Jin Yong is a process of becoming a hero without praising or belittling. Undoubtedly, Jin Yong and Gu Long are two great men in the martial arts world who are unprecedented and may never see again. Although their novels have different styles, they are all gripping and unforgettable. More importantly, we should never read their works just for entertainment. Their works have entered the realm of elegance. This is unmatched by other martial arts writers. Although many people who call themselves guardians of literature are unwilling to admit it, I believe it has been recognized by more real martial arts lovers.
Although they are equally excellent, the two generals must take the first step in the same direction, and there is inevitably a question of who is better. To tell the truth, I like both of them equally, and I really can't bear to make any comments on this issue. However, seeing many people's views on this issue, it's really hard to spit it out. So, it is ugly here. Please don't be angry if you have different opinions.
I always think reading novels is like dreaming, especially martial arts novels.
Jin Yong and Gu Long gave us two different dreams.
In Jin Yong's dream, we undoubtedly felt ups and downs, colorful, addicted to it and unwilling to wake up. But we are always soberly aware that this is a dream. When you wake up, it's like having a good dream or having some good memories, but most of them are hard to have too many impressions.
Gu Long's dream is a broken memory. It may be beautiful, but it is by no means beautiful.
In this dream, we had too many midnight dreams, which made us wonder whether it was a dream or a living reality even after waking up! This kind of touch is not far away, even if it is not as beautiful as Shakespeare.
The more realistic problem is that people are more willing to dream a beautiful dream, because reality has given us too much pain. Dreams are the best place for us to escape from reality, and who likes reality as a rope, even in dreams?
Especially the college students in the ivory tower, who don't live in their own beautiful dreams?
I am by no means belittling college students. I am one of them.
I just want to make it clear that this yearning for a beautiful dream is the real reason why many people can easily accept Jin Yong but find it difficult to accept Gu Long.
I have no intention of criticizing this choice. After all, the yearning for a better life has been one of the driving forces for human development for thousands of years. After all, after experiencing the hardships of life, we have enough reasons to find a paradise to relax our tense nerves.
Thanks to Jin Yong, he provided us with the best paradise.
Antique undoubtedly saw this problem.
People's demand is always the real driving force of commodity production.
He tried to change. He put humorous language into his works, and he put wine and gold into his works. In his later works, we saw too much luxury and extravagant life, too much enjoyment and indulgence.
There's only one thing we've never seen.
That is happiness.
Don't! No happiness!
Neither wine nor love can hide his innate melancholy and sadness, which has been deeply planted in his heart. His temperament is inevitably integrated into his works. So that we have such a result: the more joyful the description, the deeper the sadness we read, which stings our hearts.
He is not qualified to play Jin Yong.
Jin Yong never worries about eating. He is not so sad. In his works, even in the most tragic descriptions, what we feel most is a kind of heroism, a kind of anger of Zhao Yan soldiers. This kind of heroism is absolutely incomparable to Gu Long. I will describe this problem in another article.
Jin Yong's description of pain is only through a tragic behavior. In this description, Yang Guo lost an arm, the little dragon girl lost her virginity, and Xiao Feng had to insert an arrow in her chest. There will never be Li Xunhuan coughing up blood with a smile in his works, and there will never be Fu Hongxue dragging one leg firmly, just like there will never be such an out-of-touch figure as Duan Yu in Gu Long's works.
Here, I think it is necessary to say a few words about this statement: some people think that the characters in Gu Long's novels are all men drinking and women undressing, which is too lewd. This is an extremely vulgar view. Magic is not born from the outside, but from the inside. I think there is something wrong with the person who said this.
At least I didn't see the slightest bit of lewdness from drinking and undressing.
What I see is a loneliness and pain that goes deep into the bone marrow. I believe that most people who read books with the right attitude feel the same way.
The wandering prodigal son, on the one hand, can't restrain his personality, on the other hand, he has the loneliness that no one cares about, and no one tells his loneliness and helplessness. They are by no means gentlemen. They walk alone in the vast sea of people, and everything is natural and true. I have never experienced this kind of suffering, and Gu Long has obviously experienced it. I am tempted by his true description.
