Laughing in the Wind Afterword Third Edition

When Jin Yong revised the Laughing in the Wind from the original newspaper serialisation for print, he wrote this afterword for the novel, also known as the Second Edition. He extended it when he revised the novel for the Third Edition.

The vast majority of wise, talented individuals and strong, courageous people are proactive.

Common moral standards usually classify them into two categories: those who strive for the benefit of the majority, including the nation and society, are considered good people, while those who only focus on their own power, status, and material desires, harming others in the process, are considered bad people.

How good or bad they are depends on the number of people they affect, and the extent of the harm or benefit caused.

In politics, bad people are the ones in power most of the time, thus there are always people who want to replace them, and those who seek reforms.

Then, there are those who see no hope in reforms and prefer not to be associated with the ruling faction’s corruption. The last group chooses to withdraw from the turbulent struggle and maintain their integrity.

Thus, there have always been those in power, the rebels, the reformers, and the recluses.

Traditional Chinese values encourage people to “learn and become distinguished in public service,”¹ and emulate Confucius² in “knowing it is impossible, and yet do it anyway.”³

However, recluses are also held in high regard for being virtuous. Recluses may not make active contributions to society, but their behaviour is distinctly different from power-hungry individuals, setting an alternative example.

Chinese moral standards are rather lenient. As long as one does not harm others, they are considered good people.

The Analects⁴ records many recluses, such as Chenmen,⁵ Chu Kuang Jie Yu,⁶ Chang Ju,⁷ Jie Ni,⁸ Hediao Zhangren,⁹ Bo Yi,¹⁰ Shu Qi,¹¹ Yu Zhong,¹² Yi Yi,¹³ Zhu Zhang,¹⁴ Liuxia Hui,¹⁵ and Shao Lian,¹⁶ among others. Confucius respected them all, even though he disagreed with their behaviours.¹⁷

Confucius divided recluses into three categories.

Those like Bo Yi and Shu Qi, who never gave up their resolve and did not sacrifice their dignity—“they did not lower their aspirations or disgrace themselves.”

Those like Liuxia Hui and Shao Lian, who sacrificed some of their resolve and dignity, but conducted themselves in a sensible and appropriate manner—“they lowered their aspirations and disgraced themselves, but their words were ethical and their actions were thoughtful.”

And those like Yu Zhong and Yi Yi, who retreated from the world, spoke freely, avoided wrongdoing, and refrained from politics—“living in seclusion, speaking openly, maintaining personal virtue, and forsaking political power.”

Confucius spoke highly of all of them, indicating that even recluses had a positive side.

Participating in political activities often requires sacrificing some of one’s resolve and dignity. It is inevitable.

Liuxia Hui was a judge dismissed from his position thrice and his family advised him to leave the country. He firmly upheld justice, replying, “To follow the righteous path in serving people,¹⁸ won’t one face adversity thrice wherever one goes? To deviate from the path—and make a temporary compromise—in serving people,¹⁹ why should one leave one’s homeland?”

The key point of the Analects lies in serving the people—obeying one’s superiors—and whether one takes action in the right path or deviates to adapt with compromises. Engaging in politics for public interest means having to follow orders.

Upholding one’s principles while serving the public without pursuing personal fame and wealth requires obeying orders from superiors, but it can also be considered a form of recluse. As for the recluse in the general sense, the basic requirement is to seek personal liberation and freedom without having to serve others.

In writing wuxia novels, my goal is to explore human nature, as is the case with most novels. During the years I spent writing Laughing in the Wind, the Cultural Revolution²⁰ in China was in full swing. Those in authority and the rebels fought for power using all means possible, and human depravity was on prominent display.

I wrote daily editorial columns for the Ming Pao²¹ newspaper, and my strong aversion to the corrupt actions in politics was naturally reflected in my daily martial arts novel writing.

This novel is not intended as a direct commentary on the Cultural Revolution, but rather attempts to portray various common phenomena in Chinese political life over the past three thousand years. Satirical novels have limited significance as political situations change quickly—only the portrayal of human nature holds long-term value.

The relentless pursuit of power at all costs is a fundamental aspect of political life both past and present, not only in China but also worldwide. This has been the case for thousands of years in the past, and it is likely to remain so for thousands of years to come.

When I conceived characters like Ren Woxing,²² Dongfang Bubai,²³ Yue Buqun,²⁴ and Zuo Lengchan,²⁵, I envisioned them primarily as political figures rather than martial arts experts.

