What are the four stages of life in Jin Yong’s metaphor?

The first stage is the stage of gods and demons.

Since the advent of chivalry culture, it has reached its peak with the return of the Zhu Louzhu.

In ancient times, there was a battle between Yue Nu and Bai Yuan Gong; in the Tang Dynasty, there was Nie Yinniang's flying sword to kill people; in "Water Margin", there was the practice of Yunlong and Hunshimowang; in Pingjiang Buxiaosheng's works, there were Kongtong sect and The battle between the Kunlun faction; the Battle of Shushan in the novel of Huanzhu Tower; and so on. Although they also use real-life martial arts as light weapons in conventional warfare, they more often use gods and demons as heavy weapons, secret weapons, and strategic weapons. When the fight was inextricable, magic weapons were invited to help. Although many of the things in them were almost absurd, the imagination shown was very impressive and had a great influence on subsequent martial arts novels. Many people talked about how they had been punished by Huanzhu. Under the influence of the original poster, he got rid of the weirdness of gods and demons and used modern thinking to rationalize it. It is a new realm of martial arts and martial arts.

The second stage is the poetic stage.

From Bai Yu to Bai Yu’s successor Liang Yusheng.

Bai Yu uses idioms to name martial arts, which are elegant, poetic and full of literary talent. Liang Yusheng took this tradition a step further and formed a combination of poetry and swords. For example, in the martial arts of the glacier goddess Gui Bing'e in Liang's masterpiece "The Legend of the Glacier Goddess", the weapon she uses is the "Ice Soul Cold Light Sword", the hidden weapon is the "Ice Soul Divine Bullet", and the sword move is the "Glacier Sword Technique" , including snowflakes appearing six times, accumulated water condensing into ice, spring breeze thawing, a reed crossing the river in "Dharma Sword Technique", bright clouds on the sea, an upside-down rainbow, etc., all of which have a clear and vivid poetic flavor, and the clear and clear ice goddess of the glacier. The temperament blends together. A talented woman and a famous person, her poems and swords are romantic, clear and lively, and the trickle is leisurely. With the beauty of poetry, she opens up a new realm for martial arts and martial arts.

The third stage is the artistic conception stage. The representative figure is Jin Yong.

Jin Yong integrated the profound connotations of Chinese culture into martial arts, "creating a description of martial arts that has philosophical implications, ambiguous life situations, artistic and poetic taste, and is the "artistic conception" of martial arts. Wen Wen Ruian said:

"Jin Yong's 'Fighting of Artistic Conception' uses vigorous writing to describe the artistic conception of 'the weak defeats the strong, and the weak defeats the existing' in a profound and simple way. It is full of philosophical meaning, but can be elegant and vulgar. * reward, so it is deeply loved by the public. ". Appendix "This Immortal Fire" to Wen Ruian's "The Seven Bandits", Yangtze River Literature and Art Publishing House. In the final stage of Jin Yong, it was also written that Wei Xiaobao, who was not very good at martial arts, was actually better than Chen Jinnan, a superb martial arts master. , which rises from the philosophical conception of martial arts to the philosophical conception of Jianghu and history.

The fourth stage is the atmosphere stage.

After Jin Yong, there is Gu Long. Mainly writing in the front, with philosophical conception and never leaving the martial arts itself. Gu Long completely broke through this method of expression. Gu Long and his successors and revolutionaries (super-new martial arts novelist Wen Ruian) created a new situation of "atmosphere fighting".

Gu Long does not write about fighting at all. The decisive battles of the characters in his books are often just "a flash of a sword. The outcome of the battle is determined, and the judgment of life and death is determined." He completely abandons the emphasis on fighting descriptions in traditional martial arts novels; but before the decisive battle, Gu Long has successfully created a tense atmosphere that is "like an arrow in the string", making the reader's mind tightly locked, just waiting for the moment of release. This kind of "atmospheric fighting" can be said to be the first of its kind in martial arts novels. p>

("This Immortal Fire"), appendix to Wen Ruian's "Seven Bandits", page 710)

The reason for this situation is of course the pursuit of innovation and change The result, and more importantly, because martial arts novels are actually a "believable but non-existent world" is so-called credible "because it has a 'poetic reality'", a kind of "surreal reality". Then, the so-called "Martial arts" is actually just a symbol, a cultural symbol. Wen Ruian also said:

Martial arts novels are just like life. Fighting is just personality. Real life is basically full of fighting, intrigues, intrigues, life and death. , just in different ways. Therefore, martial arts novels only use symbolic techniques to express life, and they have always been a reflection of real life.

Based on this understanding, The two most important points of martial arts novels are that they should be symbolic and that they should be beautiful.

Since the fighting is not really meant to be a reproduction of real martial arts.

It is just a good-looking symbol. Why not boldly make a reasonable imagination of "poetic reality" and show the characteristics of personality and will in the imagination. In this way, the specific fighting moves naturally become unimportant. What matters is the momentum, atmosphere and results.

This allows them to use an extraordinary style to describe "kung fu outside poetry" besides martial arts, transcending the essence of martial arts and showing the magic of martial arts even more. When Gu Long wrote about Xiao Li's flying knife, he never wrote about what was special about its casting, its shape, how to use it, or what his inner strength and mental methods were. He only wrote that Li Xunhuan often used carving to stabilize his hand, and the result was naturally " Xiao Li's flying knives are always flying." The significance here is that, first, it leaves more room for imagination and suspense for readers, allowing readers to follow the author's train of thought; second, Li Xunhuan's magical martial arts in the ordinary reveals and symbolizes his great personality in the ordinary. The combination of the two gives a new understanding of martial arts and opens up a new world of martial arts descriptions.

In these four stages, from gods and demons to poetry to artistic conception and atmosphere, the "martial arts" of chivalrous culture, based on imagination and symbolism, step by step away from the reality of "martial arts" and go deeper step by step. The level of fantasy is also the level of philosophy and aesthetics