On the contrary, in Jin Yong's works, Wei Xiaobao's description of virtual bamboo in brothels and tunnels, though not absolutely superfluous, is somewhat fishy. Or Jin Yong wants to add some romance. It may also be that Jin Yong has another deep meaning, and his level is limited, so he can't get to the bottom of it. Who saw it? Why don't you tell me one or two. In any case, the description of this atmosphere will never appear in Gu Long's works.
Get down to business. Later, Gu Long also realized that such an extravagant description could not write happiness. So he tried to change completely.
So there was Happy Hero.
In the following comments, the author briefly analyzes the gains and losses of "Happy Hero" and comments on the works of the two masters from the writing techniques. Welcome to continue reading, thank you.
Happy Hero is a brand-new work.
In this book, Gu Long interprets the meaning of happiness with a brand-new concept and way. Completely abandon the enjoyment of life and sublimate it into the pursuit of spiritual satisfaction. Four young people, their life is unbearable materially, but their friendship, their mutual encouragement of life and death and * * *, moved us to tears, even Guo Dalu Yu Yanqi's love description is more than love (perhaps this is the main reason why many people don't like this book. Have regrets in my heart). The portrayal of Wanimal and the matchmaker is even more impressive and breathtaking. Although we can vaguely see the shadow of Dumas Three Musketeers in the book, this does not prevent it from becoming a novel and unique work.
But this is not the most successful part of the book.
Gu Long made a great breakthrough in this book, which made him almost completely get rid of the shackles imposed on martial arts novels by idealism for many years and become a real realistic writer. This point, even in his past works-although he tried to show it-has not been done.
Even if it is not perfect, he at least noticed such a problem: the problem of money.
This is undoubtedly a living and unavoidable problem in real life. In the book, Gu Long used a lot of pen and ink to describe the troubles of lack of money and the hardships of making money. Ren Xia, the hero, is doomed by his character that they can't keep money, but they are poor. This is a contradiction. I have always believed that only contradiction is the real theme of a good novel.
This kind of experience is undoubtedly experienced by Gu Long personally, and only in this way can his portrayal be so vivid and touching. Although this description is slightly mentioned in his other works, such as The Sword of the Third Young Master, it has never been deliberately described as an important content. After reading this, I can't help applauding Gu Long.
This kind of description is absolutely not found in the works of second-rate novelists, and Jin Yong, who takes romanticism as his own responsibility, will undoubtedly not describe it (there are some signs at the beginning of "Chivalrous Man", but unfortunately it can't go deep, alas! But it is precisely because of this description that Gu Long's original intention of publishing a book was shattered. The sorrow of mankind is that we can defeat all foreign enemies, but we can never defeat ourselves. Perhaps it is precisely because of this that Gu Long's tragic ending was caused shortly thereafter. Well, if there is one more Gu Long in a few years, not only will there be a major breakthrough in martial arts works, but today's martial arts world will not decline, so that so-called avant-garde novels, postmodernism and even magical works will spread all over the world. The martial arts we see are still martial arts decades ago. This is the day, you should cry three times. My sadness is beyond words. The old adage that "the bystander is clear, but the authority is lost" is once again reflected here. Gu Long never saw clearly the main reason of sadness in his works. The reason is not what he thinks, but two words.
"the truth"
This is the real key!
The reason why Jin Yong's works are so popular lies in his unreality; And Gu Long's works give people a kind of depressed enjoyment, which lies in his authenticity!
There are too many disappointments and twists and turns in Gu Long's life. The shadow of social reality is deeply imprinted in his mind, which makes him unable to get rid of reality and enter his ideal kingdom.
Although he tried his best to express the ideal world, his subconscious always pulled him back to reality again and again.
On the one hand, he has extremely keen observation and thinking ability, on the other hand, he has the most important condition that an excellent martial arts writer must have-unparalleled imagination, which is a contradiction. His contradiction doomed him not to be a completely realistic serious literary writer on the one hand, and an ideal master of entertainment literature on the other. But it is precisely because of this contradiction that he has his own territory in the world of martial arts, making him a unique literary master of "graceful and restrained martial arts" at least so far. His achievements are unprecedented, if not unparalleled. His achievements are enough to make him a master of martial arts and even literature.
He subconsciously thinks that there is an indispensable reflection of reality in his works, which undoubtedly makes his works have a melancholy beauty. This kind of beauty is enough to shock us, but we can't bear to accept it.
