Chapter 19 Conclusion "The Myth of Jin Yong"
Since its publication in 1955, Jin Yong's martial arts novels have been popular first in Hong Kong, Southeast Asia and other places, and then in both sides of the Taiwan Strait and even in the entire Chinese society, creating a miracle.Lin Yiliang, a Hong Kong red scholar, said: "Wherever there are Chinese people and a Chinatown, there is Jin Yong." According to incomplete statistics, Jin Yong has more than 100 million readers.Since the 1970s, Jin Yong's works have been topping the bestseller lists in Hong Kong and overseas. In 1996, a survey report by Taiwan's Yuanliu Publishing Company showed that from 1985 to 1995 in Taiwan alone, more than 4.7 million copies of Jin Yong's works were published.If you add the bootleg editions in the early years and the future vision editions, the circulation is tens of millions of copies.Jin Yong claimed earlier that he received about 10 million yuan in royalties (including movies and television) from Hong Kong and Taiwan every year, but he has never received royalties from the mainland, with only one exception. In 1985, Tianjin Baihua Literature and Art Publishing House responded to the request of Li Ruihuan. After it was published, he received a royalty of about RMB 100,000.This was the only royalty he received before officially signing the contract with Beijing Sanlian Bookstore.
"Jin Yong is a phenomenon. The average number of his novels exceeds 1,000 editions (up to 2,124 editions), and the total sales volume (even those that do not receive money) reaches 100 million! However, the key point of Jin Yong's phenomenon is, It is not just the number of 100 million, but his works have lasted for half a century. Some good people have done statistics. During the "Cultural Revolution", the sales volume of "Quotations from Chairman Mao" was even higher than the total sales volume of "Bible". The sales volume is even bigger. Looking at it now, Lao Mao's world record may be broken by Lao Mao in the future."
Jin Yong's works have also been translated into various languages.According to the statistics of ShinWing Publishing House in Seoul, there are 12 publishing houses in South Korea that have pirated and translated Jin Yong's works, many of which are first-class publishing houses.In Southeast Asia, as early as the 1970s, versions of Jin Yong's novels were published in Vietnamese, Thai, Indonesian, Cambodian, and Malay, and later in simplified Chinese in Singapore and Malaysia.Tokuma Shoten, one of Japan's largest publishing houses, is preparing to publish "The Complete Works of Jin Yong" in Japanese.Since the English translation was published by the Chinese University of Hong Kong Press in 1993, other English translations have come out one after another.
On October 12, 1980, Ni Kuang's "I Look at Jin Yong's Novels" was published. Shen Dengen, the publisher of Taiwan's Vision Publishing Company, published an advertisement "Waiting for the Master" in "Ming Pao", soliciting manuscripts for "Jin Xue" research, followed by a set of 23 volumes. "Jin Xue Research Series" came out one after another, and martial arts novels became "Jin Xue", which has no precedent in China.More than 30 years have passed, and "Jinology" has become a prominent school. There are Ni Kuang in Hong Kong, Lin Baochun in Taiwan, and Chen Mo in the Mainland. They have published a large number of "Jinology" works."Jinxue" Research Associations, "Jin Yong Academic Research Associations", and "Jin Yong Book Clubs" have also been established for many years in various places.Peking University, the University of Colorado, the Chinese University of Hong Kong and other institutions of higher learning have held international academic seminars on Jin Yong's works.In some people's minds, Jin Yong has already become a myth.
Wu Si, who interprets Chinese history with "hidden rules", wrote "What Dreams did Jin Yong Make Up for Us", which may help to decipher the "Myth of Jin Yong".In a society devoid of security and order in property, the illusion of the ability to gain is less fundamental than the illusion of the ability to do harm.Only the emperor can compare with the damage ability of the hero in Jin Yong's works, but the hero is much happier and freer than the emperor.The martial arts dream is essentially the emperor's dream improved by Chinese men.
Why is martial arts fantasy so popular in China?In addition to living up to our dreams, the social climate and soil seem exceptionally suitable.The fantasy of martial arts is actually the fantasy of having a powerful ability to hurt. ...In the eyes of martial arts masters, civilians are just waiters who serve people, or waiters who use to vent their anger, or all living beings for him to rescue. This is the function of the common people in the eyes of the emperor.
Martial arts novels are only a part of Jin Yong's life, and "Ming Pao" occupies a more important position in his life.In the 20th century Hong Kong and even the Chinese cultural circle, his unique martial arts novels and Ming Pao Kingdom established two peaks.He has become a common star in the eyes of politicians and the public. I am afraid that there is no writer in the history of literature who has as many readers as he.Literature is literature, and it may be too early to draw conclusions on his works. Whether they are classics handed down from generation to generation will not be known until a hundred years later.
