Misinterpretation of May Fourth: Selected Academic Essays and Musings by Yan Jiayan

Author: Yan Jiayan
Editor-in-Chief: Yuan Liangjun / Que Guoqiu
Publisher:
Publishing Date: 2000-04-01
Features: The starting point of China's new literature and new culture is the "May Fourth Movement." However, in terms of historical reality, there was an aggressive May Fourth, a gradual May Fourth, a thoroughly anti-traditional May Fourth, and also a May Fourth that advocated fairness and impartiality. The pioneers of the May Fourth Movement had already misinterpreted history, and today's academia is further misinterpreting May Fourth. Only through discussion and dialogue can the true nature of May Fourth and everything surrounding it be restored. This book is an academic miscellany by Professor Yan Jiayan, covering his observations, insights, and thoughts in the study of modern and contemporary literature. The content spans from the 1960s to the late 1990s. Most of these articles have not been compiled into a collection, showcasing the high-level perspective and style of a renowned literary scholar. Excerpt: "Interview on the Controversy Between Wang Shuo and Jin Yong" Published by the China Education News
Editor's Note: Recently, media reports on the controversy between Wang Shuo and Jin Yong have sparked strong reactions. Whether Wang Shuo or Jin Yong is right has become a hot topic among readers. The debate has been fierce and lively. Today, the China Education News publishes an interview with Professor Yan Jiayan, a renowned expert in literary history, in hopes of sparking further reflection among readers.
Interviewer: Professor Yan, as a distinguished figure in literary history, could you weigh in on the controversy between Wang Shuo and Jin Yong?
Yan Jiayan: I don’t dare call myself an expert, but I can share my personal views. I think Wang Shuo is a bit too hasty, and he also has misunderstandings about Jin Yong’s works—I believe his main issue lies in the second aspect.
Interviewer: Jin Yong’s novels are widely popular, but they have also faced criticism. Are the critics unfair to Wang Shuo?
Yan Jiayan: Of course not. On October 25, 1994, Peking University awarded Jin Yong the title of Honorary Professor. I delivered a congratulatory speech titled A Quiet Literary Revolution at the ceremony. On December 2, the Southern Weekly published an article titled Rejecting Jin Yong, written by Mr. Yan Leshan, who claimed he had never read Jin Yong’s novels but knew about martial arts fiction. He compared martial arts novels to opium, saying they "make people exhilarated but lead to weakness," and accused Peking University of "lowering its dignity and catering to the masses" by awarding Jin Yong the title. A Quiet Literary Revolution was published in the Ming Pao Monthly in Hong Kong in December 1994. To this day, I have no regrets about the arguments in the article and firmly believe that if readers read it alongside related texts, they will be able to judge how the media’s hype and the subsequent criticism were truly frivolous and irresponsible.
Interviewer: Wang Shuo launched fierce criticism against Jin Yong’s novels for their constant fighting, killing, and "revengeful justice." How do you view his criticism?
Yan Jiayan: The constant fighting and killing in Jin Yong’s novels that Wang Shuo criticizes are actually what Jin Yong himself seeks to critique. In this regard, Wang Shuo does not understand—he is criticizing in line with Jin Yong’s views. Jin Yong is a novelist who consciously pursues intellectual depth. He once said, "Martial arts novels are inherently entertaining, but I hope they can contain some philosophy of life or personal thoughts, reflecting my views on society through the stories." A common notion in traditional martial arts novels is "revengeful justice," but Jin Yong fundamentally critiques and rejects this idea of unrestrained killing.
Interviewer: Do you appreciate Wang Shuo’s works and writing style?
Yan Jiayan: I also appreciate Wang Shuo’s works. I appreciate both Wang Shuo and Jin Yong’s works.
Interviewer: Could you discuss the current state of Jin Yong’s novel studies?
Yan Jiayan: Jin Yong’s novel studies in mainland China have gradually moved onto a more normal track, with improving quality. I believe the trend is positive.
Interviewer: In the midst of the "martial arts fever," are studies influenced by "excessive excitement"?
Yan Jiayan: To study and evaluate, one must maintain a clear mind. Avoid excessive excitement and stay calm, objective, and rational. It is essential to adopt this attitude. Healthy debates among different opinions are also normal.
