Longsword, Part Three: The Long Poem (Zedel)

[1] The third part of the Sword [Section], in which the following didactic poem is explained with many nice and swift techniques, with which a fencer who loves the art can usefully read and train themselves in the same.

[2] Didactic poem for Free Fencers

[3] Introduction to the Third Book

Dear Reader to whom I have granted my didactic fencing poem which, based on the Authorities, I have composed, improved, and correctly organized: I also wanted to explain it to some extent, using many beautiful and clever sequences and examples (so that many can gain more use from it) and to provide a small introduction in order to understand it. Because it is so rich in techniques and all types of cleverness, the longer you ponder this introduction, the more techniques you can gain from it. The fact that rhymes without an explanation are not very useful is clear from other preceding fencing treatises. And you should know that the first part of these rhymes has been explained sufficiently in my previously-taught fencing; therefore, I will take the initiative with this one:

[4] Ensure that you are the first at the field;
Before they [can] adopt a stance, attack them.

That is, when you want to fence with an opponent then ensure that you are the first at the location so that you can position yourself in your prepared sequence in good time. Then, you should hold them up with cuts and steps to such an extent that they do not have the time or space to position themselves in a stance or to execute sequences according to their desire. And you should thus overwhelm them quickly with clandestine steps before they perceive them. You can gather how this is brought to pass sufficiently from the following couplets.

[5] Pay attention to Indes, understand me correctly:
Hit them before they position themselves in a stance.

You should understand this in this way: when you are in the Onset, pay attention and when they act as if they want to position themselves into a stance, then do not let them move there in peace, but always thrust continuously through in front of them. Pay attention and observe, and in that moment in which they want [to position themselves in] their stance, attack straight at the closest opening. Act as if you wanted to cut strongly, but let it miss or fly past and attack another opening. As soon as you are halfway there with your blade (or have arrived on their sword) then don’t rest, but instead cut a Crosswise Cut, or strike around, or rip out, or slice, or twist, or execute whatever work seems to come most properly to hand for you.

[6] No stance should appear so good to you;
Hit them in the After with bold courage

One could ask here how this is to be understood since there are so many good stances, and now and again many sequences have been shown and taught from the same. Regarding this, you should take note that there are many good stances and that beautiful and good sequences can be fenced from some stances, as some have been shown to you and contained herein.

From these rhymes, however, you are taught that it is always better to avoid completely assuming a stance because your counterpart can easily steal [information] from the stances about what kind of sequences you have in mind to fence, which cannot be predicted from the cuts.

In addition, you should learn from this how you should hit a fencer or come at an opening (when an opponent stands before you in a stance), and you should also understand everything that can be brought to fruition in the After.

When your counterfencer stands in a stance, cut opposite [that stance] to the other opening. As soon as they move from their stance (to counteract your cut), when it just barely touches (or it is better if it doesn’t touch at all), pull around your head and hit in at the part or quarter which they have abandoned in order to oppose you. However, so that this is even easier [to understand], I will set you an example.

Namely, as soon as you take note in the Onset that they have positioned themselves in the Wrath Guard: cut through from your left toward their right in front of them. Ensure that you are not too close to them. In the cut through, let your sword shoot around in the air as if you wanted to thrust from right Ox. Before you have completely indicated that and acted this out with body language: step hurriedly and cut from below at their left while keeping your hands high. In this way, you force them [to act]: they either must counteract you out from their stance, or they must cut in simultaneously with a step backward.

If they cut, then take note: as soon as the swords touch together, pull around your head and cut at their right ear with the short edge. Execute this in one sweeping motion and with crossed hands (as this Figure [G] indicates). In this attack or fencing, which is quite an ambitious technique, you should observe the step in particular, and allow your body to move well after the cuts.

When you threaten to strike at one point, you can mislead them quite well. Therefore, you must secretly steal the ground from them in this attack and in the Onset, act as if you were going to step close and narrow. Then, before they perceive it, step broadly to attack.

Or, in contrast, allow yourself to be noticed at the Beginning with large steps so that your counterpart also pays attention to that and will want to oppose you fast, and to seriously arrive before you. Then, restrain your steps and act with moderation until they make useless movements for no reason.

In that moment in which you perceive your advantage—as soon as you observe your advantage—then you will be next to them with fast, broad steps.

[7] Guide your cuts powerfully from your body;
Direct your work at the four openings.

In these rhymes, you are taught how you should guide your cuts to all four ends powerfully and long—that is, freely flying at all four openings along with the body, which you should move fully with the cuts (as mentioned above).

[8] If you cut a Crooked Cut, lift quickly;
With crossed hands, throw the point on their hands.

The crooked cuts are fenced in many ways because all cuts that are cut with crossed or crossing hands are called “crooked cuts”. Therefore, a Squinter is numbered among the crooked cuts. This applies regardless of whether they occur with the half or whole edge whenever you hold your hands crossed.

[9] Firstly, take note: when a fencer cuts from their right and from above, straight at your head, step with your right foot well out of their strike to their left so that you evade their strike in one leap to their left. Cut with crossed hands from your right toward their cut. You thus arrive with your sword blade between their head and sword on their half edge, which faces toward them. In that moment in which it touches, step again with your right foot toward their left side and counteract with your blade or displace your blade from their blade to their arm (between their head and sword). Press their arm downward in one jerk with your hands still crossed. During this, you will certainly find an opening at which you can cut according to opportunity, and you should not delay as soon as you see the opening.

Furthermore, when you approach your counterpart in the Onset, be observant, and in that moment in which they lift their arms to strike, cross your hands in the air and throw the point (that is, the Weak or outermost part of your blade) on their hands or arm. Take note that this should take place (as mentioned) in that moment in which they lift their arms to strike. And before they have completed that, you should be back on their blade with a Crosswise Cut because these sequences should move swiftly and fluidly.

[10] Let the circle touch on the right;
Keep your hands high if you want to mislead them.

[The] circle also arises from the crooked cuts and is a particularly good technique for misleading (better than others) because it does not drop down meaninglessly, vainly, or without touching like other misleading techniques (dropping down, flying away, and the like) because if one uses it correctly, the circle hits very hard with the half edge as it moves forward.

Perform this technique like this: when you stand in front of an opponent in a bind (after you have come under their sword with the attack) and you hold your sword up high over your head, then as soon as they allow you space and don’t bind onto your sword, but instead also hold their sword with the point upward, cross your hands in the air and cut with the short edge (with your hands thus crossed) from above down at their right ear so that, regardless of whether your blade hits it or not, it moves around in a circle next to their right arm. Keep your hands high over your head during this.

As soon as they swipe after the circle: step with your left foot well out toward their right side. Cut with the long edge behind their blade and over their right arm at their head. Along with the step, move your body (including your head) well outward to their left side out from their strike.

