainly he must primarily harnischfechten. Why then any blosz? Perhaps if we consider the respective captions, then it seems that some certain bloszfechten did rarely find specialized and contingent place in harnischfechten. (See Leutold versus Unknown for examples of pflug and vom tag used in armoured duel.) (14) What the Real Fechtmeister Teaches It has been said that the 1450-Ambraser is neither a training manual nor is illustrative of good technique. That is just flat-out false. If anything, that fight book, especially the part about Leutold versus Unknown, shows us that attacks, however potent, may be countered, and that the fighting may take a while and have its ebb and flow of savagery—thus acknowledging and portraying the reality of a struggle to the death. Among combatants of comparable prowess, achieving victory in an actual historical armoured duel was a bloody hard thing to do, with moves varying from clean to messy, much like those of two predatory beasts trying to kill each other. Such manuals as Talhoffer’s 1450-Ambraser were indeed meant as workbooks to review and renew lessons that a fencer learnt in sparring, and such lessons were to be done in earnest. Despite any modern naysaying, the real fechtmeister and his fechter had to prove their methodical efficacy by utilizing the combatives in actual fights—they lived or died by it. 223 Knightly Dueling (15) Force of Zornhau We should have some idea of the force of the swordsman’s mightiest, full-body-driven, long-edge downward diagonal strike with the langes schwert (longsword)—the Zornhau (wrath hew) of German bloszfechten (unarmoured fighting). Many modern fencers conjecture about the force, energy, power, and so forth of fencing strikes, yet rarely show those at their best or calculate those with accuracy. Unfortunately, writing does not allow me to show you the forceful Zornhau, since obviously you cannot witness me doing it—yet I can give you some calculation of the force of my Zornhau. This “ideal” Zornhau was done by means of footwork called springen (springing/leaping) and in movement of “true time” (thus sequentially arms-body-legs) and meant to cover the most distance in the least time as an attack done most likely nach and less likely vor or indes. This seems to be the seldom advocated yet most forceful way to do this strike as per the German fechtmeister, its motion making the swordsman a fencing version of a pouncing leopard. (Whether it is tactically the best manner always to do so is certainly arguable—but that is not our focus here.) Using some basic modern instruments—floor scale, hanging scale, shock cord, measuring tape, yardstick, twine, digital camera, and PC media player—we can measure factors needed for reasonably approximating the force of the Zornhau: mass, distance, time, velocity, acceleration. Comparisons of Zornhau to various other pertinent martial and athletic motions—iaido katana cut, Olympic javelin throw, baseball-bat swing, and hockey-stick slapshot—were also done for purpose of reality check and found to be within reasonable range of velocity and force among those. We need to consider the “percussion point” of my longsword (Type XIIIa) during the strike. The motion of that particular percussion point is what counts. It is located 27 inches (about 69 cm) up from cross of the 33-inch (84 cm) blade of a sword of total length of about 43 inches (109 cm). My arms help that percussion point reach 30 inches (76 cm) more, and the bodily ascent sends it 18 inches (46 cm) further vertically. That percussion point travels up and skyward from behind one’s back, over and across, then down and earthward into the target on the foe’s body where his shoulder and neck meet—thus I strike the foe with fully reaching arms and fully striding legs. Its motion is described by a parabola having directrix of 162 inches (411 cm), axis of 75 inches (191 cm), and arc of 231 inches (587 cm). The time it took to