Another reason for the "Jin Yong Myth" is that he, a literati, actually made it onto the Hong Kong Billionaires List.In a society oriented by money worship, people's pursuit and worship of wealth is undeniable.As a cultural symbol, he has also become a symbol of wealth in the commercial society. He really contains too many miracles.Rover bluntly said that if there is no Hong Kong, there will be no Jin Yong:
Some people say that there is nothing in Hong Kong, "except Jin Yong, only mediocrity".Mediocrity is mediocrity, and gold is not mediocrity.Jin Yong is divided into two parts of "Yong". It is well known that Jin Yong has gold and Jin Yong does not.
"If there is no Hong Kong, would there be Jin Yong in the world?" The answer is no, Jin Yong is a child of a specific era in Hong Kong——
Without Hong Kong, there would be no Jin Yong in the world.Without Hong Kong, Jin Yong would have to spend the end of the 1940s in Shanghai and enter the 1950s. When he wrote his debut novel, the first new martial arts novel, it happened to be popular in the Mainland. Before the book was finished, he entered the anti-rightist movement. Is it possible for him to complete such a work?Was it even possible for him to write such a work?
In August 1967, Hong Kong was in the middle of the "May Storm", and the wind and rain were precarious. The "Editor's Notes" of "Ming Pao Monthly" probably came from Hu Juren's handwriting, but it also represented Jin Yong's views:
Hong Kong, a small place under British rule, has a very deep meaning to the Chinese.In addition to relying on this seaport to settle down, get married, and have children, Hong Kong may also make great contributions to China, especially Chinese culture.In today's turmoil in China, Hong Kong is one of the few places that has the freedom and the opportunity for the Chinese to create an academic culture.
…Hong Kong is important to us, and it is equally important to the future of China.Let us cherish this freedom and cherish this opportunity.
No matter his martial arts novels, or "Ming Pao" and "Wealth", they are all products of Hong Kong's colonial era, and it is Hong Kong that created the "Jin Yong Myth".If he did not come to Hong Kong by chance, but stayed in the mainland, with his family background, education in the Central Political School of the Kuomintang, and work in the "Southeast Daily" with the background of the Kuomintang and "Ta Kung Pao" with "small scolding but big help" Even if they escaped 1957, they could not escape the "Cultural Revolution".Like thousands of intellectuals of his time, he will accomplish nothing, and the best years of his life are destined to be spent in exile, hard labor and criticism.All of Jin Yong's success is due to Hong Kong, and his achievements are not so much a "Jin Yong myth" as a "Hong Kong myth".He is sober about it:
If I hadn’t come to (Hong Kong), the situation might have been completely different. I would have stayed in Shanghai and worked on the Shanghai Ta Kung Pao, but I might have been defeated during the Anti-Rightist campaign. (Laughs) the most likely I was defeated during the Anti-Rightist Movement, and it may have been worse during the "Cultural Revolution".
Jin Yong said: "One of the characteristics of Hong Kong people is that compared with other parts of the world, they have a particularly strong desire to pursue 'material'. Hong Kong is a small place with many people and fierce competition, so the desire to 'live a good life' is particularly strong, and 'live a good life'." A good life, 'getting rich', and 'social status' often become the purpose of life. I also tend to judge culture and art from a commercial point of view, and look at everything with 'how much is it worth', which is what worries me of."
However, it was in such a commercial society that his martial arts novels achieved unprecedented success.Economist Zhang Wuchang once followed Jin Yong's martial arts novels and has personal experience of the environment of the times:
Speaking of Jin Yong, we have to start with the society after World War II. "Every year is sad, every year is sad, there is no home everywhere." At that time, it was a helpless society. Today, no matter what happens tomorrow, one day counts as another.The orientation of the market is to find some excitement in the days of nowhere.Pornographic publications are all the rage. ... The host of Huanzhu released flying swords randomly, Yacasu and Huang Feihong fought endlessly, and when writing about foreign countries, we have "Chen Charlie vs. Mafia".The culture of foreigners at that time was similar.The films shipped from the United States to Hong Kong were either "Atomic Astroman" or "Bronze Hammer vs. Iron Man".
In the above-mentioned cultural environment, many gangsters who came to Hong Kong had to write articles for a living.Two of them are quite special: one is Liang Yusheng, and the other is Jin Yong.They talked about history, art, and poetry.In order to make a living, they invented "new school" martial arts novels.
In a consumer society that generally pursues material things, people's spiritual needs are also fast food-style, or in other words, they need a kind of "games, fun and entertainment".Jin Yong has repeatedly said that his novels are nothing more than "entertaining readings":
I can't say that my novels are well written, and I dare not say that I am a writer. In short, I try my best to write novels well.Now I am quite popular among Chinese and overseas Chinese. I provide them with a relatively good entertainment, not to mention very beneficial, at least not too harmful. Some readers feel very happy and happy after reading it. I I did my duty.
