wǔ xiá xiǎo shuō yòu guǎng yì hé xiá yì zhī fēn，
guǎng yì shàng shì zhǐ
chuán tǒng wǔ xiá làng zǐ yì xiá lì shǐ wǔ xiá xié qù wǔ xiá gǔ diǎn xiān xiá qí huàn xiū zhēn xiàn dài xiū zhēn，
dàn cóng wǔ xiá xiǎo shuō de xiá yì céng cì shàng lái shuō jiù zhǐ zhǐ chuán tǒng wǔ xiá làng zǐ yì xiá lì shǐ wǔ xiá xié qù wǔ xiá zhè sì lèi。
【
wǔ xiá xiǎo shuō qǐ yuán】
wǔ xiá wén xué de yuán tóu dāng yòu '
èr：
“ yī shì hàn chū sī mǎ qiān de《
shǐ jì》
zhōng de yóu xiá、
cì kè lièzhuàn；
èr shì wèi jìn、
liù cháo jiān shèng xíng de ‘ zá jì tǐ ’ shén yì、
zhì guài xiǎo shuō。
rú guǒ shuō xiān qín liǎng hàn nǎi zhì wèi jìn zhì guài，
wéi wǔ xiá xiǎo shuō de chǎn shēng gòu zhù liǎo jiān shí de jī chǔ，
wéi zhī qián zòu；
nà me táng chuán qí zài wén xué shǐ shàng yī lǐng fēng sāo shí，
wǔ xiá xiǎo shuō jí zhēn zhèng kāi shǐ méng yá。
huǒ yào méi yòu fā míng zhī qián，
dāo qiāng jiàn jǐ dōubèi chēng wéi lěng bīng qì，
zài lěng bīng qì shí dài，
gè rén de wǔ shù jì qiǎo jiù xiǎn dé shí fēn zhòng yào，
tā jì kě bǎo jiā wèi guó，
yòu kě yǐ yòng tā qiú qǔ gōng míng fù guì，
yóu qí shì tǒng zhì zhě，
gèng shì shí fēn kàn zhòng，
zài zhōng guó gǔ dài jiào xué，
shì wén wǔ bìng zhòng de，《
zhōu lǐ》
zhōng jì：
yǎng guó zǐ yǐ dào，
nǎi jiào zhī liù yì。
liù yì zhōng de shè yǔ yù，
jiù shì shè jiàn、
jià zhàn chē huī dāo qiāng zuò zhàn de。《
hàn shū .
yì wén zhì》
yì zài“
jiàn dào sān shí bā piān ”“
hé shǒu bó liù piān”，
bèi chēng wéi“
bīng jì qiǎo”，
tā yǐ shǒu zú、
qì xiè de shǐ yòng wéi jī běn jì néng，
jù jīn yǐ yòu '
èr qiān duō nián，
zhì nán cháo liú sòng shí，
yǐ yòu wǔ shù zhī chēng。
huì wǔ shù de rén，
yī fāng miàn jìn rù cháo tíng de jūn duì，
chéng wéi zhí yè jūn rén，
zhè lèi rén wéi cháo tíng suǒ yòng，
zì rán yě jiù huì zài yù xuè shā chǎng de tóng shí，
qiú dé gōng míng fù guì。
dàn zǒng yòu yī lèi rén，
jiù xiàng xiàn zài de zhí zhèng dǎng yǔ zài yě dǎng yī yàng，
duì cháo tíng zhèng zhì yǐ jí dāng quán zhě yòu bù tóng kàn fǎ，
zài wǔ shù shàng de zài yě dǎng jiù shì nà xiē hào chēng xiá kè de rén。
tā men yīn gè zhǒng gè yàng de yuán yīn liú luò mín jiān，
yòu zì shì yī shēn hǎo gōng fū，
tiǎo zhàn quán guì、
xié '
è，
fú wēi jì kùn，
zhè yě yuán běn méi yòu cuò，
dàn yě yòu yīn suǒ wèi zhòng gǎn qíng、
jiǎng yì qì '
ér fàn hú tú de shí hòu，
zhǐ wéi bào '
ēn huò fù chóu，
kě yǐ zhì guó jiā fǎ lǜ yǔ tā rén lì yì yú bù gù，
zhè jiù shì hán fēi zǐ shuō de：“
xiá yǐ wǔ fàn jìn”。
dàn rú guǒ zài yī gè zhèng zhì hēi '
àn mín bù liáo shēng de cháo dài，
dāng xiá kè men xiào jù shān lín，
dāng qǐ“
lùlín hǎo hàn”
lái“
tì tiān hángdào”，
gōng rán yǔ dāng quán zhě jiào bān shí。
zhè zhǒng xíng wéi，
què dé dào lǎo bǎi xìng de yōng zài，
zhè tóng shí yě shì xiá zhí gēn rén men xīn zhōng，
dé dào rén men xǐ '
ài de zhòng yào yuán yīn，
rú wǎ gǎng zhài de chéng yǎo jīn、
qín shū bǎo děng yǔ shuǐhǔzhuàn zhōng de lǔ zhì shēn、
wǔ sōng děng。
【
wǔ xiá yǔ xiá kè】
yī bù《
shuǐhǔzhuàn》，
néng liú chuán qiān gǔ，
kǒng pà hái yǔ tā xuān yáng de xiá yì jīng shén mìqiè xiāng guān。
ér zhè zhǒng dà guī mó de xiá shì jù jí yú lùlín，
bìng zì chēng lùlín hǎo hàn，
zhè yě dà gài shì hòu lái wǔ lín de chū chù，
bù jǐn qǔ qí shān yě zhī jiān zì yóu zì zài，
dà gài yě yòu“
zài yě”
de yì sī，
ér qiě sì hū“
mín zhù”
chéng dù yě hěn gāo，
tā men yǐ“
huì méng”
de xíng shì tuī xuǎn méng zhù，
ér tuī xuǎn de biāo zhǔn zé zhǐ yòu liǎng gè，
nà jiù shì wǔ gōng hé wǔ dé，
fǒu zé，
yī lǜ miǎn tán。
tā men jì xiǎn shì chū yī zhǒng mín jiān shè tuán de xìng zhì，
yòu shì yī zhǒng sōng sàn de lián hé。
zhǐ yòu dào liǎo zhū rú shuǐ hǔ de guī mó，
cái xiǎn shì chū qí zhèng zhì hé jūn shì zǔ zhì de tè xìng lái，
dàn yòu yī diǎn réng shì kěn dìng de，
nà jiù shì wú lùn shì cháo gài hái shì sòng jiāng，
dōushì xiá shì men zì jǐ tuī jǔ chū lái de。
dàn zuì chū de xiá kè duō shì dú lì de，
gè rén de xíng wéi，
rú《
shǐ jì》
zhōng jìzǎi niè zhèng yǐ jí zhù míng de jīng kē lá qín wáng de gù shì。
zhè yàng de rén hé shì，
zài chūn qiū zhàn guó shí qī hái bù shǎo，
dāng shí yóu yú qī guó zhī jiān zhēng bà chēng xióng，
ēn '
ēn yuàn yuàn hěn duō，
gè guó quán guì mendōu zhēng xiāng zhēng xián nà shì，
zhè lǐ díshì，
jiù shì zhǐ wǔ shì，
rú dāng shí de xìn líng jūn、
píng yuán jūn dū yǎng liǎo hǎo jǐ bǎi shèn zhì shàng qiān de zhè lèi“
shí kè”，
zhè yě jiù gěi zhè lèi wǔ shì xiá kè men chuàng zào liǎo shēng cún tiáo jiàn，
tā men dà duō yǐ xiá yì zhù chēng，
huò wèiguó，
huò wéi bào zhù rén zhī '
ēn，
chōng dāng cì kè，
shèn zhì bù xī shěshēng qǔ yì。
zhè shì fēng jiàn shí qī de yī dà shè huì tè diǎn，
ōu zhōu zhōng shì jì shí qī de qí shì，
yǐ jí rì běn de wǔ shì，
dū yǔ qí lèi sì。
zhè xiē xiá yì wǔ shì，
lì cháo lì dài dōuyòu，
tā men nà zhǒng dà yì lǐn rán，
fú wēi jì kùn，
lù jiàn bù píng zhàng dāo xiāng zhù，
bù wèi qiáng quán，
bù wèi cán bào de wǔ xiá jīng shén，
shí fēn wéi rén men suǒ jìng yǎng。
zhè xiē wǔ shù rén shì dà duō shì zhēn rén zhēn shì，
wǎ gǎng zhài、
shuǐ hǔ zhōng de xiá kè men bù tí liǎo，
rú shǎo lín wǔ gōng，
wǔ dāng pài wǔ gōng dōushì shí shí zài zài de wǔ shù liú pài，
yě yòu bù shǎo míng jiā chū zì zhè xiē pài bié，
hóng yáng liǎo wǔ shù jīng shén，
jiù shì jìn dài，
rú qīng guāng xù nián jiān de dà dāo wáng wǔ，
yǐ bǎo biāo wéi yè，
bèi rén chēng wéi dà xiá，
tā yǔ tán sì tóng jiāo hòu，
wù xū biàn fǎ shí，
hái zhù dòng yào qiú bǎo hù tā chū zǒu。
zài yòu jiù shì huò yuán jiá，
jiù céng jī bài bù kě yī shì de yáng wǔ shī，
dà cháng liǎo guó shù wēi fēng。
ér zhè xiē fā shēng zài xiàn shí shēng huó zhōng de wǔ xiá yǔ wǔ xiá gù shì，
zé wéi wǔ xiá xiǎo shuō de chuàng zuò，
tí gōng liǎo fēng fù de yuán quán yǔ tǔ rǎng。
bù guò，
lìng yī lèi xiá kè jiù yǔ wǒ men xiàn zài de xǔ duō wǔ xiá xiǎo shuō yòu xiē lèi sì liǎo，
tā men sì hū zǒng cún zài yú shì shí yǔ xū gòu zhī jiān，
zhè yě sì hū hěn shēn dì yǐng xiǎng liǎo hòu shì wǔ xiá xiǎo shuō de chǎn shēng yǔ fā zhǎn，
tā men zǒng shì dài yòu shén qí xìng hé shén mì xìng，
yòu de shèn zhì guòfèn kuā dà liǎo wǔ shù běn shēn de gōng néng jí zuò yòng，
dàn zhè zhǒng yǐ chāo rén xíng xiàng chū xiàn，
chú bào '
ān liáng de wǔ xiá，
yòu qià hǎo fǎn yìng liǎo rén men de xī jì hé yuàn wàng，
zhè dāng zhōng duì hòu shì wǔ xiá xiǎo shuō yǐng xiǎng zuì shēn de yòu sān gè rén wù xíng xiàng，
nà jiù shì yuè chǔnǚ、
hóng xiàn hé kūn lún nú。
yuè chǔnǚ yuán zì《
wú yuè chūn qiū》，
hóng xiàn chū zì táng .
yuán jiāo zhuàn《
gān zé yáo》，
kūn lún nú zé chū zì táng《
chuán qí》，
lì shǐ shàng，
xǔ duō shēn huái jué jì de wǔ xiá men cháng cháng yuàn yì tuì yǐn jiāng hú，
zhè shì yīn wéi rén xīn nán cè，
jí biàn shì '
ēn zhòng rú shān de zhù rén men yě shì rú cǐ，
zhè zhǒng sī xiǎng yě yǐng xiǎng liǎo hòu shì xǔ duō wǔ xiá de wéi rén hé wǔ xiá xiǎo shuō de chuàng zuò。
ér cóng lìng yī gè jiǎo dù jiǎng，
guān chǎng de fǔ bài yǔ hēi '
àn，
yě shǐ tā men gèng yuàn yì jié shēn zì hǎo，
bù yuàn yì tóng liú hé wū，
zhè yě shì wǔ xiá men dé dào rén men zūn jìng de zhòng yào yuán yīn，
tóng shí yě shì wén rén men yī zhǒng lǐ xiǎng de rén wén jīng shén，
suǒ yǐ lì cháo lì dài yòu nà me duō de wén rén yuàn yì jì lù shū xiě chuàng zuò zhè xiē wǔ xiá gù shì，
yě shì yī gè zhòng yào yuán yīn .
