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Demi-Gods and Semi-Devils
Wuxia Wiki | Jin Yong | Novels

Demi-Gods and Semi-Devils

Demi-Gods and Semi-Devils (simplified: 天龙八部, traditional: 天龍八部, pinyin: Tiān Lóng Bā Bù) is a wuxia novel by Jin Yong. It was first serialised concurrently from 3 September 1963 to 27 May 1966 in the Hong Kong newspaper Ming Pao1 and Singapore’s Nanyang Siang Pau.2

After its initial run in the newspapers, Jin Yong made revisions to and published it as the Second Edition in October 1978. He made a second round of changes spanning six major edits before releasing it as the Third Edition in November 2002.

It is one of Jin Yong’s most complex and intricate works, weaving together multiple storylines that explore themes of identity, loyalty, and the complex relationships between different ethnic groups in medieval China.

The novel is particularly notable for its sophisticated narrative structure and philosophical depth, examining human nature through the lens of Buddhist cosmology.

Spoiler alert Wuxia Wiki articles aim to provide encyclopaedic information and will inevitably contain spoilers. Jump to the translation if you prefer to avoid spoilers.

Title translation

While the title literally means Eight Parts of the Heavenly Dragon, The Eight Races of Demi-Gods and Semi-Devils would be a more accurate translation.

It refers to the eight raeces of supernatural beings in Buddhist cosmology: Deva, Nāga, Yaksha, Asura, Garuda, Kinnara, Gandharva, and Mahoraga.

In Buddhism, these demi-gods and semi-devils occupy a position above mortals but remain bound by their own desires to Samsāra, the repeating cycle of rebirth one could only escape through enlightenment. This concept becomes central to the novel’s themes and character development.

The popular translation of the title Demi-Gods and Semi-Devils is a collective reference to these eight races, though it loses some of the Buddhist specificity of the original Chinese.

Eight races mapped

Jin Yong originally intended to model each major character after one of these races, but as the story developed, its complexity made such direct mapping impossible. These mythological mappings provide a deeper layer of meaning to character relationships and conflicts.

By connecting individual character arcs to universal Buddhist themes, they help structure the novel’s exploration of transformation and enlightenment. They also demonstrate how characters can embody multiple aspects of these divine beings, reflecting human complexity.

  • Deva – Qiao Feng/Xiao Feng, representing heavenly might and leadership
  • Nāga – Duan Yu and the Duan Clan, reflecting their royal status
  • Yaksha – Xuzhu and the Four Evils, representing guardianship and protection
  • Gandharva – Azhu and Mu Wanqing, celestial musicians and entertainers
  • Asura – Murong Fu and Wagn Yuyan, pride, ambition, and eternal conflict. Asuras wage constant war against the Devas for control of heaven, reflecting Murong Fu’s rivalry with Xiao Feng.
  • Garuda – Jiumozi and Xuzhu, showing transformation and power
  • Kinnara – Azi
  • Mahoraga – You Tanzhi

The notable character without direct mapping is Zhong Ling.

Deva

In Buddhist mythology, Devas are godlike beings who inhabit the heavenly realms. They possess great power and virtue but can still be subject to pride and attachment. Their primary antagonists are the Asuras, with whom they engage in eternal conflict.

Xiao Feng/Qiao Feng: Embodies the Deva’s qualities of leadership, martial prowess, and moral authority. His position as the leader of the Beggars’ Guild and later as a noble of the Liao kingdom reflects the Deva’s elevated status. His conflict with Murong Fu mirrors the traditional Deva-Asura rivalry.

Nāga

Nāgas are divine dragon-kings in Buddhist mythology, often serving as guardians of treasures and rulers of their own realms. They are associated with water, wisdom, and royal power.

Duan Yu: As the prince of Dali Kingdom, he represents the Nāga’s royal nature. His character represents their qualities of wisdom and nobility.

The Duan Clan: Collectively embody the Nāga’s association with righteous rulership and Buddhist principles, as shown in their governance of the Buddhist kingdom of Dali.

