My graduation thesis wants to write about the traditional culture of China in Jin Yong's novels.

New insight: Jin Yong holds a "negative" attitude towards traditional culture-is the cultural level of the protagonist really "getting lower and lower"? The pursuit of "unity" leads to misunderstanding —— The traditional culture in Jin Yong's novels is composed of pluralism —— Guo Jing is the body of Confucianism and Mohism —— Kangxi: a wise monarch compatible with Confucianism and Legalism—

Jin Yong's praise and sublation of traditional culture —— What did Huang's father and daughter mock? -Yuan Chonghuan, Gu, Huang Zongxi, for example-anyway, reunification does not mean anti-tradition.

Jin Yong's novels contain rich contents of China traditional culture, which is the general feeling of readers. I once said in an article:

Jin Yong's martial arts novels contain charming cultural atmosphere, rich historical knowledge and profound national spirit. The author focuses on writing "righteousness", combines culture with martial arts, writes the inner spirit of China culture through martial arts competitions, and explains martial arts cultivation and even life philosophy through traditional cultural theories, which inspire each other and complement each other. Confucianism, Buddhism, Taoism, Mohism and hundred schools of thought are involved here, as well as countless books on literature, history and science and technology of the Chinese nation for thousands of years, and various categories of traditional literature and art, such as poetry, ci, qu, fu, painting, music, sculpture, calligraphy and chess. The author mobilized his profound knowledge in these aspects, which made the martial arts novels rise to a high cultural level. As Professor Chen pointed out, "Tianbu" is a kind of "compassionate", broad and lofty style, and it is difficult to do it without the author's real understanding of Buddhist philosophy. We have never seen any kind of popular literature with such rich traditional cultural connotation and such superb cultural and academic taste as Jin Yong's novels. ( 1)

It can be said that Jin Yong's works are not only the result of the author's transformation of martial arts novels with modern elite culture, but also the product of the author's infiltration and edification by China's traditional culture. From Jin Yong's novels, we can get a glimpse of the chivalrous spirit of Mohism, the Confucian thoughts of benevolence, kingliness and people-oriented, and also feel the profound dialectical methods of Taoism. As far as literature itself is concerned, when we read Jin Yong's novels, we can't help but think of Zhuangzi's magnificent and unconstrained magical imagination, which implies deep philosophical color and flying literary language. Both prove the deep connection between Jin Yong's novels and traditional culture.

But when it comes to the attitude of Jin Yong's novels to traditional culture (such as yes or no), the views among researchers are obviously quite different. In the book Masterpiece published by Taiwan Province Liu Yuan Company in1980s, Mr. Shu Guozhi's article said that "Jin Yong's book vaguely reveals the emptiness of culture" (2), but this is vague. A few years ago, Chen Mo, a mainland scholar who made great achievements in the study of Jin Yong, also proposed in the article "Jin Yong's novels and China culture" published in 1994 that Jin Yong's novels "have non-cultural and anti-cultural significance (whether mainstream culture or non-mainstream secular culture)". Chen Mo said: "It is an obvious fact that the' cultural level' of the protagonists in Jin Yong's novels is getting lower and lower. Chen Jialuo in the first film, Yuan Chengzhi in the second film, Pei Hu in the third film, Guo Jing in the fourth film and Yang Guo in the fifth film are obviously inferior to each other in terms of cultural level. Later, the protagonists such as Shi were simply illiterate. " "The answer may be quite simple: that is, Jin Yong doesn't like Confucian scholars, literati and' intellectuals' in traditional culture." He also said: "The hero of Jin Yong's novels is not only uneducated, but also not sophisticated. This not only shows the author's denial of mainstream culture, but also the rejection of non-mainstream secular culture. " Chen Mo's conclusion is that Jin Yong's novels "have developed from the suspicion and criticism of Confucian scholars and even intellectuals in all traditional cultural backgrounds to the suspicion and criticism of all secular cultures (including mainstream and non-mainstream), which is an ideological clue that cannot be ignored and is also the uniqueness and profundity of Jin Yong's ideological system."

