Problem: Both arms are the same length.

[glad2bhere]

Heres' one for your "Incessant-suveillance-of-the-obvious"-file.

Both my arms are the same length, and tradition in Korean Kumdo holds that the right hand grips the sword close to the Ko-dung Yi (sword guard; J. Tsuba?) and provides direction, while the left hand grips the last 3 in. or so of the handle and provides the power of the cut. I suspect that Japanese Ken-jutsu must have some equivalent dynamic.

When executing straight descending cuts as well as a wide range of angular, horizontal and ascending cuts movement from left to right is comfortable and un-impeded. However, cuts executed from right to left become ungainly with a distinct crowding of the left arm and an awkward bending of the elbow, while the right hand loses its authority as the sword taxes its length. I asked GM about this and he immediately pointed out that my follow-through after the cut was bringing the blade unequally too far to the right side and I was mistakenly trying to do the same on the left. This corrects for most descending cuts, and a few ascending cuts but certainly doesn't help with the left-to-right horizontal cuts.

Has anyone else needed to address this issue?

Best Wishes,

Bruce

[Brently Keen]

My admittedly limited understanding of koryu kenjutsu suggests that it is the right hand, near the tsuba, that would more correctly be described as the hand that provides the "power" for a cut while the left is more for guiding (steering) the sword/cut. That's a simplification actually (imo) since I think using "power" is a bit of a misnomer at least in my style. I personally don't think using "power" in the sense of applying strength is correct (more on that later).

This is admittedly also the opposite of what I learned in aikido-ken, in which numerous instructors always taught me that the left hand was the power-hand. Even though ostensibly power was supposed to come from the hips - it would do so via the left hand/arm, not the right. We even practiced suburi sometimes holding the sword only in the left hand!

It also appears to me that this way (deriving power from the left) is characteristic of a number of gendai schools. My question, and I hope some of those with more knowledge and expertise might chime in here is:

Was this a characteristic change from an old method or way to a new way? Like, from an older practical method used primarily for fighting with swords to a more modern (aesthetic?) method of merely training with swords?

If there was a change, can anyone explain the history/logic behind this change? And if there wasn't a change, were there always simply different schools of thought about this? Can anyone explain the contrasting rationale or reasoning behind using the left-hand to provide power for for the sword, as opposed using the right hand?

Finally, if those with more extensive tameshigiri experience would like to chime in too - I'd be interested in your thoughts as well with regard to test cutting.

I'm at work right now, so I'll have to come back to this later.

Brently Keen

[gendzwil]

I wasn't aware that any koryu taught that power comes from the right hand. Mechanically it doesn't make any sense. If you swing a baseball bat or golf club, the power comes from the left hand (assuming a right-handed grip). No difference with a sword. I know the little instruction I've received in koryu (MJER) has been to start the cut by tightening the pinky of the left hand and continue to power from the left, using the right to guide and also to help make the cut round. For smaller kendo-style cuts and at the finish of large cuts the hands coordinate together (tenouchi) but conceptually it works very well to just think of powering the cut with the left hand.

In kendo, we have a word for those who cut with the right hand - beginners :). Over-reliance on the right hand leads to dull, slow, clubbing technique.

As far as getting your cuts to finish with both arms straight and the kensen on the target while your equal-length arms are seperated on the tsuka... that's just one of those biomechanical things that works itself out with lots of practice.

[glad2bhere]

Dear Brently:

"......Finally, if those with more extensive tameshigiri experience would like to chime in too - I'd be interested in your thoughts as well with regard to test cutting....."

Yes, there are a few implications that could be considered here.

One possible consideration is that if one is to limit the manner in which the sword is held (as previously described) perhaps this, in turn limits execution for a number of specific techniques.

Another, is the one that you raise regarding cutting--- and by extension, cutting competition. If a Steep Descending Cut (J. Jodan?) from left to right is executed with perhaps a greater freedom than its R-to-L brother perhaps there would be a need for special recognition of this. From a Kumdo (read also "ken-jutsu") point of view it would seem that such an impairment would create a "hole" on ones "armour of techniques", yes?

Finally, I see a very distinct prejudice in the organization of kata/hyung in which the over-whelming number of techniques are either overhead, descending and acsending and horizontal (l-to-r) but limited overhead & descending, few ascending and no horitontal cuts (r-to-l). Surely this can't be the kata equivalent of "ignore the problem and maybe it will go away" is it?

