Fühlen

„Fühlen“ The Art of Multi-Signal Longsword fencing

„ Das fülen lere, indes, daz wort sneidet sere.“

Jan Hořejší, Viktor Kliment
(SHŠ Rotyka)

Not tested on animals. Authors gratefully thank all testers and particularly Antonin Zajiček for providing his own physical body, which served as a target for verification of their theories. We also gratefully thank Onřej Vodička for revision of all the transcriptions.

1. Foreword

The aim of this text is not an analysis of strategical or tactical aspects of swordfight. The aim of this study is:

a/ how to find a way to apply “Fühlen”, which is the core principle of each technique, as mentioned in Fechtbücher (see Chapter 3); and

b/ a methodical approach leading to a simplified decision-making process in the transition from “Zufechten” phase to “Krieg” phase and in “Krieg” itself.

In almost all Fechbucher, a word “Fühlen” is mentioned and this word means that you should check if your opponent is “weich” or “hart”. But then this description ends and is not refined any more. We decided to examine this part of the Lichtenauer´s Kunst more closely. Some Fechtbücher tell you when you should use “Fühlen” but you never find out how to train it. Our paper is therefore focused on the practice and use of the “Fühlen” as such.  First, we start with a short summary of some well-known Fechtbücher.

Cod.3227a describes basics of the „Fühlen“ but there is no clear description how to exercise it. Allthough folio 21v – 22r may give some important hints, the real description of the excercises is not present. Other codices connect “Fühlen” with an “Indes” principle Cod.3227a uses the word „Fühlen“ in more aspects and not only in the context of a press on a blade. Still it is obvious that „Fühlen“ is the essential part of the Lichtenauer´s Kunst. Therefore

In Cod. I.6.4°.3., „ Fühlen “ is described together with “Indes” but it is not mentioned in the scope of „Hauptstücke“. This Cod. I.6.4°.3. limits the description of “Fühlen” to saying that you should check whether your opponent is “weich” or “hart” and you should work in “Krieg” according to this feeling. No interconnection to other techniques is mentioned.

Cod. 44.A.8 is more detailed. Cod. 44.A.8 states that all other techniques/principles used when blades meet are performed through “Fühlen” and in “Indes”. More important information is that without “Fühlen” you will not master the Lichtenauer´s art, which means that it is a core part of Kunst. Folio 46r of Cod. 44.A.8, which speaks about performing all techniques in “Indes” but also reminds that these actions of yours are a result of your feeling on an opponent´s sword. This manual in some cases describes situations when you apply some techniques from the point of “Fühlen”, but still it does not give full information.

Ms. Dresd. C. 487 is very similar to Cod. 44.A.8 but it is more focused on “Indes” and “Fühlen” is mentioned marginally.

From the above-mentioned sources, we can conclude that swordfight according to Lichtenauer´s tradition is by modern terminology a fighting style primarily based on an attack by which an attacker (if the attack is not prima facie successful) forces his opponent to create further openings for further attacks. It is obvious that it is hard to react on a correctly performed attack, let alone to take over initiative. The attack itself means substantial advantage.

While defensive, one must apply the principles of a multi-signal decision making and the main aim is to win initiative (i.e. “Vor” in the Lichtenauer´s tradition wording). Passive parries are not favorable moves and usually cause big problems for a defender.

One of the basics of the “Kunst” is an arrangement of areas of attack or openings which are described with a great simplicity as “Blößen”. Each “Blößen” has a corresponding position of a sword which closes an opening. These positions are called “Hutten”. The principle of “Blössen” and “Huten” and the resulting minimization of possible attacks and positions leads to a manageable decision-making process.

The above-mentioned discussion leads us to the conclusion that any attack an opponent performs matches an appropriate counter-action. The only problem is how to recognize and perform the matching counter-technique in time. From the above-mentioned citations, we can deduce that “Fühlen” is the core decision-making process of the Lichtenauers´s Kunst. „Fühlen” was used whenever blades clash and in any „Winden“ and its use was probably so obvious that there was no need to describe it any further.

The Fechtbücher provide sparse information on signals triggering several techniques (i.e. Durchwechseln, Abnehmen, Mutieren) but for the rest of the techniques the Fechtbücher do not provide any information on the “trigger”. 

