Etiquette in ZNKR iai is based on that in Musō Shinden-ryū (MSR) and Musō Jikiden Eishin-ryū (MJER). More specifically, the current form of sword etiquette was likely introduced together with Ōmori-ryū (the Shoden set), which was heavily influenced by Ogasawara-ryū reihō. As a compromise between the Musō Shinden and Musō Jikiden Eishin schools, it was decided to use the former’s tōrei for the hajimari no tōrei, and the latter’s for the owari no tōrei. It is worth noting, however, that both versions actually coexisted within the Hasegawa Eishin-ryū from which both modern-day schools sprung: the MJER version was simply the more formal and respectful, as it is more difficult to draw the sword and attack with the edge towards oneself and the tsuka to the left. Tōrei as done in MSR, conversely, places more emphasis on constant readiness to fight, even during the bow to the sword.
At the beginning of the opening tōrei, sit in seiza, with the right hand resting on the right thigh with fingers lightly extended and touching, and the left hand holding the saya together with the sageo and resting on the left thigh. The knees are about one fist’s width apart. The upper arms are hanging naturally down along the sides of the body, with the elbows not leaving an unseemly gap on either side. This is the elegant seiza of the Ogasawara school of etiquette, and should not be confused with less refined styles from certain other budo arts.
As the left hand pushes the sword diagonally forwards in the direction of the sword, the right hand takes hold of the saya with the thumb on the tsuba, replacing the left hand, which drops the sageo. How far should one push the sword? Exactly far enough that the right hand can grasp the sword without moving sideways. It is simply put the most comfortable and natural position, and no further thought should be put into it.
Having taken hold of the sword with the right hand, angle the blade to the front, extend the right elbow and draw the saya through the loose grip of the left hand until the hand is close to the kojiri. How close is “close”? “A hand’s breadth” is often quoted as a good rule of thumb, but this is quite simply where the hand will end up when the right hand has moved forwards until the elbow is fully extended (assuming the sword is of the correct length for one’s body). Simply extending the elbow in a natural manner will also ensure the right hand ends up roughly in front of the knee with the tsuba at the correct position around the outer line of the knee. Extending also the left arm without further sliding the hand along the saya will likewise ensure a correct angle of the sword as it is placed on the floor by inclining one’s upper body. Again, no particular care as to angles or exact positions should be necessary. The important point here is that the kojiri must not point towards the shinza when performing a formal enbu. In that case the shinza would be located to the front left diagonal, meaning the kojiri must be angled slightly inwards.
Straightening your posture, return first the right and then the left hand to their positions on the respective thighs, and again assume a calm seiza position. Take care to display a moment’s quietude, without needlessly pausing. The bow is performed by inclining forwards and placing the fingertips of first the left hand and then the right on the floor straight in front of oneself, at such a distance that one’s nose will end up right above the hole formed between the index fingers and the thumbs, at the deepest part of the bow. Previous versions of the manual described the thumbs and index fingers as forming a “triangle”, but this has since been clarified not to mean a literal triangle, as that would require angling the wrists in a rather awkward manner. Simply keep the wrists straight and put the tips of your thumbs lightly together. The hands are slightly cupped, for ergonomic reasons (it would be somewhat awkward to flatten the palms on the floor while keeping the wrists straight and fingers together) as well as to protect one’s nose and teeth, were the enemy to bash one’s face on the floor. The same sort of combat readiness is also the reason for not placing one’s hands simultaneously on the floor, as one would in Ogasawara-ryū or when performing zarei to another person. If one starts seated correctly in seiza, one’s elbows will be naturally touching the outer side of one’s knees, and the bow is exactly as deep as the point when the elbows touch the floor with the back and neck kept straight.
After the bow, take hold of the sword placing the right thumb on the tsuba, and at the same time bring the left hand to the saya near the kojiri and take a light hold as before. Straightening up, bring the kojiri to your centre front and the right hand to your front right diagonal at the angle at which the sword will be inserted. From there, insert the sword into the obi in one motion, secure the sageo and return the hands to the seiza position. Do not, under any circumstances, move the sword back and forth after inserting it.
Comparing ZNKR hajimari no tōrei to MSR tōrei, apart from the more obvious differences such as the hand placement while placing the sword, the kojiri is angled slightly more inwards so the saya can be easily covered by the arms and body were the enemy to try to grab hold of it during the bow, as well as to facilitate an easier draw. Similarly, the sword is placed a tiny fraction further to the left so the tsuka can be reached more quickly, and the sageo is placed so the left hand will already be touching it and ready to pull it back with the saya to release the blade. A greater emphasis is also placed on keeping one’s eyes on the person in front for as long as possible before and after the bow to the sword, while in ZNKR one’s gaze must be on the sword during the entire duration of the bow, as the bow is to the sword and that is where one’s full attention must be.
The closing tōrei may look rather different to the opening one, but as previously stated it is in principle the same form but at a higher level of politeness. Having sat down in seiza, undo the sageo and take hold of the saya close to the koiguchi with the left hand, placing the thumb on the tsuba. Push the sword out and place your right hand inside the left with the index finger on the tsuba. At this point, the sword should be pushed out just a little more than in the hajimari no tōrei. The reason, again quite simply, is that the extended index finger adds some length compared to the thumb, so it would be uncomfortable without this extra space.
Place the left hand on the obi, and pull the saya out (dattō) with the right hand in the direction of the sword. Bring the sword to a vertical position standing on the floor to the front right diagonal with the edge towards you. No adjustment should be necessary, as you pulled the sword out in this direction already. Quietly, and avoiding sliding the kojiri on the floor, place the sword horizontally in front of you. Now, the sword is centred with the edge towards you and the tsuka to the left, making it difficult for you to draw it quickly.
Perform tōrei as before and return to seiza. Take hold of the sword with the left hand, index finger on the tsuba as before, straighten up, and place the sword upright in front of you at a comfortable distance. The question of what angle to raise the sword to before lifting it to a standing position is sometimes asked, but there is no such guideline - simply sit back upright while holding the sword and without sliding the kojiri on the floor, and then lift the kojiri. Lightly grasp the saya in the middle with your left hand, and stroke the saya downwards to near the kojiri. It was previously stated to continue the stroke all the way down, but this has been relaxed. Bring the sword to your side with both hands.
“etiquette” ↩