China's modern martial arts novels, which rose in the early 20th century, are experiencing an era of great stylistic changes. Their cultural genes in content and form can not be simply attributed to the China tradition of classical chivalrous heroes, nor to the European beauty of Lang Song or Anderson's concept of "one nation, one country". In just 30 years, the popular novels of the Republic of China quickly experienced the change of subject consciousness from improved theme to romantic feelings and then to humanistic care, which contained complex entanglements between East and West, tradition and modernity. So ... in form, including stylistic pattern and narrative structure, what course has China's modern martial arts novels gone through? This paper points out that there were different formal genes in the martial arts novels of the Republic of China from the beginning, and they began to form integration in the early 1940s, with Zheng Zhengyin as the representative, which opened a new era in the narration of martial arts novels and its influence continued into the new century.
Today, more than half a century later, Zheng Zhengyin is not particularly famous in the old martial arts novels of the Republic of China. He seldom used new literary techniques, but made gradual innovation on the basis of China's traditional chivalrous novels. Compared with Bu Xiaosheng, Zhao Huanting and the landlord of Zhu Huan in Pingjiang, and White and Wang Dulu in Xinwen School, he is closer to China's traditional techniques, and the internal origin of his literary form is left to us.
The so-called "classical chivalry" refers to the mature classical chivalrous novel form from Historical Records to Tang Legend and then to Water Margin. The chivalrous men praised by Sima Qian are mainly individual rangers. They travel all over the world, do chivalrous deeds, bite the hand that feeds them, and form an individual behavior pattern of quick revenge in the tradition of chivalrous literature, which is expressed in literary narration. I call it "the knot of enmity". Between chivalrous men and hooligans, there is also a broad middle way, that is, a social form called Jianghu in history. From the "Chang 'an Youth" in Hanshu Biography of Corrupt Officials to the "Luoyang Hui Family" in Wang Fu's Theory of Concealment of a Husband, most of them are out of the mainstream system because of the illegal use of force and the gathering of people, which conflicts with the mainstream system. These two behaviors constitute a typical chivalrous narrative plot, which meets and blends in the Water Margin. However, after the mainstream system invaded chivalrous ethics, after the chivalrous man left the Jianghu, there were only two choices: death and eagle dog. After entering modern martial arts novels, this tradition is bound to be broken. The tragic atmosphere of chivalry created by White and Wang Dulu in 1930s, to a certain extent, once again aroused the tragic consciousness of classical chivalry, which was the helplessness behind Zheng Zhengyin's superficial elegance such as "the knot of enmity" and "Heroes' Meeting" in the early 1940s. This feeling has been vaguely reflected in many martial arts novels in the late 20th century, and reached its acme in Jin Yong's The Duke Of Mount Deer, which finally contributed to the "modernization" experiment of martial arts novels with traditional rebellious meaning.
The content and form of martial arts novels in the Republic of China are very different from those in the late Qing Dynasty. Examining its diachronic cultural growth, we can find that it continues a wider range of cultural genes, which not only combines tradition and modernity, but also tries to cross the East and West. Folk customs, new literature and traditional classics have appeared for a long time, forming three different forms of martial arts novels, showing the course of modernization of martial arts novels. Folk custom is a literati adaptation of aesthetic and personalized folk narrative. The new style of writing is an effort to dig deep into martial arts novels, consciously moving from the edge to the center, hoping to enter the literary palace. The classic chivalrous style is an exploration of nationalization on the basis of the first two, which shows the writer's efforts to return to and upgrade the tradition. As far as the plot narrative that readers are most concerned about is concerned, folk customs are still in the stage of quasi-notes, and the new style has more shadows of social novels and romantic novels. Only in the classic chivalrous style, through the comprehensive integration of classical tradition and modern exploration, can the plot narrative of martial arts novels with strong dramatic conflicts be established.
Critics who tend to adopt new literary techniques often regard Bai Yu and Lord of Zhu Huan as two representatives of martial arts in the Republic of China. However, this does not mean that the classic chivalry has declined. As a traditional culture with a long history, classical chivalry coincides with the understanding of chivalry in traditional ethics in value system and with the novel function of knowledge inheritance in cultural system. On the other hand, although there is a continuation of tradition in narrative mode, it shows more efforts to improve tradition, which is exactly what this paper is going to discuss.
