龍彼德：探詢金庸小說奇跡

孫侃

北京大學(xué)教授嚴(yán)家炎說，金庸小說可以作為20世紀(jì)中華文化的一個(gè)奇跡。

20多年來，文藝評(píng)論家龍彼德憑著對(duì)金庸小說的極度喜愛和對(duì)當(dāng)代文學(xué)研究的巨大熱情，對(duì)金庸小說進(jìn)行了系統(tǒng)而深入的研究。他認(rèn)為，金庸小說展現(xiàn)了中華民族的人文精神，顯示了中國(guó)傳統(tǒng)文化的魅力。

怕讀，因?yàn)檎T惑力太大

龍彼德關(guān)注金庸小說由來已久。20世紀(jì)80年代末90年代初，中國(guó)大陸掀起一股“金庸熱”，盛況可用“洛陽(yáng)紙貴”四個(gè)字來形容。其時(shí)，龍彼德在浙江省文聯(lián)文藝研究室擔(dān)任主任，對(duì)中國(guó)當(dāng)代文學(xué)這一奇景自然不會(huì)放過，理所當(dāng)然地將其列入研究范圍。

龍彼德回憶：“我最早接觸的金庸小說是《連城訣》，它的開篇寫道‘那是在湘西沅陵南郊的麻溪鋪鄉(xiāng)下，三間小小瓦屋之前，曬谷場(chǎng)上，一對(duì)青年男女手持木劍，正在比試……我就想，湘西沅陵不是我的家鄉(xiāng)嗎？金庸何時(shí)去過？他怎會(huì)選擇這個(gè)地點(diǎn)？其人物原型是誰(shuí)？進(jìn)而又想到他的這些作品價(jià)值何在？由親切感而引發(fā)的好奇心，在細(xì)細(xì)讀了作品之后，又轉(zhuǎn)變?yōu)閷?duì)他小說整體的關(guān)注和喜愛?！?/p>

當(dāng)時(shí)想要獲全金庸小說還是有些難度的，但龍彼德通過各種途徑予以集齊，不同的版本也悉數(shù)收攏。隨著研讀的深入，隨著被金庸小說那曲折的情節(jié)、跌宕的人物命運(yùn)、深刻的人性所打動(dòng)，他竟癡迷到了“一卷在手，一切不顧，日夜顛倒，百事俱廢”的地步，這對(duì)從事文學(xué)創(chuàng)作和研究已數(shù)十年的他是絕無(wú)僅有的?！坝幸欢螘r(shí)間，為了不影響工作和寫作，為了維持正常的生活秩序，我還產(chǎn)生了怕讀金庸小說的心理，這說明這些作品的誘惑力太大?！闭驹谝粋€(gè)普通讀者的角度，從作品欣賞入手，從小說整體著眼，這是龍彼德金庸研究的鮮明特色。

把金庸小說中的部分篇章當(dāng)成美文來讀，撰寫藝術(shù)賞析，成為龍彼德研究金庸小說的最初路徑和主要方式。龍彼德認(rèn)為，無(wú)論敘事藝術(shù)或是想象方式，無(wú)論形象塑造或是細(xì)節(jié)描寫，無(wú)論語(yǔ)言特色或是審美境界，相當(dāng)一部分金庸小說當(dāng)?shù)闷稹懊牢摹敝u(yù)，其對(duì)散文與詩(shī)的借鑒異乎尋常的成功。金庸本人也說過：“寫小說是追求美?！闭蛉绱?，龍彼德愿意以撰寫作品賞析的方式，擷取金庸小說之精華，介紹給廣大讀者，以激發(fā)聯(lián)想，參與互動(dòng)。顯然，長(zhǎng)期從事理論研究的他，竟“放下身段”去撰寫相對(duì)淺近的賞析類小文，正是他極度癡迷金庸小說的由衷表現(xiàn)。

折服，小說中的民族特征

由于金庸小說的影響力巨大，對(duì)于他的小說研究已經(jīng)成為一門“顯學(xué)”。然而，龍彼德始終抱著自己的研究目的，有著自己的研究方法。他從作品欣賞的角度切入，結(jié)合自身的閱讀感受，開展文本分析和評(píng)述，這樣的方法顯然更接“地氣”、更見本質(zhì)。

