A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN

A Thesis

Presented to the faculty of the Department of Communication Studies

California State University, Sacramento

Submitted in partial satisfaction of the requirements for the degree of

MASTER OF ARTS

in

Communication Studies

by

Nai-Jen Chi

FALL 2012

© 2012

Nai-Jen Chi

ALL RIGHTS RESERVED

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A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON

A Thesis

by

Nai-Jen Chi

Approved by:

______, Committee Chair Mark A. E. Williams, Ph.D.

______, Second Reader Michele Foss-Snowden, Ph.D.

______, Third Reader Raymond P. Koegel, Ph.D.

______Date

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Student: Nai-Jen Chi

I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis.

______, Graduate Coordinator ______Michele Foss-Snowden, Ph.D. Date

Department of Communication Studies

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Abstract

of

A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON

by

Nai-Jen Chi

This thesis employs ’s cluster analysis to examine ’s Crouching Tiger, Hidden Dragon (USA, 2000). This Mandarin film achieved extraordinary success in the United States, where it was the first foreign- film to be nominated in ten categories and the first Asian film to be nominated for best picture at the Academy Awards. The goal of this study is to find out how the values can be communicated, through one visual artifact and two different narratives – the Mandarin dialogue and the English subtitles. The analysis finds that the disconnection of Taoism between the Mandarin dialogue and the English subtitles results in the interpretation of the movie from a philosophical to a romantic perspective. The study also uncovers that there are similarities in the idea of moderation in the Mandarin dialogue and the English subtitles, which shows that the persuasiveness of narratives, regardless of the language differences and the structures employed, is subject to values.

______, Committee Chair Mark A. E. Williams, Ph.D.

______Date

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ACKNOWLEDGEMENTS

I would like to thank my committee for all of their support and mentorship. I am deeply grateful to my advisor and committee chair, Dr. Mark A. E. Williams, for guiding me through this process. I was privileged to be inspired by his brilliance and wisdom. His sage advice, insightful criticisms, and patient encouragement aided the writing of this thesis in innumerable ways. In addition, I thank Dr. Michele Foss-Snowden for her useful comments, support, and interest in the thesis. I am very grateful for her steadfast belief in me and my work. My gratitude also goes to Dr. Raymond P. Koegel for being so kind and patient with me. His suggestions have been immensely helpful. It has been a joy to work with such wonderful and talented scholars. Special thanks to my dear friend

Heather Teoh for all her inspiration and friendship during my struggles. Last, thanks to my family for their unconditional love and support throughout my educational journey.

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TABLE OF CONTENTS Page

Acknowledgements ...... vi List of Tables ...... ix Chapter 1. INTRODUCTION ...... 1 Purpose of Study ...... 2 The Artifact: Crouching Tiger, Hidden Dragon ...... 5 Background of Crouching Tiger, Hidden Dragon ...... 5 Plots of Crouching Tiger, Hidden Dragon ...... 8 Cultural History of Genre ...... 11 Review of Relevant Literature ...... 15 Previous Studies in ...... 15 Visual Rhetoric ...... 17 Media and Film ...... 21 2. METHODOLOGY ...... 29 Cluster Criticism ...... 29 Cluster-agon Analysis ...... 35 Film as an Artifact ...... 37 Methodological Justification ...... 41 Procedure ...... 41 3. CLUSTER ANALYSIS ...... 43 Introduction ...... 43 Identification Key Terms ...... 44 Mu Bai ...... 44 Green ...... 48 Yu Jiao Long/Yu Jen ...... 51 Interpretation of the Clusters ...... 55 Li Mu Bai ...... 55

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Green ...... 64 Yu Jiao Long/Yu Jen ...... 71 Discussion ...... 83 4. CONCLUSION...... 89 Appendix A. Texts of the Narratives ...... 96 The Mandarin Dialogue of Crouching Tiger, Hidden Dragon ...... 96 The English Subtitles of Crouching Tiger, Hidden Dragon ...... 148 Scene Selection Menu of Crouching Tiger, Hidden Dragon ...... 200 Appendix B. Distribution of Key Terms...... 202 The Mandarin Key Terms of Crouching Tiger, Hidden Dragon ... 202 The English Key Terms of Crouching Tiger, Hidden Dragon ...... 205 The Visual Key Terms of Crouching Tiger, Hidden Dragon ...... 208 Appendix C. Distribution of Associational Clusters...... 211 The Mandarin Clusters of Crouching Tiger, Hidden Dragon ...... 211 The English Clusters of Crouching Tiger, Hidden Dragon ...... 215 References ...... 218

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LIST OF TABLES Tables Page

1. Table 1.1 Terms that Cluster around Li Mu Bai (32%) ...... 47 2. Table 1.2 Terms that Cluster around the Green Term (65%) ...... 50 3. Table 1.3 Terms that Cluster around Yu Jiao Long/Yu Jen (52%) ...... 54 4. Table 2.1 Selected Narratives of “Scene 20 Young Master Long” ...... 78 5. Table 2.2 Selected Narratives of “Scene 20 Young Master Long” ...... 85

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Chapter 1

INTRODUCTION

“What if we stopped asking whether cinema can be some sort of magic door

opening onto absolute time, and instead asked about cinema’s role in the

construction of different temporalities in different societies, politics, cultures,

classes and so forth?” (Berry, 2009, p. 113)

Understanding cultural differences is an essential issue in Communication

Studies. Many scholars are now aware that intercultural communication is inevitable and necessary due to technological development, economic globalization, widespread population migration, and the development of multiculturalism (Chen & Starosta, 2005;

Komolsevin, Knutson, Datthuyawat, & Tanchaisak, 2011). As more individuals or groups from different cultures interact with one another, confronting cultural barriers have become commonplace. One of the keys to effective intercultural communication involves the realization that the different values, behaviors, and attitudes exist across cultures. Cinema is an extremely important cultural vehicle for exploring social reality.

Studying the symbolic universe that is created in film helps one understand the worldview of others.

The relationship between cinema and culture is synergistic. Cinema is a product and also a former of culture. Film, as a cultural mirror, projects collective images of a culture’s contemporary attitudes, philosophies, values, and lifestyles while influencing them (Benson, 1974; Rushing & Frentz, 1978). While much research has focused on

2 issues concerning the adaptation of literature into film, few have examined the translation of narratives through the rhetorical perspective and cross-cultural lens.

Strond’s (2003) research uses narrative analysis to explore the cross-cultural appropriation that occurs through the translation from the Bhagavad Gita (the ancient

Hindu philosophical narrative) to the novel and film adaptation of the Bhagavad Gita, both entitled The Legend of Bagger Vance. His study argues that the original narrative is significantly changed in order to penetrate into Western communication, and concludes that culture does affect how narratives are translated and adapted. This study will expand on Strond’s idea to investigate how the subtitles of the non-American film Crouching

Tiger, Hidden Dragon (USA, 2000), directed by Ang Lee, are designed to meet the needs and expectations of the Mandarin-speaking audience in Asia and the U.S. American audience, and how they operate in similar ways within these two very different cultures.

Purpose of Study

Since there are differences between the Mandarin dialogue and the English subtitles of the film Crouching Tiger, Hidden Dragon (hereafter CTHD), as might be expected, some essential information is lost in its untraslated and untranslatable terms.

For example, in Mandarin, “Crouching Tiger Hidden Dragon” is pronounced “Wo Hu

Cang Long (臥虎藏龍).” This is a Chinese idiom that suggerst complex and profound meanings. In addition, two main characters are literally named “Little Dragon” and

“Little Tiger.” However, the two characters’ names are translated into two English names, “Jen” and “Lo.” Without knowing the metaphoric symbolism of the Chinese idiom, Crouching Tiger, Hidden Dragon is just a novel and exotic title for the U.S.

American audience. Even after watching this film, the U.S. American audience may still

3 not understand what the title is supposed to mean. What strikes the U.S. American audience as exotic novel is almost a maxim to the Mandarin-speaking audience.

A movie title is important because it is the audiences’ first impression of a movie.

However, movie titles are hard to translate due to the fact that the process is not just translating words from one language to another, but a cultural and historical transformation (Nelson, 2007). When a title like CTHD with Chinese mythical origins is translated literally, it makes no sense and tells the U.S. American audience nothing about the film. The executive producer of CTHD, James Schamus, has indicated:

I am reading Beowulf right now, which is about 1,200 years old, and even it has to

be translated into contemporary English to be understood. When somebody says

something in this film [CTHD], the Chinese character that is written down, that

attaches to that, has roots that are 5,000 years old, if not older. The Chinese

embedded in every word of this movie has layers and layers of culture and

meanings. They simply don’t exist to a Western ear. It is one of the truly

delicious ironies of this movie that although I co-wrote it, I’ll never fully

understand all of its meanings (Sunshine, 2000, p. 130).

James Schamus, an Academy Award-nominated screenwriter, producer, and film executive and an associate professor in Columbia University’s School of the Arts, has collaborated with Ang Lee for 11 films, including The Ice Storm and Brokeback

Mountain, since 1992 (Schamus, 2006). Although Schamus does not read or speak

Chinese, he wrote the first version of CTHD’s screenplay based on Ang Lee’s understanding of Chinese writer ’s wuxia novel (Chang, 2002; Wittmershaus,

2000). Schamus wrote CTHD’s screenplay in English initially because they needed

4 sponsors in the United States. After Schamus’ completed the first version of the screenplay, the other two Taiwanese scriptwriters translated the English screenplay back into Chinese and heighted terms with Chinese cultural nuances that Schamus was not aware of. In an interview, Schamus says:

I was culturally tone deaf. So, it was a shock, I think, when my Chinese

collaborators got the script and realized a Martian had written a Chinese movie…

It was just as big a shock for me when I got (fellow screenwriter) Hui-Ling

Wang’s rewrite back and realized just how far off the mark I’d been and how

much more still had to be done to make the film work… And then it was really

rewriting the script so many times, translating back to English, back to Chinese,

writing it and, of course, finally rewriting the film one last time in the form of the

subtitles and at that moment, through discussion...realizing how little of the movie

I understood. [The film’s] meanings remain embedded in the

and culture (Wittmershaus, 2000, para. 7, 21).

The translating process takes a long time. If the terms or that contain Chinese culture are regarded as too complicated for the English-speaking audiences to understand,

Schamus would change or simplify them (Chang, 2002). Schamus explains, “It gives me some [other language] to bounce off of. They’ll go back into Chinese and translate things

I’d translated into English, and their translation has nuances or windows on the that weren’t available in English, so I’ll go back and change the English” (Wittmershaus,

2000, para. 23). He promised Lee that he was going to write the dialogue in the international subtitle style and make it functional for international audiences

(Wittmershaus, 2000). With the goal in mind, the three scriptwriters and director

5 translated the screenplay back and forth through months and months of the process

(Chang, 2002). Therefore, the fact that CTHD can be appreciated globally is not an accident but an elaborate design.

Narratives that contain cultural meanings do change the audiences’ perspectives of the film; therefore, it is worthy to analyze how the rhetor builds the narrative structure in different . The objective of this thesis is to first approach the subtitles as a narrative, and compare it with the original dialogue, and then examine how, despite one visual artifact, two different narratives of cultural values can be communicated. Cluster criticism is employed as the methodology to examine the two media.

The Artifact: Crouching Tiger, Hidden Dragon

Background of Crouching Tiger, Hidden Dragon

In 2000, CTHD won four British Academy Awards, including Best Costume

Design, Best Film that is not in the English Language, the Achievement in Direction, and the Achievement in Film Music (British Academy of Film and Television Arts, 2000). In the following year, it was nominated for ten Academy Awards, winning four for Best

Foreign Language Film, Best Cinematography, Best Art Direction, and Best Music

Original Score (Academy of Motion Picture Arts and Sciences, 2001). Asian audiences were extremely excited that the film won the Best Foreign Film because it was the first time that an Asian film had won this award.

CTHD not only did well with movie critics, but also at the box office. This film is the first and so far the only foreign language film to break the US$100 million mark in the U.S. box office, and in total, it grossed more than US$200 million worldwide (Box

Office Mojo, 2001). It broke the box office records of foreign language films in many

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Western countries, and opened with the leading box office position in Eastern countries

(Wu & Chan, 2003). Moreover, since then, this kind of Asian martial arts film has started to be recognized worldwide, and further enhanced Hollywood’s image as a global industry player. In the years following the release of CTHD, Hollywood abundantly remade Asian countries’ films, such as The Ring (Gore Verbinski, 2002; Ringu, Hideo

Nakata, 1998), The Grudge (Takashi Shimizu, 2004; JU-ON: The Grudge, Takashi

Shimizu, 2002), The Lake House (Alejandro Agresti, 2006; Il Mare, Hyun-seung Lee,

2000), and (, 2006; Infernal Affairs, Wai-keung Lau and

Alan Mak, 2002) (Feng, 2008). American film viewers and critics call this phenomenon the “Asian invasion” in Hollywood (Pham, 2004).

It is not easy for non-American films to break into the U.S. film market due to the fact that “the Hollywood cartel has dominated the production, distribution, and exhibition of movies domestically and around the world” (Seagrave, 2004, p. 1), and that most U.S.

Americans are not used to reading subtitles as well. It is surprising that CTHD, a classic

Oriental film, was loved, appreciated, and earned much praise in the United States. One of the reasons that CTHD was successful in the United States was attributed to its director, Ang Lee.

Lee is a well-known international film director, producer, and screenplay writer.

His films are full of diverse topics and genres: from action to romance, from homosexual issues to family conflicts, and set in countries such as , the United States, and the

United Kingdom. Lee’s films often try to transcend geographical and historical boundaries due to his cross-cultural background. He is a second generation Chinese in

Taiwan. After he graduated from National Taiwan University of Arts in 1975, he

7 immigrated to the United States and continued his studies in Illinois and New York. Lee once said that he always felt like an outsider while growing up. He is an outsider in

Taiwan because his parents are outsiders who emigrated from to Taiwan; he is an outsider in China because he has never lived in mainland China; and he is an outsider in the United States (Bragg, 2003). Nevertheless, being an outsider makes him a cultural mixer.

From 1992 to 1994, Lee had a chance to make three movies: Pushing Hands

(1992), Wedding Banquet (1993), and Eat Drink Man Woman (1994) that are connected by a similar theme. These three films are tragicomedies which portray immigrants’ cultural dilemmas in the United States (Sheng-mei, 1996). During that time, Lee started to work with the Western crew and tried to make globally-focused films. Lee’s regular collaborator, James Schamus, the co-writer and executive producer of CTHD, for example, has been working with him since Pushing Hands (1992) until his latest work

Taking Woodstock (2009). In 1995, Lee was invited to direct his first English language cinema, Sense and Sensibility (1995). At first, Lee and the crew did not get along well.

Most the actors in this movie were experienced and talented actors such as Emma

Thompson, Alan Rickman, Kate Winslet, and Hugh Grant. They were not sure if Lee, a native Taiwanese director, could deal with Jane Austen’s classic novel. Unexpectedly,

Lee conquered the cultural and language barriers. Sense and Sensibility (1995) turned out to receive many nominations and awards in international film festivals. After the success of this film, Lee continued to direct two American films, The Ice Storm (1997) and Ride with the Devil (1999). The Ice Storm (1997) was Lee’s first feature on an entirely

American subject exploring middle families experimenting with casual sex and

8 alcohol in 1973 suburban Connecticut. Ride with the Devil (1999) is a story about the

American Civil War.

With his experiences in making movies in the United Kingdom and the United

States, by the time Lee made CTHD, he had learned how to sell his films to English- speaking audiences very well. In addition, the cast and crew of CTHD were diverse.

They came from Taiwan, China, Kong, Malaysia, and the United States, and many of the Asian cast and crew have worked in Western cultural industries as well. While filming CTHD, they communicated in English and in different Chinese dialects. The process of filmmaking itself was already international; therefore, there is no doubt that the film set its goal to sell internationally.

Plots of Crouching Tiger, Hidden Dragon

Traditionally, when people in the United States talk about kungfu or wuxia genre, they think of Asian actors coming together to fight, and there is usually no complicated storyline. However, CTHD, adapted from Chinese writer Wang Dulu’s novel, is not a typical kungfu or wuxia film. According to Ang Lee, its is more like “Sense and

Sensibility with martial arts” (Sunshine, 2000, p. 10). CTHD is actually an epic romantic love story set in the Qing Dynasty in 19th century China. In the following paragraph, the characters’ names and particular terms are based on the English subtitles.

Li Mu Bai (played by Chow Yun Fat), one of the greatest warriors of his time, is deeply in love with his longtime good friend, Yu Shu Lien (played by ), a female warrior. However, they have never admitted their feelings to each other because

Yu Shu Lien was once engaged to be married to Li Mu Bai’s brother-by-oath, Meng Si

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Zhao. After Meng Si was killed in a battle while saving Li Mu Bai’s life, Li Mu

Bai and Yu Shu Lien felt obligated to respect the memory of Meng Si Zhao.

One day, Li Mu Bai asks Yu Shu Lien to give his Green Destiny sword to their old friend Sir Te (played by Lung Sihung) in the city of because he has decided to leave Giang Hu (martial arts underworld) to follow a new path in life. In Sir Te’s house, Yu Shu Lien meets Sir Te’s guests Governor Yu (played by Li Fa Zeng) and Yu’s beautiful young daughter Yu Jen (played by Zhang Ziyi). Yu Jen (hereafter Jen) seems like an innocent, obedient young girl, but she is actually rather upset about her impending arranged marriage. She tells Yu Shu Lien that she always yearned for freedom and has a

Giang Hu dream. In fact, Jen is a skillful but uncontrolled fighter. She has secretly learned martial skills since she was a child from an evil villain, Jade Fox (played by

Cheng Pei Pei), who murdered Li Mu Bai’s master many years ago.

After meeting Yu Shu Lien in Sir Te’s compound, Jen is very attracted to Li Mu

Bai’s Green Destiny sword. That night, she masks herself and after stealing the sword from Sir Te’s compound, she runs away. Li Mu Bai and Yu Shu Lien soon find out that

Jen is the masked thief; yet, they do not tell others but investigate Jen privately to protect the reputation of her family.

Jen has a secret lover, Lo (played by Chang Chen). In the past, the younger Jen and her family were once robbed while traveling in the western deserts. Lo was the bandit leader, also called the “Dark Cloud.” Lo kidnapped Jen and they fell passionately in love afterward and lived happily in the desert until Lo set Jen free and sent her back to the city of Beijing. Lo assured Jen that they will be together someday with the saying,

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“A faithful heart makes wishes come true.” Jen gave Lo her jade comb and told him to return it to her when they are together again.

One night, Lo sneaks into Jen’s room and asks her not to marry anyone else. He wants to bring Jen back to the desert. The next day, the Governor’s security finds Lo and tries to arrest him. Yu Shu Lien and Li Mu Bai show up and help Lo to escape. Li Mu

Bai sends Lo to the Wudan Mountain and tells him to wait there. Meanwhile, Li Mu Bai and Yu Shu Lien find Jen while she is defeating the local martial warriors with the Green

Destiny sword at a town. Yu Shu Lien tries to take the Green Destiny sword back from

Jen but is harmed by the powerful sword. Li Mu Bai saves Shu Lien and takes the sword from Jen easily in three moves. Li Mu Bai offers Jen to be his disciple. He is willing to teach her martial arts in the Wudan Mountain. However, Jen refuses the offer. Li Mu

Bai throws the Green Destiny into the river. Jen dives after the sword and is knocked unconscious. At this moment, Jade Fox arrives, rescues Jen and brings Jen back to her cave.

Later, Li Mu Bai follows them to the cave and, realizing Jen’s been drugged by

Jade Fox, uses his martial arts skills to detoxify Jen. Jade Fox suddenly appears and uses poisoned arrows to shoot at Li Mu Bai. Li Mu Bai kills Jade Fox, but one poisoned arrow hits his neck. Jen knows where to find the antidote to the poison and offers to save

Li Mu Bai as he has saved her. Although Jen runs out of the cave to get the antidote to save Li Mu Bai’s life, it is too late. At the final scene, Li Mu Bai finally confesses his love for Yu Shu Lien with his last breaths and dies in Yu Shu Lien’s arms.

Jen later goes to the Wudan Mountain and spends one last night with Lo. The next morning, Lo finds Jen standing on a balcony overlooking the edge of the mountain.

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Reflecting upon the legend that they spoke about in the desert, she asks him to make a wish. He complies, wishing for them to be together, back in the desert. Jen then leaps over the side of the mountain and into the clouds.

Cultural History of Wuxia Genre

Since CTHD is a wuxia genre film, this section will discuss the cultural history of wuxia genre. Wu in Mandarin Chinese refers to a knight’s physical prowess in martial arts. Xia represents a chivalrous hero who defies legal and social conventions in quest of personal ambitions, individual freedom, loyalty, courage, truthfulness, honor, and justice

(Liu, 1967). The compound term wuxia literally means “martial arts chivalry” or

“martial arts heroes.” The concept of wuxia is unique because it is a blend of martial arts and the philosophy of xia. Xia in Chinese has the similar concept of Western knights or warriors, who aim to fight against social injustice. However, as Lo (1990) indicates, the spirit of xia has been influenced by different Chinese philosophies like Moism, Taoism,

Confucianism, and Buddhism. Due to its cultural roots, the inherent idea of wuxia is hard to translate into other languages.

Wuxia is a distinct genre in Chinese literature and is in the popular culture of many Chinese-speaking areas, such as Hong Kong and Taiwan (Stephen, 2009).

Although wu and xia stories have their roots in more than 2,000 years of history, the word wuxia as a genre first appeared at the end of the Qing period (1644-1911). According to

Lee (2003), “Wuxia fiction reached maturity in the late Qing dynasty, offering people an imaginary world away from the harsh reality caused by political turmoil and economic as well as social upheaval” (p. 283). That is to say, the wuxia world is an imaginary world for people to project their desires.

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One compound term used frequently in wuxia fiction is Giang Hu (literally means rivers and lakes). Giang Hu refers to a sub-community or an alternate universe in which the context of the wuxia genre is set. Giang Hu is a fantasized space in opposition to the disciplined world of home, country, government or the ruling authority (Lee, 2003).

Each wuxia novel has its own Giang Hu setting. The warriors and knights travel and wander in the Giang Hu where it is ruled and sustained by certain ethical principles and behavioral codes (Glaessner, 1974). The rebellion heroes who live in Giang Hu protect the weak and the poor against evil (Lee, 2003). Since China has had an unhappy history of corrupt and tyrannical regimes, the wuxia and Giang Hu imagination are thus in essence a wish fulfillment.

Wuxia fiction hit its climax from the 1920s to 1940s. Chinese filmmakers in the mid-1920s were adapting popular wuxia fiction novels to the cinema. The new distinguished film genre is called wuxia pian, meaning, wuxia film, that includes the harnessing of qigong (light art) energy to cast flying swords, perform weightless leaps and project bolts of energy from the hands (Gravestock, 2006). The early development of wuxia pian in China was an attempt to show Chinese audiences that Chinese filmmakers, like Hollywood and European filmmakers, could also transpose their own culture and fictional works to the big screen (Rosen & Zhu, 2010).

Due to the turmoil of the Japanese invasion from 1938 to 1945, and following the

Chinese Civil War from 1945 to 1949, Chinese martial arts came to a halt in China for approximately two decades (Lynch, 2010; Wells, 2011). It was not until the 1970s that martial arts fiction and films were revived in Hong Kong, Taiwan, and in Chinese communities overseas. Garcia (2001) explains:

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Almost all postwar martial arts films that constitute the genre have been produced

by and for the Chinese communities outside mainland China. And to this end

they can be read as films of mythic remembrance, an emigrant cinema for an

audience seeking not only its identity and links with an often imaginary cultural

past, but also its legitimization (para. 7).

A diaspora is created when a group of people disperses from their original homeland and resettles in other locations willingly or unwillingly (Klein, 2004). Most well-known martial arts writers such as , , Wang Dulu; martial arts stars such as

Bruce Lee, Jacky Chan; and the martial arts directors such as King Hu, John Woo, and

Ang Lee are all Chinese diasporas who have grown up either in Hong Kong or Taiwan.

These Chinese diasporas cannot go back to the mainland China; therefore, the wuxia imagination that depicts ancient Chinese culture and history provides them with a

Chinese identity. Ang Lee, as one of Chinese diasporas who has never lived in China admits that his desire to direct a martial arts film comes from nostalgia for classical China:

The film [CTHD] is a kind of dream of China, a China that probably never

existed, except in my boyhood fantasies in Taiwan. Of course, my childhood

imagination was fired by the martial arts movies I grew up with and by the novels

of romance and derring-do I read instead of doing my homework. That these two

kinds of dreaming should come together now, in a film I was able to make in

China, is a happy irony for me (Sunshine, 2000, p. 7).

Understanding the producers’ rationale to make a film with the wuxia genre is important because their political attitudes and personal values may affect the way they build a story.

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The wuxia film in the United States owes its origins of its defining characteristics to Hong Kong kungfu films. The Hong Kong cinema industry has achieved international recognition with the kungfu genre since the 1970s by releasing numerous films in the

United States including those starring Asian American superstar Bruce Lee. In contrast to wuxia films which depict swordplay and are mostly set in ancient Chinese dynasties, kungfu films of Hong Kong are developed by “incorporating martial arts techniques that were usually thought of as a southern style of more recent historical period” (Szeto, 2011, p. 20). According to Szeto (2011), the phrase kungfu in means accomplishment or skill cultivated through long and hard work, and kungfu films emphasize more on the body, training, and fist fighting. However, since the kungfu and wuxia film overlap in significant ways including the common theme of the heroic deed, the two genres now are both collectively recognized as Asian martial arts film in the

United States.

Although martial arts films have their own traditions in Chinese folk culture, they have always been in the process of transformation. Some wuxia writers have put new elements, such as fantasy, magic, and romance, into the narrative and enriched this genre over time (Lo, 1990). For instance, CTHD is based on the Chinese writer Wang Dulu’s wuxia fiction in the early twentieth century. Wang’s wuxia fiction has his own hybrid style that, unlike the traditional wuxia novel, focuses more on the fight scenes than on the characters’ inner worlds or humanistic concerns (Lee, 2003). Ang Lee, the director of

CTHD, once reveals:

With Crouching Tiger, for example, the subtext is very purely Chinese. But you

have to use Freudian or Western techniques to dissect what I think is hidden in a

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repressed society – the sexual tension, the prohibited feelings. Otherwise you

don’t get that deep. Some people appreciated it; others don’t because it twists the

genre. It’s not ‘Chinese.’ But to be more Chinese you have to be Westernized, in

a sense. You’ve got to use that tool to dig in there and get at it (Yi, 2011, p. 2).

To sum up, before analyzing how the cultural values are communicated in the film through rhetorical strategies, one should keep in mind that CTHD is neither a typical kungfu movie that people associate with physical fighting nor a traditional Chinese wuxia movie. It combines Eastern and Western elements and focuses on inner strength and romantic choreography.

Review of Relevant Literature

Previous Studies in Rhetoric

Western civilization has historically thought that the formal study of rhetoric began in around the fifth and sixth centuries B.C.E., in the ancient city-states of Greece and their colonies (Brummett, 2006). Since then, rhetorical criticism has had a long and distinguished history as an art. From , and Cicero through Perelman,

Burke, Richards, Toulmin, Foucault, Habermas, Farrell, Weaver, Grassi, and many other rhetorical critics have contributed to the art of rhetoric. Rhetoric is invented by humans.

It is “an action human beings perform” and “a perspective humans take” (Foss, Foss, &

Trapp, 2002, p. 16). Rhetoric both reflects and affects our views. For example, President

Ronald Reagan’s eulogy of the Challenger was lost affected how the U.S. responded to the tragedy. It also reflected something of the U.S. mindset as well.

Humans use to communicate with one another, and they view and construct the world rhetorically. For instance, people use narratives as frameworks to

16 build a coherent worldview and interpret reality. According to Walter Fisher (1987), humans are essentially storytellers. Fisher (1985) claims that narration is the foundational and conceptual configuration (or paradigm) of all forms of human communication, and human’s reason is best appealed to through narratives.

Indeed, when people use the word “rhetoric,” it is frequently defined as the art of narratives, the study of writing or speaking as a means of persuasion, or discourse and verbal communication. However, rhetoric is not only an instrumental use of language.

The rhetorician Kenneth Burke (1966) defines rhetoric as the ways in which humans

“may influence each other’s thinking and behavior through the strategic use of symbols”

(p. 3). Burke focuses on motives for action rather than just meanings within a textual system. He argues that the motives are developed in and taken from, rather than reflected by, discourse. Birdsell and Groake (1996) further claim that non-oratorical text can be considered rhetoric by saying:

Visual images can, of course, be vague and ambiguous. But this alone does not

distinguish them from words and sentences, which can also be vague and

ambiguous. The inherent indeterminacy of language is one of the principal

problems that confront us when we try to understand natural language argument.

This is why historians endlessly debate the interpretation of historical documents,

law courts struggle continuously with the implications of written and spoken

claims, and personal animosities revolve around who said what and what was

meant (p. 4).

As Burke (1964) states, “when an art object engages our attention, by the sheer nature of the case we are involved in at least as much of a communicative relationship as prevails

17 between a pitchman and a prospective customer” (p. 106). Therefore, non-verbal communication such as visual artifacts can be defined in a way that is similar to verbal communication based on its ability to engage people’s attention to evoke responses.

Burke’s (1969) broad interest in symbolic action has inspired communication scholars to think about the symbolic in various ways. Contemporary theorists encourage a variety of perspectives on rhetorical analysis of symbols from traditional concern for verbal texts to all of their forms, including metaphorical language, archetypal myth, narratives, graphical and visual symbols, body language and expression, group phenomena of symbolic convergence, music, sculpture, painting, dance, architectural styles, and other artificial messages (Burke, 1996; Foss, Foss, & Trapp, 2002). Earlier scholars have demonstrated that all symbols can persuade and that they are forms of rhetoric.

Since the artifact in this thesis is cinema, which “first and foremost is a visual art, first and foremost directs itself to the eye, and that the picture far, far more easily than the spoken word penetrates deeply into the spectator’s consciousness” (Dreyer, 1991, p.

128), the next section will review the literature of visual rhetoric.

Visual Rhetoric

Beginning in the 1970s, the field of rhetoric started to apply theory and criticism to the study of visual rhetoric. Scholars attempt to identify and describe the process of what people see. Worth and Gross (1974) explore “symbolic strategies” which ask how people can use images to discover stories, and what they discover. Lester (2003) indicates:

A photograph always has many stories to tell: the subjects within the picture’s

frame, how the photographers made the image, and what happened after the

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picture was taken and published. But one of the most important stories a

photograph, or any visual message, tells is the one the viewer makes up. The way

you interpret an image is the story of your life (p. 205).

Visual rhetoric is the term described as a form of communication that uses images for creating meaning, knowledge, or constructing an argument. The word “visual” included

“visualizing,” a mental construction of internal images, and also refers to conventional two- and three-dimensional images (Hill & Helmers, 2004). Lester (2003) defines visual communication as “any optically stimulating message that is understood by the viewers” and defines a visual message as “any direct, mediated, or mental pictures” (p. 400).

Foss (2005) further explains that not every visual image is visual rhetoric. A visual object as a communicative artifact must be “symbolic, involve human intervention, and be presented to an audience for the purpose of communicating with that audience”

(Foss, 2005, p. 144). Scott (1994) provides a more general definition of visual rhetoric:

“Rhetoric is an interpretive theory that frames a message as an interested party’s attempt to influence an audience” (p. 253). Although visual rhetoric does not work in the same ways and through the same constructs as verbal rhetoric, rhetorical theory can inform and explain visuals and visual persuasion.

The visual communication scholars focus on a wide scope of different media, such as photographs, drawings, graphs, tables, and motion pictures in which visual elements are used to express ideas or emotions and influence people’s attitudes, opinions, and beliefs (Hill & Helmers, 2004). Foss (2005) in her article Theory of Visual Rhetoric summarizes the scholarly studies of visual rhetoric. For example, Campbell (1989) examines the 1982 film The Year of Living Dangerously to illustrate how an explicit

19 argument may be implicitly enacted in a rhetorical artifact. Rosenfield (1989) uses visual artifacts such as repose, emblem, allegory, and ornamentation to analyze New York

City’s Central Park. Olson (1990) investigates the rhetorical function of Benjamin

Franklin’s commemorative model, Libertas Americana, and examines the epideictic, deliberative and apologetic functions of the model. Rasmussen and Downey (1991) apply four Vietnam War films to discuss the dynamics of dialectical disorientation as a rhetorical form that creates uncertainty and . Blair, Jeppeson, and Pucci (1991) use the Vietnam Veterans Memorial to analyze function of public commemorative monuments. Kaufer and Butler (1996) study the design arts from the designs of buildings and machines to software and interfaces. Dickinson (1997) studies contemporary landscapes of memory like the town of Old Pasadena. Edwards and Winkler (1997) explore the rhetorical function of Joe Rosenthal’s 1945 photograph of the flag-raising at

Iwo Jima as it is appropriated in recent editorial cartoons. These scholars apply rhetorical perspectives and theories from discourse to visual imagery to generate insights in this field.

A large area in visual rhetoric is the exploration of the notion of visual communication and its persuasiveness of messages in advertising (Barry, 1997, 1999;

Durgee, 2003; McQuarrie & Mick, 1999, 2003; Miller, 1998; Morrison & Vogel, 1998;

Reynolds, Gengler, & Howard, 1995; Pieters, Rosbergen, & Wedel, 1999; Strahan,

Spencer, & Zanna, 2002; Suh, 1999). Scott (1994) maintains that pictures are reflections of reality, and argues that advertising images are a sophisticated form of visual rhetoric because they are capable of representing concepts, abstraction, actions, metaphors, and modifiers. Messaris (1997) further divides the functions of advertising images into three

20 parts: images as simulated reality, images as evidence, and images as implied selling ; and then examines how people actually make and interpret visual images in advertising. The results show that the three parts present a formulated theoretical about the persuasive elements of visual images in cinema, video, and television as well.

Some scholars not only study the relationship between the advertising images and audiences, but also examine the cultural impact of advertising images (Cutler, Javalgi, &

Erramsilli, 1992; Frith, 1998; Hitchon & Jura, 1997; Jeon & Beatty, 2002). The findings overall indicate that visual messages must be culture-bound, or the audiences will not respond appropriately. As O’Donnell (2005) says, “cultural studies theories understand that many meanings can be made from a single scene because viewers observe and interpret images and supporting dialogue through the lens of their own cultural experience” (p. 522).

In recent years, with the explosion of technology, the cultural spectacles are often captured through digital media with the moving image (Gronbeck, 2008). People now are living an increasingly visual society. More people watch movies and television rather than read newspapers and books. In television commercials, magazine advertisements, and billboards, images are primary and words are secondary. The Internet, such as

YouTube, Flickr, and social networking sites are saturated with moving images as well.

The moving images, in conjunction with words and sounds, have the power to move people and offer multiple accesses for people to know and order the world (Barbatsis,

1996; Barbatsis & Guy, 1991). The audiences experience the verbal and visual text simultaneously (Mitchell, 1995).

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Numerous works have examined the connection between images and text (Jewitt

& Oyama, 2001; Ledema, 2001; Morreale, 1984; Stormer, 2008; Young, 2009). Harry

(2005), within a cultural studies framework, incorporates rhetorical visual criticism that draws on the methods of Kenneth Burke, with a political-economy perspective, and an ideological interpretation to analyze how visual elements contribute to meaning making in the television text of the CBS situation comedy Pearl. The study suggests that certain cultural ideologies tend to be connected with specific televisual storytelling genres, and concludes that although the viewers can understand Pearl without the spoken text, the verbal text brings into clearer focus as to what visual text has already accomplished.

Unlike traditional print images, “the new media employ the montage principle of film to create a unique reality dominated by simulations or representations that give the appearance of reality” (Foss, Foss, & Trapp, 2002, p. 313). Critics who study cinema now have to consider all the cinematic elements as parts of rhetoric. The following section will discuss the functions of media and film.

Media and Film

Of course, the scope of visual rhetoric also includes more complicated forms than simply still pictures. Cinema is one of the most sophisticated mixtures of visual, auditory, and verbal stimulus which demand active and complex interpretation (Alcolea-

Banegas, 2009). It is an extraordinarily specific and sensory medium, and a new way for literature to be communicated to an audience through multi-sensory means. Visual and auditory elements can reduce a plot to only a couple of sentences. As the dramatic media project collective pictures and narrative, cinema can persuade intentionally or unintentionally.

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The rhetorical scholar Benson (1974) in his article, Joe: An Essay in the

Rhetorical Criticism of Film, justifies that film necessarily embodies rhetorical tokens.

He states:

I take the rhetorical of filmic images to encompass the messages which emerge

from the interpenetration of visual images and their context, context being

understood to arise from such fundamentals as repetition, juxtaposition, duration,

in short, any situation in which it is possible to speak of the dialectical

relationships within a film and between a film and its audience. What makes the

analysis rhetorical is its focus on the way the contextual relations provide clues as

to how audiences are likely to apprehend the imagery (Benson, 1974, p. 612).

In producing film, filmmakers illuminate the values of themselves or society. Benson

(1974) believes that through the study of films, critics can reveal a filmmaker’s communicative intent.

The following scholars acknowledge the validity of film as rhetorical object

(Brock & Scott, 1980; Campbell, 1974; Tompkins, 1969). Brummett (1985) claims that film functions as a “rhetorical conduit to channel motivations directly and powerfully from the film to real experience” of the audience (p. 252). Harrington (1973) believes that the society is visually illiterate. People do not usually understand the way in which visual media communicate. Therefore, it is the rhetorical critics’ work to reveal a filmmaker’s rhetorical strategies and techniques to make sense of themselves and the audiences. Hendrix and Wood (1973) summarize other critics’ views and conclude that:

Just as orators arise to meet our social crises, film makers continue to show us

their representations and interpretations of social reality, and thus influence our

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perceptions and attitudes. Film has become one of the most significant media for

communicative transactions in our time (p. 122).

From the rhetorical lens, all the cinematic elements, including music, movement, acting, images, and narrative, are regarded as rhetorical forms. Alcolea-Banegas (2009) explains:

A film is a symbolic, human, and communicative act, because (1) it establishes an

arbitrary relationship between image and some (imaginary or real) referent; and

(2) it is created by human beings to be communicated to other human beings that

will be interpreting it (p. 265).

Cinema contains implicit or explicit political leanings, sexual orientations, religious beliefs, ethical values, and other allusions that reflect the producers’ attitudes. It identifies with, persuades, or reaches audiences’ minds through symbols.

Since the 1970s, rhetorical scholars have approached theories from literary rhetoric to the media rhetoric. In Brock and Scott’s (1980) publication, Methods of

Rhetorical Criticism, the film rhetorical criticism was first included in its second edition.

In this edition, the editors contain Rushing and Frentz’s (1978) studies on the film .

Rushing and Frentz (1978), following the path of Merritt (1975), and Frentz and Farrell

(1975), use Rocky as an artifact to discuss the relationship between societal values and the motion picture. They argue that Rocky manifests a particular pattern of value change that has specific symbolic import, and therefore, reflects a social value model of rhetorical criticism.

Many others have critically focused on the rhetoric of film during the time as well. Benson (1974) discusses the rhetorical failures in the film Joe because of the

24 character’s inadequate moral base. Kimberling (1982) uses Burkean methodology to explore the impact of Jaws, and suggests that the filmmaker assess the psychological needs of the audiences and then reinforces the needs and values through the film. Davies,

Farrell, and Matthews (1982) explore the identities of the nature of film expression and the psychological aspects of the cinema as a major means of communication media.

Frentz and Hale (1983) use the inferential model method to examine the science fiction film The Empire Strikes Back, and find that a specialized audience, such as children, responds to the underlying messages within the film rather than viewing it as an action experience. Brummett (1985) discusses Kenneth Burke’s theories regarding the effect of films on audiences, and examines five examples of motion pictures about haunted houses to determine their symbolic potential as equipment for living.

