The Sword Forms on Tales of Ta'veren

LINES and ANGLES of ATTACK

Attacks can be either slashes, which is done with the blade of the sword, or thrusts, done with the tip of the sword.

There are a total of 8 lines of attack and 9 angles of attack. Here is a simple diagram that demonstrates them. (NOTE: The diagram depicts the movements as performed by a right-handed swordsman. Left-handers would reverse the directions.)

So, a slash along the first line of attack would start with the sword tip high, then brought straight down, to a low point, the blade slashing vertically. A thrust along the sixth angle of attack would start with the blade horizontal to the ground, the sword tip pointed at the target, the hilt held far out to the right, parallel to the ground.

The ninth angle of attack is hard to draw, so I didn't. It's just a straight thrust. Direct line from the center of the attacker's body to the target.

Defensive Forms

Defensive forms are designed to protect four zones or "sides", as shown to the right. The upper and lower quadrants are called high and low, obviously. The other two quadrants are called weak and strong. The strong side is the side you "lead" with.. if you are right-handed, then your strong side is your right side. If you are left-handed then it is your left side. The weak side is the opposite side.

Descriptions of the Sword Forms

All forms are performed with two hands upon the hilt, except when noted otherwise.

Apple Blossoms in the Wind
This is perhaps the most difficult of techniques, because it is more the strategic combination of several forms rather than a true form of its own. Used when faced with more than two opponents, it involves various methods of displacement of the body in spinning and gliding motions while the sword is in near-constant motion.

Arc of the Moon
Moving the blade from a high sixth line of attack, a 'crescent' should be described that ends in a low fifth line of attack; an effective, quick parry, it also makes for an excellent feint and riposte.

Black Pebbles on Snow
A draw stroke, the name suggests the way the attack follows the motions of the opponent. When an attack is parried and its momentum allows the blade to continue forward, the swordsman can use the motion of his feet and body, and that of his foe, to turn the withdrawing of the blade into an attack of its own, most typically at the torso as the weapon is brought back along the horizontal 5th or 6th line to the defensive.

Boar Rushes Down the Mountain
An all-out attack,step forward while moving the sword through the first line of attack. The chief danger in this form is that it requires high-commitment and can leave you in serious danger if an able opponent finds an opening or manages to keep his defense unbattered for a counter-attack after the form is ended.

Boar Rushes Downhill
Similar to Boar Rushes Down the Mountain, only the attack is made from the fourth line, aiming for a high target, such as the opponents head or shoulders.

Bundling Straw
A defensive move, this is a counter to low thrusts. From the standard guard, drop the tip of the sword to your opponent and then describe a half-circle starting on your weak side, dropping low to catch your opponent's blade, then push it off to your strong side.

Cat Crosses the Courtyard
A way of walking developed for intimidation, but also requiring coordination and also managing to leave the practitioner at almost all points in a favorable stance for combat. The practitioner must relax the body, acting as if his head were connected to an invisible wire. It is said to be very reminiscent of a nobleman's swagger.

Cat Dances on the Wall
The typical fencer's "crab-walk", one foot placed before the other, forming a 90 degree angle between the toes of your feet. You nearly shuffle from one foot to the other, never crossing them, as you advance and retreat.

Cat on Hot Sand
As if one were a cat trying to cool its feet, you use short hops and quick footwork to move from side to side, an unsteady target, while moving the sword in low-commitment thrusts along all angles of attack to test an opponent's defense. When combined with others forms, it can be used as a confusing setup for a more dangerous attack.

Courtier Taps His Fan
This form is performed with a single hand upon the hilt and consists of slashing along the fourth line, then, as contact is made with the opponent's sword, the attack is pivoted at the point of contact, so the sword blade is now behind the opposing sword. The attack is then reversed into the third line of attack, targeting the head, shoulders, neck, chest, or possibly the arms.

The Creeper Embraces the Oak
A dangerous maneuver of high commitment, it begins with the fourth line of attack and pushes the opponent's blade aside. When the opponent begins to push back, drop your hilt low, bring the point high and switch to a thrust along the eighth angle of attack, sliding the point of the sword forward, aiming upwards at the chest or throat.

