The Marshes of Mount Liang Beyond the Sea: Jin Yongs Early Martial Arts Fiction and Postwar Hong Kong
John Christopher Hamm
Readers, critics, and enthusiasts sometimes refer to Jin Yongrsquo;s martial arts novels as 'the common language of Chinese around the world.' The phrase appears, for instance, on the dust jacket of the Taiwan edition of Jin Yongrsquo;s complete works.Here, of course, it has been pressed into service as a marketing device; but the claim is, to a certain extent, quite true. It would be impossible to find a Chinese community anywhere in the world in which Jin Yongs fiction does not circulate, and unusual to find an individual reader who did not at least know of Jin Yongrsquo;s works, or, more likely, hold an impassioned opinion about them one way or another. A friend of mine likes to tell the story of traveling by train in China and overhearing an endless conversation between a mainland businessman and his colleague from Taiwan who whiled away the hours by rehearsing and debating the romantic complications in Jin Yongrsquo;s Shendiaoxialv.
The seemingly universal circulation of Jin Yongrsquo;s fiction, and the variety of forms in which it now circulates- in addition to the novels themselves, there are film adaptations, TV serials, comic books, and video games-make it difficult to recall the circumstances of its composition and original publication in serialized form in the fiction supplements of Hong Kong newspapers during the 1950s and 1960s. The historical and literary environments in which Jin Yongrsquo;s novels first appeared are significant not merely as curiosities of journalism or popular culture, but as factors conditioning the conception and expression of these works imaginary world. In this paper I will explore some of the resonances between one of Jin Yongrsquo;s earliest novels and a genre of fiction contemporary with it-a genre here dubbed the 'comedy of displacement ——in order to show how the imagined world of Jin Yongs fiction resonates with the cultural and political situation of Hong Kongrsquo;s Chinese community in the years following the founding of the Peoplersquo;s Republic of China. This study offers a starting point for investigation of the further question of how a fiction so grounded in a given place and a unique historical moment has traveled beyond these particularities to lay claim to its present status as 'the common language of Chinese around the world.”
Jin Yong is the pen name of Zha Liangyong, or Louis Cha. Zha Liangyong was born in Haining count Zhejiang province, in 1924. In 1946 he began working at Shanghairsquo;s Dagongbao, and in 1948 was sent to the paperrsquo;s newly reopening Hong Kong branch. In the decade between 1945 and 1955, with the end of the war with Japan, the consequent outbreak of full-scale struggle between the Nationalists and the Communists,and the founding of the Peoplersquo;s Republic of China, hundreds of thousands of Chinese migrated from the mainland to the British colony of Hong Kong. The colonyrsquo;s population, which had dropped to around half a million during the Japanese occupation, returned to the prewar figure of 1,600,000 by the end of 1946. In the spring of 1950, some months after the founding of the PRC, the population was estimated at over 2,300,000; and although the stabilization of the situation on the mainland encouraged some migration outward, the overall population continued to increase, to two and a half million by 1956.5 Although the shifting political tides offered some, like Zha Liangyong, career opportunities in the colony, the vast majority of the newcomers were refugees, and suffered a refugee populationrsquo;s universal tribulations f disorientation, separation from family members, poverty, overcrowding, and disease.6 Beyond these immediate (and in many cases long-enduring) trials, they also faced a profound dislocation, the consciousness of being sundered, perhaps irrevocably, from their homeland. Their presence profoundly altered the character of Hong Kongrsquo;s
Chinese communities. What had previously been in many ways an outpost of local Guangdong culture was now for many inhabitants a diaspora, a community in indefinite exile.
We donrsquo;t know for certain that the young father finding solace in his newspaper is a recent refugee, but the quarters in which he and his family dwell give us a sense of the straitened circumstances of many of the colonyrsquo;s Chinese residents in the postwar decade. Nor can we say for certain which section of the paper has put a smile on his face and that of his young son; it is not impossible, though, that he is reading martial arts fiction. For it was this same newspaper that in this same year stood at the forefront of a dramatic surge in the product in and popularity of martial arts novels in Hong Kong. Within a few years of its appearance, this fiction was known as 'New School martial arts” fiction (xinpai wuxia xiaoshuo), an appellation that distinguished it both from works produced in Shanghai, Tianjin and other mainland urban centers from the 1920s up to 1949 (now known as ”Old School martial arts fiction, and from tales of local Guangdong heroes enjoying a more limited circulation within the Cantonese cultural area (including Hong Kong). The first New School work to attract widespread attention was Liang Yushengrsquo;s Longhu dou jinghua (Dragon and tiger vie in the capital), which began serialization in Xinwanbao on January 20, 1954, taking advantage of the enthusiasm for the martial arts generated by a much-publicized bout between the masters of two local schools. On February 8, 1955, Xinwanbao began running Shujian enchou lu (Book and sword, gratitude and revenge;hereafter Book and Sword), the first effort by Liangs friend and colleague Zha Liangyong, now writing as Jin Yong. Jin Yongrsquo;s popularity soon rivaled and surpassed that of Liang Yusheng.