Asura

Asuras are powerful beings driven by pride, envy, and ambition. In Buddhist mythology, they are former devas who fell from grace due to their pride and are locked in eternal conflict with the devas for control of heaven.

Murong Fu: Perfectly embodies the Asura’s traits of pride, ambition, and martial prowess. His obsession with restoring the fallen Yan kingdom and rivalry with Xiao Feng mirror the Asura’s eternal struggle against the Devas.

Wang Yuyan: Represents the beauty that Asuras possess, as well as their connection to desire and attachment.

Yaksha

In Buddhist mythology, Yakshas are powerful nature spirits who serve as guardians of natural treasures and sacred places. They are complex beings who can be either benevolent protectors or dangerous forces when angered.

  • Xuzhu: Represents the protective, dharma-guarding aspect of Yakshas through his role as a Shaolin monk. His journey from simple monk to leader of multiple sects mirrors the Yaksha’s role as a protector of sacred knowledge.

  • The Four Evils: Embody the fierce and potentially destructive nature of Yakshas. Like Yakshas who can become dangerous when provoked, they represent formidable powers that exist outside conventional moral boundaries.

Gandharva

Gandharvas are celestial musicians in Buddhist cosmology, known for their artistic talents and connection to divine truth. They are often associated with romance and are renowned for their extraordinary beauty.

  • Azhu: Directly embodies the Gandharva’s artistic nature through her role as a performer at the Relaxed Tavern. Her tragic romance with Xiao Feng reflects the Gandharvas’ association with love stories.

  • Mu Wanqing: Represents the Gandharvas’ aspects of beauty and romantic destiny. Her complex relationship with Duan Yu mirrors the Gandharvas’ involvement in tales of fated love.

Garuda

Garudas are divine eagle-like beings in Buddhist mythology, known for their tremendous power and ability to transform. They are associated with wisdom and enlightenment.

  • Jiumozi: Embodies the Garuda’s aspects of wisdom and spiritual power, though his position as an enlightened figure comes through a different path.

  • Xuzhu: His transformation from an ordinary monk to a powerful spiritual leader reflects the Garuda’s themes of transformation and enlightenment.

Kinnara

Kinnaras are celestial beings associated with music, dance, and perfect devotion. In Buddhist mythology, they are often depicted in pairs and are legendary for their faithfulness in love.

  • Azi: Exemplifies the Kinnara’s capacity for absolute devotion through her unwavering love for Xiao Feng. Her tragic fate mirrors the often-sorrowful nature of Kinnara love stories, while her loyalty even in the face of rejection reflects their legendary faithfulness.

Mahoraga

Mahoragas are serpentine beings who represent the path of transformation through humility. In Buddhist mythology, they symbolize the journey from pride to wisdom through humbling experiences.

  • You Tanzhi: His character arc perfectly embodies the Mahoraga’s theme of transformation through humility. Beginning as an arrogant young master, he learns wisdom and humility through his defeats and hardships, mirroring the Mahoraga’s journey from pride to enlightenment.

Significance in the Novel

These mythological mappings serve several purposes in the novel:

  1. They provide a deeper layer of meaning to character relationships and conflicts
  2. They connect individual character arcs to universal Buddhist themes
  3. They help structure the novel’s exploration of transformation and enlightenment
  4. They demonstrate how characters can embody multiple aspects of these divine beings, reflecting human complexity

Jin Yong’s use of these mythological beings goes beyond simple one-to-one correspondence, creating a rich tapestry where characters can represent different aspects of these divine beings at different points in their development. This complexity adds depth to the novel’s themes of personal growth, spiritual development, and the interconnected nature of all beings.

Plot

Background

The story is set during the Northern Song dynasty,3 specifically during the reign of Emperor Zhezong around 1094 CE. The narrative unfolds against a backdrop of political tension between several kingdoms and ethnic groups: the Han Chinese-dominated4 Song Empire, the Khitan-led5 Liao Empire,6 the Kingdom of Dali,7 Western Xia,8 and Tibetan Empire.9

This period was marked by complex political relationships and cultural exchanges between these various powers, providing a rich historical context for the novel’s exploration of ethnic identity and loyalty.