Zheng Zhengyin's The King of Talons was written in 194 1, which describes a simple and single main story in a grand space, which can be said to be a revolutionary innovation in the narrative mode of traditional novels. In the traditional long narrative, there are mainly three modes: one is the short story connection, which is unified by a main line of form, which is generally the case from the Water Margin to the Scholars; The second is biographical style, which describes the changes in the surrounding environment of a character's growth, and the time span is often as long as several years. For example, A Dream of Red Mansions, Jin Ping Mei and Meng Lijun are the third kind of wandering horizon style, with the protagonist moving from one place to another as a clue. It's a series of stories about the same protagonist, such as Journey to the West and Mirror Flower Edge, and so on. Martial arts novels in the 1920s and 1930s mainly adopted the above narrative mode. Zheng Zhengyin, on the other hand, broke through the traditional narrative mode through The King of Talons. He alternated plot narrative with cultural narrative, confirmed culture in stories and strengthened stories in culture, which has certain encyclopedic significance and provided an important formal basis for the "cultural integration" of China's modern martial arts novels.
Coincidentally, this encyclopedic cultural integration is not only happening in the East. In the tradition of western novels, there have been similar techniques for a long time, and because of the western rationality and scientific tradition, its cultural narrative is more incisive. Moby Dick, published by American writers Melville 185 1, is a 600,000-word book with only a simple story, and a lot of space is used for encyclopedic cultural narrative, which is more prominent than King Talon. Although China's modern martial arts novels are influenced by western literature in many ways, we can't find any material to show that Moby Dick has a direct connection with King Talon. However, through comparison, we can better explain the advantages and disadvantages of the narrative mode of Talon King, and provide reference for China's martial arts novels and even more extensive traditional writing.
It is precisely because of the distinctive narrative performance of Talongwang that he still has an important influence on later martial arts literature. Here are two examples. One is Gu Long, who once said, "Zheng Zhengyin is the first martial arts novelist I admire. Although his writing route is not imitated by many people, the martial arts moves and gang scales in his books are still being adopted, so he undoubtedly has the status of a patriarch. " The second one is Zhang Yimou, who said in an interview with the reporter about Hero: "1967, I read a book called The King of talons, which is in traditional Chinese characters and vertical version. I forget who wrote it. There are 27 thin books, each of which is independent, like electricity.
Depending on the series, students take turns watching it, and then talk to each other after reading it. The order is different. Up to now, I still remember that the two men in black, Zhao Yan Shuangxia, both have high martial arts. At every critical moment, there are two black old men coming out, and this image has been in my mind until now. It may not be very famous, but it had a great influence on me when I was a child. Then he became a martial arts fan. Therefore, it is of great significance to discuss the narrative performance of King Talon and Moby Dick.
Second, the plot narrative of King Talon and Moby Dick.
At present, in the study of martial arts novels in the Republic of China, there is relatively little attention paid to Zheng Zhengyin. Except the relevant chapters in the monograph, the monograph only sees Ye Hongsheng's On Zheng Zhengyin's Struggle with Gangs. Its research is mainly carried out on the level of social and cultural criticism, pointing out the "Jianghu" nature of Zheng's works and its enrichment to Wulin, but there are more important aspects in genre poetics, namely Ba Zheng's. The structural meaning of each component can only be understood if it is related to genre. "So, how did Zheng Zhengyin integrate the scattered" rivers and lakes everywhere "into a literary structure that well embodies the literariness of novels and the popularity of popular literature, and promoted the plot narrative mode of martial arts novels in the 1940s, providing some necessary factors for the transition from the old martial arts to the new martial arts, which is worth exploring for constructing genre poetics of martial arts novels and even popular novels.
The book King of talons consists of 73 chapters, with about1.5000 words. The narrative of the plot adopts the way of going hand in hand with vertical and horizontal clues. The longitudinal clue is "the knot of enmity". Huaiyang School was robbed by Fengwei. Huaiyang School retaliated on a large scale, followed thousands of miles, went straight to the general altar of Fengwei School, broke fenshuiguan, and then went to the twelfth floor dock. The horizontal clue is "Hero Club", both sides. The two clues meet at the last minute, and the whole plot is completed by another accidental factor. The traitor of the Fengwei Gang attracted the official army, the Fengwei Gang collapsed, and the gang leader Wu Weiyang escaped alone. The plot mode of King Talon is not novel. It can be said that it is simply a reprint of Water Margin, where decent people are killed, revenge is used to destroy disasters, heroes meet and everyone is happy. However, the Water Margin is a series of stories, and the Eagle Claw King only wrote one story, 73 times10.5 million words, which formed a huge difference. The way of handling plot clues plays different roles in the whole narrative structure. The knot of enmity and resentment: it is the motive force of plot development and the process from hatred to solution, just as Jin Yong said, "it is the basic mode of dynamic deep relationship structure of characters in martial arts novels and also the basic mode of dynamic plot development." "Hero Club" is the driving force for the formation of character structure, the process from a single character to a group of characters, the basic model of the static relationship structure of characters in martial arts novels, the convergence of different characters due to the same Jianghu event, the reflection of the reality and loyalty ethics of Jianghu society projected by martial arts style, and the basic model for the construction of the ending of martial arts novels.