This is the basis for our experiments. For the reconstruction of “Fühlen”, i.e. the decision-making process of sword-fighting, and to revive the way it should be trained and used we could only use our own practical experience in combination with abbreviated information available.

2. Basics

A similar technique is known from Chinese wing-tsun, which is in many ways very similar to fencing/sword fighting. We start with an experiment during which we tried to apply a principle of pressure into an opponent "any offensive motion is aimed forward to the opponent's center of gravity and the trajectory of motion creates defense“. What does it mean from the point of a long sword? How does it help with „Fühlen”?

Short comment to words used:

Attacker – the one who wins „Vorschlag“.

Defender – the one who must react on incoming „Vorschlag“.

Whenever blades clash, any other motion/pressure created by a body of the attacker must necessarily head forcefully forward and slightly sideways. The side portion of the motion causes that defender´s blade tightly misses and the defender does not have a clear signal on the blade. In the best case the defender thinks that he is hitting the attacker. Any substantial pressure to the side has three effects:

1/ closes/protects one of „Blössen“

2/ but leaves other „Blössen“ unprotected.

3/ sliding blades give an information “I am too strong at the defended „Blössen” and weak at others”

The attacker is aware of such a tension between both blades.

For example, if the attacker just makes a strike which is not immediately followed by a forward motion/pressure or will leave a defender´s blade without checking/feeling whether the opponent is strong or weak, the attacker will be always weak and will be immediately threatened by a defender´s forward motion/pressure.

When exercising such a procedure, the following exercises were created:

2.1 Passive exercise against the point of a sword

A defender is in „Langort“ position. An attacker is in right „Pflug“.

The attacker makes thrusts on the defender and may make strictly defined „mistakes“ which the defender feels on a blade and makes proper reactions.

Reaction 1:

The attacker makes a „weak“ thrust on the defender’s center of body, does not rise his hand above his shoulders and his blade does not cross the line of the defender’s blade too much. The attacker´s blade slightly touches the defender´s blade but does not create any significant pressure.

The defender´s action must fulfil these important aspects:

a/ the defender always begins in a relaxed position and the most comfortable „Langort“;

b/ the defender´s blade must be at any moment aimed at the attacker’s body;

c/ in the moment when the blades touch, the defender makes a pressure forward and slightly to the side against and over the attacker’s blade (this pressure must be quite strong, not making it leads to a serious problem in feeling the attacker´s blade);

d/ the defender´s hands and blade must cross an axis of the engagement and his weapon must come on the attacker´s blade from the side and above;

Small but important remarks:

An axis of the engagement is the axis connecting the spine of both opponents.

A center of gravity is in this case the spine, i.e. while you point with your sword at an opponent, always aim at the spine or slightly across the axis to the opposite side. The area of the attack is at a very narrow range between being weak and too hard. The pressure must be just adequately strong.  

If the attacker´s thrust is weak, his „Schwäche“ will move to the defender´s „Stärke“. If this happens, you can perform either „Zornort“ or „Ochs“. The defender moves his blade to „Zornort“ or „Ochs“ position in such a way that the attacker´s blade moves to the side and under the defender’s blade in the case of „Zornort“ or moves to the side in the case of „Ochs“. 

Because the “Ochs” alternative is as obvious as any other position in any “Blössen”, only the position of “Zornort” will be described. The „Zornort“ position is the position just immediately after finishing „Zornhau“. To make this position from the „Langort“ while moving your hands forward (see Important aspects above), move your hands aside against the attacker´s thrust and slightly up in to the level of your shoulder. During this move you must slightly move your left wrist up and your right wrist slightly down and forward which creates a move that enables you to break through „behind“ your opponent’s sword and to the body. (Such a position is not commonly described in the Fechtbücher but it enables a greater variety of following techniques.)

The attacker’s blade ends on the defender´s left side and his hands under the defender’s blade so that the attacker is hit by a blade coming slightly from the right.

Reaction 2:

The attacker makes a thrust which leads excessively across the defender´s „Langort“ to his shoulder or misses the defender´s shoulder entirely. The attacker’s hands are above his shoulder and on the side.

