作為「全世界華人的共同語言」，金庸小說跨越了華語語系世界不同社群之間的地緣政治疆界，並借助重新講述前朝傳奇－尤其是宋元、元明、明清朝代更替時的華夷之辨與亂世景觀－北望故土，繪製「原鄉」圖譜，書寫寄託遙深的歷史想像與文化記憶。本論文有意選取金庸《書劍恩仇錄》、《碧血劍》和《鹿鼎記》這三部有關改朝換代、胡漢恩仇的武俠作品，力圖揭示金庸小說雖然身處大陸之外的香港華語語系世界，但時時回望明末清初的帝都北京，並憑藉筆下俠客「明闖」加「暗闖」的敘事行為，想像式地進入且介入帝京的政治空間與情感空間、公共場景與私密領地；而在反清復明、恢復漢室江山的宏圖偉業屢試無功、適得其反之後，小說的主人公遠離帝京，或豹隱回疆，或退（黯）隱海外，或浪隱揚州。論者以為，在金庸虛實相間、踵事增華卻也言之鑿鑿的華語語系敘事裡，帝京顯影於明處，香港隱遁於暗處；香港被「排除」卻「在內」，北京被「包括」卻「在外」。金庸俠義地形圖所測繪、標示的，恰恰是中心與邊緣、向心與離心、廟堂與江湖、涉政與退隱、順從與背叛、消失與再現、明心見性與聊遣悲懷之間來回往復的互換互動、互增互補。其「後遺民寫作」策略所折射出來的，是香港華語語系文學的政治憂患、歷史想像與文化記憶中「直搗帝都」、「分庭抗禮」或是「偏居一隅」的空間移位與定位、離散焦慮與舒解、身份危機與認同。

As the common language of global Chinese communities, Jin Yong's novels have inspired and sustained long-lasting popularity across geopolitical territories of Hong Kong, Taiwan, mainland China, Southeast Asia, and other Sinophone worlds. This paper considers Jin Yong's three martial arts novels, "The Book and The Sword", "The Sword Stained with Royal Blood", and "The Deer and the Cauldron", to demonstrate that although born in the British Crown Colony in the Cold War era, Jin Yong's chivalry topography of the imperial capital Beijing and other places and spaces in the Ming Qing dynastic transformation blends the real and the imagined, traverses the boundaries between inclusion and exclusion, envisions a dialect of absence and presence, and charts the trajectories of chivalric activities: intervening into the political center, in particular the Forbidden City (the "Great Within"), and fleeing away from the heart of the Empire to China's Islamic community in Western Regions (Xinjiang), to an overseas kingdom (Brunei in Southeast Asia), or to an unknown space in Qing Yangzhou City. By emplotting political, ethnic, and cultural crises in dynastic transitions from Ming to Qing dynasties, Jin Yong explores a wide range of topics including gratitude and revenge between Han and non-Han peoples, ambivalent individual identity, and imagined cultural memory against the backdrop of the 1949 Chinese division and the post-1949 migrations in Sinophone worlds. By intertwining Confucian intervention, Taoist escape, and Buddhist compassion, as well as historical records and literary fantasy, Jin Yong's martial arts narrative inscribes post-loyalist attachments and detachments into the imagery of Beijing, an imperial capital, and into Hong Kong, the birthplace of his chivalric topography, thus suggesting a frustrated yet flexible identity, and a supplementary yet self-sufficient "republic of letters", in his remapping of China's past for the Sinophone articulations.