The question now is how to carry a large space in a single plot and make the narrative tense and interesting. In my opinion, carefully filling the narrative blank in the vivid clue structure, thus grasping the narrative tension between simplicity and complexity, causing strong internal tension, thus forming the potential energy accumulation of the plot and showing another complexity in simplicity.
When the "story" of natural time is regarded as the "plot" of unnatural time, the linear time factor changes accordingly, the monorail continuity of time is broken and reorganized to form a complex potential time structure, and the vertical balance of time is distorted and exaggerated to form a jumping time structure. Furthermore, as the German scholar Steinzel said: "The new time dimension exists in the' width' of time, in the depth of time and in a certain direction of time flow." Although the popular novels in the 1940s were far from reaching the level of "modern novels" in terms of time concept, under the attack of various cultural factors at that time, it was obvious that they started a new exploration of both continuing the classical tradition and improving their skills.
After the classic linear time structure was broken, many narrative gaps were left. How to fill these gaps has become the first problem for writers to solve. In classical novels, there is a way to fill the narrative blank with "scene image of physical space", which Zhang Shijun summarized into specific forms such as gardens, festivals, poems and songs, birthdays and deaths, forming an all-encompassing encyclopedic narrative structure. Zheng Zhengyin used this technique for reference, and used a lot of scene images of material events unique to the martial arts style to fill the narrative gaps in his works, especially to enlarge the "Jianghu" and "Martial Arts" with knowledge space significance, which played a role in space compression. This method is also adopted by western literary masterpieces, such as Moby Dick published by American writer Melville 185 1. Moby Dick has 600,000 words and only wrote a simple story. Ishmael recommended himself to be a sailor on the whaling ship "Pequod" and followed the captain Ahab to chase the beluga whale that bit off the captain's leg. After three days of tracking, Ahab's whole ship died with Moby Dick, and all the people on board died in the sea except Ishmael. Moby Dick adopts folk and intellectual narrative techniques in filling the narrative gap, and almost half of its length is the tradition and anecdote of whaling industry. The martial arts and rivers and lakes in The Eagle Claw King can be described in slow motion, the secrets of martial arts are explained in detail, and the supplementary narration of related anecdotes can be used to draw thousands of words from a master duel, which is more than ten times as long as the previous Water Margin and the later Gu Long novels.
This narrative technique is actually a narrative adventure. Liang Yusheng recalled martial arts novels more than 20 years later and said: "The description of martial arts in" The King of Eagle Claws "is very detailed and delicate; However, many people feel very boring after reading it. " In the world of martial arts since 1960s, new martial arts novelists have gone beyond the deification of simple imagination and realistic martial arts narration, and more concise and aesthetic narrative forms have emerged, such as Liang Yusheng's poetic martial arts, Jin Yong's artistic conception martial arts and Gu Long's atmosphere martial arts. Not only that, Ge Fei can't help but sigh: "We still think this part is too complicated. In my experience of reading Moby Dick several times, I often unconsciously want to skip chapters that are too long, too detailed and too complicated. " Despite the above problems. Moby Dick is still called "the greatest and most outstanding novel" in the history of American literature, and the overall achievement of King Talon is also commendable. I think that in the narrative structure of a novel, there is always a tension between simplicity and complexity, which constitutes an internal tension. Under the guidance of narrative extension and development, the stories of King Talon and Moby Dick are simple, but the narrators try to create a kind of complexity in upgrading the stories to plots and filling the narrative gaps.
