Jin Yong 金庸 (Louis Cha)

Jin Yong 金庸 (Louis Cha)

Contents

Jin Yong (simplified: 金庸, traditional: 金庸, pinyin: Jīn Yōng, jyutping: Gam1 Jung4) is the pen name of Louis Cha Leung-yung (查良鏞, Chá Liángyōng; 6 February 1924–30 October 2018), a Chinese wuxia novelist, essayist, newspaper editor, and public intellectual.

A pioneer in modern wuxia literature and a titan in the world of wuxia pop culture, Jin Yong is known as one of the Three Swordsmen of Wuxia fiction, the most influential wuxia authors in the mid-20th century, alongside Gu Long and Liang Yusheng. Later on, with the emergence of Wen Ruian, they are referred to as the Four Grandmasters of Wuxia Fiction.

Follow the archive routes

Jin Yong is also celebrated as one of the Four Talents of Hong Kong,1 the most famous literary figures from the region, for his wuxia novels and journalism, along with Ni Kuang (science & crime fiction),2 Wong Jim (lyricist & songwriter),3 and Chua Lam (food critic & cultural commentator).4

According to The Oxford Guide to Contemporary World Literature,5 Jin Yong’s novels are considered to be of very high quality and are able to appeal to both highbrow and lowbrow tastes. His works have the unusual ability to transcend geographical and ideological barriers separating Chinese communities of the world, achieving a greater success than any other contemporary Hong Kong writer.

Explore Jin Yong

Start with Jin Yong novels for the complete reading list. Readers who want to follow the linked sequence of The Legend of the Condor Heroes, The Return of the Condor Heroes, and The Heavenly Sword and the Dragon Sabre can use the Condor Trilogy hub.

For a route through the archive, use the Jin Yong reading guide, which brings together the novels, translations, reference indexes, cultural context, and adaptation route.

For the reference layer specifically, use the Jin Yong reference guide to move from the novels to characters, factions, locations, martial arts, translations, and wider context.

Early life

Jin Yong was born Zha Liangyong in Haining,6 Zhejiang Province, into the scholarly Zha clan, known for producing many successful imperial examination candidates during the Ming and Qing dynasties. His father, Zha Shuqing,7 was a local landowner who received Western education and graduated from Aurora University.8 His mother, Xu Lu,9 bore seven children, with Jin Yong the second eldest.

In 1937, when the Japanese army invaded southern China, Jin Yong’s hometown was bombed, and his mother passed away from acute illness during the family’s evacuation. His father later married Gu Xiuying,10 a former housemaid who helped raise the children.

Jin Yong began his education at the local primary school in his hometown. In 1937, he entered Jiaxing First Middle School.11 When the Japanese army invaded Zhejiang, the school had to move hundreds of miles south to Lishui city. Jin Yong carried only a quilt and a change of clothes as he trekked with his schoolmates on foot for 60 to 70 miles a day to the new location.

In 1939, while in his third year of middle school, Jin Yong co-edited a study guide book titled For Junior High School Candidates12, his first published work.

He wrote a satirical essay “Alice’s Adventures” criticising a pro-Japanese disciplinary official sent by the Kuomintang13 in 1941 for being vicious towards the students. He was expelled from school as a result.

In later years, Jin Yong14 reflected that this expulsion marked one of the gravest crises of his young life. Beyond the interruption to his education, he found himself suddenly confronting basic survival concerns: where to sleep and what to eat during wartime.

It was headmaster Zhang Yintong15 who proved to be his salvation. Recognising the Jin Yong’s potential, Zhang reached out to his friend Yu Zhaowen,16 who arranged for Jin Yong’s transfer to Quzhou Middle School.17

Despite the tumultuous backdrop of the Sino-Japanese War, Jin Yong found relative stability there, continuing his studies until his early graduation in 1943 when Japanese forces advanced into the region.

In 1944, Jin Yong entered the Department of Foreign Languages at the Central School of Cadre18 in Chongqing, but was later dropped out. He then worked at the Central Library, where he had access to extensive reading materials.

During this period, he immersed himself in historical texts including the Zizhi Tongjian19 and Twenty-Four Histories,20 which would later influence his historical storytelling.

In 1946, he passed the entrance exam and gained admission to the Soochow University Law School,21 reading International Law at Soochow University22 in Shanghai while working as a translator for Ta Kung Pao23 newspaper to support his studies.