【
wèi jìn liù cháo zhì guài xiǎo shuō yǔ wǔ xiá】
wèi jìn liù cháo zài wén xué shǐ shàng bèi kàn zuò shì wén xué de“
zì jué xìng”
xíng chéng shí qī，
zhè yī shí qī de wén xué zuò pǐn duō yǐ zhì guài、
shén yì xiǎo shuō wéi zhù。
zuò pǐn zhōng bāo hán zhe xiān rén de shén xiān、
guǐ guài guān niàn，
yǐ jí duì chāo xiàn shí shén mì lì liàng de xiàng wǎng。
zhè shì hóng huāng shí qī rén men duì yīng xióng chóng bài de yí liú，
zài hóng huāng shí qī，
rén men duì yī xiē yīng xióng rén wù de chóng bài hé kuā zhāng de zàn měi chǎn shēng liǎo shén huà，
bǐ fāng shén nóng、
suì rén、
nǚ wā děng děng。
dào liǎo xiān qín liǎng hàn，
chōng chì zài sī xiǎng lǐng yù de zé shì xiān fēng dào gǔ。
wèi jìn yǐ hòu，
biàn shì yóu yì zhe míng guǐ yōu hún。
zhì guài xiǎo shuō shì yǐ jì shù guǐ shén guài yì zhī shì wéi zhù yào nèi róng，
bāo kuò shén xiān fāng shù、
guǐ mèi yāo guài、
shū fāng yì wù、
fó fǎ líng yì děng，
yě yòu yě shǐ yì wén、
mín jiān chuán shuō děng děng。
yì shù shàng dài yòu chuán qí sè cǎi hé chāo xiàn shí de biǎo xiàn。
yǐ gān bǎo de《
sōu shén jì》
wéi dài biǎo，
qí tā yòu tuō míng táo yuān míng de《
sōu shén hòu jì》、
jiù tí cáo pī de《
liè yì chuán》、
zhāng huá de《
bó wù zhì》、
gé hóng de《
shén xiān chuán》、
wáng jiā de《
shí yí jì》、
wú jūn de《
xù qí xié jì》
děng。
guǐ shén guān niàn shì gǔ dài xiān mín zhé xué sī xiǎng de zhòng yào zǔ chéng bù fēn，
jí biàn shì xiàn zài，
láo dòng rén mín zhōng jiān tóng yàng cún zài zhe shén guǐ de guān niàn，
tā yǐ jīng shì zǔ chéng zhōng huá mín zú jīng shén de yī bù fēn。
zhè qí shí shì rén men duì zì shēn sī kǎo de jiēguǒ，
xiàn shí de kǔ nán shǐ dé tā men xiàng wǎng zhe yī xiē chāo chū zì rán de dōng xī，
yī zhǒng tè bié de néng lì hé yī xiē tè bié de gōng jù。
bǐ rú：
wǔ yì、
shén jiàn、
bǎo wù、
děng děng。
ér zhè xiē dōng xī què zhǐ néng zài xiǎng xiàng zhōng dé dào，
suǒ yǐ biàn yòu liǎo《
sān wáng mù》
de bǎo jiàn gān jiāng、
mò xié；
yòu liǎo《
zǐ yù》
de xiān shù dào fǎ；
yòu liǎo《
liú chén ruǎn zhào》
de líng dān miào yào。
ér zhè xiē dōng xī zài hòu lái de wǔ xiá xiǎo shuō zhōng tóng yàng shì lǚjiànbùxiǎn，
sì hū yè yǐ chéng wéi wǔ xiá xiǎo shuō zhī suǒ yǐ xī yǐn dú zhě de zhòng yào yīn sù。
【
táng chuán qí yǔ wǔ xiá】
rú guǒ shuō xiān qín liǎng hàn nǎi zhì wèi jìn zhì guài，
wéi wǔ xiá xiǎo shuō de chǎn shēng gòu zhù liǎo jiān shí de jī chǔ，
wéi zhī qián zòu；
nà me táng chuán qí zài wén xué shǐ shàng yī lǐng fēng sāo shí，
wǔ xiá xiǎo shuō jí zhēn zhèng kāi shǐ méng yá。
sòng chū lǐ fǎng děng suǒ biān zhuàn《
tài píng guǎng jì》
juàn yī jiǔ sān zhì yī jiǔ liù，
tè jiāng shí bā zhǒng táng chuán qí liè rù“
háo xiá”
lèi biàn kě kàn chū wǔ xiá xiǎo shuō tóng táng chuán qí zhī jiān mài luò xiāng tōng。
gù rèn wéi táng chuán qí wéi wǔ xiá xiǎo shuō de lì zōng zhě，
lǐ dāng '
ér rán。
“
chuán qí”
zhī míng，
sì qǐ yú wǎn táng péi xíng xiǎo shuō jí《
chuán qí》，
sòng rén yǐn shī lǔ yě jiāng“
yòng duì yǔ shuō shí jǐng，
shì yǐ wéi qí”
de《
yuè yáng lóu jì》
chēng wéi“
chuán qí tǐ”。
fā zhǎn dào hòu lái，
chuán qí cái zhú jiàn bèi rèn wéi shì yī zhǒng xiǎo shuō de tǐ cái，
rú yuán dài táo zōng yí《
chuò gēng lù》
jí jiāng táng chuán qí yǔ sòng、
jīn xìqǔ、
yuàn běn děng xiāng bìng liè，
míng dài hú yìng lín《
shǎo shì shān fáng bǐ cóng》
gèng jiāng suǒ fēn liù lèi xiǎo shuō de dì '
èr lèi yì jí《
yīng yīng chuán》、《
huò xiǎo yù chuán》
děng dìng míng wéi“
chuán qí”，
yú shì，
chuán qí zuò wéi táng rén wén yán xiǎo shuō de tōng chēng，
biàn yuē dìng sú chéng dì yán yòng xià lái。
zài lùn shù táng chuán qí bó qǐ de shè huì bèi jǐng shí，
fàn yān qiáo suǒ zhù de《
zhōng guó xiǎo shuō shǐ》
céng yán：“
zài cǐ shí dài，
hūn yīn bù liáng，
wéi rén shēng tòng kǔ zhī sī xiǎng，
jiàn qǐ shēn yín；
ér fān zhèn bá hù，
píng mín kě pàn yī zhǒng xiá kè zhī jiù jì；
gù xiě liàn '
ài、
háo xiá zhī xiǎo shuō，
chǎn shēng shèn fù。”
gēn jù suǒ lùn kě jiàn yī bān，
tè bié zài táng cháo mò qī，
shè huì duì háo xiá jiù zhù rú yún ní zhī wàng。《
zī zhèng tōng jiàn》
juàn '
èr yī wǔ，
jì lǐ lín fǔ：“
zì yǐ duō jié yuàn，
cháng yú cì kè。
chū zé bù qí bǎi yú rén wéi zuǒ yòu yì，
jīn wú jìng jiē；
qián qū zài shù bǎi bù wài，
gōng qīng zǒu bì ……
rú fáng dà dí；
yī xī lǚ xǐ chuáng，
suī jiā rén mò zhī qí chù。”
kě jiàn shè huì '
àn shā xíng cì zhī fēng mí xíng。
zhè fǎn yìng zài wén xué zuò pǐn zhōng，
biàn shì háo xiá zhù tǐ de chuán qí dà liàng yǒng xiàn。
yǒng xiàn chū yī pī miáo xiě háo xiá zhī shì jí qí xiá yì xíng wéi de chuán qí zuò pǐn，
nèi róng shè jí fú wēi jì kùn、
chú bào '
ān liáng、
kuài yì '
ēn chóu、
ān bāng dìng guó děng fāng miàn，
yú zhōng tū chū háo xiá rén gé de xián rèn gāng yì hé zhuó luò bù qún，
wǔ gōng de chū shén rù huà，
gōng yè de jīng shì hài sú，
yóu cǐ zhǎn xiàn chū yī zhǒng gāo dǎo bù jī bēn téng liú zǒu de shēng mìng qíng diào。《
gān zé yáo》
zhī《
hóng xiàn》，《
chuán qí》
zhī《
niè yǐn niàn》、《
kūn lún nú》，《
jí yì jì》
zhī《
jiǎ rén qī》
děng，
dōushì jiào yòu dài biǎo xìng de pǐn；
ér chuán wéi dù guāng tíng suǒ zuò de《
qiú rán kè chuán》，
gèng shì wǎn táng háo xiá xiǎo shuō zhōng chéng jiù zuì zhù de yī piān。
【
sòng yuán huà běn yǔ wǔ xiá】
táng rén chuán qí shù lì liǎo wén yán“
wǔ xiá”
de diǎn fàn zhī hòu，
jīng wǔ dài yǐ zhì sòng cháo，
zài tí cái shàng bìng méi yòu shénme tū chū de fā zhǎn duō shì duì táng chuán qí de mó fǎng。
dàn zhè yī shí qī zài wén xué shǐ shàng què yòu zhuózhòng yào yì yì，
tā zài yǔ yán shàng kāi chuàng xìng de yì yì。“
shuō huà yì shù”
zài mín jiān guǎng fàn liú chuán，
zhè zhǒng bái huà xíng de xiǎo shuō yǔ hòu lái de wǔ xiá xiǎo shuō pō jù yuān yuán。
qí zhù tí，
rú sòng luó yè《
zuì wēng tán lù ·
xiǎo shuō kāipì》
suǒ yán：“
yòu líng guài、
yān fěn，
qí chuán、
gōng '
àn，
jiān pōdāo、
gǎnbàng、
yāo shù、
shén xiān。”
ér zhè xiē yě shì hòu lái de wǔ xiá xiǎo shuō suǒ xǐ yòng de。
bù guǎn shì hé zhǒng tí cái，
dū wǎng wǎng yǐ '
ài qíng huò gōng '
àn zuò wéi xù shì de“
xīng fèn diǎn”。
ài qíng gù shì，
bù jǐn zài dāng shí hěn shòu huān yíng，
jí shǐ zài xiàn xíng de wǔ xiá xiǎo shuō zhǒng，
ài qíng yīn sù yě shì zhòng yào de“
kàn diǎn”。
měi nǚ yǔ xiá shì zhī jiān de gǎn qíng jiū gé，
yǒng yuǎn shì wǔ xiá xiǎo shuō xī yǐn rén de dì fāng héng héng yīn wéi '
ài qíng shì yī gè yǒng héng de huà tí。
wú lùn shì xiàn dài wǔ xiá xiǎo shuō zhōng de jù bò jīn yōng xiān shēng，
hái shì hǎi wài yī zhí fēngmǐ de wǔ xiá zuò zhě dōuwú fǎ bǎi tuō“
gǎn qíng xì”。
ér qiě gāo miào de '
ài qíng qíng jié wǎng wǎng yòu yì xiǎng bù dào de xiào guǒ。
zài zhè gè fāng miàn sòng yuán huà běn zé yòu tū chū de gòng xiàn。
sòng yuán xiǎo shuō huà běn zhōng de '
ài qíng gù shì，
yòu wǎng wǎng tū chū nǚ xìng duì '
ài qíng shēng huó de zhù dòng zhuī qiú。
xiàng《
niǎn yù guān yīn》
zhōng de qú xiù xiù，
chū shēn yú pín hán de zhuāng biǎo jiàng jiā tíng，
shēng dé měi mào chū zhòng，
cōng míng líng lì，
gèng liàn jiù liǎo yī shǒu hǎo cì xiù。
wú nài jiā jìng jiǒng pò，
qí fù yǐ yī zhǐ“
xiàn zhuàng”，
jiāng tā mài yǔ xián '
ān jùn wáng，
cóng cǐ，
zhèng zhí dòu kòu nián huá de xiù xiù，
shēn rù hóu mén，
shī qù zì yóu。
qí hòu jùn wáng fǔ shī huǒ，
táo mìng zhī jì，
tā yù jiàn liǎo nián qīng néng gān de niǎn yù jiàng cuī níng；
xiù xiù jiàn tā chéng shí kě kào，
biàn zhù dòng tí chū：“
hé bù jīn yè wǒ hé nǐ xiān zuò fū qī？”
ér dǎn xiǎo pà shì de cuī níng què bù gǎn yīngyǔn。
xiù xiù dào：“
nǐ zhī dào bù gǎn，
wǒ jiào jiāng qǐ lái，
jiào huài liǎo nǐ。
nǐ què rú hé jiāng wǒ dào jiā zhōng？
wǒ míng rì fǔ lǐ qù shuō！”
xiù xiù sù zhī cuī níng de wéi rén，
zhè fān huà míng xiǎn shì yào jī fā tā de yǒng qì，
ràng tā yǔ zì jǐ yī dào zhèng tuō shù fù，
xún qiú měi hǎo de shēng huó。
yòu rú《
nào fán lóu duō qíng zhōu shèng xiān》，
xiě zhōu shèng xiān chū jiàn fàn '
èr láng，
biàn '
àn zhōng xǐ huān，
dú zì sīliáng：“
ruò shì wǒ jià dé yī gè sì zhè bān zǐ dì，
kě zhī hǎo li。
jīn rì dāng miàn cuò（
cuò）
guò，
zài lái nà lǐ qù tǎo？”
wèile bǔ zhuō zhè nán dé de jī yuán，
tā gǎn xiǎng gǎn zuò，
zhù dòng jiē jìn fàn '
èr láng。
zhè xiē qí nǚ zǐ duì '
ài qíng de dà dǎn zhuī qiú，
jí shǐ fàng dào xiàn zài de wǔ xiá xiǎo shuō zhōng yǐ jiù cún zài zháomí rén de mèi lì。
zhè yàng de zhù tí sī xiǎng gù rán tí gāo liǎo wǔ xiá xiǎo shuō de sī xiǎng shuǐ píng，
shǐ de tōng sú wén xué zài sī xiǎng yì yì shàng bàn yǎn zhe“
yǎ wén xué”
de juésè。
zhè jiù qiān shè dǎo wén xué de“
yǎ”
yǔ“
sú”
de zhuǎn biàn wèn tí，
ér wǔ xiá xiǎo shuō zuò wéi yī gè tè shū de wén xué xíng shì，
tóng yàng cún zài zhe“
yǎ”
yǔ“
sú”
de wèn tí。
duì bǐ táng chuán qí、
sòng yuán huà běn jí dāng dài de bái huà wǔ xiá；
wǒ men dāng rú hé qū fēn“
yǎ”
yǔ“
sú”
ní？
rú guǒ yǐ zhī shí fènzǐ chuàng zuò zuò wéi qū fēn diǎn，
nà me táng chuán qí biàn shì“
yǎ”
wén xué，
ér sòng huà běn zhōng yì rén de chuàng zuò biàn shì“
sú”
wén xué。
dāng dài de wǔ xiá xiǎo shuō zé duō shù shì zhī shí fènzǐ de chuàng zuò，
lǐ dāng kàn zuò shì“
yǎ”
wén xué liǎo。
kě shì gǔ dài de zhī shí jiē céng yòu bù tóng yǔ xiàn zài，
bù néng rú cǐ lèi tuī。
nà me dāng dài wǔ xiá xiǎo shuō dào dǐ shì“
yǎ”
shì“
sú”
néng？
wǒ běn rén rèn wéi，“
yǎ”
hé“
sú”
bìng bù shì gù dìng de，
ér shì fú dòng zhe de，
tā shì suí zhe kè tǐ de bù tóng '
ér biàn huà。
huàn jù huà shuō，“
yǎ”
hé“
sú”
de wèn tí dāng cóng“
wén xué xiāo fèi”
de rén qún lái kàn，“
yǎ shì”
jí shǐ kàn“
sú”
yě“
yǎ”。
【
míng qīng bái huà yǔ wǔ xiá】
zì sòng yǐ jiàng，
wén yán wǔ xiá zhú jiàn shuāi luò xià lái。
bái huà gōng '
àn、
