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87
martial-arts fiction and jin yong
Wuxia xiaoshuo, here loosely translated as “martial-arts fiction,” more literally
means fiction (xiaoshuo) whose subject matter is the intersection of the martial
arts (wu) with altruistic ideals and the figure of the “Chinese knight-errant”
(xia). Martial-arts fiction refers specifically to extended prose narratives on these
themes written in vernacular Chinese during the twentieth century. Histories
and “encyclopedias” of martial-arts fiction generally trace the genre’s roots to
the classical tales of the Tang dynasty or even the historical records of the Han
period (Liu 1967), and martial-arts novels themselves often draw on such texts or
cite them as predecessors.
There is good reason, nonetheless, to consider martial-arts fiction a uniquely
twentieth-century literary genre. The compound wuxia xiaoshuo did not appear
in the Chinese vocabulary until the first decade of this century, apparently bor-
rowed from the Japanese designation for a genre of contemporary adventure
novels. Both the newness of the term and its transmission from the hands of
China’s forward-looking neighbor make it a fitting designation for a genre that,
whatever its thematic and formal links with an ancient literary tradition, owes its
modern form and popularity to the particular conditions of early twentieth-
century China. Urbanization, changes in education and social structure, and
the growth of commercial publishing all supported martial-arts fiction as one el-
ement within the rising medium of mass-distributed entertainment literature;
the fundamental nostalgia and nativism of the genre—its setting in a premod-
ern rural past, a moment of historical crisis, or a mythic antiquity, and its cele-
510 Martial-Arts Fiction and Jin Yong
bration of the martial arts as a uniquely Chinese cultural practice—r
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