describe that actual arc was 0.20 seconds, discerned to have happened during two frames of the 10 frames-per-second AVI recording. Now, although my body mass of 173.6 pounds (79 kilograms) plus my longsword of 3.4 pounds (1.54 kilograms) equals a total system mass of 177 pounds (81 kilograms), what counts here is that only about onehalf of the mass of the longsword, thus 1.7 pounds (0.77 kg), gets exerted into the making of impact force. That small mass is amplified by speed and time into a much greater magnitude of force. We may reckon two distinct forces: the applied force and the impact force. The first is the force the swordsman exerts to drive Zornhau and the second is the force exerted upon/into the foe by impacting with the Zornhau. The first is what you “feel” gets put into the target via Zornhau, while the second is what you actually “do” put into the target to damage it via Zornhau. Those two forces have separate existences and function independently of each other. The important one to consider and comprehend is impact force, for it does the work of hurting the foe. Notice the applied force formula below is really a third-class lever formula. Notice the factors for impact force formula were hardest to obtain, and one is admittedly an estimate (deceleration time), since no actual foe was stricken by the sword (for obvious legal reasons). Lastly, none of this accounts for the magnifying of injury to the foe’s body due to the cleaving nature of a sharp sword’s strike, thus the resultant severing damage to the foe’s physiology, or addresses elasticity of collision, or armour resistance (thus force negation), or wind resistance (thus friction), etc. But to keep things simple, we shall focus here on the “pure” force of the strike: Applied force equals resistance force times resistance distance divided by applied distance: 224 Endnotes FA = FR * DR / DA 23 pounds * 33.5 inches / 4 inches = about 193 pounds-force (858 Newtons) Impact force equals longsword’s applied mass times terminal velocity at target divided by deceleration time: FI = MA * VT / TD 1.7 pounds * 96.25 feet per second / 0.07 second = about 2337 pounds-force (10397 Newtons) That’s a lot of force clobbering the foe via Zornhau. (Refer to my Fight-Book Clues to Quality and Build of Knightly Weaponry in the bibliography for more about this.) (16) War Weaponry and Their Wielding It is of interest here that no less a personage than the great French knight Geoffroi de Charny remarked in his Le Livre de Chevalerie (circa 1350) about war as making for the ultimate feats of arms (fait d’armes) by the knight, while also referring to its weaponry and their wielding in a way that evinces how much obviously closer dueling was to war than to tourney: Et toutesfoiz me semble il que en ce fait d’armes de guerre peut l’en faire en un jour tous le trois mestiers d’armes come de jouster, de tournoier et de guerroier. Car en guerre convient il jouster de fer de glaive et ferir d’espee come a tournoiement et encontrer d’estoc et d’autres glaives come pour la guerre. Et pour ce doit l’en prisier plus et honorer gens d’armes pour la guerre que nulles autres gens d’armes qui soient. Howsoever it seems to me regarding feats of arms that war may let you do in one day all three crafts of arms— such as joust, tourney, and warfare. Thus war calls for jousting with the point of the lance, and striking with the sword like unto tournament, plus encounters with the tuck/half-sword and with other polearms like unto war. Therefore you must prize and honor men-at-arms in war like no other men-at-arms whomsoever. (17) Belle Lettres Modern academic literary study of chivalry instructs the student in belle lettres like von Dem Türlin’s Diu Krône yet not in guerre lettres like any edition of Talhoffer’s Fechtbuch. Thus the prose and poetry of the romance are analyzed while those of the fight book remain undelved. Even if this disregard of guerre lettres