A quick look at some cutting swords is in order.
Until the early 10th century, Viking swords were broad-bladed swords, usually about 2 inches wide and about 32 inches long and usually pattern welded. There was almost no taper to the blade, and the point was generally somewhat rounded. After the early 10th century all-steel swords began to appear, and usually these swords had a slight taper to the blade. This put more weight in the hand, and allowed the sword to be quicker in both strikes and returns, and yet did not sacrifice cutting power. The point was still somewhat round.
Generally speaking, European swords were not quite as sharp as many of the Eastern swords, particularly the Japanese katana. This reflects the type of combat more than anything else. Although mail was not worn at times, shield and helmet were the two most common methods of defense. A sword with a thin razor edge simply wouldn't last very long when used to strike mail or a tough wooden shield with a metal boss and rim.
In today's time, three edges are often used for katanas. The "battle" edge, the "social" edge, and the "competition edge." The latter one is used for cutting competitions on tatami mats, bamboo, etc. The thinner edge allows the swords to cut better. However, it is not as strong as the other two.
Middle Eastern swords, such as the shamshir, the yataghan, the talwar and kilij, have edges very similar to European blades. This is because mail was worn a great deal, and although the mail was lighter than the normal European mail, it was still iron or steel.
PHYSICS OF CUTTING
Simple laws of physics will tell you that the greater the speed, the more force generated. The greater the mass, ditto. Combine the two and you can get impressive results. But there are limits to each of these, and these limits are set by the human body. There is only so much speed that can be generated, and only so much mass that the muscles can handle. The effective sword is a combination of these factors plus edge, blade geometry, the individual swinging it, and—one that everyone seems to forget—the item being cut.
It is generally agreed that the best blade angle for a knife edge is approximately 17 degrees, and this would also be true for most swords. This allows you to cut flesh and bone without doing damage to the sword when the cut is properly made. Should you be required to cut something that is reinforced, say with leather, heavy clothing, or mail, you need a thicker edge. The most effective of this type of edge, as discussed in the chapter on katanas, is referred to variously as an "appleseed," a "channel," a "rounded," or today, a "Moran edge," in honor of Bill Moran, the noted knife maker. This edge has the cutting bevel rounded, and gives a lot of strength to the edge of the sword. A chisel edge is also effective, but the minute shoulders, small as they may be, still offer some drag to the penetration of the blade.
An appleseed edge (top) and a chisel edge (bottom).
For demonstration purposes, many swords will have thinner edges, which allow them to cut more smoothly. Remember that the cut is a wedge in action, and the material cut must slide over the blade unless there is tension pulling the cut material apart. This means that any raised surface on the blade will offer some resistance.
From a purely practical standpoint, those swords with raised central ribs are just as effective a weapon as a flat-bladed sword. The rib will make it stiffer in a thrust, and while it will offer resistance to cutting deeper, you can still cut several inches into the body, and that's enough to discourage most people.
For modern competition purposes, some swords are made with very sharp, and also thin, edges. This makes them devastating in cutting through bamboo and tatami mats. Frankly, they would also be quite devastating against an unarmored opponent as well. Just do not plan on trying to cut mail or armor with one.
TYPES OF CUT
In my own mind I have always differentiated various types of cut. A blow that is straight down, whether used with one or two hands, I have always considered a crushing cut, and can easily be called a "chop." A slashing cut is one that is designed to go through an object (whether it does or not) so that you are in a position to counter or continue the cut in a different direction. A "pushcut" is a cut where the sword is pushed forward on the blow, acting as a slice, whereas a "drawcut" is when the sword is pulled back from the object in a "drawing" motion. There is also the "snapping cut" where the blade is thrust forward and then the edge is snapped to the target.
A) A chop. B) A slash. C) A drawcut. D) A pushcut.
While the terms "drawcut" and "pushcut" are terms in common usage, chopping and slashing are somewhat arbitrary terms that I use for my own understanding. These are not to be taken as hard and fast settled terminology.
A drawcut is quite interesting. In real swordplay with the katana it was quite popular. As the blow is made and connects, the arms do not follow the straight downward path with which the blow was launched. Instead they are drawn back across the body, thus adding a slicing motion to the blow. This is very effective against flesh and bone, less so against armor. But it is not only effective for increasing the power and the depth of the cut, it is also effective in returning the sword to an attacking or defensive position.
Antique shamshir, circa 1800, 36 inches overall length. HRC39.
This drawing motion was also popular in the Near East. The Persian shamsir, which is a rather late sword, was designed with the drawcut in mind. It has been correctly stated that the shape of this sword gives you the longest possible cut when the arm and wrist is used in the most natural motion.[2] This seems to imply a strange and different form of swordplay. Regretfully this is one area that I have been unable to follow up or to figure out how it might have been used. I do feel that it was different than Western saber fighting.
It has been said that the drawcut was unknown to the West. I find this hard to believe. The West has also struck me as being preeminent in the various ways to kill one's fellow man, so I doubt that it was not known. It may not have been used much, but not unknown.