xiá yì xiǎo shuō zé chéng liǎo zhōng xià céng láo dòng rén men xǐ wén lè jiàn de wén xué shì yàng。
yú shì bái huà xiǎo shuō zài míng qīng shí qī shèng xíng qǐ lái，
dāng rán qí jiān yě yòu bù shǎo wén rén fáng zhào táng chuán qí chuàng zuò，
dàn bìng fēi zhù liú。
zhū rú：
lǐ chāng qí《
qīng chéng wǔ jiàn lù》、
sòng lián《
qín shì lù》、
sòng mào chéng《
liú shān dōng》
jí lè gōng pǔ《
máo shēng》
děng，
jiē yòu kě guān。
rán '
ér wǔ xiá xiǎo shuō dào míng qīng shí，
zé duō shì yǐ huà běn xíng shì chū xiàn de，
rú qīng shí zài《
bāo gōng '
àn》
jī chǔ shàng yǎn yì chéng de《
qī xiá wǔ yì》《
xiǎo wǔ yì》
yǐ jí《
ér nǚ yīngxióngzhuàn píng huó》
děng，
tā men diàn dìng liǎo wǔ xiá xiǎo shuō de jī běn xíng shì hé mó shì，
dàn dé dào zhēn zhèng fā zhǎn bìng chéng xiàn chū yī zhǒng fán róng xiàn xiàng，
què shì mín guó qī jiān de shì。
【
mín guó shí qī wǔ xiá xiǎo shuō】
xīn hài gé mìng hòu，
rén men cóng fēng jiàn zhì gù xià jiě fàng chū lái，
gè zhǒng sī xiǎng liú pài yǒng rù zhōng guó，
bào yè、
chū bǎn yè dé dào kōng qián fán róng，
wén xué yì shù dé dào dà lì fā zhǎn，
gè zhǒng fēng gé liú pài de wén yì zuò pǐn yì cǎi fēn chéng，
wǔ xiá xiǎo shuō yě yì jūn tū qǐ，
tā yǐ dú tè de wǔ xiá men de xiá yì jīng shén chuán tǒng shēn dé rén men xǐ '
ài。
zài '
èr shí shì jì '
èr shí nián dài，
shǒu xiān yòu bèi chēng wéi“
nán xiàng běi zhào”
de děng yī pī kāi fēng qì de wǔ xiá xiǎo shuō zuò jiā，
píng jiāng bù xiào shēng gèng shì bèi yù wéi“
mín guó wǔ xiá xiǎo shuō de kāi shān bí zǔ”。
qí dài biǎo zuò yòu《
jiāng hú qí xiá chuán》、《
xiá yì yīngxióngzhuàn》
děng；
zhào huàn tíng zé yòu《
qí xiá jīng zhōng chuán》
liú shì
zài sān shí nián dài hòu，
zuì yòu míng de wǔ xiá xiǎo shuō jiā biàn yòu běi pài wǔ dà jiā hái zhū lóu zhù、
bái yǔ、
zhèng zhèng yīn、
zhū zhēn mù hé wáng dù lú。
zhè zhù yào fēn wéi hái zhū lóu zhù de shén guài wǔ xiá xiǎo shuō，
bái yǔ de shè huì wǔ xiá xiǎo shuō，
zhèng zhèng yīn de jì jī wǔ xiá xiǎo shuō hé wáng dù lú de yán qíng wǔ xiá xiǎo shuō děng sì dà pài wǔ xiá xiǎo shuō。
zài mín guó wǔ xiá xiǎo shuō zuò jiā zhōng，
hái zhū lóu zhù yě xǔ shì zuì néng tǐ xiàn zhōng guó chuán tǒng wén huà tè sè de，
bàn wén bàn bái de yǔ yán，
rú、
fó、
dào de jīng shén zhé lǐ，
dū róng huì guàn tōng yú xiǎo shuō zhī zhōng。
qí zhù míng xiǎo shuō yòu《
shǔ shān jiàn xiá chuán》、《
qīng chéng shí jiǔ xiá》
hé《
yún hǎi zhēng qí jì》
děng 40
bù。
bái yǔ de shè huì wǔ xiá xiǎo shuō zài wǔ xiá yǔ shè huì shēng huó fāng miàn jié hé dé shì shí fēn jǐn mì de，
tā shòu lǔ xùn、
zhōu zuò rén xiōng dì hé xīn wén huà yùn dòng yǐng xiǎng hěn shēn，
běn shēn yòu shì jì zhě chū shēn，
tā cháng cháng shì tōng guò wǔ xiá sī xiǎng yǔ shè huì xiàn shí de tuō jié lái pī pàn shè huì de hēi '
àn，
zài xiě wǔ xiá men de kě jìng kě '
ài de tóng shí，
yě xiě chū liǎo tā men zài xiàn shí shè huì zhōng de bēi zhuàng、
gǎn kǎi yǔ wú nài。
tā de dài biǎo zuò shì《
shí '
èr jīn qián biāo》、
hé miáo xiě bái lián jiào qǐ yì de《
huáng huā jié》
děng。
zhèng zhèng yīn dāng nián de《
yīng zhǎo wáng》
bā bù qū chū shǒu jiù bù fán，
tā jiāng wǔ xiá de háo qì yǔ jīng miào de wǔ shù yǔ jīng xiǎn de qíng jié róng wéi yī tǐ，
bìng tè bié zhù zhòng wǔ shù jì qiǎo de miáo xiě。
qí yī shēng yī gòng chuàng zuò liǎo yī bǎi líng '
èr bù zuò pǐn，
wéi dāng shí zuò jiā zhī zuì。
bèi rén chēng wéi jì jī wǔ xiá xiǎo shuō yī diǎn yě bùwèi guò。
ér wáng dù lú de wǔ xiá xiǎo shuō zé zhòng yán qíng，
xiě dào shēng sǐ chán mián chù，
cháng huò rén zhì shēn。
hòu qǐ de gǎng、
tái wǔ xiá xiǎo shuō，
yě dà duō zǒu de tā kāi tuò de zhè tiáo“
bēi jù xiá qíng”
de lù zǐ。
tā de zhù yào dài biǎo zuò jiù shì《
wò hǔ cáng lóng》
děng“
hè tiě wǔ bù zuò”。
ér tā men zhōng zuì jù chuán qí sè cǎi de zé shì hái zhū lóu zhù lǐ shòu mín，
tā qī suì biàn dēng '
é méi、
qīng chéng xué qì gōng，
shí liù suì yǔ cái nǚ wén zhū xiāng liàn，
yīn jiā biàn '
ér shī liàn，
xiě《
shǔ shān jiàn xiá chuán》
shí，
bǐ míng hái zhū lóu zhù，
jiù shì yòng yú jì niàn wén zhū de。
hòu yǔ dà fù háo zhī nǚ sūn jīng xún de hūn yīn gèng shì hōng dòng yī shí，
sūn fù céng fǎn duì zhè zhuāng hūn yīn yǐ“
guǎi dài liáng jiā fù nǚ”
de zuì míng jiāng qí gào shàng fǎ tíng，
ér sūn jīng xún zé zài tíng shěn shí yǒng gǎn zhàn chū lái hàn wèi zì jǐ de hūn yīn zì yóu，
shǐ qí wú zuì kāi shì，
yī shí chuán wéi měi tán，
ér gèng zhí dé yī tí de shì，
hái zhū lóu zhù lǐ shòu mín běn rén，
zài“
qī qī”
shì biàn hòu，
yīn jù jué chū rèn rì kòu wěi zhí，
bèi zhuā dào rì běn xiàn bīng duì shòu jìn yán xíng kǎo dǎ dá qī shí tiān，
réng wēi wǔ bù qū，
lìng rén jìng tàn！
tā de zuò wéi běn shēn，
yě chōng mǎn zhe yī zhǒng xiá yì jīng shén。
yī jiǔ wǔ bā nián，
yī piān“
bù xǔ hái zhū lóu zhù jì xù fàng dú”
de wén zhāng，
què shǐ tā dú hòu yīn bēi fèn '
ér nǎo yì xuè，
cǐ hòu bìng tà liǎng nián yòu yú，
kǒu shòu wán cháng piān xiǎo shuō《
dù fǔ》
hòu，
duì fū rén sūn jīng xún shuō nǐ yào duō bǎo zhòng hòu，
kè rán cháng shì，
lìng rén huò tàn！
【
dāng dài wǔ xiá xiǎo shuō】
hòu lái yǐ jīn yōng、
liáng yǔ shēng wéi dài biǎo de xīn wǔ xiá xiǎo shuō de jué qǐ，
zé shì jìn jǐ shí nián de shì。
yóu qí shì jīn yōng de wǔ xiá xiǎo shuō，
zào jiù liǎo fēi cháng duō de jīn yōng mí。
jīn yōng yě bù kuì wéi yī dài wǔ xiá xiǎo shuō dà zōng shī，
tā fēng fù de lì shǐ zhī shí，
shēn hòu de yuè lì，
duì wǔ xiá jīng shén de lǐ jiě，
duì wǔ shù zhī shí de zhǎng wò，
jīng cǎi de xù shì yǔ miáo xiě，
duì rén wù xìng gé de bǎ wò，
què yòu xǔ duō guò rén zhī chù。《
shè diāo yīngxióngzhuàn》
zhōng de xǔ duō lì shǐ、
rén wù，
rú nán sòng shí sòng yǔ jīn、
yuán de cuò zōng fù zá de guān xì jūn yòu lì shǐ shǐ shí yǐ jù，
ér qiū chù jī děng lì shǐ rén wù yě què yòu qí rén，
jiāng zhēn shí yǔ xū gòu yòu jī jié hé，
tóng shí yòu jiān yòu běi pài wǔ xiá xiǎo shuō shè huì、
yán qíng、
jì jī、
shén guài sì dà pài zhī cháng，
tóng shí yòu wán quán bù tóng yú zhè sì dà pài，
yòu liǎo xīn de chuàng xīn hé fā zhǎn。
xiāng gǎng shì xīn pài wǔ xiá xiǎo shuō fā yuán dì， 50
nián dài shàng bàn qī shǔ yú liáng yǔ shēng，
dài biǎo zuò《
qī jiàn xià tiān shān》
xì liè。
zhì《
píng zōng xiá yǐng》、《
yún hǎi yù gōng yuán》
dá dào gè rén chuàng zuò bù kě yú yuè de gāo fēng。
hòu qī zuò pǐn duō shù shì yī zhǒng fēng gé，
bù tí yě bà。
liáng kāi chuàng liǎo yī gè shí dài，
qí gǔ diǎn wén xué sù yǎng hěn zhā shí，
xiǎo shuō zhōng shī cí suí chù kě jiàn。
dàn shàng méi yòu wán quán tuō lí jìn dài wǔ xiá de kē jiù。
gǔ wén gōng dǐ hǎo de dú zhě kě yǐ kàn kàn，
wén zì hé lì shǐ de miáo xiě hái shì hěn yòu shuǐ zhǔn。
50
nián dài zhōng hòu qī jīn yōng de chū xiàn，
ràng liáng yǔ shēng fā chū liǎo“
jì shēng yú，
hé shēng liàng”
de gǎn kǎi。
jīn yōng yǐn rù liǎo xī yáng wén xué jì qiǎo jí diàn yǐng shǒu fǎ yú yǐ niē hé，
zài dāng shí gǎng tái zhèng zhì yā yì de nián dài，
ràng wǔ xiá xiǎo shuō biàn chéng chàng xiāo shū。
zài 69
nián《
lù dǐng jì》
zhōng dá dào qí chuàng zuò dǐng fēng，
rán hòu jī liú yǒng tuì。
jīn yōng de zuò pǐn zhěng tǐ shàng kàn，
qián qī dào hòu qī shì yuè xiě yuè hǎo。
cóng wén zì dào jié gòu，
bāo kuò qíng jié de zhāng lì mò bù rú cǐ。
zài qí bù fēn zuò pǐn de zǎo qī bǎn běn zhōng yòu shí jiàncuò luàn de yìng shāng，
kě néng yǔ qí zuò pǐn zài《
míng bào》
liánzǎi yòu guān。
zhǐ yòu yī gè jiǎn dān de qíng jié，
tiān mǎ xíng kōng de jìn xíng。
dào hòu lái zào chéng wú fǎ gēnggǎi de cuò wù，
lì rú：《
shè diāo》
zhōng huáng róng chū shēng hòu，
méi、
chén '
èr rén tōu《
jiǔ yīn zhēn jīng》
pàn biàn chū táo huā dǎo。
qū líng fēng bèi duàn tuǐ hòu zài niú jiā cūn zuò zéi shí，
guō jìng yǔ yáng kāng de diē hái bù rèn shí。
nà qǐ bù shì huáng róng hé guō jìng zǎo jiù zài liú xíng jiě dì liàn，
hái hǎn shénme jìng gē gē，
zhuāng nián qīng má？
hòu lái jīn yōng chóngxīn xiū dìng tā de quán bù zuò pǐn，
bǎ zhè xiē yìng shāng jī běn shàng dū xiū gǎi guò liǎo。
yǔ jīn yōng tóng shí dài xiāng gǎng lìng yòu jīn fēng、
zhāng mèng hái、
móu sōng tíng、
fēng yǔ lóu zhù、
gāo fēng、
shí chōng děng rén cóng shì wǔ xiá xiǎo shuō chuàng zuò。
dàn shì，
jīn yōng zhè zuò shān tài gāo，
yǔ tā tóng shí dài de wǔ xiá xiǎo shuō zuò jiā shì bù xìng de。
qí tóng bèi jí hòu qǐ wǔ xiá zuò jiā huò yǐ zhù guān tiáo jiàn bù zú，
biàn nán hū wéi jì；
duō bàn zhǐ néng zūn xún jì wǎng“
bāng huì jì jī pài”
de lù shù，
zài jiāng hú chóu shā zhōng tǎo shēng huó liǎo。
70
nián dài chū，
jīn yōng fēng bǐ hòu，
xiāng gǎng wǔ xiá xiǎo shuō chū xiàn liǎo bǎi jiā zhēng míng，
bǎi huā qí fàng de jú miàn。
tái wān wǔ xiá yǔ xiāng gǎng yòu suǒ qū bié，
zài jīn、
liáng tóng shí dài yòu sī mǎ líng、
wò lóng shēng、
dú gū hóng、
chén qīng yún、
xiāo yì děng shù shí wèi wǔ xiá zhuān yè zuò jiā。
gēn jù wǔ xiá píng lùn míng jiā yè hóng shēng xiān shēng de cū lüè tǒng jì，
zài wǔ xiá xiǎo shuō xīng shèng shí qī，
tái wān zhì shǎo yòu guò sān bǎi wèi wǔ xiá zuò jiā lài cǐ wéi shēng，
chū bǎn liǎo zhì shǎo shàng wàn zhǒng yǐ shàng de wǔ xiá xiǎo shuō。
jié jí chéng shū zé zì shù bù zhì shù shí bù bù děng。
qí zhōng sī mǎ líng、
wò lóng shēng、
zhū gé qīng yún bìng chēng“
tái wān sān jiàn kè。”
sī mǎ líng zài dāng shí yǐng xiǎng lì zuì dà。
bó xué duō cái，
shàn cháng xiě qíng xiě yù、
dǒu zhì dǒu lì。
tè bié shì miáo xiě nán nǚ zài qíng yù fén shēn zhōng de xīn lǐ biàn huà，
yǐ jí qí zhèng hù biàn、
xū shí xiāng shēng de wǔ dǎ yì shù，
jūn dú bù yī shí。
ér qí zǎo nián shǒu chuàng yǐ jīng shén、
qì shì kè dí zhì shèng de wǔ xué yuán lǐ，
yǐ jìn hū“
dào”
héng héng yǔ jīn yōng、
gǔ lóng yī mài xiāng chéng de“