is rationalized by otherwise learned professors solely upon grounds of aesthetics, then the student is cheated not only of the literary arts of the guerre lettres but likewise of their graphic arts, and likewise of their martial arts. One of the most honest things that anyone may say of chivalry, whether mythic or historic, is that it was both complex and contradictory—things amply portrayed by both belle lettres and guerre lettres. If the literary student understands that, then he/she may find both belle lettres and guerre lettres to be equally inspiring, and may rightly regard both as worthwhile. (18) Lexiconic Additions The addition of a very pertinent term to the kampf lexicon, not from Lexer but from Grimm Brothers: kampfgericht [judicial duel] n. judicium duellicum. Stieler 1557. Frisch 1, 499b, gericht in dem durch zweikampf das recht entschieden wurde. s. die Nürnberg. kampfgerichtsordnung bei Schottel 1234 ff., das letzt 225 Knightly Dueling kampfgericht (nach den beiden vorbereitenden, die auch so heiszen), so die kämpfer sich zu baiden seiten in den kampf geben, dasselbig kampfgericht sol zu Fürth bei Nürnberg besetzt sein und durch die kämpfer da geendet werden. das. 1241. And one found in the later work of Paulus Hector Mair, as here defined by Grimm Brothers: kampfplatz [dueling place] m. das jetzt gewöhnliche wort für den ort des kampfes. One Last Thought At the start of this work, I was tempted to translate the word ritter as either “rider” or “chevalier,” yet instead I kept to the traditional choice of “knight,” although the other two words are quite acceptable. Incidentally, the German word knecht, despite its manifold meanings, came no closer to meaning “knight” in the primary sense of that English word than to mean “soldier/trooper.” So knecht was always distinct from ritter, and so the latter does indeed equate contextually and historically with “knight.” Thus, I hope that the reader understands my choice of wording. 226 Bibliography ‫ﱝ‬‫ﱝ‬ MAIN SOURCES Von Danzig Fechtbuch. Peter von Danzig zu Ingelstat (edit & auth); 1452; Bavaria; 44 A 8 (Cod. 1449); Biblioteca dell’Academica Nazionale dei Lincei e Corsiniana Rzym. Fechtbuch. Hans Talhoffer (auth); Thott 290 2º; Bayern; 1459; Det Kongelige Bibliotek Copenhagen. Talhoffer’s Fechtbuch (Ambraser Codex) aus dem Jahre 1459. Gustav Hergsell (edit); Prague; self-published; 1889 [source actually now considered from 1450]. Talhoffer’s Fechtbuch (Gothaer Codex) aus dem Jahre 1467. Gustav Hergsell (edit); facsimile of the Cod.icon. 394a, Bayerische Staatsbibliothek München, Prague; self-published; 1887. Fechtbuch. Paulus Kal (auth); Bayern; 1462; Cgm 1507; Bibliotheca Palatina Mannheim; Bayerische Staats Bibliothek; online facsimile; 2006. Fechtbuch. Sigmund Ringeck (auth); 1440s; MS Dresd. C 487; Sächsische Landesbibliothek Dresden. Talhoffer’s Fechtbuch (Gothaer Codex) aus dem Jahre 1443. Gustav Hergsell (edit); Prague; self-published; 1889. Goliath. Anonymous; 1510–1520; MS. Germ. Quart. 2020 (5879); Biblioteka Jagiellonska Kraków. MS KK5013. Anonymous; Germany; 1425–1430; Kunsthistorisches Museum Wien. Über die Fechtkunst und den Ringkampf. Hans Czynner (auth); 1538; MS 963; Universität Bibliothek Graz. Flos Duellatorum in armis, sine armis, equester, pedester. Fiore Dei Liberi (auth), Francesco Novati (edit); Pissani-Dossi edition; Bergamo; 1902 (from 1410). The Royal Book of Jousting, Horsemanship and Knightly Combat: Dom Duarte’s 15th Century Bem Cavalgar. Dom Duarte (auth), Antonio Franco Preto (transl), Steven Muhlberger (edit); Chivalry Bookshelf, Highland Village; 2005 (from 1438). OTHER SOURCES The Age of Chivalry: Arms and Uniforms, Volume 1. Fred Funcken & Liliane Funcken (auth & illus); Prentice Hall, Upper Saddle River; 1983. 