Entertainment products are of course a kind of popular culture, which has the characteristics of commercialization.Taiwanese writer Bo Yang said: "Almost all authors of martial arts novels only write for money, but Mr. Jin Yong has no ambitions. He uses skilled historical background to describe the human rights and lives of farmers persecuted under tyranny and tyranny. Love and injustice, and hate those corrupt officials, cruel officials and traitors. It is especially worth noting that the national justice described by Mr. Jin Yong is surging." This is only Bo Yang's interpretation, not Jin Yong's original intention.It is true that he has been pursuing a peaceful, tranquil, and happy life. Although he described a large number of violent fighting scenes in detail and imagined countless thrilling martial arts for killing, he is essentially an anti-violence activist.He said more than once: "The death of my grandfather, father, and mother made me deeply feel the value of being free from aggression and living in peace. Whether it is international or within a country, the most important thing is to avoid war and let the people live in peace." Strive for progress and improve life in an environment where violence is often the root of many misfortunes." When he created, he did not pay attention to "human rights and life under the ravages of tyranny", perhaps it was just inadvertently revealed.And with these, his "entertainment products" are not simply entertainment.Different people can read different connotations from it.
Jin Yong's novels do not lose their value because of their popularity and entertainment. "Jin Yong is not preaching, and he does not aim at criticism and judgment. He outlines thousands of different characters, and uses them to express many different thoughts and outlooks on life for readers' reference, sigh, and entertainment." Dispersed, the halo disappears, literature reveals its true face, and his works will still have its readers.Perhaps this is beyond the comprehension of those who praise and scold him. This is the secret of literature itself, an eternal secret.
Jin Yong's novels have been popular since they entered the mainland in the early 1980s.There are profound reasons for the popularity of popular culture. After 1949, martial arts novels were first banned in the mainland. From the anti-rightist movement to the "Cultural Revolution", especially during the "Cultural Revolution", the ancient culture of a great country with thousands of years encountered the most serious crisis since Qin Shihuang burned books and buried Confucianism.After decades of passing by, traditional culture has almost disappeared in the interior.In fact, since the end of the 1940s, there has been no independent literature to speak of in the interior, not even popular novels for the entertainment of ordinary people.Suddenly looking back, we found that the spark of Chinese traditional culture was carefully preserved and continued by Jin Yong in the form of martial arts novels in remote Hong Kong.
Jin Kemu said that his novels are "difficult to succeed after surpassing the predecessors. Although there are failures in the writing, they are still outstanding in their own way".Xu Zhuoyun said that his novel "is epoch-making and can be immortal".Just as elite culture has its own value, popular culture also has its own reasons for its existence.In a pluralistic context, this is not a moot point.On the contrary, the controversies caused by Jin Yong's entrance to the university forum are thought-provoking. As an outstanding martial arts novelist, he is reluctant to discuss martial arts in college.As a reporter, he has a half-century career in the newspaper industry, and his achievements are obvious to all, but he has no intention of sharing his news experience and being a doctoral supervisor of journalism.What he wanted most was to be accepted as a historian.
Between popular culture and elite culture, Jin Yong found the best balance in his early years. After the 1960s, "Ming Pao" became a newspaper for intellectuals. Although some people criticized his serious political comments as having some traces of commercial society, they were basically "literati discussing politics" and were typical of elite culture.He writes about martial arts in the daytime, and writes editorials at night to criticize the reality. He is able to play the role of popular novelist and political commentator with ease.His editorials and novels constitute a "complementary relationship", "one is mainly to interfere with society, and the other is to entertain life".In the same newspaper, his editorials and supplementary novels each have their own functions, and each has its own place without disturbing the other.The literati who point to the temple discuss politics and the literati and knight-errant dreams who point to the rivers and lakes are integrated in him.
Jin Yong said: "Commerciality has nothing to do with good or bad. Elegance and vulgarity and good or bad are two standards, which are different. It is like whether a horse runs fast or not is different from the color of the horse. Elegance and vulgarity and good or bad are also two standards. , cannot be compared. My personal opinion is that few people appreciate elegant things, elegant things are not necessarily good, and vulgar things are not necessarily bad.”