Career

Journalism and early writing

Jin Yong moved to Hong Kong in 1948 after graduation and continued working for Ta Kung Pao at its local office. In 1952, he transferred to the paper’s evening edition New Evening Post24 as deputy editor, where he wrote miscellaneous literary pieces and film reviews under the pen name Lin Huan.25

He met Chen Wentong who was writing wuxia fiction at the newspaper under the pen name Liang Yusheng. Their friendship influenced Jin Yong to begin writing his first serialised wuxia novel, The Book and the Sword: A Tale of Favour and Feud, in 1955.

In 1956, Hong Kong Commercial Daily26 serialised Jin Yong’s first wuxia novel Sword Stained with Royal Blood.

Jin Yong joined Great Wall Movie Enterprises27 as a screenwriter in 1957, creating screenplays including Peerless Beauty,28 Orchid Flower,29 Never Leave Me,30 The Three Loves,31 The Fairy Dove,32 and One Million for Me.33 Besides screenwriting, he also co-directed The Nature of Spring34 and Bride Wife,35 and was credited under his pen name Lin Huan.

He later switched to the pen name Yao Fulan36 for his film reviews at New Evening Post.

Publishing at Ming Pao

In 1959, Jin Yong co-founded the Ming Pao37 newspaper with his high school classmate Shen Baoxin38 and started serialising The Return of the Condor Heroes in the newspaper to grow the readership.

He used the pen name Xu Huizhi39 in a column called “Ming Chuang Notes”40 that focused primarily on current affairs commentary where he would often translate and analyse foreign news articles.

Under his leadership as editor-in-chief, the newspaper became known for both its literary supplements and political commentary. He was a prolific writer, producing an estimated 10,000 Chinese characters daily writing editorials and serialised wuxia novels simultaneously.

The newspaper launched several sister publications, including Ming Pao Evening News,41 Ming Pao Monthly,42 and Ming Pao Weekly.43 In 1967, he founded Singapore afternoon newspaper Shin Min Daily News44 that featured exclusive serialisation of some of his novels.

Jin Yong also established Ming Pao Publications45 and Ming Chuang Publications.46

On 23 January 1991, Jin Yong founded Ming Pao Enterprise Corporation and it listed on the Hong Kong Stock Exchange on 22 March. After the company went public, he stepped down from the newspaper’s management and served as chairman of the board on a 3-year contract. He also reached an agreement with Yu Pinhai47 on the company’s acquisition.

In March 1993, he resigned as chairman to serve as honorary chairman and sold all his shares in Ming Pao Enterprise Corporation to Yu Pinhai, declaring his retirement from editorial work.

Writing career

Between 1955 and 1972, Jin Yong wrote fourteen novels and one novella, establishing himself as a defining figure in the wuxia genre whose works would shape Chinese wuxia fiction for decades to come. His first novel, The Book and the Sword, was serialised in New Evening Post in 1955, followed by Sword Stained with Royal Blood in Hong Kong Commercial Daily in 1956.

In 1959, he began serialising The Legend of the Condor Heroes, which marked the beginning of his most productive period. He often wrote at an astonishing pace while managing his newspaper duties.

Jin Yong announced his retirement from writing wuxia novels in 1972 and started the long process of revising his earlier works. The stories were published as he wrote them, resulting in errors and discrepancies that he was unable to go back and rectify while they were being serialised.

His first revision dealt with these to polish the works into novels for publication, creating what became known as the Second Edition, also known as the Revised Edition or Joint Edition, after the company that published the novels.

Jin Yong made a second round of revision between 1999 and 2006 after feedback from readers and critics. This resulted in the definitive Third Edition, also known as the New Revised Edition or New Century Edition.

In 1980, he wrote a postscript to Wu Gongzhao’s taiji classic Wujia Taijiquan, describing influences from Laozi48 and Zhuangzi49 on contemporary Chinese martial arts.

Political involvement

In the late 1970s, Jin Yong became involved in Hong Kong politics. His novels had been adapted into films, television series, and radio dramas in Hong Kong, Taiwan, and mainland China. His works and characters were well-known in the three regions and his influence was significant.

Jin Yong was fluent in several Chinese varieties including Shanghai dialect and Cantonese. When he was invited to meet Jiang Jingguo50 in Taipei, Taiwan, in 1973 for a dialogue, they conversed in Shanghainese,51 sharing a connection as fellow Zhejiang natives.

