Conclusion!
!
! Wuxia novels are a traditional Chinese fantasy that have developed over
thousands of years as storytellers and authors borrowed from each other to create the massive, shared world of jianghu, the “under”world of Rivers and Lakes. This world overlaps with the very real China which is used as the backdrop for all wuxia stories. As a fantasy novel, the translator could separate or combine these two worlds as they see fit.!
! Ideally, English translations would have an established lexicon to use while translating martial arts novels; however, as many terms encountered have no
corresponding terms in English, this has yet to come to fruition. With the slow import of Chinese culture to the West, some of these words, such as qi, have made their way into English, but there are still many words for which there an exact equivalent does not exist. Faced with these difficulties, translators of modern martial arts novels have used several strategies—omission, adaptation, transliteration, and annotation. Most scholars agree that martial arts fiction in English translation would be more successful if there was a corresponding lexicon in English; as things stand, each translator has had their own rendition for most of the terms unique to wuxia, perhaps to its detriment. As a translator of martial arts novels, I believe we should attempt to use as many of these specified terms from previous translations as possible. Nonetheless, I feel that the
! “If a translation is good, the reader will be ‘seduced’ into learning a foreign language and will want to study the original work; on the contrary, if it is not good, then the reader will lose interest in the language and culture of the original work” (Shen, 204-205). Jin Yong rooted his novels in Chinese history, thrusting his characters into cultural conflicts, sometimes to mix with actual historical figures. As most Chinese children might learn these stories in school, reading a fantasized version may be especially stimulating, but it might be difficult to seduce a foreign audience with the same accounts. !
! Assuming Jin Yong’s novels were translated with the intent of providing them to a broad readership, most critics and academics assert that the only people who read these novels are those already studying wuxia novels in Chinese culture. They could be translated solely for a small niche market of people studying Chinese martial arts or culture, but I would imagine this audience would prefer to read the novels in the original Chinese. I also believe it would be dismal for an author or translator to write fiction specifically for such a small population. This is not a fault in the translation, but more likely in the selection of novel to translate.!
!
His intrepid writing style is precisely why I believe Gu Long is a better option for English translation and expanding the readership of martial arts fiction. He was affected by popular Western novels and borrowed from genres familiar to and popular with Western audiences, while removing the possibly cumbersome historical background so prevalent in Jin Yong’s novels. Without requiring a profound knowledge of Chinese history, his stories simply use ancient China as a setting, making them slightly easier to manipulate. If future translators were so bold, adapting his stories and removing thestory from China could also be feasible. What Gu Long’s novels excel at portraying are not the weapons and martial arts of his characters, but the motivations behind their actions, which should easily translate into English. Perhaps translations of his works could in turn influence Western literature, just as it had influenced him.!
! Previous literature advocates “the extensive but judicious use of omission” (Lai 1998, 140-141), but comparatively little would need to be considered for omission in Gu Long’s novels. The debate over how to handle substantial amounts of history, culture, religion, etc. in wuxia novels would all but take care of itself. Footnotes which could break up the flow of a novel would also be unnecessary as well, reducing the potential burden on both the reader and translator. As an alternative to removing some of these aspects, I believe it is also possible to “hide” some of the “Chineseness” of the novel in fantasy. Instead of removing or explaining each cultural detail, I have attempted to treat this story as a product of imagination despite being set in an actual location. Without explanations, readers who have a background in Chinese language and culture may pick up on certain references, and those who do not may simply perceive them as fantasy.
! Gu Long’s desire for change made him the top wuxia author in Taiwan to date, and possibly the second in the world. With such considerable differences in writing styles between Gu Long and Jin Yong, I believe Gu Long’s works should be used to introduce the martial arts genre to Western audiences. Perhaps after a larger, more solid foundation has been set for terminology, future translators may return to face the
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