On the characters in Liang Yusheng's novels (as comprehensive as possible)

Martial arts novels spread in the Chinese world, and Liang Yusheng's name is widely known with the spread of martial arts novels. Liang Yusheng's name is closely related to martial arts novels.

Why are Liang Yusheng's works so magical?

Explain this problem, or the ancients said: "Know people and discuss the world." Let me start with Liang Yusheng's life experience.

1. Liang Yusheng's life

Liang Yusheng, formerly known as Chen, 1922, was born in mengshan county, Guangxi Zhuang Autonomous Region. Liang Yusheng was born in a scholarly family for generations, and his family had many industries, so he was considered a rich man. His home is in the country, near Yaoshan, which is a good place to travel. Under the influence of such a family environment and geographical environment, Liang Yusheng is familiar with ancient Chinese, good at lyrics, and often writes lyrics into poems.

1943, a group of people in Guangzhou took refuge in Mengshan, and Liang Yusheng learned a wealth of historical knowledge from the historian Professor Jian Youwen.

After War of Resistance against Japanese Aggression's victory, Liang Yusheng entered Lingnan University, majoring in international economy. After graduation, I worked as a supplement editor in Hong Kong Ta Kung Pao (New Evening News) because of my love for China's classical poetry and literature and history. /kloc-settled in hong kong after 0/949, and now lives in Sydney, Australia. He is a member of the Chinese Writers Association.

Liang Yusheng is well-informed and versatile. He has written many essays, literary reviews, literary and historical articles under the pen names of Liang Huiru and Feng Yuning, and also wrote a review of China Chess under the pen name of Chen Lu. His chess criticism is quite brilliant, which is recognized as a must, and it is more interesting to read than to watch chess in person.

Liang Yusheng loved reading martial arts novels since he was a child, and often forgot to eat and sleep. After entering the society, he still loves to read martial arts novels, and he is very happy to comment on the merits and demerits of martial arts novels with others. His profound literary background, rich knowledge of literature and history, and his love and extensive reading of martial arts novels laid a solid foundation for his later creation of new martial arts novels. Among many writers of martial arts novels, Liang Yusheng appreciates Gong's writing skills the most. It is said that the name of "Liang Yusheng" was changed from "Liang Huiru" and "White".

During the period of 1954, there was a dispute between Taiji School and Baihe School in Hong Kong Wushu circle. First, they attacked each other in the newspaper, and then they met in the new garden of Macao to compete for the right to showdown. Wu Gongyi, the head of Taiji Sect, and Chen, the head of Baihe Sect, fought in the ring for the benefit of the Sect. The contest was hyped by Hong Kong and Macao newspapers and caused a sensation in Hong Kong. Luo Fu, a friend of Chen, editor-in-chief of New Evening News, had a brainwave. In order to satisfy readers' interest, he announced in the newspaper the next day that he would publish wonderful martial arts novels for readers. On the third day, the New Evening News published the martial arts novel Long Hudou Jinghua with the signature of Liang Yusheng. With the publication of Long Hudou Jinghua, Liang Yusheng-Liang Daxia's "New School of Martial Arts Novels" has taken shape.

Liang Yusheng and Jin Yong are undoubtedly the two most dazzling stars among many Hong Kong martial arts novelists. Liang Yusheng is the founder of the new martial arts novels, and Jin Yong is the most outstanding creator of the new martial arts novels. People often compare Liang Yusheng with Jin Yong. To this end, Liang Yusheng used Tong Shuo Zhi.

His pen name wrote an essay about Jin Yong and Liang Yusheng (published in Guang Hai Literature and Art 1966), and analyzed their similarities and differences in detail. There are two sentences: "Liang Yusheng is a celebrity with great flavor (Chinese style), while Jin Yong is a modern foreign genius. Liang Yusheng is deeply influenced by China's traditional culture (including poetry, novels, history, etc.). ), and Jin Yong's acceptance of Western literature and art (including movies) is even heavier. " This theory is very pertinent.