Since the 1980s, other rhetorical studies have focused on fiction films by applying a mythic perspective. Myths, as Hart (1990) asserts, are “master stories describing exceptional people doing exceptional things that serve as moral guides to proper action”

(p. 305). Rowland (1990) in On Mythic Criticism indicates that some critics seek to identify the myths that shape society. For instance, Rushing (1985) argues that the motion picture, E.T., like other fantasy films, uses transcendent myth as a way of expressing the perennial exigence and the rhetorical response. She shows how myth is used in the story of E.T., and the ways which certain mythic concepts are treated, even distorted, as the hero moves from one stage of consciousness to the next: “E.T. is above all a of wholeness, a model of merged contradictions. In him, even temporal boundaries are eliminated, creating a true paradox” (Rushing, 1985, p. 39). Moreover,

Rushing (1986) combines the concept of rhetorical narration with Kenneth Burke’s

25 dramatistic pentad of the definitional cultural myths to analyze the film The New

Frontier, and argues that identifying cultural myths are rhetorically meaningful in relation to social consciousness when both are viewed as evolving teleologically.

A number of other works that apply mythic methods to films include: Frentz and

Rushing (1993) show how the archetypal and political symbolism of the film Jaws are located within the frontier myth; Vaughn (1995) uses the films Alien Trilogy to analyze the myth of gender identity; and, McMullen (1996) discusses the impact of the frontier myth on the American consciousness by examining the film Witness.

However, Rowland (1990) charges earlier critics who apply the mythic perspective to a variety of rhetorical acts with misusing the term “myth” and argues that rhetorical critics must strive for precision in their works. In Rowland’s opinion, narrative as a myth defines a good society; helps citizens solve problems; and satisfies certain archetypal structural requirements. Solomon (1990), Osborn (1900), Brummett (1990), and Rushing (1990) respond to Rowland. They agree on the point that narratives must fulfill a “narrow functional/structural” definition to qualify as a myth, but they find

Rowland’s functional/structural definition too confining. Although these studies fail to properly employ the mythic method to film criticism, they open the door for the following rhetorical scholars to include media criticism of film in their analyses.

In recent years, it has been common for rhetorical critics to apply various methods to film criticism. For example, Daughton (1996) uses elements of gender studies, feminist criticism, and media criticism to examine the rhetorical structure of the film

Groundhog Day. This study shows that the filmmaker packages social concerns and issues within the narratives of the film. Stroud (2001) uses narrative analysis to examine

26 the narrative structure of The Matrix, a futuristic science fiction film where humans have lost control of technology and are enslaved by it, and suggests that people’s uncertainties about technology bring about worries of isolation, which are demonstrated in the film.

Steiner (2001) exhaustively reviewed the film The Apostle for its representation of evangelical Christian faith. He uses Kenneth Burke’s ideas regarding rhetorical functions of representation as a framework for the study. The argument is made that this film misrepresents the evangelical faith and practice, even though it is praised by many of that persuasion for its honest character portrayals.

More recently, studies affirm the rhetorical functions of film. Tierney (2006) utilizes a modified form of Nakayama and Krizek’s (1999) strategic rhetorical framework, extending its application beyond individual discourse to film. The study examines three Asian martial art films: Kill Bill, The Last Samurai, and Bulletproof

Monk, and identifies four recurrent Whiteness themes in these films: first, Western characters are able to master Eastern martial arts with ease and surpass the skill of Asian characters; second, Western characters often take the role of the protagonist winning battles with Asian antagonists; third, the consequences of repeated visions of Western characters defeating Asians have an impact beyond entertainment; and last, this communicates White superiority over others even in their particular cultural context.

However, ideological frames are not limited to actions. Gournelos (2007) uses landscape as a visual and conceptual framework to examine ideological implications of three of the largest film franchises over past twenty years: The Lord of the Rings, Matrix, and Terminator trilogies. The study focuses on how imagery and narrative construct visions of politics in the United States that deviate from their surface level messages. By

27 discussing these three trilogies through their rhetorical strategies, the results find the ideology of the United States, and the increasingly blurred lines between progressive and reactionary agendas.

Pepper (2008) draws on the theory of visual rhetoric, principles of Eisensteinian montage, and Hariman and Lucaites’ notion of iconic images to analyze the opening sequence of Oliver Stone’s film JFK. The author indicates that while some previous examinations of JFK have discussed the rhetorical strategies of the film’s narratives, very little work has been done to explore how the iconic images work to inform the narrative’s argument on a visual level. The study examines the film by taking three elements, including image, music, and voice-over into account, and finds that when these filmic elements are collided together, the photographs no longer operate with the same meaning.

This research shows that only when the meaningful images are combined with the music and dialogue that rhetorical argument of a film will be realized, and thus the narrative and ideology are best supported.

Lee (2010) adopts Hart (1990) and Foss’ (1996) formulations of narrative criticism as a guide to analyze the rhetorical meanings of the narrative elements, including narrators, setting, characters, events, and temporal order, contained within the film Cape No. 7. The film created the highest box office record in Taiwanese cinematic industry in 2008. By applying a narrative approach, Lee (2010) interprets the intercultural, interracial, and interpersonal issues contained in Cape No. 7, and decodes the narrative representation, structure, and order presented in this film. The paper suggests that the story of Cape No. 7 is an unsophisticated romance that contains all the popular elements to attract an audience, especially the younger generation. By taking a

28 step further to critically examine this film, the plots, the dialogues, the backgrounds of the characters, and even the use of languages in Cape No. 7, Lee is able to show the unique social experiences and various historical memories among different ethnic (and sub-ethnic) groups in Taiwanese society.

In conclusion, films can show us a great deal and the rhetorical critic has the potential to illuminate underlying themes contained within film content. These studies all use a rhetorical lens to look for the intentional or unintentional values and ideologies of filmmakers, and examine how they use the images and narratives together to induce emotions and passions with the intention of touching audiences. As Rushing and Frentz

(1978) point out, cinema is like the consciousness of society which symbolizes and reinforces societal and cultural events. The literature review in this section illustrates that through rhetorical film criticism, critics are able to reveal underlying values of society and culture, and decode how they communicate with audiences. This paper will show how, despite one visual artifact, two different narratives of cultural values are communicated in the film Crouching Tiger, Hidden Dragon.

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Chapter 2

METHODOLOGY

Rhetorical theory is described as “the systematic presentation of the art of rhetoric, descriptions of rhetoric’s various functions, and explanations of how rhetoric achieves its goals” (Herrick, 2001, p. 7). By analyzing how the values are communicated in the two media – the Mandarin dialogue and the English subtitles – of CTHD, Kenneth

Burke’s cluster criticism proves relevant and insightful. In this chapter, I will first provide a brief overview of Burke’s ideas about rhetoric, cluster criticism, and cluster- agon analysis. Then I will offer a justification for the use of cluster criticism as the methodology to decode a cinematic artifact. Finally, I will provide the procedure of the analysis.

Cluster Criticism

Kenneth Burke has been a key figure in the communication studies field. His work crosses the disciplines of philosophy, literature, , rhetoric, sociology, and economics. With an interest in language, symbol use, and human acts, starting in the early 1920s and extending to the 1960s, Burke has made immense contributions to the study of rhetoric and the practice of rhetorical criticism in publications such as Counter-

Statement (1931), Permanence and Change (1935), Attitudes toward History (1937), The

Philosophy of Literary Form (1941), Grammar of Motives (1945), A Rhetoric of Motives

(1950), The Rhetoric of Religion (1961), and Language as Symbolic Action (1966) (Foss,

Foss, & Trapp, 2002; Herrick 2001; Wolin, 2001). Burke’s rhetorical theory contains his thoughts about the nature of humans and the human being’s connection to rhetoric, and about the role rhetoric plays in human affairs.

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Burke (1950) defines rhetoric as rooted in “the use of words by human agents to form attitudes or induce actions in other human agents” (p. 41). He follows Aristotle’s lead in suggesting that rhetoric’s basic function is persuasion, but he also argues that persuasion’s very condition of possibility is identification. He suggests, “you persuade a man only insofar as you can talk his language by speech, gesture, tonality, order, image, attitude, idea, identifying your ways with his” (Burke, 1950, p. 55). Whenever one person attempts to persuade another person, identification occurs. The concept of identification, according to Burke (1950), is that:

A is not identical with his colleague, B. But insofar as their interests are joined, A

is identified with B. Or he may identify himself with B even when their interests

are not joined, if he assumes that they are, or is persuaded to believe so. Two

persons may be identified in terms of some principle they share in common, an

identification that does not deny their distinctness. To identify A with B is to

make A consubstantial with B (p. 20).

That is to say, in this relationship, even though A identifies with B, however, they are isolated and divided from each other. A and B are not identical or conjoined in any actual sense. An identification is not an identity but a commonality; it is something they have in common or they believe it to be so. Identification is the different grounds of commonality. “A is ‘substantially one’ with a person other than himself. Yet at the same time he remains unique, an individual locus of motives. Thus he is both joined and separate, at once a distinct substance and consubstantial with another” (Burke, 1950, p.

21). He writes, “Identification is compensatory to division. If men were not apart from one another, there would be no need for the rhetorician to proclaim their unity” (Burke,

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1950, p. 22). People spend time devising language and symbols as dependent strategies to help them identify with others, achieve their goals, and gain cooperation from them.

From Burke’s point of view, identification, or consubstantiation, is the mode by which individual existents establish a sense of identity and the mode by which they establish a relation to one another (Davis, 2008).

This doctrine opens a possibility to rethink the rhetors and their audiences. As

Burke (1950) says:

We might well keep it in mind that a speaker persuades an audience by the use of

stylistic identifications; his act of persuasion may be for the purpose of causing the

audience to identify itself with the speaker’s interests; and the speaker draws on

identification of interests to establish a rapport between himself and his audience

(p. 46).

With the framework, one can ask about the strategies the rhetor uses to bring together common interests and drive an interpretation of reality. In this way, the rhetor’s is constituted through those strategic moves and interpretations. Burke develops several investigative tools that aim to uncover a rhetor’s perspective.

Cluster criticism is one of the useful techniques for uncovering a rhetor’s motives and attitudes. Burke (1973) identifies the cluster method as the “statistical” means of examining literature, poetry, and rhetoric (p. 20). While not a statistical method in the sense used by the social sciences, this method provides a descriptive analysis of rhetorical performance that allows for the application of subsequent critical and evaluative tools.

Burke (1973) explains the central idea of cluster analysis:

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The work of every writer contains a set of implicit equations. He [rhetor] uses

“associational clusters.” And you may, by examining his work, find “what goes

with what” in these clusters – what kinds of acts and images and personalities and

situations go with his notions of heroism, villainy, consolation, despair, etc. (p.

20).

He claims that by analyzing key words as part of a respective cluster of related terms, critics can know how rhetors view reality (Burke, 1950, 1959, 1973). In other words, cluster criticism attempts to discover “the structure of motivation” that underlies a rhetorical artifact, which Burke believes could be observed “by noting what subjects cluster about other subjects” (Burke, 1959, p. 232). For Burke, the context in which a rhetor places words is as important as the choice of words. He adds, “By charting cluster, we get our cues as to the important ingredients subsumed in ‘symbolic mergers.’” (Burke,

1950, p. 55).

In many circumstances, a rhetor may not be conscious of associating certain terms. As Burke (1973) indicates, a rhetor is “perfectly conscious of the act of writing, conscious of selecting a certain kind of imagery to reinforce a certain kind of mood, etc., he cannot possibly be conscious of the interrelationships among all these equations” (p.

20). He emphasizes that motives do not exist prior to a situation, but rather are an interpretation of the situation. Therefore, cluster analysis helps reveal how terms create meaning and establish identifications between the rhetors and audiences.

Oravec (1989) explains that “to effect the transfer of motives from the substructural to the superstructural level, a transfer of motives occurs in language” (p.

188). As Oravec (1989) observes, an analysis of associational clusters in discourse may

33 uncover the power of the text in constructing a rhetor’s identity. Critics may also find out a pattern of meanings in an artifact which is not immediately obvious and perhaps contrary to the meaning perceived on initial examination (Foss, 1996). Foss (1999) points out that “once a critic knows how a rhetor has described a situation, the critic is able to discover that rhetor’s motives for action in the situation” (p. 336). Since this thesis will explore how different motivational structures and cultural visions are represented in the two forms of the cinematic artifact by analyzing the narratives, one should know that Burke’s cluster criticism is important as it allows the critic to study the language choices and associations between and among the terms. Burke (1966) claims that language has the power to move others to action, which enables the audience to identify with the rhetoric. As such, the use of language within a rhetorical text is purposeful.

However, unlike narrative criticism that is typically applied in the study of narrative texts, cluster criticism can be applied to study artifacts containing visual and narrative elements. It allows one to find emerging themes (clusters) in the text, and these themes or clusters can be used to construct meaning. Cluster criticism has been used to examine the rhetoric of American presidents (Berthold, 1976), Burke’s own eight major philosophical books (Crowell, 1977), the coverage of the Soviet Union (Corcoran, 1983), institutional establishment rhetoric (Foss, 1984), painting (Reid, 1990), feminist literature

(Marston & Rockwell, 1991), eating disorder therapies (Cooks & Descutner, 1993), and many other various research topics.

A case study conducted by Pullum (1992) perfectly illustrates how to use cluster analysis. Pullum (1992) employs this methodology to analyze the rhetoric of the Jewish

34 televangelist Jan Bresky. The study aims to find out what worldview Bresky wants the audience to accept and how he persuades them to accept it. By interpreting the predominant terms and their concomitant cluster of terms in Bresky’s five representative videotaped sermons appearing on cable television, his book Common Sense Religion for

America, undated pamphlet Spiritual Judaism, and his articles that appeared in the Jewish

Media Relations Council’s monthly newsletter, the study concludes that Bresky’s purpose for his preaching is not try to convert people of other faiths to the Jewish religion, but make the world a more tolerable place in which to live, and lead people to have inner peace. Pullum (1992) successfully uses cluster analysis to discover insight into the values and interests of Bresky, and determines how the speaker identifies these personal values and interests with his audiences. The study can be a useful guide for this thesis.

In conducting a cluster analysis, the first step is selecting the key terms of the artifact. The significance of a term is identified by determining its frequency and intensity (Foss, 1996). One term frequently appears in the artifact means that the term is used over and over again in the artifact, and thus, can likely to be a key term. Defining

“intensity,” Foss (1996) states, “A term may not appear very often in a rhetor’s work, but it may be extreme in degree, size, strength, or depth of feeling conveyed” (p. 65). Based on Rueckert’s (1982) guidelines, after identifying the key terms, the critic notes and verbal combinations, and equations that link important terms with other terms, look for the associational clusters among terms and examine the themes, ideas and patterns within the clusters for clues about the artifact’s underlying structure of motivation.

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Cluster-agon Analysis

To provide a more elaborate scheme for analyzing associational clusters, Burke discusses cluster-agon analysis to discover god terms and devil terms. Weaver (1953) gives an explanation of the relations between god terms and devil terms. The god term is

“that expression about which all other expressions are ranked as subordinate and serving denominations and powers” (Weaver, 1953, p. 214). God terms instill ideas with positive values or meanings. On the other hand, the devil term, which instills other ideas with negative or low values, revolves around opposite key terms. As Mechling and Mechling

(1983) describe:

Humans best perceive meaning through , through opposition, and it is

the story of the Fall [account of Adam and Eve’s free-will choice] that establishes

distinctions between God and Satan, good and evil, vice and virtue, appropriate

and inappropriate behavior, obedience and disobedience to the code, responsibility

and irresponsibility (p.22).

Where there is a god term, there are often one or more devil terms as well. In cluster analysis, these categories become clear. When a person identifies with others, the person typically uses language in the form of god terms or their opposite, devil terms. Burke

(1969) says that “a God term designates the ultimate motivation, or substance, of a

Constitutional frame” (p. 355). God terms, as one might define, are those terms that help people identify with one another, while devil terms allow for the division and the lack of identification to continue. In other words, god terms orient as significant clusters the ways that people identify with one another. The devil terms, on the contrary, are clusters of antonyms, binary oppositions, or metaphors depicting an imagery of conflict that

36 actually exists in a rhetor’s beliefs. Ruechert (1982) indicates that “the opposed principles represent the self’s choices, and the movement towards and away from them…represent the quest, the self’s journey toward unity of being” (p. 90). To further explain agons, Berthold (1976) continues:

Each opposition consists of a good [god]-term and a devil-term placed in some

form of contraposition. No particular grammatical structure is common to all

agons. Agons may involve direct opposition between terms, as when the speaker

contrasts a good [god]-term and a devil term. Opposition may also be expressed

by describing a form of competition between two terms. In addition, the

speaker’s imagery may portray a direct opposition. Agons, like clusters, may be

formed indirectly by opposing each other through mutual relationship to third

terms (p. 304).

The agon, or oppositional term, is important and necessary to provide meaning and understanding by way of contrast. Foss (1996) asserts that an application of the agon analysis “allows the critic to interpret the results of the cluster analysis in order to discover how the symbols function for the rhetor” (p. 104). As a result of identifying opposition between key terms and their associational clusters, the critic usually is able to discover conflicts, tensions, contradictions, or a worldview within the artifact.

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Film as an Artifact

In applying Burke’s cluster criticism to decode a film, one should also know the organizational structures of making cinematic stories. Stories help both tellers and audiences interpret and recreate reality, and thus have been a central part of society and cultures. According to Gabriel (2000), stories include narrative, plot, entertainment, personal experience, and sense-making. The function of stories is not just recounting events, but enriching, enhancing, and infusing them with meanings. They frequently move beyond entertainment, “seeking to educate, persuade, warn, reassure, justify, explain and console” (Gabriel, 2000, p. 32). Gabriel (2000) defines stories as “narrative with plot and characters, generating emotion in both the narrator and the audience through a poetic elaboration of symbolic material” (p. 239). Storytellers, different from reporters or journalists, are allowed to use rhetorical symbolic and narrative devices to twist and distort the facts for effect. That is to say, storytellers interpret the facts in order to resonate with their audiences. Due to the features of engagement with meanings rather than challenging facts, storytelling becomes a useful instrument to study human communication. As the mixed media form of art, however, cinema storytelling is different from other narrative forms. Corrigan and White (2012) indicate that the characteristics of narrative film including stories and plots, characters, diegetic and non- diegetic elements, and narrative patterns of time and space.

First of all, plot is the sequence of events that happen in a story. On the other hand, story is what the work is all about. According to the novelist E. M. Forster (1927),

“[A story] can only have one merit: that of making the audience want to know what happens next. And conversely, it can only have one fault: that of making the audience

38 not want to know that happens next” (p. 35). A plot, Forster (1927) claims, “is also a narrative of events, the emphasis falling on causality” (p. 130). In other words, plot is what happens; story is what it is about. To study a film, it is essential to find out what the rhetor is trying to reveal behind the plot.

The second feature in the narrative film is characters. Characters become the central vehicle for actions once a movie starts. Corrigan and White (2012) indicate, “ how the ordinary and the extraordinary, the unique and the typical, are blended in characters, narrative traditions tend to construct character behavior, emotions, and thoughts as consistent and coherent” (p. 226). Walter Fisher’s (1985) theory of narrative paradigm explains the importance of consistency and coherency. Fisher (1987) believes that everyone has the same inherent ability to determine the narrative rationality based on narrative coherence and fidelity. Audiences examine the narrative coherence, also called narrative probability by asking if a story makes sense or has a meaning by three kinds of consistency: structural, material, and characterological coherence. Audiences check structural (argumentative) coherence, including the organization and sequencing of ideas, to see how all the parts of a story fit together. Material coherence (external consistency) refers to how a story is different from other stories and asks whether important ideas seem to be missing or distorted. Characterological coherence means the characters’ believability and trustworthiness. Audiences examine the characters’ decisions and actions in a story to determine if they are consistent or not. Then, audiences examine the narrative fidelity. Fidelity determines whether a story or the characters’ beliefs, values, actions, and behaviors match audiences’ personal experiences, and plugs into the world they live in. Audiences assess the truthfulness or reliability of a story by the logic and

39 good reasons (Fisher, 1985). That is, audiences evaluate a story as consistent to see if it fits their own lives, situations, and reality, or at least what they know about the world. If the characters’ behaviors are not consistent or do not reflect social and historical assumptions, the audiences will find it hard to identify with the narrative.

The third elements are diegetic and non-diegetic. Hayward (1996) defines the diegesis as “narration, the content of the narrative, the fictional world as described inside the story. In film it refers to all that is really going on on-screen, that is, to fictional reality” (p. 67). The diegesis includes the characters, places, and events shown in a movie. Thomas (2001) describes that “a film’s diegesis is the narrative world and all that happens within in – those aspects of a film which, at least in principle, are accessible to the characters – while the non-diegetic is all that falls outside it and is aimed exclusively at the viewer” (p. 97). The distinguishing feature between diegetic and non-diegetic is what is included within the imaginary world of the story, and whether it is visible onscreen or not. Corrigan and White (2012) claim that the notion of “diegesis is critical to our understanding of film narrative because it forces us to consider those elements of the story that the narration chooses to include or not include in the plot” (p. 231).

Through examining diegesis elements, one can analyze the reason why a diegesis elements is used or is taken off in order to find out the rhetor’s perspective.

Lastly, film has the ability to manipulate, expand, or contract time and space through a different mise-en-scène and editing scenes. Both mise-en-scène and editing are elements of constructing a movie. According to Corrigan and White (2012), the four basic categories of film are mise-en-scène, cinematography, editing, and sounds. The

French word mise-en-scène is literally translated to mean “to put on stage” (Gibbs, 2003,

40 p. 5). This term is used in the discussion of visual style which includes lighting, costumes, sets and settings, properties, actors, make-up, and other images or objects that appears before the camera (Gibbs, 2003). The cinematography is the creation of motion picture images. The basic unit of cinematography is the shot (Malkiewicz & Mullen,

2005). Cinematography is essential because it shows how the moving images are selected, and how they are framed, lit, tinted, and manipulated through effects. Editing refers to how filmmakers cut a movie. Orpen (2003) states that editing can be divided into three processes: “the selection of takes and their length; the arrangement and timing of shots, scenes and sequences; and their combination with the soundtrack” (p. 1).

Editing is an expression that creates or reflects key patterns through which audiences see the world (Corrigan & White, 2012). The forth filmmaking element is sound technologies. Unlike mise-en-scène, cinematography, and editing, sound technologies evolve more slowly in the film industry. However, most movies now include recorded dialogue, sound effects, music scores, narrations or voice overs. Sound is a sensual experience that cannot be underestimated because it helps to make the visual text more immersive (Corrigan & White, 2012). Through these fundamental elements, narrative films create new ways of telling stories. How the rhetor arranges the time and space in a film determines the meanings and values of events.

Filmmaking is a unique art form that combines audio and visual elements, and although Burke’s cluster criticism is mainly applied to verbal narrative studies, this paper will have to consider the visual cinematic components as one part of the narrative in order to deconstruct the cinematic artifact.

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Methodological Justification

To discuss why differences exist between CTHD’s Mandarin dialogue and

English subtitles, rhetorical approaches such as Ernest Bormann’s fantasy theme analysis can be applied to the study since the method is to determine and compare the rhetorical visions they communicate. Walter Fisher’s narrative analysis could also be useful under the paradigm as it can examine how the narrative coherence and narrative fidelity of the text influence audiences’ engagement in the content of the story and consequential behavior in order to discern the values that a certain group of audience finds as good or desirable.

However, cinema is constructed by a complex system of both verbal and visual rhetoric. Neither of these rhetorical approaches is able to deal with the multiple levels of artifact, and neither of them focuses specifically on the rhetors’ underlying values and worldview. Burke’s cluster criticism is applied to answer the research question posed in this study because it provides the most appropriate framework to reveal the interpretations of the cinematic text, and facilitates the determination and comparison of cultural values communicated in the two media using visual and narrative rhetoric.

Procedure

The artifacts for this study are the Mandarin dialogue and the English subtitles of the film Crouching Tiger, Hidden Dragon (USA, 2000). Although Sony Pictures

Classics released a blu-ray version of CTHD in 2010 and made a few changes to the

English subtitles, this study will apply the English subtitles of the original theatrical version (DVD). The DVD form of the film permits multiple viewing and stop action function for close examination.

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Each cluster analysis of the two media is divided into the following sections:

1. The selection of key terms based on frequency and intensity. The charting of

clusters around the key terms.

2. Analysis and interpretation of the clusters.

3. Findings and discussion.

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Chapter 3

CLUSTER ANALYSIS

Introduction

This chapter will analyze the two media, the Mandarin dialogue and the English subtitles, with visual text of CTHD, using cluster criticism. Three processes are present in this chapter. First, the process beings with the identification of significant key terms.

Since the artifact is a cinematic experience, both words and visual images may serve as

“terms” in this cluster analysis. Key terms are sekceted based on frequency (the number of times a word or a visual element is used) and intensity (the sense of power or emotion evoked by a word or a visual element). The frequency of the dialogue and the subtitles is determined through the examination of the word count produced by Adobe Reader X

(10.1.0) after eliminating insignificant words such as articles, conjunctions, and other grammatical parts of the dialogue and the subtitles. The DVD form of the film is used for examining the visual text. Once the frequency of the dialogue and subtitles is tabulated, the clusters around these key terms will be presented with examples and brief explanations. Cluster-agon analysis is conducted during this stage to discover what terms identify with and what terms oppose to other terms in the rhetoric. The second step involves the interpretation of clusters to find the connections and disconnections between the Mandarin dialogue and the English subtitles with the visual text. The third step is an overall discussion to compare and contrast the similar and different visions that are represented in the two forms of the cinematic artifact, Crouching Tiger, Hidden Dragon. 44

Identification Key Terms

A term that appears in more than 30 percent of the film is selected as a frequent term. While identifying frequent terms is essentially a subjective process, the 30 percent mark is chosen because this amount of time, more than 30 minutes out of the two-hour film, qualifies for Foss’ (2004) criteria of high frequency that “a term is used over and over again,” and is likely to be a key term in the rhetor’s thought and rhetoric (p. 73).

The second criterion to use in selecting the rhetor’s key terms is intensity. As Foss

(1996) notes, “a term may not appear very often in a rhetor’s work, but it may be extreme in degree, size, strength, or depth of feeling conveyed” (p. 65). Thus, a term that is used significantly or symbolically in this artifact is regarded as an intense term. Based on the criteria, three terms emerge as central in this film. These three key terms, with the percentages that occupy this film in parenthesis and in chronological order, are Li Mu Bai

(32%), green (65%), and Yu Jiao Long/Yu Jen (52%).

Li Mu Bai

The term Li Mu Bai occupies 32 percent of this film. Li Mu Bai is a key term because, although he is often found in association with other terms, he represents the main character of the story, and his name almost always carries a degree of intensity that marks out his importance. For example, when Yu Shu Lien gives Li Mu Bai’s sword to the wise elder Sir Te, he says, “This is Li Mu Bai’s personal sword, a great hero’s weapon. He is the only one in the world worthy of carrying it” (The English subtitles, line 67, 68). Later, while Yu Shu Lien tells Jen that the sword belongs to Li Mu Bai, Jen replies, “Li Mu Bai! The famous warrior?” (The English subtitles, line 122, 123). Based on other characters’ descriptions of Li Mu Bai with some awe, it can be assumed that the 45 name is used to represent a certain value. The Mandarin terms that cluster around Li Mu

Bai are the Bluish-green Destiny sword, Wudan terms, spiritual terms, and white; the

Mandarin agon terms are Fox with jade-color-eyes, death terms, and black. The English terms that cluster around Li Mu Bai are the Green Destiny sword, Wudan terms, spiritual terms, and white; the English agon terms are Jade Fox, death terms, and black (see Table

1.1). Examples and explanations are presented below.

As the protagonist Li Mu Bai’s holy weapon, the green sword is portrayed as an item that only a real master has the right to possess it. This sword in the English subtitles is named the “Green Destiny sword.” However, to be more specific, in Mandarin, it is the “Bluish-green Destiny sword.” The dialogue and the subtitles both only use “the sword” to refer to this particular sword. The image of the sword visually occupies the film one quarter of time from the beginning to the end, and almost always in association with the term Li Mu Bai.

Other major groups of terms that identified the term Li Mu Bai are the Wudan terms and the spiritual terms. The Wudan terms include “Wudan Mountain,” “Wudan

School,” “Wudan sword arts,” “Wudan’s disciples,” “Wudan’s secrets,” and “Wudan manual.” The Wudan Mountain, located in the north-western region of Hubei province, was the sacred Taoist Holy Land in China (Wang, 2010). The term “Wudan,” most translated to “Wudang” in the West, generally refer to the Wudan Mountain and the

Wudan School – the martial arts school. As a Wudan master, the spiritual terms including “enlightenment,” “training,” and “meditation” also frequently cluster around Li

Mu Bai. Li Mu Bai is “practicing deep meditation” at “Wudan Mountain” because for a

“Wudan fighter,” “training is everything” (The English subtitles, line 10, 11, 16). When

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Li Mu Bai meets Jen, he sees her martial arts potential. He asks Jen to be a “Wudan disciple,” and is willing to teach Jen “the secrets of Wudan’s highest martial arts” – “the

Wudan manual,” but Jen declines the offer (The English subtitles, line 378, 468, 491).

Another expression that clusters around the term Li Mu Bai is the color of white.

The word “Bai” in the name Li Mu Bai means “white” in Mandarin. Although the word

“white” is not directly translated into the subtitles, the image of this character on the screen, as the famous warrior and the hero, is portrayed as a white knight. Li Mu Bai always dresses plain light-colored robes of a single pure color without any decorations.

This white image is displayed more obviously when Li Mu Bai shows up at night or fights with his enemy, Jade Fox, who only wears dark costumes.

Burke (1957) calls opposing terms “agons” and states that opposing terms frame and emphasize key terms. The agon terms that cluster around Li Mu Bai are Jade Fox, the death terms, and black. The villain of this story is named “Jade Fox” in the English subtitles. Yet, in the Mandarin dialogue, her name is “Fox with jade-color-eyes,” which does not contain the word “jade.” The term “jade-color” is a kind of green that is in between azure and bluish-green color. Chinese-speaking people often suffix the word

“jade-color” to jade, or use the word to describe the color of sky or lakes. Both the dialogue and the subtitles use “the Fox” to refer to the antagonist as well.

The death terms includes “kill,” “killer,” “murder,” “murderer,” “bloodshed,

“poison,” and “avenge.” The Fox has slept with Li Mu Bai’s master for the purpose of learning the Wudan manual. However, after sleeping with the Fox, Li Mu Bai’s master still refuses to teach the Fox the Wudan secret. The Fox then uses the “Purple Yin poison,” a poison needle, to “murder” Li Mu Bai’s master and steals the secret manual

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(The English subtitles, line 372, 965). For years, Li Mu Bai wants to “avenge” his master’s death (The English subtitles, line 51). At the end, Li Mu Bai uses the sword to kill the Fox, but the Fox also uses the same poison needle to kill Li Mu Bai (The English subtitles, line 967). The two enemies are both dead.

As a devil term in contrast to the god term Li Mu Bai, the Fox is depicted in the color black. Unlike Li Mu Bai, the Fox in her two battle scenes wears a plain black costume. In addition, the mise-en-scène around the Fox tends to be dark. While the Fox reveals her true identity as the killer on the screen, there is one shot taken with the dark moon and black ravens flying out of trees, emphasizing her black image as a devil term.

I will return to these terms and analyze them more fully in subsequent sections. For now, the clusters associated with Li Mu Bai are summarized in Table 1.1.

Table 1.1

Terms that Cluster around Li Mu Bai (32%)

The Mandarin Dialogue The English Subtitles Identified Terms Agon Terms Identified Terms Agon Terms • Bluish-green • Fox with jade- • Green Destiny • Jade Fox Destiny sword color-eyes sword • Death terms • Wudan terms • Death terms • Wudan terms • Black • Spiritual terms • Black • Spiritual terms • White • White

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Green

The green term occupies this film for 65 percent of the time. One reason that green is selected as a key term is because it forms the largest cluster in this film. Another reason is that green is used intensely in this film. For instance, in the desert scene, the rhetor creates a diegetic space that is full of red; however, there is an eye-catching green item, a green jade comb, that frequently appears six times in the red scene, and not one time is it used for brushing hair, which is supposed to be the original function of a comb.

A case like this makes us to pay attention to the color usage in the film. The Mandarin terms that form around the idea of green includes Fox with jade-color-eyes, the jade comb, the Bluish-green Destiny sword, and the bamboo forest; the Mandarin agon terms are Xin Jiang, the red robes, and the wedding. The English terms that form around the idea of green includes Jade Fox, the jade comb, the Green Destiny sword, and the bamboo forest; the English agon terms are the desert, the red robes, and the wedding (see

Table 1.2). Examples and explanations are presented below.

Although the Fox mostly wears dark-colored costumes, the Mandarin term “Fox with jade-color-eyes” and the English term “Jade Fox” both contain the element of green due to the fact that the most popular and common color of jade is green. The Mandarin term “Fox with jade-color-eyes” or “the Fox” appear in the dialogue 28 times (The

Mandarin dialogue, line 54, 196, 226, 299, 301, 302, 304, 315, 321, 333, 362, 364, 371,

385, 393, 415, 424, 424, 465, 481, 498, 546, 559, 709, 724, 943, 945, 947); the English term “Jade Fox” or “the Fox” appear in the subtitles 25 times (The English subtitles, line

51, 199, 225, 290, 292, 295, 299, 308, 313, 327, 349, 368, 392, 408, 417, 460, 476, 495,

550, 563, 710, 722, 937, 939, 941). In addition, Jen’s family name “Yu” in Mandarin 49 means “jade” as well. The fact that these two vicious female characters are both related to the green jade is worthy to be analyzed to further understand the reason for such an arrangement.

The other prop in this film that is associated with the color green is Li Mu Bai’s sword. The sword is named the “Bluish-green Destiny” in Mandarin and is translated to the “Green Destiny” in English. Despite that, the “bluish-green” in Mandarin is a different word from “green,” it is one kind of green. Besides, the veins on the sword are bluish-green; thus, when the sword is drawn at night, there is bluish-green sparkles emanating from the sword. This green sword is regarded as a significant term because it frequently appears 14 times, and is often shot at a close range to imply that it is a significant and unique prop.

If the idea of green is not obvious enough through the Fox, the jade comb, and the sword, it is strongly emphasized in the “Scene 20 Young Master Long” and “Scene 25 Li vs. Jen.” In “Scene 20 Young Master Long,” Li Mu Bai and Yu Shu Lien sit together in a pavilion in front of a green bamboo forest. In “Scene 25 Li vs. Jen,” Li Mu Bai and Jen fight above another green bamboo forest. These two bamboo scenes occupy approximately eight percent of this film and display an overwhelming green element on the screen. The green used in these scenes will be further investigated.

The agon idea of the term green in this film is the term red. In contrast to the green bamboo scenes, the fundamental color of “Scene 18 Dark Cloud” and “Scene 19

Come With Me!” is warm red. “Scene 18 Dark Cloud” set in Xin Jiang desert is full of yellowish-red hues. Additionally, the bandit leader in Xin Jiang, Lo, is always wearing crimson robes. After Jen has sex with Lo, she no longer wears her white costume and

50 starts to wear crimson robes too. The term “Xin Jiang” in Mandarin means “New

Frontier,” or “New Territory.” Xin Jiang is a desert that is located in the northern and western regions of China that borders the former Soviet Union. It is known as the Silk

Road during the Dynasty (Dillon, 2004). This Xin Jiang desert scene occupies 17 percent of the film, approximately 20 minutes long, and is the only flashback scene in this film. The scene right after the desert scene is Jen’s wedding scene – “Scene 19

Come With Me!” Red is the prevailing color in Chinese weddings, and consequently, this scene is full of red. Jen’s bridal sedan chair is red. Jen and the people in the wedding march are all dressed in red as well.

A summary of the green term’s clusters can be seen here, in Table 1.2.

Table 1.2

Terms that Cluster around the Green Term (65%)

The Mandarin Dialogue The English Subtitles Identified Terms Agon Terms Identified Terms Agon Terms • Fox with jade- • Xin Jiang • Jade Fox • The dessert color-eyes • Red robes • Jade comb • Red robes • Jade comb • The wedding • Green Destiny • The wedding • Bluish-green sword Destiny sword • Bamboo forest • Bamboo forest

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Yu Jiao Long/Yu Jen

The term Yu Jiao Long/Yu Jen is selected as a key term because the character occupies 52 percent of this film, and the name in English and Mandarin contains different meanings that are worthy to be analyzed. The English name “Yu Jen,” in fact, is a catchier name made up by the screenwriters for the English-speaking audiences to easily recognize. Jen’s Mandarin name is pronounced “Yu Jiao Long,” which means “Jade

Delicate Dragon.” The term “dragon” is used frequently and symbolically in the dialogue. For example, while Li Mu Bai explains to Yu Shu Lien why he wants to make an exception for Jen to become a Wudan disciple, he says, “I’m afraid she’ll become a poisoned dragon” (The Mandarin dialogue, line 564). Here, the term “dragon” is not only used as a metaphor, but also directly refers to the character’s name. The different name in the English subtitles versus the Mandarin dialogue highlights a cultural gap where the rhetor communicates with the audience through diffirent symbols. The

Mandarin terms that cluster around this term are dragon and tiger, the jade comb, freedom terms, and affectionate terms; the Mandarin agon terms are Confucian terms and marry. The English terms that cluster around this term are the jade comb, freedom terms, and affectionate terms; the English agon terms are good value terms and marry (see Table

1.3). Examples and explanations are presented below.

“Yu” in Mandarin literally means jade; “Jiao” in Mandarin means pretty, charming, delicate, and squeamish; and “Long” means dragon. Accordingly, Jen’s

Mandarin full name is “Jade Delicate Dragon.” Her nickname in Mandarin is “Little

Dragon.” Chinese-speaking people tend to prefix “little” to family members or close friends’ names to show intimacy. Similarly, Jen’s lover Lo has a Mandarin name that is 52 pronounced “Lo Xiao Hu,” which literally means “Lo Little Tiger.” The subtitles only show his family name “Lo” instead of his first name “Little Tiger.” Due to the fact that two characters are named “dragon” and “tiger” respectively, the terms “tiger” and

“dragon” appear in the Mandarin dialogue for 33 times (The Mandarin dialogue, line 293,

455, 564, 575, 576, 580, 585, 610, 676, 703, 714, 715, 716, 720, 723, 734, 743, 753, 754,

757, 779, 826, 829, 879, 880, 888, 900, 954, 963, 1019, 1023, 1024, 1027), but only four times in the English subtitles and are not directly referring to these two characters.

Another term clustering around Jen is her jade comb. This comb does not only visually appear on the screen, but also in the narratives. When Lo first sees Jen in the desert, she is holding her jade comb. Lo grabs the comb so Jen chases after him and says

“Give me back my comb!” (The English subtitles, line 601). Afterwards, the development of Jen and Lo’s relationship is closely associated with the comb. In the desert scene, this comb term appears eight times in the Mandarin dialogue (The Mandarin dialogue, line 598, 602, 603, 605, 613, 638, 645, 656), and appears six times in the

English subtitles (The English subtitles, line 596, 601, 612, 639, 647, 657).

Other major groups of terms that cluster around Jen are the freedom terms and the affectionate terms. The freedom terms include “free,” “freely,” “freedom” and “roam.”

The affectionate terms include “love,” “feelings,” and “happy.” And the agon terms that cluster around Jen are the Confucian terms and marry. Jen, as an aristocrat and the daughter of Governor Yu, is supposed to marry another aristocrat picked by her family to benefit her father’s career; however, she states her opinion by saying “to be free to live my own life, to choose whom I love...that is true happiness” (The English subtitles, line

257-259). She resents restriction and believes that in becoming a fighter in Giang Hu,

53 she will “be totally free;” thereupon, she runs away from her wedding (The English subtitles, line 131).