After the Cultural Revolution, Jin Yong visited Beijing in 1981 and met Deng Xiaoping,52 who was a fan of his novels. He visited Beijing again in 1984 and met Hu Yaobang.53

When Hong Kong’s Basic Law Drafting Committee (BLDC)54 was established in 1985, Jin Yong joined as Hong Kong’s representative and co-convenor. Together with Cha Chi-ming,55 he proposed the Political System Coordination Model, also known as the Mainstream Model, advocating for a gradual approach to democratic reforms in Hong Kong. This involvement is viewed as his broader desire to bridge divides between Hong Kong and mainland China through both cultural and political means.

The model proved controversial, particularly among pro-democracy advocates. Following the Tiananmen Square protests56 in 1989, Jin Yong resigned from his positions on the BLDC, marking the end of his direct political involvement.

He subsequently focused his energy on his literary works and academic pursuits, continuing to serve as a cultural bridge through his writing and scholarship rather than through political channels.

This experience influenced his later literary work, particularly in his revisions of earlier novels, where themes of governance, reform, and the relationship between ruling powers and the general population received more nuanced treatment.

His role as both a political figure and a literary giant gave him unique insight into the complexities of Chinese society across different regions, reflected in the depth and sophistication of his storytelling.

He visited Beijing during the Two Sessions57 in 1993 and met with Jiang Zemin.58

In 1996, Jin Yong was appointed to the Hong Kong Special Administrative Region Preparatory Committee59 set up by the Chinese government to oversee the return of Hong Kong’s sovereignty from the British rule in the following year.

Later years

Jin Yong Library and Cloud Pine Study

In 1994, Jin Yong returned to his hometown to attend Jiaxing First Middle School’s 90th anniversary and established the Jin Yong Library at Jiaxing College.

After completing construction of the library, he invested 14 million yuan to build the Cloud Pine Study60 by West Lake,61 Hangzhou, for his personal collection of books and writings, and for meeting with literary friends.

However, when Cloud Pine Study was completed in autumn 1996, Jin Yong changed his mind and donated the building he had invested heavily in. It has now become a new tourist attraction in Hangzhou, housing exhibition rooms containing Jin Yong’s works and manuscripts.

Academic contributions

Jin Yong was named Honorary Professor at Zhejiang University in 1995. He became the first dean of the School of Humanities at Zhejiang University in 1999 and was appointed as a doctoral supervisor at the university in 2000.

At age 81 in 2005, Jin Yong left Hong Kong to pursue further education at the University of Cambridge, where he earned a postgraduate degree in History. His thesis was titled “The Imperial Succession in Early Tang China.”

In 2007, he resigned from his position as dean of the School of Humanities at Zhejiang University but maintained connections with academic institutions, including serving as an Honorary Professor at the Chinese University of Hong Kong’s Faculty of Arts.

In 2009, Jin Yong began doctoral studies in Chinese literature at Peking University under the supervision of Yuan Xingpei. While there were reports of his graduation in 2013, Peking University later clarified that due to his advanced age and declining health, he was unable to complete the programme as scheduled.

He continued to receive honours and recognition throughout his later years, including serving as the Honorary Vice Chairman of the China Writers Association from 2009.

He went on to complete his Doctor of Philosophy in oriental studies, specialising in Chinese history, at St. John’s College, Cambridge in 2010. His doctoral thesis was titled “Imperial Succession in the Tang Golden Age.”

Personal life

Jin Yong’s father, Zha Shuqing, was executed in 1951 during the Land Reform Movement after being labelled as a “class enemy”. He was later posthumously rehabilitated in 1981.

Beyond writing, Jin Yong had diverse interests. He was an accomplished Go player,62 achieving amateur 5th dan level. He enjoyed whisky neat63 his younger years and was known for his deep appreciation of classical music.

Jin Yong was married thrice. His first marriage was to Du Zhifen,64 whom he met in Hangzhou in 1947 while visiting his colleague’s friend Du Yeqiu.65 During this visit, he met Du Yeqiu’s younger sister Du Zhifen, who was 17 years old at the time. They fell in love and married in 1948 before Jin Yong moved to Hong Kong.

However, after moving to Hong Kong, Jin Yong was busy with his work and couldn’t spend much time with her. Du Zhifen felt lonely and unhappy in Hong Kong, eventually returning to mainland China. They later divorced.

In 1953, he married his second wife, Zhu Mei,66 a journalist who supported him through the challenging early years of establishing Ming Pao. She even sold her jewellery to help keep the newspaper afloat. However, their marriage ended in divorce in 1976.