[11] A good sequence from the circle

When you stand in front of an opponent in the same work (as mentioned previously), pay attention: whenever you have the opportunity, step with your left foot out toward your left side. Simultaneously with the step, cut a circle past their right, however, such that when [the cut] passes by on their right, it grazes or hits. Simultaneously with the circle, step through with your right foot between yourself and them to their right side. During this step through, cut a Crosswise Cut from your right toward their left in front at their face (as you can see in the upper tenants in the Figure designated with K). Jump Indesly well out to their right and cut with the Weak at their sword.

[12] Step well with the Crooked [Cut] if you want to counteract;
Crossing over will injure [the opponent].

This should be understood in this way: when you cut in with a Crooked Cut, step well out of their strike simultaneously with your cut (so that you withdraw your head out of their strike behind your blade).

Secondly, when you have bound onto their sword with a Crooked Cut (if you have an opportunity to do this), you should quickly cross over. Subsequently, snap around or twist a flick at their head, or rip out, or let it overrun, or the like.

[13] A fine sequence from the Reversal

Take note in the Onset and pay attention when your counterpart rises up in front of you: step and cut from your left with the short edge and crossed hands at or over their right arm. However, step well toward them in this Crooked Cut. Reverse your sword and rip downward and out to your right side. If they work above with their arms, so that you cannot force them downward: move your pommel from the inside between both their arms. Release your left hand from the hilt and grab your sword blade. Rip upward (as is shown in the Figure with the O).

[14] The counter to this:

Release your left hand, so that they rip outward in vain. Follow their rip upward Indesly with a slice at their arm. Do not allow them to come to any other work, nor allow them to be free [of you]. When you have observed your advantage, let fly at the closest opening.

[15] Cut Crooked at the flat if you want to strengthen yourself;
You should take diligent note of how to weaken them.

This is a teaching about how you should weaken your opponent’s in-coming strike. You should execute it like this: in the Onset, pay attention when your counterfencer cuts at you from their right, step well out of their strike and cut with crossed hands and the long edge on the Strong of their blade in the flat. You weaken them with this so that they can scarcely recover to another [strike]. Before they recover, you can be at their head with turns or flicks.

[16] You should also carry out the counter:

If you take note that a fencer will oppose you with a Crooked Cut on your in-coming strike to weaken you: quickly change through under their blade and work at the side from which they originated their Crooked Cut.

[17] As soon as it touches above and glances off,
Pull up to the opening if you want to enrage them.

These verses are quite necessary to note because they seriously remind you to pay attention to the openings as they occur. It is certain here that if you pursue the matter correctly, as often as it touches above or as often as two strikes glance together above, you can rush to a lower opening. You will not lack in this; however, in order that you can understand it better, take note of this through the following example and sequence.

[18] Thus, in the Onset, as soon as you trust that you can reach your opponent: step and cut a powerful High Cut at them from your right. In that moment in which it glances off, strike quickly around back at their left ear. During this, step with your left foot behind your right. You thus hit twice equally [with them] or you complete two strikes on one side before they complete one.

[19] Likewise, if an opponent cuts at you from above (as before): cut from your left and from below toward their strike so that you catch their High Cut high in the air on your sword with crossed hands. As soon as it glances off, cut with the front short point, that is with crossed hands, away from their sword in a circle at their right ear. This should occur quite speedily so that, in that moment in which the blades touch together, [you] also simultaneously strike down from above with the half edge.

[20] Furthermore: act in the Onset with body language as if you wanted to cut from above. As soon as you observe that they will swipe upward to counter your cut, twist your High Cut into a Low Cut before it actually touches above. This is a true Misser, and you will hit their left ear before they perceive it.

[21] Finally, if your counterpart cuts from below: drop onto it with your long edge. In that moment in which it glances off, strike quickly at the closest opening in a sweeping motion or strike around away from their sword with the flat in a twisting flick at the closest opening.

[22] When you cut a Crooked Cut at their strong,
Take note: turn through, overrun with this.

When you cut a Crooked Cut at an opponent and they resist strongly so that you cannot achieve anything with crossed [hands] or other work from above: turn through below with the pommel. Reach for the other side with the same [pommel] from outside and over their blade or arm. Rip downward. In this [downward] rip, hit them on the head with the long edge. Or reach with the pommel between their two hands (as can be seen in the Figure [O] printed previously, in the two tenants on the left side).

[23] Counter

If an opponent cuts a Low Cut at you, cut with the long edge from above on top of the strong of their blade so that your hands are crossed or so that you cut a Crooked Cut. In that moment in which it glances off, shove the blade directly in front of you, twisting your short edge in a flick around at their face or at their head (during this shove).

If they rise up to defend against your flick: rise up also, pull around your head and strike at their lower opening.

[24] You should contemplate misleading with the pommel;
You will annoy them with Tagging contacts, flicks.

That is to say, when you cut a Crooked Cut at their right and they resist or counteract high: twist through below with the pommel and (with body language) act as if you wanted to grip past with the pommel (as taught previously). Before or when they notice that: flick back in with the short edge at whichever side you originally cut the Crooked Cut at.

[25] Item, in the Onset, attack your counterpart strongly with a powerful Middle Cut across at the left ear. Quickly pull your pommel around your head and threaten them with it (as if you wanted to thrust at the other side with the pommel). In that moment in which they swipe at you to interrupt the thrust: flick with the short edge back at their left ear. Step with your left foot back behind your right during the flick. Cut away from them.

[26] Also, if you want to shoot through correctly,
Cut Crooked, Short, [or] change through on their ricasso.

This is truly a small Master Sequence. When you are in the Onset, position yourself in right Wrath. As soon as they bring their sword [up] into the air: cut a free High Cut at them but do not complete it. Instead, cross your hands in the air (so that your right moves over the left), and cunningly cut a Crooked Cut through their cut with the short edge. Step out Indesly with a doubled step to their right. Cut with the long edge at their right ear or use a change through to arrive on their ricasso toward their right. Work with twisting, slices, and whatever kind of work you can.

[27] A sequence from the shooting through

Pay attention in the Onset: as soon as your counterfencer lifts their sword to strike, cut a Crooked Cut quickly and cunningly through during this (as mentioned above) so that you arrive on their right and on their ricasso from outside. When it just touches, swiftly twist the short edge inward at their head. Yank your pommel well upward in this twist so that the short edge drives even deeper.

If they lift to counteract this: let your blade snap back around so that your right hand moves back over the left. Flick back under their right ear during this snap around, stepping well out to their right with your left foot during this. Then cut a Crosswise Cut deeply at their left ear with a step back. Twist your short edge on their sword back out from below and at their left ear. Afterwards, cut away from them. Everything should be completed quickly using twisting.

