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The original list of forms is available here.

Note: Since my character considers himself not only a blademaster, warder, and servant, but also a genuine student of the sword, I've decided to begin considering this list as an IC work, a book containing his knowledge of the sword. Eventually, I'll format it as such, and I may eventually choose to move it offsite so that I can format it more easily. As far as IC knowledge goes, this book is still something that nobody knows of yet. You can use it's knowledge, but the book itself is unknown.

UPDATE 2005 DEC 27: Since it has been some time since the release of the book Knife of Dreams, I have decided that I can safely add the new information provided without spoiling the story for anyone. In the coming weeks, I will be adding new forms, especially those mentioned in the prologue. This message will be replaced when I am finished.

Swords and Swordplay: A Warrior's Guide to Combat by Kederaji

These pages contain all of my knowledge on the art of swordplay. Of course, book learning is not enough, one must practice the forms taught here. These pages are primarily concerned with the use of a single weapon, the long, two-handed sword preferred by every blademaster I have ever met. This is most likely because the weapon is easily used for both attack and defense. It allows for quick strikes when balanced correctly, and the generous length is good for keeping your opponents away.

This is not to say that the long, two-handed sword is the only sword worth using. I've become intrigued by the possibilities of shorter blades as of late. When I studied swordwork with my father back in my homeland, he taught me to use a shorter sword, namely one about two feet in length, but not to great length like my own weapon. This smaller sword may hold faster attacks in it, and I was surprised to learn that no other blademaster in recorded history seems to have studied this weapon in detail.

I am less intrigued by the idea of using two weapons. It seems that the difficulty of this feat would outweigh any potential benefit, but I may look into it as time progresses.

Green indicates that the form is simple, and would be taught and mastered early on.
Blue forms are a bit more difficult, but would be mastered by most swordsmen eventually.
Orange forms are more difficult yet, and would take a swordman many years to master.
Red forms are very difficult, and probably would be mastered only by a blademaster.

Contents
*Chapter 1 Important Concepts
*Chapter 2 Guard Stances
*Chapter 3 Special Forms
*Chapter 4 Beginning: Slash and Thrust
*Chapter 5 Intermediate: Control and Direction Changes
*Chapter 6 Advanced: Feints, Chained Blows, and Multiple Opponents
*Chapter 7 Suggested Combinations of Forms
*Chapter 8 Earning the Heron
*Chapter 9 --
*Chapter 10 --

Guard Stances
These are the basic stances used by a swordsman to defend himself. He will transition from these stances into a fighting move, known as a sword form, and then back to either the same stance, or a different one. The best swordsmen are the ones who return to these forms only when needed to defend. An excellent swordsman should be able to chain forms indefinately without returning to a guard stance.


Apple Blossoms in the Wind
A versatile technique, intended for use against an ambush by multiple opponents. The blade is held low, but ready for use in a number of strike forms. Keep loose and move slowly.

The Creeper Embraces the Oak
A slow, circling stance. The blade goes from high to low and back to constantly offer a new threat and to guard against others.

Leaf Floating on the Breeze
A horizontal guard position with a form similar to The Falling Leaf. The blade will move up and down according to the threat while moving horizontally to offer new threats. A good basic form.

Leopard in the Tree
A preliminary form, begun with both hands on the hilt of the sword, knees bent, and leaning forward in a ready position. This form is used to prepare for Unfolding the Fan or another such drawing technique. This position is rarely held for a long time, and is usually a transition between Cat Crosses the Courtyard and Unfolding the Fan.

Lion on the Hill
A basic guard stance, with the sword held at shoulder height ready to move into a variety of other forms. Looks kinda like Crono's basic battle stance - see a Chrono Trigger page for more info. Tip is held lower than hilt.

The Swallow Rides the Air
The guard stance assumed after performing The Swallow Takes Flight. More of an on-the-run stance, made for attacking or defending while mobile.

Twisting the Wind
For use in a tight situation, when one is outnumbered. A quick, continual rotation of the body, using slashes and short thrusts to counter or attack as the situation dictates.

Beginning: Simple Slashes and Thrusts
These forms are taught first, since they are all single slashes. Most of the more complicated forms are combinations of these simple forms. Note that some may take more time to master than others.

Arc of the Moon
A simple slash, meant to take off an opponent's head. Begins at midbody level, arcs to neck, and ends back at a guard stance.

Hummingbird Kisses the Honeyrose
A quick thrust in the face. Will at least deter an opponent, and will usually kill a charging opponent outright. Blade should start from shoulder height, though it may be performed from any level less quickly.

The Heron Spreads Its Wings
The operational version of Heron Wading in the Rushes. A tighter cut, concentrated in one sector of the arc of the sword.

The Kingfisher takes a Silverback
Begun while the sword is at shoulder height or higher, a downward stab for the abdomen. Begun when the sword is lower than shoulder height, a downward stab meant to cripple a leg or the groin. May also be used to parry a midlevel strike.

Low Wind Rising
Can be done from almost any stance - even sitting. A diagonal slash, beginning low and rising cleanly. May be used to return to a guard stance after a form such as The Grapevine Twines or Lightning of Three Prongs.