They had four children: eldest son Cha Chuan Xia,67 who died by suicide in 1976 at age 19; second son Cha Chuan Ti,68 who was noted as being most like his father; daughter Cha Chuan Shi,69 who would later inspire the character Xiaolongnü; and youngest daughter Cha Chuan Ne.70

In the mid-1970s, Jin Yong began a relationship with Lin Leyi,71 who was 29 years his junior. They had first met when she was working as a coffee shop waitress at age 16. Their marriage lasted until his death in 2018.

After a long illness, Jin Yong passed away on 30 October 2018 at the Hong Kong Sanatorium & Hospital, aged 94. His funeral was held privately on 13 November 2018 at Hong Kong Funeral home in Quarry Bay, attended by family members and prominent figures from literary, business, and political circles.

His coffin was moved to Po Lin Monastery72 at Ngong Ping, Lantau Island at noon, where he was cremated and his ashes interred in the Hoi Wui Spirit Pagoda.73

Honours and recognition

Throughout his career, Jin Yong received numerous honours for his contributions to literature, journalism, and public service. His achievements span academic recognition, governmental awards, and cultural tributes.

The asteroid 1093074 discovered by the Xinglong Station75 in Chengde, Hebei province on February 1998 was named Jinyong in his honour.

The Political Consultative Conference of Beijing appointed him as honorary vice chairman of the 7th National Committee of the Chinese Writers Association in September 2009.

Government honours

Jin Yong was made an Officer of the Order of the British Empire (OBE) in 1981 for his contributions to literature and journalism. The French government honoured him with appointment as Chevalier de la Légion d’Honneur in 1992 and later as Commandeur de l’Ordre des Arts et des Lettres in 2004.

In 2000, he was awarded Hong Kong’s highest honour, the Grand Bauhinia Medal.

Academic recognition

Honorary professorships

Jin Yong held honorary professorships at numerous institutions:

  • Peking University (1994)
  • Zhejiang University (1995)
  • Nankai University
  • Sun Yat-sen University (2003)
  • Hong Kong University Department of Chinese Studies
  • University of British Columbia
  • Sichuan University
  • Chinese University of Hong Kong Faculty of Arts (2007)
  • Jilin University
  • National Tsing Hua University

Honorary doctorates

He received honorary doctoral degrees from:

  • University of Cambridge
  • University of Hong Kong
  • Hong Kong Polytechnic University
  • Open University of Hong Kong
  • Hong Kong University of Science and Technology
  • Hong Kong Baptist University
  • University of British Columbia
  • Soka University
  • University of Macau (2011)

Academic appointments

Jin Yong served as:

  • Dean of the School of Humanities at Zhejiang University (1999-2007)
  • Doctoral supervisor at Zhejiang University (2000)
  • Honorary Fellow of St Antony’s College, Oxford
  • Honorary Fellow of Robinson College, Cambridge
  • Waynflete Fellow of Magdalen College, Oxford

In 2005, at age 81, he earned a postgraduate degree in History from the University of Cambridge, followed by a PhD in 2010 with a thesis on Tang dynasty imperial succession.

Literary and cultural awards

Jin Yong received several prestigious literary awards:

  • Hong Kong City Hall’s Literary Creation Lifetime Achievement Award (1998)
  • Contemporary Literary Giant Golden Dragon Award (1998), shared with Ba Jin and Bing Xin
  • Life Achievement Award from Hong Kong Arts Development Council (2009)
  • World Chinese Lifetime Achievement Award (2009)

In 2001, the International Astronomical Union named asteroid 10930 “Jin Yong Star” in his honour.

Public service recognition

Jin Yong served in several public capacities:

  • Advisory Committee Convener for Hong Kong’s Independent Commission Against Corruption (1970s-1980s)
  • Member of the Law Reform Commission
  • National Committee of the Chinese People’s Political Consultative Conference
  • Honorary Vice Chairman of the China Writers Association (2009)

Memorials and institutions

Several institutions and monuments honour Jin Yong’s legacy:

Libraries and museums

  • Jin Yong Library76 at Jiaxing College (1994)
  • Macao Jin Yong Library77 (2003)
  • Jin Yong Gallery78 at Hong Kong Heritage Museum (2017)
  • Cloud Pine Study60 by West Lake, Hangzhou (1996)

Monuments

  • Jin Yong Cultural Park79 on Peach Blossom Island, Zhoushan (2007)
  • Cha Stone at St John’s College, Cambridge University (2012)
  • Jin Yong statue at Hong Kong Maritime Museum (2024)

After his passing in 2018, numerous commemorative events and exhibitions have been held to celebrate his legacy, including the “Hero of Heroes: Jin Yong’s Centenary Birth Anniversary Exhibition” featuring character sculptures across various locations in Hong Kong in 2024.