The term Giang Hu is particularly used only in the wuxia genre. “Giang” literally means rivers and “Hu” means lakes. When “Giang” and “Hu” compound into “Giang

Hu,” it refers to a sub-community or an alternative universe, which is opposite to the disciplined world of home, country, government, or the ruling authority. “Giang Hu,” most of time, refers to a fantasized space or a lifestyle. However, when “Giang Hu” is illustrated on the screen, it is set in the inns, deep mountains, islands, bamboo woods, or temples to help the audiences visualize its concept. Although the world of Giang Hu is made up of individuals and their relationships, certain values such as loyalty and honor are still the main values (Dilley, 2007). Like Yu Shu Lien tells Jen, Giang Hu also has rules such as “friendship,” “trust,” and “integrity” that one has to follow (The English subtitles, line 132). However, as a runaway bride and a sword thief, Jen apparently is not a person with “integrity” and “trust.” She also ends her “friendship” with Yu Shu Lien easily. While Yu Shu Lien blames Jen for ruining their peace, she answers, “What do I care? You were never a real friend anyway” (The English subtitles, line 889, 890).

Due to that fact that Jen considers her own “freedom” and “love” more important than the social norms, the terms “friendship,” “trust,” and “integrity” are grouped as the good values terms that oppose to her values. The Mandarin agon terms that cluster around Jen are not grouped as the good value terms but as Confucian terms because the two Chinese compound words “trust/integrity” and “morality/etiquette” contain the central ideas of Confucianism, and are not directly translated into English.

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I will return to these terms and further examine them in the later sections. The clusters around Yu Jiao Long/Yu Jen are summarized for now in Table 1.3.

Table 1.3

Terms that Cluster around Yu Jiao Long/Yu Jen (52%)

The Mandarin Dialogue The English Subtitles Identified Terms Agon Terms Identified Terms Agon Terms • Dragon and • Confucian terms • Jade comb • Good value tiger • Marry • Freedom terms terms • Jade comb • Affectionate • Marry • Freedom terms terms • Affectionate terms

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Interpretation of the Clusters

Having identified the key terms and the ideas that cluster around them, a more thorough analysis of these clusters will be featured in this section in order to explore the motivational structures present in the film.

Li Mu Bai

The image of Li Mu Bai, as a renowned swordsman and a hero in this story, is portrayed as a god term. However, the Wudan terms and the spiritual terms that cluster around Li Mu Bai reveal that Li Mu Bai is not only a skillful martial artist, but also a

Taoist practitioner of morality. Compared to the Shaoling style of martial arts which stands for outer strength, the Wudan style focuses more on signifying inner strength

(Sunshine, 2000). According to Preston (2009):

Zhang San Feng established the Wudan school of Taoism. He created the arts of

Taiji Quan [Tai Chi Chuan] and Wuang school of Kung , the internal school

based on the law of Taiji. The creator of Taiji Quan advocated that

Confucianism, Taoism, and Buddhism should all be blessed religions which are

totally different from evil sects. Although each has different origins and separate

founders, the three have the same purpose, which is to improve personal character

and be altruistic. Confucians tend to benefit social order, Buddhists try to

enlighten people, and Taoists focus on longevity. Zhang also insisted that

benevolence and the practice of qigong makes one immortal (p. 158).

As a Wudan master, Li Mu Bai, hence, is the representation of the traditional Chinese values: Confucianism, Buddhism, and Taoism. He believes that to be a real hero, one should not only practice martial arts, but also have mental integrity. 56

As an image that embodies Chinese morality, Li Mu Bai lives by the traditional social code and lives for the community. According to the Confucian notions, “the highest virtues for women are faithfulness to one’s husband during marriage, remaining loyal to his memory, and not remarrying after his death” (Lee, 2010, p. 170). No matter whether this Confucian norm is still believed in modern society or not, it makes sense that Li Mu Bai, in his time, does not allow himself to do immoral things: to be romantically involved with his brother-by-oath’s fiancée, Yu Shu Lien, at least not to do it before he leaves the community. The character setting explains why Li Mu Bai and Yu

Shu Lien have to hide their feelings. The interactions between Li Mu Bai and Yu Shu

Lien tend to be obscure. For instance, when Li Mu Bai first visits Yu Shu Lien in the opening scene, he walks slowly into the house. Yu Shu Lien’s maid drops her parcels and runs excitedly into the house to tell Yu Shu Lien that Li Mu Bai is coming. The maid’s action shows the viewer that Li Mu Bai is an important guest to Yu She Lien. Yu Shu

Lien comes out from her room to meet Li Mu Bai right away; and the moment she pops up in the living room, she holds her body slightly stiff, tries to look calm, and not in a hurry. After greeting each other, there is an awkward pause. The editing of the first scene immediately shows that Li Mu Bai and Yu Shu Lien have something more to their relationship but they cannot express in obvious ways. In the following scenes, when these two characters chat with each other, they make facial expressions of happiness, sadness, or anger very cautiously. The mise-en-scène creates an atmosphere of self- repression, and this repression can be resonated with audiences who are accustomed to being restricted by the old Confucian codes.

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Since the clusters frame Li Mu Bai as a heroic Taoist follower, his life goal is naturally to be enlightened through training and meditation. The term “training” used in the Mandarin dialogue has more elements than it appears in the English subtitles because it is associated with Mandarin terms such as virtue, correct, and discipline in the dialogue. As an illustration, when Li Mu Bai tries to teach Jen how to use the sword well, he gives a brief lesson. The English subtitles display, “Real sharpness comes without effort. No growth without assistance. No action without reaction. No desire without restraint… You need practice. I can teach you to fight with the Green Destiny, but first you must learn to hold it in stillness” (The English subtitles, line 478-483, 488-

489). However, in the Mandarin dialogue, Li Mu Bai is quoting part of a lesson from the classic scripture of Taoism, Tao Te Ching, written by the Chinese Taoist philosopher,

Lao Tzu, chapter nine, and states that Jen needs “training” and to practice “martial virtues” to be able to understand how to defeat movement with stillness. This chapter discusses the balanced philosophy of Taoism by saying:

To fill to the brim is to be out of balance.

Wherefore it is better to stop before overfilling.

To over-sharpen a sword is to be out of balance,

Wherefore its edge will not last long.

To line a hall with gold and jade is to be out of balance,

Wherefore no one can guard them.

If wealth and rank make a man haughty and clinging,

He will surely bequeath misfortune upon himself.

If success is achieved and honor bestowed,

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Quietly withdraw from your position.

This is the way of heaven (trans. 2004, p. 31).

The Taoists sage believes that there are two basic distinctions in nature, such as female and male, sun and moon, dark and light, and balance is the basic characteristic underlying the opposing forces. Simpkins and Simpkins (1999) states:

Yin [female] and yang [male] brings a dynamic balance of forces of movement

and rest, activity and passivity, so that the balance point returns to center. The

unity of opposite emerges. In many applications of Taoism, this unity is the

source of guidance, the criterion, the standard by which correctness can be

evaluated when reason is brought to bear on things (p. 58).

From Li Mu Bai’s point of view, Jen acts without displine, balance, and true relection.

She needs to practice martial virtues and learn to live in balance first in order to use the sword well. After Li Mu Bai chases Jen into the bamboo forest, the former stands on the top of the tree still, and the latter is unsteady. This scene, visually corresponding to Li

Mu Bai’s verbal lesson to Jen, reveals the philosophy of balance to the viewers through visual action.

The basic principle of yin-yang balance which is the foundation of Taoist ethics is well illustrated by Tai Chi. In Chinese, Tai Chi means The Supreme Ultimate, the universe. According to Svoboda and Lade (1995), Tai Chi is:

Symbolically composed of the primal forces of Yin and Yang, represented as

black and white respectively, forming a unified circular whole. Within each

colored half there is a contrasting spot indicating there are no absolutes and that

both forces only exist in relation to each other, just as there is a nighttime only in

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relationship to daytime. The moving interface between the two halves denotes

their vital nature and nurturing tendency, which in extremes can cause

transformations to occur. The symbol also indicates the tendency of Yin-Yang

towards balance, for their overall appearance is one of equal strength (p. 15).

In this film, the idea of yin-yang balance, the black and white, are revealed visually constantly. For instance, while the Fox and Jen fight with Li Mu Bai, the female characters often dress in plain black costumes and the male character always dresses in light-colored robes. The use of colors is an illustration of the Tai Chi Diagram.

According to Burke (1973), the cirtic is bale to find “what goes with what” in associational clusters – “what kinds of acts and images and personalities and situations go with his [rhetor’s] notions of heroism, villainy, consolation, despair, etc.” (p. 20).

Through listing terms that cluster around Li Mu Bai, one can see that the protagonist Li

Mu Bai is portrayed as the hero and Li Mu Bai’s enemy, the Fox, is portrayed as the villain in this story. Berthold (1976) further explains, if a cluster analysis describes

“what goes with what,” agon analysis describes “what is vs. what” (p. 304). In this case, the Fox functions as an agon term of Li Mu Bai. In many cultures, the animal fox appears in folklore as a symbol of trickery, and is a bewitching and cunning character.

Although the Fox is called “Fox with the jade-color eyes” in the Mandarin dialogue, when the camera takes a close shot of her eyes, they seem gloomy rather than reflecting a bright green jade color. It shows that there is an irony in this character. From Li Mu

Bai’s perspective, the Fox is an evil figure, a person without discipline and integrity.

However, there is a character twist to the Fox. Indeed, the Fox previously killed

Li Mu Bai’s teacher, but Li Mu Bai’s teacher is at least partially responsible for his own

60 death, too. The reason is simple. According to Claire-King (2012), “unlike Buddhism, which sees natural human desires (e.g. the desire for sex, desire for food) as the source of suffering, Taoism sees human desire as natural, and as healthy and empowering when kept in balance” (p. 96). Nevertheless, the Wudan School asks its practitioners to minimize their desires in order to be enlightened and achieve immortality. Every Wudan practitioner has to practice the Tao and internal martial arts at the Wudan Mountain.

Believing that Wudan practitioners can concentrate more on their training without sexual distractions, the Wudan School only accepts male students. Consequently, the Wudan manual is only learned by male disciples. Li Mu Bai’s master actually slept with the Fox at the Wudan Mountain. In fact, the Fox had been promised the Wudan manual for her favors, but afterwards, Li Mu Bai’s master changed his mind, and refused her. He broke the Wudan principle and is evidently not as righteous as people thought of he was.

With this understanding of Wudan principles, the fact that Li Mu Bai wants to be

Jen’s master is viewed as inappropriate. Jen’s doubts about Li Mu Bai’s intentions are reasonable; especially since she knows the history of the Fox and Li Mu Bai’s teacher.

Thus, it is not surprising that Jen’s reply to Li Mu Bai’s offer is that “Wudan is a whorehouse! Keep your lessons!” (The English Subtitles, line 496, 497). Without knowing the strict Wudan principle, it is hard to understand why the idea of being Li Mu

Bai’s disciple would disgust Jen. She is worried that Li Mu Bai will be like his master.

Jen is probably correct on this. Li Mu Bai has a different side of his personality that he does not show explicitly. He has powerful desires and strong emotions such as love, hatred, and grief in his mind but he represses them, which makes him the antithesis of the balanced philosophy. Hence, his death at the end of the story is not that unpredictable.

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Since Li Mu Bai dies at the end of the story, audiences do not know whether or not he would have become like his teacher. His good reputation remains intact in this film.

Another predominant term that clusters around Li Mu Bai is the sword. The sword in the dialogue is named “Bluish-green Destiny,” and is translated to “Green

Destiny” in English. The difference between “Bluish-green Destiny” and “Green

Destiny” in English is not only its color. It is certainly not a mistake to gloss the

Mandarin term “bluish-green” as “green.” Although the word “bluish-green” in

Mandarin does associate with green plants and springtime, it can refer to blue, grey, or black according to the context (Qian, 1995; Welch, 2008). It is used to describe the green of the mountain, the blue of sky or of the sea, and can also be used to describe blood stasis, pain, and the somber facial complexion (Wiseman & Ye, 1998). In this film, it is used along with the term “destiny.” The term “destiny” in Mandarin, although contains the meaning of destiny or fate, is defined as dark, obscure, dismal, deep, the netherworld, or limbo as well (Derun & Jiande, 1999). When Chinese-speaking people pick this term, it usually tends to refer to the perception of “doomed fate” rather than “destiny.” Based on the denotations of these two Mandarin terms, the term “Bluish-green Destiny” brings a sense of foreboding to its audiences.

A sword is important for a swordsman because it is a practical tool for a hero against evil deeds, especially for a Taoist practitioner. According to Huang, Lu, and

Chang (2010):

Swordplay is a major technique on Wudang Mountain, as the straight sword is

used in many Daoist rituals. Since Wudang Mountain is a Daoist holy site, the

sword is commonly seen tool. Originally the sword was a focusing tool for the

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priest when performing traditional rituals and ceremonies. Gradually it was used

more and more as a weapon that the Daoist monks could always carry with them

(p. ix).

The Tao, “the way,” will be manifested in the sword for a Taoist swordsman. As Sit Te indicates, “A sword by itself rules nothing. It comes alive only through skillful manipulation” (The English subtitles, line, 159, 160). Li Mu Bai as a master swordsman, has internalized the sword, and thus he can use any object like a twig as a sword to defeat others. Although the plot shows the audiences that Li Mu Bai wants his sword back from

Jen, the true story is that Li Mu Bai does not really care about the sword. He gives the sword to Sir Te as a gift at the beginning. Then, after the sword is stolen, he only chases

Jen because he wants to be her teacher. In one scene, when Li Mu Bai takes his sword back from Jen next to a river, he even throws the sword into a deep pool just because Jen is unwilling to become his disciple. The action says that without walking the path of Tao with Li Mu Bai, Jen is not allowed to possess the sword. The sword becomes a spirit sword, and the man and the sword become one. Therefore, if this sword is not used properly and if the person who holds the sword does not have the integrity, virtue, and discipline, a vicious cycle would occur.

It is essential that the bearer of the sword be one who has internalized the Tao and made it part of who they are. Li Mu Bai does not need the sword because he is the sword. Jen and Yu Shu Lien desire the sword for the same reason. The sword represents

Li Mu Bai and his influence in the Giang Hu world. Jen needs the power to achieve her

Giang Hu dream. However, after Jen steals the sword and uses it to beat up other martial artists in the tavern, she also brings the person Li Mu Bai back to Giang Hu. This is why

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Yu Shu Lien is anxious to track her down and take the sword back. Yu Shu Lien wants

Li Mu Bai to quit Giang Hu and have a peaceful life with her. She notices that Jen is a threat to her relationship with Li Mu Bai. While Jen and Yu Shu Lien fight in Yu Shu

Lien’s house, Jen touches the sword slowly and carefully, Yu Shu Lien shouts “Don’t touch it! That’s Li Mu Bai’s sword” (The English subtitles, line 897, 898). Yu Shu Lien says it out of envy and anger. For Jen and Yu Shu Lien, the fighting is not only for the sword and the power, but also for the man Li Mu Bai, even though no one admits that.

The sword here can be viewed as a tool for these two female characters to express their unspoken feelings and hidden wishes.

In the terms that cluster around Li Mu Bai, “the sword” and “the Fox” are translated differently in Mandarin and in English. It is reasonable that the English subtitles have to be more concise than the Mandarin dialogue because of the language structural differences and the subtitles’ characters limit. Of course, the nuanced character of these two terms would unavoidably decrease in intensity when translated into English.

However, as Burke has told us, audiences are moved when they are brought to identify with others. The shared terms used in the Mandarin dialogue and the English subtitles such as the Wudan terms, the spiritual terms, the death terms, and black and white, come together to construct the image of Li Mu Bai as a Chinese Taoist figure and a moral person. An audience acquaints with the Tao would readily and very powerfully identify with this image of Li Mu Bai. Rhetorically, they would find themselves drawn toward him as archetype of their own specific values and world view.

On the other hand, for the audiences whose belief system is not consonant with the Taoist philosophy, they may not fully understand these Taoist terms and symbols, and

64 thus they would look at this story from a diffident framework. Excluding the element of

Taoism, these symbols can still be rhetorically effective somewhat because the themes of revenge, a traditional hero (white knight) defeating a monstrous villain (black night), and tragic death, have a universal feel. Even these audiences can feel the draw of the general archetypes and can identify with the story even when it is less deep. To borrow a term from Fisher (1987), as long as audiences have even general terms to identify with, they will find the narrative probability, even when the audience cannot identify with every structural, characterological and material aspect of the message. In CTHD, the rhetor is able to set up an arena where audience identification can occur based on these general types so that the message is powerful even when the details are missed.

Green

Burke’s cluster criticism helps us to find out “what subjects cluster about other subjects” (Burke, 1959, p. 232). In most circumstances, the rhetor is not conscious of associating certain terms. Since the colors green and red are used frequently, intensely, and oppositely in this film, the terms that cluster around these two colors are thoroughly examined in order to discover the rhetor’s inner motive.

In Eastern traditions, “colors have feminine (yin) and masculine (yang) qualities”

(Weisenberger, Sherwin, & Romaine, 2009, p. 24). Every color has a yin or yang element to it. “Red is the most yang of all the colors,” and green and blue are usually yin colors unless they are very bright (Ziegler & Lawle, 2003, p. 91). In this film, the green terms such the Fox and Jen’s jade comb are closely associated with the female characters.

The greenness is the ultimate yin-ness, and is a power that the yang character Li Mu Bai lacks. According to Feely (2010), “yin and yang are two phases of a cyclical movement,

65 alternating between day and night. The sun is in the heaven, therefore the heaven is yang and the earth is yin” (p.168). Li Mu Bai, the representation of yang in this film, tracks the Fox for the purpose of avenging his teacher’s death, keeps asking Jen to be his disciple, and cannot quench his desire to be with Yu Shu Lien. From this perspective, one positive assumption that can be made is that the rhetor believes Li Mu Bai has strong passion within him but tries to resist them. In getting rid of the green sword and repressing his desires for women, the yin power destined to become a failure because it does not follow the balanced philosophy.

Another case in point is the use of “Xuan Piu move.” “Xuan Piu move” is Li Mu

Bai’s personal move. “Xuan Piu” in Mandarin literally means mysterious female or the

Great Mother. There are two examples from the Mandarin dialogue that show the term

“Xuan Piu” is closely related to Li Mu Bai and Li Mu Bai’s sword. First, when Yu Shu

Lien shows the sword to Jen, she says, “The Wudan Xuan Piu move, however, calls for

Li Mu Bai’s sword” (The Mandarin dialogue, line 129). This certain move works the best using the green sword. In addition, while Li Mu Bai asks Jen to be his disciple, he says, “I’ve always wanted a disciple to inherit the Xuan Piu move” (The Mandarin dialogue, line 494, 495). The Taiwanese screenwriter Wang borrows the term “Xuan

Piu” from the Chinese philosophical literature, Tao Te Ching, chapter six. In this chapter,

Lao Tzu (trans. 1992) explains “Xuan Piu” as:

The spirit of the valley never dies. It is called the mysterious female. The gate of

the mysterious female is the root of heaven and earth. Hsi said, ‘The female

is one who receives something and, with it, creates. This creative principle is the

most marvelous thing in the universe (p. 54).

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This paragraph describes that the Tao as akin to Mother Nature that never dies or end.

The term “Xuan Piu Move,” implies that every man will return to Mother Nature, and it is natural. This term, once again, illustrates that yin and yang have to be united, to be balanced, no more or less. Due to the fact that term is derived from Taoist literature and is difficult to be translated, it is used only once in the English subtitles as Li Mu Bai asks

Jen “where did you learn that Xuan Piu move?” (The English subtitles, line 393).

Up to now, by concentrating on the terms that cluster around Li Mu Bai and the terms that cluster around the green term, one theme that is hidden behind the plot is gradually revealed: the importance of integrity and balance. The rhetor uses the idea of

Taoist yin and yang as an illustration to present a balanced lifestyle, and argues that to achieve a balanced life one needs to have morality and integrity. As pointed out previously, audiences “make choices about the truth, coherency, effectiveness of narratives, and whether or not one should adhere to the story, based not on the arguments advanced, but by the values that the individual holds” – in short: what they are called to identify with (Young, 2005, p. 135). An audience that does not understand Mandarin and

Taoism doctrine would accept the idea of balance revealed in this film because the relationship between integrity and balance is similar to the ancient Greek philosophers’ value of moderation, which rests at the heart of the earliest views of rhetoric.

In ancient Greece, moderation is the last of the four Platonic virtues. “The temple of Apollo at Delphi bore the inscription Meden Agan (Nothing in Excess)” (Miniter,

2009, p. 178). Doing something “in moderation” means not doing it excessively. The philosopher Aristotle’s moral philosophy is referred to as virtue ethics based on the theory of the golden mean. Aristotle believes that an individual’s acts are right and

67 virtuous if they are the means of two extremes (Turow, 2009). For example, courage is the middle ground between cowardice and foolhardiness, and honorable pride is the mean between foolish vanity and humility (Aristotle, trans. 2002; Day, 1991). For every virtue there is a vice, thus virtue is a state of character. Aristotle in his great treatise,

Nicomachean Ethics articulates:

By virtue I mean virtue of character; for this [pursues the mean because] it is

concerned with feelings and actions, and these admit of excess, deficiency and an

intermediate condition. We can be afraid, e.g., or be confident, or have appetites,

or get angry, or feel pity, in general have pleasure or pain, with too much and too

little, and in both ways not well; but [having these feelings] at the right times,

about the right things, towards the right people, for the right end, and in the right

way, is the intermediate and best condition, and this is proper to virtue. Similarly,

actions also admit of excess, deficiency and the intermediate condition. Now

virtue is concerned with feelings and actions, in which excess and deficiency are

in error and incur blame, while the intermediate condition is correct and wins

praise, which are both proper features of virtue. Virtue, then, is a mean, in so far

as it aims at what is intermediate (trans. 1985, p. 1106b 16-28).

Since Aristotle states that virtue lay between the overdoing and underdoing, and not every action, but the right action in conformity with right reason is a virtuous action. One would question how people would know what things one should do or should not do in order to become moderate. Aristotle explains:

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The things that come about in accordance with the excellences count as done

justly or moderately not merely because themselves are of a certain kind, but also

because of facts about the agent doing them – first, he does them knowingly,

secondly if he decides to do them, and decides to do them for themselves, and

thirdly if he does them from a form and unchanging disposition (trans. 2002, p.

1105a 29-34).

That is to say, “it is the role of man’s rational faculty (logos) to find the proper measure for actions and emotions” (Eterovich, 1980, p. 28). To define it briefly, virtue is a state of character, gained by rational choice, lying in a middle way relative to individuals. The choice of means is decided in an individual’s mind. Consequently, one is responsible for one’s good and bad, and virtuous and vicious actions (Eterovich, 1980). The concept of an individual making a rational decision to be virtuous is absolutely not new to English- speaking audiences due to that fact that it has been a core idea in the Western rhetorical tradition.

This concept of decision making then brings the analysis to another function of the green color used in this film. In examining the terms that formed around the idea of green such as the Fox, the comb, the sword, and the bamboo, this study discovered that these terms are closely associated with things that the characters wish for. First of all, the

Fox is the first person who gives Jen a Giang Hu dream. The Fox teaches Jen martial arts so that Jen dared to escape from her family. Jen’s jade comb also brings her far away from her home to the desert. The sword represents a power that Jen yearns for as well as a tool for Jen to roam in the Giang Hu world. In addition, there are two bamboo scenes that are full of the color green showing the similar function. In “Scene 20 Young Master

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Long,” Li Mu Bai and Yu Shu Lien sit beside a green mountain and a green bamboo forest. They talk about their feeling for each other and their future. Li Mu Bai tells Yu

Shu Lien that “I want to be with you... just like this. It gives me a sense of peace” (The

English subtitles, line 784-786). In “Scene 25 Li vs. Jen,” Li Mu Bai and Jen discuss what true heart is and Li Mu Bai tries to persuade Jen to be his disciple. Jen asks, “what do you know about a true heart? What do you want?” and Li Mu Bai answers, “what I’ve always wanted, to teach you” (The English subtitles, line 914-916). These two green scenes have a topic in common: the characters talk about things that they want, things might or might not happen in the future, and the need to make a decision.

A structure that the rhetor builds is unfolded here. The color green is used to indicate the subjunctive – the uncertainty or possibility. In contrast to the green scenes, the color red in the dessert, the only flashback scene in this film, and the wedding scene right after the desert scene, correlates red with things that happened in the past and things that have already been decided. There are no more options. The choices have already been made and are unchangeable. The red (the color of yang) is used in parallel to the green (the color of yin) to indicate the indicative – the certainty or facts. In the red scenes, the characters have no choice. It is a space that has been closed. On the other hand, the characters still have chances in the green scenes. The green moment is the moment when the characters have the opportunity to make choices. Li Mu Bai considers whether he should be with Yu Shu Lien or not, and Jen considers whether she should follow Li Mu Bai to walk the path of Tao or not. The green sword and the jade comb are two options for Jen to decide. To choose the sword, she has to obey the Tao. To choose the jade comb means that she decides to follow her passion to be with Lo. Every time the

70 characters make a choice, the plot and their life are brought to another page. Through a series of decision making, Li Mu Bai and Jen, as two extremists – one is too much logos and supresses pathos, the other is too much pathos and will not yield to logos – are both unconsciously seeking a way to achieve a better and a balanced life eventually. They seek to moderate their own extremes.

The process of decision making, of course, relies on creating identification with a certain value system, and is one of the central subjects that the rhetorical study deals with. The study of rhetoric in ancient Greece and Rome has played a central role in politics and law, but it cannot connect “is” to the rhetor’s “ought” without bringing the audience to identify with some value. Discerning right from wrong is an essential part of the rhetorical way in the Western Tradition. Chinese rhetoric that applied in this film is found to share similar functions with Western rhetoric. They both enable people to understand the processes of communication, make better decisions, and then become better human beings. As Foss, Foss, and Trapp (2002) indicate, humans create our realities through symbols and construct the world in which we live through our symbolic choices. Although the Mandarin terms and English terms are slightly different in this major group of terms, the colorful visual text works perfectly along with each of the narrative to lead the critic to discover a strong association between the balanced philosophy of Taoism and Aristotelian doctrine of the mean, and further investigating that rhetoric is always based upon values. Through rhetorical criticism, here, the study finds the value that goes beyond culture and language.

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Yu Jiao Long/Yu Jen

According to Weaver (1953), a devil term is “the counterpart of the god term” (p.

222). The cluster “Yu Jiao Long/Yu Jen” is in opposition to “Li Mu Bai.” Yet, this cluster is not a complete devil term due to Jen’s multiple identities. The rich visual images that are associated with Jen indicate her complicated characteristics. The first time Jen appears on screen, she wears a Manchurian cheongsam (traditional Chinese dress) with a huge red flower accessory on her hair. The Qing Dynasty, which replaced the Ming dynasties in China in 1644, was founded not by the Han Chinese, who formed the majority of the Chinese population, but by Manchus from Manchuria, modern

Northeastern China (Tanner, 2009). Therefore, royal members in the Qing Dynasty are mostly Manchurians. Her Manchurian cheongsam shows that she is one of the royal members. Later, when Yu Shu Lien visits Jen, she is practicing calligraphy. In ancient

China, only intellectuals or rich people are able to learn the art of calligraphy. These images that display her noble identity all appear during the day time. At night, when she is alone in her room, she wears white pajamas, which unfolds showing her sexy, tender, and delicate figure. Occasionally, she wears a black costume and mask to do her secret missions. After she escapes from her own wedding, she even wears a man’s costume to roam around in Giang Hu. Why is she so changeable? The following analysis will considering the clusters that gather around the term “Yu Jiao Long/Yu Jen.” As mentioned earlier, Yu Jen’s Mandarin name is pronounced “Yu Jiao Long,” meaning

“Jade Delicate Dragon.” She is also called “Little Dragon” in the Mandarin dialogue.

Lo’s Mandarin name is pronounced “Lo Xiao Hu,” meaning “Lo Little Tiger.” The terms

“dragon” and “tiger” are selected as significant Mandarin key terms due to that fact that 72 these terms present the characters’ social status, characteristics, and their symbolic use in this film.

First of all, the name “Jade Delicate Dragon” indicates this character’s social status. The term “Yu” in Mandarin means jade. For thousands of years, Chinese jade has been used as a medium for carved sculptures and jewelry. According to Yu (2011):

[The Chinese] have respected, honored, revered, loved, and cherished jade for

over 8,000 years. Chinese jade art, veiled in mystery and carrying spiritual

sustenance, is rooted deeply in traditional Chinese culture and has played a role in

Chinese social life like no other form of art (p. 1).

The ancient Chinese people believe that this precious stone can improve health, fortune, and general well-being. Hence, jade has become a symbol of immortal life, authority, and fortune. Both Yu Jiao Long’s surname “Jade” and her personal jade comb indicate her high social status. It is proper for her, a noble Manchurian, to carry a jade comb.

A bandit, in contrast, usually would not own this kind of precious comb. Like Jen says to Lo, “It [the jade comb] means a lot to me. A barbarian like you wouldn’t understand” (The English subtitles, line 641). English-speaking audiences may think that she calls him a “barbarian” because he is a bandit who lives in the desert, but it is because he is a nomadic man who lives in “Xin Jiang.” Due to the fact that “Xin Jiang” is not a familiar place to English-speaking audiences, the subtitles call it “the West” or “the desert” instead. Unlike the Hans or Manchus who live in the cultivated areas, the nomadic people of Xin Jiang do not follow the Confucian, Taoist and traditional Chinese value system. Therefore, from ancient Chinese people’s point of view, these nomadic people are considered to be uncivilized and do not possess morality and etiquette. An

73 exquisite jade comb in the Xin Jiang desert is like a royal Manchurian in the nomadic people’s new frontier, it does not fit. Regardless of whether Jen stays in the desert, wearing a nomadic robe and trying to blend in with Lo’s life after having sex with him; she does not belong to that world after all. After she goes back home in Peking (also known as Beijing, the capital of China), Lo then keeps her jade comb as their love token.

This jade comb becomes a symbol of the person Jen as well as her social and family responsibilities.

Second, the names “dragon” and “tiger” strongly reflect the characters’ personalities. Yu Jiao Long’s first name “Jiao Long” means “Delicate Dragon.”

Accordingly, she is called “Delicate Dragon” or “Little Dragon” in the Mandarin dialogue. Dragon is a mythical animal, a concept, a conviction, and a belief held by the

Chinese (Bates, 2007). Chinese folklore has countless of entertaining stories of the sacred and beneficent beast (Hayes & Sec, 2003).

Ever since ancient times the Chinese have considered the dragon as immortal and

omnipresent. It is the symbol of China and has been for many centuries. It has

been the symbol of monarchy and supreme power, and yet it has always belonged

to the people as well (Bates, 2007, p. viii).

The image of dragon, as a royal symbol, is used on royal clothing, banners, and even as architecture in the construction of the emperor’s dwellings in ancient China

(Thorbjarnarson, Wang, & Schaller, 2010). Based on the connotation contained in the term “dragon,” Chinese-speaking audiences are able to associate the character Jen with the “hidden dragon” of the film title. She is from a royal (dragon) family, and she masks

(hides) as a thief to steal Li Mu Bai’s sword. Since she represents the “hidden dragon,”

74 the “crouching tiger” is not surprisingly represented by her lover – “Lo Little Tiger,” who lives in the desert far away from the capital.

The dragon and tiger are two of the twelve animals in the Chinese zodiac. The

Chinese believes that people born in the year of the dragon are “energetic, popular, fun- loving, honest and brave” (Mah, 2009, p. 6). People born in the year of the tiger are considered to be “captivating, extreme, and rebellious” (Wu, 2005, p. 48). Although

“Little Tiger” is not an aristocrat like “Little Dragon,” he is not a common person either.

He is the “Dark Cloud” (“Cloud that covers half a sky” in Mandarin) and the leader of robbers in the western desert. Both “Little Dragon” and “Little Tiger” are arrogant, passionate, wild, headstrong, and skillful fighters. Their characteristics perfectly match the images of the powerful animals, and these two animals reinforce their characteristics as well. Their names match characterological coherence to Chinese-speaking audiences and people who are familiar with the Chinese zodiac.

Third, the terms “dragon” and “tiger” are used symbolically when they are put together as an idiom “crouching tiger hidden dragon.” This Chinese idiom is definitely worthy to analyze because it is the title of this film. Chinese and English titles have fundamental structural differences. The Chinese-speaking audiences put a lot of expectations on a title because it presents the theme of a movie conventionally. If a title is not relevant to a movie’s theme, audiences may determine that the title is not a good one. Unlike English titles that use more casual words and mostly nouns, Chinese movie titles are more formal and tend to use idioms or set phrases (Liu & Xiang, 2006).

Therefore, as a Chinese movie, this title is assumed to point out the theme of this film.

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Usually, the phrase “crouching tiger hidden dragon” is a common expression that reminds us to never underestimate “the mysteries, the potent characters that lie beneath the surface of society” (Sunshine, 2000, p. 76). However, from the Taoist perspective,

“tiger and dragon have been the primary symbols of yin [female] and yang [male], respectively” (Little & Eichman, 2000, p.130). For this reason, the dragon-tiger metaphor is often used to refer to “the human mind and to human desires, which ‘like furious tigers and ’ are constantly active, restless and difficult to control” (Liu,

1994, p. 143). In other words, the terms “dragon-tiger” is a Chinese metaphor of human desires such as longing, aspiration, or urge. This conclusion can be supported by the remaining terms that cluster around Jen.

The terms that cluster around the little dragon Jen include the freedom terms and the affectionate terms such as “love” and “happy.” On the contrary, the terms that are in opposition to Jen are the Confucian terms and marry. According to the Confucian notions, people need to “control human desires properly and subdue them by an appropriate socio-political order” (Sato, 2003, p. 370). Nevertheless, Jen does not accept what her family has arranged for her. She resents the restriction and believes that to be happy is to be free in Giang Hu or the desert, which are opposite to family and country.

She considers that her own love and feelings as more important than her social responsibility; therefore, she escapes from her wedding on the wedding day itself. Jen, who follows her heart and feelings, does represent human impulse. As Ruecker (1982) states, “the implicit or explicit opposition of terms constitutes the conflict necessary to drama” to become the oppositional terms (p. 87). In this case, Jen’s oppositional term Li

Mu Bai, should represent self-control, which has been proved earlier in this section. I

76 will further use the following narratives and visual description as examples to make the argument firmer.

Since Jen is a symbol of human desires, Li Mu Bai’s action of chasing Jen can be seen as chasing his own mind’s hidden dragon and hidden desire. In “Scene 25 Li vs.

Jen,” the bamboo scene, both Li Mu Bai and Jen wear white clothes, which reflect the topic of their conversation: seeing the true heart. Li Mu Bai chases after Jen and says, “I only let you go because I wanted to see the real you” (The English subtitles, line 913).

However, Jen accuses Li Mu Bai of being an “old Giang Hu” who is too sophisticated to see the true heart (The Mandarin dialogue, line 919). Indeed, as a Wudan practitioner whose goal in life is to be enlightened, Li Mu Bai has learned to detach from natural human desires. Jen is the one who accepts her own true feelings. This is the reason that

Li Mu Bai is attracted to Jen. For a very long time, he represses his desires of love until the wild dragon Jen arrives, and everything tips off-balance. In this scene, the tension between Li Mu Bai and Jen is purely sexual. Li Mu Bai’s inner desires are aroused while chasing Jen. Therefore, Jen is bold enough to ask him “Is it me or the sword you want?”

(The English subtitles, line 935). The moment Jen throws the question to Li Mu Bai, apparently, is the moment for Li Mu Bai to decide whether to continue to pursue enlightenment, or to follow his human desires. At the end of the film, we discover how he will answer this question.

Furthermore, the idiom “crouching tiger hidden dragon” appears only once in the

Mandarin dialogue in “Scene 20 Young Master Long” while Li Mu Bai and Yu Shu Lien have a conversation in a pavilion in front of a green bamboo forest. Li Mu Bai and Yu

Shu Lien, in contract to Jen and Lo, tend to control emotions. Not until this scene do Yu

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Shu Lien and Li Mu Bai directly express their feelings. The table below is the selected

Mandarin dialogue translated by me, the English subtitles, and the visual descriptions

(see Table 2.1). From the table, the differences between the two narratives are displayed.

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Table 2.1

Selected Narratives of “Scene 20 Young Master Long”

Yu Shu Lien: Have some tea. Yu Shu Lien: Have some tea.

As Shu Lien passes a cup of tea to Li Mu As Shu Lien passes a cup of tea to Li Mu Bai, their fingers touch and they look Bai, their fingers touch and they look embarrassed. Li Mu Bai pulls his hand embarrassed. Li Mu Bai pulls his hand back right away. back right away.

Li Mu Bai: Shu Lien... The things we Li Mu Bai: Shu Lien... The things we touch have no permanence. My master touch have no permanence. My master would say there is nothing we can hold on would say there is nothing we can hold on to in this world. Only by letting go can to in this world. Only by letting go can we truly possess what is real. we truly possess what is real.

Yu Shu Lien: Mu Bai, not everything is an Yu Shu Lien: Not everything is an illusion. My hand, wasn’t that real? illusion. My hand, wasn’t that real?

Li Mu Bai: Your hand, rough and callused Li Mu Bai: Your hand, rough and callused from practice. All this time, I’ve never from practice. All this time, I’ve never had the courage to touch it. had the courage to touch it.

Li Mu Bai takes Yu Shu Lien’s hand and Li Mu Bai takes Yu Shu Lien’s hand and presses it to his face gently. presses it to his face gently.

Li Mu Bai: Shu Lien, crouching tiger and Li Mu Bai: Giang Hu is a world of tigers hidden dragon are in Giang Hu, so are and dragons, full of corruption... I tried human hearts; swords and knives sincerely to give it up but I have brought harboring unknown perils, so do human us only trouble. relationships. I tried sincerely to give the Bluish-green Destiny sword away, but it Yu Shu Lien: To repress one’s feelings brought us more troubles. only makes them stronger.

Yu Shu Lien: To repress one’s feelings Li Mu Bai: You’re right, but I don’t know only makes them stronger. what to do. I want to be with you, just like this. It gives me a sense of peace. Li Mu Bai: I can’t repress my desire. I want to be with you. Just sitting like this. It gives me a sense of peace.

(The Mandarin Dialogue, line 766-788) (The English Subtitles, line 767-786)

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The content of the English subtitles seem to say that the Giang Hu world is full of “tigers and dragons” and corruptions, and that is why Li Mu Bai wants to retire from Giang Hu.

Without any clue of “tigers and dragons,” English-speaking audiences may only guess what they refer to. For audiences who are familiar with Chinese language, the idiom is commonly used to describe people who look ordinary but have excellent martial arts skills. Or, due to the high frequency of the two characters’ names, audiences may link this to the fact that there are fierce and skillful martial artists like Little Tiger and Little Dragon in Giang Hu. However, Li Mu Bai in Mandarin says, “crouching tiger and hidden dragon are in Giang Hu, so are human hearts; swords and knives harboring unknown perils, so do human relationships” (The Mandarin Dialogue, line 779-782). By saying that, he uses the idiom “crouching tiger and hidden dragon” as a metaphor of human desires, and these desires, for a Wudan practitioner who is supposed to detach from relationships, are as dangerous as “swords and knives” (The Mandarin dialogue, line 781). As Yu Shu Lien replies, “To repress one’s feelings only makes them stronger,”

Li Mu Bai understands that he cannot repress his desire to be with Yu Shu Lien anymore.

The main point of the conversation is no longer about Giang Hu, the sword, Litter Tiger or Little Dragon, but their inner desires and true emotions.

Going back to the opening scene of this film, the question that Li Mu Bai does not explicitly reply to is now expressed. When Li Mu Bai returns from his meditation in the

Wudan Mountain and visits Yu Shu Lien, Yu Shu Lien asks him whether or not he was enlightened. He replies, “No. I didn’t feel the bliss of enlightenment. Instead...I was surrounded by an endless sorrow. I couldn’t bear it. I broke off my meditation. I couldn’t go on. There was something...pulling me back” (The English subtitles, line 23-

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29). Yu Shu Lien then asks him what it is. Rather than giving a concrete answer, Li Mu

Bai only says “something in mind that I can’t let go of” (The English subtitle, line 31).

