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Laughing in the Wind

Laughing in the Wind

Laughing in the Wind (simplified: 笑傲江湖, traditional: 笑傲江湖, pinyin: Xiào ào jiānghú), commonly known in English as The Smiling, Proud Wanderer, is a wuxia novel by Jin Yong. It was serialised in Hong Kong’s Ming Pao newspaper from 20 April 1967 to 12 October 1969, during the height of the Cultural Revolution.

The novel is unique among Jin Yong’s works for deliberately avoiding a specific historical setting, making it a timeless political allegory about power struggles. The author stated in the afterword that “similar situations could occur in any dynasty”, emphasising its universal themes.

The novel has undergone multiple revisions since its initial publication. Jin Yong revised it in 1980 with minor amendments and published by Ming Ho Publications as the Second Edition. He made a second round of revision to refine the text and published in early 2005 as the Third Edition.

Publication history

The novel was first serialized in Hong Kong’s Ming Pao newspaper from 20 April 1967 to 12 October 1969. The novel underwent multiple revisions, with the second edition published in 1980 and the third edition in 2005, incorporating significant changes to plot and character development.

Chinese editions

  • First Edition (1967-1969): Serialization in Ming Pao newspaper
  • Second Edition (1980): Ming Ho Publications
  • Third Edition (2005): Guangzhou Publishing House (新修版)
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Title translation

The most common translation of Laughing in the Wind is The Smiling, Proud Wanderer. Other translations include:

  • The Smiling, Proud Wanderer
  • The Wandering Swordsman
  • The Peerless Gallant Errant
  • The Proud and Gallant Wanderer
  • State of Divinity

The Chinese title literally means laughing resolutely or defiantly in the jianghu. Given that jianghu is a specific wuxia term that readers not familiar with the genre may not be aware of, we chose a more poetic expression using “in the wind” to convey the sense of freedom and defiance.

The translation of the title can be a little challenging, especially for non-native speakers. Xiao (笑) can mean different things depending on context—from a hearty laugh to a faint smile. However, in this title, it represents a disregard for jianghu rules and politics rather than merely smiling or laughing.

Similarly, ao (傲) is often mistranslated as “proud”. It actually describes an unyielding stance taken by recluses who prefer to stay away from politics and power struggles, coveting freedom to do as they please even if it means going against jianghu rules or societal norms. The term carries connotations of defiance with resolve and determination, rather than mere rebelliousness.

The title State of Divinity tries to convey this stance as a form of enlightenment, hence the term divinity. However, it is too abstract and loses the carefree aspect.

Plot

Background

The novel is set in a deliberately ambiguous time period, with no direct references to historical events or figures—a conscious choice by Jin Yong to emphasise the story’s role as a political allegory that could apply to any era.

The martial arts world is divided between the orthodox schools, represented by the Five Mountains Sword Alliance, and the so-called evil Sun Moon Holy Order. However, as the story unfolds, the apparent division between good and evil becomes increasingly blurred.

Summary

The novel opens with the massacre of the Lin family in Fuzhou by Yu Canghai of the Qingcheng School, who seeks the coveted Evil-warding Swordplay Manual. The sole survivor, Lin Pingzhi, is saved by Yue Buqun of the Huashan School and accepted as a disciple.

The protagonist Linghu Chong, Yue Buqun’s senior disciple, is a carefree swordsman who enjoys drinking and befriends the notorious bandit Tian Boguang. This friendship leads to punishment from his master. While in isolation on Mount Hua, he discovers hidden sword manuals and meets the reclusive Feng Qingyang, who teaches him the powerful Nine Swords of Dugu technique.

Linghu Chong’s journey becomes increasingly complex as he encounters various factions. He meets Ren Yingying, daughter of the former Sun Moon Holy Order leader Ren Woxing, and falls in love with her. Meanwhile, the Five Mountains Sword Alliance faces internal strife as Zuo Lengchan of Songshan School attempts to force unification under his leadership.

The story reveals multiple layers of deception: Yue Buqun, despite his reputation as the “Gentleman Sword,” is exposed as a hypocrite who schemed to obtain the Evil-warding Swordplay Manual, which requires self-castration to master. His machinations lead to tragedy for his daughter Yue Lingshan and her husband Lin Pingzhi.

The novel culminates in the dissolution of the Five Mountains Sword Schools Alliance and the death of Ren Woxing from a stroke. Ren Yingying succeeds her father and negotiates peace between orthodox and unorthodox factions before passing leadership to Xiang Wentian and marrying Linghu Chong.

