The Lost Sword and Buckler of Ms3227a

A theoretical reconstruction of a lost chapter of the Codex

The fencing with the shield begins here, etc.

WHoever wants to learn to fence with the shield or with the buckler must first know…

So runs the sword and buckler of Ms3227a. Yes it does cut off in the middle of a sentence and the rest of the page is blank.

A while ago, I made a post to a sword and buckler fencing group on Facebook. My post was a theoretical reconstruction of the sword and buckler chapter of Ms3227a.

The sword and buckler of the Nuremberg Codex is notoriously incomplete. The longsword fencing is nearly complete and exists in some detail, and there are considerable passages of the messer, dagger, and wrestling. The sword and buckler, however, gets only that scant line and nothing further exists. Nothing but an intriguingly blank page.

So, I wondered, would it be possible to fence according to the principles of the Codex with the sword and buckler even without technical instruction?

I think it is. My own experience, limited though it is with the sword and buckler, seems to indicate that these principles work across many weapons.

Therefore, could we also create a theoretical version of the sword and buckler fencing of Ms3227a? Could I take what did exist in the text in its other sections and put them together into something that would make some sense and be reasonably functional as advice on sword and buckler fencing?

I think the answer to these questions was “yes”.

I posted a version of this previously to Facebook, but in the interest of storing it somewhere more permanent and more accessible, I am putting it out on this blog now as well. I have also revised and expanded the previous piece I did, moving around some passages and adding some new ones from the rest of the Codex to match my evolving understanding of fencing.

In terms of methodology: On the whole, I have tried to use passages of the text directly taken from the existing work. I tried to find such passages of the other weapons of the Codex which could be applied to the sword and buckler as well. I have made a few edits here and there for readability and coherence, and I have made a few small personal additions based on my own experience as a fencer. My personal additions and edits are designated in bold and italics, in order that you be able to identify where I have inserted my own work.

Here then is an imagined reconstruction of what 3227a’s sword and buckler might have been:

The fencing with the shield begins here, etc.

WHoever wants to learn to fence with the shield or with the buckler must first know that the foundation and principles that belong to the sword and the long knife, they also belong to the sword and buckler. The principles Vor, Nach, speed, courage deceit and wits etc also belong to the fencing with the shield.

First of all, notice and remember that Liechtenauer's fencing relies on five words: 'Before', 'After', 'Strong', 'Weak', and 'Within'. These are the basis, core, and foundation of all fencing. No matter how much you fence, if you lack this foundation, you will often be put to shame despite your art. These words were often explained earlier, as they only signify this: to always be in motion and not to rest or idle, so that your opponent cannot come to blows.

When you want to cut or thrust at someone, it should be as if you tied a thread or a cord to the point or edge of your sword and pulled or drew it toward their nearest exposure, because you should cut or thrust in the shortest and surest manner, in the most decisive way. This is all you should want to do, because proper fencing doesn't have broad or elaborate parries, nor the wide fencing around by which people procrastinate and delay.

Earnest fencing goes swiftly and precisely, without hesitation or delay, as if measured and balanced by a cord (or something similar). When you cut or thrust at the person who stands in front of you, then clearly no strike backward or to the side can help you, nor any wide fencing with multiple strikes (nor any other way that you procrastinate and delay, and miss the chance to end it with them).

On the contrary, you must strike straight and directly toward them (toward their head or body, whatever is nearest and surest), so that you can reach and take them swiftly and rapidly. Furthermore, one strike is better than delivering four or six, delaying and waiting too long so your opponent wins the Leading Strike faster than you (because this strike is a great advantage in fencing).

Now notice and remember that you can't speak or write about fencing and explain it as simply and clearly as it can be shown and taught by hand. Therefore, you should consider and debate matters in your mind—and practice them even more in play—so that you understand them in earnest fencing. Practice is better than artfulness, because practice could be sufficient without artfulness, but artfulness is never sufficient without practice.

Furthermore, when you fence with someone, take full heed of your steps and be certain in them, just as if you were standing on a set of scales, moving backward or forward as necessary, firmly and skillfully, swiftly and readily.

