Description:
王度廬是中國著名的武俠言情小說作家，2000年李安他的改編的電影《臥虎藏龍》，榮獲了第73屆奧斯卡最佳外語片等四項大獎。《王度廬小说選集》，收入了他不同類型的作品。
Brief description: Dulu Wang (1909-1977), was a famous Chinese Wu Xia (which literally means "heroes with martial art skills") writer in the 1930s and 1940s who wrote many novels including Crouching Tiger, Hidden Dragon (臥虎藏龍) Pentalogy which was adapted into a film under the title "Crouching Tiger, Hidden Dragon"by Ang Lee and his colleagues in 2000. Its spectacular action, rhapsodic landscapes and tragic romance have touched audiences in Asia, North America and around the world and won over 40 awards and was nominated for 10 Academy Awards, including Best Picture, and won Best Foreign Language Film, Best Art Direction, Best Original Score and Best Cinematography. In 2019, the film was ranked the 51st in 100 best films of the 21st century list by Guardian.Wang was less interested in writing about ruthless killings; instead he focused on his characters' development, their emotions, friendship, and passions. Wang had great sympathy for women who suffered cruel oppression by the society, and his novels featured many strong female characters, warriors, and heroines. Most of his stories featured tragic endings. His perfect combination of wuxia, romance and tragedy in his novels have thrilled many critics and readers and this style has influenced many authors.During 1925-1949 Wang published more 90 novels and thousands of articles and poems. The Collected Works of Dulu Wang has many Wuxia novels including Crouching Tiger, Hidden Dragon Pentalogy. This Volume Four includes《深宮奇俠》Deep Palace, Legendary Hero;《寶劍明珠》Precious Sword, Bright Pearl;《風雨雙龍劍》Double Dragon Sword in the Storm; and《彩鳳銀蛇傳》 Colorful Phenix, Silver Snake.
Review Quotes: 王度廬，原名葆祥，字霄羽，1909年生於北京一個下層旗人家庭。幼年喪父，舊制高小畢業即步入社會，一邊謀生、一邊自學。十六歲開始，先後在《平報》和《小小日報》發表雜文和連載小說（包括武俠、偵探、社會言情等類別），並曾在《小小日報》開闢個人雜文專欄"談天"，就任該報編輯。1933年往西安,與李丹荃結婚，曾任陝西省教育廳編審室辦事員和西安《民意報》編輯。1936年返回北平，繼續賣稿為生。次年赴青島，淪陷後始用筆名"度廬"發表武俠言情小說，同時發表的社會小說則署名"霄羽"。
王度廬特別關注女性的命運。他筆下的女主人公多曾追求自立，但是這條道路充滿兇險。范菊英（《落絮飄香》）和田二玉（《晚香玉》）付出了生命的代價；虞婉蘭（《虞美人》）終於發瘋，生不如死。惟有白月梅（《古城新月》）初步實現了自立，但她的前途仍難預料；至於最具"娜拉性格"，而且也更加具備自立條件的祁麗雪，最終選擇的出路卻是"回家"。在社會小說裏，王度廬經常寫及具有俠義精神的人物，他們扶弱抗強，甚至不惜捨生以取義。上述俠義角色與愛情故事裏的男女主人公一樣，也是現代社會中的弱者。作者不止一次地提示讀者：這些俠義人物"應該"生活於古代。這種提示背後隱含着一個問題：現代愛情悲劇裏的那些曠男怨女，如果變成身負絕頂武功的俠士和俠女，生活在快意恩仇的古代江湖，他們的故事和命運將會怎樣？這個問題化為創作動機，便催生出了王度廬的俠情小說，這裏也昭示着它們與作者所撰社會小說的內在聯係。《寶劍金釵》標誌着王度廬開始自覺地把撰寫社會言情小說的經驗融入俠情小說的寫作之中，也標誌着他自覺創造"現代武俠悲情小說"這一全新樣式的開端。此書屬於厚積薄發的精品，所以一鳴驚人，奠定了作者成為中國現代武俠悲情小說開山宗師的地位。繼而推出的《劍氣珠光》《鶴驚昆侖》《臥虎藏龍》《鐵騎銀瓶》（與《寶劍金釵》合稱"鶴-鐵五部"）以及《風雨雙龍劍》《彩鳳銀蛇傳》《洛陽豪客》《燕市俠伶》等，都可視為王氏現代武俠悲情小說的代表作或佳作。王度廬把俠情小說提升到心理悲劇的境界，為中國武俠小說史作出了一大貢獻。正如佛洛伊德所說："這裏，造成痛苦的鬥爭是在主角的心靈中進行着，這是一個不同衝動之間的鬥爭，這個鬥爭的結束決不是主角的消逝，而是他的一個衝動的消逝"。這個"衝動"雖因主角的"自我克制"而"消逝"了，但他（她）內心深處的波濤卻在繼續湧動，以至遺恨終身。