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明清小说福将形象主要有两大类:半人半仙型和憨厚笨拙型。他们多为故事体系中的陪衬角色,具有调节故事氛围的狂欢化效果。福将形象大多来源于外来佛经故事,也有本土传统文学和世俗大众的口传文本。受容多种文化要素,金庸小说中的福将形象发生了质的异变,一些主要人物也兼具了“福将精神”。与传统文本夸大主体“福报”的“侥幸”及“投机取巧”行为规范不同,金庸小说中的“福将”更多观照行为主体超越“一己私利”的理性意识与社会正义追求,暗示出传统社会“中庸之道”处事规则的“自利最大化”内质及反社会进化性。
There are two main categories of images of the novels of the Ming and Qing Fictions: semi-half semi-cents and simple and honest. Most of them are the role of affiliations in the story system, with the carnival effect of adjusting the atmosphere of the story. Most of the images of blessings come from the stories of alien Buddhist scriptures, as well as the oral traditions of local traditional literature and secular people. Embracing a variety of cultural elements, Jin Yong’s novels in the image of the bishop has undergone a qualitative change, some of the main characters also have a “blessing spirit.” Different from the “luck” and “opportunistic” code of conduct in exaggerating the subject “blessing ” in the traditional texts, the body of “blessing” in the novels of Jin Yong transcends “self-interest ” Rational Consciousness and Social Justice Pursuit, suggesting that the traditional society “the golden mean ” rules of service “self-interest maximization ” endogenous and anti-social evolution.