“發(fā)掘和分析金庸小說中的民族特征，是我研究的一個(gè)重點(diǎn)。可以說，金庸小說的可貴之處，就在于對(duì)本土文學(xué)傳統(tǒng)的繼承與光大。”龍彼德認(rèn)為，金庸小說的魅力之一，是藝術(shù)地展現(xiàn)中國(guó)優(yōu)秀傳統(tǒng)文化，表現(xiàn)民族精神。無(wú)論琴棋書畫還是飲食起居，尤其是對(duì)重情重義、愛好和平、忍辱負(fù)重、追求自由等言行描摹，都是在有所選擇、有所提煉的基礎(chǔ)上作集中展示，連作品的文體都借鑒了中國(guó)古典章回小說的結(jié)構(gòu)。

龍彼德認(rèn)為，金庸小說創(chuàng)作的一大成果，是正確地處理了傳統(tǒng)與現(xiàn)代、民族與人類、超現(xiàn)實(shí)與現(xiàn)實(shí)這三大關(guān)系?！跋瘛短忑埌瞬俊分械暮推街髁x思想、悲天憫人的博大情懷，在別人的武俠乃至純文學(xué)作品中是很少見的?！稌鴦Χ鞒痄洝放c《鹿鼎記》都嘲笑了‘反清復(fù)明者的狹隘和愚蠢，特別是《鹿鼎記》還提出了各民族乃至各國(guó)和睦相處的思想，顯示了作者不一般的境界。而在《俠客行》《射雕英雄傳》等作品中，多處發(fā)出‘我是誰(shuí)這一探詢，探及人的本質(zhì)，提出人類根本性的哲學(xué)命題。當(dāng)然，金庸在小說中所描繪的鐵血飛濺的江湖、神奇無(wú)比的武功、離奇巧合的人物、重新組裝的歷史……都有著強(qiáng)烈的超現(xiàn)實(shí)性，這也是金庸小說不可替代的藝術(shù)特色。”

在金庸小說研究領(lǐng)域，有人認(rèn)定金庸堪稱中國(guó)20世紀(jì)最重要作家，有人則視金庸小說為“俗物”，使文學(xué)淪為粗糙淺薄的通俗故事。治學(xué)嚴(yán)謹(jǐn)?shù)凝埍说抡J(rèn)為，過高或過低地評(píng)價(jià)金庸小說都是不恰當(dāng)?shù)?，但無(wú)視金庸小說中的民族品格、藝術(shù)價(jià)值和批判精神，絕對(duì)是不公允的。“金庸小說打破了‘雅與‘俗的界限，彌補(bǔ)了‘五四以來的新文學(xué)缺乏想象力的缺陷，雄辯地證明了傳統(tǒng)文化與新文化同為我國(guó)當(dāng)代文學(xué)發(fā)展的基礎(chǔ)，從這一點(diǎn)來分析，說他的創(chuàng)作提高了中國(guó)文學(xué)的整體水平，毫不為過。”

感受，德善和俠義之氣

2008年秋，金庸應(yīng)邀回故鄉(xiāng)浙江海寧參加金庸小說國(guó)際學(xué)術(shù)研討會(huì)。龍彼德將自己歷年來發(fā)表的金庸小說研究論文的題目寫在紙上，利用開幕式前的空隙，拿給金庸看，并向金庸敘述了自己的研究歷程。金庸說：“龍先生，我知道你的水平，你的研究很有成效，謝謝你！”

就在這共同與會(huì)的幾天里，龍彼德不僅感受到金庸儒雅、謙遜、寬厚的風(fēng)采，也由人及文，細(xì)細(xì)體悟金庸何以締造出“文學(xué)奇跡”的原委。在海寧鹽官觀潮樓，金庸沉醉于江潮奔涌的壯景，有這番沉醉，才會(huì)寫出《書劍恩仇錄》中有關(guān)海寧大潮的壯美文字：“……驀然間寒意迫人，白線越移越近，聲若雷震，大潮有如玉城雪嶺，際天而來，聲勢(shì)雄偉已極。潮水越近，聲音越響，正似百萬(wàn)大軍沖鋒，于金鼓齊鳴中一往無(wú)前?！弊诮鹩股磉叺凝埍说拢瑢?duì)金庸小說本質(zhì)的理解，自然又深邃了幾分。