His outlook on heroes is far from what we call heroic outlook. His hero is the kind of hero in historical records, while our hero is a fairy-like figure: first of all, we must have the spirit of sacrificing our own interests for the benefit of others at any time; Secondly, we must have an indomitable will to be killed, not even verbal concessions; Thirdly, you should be honest and simple, even if you don't cheat the enemy; Thirdly, it is better to be able to grasp the big festival and shout out a few words of rhetoric at key times; Once again, it is extremely important to treat love seriously and unswervingly; Third, you must have good luck. No matter how hard you fight, you won't die. There must be a miracle at a critical time. ...
Because we are used to seeing the heroes in the book as our incarnations.
Whether the protagonist in the book can meet his own standards is often the most important condition for some people to evaluate a book. We often see that many people curse the characters from head to toe when evaluating a book, and then come to the conclusion that the book is poorly written, especially martial arts novels. According to this logic, The True Story of Ah Q, Lao Gao Man and Hamlet are undoubtedly extremely poor works.
The reading level of these people is still at the primary school level. There is no doubt that many of Gu Long's works are hard to win their favor, and it is not surprising that Two Prides at Home has become Gu Long's best work.
I don't mean to belittle Jin Yong here, although many of his roles exist in people's fantasies. Jin Yong is also a master of martial arts. His achievements are by no means inferior to those of Gu Long, and he deserves the reputation of a great master. At this point, the general view is not wrong.
What I want to say is that Jin Yong has reached the peak of illusory creation, and no one can compare with him.
A concept that must be recognized is: untrue is not equal to false!
…………
I think that Jin Yong is a martial arts master who can keep pace with Gu Long, largely because of this. With this, Jin Yong was able to jump out of the category of second-rate writers, thus entering the ranks of writers and becoming the representative figure of "wild martial arts" literature. Otherwise, even if his story is ten times better than that of Longsheng Wo and Zhuge Qingyun, it is not much different from them in essence. To this end, we also want to say hello to Jin Yong.
So, how did Jin Yong do it?
Let's take a look at Gu Long's works first. In Gu Long's pen, it seems that all entities are illusory. Unreal time, unreal environment, fictional characters, fictional events, but it is in these illusory entities that we see the real soul, real personality, real feelings and pain. With these, even if the others are not ten times as real, his works are true.
Jin Yong took the opposite approach.
In Jin Yong's works, we often see real times, real historical environment, real historical figures, real historical events, real national traditions, and sometimes we can see some details of life that we are all familiar with (the legendary swordsman, Liancheng and Chivalrous Man seem to be exceptions, and I will discuss these works later). Jin Yong's rich knowledge has played an extremely important and even decisive role here. Even if others want it, it is impossible. It is easy to give people a real first impression by putting fictional characters in such a background.
This impression is important, but not enough.
Jin Yong's second job is to choose (perhaps with a more appropriate structure) the right person. A decisive criterion of this choice is that it must conform to the reader's psychology and choose the reader's heart. He is experienced, and his years of journalist work is undoubtedly a solid capital. He is good at observing and summarizing and grasping reality through essence. It is certain to choose a hero, and no one wants the hero of the novel to be a bad guy. But there are many kinds of heroes. What kind of hero do you choose? I don't think I have Jin Yong's ability, so I can't choose. What I can do is to infer his choice from the characters he chooses. He chose a national hero, which is probably related to the historical background of his conception (in fact, this historical background is necessary, as mentioned above), and may also be related to the social situation at that time (this conclusion is based on the following understanding, that is, even people who are crazy about Jin Yong now may not necessarily like the identity of this national hero, but they are very calm and calm, leaving aside the rational thinking of literature itself. Although I like Jin Yong, I feel emotionally unacceptable.
This is also one of the conclusions, but it is not the most important conclusion I got.
Due to the rush of time, there may be some mistakes in some details and words. I hope everyone will.
It doesn't matter. Please correct me at any time.
Jin Yong Gu Long's head-on collision is about to begin.
My conclusion is: first, this person's ability (including all aspects of quality, martial arts, I disdain to say more, please forgive my little self-esteem) should be as close as possible to the average person in reality, accurately speaking, the reader; Second, this person's words and deeds must conform to the traditional moral standards of the audience; Third, this person must do great things that ordinary people want to do but can't. These three points complement each other and are indispensable. I think it is these three conditions that have laid a solid and decisive foundation for Jin Yong's works to enter people's ideal world and be accepted by people.