[28] Take note: if they want to confuse you with a Crooked Cut,
Remain correctly on the sword and execute the War
With twists, slices, and whatever else.
Do not let yourself fly too far astray.

With these lines, you learn how you should behave against an opponent who binds on your sword with a Crooked Cut. Two techniques will be mentioned here that are of service—namely, remaining and the War—which function like this: if a fencer binds on your sword with a Crooked Cut, don’t pull away quickly. Instead, remain on the sword to feel what kind of work will be necessary here. So that when they move away, you pursue, or if they remain, you twist.

Twists, slices, reversals, and outward rips are called the War, because one [fencer] always counters the other [fencer’s] sequences this way, and one counter follows from another because if they defend against one [counter] then they cause or assist you in the second [counter]. Therefore, both [fencers] War around the Before.

You should also pay attention when a fencer wants to fence at you with Crooked Cuts, so that you do not fly astray and let them move from one opening to the next. As soon as you move away from their Crooked Cut, you are completely exposed to them if they have a little knowledge about how to send in [their sword] during this.

[29] Now, take note of a good sequence arising from this: if an opponent cuts a Crooked Cut from their right at you, set their cut away and upward using the long edge. In that moment in which it glances off: remain on their blade with the bind, twisting your pommel Indesly and upward toward your left, and twisting the blade downward toward their left, [which twists] the short edge at their left ear. This should occur simultaneously and in one step so that you hit with certainty.

If they were skilled enough that they could also turn the Crooked Cut into Longpoint: twist the short edge to flick at their head from inside. Afterwards, twist the pommel quickly back from underneath and down to your left side. Reach with the pommel over their blade or arm and rip it outward. Or, if you have completed that, take in hand another sequence that you view to be most proper here.

[30] Flick with the Weak fast at the right;
Flick twice and guard yourself with the ricasso.

Take note: in the Onset, move into the right Change [Guard]. From there, strike up through their face so that your sword runs around over your head in a round. Step with your left [foot] well to their right and strike across at their ear with the outward flat, from your left toward your right. Move your head well out of the way with that (as mentioned previously). In that moment in which it glances off, thrust your pommel quickly through under your right arm and flick with the inward flat in a flick (from below and back up) at their right ear. In this twist, remain hard on their ricasso with your sword, and simultaneously push hard away from you.

If they resist: then let your sword move slightly outward and pull around your head. Strike a strong Glancing Cut with the outward flat at their left with your palm upward (so that your pommel rises well upward—this [allows] the cut to go deeper). Twist the pommel back through under your arm and flick from inside and behind their blade at their head. Remain on their ricasso constantly and hard and twist hastily back outward. You then stand back in the Glancing Cut (as previously). Work whatever you want further according to the four openings.

[31] Item, if a fencer cuts a High Cut at you from their right: cut a High Cut toward theirs and simultaneously with them as well. In that moment in which it glances off, thrust your pommel hastily through under your arm and flick back inward at their head. Before that actually touches, pull both of your arms (which are crossed) upward and toward your left and rip upward and around on their blade. Flick back with the outward or reversed flat at their left ear from below, as just [completed] above.

This double flick should occur quickly, and because it is an especially quick sequence, I have presented it to you in detail because it is sure [to hit] when you bind from one side on their sword, remain hard thereon, and twist thus inward and outward in a double flick at one side (at the upper and lower part of their head).

If they swiftly counteract the flick, you have an opening on the other side that you can touch with a circle, or you can flick around in one motion.

In my opinion, you can take good note of and learn twisting from this.

[32] Also, twist strongly around their ricasso;
Shove off Indesly and strike swiftly.

That is, if an opponent wants to defend themselves from the double flicks and counteracts you, catch their ricasso with yours (as the small portrait on the right in the Figure designated with I, who has caught the arms of the other [fencer]). Yet do so in such a manner that you don’t release your left hand from the hilt. Jerk their sword outward and away from you to the side in one thrust. Let the short edge snap around Indesly [to strike] deeply at their other opposite opening.

[33] Another

If a powerful and coarse fencer cuts at you so that you cannot approach them with such finely detailed work, cut the first simultaneously with them. Take note at that point: in that moment in which they pull their arms back toward themselves, move your horizontal blade onto both their arms from below. During this run underneath, release your left hand from the pommel and grab your blade in the middle (as the smaller tenants show on the left side in the previous Figure N). Rip both their arms outward to the side with your ricasso and cross-guard, releasing your left hand in the thrust or rip. Cut quickly afterwards, either short or long.

Therefore, take note: when an opponent arrives before you who attacks crudely from above, observe how you can counteract one strike or two until you perceive the opportunity to strike most optimally. When they have lifted, move quickly under their arms and step well under them so that they strike their own arms onto your blade.

[34] You should carry out the Squinter Cut wisely;
You can also double it by twisting.

There are three types of Squinters: namely, two Squinter Cuts—one from the right, the other from the left (which is not dissimilar to the Crooked Cut with crossed hands, as is mentioned above in relation to the crooked cuts)—and the third is a Squinter with the face, in that I look at a point as if I wanted to strike there (including all of the body language), then I don’t do that but instead strike anywhere else.

[35] You have been taught about these Squinter Cuts previously in the first part [of the Sword Section], and because they were additionally mentioned here and there in the sequences, it is unnecessary to treat them further here. Therefore, I will only say something about various counters and the like that arise from them.

[36] Counters against the Squinter

Take note: as often as a fencer carries out a Squinter Cut against your long cuts, they expose their right side. Therefore, don’t allow them to arrive on your sword; instead, change through below and (after this move through) cut long at their right from your left.

[37] Counter.

Item, if an opponent changes through under your Squinter Cut to your right side, remain steady with the point directly in front of their face and turn the long edge toward their blade. Let your pommel move through Indesly under your right arm and step with your left foot well out to their right side. Then they will have changed through in vain because you will arrive at their head using the other Squinter Cut and crossed hands. Let that run down immediately next to their right in a circle and Crosswise Cut at their left ear.

[38] Counter to the Plow

Take note: when a fencer approaches you in the guard of the Plow, feel free to attack them with the Squinter Cut. As soon as they rise upward, work at their lower openings and furthermore at all four ends.

[39] Counter to Longpoint

Item, if an opponent stands before you in Longpoint, present yourself with body language as if you wanted to cut a long High Cut at their left ear. Don’t do that, but instead turn in the air and cut a strong Squinter Cut on top of their sword. In that moment in which it glances off, shove the point forward at their face. They must counter this. In that moment in which they rise upward, pull your sword in one sweeping movement around your head and cut across at their right ear with crossed hands and the short edge (I call this the second Squinter). Let your left hand move well upward and under your right arm—this moves the short edge deeper. Pull back around your head and rip their blade out with the flat across from your right toward their left (so that your sword flies back over your head) and let the short edge shoot in deeply at their left ear. Immediately cut two Low Cuts at their right and left. Cut away Indesly.