Lin Pingzhi,²⁶ Xiang Wentian,²⁷ Master Fangzheng,²⁸ Daoist Master Chongxu,²⁹ Abbess Dingxian,³⁰ Mister Mo Da,³¹ Yu Canghai,³² Mu Gaofeng,³³ and others were also political figures. These various types of characters exist in every era, and I believe they can be found in other countries as well, within large and small businesses, schools, and various organisations.

“Unifying the jianghu³⁴ for eternal glory”³⁵ is a slogan written in serialisation during the 1960s. The corruption of Ren Woxing from wielding great power is a common aspect of human nature. These were not added or modified after the book had been completed.

Interestingly, when the Gang of Four³⁶ seized power and altered the national anthem of the People’s Republic of China, they actually included the phrase “eternal glory”³⁷ in the lyrics.

During the serialisation of Laughing in the Wind in Ming Pao, twenty-one Chinese, Vietnamese, and French newspapers in Saigon serialised it at the same time. During debates in the South Vietnamese National Assembly, it was common for lawmakers to accuse each other of being Yue Buqun (hypocrites) or Zuo Lengchan (attempting to establish hegemony).

It was probably due to the turbulent political situation in South Vietnam at that time that the general public took a particular interest in political struggles.

Linghu Chong³⁸ is a natural recluse uninterested in power. Yingying³⁹ is also a recluse who held the power to decide the life and death of jianghu heroes, but chose to live in the seclusion of a shabby alley in Luoyang⁴⁰ where she indulged in playing the guqin⁴¹ and xiao.⁴² In her life, she only values personal freedom and the expression of her personality. The only thing important to her is love. This lass is very shy and reserved, but she is the one to take the initiative when it comes to love.

When Linghu Chong is emotionally entangled with Yue Lingshan,⁴³ he feels trapped. It is only when he is on the main road outside the black gauze tent and travelling with Yingying in the carriage that his infatuation with Yue Lingshan finally disappears. Only then does he achieve spiritual liberation.

At the end of the book, Yingying reaches out and grabs Linghu Chong’s wrist, and saying with a sigh, “I never thought that I, Ren Yingying, would end up spending my whole life bound to a big monkey and never to part again.”

Yingying’s love has been fulfilled, and she is content, but Linghu Chong’s freedom is once again restricted. Perhaps, only in Yilin’s⁴⁴ unrequited love did his personality experience minimal restraint.

Complete freedom in life is fundamentally unattainable. To be liberated from all desires and attain enlightenment is the highest state pursued in Buddhism, known as Nirvana⁴⁵, which is beyond the reach of ordinary people. Those who are passionate about politics and power are driven by their desire for influence. They find themselves compelled by circumstances beyond their control, doing many things that betray their own conscience. This is rather pitiable.

In traditional Chinese art, whether it be poetry, prose, drama, or painting, the pursuit of individual freedom has always been the most prominent theme.The more turbulent the times, the more suffering people endure, the more prominent this theme becomes.

As the saying goes, “One is bound by circumstances when in the jianghu.”⁴⁶ Withdrawing from the jianghu is no easy matter. Liu Zhengfeng⁴⁷ pursues artistic freedom, values friendship that resonates deeply with his heart, and wishes to wash his hands of his past life⁴⁸. The Four Friends of Plum Manor⁴⁹ wish to live incognito in solitude to enjoying the pleasures of guqin, weiqi, calligraphy, and painting.

However, they are unable to achieve their dreams and ultimately sacrifice their lives, because as the power struggles (politics) do not allow them to. Politics exists within any group or organisation. Wang Meng⁵⁰ said that when he read the scene of Liu Zhengfeng golden basin handwashing ceremony, he was moved to tears. I believe this was the reason.

There should be greater moral affirmation for a great xia like Guo Jing,⁵¹ who willingly faces danger and undertakes seemingly impossible tasks. Linghu Chong is not a great xia, but a recluse like Tao Qian⁵² who pursues freedom and self-liberation.

Feng Qingyang⁵³ retreats into seclusion due to feeling disillusioned, despair, shame, and dejection. Linghu Chong, however, is naturally unrestrained and unbridled.

On Blackwood Cliff,⁵⁴ whether it was Yang Lianting⁵⁵ or Ren Woxing who held supreme power, a mere laugh from others could lead to fatal consequences, and arrogance was even more intolerable. The carefree and unrestrained spirit of The Smiling, Proudly Wanderer is the goal pursued by characters like Linghu Chong.