wú jiàn shèng yòu jiàn”
shuō fǎ，
yòu yìqǔ tóng gōng zhī miào，
shèn '
ér yóu yòu guò zhī。
tóng bèi míng jiā shòu qí yǐng xiǎng、
qǐ dí zhě pō duō，
rú gǔ lóng、
shàng guān dǐng、
yì róng、
xiāo sè děng jiē shì。
kě xī sī mǎ líng wèi néng chí yíng bǎo tài；
qí chuàng zuò hòu qī suī yòu《
jiàn hǎi yīng yáng》
zhè bù chāo zhuó jù zhù wéi wǔ xiá xiǎo shuō dà fàng yì cǎi，
dàn cǐ hòu jí zhú jiàn zǒu xià pō héng héng chú《
rén zài jiāng hú》（
yī jiǔ qī wǔ nián）
shàng kě yī kàn wài，
qí wǎn nián gǎi yǐ“
tiān xīn yuè”
bǐ míng suǒ zhuàn《
qiáng rén》
xì liè zuò pǐn，
yè yǐ yù zhèn fá lì，
jiāng láng cái jìn liǎo。
hóng huā shàng xū lǜ yè fú，
dāng shí zhū lǜ yè dài biǎo zuò yòu wò lóng shēng《
fēi yàn jīng lóng》、
zhū gé qīng yún《
zǐ diàn qīng shuāng》、
sī mǎ líng《
jiàn qì qiān huàn lù》、
dú bào lóu zhù《
bì yù gōng》、
cáo ruò bīng《
yù shàn shén jiàn》、
xiāo yì《
qī qín zhǎng》、
yún zhōng yuè《
gǔ jiàn jiān qíng jì》、
dīng jiàn xiá《
shén xiāo jiàn kè chuán》、
liǔ cán yáng《
yù miàn xiū luó》、
dú gū hóng《
yōng gān fēi lóng chuán》；
hái yòu“
guǐ pài”
héng héng shū míng、
nèi róng fēi guǐ jí mó，
qiě shì xuè shì shā，
dòng zhé jiù shā dé shī héng biàn yě、
xuè liú chéng hé。
dài biǎo zhě yòu chén qīng yún《
xuè mó jié》、
tián gē《
xuè hé mó dēng》
děng。
shàng kě yī guān。
qí tā jǐ bǎi rén bù tí yě bà，
dà duō dōushì kàn liǎo kāi tóu jiù néng cāi dào jié wěi de gù shì，
rú hé néng xī yǐn dú zhě tāo chū dà bǎ de yín zǐ。
zhēn zhèng ràng tái wān wǔ xiá zǒu xiàng shì jiè huá rén juàn de rén shì gǔ lóng。
yī gè kě yǐ zài tái wān wǔ xiá xiǎo shuō jiè dà shū tè shū de míng zì。
shì tái wān wǔ xiá xiǎo shuō jiè wéi yī kě yǐ yǔ jīn、
liáng bǐ jiān de rén。
gǔ lóng yǔ 60
nián dài chū qī kāi shǐ xiě wǔ xiá xiǎo shuō，
dàn yè jì píng píng，
qí jiān wéi míng jiā（
rú wò lóng shēng、
zhū gé qīng yún）
dài bǐ，
què jǐ kě luàn zhēn，
zú jiàn běn shēn què jù qián lì。
zài 64
nián wán chéng zǎo qī dài biǎo zuò《
huàn huā xǐ jiàn lù》
hòu，
ràng rén '
ěr mù yī xīn。
dàn fēng gé shàng wèi xíng chéng，
wéi yǐn qǐ tài duō bō lán。
zài 65-67
nián jiān gǔ lóng wán chéng liǎo tā chuàng zuò zhōng qī de zhòng yào zuò pǐn《
wǔ lín wài shǐ》、《
jué dài shuāng jiāo》
děng míng zhù，
kāi shǐ zǒu hóng。
tè bié shì 67
nián suǒ zhuàn de《
tiě xuè chuán qí》（
jí wǒ men cháng shuō de《
xiá dào chǔ liú xiāng》
huò xiāng shuài chuán qí），
nèi zá wǔ xiá、
wén yì、
jí xiàn dài xīn lǐ fēn xī，
tè bié shì xī fāng tuī lǐ xiǎo shuō de jià gòu。
dú zhī rú dú dōng fāng bǎn de fú '
ěr mó sī tàn '
àn。
hòu lái gǔ lóng tǎn yán qí shēn shòu xī fāng hé rì běn tuī lǐ xiǎo shuō de yǐng xiǎng。
yóu cǐ qǐ，
gǔ lóng wǔ xiá xiǎo shuō jí tuō tāi huàn gǔ，
mài rù liǎo xīn pài wǔ xiá xiǎo shuō de diàn táng。
dàn gǔ lóng zhī biàn bìng fēi dào cǐ wéi zhǐ，
ér shì yī lù kuáng bēn，
ràng rén mù bù xiá jiē hòu，
huǎng rán měng xǐng。
yuán lái wǔ xiá xiǎo shuō kě yǐ zhè yàng xiě，
yě kě yǐ zhè yàng kàn。
qí hòu tā lù xù wán chéng《
duō qíng jiàn kè wú qíng jiàn》（
jí xiǎo lǐ fēi dāo）、《
tiě dǎn dà xiá hún》
èr bù qū，
kān chēng shén wán qì zú，
jiān yòu chuán tǒng yǔ xiàn dài“
máo dùn tǒng yī”
zhī měi。
70
nián dài chū kāi shǐ，
gǔ lóng shòu xiě《
xiāo shí yī láng》（
yóu yú shì xiān yòu jù běn、
hòu lái cái yòu xiǎo shuō）
de qǐ fā，
jiǎn shǎo fèi huà hé bù bì yào de miáo shù。
jiā qiáng zhī tǐ yǔ yán hé chǎng jǐng hōng tuō。
cóng cǐ gǔ lóng de biàn chéng liǎo yī zhǒng sì shī、
lèi pái jù、
fēi sǎnwén de guài yì wén tǐ。
kě néng gǔ dà xiá jué dé cǐ zhǒng fāng shì zuì néng biǎo dá tā de sī xiǎng，
tóng shí yòu néng zuì dà huà de zhèng dào gǎo fèi。
rú《
liú xīng hú dié jiàn》、《
huān lè yīng xióng》、《
lù xiǎo fèng》
xì liè、《
qī zhǒng wǔ qì》
xì liè（
jǐn yòu liù zhǒng）
yǐ jí《
biān chéng làng zǐ》、《
tiān yá míng yuè dāo》、《
bái yù lǎo hǔ》
děng，
wú yī bù shì yòng diàn yǐng fēn jìng、
huàn jǐng de shǒu fǎ lái xiě xiǎo shuō。
zhè zhǒng jiǎn dān zhí jiē、
dòng màn huà de wàng jǔ，
duì yú zhōng guó wén zì shì yī zhǒng shāng hài。
dàn jìn guǎn rú cǐ，
zài yī jiǔ liù wǔ zhì qī wǔ nián jiān de gǔ lóng xiǎo shuō què“
yī zhī dú xiù”，
zhèng rú tā suǒ miáo xiě：“
tā shì yī gè sǐ rén，
yī gè jué duì de sǐ rén。
sǐ rén shì bù huì shuō huà de，
huì shuō huà de jué duì bù shì sǐ rén。”
jiǎn dān zhí jiē shā liǎo bié rén，
yě shā sǐ zì jǐ。
yǐ zhì yú tā chéng wéi tóng bèi míng jiā jí xīn jìn zuò zhě mó fǎng de duì xiàng。
dàn tóng shí tā yě hài sǐ liǎo zhè xiē méi yòu tā nà bān tiān zòng qí cái de gēn fēng zuò jiā。
huǒ hóng liǎo shí nián hòu，
gǔ lóng 75
nián yǐ hòu de zuò pǐn měi kuàng yù xià，
yě xǔ shì bèi chēng wéi měi bù zuò pǐn hòu dōuyòu yī gè xiàn shí zhōng de nǚ zhù rén gōng hé wú shù píng xo
xiāo hào liǎo tā tài duō de jī qíng。
zài kàn guò《
hù huā líng》
děng tā de bàn bù zuò pǐn hòu，
shēn shēn dì lǐ jiě zài hòu qī tā jiāng láng cái jìn hòu xù jiǔ de tòng kǔ。
cóng yī gè gòu sī huò jǐ qiān zì de kāi tóu jiù kě yǐ huàn lái jù '
é de jīn qián hé hé tóng，
dào hòu qī dú zhě zhú jiàn lěng luò、
chū bǎn shāng zhuī gǎo shí de wú qíng。
yīng nián zǎo shì yě xǔ shì tā zì jǐ zuì kě wàng de jié jú。
85
nián gǔ lóng zài gān yìng huà de jù tòng zhōng zǒu wán liǎo tā xuàn làn de yī shēng。
70
nián dài zhōng hòu qī zhì 80
nián dài，
zhǐ yòu wēn ruì '
ān miǎnqiǎng jiē guò liǎo gǔ lóng de qiāng，
bù，
yīnggāi shì bǐ。
yī jiǔ qī nián tā yǐ”
wēn liáng yù”
bǐ míng zài xiāng gǎng《
wǔ xiá chūn qiū》
fā biǎo chǔnǚ zuò《
zhuī shā》（
wéi“
sì dà míng bǔ”
gù shì zhī yī），
shí nián jǐn shí liù suì；
suī rán wén zì jì qiǎo hěn yòu zhì，
dàn xiǎng xiàng fēng fù，
yǐ jiàn qián lì。
qí zǎo qī zuò pǐn pō shòu gǔ lóng yǐng xiǎng，
rú《
sì dà míng bǔ》
xì liè、《
shén zhōu qí xiá》
xì liè jūn kě jiàn gǔ de hén jì。
zì yī jiǔ bā '
èr nián tuī chū《
bù yī shén xiāng》
qǐ，
yòu jiā shàng liǎo ruò gān hái zhū xiǎo shuō de qí miào sù cái，
gù shén mó xū huàn sè cǎi shèn nóng；
ér《
suì mèng dāo》、
jí《
xiá shǎo》、《
shā chǔ》
děng shū，
gèng yòu xǔ duō“
shī gē huà”
de yǔ yán wén zì，
nài rén xún wèi。
dàn yóu yī jiǔ bā qī nián kāi shǐ，
wēn ruì '
ān què yǐ“
xiàn dài pài”
zì jū。
rú《
shā liǎo nǐ，
hǎo má？》、《
qǐng qǐng qǐng qǐng qǐng qǐng》、《
lì bá shān hé qì gài shì niú ròu miàn》、《
jìng qǐng zào fǎn yī cì》、《
méi yòu shuō guò huài huà de kě yǐ bù kàn》
děng děng zhōng duǎn piān，
zuì jìn yòu yī bù《
rǔ fáng》
gèng shì bù zhī suǒ yún。
qiě nèi róng héng qī shù bā pái liè，
yǐ shì qí“
xiàn dài”，
yǐ cǐ tū chū shì jué xiào guǒ。
zhèng rú tā zài shū zhōng hòu jì zhōng shuō：“
wǔ xiá xiǎo shuō bì xū tū biàn！……
chéng yǔ bài，
dé yǔ shī，
wǒ bù guǎn，
dàn zhè yàng xiě fǎ shǐ wǒ jué dé hěn hǎo wán。”
yú shì zhōng guó wén zì zhī měi，
jiù zài wēn ruì '
ān de“
tū biàn”
xià，
bèi gē liè dé zhī lí pò suì；
ér“
xīn pài”
wǔ xiá xiǎo shuō，
yě zài tā de“
hǎo wán”
xià，
bèi chè dǐ“
yì huà”
diào liǎo。
jù shuō tā běn rén yě yì huà liǎo，
mù qián zài mǒu jīng shén bìng yī yuàn liáo yǎng。
cóng cǐ wǔ xiá xiǎo shuō de chuàng zuò jìn rù dī cháo，
zhí dào 90
nián dài chū qī，
xiāng gǎng de huáng yì cóng《
dà jiàn shī》
kāi shǐ chuàng zuò wǔ xiá xiǎo shuō，
huò zhě shuō kē huàn xiǎo shuō，
qí jiān yòu míng xiǎn de tián zhōng fāng shù de hén jì。
dào《
xún qín jì》
cái zhēn zhèng xíng chéng zì jǐ de fēng gé，
cóng '
ér kāi chuàng liǎo xuán huàn wǔ xiá xiǎo shuō shí dài。
yǐng xiǎng liǎo dà pī de wǔ xiá xiǎo shuō zuò zhě，
kāi shǐ zhuǎn rù xuán huàn wǔ xiá de chuàng zuò。
ér huáng yòu biàn，
fǎn '
ér huí dào zhèng tǒng wǔ xiá de lù zǐ huò zhě shuō“
yì xiá”
gèng tuǒdàng。
qí hòu lù xù tuī chū de《
pò suì xū kōng》、《
fān yún fù yǔ》
jūn yǐn qǐ qiáng liè fǎn xiǎng。《
dà táng shuāng lóng chuán》
gèng shì yīn wéi hù lián wǎng '
ér guǎng wéi chuán bō，
ràng huáng yì de míng zì chuán biàn huá rén shè huì。
mù qián guó nèi duō jiā wǎng zhàn zhèng zài liánzǎi qí xīn zuò《
biān huāng chuán shuō》。
huáng yì shēn shòu sī mǎ líng de yǐng xiǎng，
shǒu zhòng qì shì，
rú guǒ shuō zǎo qī，
liáng、
jīn de zuò pǐn zhōng，
chéng rén hòu dà duō shù rén de wǔ gōng yǐ chéng dìng shì，
qiū chù jī nài hé bù liǎo méi chāo fēng，
nà tā yǒng yuǎn zài rèn hé shí jiān hé dì diǎn dū zhǐ néng dǎ chéng píng shǒu。
yīcháng huá shān lùn jiàn hòu，
dí wǒ shuāng fāng de zhēng dǒu jiù biàn chéng suàn shù tí bān jiǎn dān liǎo。
wǒ de pái míng gāo shǒu hé xiǎo dì duō，
nǐ jiù děng zhe '
āi biǎn bā！
rén de qián lì yī wú suǒ zhī，
ér zhōng huá wǔ shù zhòng shì jīng qì shén de wán měi jié hé。
dāng huáng yì zài qí zhōng jiā rù liǎo shí jiān、
tǐ lì、
jīng shén zhuàng tài děng yuán sù。
dà dà tí gāo liǎo wǔ xiá xiǎo shuō kě xìn dù。
2000
nián hòu chū xiàn dà pī wǎng luò zuò jiā cóng shì wǔ xiá chuàng zuò，
shì hǎo shì yě shì huài shì，
hǎo shì dà dà fēng fù hé fán róng liǎo dú zhě de kě kàn zhǒng lèi hé shù liàng。
dàn yóu yú wǎng luò xiǎo shuō duō shù shì liánzǎi，
bì xū '
àn shí jiāo gǎo，
yǐ jí wǎng luò zuò jiā de bù kě jiàn hé suí yì xìng，
dǎo zhì dà liàng tàijiàn zuò pǐn chū xiàn。
lìng yòu bù fēn zuò jiā yīn wéi wǎng zhàn dǎo bì děng yuán yīn dǎo zhì zuò pǐn liánzǎi chū xiàn zhōng duàn。
duǎn duǎn de jǐ nián shí jiān，
wǔ xiá xiǎo shuō de fā zhǎn fēi cháng xùn sù，
zài dà lù hé gǎng tái zhǎn lòutóu jiǎo de nián qīng zuò jiā hěn duō，
jù bèi yǔ liáng、
jīn、
gǔ、
huáng bǐ jiān qián lì de yě jiù jǐn jǐn jǐ wèi。
zuì yòu kě néng shǒu tuī ní rén，
yǐ yī bù《
jiāng shān rú cǐ duō jiāo》
zú yǐ diàn dìng qí zài xiàn dài xīn pài wǔ xiá xiǎo shuō jiè de dì wèi，
wén zì liú chàng，
qíng jié bǎo mǎn，
fēi cháng yòu zhāng lì。
shū zhōng rén wù zhòng duō，
dàn háo bù líng luàn。
zuò zhě míng shǐ gōng dǐ hěn shēn，