As a Wudan master with high self-control, to break away from meditation means that he failed the training. Li Mu Bai is aware that something has gone wrong. The Wudan

School and the society have taught him certain skills and values to lead him to a better life, but instead of feeling happy or satisfied, he feels sorrowful. He never fully enjoys the excitement of life. The answer gradually becomes crystal through the conflicting plots. At the end of this film, Li Mu Bai steps away from the values he has been pursuing so long, and decides to follow his heart. He experiences a life transformation. The

“something” he cannot let go of is the most simple and natural human desire: to love. At the end of his life, he confesses his love to Yu Shu Lien and dies in the woman’s arms.

The movie concludes with the fact that Li Mu Bai has found his moderation and harmony in love. The application of Taoist yin-yang balance is completed at the end of this film.

In these terms that cluster around Yu Jiao Long/Yu Jen, the disconnections between the Mandarin dialogue and the English subtitles are “dragon,” “tiger,” and the

“Confucian terms.” Aware that the connotations and denotations of these terms refer to traditional Chinese philosophy and English-speaking audiences would not fully understand such terms, the rhetor selected replaced terms such as “dragon” and “tiger” with “Jen” and “Lo.” The rhetor also decreased the intensity of the Confucian terms

“trust/integrity” and “morality/etiquette” that have a powerful influence on Chinese women’s behavior, in order to avoid confusing English-speaking audiences and keep the

English narratives consistent, which has only a trace of Taoism. Although, as mentioned earlier, reducing the Taoist elements would not harm the story as a complete one;

81 however, the disconnection would result in a different perspective of this film for the audiences. The gap is clear in the ending scene.

At the final scene “Scene 28 Wudan Mountain,” after spending one last night with

Lo, Jen leaps off the mountain and floats into the mist, resulting in an ambiguous end to

Jen’s fate. The first reaction that comes to the audience is a shock. The audience may wonder if it is an expression of , an act of redemption for Li Mu Bai’s death, or an attempt to compensate for past misdeeds. These are possible guesses. Nevertheless, through examining visual images that cluster around Jen, it is found that Jen is confused about her identity. Her costumes, as we have seen, show that the character’s personality is unsteady. Through this film, she has constantly reversed her positions. Her social status, gender, and ethnicity are hidden in different suits. At first, she is the Fox’s disciple and the thief. And then, she lives as a nomadic person in the desert. Later, she becomes Yu Shu Lien’s friend and rival. At the end, she almost becomes Li Mu Bai’s disciple and potential lover. As a devil term, she disagrees with the traditional values that

Li Mu Bai and Yu Shu Lien follow. She does not care much for Confucian values and social rules. As a god term that represents human love and desire, she also disagrees with

Li Mu Bai’s agon term – the Fox. Unlike the malevolent terms surrounding the Fox such as “possessed,” “kill,” or “murder,” terms that cluster around Jen are less negative. All she wants is to be “free” and “happy” without restrictions. She is neither a traditional

Chinese woman nor a traditional villain. Unfortunately, to survive in the society, one has to more or less abide the social norms or be completely self-centered. Realizing that the freedom she dreams about does not really exist anywhere, it is reasonable, whether she dies or not, for her to free herself from all relationships and social obligations.

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Regarding agon analysis, Berthold (1976) indicates that the agon term can reveal the rhetor’s intentions. The term Jen is oppositional to the term Li Mu Bai. Li Mu Bai tries to attain the Tao for his whole life, but fails. Before he dies, he chose to confess his feeling to Yu Shu Lien, to choose her over enlightenment. Jen, on the other hand, has always followed her true heart. She thought that she would be happy being herself; however, after all the trouble she has caused, she finds that unbalanced freedom cannot bring her happiness. Through the conflicts, her position and Li Mu Bai’s are reversed.

At the end, she accomplishes Li Mu Bai’s mission, to detach from human attachments and attain the Tao. As Ang Lee has said:

What is the Tao, the ‘way?’ Of course, if you can say it, it’s not the real Tao. It’s

enigmatic, in that it can only manifest itself through contradictions, through the

conflicts of the heart rather than through the harmony it seeks. At least that was

my experience of the Tao while making the movie [CTHD]! (Sunshine, 2000, p.

7).

Jen becomes the one who walks the path of the Tao. If audiences view from the Taoist perspective and through this interpretation, Jen’s jump would be regarded as an image of liberation and spiritual transcendence. Jen and Li Mu Bai both, in their green moment, make a decision to correct their path to the intermediate.

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Discussion

Through examining the key terms “Li Mu Bai,” “green,” and “Yu Jiao Long/Yu

Jen,” I found that the conflict between Li Mu Bai and Jen is in fact the conflict between social restrictions and personal desires. The former represses feelings and emotions too much and the latter does not care about social norms enough. Both Li Mu Bai and Jen’s behaviors are too extreme and against the balance principle. From the conflicts, the messages around the Mandarin and English key terms come together to present an inner common theme – the importance of moderation.

For people who are not familiar with Chinese philosophy or culture, the Taoist terms may not stand out from the narratives or on screen. In order to fit the audiences’ worldview, the Taiwanese and American screenwriters back-and-forth rewrote and reconstructed these two approaches for months with an aim to write an “international subtitle” style, and thus the English terms are selected and edited elaborately (Sunshine,

2000, p. 63). For example, the terms emphasizing the idea of free will such as

“freedom,” “freely,” “roam,” or “happy” that cluster around Jen are used more in the

English subtitle than in the Mandarin dialogue. Also, the terms “fighter” and “warrior” are used in the English subtitles seven times to correspond to the Mandarin term “xia,” which means Chinese chivalrous heroes. The terms “trouble and glory” are used as replacements for the Chinese terms “Giang Hu gratitude/resentment,” the complicated relationship in Giang Hu. These English terms which contain Western notions help the audiences to identify with this traditional wuxia genre movie. Furthermore, audiences do not have to understand Taoism or Confucian doctrine to enjoy this film because the plot 84 of “social obligations versus free will” is universal. Ang Lee once compared CTHD to

Sense and Sensibility (1995), indicating:

I think at the core they’re a lot alike. There’s ‘sensibility,’ a passionate, romantic

force; if you go overboard it can be destructive. On the other hand there is ‘sense’

– restraint, social code, obedience, repression. My films always seem to be about

how these conflicts resolve themselves (Leung, 2001, p. 46).

Stories that portray people who come from different social status but fight for love are popular and archetypal.

However, the disconnection which the Mandarin dialogue and the English subtitles has to do with the Taoist elements, and this disconnection separates the film into two different categories. The most obvious gap is displayed in “Scene 20 Young Master

Long” where Li Mu Bai dies. The selected Mandarin dialogue translated by me, the

English subtitles, and the visual descriptions of this scene can be seen in Table 2.2.

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Table 2.2

Selected Narratives of “Scene 20 Young Master Long”

Yu Shu Lien: Mu Bai, hold on. Give me Yu Shu Lien: Mu Bai, hold on. Give me some hope. some hope.

Li Mu Bai: Shu Lien… Li Mu Bai: Shu Lien…

Yu Shu Lien: Save your strength. Yu Shu Lien: Save your strength.

Li Mu Bai: My life is departing. I’ve only Li Mu Bai: My life is departing. I’ve only one breath left. one breath left.

Yu Shu Lien: Use it to meditate. Free Yu Shu Lien: Use it to meditate. Free yourself from this world as a Wudan yourself from this world as you have been practitioner has been taught. Let your taught. Let your soul rise to eternity with soul rise to eternity with your last breath. your last breath. Do not waste it for me. Do not waste it for me. Li Mu Bai: I’ve already wasted my whole Li Mu Bai: I’ve already wasted my whole life. I want to tell you with my last life. I want to tell you with my last breath. I have always loved you. I would breath. I have always loved you. I would rather be a ghost, drifting by your side as rather be a ghost, drifting by your side for a condemned soul than enter heaven seven days. Even if I was banished to the without you. Because of your love, I will darkest place, my love will keep me from never be a lonely spirit. being a lonely spirit. Yu Shu Lien cries, holds, and kisses Li Yu Shu Lien cries, holds, and kisses Li Mu Bai. Li Mu Bai closes his eyes. Mu Bai. Li Mu Bai closes his eyes.

(The Chinese dialogue, line 997-1014) (The English subtitles, line 988-1008)

As one can see, the changes that the screenwriters have made may seem subtle, but they are extremely significant. In the Mandarin dialogue, Yu Shu Lien reminds Li Mu Bai of his life mission as a Wudan practitioner. Nevertheless, instead of freeing his soul to eternity, Li Mu Bai would rather to be a ghost drifting at Yu Shu Lien’s side for seven days. According to Buddhist beliefs: 86

The soul passed into intermediate state of ex-existence upon death lasting

between seven and 49 days. At the end of each seven-day period, the soul may be

reborn, providing that karmic forces are sufficient. At the end of 49 days, the soul

will be reborn in hell unless otherwise dispatched (Heine & Wright, 2008, p. 313).

That is to say, after the seven seven-day periods are over, the destiny of the spirit’s reincarnation will be determined. That is a huge risk for Li Mu Bai to take; however, he believes that “my love [Li Mu Bai’s love]” will keep him from being a lonely spirit no matter where or what he will be (The Mandarin dialogue, line 1013). By saying that, Li

Mu Bai dies with his wishes fulfilled. On the other hand, the English subtitles bring in the Gospel concept of the “condemned soul” and “entering heaven,” and the fact that Li

Mu Bai will not be a lonely spirit is because of “your love [Yu Shu Lien’s love]” (The

English subtitles, line 1007). The relationship is from an intrapersonal perspective

(Mandarin dialogue) is changed into an interpersonal perspective (English subtitles). The

Mandarin term selection shows Li Mu Bai’s self-transformation; the English term selection shows the romantic love is between Li Mu Bai and Yu Shu Lien.

Because of such differences, audiences who rely on subtitles to comprehend the film would tend to see a more romantic love story. Yet, the Mandarin dialogue offers the audiences a larger space to dig deeper; in fact, it deals with a task bigger than love. The

Mandarin narrative discusses the topic of what a worthy life is and how to achieve it.

The topic here, from a rhetorical perspective, is essential to human life. The goal that everyone should pursue, in Aristotle’s language, is called eudaimonia – “the flourishing life” or “the good life.” In the Nicomchean Ethics, Aristotle identifies the term eudaimonia with the ultimate end of human activity (trans. 1985). He explains:

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Suppose, then, that there is some end of the things we pursue in our actions which

we wish for because of itself, and because of which we wish for the other things;

and we do not choose everything because of something else, since if we do, it will

go on without limit, making desire empty and futile; then clearly this end will be

the good, i.e. the best good (trans. 1985, p. 1904a18-22).

Eudaimonia is the chief good because “it stands at the end of any such chain of questions while encompassing all the other good that stand as a means to it” (Volkman, 2006, p.

280). This is to say, an end is self-sufficient if it cannot be made better by the addition of other goods. Thus, in order to achieve eudaimonia, one should have all good things in the right proportion, and exercise virtuous activity in accordance with reason (Aristotle, trans. 1985). In other words, the good life is one’s personal vision of thinking reasonably, while conducting oneself with proper and moral values.

In the system of eudaimonia, “it is by practical reasoning that, in his view, human beings do, or ought to, work out how best to implement such a conception in their daily lives” (Cooper & Copper, 1986, p.xii). Prohairesis, commonly translated as “choice” or

“will,” is a truly human act of crucial importance in moral life. An individual’s underlying moral character is critical for reasoning and making decisions. Agreeing with

Aristotle, the Roman philosopher Cicero also claims that “good choices create good habits, making the extremes less undesirable, as everything falls into a harmony when a man actively uses wisdom, justice, courage, and moderation to be a philosophically moral man” (Miniter, 2009, p. 178). Ultimately, the purpose of the art of rhetoric is to facilitate human decision making. Rhetoric always has an “ought-to.” It is the use to persuade humans to see things certain way, have certain attitudes toward things, or do certain

88 things with the goal of living a good-life and becoming a better human being. Li Mu Bai and Jen’s final choices make them achieve a complete life. Thus, Li Mu Bai can say that his own love will keep him from being a lonely spirit; and Jen jumps off the mountain by herself. This film perfectly illustrates the process of negotiating a world of symbolic interaction in order to move toward a balanced, virtuous, and meaningful life.

In conclusion, Burke’s cluster analysis allows the critic to expose the rhetorical structure that may be obscured on the surface of a story, and understand the meaning behind specific terms and their prevalence within a rhetor’s work. From this analysis, I found that first, due to the disconnection of Taoist elements between the English subtitles and the Mandarin dialogue, the former leads audiences to view the movie as a romantic adventure, while the latter brings about a philosophical movie. Second, although there are differences between the languages and cultures, the English subtitles and the

Mandarin dialogue both present the value of moderation to their audiences.

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Chapter 4

CONCLUSION

As a Chinese movie with Mandarin dialogue, Ang Lee’s film Crouching Tiger,

Hidden Dragon (USA, 2000) was surprisingly showered with critical acclaim, received at major international film festivals, and earned numerous nominations and awards in the

United States. This phenomenon intrigued me to find out how a Mandarin film can be successful nationally and internationally. With the belief that the filmmakers elaborately designed the narratives to fit with different groups of audiences, this thesis aimed to use the rhetorical method of cluter analysis to discover how CTHD creates meaning and motive, and establishes identifications between the film’s symbols and the audiences.

Toward the end of chapter one, I introduced the cinematic artifact and the cultural history of wuxia genre, the Chinese martial arts genre. Then, I provided an overview of previous studies in traditional rhetoric, contemporary visual rhetoric, and media rhetoric.

In chapter two, I justified that by using Kenneth Burke’s cluster analysis, I will be able to answer the research question that I developed. This method involved selecting the key terms in the artifact, using as criteria of high frequency and high intensity.

Moreover, to provide a more elaborate scheme, Burke’s agon analysis was also applied in this study to interpret the results of the cluster analysis in order to discover how the symbols function for the rhetor. I continued to justify that although cluster criticism has previously been used primarily for examining word-oriented texts, it can also be used for a broader range of texts. In doing so, this study searched for not only words but also visual images that cluster together to form meanings. 90

Through examining three key terms, “Li Mu Bai,” “green,” and “Yu Jiao

Long/Yu Jen,” and terms that cluster around them, in chapter three, I discussed the structures and visions represented in the two forms of CTHD. The results showed that the Taoist elements in the Mandarin dialogue is decreased in the English subtitles on purpose, resulting in the interpretation of the movie as romantic rather than philosophical by audiences who use the English subtitles to comprehend the film. However, the analysis also found that the English subtitles and the Mandarin dialogue, with one visual artifact, both communicate the importance of moderation in life to their target audiences.

The key terms, “Li Mu Bai” and “Yu Jiao Long/Yu Jen,” represent two opposite critical values under consideration in the decision. The key term “green” reveals how the values within the decision are conveyed and interacted with one another. With the prior discussion in mind, a conclusion can be drawn that the persuasiveness of narratives, regardless of the language differences and the structures employed, is subject to values. I will further discuss the conclusion in this final chapter, as well as explore suggestions for future research.

A value judgment is a judgment of the good or bad, and right or wrong of factual things. For example, the action of murder is regarded as wrongness because most people judge it as not a right thing to do based on their ethical values. The Scottish philosopher

David Hume (1988) notes that there is a difference between descriptive statements (what is) and prescriptive statements (what ought to be). An “is” is what is naturally going on and how things are really going. An “ought,” on the other hand, is how things should be even if it is not happening that way. Hume (1888) explains this “is-ought problem” in his

Treatise of Human Nature:

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In every system of morality, which I have hitherto met with, I have always

remark’d, that the author proceeds for some time in the ordinary ways of

reasoning, and establishes the being of a God, or makes observations concerning

human affairs; when all of a sudden I am surpriz’d to find, that instead of the

usual copulations of , is, and is not, I meet with no proposition that is

not connected with an ought, or an ought not. This change is imperceptible; but is

however, of the last consequence. For as this ought, or ought not, expresses some

new relation or affirmation, ’tis necessary that it shou’d be observ’d and

explain’d; and at the same time that a reason should be given; for what seems

altogether inconceivable, how this new relation can be a deduction from others,

which are entirely different from it. But as authors do not commonly use this

precaution, I shall presume to recommend it to the readers; and am persuaded,

that this small attention wou’d subvert all the vulgar systems of morality, and let

us see, that the distinction of vice and virtue is not founded merely on the

relations of objects, nor is perceiv’d by reason (p. 470).

The notion of “ought” as an ethical obligation is related to the notion of an ethical value.

The ethical values bridge the gap between “is” and “ought.” It is the moral system to help humans make decisions of what is the right and good thing, and thus what one ought to do.

However, one would question, what criteria create the moral system for humans?

Hume (1902) argues that the moral judgment is an innate disposition and is experienced in human sentiment. Whenever one acts or makes a moral judgment, one is motivated by some feelings, not just by reasons and thoughts. For Hume (1975), human values remain

92 universal since morality is based on “some internal sense of feeling, which nature has made universal for the whole species” (p. 173). He further indicates that morality is based on a shared moral sense, which is shown by the fact that “the epithets sociable, good-natured, humane, merciful, grateful, friendly, generous, beneficent, or their equivalents are known in all languages and universally express the highest merit which human nature is capable of attaining” (Hume, 2006, p. 8). This view suggests that there are certain values and conduct that are universally accepted as ethical or unethical in all societies and in all eras. As Fisher (1985) says, “Socrates’ story is informed by the values of truth, the good, beauty, health, wisdom, courage, temperance, justice, harmony, order, communion, friendship, and oneness with the Cosmos,” and these are the values that “humankind historically professed and aspired to”(p. 359). This perspective explains why the basic value system in CTHD is universal, and thus has no problem to persuade audiences from different countries and cultures.

Aristotle in Book II of the Rhetoric describes that a rhetor is persuasive under three means: pathos, logos, and ethos (trans. 2010, p. 1356a). Pathos involves evoking an appropriate emotional response in the audience; logos is the appeal to reason that relies on logic or reason; and ethos refers to “the need for rhetors to portray themselves in their speeches as having a good moral character, ‘practical wisdom,’ and a concern for the audience in order to achieve credibility and thereby secure persuasion” (Cherry, 1988, p.

253). As Grimaldi (1988) indicates, a rhetor “must attend and adjust to the ethos of varied types of auditor if he is to address them successfully” (p. 186). Aristotle emphasizes that ethos is especially important in deliberative rhetoric. In Nicomachean

Ethics, he states that all art, including rhetoric, aim to seek “some good” (trans. 2002, p.

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1094a1-19). As explains earlier in this study, in the Aristotelian view, the study of rhetoric is explicitly directed toward the end of eudaimonia, the good life, which is composed of narratives based on values. If Aristotle’s system of rhetoric is accepted, then that is to say, to be an effective rhetor, one has to have virtuous qualities and to know what is good in order to move and persuade the audiences (Porter, 1998).

Similarly influenced by Aristotelian rhetoric, but concerned primarily with questions of value in moral choice, Fisher (1980, 1984) employs his narrative paradigm as an approach to explore the morality of stories and the reasons offered to support the moral as valid. He claims that narratives can be evaluated for their rationality by applying principles of “narrative probability,” what constitutes a coherent story, and

“narrative fidelity,” whether the stories the audiences experience “ring true with the stories they know to be true in their lives” (Fisher, 1984, p. 2; 1987, p. 65). Sellnow

(2010) explains Fisher’s narrative fidelity by saying:

Fidelity is the degree to which the values offered in a story ring true with what we

regard as truthful and humane… A story has fidelity when it provides good

reason to accept its moral, which will ultimately guide our future actions. The

good reasons emerge from the values embedded in the message, the relevance of

those values to the decision made, the consequences that result from adhering to

or defying those values, and the degree to which those values conform to the

worldview and values of the audience (p. 38).

Additionally, Fisher (1987) suggests that there is a universal community, a permanent public existing over time that believes in ideal values such as truth and justice.

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Therefore, it can be concluded that the audience judge fidelity based on whether a story’s reasons ring true with these ideal values by which one ought to live.

To sum up, rhetorical power is always based upon values. In this film, the value of moderation is found to be universal, and one that fits what it means to have moral virtue for the two groups of audiences, and thus these elements make them adhere to the story. The cluster analysis in this thesis not only helps to provide a better comprehension of the film CTHD, but also shows that the rhetorical method is able to discover how this film creates meaning and motive, and how it establishes connections between the film’s symbols and audiences. By uncovering hidden meanings in this film, the critic learns why and how various messages are produced and their effects. Cluster analysis gives the critic a deeper understanding of the strategic use of communication, and how it can help one improve one’s ability as a communicator.

Finally, there is one extension of study that this thesis did not analyze but it is worthy to be further investigated. In this study, I applied the English subtitles of the original theatrical version. However, Sony Pictures Classics released a blu-ray version of

CTHD in 2010 and made a few changes to the English subtitles. It would be interesting for rhetorical scholars to discover what and why the filmmakers made such changes after the film has been released for ten years. Also, since cluster analysis has proved to be useful for texts with multiple layers in this study, other scholars can apply cluster criticism to a variety of other multiple texts such as songs, television shows, or websites.

For future studies, there are innumerous translated works that can act as artifacts.

For example, it is common that non-Chinese movies and television shows in Chinese- speaking countries use Mandarin subtitles to communicate with the audience. There is an

95 even more interesting case in Singapore. Since Singapore has four official languages:

English, Malay, Chinese, and Tamil, some Korean television shows broadcasted in

Singapore are verbally dubbed in Mandarin, and the subtitles are in English. In this case, the original narratives can be interpreted into other two media, which provides a huge opportunity for scholars to analyze how rhetorical symbols function and why the audiences are persuaded. There can be little doubt that a willingness to reach across symbolic borders would provide rhetoricians years of fertile study.

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APPENDIX A

Texts of the Narratives

The Mandarin Dialogue of Crouching Tiger, Hidden Dragon (USA, 2000)

