On the Translation of Xia Culture in Chinese Martial Arts Novels under the Background of Cultural Confidence based on Legends of the Condor Heroes

Cultural confidence is a nation or a country's full affirmation in its culture, the active practice of its own cultural values, as well as the firm confidence in the vitality of its culture. Introducing excellent Chinese martial arts novels to the world is a manifestation of cultural confidence. The success of the English translation of Jin Yong's martial arts novel "Legends of the Condor Heroes" by Anna Holmwood in the Western market can give Chinese translators a lot of inspiration in translating Chinese martial arts novels. This article analyzes the characteristics of the jianghu terms, characters’ nicknames, and KungFu names that constitute the xia culture in Chinese martial arts novels, and explores the different strategies used in Holmwood's translation for various culturally-loaded words and phrases, namely transliteration, literal translation with annotation, free translation, and creative translation. While retaining the exotic factors in the novel so that English readers can appreciate the unique charm of Chinese martial arts culture, it also appropriately ensures the readability of the novel, which is not an easy task in translating Jin Yong’s work. Thus the translation provides some references for the subsequent foreign translation of Chinese martial arts novels. Keywords— cultural confidence, martial arts novels, xia culture, translation strategies.

The first translation and publication of "Legends" in English-speaking countries has achieved initial success.
Actually besides the fourteen classic martial arts novels written by Jin Yong, there are many great works by Gu Long, Liang Yusheng etc. Since the publication of Holmwood's translation, many scholars have studied the dazzling tricks, culturally-loaded names, and wonderful fighting scenes in the novel from the perspective of translation. These are certainly meaningful for discussion, but the author believes that from the perspective of cultural communication, there is another point that cannot be ignored, and that is the xia culture in the book. It is the essence of Chinese martial arts novels that distinguish itself from Western knight novels and chivalrous culture. Qian also gave his own definition of xia in his "Biography of Ranger": in addition to master martial arts, he is truthful in speech and firm in action; his promises must be fulfilled; he will not put his body and his life first when saving other people; even done something heroic, he does not brag his ability or his virtue" (Zhang Peiheng, 1994). Liu Ruoyu (1991) summarized xia into eight aspects in the book "The Xia in China": helping others; justice; freedom; being loyal to one's confidant; being brave; being honest and trustworthy; cherishing reputation; being generous. In Jin Yong's novels, the spirit of xia is also inherited. He has repeatedly explained the xia in his heart, which is divided into three levels. The first is the relationship with strangers, for xia will do other's a favor whenever it is needed. The second is the relationship with brothers and friends, for xia will keep the loyalty among brothers and friends. The third is the relationship with his country and his people. Take Guo Xiaotian and Yang Tiexin in "Legends" as an example.
Although their martial arts are not superb, their brotherhood and their selfidentity which combines their fates with the fate of the nation are enough to be called xia.
Thus based on the above characteristics of the xia culture, the author attempts to analyze it from three perspectives: jianghu terminology, characters' nicknames, and names of the martial arts moves.

Jianghu Terminology
Yu Yingshi (1998) stated in the first sentence of "Xia and Chinese Culture", xia is a unique product of Chinese culture; jianghu as well as the martial arts novels written with it as a background, are "the unique of Chinese culture products." Therefore, in a certain sense, if one wants to understand the xia culture, he or she should first understand jianghu. Jianghu is one of the most important concepts in Jin Yong's martial arts novels. Together with words such as xia 侠, wu 武 and yi 义, they constitute the value and meaning of Chinese martial arts novels. Under these rules of order, the martial arts masters in "Legends" attach importance to reputation, match their behavior with their words and they do, and not bully the small and the weak. It can be said that jianghu provides a stage for those masters to show, and supports the value and meaning of martial arts novels.

Characters' Nicknames
The translation of the names in Holmwood's translation of "Legends" has been discussed by many. This article mainly discusses the nicknames of these martial arts masters. The nickname, also known as the titles, is based on a person's appearance, personality, occupation, specialty or living environment. It not only has the general referential function, but can also shape the character, portray the image of the character, convey emotion, and enhance the artistic expression of language.
The first volume of "Legends" translated by Anna Holmwood has 20 character nicknames. Among them, "马 王神"and " 南山樵子" show the professional characteristics of the characters, "飞天蝙蝠", "越女剑", "断魂刀", "追命枪", "夺魂鞭" embody the character's KungFu specialty, "三头蛟", "五指秘刀"and other reflect the physical characteristics of the character, "鬼门龙王", "参仙老怪", "千手人屠" and others borrowed traditional Chinese mythological images to shape the characters' personalities, and "闹事侠隐" and"笑弥陀" embody the life philosophy of being out of the world. In addition to personal nicknames, there is also a group nickname in the novel, such as "江南七怪", "黑风双煞", "黄河四鬼" and so on. These nicknames not only make the characters more distinctive, but also include traditional Chinese culture, religious philosophy, etc., and become another highlight of the martial arts novels.

