錚錚俠骨繞柔情：梁羽生小說中的俠骨柔情模式

因應戰後香港文學環境與香港左翼的文藝策略，梁羽生（1924-2009）承繼王度廬的俠情模式，在武俠故事中加入言情敘事以增加讀者閱讀的興趣。梁氏的俠骨柔情模式實有別於其他武俠作者：在梁羽生小說中，愛情事件的起承轉合與俠義事件或精神環環相扣，此其一；梁作之中雖常有「俠義優先、愛情暫且擱置」的情形，但無論是俠義還是愛情，都是梁氏俠客生命追求的目標，此其二；愛情乃是使俠客形象趨近立體的重要部分，此其三。此外，對梁羽生來說，俠義與愛情實為創作中至關重要、缺一不可的兩大概念，即便「俠先於情」的書寫模式的確與左翼「革命與戀愛」或「紅色經典」文學模式相近，但愛情在梁氏作品中的地位並不亞於俠義，二者雖有先後（俠先於情），但並無輕重之分，此乃梁氏小說與左翼政治小說的最大區別。本文分作緒論一章、正文三章與結論一章，分述如下：第一章〈緒論〉從俠骨柔情模式的發展及戰後香港文學環境切入，探討梁羽生選擇俠骨柔情作為書寫策略的原因，並將梁氏作品分作四期；第二章〈梁氏作品中的俠骨展現〉討論梁羽生的俠義觀、男性俠客形象塑造及創作方法，並探討左翼思想對其創作的影響；第三章〈梁氏作品中的柔情書寫〉探究梁羽生柔情書寫策略、愛情悲劇與男性思維限制；第四章〈梁氏俠情模式的奠定與演變〉爬梳梁氏各個時期中書寫特徵與中心思想的變化及差異；第五章〈結論〉總結前文討論結果，理清梁羽生作品的特點，並確定梁羽生在武俠小說史的定位與價值。

關鍵字

梁羽生；武俠小說；俠骨柔情模式；左翼思想

並列摘要

Because of the literature environment in Hong Kong after World War 2 and the left-wing literature strategy, Liang Yu-Sheng (1924-2009) chose the Chivalrousness-Love model which was developed by Wang Du-Lu, the author of “Crouching Tiger, Hidden Dragon”, to construct his fictions. Liang’s Chivalrousness-Love model is definitely different from other Wu Xia author. First, love stories in Liang’s novel are all related to chivalrous stories. Second, love is as important as chivalrousness. Last but not least, love stories make knight-errants vivid. Though Liang put emphasis on the chivalrousness, which is related to Left-wing political spectrum, the love stories still play important role. Liang worked so hard on creating logical, various, and splendid love stories. The importance of love stories differentiates Liang’s novels from Left-wing political fictions, including “revolution plus love” fictions in 1920s and “Red Classics” after 1940s. This dissertation consists of three chapters besides the introduction and the conclusion. The introduction analyzes why Liang chose “Chivalrousness-Love model” for writing strategy. It also divides Liang’s writing into 4 periods. Chapter 2 defines Liang’s viewpoint of chivalrousness, the image of knight-errants and Liang’s writing method, which is related to Left-wing political spectrum. Chapter 3 explores Liang’s strategies in love stories. Chapter 4 differentiates the Liang’s writing strategy along the time. The conclusion concludes the hallmarks and the merits of Liang’s novel.