The chivalrous tenderness in martial arts novels——Taking Jin Yong, Gu Long and Liang Yusheng as examples

Liang Yusheng , Jin Yong and Gu Long are the most striking "three great masters" in the new martial arts novels . Their works create a poetic arena where heroes and beauties "walk the world together", making martial arts novels have the characteristics of romance novels. It is a pity that since such novels entered the research field of scholars, although the research results in the academic world have been emerging, they mainly focus on the discussion of their creation mode and theme mode, and occasionally analyze their emotional narratives. It's just a taste. In view of this, this paper discusses the origin of the romance narratives in Liang Yusheng, Jin Yong and Gu Long's martial arts novels by combining the emphasis on "emotion" in traditional Chinese literary creation and commentary, as well as their accumulation and inheritance.

The so-called romance narrative refers to the occurrence and development of the main characters' love stories as the basic plot of the novel, emphasizing the unique charm of love itself and its influence on the protagonist's life, and affirming the value of emotional life. Looking at the ancient Chinese martial arts novels, the basic way of constructing the storyline is "using martial arts". For example, " Water Margin ", "Three Heroes and Five Righteousness ", "Shi Gong An", etc., all take pleasure and revenge as the basic plot, martial arts are born for justice and morality, and personal emotions need to be restrained, and occasional love is just a An accessory to his chivalrous career. From the point of view of human nature, the love between men and women is out of the instinct of perceptual life. Trolch said: "The modernity of art is therefore manifested in the rediscovery of sensibility and the strengthening of the sense of this side, and the right to restore the perceptual quality of this side of the world." There is nothing wrong with the rendering of literary and artistic works. In the mid-20th century, a new school of martial arts novels emerged. The author takes the emotional story of the knights as the basic narrative clue, and writes that the knights are both chivalrous and tender. This main strategy of constructing a storyline with emotional narrative is a transcendence of the plot model of traditional martial arts novels, especially in the long martial arts novels represented by the works of Liang Yusheng, Jin Yong and Gu Long.

In Liang Yusheng's works, heroes and beauties often interpret love in the midst of hatred at home and the country. The love entanglement between Liu Mengdie, Zuo Hanying and Lou Wuwei constitutes the main line of " Dragon Tiger Fighting Jinghua ". In " Ping Zong Xia Xiang Lu ", the times are changing, the family feud is in conflict, and the romance between Zhang Danfeng and Yun Lei is the basic clue for the development of the story. "The Legend of the White-Haired Witch" builds a storyline based on the love entanglement between Lian Nishang and Zhuo Yihang. In " Legend of the Legendary Heroes outside the Wall", Yang Yuncong's martial arts are unparalleled, across the desert, Feihongjin, Nalan Minghui are heroic, and the complex love between them constitutes the main line of the story. " The Legend of Queen Qiying " is a soul-stirring martial arts love song under the Tianshan Mountains. The handsome and unrestrained Li Yi and the heroic Wu Xuanshuang are confidantes and selfless love. The conflict between its romantic love and helpless reality promotes the development of the story. In addition, "Seven Swords Down the Tianshan Mountains " and " You Jian Jianghu ", etc., the love between heroes and beautiful women are all pure fairy tales under the situation of the rivers and lakes.