That is to say, in Mr. Chen Mo's view, Jin Yong's novels are a denial of traditional culture, including mainstream culture and non-mainstream culture. Mr. Liu Weiguo, a graduate student of Sun Yat-sen University, inspected Jin Yong's ideological course in the article "Cultural Meridian of Jin Yong's Martial Arts Novels" (IV), and thought that works such as Legend of Flying Fox and Legend of the Condor Heroes showed that "Jin Yong first entrusted the chivalrous spirit to Confucianism"; Jin Yong was "Taoistic" because of his rebellion and escape from Confucianism, but The Condor Heroes is an effort by Jin Yong to rebel against Confucian norms. In the legendary swordsman, Yue Buqun, the "father" representing Confucian culture, was finally killed, which shows that Jin Yong's profound reflection on the overall decline of chivalrous spirit represented by Confucian culture "Eight Dragons" embodies "boundless Buddha nature", but he is still "powerless" to He Duan. In Duke of Lushan, Jin Yong sang the last elegy for chivalrous spirit. Through Wei Xiaobao, a "China cultural freak", the chivalrous spirit was finally buried by Jin Yong himself.

Liu Weiguo put forward Jin Yong's cultural thought that "the end point is complete disappointment". This also thinks that Jin Yong has adopted a desperate and nihilistic attitude towards traditional culture.

Do Jin Yong's novels really express the nothingness, denial and despair of China's traditional culture, as mentioned above? If we "follow our feelings", I'm afraid we can't come to this conclusion. Jin Yong spent almost half his life shaping the chivalrous soul and eulogizing loyalty. He believes that "the Chinese nation has been growing for thousands of years and has always maintained its vitality in the competition for survival. Standing up again after being overwhelmed by foreign countries may have a lot to do with our emphasis on friendship "(5). It is hard for people with this understanding to imagine that they will take a "nihilistic" attitude towards traditional culture and bury the chivalrous spirit with their own hands.

In fact, both Chen and Liu have some misunderstandings about Jin Yong's novels. Although some analysis of their above articles is reasonable (Chen Mo's article is even wonderful), their overall conclusion is biased. Such an assertion is far from the reading impression of ordinary readers! It is also too far away from Jin Yong's novel creation!

Thirty-six volumes of fifteen kinds of Jin Yong's novels were created and revised in seventeen years. It is impossible for him to imagine how many works he will write in the future, what is the theme of each work, what is the cultural level of the protagonist, and how a huge image system or ideological process was formed at the beginning of writing Shu Jian An Qiu Lu in the 1950s. Instead, you can only write one idea (it is not easy to conceive one or two more) to innovate step by step, and don't repeat yourself. Generally speaking, the protagonists in martial arts novels are not well educated. As for the specific design, I'm afraid it can only depend on the protagonist's personality, origin, relationship with people around him, plot development of the work and different needs of the theme, rather than the result of the cultural terrace arrangement from high to low set by the author in advance. Moreover, the actual situation of the work is not that "the cultural level of the protagonist is getting lower and lower." Take the hero of Jin Yong's later novels as an example: Duan Yu is the prince of Dali in Eight Dragons. He himself said to Zhong Ling, "Dad invited a teacher to teach me to read the four books and five classics, poetry and songs, and a monk to teach me to read Buddhist scriptures" (6), which shows that he is very educated; Qiao Feng and Xu Zhu also received a little education in Shaolin Temple since childhood. The legendary swordsman's culture is also higher than Yang Guo's, Shanghai's and Shijiazhuang's. Finally, the Duke of Lushan, besides Wei Xiaobao, the hero should also be Emperor Kangxi, who is the most educated figure in all Jin Yong's works (Jin Yong himself listed Kangxi as the "protagonist" with Guo Jing and Qiao Feng in an article).

(7))。 Jin Yong's novels do criticize some aspects of China's traditional culture, but there is no tendency of "non-culture and anti-culture" as Mr. Chen Mo said. As for whether Jin Yong's thought changed from Confucianism to Taoism to Buddhism, as Mr. Liu Weiguo said, the end point was a "process" of "complete despair" of traditional culture.

And then what? I'm afraid it doesn't exist because Jin Yong actually affirmed and denied Confucianism, Mohism and Taoism in traditional culture, absorbed and sublated, inherited and criticized them. Later, he studied Buddhist scriptures and analyzed secular culture, but he did not fully accept it. Of course, there is no "complete disappointment". Jin Yong's creation of martial arts novels has passed the year of "standing", the foundation of Chinese and western cultures has been basically laid, and his thoughts tend to be stable and mature. Traditional culture exists in his novels in the form of comprehensive integration (making readers feel that his novels have rich and heavy cultural atmosphere). It is impossible and unnecessary for him to explore Confucianism, Buddhism and Taoism, then to explore civic culture and secular culture, and finally to go to nothingness. I'm afraid all these statements are the result of excessive pursuit and bias of Jin Yong's works by researchers in pursuit of establishing a certain "system". In the book review for Feng Youlan's History of China Philosophy, Chen Yinque once said a thought-provoking sentence: "The people who talk about China's ancient philosophy today are probably the people who talk about their own philosophy today, and the people who write the history of China's philosophy today are also the people who talk about their own philosophy today. The more coherent his speech is, the farther away from the truth of the ancient theory. "(8) Although what I am talking about here is the study of the history of ancient philosophy, it is actually of universal significance in methodology, and it is also applicable to the study of Jin Yong's novels and Jin Yong's thoughts.