Vulgarity and elegance, popular culture and elite culture, Jin Yong (Cha Liangyong) and Mu Dan (Cha Liangzheng), the two contemporaries of the Haining Cha family are the most comparable and also the most symbolic.Someone commented, "Jin Yong showed the taste of a literati, but Mu Dan frankly presented the soul of a literati."Both Mu Dan and Jin Yong received university education during the Anti-Japanese War. Mu Dan was older than him. He was influenced by Shen Congwen, Zhu Ziqing, Wen Yiduo and others in the Southwest Associated University. Although admitted to the Southwest Associated University, he chose the Central Political School and lost the opportunity for further study.The bigger difference is that one stayed in the mainland and the other went to Hong Kong. In the great changes of the times, the fate of the two also slipped in different directions: one was persecuted and died young, although his poetry was destined to It has remained in the history of literature for a long time, but it is sunny and snowy, high-spirited and few; a place with unlimited scenery, where there are many people, enjoying the wealth and splendor of the world, and has hundreds of millions of readers with its martial arts novels, which are popular in the entire Chinese society.These are two talented individual lives with different interests and destinies. One is an unfinished life, and the other is a fully developed life.Their works also belong to different worlds and have different meanings.Just as Jin Yong cannot replace Mu Dan, Mu Dan cannot replace Jin Yong.
Jin Yong said in "Thirty Three Swordsmen": "It is very interesting to study the psychology and personality of these great figures in Chinese history. Although material life has changed greatly for thousands of years, human psychology and power There are still very few changes in the various methods of fighting for and maintaining it." His martial arts novels ruthlessly deny power from the very beginning. Viciousness and cunning first come from his pursuit of supreme power. For this reason, he did not hesitate to betray the covenant on the Pagoda of Six Harmonies, and trampled on the oath of high-fives and non-harm between Haining Chaoqian brothers.The extremely beautiful Princess Xiangxiang left her last words written in blood "Don't trust the emperor", which tore Qianlong's pious mask.The narration of Li Zicheng's rapid corruption and degeneration after entering the capital only confirmed once again the simple truth that "power leads to corruption, and absolute power leads to absolute corruption".Zhang Wuji in the film does not have the conditions to be a "political leader", but he has many beautiful qualities in human nature and is a trustworthy person, which is exactly what those who become "leaders" do not possess.Under the standard of human nature, Zhu Yuanzhang in the novel is bleak compared with Zhang Wuji, and the beautiful Zhou Zhiruo is not cute at all.From to to Jin Yong's novels, the slogan "for thousands of years, unify the rivers and lakes" often appears, which is just another way of saying "under the whole world, is it the king's land".From temples to rivers and lakes, there is no difference.Dongfang Bubai is corrupted by holding power, and it is also inevitable to let him do what he wants. This is a common phenomenon in human nature.It was the same when Yue Buqun and Zuo Lengchan took power.They are ambitious and regard obtaining unlimited power as the highest goal in life. This is a deformity that has been poisoned by authoritarian politics for thousands of years.Wu Margaret said: "Those who have not grasped the power plan secretly, those who have the power do everything they can to prevent others from seizing power, and those who have not gained power understand the weakness of those in power who like to listen to flattery, but once they gain power, they unknowingly repeat the same mistakes .”
This woman who shines in the Hong Kong news circle is indeed extraordinary. She is almost the only one who sees Jin Yong’s novels’ final return to power:
Written during the "Cultural Revolution" period in the Mainland, Jin Yong hated and hated political struggles, and it is conceivable that he obviously did not think Linghu Chong was the most ideal or final answer.In , he explores this issue from another angle, offering two opposite paths.The "anti-hero" Wei Xiaobao received fierce reactions and extensive discussions, which shows how successful he is.But I think the real protagonist, the typical real opponent of Qiao Feng's hero, is Kangxi, a typical wise monarch with great talent and strategy.
From "Don't trust the emperor" to Kangxi, the development process can be traced, but in Kangxi, "serving the country and the people" is no longer something that a hero can take on alone, but must be directed by an enlightened person in power An organized government to implement.The character closest to the knights in Jin Yong's other novels is Chen Jinnan, the head of the Tiandihui. However, comparing Chen Jinnan with Kangxi, and Tiandihui with Kangxi's cronies, it is very clear who is more capable of doing things.So far, Jin Yong's martial arts novels can no longer be written...
In 1994, when Jin Yong visited Taiwan, he said: "Among Chinese emperors, I have a high opinion of Kangxi. He is not only open-minded, but also easy to learn, and he has learned foreign knowledge." From denying power to returning to power, this is Jin Yong's sorrow is not only his personal sorrow, but also the collective sorrow of this nation.
For decades since 1959, Jin Yong wrote editorials for Ming Pao, especially his early editorials were full of critiques of power.He even came to the conclusion that "in politics most of the time the bad guys are in power". On August 15, 1972, he made it very clear in the editorial of "People, Power and Leaders":
In China's politics, for thousands of years, one thing has been said in words, but another is actually said. In short, it is said: "Using the way of kings and tyrants."Political leaders have always seized their own power and interests first, cared for the interests of the group second, and put the interests of the people of the country last.The king is the most precious, the country is second, and the people are the least.