Since the book aims to depict universal characters and common phenomena in political life, it does not have a historical background. This implies that similar situations can occur in any era and within any group.

May 1980

Translator's note The section above appeared in the Second Edition. He added the following section when he revised the novel for the Third Edition.

Some mainland literary critics commented: After Yue Buqun’s wife Ning Zhongze⁵⁶ learns of her husband’s despicable and vile nature, her disillusionment and despair lead her to suicide. They find this irrational and against human nature, and argue that she need not have taken her own life.

Some people also believe that Xiao Feng’s⁵⁷ suicide and his striking of Azhu are not logical. Of course, Russian author Tolstoy’s Anna Karenina⁵⁸ did not have to commit suicide either. Everyone values life differently. Some project the utilitarian mindset of modern people onto wuxia characters, while others judge Xiao Feng and Ning Zhongze with the Wei Xiaobao⁵⁹ value system.

This is akin to some considering Shi Kefa⁶⁰ and Wen Tianxiang’s⁶¹ refusal to surrender, and Yue Fei’s⁶² disobedience as utterly foolish.

In Hong Kong, some people have commented on the She clan descendants⁶³ in Beijing, who have guarded Yuan Chonghuan’s⁶⁴ tomb for over ten generations, as foolish loyalty. Of course, there are also those who regard Dong Cunrui⁶⁵ and Lei Feng⁶⁶ as irrationally sentimental. Viewing historical figures through the lens of mercenary motives only deems tyrants, treacherous officials, corrupt bureaucrats, and despicable characters as reasonable.

A critic inquired, “Is it possible that Dongfang Bubai engaged in homosexuality after castration?”

Castration is neither a necessary condition nor an inevitable development for homosexuality. Male homosexuality is a historical fact, widely present in the armies of Greece, Rome, and India. Numerous artefacts unearthed attest to this, and such evidence can be seen today by visiting the ancient ruins in Pompeii, Italy, or in the ancient towers of eastern India.

British historian Gibbon⁶⁷ stated in The History of the Decline and Fall of the Roman Empire that among the first fourteen emperors of the Roman Empire, thirteen were fond of men, or were bisexual.

In China, it was even more widespread, with idioms like “the passion of Long Yang,”⁶⁸ “the sharing of a peach,”⁶⁹ and “the cutting off of a sleeve”⁷⁰ indicating such relationships. Historical figures like Dong Xian⁷¹ and Deng Tong⁷² are also factual examples, and even Emperor Wen of Han,⁷³ a wise ruler, was not exempt.

Sexual habits have always been private matters, and laws generally do not stipulate the legality of homosexuality. Today, several Western countries have made it legal for two men to marry officially.

Homosexual individuals who identify as female often enjoy dressing in women’s clothing. This is a sexual preference and has nothing to do with whether one has undergone castration. Then there are those who first identify as homosexual before undergoing gender reassignment surgery. Eunuchs have existed for thousands of years in the courts of Egypt and China.⁷⁴ They lacked male sexual characteristics but did not necessarily adopting feminine traits.⁷⁵

This book has been revised several times, with very few changes to the plot.