227 Knightly Dueling “The AGISE Research Method.” Bartomiej Walczak (auth); Maîtres & Techniques de Combat (Fabrice Cognot, edit); France; 2006. Albrecht Dürers Fechtbuch. Albrecht Dürer (auth), Friedrich Dörnhöffer (transcr & edit); F. Tempsky & G. Freytag, Wien & Leipzig; 1910 (from 1512). Alexanderlied. Lamprecht der Pfaffe (auth), Heinrich Weismann (transcr & transl); Frankfurt; 1850 (from 12th century). “Andreas Lignitzer’s Dagger Techniques from the Peter von Danzig Manuscript.” Bartholomew Walczak (transl); Armaria; 2006 (from 1452). The Archaeology of Weapons. Ewart Oakeshott (auth & illus); Barnes & Noble, New York; 1994 (second edition). “Armoured Judicial Duel Demonstration.” David Cvet & Anton Cvet (perform); QuickTime; AEMMA website; 2001. The Armourer and His Craft: From the XIth to the XVIth Century. Charles Ffoulkes (auth); Dover; 1912 (1998 reprint). L’art du combat à cheval au XIVe et XVe siècles dans le Saint Empire romain germanique, d’après les traités d’escrime. Michäel Huber (auth); unpublished courtesy manuscript; Arts d’Armes, France; 2006. De Arte Athletica I & II. Paulus Hector Mair (auth); 1542; Germany; Cod.icon. 393; Bibliotheca Palatina Mannheim; Bayerische Staats Bibliothek; online facsimile; 2007. Augsburger Chronik. Sigismund Meisterlin (auth); Augsburg; circa 1457; C.G. 2648; Universitäts-Verlag Carinthia. Beowulf: A New Verse Translation. Anonymous, Seamus Heaney (transl); Farrar, Straus & Giroux, New York; 2000 (from 700–1000). Berner Chronik. Diebold Schilling der Ältere (auth); Switzerland; 1474. Biterolf und Dietlieb. Oskar Jänicke (transcr & edit); Weidmannische Buchhandlung, Berlin; 1866 (from 13th century). The Book of Chivalry of Geoffroi de Charny. Richard Kaeuper (comment), Elspeth Kennedy (transcr & transl); University of Pennsylvania Press, Philadelphia; 1996 (from circa 1350). “Brief Introduction to Armoured Longsword Combat.” Matt Anderson (auth), Shane Smith (auth); ARMA website; 2004. “A Brief Introduction to the Boon of the English Flourysh.” Benjamin Casper Bradak (auth), Brandon Heslop (auth); unpublished; Utah; 2006 (from 15th century). 228 Bibliography “Caballus et Caballarius in Medieval Warfare.” Bernard S. Bachrach (auth); The Study of Chivalry: Resources and Approaches; Howell Chickering (edit), Thomas H. Seiler (edit); Medieval Institute Publications, Kalamazoo; 1988; De Re Militari; 2003. Cheyenne Dog Soldiers: A Ledgerbook History of Coups and Combat. Jean Afton, David Fridtjof Halaas, Andrew E. Masich, Richard N. Ellis (all auth); University Press of Colorado, Boulder; 2000. “Chivalric Education in the Middle Ages.” Jan Broekhoff (auth); from Sport and Physical Education in the Middle Ages; Earle Zeigler (edit); Trafford Publishing, Victoria; 2006. Chivalry and Violence in Medieval Europe. Richard Kaeuper (auth); Oxford University Press, Oxford; 1999. Chivalry in the Renaissance. Sydney Anglo (edit); Boydell Press, Woodbridge; 1990. Chronica Hungarorum. Thuróczi János (auth), Theobald Feger (edit), Erhard Ratdolt (print); Augsburg; 1488; Inc. 1143; Bibliotheca Corviniana Digitalis. Chronicles. 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Anonymous; Arts d’Armes website; 2003. “Images from 15th Century Fechtbuch, ‘Gladiatoria.’” Anonymous; ARMA website; 2002 (from 1435–1440). “Introduction to Half-Swording in Gladiatoria.” Bartlomiej Walczak (auth); PDF of Uppsala presentation, May 2004; ARMA-Poland website. “Introduction to Joachim Meyer, 1570.” Jacob Norwood (auth); Armaria; 2004. “Iudicio et Ferro: The Tools of the Wager of Battle.” Martin Reznick (auth); AHF website; 2002. 231 Knightly Dueling “Le Jeu de la Hache: A 15th Century Treatise on the Technique of Chivalric Axe Combat.” Sydney Anglo (transl & edit); Bibliothèque Nationale de France, Manuscrit français 1996; article originally in Archaeologia, Vol. CIX, 1991; unpublished revision 2006. Jörg Wilhalm Fechtbuch. Jörg Wilhalm (auth); 1556; Cgm 3712; Bayerische Staatsbibliothek München. “Jud Lew—Meister Mertein Hundßfeld ‘Kurzes Schwert.’” Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). 