The functions of these three conditions are: first, to establish a heroic image; Secondly, such heroes make people feel close to themselves; Thirdly, he dispelled people's disappointment with real heroes by providing them with an ideal hero.
So what I said is not true is not the same as falsehood. Because such a character does not exist, in fact, he exists, and he exists in people's hearts. Like Bao Gong, this person doesn't actually exist, but you must never say that this character is fake. In fact, he is one of the most successful images in China's classical literature.
However, it is easy to understand that this image is not a complete or perfect image from the beginning. Fortunately, Jin Yong has not lost his mind in order to cope with readers. The reason why Longsheng Wo and others' works only have plots and no characters is largely because they are ignorant of the times and try to create a perfect hero image in their minds. Jin Yong's rich social experience and historical knowledge tell him that such a figure is difficult to establish.
However, this is just a rational thinking, and he can completely ignore it. He can also use the methods I will talk about below to create a successful character.
But a writer's reason and sense of responsibility tell him: you can't do this!
This is also a contradiction. Contradiction is the driving force to promote the development of things. Without contradiction, you can't make a cologne. Similarly, without this contradiction, you can't achieve A Jin's courage.
Jin Yong thought of a way to make up for this defect. We can't know whether he was thoughtful at that time, or whether it was just the result that his preferences were similar to those of Jia Baoyu. In short, he used this method. Until now, I still can't judge whether this practice is a last resort or a genius idea. I'm afraid everyone has different views on this.
Jin Yong fixed his eyes on the heroine of the novel.
This is enough to explain why the girls in Jin Yong's novels are always so clever that they are only teenagers, and their adaptability, processing ability, organization ability and foresight are almost catching up with those men who are born in noble families, have received higher education and have been tempered in the rivers and lakes for more than ten or twenty years.
This is a kind of compensation. Because Jin Yong clearly realized that the mediocre ability of the men he created could not achieve the cause he wanted to achieve, and they obviously had to achieve this cause. Is this the sorrow of his heroes or Jin Yong's own sorrow?
Of course, he can also adopt another method, that is, design enough coincidences and miracles to help his hero succeed. In fact, that's what he did in "Chivalrous Man". As a result, the book almost became a second-rate work. To tell the truth, if there is not a chivalrous word in his couplets, I am sure that this book is an impostor of a second-rate writer, although the writing is so similar.
Jin Yong's method is wise. Both China's old adage "A woman is half a man" and the western legend "A woman is a man's rib" have proved the feasibility of this method. Results This method is successful.
At the same time, it is not difficult to see from this point that the heroine in Jin Yong's works is doomed to be untrue from the beginning. Moreover, the problem is not just that.
Here, Jin Yong once again faces an extremely dangerous problem. This problem is extremely dangerous, and one carelessness will make all his efforts go up in smoke.
The root of this problem still lies with readers. There is no denying that the readers of martial arts novels are mostly men, and such a heroine image is likely to be shattered by the torrent of male chauvinism. It is not difficult to imagine how tragic the ending of the whole work will be if this happens.
At this critical moment, Jin Yong once again showed his wisdom to turn the tide. Decisively took wise measures. Because of the use of this measure, I realized that Jin Yong was Jin Yong, and because of this measure, Jin Yong lost something while retaining a large group of readers. When we get something, we will inevitably lose something. This is one of human helplessness. Today, when we look back at Jin Yong's gains and losses, we can't judge whether he gained more or lost more. We can't judge whether we gain more or lose more from it.
As I mentioned before, Gu Long shows reality in hallucinations. Although this kind of performance is very difficult, he mostly benefits from his extraordinary social experience and a natural keen sense of human nature. It is natural that he can do so.
And Jin Yong is expressing an unreal truth, which is more difficult than Gu Long. If Jin Yong can do it more perfectly, his achievements may surpass Gu Long in one fell swoop, or more accurately, let the latter fall behind.
What Jin Yong has done is unparalleled, but there are still some shortcomings. Because he took such measures. This gave Gu Long a chance.
Maybe this is a kind of helplessness in itself, and maybe the work he has done can't be perfect.
But as commentators, we can't ignore this issue for this reason.
What measures did he take?
I didn't buy a lock on purpose, I just wanted everyone to think about it.
I've said a lot.