Cutting the Clouds
A counter to attack, it is best used against the opponent who attacks with arms outstretched. Sliding back and to the side towards one's own strong side, the weapon is dipped down towards the ground before being snapped through the seventh line to strike at an extended and vulnerable limb.

Dandelion in the Wind
An extremely aggresive cut, the swordsman ducks forward and with precise timing makes a short cut at the vunerable features -- such as the throat -- along the 3rd line when the opponent is attacking, hoping to speed and superior timing to end the opponent's attack.

Dove Takes Flight
A combination of evasion and attack, the form begins with you stepping forward and to your weak side, away from an incoming blow coming from your strong side. As you step forward, a strong parry to the third line should be performed followed by a swift reversal along the eighth line of attack, slashing at your opponents throat. The most important element is the timing of the parrying stroke; it must be made late enough that your opponent is fully commited to the attack, so their follow through carries their sword downwards, instead of back into a guard position.

The Falcon Stoops
A deceptive attack performed one-handed, you quickly lift your sword high, the hilt above your head, as if thrusting the air the directly above you. Just as you reach full extension, rotate your sword 180 degrees to your weak side until the point is aimed at the ground, leading you into the first angle of attack, aimed at your opponent's torso. A dangerous sword form, due to the opening of the torso and legs in the early stages.

Falling Leaf
Performed single handedly, you commit fully to the first line of attack, but you want your sword to fall short of the mark, making it seem as if you misjudged the distance between youself and your opponent. At the end of the stroke, roll the blade over and snap into the eighth line of attack backhanded. Continue this into a thrust along the eighth angle if your opponent did not step forward to take advantage of your feigned mistroke.

Folding the Air
Incorporated into various forms in various ways, the specific form for defense is done when an opponent performs a charging thrust. The practitioners blade is slipped under the opponents weapon and then lifted up and to the side so that the weapon is turned away. Generally a pivot on one foot should be used to also turn the body away from the opponents charge.

Folding the Fan
Sheathing move, very smooth and quick; from the vertical guard, a flick of the wrist brings the sword to the horizontal. You then bring the point back, near the scabbard and then slide it in, using fingers upon the scabbard to help guide the blade.

Grapevine Twines
An action used for either disarming or attacking, the basic idea is to spiral one's sword around the opponents weapon, keeping them from attacking, and then moving nearer enough to thrust into their chest.

Heron Spreads His Wings
The practitioner swings up both arms to roughly 30 degrees past horizontal, the blade describing a slash with edge outward until it halts, which makes it both effective as an attack and a defense, but isn't highly recommended because it leaves a large opening.

Heron Wading in the Rushes
The form for beginners to develop balance, it is for all practical purposes useless in combat because it leaves one entirely defenseless. The practitioner stands on one foot while holding the sword in one hand above his head, blade upwards as he points it forward and down -- like the heron's beak. It can be used for attack, one supposes, but only if the practitioner wishes the opportunity to risk nearly certain death, which is a great possibility with this form.

Hummingbird Kisses the Honeyrose
The practitioner circles his sword, to avoid a parry or disarming attempt and steps to his right (if he is right handed) then he executes a strong thrust at the neck of his opponent. Timing is of the essence, as is an accurate thrust. More flamboyant swordmasters have been know to use the mouth as the target for Hummingbird Kisses the Honeyrose.

Kingfisher Takes a Silverback
Reminiscent of its name, this form requires swift reflexes able to move from stillness to an explosion of sudden action as a sudden, darting lunge and thrust are performed. The practitioner must be careful not to place too much weight on the forward leg, however, as it would slow their withdrawal and response to any counter-attacks.

Kissing the Adder
A defensive form, the swordsman turns a cut away around him, seemingly giving ground ... but keeping the position of the sword a constant rather than bringing it back for a responding attack, so that the opponent runs himself upon it.