tóng shí jiè gǔ fěng jīn，
zài lì shǐ hé xiàn shí jiān yóu rèn yòu yú。
rú guǒ shuō quē diǎn de huà，
jiù shì yòu bù shǎo qíng sè miáo xiě，
jiàng dī liǎo xiǎo shuō de pǐn zhì。
nán yǐ zài dà lù shí tǐ shū shì chǎng lì zú。
qí shí《
jiāng shān》
zài hòu qī qíng sè bù fēn yuè lái yuè tán。
zhè gè zhuǎn xíng yǔ huáng yì fēi cháng lèi sì。
dà dǎn yù yán：
ní rén bìng hǎo hòu jiāng shì lìng yī gè jīn yōng。
qí tā rú lǎo zhū de《
zǐ chuān》 (
jūn shì lì shǐ xiǎo shuō )，
zhēn suǐ de《
zhēn suǐ》
yě fēi cháng bù cuò。
jù yòu qián lì。
qí tā hěn duō zuò jiā yě bù cuò，
dàn hěn duō réndōu zǒu shàng liǎo xuán huàn zhī lù，
bù zài shì zài rén lì de fàn wéi nèi jìn xíng de dǒu zhēng。
nà yīnggāi huá rù lìng yī gè tǎo lùn de kè tí。
zǒng '
ér yán zhī， 90
nián dài hòu qī hù lián wǎng de pǔ jí，
yíng lái liǎo wǔ xiá xiǎo shuō de yòu yī gè chūn tiān。
qī dài zhe xīn de yī dài zōng shī de dàn shēng。
【
wǔ xiá xiǎo shuō de fēn qī】
【
gǔ diǎn wǔ xiá shí qī】
yī、
yóu xiá shí qī
１、
dì yī qī，
chéng xíng qī。
yǐ táng chuán qí zhōng de wǔ xiá piān zhāng wéi gāo fēng，
céng chū de chuán qí de gè zhǒng xiě fǎ jí qí sù zào de gè lèi xiá kè，
dū yǐng xiǎng dào liǎo hòu shì wǔ xiá hé yuán míng qīng xìqǔ chuán qí。
zuì xiān shì xiān qín liǎng hàn wǔ xiá piān zhāng，
zhù yào yòu：
hán fēi jiǎng“
rú yǐ wén luàn fǎ，
xiá yǐ wǔ fàn jìn”。
sī mǎ qiān zhuàn《
yóu xiá lièzhuàn》，
jiǎng yóu xiá chū shēn xià céng，
wéi zhāng kàng fǎ，
zhòng rén yì，
zhòng xìn nuò，
zhòng '
ēn chóu，
è qī líng。
xiān qín liǎng hàn，
yóu xiá shòu zhū zǐ biān tà，
wǔ xiá piān zhāng hěn shǎo。
qí cì shì liù cháo wǔ xiá piān zhāng，
zhù yào yòu：
liù cháo zhī shè huì dòng dàng，
xiá zhǐ yǐ wǔ xié rén，
fàng dàng bù jī zhī liú，
wú hǎo huài zhī fēn。
gān bǎo de《
sōu shén jì》，
qù diào shén guài bù fēn，
jiù shì dì dào de wǔ xiá。
liú yì qìng《
shì shuō xīn yǔ》
zhōng yì yòu jìzǎi xiá kè de piān zhāng。
rán hòu shì wǎn táng wǔ xiá chuán qí，
zhù yào yòu：
táng chuán qí shì yòu yì shí de yì shù chuàng zuò，
wǔ xiá xiǎo shuō suí zhe táng chuán qí de fā zhǎn '
ér chéng xíng。
táng dài yóu xiá zhī fēng shèn nóng，
lǐ bái“
shí bù shā yī rén，
qiān lǐ bù liú xíng”。
táng dài shè huì shēng huó rì qū fù zá，
xiá yì gài niàn yě gèng wéi kuān fàn，
fán yòu wǔ gōng，
bù fēn nán nǚ lǎo yòu，
bù lùn yǐn jì huò làng jì shān lín jiāng hú，
yǐ wǔ xíng shì jiē chēng xiá。
táng chuán qí zhōng de wǔ xiá lèi，
qí chéng jiù hěn gāo，
rú lǐ gōng zuǒ de《
xiè xiǎo '
é chuán》，
péi xíng de《
kūn lún nú》、《
niè yǐn niàn》。
táng rén bǐ jì xiǎo shuō de wǔ xiá piān zhāng zhōng，
kāng pián de《
jù tán lù》
lǐ pō yòu jiā zuò，
dàn xiāng bǐ táng chuán qí yào xùn sè de duō。
２、
dì '
èr shí qī，
xíng chéng qī
shǒu xiān shì sòng yuán huà běn wǔ xiá。
sòng yuán shuō huà yì shù de nèi bù fēn huà，
shǐ wǔ xiá xiǎo shuō zuò wéi yī zhǒng tè shū de wén xué yàng shì cóng xiǎo shuō zhōng dú lì chū lái。
rú《
lǐ cóng jí》、《
shí tiáo lóng》。
sòng yuán bǐ jì xiǎo shuō zhōng de wǔ xiá piān，
wú shèn fā zhǎn，
xùn yú táng bǐ jì zhōng de wǔ xiá piān。
rán hòu shì míng dài zhāng huí xiǎo shuō zhōng de wǔ xiá nèi róng，
rú《
shuǐhǔzhuàn》
zhōng de lǔ dá lǐ zhōng piān，
zhè shì wǔ xiá xiǎo shuō de jì xù fā zhǎn，
yīnggāi jǐyǔ yī dìng de dì wèi。《
fēng shén yǎn yì》
shì yī zhǒng huàn xiǎng xíng wǔ xiá xiǎo shuō de jí dà chéng zhě。
sòng yuán míng shí qī，
shè huì dòng dàng bù '
ān，
dà liàng xià céng rén mín dìng '
ér zǒu xiǎn，
jié yì dǒu zhēng，
wǔ gōng yě yīn zhī wéi qún zhòng suǒ zhǎng wò，
yīng xióng háo xiá de xíng wéi gèng duō chéng wéi jù yòu qún zhòng xìng de hǎo hàn xíng dòng，
cóng '
ér chōng dàn liǎo jiàn kè de shén mì sè cǎi。
zuì hòu shì wǔ xiá xiǎo shuō。
wèile jiě jué wǎn qīng de shè huì shēng huó máo dùn，
tǐ xiàn dǐ céng rén mín yì yuàn de yīng xióng xiá shì hé tǐ xiàn shì mín shàng céng lǐ xiǎng de qīng guān qí miào dì zài xiǎo shuō lǐ jié hé，
yǐ jí hé de fāng shì fǎn yìng liǎo wǎn qīng shè huì de shì sú yuán wàng。
zì shí yù kūn de《
sān xiá wǔ yì》
zhī hòu，
gè zhǒng wén rén cháng piān wǔ xiá jìng xiāng chū xiàn。
rú yú yuè de《
qī xiá wǔ yì》，
wú míng shì de《
xiǎo wǔ yì》，
wén kāng de《
ér nǚ yīngxióngzhuàn》，
zhè biāo zhì zhe zhōng guó wǔ xiá xiǎo shuō xíng chéng liǎo wěn dìng、
dú lì de cún zài xíng shì --
jí xiá yì xiǎo shuō。
èr、
mín guó wǔ xiá shí qī
jí suǒ wèi de“
jiù wǔ xiá”
shí qī，
kāi duān yú '
èr shí nián dài，
sān shí nián dài jìn rù gāo cháo，
sì shí nián dài zǒu xiàng shuāi luò。
èr shí nián dài，
zài mù dǔ xīn hài gé mìng hé guó mín gé mìng de ruǎn ruò wú xiào zhī hòu，
rén men jì xī wàng yú xiá kè zhuàng shì lái chuàng zào xīn de shì jiè。 1923
nián，
yǐ nán pài xiǎo shuō jiā píng jiāng bù xiào shēng de《
jìn dài xiá yì yīngxióngzhuàn》
de wèn shì wéi kāi duān，
jiù wǔ xiá de chuàng zuò jìn rù gāo cháo。
tóng shí，
běi pài zuò jiā hái zhū lóu zhù、
wáng dù lú（《
wò hǔ cáng lóng》）、
gōng bái yǔ、
zhū zhēn mù（《
yàn mó dǎo》）
děng rén de yǐng xiǎng jù dà。
jiù wǔ xiá xiǎo shuō zhù yào shì wǔ xiá jì jī xiǎo shuō，
tā shǐ wǔ xiá xiǎo shuō shēn rù guǎng dà mín zhòng，
shǐ wǔ xiá xiǎo shuō chéng wéi zhōng guó xiàn dài xiǎo shuō tǐ xì zhōng bù kě huò quē de bù fēn。
mín guó wǔ xiá xiǎo shuō wǔ dà jiā：
xiàng kǎi rán（ 1889
－ 1957），
bǐ míng bù xiào shēng，
hú nán píng jiāng rén，
dài biǎo zuò《
jiāng hú qí xiá chuán》。
zhào huàn tíng，
shēng zú bù xiáng，
dài biǎo zuò《
qí xiá jīng zhōng chuán zhèng xù jí》。
gù míng dào（ 1896－ 1944），
sū zhōu wú mén rén，
dài biǎo zuò《
huāng jiāng nǚ xiá》。
lǐ shòu mín（ 1903－ 1961），
jiě fàng hòu gēngmíng wéi lǐ hóng，
bǐ míng wéi hái zhū lóu zhù，
sì chuān rén，
dài biǎo zuò《
shǔ shān jiàn xiá chuán》。
gōng zhú xīn（ 1898－ 1966），
bǐ míng bái yǔ，
dài biǎo zuò《
shí '
èr jīn qián biāo》。
【
chuán tǒng wǔ xiá shí qī】
yī、
gǎng tái wǔ xiá shí qī
jí suǒ wèi de“
xīn wǔ xiá”
shí qī huò zhě dà wǔ xiá shí dài。 20
shì jì 50
nián dài，
wǔ xiá zài gǎng tái de shāng pǐn huà hé tōng sú huà cháo liú zhōng xíng chéng。
tā shì yǐ liáng yǔ shēng hé jīn yōng wéi dài biǎo de xiě xū gòu de lì shǐ shàng de wǔ xiá gù shì wéi nèi róng de yī gè wén xué liú pài，
zhǐ xīn wén huà yùn dòng hòu，
wǔ xiá xiǎo shuō zài xīn wén xué de yǐng xiǎng xià，
kāi shǐ bái huà chuàng zuò hòu xīn yī zhǒng de wén xué yàng shì。
zhè gè shí dài míng jiā bèi chū，
liáng yǔ shēng wéi kāi duān，
jīn yōng wéi gāo cháo，
wēn ruì '
ān wéi dì '
èr cì gāo cháo。
jīn yōng、
gǔ lóng、
liáng yǔ shēng hái bìng chēng wéi“
xīn wǔ xiá sān dà jiā”。
guān yú cǐ shí wǔ xiá zhōng“
xiá”
de dìng yì，
liáng yǔ shēng jiǎng“
jiù wǔ xiá xiǎo shuō zhōng de xiá，
duō shǔ tǒng zhì jiē jí de yīng quǎn，
xīn wǔ xiá xiǎo shuō zhōng de xiá，
shì wéi shè huì chú hài de yīng xióng；
xiá zhǐ de shì zhèng yì xíng wéi --
fú hé dà duō shù rén de lì yì de xíng wéi jiù shì xiá de xíng wéi，
suǒ wèi‘
wèiguó wèimín，
xiá zhī dà zhě’。”
cǐ shí wǔ xiá dà duō tū pò liǎo mín guó wǔ xiá xiǎo shuō de jiàn xiān dǒu fǎ、
mén pài fēn zhēng、
biāo shī yǔ lùlín chóu shā de tí cái fàn wéi，
jiào duō biǎo xiàn rén mín qún zhòng de dǒu zhēng。
zhuózhòng rén wù xìng gé miáo xiě，
jiān yòng zhōng xī jì fǎ，
tū pò liǎo jiù wǔ xiá xiǎo shuō de kē jiù，
tī chú liǎo jiù wǔ xiá de guǐ shén sè cǎi，
yào qiú gù shì zhōng de qí jì yán gé xiàn zhì zài“
rén tǐ qián néng”
de fàn wéi nèi。
xīn wǔ xiá de quē xiàn zài yú xiá kè yīng xióng chāo rén huà，
tā men tiào chū sān jiè wài，
bù zài wǔháng zhōng，
bāo dǎ tiān xià。
quē fá xiàn shí zhù yì de shēn dù，
qū cóng yú shāng yè xū yào，
bài chū zhuì fù，
gù shì tào lù huà。
1、
dì yī shí qī，
liáng jīn shí qī
liáng yǔ shēng（
yuán míng chén wén tǒng， 1922
nián shēng，
guǎng xī méng shān rén）
zài 1954
nián fā biǎo de《
lóng hǔ dǒu jīng huá》，
yǐ kǒu yǔ xiě zuò，
suǒ shù shǐ shí，
suǒ huì shān chuān，
jūn jīng yán gé kǎo jù，
rén shēng xìng gé yǔ xīn lǐ huó dòng kè huá rù wēi，
wén bǐ xì nì '
ér yòu wén cǎi，
jiù wǔ xiá xiǎo shuō nán yǐ yǔ qí bǐ jiān，
cóng cǐ diàn dìng shēng míng，
chéng wéi xīn pài wǔ xiá xiǎo shuō de fā dòng zhī zuò。
liáng yǔ shēng guó xué gēn dǐ shēn hòu，
tā de wǔ xiá xiǎo shuō dài yòu xǔ duō zì jǐ zuò de shī cí，
měi měi chuán sòng yī shí。
tā de xiǎo shuō měi yī bù dōuyòu míng què de lì shǐ bèi jǐng。 1956
nián，
liáng yǔ shēng kāi shǐ xiě《
qī jiàn xià tiān shān》。
liáng yǔ shēng yī zhí xiě zuò dào bā shí nián dài chū，
tā de zuì hòu yī bù xiǎo shuō《
wǔ dāng yī jiàn》
chū kān yú 1980
nián 5
yuè 9
rì de《
dà gōng bào》
shàng，
wán jié yú 1983
nián 8
yuè 2
rì。
dài biǎo zuò《
píng zōng xiá yǐng lù》、《
qī jiàn xià tiān shān》、《
sài wài qí xiá chuán》、《
lóng hǔ dǒu jīng huá》、《
yún hǎi yù gōng yuán》、《
báifà mó nǚ chuán》。
jīn yōng（
yuán míng chá liáng yōng， 1923
nián shēng，
yuán jí zhè jiāng hǎi níng）
de《
shū jiàn '
ēn chóu lù》
kāi shǐ xiě zuò yú 1955
nián zhōng。《
shè diāo yīngxióngzhuàn》
xiě yú 1957
nián zhì 1958
nián zhī jiān，
shì jīn yōng de dì sì bù wǔ xiá xiǎo shuō。“
shè diāo”
diàn dìng liǎo jīn yōng de wǔ lín méng zhù dì wèi，
shì gōng rèn de jīng diǎn míng zhù。
jīn yōng yòng shí qī nián xiě wán tā de shí wǔ bù wǔ xiá xiǎo shuō，
yòu yòng shí nián bǎ zhè shí wǔ bù xiǎo shuō quán bù chóngxīn xiū dìng liǎo yī biàn。
jīn yōng xiě zuò zhì 1972
nián wén gé wèi jié shù fēng bǐ。
2、
dì '
èr shí qī，
gǔ lóng shí qī
gǔ lóng 1960
nián kāi shǐ cháng shì xiě wǔ xiá xiǎo shuō，
chū qī de《
cāng qióng shén jiàn》
děngdōu shí fēn yòu zhì，
jí zhì 1964
nián cái yǐ《
huàn huā xǐ jiàn lù》
děng shēng míng què qǐ。 1965
zhì 1966
nián jiān shì tā chuàng zuò de fēng shōu qī，
tā xiě zuò liǎo《