Jin Yong takes the love-hate intertwining of knight-errant love as the inner driving force for the development of the novel's plot. The tender and sweet love between Chen Jialuo and Huo Qingtong sisters is the story line of "Book and Sword Enemy and Enmity". "The Legend of the Condor Heroes " and "The Legend of Condor Heroes " are classics for writing the love of knights. Guo Jing and Huang Rong have complementary personalities. Although Yang Kang was keen on wealth and glory, he was sincere towards Mu Nianci. Its love is full of sweetness and sadness, and the ending is sad and moving. Yang Guo pursues true love and freedom, while Xiaolongnu is pure and persistent. The two resolutely fall in love regardless of traditional ethics and secular prejudice. In " Flying Fox Story ", Hu Fei regards love as a priceless treasure. "The most precious thing in the world is the true love between two hearts, and it is by no means a valuable treasure." Qiao Feng and Azhu, Duan Yu and Wang Yuyan, Xuzhu and Princess Xixia in " Tianlong Babu ", the love and hardships between them jointly promote the development of the plot. It can be said that Jin Yong's martial arts works write a lot of true love and true love, too many to list. The joys and sorrows of life are intertwined with the lingering of love, forming a shocking force. Its appeal, compared with pure love novels, is even more than that. Rao: Daoqing pointed out: "The main theme of "A Dream of Red Mansions" and Jin Yong's novels is to write about the true feelings of children and spiritual love, and the direction of their infatuation is the most sincere and pure love, that is, the kind of love, the kind of love, which is beyond ordinary human nature. The lofty love of life is the origin of life and the embodiment of the highest value of life." He compared it with "A Dream of Red Mansions", and his admiration was beyond words.

Gu Long's works also express the true feelings between male and female knights. " Peerless Double Pride ", " Big Man ", " Xiao Shiyi Lang ", " Amorous Swordsman Ruthless Sword ", " Meteor · Butterfly · Sword ", " Border Town Prodigal Son ", etc., are not only the legends of swords and swords, but also the lingering and sad love movement. Jiang Xiaoyu and Su Ying are in love with each other in the blood and rain of rivers and lakes; Hua Wuque and Tie Xinlan admire each other and walk hand in hand; Chu Liuxiang and Su Rongrong, Li Hongxiu and Song Tianer love each other and share the joy of life; Lu Xiaofeng is in the shadow of swords and swords. Showing true feelings for beauties in life, and so on. With the help of coincidences and adventures, Gu Long wrote the soul-stirring love of love, which shocked the hearts of the blasphemers.

Any literary activity is a cultural phenomenon closely related to social psychology and emotion. The emotional narrative of the new school of martial arts novels originates from the "emotional" influence of traditional Chinese literature. The relationship between Chinese traditional literature and "emotion" has a long history. "Easy" took the lead in "establishing images to fulfill the meaning, and setting up hexagrams to fulfill the false"~, which has initially involved the expression of affection in the works. "Xunzi" pointed out that "complimenting one's affection and making a friendship", attaching importance to the role of emotion in creation. "Book of Rites" believes that "music is the source of sound, and its origin is in the human heart, feeling in things", and "feeling is in the middle, so the shape is in the sound". It means that creation is the expression of true feelings. Xiang Yu and Yu Ji wrote the romantic song "Hand in Hand with Tianya" in the military, and the "Yu Xi Yu Xi Nai Ruo He!" issued by his "Gaixia Song" is the true love song of the hero cherishing the beauty. The Preface to Mao's Poems inherits the point of view of the Book of Rites and develops it into "emotions move in the middle and form in words", and sees the writing tension of emotion. Lu Ji proposed "poetry and love", and regarded conveying feelings as a feature of literary works. Traditional literati also found that the emotional writing of a work is the basic factor that resonates with the recipient. Liu Xie 's "Writing Hearts and Carving Dragons " proposes that "feelings are moved by things; speeches are sent out by emotions", and "people who read texts are inspired by human feelings". Zhong Rong believes that emotional writing can "make those who smell infinite and those who smell it tempted". They all affirm the emotional power of the work. Since then, "love" has gradually emerged from many emotions and has become the main theme of a large number of works. Most of Tang poetry and Song poetry are masterpieces of singing love, and their moving power is still up to this day. Yuan Hao asked the word cloud: "Ask what love is in the world, and directly teach the relationship between life and death? The two flyers from all over the world, the old wing has several times of cold and summer. It is fun, but parting is hard, and there are even more crazy children in the middle." It is often cited by martial arts novelists, and it is also the poignant swan song of Li Mochou, the "evil demon" of "The Legend of Condor Heroes". Ming Dynasty literati put forward the "love book", emphasizing the love-based writing of works. Tang Xianzu said: "Love doesn't know where it starts, but it goes deep. The living can die, and the dead can live." Feng Menglong advocated "borrowing the true feelings of men and women to distribute fake medicines of famous religions." In their view, the twists and turns of the storyline can certainly arouse the curiosity of readers, but "emotion" can most arouse their resonance. Wenkang put forward: "As a matter of fact, only when there is a heroic nature can you achieve the hearts of children; when you have the true feelings of children, you can achieve heroic careers!" His "The Legend of Heroes of Children " took the lead in emphasizing both chivalry and love, which was quite pioneering. From the pre-Qin period to the Ming and Qing dynasties, the relationship between literature and emotion is inseparable, especially the emphasis on love in many works and theories, which has a profound influence on both the creator and the recipient.