Themes

Nationalism and cultural identity

Jin Yong’s novels explore profound themes that resonate deeply with Chinese culture and identity. His works frequently examine Chinese nationalism and patriotism, particularly through stories set during periods of occupation or threat of occupation by non-Han Chinese peoples such as the Khitans, Jurchens, Mongols and Manchus.

He portrays the tension between personal loyalty and national duty, while emphasising traditional values such as honour, brotherhood, and the sacred relationship between shifu and disciple.

Throughout his works, Jin Yong explores the fundamental tension between emotion and reason in human relationships, weaving in religious and philosophical concepts from Confucianism, Buddhism, and Taoism.

However, Jin Yong gradually evolved his Chinese nationalism into an inclusionist concept which encompasses all present-day non-Han Chinese minorities. Jin Yong 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.

Setting his novels against meticulously researched historical backgrounds, Jin Yong chose periods of political upheaval and cultural conflict as his canvas. He seamlessly integrated historical figures and events into his narratives, creating such convincing historical fiction that readers often found it difficult to distinguish between fact and fiction.

Historical authenticity

One of Jin Yong’s most remarkable achievements was his ability to write on multiple levels simultaneously. His works could be read as straightforward adventure stories, historical fiction, romantic epics, or philosophical allegories.

This layered approach helped his works appeal to readers across different educational and social backgrounds. His writing process was characterised by meticulous research and revision.

He would often spend months researching historical details before beginning to write, and his later revisions frequently added historical notes and clarifications.

Martial arts philosophy

His approach to martial arts was equally sophisticated. Jin Yong created an intricate and internally consistent martial arts system across his works, combining traditional Chinese martial arts principles with concepts from traditional medicine, particularly acupuncture points and meridians.

He incorporated elements of qigong and neigong cultivation practices, Buddhist and Daoist philosophical concepts, and balanced realistic physical limitations with fantastical abilities.

His martial arts descriptions served multiple narrative purposes: advancing plots through combat scenes, revealing character through fighting styles, exploring philosophical concepts through martial principles, preserving traditional knowledge, and creating dramatic tension through power hierarchies.

Traditional values

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 in particular, between shifu and disciple, and among fellow disciples, given the wuxia genre.

However, he also questions the validity of these values in the face of a modern society, such as the ostracism experienced by his two main characters, in particular Yang Guo’s romantic relationship with his teacher Xiaolongnü in The Return of the Condor Heroes.

Jin Yong also places a great amount of emphasis on traditional values such as reputation and honour.

Character development

Aside from his fourteenth 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.

The heroes attained the zenith in martial arts and most would be the epitome or embodiment of the traditional Chinese values in words or deeds, including virtuous, honourable, respectable, gentlemanly, responsible, and patriotic.

Subversion of the genre

In The Deer and the Cauldron, Jin Yong 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.

Jin Yong 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.

Fiction writer Ni Kuang wrote a connected critique of all of Jin Yong’s works and concluded that Jin Yong concluded his work with The Deer and the Cauldron as a satire to his earlier work and to restore a balanced perspective in readers.

Literary style

His distinctive literary style revolutionized the wuxia genre by combining elegant classical Chinese with accessible vernacular language. Rather than merely decorating his narratives, he used classical poetry and song lyrics to advance his plots.

His prose is rich with sophisticated allusions to Chinese history, literature, and philosophy, supported by detailed technical knowledge of traditional medicine, martial arts, music, chess, and calligraphy.

He crafted complex narrative structures featuring multiple plotlines and extensive use of flashbacks, while maintaining careful attention to historical accuracy without sacrificing creative freedom.

Legacy

Today, Jin Yong’s legacy extends far beyond the wuxia genre. His works have achieved unprecedented academic recognition, spawning the field of Jinology, the scholarly study of his works, though he remained modest about such attention.

His novels are studied in universities throughout the Chinese-speaking world and have inspired countless adaptations across various media. His influence continues to grow internationally, with translations and academic studies appearing in multiple languages.

His peers held him in high regard. Ni Kuang, his friend of over 60 years, praised his works as “number one in the world, unmatched in ancient or modern times, Chinese or foreign”.

Modern readers still find his works compelling for their exploration of timeless themes, complex character psychology, sophisticated treatment of political and social issues, and deep engagement with traditional Chinese culture.

