18年前的《倚天屠龙记》里到底藏了多少美人？现在依然是秒杀脸

一晃18年过去了，当初那个守在电视机前看《倚天屠龙记》的小孩已经长成少女了。（这句话太不要脸了，yue）

2003年，电视上播这部剧的时候，看着我记忆里的纪晓岚变成成昆大魔头，和珅变成蒙古王爷、乾隆变成光明顶杨左使，我的内心是极其复杂的。

小时候不明白，长大了才晓得，原来我磕的第一对cp是他俩。（对不起，冒犯两位老师了。）

当然，后来金毛狮王变成拜月教主，我又复杂了一次。

下面，进入今天的正题。每人一句台词，带大家一起回顾那些年惊艳了时光，温柔了岁月的美好女子。（如果这部剧刚好也是你的童年。）

首先是四美，爱过张无忌的四位美女。

赵敏：“反正我爱憎分明，我要为我自己想争取的去争取，即使遍体鳞伤我也认了。”

“我偏要勉强。”

周芷若：“倘若我问心有愧呢？”

小昭：“因为，因为你待我好，我愿意……我愿意为你而死。”

（小昭太美了，不管，我要再放一张图。）

蛛儿（殷离）：“阿牛哥哥，你别难过。我要到阴间去见那个狠心短命的小鬼张无忌去了。我要跟他说，世上有一个阿牛哥哥，待我这样好，可比你张无忌好上十倍万倍。”

张无忌：“芷若，我对你一向敬重，对殷家表妹心生感激，对小昭是意存怜惜，但对赵姑娘却是……却是刻骨铭心的相爱。”

殷素素：“孩儿，你长大之后，要提防女人骗你，越是好看的女人越会骗人。”

殷素素和张翠山

张无忌长大后遇到的第一个女孩就骗了他——朱九真（打酱油的角色也漂亮）。

杨不悔：“我叫杨不悔，妈妈说，这件事她永远也不后悔。”

纪晓芙：“不悔仲子逾我墙。”

黄衫女子：“终南山下，活死人墓，神雕侠侣，绝迹江湖。”

怎么说呢，真的是各有各的美。

接下来，我们来了解下创作出这么多有血有肉、有灵魂、有美貌的女子的那个男人——作者金庸。

金庸先生，本名查良镛（1924年3月10日—2018年10月30日），他给自己的十四部中长篇小说作品编了个对子：“飞雪连天射白鹿，笑书神侠倚碧鸳”，横批是他的短篇小说“越女剑”。

按照时间顺序，这里列了一下金庸先生的15部小说作品。

1.The Book and the Sword 《书剑恩仇录》 (1955–56)

2. Sword Stained with Royal Blood 《碧血剑》 (1956)

3. The Legend of the Condor Heroes 《射雕英雄传》 (1957–59)

4. Fox Volant of the Snowy Mountain 《雪山飞狐》 (1959)

5. The Return of the Condor Heroes 《神雕侠侣》 (1959–61)

6. Other Tales of the Flying Fox 《飞狐外传》 (1960–61)

7. White Horse Neighing in the Wind 《白马啸西风》 (1961)

8. Blade-dance of the Two Lovers 《鸳鸯刀》(1961)

9. Heaven Sword and Dragon Sabre 《倚天屠龙记》 (1961–63)

10. A Deadly Secret 《连城诀》 (1963)

11. Demi-Gods and Semi-Devils 《天龙八部》(1963–66)

12. Ode to Gallantry 《侠客行》(俠客行) (1966–67)

13. The Smiling Proud Wanderer 《笑傲江湖》(1967–69)

14. The Deer and the Cauldron 《鹿鼎记》 (1969–-72)

15. Sword of the Yue Maiden 《越女剑》 (1970)

为什么影视剧总是热衷于翻拍金庸先生的武侠小说呢，实在是因为金庸的武侠世界里除了情爱、武林，还藏有更深厚的情感主题——中国的民族主义，或者说爱国主义。

下面是一段对金庸作品主题的分析，我们一起来读一读吧。

Chinese nationalism or patriotism is a strong theme in Cha’s works. In most of his works, Cha places emphasis on the idea of self-determination and identity, and many of his novels are set in time periods when China was occupied or under the threat of occupation by non-Han Chinese peoples such as the Khitans, Jurchens, Mongols and Manchus. However, Cha gradually evolved his Chinese nationalism into an inclusionist concept which encompasses all present-day non-Han Chinese minorities. Cha expresses a fierce admiration for positive traits of non-Han Chinese people personally, such as the Mongols and Manchus. In The Legend of the Condor Heroes, for example, he casts Genghis Khan and his sons as capable and intelligent military leaders against the corrupt and ineffective bureaucrats of the Han Chinese-led Song dynasty.