Best Wishes,

Bruce

[pgsmith]

Hi Guys,
Bruce, I used to get in these type of discussions with my instructor. His usual reply was "You're thinking too much, practice more." It always left me grumbling, but he usually turned out to be right. If you practice your cuts the way you are instructed to do them, with proper hasuji and straight angles, after a while you will not feel any awkwardness on either side. It's just a matter of your body becoming acclimated to an unnatural action.
Although our school is gendai, we have cuts that require the power to be delivered from the right hand as well as others that require the power to be from the left. The point to remember is that the right hand steers. The left hand can change the angle of your blade very quickly, but it cannot keep it on track. That is the function of the right hand. I think the difference is not in 'old or new', the difference is in the type of cut. Most iaido schools (MSR, MJER, ZNKR to name a few) advocate large rounded cuts done at full extension. If you are performing this type of cut, the power has to come from the left hand. Many of the cuts in the more diverse koryu arts (as well as some gendai! :)) are quicker slashing cuts, or smaller faster cuts. Many of these types of cuts need the power to come from the right hand. OK, that's my take on it. These are only my opinions and in no way should they be taken as absolute. Nothing in swords is absolute! :)

Cheers,

[supernils]

I quite recently discovered that my righ arm has become longer than my left (or the left shorter...) from 12 years of practicing Kendo.
Weird...

[glad2bhere]

Dear Nils:

I can fix that right arm for you. Of course it will require that you endure some level of discomfort, but imagine the joy of observing Korean swordsmanship on such an intimate level! :D

Best Wishes,

Bruce

[hyaku]

My experience of Japanese Kenjutsu teach me cuts are even bigger than in Iaido. In some cases 180 degree hip rotation brings that blade through that circumference.

Also an accent on pulling out the right shoulder to put that in to the cut.

All resulting in a transfer of power into the left hand the right guiding to finish in positions with the left returning to centralize with the tanden.

Shomen giri sometimes finishes with the tip of the sword a few centimetres off the floor.

It's is also a question of which muscles are you using in the arm to cut with?

Looking at videos or demonstrations of old styles you will often see the right hand and wrist twisted strongly almost directly under the tsuka. This is because power is taken from the muscles under the forearm and those lower fingers.

Also I have done many techniques where the left actually slides down towards the right to complete the cut.

Hyakutake Colin

http://www.bunbun.ne.jp/~sword

[Dan Harden]

I wasn't going to post to this but Colins statement makes the type of cutting he descibes as definitive to Japanese Kenjutsu. My experiences are the opposite of what Colin describes.
1.We would NEVER slide the left hand to the right.
2.We use more of a lever cut that makes the power more pronounced in the RIGHT hand and the left hand guided blade/turns are more unseen-particularly one that uses a type of pinky free grip-turn that swivels the Kashira in the palm into a Tsuki that is fast and secure cupped in the palm no open hand push).
3.Also in opposition to Colins experience are the cuts. Which are not larger than Iai by any means-they are smaller. The cuts- and the way to make them is smaller and more in tune to argeting on the incide of things. As such, they are smaller and more winding to a tsuki/cut opening. WHile it is true that many JSA have the typical straight arm/ reach out/ and cut down then in approach-that doesn't mean they all do. Heck I even know of one that has both.
4. Last but not least-Colin describes a very dedicated hip turn that follows that arc out to 180deg. We would NEVER do that. We are very specific in generating power with a much smaller hip turn into the cut. There is a way to use the knees and the center to power the cut in a much less dedicated hip turn and then make a reversal from their that is powered internally. Sort of a cut-and-counter at speed.
On a personal note I happen to like the idea of learning to make power in small spaces-particularly if that space is inside theirs.
I have said it before -we cut live 3" trees with smaller bent arm right-hand power cuts with very small hip turn movements.

So, as for effectiveness of cutting strength? They both work. I don't see it as right or wrong, just different.