dà qí yīngxióngzhuàn》、《
míng jiàn fēng liú》、《
wǔ lín wài shǐ》、《
jué dài shuāng jiāo》
děng míng zhù。 1967
nián chuàng zuò de《
tiě xuè chuán qí》（
jí chǔ liú xiāng xì liè）
jí yǐ hòu yī zhí xiě liǎo liù shí yī bù gòng jì 28
cè。
gǔ lóng qí rén cái huá héng yì dàn yòng xīn bù zhuān，
cóng tā de xiǎo shuō jiù kě yǐ kàn chū lái。
dàn tā miào zài yòu jí zhì，
měi zài guān jié chù tū chū qí bīng。
zǎo nián gǔ lóng bìng méi yòu zì jǐ tè chū de fēng gé，
zài tái wān de wǔ xiá juàn zǐ lǐ bù suàn tài yào yǎn；
zhì yú tā zài qī shí nián dài de wǎn qī zuò pǐn，
nà yǐ míng xiǎn shì jiāng láng cái jìn、
lì bù cóng xīn liǎo。
3、
dì sān shí qī，
wēn huáng shí qī
wēn ruì '
ān（
chū shēng yú mǎ lái xī yà）， 1973
nián zuò《
sì dà míng bǔ huì jīng shī》， 1981
nián zuò《
shén zhōu qí xiá》、《
xuè hé chē》
děng zhòng yào zuò pǐn。
bā shí nián dài chū jīn yōng、
liáng yǔ shēng xiāng jì fēng bǐ， 1985
nián gǔ lóng qù shì zhī hòu，
gǎng tái wǔ xiá xiǎo shuō yī piàn diāo líng。
chū yú“
qiú xīn、
qiú biàn、
qiú tū pò”
de xīn lǐ，
wēn ruì '
ān cóng 1986
nián dǐ kāi shǐ dà lì chàng xíng“
chāo xīn pài wǔ xiá”，
huò chēng“
xiàn dài pài wǔ xiá”，
bǎ dà liàng zhù liú wén xué de dōng xī yǐn rù liǎo wǔ xiá xiǎo shuō。
cáo zhèng wén zài 1989
nián jiāng qí liè wéi dì sān dài xīn wǔ xiá xiǎo shuō de dài biǎo，
ér yǔ dì yī dài de jīn yōng、
liáng yǔ shēng，
dì '
èr dài de gǔ lóng bìng chēng。
huáng yì，
běn míng huáng zǔ qiáng，
xiāng gǎng zhōng wén dà xué yì shù xì bì yè。 1989
nián huáng yì cí qù gāo zhí hòu xīn，
yǐn jū lí dǎo shēn shān、
cáng fēng jù shuǐ zhī dì，
zhuān xīn cóng shì chuàng zuò。
zhì 90
nián dài，
xuán jí yǐ dú shù yī zhì de wǔ xiá zuò pǐn，
xíjuǎn gǎng、
tái liǎng dì。 1991
nián chéng lì huáng yì chū bǎn shè yòu xiàn gōng sī，
chū bǎn liǎo dà táng shuāng lóng chuán děng zuò pǐn。
huáng yì de zuò pǐn chǎng miàn hóng dà、
cóng wù zhòng duō，
ràng rén tàn wéi guān zhǐ。
zhǐ shì zài wǔ dǎ zhāo shì de miáo xiě shàng xiǎn dé guò yú cǎo shuài，
shuō fú lì bù zú。
lìng wài，
huáng yì zuò pǐn wǎng wǎng zhí jiē róng rù yī gè lì shǐ dà shí dài，
ér bù shì jiāng lì shǐ zuò wéi bèi jǐng。
zhè shì qí yōu diǎn，
dàn yě shòu dào liǎo lì shǐ de xiàn zhì。
gǎng tái wǔ xiá shí qī gǎng tái de qí tā zuò jiā yú xiāng gǎng fāng miàn yòu：
tí fēng、
jīn fēng、
zhāng mèng hái、
móu sōng tíng、
jiāng yī míng、
bì qín lóu zhù、
fēng yǔ lóu zhù、
gāo fēng、
shí chōng děng；
tái wān fāng miàn，
yòu：
láng hóng huàn、
chéng tiě wú、
hǎi shàng jī zhù shēng、
bàn xiá lóu zhù、
wò lóng shēng、
sī mǎ líng（
jí wú lóu jū shì）、
zhū gé qīng yún、
sūn yù xīn、
lóng jǐng tiān、
mò yú shēng、
tiān fēng lóu zhù、
zuì xiān lóu zhù、
dú bào lóu zhù、
gǔ shàng jiǔ、
lù yú、
shàng guān dǐng、
dōng fāng yù、
cáo ruò bīng、
nán xiāng yě sǒu、
wǔ líng qiáo zǐ、
mù róng měi、
xiāo yì、
gǔ rú fēng、
xiàng mèng kuí、
chén qīng yún、
liǔ cán yáng、
sī mǎ zǐ yān、
dú gū hóng、
qí rú、
qiū mèng hén、
yú dōng lóu、
dōng fāng yīng、
xuě yàn、
qín hóng、
mò yú shēng、
dīng qíng děng。
dàn qí zhōng jù yòu dài biǎo xìng yǔ yǐng xiǎng lì de wǔ xiá zuò jiā jí shǎo。
èr、
dà lù wǔ xiá shí qī
1、
dì yī shí qī， 20
shì jì 80
nián dài dà lù“
wǔ lín xiǎo shuō”
wǔ lín（
wǔ lín，
yǔ wǔ xiá yòu suǒ bù tóng，
gài niàn dà yī xiē）
xiǎo shuō de nèi róng shí yòu bā jiǔ hái shì biǎo xiàn lì shǐ shàng de wǔ xiá jiàn kè huò cóng wǔ xiá de jiǎo dù biǎo xiàn lì shǐ shàng de yì jūn dǒu zhēng hé xíng xíng sè sè de shè huì máo dùn；
biǎo xiàn wǔ shù jì jī wéi zhù yào dǒu zhēng shǒu duàn de jìn dài、
xiàn dài gé mìng dǒu zhēng de，
piān shí bù duō。
suǒ yǐ“
wǔ lín xiǎo shuō”
shí jì shàng shì yǐ wǔ xiá xiǎo shuō wéi zhù。
zài 80
nián dài，
yóu diàn yǐng《
shǎo lín sì》
chù fā de wǔ xiá xiǎo shuō làng cháo zài guó nèi xiān qǐ，
wǔ xiá xiǎo shuō de fā xíng liàng dà dà chāo guò liǎo chún wén xué zuò pǐn。 1981
nián，
hú běi qǔyì xié huì de rèn qīng děng chuàng bàn liǎo《
jīn gǔ chuán qí》，
liánzǎi liǎo '
ōu yáng xué zhōng de《
wǔ dāng shān chuán qí》，
niè yún de《
yù jiāo lóng》。 1982
nián，
wáng zhàn jūn zuò《
bái yī xiá nǚ》，
shì wéi 80
nián dài wǔ xiá de kāi shān zhī zuò。 1984
nián，
wǔ xiá xiǎo shuō zhú jiàn bèi wǔ lín xiǎo shuō yī cí qǔ dài，
bìng xíng chéng làng cháo。
20
shì jì 80
nián dài wǔ xiá de jīng pǐn jí shǎo，
bǐ jiào hǎo de zuò pǐn yòu：《
bái yī xiá nǚ》
děng shuài xiān zāi pò liǎo dà lù xiá yì tí cái de jìn qū，
wéi bā shí nián dài wǔ lín xiǎo shuō de jué qǐ zòu xiǎng liǎo xù qū。
liǔ xī de《
dà dào‘
yàn zǐ’
lǐ sān chuán qí》，
féng yù nán de《
jīn mén dà xiá huò yuán jiá》，
féng jì cái de《
shén biān》，
yědōu shì zhè gè shí qī de dài biǎo zuò pǐn。
2、
dì '
èr shí qī， 20
shì jì 90
nián dài dà lù wǔ xiá
jí shì dà lù“
xīn pài wǔ xiá”，
shì dà lù zuò jiā duì gǎng tái wǔ xiá de mó fǎng。
cóng cāng làng kè de yī xì liè de wǔ xiá zuò pǐn zhōng，
biàn kě yǐ kàn chū mó fǎng hén jì。
cāng làng kè，
yuán míng yáo fēi，
yún nán shī fàn dà xué zhōng wén xì zhuān gōng gǔ diǎn wén xué de jiào shòu，
zài 1990
nián chū bǎn liǎo《
yī jiàn píng jiāng hú》，
zhè kě yǐ kàn zuò shì dà lù xīn pài wǔ xiá de dì yī bù zuò pǐn。
zhè gè shí qī de wǔ xiá，
zǒng tǐ shàng quē fá wén huà tí shēng de jīng pǐn yì shí，
zhù yào yán zhe gǎng tái xīn wǔ xiá de lù zǐ jiǎng gù shì，
zuò pǐn de shí jì yǐng xiǎng yě fēi cháng yòu xiàn。
tóng qī de qí tā zuò jiā hái yòu：
qīng lián zǐ，
zài 90
nián dài chū zhù yòu《
wēi lóng xié fèng jì》
jí qí xù jí《
qīng yuán bái hǔ gōng》
liǎng bù。
huǒ lí，
shàng hǎi zhī shí fènzǐ， 1995
nián xiě chéng yī bù《
wǔ yè jīng huā》。
zhāng bǎo ruì，
xīn huá shè jì zhě，
qí dài biǎo zuò yòu《
jīng dū wǔ lín cháng juàn》
xì liè fán liù bù、《
zuì guǐ zhāng sān yé》、《
xíng yì yóu xiá lù》
děng。
xióng mù，
běi fāng rén shì，
shēng xìng háo fàng，
dì yī bù zuò pǐn wéi《
kū lóu rén》。
wēi qí，
dài biǎo zuò《
jīn tiē xiá dào》。
zhōu láng，
dài biǎo zuò《
yuān yāng xuè》。
【
xiàn dài wǔ xiá shí qī】
jí suǒ wèi de“
xīn xīn wǔ xiá”、“
xīn shì jì wǔ xiá”、“
wǎng luò wǔ xiá”、“
dà lù xīn wǔ xiá”
shí qī。 20
shì jì 90
nián dài mò，
huáng yì wǔ xiá gāo cháo jiàn jiàn píng xī，
suí zhe wǎng luò wén xué de xīng qǐ，
wǔ xiá xiě shǒu men zài wǎng luò dú zhě yuè dú xuǎn zé yuè lái yuè duō，
yuè dú kǒu wèi yuè lái yuè tiǎo tī de yā lì zhī xià，
bù dé bù xiàng chuán tǒng zuò jiā de shí lì kào lǒng，
chū xiàn liǎo yī xiē zhì liàng jiào gāo de wǔ xiá zuò pǐn。 1999
nián shàng hǎi《
dà xiá yǔ míng tàn》、 2001
nián wǔ hàn《
jīn gǔ chuán qí wǔ xiá bǎn》、 2002
nián zhèng zhōu《
wǔ xiá gù shì》
děng zá zhì de chuàng kān，
cù jìn liǎo wǔ xiá de fā zhǎn。
2004
nián，《
jīn gǔ chuán qí wǔ xiá bǎn》
bàn yuè kān chuàng kān，
zhù biān zhèng bǎo chún tí chū liǎo“ 21
shì jì dà lù xīn wǔ xiá”
de gài niàn，
jiǎn chēng wéi“
dà lù xīn wǔ xiá”，
zhù yào zǒng jié liǎo dà lù shàng yī xiē wǔ xiá xiě shǒu de chuàng zuò。 6
yuè，《
xīn wǔ xiá》
yóu cháng jiāng wén yì chū bǎn shè bái huà lín zá zhì shè tuī chū。
tóng shí qī，
gǎng tái dì qū tè bié shì tái wān dǎo de chuàng zuò yì bù róng hū shì。
dà lù xīn wǔ xiá jù bèi míng què de zhì xìng fēn wéi hé zhù tǐ yì shí。
zhèng bǎo chún jiǎng，“
wǒ jué dé xīn wǔ xiá zhè gè gài niàn，
bù yìng jū ní yú zá zhì yǔ tú shū chū bǎn，
ér yìng zhǐ yī zhǒng wén huà cháo liú！”。
zhè xiē wǔ xiá bèi fēn chéng sì lèi：
qīng chūn wǔ xiá (
gǎo xiào hé wú lí tóu )，
rú《
yóu xiá xiù xiù》。
qí huàn wǔ xiá，
rú《
zhū xiān》、《
sōu shén jì》。
nǚ xìng wǔ xiá (
lèi yán qíng )，
rú《
xuè wēi》、《
jìng shuāng chéng》。
lèi chuán tǒng wǔ xiá，
rú《
kūn lún》《
yīng xióng zhì》《
jiāng shān rú cǐ duō jiāo》。
cǐ shí de dà lù zuò jiā yòu：
xiǎo duàn，
yuán míng duàn yín， 1976
nián shēng，
hú běi suí zhōu rén shì。
zhù yòu《
bēi xuě》、《
qīng sī jǐng de chuán shuō》
děng。
shí wèi hán，
nán，
sì chuān rén，
zhù yòu《
suì kōng dāo》、《
tōu tiān huàn rì》
děng。
jiāng nán，
jí guàn '
ān huī，
zhù yòu《
chūn fēng liǔ shàng yuán》、《
hàn hǎi lóng yín》、《
liè huǒ fén qín》、《
cǐ jiān de shàonián》
děng。
cāng yuè，
yuán míng wáng yáng， 1979
shēng yú zhè jiāng tái zhōu，
zhù yòu《
huàn shì》、《
tīng xuě lóu xuè wēi》
děng。
xiǎo fēi，
mǐn nán rén，
zhù yòu《
yóu xiá xiù xiù》
děng。
fèng gē，
zhù yòu《
kūn lún》
děng。
shěn yīng yīng，
nán fāng rén，
zhù yòu《
liú lí tǎ》
děng。
ní rén，
zhù yòu《
jiāng shān rú cǐ duō jiāo》
děng。
wáng zhǎn fēi， 1972
nián 4
yuè shēng yú shān dōng shěng píng dù shì， 13
suì qiān jū xīn jiāng '
ā lè tài shì。
zhù yòu《
jiàn xiào xī fēng》
děng。
fāng bái yǔ，
jiǔ shí nián dài chū shān dōng dà xué diàn zǐ xì bì yè，
zhù yòu《
hān xiá》、《
xiá zhī wāi zhě》
děng。
yàn lěi shēng，
zhè jiāng yú háng rén shì，
zhù yòu《
míng yuè zhào shān hé》、《
liè huǒ zhī chéng》
děng。
Martial arts in a broad sense and narrow sense, broad sense, refers to the
History of traditional martial arts martial arts Prodigal Yi Xia Xia humorous martial arts classic fairy fantasy comprehension for modern comprehension for,
However, the level of martial arts in the narrow sense refers to the traditional martial arts is the only rebel Yixia martial arts history, martial arts Humorous these four categories.
【Origin】 martial arts
Martial arts when there are two sources of literature: "One early Han Dynasty Sima Qian's" Historical Records "rangers, assassins; second, Wei, Six widespread among the 'note body' miraculous, supernatural fiction." Novels on the net www love .92 text.cn
If even the Qin and Han Jin Dynasty, the martial arts to build a solid production base, whom prelude; then Tang a leading position in literary history, the martial arts that is really just the beginning.