Leaf on the Breeze
Holding the sword horizontal and closely parallel to the body, the arms take it outwards to left or right, then spin it around 180 degrees to repeat the maneuver in the opposite direction, providing a total of two cuts to the midsection of the opponent in rapid succession, though best used when the opponent is sure not to be able to defend.

Leopard in High Grass
A walking stance to be used when there are foes on all sides, it is reminiscent of the stalking hunting cat. The eyes glare fiercely, the head held up, the steps measured and decisive.

Leopard in the Tree
A dangerous, high-commitment attack, the practitioner readies themselves by 'coiling' their body and then springing forward at the opponent, cutting or thrusting violently. The coiling motion is suggested to be part of an extended defense and to seem natural rather than a stilted and plain form.

Lightning of Three Prongs
Difficult because it requires so much speed, the form requires the practitioner to make three cuts, going from horizontal to vertical, in hopes of overwhelming defense; high commitment is required for it to be in any way successful.

Lion On The Hill
One of the essentials of swordsmanship, this attack is simply the formal name for the diagonal cut from right to left, or left to right, depending on the forward hand. This is just one of the 16 varieties of cuts which must be mastered before any attempts at advanced techniques can be undertaken.

Lizard in the Thornbush
Used on one or two foes, a slash brings the hands to a little above waist-height to the left or right side. Then a drop to one knee as the sword is thrust forward, either into the same foe or a second (The Great Hunt, page 294)

Low Wind Rising
Sitting or kneeling, the sword is drawn in a smooth motion. As soon as the tip of the blade clears the scabbard, a rising cut should be made, blade either roughly parallel or at a right angle to the body as it moves upwards. This is thus suitable for both attack or defense.

Moon on the Water
A low feint thrust from a low crouch suddenly turned high by bringing elbows and hands up in mid-motion.

The Moon Rises Over the Lakes
Like the moon that once rose over the lakes of the Malkieri, it is a combination of feint and attack, illusion and reality. The sword is thrust and mock-slashed in no real set pattern, used even in defense, until an opening is provided by a confused opponent for a true attack.

Moon Rises Over Water
Both a displacement to get one out of line as well as a potential block and attack, the practitioner twists at the waist and hips to face an opponent while sweeping the sword upwards in a cutting stroke.

Parting the Silk
One of the basic attacks, it is simply a vertical cut from high to low.

Ribbon in the Air
Of somewhat extreme difficulty because it requires specific situations and the speed to realize when the situation applies, it is basically a combined attack and defense describing a lopsided N going left to right or right to left. Particularly it is useful when facing a pair of opponents in front.

River Undercuts the Bank
An extremely low slash done when in a crouch or on ones knees, sometimes being so after stepping toward the opponent and moving into a crouch at the same time as slashing with the blade at the opponents torso.

The Rose Unfolds
A dangerous form, one actually moves into an opponents attack, trying to slip aside and move so closely that their attempt to attack is hampered. The sword is held high in this case, and once the entrance into the opponent's circle of response is made, it is brought down at their weapon arm along the 3rd line.

Sheathing the Sword
"When the warrior has no fear of death, he is a master and is truly dangerous." This is not a form but a Way, when the warrior will risk nearly certain death and take a potentially fatal wound in the hopes that in turn he can strike at his opponent. Only those of strong spirit and great courage will ever consider using this.

Soft Rain at Sunset
A deceptive attack, it is done with almost negligent slowness yet with strength behind it. When an attack is parried away, the blade is flicked upwards towards the face with speed. But this is a feint, resulting in the foe likely surprised for an instant as with a turn of hips and shoulders the blade is brought back down the 3rd line across the face.

Stones Falling Down the Mountain
A pair of cuts, performed from a high guard. The first is a quick cut (for a right-handed practitioner, moving towards the left) at head-level which is more a feint than anything and then drawn back and spun overhead while the blade lifts up nearer to vertical to come down in a diagonal from the opponents right to their left. A strong attack form, Unfolding the Fan is noted as a counter, and could be used against either or both cuts.

Stones Falling From the Cliff
Difficult chiefly for it's generous commitment, this attack is like Parting the Silk in that it's a vertical up and down cut.... but it involves springing and leaping, so that all of one's weight and energy is focused behind the strike.