[40] Another

Item, if a fencer arrives before you and they like to bind on you long from above, or they like to execute their first strike long from the Day, then when you approach them, strike through before them (upward and toward your left) so that your sword’s blade shoots around over your head toward your left in the Plummet. Threaten them as if you wanted to strike toward their left. They will doubtlessly be ready for this and cut towards that. Therefore, let your sword snap back around Indesly over your head with the right hand over the left and (simultaneously with their strike) strike in with the short edge at their right ear (as taught above). If you do this correctly and step well in addition, you will certainly hit.

If they counteract and rise upward (as they must rise up if they want to counteract), immediately pull around your head and cut with the long edge, across and from below, at their left forearm (close under their pommel at the bone). You will certainly hit one of these two openings: either the right ear or the forearm. Pull your hilt back upward and around your head and cut a strong Long Cut at their left and at their head. In this third strike, step well around to their left side with both feet in a double step. This allows the cut to proceed well.

This is a good, serious sequence, if you want to fight in your opponent’s space (bring it home to them).

[41] Another Sequence from the Squinter Cut

When you are just approaching them in the Onset: present yourself as if you want to carry out a long, strong High Cut. In that moment in which they rise up to oppose you: turn the short edge in the air from your right toward their left and pull your pommel upward. Strike over their arm or hands with the short edge. Step well to their left side and let [your sword] move around and past in a circle. Afterwards, cut long at their closest opening or fence at them from the Low Cuts.

[42] To double the Squinter

Item, in the approach, cut a Squinter Cut from your right on top of their sword against their cut. In that moment in which it glances off, turn your sword on their blade and slide on their blade out toward your left side. Also step with your right foot farther toward their left. Let your blade move around your head and cut the second Squinter Cut (also from your right) deeply in from above and behind their blade. [Cut] the one like the other, quickly one after the other, twice at their left, with a doubled step. This is a swift sequence against slow fencers who hold their arms too far out from themselves.

[43] Or, once you have completed the first Squinter and want to also carry out the second: push your pommel quickly through under your right arm (while you are guiding your sword through the air). Cut the second with crossed hands (also at their left, as previously) and pull your head well toward your right.

[44] The third Squinter is misleading using your face

In the Onset, strike up into the guard of the Day. As soon as you can reach them, immediately turn the short edge toward them while in the air. Use your face to act as if you wanted to cut a Squinter Cut at their left. Don’t do it, but instead let the Squinter run past next to their left as a deliberate miss and work at their right. Or flick your eye[lids] at their right and strike quickly back in at their left, using your entire body. It is lovely and fast work which is not easy to describe, but [can be] shown with a living body.

[45] Take note: a fast sequence from the Squinter

In that moment in which you just barely approach them: wing your elbows out in front of them so that you arrive into the Unicorn with crossed hands. During this elbow movement, lift your left foot somewhat upward (following the change in weight that you achieve by raising the crossed hands high and coming through the Unicorn). You thus stand as if you wanted to shoot through. As soon as they extend their sword out, cut down with crossed hands and the short edge from above and toward their right, up to the outermost point of their sword blade. Before it touches, turn your short edge around and strike a Squinter Cut. That is, with the short edge from your right at their left ear, arm, or face, with a step forward of your right foot toward their left. You thus hit them (like the large portrait teaches on the left side in Figure G). When it hits, let your blade run out a bit to the side and away from their left and simultaneously thrust your pommel through under your right arm. Cross your hands so that your half edge snaps back around in front of them toward their left and over their head or arm. Rip their sword outward with crossed hands (from your right toward your left) or cross [your sword] over both of their arms. If they resist so that you can’t rip out or cross over, let your pommel pass through underneath and [use it to] grip over their right arm. Use wrestling against them.

[46] About the change through

The change through is appropriate against those who fence using the Squinters or Crooked Cuts. Take note like this: if they don’t extend their hands far in front of them in their cuts, but instead keep them close by in their fencing, this is one that you can happily [use the] change through at a distance.

[47] Item, if they fence out of the twisting, reversing, Crooked Cut, Squinter Cuts, or any other type of technique in which they shorten their strikes, or they can’t fence long in front of themselves (as occurs using those techniques), then before they complete their technique to the halfway point, you should change through against them to the other side (which they expose due to this shortening [of the strike]). By doing this, you force them to counteract and they must let the Before pass to you.

[48] Item, if a fencer already fences wide and long in of themselves with the long edge, but more at your sword than at your body, then you should change through at their closest opening and let them completely miss with their cuts.

Therefore, be diligent in what you fence at (whether with the long or short edge) so that you properly cut at the opening (that is, at their body). And even though it isn’t always possible that you can cut close to the body, you should drop in after their sword at the opening as soon as they change through.

Take note of this rule in all cuts, so that when you touch or contact their blade with the strong of your sword in the bind, immediately and simultaneously and in that moment in which it glances off, you should simultaneously cut in with the Weak of your blade (that is, with the outer part) at their body or closest opening so that your sword simultaneously hits their blade and body. Or, as soon as your Strong touches their sword (while [the swords] still mutually glance together) you should turn the Weak to the next opening and snap and twist with flicks.

[49] Furthermore, keep this instruction [in mind] if you want to fence these techniques against those who know how to change through against you (namely, while you guide your sword in the air to a Squinter Cut or Crooked Cut).

[50] Item, [when you use] crossed hands, missing, and the like: as soon as you perceive that they want to change through, drop out of such work into the long slice (that is, into Longpoint at the opening that they will offer to you during the change through) because as often as they change through, they expose themselves. In that moment in which you rip through at the opening, guard against their sword with your long edge (so that you turn the Strong toward them) wherever they want to arrive next, and simultaneously remain at their opening with the short edge. As soon as you have touched, do not tarry any longer, but instead let it fly quickly away from one opening to another.

[51] You should also consider the Crosswise Cut as worthy;
Your skill with the sword becomes compete with it.

The Crosswise Cut is also one of the proper Master Techniques with the sword. You should know that if the Crosswise Cut did not exist (as it is currently used at the present time), only half of fencing would be possible. [This would be] especially true when you are inside and under your opponent’s sword, as you cannot fence through the Cross with long cuts. Even though I have written a lot about the Crosswise Cuts previously—enough that if one can fence, they could gain sufficient understanding from there—yet, because much depends on the Crosswise Cut (as stated), I have undertaken to write more, both for great masters and even more for students. Therefore, I will not merely repeat the Crosswise Cut, but instead I will write more fully about it to teach those who love this art.