Danner points out that the literary work is subordinate to the "society that surrounds it and whose taste is consistent with it". The formation of the emotional consciousness of social groups originates from the accumulation of history. Li Huifang pointed out: "The formation of people's consciousness is a process of historical accumulation. It is layered, deep and complex: there are not only the legacy and inheritance of ancient primitive beliefs, but also the ethical relations, attitudes towards life, right and wrong, concepts of life and death in later generations. value standards and other aspects of historical identification.” The proposition and practice of traditional literati writing emotions, after thousands of years of accumulation and inheritance, gradually formed the “collective unconscious” of the public calling for true feelings, which in turn affected the creator’s narrative strategy and the recipient’s expectations. vision. The aesthetic needs of blasphemers are often affected by their expectations and vision, and then decide the choice of works, "making it difficult to fully satisfy a simple 'sexy and tragic' romance, or a 'brutal and eloquent' chivalrous novel. 'Children' It is imperative to combine with 'hero', or sun's eye' and 'xia'." The reading needs of the public determine the cultural market, restrict the creative thinking and value orientation of novels, and then determine their existence and development. All living beings are busy making a living in reality, and romantic and sincere ideal love is often an extravagant hope. Zhang Wendong pointed out: "The main body of consumer culture is the daily public, but the psychological needs of public consumption always have emotional desires that transcend daily life." The writers of martial arts novels all aim at accepting the aesthetic needs of the object. With digging, human love is lingering, sweet and sour, and colorfully displayed in front of readers, so that they can temporarily intoxicate their souls in reading. Yan Qing pointed out: "The most fascinating plots of martial arts novels, especially the emotions between men and women, are the most heart-wrenching." Undoubtedly, the love story narrative of the new school of martial arts novels, in the integration of tradition and modernity, coincides with the reading of the public Emotional expectations. Liang Yusheng, Jin Yong, and Gu Long: Everyone builds the storyline with emotional narratives. It not only satisfies readers' pursuit of novel stories and twists and turns, but also fits their sentimental psychology, allowing them to feel the heart-warming true feelings in the bloody rivers and lakes of enmity, and thus produce a pleasant aesthetic experience. This is undoubtedly more attractive and shocking than the descriptions of ethical martial arts stories such as "Water Margin", "Three Heroes and Five Righteousness" and "Shi Gong An". It has become a point of view to keep pace with hero-mindedness and heroic chivalry." In fact, the new school of martial arts novels easily occupied the mass reading market, and the reception effect was extremely good, forming an unprecedented grand occasion that attracted much attention.

Undoubtedly, the new martial arts novels represented by the works of Liang Yusheng, Jin Yong and Gu Long draw on the style of romance novels and use romance narratives to construct storylines, which enriches the connotation of martial arts novels and reflects the historical accumulation and inheritance of traditional Chinese literature's emphasis on writing emotions. Impact on public expectations. This is instructive to the creation and research of contemporary martial arts novels.

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