I have only read Jin Yong's martial arts novels, but not Cha Liangyong's editorials, and what I have seen is only an incomplete Jin Yong.Many years ago, Jin Yong said that he was compiling a news commentary collection, which was going to be published in Hong Kong, and if possible, he would publish an abridged version in the Mainland in the future. "If one day, "The Anthology of Cha Liangyong's Politics" is published, and we can read it in reference to the "Collected Works of Jin Yong", we will be able to understand Mr. Cha's ambition and feelings."
Jin Yong dreamed of being a diplomat when he was young. He dreamed of breaking the capital in 1950, and never had such an opportunity again.As a successful journalist, he had the opportunity to participate in public affairs in Hong Kong. In the 1970s and 1980s, he served as the convener of the Citizens Advisory Committee of the Hong Kong Independent Commission Against Corruption and a member of the Hong Kong Law Reform Commission.From MacLehose to Youde and Wilson Wilson, he has been a guest of the previous governors of Hong Kong, and they read his editorials almost every day.He praised Dai Linzhi, MacLehose and others.He said: "The British are also very polite to me. But the British will not ask me to do anything. I have good friendships with MacLehose, Youde, and Wilson, like friends."
In 1985, Jin Yong was invited to serve as a member of the Hong Kong Basic Law Drafting Committee. In 1995, he became a member of the Preparatory Committee of the Hong Kong Special Administrative Region.But that's all amateur politics. In May 2001, he said in Guangzhou: "I feel lucky that I didn't go into politics. I don't regret it at all. I was very lucky.... Of course, politics is also very good, but my personality is not suitable for politics, because I am very unwilling to accept orders from my superiors." Guidance, unwillingness to be restrained. Of course politics has its benefits, it can serve the public, but I am really not suitable.” Someone once said that he wanted to be the chief executive of Hong Kong, but he firmly denied it.Years later, he said in Hunan:
I am not a politician and I do not participate in politics.Let me explain to you that I participated in the drafting of the Hong Kong Basic Law...not as a politician to participate in political activities, but to strive for a position in the political circle and continue to serve the people.My behavior is relatively simple, which is to draft the Basic Law to ensure the smooth realization of "one country, two systems" proposed by Deng Xiaoping. ...so I'm not some kind of politician...
From the "Fleeing Wave" in 1962 to the "May Storm", during the rise of "Ming Pao", he stood on the side of the Hong Kong government in almost every major event, but won the hearts of the Hong Kong people. Since the 1980s, facing the return of Hong Kong, Jin Yong coincided with Beijing's position on the future political arrangement. He was attacked by Hong Kong public opinion, demonstrated, and burned "Ming Pao", but he was unmoved.Here are the traumatic memories of his childhood, the tears in elementary school history class, and his realistic consideration of vested interests. He frankly admits that he is "the establishment with vested interests."Jin Yong made his own choice at each stage. The choice in 1967 had threatened his life, and he became the assassination target of the "leftists". This was the biggest crisis he encountered in his life.In the 1980s, his speech tendency changed. Although he was questioned repeatedly, he did not have to face such a threat.He has ambitions, and has the means and strategies of maneuvering. Some people in Hong Kong even say that he is a "Machiavellian intellectual".His "political realism" enabled him to navigate between Beijing, Hong Kong and Taiwan with ease.There is a view that he became more and more conservative in his later years, and that after achieving success and fame, he enjoyed wealth and honor, and he has lost the critical edge of the 1960s and 1970s.It's not that simple.After all, he is a complex figure, not just a businessman. "It is a more important fact that he is a man of culture with conviction."
Jin Yong tried his best to maintain a balance between Beijing, Hong Kong, and Taiwan. He said to "Ming Pao" reporter Li Guangrong and others many times: "Ming Pao's position must be based on the interests of Hong Kong citizens, mainlanders, Taiwanese, and overseas Chinese." The great China complex in him is difficult for those who have not experienced the baptism of blood and fire in that era and settled overseas after 1949. Their yearning for national unity and their expectations for national strength are all deep into the bone marrow.Without an in-depth understanding of the turmoil in their early lives and the situation of wandering overseas, it is difficult for us to accurately grasp their thoughts.
As early as the beginning of 1960, China was about to start negotiations with Myanmar on the border issue. Jin Yong said in his editorial "A Comment to the CCP" on January 29: "Demarcating the border is a millennium undertaking. Don't negotiate with Burma just to accommodate temporary diplomatic strategies." Myanmar has made too many concessions. Whether it will invade or not will become clear over time. The territory belonging to China cannot be conceded even an inch.” When China fought wars with India and Vietnam, he always stood by China, affirming and admiring Beijing’s strategic advances and retreats, and constantly making predictions Sexual comments. In October 1962, China and India had an armed conflict on the border. The U.S. State Department issued a statement condemning China’s “challenge against principle” against Indian territory as a “violent aggressive action.” On October 23, Jin Yong wrote in Ming Pao "published an editorial, "U.S. Statement, Contrasting Right and Wrong," to refute it.