I have been with E-Budo from its launch-in all that time I have seen only one discussion where adepts from different arts have taken up a discussion to detail their cutting methods. That thread included three Koryu and one Gendai. One fellow described how he cuts more in the long arm reaching approach and his "other" sensei always picks up on it and notes that it is "different" from what he is trying to teach him in his art. Another fellow recounts where his art has kata for both types of cutting. We then went on to discuss details of the hip and leg use, and both types were discussed; big and small.
Sadly, that entire thread was wiped oput in the recent crash

cheers
Dan

[gendzwil]

Interesting post, Dan. But I'm thinking for the original poster who was inquiring about kumdo technique, that powering with the left hand is the answer to his problems. If he's doing normal kumdo which is basically kendo, the overhead and angled cuts he describes result in exactly the sorts of problems he's experiencing when the student is using too much right hand. We especially see this in the angled cuts with new students, until they learn to really pull with the left they end up with their arms in some weird positions and not a lot of crispness in their cuts.

[Dan Harden]

Neil
I wasn't addressing the first posters question at all. There are many excellent Kendoka here to do that very thing-but rather the several comments about all sword being left hand power (including your own)and or large circular cuts with (as mentioned)large hip turns out to 180 deg. with the blade. I can think of many reasons I would not do that.
Colin knows there are other methods out there as well-he was just addressing his own personal experiences. There are many methods for using a sword and generating power. Pulling an 11" handle around the axis of your guiding lead/hand while extending your arms out and down being only one.

Its all good-do it all
cheers
Dan

[hyaku]

Thanks Dan

Interesting thread.

We too have some very small cuts within a confined area. I was a just a bit concerned that everyone should think that all Kenjutsu had nothing but small techniques. I was just mentioning extremes. The 180 degrees I mentioned was cuts from waki gamae.

This sliding of the left must sound a bit alien to a lot of people. I use it in Kageryu having a loger tsuka and am taught it in Niten Ichiryu. In both cases one is very close to the opponents neck. It is followed by a probable thrust or inside small cutting action to the neck etc. should the opponent be still active after the first cut/thrust. Niten ichiryu to works on initial extreme action that brings one close and inside the opponents defense.

Mentioning Kumdo people gripping close to the sword guard: I hope its not too close. If its a real tsuba and sword you will lose the skin of the back of your hand.

I often demonstrate a vertical kendo cut by just holding the shinai in the air and dropping it. It drops very fast and hard showing very little actual effort is required. Also lifting it up could be compared to raising an umbrella. All the extreme effort sometimes only serves to hinder the speed required.

Hyakutake Colin

[Dan Harden]

Interesting lesson Colin

I did something like that years ago with a student of mine. He used entirely too much motion (typical big, tip heavy, reaching out and arching Iai stuff; with the hips turning or chest spread in Saya-biki-as well as using too much dedicated strength and kept telling me about Iai kata and how to cut things. So one day (in Bogu)I had him attempt to cut me. I stood there with my hands continually releasing my fingers on the shinai in an alternating rolling style that showed there was no power in my grip at all. Every time he moved I struck Kote so hard it bruised him. I did it over and over. It ended the debate over power in the grip and the towel wringing he had learned in Iai. A few years later we went out to cut trees- that ended the debate about big swings and big hip turns.

Your neck cut example reminds of something we call dropped-tsuka where you attain hasuji in a tight space (when they have invaded the maai) by drawing down through the tsuka. Sometimes it draws them in other times it can push/cut them away.

What a weird addiction eh?
cheers
Dan

[glad2bhere]

Dear Dan and Colin:

What great discussion! I thought I would throw a couple of things into the pot as both of you have referenced things which pop up in my training.

1.) Sometimes I get people asking about the differences between Korean and Japanese sword and one of the items that comes up is the comment about "larger" sword motions. I am not sure that I, personally would characterize the the motions as "larger" though the sensation is definitely one of "casting out" even as one might be drawing the butt of the sword grip (J. "kashira"? ) in towards ones' tan tien. I sense this is a function of the sort of large sword motions one would expect in military combat, rather than the closed environs of civilian situations--- just a guess.

2.) Traditional Hapkido has a range of 6 weapons which begin with the soh bong (mini-stick) which is a 6" little wonder used to teach/attack pressure points.The weapons are taught in a particular order so as to allow the practitioners to develop biomechanics which then generalize to the next weapon in line. I mention this because the soh bong also teaches proper use of the hand in applying a grip. The next weapon is the dan bong (12" stick) which adds the appropriate use of the fingers in creating a kind of whipping power with the stick. The nxt is the cane which in addition to the proper grip, and whipping power, also includes the action of drawing (with the crook). Put these three actions together and add in the cleaving or severing action of the sword blade and you have a pretty effective use of the sword. Now, I shared all of this because Dan mentioned hand placement of the end of the sword grip in the palm of the left hand. When I first began training in Korean sword the emphasis was toward whatever they had to offer at the school--- primarily the sport application or pretty much what the Japanese culture knows as Kendo. The left grip was accomplished with the pinkie finger off the grip, no pressure with the index finger and firmness with the middle two fingers.

