An outstanding martial arts novelist, writing about martial arts, writes about all the beings in the world; Keen readers, reading martial arts, read the vicissitudes of life and various states of the world. Up to now, the spread of Jin Yong's novels has rushed out of the Chinese world and gone further. However, when discussing the artistic features of Jin Yong's novels, it is very difficult to explain them at once. Here, I have no intention to talk about all the artistic features of Jin Yong's novels. Old storytellers used to say that "two flowers bloom, one shows first". I think it is undoubtedly effective to use this idea as a guiding ideology to cut into the palace of Jin Yong's works covering Gan Kun.
1.
In Du Nanfa's interview "Changfeng Wan Li Shakes Rivers and Lakes-A Talk with Jin Yong", there are several conversations that have been quoted many times. Jin Yong mentioned two very intriguing topics: "The novels of modern new literature in China are actually quite divorced from the literary tradition in China. Whether written by Ba Jin, Mao Dun or Lu Xun, they are all foreign novels written in Chinese ... Of course, there are many reasons, but I think the main reason is that martial arts novels are novels in the form of China, and China people certainly like to read novels in the form of China. " "Whether it is a martial arts novel or a love novel, a detective novel or a novel, as long as it is a good novel, it has nothing to do with what form it is expressed. Martial arts novels that are well written and have literary significance are good novels, and so are other novels. After all, the martial arts in martial arts novels are just its form. " (1) these are two contradictory topics, but they exist in a dialogue at the same time, and are also cited by many masters as literary theories! Therefore, the form of literature has become a focus. How should we treat the form of literature? How to understand the meaning conveyed by these two topics? In a sense, literary form is writing tradition, which usually includes the system of conventional techniques in literary creation and the readers' vision expectation connected with it. At present, it is none other than Jin Yong who epitomizes the problem of literary form in popular literary works. First of all, Jin Yong's novels, as martial arts novels, inherit the characteristics of the genre of martial arts novels, that is, Jin Yong maintained the complex literary, cultural, social and historical connotations of martial arts novels in the process of creation, and typically created complicated and changeable martial arts literature. Martial arts novels are a big branch of literary genre in old China novels, which, like traditional novels, evolved from storytelling, storytelling and storytelling. In terms of content, the single Four Great Classical Novels associated with martial arts involves three parts; In terms of form, there is not much difference between the new school of martial arts novels and the old school of martial arts novels. As usual, Jianghu feuds, sects struggles, Wulin disputes, love and hate between men and women, and brotherhood are still the common patterns and prominent themes of the new school of martial arts, and its complex changes are reflected in the novel's thoughts. As Jin Yong said: "The martial arts novels are inherited by China's traditional novels. In terms of content, the martial arts novels are not much different from the Water Margin. Of course, it is one thing to write well, but the form is the form of China, which inherits the tradition of China's novels." (2) So, when Lu Xun wrote A Brief History of Chinese Novels, he had to mention king cat and Biography of Heroes of Children, and if Lu Xun was born again, he also had to mention Jin Yong's novels, Gu Long's novels and Liang Yusheng's novels. A true giant of thought does not have any utilitarian color when evaluating literary works. Secondly, Jin Yong's novels copied the characteristics of old novels, such as using poems, songs and couplets in writing, using couplets and poems in returning to the target, using vernacular and using verse in language. Jin Yong is good at playing tricks in writing, such as Touching the Fish by Yuan Haowen, Reading without Vulgarity by Qiu Chuji, The Red River by Yue Fei and The Chivalrous Man by Li Bai. Jin Yong tried his best to decorate the novel for the classical artistic conception. In the postscript of the revised edition of Tianlong Babu in October, 1978, he wrote: "I studied the style of Bai Liang and wrote 4 ancient poems as the retrospection of" Eternal Dragon Slayer ",and I filled in five words in this book for retrospection." (3) he also took pains to choose 5 lines of antithesis in the seven laws of the ancestor Cha Shenxing as The Duke Of Mount Deer's reply. However, Jin Yong also didn't insist on the inherent thinking inertia of this popular literature in several books, which is a pity. In spite of this, Jin Yong's achievements stand out from the rest of the crowd. Let's take a look at the 41-5 chapters of Tianlong Babu: "Yanyun Eighteen Flying Rides/Rushing Like a Tiger/Eagle Clown/Can't You Strike/Win without Force/Wang Ba's Great Plan/Bloody Hatred/Return to Dust/Missing for Beauty as soon as possible/Good karma is at the bottom of a dry well/in the mud. This song swallowed Wan Li's "Shui Long Yin" in a subtle way, and the heroic chivalry and the love of children set off each other. It's really "the tiger roars and dragons, changing the nest and the husband and wife, but firm but gentle!" Fourthly, Jin