In the Diaoyu Islands incident, "Ming Pao" and "Ming Pao Monthly" are strong teams.Jin Yong's position on China was very clear, and a series of editorials such as "China Should Send Troops to the Diaoyu Islands Immediately" (May 7, 1972) conveyed a strong nationalist complex. On April 13, 1971, he said in the editorial "Defending Sovereignty, No Extraneous Branches": "Participating in the defense of the Diaoyu Islands does not have to attach any conditions. It does not have to be innocent, pure in political thinking, and of good class background. It does not have to be of good character and correct motivation. ... Any addition of conditions will cause disputes and weaken power." He has always been very proud of this position.
China and the Soviet Union turned against each other, Jin Yong has always praised Mao Zedong and China's position.In his March 5, 1969 editorial, "I want to praise the CCP this time," he said: "The CCP takes a tough attitude against this northern bear, which is the behavior of a good man." On September 10, 1976, he wrote in The editorial of "Mao Zedong's Death" said: "He has completely opposite views on the merits and demerits of the people of China, depending on each person's political stance. But there is one great contribution that the people of the whole country must recognize, that is, he led China. , Resisting the Soviet Union’s invasion of China firmly and unyieldingly. Since the beginning of the struggle against the Soviet Union, his resolute anti-Soviet position has not wavered in the slightest.”
Jin Yong has always advocated cross-strait reunification, opposed Taiwan independence, and opposed "two Chinas." France established diplomatic relations with Beijing on January 23, 1964, and did not break diplomatic relations with Taipei in the half month until February 11. On January 29, 30, and 31, he successively published "France Officially Engages in Two Chinas" ", "French "Yangmou", the world sees it", "One China, Two Governments" and other editorials.
Even in the 1960s and 1970s, when Jin Yong slammed the "domineering" Lin Biao and the "old man" Jiang Qing in the editorial of "Ming Pao", he never gave up his affirmation of Zhou Enlai, Deng Xiaoping, Peng Dehuai and others , praise and sympathy, but the naive Hong Kong "leftists" at that time regarded him as the opposite.He is not opposed to socialism, but to the ones practiced during the "Cultural Revolution". "The original intention of any doctrine is to serve the people, and it is sincere, but in the process of development, impurities have been infiltrated."
In July 1981, Jin Yong was invited to visit the mainland and enjoyed the "best treatment" as a state guest. If you read carefully the speeches he made after returning to Hong Kong, you will feel that he has a kind of recognition and belonging to Deng Xiaoping and the mainland regime that is not polite but sincere. He frankly admitted that he "has always admired" Deng and "has always admired Deng Xiaoping's strength of character", which are all sincere words.someone said:
For decades, reading his newspapers, I may have a feeling of looking up at the moon. The ups and downs of the moon depend on the seasons. The first and fifteenth day of the lunar new year are different.
And according to his explanation, another visual angle can be used as an example: reading his newspaper is like looking up at the sky in one day, we can see that the sun is in the east in the morning, in the middle at noon, and sets in the west at dusk. , and it is the ground under the feet of the sun-watcher that turns unknown, not the sun itself.Ideals and purposes should be the spiritual sun that is pursued throughout life, and the star that will always be the source of light and heat.The two theories of watching the moon and watching the sun have their own evidences, and the final public opinion will probably be left to the arbitration of history.
Jin Yong said: "My position is like a pair of straight chopsticks, which have never changed. What has changed is only the disc on which the food is placed on the table."
In fact, his views on the mainland have a ideological thread to be found. On March 1, 1972, his "Ming Pao" editorial never attracted attention:
We do not expect China to become a capitalist country.In fact, capitalism has major shortcomings, and China's conversion to capitalism is by no means a blessing for the majority of the people.However, a socialist system that implements democracy and freedom can only increase the happiness of the entire people, and will never decrease it.We eagerly hope that China will follow this path...
It can be understood that his great China complex is not only the choice of nationalism, but also his identification with the value of socialism.He believes that "the three combinations of equal socialism, liberal democracy, and benevolent humanism will ultimately be the greatest achievement in human history."As a modern intellectual, Jin Yong "constantly seeks inner balance in the ancient model of 'self-cultivation, family governance, and world peace'. However, he also failed to overcome a common weakness of maintaining clear judgment in times of adversity and a sense of crisis, and have a responsibility, but can't hold on to it in peace..."