The Defender follows all the Important aspects as mentioned above. Keep in mind that strong attackers which push vigorously above and to the side will not allow you to fulfill points c, and d, which is not a great issue in this case as the defender´s „Schwäche“ starts moving to the attacker´s „Stärke“ and the defender feels a strong push to the side. This is the signal for „Durchwechseln“ which must be made with a long step to the side as far from the attacker’s blade as possible.

When you start performing these two exercises, it is important to exercise them very slowly so that the blades will slide and you will be able to feel the contact of the blades more easily.  It is also necessary to define the signals and corresponding „Hauptstücke“, i.e. counter-actions. When you master it with open eyes, close them. You will probably lose some accuracy of the techniques, but performing the exercise with eyes closed will teach you to identify the correct „Hauptstücke“ just „by your hand“. The basis of finding the correct „Hauptstücke“ is a vigorous move forward against the attacker’s blade which drives him to make wide moves and the defender has a better impulse to react on.

We suggest starting this exercise at a safe distance so that the attacker cannot reach the defender. When training with open eyes, the defender must always finish a technique by hitting the attacker.  As you get more experienced, use masks and other harness and train it at a proper reach. Finally train it with closed eyes. After such an exercise successively reduce the signals, i.e. move the signals for weak and too hard close to each other. 

Consequently, you can add Mutieren, Abnehmen, Bis stärker wider, Duplieren. Keep in mind that each of these techniques/counter-actions have corresponding signals. For a proper training, it is necessary to find proper signals and then start practicing. You will find out that the signals fluently change from the most “weich” to the most “stark” ones.

When you feel you can make it from one side try to make it from both sides, i.e. you will not know from which side and what kind of signal is the attacker performing.

This exercise is only the doorway to all other exercises which will give feeling to your hand. We suggest training it at least 3 times a week. But do not hurry with a level of difficulty as it really needs more time. 

Such a skill is a great advantage in „Krieg“ as you can pay your attention to other aspects of a duel and you will be able to react adequately to those fighters who use prepared sets of attacks.

short video for exercie 2.1

2.2 Feeling after conducting a thrust

Another exercise is an „active“ variation of the above exercise. The attacker performs a thrust and reacts on the defender’s motion. The attacker wins “Vorschlag” and the defender tries to react, i.e. makes a signal, and the attacker continues with his attack using a correct technique which he finds through “Fühlen”.

At this point it is necessary to describe how such a thrust should be performed. As a basis for this work we use the following descriptions:

Cod.3227a, fol. 37r–37v: „gar frölichen mit gutem mute und künlichen an alle vorchte an dem swerte stehen. “;

Cod. I.6.4°.3., fol. 35r: “Das fulen mercke also: Wann du mit dem zufechten zu im kompst und einer dem andern an sein swert pindet, so soltu indem die swert zusamen glitzen zuhant fulen, ob er waich [od]er hert angepunden hat.”

Cod. 44.A.8, fol. 29r: “Wenn du mit dem zü vechten zü im kumpst und einer dem anderen an das swert pindet, so soltu in dem, als die swert zü sammen kliczen, zü hant fül, ob er waich oder hert an gepunden hat.”; and

Ms. Dresd. C. 487, fol. 38r–38v: “Und das vernym also: Wen ainer dem anderen an das schwert bindt, so soltu in dem, als de schwert zü samen glütz schen zü hand fullen, eber waych oder hert angebunden hab. Und als bald dü das empfindest haust, …”.

These descriptions are all talking about a way of binding on an opponent´s sword. Just for this concrete example we limit the „Zufechten“ on thrusting. The target at which the thrust aimed is your opponent´s spine. While looking at your opponent from the front, you should not thrust at the middle of his body (center of the chest)  but slightly at the side so the prolonged tip of the sword ends in his spine.  Any other position will give to an opponent an unambiguous signal that you are „weich“ or „hart“. When thrusting to such a position, the way of an opponent´s reaction is primarily given by the speed and timing of your attack. If you are not fast enough (e.g. the opponent is not entirely surprised), the opponent will start with „Winden“ but you are ready to read his actions, so you will not lose your momentum and you can still proceed in „Indes“. On the other hand, if you are fast enough, you hit him or at least force him to make a parry which leads you to known „Durchwechseln“, „Abnehmen“ etc.