From 1954 to 1984, Liang Yusheng worked hard in the martial arts literature for 30 years, and * * * created 35 kinds of martial arts novels, with a total number of words exceeding 10 million. 1984, Liang Yusheng declared "the sword was sealed", thus ending his "Jianghu career", washing his hands, making a makeover, and preparing to write orthodox historical novels.

2. Liang Yusheng's martial arts novel theory.

Many people say that the emergence of "new martial arts novels" has improved the cultural taste of martial arts novels.

Even so, there are still many people in the literary theory circle who think that martial arts novels can't be elegant. To solve this problem, Liang Yusheng expressed his views on martial arts novels on many occasions and formed his own set of theories. Liang Yusheng's point of view is very incisive and profound, criticizing the prejudice of literary theorists against martial arts novels, and pointing out the problems existing in the creation of martial arts novels. It can be said that it is the opinion of China's novel theorists, which is worth learning from. Understanding Liang Yusheng's theory of martial arts novels is very beneficial for us to read, understand and comment on the creation of martial arts novels.

First of all, Liang Yusheng affirmed the position and value of martial arts novels in literature. Speaking at the Fourth Congress of the Chinese Writers Association, he said: "There is no distinction between high and low literary forms. The so-called high and low only depends on the author's own knowledge, talent and artistic skill. " His views were endorsed by the participants. He believes that China's martial arts novels have a long history, and the new martial arts novels show progressive ideological content, new historical insights and mature artistic skills; It is unfair to ignore the existence of martial arts novels and exclude them from the literary palace. Regarding some views that denigrate and deny martial arts novels, Liang Yusheng said angrily: "This only shows that that person is not broad-minded enough in accommodating culture. In fact, he doesn't know what a martial arts novel is; Or many martial arts novels he has read are absurd and bizarre, leading to misunderstanding. In fact, there are good and bad martial arts novels, and so are literary novels. Even realistic novels that reflect reality have both good and bad. If the author is not skilled enough and has poor observation, even writing realistic novels can't reflect reality. " He pointed out that as a novel genre, martial arts novels are undoubtedly a wonderful flower in China's literary garden, and "martial arts novels should be allowed to exist".

Liang Yusheng also put forward his own unique views on how to grasp the theme of martial arts novels, how to embody the spirit of the times and shape typical characters in martial arts novels. He believes that martial arts novels should have martial arts and chivalry, martial arts is the means, chivalry is the real purpose, and chivalry is achieved by force; Therefore, chivalry is important and martial arts is secondary. One can be completely ignorant of martial arts, but not chivalrous. Chivalry is an act of justice. Doing what is beneficial to most people is called chivalry. He also said: "It is the so-called spirit of the times and typicality to concentrate the fine qualities of the lower class on a specific personality, make chivalrous people become the embodiment of justice, wisdom and strength, and expose the corruption and tyranny of the representatives of the reactionary ruling class." (See Feng's one-night talk with Hong Kong writers. )

How to write a good martial arts novel? Liang Yusheng also expressed his views. He said: "It is not easy to write a good martial arts novel. Only when the author has a good understanding of history, geography, folk customs and religion can he hope to succeed. , and has considerable artistic means and the foundation of ancient China literature, and is also familiar with the three strokes and two styles in China martial arts. " Liang Yusheng believes that to write a good martial arts novel, the writer's creative attitude should be correct. When he gave a speech at the invitation of Singapore Writers Association on 1977, he introduced his efforts in the creation of martial arts novels: First, he tried to reflect the historical truth of a certain era; The second is to focus on shaping the character; The third is to strengthen the artistic appeal of the works.

Although Liang Yusheng loves martial arts novels and has made great achievements in spiritual creation, his attitude towards martial arts novels is still wise and fair. He once poured cold water on the blind and rampant "martial arts fever" that once arose in the mainland. 1985, he used a corner of the Literary Newspaper to express his worries: "Some departments have done statistics, and at least more than 50 tabloids have published our martial arts novels. Some newspapers in many places reprinted my martial arts novels, some of which were rewritten without the author's consent. It is said that some people combined the two replies into one reply, and some even put my name instead of my martial arts novels to deceive readers. In my opinion, works reflecting real life should occupy a major position in the literary garden; But recently, some tabloids have published my or other authors' martial arts novels from the first edition to the last edition. Isn't this road getting narrower? " This shows Liang Yusheng's insight.