And each man hast four steps, one forward and one backward and one to each side.

Also know that there are two shield steps, which are useful for many fencing techniques: One step backward and one forward and these steps are done by crossing one leg over the other in a slinging or slanting motion.

You should also have moderation in your plays and not step too far, so that you can better recover from one step to the next (backward or forward, however they go). Also, two short steps are often faster than one long one, so you will need to do a little run with short steps as often as you will a big step or a leap.

Your fencing should proceed with good spirit and good mind or reason, and without fear (as was written before).

Whatever you want to perform cleverly, in earnest or in play, should be hidden from the eyes of your opponent so that they don't know what you intend to do to them.

A man has only two hands, and from the hand he has two strikes from above and also from below. From these come thrusts and cuts with the winding, just as it does with the sword.

Also know that the right hand should be the enemy of the left and left be the enemy of the right. And one hand should displace and lead off and the other should do damage. If you displace with the shield, then strike with the sword, and if you displace with the sword then strike with the shield.

Moreover, notice and remember that no part of the shield was conceived or created without reason, so use the handle, the face, the rim, and everything which is on the shield, according to the specific role of each one in the art of fencing, and according to how you discover and embody the practice.

Remember that the point of the sword is the center, the middle, and the core, which all fencing proceeds from and returns to. The hangers and the winds, which a lot of good fencing plays originate from, are the angling in and circling of the center and the core.

They were conceived and created so that if you cut or thrust exactly to the point, though you don't hit immediately, you might still hit your opponent with these plays: with cutting, thrusting, and slicing, and with stepping in and out, stepping around, and leaping.

If you mislay or overextend the point of your sword when shooting or lunging, you can recover and realign it by winding and stepping out, and covering with the shield, and thus come back to the reliable plays and rules of fencing, from which you can cut, thrust, or slice again.

You can also strike toward both sides with cuts, and as you bring the cut to either side, above or below, your shield should go with your hand thrown forward, so that you're well covered and defended.

When you bring or throw the shield forward well, it covers in front of your body to whichever opening you want.

Also, there should be no part or limb of the man be idle and passive when it happens that the art demands to be used.

As soon as you approach the point where you believe you could very well reach and take them, step and strike toward them brazenly, and then drive swiftly toward their head or body. You must always win the Leading Strike, whether it lands or misses, and thus allow them to come to nothing (as was written before in the lessons of the long sword)

Now, as soon as you get to them first and win the Leading Strike, immediately deliver a Following Strike. Don't deliver the Leading Strike if you don't have an intended Following Strike in mind; be always in motion and never idling nor delaying. Always do one after another, swiftly and rapidly, so that they come to nothing. If you do this correctly, then anyone who gets away from you without being hit must be very good indeed.

With this art or this advantage, it often happens that a peasant or untrained person beats a good master, because they deliver the Leading Strike and charge in boldly; it might be lightly overlooked, but it hits Within and thus strikes them and puts them to shame. This is because it's more dangerous to wait—to receive strikes and defend—than to attack and win the Leading Strike. Therefore, arrange to be first in all matters of fencing, and to come well to the right side of your opponent, and then you can be more sure of everything than they are.

And this is based on the words Before and After, and it means that someone threatens with one technique just as he would really intend to do it, so the one who wants to defend will be fooled if he is not prepared for the second technique. And then, as soon as the adversary does not expect it, he should rush in with the method he already wanted to do. And with this principle you can deceive many people.

If they defend against your Leading Strike, whether cut or thrust,, then swiftly pull back above and drive suddenly to the other side of their sword, away from their shield. But if they defend again, then be Hard and Strong against them on their sword, and swiftly and boldly wind and thrust. If they defend against this thrust, then quickly cut and throw below toward their legs (or wherever you can).

In this way, you continuously do one strike after another so that they cannot come to their own plays. Always keep the earlier keywords in mind ('Before' and 'After', 'Within', 'Strong' and 'Weak'), as well as cutting, stabbing, and slicing, and by no means forget them in your fight.