May 2003

学而优则仕 – xué ér yōu zé shì. This phrase encapsulates the Confucian ideal that education and cultivation of virtue should lead to serving the public or engaging in public office. ↩
孔子 – kóngzǐ. Confucius was a Chinese philosopher of the Spring and Autumn period who is considered the paragon of Chinese sages. See Wikipedia. ↩
知其不可而为之 – zhī qí bù kě ér wèi zhī. This reflects the perseverance and moral conviction to strive for what is right, despite the odds. ↩
论语 – Lúnyǔ. Analects is a collection of sayings and ideas attributed to the Chinese philosopher Confucius and his contemporaries, compiled into a book by Confucius’ followers. It is one of the central texts of Confucianism. See Wikipedia. ↩
晨门 – Chén Mén. A figure mentioned in the Analects, often associated with a hermitic or reclusive lifestyle. Specific historical details or philosophical contributions are not widely recorded, reflecting the elusive nature of many such figures in ancient Chinese texts. ↩
楚狂接舆 – Chǔkuáng Jiē Yú. Literally Jie Yu the Madman of Chu. He did not conform to the societal norms of his time. He is celebrated for his disregard for social conventions and his critique of governmental corruption and hypocrisy. ↩
长沮 – Cháng Jǔ. Mentioned alongside Jie Ni as one of the recluses that Confucius encountered. Their conversations with Confucius often highlight themes of governance, virtue, and the role of the superior man in society. ↩
桀溺 – Jiè Nì. Another recluse mentioned in the Analects, known for his discussions with Confucius. The dialogues involving Ji Ni often explore the importance of virtue and the individual’s relationship with society. ↩
荷蓧丈人 – Hédiǎo zhàngrén. Literally the revered old gentleman with a lotus rake. Zhangren is a respectful reference to an elderly man who is wise and experienced. An archetype representing those who choose to live in harmony with nature, focusing on simplicity and personal integrity over societal ambitions or material success. ↩
伯夷 – Bó Yí. Renowned for his adherence to high moral standards and integrity, Bo Yi chose starvation over compromising his principles by refusing to serve corrupt rulers. He is often cited as an exemplar of moral steadfastness. ↩
叔齐 – Shú Qí. Brother of Bo Yi, equally celebrated for his moral integrity and principled stance against serving under unjust leadership. Shu Qi’s story is often intertwined with that of Bo Yi, showcasing their collective commitment to virtue. ↩
虞仲 – Yú Zhòng. Less is known about Yu Zhong, but like the others mentioned, he is often associated with themes of integrity, reclusion, and a preference for moral principles over societal recognition or power. ↩
夷逸 – Yí Yì. A figure that symbolizes the choice of living outside the constraints of conventional society to maintain personal ethical standards. Yiyi represents the archetype of the recluse who prioritizes spiritual and moral over worldly success. ↩
朱张 – Zhū Zhāng. Another individual who chose reclusion as a way to preserve personal integrity. Specific details about Zhu Zhang are scarce, reflecting the broader theme of anonymity and solitude among hermits. ↩
柳下惠 – Liǔxià Huì. Known for his humility and virtue, Liuxia Hui is often highlighted as a model of ethical conduct and benevolence. His interactions with Confucius underscore themes of righteousness and moral character. Stories of his humility include giving up his seat regularly for others and declining prestigious positions. ↩
少连 – Shào Lián. While specific historical contributions or philosophies of Shao Lian are not extensively documented, his inclusion in lists of revered hermits signifies a respect for those who live according to their principles, often in solitude or obscurity. ↩
Confucius believed that virtuous leaders should try reforming from within rather than retreat entirely from politics. This contrasted with the principled stance of the recluses. ↩
直道而事人 – zhí dào ér shì rén. Literally to follow the righteous path in serving people. It means adhering to ethical principles and integrity in public service, regardless of personal cost or the challenges faced. ↩
枉道而事人 – wàng dào ér shì rén. Literally to bend the path in serving people. This means making compromises or temporarily setting aside one’s principles in the service of others, highlighting the ethical dilemmas faced in governance and public service. ↩
A sociopolitical movement in China from 1966 to 1976 initiated by Mao Zedong, aiming at preserving Chinese communism by purging remnants of capitalist and traditional elements from Chinese society. The period was marked by a wide range of social, political, and economic upheavals. See Wikipedia. ↩
明报 – Míng Bào. A Chinese-language newspaper in Hong Kong co-founded by Jin Yong and known for its comprehensive news coverage and commentary on a wide range of topics, including politics and culture. See Wikipedia. ↩