Line Time Dialogue

1 00:01:03,370 --> 00:01:05,860 喲！ 李爺來啦

2 00:01:06,700 --> 00:01:08,190 李爺來啦

3 00:01:22,050 --> 00:01:23,540 秀蓮

4 00:01:24,280 --> 00:01:25,680 秀蓮

5 00:01:28,070 --> 00:01:31,150 秀蓮，李慕白來啦

6 00:01:36,110 --> 00:01:37,260 李爺

7 00:01:38,310 --> 00:01:39,960 —家裡好嗎？—挺好的

8 00:01:40,070 --> 00:01:41,190 請進

9 00:01:52,610 --> 00:01:55,000 慕白兄，好久不見

10 00:01:55,390 --> 00:01:58,040 是啊！鏢局的生意怎麼樣？

11 00:01:58,120 --> 00:02:00,050 還行，你好嗎？

12 00:02:00,120 --> 00:02:01,110 好

13 00:02:05,640 --> 00:02:08,220 道元真人年初從武當山路過這裡

14 00:02:08,300 --> 00:02:10,460 說起你正在閉關修練

15 00:02:11,600 --> 00:02:12,590 嗯 97

16 00:02:13,170 --> 00:02:14,330 山上是清靜

17 00:02:14,840 --> 00:02:16,720 有時候我真羨慕你

18 00:02:16,800 --> 00:02:19,970 我光是忙著鏢局的生意，靜不下來

19 00:02:22,140 --> 00:02:24,870 我破了戒，提早出關

20 00:02:26,420 --> 00:02:30,270 為什麼？道人說這次的閉關對你非常重要

21 00:02:30,920 --> 00:02:33,080 這次閉關靜坐的時候

22 00:02:33,920 --> 00:02:36,580 我一度進入了一種很深的寂靜

23 00:02:37,720 --> 00:02:39,720 我的周圍只有光

24 00:02:40,630 --> 00:02:43,760 時間、空間都不存在了

25 00:02:44,870 --> 00:02:48,790 我似乎觸到了師父從未指點過的境地

26 00:02:51,440 --> 00:02:52,800 你得道了？

27 00:02:53,280 --> 00:02:54,760 我沒有這種感覺

28 00:02:55,240 --> 00:02:57,670 因為我並沒有得道的喜樂

29 00:02:58,650 --> 00:03:03,340 相反的，卻被一種寂滅的悲哀環繞

30 00:03:04,520 --> 00:03:07,040 這悲哀超過了我能承受的極限

31 00:03:08,020 --> 00:03:11,750 我出了定，沒辦法再繼續

32 00:03:12,490 --> 00:03:15,760 有些事…我需要想想

33 00:03:17,530 --> 00:03:18,560 什麼事？

34 00:03:22,310 --> 00:03:24,270 一些心裡放不下的事

35 00:03:28,480 --> 00:03:29,570 你要出門了嗎？

98

36 00:03:31,320 --> 00:03:35,370 有一趟鏢要到北京已經收拾好了，

就要上路

37 00:03:35,990 --> 00:03:37,110 有件東西…

38 00:03:37,990 --> 00:03:40,150 煩勞你替我帶給貝勒爺

39 00:03:45,270 --> 00:03:48,460 青冥劍！ 把它送給貝勒爺？

40 00:03:48,530 --> 00:03:49,620 是啊

41 00:03:49,700 --> 00:03:52,120 貝勒爺一直是最關心我們的人

42 00:03:52,200 --> 00:03:53,600 我還是不明白

43 00:03:53,700 --> 00:03:57,630 這是你隨身的佩劍

這麼多年它一直都跟著你

44 00:03:58,740 --> 00:04:01,940 跟著我惹來不少的江湖恩怨

45 00:04:05,580 --> 00:04:09,470 你看它乾乾淨淨的，因為它殺人不沾血

46 00:04:10,320 --> 00:04:13,980 你不是個濫殺無辜的人

所以你才配用這把劍

47 00:04:16,890 --> 00:04:19,420 該是離開這些恩怨的時候了

48 00:04:20,230 --> 00:04:21,660 離開？

49 00:04:21,760 --> 00:04:23,100 之後呢？

50 00:04:25,730 --> 00:04:28,030 乾脆和我一起去北京

51 00:04:28,100 --> 00:04:31,060 我覺得你應該親手把劍交給貝勒爺

52 00:04:31,240 --> 00:04:33,730 記得我們以前經常結伴去北京嗎？

53 00:04:35,480 --> 00:04:39,260 我這趟下山，想先去給恩師掃墓

99

54 00:04:39,750 --> 00:04:41,680 恩師遭碧眼狐狸暗算…

55 00:04:42,250 --> 00:04:44,980 這麼多年了，師仇還沒報

56 00:04:45,450 --> 00:04:48,550 我竟然萌生了退出江湖的念頭

57 00:04:48,790 --> 00:04:51,450 我想我該去求他的原諒

58 00:04:51,930 --> 00:04:53,690 既然是這樣

59 00:04:53,790 --> 00:04:58,530 辦完了事，你到北京跟我會合

你來，我就等你

60 00:05:00,070 --> 00:05:01,260 也許吧

61 00:05:09,040 --> 00:05:09,800 可以了

62 00:05:09,880 --> 00:05:11,540 各位爺，謝了

63 00:05:11,610 --> 00:05:13,440 進城，交了貨歇著

64 00:05:13,510 --> 00:05:14,670 進城！

65 00:05:20,890 --> 00:05:22,450 進城！

66 00:05:25,060 --> 00:05:27,420 謝天謝地，俞姑娘辛苦了

67 00:05:27,490 --> 00:05:30,920 哪兒的話 人貨平安是我們跑鏢應該的

68 00:05:31,000 --> 00:05:35,420 「雄遠鏢局」的招牌打俞師父起就

從來沒有砸過

69 00:05:35,540 --> 00:05:39,780 您押了這幾趟，您父親在天之靈應該

放心了

70 00:05:39,840 --> 00:05:41,140 那可不敢說

71 00:05:41,310 --> 00:05:43,800 是怎麼回事，就怎麼回事

100

72 00:06:18,850 --> 00:06:21,610 這是慕白的貼身佩劍

73 00:06:22,420 --> 00:06:24,480 寶劍佩英雄

74 00:06:24,550 --> 00:06:30,840 當今天下論劍法、論武德 只有慕白配

使用這把劍

75 00:06:31,360 --> 00:06:34,250 禮太重，我不能收

76 00:06:34,630 --> 00:06:38,020 貝勒爺，這把劍惹了無數江湖恩怨

77 00:06:38,700 --> 00:06:40,960 慕白說，他要從此離開這些恩怨

78 00:06:41,400 --> 00:06:43,560 您不收下，恩怨不了

79 00:06:43,870 --> 00:06:48,140 嗯，也是，我就替他管著吧

80 00:06:51,450 --> 00:06:53,170 九門提督府玉大人到

81 00:06:53,260 --> 00:06:53,980 更衣

82 00:06:54,050 --> 00:06:55,040 是

83 00:06:55,480 --> 00:06:58,320 多謝貝勒爺一直關照我和慕白的事

84 00:06:58,400 --> 00:07:00,440 我不該多打擾，晚輩告辭了

85 00:07:00,520 --> 00:07:04,960 別急著走你不是外人，在這兒住下

86 00:07:06,900 --> 00:07:11,090 秀蓮啊！告訴我一件事

87 00:07:11,400 --> 00:07:13,700 可別怪我多事

88 00:07:14,070 --> 00:07:16,960 就因為你的爹是我的好友

89 00:07:17,040 --> 00:07:20,350 我一直把你當成自己的女兒看待

90 00:07:20,410 --> 00:07:22,470 貝勒爺有什麼話請儘管說

91 00:07:22,940 --> 00:07:28,110 李慕白突然交出青冥劍又退出了江湖…

101

92 00:07:28,750 --> 00:07:31,380 莫非他向你暗示些什麼

93 00:07:32,420 --> 00:07:33,650 我不知道

94 00:07:33,720 --> 00:07:37,610 不要害羞，你們的感情我是知道的

95 00:07:38,260 --> 00:07:40,490 只是你們太小心翼翼

96 00:07:40,930 --> 00:07:44,890 總是不敢向對方承認這份感情

97 00:07:46,100 --> 00:07:49,230 白白的浪費多年的光陰

98 00:07:49,940 --> 00:07:51,930 我跟慕白都不是膽怯的人

99 00:07:52,010 --> 00:07:54,840 也許事情並不是您想的那樣

100 00:07:56,580 --> 00:08:02,500 面對情字在大的英雄也是莫可奈何啊

101 00:08:03,520 --> 00:08:08,250 下回遇了他，他要是再不肯明講

102 00:08:08,960 --> 00:08:12,690 告訴我，我去跟他說

103 00:08:20,570 --> 00:08:23,070 貝勒爺說就擱在這屋裡

104 00:08:28,340 --> 00:08:29,440 您…

105 00:08:34,980 --> 00:08:36,640 我是府上今兒的客

106 00:08:36,850 --> 00:08:38,770 是玉府的小姐

107 00:08:40,160 --> 00:08:42,780 這是貝勒爺的書齋，姑娘您…

108 00:08:43,490 --> 00:08:47,550 外頭人多我頭昏

想找個清靜的地方透口氣兒

109 00:08:48,210 --> 00:08:51,960 小的是鐵府管事得祿 這也是貝勒爺的客

110 00:09:05,110 --> 00:09:08,250 這麼沉？劍不就是片薄鐵嗎？

111 00:09:08,320 --> 00:09:11,810 沉的是劍柄，劍身倒也不是薄鐵

102

112 00:09:12,050 --> 00:09:15,650 劍走輕靈，兵器裡它算是最輕的

113 00:09:15,720 --> 00:09:18,270 你沒摸過兵器就覺得它沉

114 00:09:18,270 --> 00:09:20,850 誰說我沒摸過兵器，摸過的

115 00:09:21,030 --> 00:09:25,160 我爹在新疆，家裡養有府兵

能摸他們的兵器，也玩兒

116 00:09:26,770 --> 00:09:28,770 這劍套真好看

117 00:09:30,540 --> 00:09:32,530 再好看也是凶器

118 00:09:32,650 --> 00:09:35,870 刃上染了血，你就不會說它好看了

119 00:09:37,240 --> 00:09:39,940 這把劍有四百年的來歷

120 00:09:40,350 --> 00:09:41,920 真好看

121 00:09:43,050 --> 00:09:45,310 你剛才說這把劍是歸…

122 00:09:46,050 --> 00:09:48,590 原本是我恩兄李慕白的

123 00:09:48,590 --> 00:09:50,680 現在他送給了貝勒爺

124 00:09:50,760 --> 00:09:54,750 李慕白？我在新疆都聽說過他

大名鼎鼎的

125 00:09:54,830 --> 00:09:57,720 可他為什麼把這把劍給了貝勒爺呢

126 00:09:58,310 --> 00:10:00,560 說多了你也不懂

127 00:10:02,070 --> 00:10:03,400 俞姐是使劍的吧

128 00:10:03,570 --> 00:10:06,380 我使雙刀，劍法我略通一二

129 00:10:06,440 --> 00:10:11,040 李慕白的武當玄牝劍法 真是得用這把劍

才行啊

103

130 00:10:12,280 --> 00:10:13,470 是吧

131 00:10:15,920 --> 00:10:18,840 在江湖上走來走去的是不是很好玩？

132 00:10:19,250 --> 00:10:22,920 走江湖，靠得是人熟，講信、講義

133 00:10:23,260 --> 00:10:25,190 應下來的，就要做到

134 00:10:25,260 --> 00:10:27,830 不講信義，可就玩不長了

135 00:10:28,930 --> 00:10:31,120 可我看書上說的都是挺有意思的

136 00:10:31,200 --> 00:10:34,120 到處都能去，遇上不服氣的就打

137 00:10:34,210 --> 00:10:37,230 寫書的不那麼寫，書就沒法子賣了

138 00:10:37,350 --> 00:10:39,290 我看你就像書裡的人

139 00:10:40,170 --> 00:10:44,560 洗不上澡，虱子跳蚤咬得睡不著覺

140 00:10:44,690 --> 00:10:46,700 書裡也寫這個？

141 00:10:46,950 --> 00:10:48,940 你知道我說的是什麼

142 00:10:49,420 --> 00:10:53,210 我就要嫁人了可還沒過過我自己想過的

日子

143 00:10:54,750 --> 00:10:57,350 我聽人說起過，恭喜了

144 00:11:01,270 --> 00:11:04,970 嫁人是大事女人一輩子，總是要嫁人的

145 00:11:06,700 --> 00:11:08,070 俞姐，還沒嫁人吧？

146 00:11:09,640 --> 00:11:10,580 你看呢？

147 00:11:10,670 --> 00:11:13,010 沒有，嫁了人還能跑來跑去的？

148 00:11:14,480 --> 00:11:16,740 說你不懂事吧，又懂點事

149 00:11:49,210 --> 00:11:51,270 玉大人，看看

104

150 00:12:02,490 --> 00:12:07,200 長二尺九，寬一寸一

151 00:12:07,360 --> 00:12:12,290 護手一寸，寬二寸六，厚七分

152 00:12:12,700 --> 00:12:14,620 兩耳各一寸五

153 00:12:14,700 --> 00:12:16,660 劍柄原鑲有七星

154 00:12:17,570 --> 00:12:19,530 從劍的旋紋看…

155 00:12:19,710 --> 00:12:25,200 是先秦吳國的揉劍法到漢朝就失傳了

156 00:12:25,290 --> 00:12:28,840 貝勒爺真是博古通今哪

157 00:12:30,220 --> 00:12:34,820 劍，要人用才能活 所謂劍法即人法

158 00:12:36,290 --> 00:12:39,280 卑職願聞其詳

159 00:12:39,360 --> 00:12:42,660 這京城內城還好說

160 00:12:42,730 --> 00:12:45,100 無非是皇親國戚

161 00:12:45,230 --> 00:12:51,520 各部的官員，加之八旗軍佈防嚴密，

各有轄區

162 00:12:51,600 --> 00:12:53,490 這外城就雜了

163 00:12:53,910 --> 00:12:57,900 三教九流，往來人等

164 00:12:58,250 --> 00:13:03,710 玉大人整治京畿不能只眼看著朝廷

165 00:13:03,860 --> 00:13:09,910 江湖上也要有所聯絡九門提督才坐得穩

166 00:13:14,290 --> 00:13:18,420 剛柔相濟，方得治道

167 00:13:46,990 --> 00:13:48,190 高師娘

168 00:13:49,930 --> 00:13:51,200 我來好了

169 00:13:54,930 --> 00:13:56,270 師娘坐

105

170 00:13:56,810 --> 00:13:59,570 做了兩件水衣絲料的要不要換上？

171 00:13:59,640 --> 00:14:00,900 放著吧

172 00:14:07,180 --> 00:14:09,520 聽說你見到俞秀蓮了？

173 00:14:10,820 --> 00:14:12,080 你知道她？

174 00:14:13,550 --> 00:14:14,750 聽說她是道上的人

175 00:14:15,460 --> 00:14:17,950 夫人不會讓你跟那路人混吧

176 00:14:20,330 --> 00:14:22,520 我願意跟誰混就跟誰混

177 00:14:22,830 --> 00:14:25,490 麻煩進了家，就真麻煩

178 00:14:28,840 --> 00:14:29,960 我困了

179 00:14:30,840 --> 00:14:32,330 那就睡吧

180 00:14:36,150 --> 00:14:38,740 小姐長大了，要嫁人了

181 00:14:40,650 --> 00:14:42,840 以後真不知道會怎麼樣

182 00:14:44,350 --> 00:14:45,920 還不是一樣

183 00:14:46,860 --> 00:14:49,280 好了吧？我困了

184 00:14:53,360 --> 00:14:56,900 立秋了，我去幫你把窗子關好

185 00:15:23,770 --> 00:15:24,850 天冷了

186 00:15:24,920 --> 00:15:26,120 劉師傅

187 00:16:26,500 --> 00:16:27,780 來人啊

188 00:16:27,960 --> 00:16:29,350 快來！有賊

189 00:16:29,460 --> 00:16:30,910 上房頂了

190 00:16:33,660 --> 00:16:35,060 有人偷寶劍啦！

106

191 00:16:35,660 --> 00:16:37,150 上房頂了

192 00:16:37,740 --> 00:16:39,100 抓賊！ 快，抓賊！

193 00:16:39,180 --> 00:16:40,600 快搬梯子

194 00:16:41,970 --> 00:16:43,470 有賊呀

195 00:16:43,470 --> 00:16:45,960 看看有沒有在房頂上？

196 00:17:04,620 --> 00:17:06,800 —抓住他… —給我剝了狐狸皮

197 00:17:06,860 --> 00:17:08,270 給我抓住他

198 00:17:09,000 --> 00:17:10,460 我給娘報仇

199 00:17:13,170 --> 00:17:15,500 你們還站在這兒幹什麼，快追啊！

200 00:17:18,540 --> 00:17:21,030 寶劍物歸原主，現在話還好說

201 00:17:26,710 --> 00:17:27,940 你是武當派的門人？

202 00:17:33,130 --> 00:17:35,860 我們是從外地來賣藝的，你弄錯了

203 00:17:36,020 --> 00:17:37,750 我正帶著閨女練功呢，走吧！

204 00:17:37,820 --> 00:17:38,950 爹

205 00:17:39,130 --> 00:17:42,690 練功？你以為我也是在練功的？

206 00:17:42,760 --> 00:17:44,420 人哪兒去了

207 00:17:56,040 --> 00:17:57,770 九門提督府？

208 00:19:39,780 --> 00:19:41,140 給我下來

209 00:19:56,400 --> 00:19:57,430 下來

210 00:19:57,860 --> 00:19:58,820 劍給我

211 00:21:13,080 --> 00:21:15,200 貝勒爺在廳裡候著哪

107

212 00:21:16,940 --> 00:21:18,170 青冥劍是沒找回來

213 00:21:18,580 --> 00:21:21,180 可我敢賭，賊人與玉大人家有掛勾

214 00:21:21,250 --> 00:21:22,160 查他個底兒掉

215 00:21:22,320 --> 00:21:23,410 放肆

216 00:21:23,520 --> 00:21:25,510 —可我明明見著… —退下

217 00:21:37,770 --> 00:21:39,920 玉大人看過青冥劍嗎？

218 00:21:40,300 --> 00:21:41,560 看過

219 00:21:41,640 --> 00:21:44,470 我想跟玉大人沒有關係

220 00:21:44,640 --> 00:21:47,400 可是劍現在應該在玉府

221 00:21:51,310 --> 00:21:55,810 有人要陷害玉大人 這不是不可能的事情

222 00:21:55,950 --> 00:21:59,290 這件事應該讓慕白知道

223 00:22:03,590 --> 00:22:05,120 夫人您小心啊

224 00:22:08,540 --> 00:22:11,120 —怎麼啦？

—玉夫人，有人在牆上亂貼東西

225 00:22:17,170 --> 00:22:18,570 給我看看

226 00:22:25,310 --> 00:22:29,310 是誰跟這碧眼狐狸有仇放肆到府上來了

227 00:22:45,830 --> 00:22:47,560 說的是天下第一槍…

228 00:22:47,630 --> 00:22:49,330 還是楊家槍

229 00:22:49,840 --> 00:22:51,040 說的是第一槍…

230 00:22:51,100 --> 00:22:53,000 還是我親爹您哪！

231 00:23:05,850 --> 00:23:06,580 快說

108

232 00:23:06,660 --> 00:23:08,860 大爺，我是真是不知道啊

233 00:23:09,860 --> 00:23:12,750 許是離開了吧，前兩天還見著她呢

234 00:24:04,720 --> 00:24:07,600 小姐，外頭有位俞秀蓮小姐求見

235 00:24:07,690 --> 00:24:09,220 小姐正沒空呢

236 00:24:09,220 --> 00:24:10,550 那就回了她

237 00:24:10,630 --> 00:24:12,350 請俞姑娘進來

238 00:24:13,650 --> 00:24:14,880 是

239 00:24:19,600 --> 00:24:22,690 小姐，麻煩真是進了家了

240 00:24:24,430 --> 00:24:25,590 我有客

241 00:24:33,010 --> 00:24:34,510 俞小姐請

242 00:24:41,450 --> 00:24:42,470 俞姐姐，你想死我了

243 00:24:42,830 --> 00:24:43,590 想我幹嘛

244 00:24:43,650 --> 00:24:45,140 沒事幹唄

245 00:24:52,070 --> 00:24:53,250 練字啊

246 00:24:55,460 --> 00:24:58,930 我寫俞姐姐的名字…練著玩兒

247 00:25:25,300 --> 00:25:27,720 這「俞」寫起來真像「劍」

248 00:25:28,200 --> 00:25:29,390 我看你轉手腕

249 00:25:29,500 --> 00:25:32,490 書法劍法道理好像是相通的

250 00:25:32,840 --> 00:25:35,040 大概是吧！我不知道

251 00:25:37,010 --> 00:25:37,870 請

252 00:25:42,540 --> 00:25:43,910 謝謝你抽空見我

109

253 00:25:44,010 --> 00:25:45,850 聽說你大喜的日子快到了

254 00:25:46,020 --> 00:25:48,140 想必正為這件事忙著吧

255 00:25:48,220 --> 00:25:50,270 才不呢能，不想它最好

256 00:25:50,350 --> 00:25:52,160 我什麼也不願意管

257 00:25:52,220 --> 00:25:54,240 反正婚事由我爹娘決定

258 00:25:54,330 --> 00:25:57,240 他們一到京城 就替我定下這門親事

259 00:25:57,320 --> 00:26:01,590 娘說魯老太爺是朝內的大官又是

三代翰林

260 00:26:01,670 --> 00:26:05,830 如果能跟魯家聯姻 對爹在北京大有好處

261 00:26:05,900 --> 00:26:09,600 能跟這樣的名門望族結親這是福氣

262 00:26:10,140 --> 00:26:11,200 是嗎？

263 00:26:11,270 --> 00:26:14,610 我倒是喜歡像那些俠義小說裡的

英雄兒女

264 00:26:14,670 --> 00:26:16,160 就好像你和李慕白一樣

265 00:26:17,840 --> 00:26:19,610 結婚固然是喜事

266 00:26:19,680 --> 00:26:22,180 要是能夠自由自在的生活

267 00:26:22,250 --> 00:26:26,540 選擇自己心愛的人用自己的方式去愛他

268 00:26:27,250 --> 00:26:29,990 那才算得上是真正的幸福

269 00:26:30,700 --> 00:26:32,880 那…我給你講個故事

270 00:26:33,060 --> 00:26:34,550 是你和李慕白的事兒？

271 00:26:34,900 --> 00:26:36,160 是吧

110

272 00:26:36,230 --> 00:26:39,320 我小時候家裡也給定過親

273 00:26:40,070 --> 00:26:41,050 是嗎？

274 00:26:41,130 --> 00:26:42,900 他的名字叫孟思昭

275 00:26:43,410 --> 00:26:46,060 他跟李慕白也是拜把的兄弟

276 00:26:46,580 --> 00:26:48,700 有一回，在一場打鬥裡

277 00:26:48,780 --> 00:26:52,560 孟思昭為了救李慕白死在對手的刀下

278 00:26:53,080 --> 00:26:56,500 這之後我們雖然又共同經歷了許多事

279 00:26:56,630 --> 00:26:58,740 感情也日漸深厚

280 00:26:58,830 --> 00:27:03,080 可是我們都堅持要對得起思昭和那一紙

婚約

281 00:27:03,290 --> 00:27:06,320 你說的自由自在，我也渴望

282 00:27:06,400 --> 00:27:08,620 但我從來沒有嘗過

283 00:27:08,800 --> 00:27:11,090 可是你和李慕白誰也沒有錯啊

284 00:27:11,270 --> 00:27:14,360 只怪那位孟大俠福薄，愛就愛了唄

285 00:27:16,610 --> 00:27:19,990 我雖然不是出身於你們這樣的官宦人家

286 00:27:20,110 --> 00:27:24,710 可是一個女人一生該服從的道德和禮教

並不少於你們

287 00:27:25,280 --> 00:27:27,010 別說你們我們

288 00:27:27,120 --> 00:27:28,610 我要認你這個姐姐

289 00:27:28,680 --> 00:27:31,340 以後你跟我說話不許再這麼見外了

111

290 00:27:32,760 --> 00:27:37,280 好，既然作你的姐姐就希望你真的

得到幸福

291 00:28:13,660 --> 00:28:16,790 千里迢迢啊！千里迢迢

292 00:28:17,230 --> 00:28:22,160 你爹這回調到伊梨還是出不了新疆，

這地方…

293 00:28:24,250 --> 00:28:27,910 嬌龍…你聽著了嗎？

294 00:28:56,340 --> 00:28:57,530 走吧

295 00:29:21,900 --> 00:29:23,570 —你是誰？在幹嘛 —爹

296 00:29:24,040 --> 00:29:26,830 別…您別拿朋友當外人兒

297 00:29:30,340 --> 00:29:33,290 對那把劍我們父女倆一點兒也不上心

298 00:29:33,380 --> 00:29:34,740 那你們盯著玉府幹嘛

299 00:29:34,820 --> 00:29:38,110 我是找個人…碧眼狐狸

300 00:29:38,690 --> 00:29:42,030 劉爺，不瞞您說我是陝甘的總捕頭

301 00:29:42,980 --> 00:29:46,520 這碧眼狐狸犯了好幾樁案子

聽說混進了玉府

302 00:29:47,000 --> 00:29:50,480 玉大人從新疆調北京

這碧眼狐狸一定跟著過來

303 00:29:50,930 --> 00:29:55,420 礙著玉大人的面，又不能明拿只有想

辦法把她引出來

304 00:29:55,660 --> 00:29:57,560 —這碧眼狐狸是公的還是母的？ —母的

305 00:29:57,770 --> 00:30:00,250 母的就交給我了 蔡爺，您就別操心了

112

306 00:30:00,330 --> 00:30:03,430 得罪了，劉爺，您真的拿不住她

307 00:30:03,500 --> 00:30:07,700 我內人也是武行中有名有姓的都被她害了

308 00:30:07,810 --> 00:30:13,170 劉爺，您歇著 於公於私，這都是我的事

309 00:30:13,780 --> 00:30:15,180 丸子熟了

310 00:30:15,680 --> 00:30:16,980 該熟的都熟了

311 00:30:18,730 --> 00:30:20,580 不行！爹先

312 00:30:25,020 --> 00:30:26,090 走啦

313 00:30:28,190 --> 00:30:29,350 寫著什麼？

314 00:30:29,710 --> 00:30:32,900 今晚酉時黃土崗上，一決生死！

315 00:30:33,030 --> 00:30:35,690 好，狐狸出洞了

316 00:30:37,350 --> 00:30:38,510 請

317 00:30:40,520 --> 00:30:43,100 秀蓮，你看誰來了

318 00:30:48,560 --> 00:30:52,280 貝勒爺覺得這樣把嫌疑貿然指向玉府，

十分不妥

319 00:30:52,350 --> 00:30:55,950 但玉府裡確實有些蹊蹺我得徹底弄清楚

320 00:30:56,020 --> 00:30:57,510 你發現了什麼？

321 00:31:10,250 --> 00:31:12,940 碧眼狐狸？不可能

322 00:31:13,010 --> 00:31:15,440 你早就懷疑她逃去了西域

323 00:31:15,940 --> 00:31:18,320 可是沒有想到她藏身在北京

324 00:31:18,380 --> 00:31:21,440 有什麼比逗留在玉大人府裡更安全的

325 00:31:24,120 --> 00:31:27,420 師父的仇終於可以報了

113

326 00:31:28,750 --> 00:31:31,480 慕白，還是謹慎一點

327 00:31:31,770 --> 00:31:34,090 這事貝勒爺不許聲張…

328 00:31:34,360 --> 00:31:36,730 原本只是公事公辦，都已經難了

329 00:31:36,800 --> 00:31:40,330 再加上你的私仇豈不是會鬧得一團糟

330 00:31:40,970 --> 00:31:45,790 再說這張貼紙也不見得可信難說不是個

圈套

331 00:31:48,580 --> 00:31:49,940 你看見是誰貼了嗎？

332 00:31:50,290 --> 00:31:51,270 沒見著

333 00:31:51,340 --> 00:31:53,740 上面明指碧眼狐狸在玉府

334 00:31:53,810 --> 00:31:57,700 鐵爺說丟失寶劍那天晚上玉府附近有打鬥

335 00:31:57,780 --> 00:31:59,770 當時你在場嗎？

336 00:31:59,890 --> 00:32:01,940 我…沒有

337 00:32:02,030 --> 00:32:04,880 聽說是護院劉泰保一路追他追到玉府

338 00:32:05,170 --> 00:32:06,560 你查問過他沒有？

339 00:32:07,030 --> 00:32:09,410 劉泰保啊？還沒有…

340 00:32:09,530 --> 00:32:11,600 你也沒有佈置鏢師盯住玉府？

341 00:32:12,810 --> 00:32:14,790 我早就差他們回去了

342 00:32:17,150 --> 00:32:19,190 寶劍失竊的事你盡可以怪罪我

343 00:32:19,540 --> 00:32:23,540 但是請你相信，我有我的法子

很快給你找回來

344 00:32:24,680 --> 00:32:28,460 你誤會我的意思我並不在乎這把寶劍

114

345 00:32:29,050 --> 00:32:32,580 你專程趕來北京處理這件事

怎麼能說是不在乎？

346 00:32:33,150 --> 00:32:36,510 我來北京以前並不知道寶劍失竊的事

347 00:32:37,900 --> 00:32:39,390 那你來是…

348 00:32:41,840 --> 00:32:44,970 我以為我們…已經講好了嘛

349 00:32:47,830 --> 00:32:51,340 打攪二位，李爺，您房間收拾好了

350 00:32:53,840 --> 00:32:54,930 多謝

351 00:32:56,020 --> 00:32:58,270 請得總管帶路

352 00:33:08,900 --> 00:33:11,050 說來，就得守信哪

353 00:33:11,460 --> 00:33:13,380 怎麼還聞不到騷味兒？

354 00:33:21,230 --> 00:33:23,340 好啦！不要再裝啦

355 00:33:27,640 --> 00:33:30,270 蔡九，你這臭當差的

356 00:33:30,620 --> 00:33:32,500 你不給我活路，我也不讓你活

357 00:33:33,060 --> 00:33:35,820 嘿，你這個老太太怎麼張口就罵人哪？

358 00:33:35,880 --> 00:33:38,840 要是你束手就擒也算你走了一次正道

359 00:33:39,380 --> 00:33:42,220 否則的話，我今天就銷了你的案

360 00:33:42,400 --> 00:33:45,380 爹，我要給我娘報仇

361 00:33:45,590 --> 00:33:47,890 小婊子！一起來送死

362 00:33:48,000 --> 00:33:50,620 你這個老狐狸，老成這樣了還嘴硬

363 00:34:25,530 --> 00:34:26,260 爹

115

364 00:34:56,030 --> 00:34:59,950 你這老狐狸害得我家破人亡

我今天殺了你…

365 00:35:13,980 --> 00:35:15,310 小心她的點穴

366 00:35:22,230 --> 00:35:23,280 香妹

367 00:35:32,770 --> 00:35:34,030 蔡老狗

368 00:35:36,740 --> 00:35:38,580 你們還有個打埋伏的

369 00:35:42,070 --> 00:35:44,710 —爹…您沒事吧 —沒事

370 00:35:45,690 --> 00:35:48,440 武當派早該剷除你這個妖孽

371 00:35:49,090 --> 00:35:51,080 久違了，碧眼狐狸

372 00:35:52,350 --> 00:35:54,080 你也許不記得我李慕白

373 00:35:54,790 --> 00:35:58,020 不過，你一定不會忘記我師父江南鶴吧

374 00:35:58,520 --> 00:36:00,560 當年我在九華山閉關練劍

375 00:36:00,860 --> 00:36:05,230 你冒充道姑潛入武當盜走心訣，

毒害我師父

376 00:36:05,530 --> 00:36:08,370 今天該是你償還這一段師門血債的時候了

377 00:36:09,030 --> 00:36:11,420 你師父可惜太小看女人

378 00:36:11,750 --> 00:36:14,570 即使入了房緯也不肯把功夫傳給我

379 00:36:14,810 --> 00:36:18,570 叫他死在女人手裡，一點也不冤枉

380 00:36:58,580 --> 00:37:04,410 你盜取武當絕學，十年練劍只練得一身

走火入魔的邪招

381 00:37:04,890 --> 00:37:08,090 今天教你命送武當宗門劍法之下

116

382 00:37:08,200 --> 00:37:10,290 對你，也不冤枉

383 00:37:16,670 --> 00:37:19,200 徒弟，來，該殺的都在這兒了

384 00:37:19,270 --> 00:37:19,940 快走

385 00:37:20,180 --> 00:37:21,380 狐狸還有徒弟？

386 00:37:21,440 --> 00:37:23,170 不行！我得除掉那老蔡狗

387 00:37:23,240 --> 00:37:24,340 走

388 00:37:30,630 --> 00:37:31,780 你是誰？

389 00:37:34,120 --> 00:37:35,950 青冥劍為什麼在你手裡？

390 00:37:37,770 --> 00:37:39,050 你管得著嗎？

391 00:37:39,360 --> 00:37:40,860 在下李慕白

392 00:37:41,140 --> 00:37:42,870 青冥劍是我的劍

393 00:37:53,910 --> 00:37:56,300 碧眼狐狸絕對不是你師父

394 00:37:56,370 --> 00:37:58,400 你這「玄牝劍法」從哪裡學來的？

395 00:37:58,490 --> 00:37:59,370 隨便玩玩

396 00:38:06,650 --> 00:38:07,990 你師父是誰？

397 00:38:15,890 --> 00:38:17,380 小婊子！你給我死

398 00:38:23,000 --> 00:38:23,700 爹

399 00:38:29,410 --> 00:38:31,270 —快走 —我要斬草除根

400 00:38:33,420 --> 00:38:34,850 快走！別跟他打

401 00:38:36,680 --> 00:38:37,910 走，快走

402 00:38:40,700 --> 00:38:41,810 爹

117

403 00:38:43,020 --> 00:38:44,120 爹

404 00:38:50,770 --> 00:38:51,970 爹

405 00:39:03,890 --> 00:39:05,430 這就是蔡九

406 00:39:07,410 --> 00:39:11,520 我爹，陝甘捕頭蔡九

407 00:39:12,780 --> 00:39:17,380 按說京師命案應該由九門提督來處置

408 00:39:17,570 --> 00:39:19,720 死者又是官差

409 00:39:19,800 --> 00:39:23,780 你確定殺人者就在玉府？

410 00:39:24,800 --> 00:39:26,570 我拿性命擔保

411 00:39:31,250 --> 00:39:32,940 你們隨我來

412 00:39:34,540 --> 00:39:37,880 這件事情得盡快的解決

413 00:39:38,240 --> 00:39:39,700 玉府那裡我去辦

414 00:39:39,840 --> 00:39:41,520 一定要查個水落石出

415 00:39:41,580 --> 00:39:44,610 讓碧眼狐狸跟她的同黨都現出原形

416 00:39:44,750 --> 00:39:45,840 太莽撞了

417 00:39:46,020 --> 00:39:49,590 玉大人是朝廷的命官又掌管京城的治安

418 00:39:49,760 --> 00:39:52,260 這件事足以毀掉玉大人一生的清譽

419 00:39:52,320 --> 00:39:54,590 也會讓貝勒爺陷入兩難的局面

420 00:39:56,460 --> 00:39:57,950 這事難辦

421 00:39:58,500 --> 00:40:01,300 貝勒爺，您能不能找個什麼藉口…

422 00:40:01,370 --> 00:40:04,360 把玉夫人和玉小姐請到府裡來坐坐？

423 00:40:04,770 --> 00:40:07,260 哦？你是打算…

118

424 00:40:08,910 --> 00:40:12,010 要抓老狐狸，最好從小狐狸著手

425 00:40:15,160 --> 00:40:17,270 哎呀，真過意不去

426 00:40:17,360 --> 00:40:20,370 買了料子還要我們挑，到底是福晉

427 00:40:21,030 --> 00:40:23,940 我們嫁閨女，可讓你們費心了

428 00:40:24,030 --> 00:40:27,250 福晉這兩天著了點涼，陪不了你們

429 00:40:27,530 --> 00:40:30,260 聽說貝勒府上丟東西了

430 00:40:30,340 --> 00:40:33,630 真是的，福晉身體又不合適

431 00:40:33,800 --> 00:40:36,940 丟的東西，已經知道是誰拿了

432 00:40:39,300 --> 00:40:42,810 其實拿了劍的人能自己把劍放回去

433 00:40:42,870 --> 00:40:45,760 貝勒爺給面子，也就不追究了

434 00:40:46,490 --> 00:40:47,840 那就好了

435 00:40:48,310 --> 00:40:52,940 有時候，這下人手腳不乾淨也是挺煩人的

436 00:40:53,060 --> 00:40:54,380 貝勒爺的意思是…

437 00:40:54,460 --> 00:40:56,990 再好的人也有犯錯的時候

438 00:40:57,090 --> 00:41:00,360 有的錯誤不僅是害了自己還連累了全家人

439 00:41:02,930 --> 00:41:04,660 有時候這心也不能太軟

440 00:41:04,970 --> 00:41:08,020 是啊好比說最近這裡出了個殺人的

441 00:41:08,100 --> 00:41:09,530 貝勒爺就絕對饒不過他

442 00:41:10,650 --> 00:41:12,630 城裡也會出這種事？

443 00:41:12,700 --> 00:41:13,580 可不是

119

444 00:41:13,870 --> 00:41:17,910 兇手就是當年毒害我恩兄李慕白師父的

女賊

445 00:41:18,040 --> 00:41:21,610 昨兒夜裡把一個 追捕她好多年的捕頭

給殺了

446 00:41:21,980 --> 00:41:24,820 女賊有這麼大的本事，那倒新鮮

447 00:41:24,990 --> 00:41:27,990 怎麼？你說她殺的是個官差？

448 00:41:28,430 --> 00:41:29,850 是位陝甘的名捕

449 00:41:29,930 --> 00:41:33,380 化裝成江湖賣藝的一路跟上北京城裡來的

450 00:41:33,660 --> 00:41:35,530 唉，我瞎說啊

451 00:41:35,590 --> 00:41:38,230 偷劍殺人會不會是同一個人？

452 00:41:38,360 --> 00:41:39,300 應該是不至於

453 00:41:40,530 --> 00:41:44,600 這個盜劍人…很不尋常

454 00:41:44,670 --> 00:41:46,800 應該不會這麼傻的

455 00:41:59,620 --> 00:42:01,350 嬌龍給貝勒爺請安

456 00:42:01,430 --> 00:42:02,660 好…

457 00:42:02,750 --> 00:42:04,190 玉夫人安好

458 00:42:04,260 --> 00:42:08,040 這位是李慕白，有名的俠士

459 00:42:08,390 --> 00:42:11,060 玉夫人、玉小姐，幸會

460 00:42:11,460 --> 00:42:13,840 玉小姐就要出閣了

461 00:42:16,400 --> 00:42:18,390 福氣，福氣

462 00:42:32,020 --> 00:42:34,010 來了怎麼不進來呢

120

463 00:42:34,420 --> 00:42:35,830 給你守個門

464 00:42:36,420 --> 00:42:38,810 外頭冷，進屋裡來吧

465 00:42:44,610 --> 00:42:48,770 進來嘛兩個人就不怕打不過碧眼狐狸了

466 00:43:12,990 --> 00:43:14,790 這麼晚了，還不歇著？

467 00:43:18,460 --> 00:43:19,860 來還劍嗎？

468 00:43:20,800 --> 00:43:22,990 高興就還，不高興就不還

469 00:43:26,110 --> 00:43:27,470 你師父在哪？

470 00:43:27,820 --> 00:43:28,800 你管不著

471 00:43:55,570 --> 00:43:56,910 飛夠了？

472 00:44:01,020 --> 00:44:02,040 天份不錯

473 00:44:02,520 --> 00:44:06,530 只不過你們對武當心訣的領略理路不正

474 00:44:09,360 --> 00:44:12,020 你需要良師的調教，重理劍法

475 00:44:12,180 --> 00:44:14,750 想當我師父？誰知道你是不是浪得虛名

476 00:44:14,820 --> 00:44:16,420 「李慕白」就是虛名

477 00:44:16,520 --> 00:44:18,650 宗派是虛名，劍法也是虛名

478 00:44:18,720 --> 00:44:20,530 這把青冥劍還是虛名

479 00:44:20,770 --> 00:44:22,920 一切都是人心的作用

480 00:44:23,900 --> 00:44:26,400 別到了廟裡就說和尚的話，出招！

481 00:44:27,270 --> 00:44:29,070 那就快告訴我碧眼狐狸在哪裡

482 00:44:29,140 --> 00:44:29,870 看招！

483 00:44:44,620 --> 00:44:46,480 揣而銳之，不可長保

121

484 00:45:04,710 --> 00:45:07,000 勿助、勿長

485 00:45:08,070 --> 00:45:10,500 不應、不辯

486 00:45:11,210 --> 00:45:12,550 無知無慾

487 00:45:13,110 --> 00:45:15,600 「捨己從人」才能「我順人背」

488 00:45:17,080 --> 00:45:19,360 教你一點做人處事的道理

489 00:45:24,590 --> 00:45:25,790 下手吧

490 00:45:27,830 --> 00:45:28,620 何必？

491 00:45:28,870 --> 00:45:32,920 你還要修練，修武德

才能體會靜中之動的境界

492 00:45:33,110 --> 00:45:35,400 才配得上用這把青冥劍

493 00:45:38,600 --> 00:45:39,970 你為什麼要教我？

494 00:45:42,120 --> 00:45:44,130 我一直在想找一個徒弟

495 00:45:44,210 --> 00:45:47,210 能把武當派的「玄牝劍法」傳下去

496 00:45:49,110 --> 00:45:51,110 你不怕我學會了殺了你

497 00:45:51,950 --> 00:45:54,940 即為師徒，就要以性命相見

498 00:45:55,220 --> 00:45:58,880 我相信碧眼狐狸未能泯滅了你的良心

499 00:46:00,990 --> 00:46:04,380 武當山是酒館娼窯，我不希罕

500 00:46:23,650 --> 00:46:26,610 該說你回來早呢，還是回來晚了

501 00:46:29,520 --> 00:46:30,930 你怎麼還在這兒？

502 00:46:30,990 --> 00:46:33,890 你殺了狗官差，不能再待在這兒了

503 00:46:34,540 --> 00:46:37,330 我跟你說過了你會連累我們全家的

122

504 00:46:37,430 --> 00:46:40,590 要不是你盜走了青冥劍別人怎麼會發現

我在這兒？

505 00:46:41,480 --> 00:46:44,640 你不小了，你以為拿走了青冥劍是

好玩的？

506 00:46:45,550 --> 00:46:48,500 我有份兒，你就有份兒咱倆一起走

507 00:46:49,720 --> 00:46:53,730 要是你真成了朝廷命官的夫人你會憋死的

508 00:46:54,820 --> 00:46:56,590 天份也埋沒了

509 00:46:56,910 --> 00:46:59,020 來，我們師徒兩人…

510 00:46:59,180 --> 00:47:00,640 我不會跟你去做江洋大盜

511 00:47:00,760 --> 00:47:02,550 你已經是人人捉拿的江洋大盜了

512 00:47:02,860 --> 00:47:05,410 我只是想玩玩兒我幹嘛走，我走哪兒去

513 00:47:05,520 --> 00:47:06,750 哪兒都行

514 00:47:07,270 --> 00:47:08,850 想幹什麼就幹什麼

515 00:47:08,930 --> 00:47:11,880 誰想攔我們，就殺他個痛快

就連你爹也一樣

516 00:47:12,000 --> 00:47:13,200 你給我閉嘴

517 00:47:13,300 --> 00:47:17,190 這就是江湖，恩恩怨怨、你死我活

518 00:47:17,370 --> 00:47:20,270 很嚇人，也很刺激是吧

519 00:47:23,980 --> 00:47:26,740 對你，我已仁至義盡了

520 00:47:27,210 --> 00:47:29,100 仁至義盡的是我

521 00:47:30,460 --> 00:47:33,720 收你為徒是我這一輩子最得意的一件事

123

522 00:47:41,240 --> 00:47:44,630 你以為這幾年是你在教我

《武當劍法心訣》嗎？

523 00:47:46,070 --> 00:47:48,030 幸虧你識字不多

524 00:47:50,310 --> 00:47:54,700 我依圖，你依字…原來你留了一手

525 00:47:55,240 --> 00:47:57,940 那些字就算你知道也不能體會

526 00:47:59,320 --> 00:48:00,750 你心裡明白

527 00:48:01,260 --> 00:48:03,340 你的功夫就只能練到這裡了

528 00:48:04,120 --> 00:48:06,890 我藏而不露，也只是怕你傷心

529 00:48:09,390 --> 00:48:12,460 要不是李慕白那天試出了你的功力

530 00:48:13,470 --> 00:48:16,310 我還真不知道你瞞了我這麼多

531 00:48:19,770 --> 00:48:20,830 師娘

532 00:48:22,780 --> 00:48:25,360 徒弟十歲起就隨你秘密練功

533 00:48:26,540 --> 00:48:28,410 你給了我一個江湖的夢

534 00:48:29,780 --> 00:48:33,340 可是有一天，我發現我可以擊敗你

535 00:48:33,780 --> 00:48:35,370 你不知道我心裡有多害怕

536 00:48:37,050 --> 00:48:38,860 我看不到天地的邊

537 00:48:39,090 --> 00:48:41,080 不知道該往哪裡去

538 00:48:42,620 --> 00:48:44,260 我又能跟隨誰？

539 00:48:46,430 --> 00:48:50,600 你走上了這條道，怕的還在後面呢

540 00:50:02,900 --> 00:50:05,890 劍回來了，高興嗎？

541 00:50:07,570 --> 00:50:11,680 失而復得，才知道對它還是有依戀

124

542 00:50:13,010 --> 00:50:15,010 已經不是你的劍了

543 00:50:15,410 --> 00:50:17,610 你不是說要送給貝勒爺嗎？

544 00:50:19,160 --> 00:50:20,460 是啊

545 00:50:21,130 --> 00:50:23,970 不過我恐怕還得再借用一回

546 00:50:24,890 --> 00:50:27,550 你要讓碧眼狐狸死在這把劍下

547 00:50:30,560 --> 00:50:35,530 秀蓮，你掩護那女孩兒的時候

知不知道她是誰？

548 00:50:35,930 --> 00:50:39,500 我的責任是要把劍找回來

還得顧及大家的顏面

549 00:50:39,910 --> 00:50:41,640 我若是把所知的都說出來

550 00:50:41,710 --> 00:50:45,010 不但毀了這位姑娘的一生更要連累她爹

551 00:50:45,140 --> 00:50:48,010 你事情處理的很漂亮劍也要回來了

552 00:50:48,080 --> 00:50:49,310 只是…

553 00:50:49,490 --> 00:50:53,090 這女孩兒…昨夜我見著她了

554 00:50:55,650 --> 00:50:57,580 我就知道你會疑心

555 00:50:58,300 --> 00:51:00,280 她的心性需要約束

556 00:51:00,430 --> 00:51:03,360 武藝更需要導正和進一步的修練

557 00:51:03,460 --> 00:51:06,730 她是官家的千金不是我們這種江湖中人

558 00:51:06,810 --> 00:51:09,000 慕白，這件事很快就會過去

559 00:51:09,070 --> 00:51:12,760 你會殺掉碧眼狐狸她也會安安份份的

去嫁人

125

560 00:51:14,650 --> 00:51:16,200 她不是那種人

561 00:51:16,470 --> 00:51:18,860 她應該到武當山來做徒弟

562 00:51:20,040 --> 00:51:21,640 武當山收女弟子嗎？

563 00:51:22,480 --> 00:51:25,040 為她…也許破個例吧

564 00:51:25,130 --> 00:51:29,020 如果不成，這姑娘將來恐怕成為一條毒龍

565 00:51:29,700 --> 00:51:32,490 這不關我們的事，她就要嫁人了

566 00:51:32,560 --> 00:51:33,900 就算武當肯收她

567 00:51:33,960 --> 00:51:37,020 她丈夫…這位當朝的翰林恐怕

也不會答應吧

568 00:51:39,470 --> 00:51:40,620 唉！

569 00:51:40,740 --> 00:51:44,720 交出了青冥劍以為可以從此退出江湖

570 00:51:45,540 --> 00:51:49,200 沒想到又惹來了江湖上許多新仇舊恨

571 00:51:50,720 --> 00:51:52,950 我也想過平靜的日子

572 00:51:53,010 --> 00:51:55,070 真不知道該怎麼幫你

573 00:52:01,500 --> 00:52:04,230 耐心點吧！秀蓮

574 00:52:21,080 --> 00:52:22,040 別動！

575 00:52:25,690 --> 00:52:26,700 小虎？

576 00:52:27,240 --> 00:52:28,440 小龍

577 00:52:41,390 --> 00:52:43,030 你不該來找我

578 00:52:45,600 --> 00:52:48,790 最近你們家的屋頂半夜裡還真熱鬧

579 00:52:49,140 --> 00:52:50,860 我好不容易才能進來

126

580 00:52:51,250 --> 00:52:52,830 我不能再等了，小龍

581 00:52:53,170 --> 00:52:55,330 我錯了，我不該讓你走

582 00:52:56,480 --> 00:52:59,470 跟我回去，回新疆你就舒展了

583 00:53:00,240 --> 00:53:01,730 想做什麼就做什麼

584 00:53:04,730 --> 00:53:07,010 這些日子你一直在找我？

585 00:53:30,350 --> 00:53:33,140 嬌龍啊，別擺弄它了

586 00:53:33,820 --> 00:53:35,800 走這麼久都沒事

587 00:54:01,850 --> 00:54:02,930 停！

588 00:54:04,170 --> 00:54:05,310 半天雲

589 00:54:05,680 --> 00:54:07,680 半天雲來啦

590 00:54:14,180 --> 00:54:18,880 半天雲來啦…

591 00:54:21,440 --> 00:54:23,300 保護小姐及夫人

592 00:54:23,370 --> 00:54:25,690 快把簾子放下來，別讓他們看見你

593 00:54:26,200 --> 00:54:27,260 不要害怕

594 00:54:44,060 --> 00:54:46,140 不要碰女人

595 00:54:49,050 --> 00:54:51,580 我說不要碰女人

596 00:55:15,590 --> 00:55:17,210 走！

597 00:55:32,760 --> 00:55:35,070 來呀…

598 00:55:36,110 --> 00:55:37,070 來拿梳子

599 00:56:23,850 --> 00:56:24,920 喂

600 00:56:26,450 --> 00:56:29,320 你的媽媽沒事，快回去

127

601 00:57:30,710 --> 00:57:33,520 她是我的，讓我來

602 00:57:43,930 --> 00:57:45,590 來，梳子在這兒

603 00:57:45,660 --> 00:57:47,320 還我梳子

604 00:57:49,180 --> 00:57:50,700 歇手！停一下

605 00:57:50,700 --> 00:57:52,080 還我梳子

606 00:57:53,050 --> 00:57:55,160 你累了，你要休息

607 00:58:01,250 --> 00:58:04,090 你的馬要喝水了，前面有水

608 00:58:12,260 --> 00:58:14,100 上次來還有水的

609 00:58:21,730 --> 00:58:22,610 你的名？

610 00:58:24,470 --> 00:58:27,970 我是羅小虎 漢人們都叫我「半天雲」

611 00:58:28,310 --> 00:58:31,610 我沒有那麼高，也沒有那麼大可是我很快

612 00:58:31,940 --> 00:58:32,580 來

613 00:58:44,960 --> 00:58:46,300 還我梳子

614 01:00:22,350 --> 01:00:25,160 你喜歡…我可以做一把小弓弩給你

615 01:00:25,560 --> 01:00:27,160 打獵很管用的

616 01:00:27,760 --> 01:00:29,390 香噴噴的呱啦雞

617 01:00:35,070 --> 01:00:37,430 你要吃東西了，知道嗎？

618 01:00:38,740 --> 01:00:41,570 吃過東西，有力氣 我們再來打一打

619 01:00:43,610 --> 01:00:44,840 好嗎？

620 01:00:54,390 --> 01:00:57,720 慢慢的才會有力氣，不要急

621 01:03:03,490 --> 01:03:06,870 你的脾氣很不好，這樣就好了

128

622 01:03:13,360 --> 01:03:15,190 怕死就別裝漢子