Summary

The novel follows three protagonists whose stories initially develop separately but gradually interweave:

Duan Yu A young prince of the Dali Kingdom who disdains violence and refuses to learn martial arts. Through a series of coincidences, he acquires powerful skills including the Beiming Powers and the Six Meridians Divine Sword. His romantic entanglements with several women become complicated when he believes them to be his half-sisters due to his father’s past affairs. Eventually, he discovers he is not his father’s biological son, freeing him to pursue these relationships.

Qiao Feng The charismatic chief of the Beggars’ Guild whose life is upended when he is revealed to be an ethnic Khitan and accused of murder. Forced to leave the Han Chinese martial arts world, he embarks on a journey to uncover his true identity and clear his name. His tragic romance with Azhu and complex relationship with both Song and Liao empires form a central thread of the narrative. His story culminates in a noble sacrifice to prevent war between Song and Liao.

Xuzhu A humble Shaolin monk who, through various circumstances, inherits leadership positions he never sought, including becoming the ruler of Lingjiu Palace and the prince consort of Western Xia. His journey forces him to reconcile his Buddhist beliefs with worldly responsibilities, eventually leading him to choose love over monastic life.

Themes

Identity and belonging

The novel explores questions of personal and ethnic identity, particularly through Qiao Feng’s struggle with his Khitan heritage in a Han Chinese-dominated society. This theme reflects broader questions about the nature of belonging and the conflict between inherited and chosen identities.

Fate and circumstance

A recurring theme is the role of fate and circumstance in shaping lives. All three protagonists find themselves in situations they neither sought nor desired, highlighting the Buddhist concept of karma and the interconnectedness of all things.

Love and obligation

The novel examines various forms of love—romantic, familial, and platonic—and how they conflict with social obligations and expectations. Each protagonist faces choices between personal happiness and duty.

Religious philosophy

Buddhist concepts permeate the novel, particularly the idea that desire leads to suffering. The eight races of demi-gods and semi-devils serve as a metaphor for the human condition, trapped in cycles of desire and suffering.

Cultural integration

Through its diverse cast of characters from different ethnic backgrounds, the novel explores themes of cultural integration and conflict, reflecting the complex relationships between various ethnic groups in medieval China.

Cast

See more: Demi-Gods and Semi-Devils characters

Protagonists

  • Duan Yu (段譽 – Duàn Yù) – The prince of Dali Kingdom who abhors violence
  • Qiao Feng (蕭峰 – Xiāo Fēng) – The chief of the Beggars’ Sect who discovers his Khitan heritage
  • Xuzhu (虛竹 – Xūzhú) – A Shaolin monk who inherits multiple leadership positions

Important Characters

  • Duan Zhengchun (段正淳 – Duàn Zhèngchún) – Duan Yu’s father and a notorious womanizer
  • Wang Yuyan (王語嫣 – Wáng Yǔyān) – A beautiful young woman whom Duan Yu pursues
  • Azhu (阿紫 – Ā Zǐ) – Xiao Feng’s love interest
  • Azi (阿紫 – Ā Zǐ) – Azhu’s younger sister who develops feelings for Xiao Feng
  • Murong Fu (慕容復 – Mùróng Fù) – The heir of the Murong family seeking to restore the Yan kingdom
  • Mu Wanqing (木婉清 – Mù Wǎnqīng) – A skilled martial artist who becomes romantically involved with Duan Yu
  • Zhong Ling (鐘靈 – Zhōng Líng) – A young, spirited girl who falls in love with Duan Yu
  • The Four Evils (四大惡人 – Sìdà Èrén) – Four notorious figures in the jianghu who play crucial roles
    • Duan Yanqing (段延慶 – Duàn Yànqìng) the Overflowing Evil – First of the Four Evils
    • Ye Erniang (葉二娘 – Yè èrniáng) the OBon) the Savage Evil – Third of the Four Evils, also known as the Evil of the Southern Seas
    • Yun Zhonghe (雲中鶴 – Yún Zhōnghè) the Ultimate Evil – Fourth of the Four Evils