The most direct external manifestation of complexity is the extension of space, and the specific content is the spread and exaggeration of folk and intellectual narratives. Once the story is consciously integrated into the plot, Moby Dick has certain cultural anthropological significance, which implies the ecological relationship between man and nature. The King of Eagle Claw explores the roots of China's martial arts culture in the martial arts craze since the early years of the Republic of China, so the martial arts novel has become a modern style that combines the aesthetic form of martial arts with the ethical judgment of chivalrous people and is different from the old chivalrous novels. Then, "it really combines China's traditional martial arts with narrative literature, forming a unique form of martial arts novels. It was done by Zheng Zhengyin, which can be verified in his masterpiece The King of Talons. This evaluation is by no means groundless.
Complexity is a simple development, which is simply reflected in a single plot clue. Zheng Zhengyin has always adhered to the main plot. In the King Talon, "pursuing kindness and enmity" is always the subject of positive narrative. Other interspersed stories, such as the origin of the king, the beggar of the iron flute, and the festival of the death of the old seven, are roughly equivalent to the supplementary narrative and narrative words linked by the "head" method when classical historians write biographies. The hidden supporting clues such as Yan Zhao's two outstanding figures and Lan Jia's two short figures are equivalent to the positive narration and narration in Liu Xizai's "Outline of Art-Literature", rather than the storyteller's "two flowers, one for each". This is different from the multi-clue spatial processing of the structure of Water Margin and Heroes of Children, which shows the complicated Jianghu world as a simple knot of gratitude, resentment and justice ethics. The return from complexity to simplicity is not only simple in meaning, but also simple in structure.
The advantage of complexity is that people are overwhelmed, and the advantage of simplicity is that people can see at a glance. Complexity is a complicated mountain, and simplicity is a bright future. In the 1940s, the readers of martial arts novels were mainly "literati", which made writers often accommodate the secular business needs of publishers, reappear the traditional secular ethical values repeatedly in meaning, and simplify the structure by inheriting the traditional aesthetic taste. The so-called "inheritance" is, in my opinion, the inheritance of detailed writing conventions formed by critics since Ming and Qing novels, such as "secondary plot strokes", "using emptiness and reality in martial arts description" and "singing martial arts in character expression". The so-called "simplification" is Zheng Zhengyin's creation, which only uses huge space to express a single story. Compared with the popular multi-clue cohesion episode since the late Qing Dynasty, the plot structure is purified by simplifying the story structure. On the basis of the complete structure of the novel, it is conducive to the detailed treatment of the text. No matter how tedious people's criticism of this kind of novels is, compared with the novels in the late Qing Dynasty and the early Republic of China, their narrative is more ingenious and the plot is more attractive. Through the further concentration of clues, the comprehensive effect has changed the relationship between time and space in the traditional mode, changed the signifier structure of story time and space, established a new signified structure of narrative time and space, and formed a great tension with the tension between complexity and simplicity, which stimulated and influenced readers. Ge Fei said of Moby Dick: "The narrative we feel from time to time has an internal tension, which permeates the whole work. Even if the brushwork is temporarily separated from the' plot', we will still feel this tense atmosphere. " When talking about Zheng Zhengyin, Gu Long said that his characters were "concise" and "neat", and Ye Hongsheng praised "The King of talons" as "elaborate structure and elaboration", pointing out that it was Zheng Zhengyin who turned complexity into simplicity and created tension in simplicity.
More importantly, this tension is internal, not just "plot tension" in the general sense. This internal tension is triggered by strong emotions, and through the contradictory performance of the inner conflicts of the characters, it finally forms a powerful plot potential energy and forms the charm of the works.