Names of the KungFu Moves
Another element of the xia culture in Chinese martial arts novels is the jaw-dropping KungFu moves. The KungFu names in Jin Yong's novels are derived partly from real martial arts, such as "揽雀尾"and"太极手", but most of them are fictitious, such as "越女剑法", "九阴白 骨爪" and "降龙十八掌"etc. These fictitious names of Traditional Chinese philosophy is a collective concept encompassing many theoretical schools, such as Confucian philosophy, Taoist philosophy, I Ching thought, and the Five Elements System. All martial arts must be based on "qi" or "internal strength." Guo Jing was taught martial arts by the "Seven Immortals of the South" at first, but no matter how hard he tried, he couldn't get the essentials. In fact, he lacked the essence of "qi". Even though Cyclone Mei's martial arts was already very advanced, she still had to get some Quanzhen secrets from Ma Yu. "Qi" is actually the "Tao" in Taoism, and "Tao" is the origin of the world.
Therefore, many names of kung fu are also related to philosophical thinking, such as "Nine Yin Skeleton Claw" and "Five Elements Fists".
The relationship between traditional Chinese medicine and martial arts is also relatively close. The martial arts masters attack the vital points of their opponents in a fight, and the medicine used when saving lives is also related to Chinese medicine. In the novel, "分筋错骨手", "摧心 掌"and various acupuncture techniques make readers feel the connection between the two. Holmwood's translation is relatively successful, so the following will focus on analyzing the strategies adopted by Holmwood's translation of the first volume of "Legends", when dealing with these xia cultural terms.

III. THE TRANSLATION STRATEGIES OF "LEGENDS" FROM THE PERSPECTIVE OF CULTURAL CONFIDENCE
The long-standing culture of the Chinese nation is the support for the Chinese spirit, and cultural confidence is

Transliteration with Annotation
The jianghu terms mentioned above, such as jianghu, and jianghu Holmwood described in the preface, "There is such an area in southern China, which is out of power, and the rules and order are formulated and followed by a group of men and women who have practiced martial arts for many years. They use the geographical features of the south, river "jiang" and lakes "hu" to create a concept of jianghu, and the idea of the forest of martial arts, wulin.
This kind of alienation process retains the exotic flavor and unique meaning of the xia culture without affecting the reading experience of the target language readers.

Example 1: "无缘无故的来跟大师作对，浑不把 江南武林中人放在眼里。"
Why did this fellow challenge Your Reverence to a fight? He obviously doesn't think much of us masters of the southern wulin.
In addition, the same tactics are used in terms of "内功" neigong, "师傅" shifu, and "武侠" wuxia. However, the author also noticed that because this type of expression appears very frequently in the novel, Holmwood still retained the free translation when doing part of the translation. For example sometimes " 内功"is inner strength, "江湖豪杰"is masters of the rivers and lakes, "武 林高手" is translated as an exceptional practitioner of the martial arts, whose purpose is to reduce the difficulty of reading and improve the readability of the novel.

Literal Translation
The strategy of literal translation is mainly used in the translation of some literary KungFu names and character nicknames in "Legends". "以多敌少"An outnumbered win is never an honorable win, and "以大欺小"adults vs teenagers or males vs females is an uneven fight. The free translation strategy reflects the translator's own interpretation to Jin Yong's jianghu rules, which also allows readers to more directly understand the code of conduct and principles in the Chinese xia culture, and appreciate the demeanor of these great masters.

Creative translation
There are also some nicknames and KungFu names in the novel that contain the content of ancient Chinese mythology or use four-character idioms to condense their meanings. If they are simply translated literally, they will give readers a sense of obscurity and complexity. The effect of free translation is also not very satisfying.
Holmwood uses creative translation in these cases to

TRANSLATION STRATEGIES
The recognition of the first volume a Hero Born of the

V. CONCLUSION
As the representative of Chinese martial arts novels, Jin Yong's novels contain strong cultural characteristics. As a foreign translator, Anna Holmwood is able to have confidence in Chinese culture and spread the xia culture in Chinese martial arts novels to Western readers. Facts have proved that such a practice is feasible. Chinese scholars and translators should strengthen cultural self-confidence, promote the spread of Chinese culture to the outside world, and realize the harmonious dialogue between Chinese and Western cultures.