Second, Liang Yusheng's works

In Liang Yusheng's literary career, his martial arts novels have the widest influence. For more than forty years, Liang Yusheng's martial arts novels have been enduring and loved by readers at home and abroad. From 1954, his first martial arts novel "Long Hudou Jinghua" was serialized in the Hong Kong New Evening News, and he announced that he would write historical novels, he * * * created 35 kinds of martial arts novels, totaling 160 volumes (Hong Kong edition) and10 million words.

1. Four branches

Although Liang Yusheng's martial arts novels are voluminous, there is a thread to be found in the theme and content. Generally speaking, Liang Yusheng's martial arts novels reflect the middle and late feudal society. It is in this historical background that the chivalrous man in the book, in the conflict between class contradiction and national contradiction, is brave for the country and the people, showing China's traditional chivalrous spirit and heroic nature. Therefore, the political color of Liang Yusheng's works is very strong, and the theme tendency is very distinct.

Liang Yusheng's works can be roughly divided into four branches: Tang, Song, Ming and Qing.

The works that reflect the life of the Tang Dynasty's rangers and ethnic conflicts include The Legend of the Female Emperor, The Legend of the Tang Dynasty Rangers, The Dragon and the Phoenix, The Sword and the Devil, etc.

In the Song Dynasty, the works that reflected Xia's resistance to the invasion of Liao and Jin Dynasties included Wulin Tianjiao, Mad Man Tianjiao Witch, Flying Phoenix and Hidden Dragon, Gong Minglu and so on.

The works that reflect the heroic leadership of the Ming Dynasty in resisting tyranny and the loyal and treacherous struggle within the ruling class include Lu, San Nv, Fengyunlu and Guangling Sword.

The works that reflect the unity and anti-Qing struggle of chivalrous men and people of all ethnic groups in the Qing Dynasty include Biography of Chivalrous Men beyond the Great Wall, Seven Swords Down to Tianshan Mountain, Cold Sword in Ice, Three Women in Jianghu and so on.

In the works of the four branches, the characters and plots in the works of each branch have a certain inheritance relationship, forming their own independent long series.

Among the branches of Tang Dynasty's works, The Legend of the Tang Dynasty Ranger, The Fate of the Dragon Wind and The Heart of Demonbane are trilogy reflecting the life of the rangers in Tang Dynasty, and their stories are interrelated. Kong Konger, timur, Duan, Nie Yinniang and Hong Xian all appeared in the three books, and also played a major role in the first two works.

The themes and storylines of the six works, Tianjiao in Wulin, Tianjiao Witch in Madman, Flying Phoenix and Hidden Dragon, Gong Mingyun's Wind and Lu, Xiong Feng in Hanhai, and Yunfenglei Dian, are connected with each other, all of which are based on the historical background of the Battle of Song, Jin and Liao, and describe the feats of Wulin in the Central Plains in defending the country and defending the country. Tan, Hua, Liu Qingyao, Geng Zhao, Wan and other figures appear repeatedly in various books, which makes the contents of various works interrelated.

In the branch of Ming Dynasty, there are seven works of * * *, the story contents of which are interrelated, namely Return of the Sword, The Xia Ying Lu, The Wandering Woman, Legend of the Sword, Three Wonders of Wulin, Guangling Sword and bride with white hair. Among these seven works, except The Story of the Return of the Sword is slightly related to other works, the other six works are closely related. Although the protagonist of each novel is different, the relationship between the characters and the plot of the novel is closely related and the time sequence is clear.