中国的民族主义或爱国主义是金庸作品中一个强烈的主题。在他的大部分作品中，金庸强调了民族自决和身份认同的思想，他的许多小说都以中国被契丹人、女真人、蒙古人和满人等非汉人占领或威胁占领的时期为背景。然而，金庸的中国民族主义逐渐演变为一种包容主义的观念，它涵盖了当今所有非汉族的少数民族。金庸对蒙古人和满族人等非汉人的优点表达了强烈的赞赏。例如，在《射雕英雄传》中，他把成吉思汗和他的儿子们塑造成有能力、有智慧的军事领袖，对抗汉人领导的宋朝腐败无能的官僚。

83版《射雕英雄传》

Cha’s references range from traditional Chinese medicine, acupuncture, martial arts, music, calligraphy, weiqi, tea culture, philosophical schools of thought such as Confucianism, Buddhism and Taoism and imperial Chinese history. Historical figures often intermingle with fictional ones, making it difficult for the layperson to distinguish which are real.

金庸的作品涉及中医、针灸、武术、音乐、书法、围棋、茶文化、儒教、佛教、道教等哲学流派以及中国历史。历史人物经常和虚构人物混在一起，让外行人很难区分哪些是真实的。

His works show a great amount of respect and approval for traditional Chinese values, especially Confucian ideals such as the proper relationship between ruler and subject, parent and child, elder sibling and younger sibling, and (particularly strongly, due to the wuxia nature of his novels), between master and apprentice, and among fellow apprentices. However, he also questions the validity of these values in the face of a modern society, such as ostracism experienced by his two main characters – Yang Guo’s romantic relationship with his teacher Xiaolongnü in The Return of the Condor Heroes. Cha also places a great amount of emphasis on traditional values such as face and honour.

他的作品表现出对中国传统价值观的极大尊重和认可，尤其是儒家思想，如统治者与臣民、父母与子女、兄长与弟弟妹妹之间的适当关系，以及（由于他的小说的武侠性质，这种关系尤其强烈）师傅与徒弟之间的关系，同门之间的关系。然而，面对现代社会，他也质疑这些价值观的有效性，比如《神雕侠侣》中的两个主要人物杨过与老师小龙女的恋爱关系所经历的排斥。金庸还非常重视面子和荣誉等传统价值观。

In all but his 14th work, The Deer and the Cauldron, the protagonists or heroes are explored meticulously through their relationships with their teachers, their immediate kin and relatives, and with their suitors or spouses. In each, the heroes have attained the zenith in martial arts and most would be the epitome or embodiment of the traditional Chinese values in words or deeds, i.e. virtuous, honourable, respectable, gentlemanly, responsible, patriotic, and so forth.

在他的第14部作品《鹿鼎记》中，主人公或其他英雄角色都仔细地探索了他们与老师、直系亲属、追求者或配偶的关系。每一个英雄都在武术中达到了顶峰，大多数都是中国传统价值观在言语或行为上的缩影或体现，即美德、荣誉、可敬、绅士、责任、爱国等等。

In The Deer and the Cauldron, Cha departed from his usual writing style, creating in its main protagonist Wei Xiaobao an antihero who is greedy, lazy, and utterly disdainful of traditional rules of propriety. Cha intentionally created an anticlimax and an antihero possessing none of the desirable traditional values and no knowledge of any form of martial arts, and dependent upon a protective vest made of alloy to absorb full-frontal attack when in trouble and a dagger that can cut through anything. Wei is a street urchin and womanising weasel, with no admirable qualities whatsoever. The fiction writer Ni Kuang wrote a connected critique of all of Cha’s works and concluded that Cha concluded his work with The Deer and the Cauldron as a satire to his earlier work and to restore a balanced perspective in readers.

在《鹿鼎记》中，金庸打破了以往的写作风格，将主人公韦小宝塑造成了一个贪婪、懒惰、蔑视传统礼教的反英雄形象。金庸有意打造了一个虎头蛇尾的反英雄形象，他没有传统价值观，也不懂任何武术，只依靠合金材质的防护背心，在遇到困难时能抵挡正面攻击，还拥有一把能刺穿任何东西的匕首。韦小宝是个街头顽童，是个玩弄女人的黄鼠狼，没有任何值得钦佩的品质。小说作家倪匡对金庸的所有作品进行了连载的文学批评，认为金庸以《鹿鼎记》结束了他的作品，这是对他早期作品的讽刺，是为了恢复读者的平衡视角。

-the end-