[52] Pay attention in the Onset as to whether your opponent wants to attack you from the Day (that is, from above). Strike up from the right Change [Guard] toward your opponent’s face. In that moment in which they want to strike or cut: let your blade move next to your left and around your head (so that your flat faces upward and your thumb is under on the ricasso, or the ricasso lies on your thumb). Step with your right foot well around their left side toward them. Simultaneously with this step, cut from your right side toward their left ear with the half edge, so that your hilt (including your thumb below) stands high over your head to counteract. [This is] so that, wherever they strike, you receive their strike on the strong of your blade. Simultaneously with this, you will hit their left ear with the Crosswise Cut with the outer short edge from below. As soon as the swords touch together or glance off, strike deeply and obliquely at their right ear with the long Crosswise Cut (so that your thumb remains underneath).

[53] Secondly, take note: when you simultaneously cut in or bind on with a Crosswise Strike, immediately seek the opening (above and below) on the same side by reversing and snapping around, or [with] Crosswise Cuts, crossing over, pursuit, slicing, crushing hands, and ripping outward. As soon as an opponent cuts at your from above, counteract with the Crosswise Cut. In that moment in which the swords glance off or touch together: reverse, cross over, seek the opening, and fence whatever work you can first execute that has been mentioned here.

Therefore, Liechtenauer states correctly in his enigmatic verses:

The Crosswise Cut takes away
 that which comes from above.
Item, Crosswise Cut with the strong,
 take note of your work with it.

That is: counteract all strikes from the Day with the Crosswise Cut, or as I have set it here in my [own] rhyming lines:

[54] The Crosswise Cut can counteract
Everything that comes from the Day.
Execute the Crosswise Cut strongly in the attack
Also take note of reversals and misses in addition to it.

If an opponent cuts at you from the Day, cut a Crosswise Cut strongly against their strike. You force them [to act] with this so that they must drop more deeply downward with their cut. In that moment in which it glances off, thrust your pommel through and under your right arm, reverse, and press downward. Let the blade immediately snap back around with the short edge into their face, but such that you remain with the edge on their arms in the reverse and snap around.

[55] This sequence proceeds well when you execute it with speed.

If they evade you [by moving] their arms upward too quickly, let your blade move around your head so that the long edge arrives in front and across on their arms through a Low Cut (as the small scene indicates on the left side in Figure [N]; however, don’t release your left hand from your hilt, but instead thrust them away from you with crossed hands).

[56] Be quick to the Plow and Ox,
Threaten them fast with cuts at contrary ends.

The rhyming lines are also quite clear in themselves (like the others as well). Namely, that you should quickly cut a Crosswise Cut at the Ox and Plow (that is, at the lower and upper openings), to the left and right, cross-wise and obliquely, to all four quarters as with other cuts (as has been taught previously and extensively in the section on the four openings).

[57] Take note of which type of Crosswise Cut is executed with a leap;
You also miss with it, as it touches according to your desire.

Take note in the Onset if you want to cut a Crosswise Cut at the upper left opening: leap well toward the same, and also let the pommel move well upward. This allows the Crosswise Cut to move deeply at the head, especially if you can misrepresent the body language—that is, leap unexpectedly and simultaneously with the Crosswise Cut, so that they don’t observe the leap until it has occurred and the Crosswise Cut has hit.

If they perceive it and defend or counteract the same: step swiftly toward their right side with the left foot and, with your body bent forward, cut a Crosswise Cut from your left to their lower right opening. You will certainly hit this if they have counteracted the first Crosswise Cut.

[58] Item, if you leap and strike high and deeply with the Crosswise Cut (or another type of flat [cut] at the opponent), don’t let it hit but instead let it drop down as a deliberate miss next to the left. Strike at another opening hurriedly with the Crosswise Cut, then you will hit according to your desire because before they think to counteract the Crosswise Cut, you have hit them at another location—as long as you execute this with your whole body (that is, that you use the body language for this technique).

[59] You should doubly execute the Misser;
Likewise, double the step and slice.

The Misser is a good technique against fencers who like to counteract (like the previous techniques from the Crosswise Cut). When you cut at an opening, and you take note that they [will] counteract the cut in response, then let the cut run past as a deliberate miss and strike at another opening. Double misses are a skillful technique and require a well-practiced fencer. However, I will place here and describe some techniques as double and single, from which you can well learn all kinds of Missers.

[60] Position yourself in the Onset into the Wrath Guard on the right. As soon as they lift their sword into the air, cut through from your right and around your head (with the long edge and extended arms) at their right side to deliberately miss, so that your Crosswise Cut flies powerfully around in the air toward their left ear. Don’t let it touch, but instead pull back around your head and cut with the long edge, so that the flat sweeps in powerfully at their right ear. Now reverse, snap around, and let it fly, and carry out whatever work you can.

[61] Item, in the Onset, cut a long High Cut at their upper left opening. When you have scarcely touched their blade above in the air, change your High Cut into a Crosswise Cut and strike with the Crosswise Cut from below at their left ear or arms. These are the correct fencing techniques from which many sequences are fenced.

[62] A Misser with a deceptive step

In the Onset, cut a lofty High Cut and when your blade barely touches on their blade, immediately change the High Cut into a Crosswise Cut. Simultaneously with the Crosswise Cut, step through with your right foot between you and them and out to the side toward their right side. During this same step, cut a Crosswise Cut at their muzzle such that the point is between their arms (as you can see in the small upper scene in the subsequently printed Figure [K]). Immediately let it snap around again and strike with the short edge and crossed hands back around at their right ear, or cut with the long edge in response. Regardless, leap well out to their right to the side with this strike.

[63] Two-fold or double miss

Item, in the Onset, before you actually arrive before them, cut through next to your right so that your weapon shoots over into the Plummet. Step forward toward them with your right foot. Let your sword move around your head and pull a High Strike from the Day into the air. However, cross your hands and threaten to hit them with the short edge.

If they swipe in response and want to counteract: turn your hands back around and change the curved edge into a Crosswise Cut. Don’t let the Crosswise Cut touch either, but instead let it run forward in a deliberate miss. Strike the second at their right side; that is doubly missed.

These two Missers are completed together in the air in one sweeping motion as you twist around their blade. However, you can break off in the middle into a counterposture whenever you want, or you can turn into [a counterposture] if they were to reach you (such that you could not get to them with your sequences). However, when you have forced them to counteract you, then the double Misser is very good, and it goes very fast.

[64] Item, this is also called a double miss because one allows it to drop down doubly (or twice) in order to mislead their opponent.

[65] Another from the double Misser

In the Onset, bring a High Strike from your right high into the air. Before it touches, turn the short edge toward them as if you wanted to cut a Squinter Cut. However, don’t let the short edge touch either, but instead let it also run quickly down as a deliberate miss and swing your Weak at their right ear with crossed arms. Let that fly quickly upward again and attack them with your sword at the closest opening (or on their sword). From there, [attack] at their body and on top of their arms.