The attacker should make the thrust as forcefully as possible to force the defender to parry which leads to „Durchwechseln“, „Abnehmen“ and „Zwerhau“. If the defender can defend actively by thrusting against the attacker, then the attacker is doing something wrong (the attacker is weak, slow, at a wrong distance, etc.). The attacker should drive the defender to a situation when he must set his point out of the axis of the engagement. If the defender is making an offensive counteraction, the attacker should continue with proper „Winden“. 

If the attacker is too strong (the blade goes too far aside), the defender will punish him by “Durchwechseln”.

A proper thrust will not give the defender enough time to a good counteraction and mistakes arise. If the defender can make right „Winden“ against an opponent, then the attacker is making mistakes which means that the attacker should concentrate on exercising proper thrusts.

Such an exercise must be performed with opened eyes and with full harness. The defender can make it harder for the attacker by changing distance which can lead to a use of not only thrusts but also strikes and cuts “Drei Wunder”.

Next pictures shows thrust basics and describes „Zornort" position

2.3 Feeling after conducting strikes, i.e. Meisterhau

This exercise is the same as the one in point 2.2 But there are two main differences. Strikes should be performed after a defender changes position which enables performing adequate „Meisterhau“. The second point is that „Fühlen“ after a strike is harder because during training you do not have that much time as after performing a thrust and moreover you must work with the  energy of an opponent´s strike which goes to the side. In this case it is mostly important to end all strikes with a blade aiming at the opponent. But you just cannot stop the blade. The energy of the strike must be changed from the up-down or right-left direction in to the forward movement which creates a sliding move and a tension on the blades. Such a sliding move is the only time to carry out “Fühlen”. Imagine that at the end of the strike you “hang yourself on the tip of your sword” so the final move in the strike is very similar to the final move of the thrust. 

As in Chapter 2.2, where the way of binding on the opponent’s sword is described, the same applies to a situation when you are using any „Meisterhau“.

This exercise can be extended to some kind of controlled sparring when one fighter performs „Vorschlag“ and consequently a proper „Krieg“ technique according to the „Fühlen“.

If you want to perform the above-mentioned technique properly, you must:

1/ make this work properly. Remember that you should minimize the number of weapon positions. Use only the positions described in Fechtbucher

2/ make only five strikes – “Meisterhaue”. You do not need any other strikes. If you do not trust your “Meisterhaue”, perform them with a sharp blade and try to cut makiwaras or plastic bottles filled with water or any other adequate targets. When performing any “Meisterhau”, always finish in the proper final position and push into an opponent.  If you only make the “Meisterhau” without a final push into the opponent, you will always be “weich” and the opponent will easily force you to make parries

According to our experience, the practice of „Fühlen“ leads to a change in perception of five „Meisterhau“. The same „Meisterhau“ can be successfully used in both defense and offense (i.e. including „Vorschlag“). On the contrary, differentiation into offensive and defensive actions leads to a significant complication with the understanding of „Fühlen“.

3. „Fühlen“ in the selected Fechtbücher

Cod. I.6.4°.3., fol. 34v–35v: Meister Low, trancription by Ondřej Vodička; translation into the Czech language by Karel Cernin was used.

Das fulen lere,
Indes, das versneidet sere.
Wiss, das im swert das fulen und das wort indes die gröst kunst ist, und wer ein maister des swertz ist oder sein wil und kan er nicht das fulen und vernympt dartzu nit das wort indes, so ist er nicht ein maister, er ist ein püffel des swertz. Darumb soltu vor allen sachen gar wol lernen das wort indes und das fulen.

Das fulen mercke also: Wann du mit dem zufechten zu im kompst und einer dem andern an sein swert pindet, so soltu in dem die swert zusamen glitzen zuhant fulen, ob er waich er hert angepunden hat. Und als bald du waich oder hertt fulest, so gedencke an das wort indes. Das ist, das du in dem fulen behendiglich mit arbeitten solt mit dem swert. So wirt er geschlagen, ee er sein innen wirt etc.