Jin Yongrsquo;s second novel, Bixuejian (The sword stained with royal blood; hereafter Sword of Loyalty），was ser
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梁山的沼泽：金庸早期武侠小说与战后香港（节选）
约翰·克斯塔·哈姆里
读者、评论家和狂热者有时把金庸的武侠小说称为“世界各地汉语的共同语言”。这句话出现在金庸全集台湾版的封皮上。当然，在这里，它作为一种营销手段已经投入使用，但在某种程度上，这一说法是正确的。在世界上任何有华人社区的地方，都有金庸的小说在流传，在华人社区不可能找到不知道金庸的个别读者。他们对金庸的作品，或者更有可能，以一种方式或另一种方式持有强烈的热情。我的一位朋友喜欢讲在中国乘火车旅行的故事，无意中听到大陆之间没完没了的谈话。辛斯曼和他的台湾同事通过讨论金庸《神雕侠侣》中的浪漫情结来消磨时间。
金庸小说看似普遍流传，现在流传的形式多种多样，除了小说本身，还有电影改编、电视连续剧、漫画书等以及电子游戏等，已经令人难以回忆上世纪五十年代到六十年代香港报章小说副刊的编撰及原版出版的情况。金庸小说最初出现的历史和文学环境不仅具有重要意义，也不仅是新闻或大众文化的奇趣，而且也是制约金庸小说创作的因素。 这些作品虚构世界的构思和表现。在本文中，我将探讨金庸最早的小说之一与当代小说体裁之间的一些共鸣。 这里被戏称为“流离失所的喜剧”，目的是展示金庸小说的想象世界是如何与香港华人社会的文化和政治状况产生共鸣的。 中华人民共和国成立后的几年。本研究为进一步探讨小说如何立足于一个特定的地方和一个独特的问题提供了一个起点。历史时刻已经超越了这些特殊的特点，宣称它作为“世界各地汉语的共同语言”的地位。
金庸是查良镛的笔名。查良镛，1924出生于浙江省海宁市。1946他开始在上海的大公报工作，1948被送到T。 他的论文将重新开业香港分行。在1945到1955年间，随着对日战争的结束，民族主义者和日本人之间爆发了全面的斗争。 共产党和中华人民共和国成立后，数十万中国人从大陆移民到英国殖民地香港。该殖民地的人口在日本占领期间已降至50万左右，到1946年底恢复到战前的160万人。在1950的春天，几个月前自中华人民共和国成立之日起，估计人口超过2,300，000人；虽然内地局势的稳定鼓励了一些人向外移徙，但总体人口仍在增加。 继续增加，到1956.5达到250万，尽管政治潮流的变化提供了一些机会，如查良镛，在殖民地的就业机会，绝大多数的新来人。 斯普斯卡共和国是难民，遭受着难民人口普遍遭受的苦难，如迷失方向、与家人分离、贫困、过度拥挤和疾病。 案件经久不衰)审判，他们也面临着深刻的错位，意识被打破，也许是不可挽回的，从他们的祖国。他们的出现深刻地改变了 香港的华人社区。以前在许多方面都是广东当地文化的前哨，现在对许多居民来说，是一个流亡者，一个无限期流放的社区。
我们不确定这位在报纸上找到慰藉的年轻父亲是最近来的难民，但是他和他的家人住的地方让我们感觉到了困境。 在战后的十年里，这个殖民地有许多中国居民。我们也不能确切地说，报纸的哪一部分在他和他的小儿子脸上露出了笑容；不过，他读武侠小说也不是不可能的。因为这是一样的 报纸说，在这一年站在前沿的一个戏剧性的激增的产品和武侠小说在香港的受欢迎程度。在它出现后的几年内，它被称为“新派武侠小说”，这个称谓把它和从20世纪20年代到1949年间的上海、天津和其他大陆的城市中心的作品(现在被称为“旧学校武术小说”)区别开来，这些故事的发行量在广东文化区(包括香港)非常有限。第一部引起广泛关注的新派作品是梁羽生的《龙虎斗京华》，该作品于1954年月日在新万堡开始连载。 1955年月8日，新晚报开始连载《书剑恩仇录》（下称“书与剑”），这是梁和朋友、同事查良镛的第一次努力，现在写成金庸。金庸的声望很快就与之媲美并超过了他。
