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古龙文集·欢乐英雄（上下）
《欢乐英雄》，古龙经典代表作之一。读古龙，不能错过《欢乐英雄》！江湖传言，《欢乐英雄》才是拥有最多粉丝的古龙作品！脑子似乎少根筋的郭大路！有一肚子秘密的燕七！穷得一分钱都没有，却仍然很好客的王动！第一次闯江湖的大少爷林太平！他们穷得要命，又慷慨得要命；他们不知道明天做什么，但今天就很快乐；他们想喝酒就喝酒，想醉倒就醉倒，想打架就打架，没心没肺，没头没脑，但就是那么快乐！古龙小说中，朝气蓬勃、阳光积极的一部奇作，召唤所有人的快乐细胞！
563 pages, Kindle Edition
First published January 1, 1998
7 people are currently reading
41 people want to read
About the author
Gu Long
512 books86 followersalso known as: 古龍
Xiong Yaohua (Chinese: 熊耀華) (7 June 1938 – 21 September 1985), better known by his pen name Gu Long, was a Chinese novelist, screenwriter, film producer and director. Xiong is best known for writing wuxia novels and serials, which include Juedai Shuangjiao, Xiaoli Feidao Series, Chu Liuxiang Series, Lu Xiaofeng Series and Xiao Shiyilang. Some of these works have been adapted into films and television series for numerous times. In the 1980s Xiong started his own film studio, Bao Sian, to focus on adaptations of his works. He graduated from Cheng Kung Senior High School in Taipei and from the Foreign Language Department of Tamkang University.
Xiong was born on 7 June 1938 in Hong Kong but his registered identity claimed that he was born in 1941. His ancestral home was in Nanchang, Jiangxi, China, and he lived in Hankou in his childhood. He moved to Taipei, Taiwan in 1952 with his parents, who divorced in 1956. With help from his friends and using the money he earned from part-time work to fund his education, Xiong graduated from the Foreign Language Department of Tamkang University. He found a job in the United States Army Advisory in Taipei later.
In 1960, Xiong published his first wuxia novel, Cangqiong Shenjian (蒼穹神劍), under the pen name "Gu Long". From 1960 to 1961, Xiong published eight novels but did not achieve the results he desired. He moved to Ruifang Town (瑞芳鎮) and lived there for three years, after which he changed his perspective and adopted a new writing style. Between 1967 and the late 1970s, Xiong rose to prominence in the genre of modern wuxia fiction for his works. As the sole representative of excellence in the wuxia genre from Taiwan for an entire decade, Xiong was named along with Jin Yong and Liang Yusheng as the "Three Legs of the Tripod of Wuxia".
While he was still in university, Xiong lived with a dance hostess, Zheng Yuexia (鄭月霞), and had a son, Zheng Xiaolong (鄭小龍), with her. However, later, he started a relationship with another dance hostess, Ye Xue (葉雪), who also bore him a son, Ye Yikuan (葉怡寬). Shortly after that, Xiong met a senior middle school graduate, Mei Baozhu (梅寶珠), who became his first legal spouse and bore him his third son, Xiong Zhengda (熊正達). Xiong's extramarital affairs with other women caused him to break up with Mei later.
In the later part of his life, Xiong suffered from depression and the quality of his works declined rapidly. He had to employ ghostwriters to co-write many of his later works because of his ailing health. He died on 21 September 1985 at the age of 48 due to illness wrought by alcoholism, namely cirrhosis and esophageal hemorrhage, at around 6pm. Xiong's friends brought him 48 bottles of XO at his funeral.
Xiong was said to be influenced not only by wuxia fiction, but also by the works of Ernest Hemingway, Jack London, John Steinbeck and Friedrich Nietzsche. His novels are usually made up of short sentences and paragraphs, and mostly dialogues between characters like a play script.
In contrast with Xiong, other writers such as Jin Yong and Liang Yusheng take an alternative route in writing wuxia fiction, incorporating Chinese history, culture and philosophical ideas in their works. Xiong initially intended to follow them but changed his decision after exposure to western works such as the James Bond series and The Godfather novels. The influence of these works, which relied on the idiosyncrasies of human life, razor-sharp wit, poetic philosophies, mysterious plots and spine-tingling thrills to achieve success, enabled Xiong to come up with a unique way of writing.