Chivalry and knight】 【
However, the other knight on the many martial arts and we are somewhat similar, and they always seemed to exist between fact and fiction, which seems deeply influenced the later emergence and development of martial arts, they are always with magic and mystery, some even exaggerated the function and role of martial arts itself, but to Superman to appear in getting rid of the martial arts, but also a perfect reflection of people's hope and desire, which were most affected on the later martial arts There are three characters, that is, the more a virgin, red and Kunlun Nu. The more virgin from the "Annals of Wu", the red line from Don. Yuan rural Piece "Ganse Ballad", Kunlun Nu Tang is from "Legend" Historically, many skilled and martial arts are often willing to retire from the dead, this is because people are hard to predict, even Enchongrushan the main people, too, such thinking has affected generations of man many martial arts and martial arts creation. From another perspective, official corruption and darkness, but also make them more willing to keep his nose clean, not partake of this is martial arts have been an important reason why people are respected, but also an ideal of the literati spirit, so there dynasty record of so many writers are willing to write creative stories of these martial arts, is also an important reason.
【Wei Six Tales of Mystery and martial arts】
Wei and Jin Dynasties in the literary history of literature is seen as a "consciousness," the formative years of many literary works of this period to Demon, mainly Mystic novel. Works include the ancestors of the gods, ghosts concepts, and the surreal mystical power for himself. This is the prehistoric period to the hero worship of the remaining people in the prehistoric period, people of some hero worship and praise produced exaggerated myth, for example, Shen Nong, Sui people, Nu Wa and so on. To the Qin and Han, filled in the ideological field is the figure who trained himself. Wei later, is cruising the deep ghost ghost.
Ghost Stories is a strange supernatural things account for the main contents, including the operation of Fairy, ghosts monsters, special party foreign body, such as Buddhist supernatural, there are anecdotal unofficial history, folklore and so on. Art on the legendary and ultra-realistic performance. By Gan Bao of the "Immortals" as a representative, has asked other name Tao "Search Supernatural", the old question of Cao Pi's "Lie Yi Zhuan," Zhang's "Natural History", Ge Hong's "Supernatural Biography" Chia's "theft by finding in mind," Wu Jun "Qi harmonic mind" and so on. Concept of supernatural beings is the ancient ancestors an important part of philosophy, even now, among the working people also exists the concept of a ghost, it has been formed as part of the Chinese spirit. This is actually the result of people to think for themselves, the reality of suffering makes them long for some things beyond the natural, a special ability and some special tools. For example: martial arts, sword, treasure, and so on. These things can only get in the imagination, so there are "three tombs," the sword Gan, Moye; with "Purple" in Xian Shu Road law; with "Liu Chen and Ruan Zhao," a panacea. These things in the later novels is also common, it seems that the reason why martial arts has become an important factor to attract readers.
Tang and martial arts】 【
If even the Qin and Han Jin Dynasty, the martial arts to build a solid production base, whom prelude; then Tang a leading position in literary history, the martial arts that is really just the beginning. Song Li Fang, etc. compiled "Taiping" Volume ninety-three to one hundred and ninety-six, particularly the inclusion of the 18 kinds of Tang Dynasty "Knight" class can be seen between the context of martial arts connected with the Tang Dynasty. Tang for the martial arts so that the stand of these persons, which should be the course.
"Legend" name, like starting in the late Tang Peixing story collection, "Legend", Song Yin Lu division will "use the right words said at the scene, the world thinks it strange" and "Yueyang Tower" as "legendary body." Developed later, the legendary gradually be considered a genre of fiction, such as the Yuan Tao Zongyi "Dropping Geng Lu" about Tang Dynasty and the Song, Jin opera, the hospital the other in parallel, Ming Hu Ying-lin "Shaoshi Shan Cong room document" more to the sub-six second novel that is "Realm", "Story of Huo Xiaoyu" and named "Legend", so, legend known as Tangren Wen made the novel, he continues to use the convention down.
Emergence of a group of persons and their chivalrous cavalier description of acts of legendary works, related distress the poor and needy, getting rid of Willful hatred, settled by the country in terms of personality in the prominent cavalier and Zhuo Luo Yin Ren fortitude not groups, martial arts superb, exploits The shock the world, thus showing a high hath Pentium uninhibited flow out of the life character. "Ganse Ballad" the "red line", "legend" of "Nie", "Kunlun Nu", "different mind set" of "Jia man's wife", are more representative of the goods; the transfer is made of Du The "Heroic Legends" Late Knight is most famous novel of a success.
【Song and Yuan Dynasties and martial arts】
Chinese legend has set a classical "martial arts" in the model, the Five Dynasties and even after the Song dynasty, there is nothing in the subject matter and the development of more prominent is the imitation of Tang. However, this time in the history of literature is of great significance, he was pioneering the meaning of language. "Talk art" in the civil widespread, this vernacular novel and the subsequent punishment rather martial arts origins.
Song small talk in the love story, they often highlight women's active pursuit of the love life. Such as "ben" in Qu Xiu Xiu, was born in a poor mounting Carpenter family, he's outstanding beauty, bright, more trained to have a good hand embroidery. Helpless family distress, and his father with a piece of paper "offer letter", she was sold and Haman Dukes, since then, blooming Xiu Xiu, Hou body into the door, loss of freedom. Later Dukes House fire, escape the occasion, she met the young talented grind Yu Jiang Ning Cui; Xiu see him honest and reliable, they offered: "Why do not you and I do first couple tonight?" The timorous Cui Ning is not promised. Xiu Xiu: "You know not, my name will be up and teach you bad. You have to be in my home? I go tomorrow, said the government!" Xiu Su Ning Cui know the man, words obviously intended to stimulate his courage, let him with his one free myself, to seek a better life. Another example is "busy Fanlou passionate Zhou Sheng Xian", write Zhou Sheng Xian has shown signs of Hanjiro, they secretly like it, alone, consider: "If I have a husband so the children of a similar, known Hao Li. Today face setbacks (wrong) before, go again discussion? "To capture this rare opportunity, and she dared dare take the initiative to close Hanjiro.
Kill for love these bold pursuit, even if the novels are still placed there charm. While this theme ideas to improve the level of martial arts, so that the popular literature play in the ideological sense, "elegant literature" role. This involves reversing literature "Ya" and "conventional" transformation problem, and martial arts as a special form of literature, as there is a "Ya" and "popular" issue. Contrast Tang, Song and Yuan Dynasties and contemporary vernacular martial arts; How do we distinguish between "Ya" and "Popular" mean? If the distinction between intellectual creation as a point, then the Tang Dynasty is "elegance" of literature, and Song in the artist's creation is the "popular" literature. Most modern martial arts are the creative intelligentsia, which should be seen as "refined," Literature of the. But the ancient knowledge class is different and the present, can not and so on. So in the end is a modern martial arts novels, "Ya" is the "vulgar" to? I think, "Ya" and "Popular" is not fixed, but Fudong Zhao, he was with the object varies. In other words, "Ya" and "popular" issue as from the "literary consumption" crowd of view, "Ascot" even look at "conventional" also "Ya."
】 【Ming and Qing vernacular and martial arts
Since the Song Dynasty, the gradual decline of classical Chinese martial arts down. Vernacular Detective, chivalrous novels have become lower middle class working people are loved by the literary style. Vernacular fiction was popular in the Ming and Qing dynasties up, of course, there are a lot of paper during the civil air defense created according to Tang, but not mainstream. Such as: Li Changqi "recorded Qingcheng sword," Lian "Qin Shi Lu", Song Maocheng "Liu Shandong" and Le Palace spectrum "Mao-Sheng", etc., there are considerable.
However, when the martial arts to the Ming and Qing dynasties, many of which are present in the form of words, such as the Qing dynasty in the "package Detective" played to the basis of the "Five Seven Chivalrous justice", "Xiao Wu Yi" and "children live commentary Heroes" and so on, they laid the Swordsman basic form and pattern, but get really develop and present a kind of prosperous, Que is the Republic of China's 事.
【】 Republic of martial arts
1911 Revolution, the people liberated from the yoke of feudalism, the various schools of thought into China, the press, the publishing industry are unprecedented prosperity, literature and art are to develop, a variety of styles colorful schools of literary and artistic works, martial arts have sprung It is a unique spirit of traditional martial arts chivalry won their loved one.
20 years in the twentieth century, it was first known as the "south to north Zhao" and started the trend of the martial arts and a number of writers, 平江不肖生 is known as the "Republic of martial arts novels of the pedigree." The representative works include "Wild Swordsman," "Chivalry Heroes", etc.; Zhao Huanting there, "Fairy Loyalty Biography" leave the world
In the thirties, the most famous martial arts have all Haizhulouzhu North Pine 5, white, Zheng card for Zhu Jeong Mu and Wang Du Lu. This is mainly divided into Haizhulouzhu the supernatural novels, White Feather's social novels, Zheng card because of the martial martial arts and Wang Du Lu's four major martial arts school martial arts romance.
In the Republic of martial arts writers, Haizhulouzhu perhaps best embodies traditional Chinese culture, semi-vernacular language, Confucianism, Buddhism and Taoism's spiritual philosophy, are converging through the stories. The famous novel of "Shushanjianxia Biography", "Qingcheng 19 Chivalry" and "sea of clouds recorded Vying for" and 40. White feather in the martial arts martial arts community and social life was very close integration, he was sent by Lu Xun and His Brother, and deeply influenced the New Culture Movement, which itself was originally a journalist, he often thought through the martial arts out of touch with social reality to criticize society, the dark, when writing their respectable martial arts cute, but also write them at the tragic reality of society, feelings and helplessness. His masterpiece is "12 money dart", and described the uprising of the White Lotus "flower robbery" and so on. Zheng card for the year, "Ying Zhaowang" Eight parts of the shot is not where he would pride and sophisticated martial arts of Wushu and thrilling adventures integration, with particular emphasis on the description of martial arts skills. His life created a total of 102 works of writers of the then most. Been called combative martial arts that is no exaggeration.
The Wang Du Lu's martial arts novels are heavy romance, wrote of life and death lingering Department, often deceptive deep. And-coming Hong Kong, Taiwan, martial arts, and most of his walk to open up the this "tragedy Xia love" route. His main representative is the "Crouching Tiger" and "The Crane Rail for five." The most legendary of them is Haizhulouzhu Li Shoumin, he would board the Emei-year-old, Qingcheng study qigong, 16-year-old fell in love with the talented woman Monju, a result of family change and romance, write "Shushanjianxia Biography" when pseudonym Huanzhulouzhu is for Jinian Wen beads. After the rich and powerful daughter of Sun by Xun, marriage is a sensation, Sun father had opposed the marriage of "stealing honest woman" of the charges to court, and the Sun by Xun in the trial, courage to stand up for their freedom of marriage, it acquitted a short time has visited one another, but even more noteworthy is that Haizhulouzhu Li Shoumin I, in the "77" Incident, the Japanese for refusing to serve as pseudo-post caught the Japanese military police suffered severely torture up to 70 days, still unyielding, it is King sigh! As his own, full of a kind of chivalrous spirit. In 1958, a "no Huanzhulouzhu to poison," the article, made him reading by grief and stroke, more than two years after deathbed, dictating complete novel "Du Fu", the pair of Lady Sun Xun said by you Take care, the passing away, is puzzled sigh!
】 【Contemporary martial arts
Hong Kong is the birthplace of new style martial arts novel, half of the 50's are Liang Yu-Shen, masterpiece "Seven Swords" series. To "Pingzongxiaying", "云海玉弓缘" to achieve personal creative insurmountable heights. Most of the late works of a style not worth mentioning.
Beam to create an era of very solid quality of its classic literature, fiction poetry everywhere. But still not completely out of the stereotype of modern martial arts. Good grounding in Classical Chinese reader can see the description text and history are still very level.
Jin Yong in the late 50's there, so Liang Yu-Shen issued "both Sheng Yu, He Shengliang" of emotion.
Jin Yong introduced Western literature and film techniques to be kneading techniques, Hong Kong and Taiwan at the time of political suppression and to martial arts into a best-seller.
In the 69 years of "The Deer" reached its creative peak, and then stepping down gracefully.
Contemporary Hong Kong, while Jin Feng and Jin Yong, Zhang Meng Huan, Musong Ting, storm lord, peak, stone washed and others engaged in martial arts novels. However, Jin Yong mountain too high, and his contemporary martial arts writer, is unfortunate. Their peers and the late-coming martial arts writer or less subjective conditions, it is difficult almost to continue; usually only follow the previous "Gang Attack Group" large ones, living in rivers and lakes in the killings.
The early 70s, Jin Yong creating in effect, the Hong Kong martial arts there let thousand flowers bloom situation.
Taiwan and Hong Kong martial arts be different, in gold, beam contemporary with Sima Ling, Wo Lung Sheng Dugu Hong, Qing-Yun Chen, Yat Siu dozens of martial arts such as professional writers. According to the martial arts master Mr. Ye Hongsheng comment rough statistics, in the prosperous period of martial arts in Taiwan had had at least 300 martial arts rely on this for a living writer, has published at least on the more than 10,000 kinds of martial arts novels. Results were integrated from several of the book to dozens of ranges. One Sima Ling, Wo Lung Sheng Zhugeqingyun said "Taiwan Three Musketeers."
Sima Ling at the time the greatest influence. Knowledgeable, good at a sentiment or desire, a battle of wits. Especially male-female desire into flames in the psychological changes, and odd are mutually changed virtual and real martial arts art, are unmatched moment. Its early years, first in spirit and principle of imposing martial art to defeat the enemy, has been almost "Road" - and Jin Yong, Gu Long line of succession of the "sword of victory without a sword," saying, serves the same purpose, even worse than. Famous peers affected, inspired by many, such as Cologne, Shangguan Ding, of turning, bleak h ave is.
Unfortunately, Sima Ling not maintaining steady economic growth; its creation despite the late "sword Haiying Yang" This outstanding masterpiece shine for the martial arts, but then that is getting worse - than "in the shadows" (19 2075) can still be a look outside, the later years changed to "day of heart month" written by the pen name "strong man" series, has been lacking, downhill, the.
True to the world of Chinese martial arts circles in Taiwan who is Cologne. A martial arts circles in Taiwan, in letters of the name. The only martial arts circles in Taiwan and gold, beam shoulder to shoulder people.
Thus, the martial arts novel is reborn into a new style martial arts of the temple. But Cologne is not the end of the change, but the way bolted, so dizzying, the suddenly occurred to him awakened. The original martial arts can be written, we can also look. Then he has completed "Sentimental Swordsman merciless sword" (ie Romantic Swordsman), "Tie Dan Hero Soul," Episode II, called God complete air feet, both traditional and modern "contradictory unity" of the United States.
Early 70s, Cologne by writing "Xiaoshiyilang" (as is the script first, and later novels have) inspired nonsense, and to reduce unnecessary description. Strengthen the body language and scene contrast. From then on Gu Long's become like a poem, haiku class, non-weird prose style. May feel this way the ancient heroes can best express his thoughts, while maximizing the earn royalties. Such as "Meteor • Butterfly • Sword", "Happy Heroes", "Luk Siu Fung" series, "seven weapons" series (only six) and "Border Town prodigal son", "End of the World • moon • Knife," "white tiger", etc. , and both are using the film sub-mirror-for-view approach to writing a novel.
This simple and direct, animation of the jump to move, the Chinese text is a harm. Nevertheless, from 1965 to 1975 in Cologne between the novel is "thriving", as he describes: "He is a dead man, an absolute dead. The dead will not be talking, talking is definitely not dead . "straightforward kill others, also killed himself. That he became famous peers and new entrants on the object of imitation. But he also kills these days without him is so vertical it was the writers to follow suit.