任我行 – Rèn Wǒxíng. A character symbolizing the embodiment of power and the corruption that often accompanies it. Ren Woxing’s actions in the narrative serve as an allegory for the intoxicating effects of power and the moral compromises made in its pursuit. ↩
东方不败 – Dōngfāng Bùbài. Represents the extremes one might go to maintain and enhance power, including personal transformation and manipulation, reflecting on the lengths political figures might go to secure their position. ↩
岳不群 – Yuè Bùqún. Embodies the hypocrisy within politics, showcasing a facade of morality while engaging in unscrupulous actions for personal gain, highlighting the contrast between public image and private ambitions. ↩
左冷禅 – Zuǒ Lěngchán. Illustrates the strategic and ideological manipulation for power consolidation, mirroring tactics used in political arenas to manipulate public perception and control factions. ↩
林平之 – Lín Píngzhī. A character that represents the younger generation’s entanglement in political machinations, reflecting the impact of legacy and the burden of expectations in political dynasties. ↩
向问天 – Xiàng Wèntiān. Symbolizes loyalty and the dilemma of serving under corrupt leadership, showcasing the conflicts between personal ethics and professional allegiance. ↩
方证大师 – Fāngzhèng dàshī. Represents the moral authority figures in politics, those who hold sway over public opinion through virtue and wisdom, yet are caught in the political struggles of their times. ↩
冲虑道人 – Chōngxǜ dàorén. Embodies the advisers and strategists behind the scenes, whose insights and manipulations influence the course of political events from the shadows. ↩
定闲师太 – Dìngxián shītài. A figure representing the female leadership and its challenges in a male-dominated political landscape, highlighting the balance between power and femininity. ↩
莫大先生 – Mò Dà xiānshēng. Symbolizes the intellectual or philosophical guide, whose wisdom and moral compass provide direction amid political chaos. ↩
余沧海 – Yú Cānghǎi. Represents the ambitious political climbers, those who are willing to betray and switch allegiances for personal advancement. ↩
木高峰 – Mù Gāofēng. Embodies the brute force or military might often utilised in power struggles, reflecting on the role of force and intimidation in political manoeuvring. ↩
江湖 – jiānghú. The world of martial arts. A sub-society involving all who are related to the martial arts scene. See jianghu. ↩
千秋万载，一统江湖 – qiān qiū wàn zǎi, tǒng yī jiāng hú. Literally thousands of autumns and tens of thousands of years to unify the jianghu. It is a slogan that captures the ambition of dominating the jianghu, a common theme in wuxia novels. It reflects the desire for power and the idea of leaving a lasting legacy. ↩
The Gang of Four refers to a political faction within the Communist Party of China known for its significant influence during the Cultural Revolution and its members were later charged with a series of treasonous crimes after Mao Zedong’s death. See Wikipedia. ↩
The actual wording is the phrase “thousands of autumns and tens of thousands of years” that Jin Yong used as the Sun Moon Order’s slogan. ↩
令狐冲 – Lìnghú Chōng ↩
任盈盈 – Rèn Yíngyíng ↩
洛阳 – Luòyáng. An ancient city in China, historically significant as one of the Four Great Ancient Capitals of China. Luoyang has served as a capital for several dynasties throughout Chinese history, known for its cultural heritage. See Wikipedia. ↩
古琴 – gǔqín. Traditionally referred to as qin, with the prefix gu- added to indicate that it is the ancient qin as opposed to modern usage to refer to other musical instruments. Traditionally been favoured by scholars and literati as an instrument of great subtlety and refinement. See Wikipedia. ↩
箫 – xiāo. An ancient Chinese musical instrument that is a vertical end-blown tube that is typically made of bamboo. See Wikipedia. ↩
岳灵珊 – Yuè Língshān ↩
仪琳 – Yílín ↩
In Buddhism, Nirvana represents the ultimate state of liberation and enlightenment, where one is freed from the cycle of rebirth, suffering, and desire. It signifies the extinguishment of all worldly attachments and the realisation of spiritual peace. See Wikipedia. ↩
人在江湖，身不由己 – rén zài jiāng hú, shēn bù yoú jǐ. Literally “When one is in the jianghu, one’s body is not one’s own.” ↩
刘正风 – Liú Zhèngfēng ↩
金盆洗手 – jīn pén xǐ shǒu. Washing one’s hand in a golden basin. A symbolic act of retiring from the martial arts world, indicating one’s intention to leave behind a life of conflict and strife. ↩
梅庄四友 – Méizhuāng sìyǒu. Literally four friends of Plum Manor. ↩
王蒙 – Wáng Méng. A respected Chinese author and critic, known for his deep emotional connection to literature and its reflections on human nature and society. See Wikipedia. ↩
郭靖 – Guō Jìng. The protagonist of Legend of the Condor Heroes and supporting cast of Return of the Condor Heroes. See Guo Jing. ↩