Continual motion is the beginning, the middle, and the end of all fencing according to this art and teaching, so that you strike the beginning, the middle, and the end in a single advance, and bring it well without the hindrance of your adversary and without allowing them to come to blows. This is based on the two words 'Before' and 'After' (that is, the Leading Strike and the Following Strike); directly, in a single moment, one after another with nothing in between.

If you want to change through from your right side (down from above), then cut from above directly toward them so that you shoot your point toward their left side, above their hilt, and aim for the little gap or window between their edge and their hilt. If you hit, you have won.

If they defend against this by expelling your point and pressing it away with their sword, then let your point sink down under their sword, from that side around to the other. This shouldn't go widely around, but as closely as possible below their sword so that you can then drive in swiftly over their hilt with a good thrust. Use the shield to cover their sword, remembering that the right should be enemy of the left, and the left the enemy of the right. When you feel the thrust land, follow through well. As you do on one side, from above and from below, do the same from the other side.

Also, when someone binds with you, charge forward on their sword with your point toward their exposure. If they defend, change through as before, or wind and feel whether their intention is Hard or Soft. Thereafter, seek their exposures with cutting, thrusting, or slicing.

Any way that you divert or deflect someone's cut, thrust, or slice with your sword or your shield, from above or from below, could well be called parrying.

If you parry or turn away someone's cut or thrust, with the sword or the shield, then immediately step in and follow through on their sword so that they cannot pull back. Then do whatever you can, but if you hesitate and delay, it will be harmful to you. Remember that one hand leads off, and other does damage.

Also notice and remember that you turn away all cuts and thrusts with the forward edge of your sword, from the middle of the edge to the hilt. So too can you turn away cuts and thrusts with the face of your shield. Therefore, if you want to be a good fencer, learn above all other things to turn away well.

If it happens that you bind with someone, or otherwise come onto their sword, then remain on their sword and wind, and stay with them on the sword like that, boldly and in good spirit, without any fear.

Quite precisely wait, watch for, and notice well whatever they want to do, or whatever they have in mind which they will perform against you. Liechtenauer calls remaining on the sword like this an open window. As you stay with them on the sword, feel well and notice their intention, whether it be Hard or Soft, and orient yourself accordingly (as it has often been written earlier). Use both the sword and the shield to gain your advantage. No part or limb of the man should be idle and passive when it happens that the art demands to be used.

If they happen to pull back from your sword before you actually begin, then immediately follow through and send cuts or thrusts at them (whichever you can perform in the surest way, before they come to anything else); {since you're closer to them as you remain on their sword, merely extend your point against them. Then when they pull back, immediately follow them in with your point before they can perform a strike.} But if they remain with you on the sword, then test well and notice whether they're Hard or Soft on your sword.

If they're Soft and Weak, then swiftly and boldly go forth and attack with your Strength, pressing and pushing away their sword. Then seek their exposures, toward their head or body (whatever you can get).

But if they're Hard and Strong on your sword and want to press and push you aside firmly, then be Soft and Weak against their Strength, and weaken their Strength and pressure with your sword.

As you weaken and their sword goes aside (as was also written earlier), then before they can recover, seek their exposures with cutting, thrusting, or slicing (however you can get to them in the surest manner), swiftly, rapidly, and boldly (in accordance with the lesson written earlier), so that they cannot cut nor thrust, nor otherwise come to blows.

This is why Liechtenauer says, "I say to you honestly, no one covers themselves without danger. If you have understood this, they cannot come to blows." By this, they mean that no one can protect themselves from you without fear or injury, if you act according to the lesson written earlier: if you take and win the Leading Strike, then they must either continually defend themselves or let themselves be struck.

Above all things, fencing with the sword and buckler should have the principles of audacity, speed, prudence, intelligence, wisdom, etc., and also moderation in all things. If you win the Leading Strike, don't do it so recklessly that they can deliver a good Following Strike. Don't step too widely either, so that you can recover yourself well and take another step backward or forward if necessary.

As Liechtenauer says, "Thus you will see, all things have measure and moderation". Do not be hasty, consider well in advance what you want to do, and then do it boldly and swiftly toward your opponent's head or body, and never toward their sword.