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Note: twitch with a high strike from the right with the half edge to his left, but in the air cross over your hands and slash with the half edge to his left ear, as is shown by the top two figures in illustration C, twitch your hands again thus crosswise over you, and slash again with a traverse from below to his left ear, then again onward strike the traverse from below to his left with an advance step, twitch nimbly near your left above you, and thrust through in this off-twitch with your pommel under your right arm, and quickly again with crossed arms from your high right into his left, in this way slash with the flat below and above on the one side, that goes to both sides, and mark when you will slash to the lower right opening, which will be with the flat, long or short, then your hands will cross, but when you slash to his high right opening, then your hands will not always be crossed, from here mark the following example:
Thus in advancing shoot through before him and slash with the half edge from your left to his right ear, without crossing your hands, but with your pommel staying out toward your left, twitch nimbly overhead to your right, and crossing your hands over in the air, slash with crossed hands to his lower right opening from your left, in all moves keep your pommel full behind your blade, stepping double steps out to your right, thus you can both slash with the flech and with the long edge, from below and above, near your right, as I taught you before, that you shall twitch and turn the strikes from one opening to another, thus you shall twitch and address both high and low openings on one side. Basically, when you drive a strike to his high openings, and notice that he does not strike, but your sword drives on to engage, see that you then not let your strike hit on, but lead your strike to his low opening, but where he does get under the strike, then drive your strike ahead against the strong of his blade. From this work grows winding at the Sword, namely when you have bound onto his sword from your right against his left, then stay stay hard on his blade, thrust your pommel through under your right arm unseen to him, stay thus forward on his sword, and then pull your pommel out again and wind your short edge out to his head. Thus you again find three edges and the flat, namely the outward and inward long edge, also the outward and inward short edge, and similarly the inward and outward flat, all on both sides.
Thus you understand that the third part of fencing is nothing other than the right Practice, as was reported above, the first two Lead parts in fencing, which will be taught though Practice, where you change at every opportunity, namely in the first Lead Part with the stances and strikes, flowing off, changing through, flying off, and letting miss. That such Strikes can be trapped with displacement and clearing, likewise in the second Lead Part, displacement, teach the Practice of how you displace, follow after him, cut, punch, etc. Therewith you will end the strikes that he sends to you, or at the least prevent them from reaching their intended destination. And that is the sum of all Practice, namely that you firstly engage your opposing fencer through the stances, with manly strikes and without damage to your target, by showing cunning and agile misleading as can be shown, and after you then engage him to break through with the obligatory or similar handwork, from which you either securely withdraw at your pleasure, or where he must retreat from you and you follow ahead after him. Since going forward such Practice will be needed and extended in many arts to be the same both in name and in fencing, as you found fully described before here in the handwork chapter, I will now drive further to describe fencing from the stances.
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