[66] Counter to the Crosswise Cut

Take note: when you bind with a fencer from above or cut in simultaneously with them, observe whether they want to strike around with the Crosswise Cut. In that moment in which they strike around: strike your Crosswise Cut before [theirs] and under their blade at their neck (as the large portrait shows on the left side of Figure L).

[67] Item, if they cut a Crosswise Cut from below so that you cannot come underneath [their blade], catch their Crosswise Cut on your ricasso by pushing forward. Thrust your pommel above your right arm and well away from you, turning the long edge over their blade (up from below and from outside) toward their head (as the larger portrait indicates on the right side in Figure N).

[68] About stepping

Much importance is placed on steps. Therefore, observe that you give each strike its [corresponding] step, because if you cut at their opening and don’t step with your foot from the side from which you have cut, your cut will be useless. When you are only threatening to cut but not completely cutting, you should also not fully step but instead use body language to act as if you had stepped. Practice will teach you this better.

Execute a double step like this: when you are stepping with your right [foot] to their left but your technique requires that you must step even farther around, then step quickly with your left following your right (either behind your right, outside, or past it). Scarcely after you have set your left down, you can step forward with the right.

To double the slice, observe the following sequence. If an opponent cuts at you from their right, cut also from your right toward their strike, yet with the short edge and crossed hands. In that moment in which the swords touch, step in a doubled step with the right foot (quickly and farther around toward them on their left) and drop away from their sword with the long edge onto their arm. Now cross your hands over.

If they rise up and will not suffer your slice: follow them with a slice from below into their arms. Thrust them away from you with your crossguard and ricasso before they recover. Cut in response. That is the correct, classic slice, and is the purview of a master.

[69] Item, when you have sliced an opponent on the arms from above, you can pull the sharp edge through their muzzle.

[70] From the sword to the body, reverse
Twice with it, or slice into the weapon.

This is the correct gloss about the previous rhymes which say: twist twice or slice into the weapon. Understand it like this: when you slice from the sword onto their arm, you should reverse immediately. If they escape upward: you should twist your pommel back out from under your arm, which reverses your sword again.

Slice into the weapon means: if the double reverse has missed, you should pursue twice [while] remaining with the slice on their arms. If they defend against that: drop on their blade with the slice and ensure that you don’t let them move away out of your advantage, but instead always pursue [them].

[71] Pursuit is exceptionally good;
Protect yourself with slicing, twisting.

Pursuit is varied and diverse and should be executed with great caution against those fencers who fence around themselves with long cuts without any skill.

Execute it like this. When you approach them in the Onset with your left foot forward and you hold your sword in the Day, if they cut long at your head from above, do not counteract them, but instead observe how you can slip through with your head and sword under their blade toward the other side while it is still in the air flying toward you (so that their cut doesn’t touch [you]).

Let them miss in this way: in that moment in which they are still dropping with their sword and cutting downward toward the ground, cut quickly and cunningly at their head from above while you step through (as mentioned above) before they recover or lift back upward.

If they lift upward so quickly that they counteract you: remain hard on their sword and feel whether they push strongly further upward. [If that is the case], let your blade escape quickly and easily upward. Step and strike a Crosswise Cut around at their right.

[72] Item, if a fencer binds onto you from their right: pay attention to when they strike around. In response, follow them with a slice on their arm at their right. Or, if you stand in the guard and they drop their sword onto yours before you lift up, remain below on their sword and lift upward. Feel Indesly whether they want to carry out a cut or twist from the counterposture. Do not let them move away from your sword, but instead follow them and work Indesly at the closest opening.

Also take note about what pursuit is: when an opponent lifts too high upward so that you pursue them from below with cuts or slices (in that moment in which they pull up to strike). The same [holds] if they move astray or too far out to the sides: pursue their weapon to the opening from above.

However, pay attention in all pursuit; if they evade you: turn your long edge toward their weapon.

Also consider the slice, because you can use it to force them out of their work.

[73] In the case of a second [slice] or in the middle [of a technique],
Let it fly away. Begin with this.

That is, you should pay attention so that when you have set upon them with the slice, you do not immediately release them, but instead follow them once or twice with the slice in order to hinder them from their work and sequences in this way. When they least expect it, you should slyly and unobtrusively let your sword slip away to another of the closest openings before they become aware of this. This is a true Master Technique; thus, it is a Beginning.

[74] Execute hits towards all four ends;
Learn pulling if you want to play them false.

You must be well taught in the four openings if you want to fight with some certainty because then you can fence whatever cuts and sequences you want, as well as you want. However, if you do not know how to break off in each quarter, to transform the intended technique and change it into another, more suitable work (depending on the person who fences against you and counters your sequences), it may occur that you intend [to use] a sequence at one opening but they move against this such that you might have another, closer opening. Yet this opportunity will escape you if you continue to fence your intended sequence without taking note of other opportunities of chance. Therefore, be diligent so that you can quickly conceive of and can fence at all four openings in a free-flying manner, because you only have three ways to cut and to strike (that is, with the long and short edges and with the flat), from which all fencing is composed together in harmony with the four parts of the opponent, from which all other techniques of opportunity arise (that is, pulling, doubling, dropping down, which have been sufficiently dealt with previously).

[75] Bring the slice off and catapult [to your fencing] as well;
Rebuff hard and hostile [actions] with the slice.

As you now allow your sequences to run to all four openings (as taught previously), you should also simultaneously pay attention to their movements (that is, to their sequences) so that you stop them and slice them off according to opportunity. Therefore, hinder them and slice off their sequences long until you observe your opportunity for other work. The two hostile actions are the strikes from both sides. When you slice them off, ensure that you do not overlook any opportunity and also do not slice too far away from their body (so that they don’t move through).

[76] Pay attention to the catapult. As soon as they expose one side, rush up from below with the flat to their ears. Slice quickly back down at the opening. (With regard to more information on the catapult, see the first part in the chapter about Handwork.)

[77] Do not rely too much on the Crown,
Otherwise you will receive injury and insult from it.

Take note: when you counteract with your crossguard horizontal, high over your head, that is called the Crown.

When you take note that your opponent wants to run under your High Cut with the Crown, do not let your High Cut touch at all, but instead pull the cut so that they lift upward in vain. Cut a Middle Cut across with the long edge at their arms or forearm (if you want to lame them). Therefore, as often as you take note that your opponent likes to rise up high to counteract, present yourself with body language as if you wanted to cut high. Do not do it, but instead strike quickly around at a lower opening with a Crosswise Cut, the flat, or the long edge.

In summary: whoever wants to use the Crown against you, execute a Misser against them.

[78] Strike powerfully through with Longpoint;
This holds off all hard and hostile actions.