Works

See also: Jin Yong novels

Jin Yong wrote a total of 15 wuxia novels between 1955 and 1972, listed here in chronological order of publication:

  1. The Book and the Sword: A Tale of Favour and Feud 《書劍恩仇錄》书剑恩仇录 (Shū Jiàn Ēnchóu Lù) (1955–56)
  2. Sword Stained with Royal Blood 《碧血劍》碧血剑 (Bì Xuè Jiàn) (1956)
  3. The Legend of the Condor Heroes 《射鵰英雄傳》射雕英雄传 (Shè Diāo Yīngxióng Zhuàn) (1957–59)
  4. Flying Fox of the Snowy Mountain 《雪山飛狐》雪山飞狐 (Xuě Shān Fēi Hú) (1959)
  5. The Return of the Condor Heroes 《神鵰俠侶》神雕侠侣 (Shén Diāo Xiálǚ) (1959–61)
  6. Side Story of the Flying Fox 《飛狐外傳》飞狐外传 (Fēi Hú Wàizhuàn) (1960–61)
  7. White Horse Neighing in the Western Wind 《白马嘯西風》白马啸西风 (Bái Mǎ Xiào Xīfēng) (1961)
  8. Mandarin Duck Blades 《鴛鴦刀》鸳鸯刀 (Yuānyāng Dāo) (1961)
  9. The Heavenly Sword and the Dragon Sabre 《倚天屠龙記》倚天屠龙记 (Yǐtiān Túlóng Jì) (1961–63)
  10. A Deadly Secret 《連城訣》连城诀 (Lián Chéng Jué) (1963)
  11. Demi-Gods and Semi-Devils 《天龙八部》天龙八部 (Tiān Lóng Bā Bù) (1963–66)
  12. Ode to Gallantry 《俠客行》侠客行 (Xiákè Xíng) (1966–67)
  13. Laughing in the Wind 《笑傲江湖》 (Xiào Ào Jiānghú) (1967–69)
  14. The Deer and the Cauldron 《鹿鼎記》鹿鼎记 (Lù Dǐng Jì) (1969–72)
  15. Sword of the Yue Maiden 《越女劍》越女剑 (Yuè Nǚ Jiàn) (1970)

See also

Footnotes

  1. 香港四大才子 – Xiānggǎng sì dà cáizǐ. See Wikipedia (Chinese). ↩

  2. 倪匡 – Ní Kuāng. See Wikipedia. ↩

  3. 黄霑 – Huáng Zhān. Also known as James Wong. See Wikipedia. ↩

  4. 蔡澜 – Cài Lán. See Wikipedia. ↩

  5. A 1997 book with hard information and intelligent opinion on the state of contemporary world literature. Available on Amazon. ↩

  6. 海寧 – Hǎiníng. A county-level city in Zhejiang Province, known for its historical significance and scholarly traditions. See Wikipedia. ↩

  7. 查樞卿 – Chá Shūqīng ↩

  8. 震旦大学 – Zhèndàn Dàxué. A Catholic university in Shanghai from 1903 to 1952. See Wikipedia. ↩

  9. 徐祿 – Xú Lù ↩

  10. 顾秀英 – Gù Xiùyīng. Jin Yong’s stepmother, who was originally a maid in the Zha household known as Yueyun (月云). ↩

  11. 嘉興市第一中学 – Jiāxīng Shì Dìyī Zhōngxué. A prestigious secondary school in Jiaxing, Zhejiang Province. See Wikipedia (Chinese). ↩

  12. 給投考初中者 – Gěi Tóukǎo Chūzhōng Zhě. A study guide for students preparing for middle school entrance exams. ↩

  13. 国民黨 – Guómíndǎng. The Kuomintang was the ruling party of the Republic of China from 1912 to 1949. See Wikipedia. ↩

  14. 金庸 – Jīn Yōng. His pen name consists of characters meaning ‘gold’ and ‘ordinary/common’. ↩

  15. 张印通 – Zhāng Yìntōng. An influential educator in wartime China. See Baidu Baike (Chinese). ↩

  16. 余兆文 – Yú Zhàowén ↩

  17. 衢州市第一中学 – Qúzhōu Shì Dìyī Zhōngxué. A secondary school in Quzhou, Zhejiang Province. See Wikipedia (Chinese). ↩

  18. 中央政治学校 – Zhōngyāng Zhèngzhì Xuéxiào. A school founded in 1944 by the Youth Corps of Three People’s Principles that later became National Central University of Governance in Nanjing before relocating to Taipei, Taiwan, in 1954. See Wikipedia. ↩