Themes

Power and corruption

The novel’s central theme is the corrupting nature of power, illustrated through various characters’ attempts to dominate the martial arts world.

This is particularly evident in the contrast between proclaimed righteousness and actual behaviour among the “orthodox” schools.

Hypocrisy and authenticity

Jin Yong explores the gap between appearance and reality, particularly through characters like Yue Buqun who maintain a virtuous façade while pursuing selfish ambitions.

In contrast, Linghu Chong’s straightforward nature and rejection of pretence represent authentic living.

Freedom versus control

The conflict between individual freedom and institutional control runs throughout the novel.

Linghu Chong’s carefree nature and resistance to authority contrasts with the rigid hierarchies and power struggles of the martial arts schools.

Political allegory

Written during the Cultural Revolution, the novel can be read as a critique of political power struggles and ideological conflicts.

The battles between various factions mirror real-world political conflicts, though Jin Yong deliberately avoided specific historical references.

Cast

Main article: Laughing in the Wind characters

Main characters

  • Linghu Chong (令狐冲 – Lìnghú Chōng) — The protagonist, senior disciple of the Huashan School, known for his carefree nature
  • Ren Yingying (任盈盈 – Rèn Yíngyíng) — Female lead, daughter of the former Sun Moon Holy Order leader
  • Yue Lingshan (岳灵珊 – Yuè Língshān) — Daughter of Yue Buqun, Linghu Chong’s childhood sweetheart
  • Lin Pingzhi (林平之 – Lín Píngzhī) — Sole survivor of the Lin family, who joins Huashan School seeking revenge
  • Yue Buqun (岳不群) — Leader of Huashan School, outwardly gentlemanly but inwardly scheming

Major characters

  • Ren Woxing (任我行 – Rèn Wǒxíng) — Former leader of the Sun Moon Holy Order
  • Dongfang Bubai (东方不败 – Dōngfāng Bùbài) — Usurper who took control of the Sun Moon Holy Order
  • Zuo Lengchan (左冷禅 – Zuǒ Lěngchán) — Leader of Songshan School who attempts to unify the Five Mountains under his control
  • Feng Qingyang (风清扬 – Fēng Qīngyáng) — Reclusive master who teaches Linghu Chong the Nine Swords of Dugu
  • Xiang Wentian (向问天 – Xiàng Wèntiān) — Member of the Sun Moon Holy Order who becomes sworn brothers with Linghu Chong

Martial arts

  • Nine Swords of Dugu (独孤九剑 – Dúgū Jiǔ Jiàn) — A legendary sword technique with no fixed forms, able to break any other sword style. Taught to Linghu Chong by Feng Qingyang.
  • Evil-Warding Swordplay (辟邪剑法 – Bìxié Jiànfǎ) — The Lin family’s secret sword technique, powerful but requiring self-castration to master. Its manual is a key plot driver.
  • Violet Mist Power (紫霞神功 – Zǐxiá Shéngōng) — The Huashan School’s signature internal energy cultivation method, known for its orthodox and refined style.
  • Sunflower Manual (葵花宝典 – Kuíhuā Bǎodiǎn) — A mysterious manual granting immense power, but requiring the practitioner to castrate themselves. Mastered by Dongfang Bubai.
  • Five Mountains Sword Techniques — Each of the Five Mountains Sword Schools has its own distinctive swordplay:
    • Huashan Swordplay (华山剑法 – Huàshān Jiànfǎ)
    • Songshan Swordplay (嵩山剑法 – Sōngshān Jiànfǎ)
    • Eighteen Bends of Taishan (泰山十八盘 – Tàishān Shíbā Pán)
    • Five Divine Swords of South Hengshan (衡山五神剑 – Héngshān Wǔ Shén Jiàn)
    • North Hengshan Swordplay (恒山剑法 – Héngshān Jiànfǎ)
  • Greater Star Absorbing Technique (吸星大法 – Xīxīng Dàfǎ) — A dangerous technique for absorbing others’ internal energy.