Martial Arts

  • Beiming Power (北冥神功) – Ability to absorb others’ internal energy
  • Six Meridians Divine Sword (六脈神劍) – Powerful sword techniques using pure internal energy
  • Twenty-eight Palms of Dragon-subduing (降龍十八掌) – Qiao Feng’s signature technique
  • Yijin Jing (易筋經) – A powerful Buddhist martial arts manual
  • Lingbo Footwork (淩波微步) – An incredibly agile qinggong technique

Behind the Scenes

Jin Yong began writing Demi-Gods and Semi-Devils in 1963, during a period when he was simultaneously managing his newspaper Ming Pao and writing multiple serialized novels. The novel’s complex structure and philosophical themes reflect his growing sophistication as a writer.

During the serialization, novelist Ni Kuang briefly took over writing duties for about a month, contributing approximately 40,000 words while Jin Yong was traveling abroad. This included a scene where Azi was blinded, which was largely removed in subsequent editions, though the basic plot point was retained.

The novel’s Buddhist framework was carefully researched, with Jin Yong drawing on extensive religious and historical sources to create his narrative structure. The work’s philosophical depth and complex characterization marked a new level of maturity in his writing.

Adaptations

Film

Television series

Video games

  • 2002 single-player RPG
  • 2007 MMORPG from Changyou and Sohu: Dragon Oath, also known as Tiān Lóng Bā Bù in China
  • 2012 MMORPG from Changyou and Sohu released on 25 October as Tian Long Ba Bu: Shen Bing Hai Yu endorsed by Hu Ge and Cecilia Liu who appeared as Duan Yu and Wang Yuyan respectively

Legacy

Demi-Gods and Semi-Devils represents one of Jin Yong’s most ambitious and philosophically complex works. Its sophisticated treatment of ethnic identity and cultural conflict was groundbreaking for the wuxia genre, while its intricate plot structure and character development set new standards for Chinese popular fiction.

The novel’s influence extends beyond entertainment, contributing to discussions about ethnic relations and identity in Chinese society. Its exploration of Buddhist philosophy and human nature has made it a subject of serious literary study.

The work’s popularity has led to numerous adaptations across various media, helping to introduce wuxia to new generations of audiences. Its themes of identity, loyalty, and the complexity of human relationships continue to resonate with readers today.

Translation

WuxiaSociety has an on-going fan translation of the Third Edition by Jenxi Seow. It comes with footnotes on cultural and historical points, as well as translator notes to help readers better understand the context and appreciation the nuances that stems from Chinese culture and traditions.

See Also

Footnotes

  1. 明報 – Míng Bào. A Hong Kong newspaper that was founded in 1959 See Wikipedia. ↩

  2. 南洋商報 – nányáng shāng bào. A Singapore newspaper that was founded in 1955. See Wikipedia. ↩

  3. 北宋 – Běi Sòng. A period of the Song Dynasty that lasted from 960 to 1127 CE. See Wikipedia. ↩

  4. 汉族 – Hànzú. The largest ethnic group in China and the world. See Wikipedia. ↩

  5. 契丹 – Qìdān. A nomadic people descended from the proto-Mongols through the Xianbei. See Wikipedia. ↩

  6. 遼 – Liáo. A powerful Khitan empire that ruled over northeast China, the Mongolian Plateau, the northern part of the Korean Peninsula, southern parts of Russian Far East, andthe nortern tip of the North China Plain. See Wikipedia. ↩

  7. 大理 – Dàlǐ. A kingdom in southwest China ruled by the Bai people. Modern day Yunnan Province See Wikipedia. ↩

  8. 西夏 – Xī Xià. Also known as the Tangut Empire. A powerful kingdom in northwestern China ruled by the Tanguts. See Wikipedia. ↩

  9. 西藏 – Xī Zàng. An empire in southwest China that was ruled by the Tibetan people. See Wikipedia. ↩