The number of works reflecting the heroic struggle against the Qing Dynasty is the largest, with 17, accounting for half of all Liang's works. Among these seventeen novels, the story content and characters of fifteen novels are interrelated, and some of them are closely related, which can be said to be a series of works. The fifteen novels are arranged in chronological order as follows:

Legend of chivalrous men beyond the Great Wall

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Seven chivalrous men in Tianshan mountains

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Jiang hu san nu xia

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Ice cold light sword

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The legend of the glacier girl

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A green bow

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Glacier sword washing record

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Thunderstorm shook Kyushu.

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Patriotic knight

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Wandering vigilante

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Woodleaf meteor

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Finger-flicking thunder

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The legend of the lost fortress

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Sword net dust silk

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Magic knife spirit flag

The last two of the fifteen works, Dust in the Sword Net and Magic Sword Spirit Flag, are sisters. The story is connected from beginning to end, and the characters are connected from top to bottom, which is very close and can even be combined into one. However, they are far from the previous trilogy, and only Tianshan Sword School and white camel mountain barely match the trilogy, so they can only be marked with dotted lines. In addition to the above fifteen works, there are two works reflecting the boxer's anti-Qing and chivalrous revenge, namely "Jinghua in Long Hudou" and "A Story of a Broken Dragon and Snake", which have nothing to do with the above fifteen novels.

In addition, Liang Yusheng's two works are independent, the story is completely independent and has nothing to do with any works. These two works are Legend of the Female Emperor (although it is about the Tang Dynasty Rangers, it has nothing to do with the content of the Tang Dynasty Rangers trilogy) and Wudang Sword. The Legend of the Empress tells the story of the desperate struggle between Wu Zetian and other chivalrous people and the Turkish invaders and the scum of Wulin, during which there was a power struggle in the Tang Dynasty. Sword of Wudang tells the story of three swordsmen, Geng Yujing, Mou and Dongfang Liang, who fought against the invasion of the Qing army and exposed the tragedy of Wulin in the late Ming Dynasty.

2. Tianshan series

Among the "Jianghu on Paper" founded by Liang Yusheng, there are many martial arts schools, but Liang Yusheng prefers "Tianshan Sword School" the most. He described the scenery of Tianshan Mountain many times in his novels, which is fascinating and fascinating.

Please look at the description of Tianshan Mountain in the book "Seven Swords Down the Tianshan Mountain":

The majestic Tianshan Mountain stands tall, and the peerless hero will feel small in front of it. Ling Weifeng and others stood at the foot of the mountain, only to see the blue sky and white clouds, and the snow-capped mountains and ice peaks stood in the dark blue sky, shining like crystals. At this time, when the sun rises for the first time in the morning, Xuefeng is illuminated by the sun, first purple, and then slowly red, reflecting the colorful magnificent canyon. Even the best painter can't draw this "Tianshan sunrise" scenery.

Liang Yusheng not only described the magnificence of the Tianshan Mountains, but also described a beautiful and moving Tianshan myth through the mouth of Ling Weifeng, the hero of the novel. There is no ice and snow in Tianshan Mountain. Because the fairy in Tianshan felt the true feelings of the world, broke the dogma and was punished for locking the top of Tianshan Mountain. The ice in Tianshan Mountain is her tears, and the snow in Tianshan Mountain is her white hair in suffering.

It is said that Liang Yusheng must visit Tianshan Mountain when he comes to the mainland. When he reached the foot of Tianshan Mountain and enjoyed its beautiful scenery, he laughed heartily and said, "Tianshan Mountain is exactly as I imagined."

Perhaps it is this magical imagination and rich language expression that makes the scenery of "Tianshan Mountain" in Liang Yusheng's works extremely attractive.

The scenery of Tianshan Mountain is very beautiful, and the fencing of Tianshan Mountain is even more mysterious. With one sword in hand, there is no enemy, the swordsmanship is unfolded, both rigid and flexible, both offensive and defensive, quick and changeable. It can be said that Wulin is a must and invincible! In addition, there are "Tianshan Mountain" which is stronger than steel and "Tianshan Snow Lotus" which can solve all kinds of poisons. In a word, excellent people gather in Tianshan Mountain. As Mao Huanlian, one of the "Seven Swords of Tianshan Mountain", lamented: "It is better to take Wan Li Road to read thousands of books, and you don't know the wonders of the world until you reach Tianshan Mountain!"