Interviewer: Many contemporary college students enjoy martial arts novels. How do you view this phenomenon?
Yan Jiayan: Martial arts novels themselves are not problematic. I believe college students can handle them well and are aware that traditional martial arts works differ from Jin Yong’s novels. Traditional martial arts novels carry feudalistic, emphasizing official careers, Han ethnic supremacy, and servitude.
Interviewer: In your article A Quiet Literary Revolution, you mentioned that "Jin Yong’s martial arts novels are essentially cultural novels; only a writer and scholar with extremely rich imagination and profound cultural knowledge can create such works." Does this mean Jin Yong’s novels are the same as martial arts novels?
Yan Jiayan: Generally, martial arts novels attract readers with their magic and twists, but Jin Yong’s novels are also deeply rooted in life and human experience, almost lifelike. In terms of genre classification, they undoubtedly belong to popular literature. However, if someone were to categorize Jin Yong’s novels purely as popular fiction, I am confident that countless readers would strongly oppose it. Artistically, Jin Yong’s novels contain many works that can be considered literary masterpieces. Jin Yong is the culmination of popular fiction, drawing on the artistic experiences of modern Western literature and China’s new literature to create and transform martial arts novels, elevating them to unprecedented heights.
Interviewer: In China, martial arts novels are often seen as an "ill-bred" branch of the literary family. How do you view the concept of "xia" (the chivalrous hero) and "xia culture"?
Yan Jiayan: For a long time, academia has held misunderstandings and prejudices about "xia" and "xia culture." "Xia" and "xia culture" have long been suppressed and attacked by feudal orthodox forces. The emergence of "xia" figures could be seen as an opposition to the authorities, while for the oppressed, they offered relief and comfort, preventing situations from spiraling out of control and alleviating social conflicts. If the Legalist emphasizes strict laws and the Confucianist advocates moral governance, then the "xia" rooted in Mohism fills the gaps where laws and morals are ineffective, soothing societal wounds and serving as a supplement to them, just as they play a role in maintaining social ecological balance. "Xia" and "xia culture" are indispensable elements, forming a mutually restrictive yet complementary whole.
Interviewer: In real life, violent acts by thugs often go unnoticed, and incidents like children drowning while bystanders watch occur from time to time. In your book On Jin Yong’s Novels, you proposed that "the true spirit of chivalry will never go out of style." What is the social function of the spirit of chivalry in modern society?
Yan Jiayan: The spirit of chivalry is a social adhesive based on a sense of justice. Once this spirit is lost, people will truly become scattered, and society’s ability to resist evil will collapse—even the law itself will be difficult to enforce. The occurrence of such events is not accidental but rather a punishment for the imbalance in social and cultural ecology. "Xia" embodies the wisdom and morality of the working class. "Xia" figures are the deterrents and opponents of darkness, oppressive power, unjust enforcement, and wrongdoing. Their activities uphold justice, eliminate tyranny, and inspire people to help the needy, maintaining the normal functioning of social production order. Society needs the spirit of chivalry! Cultural ecological balance needs new martial arts! "For the nation and the people, the greatest chivalry is..."
Interviewer: Do martial arts novels have negative effects on teenagers?
Yan Jiayan: As far as I know, even revolutionary literary works have sometimes led to unintended consequences. For example, after reading the anti-Japanese novel The Railroad Commandos, some children started imitating scenes from the book by jumping off trains. After watching the anti-Japanese film Little Zhang Ga, others began using small knives to puncture bicycle tires everywhere. Such issues cannot be blamed on the works themselves but must be addressed through positive guidance from parents and teachers. Professor of Hong Kong once told a reporter, "When I was six or seven, I was very active and loved reading martial arts and fantasy books, especially The Investiture of the Gods. Among the four characters— (strange), (power), (chaos), and (divine)—the one that captivated me the most was '' (divine). Around the age of seven or eight, I almost wrote a novel called The Post-Investiture of the Gods." This shows that some martial arts and fantasy novels can help cultivate children’s rich imagination. When dealing with such works, children need adult guidance to prevent them from becoming overly engrossed and limiting the negative effects to the minimum. At the same time, they should not be dismissed out of hand. They should be encouraged to explore, enhance their imagination and discernment, and gain more benefits from the works. Both approaches are essential and cannot be neglected.
Published on December 14, 1999, China Education News