Sword of the Yue Maiden

Sword of the Yue Maiden

Contents

Sword of the Yue Maiden (simplified: 越女剑, traditional: 越女劍, pinyin: Yuènǚ Jiàn) by Jin Yong was first serialised in January 1970 in the Hong Kong newspaper Ming Pao Evening Supplement.1

Although it is the final wuxia work written by the author, it is the earliest in terms of chronological setting amongst his novels. The novelette is Jin Yong’s shortest works at 16,445 Chinese characters long.

Like his other works, Jin Yong revised the novelette twice into the Second Edition and Third Edition.

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.

Plot

Background

The story takes place during the Spring and Autumn Period2 of ancient China, amidst the rivalry between the states of Wu3 and Yue4.

The narrative explores both this historical conflict and the personal stories of those caught within it, drawing from the legendary war between Wu and Yue that marked the last major conflict of this period.

When King Helü of Wu5 received news of the death of King Yunchang of Yue6, he launched an invasion of Yue but was mortally wounded during the Battle of Zuili7 and died telling his son to avenge him.

His son, King Fuchai of Wu8, defeated Yue three years later and captured King Goujian of Yue9. Goujian served as Fuchai’s servant for three years before he was allowed to return home.

Upon his return to Yue, Goujian plotted his revenge against Fuchai. He shunned riches and comfort, choosing to sleep on firewood, ate food suited for peasants, and forced himself to taste bile. These were to be constant reminders of his humiliations when he served under the State of Wu.

Legend of the Yue Maiden

The story draws inspiration from the legend of the Yue Maiden (越女 – Yuènǚ), whose real name remains unknown. In historical accounts, she is referred to as Yuenü, which can be translated as the Lady of Yue or, more commonly, the Yue Maiden.

According to legend, she impressed the King of Yue with her extraordinary swordsmanship, leading him to bestow upon her the title of Yuenü.

The king decreed that his army adopt her distinctive style of swordsmanship and appointed her to train his army officers, who then instructed his troops. Her teachings represent the earliest known exposition on the art of the sword and significantly influenced the development of Chinese martial arts for generations to come.

He decreed that his army adopt her style of swordsmanship and appointed her to train his army officers, who in turn instructed his army. Hers is the earliest known exposition on the art of the sword, and influenced Chinese martial arts for generations.

Summary

King Goujian of Yue faces a crisis when Wu sends eight elite swordsmen bearing a gift sword, challenging Yue’s martial prowess. In subsequent demonstrations, these Wu warriors decisively defeat and kill eight of Yue’s finest warriors, while their superior weapons highlight Yue’s technological disadvantage. This display leaves Goujian and his advisers deeply concerned about their military readiness.

Fan Li, a senior adviser to King Goujian, discovers Aqing, a young shepherdess who demonstrates extraordinary swordsmanship by defeating several Wu warriors who had been terrorising locals. Upon investigation, Fan Li learns that Aqing acquired her skills by playfully sparring with a white ape using bamboo sticks.

He brings Aqing to court, where she demonstrates her abilities against eighty of Yue’s finest warriors, none of whom can withstand more than three moves against her. Though Aqing suddenly disappears shortly after, the Yue warriors manage to learn enough from observing her techniques to significantly improve their combat effectiveness. These improved martial skills prove crucial in Yue’s eventual victory over Wu.

Aqing, who has fallen in love with Fan Li, confronts Xi Shi, Fan Li’s beloved. Upon seeing Xi Shi’s legendary beauty, Aqing finds herself unable to harm her rival. Finally understanding Fan Li’s devotion to Xi Shi, Aqing leaves. Worried that she might return, Fan Li and Xi Shi flee and go into recluse.

Themes

Love and sacrifice

The novelette weaves a complex tapestry of love and sacrifice through its central characters.

At its heart is Aqing’s pure, unconditional love for Fan Li, which stands in poignant contrast to the established romance between Fan Li and Xi Shi.

Their story explores the profound commitment between lovers despite prolonged separation and political machinations, with Xi Shi sent to King Fuchai of Wu with the mission to seduce and spy on him.

Throughout the narrative, characters grapple with the tension between personal happiness and duty to the state, often finding themselves forced to sacrifice one for the other.

Natural talent and formal training

The story presents a fascinating exploration of martial arts development through Aqing’s unique journey. Her unconventional training with the white ape challenges traditional notions of teaching and learning.

The narrative contrasts her intuitive, organic development of skill against the structured training methods of conventional martial arts.

Through this juxtaposition, Jin Yong examines the relationship between natural talent and cultivated skill, suggesting that the most effective techniques might emerge from unexpected sources.

Power and beauty

Jin Yong carefully examines various forms of power throughout the work.