The founder of Tianshan Sword School is Huo Tiandu. Huo Tiandu devoted himself to practicing swordsmanship, so he wanted to create a westward journey swordsmanship, and even parted ways with his wife Ling Yunfeng (for details, see Legend of the Fairy Sword and the Chivalrous Man). Huo Tiandu finally became a unique swordsman in Tianshan Mountain. In the generation of Master Huiming (Yue Mingke in bride with white hair), the "Tianshan Jianfa" will be carried forward. There is a Zen master's swordsmanship in the northern peak of Tianshan Mountain, a white-haired witch's original swordsmanship in the southern peak of Tianshan Mountain, and Zhuo Yihang under Wudang Gate is a Tianshan ranger. He carefully honed his swordsmanship and integrated his experience into it. His swordsmanship has reached a superb level. At this time, the "Tianshan swordsmanship" should be the unity of the three factions. After the improvement of Zen master Huiming and others, the Tianshan swordsmanship became more perfect and practical, and even caused a sensation in the whole Wulin, and there was a grand occasion of "seven swords going to Tianshan". After the Seven Swords in Tianshan Mountain, Tang Xiaolan became a descendant of Tianshan fencing, and the "Tianshan School" became an authentic martial art that led the world's martial arts. Tianshan Sect's internal strength is far superior to other sects. From Tang Xiaolan to Tang Jingtian, and then to Tang Jiayuan, although one or two martial arts wizards have appeared in other sects, the position of Tianshan Sect as the leader of Wulin has never wavered.

Tracing back to the source, Huo Tiandu, the founder of Tianshan School, is a great disciple, while his grandmaster is a mysterious scholar Chen. As a result, from top to bottom, there are more or less 22 works related to Tianshan School, accounting for almost two-thirds of all martial arts novels in Liang Yusheng. We might as well call all the works related to Tianshan School "Tianshan Series". Now "Tianshan series"

The chronological order of these stories is as follows:

The strange case of returning the sword

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Revenge of female swordsman

The heroine in the flower

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Fengyun Road, Lian Jian

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Three wonders of Wulin

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Guanglingjian

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White-haired bride

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Legend of chivalrous men beyond the Great Wall

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Seven chivalrous men in Tianshan mountains

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Jiang hu san nu xia

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Ice cold light sword

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The legend of the glacier girl

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A green bow

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Glacier sword washing record

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Thunderstorm shook Kyushu.

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Patriotic knight

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Wandering vigilante

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Woodleaf meteor

Snap your fingers, Ray

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The legend of the lost fortress

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Sword net dust silk

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Magic knife spirit flag

Tianshan Series contains the works of Liang Ming and Qing Dynasties. In a sense, "Tianshan Series" represents the essence of Liang's martial arts novels.

If we further study the cultural connotation of Liang's works, we can easily find the deep meaning of "Tianshan School" in Liang's novels: it is a teacher of justice in Wulin, a representative of chivalrous spirit, and its martial arts also has the image of an emperor in Wulin society. In a word, from Tianshan School, we can clearly feel the profound restriction of China's traditional moral power on Liang's novel creation.

3. Regular lattice change

Generally speaking, Liang Yusheng's martial arts novels can be said to be historical and political fairy tales. Liang Yusheng persistently pursues political themes in his creation. Most of his works are based on the fierce class contradictions and ethnic conflicts in a specific historical era, putting the protagonist in the whirlpool of history and politics. Chivalry is always associated with the rebels' struggle to resist foreign aggression and overthrow tyranny. Therefore, Liang Yusheng's martial arts novels tend to be realistic and have a strong political color. In his own words, it is "pursuing the authenticity of history and stressing realism". This is the main tendency of Liang Yusheng's martial arts novels, which we might as well call "formalization".