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We say that the traditional culture of China exists in a comprehensive form in Jin Yong's novels, which contains multiple meanings.

First of all, it means that the traditional culture in Jin Yong's novels is composed of multiple elements, including Confucianism, Taoism, Mohism, Buddhism and even military strategists. In different works, for different needs, Jin Yong mainly embodies or develops some views of one or several schools of thought in the contention of a hundred schools of thought through artistic images, but he himself does not seem to be particularly biased or obsessed with believing in a certain thought. Jin Yong's view of traditional culture itself is pluralistic and integrated. Therefore, the idea of a hundred schools of thought contending often does not exist alone in Jin Yong's novels. For example, his novels praised the attitude of Confucianism and Mohism towards life, but at the same time affirmed the philosophical spirit of Buddhism and Taoism: they adopted a complementary attitude between Confucianism and Mohism. Ling Huchong is so wild and free, but he always respects Master. He doesn't resist being wronged. He maintained the traditional morality of respecting teachers and attaching importance to Taoism, which is not only the natural embodiment of the character's character, but also the unconscious expression of Jin Yong's own cultural concept. Jin Yong's novels draw lessons from many Confucian and Mohist ideas in basic moral concepts such as patriotism, loyalty and filial piety, respecting teachers and respecting morality, and keeping promises, but there are many Buddhist and Taoist ideas in his works in the choice of personal and social relations. Understanding the diversity of traditional culture is one of the keys to correctly grasp the content of Jin Yong's novels and prevent and avoid simplistic judgment.

A hundred schools of thought contend in the Spring and Autumn Period and the Warring States Period. In our view today, their theories each represent a side of social requirements. Although there are fierce arguments and struggles with each other, it is not necessarily a life-and-death relationship, but each has its own advantages and can complement each other. Confucianism emphasizes the individual's responsibility to society, and advocates "rule by courtesy" and "benevolent government" from the aspects of moral cultivation and self-improvement in order to maintain the established social order. Confucius disapproved of the rule of law and advocated the rule of virtue. He said: "Tao (guidance) is the government, and punishment is imposed by punishment, and the people are free from shame; Tao (guidance) is based on morality and is ashamed of ceremony. " (9) He also said: "Governing the country by virtue is like the North Star living in its place and the stars arching it." (10) It can be seen that he thinks that the problem should be solved mainly from moral education (so-called "self-denial is benevolence"). But moral education is certainly not everything. In desperation, Confucius killed Shao Zhengmao. In the management of the country and society, legalists who emphasize the rule of law must be an important revision and supplement to Confucianism. However, if legalists only rely on one-sided severe punishment and "take punishment as a threat", society can also lose its flexibility and vitality. As a result, just like the Qin Dynasty's "many people are guilty, and punishment goes to the Tao" (1 1), the whole country turned into a big prison without walls, and finally people's resentment boiled, with one death and two injuries. In this respect, not only the Confucian thought of "benevolent governance" is reasonable, but also the Taoist thought of respecting nature, doing nothing, cherishing people's wealth and recuperating is an important supplement to Legalists. In the early Han Dynasty, the study of Huang Lao was implemented for a period of time, which was actually "outside the teacher and inside the teacher". As a result, the social economy developed and formed "the rule of culture and scenery". On the surface, Emperor Wu of the Han Dynasty only respected Confucianism, but at the same time appointed cruel officials to strengthen social control. This is the method of "promoting Confucianism and restraining Confucianism", which is also called "hegemony" in the words of Xuan Di (12)-hegemony refers to methods, and "kingly way" refers to Confucianism. As for the strategists' diplomatic strategies, the strategists' strategies and tactics are also the needs of state management. Mohism is very close to Confucianism in life attitude, but it seems to be more concerned about the interests of lower-class workers and small producers, and likes to interfere with social injustice. His chivalrous spirit suffered a heavy blow in the era of Emperor Wu of the Han Dynasty (many chivalrous men were killed). Buddhism, which was introduced later, also played an important role in restraining people's greed, stabilizing social order and explaining life philosophy. In short, every school has its rationality and limitations. If the two can complement each other, integrate their advantages and reflect the requirements of cultural and ecological balance, it is entirely possible to achieve brilliant success in social governance. Zeng Guofan, known as a great scholar, actually absorbed the strengths of a hundred schools of thought. He once said: "If the mind can be as quiet as Zhuangzi and the body can be as diligent as Mo Zhai, if the people can be as strict as business management and not self-centered, the biased can be cut and the missing can be supplemented, then all the scholars can learn from it and cannot abandon it." (13) This makes sense.