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Joseph Campbell (auth); Penguin, New York; 1976. Medieval Combat. Hans Talhoffer (auth), Mark Rector (transl & edit); Greenhill Books, London; 2000 (from 1467). Medieval Europe—A Short History. C. Warren Hollister (auth), Judith Bennett (auth); Alfred A. Knopf, New York; 1982 (fifth edition). “Medieval Meat Cutters.” James Knowles (prod-direct); QuickTime; ARMA-Ogden website; 2004. Meister Johannes Liechtenauers Kunst des Fechtens. Didier de Grenier (auth); Arts d’Armes website; 2003. Meleranz von dem Pleier; Karl Bartsch (transcr); Litterarischen Vereins, Stuttgart; 1861 (from 1270). “Mertein Hündsfelder: Fechtlehre mit dem Kurzen Schwert (Fight-Lesson with the Shortened-Sword from Codex Speyer circa 1491 AD).” Szabolcs Waldmann (transcr & transl); ARMA website; 2006. Mittelhochdeutsches Handwörterbuch. Matthias Lexer (auth); S. Herzel, Leipzig; 1872–1878. “The Myths of Medieval Warfare.” Sean McGlynn (auth); History Today, Vol. 44, No. 1 (1994); De Re Militari; 2001. Das Nibelungenlied. Anonymous; Karl Bartsch (transcr & edit); FA Brockhaus, Leipzig; 1866 (from 1180–1210). Nürnberger Handschrift GNM 3227a. Hanko Doebringer (auth); Germanisches Nationalmuseum; 1389. “Of the Undertaking of a Tournament.” David Cvet (auth), Brian McIlmoyle (auth); AEMMA website; 2000. 233 Knightly Dueling Ordonnances des Rois de France de la Troisième Race, Vol. I. J.E. Laurière (edit); Paris; 1723–1849. Parzival. Wolfram von Eschenbach (auth); Hagenau; 1443–1446 (from 1220); Cod. Pal. germ. 339; Universitätsbibliothek Heidelberg. Parzival. Wolfram von Eschenbach (auth), A.T. Hatto (transl); Penguin Books, London; 1980 (from 1220). Parzival und Titurel. Wolfram von Eschenbach (auth), Karl Bartsch (transcr); FA Brockhaus, Leipzig; 1876 (from 1225). “Peter von Danzig—Bloßfechten.” Peter von Danzig (auth), Grzegorz Zabinski (transcr); ARMA-Poland website; 2001 (from 1452). “Peter von Danzig—Meister Andre Lignitzers Degen.” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Meister Andre Lignitzers Kurzes Schwert.” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Meister Johannes Liechtenauers Kampffechten.” Peter von Danzig (auth), Grzegorz Zabinski (transcr); ARMA-Poland website; 2001 (from 1452). “Peter von Danzig—Meister Johannes Liechtenauers Roßfechten.” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Meister Martein Hundtfeltzs ‘Degen.’ ” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Meister Martein Hundtfeltzs ‘Kurzes Schwert.’ ” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Meister Martein Hundtfeltzs ‘Unterhalten.’ ” Peter von Danzig (auth), Monika Maziarz (transcr); ARMA-Poland website; 2004 (from 1452). “Peter von Danzig—Peter von Danzigs Kampffechten.” Peter von Danzig (auth), Grzegorz Zabinski (transcr); ARMA-Poland website; 2001 (from 1452). “Practical Chivalry: The Training of Horses for Tournaments and Warfare.” Carroll Gillmor (auth); Studies in Medieval and Renaissance History, Vol. 13 (1992); AMS Press, Brooklyn; De Re Militari (2003 reprint). Proto-Gladiatoria (MS KK5013). Jeffrey Hull (transcr); Ragnarok Works, Kansas; 2006 (from 1425–1430). Ramon Lull’s Book of Knighthood and Chivalry. Ramon Lull (auth), Brian Price (transl); includes Ordene de Chevalerie (Anonymous); Chivalry Bookshelf; 2001 (from 13th century). Das Recht im Bilde. Hans Fehr (auth); Erlenbach-Zürich, München, Leipzig; 1923. 