Martial arts novels account for the vast majority of Liang's works and belong to the new category. For example, the Biography of Tang Rangers, a branch of Xuanzong of Tang Dynasty, takes the Anshi Rebellion in Tianbao period of Xuanzong of Tang Dynasty as the historical background, and focuses on the heroic feats of Tang Rangers such as Nan Jiyun, Duan and Tie Moore in defending the country, saving the people and fighting against the rebels, which has a strong political reality.

Madman, Tianjiao and Witch is a branch of the Song Dynasty, with the dispute between Song and Jin as the background.

At the critical moment of nomads from the south, Liu Qingyao, Hua, Liu and other heroes led the rebel army, and cooperated with patriotic generals Xin Qiji and Yu in the Southern Song Dynasty to jointly fight against nomads from the south. Tan, the great warrior of the Jin state, also rose up against the militaristic policy of the monarch of the Jin state. This novel has an obvious tendency of realistic creation.

In the two branches of Ming and Qing Dynasties, most of the works also belong to "common cases". It is written in the Biography of the Sword and the Chivalrous Man, a branch of the Ming Dynasty, that the rebels resisted the invasion of the Tatars and the Jurchen nationality in the north and attacked the Japanese invaders in the south, but the Ming government forces did not help, but encircled them. As a result, Hao Xia and the rebel army fought fiercely with the officers and men of the Ming Dynasty and the scum of the Wulin. Three Women in Jianghu is a branch of Qing Dynasty, which tells the story of three women in Jianghu, Lv Siniang, Feng Ying and LAM Raymond, who rebelled against the rulers of Qing Dynasty and entered the palace to assassinate Yongzheng. These works attach great importance to realism, historicity and political ideas.

In addition to the "standard" works, there are also a few martial arts novels by Liang Yusheng that don't pay attention to realism and politics. In these works, Liang Yusheng focuses on describing the illusory and grotesque plot content, enthusiastically constructing the fairy tale world of Wulin, and meticulously portraying the internal disputes in Wulin. For this part of the works, we can call it "variation", that is, it does not follow the consistent style of Liang's martial arts novels, but changes.

For example, Gui Huasheng, the son of Gui, one of the "Seven Swords of Tianshan Mountain" written in Cold Light Sword, once made a great ambition to create his own martial arts. To this end, he crossed the desert and went to other places to find the unique martial arts in the world. He overheard the plot of Nepalese prince Toure to seize Tibet in a "ghost town" near Tibet, and found the Millennium Xuan Bing at the foot of the Jade Girl Mountain. With the help of Princess Huayu, he turned Xuan Bing into a cold lightsaber and defeated Toure's plot with Princess Huayu. The two married for a hundred years and created the "Glacier Sword". The novel is not realistic, the mysterious horror of Ghost Town, the treasure in the ice cave of Jade Girl Mountain and the power of the cold and cold sword all have strong illusory colors, which are different from the main style of Liang's works.

Other works that belong to the "abnormal situation" include Legend of the Glacier Girl, Jade Bow Edge in the Sea of Clouds, Snap of a Finger and Thunder, Strange Case of Returning Sword, Magic Sword Spirit Flag and so on. These works have a weak dependence on historical background, and ethnic contradictions and political situation are diluted in the novel, which focuses on Wulin grievances, sects disputes, the contest between justice and evil, and the good and evil of human nature.

Formal works and informal works are only the difference between two creative styles, the so-called "positive" and "change"

As far as the theme tendency of the author's creation is concerned, it is not regular and universal. Therefore, between "positive" and "change", only the author's creative intentions and creative techniques are different, and there is no difference between good and bad. A work with strong realism is a good work if it can handle historical events well, write about the times and social world, and organically integrate "martial arts" and "chivalry".

A work with strong illusionality is also an excellent work if it can infiltrate absurd content into the rough life, show cultural spirit and complex humanity, and always remind readers to pursue the true meaning of life and philosophical feelings in the illusory world. In short, the quality of a work can only be measured by the standard of the work itself, not by other standards.