Jin Yong's novels are compatible with Confucianism, Mohism, Buddhism, Taoism and Legalism. Many of his heroes have fought for life, righteousness and heroism, but in the end, they wandered in a foreign land and lived in seclusion, practicing the purpose of Confucianism and Mohism and following the teachings of Buddhism. In an article written by 1989, Jin Yong once said: After the Han and Tang Dynasties, Buddhism and Taoism prevailed, and the thoughts of China people also changed. The birth of Buddhism and Taoism goes hand in hand with Confucianism and Mohism's entry into WTO. When China intellectuals were young, they actively cared about world affairs, cared about the public and took the world as their responsibility. When they were hit hard in the real environment, some of them gradually became naked and did not regret it, while others inevitably tended to be reclusive and negative. ..

I started writing martial arts novels when I was a little over 30. There are many leading men with complicated personalities and experiences. But in the end, the hero's ending usually doesn't come from two ways: either do your best and die; Or drift away from seclusion. Probably because I admired Fan Li and Sean since I was a child, and because I was wandering and wandering when I was young, I always yearned for a quiet and peaceful life, so unconsciously, I wrote fewer people like Guo Jing, Qiao Feng and Kangxi, and most of them ended in another destination. From Chen Jialuo in Book Sword and Yuan Chengzhi in Sword stained with Royal Blood, to Wang Zhongyang in Shooting the Condor, Zhang Wuji in Eternal Life, Yang Guo in The Condor Heroes, Ling Huchong in the legendary swordsman, Xu Zhu and Duan Yu in Tianlong Babu (although they became Dali emperors, they later became monks), until the end. As a duke, Wei Xiaobao won the favor of the emperor and chose to escape from seclusion.

The ending is mainly developed according to the basic character of the characters. People who value responsibility and social norms generally take the first road; Most people who pursue personality liberation will take the second road. .. is the first hero in my novel who aims to help the world, while the second hero is frustrated after hard work, so he is alone. "I am carefree and nobody cares" (an echo of "Eight Dragons") is the ideal of Taoism, and the pursuit of personality liberation and freedom seems to have another positive significance. Confucian "independence" has a strong moral connotation. ( 14)

Visible, even if they are secluded, there are differences between Taoism and Confucianism. Jin Yong noticed the differences between them and adopted a compatible attitude.

It is necessary to investigate the image of Guo Jing in The Legend of the Condor Heroes and The Condor Heroes. Some researchers attribute Guo Jing to a typical Confucian culture, which seems a little simple to me. Of course, Guo Jing has the influence of Confucianism, but it also has the color of Mohist culture. He is a typical example of Confucianism and Mohism. Confucianism and Mohism are both prominent scholars in the late Spring and Autumn Period and the early Warring States Period, and their thoughts also have similarities (both advocate benevolence and righteousness). In the Tang Dynasty, Han Yu once said: "Confucius must use ink, and Mozi must use holes; Don't use each other, not enough for hole ink! " But as far as Guo Jing is concerned, Mohism may be more colorful. Although both Confucianism and Mohism advocate "taking the world as their own responsibility", Mohism is more serious, practical and hardworking. Mozi said that "the world should follow suit", and Guo Jing consciously did it. He resisted Yuan for decades, did not fear hard work, overcame all difficulties and gave his life to save the world. Mohism often pays special attention to such important issues as war and peace, which concern thousands of people in Qian Qian. Mohism itself prevented Chu from attacking Song. Guo Jing's opposition to the war of aggression and Genghis Khan's cruelty to the people is quite close to Mohism. Moreover, Guo Jing's simplicity, hard work, sincerity and hard work in the north are also quite Mohist. Confucianism is not as stupid as Mozi. Unless it involves issues such as honesty, Confucianism generally does not advocate hard work. They have a more flexible side. Even Confucius said, "If the Tao doesn't work, it will float on the sea with a fork"; He also praised: "Ningwu Zibang is wise if it has a way, but stupid if it has no way." (15) Mencius also said: "Being rich is good for the world, and being poor is good for the world." In this respect, Confucianism is somewhat close to Taoism, but different from Mohism. For Mohism, the ancients had a cloud:

"Mozi's disciple is called Hot Belly" and "Mozi's disciple devotes himself to saving people" (16). They are a group of warm-hearted people and will really work hard. Because of this, Mohism has a great influence on later chivalrous people, and many rangers originated from Mohism. In addition to the elements of Confucian culture (including his severe suppression of Yang Guo's love affair with his master Xiao Longnv), Guo Jing's ideological temperament is more like Mohism. He is at least a chivalrous man who is compatible with the influence of Confucianism and Mohism. We must not regard a hero as a Confucian just because he has entered the WTO, but as a Taoist at birth. The actual situation is quite complicated and needs to be analyzed in detail. Jin Yong himself mentioned Confucianism and Mohism when he talked about the heroes who entered the WTO. He said: "China's traditional thoughts are Confucianism and Mohism, both of which teach people to try their best to be a man and pursue the fairness and rationality of the world, with the ultimate goal of' sacrificing one's life for righteousness'. The basic tradition of martial arts novels is to express this philosophical thought. " (17) This passage was written in 1989. It can be seen that Jin Yong never despaired of Confucianism (Yue Buqun was a hypocrite and could not represent Confucianism at all), but paid equal attention to Confucianism and Mohism. We really need to be very careful when analyzing works and characters.

If Guo Jing's chivalrous spirit is compatible with Mohism and Confucianism, then Kangxi in The Duke Of Mount Deer can be said to be a "wise monarch" image that combines the strengths of Confucianism and Legalism.

Kangxi is indeed the real protagonist of Duke Lushan. When Jin Yong wrote Chen Jinnan, who was almost blind and loyal, and Wei Xiaobao, who was a little sloppy, he used satirical brushwork, especially for Wu Sangui, Mu Wangfu, Zheng Keshuang and Shenlong School, but he wrote positively about Kangxi. The novel was written from his struggle with Ao Bai, and he was tempered and grew up gradually. From his relationship with his relatives (Shunzhi, Empress Dowager, Princess Channing) and his relationship with Wei Xiaobao, write his wise, kind and human side. Kangxi was concerned about the country and the people, diligent and loving the people, kind and generous, and tried his best to reduce the burden on the people. When I learned that Taiwan Province Province was hit by a strong typhoon, I had to cut my palace expenses to provide relief. Someone falsely accused Huang Zongxi of "Ming Yi to be visited" and wanted to be trapped in the literary inquisition. Kangxi defended Huang Zongxi. Kangxi also adopted many methods of legalists and even strategists to govern the country, such as strict law enforcement, paying attention to politics and ingenuity, and even appointing secret intelligence personnel. But he hired villains without losing control, and was not led by villains, only for his own use. For Wei Xiaobao, Kangxi sent someone to spy on him. Later, he exposed the identity of the Lord of Heaven and Earth face to face, making Wei Xiaobao break out in a cold sweat and play with him. Kangxi once said frankly before Wei Xiaobao: "I am the emperor of China. Although I can't say anything about Yao Shunyu Tang, I cherish the people and try to govern. Which emperor of the Ming Dynasty is stronger than me? " This statement is generally in line with the historical truth and is by no means boastful. If we jump out of the narrow stand of the Han nationality, we must admit that Kangxi meets the standard of "holiness" of Confucianism and Legalism. Jin Yong's evaluation of Kangxi is actually close to historical materialism. When I read Duke Lushan, I only saw a Wei Xiaobao, but I couldn't see Kangxi. I also think that the cultural level of the protagonists in Jin Yong's novels is getting lower and lower, or that the more desperate Jin Yong is for traditional culture, the more blind he is.

The difference between The Duke Of Mount Deer's and Jin Yong's previous novels seems to lie in the change of writing style, the change of the hero from a chivalrous man to an emperor, not the spirit of "serving the people" or the change of attitude towards traditional culture. The appearance of Duke Lushan marks the shift of Jin Yong's vision from martial arts novels to historical novels. It is said that Jin Yong is now preparing to write historical novels in the late Qin Dynasty and early Han Dynasty. If this wish can be realized, Duke of Lushan will not be the "end" or "end" of Jin Yong's novel creation, but just the beginning of a new creative stage.