The story contrasts martial prowess with political authority, showing how each operates in different spheres yet often intersects. Physical strength is set against emotional resilience, particularly in moments of personal crisis.

Perhaps most notably, the narrative explores the power of beauty, especially through Xi Shi’s character, demonstrating how aesthetic grace can sometimes overcome brute force in unexpected ways.

National pride and revenge

The broader historical context serves as a framework for exploring themes of national identity and vengeance.

The story delicately balances personal interests against national imperatives, showing how individual actions can shape historical outcomes.

Through King Goujian’s quest for revenge, the narrative examines the price of victory and the sacrifices required for national pride.

The role of individual talent in shaping national destiny emerges as a central theme, particularly through Aqing’s contribution to Yue’s military effectiveness.

Cast

See more: Sword of the Yue Maiden characters

  • Aqing (阿青 – Aqīng) – a shepherdess who mastered a strange but formidable swordplay technique from a white ape.
  • Fan Li (范蠡 – Fàn Lǐ) – a dafu, scholar official, in the Yue court and a trusted adviser of King Goujian.
  • Goujian (勾践 – Gōujiàn) – the King of Yue who plots vengeance for his humiliating imprisonment by the King of Wu.
  • Xi Shi (西施 – Xī Shī) – Fan Li’s lover and a great beauty who King Goujian gifts as tribute to the King of Wu to seduce the latter.
  • Grandpa Bai (白爷爷 – Bái yéye) – a white ape that enjoys playing with Aqing using bamboo sticks, and is considered the one who teaches Aqing her swordsmanship.
  • Wenzhong (文仲 – Wénzhòng) – a dafu in the Yue court, a trusted adviser to the King of Goujian, and Fan Li’s close friend and colleague.

Behind the scenes

Publication history

Jin Yong wrote Sword of the Yue Maiden during the early days of the Ming Pao Evening Supplement in January 1970, while his final full-length novel The Deer and the Cauldron was being serialised.

The novelette originated from Jin Yong’s intention to write a series of short stories based on Qing dynasty10 artist Ren Weizhang’s woodblock print collection Thirty-three Swordsmen. However, Sword of the Yue Maiden became the only story completed in this planned series.

Editions

The novel has been published in multiple editions:

  • First Edition (1970): Serialization in Ming Pao Evening Supplement
  • Second Edition (1979): Joint Publishing Company (三联版)
  • Third Edition (2002): Guangzhou Publishing House (新修版)

Word count

The original work contains approximately 19,000 Chinese characters, making it Jin Yong’s shortest wuxia novel.

The work represents a departure from Jin Yong’s typical approach, as it reimagines a historical tale documented in various classical texts including the Spring and Autumn Annals of Wu and Yue,11 Wen Xuan,12 Tales of Swordsmen,13 and Chronicles of the Eastern Zhou Kingdoms[^chronicleseasternzhou]14 (Chapter 81).

Drawing from these sources, Jin Yong crafted a distinctive narrative with his own unique themes and characterisation.

Artistic features

Cinematic style

Jin Yong employs a notably cinematic approach in the novelette, crafting the narrative through a series of vivid, specific scenes rather than relying on extensive exposition.

His writing style creates a visual flow reminiscent of film, using montage-like transitions to move between key moments. This technique is particularly effective in combat sequences, where his precise descriptions create memorable visual moments that remain with readers long after they’ve finished the story.

Narrative efficiency

The work demonstrates exceptional economy of storytelling, a necessity given its brief length.

Jin Yong establishes complex characters with remarkable efficiency, using minimal but precise description to create fully realized personalities. He builds tension through carefully selected details, making every word count in service of the narrative.

Perhaps most impressively, he maintains a delicate balance between historical events and personal drama, neither overwhelming the other.

Emotional depth

Despite its brevity, the novelette achieves remarkable emotional resonance through careful attention to character relationships.

Jin Yong crafts subtle interactions that reveal depths of feeling without explicit statement. The romantic elements are particularly well-handled, conveying profound emotion through understated moments rather than grand declarations.

Throughout the work, characters face complex moral choices that add layers of psychological depth to the narrative.

Trivia

Casting challenges

The 1986 ATV adaptation faced significant challenges in casting the role of Aqing. The production team reportedly auditioned over 100 actresses before finding Li Saifeng, who was considered suitable for the role of the young shepherdess with extraordinary martial skills.

Goujian’s story

Several enduring Chinese idioms emerged from Goujian’s story.

The most famous is 卧薪尝胆 (wòxīn chángdǎn), literally meaning to sleep on firewood and taste bile, based on Goujian’s practices of sleeping on firewood and licking a gall bladder to remind him of suffering while captive to the King of Wu.