Item. Nun soltu wissen, das fulen und das wort indes eins on das ander nit gesein mag. Und das vernyme also: Wann du im an sein swert pindest, so mustu mit dem wort indes fulen waich oder hert. Und wann du fulest, so mustu aber indes arbeitten. Also sein sie albeg pei einander, wann das wort indes ist in allen stucken. Das mercke also: Indes duplirt, indes mutirt, indes wechselt durch, indes lauff durch, indes nym den snid, indes ringe mit, indes nym das swert, indes tue, was dein hertz begert. Indes ist ein scharpffes wort, damit alle meister versniden werden und zuvoraus die des worts indes nit wissen oder vernemen etc.

Cod.HS.3227a or Hanko Döbringer Fechtbuch from 1389 trancription by Ondřej Vodička; translation into the English by David Lindholm and friends was also used.) 

21R

Und wen denne iener etzwas trege und las were, zo möchte deser denne an dem swerte bleyben und sal denne czu hant winden und sal gar eben merken und fulen, ab sich einer wil abeczihen von dem swerte, ader nicht. Czeut sich iener ab, als sy nü vor mit eynander an dy swert sint komen und dy orter keyn eynander recken czu den blossen, e denne sich denne iener keyns haus ader stichs of eyn neus weder irholen mag mit syme abeczihen …

And when the opponent is slow and late then you can remain on his sword and right away turn [Wind] and note and feel if the other gathers himself in order to move away or not. If he moves off when you have come on the sword in front of one another and extend the points at one another to the openings

Then you shall – before the opponent has time to gather himself in order to strike or thrust


37V

Wen das nu geschiet, das du mit eyme an bindest, ader wy du süst mit im an das swert kömps, zo salt du an dem swerte bleyben und salt winden, und salt alzo mit im gar frölichen mit gutem mute und künlichen an alle vorchte an dem swerte stehen. Und salt gar eben sehen, merken und warten, was her wolle tuen, ader was syne sache sey, der her keyn dir pflegen wölle.Und daz stehen alzo an deme swerte, das heisset Lichtnawer eyn sprechvanster. Und wen du nü mit im alzo an dem swerte stehst, zo salt du gar eben merken und fülen syne geferte, ab sie sint weich aber herte. Dornoch salt du dich denne richten, als vor ofte gesprochen ist.

Ist das her sich vör allen sachen, e denne du noch ichsicht begynnest, abe czeut von deme swerte, zo salt du czu hant noch volgen und salt in slaen, hauen ader stechen, was du am schiresten magst dar brengen, e den her czu keynerleye dinge kome. Wenne du hast io neher czu im mit dem, das du am swerte blibest und dyn ort keyn im reckest, wen iener mit syme abe czihen, den e her sich eyns slags erholt ader dar brengt, zo var czu hant dar mit dyn orte.

Bleibet her aber mit dir an dem swerte, zo prüfe io und merke, ab her sy weich aber herte an dein swerte. Ist das her ist weich und swach, zo saltu rischlichen und künlichen volvaren und dar hurten mit dyner sterke und salt im syn swert hin dringen und drücken und süchen syne blossen, czu koppe ader czu leibe, wo du nür czu magst komen.

Ist iener denne herte und stark an deme swerte und meynt dich vaste hin dringen und stossen, zo saltu denne weich und swach seyn keyn syner sterke und salt syner sterke und syme dringen mit dynen swerte entwychen.

Thus joyfully and without fear remain on his sword. You shall see, await and understand what it is that he intends to do against you. And to remain thus on the sword Liechtenauer calls this the talking window [Sprechvanster]. When you stand thus with him on your sword, then you should feel [Fulen] and follow his movement if it is soft [Weich] or strong [Herte]. Then you should adapt in such a way as has been explained earlier.

In the case that prior to everything else, even before you can do anything, he moves off the sword, then you should follow at once and strike or thrust as well as you can before he has the chance to do anything. You have a shorter way if you remain on the sword and aim your point in at him than he has if he tries to move away [from your sword]. Before he can gather himself and close in with a strike, go at once at him using your point.

But if he remains with you on the sword, then try and feel if he is soft or hard on the sword. If he is soft and weak, then you should quickly and courageously go forward with the strong part of your sword and push back and press his sword and seek all openings to the head or the body wherever you have a chance.