623 01:03:18,030 --> 01:03:19,950 你的脾氣還是不好

624 01:03:20,410 --> 01:03:23,890 不過你說話了，告訴我你的名字

625 01:03:24,010 --> 01:03:24,830 呸！

626 01:03:25,540 --> 01:03:28,740 呸？漢人沒有這種名字的

627 01:04:08,310 --> 01:04:09,510 別緊張

628 01:04:09,820 --> 01:04:12,240 我有你一半壞你現在就不是這樣了

629 01:04:13,830 --> 01:04:15,650 我知道你很想洗澡

630 01:04:16,160 --> 01:04:18,680 水源很遠，路很難走

631 01:04:20,130 --> 01:04:21,960 我替你把水背來了

632 01:04:22,610 --> 01:04:24,600 洗好了，穿我的衣服

633 01:04:25,600 --> 01:04:27,040 很乾淨的

634 01:04:43,130 --> 01:04:44,450 放心

635 01:04:47,120 --> 01:04:50,490 你聽我唱歌就知道我近了還是遠了

636 01:04:51,900 --> 01:04:54,050 等你洗好了，心情就好了

637 01:04:56,160 --> 01:04:57,650 不可以再打人

638 01:06:10,940 --> 01:06:13,100 為一把梳子，值得嗎？

639 01:06:14,180 --> 01:06:15,670 那是我的

640 01:06:16,710 --> 01:06:19,810 它對我來說很珍貴

像你這樣的土匪，就沒用

641 01:06:21,450 --> 01:06:24,220 不對，我可以用它挑馬蚤

129

642 01:06:25,820 --> 01:06:27,810 告訴你，我是旗人

643 01:06:30,530 --> 01:06:32,450 噢，你說的對

644 01:06:32,540 --> 01:06:35,520 我猜錯了，我以為你是漢人

645 01:06:38,230 --> 01:06:39,720 把梳子還給我

646 01:06:44,010 --> 01:06:45,990 沒有人可以命令我

647 01:06:53,180 --> 01:06:54,310 給我

648 01:08:12,790 --> 01:08:14,280 小的時候…

649 01:08:15,070 --> 01:08:18,590 有一天夜裡我看見天上落下千萬顆的星星

650 01:08:20,070 --> 01:08:22,870 我想，它們部落到哪裡去了？

651 01:08:23,580 --> 01:08:27,230 我是個孤兒，我就一個人去找星星

652 01:08:28,570 --> 01:08:31,100 我想如果我騎馬到了沙漠的另一頭

653 01:08:31,190 --> 01:08:33,060 我就可以找到它的

654 01:08:34,410 --> 01:08:37,840 從那以後，我就一直在大漢中奔馳

655 01:08:39,080 --> 01:08:41,470 後來小男孩兒變成了強盜

656 01:08:41,590 --> 01:08:44,320 星星找不到，就搶我的梳子

657 01:08:46,100 --> 01:08:49,320 在大漠中要活著，就要不斷的拚殺

658 01:08:50,100 --> 01:08:53,050 大家要聯合起來，才有機會活下去

659 01:08:53,930 --> 01:08:56,660 你的同伴就成了自己的家

660 01:08:57,940 --> 01:09:00,010 那個「半天雲」的名字…

661 01:09:00,110 --> 01:09:02,940 只是一個讓人更容易活下去的迷

130

662 01:09:04,310 --> 01:09:08,840 所以你在心裡頭還是個小男孩兒

在尋找那些流星？

663 01:09:10,760 --> 01:09:12,550 我是一個男人了

664 01:09:13,160 --> 01:09:14,390 而且…

665 01:09:14,450 --> 01:09:16,980 我已經找到最亮的一顆星了

666 01:09:39,480 --> 01:09:41,310 你爸爸的人在找你

667 01:10:12,410 --> 01:10:14,240 你爸爸還在找你

668 01:10:17,020 --> 01:10:18,540 讓他們找吧

669 01:10:19,920 --> 01:10:22,260 他們找來找去，是我的麻煩

670 01:10:25,200 --> 01:10:26,780 你別送我回去

671 01:10:29,810 --> 01:10:31,320 你自己決定吧

672 01:10:31,700 --> 01:10:34,360 也許以後你會很煩，會不習慣…

673 01:10:36,370 --> 01:10:39,140 你會想你的爸爸，想你的媽媽

674 01:10:39,820 --> 01:10:42,900 如果我們有一個女兒不見了我們也會找的

675 01:10:43,210 --> 01:10:45,100 我們的女兒也會想我們的

676 01:10:50,720 --> 01:10:51,820 小龍

677 01:10:53,320 --> 01:10:55,050 我要你做我的女人

678 01:10:56,320 --> 01:10:58,050 我一定會幹一番事業

679 01:10:58,220 --> 01:11:00,210 讓你的爸爸媽媽看得起我

680 01:11:01,730 --> 01:11:03,260 我們有一個傳說…

681 01:11:03,460 --> 01:11:05,850 如果誰敢從那個山上跳下來

131

682 01:11:05,940 --> 01:11:08,090 天神就會滿足他一個願望

683 01:11:08,770 --> 01:11:10,930 很久以前有一個人，父母病了…

684 01:11:11,240 --> 01:11:13,070 他就從山上跳下去

685 01:11:13,810 --> 01:11:17,070 結果他沒有死，一點傷都沒有

686 01:11:17,920 --> 01:11:20,570 後來他漂泊到一個地方去再也沒有回來

687 01:11:22,510 --> 01:11:24,940 他知道他的願望實現了

688 01:11:26,050 --> 01:11:28,040 真心的，就會實現

689 01:11:29,250 --> 01:11:31,210 我問過老人們，他們說是…

690 01:11:31,760 --> 01:11:33,620 心誠則靈

691 01:11:45,400 --> 01:11:47,250 把它保存好

692 01:11:48,110 --> 01:11:50,940 等我們重新相聚的時候再還給我

693 01:11:53,360 --> 01:11:54,640 我會

694 01:12:02,290 --> 01:12:06,080 如果你不還我，我會追到你

695 01:12:06,790 --> 01:12:09,590 下一次我可不會對你這麼客氣了

696 01:12:21,540 --> 01:12:25,170 可是我每前進一步就有人認出我來

697 01:12:25,640 --> 01:12:27,130 我真的盡了力

698 01:12:30,580 --> 01:12:32,470 我聽說你們去了北京

699 01:12:32,820 --> 01:12:34,480 我怕再也見不到你了

700 01:12:35,490 --> 01:12:37,150 所以我就來了

701 01:12:38,030 --> 01:12:39,680 我不能讓你嫁人

702 01:12:43,900 --> 01:12:45,260 你回去吧

132

703 01:12:46,160 --> 01:12:47,300 小龍…

704 01:12:50,340 --> 01:12:51,960 永遠永遠不要回來

705 01:12:52,340 --> 01:12:53,530 就這樣？

706 01:12:55,470 --> 01:12:56,740 就這樣

707 01:13:12,200 --> 01:13:14,620 小姐，好像有什麼動靜吧？

708 01:13:14,690 --> 01:13:16,130 沒有，是貓

709 01:13:33,950 --> 01:13:36,180 你想碧眼狐狸會出現嗎？

710 01:13:36,520 --> 01:13:38,440 她一定在附近盯著

711 01:13:38,950 --> 01:13:41,550 我料她不至於傻到讓人發現

712 01:13:41,890 --> 01:13:43,380 我們得留神

713 01:13:43,700 --> 01:13:47,610 她遲早會想法子回到她的主子身邊

714 01:14:06,910 --> 01:14:07,470 小龍！

715 01:14:08,480 --> 01:14:09,610 小龍

716 01:14:16,670 --> 01:14:19,420 小龍，跟我回新疆

717 01:14:22,430 --> 01:14:23,520 什麼人？

718 01:14:23,970 --> 01:14:25,990 不要拉我，放開我…

719 01:14:27,470 --> 01:14:28,840 讓開

720 01:14:29,170 --> 01:14:30,000 小龍

721 01:14:30,970 --> 01:14:32,960 沒有人可以娶你

722 01:14:33,140 --> 01:14:36,300 你是我的，跟我回新疆

723 01:14:49,660 --> 01:14:52,490 小龍，跟我回新疆

133

724 01:14:58,460 --> 01:15:00,570 快告訴我！ 碧眼狐狸在哪裡？

725 01:15:01,080 --> 01:15:02,570 跟我來，快走！

726 01:15:05,980 --> 01:15:08,870 你真以為她會拋下一切跟你回新疆嗎？

727 01:15:11,280 --> 01:15:12,580 她是我的

728 01:15:12,980 --> 01:15:14,140 不論她是不是你的…

729 01:15:14,290 --> 01:15:15,870 你沒有命，說什麼也沒用

730 01:15:15,990 --> 01:15:17,910 有魯家跟玉家的勢力盯著你

731 01:15:18,050 --> 01:15:20,680 要抓你這個外地人是很快的事

732 01:15:21,290 --> 01:15:22,510 豁出去了

733 01:15:25,160 --> 01:15:27,490 如果你真的愛她，你不會這樣說

734 01:15:30,500 --> 01:15:33,120 你難道不想再見嬌龍一面嗎？

735 01:15:35,510 --> 01:15:36,430 好吧

736 01:15:36,750 --> 01:15:40,690 我手書一封，你帶去武當山

在那裡等候消息

737 01:15:43,640 --> 01:15:44,780 好吧

738 01:15:52,590 --> 01:15:55,850 唉！看來這江湖恩怨未了

739 01:15:56,120 --> 01:15:58,980 想拿就拿，想還就還

740 01:15:59,060 --> 01:16:02,950 我這裡連外城的庫房都不如

741 01:16:03,200 --> 01:16:04,360 進來

742 01:16:06,300 --> 01:16:07,360 講

743 01:16:07,530 --> 01:16:08,790 玉嬌龍離家出走

134

744 01:16:09,070 --> 01:16:11,460 聽說魯爺入洞房的時候新娘子不見了

745 01:16:11,540 --> 01:16:14,390 玉府想探貝勒爺個信兒是不是願意幫著

尋找一下

746 01:16:14,550 --> 01:16:16,040 說是貝勒爺江湖上認識人多…

747 01:16:16,280 --> 01:16:19,950 傳個話出去，一是容易找到

二是別出什麼事兒

748 01:16:21,280 --> 01:16:24,870 貝勒爺，這事就交給我們不勞您費心

749 01:16:43,400 --> 01:16:44,700 侍候點什麼？

750 01:16:47,210 --> 01:16:48,430 怎麼這麼髒？

751 01:17:03,590 --> 01:17:04,420 打擾了

752 01:17:05,290 --> 01:17:08,850 敢問尊姓大名，怎麼稱呼啊？

753 01:17:09,590 --> 01:17:10,750 姓龍

754 01:17:12,700 --> 01:17:15,790 原來是龍少俠，失敬…

755 01:17:15,970 --> 01:17:18,660 在下「冀東鐵鷹爪」宋明

756 01:17:19,100 --> 01:17:22,210 這位是我師哥「飛天豹」李雲

757 01:17:22,640 --> 01:17:26,500 不知道龍少俠途徑懷安要到哪兒去啊？

758 01:17:27,950 --> 01:17:29,070 哪兒好玩兒去哪兒

759 01:17:30,280 --> 01:17:33,840 人生地不熟，我們哥兒倆幫你

調查調查地面兒

760 01:17:35,250 --> 01:17:36,740 用不著你們操心

761 01:17:38,460 --> 01:17:40,950 這位是真不懂是假不懂啊

135

762 01:17:42,970 --> 01:17:44,190 不懂怎麼著？

763 01:17:46,140 --> 01:17:49,030 不懂有不懂的規矩

764 01:17:58,210 --> 01:18:00,970 敢問少俠跟武當派的李慕白是…

765 01:18:03,460 --> 01:18:04,940 手下敗將

766 01:18:24,180 --> 01:18:25,570 喝杯茶吧

767 01:18:55,000 --> 01:18:56,200 秀蓮

768 01:18:56,970 --> 01:18:59,630 我們能觸摸的東西沒有「永遠」

769 01:19:02,020 --> 01:19:03,670 師父一再的說…

770 01:19:04,020 --> 01:19:07,180 把手握緊，裡面什麼也沒有

771 01:19:08,550 --> 01:19:11,900 把手鬆開，你擁有的是一切

772 01:19:12,820 --> 01:19:13,480 慕白

773 01:19:14,090 --> 01:19:17,150 這世間不是每一件事都是虛幻的

774 01:19:17,290 --> 01:19:21,210 剛才你握著我的手你能感覺到它的真實嗎

775 01:19:23,430 --> 01:19:25,520 你的手冰涼涼的

776 01:19:25,800 --> 01:19:27,860 那些練刀練出來的硬繭…

777 01:19:28,230 --> 01:19:31,000 每一次我看見，都不敢觸摸

778 01:19:32,100 --> 01:19:33,330 秀蓮

779 01:19:35,020 --> 01:19:37,000 江湖裡臥虎藏龍…

780 01:19:37,410 --> 01:19:39,470 人心裡何嘗不是？

781 01:19:39,740 --> 01:19:41,380 刀劍裡藏凶…

782 01:19:41,450 --> 01:19:43,680 人情裡何嘗不是？

136

783 01:19:45,260 --> 01:19:47,980 我誠心誠意的把青冥劍交出來

784 01:19:48,050 --> 01:19:50,210 卻帶給我們更多的煩惱

785 01:19:50,560 --> 01:19:52,980 壓抑只會讓感情更強烈

786 01:19:53,760 --> 01:19:55,950 我也阻止不了我的慾望

787 01:19:56,760 --> 01:19:58,560 我想跟你在一起

788 01:20:01,470 --> 01:20:02,990 就像這樣坐著

789 01:20:04,970 --> 01:20:07,600 我反而能感覺到一種平靜

790 01:20:25,770 --> 01:20:26,920 客官裡邊請

791 01:20:29,290 --> 01:20:30,320 要間乾淨的房

792 01:20:30,410 --> 01:20:31,730 房間有的是

793 01:20:34,500 --> 01:20:35,490 客官，吃點什麼？

794 01:20:35,580 --> 01:20:37,690 花彫蒸鱖魚、干炸頭號裡脊

795 01:20:37,770 --> 01:20:40,160 溜丸子，丸子小一點，芡粉少一點

796 01:20:40,540 --> 01:20:43,460 再來一個翹子白菜湯二兩玫瑰露，溫過

797 01:20:43,810 --> 01:20:46,780 客官，這得等，這要到大館子才有

798 01:20:46,850 --> 01:20:48,020 那就快去呀

799 01:21:31,320 --> 01:21:32,480 就是他

800 01:21:41,400 --> 01:21:43,820 在下「鐵臂神拳」米大彪

801 01:21:43,910 --> 01:21:48,930 路過此地，聽聞有高人在此特來請教

802 01:22:02,420 --> 01:22:03,950 那在下就失禮了

803 01:22:23,580 --> 01:22:26,370 哼！什麼鐵臂神拳

137

804 01:22:41,560 --> 01:22:43,050 好厲害的點穴法

805 01:22:43,430 --> 01:22:45,670 在下「花影無蹤」飛刀常

806 01:22:45,730 --> 01:22:48,530 敢問這位與江南鶴可曾認識？

807 01:22:48,770 --> 01:22:51,960 什麼雞鴨鶴？我從來不吃兩隻腳的東西

808 01:22:52,100 --> 01:22:54,370 你們名字也太囉嗦，誰記得住

809 01:22:54,670 --> 01:22:55,730 你…

810 01:22:55,920 --> 01:22:58,000 你說李慕白是你的手下敗將

811 01:22:58,080 --> 01:23:00,820 怎麼不知道江南鶴是他師父？

812 01:23:02,060 --> 01:23:03,210 你是哪兒的？

813 01:23:04,420 --> 01:23:08,910 在下「鳳陽山魁星五手」魯君雄

814 01:23:09,920 --> 01:23:13,220 魯君雄…好個魯君雄

815 01:23:13,290 --> 01:23:15,090 我聽到你的名字就想吐

816 01:23:15,630 --> 01:23:17,490 你活該倒霉姓「魯」

817 01:23:17,670 --> 01:23:20,550 要比劃就先拿你開刀

818 01:23:42,620 --> 01:23:43,810 住手

819 01:23:44,320 --> 01:23:47,020 你可認得江南靜玄禪師？

820 01:23:47,470 --> 01:23:49,790 和尚不唸經跑到這裡開葷也該教訓

821 01:23:49,990 --> 01:23:51,430 你到底是何人？

822 01:23:52,810 --> 01:23:54,160 我呀…

823 01:23:54,500 --> 01:23:55,690 我乃是…

824 01:23:55,980 --> 01:23:57,400 他手裡有寶劍

138

825 01:23:59,570 --> 01:24:03,170 我乃是瀟灑人間一劍仙

826 01:24:04,980 --> 01:24:08,400 青冥寶劍勝龍泉

827 01:24:14,520 --> 01:24:17,410 任憑李俞江南鶴

828 01:24:18,520 --> 01:24:21,250 都要低頭求我憐

829 01:24:28,500 --> 01:24:31,230 沙漠飛來一條龍

830 01:24:39,880 --> 01:24:42,680 神來無影去無蹤

831 01:24:53,320 --> 01:24:56,250 今朝踏破峨嵋頂

832 01:24:58,660 --> 01:25:03,490 明日拔去武當峰

833 01:25:17,920 --> 01:25:20,750 好言好語跟他請教他是一點兒規矩也沒有

834 01:25:21,050 --> 01:25:23,320 出口傷人，出手傷人

835 01:25:23,400 --> 01:25:25,190 道上兄弟都往這兒趕哪

836 01:25:25,260 --> 01:25:26,920 要教訓這沒規矩的小子

837 01:25:27,260 --> 01:25:29,260 他的劍實在厲害

838 01:25:29,590 --> 01:25:32,940 我遊方四海從未見過如此無理之人

839 01:25:33,170 --> 01:25:37,230 他硬說我和他的仇家「魯君佩」是兄弟

840 01:25:37,580 --> 01:25:40,460 這魯君佩到底是什麼人哪？

841 01:25:42,070 --> 01:25:43,180 是她丈夫

842 01:25:45,910 --> 01:25:47,430 是她丈夫啊…

843 01:25:56,100 --> 01:25:59,650 鏢局離這兒不遠 是不是要回家看一看？

844 01:25:59,720 --> 01:26:00,950 你們呢？

845 01:26:01,060 --> 01:26:03,360 我到附近打聽一下，隨後就來

139

846 01:26:03,630 --> 01:26:04,560 也好

847 01:26:04,630 --> 01:26:08,450 我們今晚就在雄遠鏢局落腳先睡個好覺吧

848 01:26:08,580 --> 01:26:09,660 好

849 01:26:34,730 --> 01:26:36,460 頭兒回來啦

850 01:26:41,100 --> 01:26:43,240 喲！ 頭兒回來啦

851 01:26:44,600 --> 01:26:46,100 你們幾個…家裡都好吧？

852 01:26:46,100 --> 01:26:48,830 都安在…大姐這一去怎麼去那麼久？

853 01:26:48,910 --> 01:26:50,460 事兒趕事兒！還得走

854 01:26:50,610 --> 01:26:51,630 阿偉，老婆生了？

855 01:26:51,710 --> 01:26:52,640 生了個丫頭

856 01:26:52,710 --> 01:26:53,570 丫頭好啊

857 01:26:53,640 --> 01:26:55,920 能有大姐一個腳趾頭就知足了

858 01:26:57,120 --> 01:26:58,170 吳媽

859 01:26:58,980 --> 01:27:00,210 你回來啦

860 01:27:00,350 --> 01:27:01,340 膀子還疼不疼？

861 01:27:01,420 --> 01:27:02,550 好多了

862 01:27:02,620 --> 01:27:03,640 那好

863 01:27:03,730 --> 01:27:06,110 怎麼這一次這麼久才回來呀

864 01:27:07,130 --> 01:27:09,750 吳媽，慕白今晚會來小住

865 01:27:10,630 --> 01:27:13,030 我馬上給他收拾房間

866 01:27:43,360 --> 01:27:44,620 俞姐姐

140

867 01:27:51,370 --> 01:27:54,040 既然是找我，就得有個樣子

868 01:27:54,710 --> 01:27:58,530 我只不過是求個乾淨衣裳又不是來做客

869 01:27:59,980 --> 01:28:03,110 你本事挺大的，不必我給你吧

870 01:28:04,680 --> 01:28:08,610 我也只是路過，想看看你，你…

871 01:28:09,720 --> 01:28:11,020 姐…

872 01:28:14,190 --> 01:28:16,560 好了，禍也闖了

873 01:28:16,930 --> 01:28:19,430 也知道道上是怎麼回事了

874 01:28:19,910 --> 01:28:22,560 你來，就是你心裡真有我這個姐姐

875 01:28:23,030 --> 01:28:26,230 既然是這樣，道理得說清楚

876 01:28:26,470 --> 01:28:29,570 可以不嫁，父母不能丟下

877 01:28:30,710 --> 01:28:32,230 就是他們讓我嫁的

878 01:28:33,710 --> 01:28:35,310 先讓爹娘放心

879 01:28:35,380 --> 01:28:38,080 你與小虎的事，再看著辦

880 01:28:39,720 --> 01:28:40,650 你知道羅小虎…

881 01:28:49,430 --> 01:28:52,660 他是一片真心你們倆的事還有商量

882 01:28:53,370 --> 01:28:57,390 歇一下，跟我回北京沒有商量不成的事

883 01:29:01,510 --> 01:29:02,730 他在哪裡？

884 01:29:03,410 --> 01:29:04,930 李慕白已經安排了

885 01:29:06,550 --> 01:29:07,940 李慕白？

886 01:29:08,760 --> 01:29:10,870 李慕白讓他去武當山了

887 01:29:11,930 --> 01:29:14,580 你們都是一起的給我下套兒…我走

141

888 01:29:14,950 --> 01:29:17,250 嬌龍，閉嘴，你憑什麼罵人

889 01:29:17,490 --> 01:29:19,850 從一開始我就知道是你拿了青冥劍

890 01:29:19,920 --> 01:29:22,480 我一路替你隱瞞，護著你和你的家人

891 01:29:22,560 --> 01:29:24,790 你除了蔑視我，你拿什麼來報答？

892 01:29:25,260 --> 01:29:28,100 李慕白沒有懲罰你，你反而一再惡言挑釁

893 01:29:28,280 --> 01:29:31,390 我們祈求的一點平靜都教你給毀了，

你還不甘心？

894 01:29:31,470 --> 01:29:33,460 這樣的姊妹不要也罷

895 01:29:35,870 --> 01:29:37,200 我不在乎

896 01:29:38,140 --> 01:29:40,100 朋友本來就是假的

897 01:29:40,780 --> 01:29:44,740 只不過我懷疑做我的敵人你能撐多久

898 01:29:47,420 --> 01:29:49,220 把劍放下

899 01:29:55,460 --> 01:29:57,690 —上面有人 —什麼人…抓起來

900 01:29:59,800 --> 01:30:00,920 嬌龍

901 01:30:04,180 --> 01:30:06,660 通通出去，把門關上

902 01:30:17,480 --> 01:30:19,810 好，說翻臉就翻臉

903 01:33:34,010 --> 01:33:35,210 不准摸

904 01:33:35,680 --> 01:33:37,170 那是李慕白的劍

905 01:33:38,850 --> 01:33:40,280 有本事來拿

906 01:33:41,790 --> 01:33:43,550 有本事就別用寶劍

907 01:33:44,360 --> 01:33:47,350 哼！打不贏怪兵器不好

142

908 01:33:52,100 --> 01:33:54,220 去啊！隨便挑

909 01:33:55,030 --> 01:33:56,190 我等著你

910 01:33:58,550 --> 01:33:59,630 去啊

911 01:34:54,730 --> 01:34:55,990 把劍給我

912 01:34:58,610 --> 01:34:59,550 拿去

913 01:35:04,340 --> 01:35:04,990 住手

914 01:35:08,770 --> 01:35:10,580 你不配用這把劍

915 01:35:10,840 --> 01:35:13,170 又來個教訓人的，看劍

916 01:35:15,610 --> 01:35:16,480 到此為止

917 01:35:16,880 --> 01:35:18,640 從今以後我認劍不認人

918 01:35:55,020 --> 01:35:59,080 當日古寺留一步給你是要見你的本心

919 01:36:05,360 --> 01:36:07,850 你們這些老江湖，怎麼見得到本心

920 01:37:50,270 --> 01:37:51,500 為什麼非要纏著我？

921 01:37:52,000 --> 01:37:54,230 還是那句話，我來教你心訣

922 01:38:27,640 --> 01:38:28,800 好吧

923 01:38:29,320 --> 01:38:31,510 三招之內你能拿回青冥劍…

924 01:38:32,040 --> 01:38:33,370 我就跟你走

925 01:38:38,330 --> 01:38:39,010 劍還我

926 01:38:39,350 --> 01:38:40,080 拜師

927 01:38:40,150 --> 01:38:41,280 做夢

928 01:38:41,350 --> 01:38:43,550 那劍就沒有了

143

929 01:39:58,060 --> 01:40:00,860 我知道那幫人早晚會把你逮回去的

930 01:40:01,900 --> 01:40:05,100 你爹娘是要面子的人哪能容你再進家門

931 01:40:08,270 --> 01:40:09,760 家有什麼好？

932 01:40:10,670 --> 01:40:13,440 既然出來了，我們就到處走走

933 01:40:13,910 --> 01:40:15,900 你還是我的千金小姐

934 01:40:19,180 --> 01:40:21,850 人生一世，不就圖個痛快？

935 01:40:23,220 --> 01:40:26,110 這下子好了我們可以做自己的主啊

936 01:40:26,420 --> 01:40:28,520 你我都是自己唯一的親人

937 01:40:33,930 --> 01:40:36,270 快躺下…別亂動

938 01:40:58,970 --> 01:41:01,080 這樣兒的姑娘，殺了算了

939 01:41:01,960 --> 01:41:03,050 下不去手

940 01:41:04,160 --> 01:41:06,650 慕白啊，也許能下得了手

941 01:42:17,170 --> 01:42:19,360 你要劍…還是要我？

942 01:42:39,890 --> 01:42:41,450 你中了迷香

943 01:42:59,610 --> 01:43:01,500 碧眼狐狸在哪裡？

944 01:43:43,890 --> 01:43:45,150 怎麼了

945 01:43:46,700 --> 01:43:48,750 碧眼狐狸給她施了迷香

946 01:43:49,190 --> 01:43:50,630 你們怎麼來的？

947 01:43:53,130 --> 01:43:55,790 碧眼狐狸往這邊走，我們跟來的

948 01:43:57,770 --> 01:43:58,420 小心

949 01:44:09,710 --> 01:44:10,370 師娘

144

950 01:44:25,270 --> 01:44:27,420 你的路已經到了盡頭

951 01:44:29,400 --> 01:44:30,920 你也一樣

952 01:44:39,480 --> 01:44:40,810 是毒針

953 01:44:44,920 --> 01:44:47,300 雖然你死也不冤

954 01:44:48,690 --> 01:44:53,420 徒兒不肖… 我要的是玉嬌龍的命

955 01:44:55,190 --> 01:44:57,080 十年苦心

956 01:44:57,690 --> 01:45:00,220 就是因為你一肚子的壞水

957 01:45:00,760 --> 01:45:02,560 隱藏心訣…

958 01:45:03,200 --> 01:45:04,930 讓我苦練不成

959 01:45:05,700 --> 01:45:09,760 而你…卻是劍藝精進

960 01:45:11,710 --> 01:45:13,140 什麼是毒？

961 01:45:14,380 --> 01:45:17,510 一個八歲的孩子就有這種心機…

962 01:45:17,580 --> 01:45:19,230 這就是毒

963 01:45:23,320 --> 01:45:24,650 嬌龍…

964 01:45:26,290 --> 01:45:28,450 我唯一的親…

965 01:45:29,240 --> 01:45:31,220 唯一的仇！

966 01:45:40,240 --> 01:45:41,500 你不能死

967 01:45:41,570 --> 01:45:43,560 告訴我，你用的是什麼毒？

968 01:45:43,740 --> 01:45:45,260 什麼毒…

969 01:45:45,980 --> 01:45:47,310 你不能死

970 01:45:47,410 --> 01:45:48,670 解方是什麼？

145

971 01:45:48,750 --> 01:45:51,540 你不能讓他死，李慕白不能死

972 01:45:51,620 --> 01:45:53,110 是九轉紫陰針

973 01:45:53,250 --> 01:45:54,210 什麼？

974 01:45:54,820 --> 01:45:58,150 紫陰針…毒走心脈…

975 01:46:01,060 --> 01:46:04,980 一個時辰之後靜脈的血就會開始倒流

976 01:46:06,400 --> 01:46:09,750 我師父江南鶴就是送命在紫陰針下

977 01:46:11,000 --> 01:46:12,530 這毒沒解的

978 01:46:12,640 --> 01:46:14,700 一定有解，一定能解

979 01:46:14,770 --> 01:46:19,160 相生相剋，一物怎麼可能一物不能克一物

980 01:46:19,810 --> 01:46:20,670 我知道解方

981 01:46:21,280 --> 01:46:23,110 是從師娘那兒知道的

982 01:46:23,310 --> 01:46:26,010 其實藥方並不難，只是很不容易配

983 01:46:26,280 --> 01:46:27,680 需要時間

984 01:46:34,460 --> 01:46:35,360 相信我

985 01:46:36,790 --> 01:46:38,350 你們救了我

986 01:46:38,860 --> 01:46:40,520 讓我救他吧

987 01:46:42,500 --> 01:46:44,630 好吧，你快去

988 01:46:44,970 --> 01:46:47,460 以我的內力，頂多只有一個對時

989 01:46:47,540 --> 01:46:49,870 騎我的馬去，鏢局裡藥材不少

990 01:46:49,940 --> 01:46:52,800 給吳媽看這個，她會幫你，快去!

991 01:46:53,140 --> 01:46:55,870 守住真氣，我一定回來

146

992 01:47:24,570 --> 01:47:25,870 有人闖進來啦

993 01:47:25,940 --> 01:47:28,500 吳媽…

994 01:47:28,610 --> 01:47:29,640 住手

995 01:47:31,350 --> 01:47:33,740 這是俞姐的，俞姐叫我來的

996 01:47:35,150 --> 01:47:36,410 讓她進來

997 01:47:50,870 --> 01:47:53,630 慕白，守住氣

998 01:47:57,640 --> 01:47:59,300 給我一點希望

999 01:48:24,400 --> 01:48:25,630 秀蓮

1000 01:48:27,200 --> 01:48:28,570 別動氣

1001 01:48:31,410 --> 01:48:33,500 生命已經到了盡頭

1002 01:48:35,110 --> 01:48:37,240 我只有一息尚存

1003 01:48:39,680 --> 01:48:42,240 用這口氣，練神還虛吧

1004 01:48:42,920 --> 01:48:47,670 解脫得道、元寂永恆

一直是武當修練的願望

1005 01:48:48,930 --> 01:48:53,520 提升這一口氣到達你這一生追求的境地

1006 01:48:55,300 --> 01:48:58,690 別放下、浪費在我身上

1007 01:49:01,940 --> 01:49:03,830 我已經浪費了這一生

1008 01:49:05,940 --> 01:49:08,070 我要用這口氣對你說…

1009 01:49:10,510 --> 01:49:12,640 我一直深愛著你！

1010 01:49:48,650 --> 01:49:52,880 我寧願遊蕩在你身邊做七天的野鬼…

1011 01:49:53,990 --> 01:49:55,580 跟隨你

147

1012 01:49:58,500 --> 01:50:02,090 就算落進最黑暗的地方

1013 01:50:04,270 --> 01:50:05,930 我的愛…

1014 01:50:09,170 --> 01:50:13,370 也不會讓我成為永遠的孤魂

1015 01:51:09,170 --> 01:51:10,550 他走了？

1016 01:51:40,100 --> 01:51:41,430 劉師傅

1017 01:51:42,100 --> 01:51:44,830 劍就托你送還貝勒府

1018 01:51:51,980 --> 01:51:53,570 去武當山

1019 01:51:54,410 --> 01:51:56,570 小虎在那裡等著你

1020 01:51:57,680 --> 01:51:59,010 答應我

1021 01:51:59,820 --> 01:52:02,480 不論你對此生的決定為何…

1022 01:52:03,120 --> 01:52:05,610 一定要真誠的對待自己

1023 01:52:52,670 --> 01:52:53,930 小龍

1024 01:53:54,730 --> 01:53:56,060 小龍

1025 01:53:59,490 --> 01:54:01,690 還記得你說的那個故事嗎？

1026 01:54:04,370 --> 01:54:06,140 心誠則靈

1027 01:54:13,620 --> 01:54:15,450 許個願吧，小虎

1028 01:54:18,060 --> 01:54:19,890 一起回新疆！

1029 01:55:01,760 --> 01:57:05,200 謝謝觀賞

148

The English Subtitles of Crouching Tiger, Hidden Dragon (USA, 2000)

Line Time Dialogue

1 00:01:03,371 --> 00:01:04,911 Master Li is here!

2 00:01:05,771 --> 00:01:07,811 Master Li is here!

3 00:01:21,012 --> 00:01:22,512 Shu Lien!

4 00:01:28,273 --> 00:01:30,433 Li Mu Bai is here!

5 00:01:37,324 --> 00:01:39,864 How’s everything? Fine. Please come in.

6 00:01:51,676 --> 00:01:54,076 Mu Bai, it’s been too long.

7 00:01:54,256 --> 00:01:55,376 It has.

8 00:01:55,716 --> 00:01:58,006 How’s business? Good.

9 00:01:58,177 --> 00:02:00,007 And how are you? Fine.

10 00:02:05,107 --> 00:02:07,147 Monk Zheng said you were at Wudan

Mountain.

11 00:02:07,318 --> 00:02:10,098 He said you were practicing deep

meditation.

12 00:02:11,988 --> 00:02:13,448 The mountain must be so peaceful...

13 00:02:13,908 --> 00:02:15,698 I envy you.

14 00:02:15,869 --> 00:02:19,569 My work keeps me so busy, I hardly get any

rest.

15 00:02:21,119 --> 00:02:24,039 I left the training early. 149

16 00:02:25,460 --> 00:02:29,960 Why? You’re a Wudan fighter. Training is

everything.

17 00:02:30,510 --> 00:02:32,790 During my meditation training...

18 00:02:32,971 --> 00:02:35,721 I came to a place of deep silence...

19 00:02:36,801 --> 00:02:39,131 I was surrounded by light...

20 00:02:39,641 --> 00:02:43,391 Time and space disappeared.

21 00:02:43,892 --> 00:02:48,192 I had come to a place my master had never

told me about.

22 00:02:50,733 --> 00:02:52,233 You were enlightened?

23 00:02:52,403 --> 00:02:53,953 No.

24 00:02:54,283 --> 00:02:57,563 I didn’t feel the bliss of enlightenment.

25 00:02:57,743 --> 00:03:03,253 Instead... I was surrounded by an endless

sorrow.

26 00:03:03,624 --> 00:03:06,204 I couldn’t bear it.

27 00:03:06,924 --> 00:03:08,714 I broke off my meditation.

28 00:03:08,885 --> 00:03:10,705 I couldn’t go on.

29 00:03:11,505 --> 00:03:15,175 There was something...pulling me back.

30 00:03:16,686 --> 00:03:17,766 What was it?

31 00:03:21,356 --> 00:03:23,426 Something I can’t let go of.

32 00:03:27,697 --> 00:03:28,777 You’re leaving soon?

33 00:03:30,407 --> 00:03:33,197 We’re preparing a convoy for a delivery

34 00:03:33,367 --> 00:03:34,567 to Peking.

35 00:03:35,038 --> 00:03:36,278 Perhaps I could ask you

150

36 00:03:37,038 --> 00:03:40,078 to deliver something to Sir Te for me.

37 00:03:44,419 --> 00:03:47,509 The Green Destiny sword? You’re giving it

to Sir Te?

38 00:03:47,669 --> 00:03:51,129 I am. He has always been our greatest

protector.

39 00:03:51,300 --> 00:03:54,220 I don’t understand. How can you part

with it?

40 00:03:54,390 --> 00:03:56,960 It has always been with you.

41 00:03:57,940 --> 00:04:01,430 Too many men have died at its edge.

42 00:04:04,731 --> 00:04:08,601 It only looks pure because blood washes so

easily from its blade.

43 00:04:09,322 --> 00:04:13,482 You use it justly, you’re worthy of it.

44 00:04:15,912 --> 00:04:18,872 It’s time for me to leave it behind.

45 00:04:19,043 --> 00:04:21,963 So what will you do now?

46 00:04:24,753 --> 00:04:26,993 Come with me to Peking.

47 00:04:27,174 --> 00:04:30,174 You can give the sword to Sir Te yourself.

48 00:04:30,344 --> 00:04:32,914 It’ll be just like old times.

49 00:04:34,604 --> 00:04:38,344 First I must visit my master’s grave.

50 00:04:38,775 --> 00:04:40,845 It’s been many years since...

51 00:04:41,235 --> 00:04:44,565 Jade Fox murdered him. I have yet to

avenge his death.

52 00:04:44,736 --> 00:04:47,776 And yet I’m thinking of quitting.

53 00:04:47,946 --> 00:04:50,786 I must pray for his forgiveness.

151

54 00:04:50,956 --> 00:04:55,496 Join me once you have finished.

55 00:04:55,667 --> 00:04:57,987 I can wait for you in Peking.

56 00:04:59,127 --> 00:05:00,617 Perhaps.

57 00:05:07,888 --> 00:05:08,918 Ok. Pass.

58 00:05:09,808 --> 00:05:10,668 Thanks.

59 00:05:10,849 --> 00:05:12,759 Let’s go into the city.

60 00:05:24,030 --> 00:05:26,700 Everything got here safely. I’m much

obliged.

61 00:05:26,870 --> 00:05:29,900 Just doing my job.

62 00:05:30,081 --> 00:05:34,451 Sun Security has been the best since your

father started it.

63 00:05:34,621 --> 00:05:38,831 You’re a credit to his memory.

64 00:05:39,002 --> 00:05:40,082 Thank you.

65 00:05:40,252 --> 00:05:42,292 I mean it.

66 00:06:17,916 --> 00:06:20,956 This is Li Mu Bai’s personal sword,

67 00:06:21,547 --> 00:06:23,507 a great hero’s weapon.

68 00:06:23,677 --> 00:06:30,007 He is the only one in the world worthy of

carrying it.

69 00:06:30,187 --> 00:06:33,387 It’s too fine a gift. I cannot accept it.

70 00:06:33,568 --> 00:06:34,678 Sir Te...

71 00:06:34,858 --> 00:06:37,148 it has brought him as much trouble as glory.

72 00:06:37,778 --> 00:06:40,098 Help him to leave these troubles behind.

73 00:06:40,279 --> 00:06:43,029 Otherwise, he’ll never be able to start anew.

152

74 00:06:44,079 --> 00:06:45,319 All right.

75 00:06:45,489 --> 00:06:47,279 I’ll act as the sword’s custodian.

76 00:06:50,620 --> 00:06:52,250 Governor Yu has arrived.

77 00:06:52,420 --> 00:06:53,610 I must change.

78 00:06:54,630 --> 00:06:57,300 You’ve always been so good to Li Mu Bai

and me.

79 00:06:57,461 --> 00:06:59,421 Please accept our thanks.

80 00:06:59,591 --> 00:07:04,171 Please do not be such a stranger. You’ll stay

the night as my guest.

81 00:07:06,012 --> 00:07:08,172 Now, Shu Lien...

82 00:07:08,522 --> 00:07:10,392 tell me something.

83 00:07:10,562 --> 00:07:13,102 And forgive me for prying.

84 00:07:13,272 --> 00:07:16,022 Your father was a great friend to me,

85 00:07:16,193 --> 00:07:19,393 and I think of you as my own daughter.

86 00:07:19,573 --> 00:07:21,643 Please, Sir Te, what is it?

87 00:07:22,033 --> 00:07:25,203 Li Mu Bai giving up his sword

88 00:07:25,374 --> 00:07:27,744 and his warrior days...

89 00:07:27,914 --> 00:07:30,914 Maybe he’s trying to tell you something?

90 00:07:31,544 --> 00:07:32,744 I don’t know...

91 00:07:32,915 --> 00:07:37,335 Don’t be coy. I’ve always known about

your feelings for each other.

92 00:07:37,505 --> 00:07:39,715 All these years, it’s a shame...

153

93 00:07:39,885 --> 00:07:44,045 ...neither of you is brave enough to admit the

truth to the other.

94 00:07:45,226 --> 00:07:48,636 You’re both wasting precious time.

95 00:07:49,016 --> 00:07:54,266 I beg your pardon. Li Mu Bai and I aren’t

cowards.

96 00:07:55,737 --> 00:07:57,857 When it comes to emotions,

97 00:07:58,027 --> 00:08:02,107 even great heroes can be idiots.

98 00:08:02,288 --> 00:08:07,868 Tell me if Li Mu Bai is not more open the

next time you see him.

99 00:08:08,039 --> 00:08:11,989 I’ll give him an earful!

100 00:08:19,800 --> 00:08:22,640 Sir Te said to leave the sword in here.

101 00:08:27,601 --> 00:08:28,851 Who are you?

102 00:08:33,941 --> 00:08:35,851 I’m your guest today.

103 00:08:36,032 --> 00:08:38,322 I am Governor Yu’s daughter.

104 00:08:39,162 --> 00:08:41,862 This is Sir Te’s study. You are here to?

105 00:08:42,532 --> 00:08:46,952 I was just looking for a quiet corner.

106 00:08:47,833 --> 00:08:49,213 I am Sir Te’s head servant.

107 00:08:49,373 --> 00:08:51,253 And this is another of our guests.

108 00:09:04,185 --> 00:09:07,605 It’s heavy for such a thin piece of metal!

109 00:09:07,775 --> 00:09:10,475 The handle is heavy. And the blade is no

ordinary metal.

110 00:09:11,276 --> 00:09:14,696 Still, the sword is the lightest of weapons.

111 00:09:14,866 --> 00:09:17,186 You’re just not used to handling it.

154

112 00:09:17,366 --> 00:09:19,906 But, I have had much practice.

113 00:09:20,077 --> 00:09:22,197 As a child in the West, a platoon lived with

us.

114 00:09:22,367 --> 00:09:24,367 They’d let me play with their weapons.

115 00:09:25,997 --> 00:09:28,037 The scabbard is so beautiful.

116 00:09:29,718 --> 00:09:31,748 Beautiful but dangerous.

117 00:09:31,928 --> 00:09:35,538 Once you see it tainted with blood, its

beauty is hard to admire.

118 00:09:36,389 --> 00:09:39,139 It’s 400 years old.

119 00:09:39,599 --> 00:09:41,059 Exquisite!

120 00:09:42,099 --> 00:09:44,809 You said it belongs to...

121 00:09:45,310 --> 00:09:49,180 My friend Li Mu Bai. He’s given it to Sir

Te as a gift.

122 00:09:49,780 --> 00:09:50,520 Li Mu Bai!

123 00:09:50,690 --> 00:09:53,900 The famous warrior?

124 00:09:54,071 --> 00:09:57,161 Why would he give his sword to Sir Te?

125 00:09:57,491 --> 00:09:59,731 You’re too young to understand.

126 00:10:01,121 --> 00:10:02,451 You’re a sword fighter too?

127 00:10:02,622 --> 00:10:03,542 Yes, I am.

128 00:10:03,712 --> 00:10:05,532 But I prefer the machete.

129 00:10:05,712 --> 00:10:10,042 Certain moves, however, call for a sword.

130 00:10:11,553 --> 00:10:12,633 Really?

155

131 00:10:15,053 --> 00:10:18,013 It must be exciting to be a fighter, to be

totally free!

132 00:10:18,393 --> 00:10:22,093 Fighters have rules too: friendship, trust,

133 00:10:22,274 --> 00:10:24,974 integrity... Without rules,

134 00:10:25,144 --> 00:10:27,524 we wouldn’t survive for long.

135 00:10:28,314 --> 00:10:30,224 I’ve read all about people like you.

136 00:10:30,405 --> 00:10:33,235 Roaming wild, beating up anyone who gets

in your way!

137 00:10:33,405 --> 00:10:36,365 Writers wouldn’t sell many books if they

told how it really is.

138 00:10:36,535 --> 00:10:39,075 But you’re just like the characters in the

stories.

139 00:10:39,246 --> 00:10:43,576 Sure. No place to bathe for days, sleeping in

flea-infested beds...

140 00:10:43,756 --> 00:10:45,876 They tell you all about that in those books?

141 00:10:46,046 --> 00:10:48,086 You know what I mean.

142 00:10:48,637 --> 00:10:52,417 I’m getting married soon, but I haven’t lived

the life I want.

143 00:10:53,847 --> 00:10:56,547 So I heard. Congratulations.

144 00:11:00,478 --> 00:11:04,148 It’s the most important step in a woman’s

life, isn’t it?

145 00:11:05,939 --> 00:11:07,269 You’re not married, are you?

146 00:11:08,739 --> 00:11:09,729 What do you think?

156

147 00:11:09,909 --> 00:11:12,109 No! You couldn’t roam around freely if you

were.

148 00:11:13,530 --> 00:11:15,910 You’re probably right.

149 00:11:48,243 --> 00:11:50,693 Go ahead, Governor Yu.

150 00:12:01,625 --> 00:12:03,455 2 feet 9 inches long.

151 00:12:04,085 --> 00:12:05,665 1 inch wide.