Stand with your left foot forward and strike through your opponent’s face from your right (so that the half edge leads)—once or four times—quickly, one after the other. As soon as you drive them upward, attack from below, either with a Crosswise Cut or the long edge.

Take note, when you thus strike up toward them, observe: when they cut at you from your right and from above, turn your long edge toward their blade while striking upward and catch their cut in the air at the Strong of your sword (so that your blade extends somewhat horizontally, with your point upward and out toward their left). Step quickly with your left foot to their left and thrust your pommel Indesly through under your right arm. Strike using the short edge by sliding down the back of their blade to the pommel (as the tenant teaches you on the left side of the Figure designated with B). Simultaneously step with your right foot well toward their left. Quickly jerk the pommel back out from under so that you stand with your sword in the Crosswise Cut or in Hanging Point.

[79] Item: strike upward in front of them and let your sword fly around above next to your left. Step and cut powerfully from below and from your right at their arm. If they counteract, twist through below with your hilt and use your pommel to catch over their arm from outside. Release the hilt with your left hand and grab your blade with it [your left hand] to assist your right. Strike with the long edge at their head (as the tenants show you on the right side in Figure O).

[80] You should let the Obscured Cut rebound;
Throw the Crosswise Cut around, be diligent about the flick.

Strike the Longpoint into their face. Step and pull your sword around your head and strike with the inside flat through the middle line (from your right at their left ear). Move your head with you and quickly twist back on their sword and around the outside flat at their left.

[81] You should use the hangings deliberately
If you want to wrestle; do not grab at the wrong time.

This is when you have both run in toward one another. You should make certain of the attack when you want to wrestle with the other, because with one grab you can jeopardize yourself (if you miss), and you will scarcely be able to rescue yourself from this without injury.

[82] About this grappling and wrestling: take note of these following examples, of which the first originates from the High Cut.

In the Onset, hold your sword with the blade extended in front of you so that the front end faces out toward their face. As soon as you can reach them, let your blade drop downward from their face toward your left. Pull your sword around your head with the blade hanging. Cut a high and powerful strike toward their left ear with a leap forward. As soon as the cut hits, immediately pull your blade back upward and remain with your hands high over your head. However, let the blade drop downward next to your left side into a Low Cut toward their right arm. During this, bend downward swiftly with your upper body and release your left hand from the hilt. Grab the middle of your sword’s blade with that hand and quickly lift it up from below onto both of their arms (while they are high with their arms to counteract the first strike). When you have thus captured their arms between your two hands with the long edge of your sword: twist powerfully with the front end over both their arms from outside.

If they are too strong and force you upward: remain with your blade equally hard on their arms and twist your pommel through below. Use the [pommel] to catch over their left arm from outside and rip powerfully downward and outward. In that moment in which you rip outward and downward and toward yourself with your pommel: use your left hand to set your front end over their left arm and inside of their right [arm] at their face.

If they want to work further with the sword: catch their right arm with the front part of your blade as well. Rip downward and hit them in the face with your pommel.

[83] Counter

When you perceive that your opponent wants to twist over both your arms from outside with their blade, release your left hand from the pommel and grip your sword’s blade in the middle with [your left hand]. During this same time, move the pommel between both their arms and use the [pommel] to catch over their right arm from the inside. Rip towards you with the pommel and use the blade to push away from you. Thus, you take their sword. In this way, one counter always follows from the other.

[84] Another

In the Onset, hold your sword with extended arms (extended long and in front of yourself). Take diligent note of the opportunity and when you observe it, once again, cut powerfully (with your sword pulled around) from above toward their left ear. In that moment in which the cut hits, lift both arms up and thrust your pommel through under your right arm during this same time. Swiftly release your left hand from the hilt and grab back on your sword’s pommel with the same [left hand] over your right arm. Thrust behind their sword toward their face.

Or, if you have a short[ened] sword, thrust in from above (between both their arms) and set the front end on their chest. Step back with your right foot and shove them away from you with the front end. Let your sword move back Indesly and cut completely through from your right (across at their left ear) with a step backward of your left foot. Cut the last from your left through their right to withdraw.

Or, when you have thrust in at an opponent from above between their arms, release your left hand from the pommel and reach with the [hand] underneath their right arm to grab your blade. Turn [your blade] upward in front of their face and toward their left, and rip downward with your pommel or with your right hand. Thus, you take their sword.

[85] Although you can learn many counters from the preceding sequences through deliberation, it is also useful that I set one here as well.

[86] If an opponent moves high with their hilt or both hands against you (as taught), move high with the Crown as well, so that they cannot set their point on you. Also, approach them even closer. Release your right hand from your hilt, reverse it, and reach between both their arms for their hilt. Jerk toward your right side with your reversed hand. Thus, you take their sword.

[87] In the Onset, strike upward from your right through their face (strongly and powerfully) with your extended sword. Immediately step and cut across from above with the long edge (from your right toward their neck) with a step forward of your right foot. As soon as the same hits, cut the second from your left toward their right (also across from below). In that moment in which you execute this Low Cut, release your left hand from your hilt and grab your blade in the middle. Twist the front part of your blade over their right arm and at their face.

If they raise their arms and want to counteract: remain high with your right hand, (including the crossguard) and change downward with your left hand (including the front end), down from above and around next to their right arm. Move the front point in between both their arms and catch over their right arm and from the inside with the [front end]. Shove away from you with the pommel and rip toward yourself with the blade. Thus, you take their sword again.

[88] Counter

Take note: in that moment in which the Low Cut toward your right hits and you have counteracted the same, release your right hand from the sword and reach for their sword’s pommel (over their left arm from outside). Rip it toward you and onto your right side. Thus, you take their sword.

[89] Another technique for running in

When you perceive in your opponent that they want to rush you with a High Strike and run in [at you] with this, raise your hilt with your hands open and facing upward and catch their cut on your hilt (as this is illustrated by the upper tenants on the left side in Figure O). As soon as the cut hits your hilt: move your crossguard from above between both their arms and step backward. Rip downward with the crossguard toward yourself and out. Use this pull to cut at their head.

[90] Throws

When a fencer has run under you with their sword so that both of you have approached quite closely, throw your sword away behind you. Bend down quickly in front of them and grab both of their legs with both hands. Pull towards you so that they fall on their back (regarding this, see the upper and smaller tenants on the left side in Figure D).

[91] Or, if you both have approached too closely and they hold their sword above their head so that their blade hangs down a little bit behind them, release your right hand from your sword and move the same over their left arm from the outside. Grab their right hand close to the joint. In that moment in which you grab them by the hand, simultaneously step with your right foot behind their left. Pull your right hand backwards, upwards, and away from you and shove with your left hand (including the sword) in front on their chest. You will drop them onto their back over your extended leg.