(source: wiki)
Gu Long and Khu Lung are the same person, the latter is the Hokkien pronunciation in Indonesia.
Xiong Yaohua (Chinese: 熊耀華) (7 June 1938 – 21 September 1985), better known by his pen name Gu Long, was a Chinese novelist, screenwriter, film producer and director. Xiong is best known for writing wuxia novels and serials, which include Juedai Shuangjiao, Xiaoli Feidao Series, Chu Liuxiang Series, Lu Xiaofeng Series and Xiao Shiyilang. Some of these works have been adapted into films and television series for numerous times. In the 1980s Xiong started his own film studio, Bao Sian, to focus on adaptations of his works. He graduated from Cheng Kung Senior High School in Taipei and from the Foreign Language Department of Tamkang University.
Xiong was born on 7 June 1938 in Hong Kong but his registered identity claimed that he was born in 1941. His ancestral home was in Nanchang, Jiangxi, China, and he lived in Hankou in his childhood. He moved to Taipei, Taiwan in 1952 with his parents, who divorced in 1956. With help from his friends and using the money he earned from part-time work to fund his education, Xiong graduated from the Foreign Language Department of Tamkang University. He found a job in the United States Army Advisory in Taipei later.
In 1960, Xiong published his first wuxia novel, Cangqiong Shenjian (蒼穹神劍), under the pen name "Gu Long". From 1960 to 1961, Xiong published eight novels but did not achieve the results he desired. He moved to Ruifang Town (瑞芳鎮) and lived there for three years, after which he changed his perspective and adopted a new writing style. Between 1967 and the late 1970s, Xiong rose to prominence in the genre of modern wuxia fiction for his works. As the sole representative of excellence in the wuxia genre from Taiwan for an entire decade, Xiong was named along with Jin Yong and Liang Yusheng as the "Three Legs of the Tripod of Wuxia".
While he was still in university, Xiong lived with a dance hostess, Zheng Yuexia (鄭月霞), and had a son, Zheng Xiaolong (鄭小龍), with her. However, later, he started a relationship with another dance hostess, Ye Xue (葉雪), who also bore him a son, Ye Yikuan (葉怡寬). Shortly after that, Xiong met a senior middle school graduate, Mei Baozhu (梅寶珠), who became his first legal spouse and bore him his third son, Xiong Zhengda (熊正達). Xiong's extramarital affairs with other women caused him to break up with Mei later.
In the later part of his life, Xiong suffered from depression and the quality of his works declined rapidly. He had to employ ghostwriters to co-write many of his later works because of his ailing health. He died on 21 September 1985 at the age of 48 due to illness wrought by alcoholism, namely cirrhosis and esophageal hemorrhage, at around 6pm. Xiong's friends brought him 48 bottles of XO at his funeral.
Xiong was said to be influenced not only by wuxia fiction, but also by the works of Ernest Hemingway, Jack London, John Steinbeck and Friedrich Nietzsche. His novels are usually made up of short sentences and paragraphs, and mostly dialogues between characters like a play script.
In contrast with Xiong, other writers such as Jin Yong and Liang Yusheng take an alternative route in writing wuxia fiction, incorporating Chinese history, culture and philosophical ideas in their works. Xiong initially intended to follow them but changed his decision after exposure to western works such as the James Bond series and The Godfather novels. The influence of these works, which relied on the idiosyncrasies of human life, razor-sharp wit, poetic philosophies, mysterious plots and spine-tingling thrills to achieve success, enabled Xiong to come up with a unique way of writing.
(source: wiki)
Gu Long and Khu Lung are the same person, the latter is the Hokkien pronunciation in Indonesia.
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Displaying 1 - 15 of 15 reviews
April 13, 2017
An unusual wuxia novel, even for author's style who considered as an anti-mainstream author in wuxia fiction. The story is using light theme for making cheerful mood. The main protagonists are four young, broke and carefree persons that live in a big but empty house. But there are more and more unusual factors in the story.
The novel contained some interlinked shorter stories. Actually it is the weak point because until the end there was no definite one great plot. This novel's selling point was on the setting, not on plot.
There was a little adventure in this story. The majority of the story happened around the house. The fights occurred because the antagonists came to the house/neighborhood. The enemies usually the ones who seek trouble. Although this story was worse than "Rear Window" of Alfred Hitchcock, the idea of stay at home was a fresh idea, especially in wuxia genre.