152 00:12:06,386 --> 00:12:09,216 The handle is 1 inch deep, 2.6 inches wide.

153 00:12:10,016 --> 00:12:13,046 7 tenths of an inch thick.

154 00:12:13,846 --> 00:12:15,846 With seven rubies missing from the hilt.

155 00:12:16,647 --> 00:12:18,637 You can tell the design

156 00:12:18,817 --> 00:12:21,267 dates back to before the Chin era.

157 00:12:21,437 --> 00:12:24,447 Engraved with a technique lost by the time

of the Han Dynasty.

158 00:12:24,858 --> 00:12:28,108 Your knowledge is remarkable, Sir Te.

159 00:12:29,238 --> 00:12:31,488 A sword by itself rules nothing.

160 00:12:31,658 --> 00:12:33,948 It comes alive only through skillful

manipulation.

161 00:12:35,369 --> 00:12:38,379 I see your point. Please continue.

162 00:12:38,539 --> 00:12:41,629 The Imperial Court isn’t the problem.

163 00:12:41,800 --> 00:12:45,500 With royalty and officials everywhere,

164 00:12:45,970 --> 00:12:50,510 the Royal Guard keeps security tight.

165 00:12:50,681 --> 00:12:52,671 But Peking is not like the West.

166 00:12:52,851 --> 00:12:57,181 Here, you’ll find all sorts of characters.

157

167 00:12:57,351 --> 00:13:00,391 Proceed with caution in your quest for law

and order.

168 00:13:00,572 --> 00:13:02,772 Don’t depend only on the court.

169 00:13:02,942 --> 00:13:06,532 Contacts in the Giang Hu underworld

170 00:13:06,702 --> 00:13:09,452 can ensure your position.

171 00:13:13,543 --> 00:13:15,743 Be strong yet supple.

172 00:13:15,913 --> 00:13:17,953 This is the way to rule.

173 00:13:46,197 --> 00:13:47,447 Governess...

174 00:13:49,117 --> 00:13:50,397 Let me do it.

175 00:13:54,298 --> 00:13:55,458 Please sit.

176 00:13:55,998 --> 00:13:58,708 I’ve made you silk pajamas. Do you want to

change into them?

177 00:13:58,878 --> 00:14:00,258 Put them down.

178 00:14:06,469 --> 00:14:09,139 I heard you met Shu Lien today.

179 00:14:09,890 --> 00:14:11,440 Do you know her?

180 00:14:12,650 --> 00:14:13,930 She’s one of those.

181 00:14:14,690 --> 00:14:17,610 Your mother would not want you consorting

with her kind.

182 00:14:19,441 --> 00:14:21,941 I’ll socialize with whomever I please.

183 00:14:22,491 --> 00:14:25,241 Don’t invite danger into your father’s house.

184 00:14:28,082 --> 00:14:29,192 I’m tired now!

185 00:14:30,082 --> 00:14:31,792 Go to bed then.

158

186 00:14:35,462 --> 00:14:37,952 Miss has grown up, and is getting married

soon.

187 00:14:39,843 --> 00:14:42,293 God knows what the future will bring.

188 00:14:43,513 --> 00:14:45,133 It’ll be just the same.

189 00:14:46,054 --> 00:14:48,594 Enough! I’m tired.

190 00:14:52,564 --> 00:14:53,974 Autumn is coming.

191 00:14:54,155 --> 00:14:56,305 I’ll shut the windows for you.

192 00:15:23,058 --> 00:15:25,218 Chilly, eh? Yes, Master Bo.

193 00:16:25,835 --> 00:16:26,995 Someone help!

194 00:16:27,165 --> 00:16:28,665 Stop him!

195 00:16:28,835 --> 00:16:30,245 He’s on the roof!

196 00:16:32,926 --> 00:16:34,296 The sword’s been stolen!

197 00:16:37,056 --> 00:16:37,886 Stop thief!

198 00:17:03,829 --> 00:17:05,539 Stop him!

199 00:17:05,709 --> 00:17:07,339 It’s Jade Fox!

200 00:17:08,090 --> 00:17:09,660 We must avenge Mother!

201 00:17:12,470 --> 00:17:15,000 Do something! He’s getting away!

202 00:17:17,721 --> 00:17:20,211 Return the sword and I’ll let you go.

203 00:17:25,772 --> 00:17:27,182 You’ve been trained at Wudan?

204 00:17:32,402 --> 00:17:34,062 You’re mistaken.

205 00:17:34,243 --> 00:17:36,943 We’re just street performers. We were

rehearsing.

206 00:17:37,123 --> 00:17:37,903 Father!

159

207 00:17:38,873 --> 00:17:39,983 You were rehearsing?

208 00:17:40,163 --> 00:17:41,903 Who are you trying to fool?

209 00:17:42,124 --> 00:17:43,864 Where did that thief go?

210 00:17:55,225 --> 00:17:56,965 Governor Yu’s house!

211 00:19:39,087 --> 00:19:40,367 Get down here!

212 00:19:56,979 --> 00:19:58,099 Give back the sword!

213 00:21:12,357 --> 00:21:14,557 Sir Te awaits you.

214 00:21:17,608 --> 00:21:21,388 I’m sure the thief is in the Yu household.

215 00:21:21,568 --> 00:21:22,648 How dare you imply?

216 00:21:23,489 --> 00:21:24,439 Enough!

217 00:21:36,960 --> 00:21:39,290 Has Governor Yu ever seen the sword?

218 00:21:39,720 --> 00:21:43,670 Yes, though I doubt he's involved in this.

219 00:21:43,851 --> 00:21:46,721 But the sword could be in his compound.

220 00:21:50,562 --> 00:21:55,062 Then someone’s trying to set him up.

221 00:21:55,232 --> 00:21:57,472 We should inform Li Mu Bai.

222 00:22:07,704 --> 00:22:08,614 What is it?

223 00:22:08,794 --> 00:22:10,834 Madam Yu, someone’s put up posters.

224 00:22:16,425 --> 00:22:17,965 Let me see.

225 00:22:24,556 --> 00:22:26,596 Someone is after a Jade Fox.

226 00:22:26,766 --> 00:22:28,976 Preposterous, looking for her here!

227 00:23:05,480 --> 00:23:07,970 Where are they? I don’t know.

228 00:23:09,231 --> 00:23:12,101 I haven’t seen them in two days.

229 00:24:04,417 --> 00:24:06,737 There’s a Miss Shu Lien here to see you.

160

230 00:24:06,917 --> 00:24:08,327 Miss is busy right now.

231 00:24:08,507 --> 00:24:09,787 I’ll tell her.

232 00:24:09,967 --> 00:24:11,627 Show her in.

233 00:24:18,808 --> 00:24:21,838 This spells trouble.

234 00:24:23,559 --> 00:24:24,969 I have a guest.

235 00:24:32,200 --> 00:24:33,480 This way please.

236 00:24:40,501 --> 00:24:41,741 I’ve missed you.

237 00:24:41,911 --> 00:24:42,741 How so?

238 00:24:42,911 --> 00:24:44,571 I’m bored...

239 00:24:51,262 --> 00:24:52,922 You’re doing calligraphy?

240 00:24:54,682 --> 00:24:56,472 I’ll write your name.

241 00:24:56,893 --> 00:24:58,003 Just for fun.

242 00:25:24,336 --> 00:25:27,006 I never realized my name looks like

“sword.”

243 00:25:27,506 --> 00:25:32,006 You write gracefully. Calligraphy is so

similar to fencing.

244 00:25:32,717 --> 00:25:34,467 Maybe it is. I wouldn’t know.

245 00:25:36,267 --> 00:25:37,177 Please.

246 00:25:41,728 --> 00:25:44,978 Thank you for seeing me. I hear your

wedding day is near.

247 00:25:45,148 --> 00:25:47,278 You must be overwhelmed by the

preparations.

161

248 00:25:47,448 --> 00:25:51,228 I’m hardly doing a thing. The less I think of

it the better.

249 00:25:51,409 --> 00:25:56,369 My parents are arranging everything.

250 00:25:56,539 --> 00:26:00,669 The Gous are a very powerful family.

251 00:26:00,830 --> 00:26:05,000 My marrying one will be good for my

father’s career.

252 00:26:05,170 --> 00:26:08,840 You are fortunate to marry into such a noble

family.

253 00:26:09,301 --> 00:26:10,381 Am I?

254 00:26:10,551 --> 00:26:13,761 I wish I were like the heroes in the books I

read.

255 00:26:13,931 --> 00:26:15,421 Like you and Li Mu Bai.

256 00:26:17,142 --> 00:26:20,142 I guess I’m happy to be marrying.

257 00:26:20,312 --> 00:26:23,352 But to be free to live my own life,

258 00:26:23,523 --> 00:26:25,733 to choose whom I love...

259 00:26:26,533 --> 00:26:29,363 That is true happiness.

260 00:26:29,953 --> 00:26:32,103 Do you think so? Let me tell you a story...

261 00:26:32,324 --> 00:26:33,874 About you and Li Mu Bai?

262 00:26:34,034 --> 00:26:35,284 Yes.

263 00:26:35,454 --> 00:26:38,624 Did you know I was once engaged to be

married?

264 00:26:39,294 --> 00:26:40,244 No, really?

265 00:26:40,414 --> 00:26:42,214 His name was Meng Si Zhao.

162

266 00:26:42,635 --> 00:26:45,465 He was a brother to Li Mu Bai by oath.

267 00:26:45,635 --> 00:26:47,835 One day, while in battle,

268 00:26:48,005 --> 00:26:52,005 he was killed by the sword of Li Mu Bai’s

enemy.

269 00:26:52,266 --> 00:26:55,766 After, Li Mu Bai and I went through a lot

together.

270 00:26:55,976 --> 00:26:58,016 Our feelings for each other grew stronger.

271 00:26:58,186 --> 00:27:00,646 But how could we dishonor

272 00:27:00,817 --> 00:27:02,437 Meng’s memory?

273 00:27:02,607 --> 00:27:05,477 So the freedom you talk about, I too desire

it.

274 00:27:05,657 --> 00:27:07,897 But I have never tasted it.

275 00:27:08,078 --> 00:27:13,658 Too bad for Meng, but it’s not your fault, or

Li Mu Bai’s.

276 00:27:15,958 --> 00:27:19,208 I am not an aristocrat, as you are...

277 00:27:19,379 --> 00:27:24,009 but I must still respect a woman’s duties.

278 00:27:24,589 --> 00:27:26,299 Don’t distance us.

279 00:27:26,470 --> 00:27:30,630 From now on, let’s be like sisters.

280 00:27:33,270 --> 00:27:36,600 Then as a sister, let me wish you happiness

in your marriage.

281 00:28:13,015 --> 00:28:15,685 What a godforsaken place!

282 00:28:16,565 --> 00:28:20,695 Can’t your father be appointed closer to

civilization?

163

283 00:28:23,406 --> 00:28:24,646 Jen...

284 00:28:25,406 --> 00:28:27,066 are you listening to me?

285 00:28:55,570 --> 00:28:56,760 Let’s go.

286 00:29:21,133 --> 00:29:22,763 Who are you?

287 00:29:23,343 --> 00:29:26,013 Wait! I’m a friend!

288 00:29:29,724 --> 00:29:32,484 I don’t care about your sword.

289 00:29:32,644 --> 00:29:34,774 Why were you spying on the Yus?

290 00:29:34,944 --> 00:29:37,774 I’m looking for someone. Jade Fox.

291 00:29:37,945 --> 00:29:41,365 I’m a police inspector from Shaan Xi, Gen

Su district.

292 00:29:42,285 --> 00:29:45,815 Jade Fox is a master criminal. I hear she

infiltrated the Yus.

293 00:29:46,325 --> 00:29:50,115 She must have come with them when they

transferred here.

294 00:29:50,296 --> 00:29:54,706 But with Yu’s reputation, I can’t just go in

and accuse her.

295 00:29:54,926 --> 00:29:56,876 This Jade Fox is a woman? Yes.

296 00:29:57,047 --> 00:30:00,047 Then leave her to me.

297 00:30:00,217 --> 00:30:02,757 Pardon me, but I doubt you can handle her.

298 00:30:02,927 --> 00:30:05,467 My wife was quite a martial arts expert.

299 00:30:05,638 --> 00:30:07,018 Jade Fox killed her.

300 00:30:07,188 --> 00:30:09,178 So you see,

301 00:30:09,358 --> 00:30:12,478 this is personal. Leave her to me.

164

302 00:30:13,029 --> 00:30:14,599 It’s ready.

303 00:30:15,399 --> 00:30:16,269 I’m ready for anything!

304 00:30:17,989 --> 00:30:19,899 Father gets first dip.

305 00:30:24,330 --> 00:30:25,410 They’re gone!

306 00:30:27,580 --> 00:30:28,780 What does it say?

307 00:30:28,960 --> 00:30:32,160 “We’ll settle this at midnight on Yellow

Hill.”

308 00:30:32,341 --> 00:30:35,011 Good! The fox is out of her hole!

309 00:30:39,892 --> 00:30:42,512 Shu Lien, look who’s here.

310 00:30:47,982 --> 00:30:51,732 Sir Te believes it’s a ploy to cast suspicion

on Governor Yu.

311 00:30:51,903 --> 00:30:55,183 But something is going on at the Yu

household.

312 00:30:55,363 --> 00:30:57,023 What have you discovered?

313 00:31:09,425 --> 00:31:10,795 Jade Fox?

314 00:31:11,295 --> 00:31:12,125 Impossible!

315 00:31:12,295 --> 00:31:15,005 You’d always suspected she’d fled to the

West.

316 00:31:15,176 --> 00:31:17,636 I didn’t think she’d dare come back to

Peking!

317 00:31:18,226 --> 00:31:20,756 Is there any place safer than under the nose

of Governor Yu?

165

318 00:31:23,396 --> 00:31:27,176 So I shall avenge my master’s death after

all.

319 00:31:28,987 --> 00:31:30,807 Be careful.

320 00:31:30,987 --> 00:31:33,557 Sir Te requires discretion.

321 00:31:33,738 --> 00:31:35,978 Official business is difficult enough.

322 00:31:36,158 --> 00:31:39,688 Don’t let personal feelings make it worse.

323 00:31:40,288 --> 00:31:43,078 And I don’t know...even this poster...

324 00:31:43,249 --> 00:31:45,119 could be some sort of trap.

325 00:31:47,749 --> 00:31:49,249 Did you see who posted it?

326 00:31:49,669 --> 00:31:50,589 No.

327 00:31:50,760 --> 00:31:52,960 It says Fox is hiding at Yu’s.

328 00:31:53,140 --> 00:31:56,220 On the night of the theft there was a brawl

near Yu’s.

329 00:31:57,140 --> 00:31:59,010 Were you involved?

330 00:31:59,181 --> 00:32:01,171 It was Bo, Sir Te’s man.

331 00:32:01,351 --> 00:32:04,191 I hear he followed the thief to the Yus’.

332 00:32:04,351 --> 00:32:05,901 Have you questioned him yet?

333 00:32:06,311 --> 00:32:08,391 No, not yet...

334 00:32:08,902 --> 00:32:10,892 But your men are watching over Yu’s

compound?

335 00:32:12,112 --> 00:32:14,822 No, I’d already sent them home.

336 00:32:16,452 --> 00:32:18,522 You can blame me for losing the sword,

337 00:32:18,703 --> 00:32:20,913 but please trust that I’ll get it back soon

166

338 00:32:21,083 --> 00:32:23,073 using my own methods.

339 00:32:24,003 --> 00:32:25,913 That’s not what I meant.

340 00:32:26,084 --> 00:32:27,794 I don’t care about the sword.

341 00:32:28,384 --> 00:32:31,914 What do you mean? Didn’t you come back

here for it?

342 00:32:32,424 --> 00:32:35,874 I didn’t know it was stolen until I got here.

343 00:32:37,185 --> 00:32:39,095 Then, why did you come?

344 00:32:41,185 --> 00:32:44,055 Well, we had talked...

345 00:32:47,486 --> 00:32:49,226 Pardon my intrusion. Master Li,

346 00:32:49,406 --> 00:32:51,196 your room is ready.

347 00:32:53,077 --> 00:32:54,157 Thank you.

348 00:32:55,327 --> 00:32:57,367 Please, lead the way.

349 00:33:08,128 --> 00:33:10,668 The Fox doesn’t care much for punctuality.

350 00:33:10,849 --> 00:33:12,999 Still no of her.

351 00:33:20,600 --> 00:33:22,480 Enough! Show yourself!

352 00:33:27,150 --> 00:33:28,150 Tsai...

353 00:33:28,491 --> 00:33:29,861 You dog!

354 00:33:30,031 --> 00:33:31,861 You will pay for your stubbornness!

355 00:33:32,451 --> 00:33:34,991 That’s what you think, old witch!

356 00:33:35,161 --> 00:33:38,201 If you surrender now, you’ll suffer less.

357 00:33:38,712 --> 00:33:40,862 But if you resist, I won’t stop until you’re

dead.

358 00:33:41,712 --> 00:33:42,542 Father!

167

359 00:33:43,042 --> 00:33:44,872 Let me avenge my mother’s death!

360 00:33:45,053 --> 00:33:47,293 You’ll soon end up like her, you little

whore!

361 00:33:47,463 --> 00:33:49,793 You’ll pay for that!

362 00:35:13,353 --> 00:35:14,683 She’s going to paralyze you!

363 00:35:21,573 --> 00:35:22,653 May!

364 00:35:32,035 --> 00:35:33,415 Tsai, you filthy mongrel!

365 00:35:36,045 --> 00:35:37,955 An ambush!

366 00:35:42,426 --> 00:35:43,836 Father, are you all right?

367 00:35:45,096 --> 00:35:47,796 Wudan should have gotten rid of you long

ago.

368 00:35:48,436 --> 00:35:50,426 It’s been a long time, Jade Fox!

369 00:35:51,897 --> 00:35:53,467 You don’t remember me...

370 00:35:54,067 --> 00:35:57,647 But you should remember my master.

371 00:35:57,818 --> 00:35:59,978 You infiltrated Wudan while I was away.

372 00:36:00,158 --> 00:36:02,398 You stole our secret manual

373 00:36:02,578 --> 00:36:04,608 and poisoned our master!

374 00:36:04,778 --> 00:36:07,698 Now it’s time for you to pay!

375 00:36:08,459 --> 00:36:10,909 Your master underestimated us women.

376 00:36:11,079 --> 00:36:14,079 Sure, he’d sleep with me, but he would

never teach me.

377 00:36:14,289 --> 00:36:17,049 He deserved to die by a woman’s hand!

168

378 00:36:58,214 --> 00:37:00,964 You stole the secrets of Wudan’s highest

martial arts.

379 00:37:01,135 --> 00:37:04,095 But after ten years of training your moves

are still undisciplined.

380 00:37:04,265 --> 00:37:05,725 And today,

381 00:37:05,895 --> 00:37:08,595 under a Wudan sword...

382 00:37:08,766 --> 00:37:09,466 you will die!

383 00:37:16,066 --> 00:37:18,146 Disciple, we’ll kill them all!

384 00:37:18,317 --> 00:37:19,317 Let’s go!

385 00:37:19,657 --> 00:37:21,117 Another one!

386 00:37:21,577 --> 00:37:23,617 I must get rid of Tsai!

387 00:37:30,038 --> 00:37:30,988 Who are you?

388 00:37:33,378 --> 00:37:35,368 Why is the Green Destiny in your

possession?

389 00:37:37,509 --> 00:37:38,589 What’s it to you?

390 00:37:38,759 --> 00:37:40,299 My name is Li Mu Bai.

391 00:37:40,719 --> 00:37:42,879 The Green Destiny is mine.

392 00:37:53,441 --> 00:37:55,681 Jade Fox can’t be your master.

393 00:37:55,861 --> 00:37:57,771 Where did you learn that “Xuan Piu” move?

394 00:37:57,951 --> 00:37:58,781 I’m just playing around.

395 00:38:05,702 --> 00:38:07,362 Tell me, who is your master?

396 00:38:28,775 --> 00:38:30,645 Let’s go! We must kill them!

397 00:38:40,116 --> 00:38:41,066 Father!

169

398 00:39:03,559 --> 00:39:05,439 This is Tsai?

399 00:39:07,019 --> 00:39:08,439 My father.

400 00:39:08,609 --> 00:39:11,149 Police inspector from Shaan.

401 00:39:12,240 --> 00:39:16,900 This should be reported to Governor Yu.

402 00:39:17,080 --> 00:39:19,230 The victim is an officer.

403 00:39:19,410 --> 00:39:21,980 You believe the killer is hiding out in his

compound?

404 00:39:24,121 --> 00:39:25,871 I’d bet my life on it!

405 00:39:30,802 --> 00:39:32,042 Come with me.

406 00:39:33,882 --> 00:39:37,422 This needs to be resolved, and quickly.

407 00:39:37,602 --> 00:39:41,842 I’ll get into the Yu household and get her.

408 00:39:42,023 --> 00:39:43,813 I’ll ferret out Fox and her gang.

409 00:39:43,983 --> 00:39:45,223 We must be careful.

410 00:39:45,393 --> 00:39:48,813 Yu is a court official, and in charge of

security.

411 00:39:48,984 --> 00:39:52,074 Any disturbance will cast suspicion on him.

412 00:39:52,244 --> 00:39:53,984 It might get Sir Te in trouble.

413 00:39:55,824 --> 00:39:57,324 This is a delicate matter.

414 00:39:57,825 --> 00:40:00,665 Sir Te, can you find some excuse

415 00:40:00,835 --> 00:40:03,745 to invite Madam Yu and her daughter?

416 00:40:05,216 --> 00:40:07,006 What do you have in mind?

417 00:40:08,256 --> 00:40:11,756 The best way to trap a fox is through her

cubs.

170

418 00:40:15,227 --> 00:40:19,767 Madam Te is certainly spoiling us with these

wedding gifts.

419 00:40:20,437 --> 00:40:23,607 She’s being so considerate.

420 00:40:23,988 --> 00:40:26,688 I’m sorry she’s not feeling well enough to

receive you today.

421 00:40:26,858 --> 00:40:29,648 I heard Sir Te lost something.

422 00:40:29,818 --> 00:40:33,028 And now Madam Te’s not feeling well...

423 00:40:33,199 --> 00:40:36,569 We know who stole the missing item.

424 00:40:38,709 --> 00:40:43,669 If the thief returns it, I’m sure Sir Te will

pursue

425 00:40:43,840 --> 00:40:45,750 the matter no further.

426 00:40:45,920 --> 00:40:47,200 That’s good.

427 00:40:47,630 --> 00:40:50,470 Sometimes the help can’t keep their hands to

themselves.

428 00:40:50,641 --> 00:40:52,211 It’s very embarrassing.

429 00:40:52,431 --> 00:40:56,381 Sir Te knows that even well-meaning people

can make mistakes...

430 00:40:56,561 --> 00:40:59,721 that can bring ruin to themselves and their

families.

431 00:41:02,362 --> 00:41:04,062 But don’t be too lenient.

432 00:41:04,232 --> 00:41:07,322 No mercy will be shown toward the

murderer

433 00:41:07,493 --> 00:41:08,943 who turned up in Peking.

171

434 00:41:09,953 --> 00:41:11,943 A murderer?

435 00:41:12,113 --> 00:41:12,983 Yes,

436 00:41:13,163 --> 00:41:17,243 the very killer of Li Mu Bai’s own master.

437 00:41:17,414 --> 00:41:18,244 Last night,

438 00:41:18,414 --> 00:41:21,164 she killed a policeman who had tracked her

down.

439 00:41:21,334 --> 00:41:24,174 A female criminal! Now that’s news!

440 00:41:24,344 --> 00:41:27,374 You say she killed a policeman?

441 00:41:27,805 --> 00:41:29,175 Yes, from the West.

442 00:41:29,345 --> 00:41:32,925 He went undercover, and followed her here.

443 00:41:33,726 --> 00:41:34,886 Maybe the murderer

444 00:41:35,056 --> 00:41:37,636 and the thief are the same.

445 00:41:37,816 --> 00:41:38,726 I doubt that.

446 00:41:39,856 --> 00:41:40,436 This thief...

447 00:41:42,607 --> 00:41:44,017 is very unusual.

448 00:41:44,697 --> 00:41:46,437 And most likely smarter than a mere killer.

449 00:41:59,628 --> 00:42:00,738 Greetings, Sir Te.

450 00:42:02,219 --> 00:42:03,539 Hello, Madam Yu.

451 00:42:03,719 --> 00:42:04,879 This is Li Mu Bai,

452 00:42:05,049 --> 00:42:07,509 the renowned swordsman.

453 00:42:07,679 --> 00:42:09,259 Delighted to meet you.

454 00:42:10,930 --> 00:42:13,140 Miss Yu is soon to be married.

455 00:42:15,730 --> 00:42:17,800 Congratulations.

172

456 00:42:31,492 --> 00:42:33,622 Why don’t you come in?

457 00:42:33,792 --> 00:42:35,412 I’m standing guard.

458 00:42:35,753 --> 00:42:38,293 Come in. It’s cold.

459 00:42:44,054 --> 00:42:45,294 Come in.

460 00:42:45,474 --> 00:42:48,474 We don’t have to fear Jade Fox if we’re

together.

461 00:43:12,417 --> 00:43:14,247 Isn’t it a bit late to be out?

462 00:43:17,797 --> 00:43:19,257 You’ve brought me the sword?

463 00:43:20,298 --> 00:43:22,458 I do as I please.

464 00:43:25,638 --> 00:43:26,888 Where is your master?

465 00:43:27,308 --> 00:43:28,218 What’s it to you?

466 00:43:54,832 --> 00:43:56,542 Had enough flying?

467 00:44:00,382 --> 00:44:01,462 You’ve got potential.

468 00:44:01,632 --> 00:44:05,882 You’ve studied the Wudan manual but you

don’t understand it.

469 00:44:08,723 --> 00:44:11,393 You need a real master.

470 00:44:11,733 --> 00:44:13,933 Do you think you are a real master?

471 00:44:14,104 --> 00:44:17,894 Like most things, I am nothing.

472 00:44:18,074 --> 00:44:19,944 It’s the same for this sword.

473 00:44:20,114 --> 00:44:22,524 All of it is simply a state of mind.

474 00:44:23,365 --> 00:44:25,405 Stop talking like a monk!

475 00:44:25,575 --> 00:44:26,525 Just fight!

476 00:44:26,705 --> 00:44:28,415 Then tell me where Jade Fox is.

173

477 00:44:28,585 --> 00:44:29,245 On guard!

478 00:44:43,887 --> 00:44:45,887 Real sharpness comes without effort.

479 00:45:04,159 --> 00:45:05,239 No growth.

480 00:45:05,460 --> 00:45:06,570 Without assistance.

481 00:45:07,370 --> 00:45:08,490 No action.

482 00:45:09,040 --> 00:45:10,120 Without reaction.

483 00:45:10,670 --> 00:45:12,210 No desire without restraint.

484 00:45:12,460 --> 00:45:15,000 Now give yourself up and find yourself

again.

485 00:45:16,511 --> 00:45:18,881 There is a lesson for you.

486 00:45:23,892 --> 00:45:25,142 Go ahead.

487 00:45:27,272 --> 00:45:28,022 Why should I?

488 00:45:28,192 --> 00:45:32,312 You need practice. I can teach you to fight

with the Green Destiny,

489 00:45:32,483 --> 00:45:35,403 but first you must learn to hold it in stillness.

490 00:45:37,953 --> 00:45:39,773 Why do you want to teach me?

491 00:45:41,414 --> 00:45:43,324 I’ve always wanted a disciple

492 00:45:43,494 --> 00:45:46,994 worthy of Wudan’s secrets.

493 00:45:48,624 --> 00:45:50,784 And if I use them to kill you?

494 00:45:51,385 --> 00:45:54,465 That’s a risk I’m willing to take.

495 00:45:54,635 --> 00:45:58,635 Deep down, you’re good. Even Jade Fox

couldn’t corrupt you.

496 00:46:00,596 --> 00:46:02,726 Wudan is a whorehouse!

174

497 00:46:02,896 --> 00:46:04,006 Keep your lessons!

498 00:46:22,998 --> 00:46:24,458 You’re home late...

499 00:46:24,628 --> 00:46:26,038 or should I say early?

500 00:46:28,919 --> 00:46:31,159 Why are you still here? You killed a

policeman.

501 00:46:31,679 --> 00:46:33,089 You should leave!

502 00:46:34,050 --> 00:46:36,760 You’ll bring ruin on my whole family.

503 00:46:36,930 --> 00:46:40,220 They wouldn’t have found me if you hadn’t

stolen the sword.

504 00:46:40,850 --> 00:46:44,140 Like a little girl, you thought stealing would

be fun?

505 00:46:45,021 --> 00:46:47,941 You, too, are responsible for that death.

Come with me.

506 00:46:49,191 --> 00:46:53,191 You don’t want to waste your life as the

wife of some bureaucrat.

507 00:46:54,282 --> 00:46:56,192 Denied your talent...

508 00:46:56,372 --> 00:46:58,822 As master and disciple we will rule.

509 00:46:58,992 --> 00:47:00,112 I’ll never live as a thief!

510 00:47:00,293 --> 00:47:02,033 You’re already a thief.

511 00:47:02,203 --> 00:47:03,493 That was just for fun.

512 00:47:03,663 --> 00:47:05,663 How can I leave? Where would I go?

513 00:47:06,793 --> 00:47:08,333 Wherever we want.

514 00:47:08,503 --> 00:47:10,293 We’ll get rid of anyone in our way.

175

515 00:47:10,464 --> 00:47:11,384 Even your father.

516 00:47:11,554 --> 00:47:12,664 Shut up!

517 00:47:12,844 --> 00:47:16,754 It’s the Giang Hu fighter lifestyle...kill or be

killed.

518 00:47:16,934 --> 00:47:18,674 Exciting, isn’t it?

519 00:47:24,445 --> 00:47:26,395 I owe you nothing.

520 00:47:26,565 --> 00:47:28,645 Yes, you do!

521 00:47:29,866 --> 00:47:33,196 You are still my disciple.

522 00:47:40,667 --> 00:47:44,797 You think you’ve been teaching me all these

years from the manual?

523 00:47:45,548 --> 00:47:47,868 You couldn’t even decipher the symbols!

524 00:47:49,758 --> 00:47:52,428 I studied the diagrams.

525 00:47:52,598 --> 00:47:54,548 But you hid the details!

526 00:47:54,719 --> 00:47:58,339 You wouldn’t have understood, even if I had

tried to explain.

527 00:47:58,769 --> 00:48:00,019 You know...

528 00:48:00,649 --> 00:48:03,479 You’ve gone as far as you can go.

529 00:48:04,070 --> 00:48:06,850 I hid my skills so as not to hurt you.

530 00:48:08,820 --> 00:48:12,320 If I hadn’t seen you fight with Li Mu Bai,

531 00:48:12,911 --> 00:48:16,161 I’d still be ignorant of all you’ve hidden

from me.

532 00:48:19,121 --> 00:48:20,531 Master...

176

533 00:48:22,132 --> 00:48:25,332 I started learning from you in secret when I

was 10.

534 00:48:26,132 --> 00:48:28,622 You enchanted me with the world of Giang

Hu.

535 00:48:29,263 --> 00:48:33,133 But once I realized I could surpass you,

536 00:48:33,303 --> 00:48:34,933 I became so frightened!

537 00:48:36,563 --> 00:48:38,553 Everything fell apart.

538 00:48:38,734 --> 00:48:40,884 I had no one to guide me,

539 00:48:42,104 --> 00:48:44,104 no one to learn from.

540 00:48:46,024 --> 00:48:48,024 Believe me,

541 00:48:48,195 --> 00:48:50,275 I’ve a lesson or two left to teach you!

542 00:50:02,363 --> 00:50:03,313 The sword is back...

543 00:50:03,943 --> 00:50:05,573 Are you happy?

544 00:50:06,784 --> 00:50:08,694 I admit...

545 00:50:08,874 --> 00:50:11,404 getting it back makes me realize how much

I’d missed it.

546 00:50:12,244 --> 00:50:14,574 But it’s not your sword anymore.

547 00:50:14,755 --> 00:50:16,905 You gave it to Sir Te.

548 00:50:18,465 --> 00:50:19,575 True.

549 00:50:20,425 --> 00:50:23,755 But I must borrow it for one last mission.

550 00:50:24,386 --> 00:50:26,956 Jade Fox must die at its edge.

551 00:50:31,476 --> 00:50:35,396 Did you know what you were hiding when

you covered for that girl?

177

552 00:50:35,567 --> 00:50:38,977 My job was to get the sword back, without

embarrassing anyone.

553 00:50:39,147 --> 00:50:41,907 I wasn’t about to ruin

554 00:50:42,068 --> 00:50:44,448 her life, or her father’s.

555 00:50:44,618 --> 00:50:47,368 You did your job well.

556 00:50:47,538 --> 00:50:50,158 But, this girl...

557 00:50:51,289 --> 00:50:52,569 I saw her last night.

558 00:50:55,169 --> 00:50:57,039 I knew she would intrigue you.

559 00:50:57,759 --> 00:50:59,579 She needs direction...

560 00:50:59,760 --> 00:51:02,840 and training.

561 00:51:03,010 --> 00:51:06,050 She’s an aristocrat’s daughter. She’s not

one of us.

562 00:51:06,220 --> 00:51:08,350 In any case, it will all be over soon.

563 00:51:08,521 --> 00:51:12,221 You’ll kill Fox, and she’ll marry.

564 00:51:14,111 --> 00:51:15,811 That’s not for her.

565 00:51:15,981 --> 00:51:18,361 She should come to Wudan and become a

disciple.

566 00:51:19,492 --> 00:51:21,112 But Wudan does not accept women.

567 00:51:21,912 --> 00:51:24,402 For her, they might make an exception.

568 00:51:24,572 --> 00:51:28,492 If not, I’m afraid she’ll become a poisoned

dragon.

569 00:51:29,123 --> 00:51:31,873 It’s not our affair.

178

570 00:51:32,043 --> 00:51:36,833 Even if Wudan accepts her, her husband

might object.

571 00:51:40,094 --> 00:51:42,054 I thought by giving away the sword,

572 00:51:42,224 --> 00:51:44,174 I could escape the Giang Hu world.

573 00:51:44,845 --> 00:51:49,015 But the cycle of bloodshed continues.

574 00:51:50,105 --> 00:51:52,425 I wish there were something more

575 00:51:52,606 --> 00:51:54,816 I could do to help you.

576 00:52:00,987 --> 00:52:03,447 Just be patient with me, Shu Lien.

577 00:52:25,229 --> 00:52:26,259 Lo?

578 00:52:26,849 --> 00:52:27,929 Jen!

579 00:52:40,781 --> 00:52:42,691 You shouldn’t have come.

580 00:52:45,042 --> 00:52:48,492 With all the traffic on your rooftop these

days...

581 00:52:48,672 --> 00:52:50,412 it took me a while to get in here.

582 00:52:50,582 --> 00:52:52,492 I can’t wait any longer.

583 00:52:52,672 --> 00:52:55,292 I was wrong to let you go.

584 00:52:55,923 --> 00:52:57,043 Come back with me.

585 00:52:57,223 --> 00:52:59,623 You’ll be happy in the desert.

586 00:52:59,803 --> 00:53:01,633 You’ll be free there.

587 00:53:04,224 --> 00:53:06,804 You’ve been looking for me all this time?

588 00:53:29,967 --> 00:53:31,047 Jen...

589 00:53:31,217 --> 00:53:32,837 Stop playing with it.

590 00:53:33,387 --> 00:53:35,427 I won’t break it.

179

591 00:54:03,710 --> 00:54:04,700 It’s Dark Cloud!

592 00:54:05,331 --> 00:54:07,331 Dark Cloud is coming!

593 00:54:22,853 --> 00:54:25,313 Lower the shade, don’t let them see you!

594 00:54:43,585 --> 00:54:45,705 Don’t touch the women!

595 00:55:15,369 --> 00:55:16,869 Let’s go!

596 00:55:35,471 --> 00:55:36,671 Come get your comb.

597 00:56:26,157 --> 00:56:28,907 Hurry back to your mother.

598 00:57:30,144 --> 00:57:31,854 She’s mine!

599 00:57:32,014 --> 00:57:33,014 Leave her to me!

600 00:57:43,535 --> 00:57:45,075 Come and get it!

601 00:57:45,246 --> 00:57:47,036 Give me back my comb!

602 00:57:48,576 --> 00:57:50,036 Let’s stop a moment.

603 00:57:50,206 --> 00:57:51,866 Give it back!

604 00:57:52,416 --> 00:57:54,656 You’re tired. You need rest.

605 00:58:00,757 --> 00:58:03,707 Your horse needs water. There’s a creek up

here.

606 00:58:11,689 --> 00:58:13,679 Well, there used to be!

607 00:58:21,200 --> 00:58:22,150 What’s your name?

608 00:58:24,160 --> 00:58:25,360 I’m Lo.

609 00:58:25,530 --> 00:58:27,660 The Hans call me Dark Cloud.

610 00:58:27,830 --> 00:58:29,660 I’m not that tall or big,

611 00:58:29,831 --> 00:58:31,621 but I’m quick as lightning.

612 00:58:44,602 --> 00:58:45,842 My comb!

180

613 01:00:21,783 --> 01:00:24,783 If you like that arrow, I can make you a

bow.

614 01:00:24,954 --> 01:00:27,244 Great for hunting wild chicken.

615 01:00:27,414 --> 01:00:29,124 They’re delicious.

616 01:00:34,635 --> 01:00:37,085 You need to eat. Understand?

617 01:00:38,265 --> 01:00:41,215 Then you’ll have the strength to fight.

618 01:00:43,186 --> 01:00:44,186 Understand?

619 01:00:54,027 --> 01:00:56,067 You’re eating too fast.

620 01:00:56,237 --> 01:00:57,647 Slowly.

621 01:03:03,342 --> 01:03:04,832 You’ve got quite a temper.

622 01:03:05,002 --> 01:03:06,962 It’s better this way...

623 01:03:13,513 --> 01:03:14,973 You coward!

624 01:03:17,853 --> 01:03:19,893 Still in a bad mood?

625 01:03:20,063 --> 01:03:22,143 At least you’re speaking.

626 01:03:22,694 --> 01:03:23,894 What’s your name?

627 01:03:26,694 --> 01:03:29,024 I didn’t think the Hans had names like that.

628 01:04:07,909 --> 01:04:08,659 Relax.

629 01:04:09,289 --> 01:04:12,319 If I had wanted to, I would already have

done it.

630 01:04:13,459 --> 01:04:15,829 You must be dying for a bath.

631 01:04:16,290 --> 01:04:19,160 Fresh water’s hard to get here.

632 01:04:19,800 --> 01:04:22,080 But I managed to bring some up.

633 01:04:22,260 --> 01:04:24,750 You can wear my clothes when you’re done.

181

634 01:04:25,381 --> 01:04:26,931 They’re clean.

635 01:04:42,863 --> 01:04:44,193 Don’t worry.

636 01:04:46,863 --> 01:04:50,613 I’ll sing, so you’ll know where I am.

637 01:04:51,624 --> 01:04:53,914 After the bath, you’ll be calmer.

638 01:04:56,124 --> 01:04:57,704 No more hitting on the head!

639 01:06:10,623 --> 01:06:12,913 All this trouble for a comb?

640 01:06:13,963 --> 01:06:15,423 It’s mine.

641 01:06:16,543 --> 01:06:19,633 It means a lot to me. A barbarian like you

wouldn’t understand.

642 01:06:21,054 --> 01:06:24,004 Not true. I can use it to pick fleas from my

horse.

643 01:06:25,604 --> 01:06:27,644 By the way, I’m a real Manchurian.

644 01:06:30,815 --> 01:06:31,975 I’m sorry...

645 01:06:32,355 --> 01:06:33,635 I guessed wrong.

646 01:06:33,815 --> 01:06:35,555 I thought you were a Han.

647 01:06:37,906 --> 01:06:39,866 Give me back my comb.