The pushcut was used, but it is not as effective as the drawcut. In the pushcut, the edge is pushed forward when contact is made. Due to the mechanics of striking, the force available is not the same as the drawcut. Better control and somewhat more power can be delivered in the drawcut than in the pushcut.
The slashing cut is just as it is called, a slash. The direction of the blow can be diagonal, and either up or down. This is a simple cut where there is no action of the blade in a slicing motion. This is probably the most common blow used in swordplay.
The chopping type of cut is one that is primarily used in a downward stroke. Although it is possible to strike this way in a horizontal motion, downward is preferred, as it allows a great deal more force. This is the type of blow one might aim at a helmeted head, where force is very necessary to do damage.
SECRETS OF CUTTING
You will hear of the "secrets" of learning to cut. As far as I've been able to ascertain, there is only one "secret" to the art of cutting well. The edge of the blade must be perfectly aligned with the direction of the blow. If the edge is misaligned even one to two degrees, the cut will not be effective. Interestingly enough, in many of the Icelandic sagas you will hear of swords that fail to "bite." This is attributed to sorcery usually, but sometimes the reason is that it is a poor blade. I suspect that often it was grip that had turned, or an edge that was misaligned. Edge misalignment is all too easy to achieve. Merely sharpening the sword on one side only can cause this.
Antique sword with oval grip, Caucasian kindjal, 25 inches overall length. HRC551.
Another problem is the failure of the grip to be aligned with the edge. This is also a problem that can occur easily. The wood of the grip can gather a lot of moisture from sweating and the atmosphere, and then when it dries it can shift position very slightly. This will throw off the alignment.
I cannot stress the importance of this enough. Failure can result in two things, both bad. One, you can ruin a really fine sword by cutting and having the edge not hit properly. If it fails to cut into the object, then all of
the energy generated is transferred to the front of the blade, and the sudden force can cause it to bend. Second is more embarrassing: the sword slips, and the cut you make is lousy. This is really bad when giving a demonstration. I've had it happen and it upset me and the audience. In retrospect, I think the audience was more upset when I fell on the floor screaming, kicking my feet, and then holding my breath. Rather than repeat this embarrassing episode, I now always try to make sure the sword I cut with is properly aligned.
A kilij with box grip.
As you can see, the grip of the sword must indicate the location of the edge. Most European grips are oval, with the long axis in the plane of the edge. There are many Middle Eastern swords with boxlike grips, with the long axis at right angles to the plane of the blade. This is very true with many kilij, shamshirs and kindjals. This is not hard to get used to, and there is no chance of mistaking the edge, for then you can easily see you are holding it wrong. The worst is a round grip. This will not tell you where the edge is, and it can easily turn in the hand. Al-Kindi, in the Arabic work on the sword, warns against this, and rightly so. So always beware of a round grip. It's okay on a mace, but not on a sword.
Modern mace. HRC50.
HOW TO PRACTICE CUTTING
To begin practice I would suggest tapping a piece of balsa wood to make sure you are holding the sword correctly and hitting the edge squarely. Balsa, being quite soft, will register the cut, and you can see if one side is indented more than the other.
Before going into the physical mechanics of cutting, let's look at what is available for cutting. The Japanese use a reed mat for cutting practice. These mats come in various sizes and can be purchased from several companies. These mats are soaked in water for a specified time, allowed to drain for a period, then cut. Sometimes a wooden dowel is inserted to represent bone.
Since starting Museum Replicas, Ltd., I have used cardboard tubes in my cutting. The ones I use at present are the cores for large paper rolls. They have a wall thickness of about a quarter inch. They are tough, but not too difficult to cut. Still, I would caution everyone in cutting cardboard. Do not use a highly polished sword, or a blade whose finish you value. Small bits of silica are common in cardboard, and they will scratch the blade. I use blades with a satin finish, which I prefer, and they rarely show any scratches. But a highly polished blade is likely to be marred by the cut.
One item that is quite tricky to cut is a kid's toy plastic tube. These are long tubes of plastic foam, and are popular toys around swimming pools. They have almost no rigidity, and the sword has to be quite sharp to cut cleanly. It also has to be moving fast. A slow cut or a dull blade will cause the tube to bend or the cut to change direction as the tube bends under the impact.
I have often heard complaints about swords being damaged when cutting into trees. Swords were made to hack the limbs of men, not the limbs of trees. For that you can use an axe or a tough machete, but not the usual European or Japanese sword. Small saplings can be used. I don't recommend it, but they can be used. Nothing over two inches in diameter should be attempted. Soft pine is preferred, and try to avoid all hardwoods. Live saplings are much like bone: when alive they are relatively easy to cut, but when they dry out, become quite tough.
