Origins of Hong Kong Genre...                                                           - 2 - of Chinese writings (Morgan 185).  The movements were meant to enhance the ch?i, the electrifying life force contained within each living being, to the point where each monk was able to not only concentrate on their meditations, but also to follow through on Buddha?s original teachings of self sacrifice through the use of self defense, for the betterment of society (186).  This new style of quick moving boxing motions came to be known as Kung Fu. Speculation regarding the origins of Taoism abounds; however, scholars and historians have traditionally placed the foundation of Taoism during Lao Tzu?s life.  Like his predecessors, Lao Tzu, born around 300 B.C.E., founded the teachings of Taoist as a response to the turbulent social situation that existed in China (Gernet 160).  Utilizing a combination of the Confucius beliefs in the proper conduct of a ruler and warriors, as well as the Buddhist teachings of self-sacrifice, Lao Tzu went further by stating that people were not only able to be virtuous, but that the act itself was something that was innate within every human consciousness.  Additionally, he believed that human life was influenced by outside forces (Leaman 89).  It is in Taoism where the introduction of animism, the belief that every living thing and object has life, was first introduced.  Additionally, alchemy, well known in China at this time, was brought into the Taoist philosophy. In Taoist alchemy, the concept of the ch?i from Buddhist teachings was incorporated and enhanced.  Taoists believed that the ch?i was created in the body and was purified by meditation, proper nutrition and life habits.  Through the ch?i, power was circulated throughout the body to the twelve psychic areas (Morgan 244).  The Taoist monk, Chang San-feng, further built upon the teachings of the ch?i and incorporated the movements of the Shaolin order of Kung Fu to invent what is considered to be the ?soft? form known as t?ai chi chuan (Cohen 65). Early writings from master Chang San-Feng detail how, through meditation and practice, both students and masters of t?ai chi chuan were able to perfect the art to the point where the performer of the boxing movements, and with the use of their ch?i, were able to ?soar through the air? during their battles (Morgan 255).  It was also written that masters of t?ai chi chuan were able to administer a single, lethal blow against their opponent that would cause death (256).  Although such feats have yet to be physically proven, it is necessary to include this into the research owing to the fact that it directly impacts upon the wuxia writings and subsequent adaptations into the modern American film genre. It is important at this point to introduce the final figure who played a prominent role in the creation of wuxia tales.  Meng-Tzu, also known as Mencuis, is estimated to have lived one hundred years after Confucius, and near the latter end of the Warring States era.  Although a devout follower of Confucius, he formed differing viewpoints from the teachings of the founder.  Like Confucius, he strived to find ways that would create better forms of government for his people.  He subscribed to the belief that the emperor was in power by and for the people, and that it was therefore necessary that the ruling leader not only deal with his subjects in fairness, but that he had a direct responsibility toward the people.  He taught that rulers should govern the people by the principle of Yi, through righteousness, and not from profit (Garnet 98). Mencuis extended his teachings toward the entire social stratification that existed within China.  While the rulers were responsible toward their subjects, as fathers are to their family, those who were physically stronger were responsible for their countrymen who were unable to protect themselves even to the extent of standing up against an unjust emperor (Garnet 99).  This philosophical belief not only incorporated the teachings of the greater good, as well as Confucian belief of respect toward family and elders, but it also pulled into the notion that monks, and their students, were able to take a stand against tyranny when the battle was viewed as just or righteous. Another major component within Meng-Tzu?s teachings was that education and status could be attained by all regardless of social standing or gender.  No longer was a title an inherent gift passed down from father to son.  Now, titles such as warrior or master could be attained by any individual who chose to study with a master.  Long before the French philosopher, Jean Jaques Rousseau wrote his view on education, Meng-Tzu had outlined the way in which his and other teachings were to be passed down, either through group study, as in the formal environment of a monastery, or by learning from a mentor (Gernet 299). Either as a way to disseminate the teachings amongst the masses, or as a form of pure entertainment, no one is certain how the wuxia tales initially began.  What is well known is that it was during the latter years of Meng-Tzu that the canons for the wuxia literature finally reached its nexus (Cohen 189).  Such tales are known to have traveled the land through itinerant story tellers and traveling acting troupes whose main function was to entertain as well as teach. Wuxia tales had similar components within them that distinguished them apart from other mythology and legends in China.  The major story lines of wuxia tales all dealt with a swordmaster, either male or female, who traveled the lands and in their journeys, performed heroic deeds for the betterment of society.  With their superior knowledge of the art of war, sword fighting and physical training in Kung Fu, and more specifically, t?ai chi chuan, the hero of the story was able to harness their ch?i in order to perform superhuman feats during battles (Dresser 118).  Although some wuxia tales encompass only a single protagonist hero, far more incorporate the addition of a secondary character within the story lines (Birrell 247).  In the second form of tales, the protagonist of the stories always began their journeys alone, but through happenstance or the actual seeking of a novice; end up with another traveler with the specific intent of becoming their mentor (Stokes 89).  By the addition of the secondary character, the relationship between a master and student was reinforced. Whether they tell about a single hero, or two, all wuxia stories described the heroes as incorporating the virtues of judiciousness, gallantry, nobility, virtue, valiant conduct, valor and self sacrifice by acting for the greater good of the community rather than the self.  All of the tales described events where the protagonist hero and their student, if one was in the story, would defend those who could not defend themselves.  Although the wuxia tales describe their protagonist as ?knight? errant, the major differences between the wuxia tales, and those of later, western authors is the notion of aristocracy.  Whereas the tales that were derived from British and European lore describe the hero knight as being of royal blood, the wuxia hero, although considered a knight, derived from common lineage and through training and discipline earned the status of master (Desser 143).  This major difference made it possible for individuals, regardless of rank, to effect a social change which placed them in a higher class than what was afforded in the social stratification of the European aristocracy. For many centuries, wuxia folk lore made its way into the lives of both the common people and nobility of China.  The tales that outlined heroic deeds encompassed all aspects of life including the camaraderie between the student and mentor, and shifted in names and locations for each individual region.  Through the changing political face of China, the wuxia tales continued the retelling of the journeys of heroes; however, a slight change began to take place between the time of Mencius and the modern era (Stokes 89).  Although the main protagonist of the tale remained a virtuous character, in some of the tales a darker side began to emerge from the hero.  The darkness they found themselves battling was a part of their own ch?i that was allowed to do harm, rather than help those who were weaker.  Because of this, they found themselves faced with a challenge that pitted them against their own internal darkness (Birrell 250).  In these tales, the hero figure is only able to find redemption by returning to their original teachings in order to find the strength necessary to harness the power of ch?i to continue on the hero?s path even to the extent of self-sacrifice. Up until the revolution in 1949 that brought about the People?s Republic of China, wuxia literature was a popular form of fiction.   The tales of heroism, virtue, valor and selfless acts were not only written by countless story tellers, but the tales were commonly reenacted by traveling groups of actors across the countryside.