The idiom is used to refer to how one endures hardships and tempers oneself in order to accomplish one’s goal.

Goujian’s methodical approach to revenge produced another idiom: 十年生聚，十年教訓 (shí nián shēng jù, shí nián jiào xùn), literally ten years to gather wealth, ten years to train troops.

This describes his strategy of patiently building economic and military strength before seeking revenge. In modern usage, it advocates for thorough preparation and strategic patience.

Xi Shi’s story

Xi Shi15, a notable supporting character in the story, is based on the historical figure who was one of the renowned Four Beauties of ancient China.

Legend has it that she clutched her bosom in pain when she was attacked, and the expression was so beautiful that it took the should have any man who gazed upon her.

This is the origin of the Chinese idiom 西施捧心 (xīshiǐ pěngxīn), literally meaning Xi Shi clasping her heart. It is used figuratively to describe a woman’s beauty being enhanced despite being in a state of distress.

Another idiom that references Xi Shi is 情人眼里出西施 (qíngrén yǎn lǐ chū xīshī), literally meaning Xi Shi appears in the eyes of lovers. The English equivalent is “beauty is in the eye of the beholder”. It is used to describe how a person’s beauty is enhanced when they are in love.

Legacy

Sword of the Yue Maiden stands out in Jin Yong’s body of work for several reasons.

It demonstrates his ability to craft compelling narratives in short form while successfully reimagining historical material and maintaining emotional authenticity. The work combines elements of romance, martial arts, and historical drama, creating memorable characters despite its limited length.

The work has been praised for its “subtle elegance and profound meaning”, particularly in how it weaves together themes of national revenge with personal romance. Its influence extends beyond its length, showing how brief works can achieve lasting impact through careful crafting of character and theme.

Adaptation

In 1986, Hong Kong’s ATV produced a 20-episode television series Sword of the Yue Maiden, starring Li Saifeng and Yue Hua.

Translation

There are two translations hosted on WuxiaSociety. Jenxi completed the in-house WuxiaSociety translation in 2022. This version features 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.

We have also adopted the older translation after the closure of the SPCnet forum.

The WuxiaSociety translation is based the Third Edition of the novelette.

See the Sword of the Yue Maiden translation index for more information.

Follow the archive routes

See also

Footnotes

  1. 明報晚報 – Ming Bào Wǎnbào. An evening supplement of the Hong Kong newspaper Ming Pao. See Wikipedia. ↩

  2. 春秋时代 – Chūnqiū shídài. When local lords ruled over the states of ancient China from 770 BCE to 476 BCE. See Wikipedia. ↩

  3. 吴 – Wú. Kingdom during the Western Zhou Dynasty and Spring and Autumn Period, existing from 12th century to 473 BCE, modern day Jiangsu, China. See Wikipedia. ↩

  4. 越 – Yuè. Kingdom during the Spring and Autumn Period and Warring State Period of the Zhou Dynasty, existing up to 333 BCE, modern day Zhejiang, China. See Wikipedia. ↩

  5. 阖闾 – Hélǘ. King of Wu (514–496 BCE), one of the Five Hegemons of the Spring and Autumn Period due to his military successes with the help of his famous commander Sun Tzu. See Wikipedia. ↩

  6. 允常 – Yǔncháng. King of Yue (537–497 BCE). See Wikipedia (Chinese). ↩

  7. 槜李之战 – Zuìlǐ zhī zhàn. Zuili is modern day Jiaxing, Zhejiang. See Wikipedia. ↩

  8. 夫差 – Fūchāi. Historical figure, King of the State of Wu (495–473 BCE) See Wikipedia. ↩

  9. 勾践 – Gòujiàn. Historical figure,ing of the State of Yue (496–465 BCE), heldp captive in Wu for three years before being released back to Yue. See Wikipedia. ↩

  10. 清 – Qīng. A dynasty ruled by the Manchu people from 1644 to 1912. See Wikipedia. ↩

  11. 吴越春秋 – Wú Yuè Chūnqiū. Historical text documenting the rivalry between the states of Wu and Yue during the Spring and Autumn period. See Wikipedia. ↩

  12. 文选 – Wén Xuǎn. Literally literature selection. Collection of Chinese literature compiled during the Liang dynasty. See Wikipedia. ↩

  13. 剑侠传 – Jiànxiá Zhuàn. A collection of stories about martial artists and swordsmen from Chinese history and legend. See Wikipedia. ↩

  14. 东周列国志 – Dōngzhōu Lièguó Zhì. A historical novel covering the Eastern Zhou dynasty period. See Wikipedia. ↩

  15. 西施 – Xī Shī. One of the Four Beauties of ancient China. See Wikipedia. ↩

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