If the other is strong and hard on the sword and intends to push you away and thrust at you, then you should be weak and soft against his strength and yield to move away with your sword from the strong pressure he is applying.

Cod. 44.A.8 (1452) "Codex Danzig”, fol. 28v–29v, 38v., transcription by Ondřej Vodička, translation by Cory Winslow

Hie merck eben den text und die glos von dem fülen und von dem wort, das da inndes haisset.
Das fülen lere,Inndes, das wort schneidet sere.
Glosa: Merck, das fülen und das wort inndes die gröst und die pest kunst im swert ist und wer ein maister des swercz ist oder sein wil und kan nicht das fülen und vernympt nicht dar zu das wort inndes, so ist er nicht ein maister, wenn er ist ein püffel des swercz. Darumb soltu die czwai ding vor allen sachen gar wol lernen, das du si recht verstest.

Here mark the text and the gloss of the Feeling and of the word that is called “Meanwhile”:
Learn the Feeling. “Meanwhile”, that word slices sorely.
Gloss: Mark, the Feeling and the word “Meanwhile” are the greatest and the best art with the sword, and who is a Master of the Sword (or wants to be), if he cannot understand the Feeling and the word “Meanwhile”, then is he not a Master, but he is a Buffalo of the Sword. Therefore you shall, before all things, learn well these two things so that you understand them rightly.

Hie merck die ler von dem fülen und von dem wort, das da haist inndes.
Merck, wenn du mit dem zü fechten zü im kumpst und einer dem annderen an das swert pindet, so soltu in dem, als die swert zü sammen kliczen, zü hant fül, ob er waich oder hert an gepunden hat. Und als pald du das emphunden hast, so gedenck an das wort inndes. Das ist, das du in dem selbigen emphinden behendlich solt arbaitten am swert. So ist er geslagen, ee wenn er sein gewar wirt.

Here mark the lesson of the Feeling and of the word that is called “Meanwhile”:
Mark, when you come to him with the pre-fencing, and bind one another on the sword, then, as the swords clash together, you shall Feel with the hand simultaneously if he has bound Soft or Hard on you, and as quickly as you have found out, then think of the word “Meanwhile”: that is, that simultaneously as you find the same, you shall nimbly work on the sword so he is struck before he becomes aware of it.


Hie soltu mercken,
das das fülen und das wort inndes ein dinck ist und ains an das ander nicht gesein mag. Und das vernym also: Wenn du im an sein swert pindest, so müstu ze hant mit dem wort inndes fülen, ab er am swert waich oder hert ist. Und wenn du hast gefült, so mustu aber inndes arbaittenn nach der waich und nach der hert am swert. Also sein sy paidew nicht, wenn ein dinck und das wort inndes, das ist zü vor aus in allen stucken. Und das vernym also: Inndes dupliert, inndes mutirt, inndes wechselt durch, inndes laufft durch, inndes nympt den schnit, indes ringet mit, inndes nympt das swert, inndes thuet, was dein hercz begert. Inndes, das ist ein scharffes wort, do mit alle maister des swertz vorschnyten warden, die das wort nicht wissen noch vernömen. Das ist der schlüssel der kunst.

Here you shall mark…
That the Feeling and the word “Meanwhile” are one thing, and one may not be without the other, and undertake it thus: when you bind on his sword, then you must Feel with the hand (with the word “Meanwhile”) if he is but Soft or Hard on the sword, and when you have Felt, then you must but work Meanwhile after the Soft and after the Hard on the sword; thus are they both naught than one thing. And the word “Meanwhile” is in all techniques previously, and that undertake thus: “Meanwhile” Doubles, “Meanwhile” Mutates, “Meanwhile” Changes through, “Meanwhile” Runs through, “Meanwhile” takes the slice, “Meanwhile” wrestles with,[14] “Meanwhile” takes the sword; “Meanwhile” does what your heart desires. “Meanwhile”: that is a sharp word wherewith all Masters of the Sword who know not to name this word become sliced. That is the key of the Art.


