Postby philippewillaume » Fri Sep 10, 2004 2:44 am
Personally I think it is akin to the Japanese focus on the cut you are doing albeit a less mystical approach..
Der text aber von ainer lere.
Wer nach gat hawen, der darff sich kunst wenig fröwen. Haw nachent, waß du wilt, kain wechsel kumpt in dein schilt. Zu° koppff, zu° lybe die zeck nicht vermyde. Mitt gantzem lyb ficht, waß du strarck gerst zu° tryben.
Glosa.
Wenn du mitt dem zu°fechten zu° im kumpst, so solt du vff sein hew nicht sechen; noch warten, wie er die gegen dir trybt. Wann alle fechter, die do sechen vnd warten vff aines anderen hew vnnd wellend anderß nichten thon (13 v )dann ersetzen, die durffen sich söllicher kunst wenig fröwen; wann sy werden do by offt geschlagen.
Item, du solt mercken: alles, das du fechten wilt, das trüb mitt gantzer störck deines lybs! Vnnd haw im do mitt nahent ein zu° kopff vnd zu° lyb, so mag er vor deinem ort nicht durch wechslen. Vnd mitt dem haw solt du in den andbinden des schwerts dere zeckru°re nicht vermyden zu° der nächsten blößm di dir hernach in den fünff hewen vnd in anderen stucken vßgericht (14 r ) werden.
The text from another lesson
Who goes after the blow/who strikes after the coming together (gat=gaten=zusammenkommen), he may rejoice (froeven=vroeven=rejoice) little in his art, strike going forward is what you want, no change/change over will come to your shield. To the head, to the body the tick (as the parasite probably the point)he will not avoid/ give a miss. Fencing with all your body is (what) going straight to drive. (Or is what going straight to drive is).
Glose
When you come/fight at him for fencing, you are to neither dispose off/join with (sechen=zechen= fügen, verfügen, anordnen) his strike nor are you to wait what he is going to use against you. From all fencers those who dispose/join and wait for his opponent strike and are willing to do nothing else but displace. This one can only rejoice a little of his art because of that that they will be often defeated.
Item, you are to mark: everything that you fence, that you drive with all the strength of your body. And strike him in approaching (nahent=nahend) to the head or to the body. So that he cannot charge through (see durch wechslen) from your point. And with the binding of the sword you should not forget/miss the Engagement/attack at the nearest opening as it will be described hereafter in the fives strikes and other pieces.
This is the bit that John was referring to (that is the lichtanauer verse)
Das ist der text vnd ain lere von "vor" und "nach".
"Vor" vnd "nach", die zway dinck, synd aller kunst ain vrspring. "Schwöch" vnd "störck", "jn des" - daß wort - do mitt mörck. So magst (15 r ) du leren mitt kunst arbaiten vnd weren. Erschrickstu gern, kain fechten nimmer gelern-
This the text and one lesson about the Vor and the Nach.
Vor and Narch, the two things that are at the sources of all Arts. Strong and Weak, Indes that word with it (them) mark. So you may learn to work and protect with the Art. Should you be frightened easily, never will you learn fencing.
and that is the ringeck comment
Aber erschreckstu gern, so saltu die kunst des fechtens nitt lernen. Wann ain blöds, verzags hertz, das tu°t kain gu°t, wann es wirt by aller kunst geschlagen.
But if you are easily scared, you are hardly/adversely to learn the Art of fencing, for a dim witted, without heart will be defeated for all his knowledge.
I do not know what vadi says on those topics but I think that goes further that that not being afraid, I think Ringeck tesll us that you need to be comited in body and in mind in your strikes.
What do you think ?
One Ringeck to bring them all In the Land of Windsor where phlip phlop live.