Later when I made it clear to the Head of the school that I was interested only in learning traditional Kumdo and had no interest in the sport application, GM began to encourage me to grip the left hand with the last three fingers (still light on the index finger) and to use the same "rolling motion" of the fingers I had learned with the dan bong. FWIW, my cuts are much more successful when I use this dynamic.

Finally, I think Colins' mention of the 180 degree turn of the hip may be a contributing factor to the original issue I raised. Depite the full motion of the sword, I have been encouraged NOT to turn my hips as fully as perhaps Colin might suggest. To be sure, the hips are torqued, and sharply, but perhaps no more than 90 degrees. Apparently the original problem I raised about not being able to carry through as far on the right and the left may be, in part, a problem of my own generation. Since it is easier to follow through on the right than the left I indulged myself with large deep cuts to that side, and then became frustrated when I could not do the same on the other side. GM has suggested that on either side the tip of the blade after the cut stops about a hand-span off the floor and at a point even with, but a shoulder-width to the inside of the forward foot.

In closing, I can say that I am intrigued with Neils' comment on using too much R hand. I had been suspecting from the results of my paper cuts that I was, perhaps, using too much L hand. I concluded this with the very high failure rate of l-to-r cuts where the paper was crushed rather than cut.

Best Wishes,

Bruce

[Dan Harden]

Hi Bruce
as far as hips go
I doubt my hips move more than 20-25 deg out of central position-and thats while cutting hard targets. Even in a side cut, the turn out to 90 deg. isn't necessary. Instead of the arching/reaching out and pulling in cut- mine is more of a lever and cutting outward (in to the target)cut- with a certain use of the legs. I have found this leaves you light and able to make counter cuts quickly. A quick view of some of the videos on the net of men cutting will show you everything from very small hip motions with leg work to very large overly committed (in my view)hip placement. Although the provenance of the styles of cut are usually readily apparent, I have noticed a marked difference in two men from the same style-one tight and small, the other; waaayyy out there..
Anyway, the reason I say overly committed is that it takes more time to reverse to do anything else substantive. The counter arguement people make is that they use that hip reverseal to power a counter cut. My response is "You didn't need that much commitment in the first place and now your hips are over there somewhere. You don't need that much torque to reverse cut-and now you have to move all the way over here to engage. Granted its about fractions of seconds and imaginary combat but if you can cut that way and generate power without too much committment- it sure saves a lot of time for other things. Another way I look at sword is that I love to cut/tsuki. And a rapid change from parry/cut to tsuki is easier with a small hip interchange. At any rate it works regardless of style-it just takes practice.
The use of the straight arms in lne with the body makes a different dynamic than what we do- so I can't offer much about your form. There are a lot of very knowledgable people here in your style so I'm sure you'll get the answer. I just thought I'd offer some other views-although I fear I am yakin too much off topic.
see ya

Dan

[Cady Goldfield]

Hey you, check your cellphone messages.

Signed,
OffTopic Tamale

[Battousai]

Originally posted by glad2bhere

When executing straight descending cuts as well as a wide range of angular, horizontal and ascending cuts movement from left to right is comfortable and un-impeded. However, cuts executed from right to left become ungainly with a distinct crowding of the left arm and an awkward bending of the elbow, while the right hand loses its authority as the sword taxes its length.

This is on the theme of what Musashi wrote in the Book of Five Rings about how cutting can be uncomfortable. His solution was generally to practice alot, with two swords (there is some debate about actually useing two swords in combat, but definitely he promoted training with two swords).

Something that works for me with Iai is when cutting downward to draw the sword closer to your body so that the elbow bending is increased and not ackward at all. This only works with the concept that who you are cutting is alot closer to you then when you cut downward in the opposite angle.