Red for ten years, 75 years after the works of Gu Long declining, perhaps to be called after each work has a real heroine, and countless bottles of xo consume too much of his passion. After seeing "Drawing a bell" and part of his works, a deep understanding of alcoholism in the late pain after his run out of ideas. From an idea or thousands of words can be the beginning of the contract in exchange for huge sums of money to post reader gradually cold, ruthless publishers chasing the manuscript. Untimely death is perhaps the most desired outcome of his own.
85 years of pain in Cologne in cirrhosis has completed his splendid life.
The late 70's to 80's, only reluctantly took over the Gu Wen Jui-gun, no, the pen. In 1970 he was a "cool and Jade" pseudonym in Hong Kong "martial arts stories" published debut "Kill" (for "Sidamingbu" one story), when he was only 16 years old; despite the fact that techniques are very naive, but imagine rich, have see the potential.
Cologne impact of its popular early works, such as "Sidamingbu" series, "Divine Swordsman" series are visible traces of the ancient. Since the 1982 launch of "commoner with God," and then, with a number of beads is also a wonderful novel material, so supernatural fantasy grime; and "broken dream knife", and "swordsmen", "kill Chu "and other books, there are many" poems "of language, thought-provoking.
But from the beginning in 1987, Wen Jui is a "modern" itself. Such as "kill you, will you? "" Please Please Please • • Please Please Please "and" mountains and rivers of air force pulling K-Swiss • beef noodles, "" Please rebellion a "," did not say bad things that can not see, "and so in short, a recent" breast "is unintelligible. And the contents of noodle arranged to show their "modern", this prominent visual effects.
Postscript in the book, as he said: "The martial arts have mutations! ... ... Successes and failures, gains and losses, I do not care, but this wording makes me feel a lot of fun." So the beauty of Chinese characters, on the Wen Jui "Change ", the split may be fragmented; and" new style "martial arts, but also his" fun ", and be completely" alienation "lost. He was said to have alienated himself now in a psychiatric hospital convalescence.
The impact of popular Sima Ling Huang Yi, the first re-imposing, if earlier, beam, gold works, adult martial arts has become the most people given potential, not Mei Chaofeng Chuji is regrettable that he never at any time and place can only be tied. A Competition on Huashan Mountain, the two sides of a strife becomes as simple arithmetic. My ranking master and little more, you wait to suffer flat it! Know nothing about human potential, while the Chinese martial arts and Manner of the perfect combination of great importance. When Huang Yi in which the added time, physical, mental and other elements. Greatly enhanced the credibility of martial arts.
Network in 2000 after a large number of creative writers in the martial arts is good, bad, good or great wealth and prosperity of the readers to see the type and quantity. However, most of the network serial novel, to be on time delivery, and the network is not visible and random writers, leading to a large number of eunuchs works there. Another part of the writer, such as site closure causes serialized work interruptions. Just a few years, the development of martial arts is very fast in China and Hong Kong and Taiwan-and-coming young writers a lot, with and beam, gold, old, yellow shoulder to shoulder potential also just a few.
Most likely devaluation clay figurines, to a "land so" enough to lay the new style martial arts in the modern world status, language fluency, plot full, very tension. The characters are numerous, but not messy. History of the Ming foundation of deep, while Jiegufengjin, in the past and present worlds. If the defect, is that there are a lot of sexual description, reducing the quality of the novel. Entities in the mainland market is difficult based on the book. In fact, "country" in the latter part of more and more on erotic. This transformation is very similar with Huang Yi. Bold prediction: clay figurine good will is another Jin Yong's disease.
Others such as Lao Zhu's "Purple River" (military historical novels), essence of the "essence" is also very good. Potential. A good many other writers, but many people took to the fantasy of the way, is no longer within the scope of human struggle. That should be assigned to other topics.
All in all, the late 90's popularity of the Internet ushered in the martial arts for another spring. Looking forward to the birth of a new generation of master.
Staging】 【martial arts
【Period】 classical martial arts
1, Paladin period
1, the first phase, forming period.
Tang chapter in the martial arts to its peak, the various layers of legend and the shape of the various warrior written all affect the later Ming and Qing martial arts and Chinese opera legend.
Qin and Han martial arts is the first chapter, are: Han Fei stresses "Confucianism to the text through law, Xia to force taboo." Qian Piece "Knight Tales" and stresses the lower birth Ranger, illegal anti-law, re-righteousness, heavy commitments, re-hatred, evil bullying. Qin and Han, Ranger lashing by the various schools, very few martial arts chapter.
Six chapters, followed by martial arts, including: Six of social unrest, Chivalry refers to the military to rely on people-indulgent and his ilk, no good or bad. Gan Bao's "Immortals", remove the supernatural part, is authentic martial arts. Liu Yiqing "Shi", there is recorded knight chapter.
Then the late Tang Wuxia legend are: Tang is a conscious art, martial arts with the development of Tang molding. Very dense wind of the Tang Dynasty Knight, Li Bai, "ten steps to kill a person, a thousand miles without leaving any lines." Increasing complexity of social life in the Tang Dynasty, and more broadly the concept of chivalry, where powers, all ages, the disappearance or rove the mountains rivers and lakes, to act in them registering Wu Xia. Legendary martial arts class, its success is high, such as Lee Kinsuke the "Xiexiao E Biography", Peixing the "Kunlun Nu", "Nie." Chinese martial arts novel chapter notes, Kang Pian's "Opera on Record," in quite excellent work, but to be inferior to the more than Tang.
2, the second period, the formation of
First Colloquial martial arts. Song words of art-house division, so that, as a special martial arts style of literature separate from fiction. Such as "Lee from Ji", "10 Long." Song Sketches of the martial arts articles, little development, and worse than martial arts articles Tang notes.
Then the Ming Dynasty martial arts novels in the content, such as "The Water Margin" Lu Zhong articles, this is the continued development of martial arts, should be given a certain status. "Gods" is a fantasy type a master of martial arts. Song to time, social unrest, a large number of people take the risk lower, sworn struggle, martial arts, and therefore mastered by the masses, more heroic heroism as a mass hero action, thus diluting the mystery swordsman.
Finally, martial arts novels. In order to solve the contradiction between the social life of the late Qing, reflecting the underlying will of the people and embodied in the heroic chivalrous ideal of clean government upper wonderful people in the novel combination of collection methods to reflect the customs of the original city in Late Qing Wang. Since Shi Yukun's "San Xia Wu Yi", the various martial arts scholars long race there. Such as Yu Yue's "Five Seven Chivalrous meaning" anonymous "Xiao Wu Yi", Culture and Sport of the "children of Heroes", which marked the formation of a stable Chinese martial arts novels, the form of independent existence - the chivalrous novels.
Second, the Republic of martial arts during the
The so-called "old martial arts" period, beginning in the twenties, thirties climax, the decline of the forties. 20 years, witnessed the 1911 Revolution and the national revolution in the weak and ineffective, people knight warrior hopes to create a new world. In 1923, novelist 平江不肖生 sent south of the "Heroes of Modern Chivalry," the advent of the beginning of the creation of the old martial arts climax. Meanwhile, the North sent writers Haizhulouzhu, Wang Du Lu ("Crouching Tiger"), Gong, white, Zhen Zhu Mu ("Brilliant magic island") and other influential people. Old martial arts martial arts martial mainly fiction, martial arts novels in depth it makes the general public, so that the modern novel system of martial arts become an integral part.
The Five Republic of martial arts: the natural Kai (1889-1957), pen name unworthy students, Hunanpingjiang people, representative of "Wild Swordsman." Zhao Huanting, birth and death unknown, the representative of "Loyalty transfer is a sequel to Swordsman." Gu Ming (1896-1944), Suzhou Wu people, representative of the "wild river Lady." Li Shoumin (1903-1961), renamed after the liberation of Li Hong, pen name for the Huanzhulouzhu, Sichuan, masterpiece "Shushanjianxia Biography." Miyatake Heart (1898-1966), pen, white, masterpiece "12 money dart."
【Period】 traditional martial arts
1, Hong Kong and Taiwan during the martial arts
The so-called "new" martial arts, or during the era of great martial arts. 50 years of the 20th century, the martial arts in Hong Kong and Taiwan in the commercialization and popularization in the trend of the formation. It is represented by Liang Yu-Shen, and Jin Yong wrote a fictional story of the history of the martial arts for the content of a literary genre, that the New Culture Movement, the martial arts under the influence of the new literature and began writing after the vernacular style of the new kind of literature . Masters of this age of giving birth, Liang Yu-Shen as the start for the climax of Jin Yong, Wen Jui-climax for the second time. Jin Yong, Gu Long, Liang Yu-Shen is also known as "the new martial arts three people."
About this time the martial arts in "Chivalry" is defined, Liang Yu-Shen stresses "the chivalrous old novels, mostly of the ruling class bird dog, the new novels of the Xia, is the hero of social pesticides; Chivalry refers to the act of justice - meet the interests of the majority of behavior is the behavior of Xia, the so-called 'for country and people, great swordsman'. "
Most martial arts at this time broke through the Republic of China Swordsman Sword battle of wits, martial strife, killings of Ticaifanwei Biaoshi and greenwood, more the performance of the people struggle. Focus Characters in description, used along with Chinese and Western techniques, breaking the stereotype of the old martial arts, martial arts of the spirits removed the old colors, the story of the miracle requirements strictly limit the "human potential" within. The drawback is the New Chivalry of chivalrous hero Superman, they jump out of the Three Realms, the five elements are not in everything, everywhere. Lack of realism, depth, yield to business needs, barnyard out redundant laws, routines of the story.
1, the first period, Liang Jin Dynasty
Jin Yong (formerly Cha, 1923, Haining, Zhejiang origin) of the "Book and Sword," began writing in 1955 in. "The Eagle Shooting Heroes," written in between 1957 to 1958, is the fourth martial arts novels of Jin Yong. "Condor" laid the status of Jin Yong's martial arts chief and is recognized classics. Jin Yong finished with 17 of his 15 years of martial arts novels, but also novel in ten years all of these 15 revised it again. Jin Yong is not writing to the end of 1972, creating in effect during the Cultural Revolution.
2, the second period, Gu period
3, the third period, the temperature during the yellow
Wen Jui (born in Malaysia), 1973 as "Sidamingbu Council Capital", 1981, as "Divine Swordsman," "Blood River Car" and other important works. The early eighties Yong, Liang Yu-Shen have creating in effect in 1985 after the death of Gu Long, Hong Kong and Taiwan martial arts a dying. Out of "novelty, change, and break the" psychological, Wen Jui-end 1986 line of large pushed "super new style martial arts", or "modern" martial arts, what a large amount of mainstream literature introduced martial arts. Cao Zhengwen in 1989 listed it as the representative of the third generation of martial arts, with the first generation of Jin Yong, Liang Yu-Shen, adding that the second generation of Cologne.
Yi, whose real name is Mechanical Activated Starch, Chinese University of Hong Kong, Department of Art graduate. Huang Yi resigned in 1989, vocational high pay, seclusion Islands mountains, Tibetan style poly water, the focus in writing. 90's, soon to unique martial arts, hit Hong Kong and Taiwan both. Huang Yi Publishing Co., Ltd. established in 1991, published 大唐双龙传 other works. Huang Yi's works great scenes from many things, amazing. Only the description of the martial arts moves seem too hasty, less than convincing. In addition, Huang Yi works are often directly into a historical era, rather than history as background. This is the advantage, but also by the constraints of history.
Second, the mainland martial arts period
1, the first period, 20th century, the mainland's 80 "martial arts fiction"
Martial arts (martial arts, and martial arts are different, the concept of a large number of) the content of the novel likelihood or the performance of the martial arts swordsman in history or from the perspective of the martial arts performance in the history of volunteers to fight and all kinds of social contradictions; performance of Wushu as the main Modern means of struggle, the modern revolutionary struggle, the poem much. Therefore, the "martial arts novel" is actually a martial arts oriented.
In the 80's, from the movie "Shaolin Temple" triggered the wave of martial arts in the country set off, the issue of martial arts much more than a purely literary works. In 1981, Hubei, and other folk art association founded on any clear, "King of ancient legend," began running a series Ouyang Xuezhong's "legendary Wudang Mountain," Nie cloud "Jen." In 1982, Wang Zhanjun as "white Touch of Zen", is the pioneer of 80 years for the martial arts. In 1984, martial arts martial arts novels have been gradually replaced by the term and trend.
80 years of the 20th century very few martial arts boutique, good works are: "White Touch of Zen" and the first to break the mainland disaster restricted chivalrous themes for the 80's martial arts novels sounded the rise of Overture. Willow Creek's "Thieves 'swallows' the three legendary Lee" Ping Yunan's "heroes in Tianjin Fearless", Feng Jicai's "Supernatural Whip", are also representative works of this period.
2, the second period, 20th century, China's martial arts 90
That is, the mainland's "new style" martial arts, is the author of the Hong Kong and Taiwan the mainland martial arts parody. A series of martial arts from the Canglang Ke works, we can see traces of imitation. Canglang Ke, formerly known as Yao Fei, Yunnan Normal University, a professor specializing in classical literature, published in 1990, "a Jianping Jiang Hu", which can be seen as the mainland's first work new style martial arts. Martial arts during this period, the overall lack of cultural awareness to enhance the fine, the main road along the New Chinese martial arts stories, works of very limited practical impact.
Over the same period of other writers are: Ching Lin e, in the early 90s with the "Dawn Fung Kee evil" and its sequel, "Green Monkey White Tiger Power" 2. Fire pears, Shanghai intellectuals, written in 1995, a "surprise dance leaves flowers." Baorui, Xinhua, the representative of "martial arts scroll Kyoto" series of all six, "drunk Zhangsan Ye", "Form and Meaning in Knight recorded", etc.. Xiong Mu, the North who, by nature bold, first work as a "skeleton people." Wei Qi, the representative of the "golden posts Grand Theft Auto." Shuro, masterpiece "duck blood."
【Period】 modern martial arts
The so-called "new" martial arts "in the new century martial arts", "Network martial arts," "China" martial arts period. 90 late 20th century, Huang Yi martial arts orgasm died down, with the rise of network literature, martial arts writers of the network of readers more and more choices, more and more discerning tastes, under pressure, had the traditional writer strength approach, there are some higher quality martial arts. Shanghai 1999, the "heroes and who discovered" in 2001 in Wuhan, "Jinguchuanqi martial arts version of" Zhengzhou 2002 "martial arts stories" and other magazines started publication, contributed to the development of martial arts.
In 2004, "Jinguzhuanqi martial arts version of" half-monthly the newsletter editor Paul Cheng pure proposed "21st Century China" martial arts concept, referred to as "the mainland" martial arts, the main conclusion of the continent, the creation of a number of martial arts writers. In June, "" martial arts from the Changjiang Literature & Art Publishing House Birch magazine launch. The same period, Hong Kong and Taiwan in particular, the creation of the island of Taiwan should not be overlooked. Mainland New Knight has a clear intellectual atmosphere and consciousness. Zheng Bao pure say, "I think the new concept of martial arts should not rigidly adhere to magazine and book publishing, but should refer to a cultural trend!."
The martial arts are divided into four categories: youth martial arts (funny and does not make sense), such as "Ranger Xiu Xiu." Fantasy martial arts, such as "Zhu Xian," "Immortals." Female martial arts (category romance), such as "blood Wei", "Mirror • Twin Cities." Type of traditional martial arts, such as "Kunlun" "Hero Zhi", "land so."