234 Bibliography Records of the Medieval Sword. Ewart Oakeshott (auth & illus); Boydell Press, Woodbridge; 2002 (revised edit). “Reflections on Audatia as a Martial Virtue.” Charles Hackney (auth); Journal of Western Martial Art; Sept. 2006. Rene of Anjou, King Rene’s Tournament Book: Traictie de la forme et devis d’ung tournoy. René d’Anjou (auth), T. de Quatrebarbes (transcr), Elizabeth Bennett (transl & edit); Princeton University website; 1998 (from 1460). Der Ritterspiegel. Johannes Rothe (auth), Hans Neumann (transcr); M. Niemeyer, Halle/Saale; 1936 (from 1415). Ritterzeit und Ritterwesen. Johann Gustav Büsching (auth); FA Brockhaus, Leipzig; 1823. Rosengarten zu Worms & Lucidarius. Thomas Vogel (auth) & Anonymous (illus); Straßburg; 1418–1420; Cod. Pal. germ. 359; Universitätsbibliothek Heidelberg. “Saddle, Lance and Stirrup: An Examination of the Mechanics of Shock Combat and the Development of Shock Tactics.” Richard Alvarez (auth); Classical Fencing website; 2000–2006. “The Serpent in the Sword: Pattern-Welding in Early Medieval Swords.” Lee A. Jones (auth); Mediæval Sword Resource Site; 1998. The Service of Ladies, aka Frauendienst. Ulrich von Liechtenstein (auth), JW Thomas (transl); Boydell Press, Woodbridge; 2004 (from 1255). “Several Remarks on the Bloßfechten Section of Codex Wallerstein.” Grzegorz Zabinski (auth); Journal of Western Martial Art, April 2001. Sigenot. Ludwig Henfflin (workshop); Stuttgart; circa 1470; Cod. Pal. germ. 67; Universitätsbibliothek Heidelberg. Sigmund Ringeck’s Knightly Art of the Longsword. David Lindholm (transl & interp), Peter Svärd (illus), Peter Johnsson (contr), Lena Strid (contr), Sigmund Ringeck (auth), Johannes Liechtenauer (auth); Paladin Press, Boulder; 2003 (from 1440s). Sigmund Ringeck’s Knightly Arts of Combat. David Lindholm (transl & interp), Peter Svärd (illus), Sigmund Ringeck (auth), Johannes Liechtenauer (auth); Paladin Press, Boulder; 2006 (from 1440s). Sir Gawain and the Green Knight, Pearl, and Sir Orfeo. JRR Tolkien (transl); Houghton Mifflin, Boston; 1975. “Das Solothurner Fechtbuch: Giving It Voice.” David Lindholm (auth); unpublished; Sweden; 2006 (from 1520). Spectacle, Pageantry, and Early Tudor Policy. Sydney Anglo (auth); Clarendon Press, Oxford; 1969. 235 Knightly Dueling The Swiss at War: 1300–1500. Douglas Miller (auth), Gerry Embleton (illus); Osprey, Oxford; 1979. Sword Motions and Impacts: An Investigation and Analysis. George Turner (auth); ARMA website; 2003. “A Tale of Two Armours: The Frazier Museum Adds Two Reproduction Harnesses to their Collection.” Gwen Nowrick (auth); Historic Enterprises Journal No. 5; September 2005. Talhoffer and Causes for Fighting. Jeffrey Hull (auth); ARMA website; 2005. Talhoffer Longsword: Armoured and Unarmoured. Jeffrey Hull (auth); ARMA website; 2005. Theuerdank. Maximilian I (auth), Hans Leonhard Schäufelein (illus); Nürnberg; 1517; Hunterian At.1.10; Glasgow University Library. “The Tournament in the Romances of Chrétien de Troyes and L’Histoire de Guillaume Le Maréchal.” Larry D. Benson (auth); from “Chivalric Literature: Essays on Relations between Literature and Life in the Later Middle Ages” in Studies in Medieval Culture, No. 14; Larry D. Benson (edit), John Leyerle (edit); Medieval Institute Publications, Kalamazoo; 1980. “Tournaments and the German Chivalric Renovatio: Tournament Discipline and the Myth of Origins.” William Jackson (auth); Chivalry in the Renaissance; Sydney Anglo (edit); Boydell Press, Woodbridge; 1990. Transkription der Handschrift Ms. Germ. Quart. 16 der Jagelonischen Bibliothek Krakau. Kristian Babic, Robert Brunner, Marion Freundl, Alexandra Gießl, Barbara Kappelmayr, Julia Lorbeer, Carsten Lorbeer, Andreas Meier, Marita Wiedner (all auth); Gesellschaft für Pragmatische Schriftlichkeit, Deutschland; 2006 (from 1435–1440). Trial by Combat. George Neilson (auth); William Hodge & Co., Glasgow; 1890. Tristan und Isolde. Gottfried von Straßburg (auth), Wilhelm Hertz (transcr); Stuttgart; 1894 (from 1210). The Triumph of Maximilian I: 137 Woodcuts by Hans Burgkmair and Others. Hans Burgkmair der Älter (illus); Dover; 1964 (from 1507–1515). Der Trojanische Krieg. Konrad von Würzburg (auth), Adelbert von Keller (transcr); Stuttgart; 1858 (from 1287). Turnier im Mittelalter—Sport der Gegenwart. Thomas Böcksteiner (auth), Peter Heiss (auth); seminar PDF; 2002. Turnierbuch. Marx Walther (auth); Augsburg; 1477–1489; Cgm 1930; Bayerische Staatsbibliothek München. Das Turnierbuch des Ludwig von Eyb (Cgm 961). Edition und Untersuchung. Mit einem Anhang: Die Turnierchronik des Jörg Rugen. Ludwig von Eyb der Jünger zum Hartenstein (auth), Heide Stamm (edit); Heinz, Hans-Dieter Akademischer Verlag, Stuttgart; 1986 (from 1500). 