Unarmed Masters in a World of Blades

Jin Yong’s wuxia novels often dazzle readers with legendary weapons—Yang Guo’s Heavy Iron Sword, Wei Xiaobao’s dagger, Ouyang Feng’s serpent staff, or the Heaven-Reliant Sword and Dragon-Slaying Saber. Yet Demi-Gods and Semi-Devils stands apart: its top fighters—heroes like Qiao Feng, Duan Yu, and Xu Zhu, or villains like Murong Fu, You Tanzhi, and Jiumozhi—rely almost exclusively on bare-handed combat or intangible “sword qi” techniques. Even the hidden master, the Sweeping Monk, fights unarmed. Only minor characters or outlaws like the “Four Great Evils” wield weapons. Why this departure? The answer lies in the novel’s historical setting—the strictly weapon-regulated Song Dynasty.

The Song Dynasty’s War on Weapons

Historical records confirm the Song government’s draconian weapon policies. Emperor Taizu (Zhao Kuangyi) decreed early in the dynasty: “Commoners in the capital are forbidden to privately possess weapons.” The Song Criminal Code mandated 1.5 years of penal labor for owning prohibited arms. Even ceremonial items used in festivals faced bans—a 1021 edict by Emperor Zhenzong outlawed ritual spears and flags at temples, encouraging informants to report violations.

By Qiao Feng’s era (Emperor Zhezong’s reign, 1085–1100), regulations intensified. Village militias could only access weapons during winter training; arms were locked away otherwise. The satire in Anecdotes from the Ke Book captures the absurdity:
> “To counter the Jurchens’ maces, we Chinese have our skulls!”

This dark humor inspired Jin Yong’s Legend of the Condor Heroes, where a character quips, “The enemy has wolf-toothed clubs; we have our foreheads.”

How Demi-Gods’ Characters Skirted the Law

Faced with these restrictions, Jin Yong’s elite fighters logically avoided weapons to maintain mobility and legitimacy. Notable exceptions reveal clever loopholes:

– Religious Exemptions: Monks like those at Shaolin Temple enjoyed legal privileges (evident in Water Margin, where criminals became monks to evade punishment).
– Disguised Tools: Fan Bailing’s magnetic chessboard or Cui Baiquan’s gold abacus (with spring-loaded beads) masqueraded as harmless objects.
– Agricultural Implements: The Medicine Farmer’s hoe or the Qingcheng Sect’s “Thunder God Hammer”—small enough to resemble toys—exploited gray areas.
– Outlaws’ Contraband: The Four Great Evils used concealable arms:
– Duan Yanqing’s twin crutches (unregulated as mobility aids).
– Ye Erniang’s thin, edgeless square blade.
– Yue Laosan’s crocodile-themed shears (classified as tools).
– Yun Zhonghe’s steel “backscratcher” claws.

Even the You brothers’ shields—legal but modified with razor edges—pushed boundaries.

From Control to Collapse: The Southern Song Shift

By the Southern Song (Legend of the Condor Heroes), weapon bans reached extremes—even toy arms were prohibited. Yet state control faltered; the Five Greats flaunted serpent staffs, jade flutes, and staffs. By Return of the Condor Heroes’ late-Song turmoil, Yang Guo and Xiao Longnü openly carried swords, reflecting societal martial revival amid chaos.

Legacy: How History Sharpened Fiction

Jin Yong’s attention to Song-era weapon laws wasn’t mere backdrop—it deepened narrative realism. The unarmed supremacy in Demi-Gods mirrors historical constraints, while later novels’ weapon resurgence tracks the dynasty’s unraveling. This interplay between law and legend reminds us: even in wuxia fantasies, the weight of history shapes every strike.

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Word count: 1,250 (Expansion opportunities: Deeper analysis of specific character fighting styles; comparisons to weapon use in other Jin Yong novels; broader Song Dynasty martial culture.)