[James Williams]

Gentlemen,

If I could offer my opinion here, just cut. As you learn to cut expand what you do. Cut one handed, cut two handed, cut left handed. Practice cutting with your katana in one hand and your wakizashi in the other. Draw cut, push cut, snap cut. hit cut, chop cut etc. Cut different materials as they will let you know whether what you are doing is effective or not. You will find that different materials require different techniques in order to cut them effectively. Cut big stuff, cut small stuff, cut with precision, cut with power, cut hard stuff, cut soft stuff, cut combinations of hard and soft. If you really want to know what it is like to cut flesh and bone than you will have to find a way to practice on that medium. Practice multiple cutting and cutting from the draw with the power being gathered while the blade is still in the saya (be very careful here this is dangerous).

There are so many ways to cut with a sword and if you are looking to take full advantage of the tools functional parameters than you need to expand past the fairly narrow definitions of most modern Japanese sword arts. In my opinion there is no way that you can learn to cut effectively regardless of what style that you study or technique that you practice without actually cutting. The more you cut the better that you will get at it. The sword, the material that you are cutting, and your body will all talk to you. If you listen and continue to practice your cutting will improve. Listening to your sword cut air will not teach you to cut and you are in for a big surprise when you actually start cutting..

After you cut thousands and thousands of times using different techniques and on different materials you start to get a feel for what the sword can and will do and what it won't. This brings an understanding of how the weapon works which is an important part of kenjutsu in my opinion ( my personal definition of kenjutsu is that it is the art of fighting with the sword and prevailing). For myself, after cutting more times than I can count, I feel that I am starting to understand cutting. Now I hope to, with more practice and training, really understand cutting.

With all of that said, and I cut quite a bit, cutting practice takes up less than 5 percent of my sword training. The rest is spent learning how to get my blade on an opponent while preventing him from getting his on me.

Just a thought.

[hyaku]

In my practice bringing the hands back in central creates a hiki giri action. A lot of Niten Ichiryu is hikigiri.

Re fast movements:

As in most budo we have to deeply seek out the spirit of the opponent. The epitome of action is when we have responded to his commited aggression before he has even made definate physical movements to attack. Not so much how fast you move as when you move. Musashi's practice is based almost entirely on this. Moving in to challenge the spirit and waiting for the opponent to make the fatal mistake of attacking.

In other budo we do see invariable methods such as attacking before the opponent has a chance to do anything.

This concept of large cuts is based on the fact that you will never learn to do short fast cuts by doing just short fast cuts. We this see in Kendo everyday. As we do continual O waza the shorter cuts become even faster.

I think we have this inbuilt automatic response that the to get from A to B we must go straight there. Of course normally this is the case. This shows in westerners Johanshin (upper body strength) as
opposed to Johanshin (lower body)

Much like the body automatically responds to violence with tension it takes time overcome this to do unstressed practice.

I should try and explain better this 180 degree hip movement. All sounds so messy just writing about it.

Intially a very low waki gamae posture is adopted. The opponent moves in to attack. At the time the hips are spun there is a foot/body movement which brings one inside and to the side of the opponents maai.

http://www.bunbun.ne.jp/~sword/Hyoho6.html

So looking at this picture the initial stance would have my back to the shot.

Hope it makes things a bit clearer.

Hyakutake Colin

P.s. Explanations of Gorin no Sho now up in French.

http://www.bunbun.ne.jp/~sword/

[Dan Harden]

I would echo James's comments. Having forged blades of all types and test cut so many varied materials far past the amount I could count- I found myself surpasing the few I have met who cut with a sword. In an attempt to challenge myself I resorted to harder and harder materials and then on to rapid reversals and targeting drills. As James so succinctly put it "if you do not cut-you will not know how to cut."
James went on to discuss what he called the fairly narrow definitions of most modern Japanese sword arts. I also agree with that While I have witnessed and felt the rather lackluster approach of some (arguably modern) sword arts-the only sword style I learned extensively was not modern- that being TSKSR. And I have found the methods to cut from this art work very well-as is.

But I find I must add a qualifier here and stress some points for others reading (and James Yes I know you know this)- that although cutting is essential- power cutting isn't everything. I would stress the abilties to read intent and have your blade where it needs to be while being able to track/control his as paramount. It really doesn't take much to cut flesh and bone(Something I have done my fair share of as well) so while cutting is essential- doing so "on your own" will not lead to anything substantial in my view. James mentioned the 5% of total time spent being cutting- this is for good reason. Cutting needs to incorporate a balance of skill in technique within an art that has a framework of rational and reasoned combat effiency. If not, we are nothing more than "billy bob cutting stuff with his Japanese shaped thingy" in the backyard.
It does a disservice to your own art to try to do things that are inconsistent with the framework of that art and goes against the various principles it is tryng to inculcate into your body. After all is said and done, cutting with too much dedication and commitment of force is just as flawed as not being able to cut decently in the first place. What is enough? And can you move about freely before, during, and after.