Yong's novels subtly draw lessons from some traditional Chinese techniques, such as the art of storytelling, the introduction of gag characters, the use of omniscient narration and sub-omniscient narration, the erection of drama stage, and the magnificent use of vision and mind in the state of false omniscient. For example, in the characterization, Jin Yong relied on the application of vision and mind perception to describe the meaningful blank points left by characters and events in objective vision, which easily puzzled the readers, and combined with fine psychological portrayal, Yue Buqun finally became the most successful "hypocrite" in the history of martial arts novels. Another example is the introduction of gags such as Zhou Botong, Taogu Liuxian, Yue Laosan and Huashan Erlao, which adds icing on the cake to Jin Yong's novels and is of great benefit to reducing the boring atmosphere of the novels. Li Yu's "Casual Message" says "the last skill of gagging and lyrics". However, if you want to be refined and popular, and to be rewarded with wisdom and stupidity, you should be careful here. The writing is good, the plot is good, but the writing is not good. Non-laymen are afraid to read it, that is, elegant people and scholars sometimes doze off. As a legend, all people should be good at driving the sandman. Once the sandman arrives, he will not pay attention to the dance of "All Heaven" and "Dress in a Dress and Feather", such as bowing to the Nigerians and talking about the scriptures by the local Buddha. " ⑤ But even this "last skill" is hard for many literati to dream of! Here, the truth becomes clear: China's writing tradition is in a position that is more in line with the traditional appreciation habits and easily perceived by the public in the overall artistic framework of the works. They have penetrated into the people with art forms such as storytelling, storytelling, and storytelling, and become an important factor affecting readers' aesthetic psychology. Typed or stylized writing tradition does not mean derogatory, but may be a neutral expression of the important characteristics of some art forms. Only the "loader" with "big hills and valleys in his chest" is the final winner. Excellent writers always try their best to enrich the connotation and artistic expression of their works, such as tempering language, adding new types or sub-types, combining Chinese and western forms and so on. The success of Jin Yong's novels lies in its vulgarity, fantasy to truth, surpassing vulgarity and elegance, fully inheriting the mantle of China's traditional form, carrying forward the characteristics of his martial arts novels, and becoming the most China-style novels in the 2th century. Jin Yong is contradictory, but this is not necessarily a defect. A true writer always lives in contradiction and explores various human beings.
2.
Mr. Wang Shuo once quoted in "I see Jin Yong": "The characters in Jin Yong's novels have a sense of speed." He also said, "Lao Jin basically didn't get rid of the stereotypes of old vernacular novels from language to conception." This is a more pertinent statement. Jin Yong's language does have a sense of speed. It is a vernacular novel, which is very vulgar, and this is precisely the strength of Jin Yong's language. However, Wang Shuo used Jin Yong's advantages or strengths to criticize Jin Yong, and it was a bit ridiculous when Confucius sold his articles. Jin Yong's language can be summed up as "flowing clouds and flowing water, seeing strange things in plain sight". Jin Yong often quotes some classical poems in his writing and uses them with great charm, but the main charm of his language lies in this. Jin Yong's language is popular, simple, fluent, flexible and vivid. There are no difficult words, difficult words and difficult sentences. The language has strong action and is very good at constructing dramatic scenes. It has a sense of speed that makes readers forget or ignore words. When reading Jin Yong's novels, we are confronted with the feeling of simplicity and vigor. At first glance, it seems that the language is not surprising, but the more it develops, the more charming it becomes. Jin Yong always tries to say something without saying it in his works. The sublimation of the artistic conception is like drinking good wine, and the reader has invisibly crowned his soul between drunkenness. Undoubtedly, Jin Yong's pen is smart and heavy, but as Chen Mo said: "The language of Jin Yong's novels seems to be nothing special, because the author does not pursue the singularity of style, but explores different ways of narration, constantly improving and creating his own narrative style and language style, and constantly expanding the territory of language and enriching the formal beauty of novels." ⑦ As a series of languages designed for Guo Fu, it not only shows her acerbity, meanness and femininity, but also shows her mentality of a woman who loves and hates Yang Guo to the fullest. Take a look at the description of Guo Fu in the thirty-nine chapters of "The Condor Heroes" and "The Great War in Xiangyang": "When Guo Fu stayed, all kinds of childhood memories flashed in my mind like lightning Shi Huo:' Do I hate him? The Wu brothers have been trying hard to please me, but he never ignores me. As long as he follows me a little, I am willing to die for him. Why do I always hate him for no reason? Just because I secretly think about him and miss him, but he doesn't care about me at all?' ...... For twenty years, she has been unable to understand her own