Different from the ancients, the modern Talon King and Moby Dick have begun to change the nature and root of human suffering. People are more and more occupied by the pressure of life and the squeeze of mind, and the judgment of ethical value has also deviated. For example, justice is no longer the source of moral happiness, and victory is no longer the ultimate judgment of self-confirmation. In fact, people have lost a lot of fun in the classical poetic atmosphere and replaced it with various spiritual feelings. Both King Talon and Moby Dick are shrouded in this kind of pain in the depths of the characters, forming a strong emotional input, but they can't get rid of the pain, or finally find themselves powerless and accumulate a strong plot potential. Mobidick's sea and Mobidick itself constitute a mysterious force that always lingers. Characters become the active sacrifice of this mysterious force and the persistence of the captain, so they change from great sentiment to extreme madness, and the deeper meaning revealed by this madness is undoubtedly that greatness itself has become an unavoidable disease of mankind. The anxiety of Tower Dragon King is not as deep as Moby Dick's, but the characters' ethical presentation of good and evil is full of unforgettable feelings about society and rivers and lakes. The Talon King is "positive", and sweeping away the magic way makes him an abstract concept of "samurai" in the traditional culture of Ning. Wu Weiyang is "evil", but he doesn't have the concept of the devil's behavior of "unifying rivers and lakes" and "martial arts catastrophe" in general martial arts novels. Except for some scum, such as Shi Laoyao with broken eyebrows, Liu Qiniang, the female butcher, Twelve Linked Docks has become a reformatory today, although some former demons have been collected. Compared with Dong Fangbubai, Ren Woxing, Shangguan Jinhong and Wuhua monks, Wu Weiyang has more "positive" elements. At the end of the confrontation between good and evil, the eagle claw king saw Wu Weiyang's martial arts talent and helped him learn his family style, which made him "heartbroken". The money problem in Gu Long's Happy Hero puzzled Guo Dalu. Demonism relies on violence to plunder, while Fengwei Gang relies on monopoly. Fengwei Gang monopolized the salt policy and competed with the imperial court for profit. From the perspective of original chivalry, this is the forbidden force in Han Feizi's works and the idyllic song in Historical Records, and it is the true chivalrous man in the original sense of "although doing wrong", which is equivalent to Liangshan in Shui Bo in Water Margin. At this point, the "demon" in Tower Dragon King began to deviate from the "chivalrous". Whether it is "Xia" or "Yao", it has become a vague and confusing concept, and its meaning has been dissolved, which has become the helplessness of the characters, the confusion of the writers, and the internal tension of the plot caused by internal contradictions.
Zheng Zhengyin's geography and times have aggravated this tension. Tianjin, where he lives, is full of "miscellaneous stars", which constitutes the literary ecological motivation for the prosperity of "Northern School" martial arts novels. In this land, a large number of martial arts novelists such as White, Zhu Huan landlord, Dai Yu 'an and Xu Chunyu appeared. As an ecological background, the direct reality of the duality of Tianjin Jianghu gang society and the ambiguity and pluralism of its value judgment contributed to the shift of chivalrous case-solving novels in the late Qing Dynasty to martial arts novels in the Republic of China, and contributed to the writer's "alternative thinking". Therefore, Ye Hongsheng said that Zheng's "martial arts are not prohibited". Although I retort that "this is different from chivalrous novels in Qing Dynasty", I think Gong only saw the external form. To understand the internal texture of Zheng Zhengyin's novels, we must further study it in the diachronic atmosphere in the early 1940s. This is an ironic description of White's helplessness in externalizing his thoughts into "chivalry" in the late 1930s. Zheng's diversified expression of "magic" is actually a continuation of the road from another angle. I have pointed out that in the colonial context of 1930s and 1940s, in the reflection on national culture, the northern school's martial arts novels showed a spiritual desire to "escape to freedom" by showing that the life of the strong was just a helpless and tragic spiritual aesthetic process in front of reality. However, the "free" pure land here does not actually exist, which constitutes the anxiety of northern martial arts novelists around1940s.
The profound cultural and social background of realistic gangs and the multifaceted character of their groups make writers unable to get rid of this anxiety at any time. Therefore, on the one hand, he tried his best to write the rationality of the existence of gangs, on the other hand, he tried his best to maintain the unity of orthodox order, which formed a pair of contradictions in his novels. With the development of the plot, this contradiction is formed by the internal tension and the potential energy accumulation of the plot, and finally erupts violently with the self-destruction of the characters. The deep reason for the destruction is that King Talon and Moby Dick almost invariably come down to the "serious illness" of individual characters. Moby Dick is based on mysterious paranoia about human spiritual ideal, while Talongwang is based on human realistic desire. Although the external performance is different, the essence is the same. In Moby Dick, Captain Ahab was tortured by loneliness floating on the sea for many years. The turbulent sea became the source of his soul being bound and imprisoned, and the sea was vast and abstract. He had to seek a specific opponent, that is Moby Dick. The ending of the story is actually that his mind has been liberated in the original way of "dust to dust, soil to soil". The boundless waves of the sea are the embodiment of his life significance and the sublimation of his life glory. King Talon has a more realistic value orientation. Wu Weiyang tried to create a paradise, but the realistic Jianghu humanity made the whole society a cage for his soul. Although it hurts, the intellectual's ethical responsibility of "governing the country" naturally puts him on the opposite side of Wu Weiyang. But even so, his mental anxiety has not been alleviated. In the confrontation between Eagle Claw King and Wu Weiyang, "righteousness" is not enough to constitute a real balance force to deter "evil", so we have to adjust the rivers and lakes with the institutionalized power of temples outside the rivers and lakes, and only the imperial soldiers can destroy the twelve serial docks of the Fengwei Sect. However, people are convinced that Zheng Zhengyin may not have convinced himself, so the "King of talons" became a fair-skinned but gentle "martial arts satire".