Other notable arts appearing in the novel include:

  • Taiji Swordplay (太极剑法 – Tàijí Jiànfǎ) — Wudang School’s sword technique.
  • Taiji Fist (太极拳 – Tàijí Quán) — Wudang School’s internal and external martial art.
  • Qingcheng Swordplay (青城剑法 – Qīngchéng Jiànfǎ) — Qingcheng School’s sword technique.
  • Golden Blade Bladework (金刀刀法 – Jīndāo Dāofǎ) — Golden Blade School’s blade technique.
  • Nine Yin Manual (九阴真经 – Jiǔyīn Zhēnjīng) — Legendary internal energy manual.
  • Xiaoao Jianghu (笑傲江湖 – Xiàoào Jiānghú) — The musical piece created by Liu Zhengfeng and Qu Yang, symbolizing freedom from the constraints of the martial world.

Behind the scenes

Jin Yong began writing Laughing in the Wind in 1967, during the height of China’s Cultural Revolution. While he denied direct political allegory, the novel’s themes clearly reflect the political turmoil of the time.

The author mentioned in the afterword that Vietnamese politicians had once used the names of characters Yue Buqun and Zuo Lengchan as derogatory terms against one another in parliamentary sessions.

The novel marks a departure from Jin Yong’s usual style of incorporating historical events and figures into his narratives. By avoiding specific historical references, he created a more universal story about power struggles and human nature.

Adaptations

Films

The novel has been adapted into numerous films, including:

Television Series

The novel has been adapted into numerous television series:

Video games

  • Interserv International published three 3D games from 2000 to 2002 based on the novel
  • Perfect World ran the MMORPG Swordsman Online from 16 June 2014 to 5 June 2018.

Other Media

  • Comics adaptation by Lee Chi Ching State of Divinity published by Ming Ho in Hong Kong and M&C Gramedia Group in Indonesia
  • Stage adaptation by Hong Kong Dance Company (2006) starring Rosanne Wong, Race Wong, Liu Yinghong, Su Shu, Chen Lei and Mi Tao to celebrate the company’s jubilee.
  • In 2010, the Yangtze Repertory Theatre of America presented the play Laughing in the Wind: A Cautionary Tale in Martial Arts in New York City, adapted and directed by Joanna Chan
  • Radio drama adaptations by Radio Television Hong Kong

Legacy

Laughing in the Wind stands as one of Jin Yong’s most politically charged works, though its themes of power, corruption, and individual freedom resonate beyond its historical context. The novel’s deliberate avoidance of specific historical settings has helped it maintain relevance as a commentary on political and social dynamics.

The character of Linghu Chong represents a different kind of hero in Jin Yong’s work—one who ultimately chooses personal freedom over involvement in power struggles. This marked a shift from the author’s earlier heroes who typically played major roles in historical events.

The novel’s exploration of the blurred lines between orthodox and unorthodox factions challenged traditional wuxia tropes and contributed to the genre’s maturation. Its influence can be seen in later works that question simple moral dichotomies and explore the complexities of power and ideology.

Critical reception

Laughing in the Wind has been praised for its sophisticated use of symbolism and allegory. Literary critic Yan Jiayan noted that it is “Jin Yong’s novel that uses symbolic allegory most skillfully,” stating that while Jin Yong did not intend direct political commentary, the work contains rich allegorical meanings that expand the novel’s depth and capacity.

The novel has been particularly noted for its departure from traditional wuxia conventions. Scholar Chen Mo observed that unlike other Jin Yong works, this novel contains no real historical figures or clear historical background, making it impossible to determine which dynasty the story occurs in. The characters and events are purely martial arts world figures and jianghu affairs, making it perhaps the most authentic and pure “wuxia novel” among Jin Yong’s works.

Cultural impact

The novel’s political allegory has resonated beyond literature, with Vietnamese politicians reportedly using the names of characters Yue Buqun and Zuo Lengchan as derogatory terms against each other in parliamentary sessions, demonstrating the work’s cultural penetration.

The novel’s exploration of power dynamics and the corrupting influence of authority has made it a touchstone for discussions about political systems and human nature. Its themes of individual freedom versus institutional control continue to resonate with readers across different cultures and time periods.

The work represents perhaps Jin Yong’s final critical examination of Confucian orthodox culture. At this point in his writing career, heroism had declined with the suicide of the great hero Xiao Feng in Demi-Gods and Semi-Devils, but Jin Yong still attempted to explore possible paths for heroes in his works. In Laughing in the Wind, Jin Yong abandoned his usual narrative mode of blending reality and fiction, eliminating the novel’s historical background to showcase certain eternal aspects of culture, human nature, and politics.

Translation

WuxiaSociety has an on-going fan translation of the Third Edition by Jenxi Seow, featuring 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