在海寧宏達(dá)學(xué)校，金庸為學(xué)校題詞：“宏道宏文，達(dá)德達(dá)善?！睘樯虾Ｍ瑵?jì)大學(xué)浙江學(xué)院題詞：“同施同濟(jì)，猛進(jìn)如潮。”盡管均應(yīng)景而寫，字句中仍洋溢著德善和俠義之氣度。龍彼德說，晚年的金庸仍在一次又一次地修改作品，自稱為“修訂工程”，并認(rèn)為這是從魯迅那兒學(xué)習(xí)來的。“自己的文章，我主張改，多改一次總好過一次。主張不改的小說家我從來沒有聽說過?！庇腥嗽鴮?duì)金庸的這一說法持不同意見，認(rèn)為反復(fù)修改可能會(huì)損害已有的優(yōu)點(diǎn)，具體作品的具體修改也多有爭(zhēng)議，但親耳聽著金庸如此真心表達(dá)，知道金庸力主修訂的用意，龍彼德極為感佩，認(rèn)為金庸小說之所以深入人心、影響巨大，是與他精益求精、嚴(yán)謹(jǐn)負(fù)責(zé)的創(chuàng)作態(tài)度分不開的。endprint

這幾年來，龍彼德多次尋訪金庸舊蹤，并兩次來到海寧袁花鎮(zhèn)第一小學(xué)做講座，指導(dǎo)閱讀方法，傳播金庸小說中優(yōu)秀的中國(guó)傳統(tǒng)文化?！坝^照海寧乃至江浙一帶的歷史人文發(fā)展，且把它融入金庸小說研究之中，這又大大拓展了我的理論視閾?！饼埍说绿钩羞@對(duì)他的金庸小說研究助力不小。

研究，沒有止境

2015年8月，龍彼德專著《二十世紀(jì)的奇跡：金庸小說》出版，里面收錄10篇研究文章，其中有兩篇依據(jù)金庸第三次修改版小說而撰寫的評(píng)論——《金庸小說中的情愛描寫》《金庸小說之美文賞析》，可見他的研究脈絡(luò)極為清晰。

多年來，龍彼德先后參加了在杭州、北京、嘉興、海寧、舟山桃花島等地召開的金庸小說研討會(huì)，每次都能提交一篇高質(zhì)量的論文。這與他認(rèn)真做學(xué)問的態(tài)度、深入扎實(shí)的研究方法是分不開的。例如為了寫《辯證與詩(shī)意——論金庸小說的武功藝術(shù)》，他揣摩一招一式，比比劃劃到深夜，驚動(dòng)了家人，誤以為他走火入魔。為了把握金庸小說的總體精神，他去舟山桃花島三次，對(duì)桃花寨、桃花峪、桃花港、神雕英雄城等景點(diǎn)十分迷戀。有次開會(huì)，他不知所蹤。當(dāng)人們找到他時(shí)，他正盯著一塊桃花石紋路出神，滿腦子都是《射雕英雄傳》的故事。

龍彼德的金庸小說研究在學(xué)界反響很大。中國(guó)社會(huì)科學(xué)院研究員張炯說：“龍彼德的研究抓住金庸小說的俠義之思，從生命意識(shí)、民族特征、悲劇精神、喜劇特色、想象方式、敘事藝術(shù)等九個(gè)方面闡述了‘奇跡的產(chǎn)生與延展，對(duì)于傳播金庸小說和傳統(tǒng)文化很有價(jià)值，也對(duì)‘武俠小說這一文類提出了自己的思考與見解?！睆B門大學(xué)教授楊春時(shí)評(píng)價(jià)道：“金庸作品之海內(nèi)外研究者眾多，其中以龍彼德先生最為勤奮，評(píng)論文章既多且好，深得金學(xué)三昧。”而海寧金庸文化研究會(huì)會(huì)長(zhǎng)王敬三認(rèn)為：“近二十年來，他出手不凡，發(fā)表了一系列很有分量的金庸小說評(píng)論?？v談橫議，新鮮紛呈；條分縷析，深入淺出；文字如行云流水，給人以美的享受?！?/p>