  19. 資治通鑑 – Zīzhì Tōngjiàn. A pioneering reference work published during the Northern Song Dynasty (960-1127). See Wikipedia. ↩

  20. 二十四史 – Èrshísì Shǐ. The collection of Chinese historical texts covering history from 3000 BCE to the Ming Dynasty. See Wikipedia. ↩

  21. 東吳大学法学院 – Dōngwú Dàxué Fǎxuéyuàn. The law school of Soochow University in Shanghai that merged with the East China University of Political Science and Law in 1952. See Wikipedia. ↩

  22. 東吳大学 – Dōngwú Dàxué. A prestigious university founded in 1900 in Suzhou but relocated to Shanghai during the war, and later disbanded in 1952. See Wikipedia. ↩

  23. 大公報 – Dàgōng Bào. One of the oldest Chinese-language newspapers, founded in Tianjin in 1902. See Wikipedia. ↩

  24. 新晚報 – Xīn Wǎnbào. A Hong Kong evening newspaper affiliated with Ta Kung Pao. See Wikipedia. ↩

  25. 林欢 – Lín Huān. One of Jin Yong’s early pen names for literary pieces and film reviews, and later on for screenwriting. ↩

  26. 香港商報 – Xiānggǎng Shāng Bào. A Hong Kong newspaper that was founded in 1958. See Wikipedia. ↩

  27. 长城電影公司 – Chángchéng Diǎnyǐng Gōngsī. A Hong Kong film studio that merged into Sil-Metropole Organisation in 1982. See Wikipedia. ↩

  28. 絕代佳人 – Juédài Jiārén. Literally “Peerless Beauty” or “Beauty of the Age”. ↩

  29. 兰花花 – Lánhuā huā. Literally “Orchid Flower”. A 1953 Hong Kong film directed by Li Pingqian. See Baidu Baike (Chinese). ↩

  30. 不要離开我 – Bùyào Líkāi Wǒ. Literally “Don’t Leave Me”. A 1955 Hong Kong film directed by Yuan Yong’an. See Baidu (Chinese). ↩

  31. 三戀 – Sān Liàn. Literally “Three Loves”. A 1956 Hong Kong film directed by Li Pingqian. See Baidu Baike (Chinese). ↩

  32. 小鴿子姑娘 – Xiǎo Gēzi Gūniáng. Literally “Little Dove Girl”. A 1957 Hong Kong film directed by Chen Bugao. See Baidu Baike (Chinese). ↩

  33. 午夜琴聲 – Wǔyè Qínshēng. Literally “Midnight Piano Sound”. A 1959 Hong Kong film directed by Hu Xiaofeng. See Baidu Baike (Chinese). ↩

  34. 有女懷春 – Yǒu Nǚ Huáichūn. Literally “A Young Woman’s Heart” or “Girl in Spring”. A 1958 Hong Kong film directed by Jin Yong and Chen Bugao. See Baidu Baike (Chinese). ↩

  35. 王老虎搶親 – Wáng Lǎohǔ Qiǎngqīn. Literally “Tiger Wang Snatches a Bride”. A 1960 Hong Kong film directed by Jin Yong and Hu Xiaofeng. See Baidu Baike (Chinese). ↩

  36. 姚馥兰 – Yào Fùlán ↩

  37. 明報 – Míng Bào. A Hong Kong newspaper that was founded in 1959 See Wikipedia. ↩

  38. 沈寶新 – Shěn Bǎoxīn ↩

  39. 徐慧之 – Xú Huìzhī ↩

  40. 明窗小札 – Míng Chuāng Xiǎozhá. Editorial column in Ming Pao. ↩

  41. 明報晚報 – Ming Bào Wǎnbào. An evening supplement of the Hong Kong newspaper Ming Pao. See Wikipedia. ↩

  42. 明報月刊 – Míng Bào Yuèkān. A Hong Kong intellectual journal by Ming Pao covering the humanities, scholarship, culture, politics, and thought in the Sinosphere. See Wikipedia. ↩

  43. 明報週刊 – Míng Bào Zhōukān. A Hong Kong weekly magazine by Ming Pao covering entertainment news, films, travel, fashion trends, culture and many other topics. See Wikipedia (Chinese). ↩

  44. 新明日報 – Xīnmíng Rìbào. A Singapore afternoon newspaper founded in 1967 by Jin Yong. See Wikipedia. ↩

  45. 明報出版社 – Míng Bào Chūbǎnshè. A publishing house founded by Jin Yong in 1967 that later merged into Media Chinese Limited in 2008. See Wikipedia. ↩