The protagonists were practically pacifists. They were good fighters, but they don't like to use violence to solve problems. The pacifism in this novel affect greatly until the last chapter. Maybe because the pacifism theme, this novel has no movie/TV series adaptation.
The novel contained some interlinked shorter stories. Actually it is the weak point because until the end there was no definite one great plot. This novel's selling point was on the setting, not on plot.
There was a little adventure in this story. The majority of the story happened around the house. The fights occurred because the antagonists came to the house/neighborhood. The enemies usually the ones who seek trouble. Although this story was worse than "Rear Window" of Alfred Hitchcock, the idea of stay at home was a fresh idea, especially in wuxia genre.
The protagonists were practically pacifists. They were good fighters, but they don't like to use violence to solve problems. The pacifism in this novel affect greatly until the last chapter. Maybe because the pacifism theme, this novel has no movie/TV series adaptation.
October 23, 2016
WANG Dong, Kouo Dalou, Lin Taiping et l'Hirondelle sont les Quatre brigands du Huabei, ou plutôt quatre larrons de fortune vivant au jour le jour de joyeuses et mémorables aventures, soudés par une grande et extraordinaire amitié.
Amateurs d'imprévus autant que de vin de Shaoxing, experts en arts martiaux, joueurs, hâbleurs et matamores, leurs exploits se passent autant sur les routes que dans les gargotes contre de mystérieux adversaires - fantômes de leur passé - qui ont nom L’oiseau Soleil, Le Lion d'or, La Trique, ou l'Écorcheur...
Ils auront à affronter des secrets, des voleurs, mais encore des fantômes. Car ne l'oublions pas, il s'agit ici de fantastique ou le surnaturel a la part belle.
Ce roman qui vient en droite ligne des grands romans chinois de brigands puise largement dans la tradition des récits fantastiques de la Chine ancienne.
Mais le conteur met souvent notre bon sens à rude épreuve. L'imprévu est la règle d'or de ces histoires qui fourmillent d'incidents cocasses ou incongrus, changent souvent de direction sans préavis et font - comme la vie elle-même - la part belle au hasard.
Gu LONG est un des plus populaires auteur de romans de « cape et d'épée », en Chine et dans toute l'Asie.
Ses livres, sans cesse réimprimés a des millions d'exemplaires, ont donné lieu à de nombreuses adaptations cinématographiques
Amateurs d'imprévus autant que de vin de Shaoxing, experts en arts martiaux, joueurs, hâbleurs et matamores, leurs exploits se passent autant sur les routes que dans les gargotes contre de mystérieux adversaires - fantômes de leur passé - qui ont nom L’oiseau Soleil, Le Lion d'or, La Trique, ou l'Écorcheur...
Ils auront à affronter des secrets, des voleurs, mais encore des fantômes. Car ne l'oublions pas, il s'agit ici de fantastique ou le surnaturel a la part belle.
Ce roman qui vient en droite ligne des grands romans chinois de brigands puise largement dans la tradition des récits fantastiques de la Chine ancienne.
Mais le conteur met souvent notre bon sens à rude épreuve. L'imprévu est la règle d'or de ces histoires qui fourmillent d'incidents cocasses ou incongrus, changent souvent de direction sans préavis et font - comme la vie elle-même - la part belle au hasard.
Gu LONG est un des plus populaires auteur de romans de « cape et d'épée », en Chine et dans toute l'Asie.
Ses livres, sans cesse réimprimés a des millions d'exemplaires, ont donné lieu à de nombreuses adaptations cinématographiques
September 9, 2010
Cerita yang sangat meriangkan hati, tentang persahabatan antara Kwik Tay Lok si pendekar kita, Ong Tiong yang tukang tidur tapi bijak, Yan Jit yang cerdik dan misterius, dan Lim Tay Peng yang polos. Orang-orang pemalas dan pengangguran yang sering kelaparan, hanya makan kalau kebetulan ada rezeki atau ada barang yang digadaikan. Tapi, meski hidup prihatin yang merupakan pilihan sendiri, mereka tetap hidup senang karena pikiran tidak dipenuhi dengan mengejar uang dan senantiasa berkumpul dengan teman sejati. Masing-masing memiliki kisah pribadi yang terungkap satu per satu sepanjang cerita dalam berbagai peristiwa yang menguji persahabatan mereka.