[92] When both of you approach closely together, step with your left foot between their two legs. Release your left hand from your sword and turn your back a little. During this, reach through with your left hand (released from the sword) under both their arms, and with your right hand (including the sword—or throw it away from you) over their left arm from the outside, so that you grab your left hand again with your right above both of their arms. Squeeze both of their arms together toward your left shoulder. In the meantime, step forward with your left foot in front of both of their feet. Swing yourself toward your right side, bending yourself forward and downward in that swing, to throw them down in front of you.

[93] Another

Or, in that moment in which both of you have approached closely together by running in so that you must grapple, step with your right foot between their two legs. Release your left hand from the sword and reach through with your right hand (including the sword) under their right arm, from outside and around their body. With the left hand, reach through to their right thigh from the inside (the lower the better), and ensure that you have stepped well through between their two legs with your right foot so that you can assist the throw with the same by blocking and jerking outward. Lift them in one sweeping motion and throw them behind you onto their head.

[94] Another

If an opponent runs under your sword with a Crosswise Cut, take note: in that moment in which they cut the Crosswise Cut toward your left, counteract this Crosswise Cut with a hanging blade and reach through with your left hand (which you should release form the sword) under your blade and theirs and over their right arm from outside. Attack their throat with the same reversed left hand. During this [movement of your left hand], step with your left foot behind their right. Throw them on their back once again.

[95] In order that you have a foundation for wrestling and grappling, I will explain and present the hangings and twistings somewhat broadly: the fighting sequences for the short sword originate and flow from these techniques. The hangings are properly used in the work in two ways. Namely, they are first used to catch the cuts, to let the same slide off on top of the flat of the blade, and to fence in response. Or to use this [blade] hanging in front of an opponent to go under their sword and to twist in under it. These are generally brought into use and completed from the Plow or from one of the Low Cuts. Secondly, they are used to hang inward or over, which are originated from the High Cut and from the Ox. The two types of hangings are understood like this:

[96] How you should twist inward and outward out of the Low Hangings

In the Onset, approach with your right foot forward. Strike upward toward their sword with arms extended such that the half edge faces upward and precedes [the sword] in this strike upward. Afterwards, when your front end arrives equal [in height] to the belt (namely, of your opponent) in this upward strike, and while they are striking in: thrust your sword’s pommel swiftly through and under your right arm, and lift upward towards their left with hands crossed so that your blade hangs a little toward their right side.

During this rise upward, ensure that the flat of your blade rests on your thumb. Catch their cut on your horizontally extending flat blade, so that both swords touch together at their Strong in this upward catch and movement underneath, and that your head is covered and well defended under your sword. Immediately when their cut touches on your blade, jerk your pommel back out from under your right arm toward your left side, using this to turn your half edge inward behind their blade and across over their head. In this twisting inward, remain with your sword hard on theirs (so that you can feel when they will want to move away). You should also withdraw your head well away from their blade toward your left side during this twisting inward.

If, however, you perceive Indesly that they will want to rush down from above (because you have somewhat exposed yourself with this twist inward), step with your left foot quickly out toward their right side, thrust your pommel back through under your right arm, lift with both arms, and turn the half edge back outward at their right ear. In this way, you can twist inward and outward on the one side (with the blade under their sword) and you can reach over with the pommel on the other side.

Thus, when you have caught their sword in the previous way through hanging in front, in that moment in which the swords still touch together, step quickly with your right foot toward their left side and reach in with the pommel from outside and from above (over their right arm) and rip out toward yourself.

Or, after you have twisted inwardly and outwardly and they have raised their arms up high, twist the pommel inwardly between both their arms and reach with the same [pommel] from inside and over their right arm. rip it outward and toward your left. If you want, you can release your left hand from the hilt and grab the middle of your blade with the same [hand]. Afterwards, as you pull with your right hand toward your left side and toward yourself, shove away from you with your left hand toward their left. You can also shove under and counteract with a hanging blade from all stances, and thus twist inwardly and outwardly on their sword from both sides (as has been taught).

[97] How you should direct the Inward Hangings and twist from above in the work

In the Onset: execute a powerful cut from above toward their left ear. In that moment in which your cut touches or glances off their sword, thrust your sword’s pommel through under your right arm again and hang the blade inward (with crossed arms) well behind their blade and at their head.

Or, after you have twisted inward from above, hang your blade well over both their arms and rip out toward your left with your sword. In this twist inward, as soon as you feel that they want to rush down at your opening from above: yank your sword’s pommel back out once again, lift the same [pommel] back high upward, and hang the half edge back inward at their head from the outside.

If they defend themselves against this: twist quickly through and underneath with the pommel, and inward over their right arm from outside. Rip out downward toward yourself again. Or reach inward and between their arms. Catch one of the same from inside with your pommel and rip it toward you again.

[98] Item, when you guide a High Cut in on top of your counterfencer and they counteract you with a Crosswise Cut, then take note: as soon as your cut touches on their blade, thrust your sword’s pommel high upward (regardless of whether it is under your right arm or not) and hang the blade over theirs in at their head. You can remain hard on their blade and twist inwardly and outwardly (according to opportunity). If they defend against these twists and rise up, twist your pommel around their arm (in that moment in which they lift up). You can thus twist powerfully inward and outward (from all sides) when you have bound on to them.

Finally, you should also always consider three things every time you want to twist inward, namely: the first is the cut; secondly, the twist inward in and of itself with which you should hit; thirdly, the slice (because you must expose yourself with the twist). Therefore, you should remain with your sword hard on theirs, depending on if they want to pursue or move away (while you are twisting). You pursue them with the slice and remain on their sword and guide it outward and deflect it with the slice. Or if they move away, you attack from inside at the closest opening with the above-mentioned slice.

[99] A good counter for all High Cuts

In the Onset, position yourself with your sword in the left Change [Guard] and take note. In that moment in which they cut in toward you from above, step with your left foot toward their right (or well out to the side on your left). Simultaneously with this step outward, cut upward toward their in-flying cut with the long edge (such that you thrust your sword’s pommel through under your right arm in this upward cut and you catch their strike at the Strong on your long edge with crossed hands high in the air). In that moment in which the swords now touch together and glance off, jerk your sword’s pommel back out and downward from under your right arm so that, due to this outward rip, the front part of your blade moves back out behind their sword and sweeps inward over their right arm and slantwise through their face. In that moment in which you twist the Low Cut back out (through a High Cut and toward their face)—precisely during this time—step with the left foot further out toward your left side and back behind you (as you have an illustration of the same in the larger scene on the right side in Figure H). Cut through their face in this step back. When you have quickly executed and completed this Low Cut, including the step out and twist outward in one cutting motion, then it will succeed certainly and well.

Many other lovely sequences are derived and brought to completion from this Twisting Cut.

[100] End of the Sword [Section]