worries. Every time she thinks about Yang Guo, she always regards him as an adversary. In fact, deep down, she cares about him, which is beyond words. But not only Yang Guo didn't understand her mind at all, nor did she. At the moment, when the hatred in her heart was gone, she suddenly realized that she was so deeply concerned about him. "It can be said that the characterization of Guo Fu is a milestone in Jin Yong's novels, and her significance is absolutely no less than that of Xiao Longnv, Li Mochou and Huang Rong, while most readers always think of themselves as Yang Guo, while Guo Fu is regarded as an adversary and they hate it very much. Little did they know that this move was an empty return to Baoshan, and they bought a gift and returned the pearl. Jin Yong's novels are like this: language sublimates into character, character sublimates into fate, and fate in turn affects language, so follow it and deepen it step by step. Jin Yong's language not only relies on line drawing and psychological description, but also often uses various embellishments at will. What is still fresh in my memory is the sentence describing Hu Yidao and his wife in Flying Fox of Snowy Mountain: "This man and a woman, for example, is that The Story Of Diu Sim married Zhang Fei ..." Here, the characters are like a duck to water with the help of the outline of language, and the imagination and association it evokes make readers never forget the memory of this couple. Jin Yong's language is also very humorous. From "the old urchin" to "The Six Immortals in Peach Valley" and then to "Wei Xiaobao", these hilarious characters make the novels interesting. They either become the embodiment of a kind of meaning or thinking, or become important plots or clues to enrich the novel content, or combine with narrative angles and comments, which not only attracts countless readers for Jin Yong's novels, but also injects vitality into this fast-paced world. In story creation, several events can happen at the same time, but the discourse must tell them one by one, even if it is such a magnificent and multi-headed work. This is to mention the narration and description in the style. The difference between narration and description is reflected in the narrative angle, person transformation, the distance between narration and story and narrative attitude. "Narration is a diachronic narrative, which provides the context of the story and explains the past and relevant information of the characters"; The description is "more subtle, with objective or neutral tone", which is "a dramatic and current narrative style that gives the scene". The flexible use of narration and description can be seen everywhere in Jin Yong's novels. For example, the last paragraph of Chapter 2, The Long Pine and cypress on the Top of Wudang Mountain, wrote: "Zhang Junbao was still young at that time, and he was not sure that his speculation would be right. He has been taught by Jue Yuan for a long time, and he has memorized five or six times out of ten in this Nine Yang Classic. In the past ten years, his internal strength has greatly improved. Later, he read more Taoist scriptures and gained more experience in practicing Qi in Taoism. One day, I wandered in the mountains, looking up at the clouds and overlooking the flowing water. If Zhang Junbao realized something, he thought hard in the cave for seven days and seven nights. Suddenly, he suddenly understood the wisdom of being soft in martial arts and could not help laughing. " This is descriptive, and then it goes on: "This laughter has actually produced a great master who carries forward the past and opens up the future. He invented the martial arts of Wudang with since the enlightenment's boxing theory, Taoism's way of defying emptiness and being flexible, and the internal strength contained in the Jiuyang Zhenjing, creating a martial arts school that reflects future generations and shines through the ages. Later, when I traveled to Baoming in the north, I saw the beauty of the three peaks and the sea of clouds in Li Zhuo, and I realized something about martial arts. I named myself Sanfeng, and that is Zhang Sanfeng, a wonderful man in the history of martial arts in China. " This is the story again. In this passage, there is no trace of the transformation from description to narration, and careful readers will definitely feel this way when reading A Review of Yuan Chonghuan. Jin Yong has spent a lot of time on language. His style is "a style that has been practiced hard for a long time after a lot of hard exercise". He also said: "It is my wish to write novels with elegant and popular content and simple and fluent words." Pet-name ruby Wang Anshi's poem says well: "It seems to be the most extraordinary, but it is easy but hard to achieve." Jin Yong has revised his novels many times, and his good intentions of "waiting for the beginning, cleaning up the old mountains and rivers, and shouldering the burden" are not inferior to Cao Gong Xueqin's "reviewing for ten years and adding and deleting several times". For example, Jin Yong changed the first and second chapters of Shu Jian En Qiu Lu from "the ancient steeds are frightened by white hair, and the dangerous chivalrous gods are camel flying with green feathers" to "the ancient roads are frightened by white hair, and the dangerous mountains are quick to know the green feathers", which makes these two chapters more suitable for the text in terms of artistic conception and level. Another example is the opening of The Legend of the Condor Heroes.