Needless to say, I believe you can understand what the so-called golden section is just by looking at this title. I don't know if you have noticed the fact that the heroes and heroines in Jin Yong's novels will never grow up (except the legendary swordsman), and their words, behaviors and mentality will remain at the level of sixteen. After they went through countless hardships, it is undeniable that Jin Yong promoted them in some aspects, such as not acting so rashly. But in essence, the way they communicate with people, their views on society and their own psychology have always maintained a "childlike innocence."
A pure heart is undoubtedly lovely. I like this mentality very much. Therefore, the women in Jin Yong's works are very likable and lovely. You can't see such characters in Gu Long's works, because Gu Long wrote about women and Jin Yong wrote about girls.
In this way, even if Jin Yong writes the heroine ten times smarter, it will not pose any blow to the reader's male chauvinism. Who cares about this with a child? Just as a person shows when he praises his children's cleverness, he only likes not to be jealous.
What about readers who are also children How do they feel?
First, their age and experience have not inflated their male chauvinism.
Second, Jin Yong made his heroine completely and definitely have no second thoughts. In any case, he resolutely fell in love with his hero, and even said that ... (The author deletes 53 words here) and immersed in romantic love, it is naturally indistinguishable.
From this, we see the most important form of the so-called "incomplete inner world" I mentioned earlier. I believe I don't need to explain the concept of "incompleteness" here.
In this sense, it is still a bit inappropriate to compare Jin Yong's works to "adult fairy tales", but it seems to be more accurate than the fairy tales of minors, especially the fairy tales of Duke Lushan.
However, some people even compare Gu Long's book to the story of Grandpa Sun Jingxiu, which really makes me wonder whether it is ridiculous or sad. I'm afraid these people don't even know what a fairy tale is. It is a big mistake to regard the bizarre plot as a symbol of fairy tales. Is there any bizarre plot in The Little Girl Selling Firewood? But this does not prevent it from becoming one of the most classic fairy tales; What about the plot of serial? Did someone say it was a fairy tale collection? As mentioned in the preface, the legendary swordsman is an exceptional minor figure. Ling Huchong and Xiao Feng are the most mature protagonists in Jin Yong's novels (I won't discuss the reasons why Ren Yingying is not very popular here). The key to this result lies in Jin Yong's innovation.
I don't know if this is one of Jin Yong's artistic pursuits, but it goes without saying that at least objectively, it is one of the means to attract readers.
This conclusion is nothing new, so I won't mention it for the time being. I never think that the supporting role in a work can reflect the author's characterization style and success, especially in a long work. The protagonist is the decisive figure. However, it is inconceivable that a work has no supporting role, and a work with poor supporting role is by no means a good work.
In a sense, the description of the supporting role exists for the description of the protagonist, and the quality of the protagonist's description largely depends on the quality of the people around him or her.
The supporting role in Jin Yong's novels always exists to set off the protagonist. At this point, Jin Yong fully demonstrated his profound literary skills.
In this regard, it is difficult to give a few examples to explain everything, but it is necessary to give an example. For example, Mu Rongfu in "Eight Dragons" is obviously setting off Duan Yu.
The characters in Jin Yong's novels are rich and colorful, which paves the way for expressing the protagonist from different angles. Although some characters exist for commercial value rather than literary value, this should not be a reason to criticize Jin Yong. After all, there is a difference between martial arts literature and serious literature. In this sense alone, this is a successful pen.
Generally speaking, Jin Yong's characterization is excellent.
On the issue of supporting roles, we should not discuss the integrity of their personalities and thoughts, because supporting roles are different from leading roles after all, and even in novels, such incompleteness is inevitable.
But what I want to explain here is that I absolutely disagree with the view that Jin Yong's works are realistic because of the authenticity of some characters. This view not only lacks any literary logic, but also denies Jin Yong as a master of idealism. Liang Yusheng's previous martial arts works are simple works and should not be classified into any genre. Liang Yusheng is the founder of wild martial arts, and Jin Yong is the most outstanding figure in this genre. The character of his characters and the momentum of his works are all bold and unconstrained. Especially for the description of the big scene, it can be said that no one in the world can beat it.
Perhaps my knowledge is not deep enough, but as far as the martial arts works I have seen are concerned, most of them belong to the uninhibited school, and the graceful school cuts them by itself.