Tao Jie, a Hong Kong columnist, compares Jin Yong with Zhang Ailing and Gao Yang. They both come from a family of scholar-bureaucrats. Only Jin Yong has jumped out of the old China. Together, we created an imaginary world unparalleled in the world, and turned a Chinese-language media into a modern enterprise.In fact, Jin Yong is also restricted by this family background.Living in Hong Kong under the British rule, he is proficient in foreign languages, has read a large number of foreign books, and has translated the works of Russell and others. He has the opportunity to contact advanced civilizations, but he is a typical Chinese after all. "Loyalty to the Emperor". "Cha Liangyong is often admired for his knowledge of both Chinese and Western cultures, but in fact he is a very traditional Chinese intellectual. A reporter with excellent foreign language skills has devoted himself to the creation of martial arts novels with ancient themes for nearly 20 years. The governance of "Ming Pao" does not have much Western entrepreneurial spirit..." The late literary critic Hu Heqing gave insight:
Jin Yong was born in a dilapidated old aristocratic family.They all have a profound sense of family background, thus absorbing a lot of hidden information about Chinese scholar-bureaucrat culture from genetic codes and aristocratic lifestyles.At the same time, "desolation" made them fall into the lives of ordinary Chinese people and appreciate the depth and breadth of folk emotional life.
In January 2005, a reporter interviewed Jin Yong in Hangzhou and said: "You often attended various local government activities in your later years, and some commented that it was 'a crane flying between clouds, flying here and there to the Prime Minister's office'." He doesn't care. "Hehe, I still have a lot of contacts with high-level people, right? This poem is very good. There is also a saying, where are you hiding, a hermit? Zhongnan Mountain. Why are you hiding in Zhongnan Mountain? Because of Zhongnan Mountain Being close to Chang'an means that you don't forget court and still want to associate with high officials."
Jin Yong is a child of Hong Kong, and it is also a product of the era of great changes in China in the 20th century.If we leave this era of violent ups and downs, ups and downs, and still in transition, we will not be able to get close to his heart and understand his choices every step of the way.Jin Yong is a typical Chinese. It is not for nothing that he is liked by so many Chinese.He lives a real life, and his complexity is also the true presentation of his heart.He has repeatedly stated that his life experience is extremely complicated, and he is unwilling to share his heart with others. "Writing about my own affairs, I don't know how to write bad things. If a book tells all about my own good, then this book is fake." .
In the most important years of his life, Jin Yong wrote martial arts with one hand and editorial with the other.Chen Pingyuan discussed it in this way:
Even if a novelist has no intention of insinuating, it is impossible for a political commentator to strictly abide by the boundaries and not cross the threshold. ...Writing political commentary and novels at the same time makes Jin Yong's martial arts novels often deeply moved.When writing political comments, he is full of the spirit of joining the world; even if he writes "entertaining readings", Jin Yong is not blindly "leisure".Understanding Zha Jun's position, it is not difficult to understand why he can "beyond elegance and vulgarity".The complementarity of Confucianism and Taoism, the harmony of entry and exit, freedom and responsibility, the individual and the country, in Jin Yong's case, are not only implemented in the elucidation of the heroic spirit, but also reflected in the huge tension between novels and political theories.
The backgrounds of Jin Yong's novels are mostly in the period of changing dynasties (such as the period of Song and Liao, the period of Yuan and Ming, and the period of Ming and Qing).This kind of thinking about the rise and fall of a country includes not only the life emotion of political commentators, but also the practical consideration of "heavenly teachings in troubled times and heavy chivalry" (Liu Yazi's poem), and also includes the freedom of thinking when the rules are relaxed as Zhang Taiyan and Zhou Zuoren said.
It also includes Jin Yong's early experience in troubled times, his life experience and thinking.He said that his works "reflect the reality of life in the world".He has humane care and chivalrous advocacy, and he embodies the traditional Chinese Confucian spirit through Guo Jing and other characters.In a sense, he has insight into the subtle changes and twists of human nature, and has written about the complexity and richness of human nature. He always believes that the superficial goodness may just happen to be evil, but the superficial badness reveals the good side of human nature.Jin Yong's thoughts and values are mainly Confucian, although there are many affirmations for Taoism and Buddhism.In the end, he returned to the standpoint of "loyalty to the emperor and patriotism", deliberately portraying the image of Kangxi, a sage and enlightened lord.In this sense, Wei Xiaobao is just a foil for a gag.This is the ideal of Confucianism that has lasted for thousands of years. From the coexistence and death of Guo Jing and Xiangyang City, to Jin Yong's political and life ideals entrusted to Kangxi, it can only be Confucianism and the world, not Taoism or Buddhism. of.