陶潜 – Táo Qián. Tao Yuanming is one of the most famous poets of the Eastern Jin Dynasty in China. He is celebrated for his poetry that extols the virtues of a simple and honest life lived in harmony with nature. Tao Yuanming is often depicted as a symbol of integrity and reclusion, having chosen to resign from officialdom to lead a life of farming and writing, reflecting his disdain for the corruption and the intrigue of the imperial court. See Wikipedia. ↩
风清扬 – Fēng Qīngyáng ↩
黑木崖 – Hēi Mù Yá. Literally blackwood cliff. It is the headquarters of the Sun Moon Order. See Blackwood Cliff. ↩
杨莲亭 – Yáng Liántíng ↩
宁中则 – Nìng Zhōngzé. More often refered to as Madam Yue since she was Yue Buqun’s wife. ↩
萧峰 – Xiāo Fēng. One of the protagonists of Demi-Gods and Semi-Devils. ↩
The titular protagonist in Leo Tolstoy’s novel Anna Karénina, whose suicide is a literary exploration of personal despair and societal pressures. See Wikipedia. ↩
韦小宝 – Wéi Xiǎobǎo. The protagonist of The Deer and the Cauldron, known for his cunning and resourceful nature, often used as a contrast to more traditional heroic figures. ↩
史可法 – Shǐ Kěfǎ. A Ming dynasty official known for his staunch resistance against the Qing forces in Yangzhou, Jiangsu. His refusal to surrender is often celebrated as a symbol of loyalty and patriotism. See Wikipedia. ↩
文天祥 – Wén Tiānxiáng. A Song dynasty scholar and official who is revered for his unwavering loyalty to the Song dynasty during the Mongol invasion led by Kublai Khan. He chose capture, torture, and eventually execution over surrendering to the Mongols. See Wikipedia. ↩
岳飞 – Yuè Fēi. A legendary general of the Southern Song dynasty, remembered for his military campaigns against the Jurchen-ruled Jin dynasty and his loyalty to the Song. His refusal to disobey orders, even when it led to his unjust execution, has made him a symbol of loyalty and patriotism in Chinese culture. See Wikipedia. ↩
The She clan has maintained the grave of Yuan Chonghuan showing a tradition of loyalty and respect across generations. ↩
袁崇焕 – Yuán Chónghuàn. A Ming dynasty general and statesman who played a significant role in defending China against the Manchu invaders. His execution under charges of treason has made him a controversial historical figure. See Wikipedia. ↩
董存瑞 – Dǒng Cúnruì. A soldier of the People’s Liberation Army, celebrated in Chinese Communist Party lore for his self-sacrifice during the Chinese Civil War. See Wikipedia. ↩
雷锋 – Léi Fēng. A soldier of the People’s Liberation Army who has been idealised in propaganda campaigns as a model of selflessness, modesty, and dedication to the Communist Party. See Wikipedia. ↩
Edward Gibbon is a renowned British historian best known for his work The History of the Decline and Fall of the Roman Empire. Gibbon’s monumental work offers an exhaustive history of the Roman Empire from the 2nd century AD to the fall of Constantinople in 1453, analyzing the reasons for the collapse of Roman civilization. His work is celebrated for its detailed research, insightful analysis, and elegant prose. See Wikipedia. ↩
龙阳 – Lóngyáng. The “Lord Longyang” anecdote involves a favourite male lover of an unknown king of Wei, symbolising sexual opportunism and openness of homosexuality in Zhou dynasty courts. See Wikipedia. ↩
分桃 – Fēn táo. The “Sharing Peaches” anecdote comes from the Spring and Autumn period, symbolising homosexual love. It tells of Mizi Xia, who shared a bitten peach with his lover, Duke Ling of Wei, to show the depth of their affection, highlighting the beauty of sharing and selflessness in love. ↩
断袖 – Duàn xiù. The “Cut Sleeve” anecdote tells of Emperor Ai of the Han Dynasty and his lover, Dong Xian. The emperor chose to cut his sleeve rather than disturb Dong Xian, who was sleeping on it, illustrating deep love and consideration. This story has become a euphemism for homosexual love in Chinese culture. ↩
董贤 – Dǒng Xián. A historical figure known for his close relationship with Emperor Ai of the Han Dynasty. Their relationship is immortalised in the “Cut Sleeve” anecdote, showcasing Dong Xian as a prominent example of male homosexual love in ancient China. See Wikipedia. ↩
邓通 – Dèng Tóng. An influential figure known for his close relationship with Emperor Wen of the Han Dynasty. ↩
汉文帝 – Hàn Wéndì, a benevolent and wise ruler of the Western Han dynasty, his rule is often cited for its moral integrity and effective governance. See Wikipedia. ↩
Eunuchs are men who have been castrated commonly employed as servants and guards to royalty, giving them intimate access to royal families. Castrating them could have helped prevent any attempts to produce illegitimate heirs. Their status as “gender outcasts” was sometimes seen as an asset as they had no families to distract them and owed their loyalty solely to the pharaoh or emperor, being unable to start their own dynasties. ↩
This comment is aimed at stereotypical portrayal of castrated characters as a homosexual who prefers to feminine dressing and makeup. ↩

Laughing in the Wind Afterword (3rd Edition)

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Footnotes

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