如今，龍彼德對(duì)文學(xué)的熱愛、對(duì)文學(xué)研究的執(zhí)著一如既往。龍彼德說：“金庸小說……將中國(guó)傳統(tǒng)的儒、釋、道精神提煉為各種理念，并進(jìn)一步意象化，上升到詩(shī)意人生與理想境界，進(jìn)入精神的最高層次。以金庸小說為典型范例，剖析中國(guó)類型文學(xué)的發(fā)展成因和未來趨向，是一件饒有趣味又充滿價(jià)值的事情。哪怕金庸小說沒有以前那樣‘熱了，可這項(xiàng)研究是無(wú)止境的?！?/p>

（本文照片由龍彼德提供）

Critic Explores the Depth of Louis Chas Kungfu Novels

By Sun Kan

Over the past 20 plus years， literary critic Long Bide has studied Louis Chas Kungfu novels systematically. He considers them as literary masterpieces that embrace the essence of Chinese culture.

Louis Chas penname is Jin Yong and not so many people in China know his real name. His kungfu novels， which were mostly written in the 1950 and the 1960s and published in Hong Kong， became blockbusters on the mainland in the late 1980s and early 1990s. The novels touched off a reading craze for years. Back then， Long worked for the Zhejiang Federation of Literary and Art Circles as director of art and literature studies. He was fascinated by the phenomenal novels and read them enthusiastically.

was the first Jin Yong novel he read. The story opens with a scene set in Yuanlin in Chinas central Hunan Province. Yuanlin is Longs birthplace and this brought him very close to the novel. He became curious， began wondering when Jin Yong visited Yuanlin， how he picked the place to start a legendary story， who the prototypes were and then he wondered what was in the novel for him， a literary critic. He got hooked. After going through the novel， he found he liked it and began to examine the author and the novel from a critics perspective.

Back then， it was not so easy to buy the Kungfu novelists blockbusters on the mainland. Long managed to get a full complete set through various channels. He read them all. Sometimes， he just forgot to eat and sleep. He had never encountered novels that would totally get him over the past decades as a critic. For a while， he even dreaded reading Jin Yong for they derailed his work schedule.endprint

From the very beginning， he designed an essential rule for his exploration of the novels by Jin Yong： appreciate the works from a perspective of a common reader and try to obtain a comprehensive evaluation.

Long considers some parts of the novels as essays， believing they are worth exploring aesthetically and literarily in terms of narration， imagination， characterization， description， language and aesthetics. In a few papers， he presents the analysis of the beauty of these essayistic parts. These papers showcase his obsession with Jin Yongs novels.

“Exploring the Chinese characteristics of Jin Yongs kungfu novels is my focus，” remarks Long. Jin emphasizes the Chinese tradition and cultural essence in his novels. The novelist writes about Confucius behavioral code in everyday life and characteristics such as love， brotherhood， kindness， pacifism， sacrifice， fortitude， pursuit of freedom. The choices he makes and the sublimation he achieves in the novels are all based on these characteristics. And the novels are styled in the tradition of Chinese novels， which presents each chapter with a couplet giving the gist of its content.

In Long Bides evaluation， one feature stands out in Jin Yongs novels. The writer correctly handles the relations between tradition and modernity， ethnicity and humanity， reality and fiction. The pacifism and compassion in are rarely seen in other literary works—kungfu novels or otherwise. Both and lampoon the stupidity of the rulers of the Qing Dynasty. In and ， the author asks the quintessential philosophical question： Who am I？ The martial arts， the characters， the kungfu world， and the restructured history are all fiction.

His ten papers are published in August 2015 in a new collection titled “The 20th-Century Miracle： Jin Yongs Novels”. This collection includes two of his new papers based on the two third-edition novels revised by Jin Yong.

Long Bide has established himself as a scholar of Jin Yong. He has attended key symposiums on Jin Yong and his novels in Hangzhou， Beijing， Hangzhou， Haining， and Peach Island of Zhoushan. He has kept a record of presenting a high-quality paper at every symposium. And his research is widely recognized for its academic broadness and depth by scholars at home and abroad.

Even Jin Yong has recognized Long Bides studies. In the autumn of 2008， Jin Yong attended an international symposium on his kungfu novels in his hometown Haining in Zhejiang. Long met with Jin， presenting a list of his research papers on Jins novels and how he had conducted his studies over decades. Jin expressed his appreciation of Longs study and said he knew the achievements Long had accomplished in his studies.endprint