The confusion of ideas and the anxiety of the soul make the value orientation of martial arts novels swing between ethics and narration again. It was the first swing in1920s from the improvement in the early years of the Republic of China to the folk entertainment itself, and the second swing in the late 1930s based on the loss of ethics. Then things changed again. 1930, Yao Min 'ai prefaced Gu's Woman by the Wild River; "A good way to cure thieves is chivalry, and then shovel the head to punish the heart, which is invisible. ..... I have been writing secret party meetings in recent years, taking exposing social shady as a lesson and creating martial spirit and chivalry to save the country as a latitude. " However, in practice, he admits that there is only the Jianghu entertainment mentality of "paying attention to the secret history anecdotes of all parties and understanding the real threshold inside, and then dare to use real pen and ink for the same good talk". Therefore, Xu criticized: "This is actually not chivalry, but a secret story in the Jianghu, so he put up a signboard:" Fiction of the same party fighting against different factions ". The writer's familiarity with Jianghu business and slang is really amazing. He seems to be a traitor among the heroes of the Green Red Gang. Eating inside and crawling outside' keeps putting our party's' water'. " In the 1940s, Zheng Zhengyin wrote Jianghu on Paper again. The loss of ethics numbed the mental pain and turned to narrative, which was the third swing. Some critics attribute the narrative of King Talon to "the fun of playing up gangs", but they actually underestimate Zheng Zhengyin. Like White, Zheng Zhengyin has a potential irony. King talon, a heroic and furious positive figure, almost burned the loyalist in the end, which actually shows that in this world, the god of fate is only an uncertainty in a chaotic structure. In this world, the so-called "decent" self-confidence actually does not come from his real strength, but from his cover-up of his anxiety, which has become a sense of tension in his works from beginning to end.
Like Moby Dick, the charm of plot narrative lies in this sense of tension. Moby Dick is an inner nervous person. The Talon King first shows the external tension of plot development with the narrative inertia of popular novels, but you can still read the hidden mental anxiety from the details. The powerful plot potential energy formed by tension makes the plot develop like a raging river, which is not enough to form a wide plane time, but it also shows the artistic ingenuity of dealing with time deformation, forming heavy twists and turns around the core of plot unity. Judging from the development of China's traditional narrative thinking, this is a revolutionary achievement in the history of the development of popular novels.
Three. conclusion
If we look at Zheng Zhengyin's The Eagle Claw King as a whole, we can find that among the martial arts novelists in the Republic of China, his emphasis on plot integrity is particularly prominent, which is obviously different from Pingjiang, Zhu Huan landlords and even White and Wang Dulu. Although his story is mainly composed of the classic chivalrous mode of "the knot of hatred" and "the meeting of heroes", which is the modern return of traditional chivalry, the plot organization is very different from the multi-clue connection of classical chivalry. The concept of plot in King Talon is closer to Aristotle's concept of plot integrity or unity. It can be considered that this is the result that he indirectly inherited some new literary concepts and techniques from White to tell classic chivalrous stories. White's strong satire makes his series of novels Qian Biao an "exception" in the concept of martial arts novels, while Zheng Zhengyin returns this exception to the traditional classics, and the narrative methods adopted are also different from the traditional ones, thus opening a new world of martial arts novels about stories and plots, actions and cultural narrative.
Zheng Zhengyin and the King of Talon had an outstanding sensational effect in the early 1940s, which had a great influence on the later martial arts creation. Gu Long believes that "concise", Gu Long's novels have twists and turns, but the integrity of the plot is extremely obvious, which is the testimony of Zheng's "neatness". Zhang Yimou claimed to have watched King Talon in the 1960s, and started his own dream of martial arts heroes. There is still a lot of work to be done to explore the narrative plot structure of martial arts, and the starting point of this exploration route is1Zheng Zhengyin in the 1940s.