  46. 明窗出版社 – Míng Chuāng Chūbǎnshè. A publishing house founded by Jin Yong in 1970. See Wikipedia. ↩

  47. 于品海 – Yú Pǐnhǎi ↩

  48. 老子 – Lǎozǐ. Honorific name of the founder of Daoism and author of the Dao De Jing. Zi the highest title for an intellectual, especially philosopher, in ancient China. See Wikipedia. ↩

  49. 庄子 zhuāng zi. Honorific name of Zhuang Zhou, an influential philosopher during the Warring States period. Zi the highest title for an intellectual, especially philosopher, in ancient China. See Wikipedia. ↩

  50. 蔣经国 – Jiǎng Jīngguó. He was the third premier of the Republic of China (Taiwan) during that time. See Wikipedia. ↩

  51. 上海話 – Shànghǎi huà. A dialect of the Wu Chinese language family spoken in Shanghai. See Wikipedia. ↩

  52. 鄧小平 – Dèng Xiǎopíng. He was the leader of the People’s Republic of China from 1978 to 1989. See Wikipedia. ↩

  53. 胡耀邦 – Hú Yàobāng. He was the General Secretary of the Chinese Communist Party from 1982 to 1987. See Wikipedia. ↩

  54. 香港基本法起草委員会 – Xiānggǎng Jīběnfǎ Qǐcǎo Wěiyuánhuì. The committee responsible for drafting the Basic Law of the Hong Kong Special Administrative Region. See Wikipedia. ↩

  55. 查济民 – Chá Jìmín. A Hong Kong industrialist and philanthropist. See Wikipedia. ↩

  56. 天安门事件 – Tiānānmén Shìjiàn. The events of 1989 when students held demonstrations in Tiananmen Square. See Wikipedia. ↩

  57. 兩会 – Liǎnghuì. The annual meetings of the National People’s Congress and the Chinese People’s Political Consultative Conference. See Wikipedia. ↩

  58. 江澤民 – Jiāng Zémín. He was the leader of the People’s Republic of China from 1993 to 2003. See Wikipedia. ↩

  59. 香港特别行政區籌備委員会 – Xiānggǎng Tèbié Xíngzhèng Qū Chóubèi Wěiyuánhuì. See Wikipedia. ↩

  60. 云松書舍 – Yúnsōng Shūshè ↩ ↩2

  61. 西湖 – Xīhú. A famous freshwater lake in Hangzhou, Zhejiang province. See Wikipedia. ↩

  62. 圍棋 – Wéiqí. A strategic board game popular in East Asia, where dan ranks indicate advanced skill levels. See Wikipedia. ↩

  63. Drinking whisky without ice. See Wikipedia. ↩

  64. 杜治芬 – Dù Zhìfēn ↩

  65. 杜冶秋 – Dù Yěqiū ↩

  66. 朱玫 – Zhū Méi ↩

  67. 查傳俠 – Chá Chuán Xiá ↩

  68. 查傳倜 – Chá Chuán Tì ↩

  69. 查傳詩 – Chá Chuán Shī ↩

  70. 查傳訥 – Chá Chuán Nè ↩

  71. 林樂怡 – Lín Lèyí ↩

  72. 寶蓮禪寺 – Bǎolián Chánsì. A Buddhist monastery on Lantau Island, Hong Kong. See Wikipedia. ↩

  73. 海会灵塔 – Hǎihuì Língtǎ. Literally ocean-gaterhing spirit pagoda. A columbrarium pagoda in Po Lin Monastery. The name is a reference to a common metaphor in Buddhist texts for dharma assemblies or gatherings of enlightened beings. ↩

  74. 10930 Jinyong. See Wikipedia. ↩

  75. 興隆站 – Xīnglóng Zhàn. An observatory situated south of the main peak of the Yan Mountains of the Xinglong Station in Chengde, Hebei province. See Wikipedia. ↩

  76. 嘉興金庸圖書館 – Jiāxīng Jīnyōng Túshūguǎn. The only library in mainland China named after Jin Yong. ↩

  77. 澳门金庸圖書館 – Àomén Jīnyōng Túshūguǎn. Houses Jin Yong’s works in Chinese, English, Japanese, Thai, and Indonesian. ↩

  78. 金庸館 – Jīnyōng Guǎn. A permanent exhibition hall showcasing Jin Yong’s life and works. ↩

  79. 金庸文化園 – Jīnyōng Wénhuà Yuán. A theme park dedicated to Jin Yong’s literary works. ↩

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