The River Undercuts the Bank
Can be done from a kneeling or standing position. A horizontal slash, used to disembowel or behead.

Tower of Morning
A vertical slash, starting low and ending high. I'd pair this one with Boar Rushes Down the Mountain or The Courtier Taps His Fan.

Advanced: Feints, Chained Blows, and Multiple Opponents
At this level, the swordman has learned to play with his opponent, and will chain blows together to form more complicated forms. He has also learned techniques for fighting multiple opponents.

Bundling Straw
Several quick chest-level thrusts, followed by an arc and a paired return arc that should return the blade to a guard stance. Try this against a quarterstaff opponent.

The Cat Dances on the Wall
A feinting, tentative series of short slashes, thrusts, and parries. The swordsman must have good wrists and quick feet for this to be effective. Useful for buying time.

Cat on Hot Sand
A faster, less tentative version of The Cat Dances on the Wall. Better for multiple opponents.

The Falling Leaf
A more exaggerated and slower version of The Boar Rushes Down the Mountain. Starting high, the blade sweeps back and forth before reaching its lowest point. Can be used to parry effectively against multiple opponents, or just one.

The Grapevine Twines
A circular motion when blades are locked, used to disarm an opponent.

Lizard in the Thornbush
Used expressly against two opponents. One thrust to the chest, then pivot and kneel with either a thrust or a slash, usually a thrust. Good mid-level technique; most veteran-level soldiers have mastered this form.

Moon Rises Over the Water
A vertical arc after a horizontal, tentative slash. The blade should begin and end in the same position - near the waist.

Stones Falling from the Cliff
The medium difficulty version of Boar Rushes Down the Mountain. A good mainstay of a battle, this form is useful for both parrying and attacking. The sword should begin at least at shoulder height and come down.

Striking the Spark
A rapid series of powerful overhand blows, best begun on the return swing of a slash like Low Wind Rising or The Heron Spreads Its Wings. If you've got stamina this can win a battle for you.

The Swallow Takes Flight
Basically, Low Wind Rising followed by a short thrust. The form is angled more toward the opponent, though, so that the opening slash is more a guard for the thrust.

Thistledown Floats on the Whirlwind
A short-range jumping spin-swipe, used for beheading. Best if done by surprise. An opening move in most cases. The sword should not move more than a foot or so; the main force is provided by the spin of the body. The blade should not extend too far out from the body, and be approximately chest high.

Water Flows Downhill
A more complicated form of The Boar Rushes Down the Mountain. This form can and will change direction in midstroke; only the most advanced swordsmen use this form. Like its name, it takes the easiest route from high to low, avoiding contact with the other weapon while seeking its target.

Whirlwind on the Mountain
A form of Thistledown Floats on the Whirlwind, except done while remaining on the ground. Can be modified for use for striking uphill or downhill simply by changing the angle of the spin. The sword also is extended further than with Thistledown Floats on the Whirlwind.

The Wood Grouse Dances
Similar to the Cat Dances on the Wall, but from a more stationary point. Mainly to feel out an enemy, more than to do serious harm.

Earning the Heron
By far the most sought after award of any student of the sword is that of the heron-marked blade. The heron is a universal symbol of a blademaster, the true elite of the elite, and is recognized worldwide, with the possible exceptions of Shara and the Isle of Madmen.

These blademasters are marked men, proudly displaying the heron on their scabbard, blade, and hilt. Many of these heron-marked blades are relics from before the Trolloc Wars, and are One Power-wrought. They never grow dull, and they are nigh impossible to break. These perfect blades are gifts to the swordsmen when they achieve blademastery, as near to perfection as one can get. While many blademasters do serve the White Tower as warders, there are at least an equal number who do not.

Blademasters are rare individuals indeed. It is estimated by this scholar that there are a total of 200-300 men and women worldwide who carry the heron with rights to use it. It takes an incredible amount of study, effort, and skill to earn the heron, and those who wear it are respected by all. Warders hold blademasters in high esteem, as do most Aes Sedai. The Seanchan respect blademasters highly, holding a blademaster of the same social caste well above themselves. Even the Aiel, who despise swords, respect the skill and prowess of a blademaster. Soldiers have deep respect for blademasters, and the common man fears them like they fear warders. Blademasters themselves have a bit of a kindred spirit, and even a blademaster's mortal enemy will have his respect if he earned the heron. Not that said respect will stay the blademaster's hand in battle.

As has been said, the heron is extremely difficult to earn. While there is no set of laws governing it, it is a brotherhood of quite possibly the most dangerous men in the world, and this serves them quite well for keeping the heron in the hands of those they feel deserve it. The steps to earning the heron seem deceptively simple. All that one really needs to do is:

1. Find a blademaster.
2. Impress him/her into taking you on as an apprentice.
3. Learn everything they think you need to know, and learn it thorougly.
4. Pass a final test that the Blademaster gives.
5. Not die in the process.

Of course, these things are far easier said than done, and few reach the rank. However, those who do can rest assured that they are elite. They should not, however, let their guard down, or they will fall prey to the same mentality that claimed the best swordsman in history, when he was beaten by a farmer with a quarterstaff.

--reserved--