金庸的第二部小说《碧血剑》(血染皇族之剑，下称“忠心之剑”)于2001年1月1日至12月31日在香港“商报”连载。这部作品中的故事发生在明朝垮台之时，在李自成领导的起义和满清入侵之前。这个故事是围绕袁承志行走江湖的过程进行的，袁承志是袁崇焕的遗孤，袁崇焕是一个以战胜满族侵略者而闻名的明朝官员，但在朝廷中，却因腐败和懦弱的派系的建议以及崇祯皇帝的昏庸而被处死。年轻的袁承志是在江湖中长大的，江湖是流浪汉和歹徒的出没地。袁承志由他父亲的忠实追随者抚养长大，并成为武术大师穆人清的小徒弟。除了在华山派学习武功之外，他还研习了金蛇秘籍，这是他发现的一本神秘的武术手册，当时在发现金蛇秘籍的山洞里，旁边还有神秘的金蛇郎君的遗骸。袁承志从他师父的山上下来之后，与叛军领袖李自成联手，企图刺杀皇帝，为父亲报仇。在行走江湖的过程中中，他结识了一位任性的、诡异的年轻书生温青。最后，他发现温青其实是个年轻的女孩子，温青青，她便是金蛇郎君的女儿。金蛇郎君与温氏家族的恶棍长辈之间，存在着一段血海深仇。后来袁承志作为结义大哥，与温青青一同行走江湖，与武林(武术界)各流派之间内部的对抗与反抗交织在一起。 他们反对专制的明朝政权，反抗满族入侵者和叛国的太监派。李自成的军队最终攻占了北京，崇祯皇帝自杀，但此事真相存疑。华山派的复杂事件和金舍郎君的遗物也同样引出一段纠纷。就在此时，李自诚最信任的手下、袁承志结拜哥哥李岩的妻子出现在华山。她说明将军吴三桂已经打开了山海关。李自成退却了，李岩被对手陷害并被判处死刑。袁承志急忙去救他的兄弟，但来得太晚了。袁承志心中苦闷，他召集剩下的同伴，出发前往南海的一个岛屿。他希望在那里，他们能开始新的生活。
袁承志是怎么知道这个岛的呢？在行走江湖的时候，他遇到了一群葡萄牙士兵，他们正在护送一支西式炮兵连前往北京。外国人傲慢无礼，并身怀杀伤力极大的手枪和步枪。伴随着他们的还有一位装扮华丽的欧洲美人，这让温青青嫉妒不已。和它们同行的还有一位中国翻译，他利用他与外国人的交往所得到的地位，辱骂他的同胞。袁承志原本以为明朝皇帝会用大炮对付满族人，于是他告诉他的同伴们要和平地离开葡萄牙人，不要同他们起争执。当他得知这些武器是针对李自成的，他便摧毁了大炮并擒获了他们的护卫队。葡萄牙船长听到他的炮火被用来对付这个国家被压迫的人民，感到很震惊。他被袁承志的侠义精神所感动，把渤泥国的地图献给他：“与其在这里如此痛苦地战斗，不如带着中国饥饿和受压迫的平民来到这个岛。”袁承志自言自语地笑着说：“这家伙！ 奥里格纳有一颗足够善良的心，但他不知道中国有多大，不管你的这个岛有多大，它永远也无法容纳我们数亿人。”
然而，在袁承志的故事结尾，当他对满族胜利和李岩卑微的死亡感到绝望时，正是看到这张地图才重新点燃了他的雄心壮志。在《碧血剑》中，就像金庸的其他几部小说一样，主人公在国家的“江湖”中的冒险以他们离开中国的土地而告终。这样的离别带来的意义，超出了简单的“乘车进入日落”的范围。袁承志开往南岛的经历，让人想起了几种经典的“骑士”材料的处理方法。《虬髯客传》的里的同名英雄虬髯客同样怀有雄心壮志统一中国，但一旦遇到未来的唐朝的开创者，就又退出了，放弃了做一位更有价值的候选人，后来听说他征服了一个海外王国。《水浒传》重新叙述了最初的小说《水浒传》中一群英雄的历险记，这些英雄离开了贪腐的宋境，成为了暹罗的南岛王国的统治者。 元的命运也唤起了明将军郑成功的历史先例，郑成功从荷兰人手中夺取台湾，并在那里建立了一个反满族抗战基地。在1949之后的几十年里 大陆以外的中国人普遍认为郑成功是蒋介石和他的国民党政府在台湾的雏形。然而，除了这些文学和历史典故之外，我们也不能忽视袁承志的命运和五十年代香港许多居民的处境之间的共鸣。
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