648 01:06:43,786 --> 01:06:46,026 I don’t take orders from anyone.

649 01:06:52,958 --> 01:06:53,958 Give it back.

650 01:08:12,587 --> 01:08:14,047 One night...

651 01:08:14,717 --> 01:08:18,847 when I was a boy, I saw a thousand shooting

stars.

652 01:08:19,847 --> 01:08:22,887 I thought, “Where did they all go?”

653 01:08:23,358 --> 01:08:27,398 I’m an orphan. I used to look for stars alone.

182

654 01:08:28,438 --> 01:08:33,518 I thought if I rode to the other end of the

desert, I’d find them.

655 01:08:34,319 --> 01:08:37,359 I’ve been riding in the desert ever since.

656 01:08:38,909 --> 01:08:41,399 And so, the little boy became a fearsome

bandit.

657 01:08:41,580 --> 01:08:44,670 He couldn’t find the stars, so he stole my

comb.

658 01:08:46,040 --> 01:08:49,740 Out here, you always fight for survival.

659 01:08:49,921 --> 01:08:53,591 You have to be part of a gang to stand a

chance.

660 01:08:53,761 --> 01:08:56,961 Slowly, your gang becomes your family.

661 01:08:57,852 --> 01:09:01,012 All that Dark Cloud stuff is just to scare

people

662 01:09:01,182 --> 01:09:03,432 and make my life easier.

663 01:09:04,272 --> 01:09:06,812 So you are still that little boy

664 01:09:06,983 --> 01:09:09,273 looking for shooting stars.

665 01:09:10,573 --> 01:09:12,393 I am a man.

666 01:09:13,073 --> 01:09:17,073 And now I’ve found the brightest star of all.

667 01:09:39,306 --> 01:09:41,216 Your father’s men are looking for you.

668 01:10:12,260 --> 01:10:14,170 They’re still out there, circling closer.

669 01:10:16,891 --> 01:10:18,551 Let them look.

670 01:10:19,851 --> 01:10:22,101 It is trouble for me.

671 01:10:24,941 --> 01:10:26,571 Don’t send me back.

183

672 01:10:29,612 --> 01:10:31,192 You must decide.

673 01:10:31,372 --> 01:10:34,242 You might get tired of this life.

674 01:10:36,293 --> 01:10:39,073 You might begin to miss your family.

675 01:10:39,583 --> 01:10:42,873 If it were our daughter, we’d look for her

too.

676 01:10:43,044 --> 01:10:45,334 She would miss us.

677 01:10:50,474 --> 01:10:51,464 Jen...

678 01:10:53,145 --> 01:10:55,015 I want you to be mine forever.

679 01:10:56,105 --> 01:10:57,685 I will make my mark on the world.

680 01:10:57,855 --> 01:11:00,315 I will earn your parents respect.

681 01:11:01,396 --> 01:11:03,056 We have a legend.

682 01:11:03,236 --> 01:11:05,606 Anyone who dares to jump from the

mountain,

683 01:11:05,776 --> 01:11:07,906 God will grant his wish.

684 01:11:08,406 --> 01:11:13,236 Long ago, a young man’s parents were ill, so

he jumped.

685 01:11:13,417 --> 01:11:14,957 He didn’t die.

686 01:11:15,377 --> 01:11:17,247 He wasn’t even hurt.

687 01:11:17,627 --> 01:11:20,377 He floated away, far away, never to return.

688 01:11:22,338 --> 01:11:24,958 He knew his wish had come true.

689 01:11:25,838 --> 01:11:28,128 If you believe, it will happen.

690 01:11:29,009 --> 01:11:31,049 The elders say,

691 01:11:31,519 --> 01:11:34,139 “A faithful heart makes wishes come true.”

184

692 01:11:45,281 --> 01:11:46,901 Keep it safe.

693 01:11:48,031 --> 01:11:50,991 Return it to me when we are together again.

694 01:11:53,291 --> 01:11:54,401 I will.

695 01:12:02,092 --> 01:12:05,672 If you don’t, I’ll come after you.

696 01:12:06,383 --> 01:12:09,223 And I won’t let you off so easy.

697 01:12:21,115 --> 01:12:24,525 Wherever I went someone always

recognized me.

698 01:12:25,195 --> 01:12:27,105 I really tried.

699 01:12:30,326 --> 01:12:32,236 Later, I heard you came to Peking.

700 01:12:32,416 --> 01:12:34,746 I was afraid I’d never see you again.

701 01:12:35,166 --> 01:12:37,046 So I came.

702 01:12:37,717 --> 01:12:39,667 I can’t let you marry.

703 01:12:43,717 --> 01:12:44,917 Go.

704 01:12:45,977 --> 01:12:47,087 Jen...

705 01:12:49,978 --> 01:12:51,938 Don’t ever come back.

706 01:12:52,108 --> 01:12:53,678 So it’s over?

707 01:12:55,279 --> 01:12:56,219 Yes.

708 01:13:12,040 --> 01:13:14,280 We heard noises.

709 01:13:14,461 --> 01:13:16,091 It was just a cat.

710 01:13:33,773 --> 01:13:36,013 You think Jade Fox will show up?

711 01:13:36,193 --> 01:13:38,103 She’s out there,

712 01:13:38,693 --> 01:13:41,533 but I doubt she’ll show herself.

713 01:13:41,704 --> 01:13:43,244 We’ll keep our eyes open.

185

714 01:13:43,414 --> 01:13:44,244 Sooner or later,

715 01:13:44,624 --> 01:13:47,624 She’ll come for the girl.

716 01:14:06,517 --> 01:14:07,297 Jen!

717 01:14:16,988 --> 01:14:18,188 Come with me!

718 01:14:33,010 --> 01:14:36,130 You’re mine! Come with me to the desert!

719 01:14:49,361 --> 01:14:50,141 Jen!

720 01:14:50,562 --> 01:14:52,772 Come with me to Xin Jiang!

721 01:14:58,242 --> 01:14:58,902 Tell me.

722 01:14:59,073 --> 01:15:00,353 Where is Jade Fox?

723 01:15:00,533 --> 01:15:02,243 Come with me. Hurry!

724 01:15:05,873 --> 01:15:08,713 You thought she’d give it all up and go back

West with you?

725 01:15:11,134 --> 01:15:12,504 She’s mine.

726 01:15:12,674 --> 01:15:13,954 Either way,

727 01:15:14,134 --> 01:15:17,754 you are no good to her dead. With the Gou

and Yu clans

728 01:15:17,925 --> 01:15:20,765 hunting you, you’ll soon be in their hands.

729 01:15:21,095 --> 01:15:22,425 I don’t care anymore.

730 01:15:24,935 --> 01:15:27,725 If you truly loved her, you wouldn’t say that.

731 01:15:30,026 --> 01:15:32,856 Don’t you want to see her again?

732 01:15:35,237 --> 01:15:36,237 All right.

733 01:15:36,407 --> 01:15:38,867 I’ll write you an introduction. Take it to

Wudan.

186

734 01:15:39,037 --> 01:15:40,947 Wait there for news from me.

735 01:15:43,578 --> 01:15:44,528 All right.

736 01:15:53,049 --> 01:15:55,719 When will this end?

737 01:15:55,889 --> 01:15:58,759 They take it, they put it back, they take it

again.

738 01:15:58,929 --> 01:16:02,929 My home is turning into a warehouse.

739 01:16:03,100 --> 01:16:04,020 Come in.

740 01:16:06,190 --> 01:16:07,100 Speak!

741 01:16:07,270 --> 01:16:08,650 Jen has run away!

742 01:16:08,820 --> 01:16:11,140 Gou found the wedding chamber empty.

743 01:16:11,321 --> 01:16:14,071 Governor Yu requests your assistance.

744 01:16:14,241 --> 01:16:15,861 You know the Giang Hu underworld.

745 01:16:16,031 --> 01:16:19,781 He wants to find her, and keep her from

harm.

746 01:16:21,122 --> 01:16:24,742 Sir Te, leave this to us. Don’t worry.

747 01:16:43,184 --> 01:16:44,684 What can I serve you?

748 01:16:47,065 --> 01:16:48,265 This cup is dirty.

749 01:17:03,457 --> 01:17:04,327 Hello.

750 01:17:05,167 --> 01:17:08,417 What’s your name?

751 01:17:09,427 --> 01:17:10,627 Long.

752 01:17:12,468 --> 01:17:14,298 It’s young Master Long.

753 01:17:14,468 --> 01:17:15,638 My apologies!

754 01:17:15,808 --> 01:17:18,648 I’m Iron Eagle Sung

187

755 01:17:18,808 --> 01:17:20,348 and this is my brother in arms,

756 01:17:20,519 --> 01:17:22,269 Flying Cougar Li Yun.

757 01:17:22,439 --> 01:17:23,849 What brings you to Huai An,

758 01:17:24,029 --> 01:17:26,399 and where are you headed, Master Long?

759 01:17:27,489 --> 01:17:28,949 Anywhere there’s action.

760 01:17:30,070 --> 01:17:33,690 In that case, perhaps we could be of

assistance.

761 01:17:34,990 --> 01:17:36,570 Don’t bother.

762 01:17:38,211 --> 01:17:40,741 You don’t seem to understand.

763 01:17:42,751 --> 01:17:44,251 So what if I don’t?

764 01:17:45,881 --> 01:17:49,301 We have ways of helping you to understand.

765 01:17:58,023 --> 01:18:00,853 Are you related to Li Mu Bai?

766 01:18:03,273 --> 01:18:05,023 He is my defeated foe!

767 01:18:24,046 --> 01:18:25,676 Have some tea.

768 01:18:54,789 --> 01:18:56,069 Shu Lien...

769 01:18:56,709 --> 01:18:59,659 The things we touch have no permanence.

770 01:19:01,760 --> 01:19:03,630 My master would say...

771 01:19:03,800 --> 01:19:07,170 there is nothing we can hold on to in this

world.

772 01:19:08,351 --> 01:19:12,301 Only by letting go can we truly possess what

is real.

773 01:19:13,891 --> 01:19:17,011 Not everything is an illusion.

774 01:19:17,192 --> 01:19:18,932 My hand...

188

775 01:19:19,112 --> 01:19:21,352 wasn’t that real?

776 01:19:23,322 --> 01:19:27,782 Your hand, rough and callused from

practice...

777 01:19:27,953 --> 01:19:31,073 All this time, I’ve never had the courage to

touch it.

778 01:19:34,624 --> 01:19:39,374 Giang Hu is a world of tigers and dragons,

779 01:19:39,544 --> 01:19:43,714 full of corruption...

780 01:19:44,965 --> 01:19:47,675 I tried sincerely to give it up

781 01:19:47,845 --> 01:19:50,085 but I have brought us only trouble.

782 01:19:50,265 --> 01:19:52,845 To repress one’s feelings only makes them

stronger.

783 01:19:53,436 --> 01:19:56,396 You’re right, but I don’t know what to do.

784 01:19:56,566 --> 01:19:58,776 I want to be with you...

785 01:20:01,157 --> 01:20:02,817 just like this.

786 01:20:04,787 --> 01:20:07,487 It gives me a sense of peace.

787 01:20:25,179 --> 01:20:26,509 Please follow me.

788 01:20:29,060 --> 01:20:31,850 I want a clean room. We have plenty.

789 01:20:34,480 --> 01:20:35,640 Your order?

790 01:20:35,821 --> 01:20:37,361 Steamed whole cod, bite-size meatballs,

791 01:20:37,531 --> 01:20:40,021 a little starchy, but keep the sauce light,

792 01:20:40,201 --> 01:20:43,321 shark fin soup, mixed vegetables, and some

warm wine.

793 01:20:44,202 --> 01:20:46,612 I have to order from a bigger restaurant.

189

794 01:20:46,792 --> 01:20:47,862 Hurry then.

795 01:21:31,297 --> 01:21:32,327 That’s him.

796 01:21:41,348 --> 01:21:44,468 I am Iron Arm Mi.

797 01:21:45,439 --> 01:21:48,809 I heard a true master has arrived. I have

come to seek a lesson.

798 01:22:02,240 --> 01:22:03,660 You asked for it!

799 01:22:24,103 --> 01:22:25,843 What kind of Iron Arm are you?

800 01:22:41,415 --> 01:22:42,905 You have amazing technique!

801 01:22:43,085 --> 01:22:45,405 I am Flying Saber.

802 01:22:45,585 --> 01:22:48,585 Are you related to Southern Crane?

803 01:22:48,756 --> 01:22:51,836 Southern Duck? I don’t eat anything with

two feet.

804 01:22:52,006 --> 01:22:54,216 Who could remember such long-winded

names?

805 01:22:56,097 --> 01:22:57,757 Li Mu Bai is your defeated foe,

806 01:22:57,927 --> 01:23:00,687 and you don’t know his master Southern

Crane?

807 01:23:01,807 --> 01:23:03,057 Who are you?

808 01:23:04,147 --> 01:23:08,147 I’m Shining Phoenix Mountain Gou.

809 01:23:09,738 --> 01:23:10,938 Gou?

810 01:23:11,528 --> 01:23:13,238 I hate that name.

811 01:23:13,408 --> 01:23:14,948 It makes me puke!

812 01:23:15,619 --> 01:23:18,189 Too bad you’re named Gou.

190

813 01:23:18,659 --> 01:23:20,649 You’ll be the first to feel my sword today.

814 01:23:42,272 --> 01:23:43,222 Hold it!

815 01:23:44,192 --> 01:23:46,862 Don’t you know Monk Jing?

816 01:23:47,022 --> 01:23:49,602 A monk, in a place like this? You need a

lesson!

817 01:23:49,783 --> 01:23:51,443 Who are you?

818 01:23:52,573 --> 01:23:53,813 Who am I?

819 01:23:54,243 --> 01:23:55,233 I am...

820 01:23:59,334 --> 01:24:02,994 I am the Invincible Sword Goddess.

821 01:24:04,674 --> 01:24:06,544 Armed with the incredible...

822 01:24:06,714 --> 01:24:08,204 Green Destiny.

823 01:24:14,425 --> 01:24:16,715 Be you Li or Southern Crane...

824 01:24:18,306 --> 01:24:19,936 lower your head...

825 01:24:20,106 --> 01:24:21,306 and ask for mercy.

826 01:24:28,107 --> 01:24:30,987 I am the desert dragon.

827 01:24:39,918 --> 01:24:42,538 I leave no trace.

828 01:24:53,060 --> 01:24:56,310 Today I fly over Eu-Mei.

829 01:24:58,440 --> 01:24:59,600 Tomorrow...

830 01:24:59,901 --> 01:25:03,311 I’ll kick over Wudan Mountain!

831 01:25:17,543 --> 01:25:20,573 We politely asked for a friendly match,

832 01:25:20,753 --> 01:25:22,993 but she showed no respect, and attacked us.

833 01:25:23,173 --> 01:25:26,703 Everyone came by to teach her a lesson.

834 01:25:26,884 --> 01:25:29,124 Her sword was just too powerful.

191

835 01:25:29,304 --> 01:25:30,544 I’ve traveled everywhere,

836 01:25:30,724 --> 01:25:32,764 but never met anyone so uncivilized.

837 01:25:32,934 --> 01:25:37,144 She kept accusing me of being Gou Jun

Pei’s brother.

838 01:25:37,315 --> 01:25:40,265 Who is this Gou, anyway?

839 01:25:41,855 --> 01:25:43,025 Her husband.

840 01:25:55,787 --> 01:25:57,697 We’re close to your headquarters.

841 01:25:57,877 --> 01:25:59,247 Go home and check in.

842 01:25:59,417 --> 01:26:00,667 What about you?

843 01:26:00,837 --> 01:26:03,127 I’ll look around and catch up later.

844 01:26:03,298 --> 01:26:04,168 Not a bad idea.

845 01:26:04,338 --> 01:26:08,258 Tonight we’ll get a good night’s sleep at

headquarters.

846 01:26:34,621 --> 01:26:35,951 Mistress, you’re back.

847 01:26:41,752 --> 01:26:43,172 It’s you!

848 01:26:44,262 --> 01:26:45,722 How is everything here?

849 01:26:45,883 --> 01:26:46,673 Fine.

850 01:26:46,843 --> 01:26:48,503 You’ve been gone a while.

851 01:26:48,683 --> 01:26:50,143 Yes, and I leave again tomorrow.

852 01:26:50,303 --> 01:26:52,303 Your wife was due? Yeah, a baby girl.

853 01:26:52,473 --> 01:26:53,223 Good!

854 01:26:53,393 --> 01:26:56,143 I’ll be happy if she’s half as strong as you.

855 01:26:56,854 --> 01:26:57,934 Mrs. Wu...

192

856 01:26:58,694 --> 01:26:59,974 You’re back!

857 01:27:00,154 --> 01:27:02,444 How’s the arm? Still sore? Much better.

858 01:27:03,535 --> 01:27:06,365 You’ve been gone so long.

859 01:27:07,575 --> 01:27:09,735 Li Mu Bai is coming to stay the night.

860 01:27:10,955 --> 01:27:12,865 I’ll go and make up his room!

861 01:27:43,069 --> 01:27:44,399 Sister Shu Lien...

862 01:27:51,080 --> 01:27:53,750 Here you must be in proper attire.

863 01:27:54,630 --> 01:27:58,460 I’m just borrowing some clean clothes. I’m

not staying.

864 01:27:59,761 --> 01:28:02,841 I’ll give them to you.

865 01:28:04,391 --> 01:28:07,261 I was just passing by and wondered how you

were.

866 01:28:09,432 --> 01:28:10,382 You, sister...

867 01:28:14,983 --> 01:28:16,523 Look at the trouble you’ve caused.

868 01:28:16,693 --> 01:28:19,443 Now you know what Giang Hu life is really

like.

869 01:28:19,613 --> 01:28:22,323 If you think of me as your sister,

870 01:28:22,743 --> 01:28:26,073 let me give you some sisterly advice.

871 01:28:26,244 --> 01:28:29,334 You can run from marriage, but not your

parents.

872 01:28:30,414 --> 01:28:31,994 They forced me to marry!

873 01:28:33,255 --> 01:28:36,045 Go back to them first.

874 01:28:36,215 --> 01:28:38,205 Then you can decide about Lo.

193

875 01:28:39,215 --> 01:28:40,295 You know about Lo?

876 01:28:49,106 --> 01:28:52,306 He really loves you.

877 01:28:53,027 --> 01:28:57,067 Come back to Peking with me. We’ll find a

solution.

878 01:29:01,238 --> 01:29:02,568 Where is he now?

879 01:29:02,998 --> 01:29:04,618 Li Mu Bai has made arrangements.

880 01:29:08,579 --> 01:29:10,579 He sent him to Wudan Mountain.

881 01:29:11,589 --> 01:29:14,209 You’re working together to set me up! I’m

leaving!

882 01:29:14,589 --> 01:29:16,919 How dare you accuse us!

883 01:29:17,090 --> 01:29:19,380 I always knew you had stolen the sword!

884 01:29:19,550 --> 01:29:22,010 I’ve done nothing but protect you and your

family.

885 01:29:22,180 --> 01:29:24,470 And you’ve repaid me with nothing but

contempt.

886 01:29:24,680 --> 01:29:27,640 Li Mu Bai himself spared you, and all you

do is insult him.

887 01:29:27,811 --> 01:29:30,981 We wanted some peace and you’ve ruined it

all!

888 01:29:31,151 --> 01:29:33,021 You’re no sister of mine!

889 01:29:35,612 --> 01:29:36,892 What do I care?

890 01:29:37,822 --> 01:29:40,112 You were never a real friend anyway.

891 01:29:40,492 --> 01:29:42,202 But I wonder...

194

892 01:29:42,372 --> 01:29:44,442 how long could you last as my enemy?

893 01:29:47,003 --> 01:29:47,993 Put the sword down!

894 01:29:59,474 --> 01:30:00,254 Jen!

895 01:30:03,935 --> 01:30:06,145 Everyone out. Shut the doors.

896 01:30:17,246 --> 01:30:19,736 Fine...the friendship is over.

897 01:33:33,669 --> 01:33:34,779 Don’t touch it!

898 01:33:35,459 --> 01:33:37,039 That’s Li Mu Bai’s sword.

899 01:33:38,589 --> 01:33:40,409 Come and get it if you can.

900 01:33:41,420 --> 01:33:43,250 Without the Green Destiny, you are nothing.

901 01:33:45,140 --> 01:33:47,040 Don’t be a sore loser.

902 01:33:51,521 --> 01:33:53,761 Go ahead. Take your pick.

903 01:33:54,521 --> 01:33:55,511 I’ll wait.

904 01:33:58,231 --> 01:33:59,311 Go ahead.

905 01:34:54,338 --> 01:34:55,708 Give me the sword.

906 01:34:58,218 --> 01:34:58,828 Take it!

907 01:35:04,139 --> 01:35:04,799 Stop it!

908 01:35:08,599 --> 01:35:10,429 You don’t deserve the Green Destiny.

909 01:35:10,600 --> 01:35:12,100 Not another lecture!

910 01:35:12,270 --> 01:35:13,100 On guard!

911 01:35:15,360 --> 01:35:16,310 Let’s end this here.

912 01:35:16,690 --> 01:35:18,480 Only the sword will settle this.

913 01:35:54,775 --> 01:35:58,905 I only let you go because I wanted to see the

real you.

195

914 01:36:05,166 --> 01:36:08,036 What do you know about a true heart?

915 01:37:49,948 --> 01:37:51,268 What do you want?

916 01:37:51,738 --> 01:37:53,978 What I’ve always wanted, to teach you.

917 01:38:27,482 --> 01:38:28,512 All right.

918 01:38:29,192 --> 01:38:31,772 If you can take back the sword in three

moves,

919 01:38:31,952 --> 01:38:33,362 I’ll go with you.

920 01:38:38,123 --> 01:38:38,823 Give it back!

921 01:38:38,993 --> 01:38:40,953 Kneel! Never!

922 01:38:41,123 --> 01:38:43,493 Then you have no use for the sword.

923 01:39:57,872 --> 01:40:00,832 Sooner or later they’d drag you back to

Peking.

924 01:40:01,633 --> 01:40:04,993 Your parents will never accept you again.

925 01:40:08,473 --> 01:40:09,553 But why go home?

926 01:40:10,474 --> 01:40:13,504 We’ve gone this far, we won’t stop now.

927 01:40:13,684 --> 01:40:16,094 You’ll always be my Lady.

928 01:40:18,895 --> 01:40:21,735 At last, we’ll be our own masters.

929 01:40:22,815 --> 01:40:26,025 We’ll be happy. That’s the most important

thing.

930 01:40:26,195 --> 01:40:28,565 All we have left is each other, right?

931 01:40:33,916 --> 01:40:35,406 Lie down and rest.

932 01:40:58,779 --> 01:41:01,439 She’s crazy. You should have killed her.

933 01:41:01,609 --> 01:41:03,479 I didn’t have the heart.

196

934 01:41:03,990 --> 01:41:06,530 Well, Li Mu Bai can do it.

935 01:42:17,278 --> 01:42:19,648 Is it me or the sword you want?

936 01:42:39,720 --> 01:42:41,460 You’ve been drugged.

937 01:42:59,573 --> 01:43:01,313 Where is Jade Fox?

938 01:43:43,908 --> 01:43:45,028 What happened?

939 01:43:46,288 --> 01:43:48,828 Jade Fox drugged her.

940 01:43:48,998 --> 01:43:50,458 How did you get here?

941 01:43:52,879 --> 01:43:55,169 We followed Jade Fox.

942 01:44:25,162 --> 01:44:27,572 And so you die.

943 01:44:29,213 --> 01:44:30,873 And so shall you!

944 01:44:39,344 --> 01:44:41,004 A poisoned needle!

945 01:44:44,975 --> 01:44:47,185 You deserve to die,

946 01:44:48,315 --> 01:44:50,525 but the life I was hoping to take...

947 01:44:50,865 --> 01:44:53,185 was Jen’s.

948 01:44:54,826 --> 01:44:57,066 Ten years I devoted to you.

949 01:44:57,446 --> 01:44:58,946 But you deceived me!

950 01:45:00,916 --> 01:45:02,786 You hid the manual’s true meaning.

951 01:45:03,247 --> 01:45:04,787 I never improved...

952 01:45:07,587 --> 01:45:10,127 but your progress was limitless!

953 01:45:11,508 --> 01:45:12,968 You know what poison is?

954 01:45:14,258 --> 01:45:15,588 An eight-year-old girl,

955 01:45:15,758 --> 01:45:18,878 full of deceit. That’s poison!

956 01:45:23,189 --> 01:45:24,269 Jen!

197

957 01:45:26,229 --> 01:45:28,189 My only family...

958 01:45:28,990 --> 01:45:31,310 my only enemy...

959 01:45:40,121 --> 01:45:41,281 You can’t die!

960 01:45:41,461 --> 01:45:43,781 Tell us what poison you used!

961 01:45:45,752 --> 01:45:47,162 You can’t die!

962 01:45:47,342 --> 01:45:48,422 Tell us the antidote!

963 01:45:48,592 --> 01:45:51,292 You can’t let Li Mu Bai die!

964 01:45:51,472 --> 01:45:53,262 She used Purple Yin...

965 01:45:54,803 --> 01:45:56,343 Purple Yin poison.

966 01:45:56,513 --> 01:45:58,143 It goes straight to the heart.

967 01:46:00,893 --> 01:46:04,683 It’s the same poison she used to kill my

master.

968 01:46:06,314 --> 01:46:09,774 My blood will soon reverse its flow.

969 01:46:10,824 --> 01:46:12,534 There is no antidote.

970 01:46:13,325 --> 01:46:16,825 That can’t be! Everything has an antithesis!

971 01:46:16,995 --> 01:46:19,115 Why not this?

972 01:46:19,625 --> 01:46:20,575 The antidote exists.

973 01:46:21,046 --> 01:46:23,246 She taught it to me.

974 01:46:23,666 --> 01:46:25,996 The formula is simple,

975 01:46:26,176 --> 01:46:28,326 but it takes time to prepare.

976 01:46:34,307 --> 01:46:35,257 Trust me.

977 01:46:36,597 --> 01:46:38,427 As you have helped me,

978 01:46:38,597 --> 01:46:40,427 let me help him.

198

979 01:46:42,358 --> 01:46:43,268 All right.

980 01:46:43,438 --> 01:46:47,188 Hurry. I will hold on as long as I can.

981 01:46:47,358 --> 01:46:49,738 Take my horse and go to the compound.

982 01:46:49,909 --> 01:46:52,689 Give this to Mrs. Wu. She’ll help you.

Hurry!

983 01:46:52,869 --> 01:46:55,819 Spare your energy. I’ll be back!

984 01:47:25,863 --> 01:47:26,943 Where is Mrs. Wu?

985 01:47:28,693 --> 01:47:29,643 Stop it!

986 01:47:31,323 --> 01:47:34,073 Shu Lien told me to show you this.

987 01:47:35,124 --> 01:47:36,584 Let her in.

988 01:47:50,686 --> 01:47:53,306 Mu Bai, hold on.

989 01:47:57,516 --> 01:47:59,396 Give me some hope.

990 01:48:24,219 --> 01:48:25,329 Shu Lien...

991 01:48:27,100 --> 01:48:28,800 Save your strength.

992 01:48:31,270 --> 01:48:33,720 My life is departing.

993 01:48:34,941 --> 01:48:37,101 I’ve only one breath left.

994 01:48:39,611 --> 01:48:42,021 Use it to meditate.

995 01:48:42,692 --> 01:48:45,152 Free yourself from this world

996 01:48:45,322 --> 01:48:47,812 as you have been taught.

997 01:48:48,782 --> 01:48:50,412 Let your soul rise to eternity

998 01:48:50,582 --> 01:48:53,362 with your last breath.

999 01:48:55,213 --> 01:48:56,753 Do not waste it...

1000 01:48:56,923 --> 01:48:58,793 for me.

199

1001 01:49:01,634 --> 01:49:03,624 I’ve already wasted my whole life.

1002 01:49:05,554 --> 01:49:08,124 I want to tell you with my last breath...

1003 01:49:10,265 --> 01:49:12,395 I have always loved you.

1004 01:49:48,349 --> 01:49:52,679 I would rather be a ghost, drifting by your

side...

1005 01:49:53,730 --> 01:49:55,560 as a condemned soul...

1006 01:49:58,320 --> 01:50:02,150 than enter heaven without you.

1007 01:50:04,121 --> 01:50:05,531 Because of your love...

1008 01:50:09,041 --> 01:50:13,121 I will never be a lonely spirit.

1009 01:51:09,068 --> 01:51:10,258 He’s gone?

1010 01:51:39,892 --> 01:51:40,922 Bo...

1011 01:51:41,892 --> 01:51:44,722 please take this sword back to Sir Te.

1012 01:51:51,823 --> 01:51:53,863 Now you must go to Wudan Mountain.

1013 01:51:54,283 --> 01:51:55,983 Lo awaits you there.

1014 01:51:57,654 --> 01:51:59,114 Promise me one thing.

1015 01:51:59,664 --> 01:52:02,494 Whatever path you take in this life...

1016 01:52:02,914 --> 01:52:05,074 be true to yourself.

1017 01:53:59,417 --> 01:54:02,207 Do you remember the legend of the young

man?

1018 01:54:04,338 --> 01:54:06,878 “A faithful heart makes wishes come true.”

1019 01:54:13,559 --> 01:54:15,299 Make a wish, Lo.

1020 01:54:18,060 --> 01:54:20,680 To be back in the desert, together again.

200

Scene Selection Menu of Crouching Tiger, Hidden Dragon (USA, 2000)

01 Start [0:52]

02 Li Mu Bai [5:27]

03 Sir Te [2:01]

04 Jen [3:24]

05 Governor Yu [3:37]

06 Sword thief [2:36]

07 To catch a thief [4:03]

08 Flyers [1:47]

09 Calligraphy [5:36]

10 Police Inspector Tsai [1:08]

11 What Shu discovered [2:30]

12 Yellow Hill: Midnight [2:32]

13 Li vs. Jade Fox [1:31]

14 Jade Fox’s disciple [5:55]

15 “Give yourself up.” [3:06]

16 Home late [2:55]

17 “The sword is back.” [3:00]

18 Dark Cloud [1:33]

19 “Come with me!” [19:40]

20 Young Master Long [3:08]

21 Seeking a lesson [3:41] 201

22 Invincible Sword Goddess [3:12]

23 Sisterly advice [2:27]

24 Jen vs. Shu [1:51]

25 Li vs. Jen [2:15]

26 “And so you die!” [5:20]

27 One breath left [8:36]

28 Wudan Mountain [3:43]

202

APPENDIX B

Distribution of Key Terms

The Mandarin Key Terms of Crouching Tiger, Hidden Dragon (USA, 2000)

The key terms with their synonyms and the lines they appear are as following:

Li Mu Bai 李慕白 (37)

Terms Lines

Li Mu Bai 李慕白 (24) 5, 91, 122, 124,129, 264. 270, 275, 277,

283, 372, 391, 444, 458, 476, 529, 764,

810, 884, 885, 886, 892, 904, 971

Mu Bai 慕白 (13) 9, 72, 74, 77, 83, 98, 222, 326, 558, 772,

864, 940, 997

203

Green 綠 (97)

Terms Lines

Fox with jade-color-eyes 碧眼狐狸 (21) 54, 226, 299, 301, 302, 304, 321, 333,

371, 393, 415, 465, 481, 498, 546, 559,

709, 724, 943, 945, 947

The Fox 狐狸 (7) 196, 315, 362, 364, 385, 424, 424

The Bluish-green Destiny sword 39, 91, 212, 217, 389, 392, 478, 492, 504,

青冥劍 (15) 505, 569, 783, 826, 889, 923

The (Bluish-green Destiny) sword 43, 46, 51, 72, 73, 74, 76, 119, 121, 125,

（青冥）劍 (46) 129, 153, 154, 190, 200, 210, 220, 297,

334, 342, 344, 346, 392, 432, 432, 451,

453, 467, 540, 542, 546, 548, 551, 824,

837, 898, 904, 906, 911, 914, 915, 917,

925, 928, 941, 1017

The Comb 梳子 (8) 598, 602, 603, 605, 613, 638, 645, 656

204

Yu Jiao Long 玉嬌龍 (28)

Terms Lines

Ms. Yu 玉小姐 (4) 106, 422, 459, 460

Jiao Long (Dragon) 嬌龍 (9) 293, 455, 585, 734, 743, 888, 900, 954,

963

Little Dragon 小龍 (12) 564, 576, 580, 676, 703, 714, 715, 716,

720, 723, 1023, 1024

Master Long (Dragon) 龍少俠 (3) 753, 754, 757

205

The English Key Terms of Crouching Tiger, Hidden Dragon (USA, 2000)

The key terms with their synonyms and the lines they appear are as following:

Li Mu Bai (29)

Terms Lines

Li Mu Bai (27) 4, 66, 78, 87, 95, 98, 121, 122, 221, 255,

261, 266, 268, 269, 275, 390, 436, 451,

530, 765, 805, 859, 879, 886, 898, 934,

963

Mu Bai (2) 6, 988

206

Green (71)

Terms Lines

Jade Fox (19) 51, 199, 225, 290, 292, 295, 299, 313,

368, 392, 460, 476, 495, 550, 710, 722,

937, 939, 941

The Fox (6) 308, 327, 349, 408, 417, 563

The Green Destiny sword (1) 37

The (Green Destiny) sword (33) 47, 66, 75, 87, 100, 124, 196, 202, 212,

217,219, 268, 288, 336, 340, 462, 472,

503, 542, 546, 552, 571, 813, 834, 883,

893,898, 905, 912, 918, 922, 935, 1011

The Green Destiny (sword) (6) 388, 391, 488, 822, 900, 908

The Comb (6) 596, 601, 612, 639, 647, 657

207

Yu Jen (11)

Terms Lines

Jen (11) 283, 578, 588, 677, 704, 716, 719, 741,

894, 947, 956,

208

The Visual Key Terms of Crouching Tiger, Hidden Dragon (USA, 2000)

The Sword (Green)

Item Hours: Minutes: Seconds Times

The Sword 00:06:17 to 00:06:47 00:00:30

00:09:04 to 00:10:24 00:00:28

00:11:48 to 00:13:17 00:01:29

00:15:55 to 00:21:07 00:05:12

00:37:16 to 00:38:41 00:01:25

00:43:12 to 00:46:02 00:03:50

00:49:11 to 00:52:03 00:03:52

01:16:38 to 01:18:05 00:01:27

01:20:25 to 01:25:03 00:04:38

01:27:43 to 01:35:12 00:07:29

01:35:12 to 01:38:43 00:03:31

01:39:47 to 01:40:00 00:00:13

01:41:31 to 01:43:01 00:01:30

01:51:17 to 01:51:44 00:00:27

Total: 00:36:01

Film Total: 01:57:00

209

The Jade Comb (Green)

Item Hours: Minutes: Seconds Times

Jade Comb 00:53:31 to 00:53:35 00:02:04

00:54:50 to 00:55:01 00:00:11

00:57:30 to 00:57:31 00:00:01

01:11:45 to 01:12:09 00:00:24

01:12:52 to 01:12:56 00:00:04

01:53:20 to 01:53:30 00:00:10

Total: 00:02:54

Film Total: 01:57:00

210

Scene 18 Dark Cloud and Scene 19 “Come with me!” (Red)

Scene Hours: Minutes: Seconds Times

18 Dark Cloud 00:53:41 to 01:13:21 00:19:20

Film Total: 01:57:00

Scene 20 Young Master Long (Green)

Scene Hours: Minutes: Seconds Times

20 Young Master Long 01:16:30 to 01:20:11 00:03:41

Film Total: 01:57:00

Scene 25 Li vs. Jen (Green)

Scene Hours: Minutes: Seconds Times

25 Li vs. Jen 01:35:18 to 01:43:54 00:08:36

Film Total: 01:57:00

211

APPENDIX C

Distribution of Associational Clusters

The Mandarin Clusters of Crouching Tiger, Hidden Dragon (USA, 2000)

The terms that cluster around key terms with their synonyms and the lines they appear are as following:

Death Terms 殺害、報仇 (36)

Terms Lines

Kill 殺害 (15) 45, 46, 307, 364, 375, 383, 445, 447, 451,

496, 502, 515, 559, 657, 938

Killer 殺人者、兇手 (3) 409, 440, 444

Poison 毒 (9) 444, 564, 952, 960, 962, 967, 968, 974,

977

Avenge 仇 (9) 55, 198, 226, 325, 329, 360, 570, 839, 965

212

Dragon and Tiger 虎、龍 (33)

Terms Lines

Crouching tiger, hidden dragon 779

臥虎藏龍 (1)

Tiger 虎 (5) 575, 610, 879, 880, 1019, 1027

Dragon 龍 (26) 293, 455, 564, 576, 580, 585, 676, 703,

714, 715, 716, 720, 723, 734, 743, 753,

754, 757, 826, 829, 888, 900, 954, 963,

1023, 1024

Wudan Terms 武當 (20)

Terms Lines

Wudan Terms 武當 (20) 13, 129, 201, 370, 375, 380, 381, 473,

495, 499, 522, 561, 562, 566, 736, 764,

832, 886, 1004, 1018

213

Affectionate Terms 愛 (16)

Terms Lines

Love 愛 (7) 267, 267, 284, 284, 733, 1009, 1013

Feelings 感情 (4) 94, 96, 279, 785

Happy 高興、痛快（5） 468, 468, 515, 540, 934

Marry 嫁、婚 (15)

Terms Lines

Marry 嫁 (12) 142, 144, 144, 145, 147, 180, 427, 559,

565, 701, 876, 877

Wedding 婚 (3) 257, 265, 280

Spiritual Terms 閉關、寂靜、修練、練神、得道、元寂 (14)

Terms Lines

Meditation 閉關、寂靜 (5) 14, 20, 21, 22, 374

Training 修練 、練神 (5) 14, 491, 556, 1003, 1004

Enlightenment 得道、元寂 (4) 26, 28, 1004, 1004

214

Confucian Terms 儒家思想 (8)

Terms Lines

Virtue 德 (3) 74, 286, 491

Friendship 人熟、朋友 (2) 132, 296, 896 132, 134 Trust/integrity 信義 (2) 286 Morality/etiquette 道德禮教 (1)

Xuan Piu Move 玄牝劍法 (3)

Terms Lines

Xuan Piu Move 玄牝劍法 (3) 129, 394, 495

Freedom 自由自在 (2)

Term Lines

Freedom 自由自在 (2) 266, 281

215

The English Clusters of Crouching Tiger, Hidden Dragon (USA, 2000)

The terms that cluster around key terms with their synonyms and the lines they appear are as following:

Death Terms (36)

Terms Lines

Kill (13) 268, 299, 383, 396, 438, 440, 493, 500,

517, 517, 563, 932, 967

Killer (3) 403, 436, 448

Murder (1) 51

Murderer (3) 432, 434, 443

Blood (3) 42, 117, 968

Bloodshed (1) 573

Poison (8) 373, 568, 944, 953, 955, 960, 965, 967

Avenge (4) 51, 200, 318, 359

Wudan Terms (17)

Terms Lines

Wudan Terms (17) 10, 16, 203, 367, 371, 378, 381, 468, 492,

496, 565, 566, 570, 733, 830, 880, 1012

216

Affectionate Terms (14)

Terms Lines

Love (5) 258, 730, 876, 1003, 1007

Feelings (4) 91, 270, 322, 782

Happy (5) 256, 543, 585, 854, 929

Spiritual Terms (12)

Term Lines

Meditation (4) 11, 17, 27, 994

Training (6) 15, 16, 17, 203, 379, 560

Enlightenment (2) 22, 24

Marry (9)

Terms Lines

Marry (6) 251, 252, 256, 563, 702, 872

Wedding (3) 246, 418, 742

217

Freedom Terms (8)

Terms Lines

Free (4) 131, 257, 586, 995

Freely (1) 147

Freedom (1) 273

Roam (2) 136, 147

Good Value Terms (6)

Terms Lines

Friendship (2) 132, 896

Trust (3) 132, 337, 976

Integrity (1) 133

218

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