Preamble

Swordfighting is one of those practices that crosses many boundaries ranging from philosophical, to historical, to purely practical. Originally of course a solid chunk of the intention behind the practice of the sword was to kill an opponent and not be killed yourself. And we acknowledge that. Indeed, it represents our core principle of presumed deadliness.

But a part of trying not to die means that in extremis, a combatant in genuine mortal danger ought to use any means at hand to survive. And that is where our combat draws an entirely arbitrary line. While we are not explicitly roleplaying in our martial art, and we recognize that we can at best approach the true value of a trained skill intended to kill or prevent death, it is our contention that what we do should be akin to gentlemen training with swords to be able to later survive a duel. Thus the measured gradations of intent: To blood, to wound, to death. A declared duel must adhere to these approved formats, while training may focus on particular skills and honing them. We arbitrarily dictate that combatants who wish to train with us should not only treat the weapon as if it were sharp and deadly, but also seek to survive themselves, and at the same time, adhere to agreed-upon parameters before a formal duel, and in training exchanges, seek only the lightest blow.

SWORD COMBAT

What does this mean?

If you are getting tired, request a break by stepping back and lifting your sword in salute. Do not let yourself get sloppy and go for a double kill, dying as you seek to strike your opponent down. 

Counterattacks should be avoided, and it will always be better to withdraw in a risky situation and reassess your opponent’s guard for a better angle of approach. 


Why is this important?

The truth is that no one can make you treat the sword like a genuinely deadly weapon. But you may find that if you treat it as such, the dance you step with your opponent becomes significantly more enjoyable. The ring of blades becomes a conversation, probing for openings, learning movements, studying patterns, and leaping back from feints. 

It makes working with swords a somewhat more realistic and we believe, a more delightful, art to learn. Rather than a charge and two deaths repeated endlessly, delicate moves, sliding steps, cautious feints and flicking parries followed by a skillful lunge with a quick retreat become a wonderful way to approach the realism of a historically authentic swordfight.