A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON
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
ii
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
iii
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.
Department of Communication Studies
iv
___________________
Date
Abstract
of
A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON
by
Nai-Jen Chi
This thesis employs Kenneth Burke’s cluster analysis to examine Ang Lee’s martial arts
film Crouching Tiger, Hidden Dragon (USA, 2000). This Mandarin film achieved
extraordinary success in the United States, where it was the first foreign-language 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
v
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 Wuxia Genre ........................................................ 11
Review of Relevant Literature ........................................................................ 15
Previous Studies in Rhetoric ............................................................... 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
Li Mu Bai ............................................................................................ 44
Green ................................................................................................... 48
Yu Jiao Long/Yu Jen .......................................................................... 51
Interpretation of the Clusters .......................................................................... 55
Li Mu Bai ............................................................................................ 55
vii
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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1
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 Wang Dulu’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 Chinese language
and culture (Wittmershaus, 2000, para. 7, 21).
The translating process takes a long time. If the terms or concepts 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 meaning
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 languages. 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
6
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 The Departed (Martin Scorsese, 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 Taiwan, 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 China 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 class families experimenting with casual sex and
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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 Englishspeaking audiences very well. In addition, the cast and crew of CTHD were diverse.
They came from Taiwan, China, Hong 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 concept 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 Michelle Yeoh), 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
9
Zhao. After Meng Si Zhao 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 Beijing 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,
10
“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.
11
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:
13
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 Jin Yong, Gu Long, 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.
14
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 Cantonese 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
15
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 Plato, Aristotle 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 symbols to communicate with one another, and they view and
construct the world rhetorically. For instance, people use narratives as frameworks to
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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
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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
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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 ambiguity. 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
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parts: images as simulated reality, images as evidence, and images as implied selling
proposition; and then examines how people actually make and interpret visual images in
advertising. The results show that the three parts present a formulated theoretical
statement 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 (AlcoleaBanegas, 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 Rocky.
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
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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 symbol 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
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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
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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
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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
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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 clusteragon 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, linguistics, 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 CounterStatement (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 agency
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
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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
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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.
35
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 difference, 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.
37
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 nondiegetic 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, “No
matter 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.
41
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.
42
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.
43
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
46
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
47
(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
Identified Terms
Agon Terms
• Bluish-green
• Fox with jadeDestiny sword
color-eyes
• Wudan terms
• Death terms
• Spiritual terms • Black
• White
•
•
•
•
The English Subtitles
Identified Terms
Agon Terms
Green Destiny
• Jade Fox
sword
• Death terms
Wudan terms
• Black
Spiritual terms
White
48
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 Han 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
Identified Terms
Agon Terms
• Fox with jade- • Xin Jiang
color-eyes
• Red robes
• Jade comb
• The wedding
• Bluish-green
Destiny sword
• Bamboo forest
•
•
•
•
The English Subtitles
Identified Terms
Agon Terms
Jade Fox
• The dessert
Jade comb
• Red robes
Green Destiny
• The wedding
sword
Bamboo forest
51
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
Identified Terms
Agon Terms
• Dragon and
• Confucian terms
tiger
• Marry
• Jade comb
• Freedom terms
• Affectionate
terms
The English Subtitles
Identified Terms
Agon Terms
• Jade comb
• Good value
• Freedom terms
terms
• Affectionate
• Marry
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 Fu, 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.
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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 selfrepression, 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, 488489). 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
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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
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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,
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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. Chu 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
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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 Englishspeaking 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
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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
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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
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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,”
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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, funloving, 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 dragons’ 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
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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
Bai, their fingers touch and they look
embarrassed. Li Mu Bai pulls his hand
back right away.
As Shu Lien passes a cup of tea to Li Mu
Bai, their fingers touch and they look
embarrassed. Li Mu Bai pulls his hand
back right away.
Li Mu Bai: Shu Lien... The things we
touch have no permanence. My master
would say there is nothing we can hold on
to in this world. Only by letting go can
we truly possess what is real.
Li Mu Bai: Shu Lien... The things we
touch have no permanence. My master
would say there is nothing we can hold on
to in this world. Only by letting go can
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
from practice. All this time, I’ve never
had the courage to touch it.
Li Mu Bai: Your hand, rough and callused
from practice. All this time, I’ve never
had the courage to touch it.
Li Mu Bai takes Yu Shu Lien’s hand and
presses it to his face gently.
Li Mu Bai takes Yu Shu Lien’s hand and
presses it to his face gently.
Li Mu Bai: Shu Lien, crouching tiger and
hidden dragon are in Giang Hu, so are
human hearts; swords and knives
harboring unknown perils, so do human
relationships. I tried sincerely to give the
Bluish-green Destiny sword away, but it
brought us more troubles.
Li Mu Bai: Giang Hu is a world of tigers
and dragons, full of corruption... I tried
sincerely to give it up but I have brought
us only trouble.
Yu Shu Lien: To repress one’s feelings
only makes them stronger.
Li Mu Bai: You’re right, but I don’t know
what to do. I want to be with you, just
like this. It gives me a sense of peace.
Yu Shu Lien: To repress one’s feelings
only makes them stronger.
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 sentence 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;
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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 guilt, 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
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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
some hope.
Yu Shu Lien: Mu Bai, hold on. Give me
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
one breath left.
Li Mu Bai: My life is departing. I’ve only
one breath left.
Yu Shu Lien: Use it to meditate. Free
yourself from this world as a Wudan
practitioner has been taught. Let your
soul rise to eternity with your last breath.
Do not waste it for me.
Yu Shu Lien: Use it to meditate. Free
yourself from this world as you have been
taught. Let your soul rise to eternity with
your last breath. Do not waste it for me.
Li Mu Bai: I’ve already wasted my whole
life. I want to tell you with my last
breath. I have always loved you. I would
rather be a ghost, drifting by your side for
seven days. Even if I was banished to the
darkest place, my love will keep me from
being a lonely spirit.
Yu Shu Lien cries, holds, and kisses Li
Mu Bai. Li Mu Bai closes his eyes.
(The Chinese dialogue, line 997-1014)
Li Mu Bai: I’ve already wasted my whole
life. I want to tell you with my last
breath. I have always loved you. I would
rather be a ghost, drifting by your side as
a condemned soul than enter heaven
without you. Because of your love, I will
never be a lonely spirit.
Yu Shu Lien cries, holds, and kisses Li
Mu Bai. Li Mu Bai closes his eyes.
(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:
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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
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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:
91
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 propositions, 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.
93
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.
94
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 Chinesespeaking 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.
96
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
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，
所謂劍法即人法
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…
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
—給我剝了狐狸皮
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…
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？
—退下
—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
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
—爹
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
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，
於公於私，這都是我的事
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
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，
—沒事
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
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
—我要斬草除根
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
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
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
漢人們都叫我「半天雲」
我們再來打一打
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
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
是不是要回家看一看？
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
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
—什麼人…抓起來
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…
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？
我要的是玉嬌龍的命
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 sign 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
18 Dark Cloud
00:53:41 to 01:13:21
Times
00:19:20
Film Total: 01:57:00
Scene 20 Young Master Long (Green)
Scene
Hours: Minutes: Seconds
20 Young Master Long
01:16:30 to 01:20:11
Times
00:03:41
Film Total: 01:57:00
Scene 25 Li vs. Jen (Green)
Scene
Hours: Minutes: Seconds
25 Li vs. Jen
01:35:18 to 01:43:54
Times
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
Wudan Terms 武當 (20)
Lines
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
Trust/integrity 信義 (2)
Morality/etiquette 道德禮教 (1)
132, 134
286
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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