Rolled newspaper is an excellent cutting material. It is cheap, plentiful, and its level of difficulty can easily be adjusted by the size of the roll attempted. Each individual will have to adjust the roll to his ability and the difficulty desired. A very loose roll, and the paper will likely bend as it's being cut, and will usually tear. The tighter the roll, the harder it is to cut, so that you can make a very tight and very large roll, and no one can cut it. Since it is so cheap, I would suggest experimenting until you find the right combination. I always used masking or cellophane tape to keep the roll together. Depending on the thickness of the roll, you can use small cans or tubes to put the paper in, and this usually works just fine.
Newspaper has one advantage over other materials. It is easy to tell just how sharp the sword is. Once you have cut through the roll, examine the two sections. If the sword is full sharp, you will not see any tears on the edges. Even a good sharp sword will usually tear the last couple of sheets of paper, so it takes a really sharp sword not to leave any tear (and also a very good cut).
SAFETY
Let's quickly get into some safe practices here. No, I am not a politically correct namby pamby type. But—I have a very good friend, an expert with knife, axe and sword. While he was cutting one day the axe flew out of his hand, straight at my head. I moved aside, but had I not seen it, or been a little less quick, it could have been right unpleasant. (No, he didn't do it on purpose. I know because I owed him money at the time.)
So, first, when attempting to cut through something, make sure you know what is on the other side. It's very similar to shooting a pistol. You need to know where the sword is going to end up. Having someone watch who is standing just a bit too close can be quite messy, and really hard to explain to the police.
Second, always have a loop around the sword and your wrist. Losing your sword while in the midst of a cut makes you look really silly and incompetent. It can also be dangerous. But even if no one is there but you, you will still feel silly and incompetent. After all, Conan never lost his sword.
Third, when cutting in front of an audience, always cut with the audience in front of you, with your sword ending up pointing in the opposite direction. Gasps of awe at your performance are much better than gasps of fear while ducking flying swords.
STANCE
In any martial art what you need first is a firm foundation. Therefore it follows that the stance is of great importance. (I am given to bad puns. No, I'm not sorry.) When delivering a strong solid blow, it is necessary for you to have your feet firmly planted, and to be able to put your whole body into the blow. The exact spread and position of the feet will vary from person to person, but above all, you must be comfortable. Later you will learn to cut with the arms alone, but that is in the future.
Cutting with a katana.
For example, when cutting with a katana, the whole body will move. The arms and shoulders start the action. While the body bends forward at the midsection, the knees bend slightly as well as the hips. The whole force of the body is put into the blow, and as your blade encounters the object to be cut, the arms, shoulders, and even the hips will rotate slightly back and down so that the blade is pulled through. The force generated by this action can be quite awesome.
Very similar movements will also be done with European blades, both one- and two-handed weapons. Unless the sword is slightly curved, the drawing movement is not used. Although it will work, it will not work quite as well.
Would you get an opportunity to actually use this movement in a real fight with swords? Suppose you were transported back into time, could you use this technique then, and would it work? Sure it would work, but you probably wouldn't get a chance to use it in a real fight. Real fights were quick, and that is why you also need to learn how to lash out with just arm power and still inflict a deadly cut.
I have to confess, there is another secret. That secret is practice. Like most human endeavors, the more you do something, the better you will be at it.
HOW TO PRACTICE
My suggestion is to first use rolled newspapers. (I use the Wall Street Journal, as it is heavy reading, and not frothy like many newspapers.) Start with a roll about 1-3/4 inches in diameter, and of medium tightness. Roll it so that the folded sides are on the outside. Once the roll is completed, use some tape and tape the edges about every 5 inches. If you roll the paper along the long dimension, you should be able to get about 4 cuts per roll. Stand the roll upright, and proceed to cut. The tube can be secured several ways; I often use a small soup can and add some padding to make the tube fit tightly.
If you like a katana, then practice this cut to start with. The drawcut utilizes the whole body, and while it is slightly more difficult to learn, once you have mastered
it, other cuts are easier.
Remember the drawing motion. The whole body properly moves when the cut is made. Whatever the results of your first cut, it will improve with practice.
The snapping cut is also a move that works very well with a katana. It is not particularly impressive in any sort of demonstration, but it worked pretty well in combat, and you can score points with it in a tournament with padded weapons.
Hank cutting mats.
Photo by Peter Fuller.
The sword is held overhead and the blow is made. As the leading arm comes down (usually the right), the other hand snaps the grip up. This forces the blade of the sword down quickly, adding both speed and force to the cut. A slight variation to this move is having the sword held before you in a guard position. Rather than raising or lifting the arms, the arms are extended quickly. The right wrist snaps down at the same time the left arm lifts the grip. This snaps the blade down. While the force is not near the same as a full cut, it is sufficient to cause a great deal of damage in an actual fight.
This type of cut is also quite useful in learning exactly where your edge is. By learning this cut, and learning to stop the right arm at a specific point in space, you can then learn to cut precisely.
Both the drawcut and the snap cut can be used with one-handed swords. The drawcut works better with a curved blade, but even a straight European-style knightly sword can be used.
Hank Reinhardt's The Book of the Sword Page 20