August 15, 2018
I can say that, so far, this definitely had become my favourite Wuxia novel. It held a different air to any other book I have read in this genre. Characters felt alive, dialogues were captivating and entertaining and, more importantly, the book offered deep and meaningful lessons to learn from.
Happiness comes from within.
Happiness comes from within.
September 14, 2025
A delightful wuxia novel by Cổ Long with four very memorable leads alongside with some equally interesting supporting characters. I do think the pacing of the novel is a little bit intense without any “pause”/resting moments and jumping immediately instead from one climax/mystery to the next. But such pacing actually makes this action- and emotion-packed novel “tighter” except for few melancholic sequences that are a bit too cheesy for their own good, especially by the conclusion of the book. The “curt” writing style by Cổ Long might detract some readers as well, and indeed makes this novel and his other works seem to be less “elegant” than Kim Dung’s. I do not mind such style, though, as I find it is amazing that after more than two decades since the last time I read Cổ Long, I still find his books as fresh, entertaining, and relatable as ever (might be even more since I am now closer to the usual ages of his protagonists than the still-teenage me of more than two decades ago).
July 3, 2022
谁不想在利益当前、生计所迫时，依旧仰不愧天、内不愧心地率性而活？
谁不想有几个倾盖如故的天生知己，不必言语就懂得你，不必了解就了解你，遇到麻烦、危险不抛弃你？
《欢乐英雄》的魅力还不在于出其不意的情节和光怪陆离的人物，而是写出了一种率性而活、有酒有朋友的状态。读完甚至觉得几个主角是模糊的，这种状态却是鲜活的。
这本书读起来很像看网文，还是爽文：有趣，脑洞，白日梦。应该说，非比寻常的有趣，拍案叫绝的脑洞，飘逸脱俗的白日梦。
不喜欢的地方有两点：不时对人物或人物关系概括总结式的赞美；曲折的对话并不总是有趣，尤其在缺乏驱动性情节、读者不明确地知道主角要干啥的时候，觉得累赘。
谁不想有几个倾盖如故的天生知己，不必言语就懂得你，不必了解就了解你，遇到麻烦、危险不抛弃你？
《欢乐英雄》的魅力还不在于出其不意的情节和光怪陆离的人物，而是写出了一种率性而活、有酒有朋友的状态。读完甚至觉得几个主角是模糊的，这种状态却是鲜活的。
这本书读起来很像看网文，还是爽文：有趣，脑洞，白日梦。应该说，非比寻常的有趣，拍案叫绝的脑洞，飘逸脱俗的白日梦。
不喜欢的地方有两点：不时对人物或人物关系概括总结式的赞美；曲折的对话并不总是有趣，尤其在缺乏驱动性情节、读者不明确地知道主角要干啥的时候，觉得累赘。
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December 27, 2020口吻有点像童话，热热闹闹一直讲到成对圆满才好。懒散的高人，胜利明明是因为武艺而不是友谊嘛。但故事嘛，结局完满结论无害就好。
April 28, 2021
IT'S THE BEST.
June 11, 2021
潇洒 真潇洒 天外飞仙一般的潇洒 毕竟古龙啊
不过从燕七与郭大路再相见开始就没有之前的好看了
不是很喜欢郭大路哎 相比之下更喜欢王动一点
一边看一边想古龙的书难影视化 又想到 这本书可以拍成武林外传那样的单元剧 感觉会不错 可惜应该没有影视化的机会了
不过从燕七与郭大路再相见开始就没有之前的好看了
不是很喜欢郭大路哎 相比之下更喜欢王动一点
一边看一边想古龙的书难影视化 又想到 这本书可以拍成武林外传那样的单元剧 感觉会不错 可惜应该没有影视化的机会了
January 18, 2022
我的第一本古龙，朋友说其实是最不像武侠的一本。一开始读的时候，诧异原来古龙竟然是搞笑喜剧人，好几个情节我都抱着kindle傻笑。（一颗星扣在，虽热血略鸡汤，对鸡汤有些不感冒；and 玉玲珑和林太平不是在紫衣女那章见过吗，怎么后来小小姑娘就没认出来呢？）另外比较影响阅读体验的是当时在搜欢乐英雄，不小心看到了正在拍的电视剧版的演员名字，好嘞，看书的时候就自然而然带入了这几张脸，少了一份想象。
April 29, 2022
丢，怎么感觉这么无聊。。。
May 15, 2025
像个初中生写的东西
February 25, 2013
Seufzen mit Freunden
Ach, wie wird hier geseufzt. Soviel Seufzen habe ich noch nie in einem Roman gesehen. Dabei ist die Handlung doch gar nicht so traurig oder deprimierend: Mit guten Freunden an der Seite kann man jedes Hindernis überwinden, das ist die Lehre des Buchs, ein Loblied auf die Freundschaft.