Ok, that said-one more point. Although I agree with James overall statement about cutting(gee, what a surprise!). I would never say that if you do not cut you do not know how. There are many Koryu that do not test cut at all. Were I a betting man there are several arts that I would bet on who's adepts would most certainly be up to the task.

example:
I taught sword to two people for three years. They never cut anything in their lives. One day I handed them an umounted naginata blade, had them face off to about thirty young trees and had them cut. They cut next to a man who has had a sword in his hand for a decade or so in another art. They almost did as well as he and with much less movement.
Why?
Although they never cut- they were taught proper technique. I expected what they delivered. The only people surprised that day were themselves.
So all in all- test cutting should be a part of active training in a given style that has combative rationale. Otherwise- no matter how good you get-your just chopping wood or mowing grass.

cheers
Dan

[hyaku]

As a member of the Nihon Todo Renmei I am a firm believer in cutting materials. It's an important facet of swordsmanship. My only claim to fame was second place in the all Japan championship some years ago.

I do like to try out all these techniques occasionaly, particularly cutting from the saya with a 3.6 and one handed cuts. Some work well. Others leave one wondering why they exist.

Then again many years ago with no medics or antibiotics on the battlefield. It was a pretty sure thing that you would die anyway from a minor injury. Decapitation was not too important I think. Lots of nice tender areas in between the legs and in the neck.

Also the makiwara don't fight back. So I see the point in doing cutting/avoiding actions.

Hyakutake Colin

[glad2bhere]

Dear Folks:

Since cutting is an integral part of traditional Kumdo it would be foolish for me to discount its importance to training. However, I think that there are some special points that need to be underscored.

Dans' comment about adhering to some defined approach to executing technique I think is salient. In my local area we have not a few folks who purchase the SS wall-hangers from Century or somebody and proceed to "teach themselves". Since we have already had an excellent multi-page string on the use of SS for cutting I won't say more about that. But the discipline necessary not just to cut, but to do it in a manner distinct from how YOU think it should be done or want to do it I think is pivotal.

Along these lines I also notice that when mentioning cutting folks always seem to speak in terms of starting with something light and working-up to increasingly resistent materials (even cables, I understand). I am given to believe that ones' skills are much more sorely tested by lighter more flexible material such as canvas cloth, paper, and suspended or loose ropes. Do any of the listkas follow this approach?

Finally, I am a little concerned about the approach of teaching folks, for want of a better phrase-- "on demand." Like teaching Hapkido, I always get folks who want to learn "some sword techniques". To me this is tantamont to the phone call I got last night ("iwannalearnHapkidohowmuchdoesitcost"?). Pardon me, partner, but "screw you". Whatever arguements I might get into about authenticity and lineage of the Korean arts, I am pretty protective of what I practice. I know this just a bit off-topic from the original discussion but I wonder if others on the string have the same protective sense of their art and how they deal with that in the modern commertial culture.

Best Wishes,

Bruce

[Dan Harden]

To respond to the off topic question I turn them away by telling them I'm too full right now and then see if they come back. Very few do. And if they ask about the cost right up front I tell them I don't want their money- I want something that costs more-a committment. I teach for free. Next I tell them I offer no rank of any kind. That pretty much wipes out most people right there.
For most its nothing more than a hobby or joining the elks club. they want recognition more than actual skill. They really aren't worth the time or effort since they will leave in short order. I like people that look long, and are patient with themselves and others.
Stay small and improve your skills. People just come and go and are more of a bother and a side track to a focused path.


Colin
I find the long sword work facinatng 3.6 with one hand-gees! AS for materials I agree with you and James mix them up and stay mobile.



cheers
Dan

[glad2bhere]

Dear Dan:

"...Stay small and improve your skills. People just come and go and are more of a bother and a side track to a focused path......"

Sometimes its not just what people say, but how they say it that counts. Life in other places from my sword work can be pretty nuts, and the last couple of months are a sterling example. For some reason you comment pulled it all together and now sits on my desk in front of me as I write this in 24 pt Times font.

And, of course, your name rests at the bottom. Many thanks.

Best Wishes,

Bruce