I do love the fencing and taiji sword, but I have to admit these questions are largely outside of my experience and knowledge.
I have seen the drawing the sword question come up somewhere else and I don't recall the expert answer.
I have some thoughts on it, but they are trivial, so be forewarned.
In terms of the evolution of forms it might be considered that what we know now is a design made of specific exercises that either train specific techniques or skills, or condition the body for a desired effect or all of this and perhaps more.
We have the luxury of being able to compare different arts and Iai-do and some modern knife fighting methods place a strong emphasis upon drawing or opening and cutting in one motion. To a large degree this emphasis is absent from CMA, Chinese traditional martial arts.
We can consider traditional applications of jian, in an arranged contest between martial artists it makes sense that one would have already unsheathed the weapon before beginning, though exceptions can clearly be made. In terms of battle, once a solider enters into an area where he needs the weapon, he will have drawn or prepared it, so there is not as much of a need for training in drawing the weapon, in comparison to a modern knife attack or a sword duel in ancient Japan.
However the idea that anyone with practice with a sword is unfamiliar with drawing their weapon is hard to believe.
Back to the form itself, there is a great deal to the Yang sword form that yields interesting concepts upon analysis. Much of it is designed not for sword skill, but to increase the overall skill of the player. Indeed while the public long form that is passed through Chengfu lacks jumps and shakes, the sword form he passed along contains these. It is said that it is where the fajing of the system is formally taught. It is also said that it trains sensitivity and various skills that play directly into unarmed application. It has been considered by some to not be ideal in terms of swordplay, including several proponents and teachers of it.
However many of the elements of which it is comprised or composed can be found in other sword styles and methods. None of it that I am aware of is meant for embellishment or show, though the moves can be done with embellishment and in a showy way, that is not to say that this is their purpose. The exact origin of the Yang sword form in question is also a curious mystery.
http://brennantranslation.wordpress.com ... iji-sword/Here is some interesting reading on the topic of Chinese sword
http://brennantranslation.wordpress.com ... e-sword-2/Weapons were considered impolite and many who were skilled with them would not carry them casually. Often they would be hidden as well and when possible. If someone wanted to resort to a very fast draw attack with a weapon a jian is perhaps not the best choice, though it can certainly be done. I've yet to see any formal teachings about drawing the sword, but have read instructions that say in general to familiarize yourself with it well, drawing and resheathing it, knowing how it balances and where the vibration focal point or sweet spot is. I assume that someone who owns a sword can draw it and put it away safely.
Today there isn't much point to using a sword as a weapon and the skills one gets from knowing it as a weapon apply in many contexts, so the benefits go far beyond just sword skill.
Near the first move of the form there is an application or two
to strike with the end of the handle.
Part of the beginning reminds me of moving from a posture held by guards or soldiers to ready the weapon. They wouldn't have their weapons covered.