Schwertkämpfe und übernatürliche Phänomene werden auf dem Klappentext angekündigt - doch gefunden habe ich sie in dem Buch nicht. Die Protagonisten sind keineswegs genreübliche Helden der Welt des Jianghu, der Flüsse und Seen; ihre Probleme mit Banditen lösen sie mehr mit Köpfchen als mit unglaublicher Kampftechnik oder Schwertkunst, und, wie oben erwähnt, eben durch ihre Freundschaft.
Wer das Genre kennt, zum Beispiel Werke von Jin Yong (aka Louis Cha) oder Wang Dulu, wird hier wahrscheinlich etwas enttäuscht werden. Sehr viel pseudo-introspektiver Dialog trägt die Handlung voran, die zerstückelt und chaotisch ist. Was wohl hauptsächlich an der Kürzung liegt - die ganzen offenen Handlungs- und Charakterisierungsfäden werden nie aufgelöst, da die Übersetzerin sich die Mühe, den eigentlich Schluss auch mit zu übersetzen, einfach gespart hat. Nach einigen Recherchen habe ich herausgefunden, dass nur ca. 2/3 des Originals übersetzt wurden. Und das spürt man außerordentlich.
Das Taschenbuch ist unauffällig was Material und Herstellungsqualität angeht - ein hübsches Coverdesign tröstet aber nicht über die allzu deutlich Übersetzungsmängel hinweg.
Bereits mit mittleren Französischkenntnissen sollte man das Buch verstehen - die Frage ist, ob es den Aufwand wert ist. Da es jedoch nur wenige Alternativen von übersetzten Werken dieses Genres gibt, sollten Wuxia-Freunde trotzdem einen Blick riskieren.
Ach, wie wird hier geseufzt. Soviel Seufzen habe ich noch nie in einem Roman gesehen. Dabei ist die Handlung doch gar nicht so traurig oder deprimierend: Mit guten Freunden an der Seite kann man jedes Hindernis überwinden, das ist die Lehre des Buchs, ein Loblied auf die Freundschaft.
Schwertkämpfe und übernatürliche Phänomene werden auf dem Klappentext angekündigt - doch gefunden habe ich sie in dem Buch nicht. Die Protagonisten sind keineswegs genreübliche Helden der Welt des Jianghu, der Flüsse und Seen; ihre Probleme mit Banditen lösen sie mehr mit Köpfchen als mit unglaublicher Kampftechnik oder Schwertkunst, und, wie oben erwähnt, eben durch ihre Freundschaft.
Wer das Genre kennt, zum Beispiel Werke von Jin Yong (aka Louis Cha) oder Wang Dulu, wird hier wahrscheinlich etwas enttäuscht werden. Sehr viel pseudo-introspektiver Dialog trägt die Handlung voran, die zerstückelt und chaotisch ist. Was wohl hauptsächlich an der Kürzung liegt - die ganzen offenen Handlungs- und Charakterisierungsfäden werden nie aufgelöst, da die Übersetzerin sich die Mühe, den eigentlich Schluss auch mit zu übersetzen, einfach gespart hat. Nach einigen Recherchen habe ich herausgefunden, dass nur ca. 2/3 des Originals übersetzt wurden. Und das spürt man außerordentlich.
Das Taschenbuch ist unauffällig was Material und Herstellungsqualität angeht - ein hübsches Coverdesign tröstet aber nicht über die allzu deutlich Übersetzungsmängel hinweg.
Bereits mit mittleren Französischkenntnissen sollte man das Buch verstehen - die Frage ist, ob es den Aufwand wert ist. Da es jedoch nur wenige Alternativen von übersetzten Werken dieses Genres gibt, sollten Wuxia-Freunde trotzdem einen Blick riskieren.
October 25, 2010
nyewa dr tb. hendra. :)
December 4, 2018
应该是我看的第一本古龙吧
Displaying 1 - 15 of 15 reviews