Stone Falls From the Mountain
A difficult method of attacking and confusing an opponent, the blade is to be moved in an almost 'bouncing' manner, weaving up and down and slashing from time to time, either as all part of an attack or as feints or probes before an opening is made.

Striking the Spark
A strike made at roughly 20-30 degrees above horizontal, using the wrists to flick the blade -- but not for attack; this is strictly a feint maneuver, quick and with little force for the purpose of tricking your foe into action or confusing them. As in all feints, it should be done to seem like a real attack as much as possible.

Swallow Rides the Air
This form is a quick downward parry, often used to counter low strikes such as Water Flows Downhill and the River Undercuts the Bank. The practitioner steps away from the cut, sword coming down to parry the cut or thrust away from his/her body. The point of the sword should point into the ground at the time of the parry, and the practitioner should be careful move both feet out of the way of the attack.

The Swallow Takes Flight
Recalling the dip a swallow takes before it actually gathers enough strength to take wing, the thrust starts high, dips under a defense, and rises up again to strike. It is crucial that this attack be _perfectly_ timed and done with precise motions; otherwise a good parry can knock the sword from one's hands or at least leave one open to a potentially devastating counter.

Thistledown Floats on the Whirlwind
A jumping, spinning cut to the neck. Right-handed practitioners would spin counter-clockwise. Distance and surprise are vital to the effectiveness of this cut, too close and the cut will lack force and leave you wide open to a faster counter.

Tower of the Morning
Sword held vertical, moving down to up, usually only shortly as too strong a movement leaves one very open. Suitable for blocking or, when extremely close in attacking up at an opponent, as well as a set up for high-guard forms.

Twisting the Wind
This is in many ways like River Undercuts the Bank in that it involves crouching and slashing at the opponents midsection, but there are two chief differences. First, the free hand holds the edgeless back of the blade and pushes it along to add more power to the initial cut. Second, if against two opponents (one behind and one before), the cut can be continued through a half-turn on one's knee, evasive, while using the arm to fully whip the blade forward to catch the other opponent at the same time as the first is falling.

Unfolding the Fan
Reminiscent of a courtier with his fan, the parry involves a swift snap of the wrists to meet an assault, usually coming from the plane of the horizontal. This motion can also be used immediately after the unsheathing of a sword to bring it to the ready.

Water Flows Downhill
This is a swift attack form, as the practitioner steps to one side quickly, and crouches. The attack itself is a strong thrust aimed for the groin or lower abdomen. Timing, as always, is key, as is conviction in the attack.

Watered Silk
A deceptive attack, going at ritualistic sword form speed in the beginning, a slow withdrawal from the attack, hilt high, point low as the practitioner draws back -- and then either a parry followed by a springing slice at the neck or a direct attack if the opponent was not tricked into attacking, but rather than a spring rather a quick forward motion firmly on the ground and a reversal of the weapon for a vertical cut.

Whirlwind on the Mountain
Basically a trick maneuver, I involves the spinning the sword around in the hands fully, so as to successfully parry one or more thrusts. Dangerous chiefly because of the possibility of losing the sword if a mistake is made or a smart opponent manages to use their weapon to make the practitioner's jolt, it requires a certainty of the situation and no little dexterity and speed.

Wind and Rain
A horizontal cut across the abdomen performed while the practitioner is stepping past the attacker on his side. The practitioner then steps through and pivots to finish with a diagonal slash from high to low, either to parry a counter or to finish the opponent. This form is best used as a way to dodge an overhand attack while attacking in the same motion.

The Wind Blows Over the Wall
A rush forward, aimed to pass by one side of the opponent while the sword is swung outwards from a high or medium position in the horizontal at the opponent.

Wood Grouse Dances
Deceptive attack and defense, relying on constant shifting and short chopping/stabbing, trying to catch the opponent off-guard so that a more powerful attack may be used. The chief difficulty is that the constant motion of the feet can lead one to stumble or lose ones balance.