虽然金庸自称“从小就对范蠡、张良一类高人十分钦仰”，最羡慕他们功成身退，他笔下的主角从陈家洛、袁承志、杨过、张无忌到令狐冲几乎都在大吵大闹之后悄然归隐，连韦小宝也是如此。但对他而言，出世是虚，入世为实，入世才是真的。与列夫·托尔斯泰这样具有深沉博大、悲天悯人的宗教情怀的精神巨人不一样，金庸缺少超越性的追求，他是世俗中人，属于红尘，而不属于天国，他的神话只是在商业社会中取得成功的又一例证。
金庸登上香港富豪榜，1987年创刊的《资本》杂志将他排名第二十七位，是百人名单中唯一的作家（报人中，胡仙及《成报》《东方日报》的老板都在他的前面）。1991年，他再次名列《资本》杂志180多人富豪排行榜的第六十四位。
身处商业社会，人对金钱的欲望几乎压倒一切，很少例外。即使农业文明时代的范蠡也是带着西施弃政从商，变成了富甲天下的陶朱公。在功成名就之后退出江湖，飘然而去，道家式的归隐向来只是一个可望而不可即的梦，更何况现代社会早已没有可以耕种的桃花源，可以垂钓的富春江。对金庸而言，人生的切肤之痛早已远去，佛经至多能成为茶余饭后的灵魂慰藉。少年时代颠沛流离，饱经动荡与忧患，使他“一直渴望恬淡安泰的生活”，这一切自在情理之中。他所有的选择，几乎都可以在这里找到真正的根源。直到晚年金庸依然精明，他与北京三联书店合作十年以后提出的三个续约条件，无非为了一个“钱”字。表面的佛、道、隐等出世的话语，掩盖不住骨子里对现实利益的在意。
1981年，李敖发表《我是“善霸”我怕谁》一文，对金庸提出质疑：
1979年我复出后……金庸为国民党捧场，跑到台湾来。有一天晚上到我家，一谈八小时。……他特别提到他儿子死后，他精研佛学，他已是很虔诚的佛教徒了。我说：“但大体上，无不以舍弃财产为要件。……你有这么多的财产在身边，你说你是虔诚的佛教徒，你怎么解释你的财产呢？”金庸听了我的话，有点窘，他答复不出来。他当然答复不出来，为什么？因为金庸所谓信佛，其实是一种“选择法”，凡是对他有利的，他就信；对他不利的，他就佯装不见。其性质，与善男信女并无不同，自私的成分大于一切，你绝不能认真，他是伪善的。这种伪善自成一家，就叫作“金庸式伪善”。
其实，金庸自己就曾坦言：
佛教希望人的欲望能尽量减低，最高境界是什么也抛弃掉，连生命也觉得没什么所谓。我离开这境界实在太远了。要我财产完全不要，我做不到；要妻子儿女都不要，做不到；名利不要，也做不到……
放不下财产、名利，出世自然不可能。但有了这番自白，金庸仍不失坦诚。
他对佛教的信仰并没有超越尘世的网罗，他无所逃于所处的这个特定时空，无所逃于这块天地之间。这不是他个人的悲哀，对一个个体生命来说，他已攀上成功的巅峰，财富和名声、鲜花和掌声笼罩了他整个生命的黄昏。“夕阳无限好，只是近黄昏”，透过维多利亚港湾湛蓝的海水，他看到的夕阳依然那样耀眼，但那并不是真实的夕阳，那是与大千世界的悲苦、与亿万男女的欢乐与哀愁无关的夕阳。
儒与道，侠与隐，佛家也好，尘世也好，茫茫人海，无可退隐之地，退出江湖只是一个梦，所以，他说“人在江湖，身不由己”。在人世与出世之间，他努力寻求平衡，寻找最佳的位置，他的内心深处也许常常无所适从，这是人类普遍面临的问题，不独他一个人如此。
20世纪80年代初，金庸的作品不仅被拍成电影、电视连续剧，还被改编成“武侠话剧”。卢景文执导的《乔峰》在香港大会堂剧院演出，剧终时，台上演员介绍，金庸先生也在这里。“观众热烈鼓掌，长达一分钟之久，我开心得好像飘在云雾一样。”
这是金庸真实的一面。掌声之后，他也有孤寂和落寞，更有惘然和茫然，这一切同样真实。有人说他的小说除了，都给人“回首当时已惘然”的感觉。他回答，“惘然”其实里也有。
我觉得人生永远美满似乎都不太可能，就算最后圆满，茫然的感觉也在所难免，一切目的都达到了，还是很空虚的。
茫然之感，恐怕更能贴切地传达出人生百态的讯息。我常想着：什么样的感触都会在时间中淡去，淡成了茫然。
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