Hie merck gar eben,
das tu die acht winden nicht magst recht getreiben, es sey denn mit schreitten von paidenn seitten und das du vor gar eben prüfest nicht mer denn die zway gefert. Das sind die, wenn er an dein swert pindet, ab er in seinem gefert waich oder hert ist. Erst wenn du das emphunden hast, so wind und arbait zu den vier plössen, als vor geschriben stet. Auch wist, das alle vechter, die do winden am swert und künnen sie nicht das fülen am swert, die werden pey den winden geschlagen. Dar umb so vleis dich, das du das fulen und das wort inndes wol merckest, wenn aus den zwaien dingen get alle kunst des vechtens.

Here mark even more…
That you may not rightly drive the Eight Windings except with stepping from both sides, and that you prove not more than the two drivings well before, which are, when he binds on your sword, that he is but Soft or Hard in his driving. When you have found that first, then Wind and work to the Four Openings (as that described before states). Also, know that all fencers that Wind on the sword and cannot Feel on the sword, they become struck by the Winding. Therefore be diligent, so that you mark well the Feeling and the word “Meanwhile”, when all the Art of Fencing goes from these two things.

Ms. Dresd. C. 487, fol. 38r–39r, 48v: Sigmund Schining ain Ringeck transcription by Ondřej Vodička Translated by Christian Trosclair from Dierk Hagedorn transcription

Das fulen lere,
in des, das wort schnydet sere.

Glosa: Das ist, das dü das fulen und das wort in das wol lernen und verstan solt, wan die zwy ding gehören zü samen und sind die gröste kunste zü dem fechten.

Und das vernym also: Wen ainer dem anderen an das schwert bindt, so soltü In dem, alss de schwert zü samen glutz schen, zü hand fullen, eber waych oder hort angebunden hab. Und alss bald dü das empfindest haust, so gedenck an das wort in des, das ist, das dü in den selben enpfinden behendclichen nach der waich und nach der hort mit dem schwert solt arbaiten zü der nechsten bloss. So wirt er geschlagen ee, wann er sin gewar wirt.

Item du solt an das wort indes in allen an binden des schwertz gedencken, wann indes dupliert und indes muttiert, indes laufft durch und indes nimpt den schnitt, indes ringt mitt, indes nimpt im das schwert, indes tüt in der kunst, wass dein hercz begert. Indes ist ain scharpffes wort, damitt alle fechter verschnitten werden, by des worts nichten wissen. Und das wort indes ist och der schlissele, damit alle kunst de fechtens uffgeschlossen wirt.

Und die ach winden solt du wol lernen tryben von baiden sytten also, dass du mitt yedem wünder brieffest sin gefört nicht mer, dann öb er damitt waich oder hert am schwert sy. Unnd wenn du die zway ding enpfundenn haüst, so tryb die stuck gerecht, die zü dem winden gehören. Wo du das nicht tüst, so wirst du by allen winden geschlagen.

Learn the feeling; 

In-the-moment, that word cuts severely.

Gloss. This is so that you properly learn the feeling and the word “in-the-moment” and shall understand that the two things belong to the same and are the greatest arts of fencing.

And understand it thusly: When you come to him with the onset and one binds another on the sword, so in that you shall feel with the hand (that is, perceive), just as the swords spark together, whether they have bound soft or hard, and as soon as you have perceived that, think of the word “in the- moment”; that is, in that same swift perceiving of the soft and of the hard, you shall work to the nearest opening, so [he] becomes struck before he will have his insight.

Item. Note, you shall think of the word “in-the-moment” in all bindings of the sword, because in-the-moment doubles and in-the-moment mutates, in-the-moment runs-through, in-the- moment changes-through, and in-the-moment takes the slice; in-the-moment wrestles, and with in-the-moment, take the sword. In the art, In-the-moment does whatever your heart desires. In-the-moment is a sharp word; with it, any fencer who knows nothing of the word becomes cut. And the word “in-the-moment” is also the key in which all of the art of fencing becomes unlocked.

And you shall properly learn to execute the eight windings from both sides, so that you step towards with each winding, and you test his attack, no more than if he is soft or hard upon the sword. And when you have sensed these two things, execute the play into the winding which is called for. Whenever you do not do this, you become struck by all windings.