236 Bibliography “Unarmoured Longsword Combat of Master Liechtenauer via Priest Döbringer.” Grzegorz Zabinski (auth); unpublished revision; 2006. Ursprung, Ausildung, Abnahme und Verfall des Turniers. AP Budik (auth); L. Grund, Wien; 1836. War and Chivalry in the History of William the Marshal. John Gillingham (auth); De Rei Militari; 1988 (reprint). The White Goddess. Robert Graves (auth); Farrar, Straus & Giroux, New York; 1986 (revised edition). Wigalois. Wirnt von Gravenberg (auth); Franz Pfeiffer, Leipzig; 1847 (from 1210–1220). “Wishing Upon A Star: King John, the Order of the Star, and Politics.” David Bessen (auth); from Essays in Medieval Studies, Vol. 3; Ruth Hamilton (edit), David Wagner (edit); Illinois Medieval Association; 1986. The World of Dürer: 1471–1528. Francis Russell (auth); Time-Life Books, New York; 1975. Zur Waffenkunde des Älteren Deutschen Mittelalters. Albert Schulz (auth); G. Basse, Quedlinburg & Leipzig; 1867. 237 This page intentionally left blank. Acknowledgments ‫ﱝ‬‫ﱝ‬ Many thanks go to the following folks for their kind help: Arts d’Armes of France Association for Renaissance Martial Arts Bayerische Staats Bibliothek Biblioteca dell’Academica Nazionale dei Lincei e Corsiniana Rzym Biblioteka Jagiellonska Kraków Bibliotheca Corviniana Digitalis Bibliothèque Nationale de France Corpus Christi College Library, Cambridge Deutsches Historisches Museum Berlin Freywild of Switzerland Germanische Nationalmuseum Nürnberg Glasgow University Library Graphische Sammlung Albertina Wien Gustav Hergsell Selbstverlag Prag Det Kongelige Bibliotek København Kunsthistorisches Museum Wien Mansion House, City of York Pierpont Morgan Library, New York Saint Louis Art Museum 239 Knightly Dueling Sammlungen Von Ow im Schloss Wachendorf Schola Gladiatoria of England Universitätsbibliothek Augsburg Universitätsbibliothek Heidelberg Zentralbibliothek Solothurn My kin and friends 240 About the Authors ‫ﱝ‬‫ﱝ‬ Jeffrey Hull earned his Bachelor of Arts in Humanities from Kansas State University. He now trains in Kunst des Fechtens as both a martial artist and a scholar. He previously trained in jujitsu, kung fu, arnis, karate, running, powerlifting, and archery. He has experience in hunting, metalsmithing, and Western riding. He studies Teutonic and Celtic philology and mythology, researches Medieval history and art, and enjoys music. He likes to hike, paint, swim, and versify. Monika Maziarz has earned her Master of Arts and now is writing her Ph.D. dissertation in Humanities on the subject of German language history at the University of Leipzig. She trains in Renaissance German martial arts the ARMA way. She has partaken of horse riding for some years now and still enjoys it today. She studies German philology and medieval history. She likes swimming, archery, and translating old German manuscripts. Grzegorz Zabinski, born 1975, is a medievalist with long-standing interest in European martial arts, arms and armour, and warfare. In 2002 he received his Doctorate in History from the Jagiellonian University in Krakow for a thesis on Blossfechten in an early 16th century manuscript. In the same year, with Bartlomiej Walczak he published the book Codex Wallerstein: A Medieval Fighting Book from the Fifteenth Century on the Longsword, Falchion, Dagger, and Wrestling. Currently he is working with Walczak on a book containing transcription and translation, plus full comparison and interpretation, of Gladiatoria and KK5013. Apart from that, in cooperation with Jacob Norwood he prepares his dissertation for publication. His areas of practical European martial arts interest include swordsmanship, wrestling, and archery. 241 This page intentionally left blank.