There is a rule which applies to pretty much every major female character in the fiction of Jin Yong: she must be beautiful and/or intelligent.
Most major female Jin Yong characters are both beautiful and intelligent, but some are beautiful without being intelligent, and a very few – such as Cheng Lingsu (程靈素) from The Young Flying Fox (飛狐外傳) are intelligent – without being beautiful.
This rule does not apply to major male characters – a few are described as being physically handsome, and some of them are intelligent, but many of them – even the protagonists – are neither handsome nor intelligent.
The physical appearance aspect is fairly straightforward – the female characters are meant to appealing to readers who are attracted to females, whereas Jin Yong most of the time did not offer much to readers who are attracted to males (the most notable exception is Yang Guo, the only male protagonist who is described as being handsome – in fact, he is so handsome that he wears a mask to stop women from getting crushes on him). Feminist critics generally – and in my opinion, correctly – would say this is an example of objectification of women without equivalent objectification of men.
The intelligence aspect is a little trickier. In the Anglophone world, most feminist critics say they want more intelligent women in fiction, particularly women in leadership roles. Jin Yong’s fiction is not only full of intelligent women, some of them also rise to significant leadership roles through their own merits – for example, Huang Rong becomes the leader of the Beggars’ Sect, Ren Yingying not only leads the Sun Moon Holy Cult, she also returns the Wulin back to a state of peace, and so forth.
The rub here is that, whereas intelligence is generally considered to be good in the Anglophone world, it is not associated with goodness in the fiction of Jin Yong. The most intelligent protagonists are Yang Guo and Wei Xiaobao – Yang Guo is mischievous and considers helping the Mongols in their mass murder of Chinese, though in the end he works for good. Wei Xiaobao is an obviously immoral antihero, and Jin Yong himself says that it is wrong to follow his example. By contrast, the Jin Yong protagonists who are most obviously good in a moral sense are not very smart – and often need smart women to get them out of the fire. And many of the smartest characters in Jin Yong’s fiction are either morally grey or outright antagonists. In Jin Yong fiction, intelligence tends to make characters think that they don’t have to follow the rules or care about consequences to others, and if they are not restrained in some manner (by being taught Confucian principles and/or Buddhist principles, falling in love with a person more moral than themselves) they are bound to do more harm than good.
This is how the female characters get objectified for their intelligence – they are there so that the good male characters can make use of their intelligence without being tainted by the immorality which comes with intelligence. Furthermore, the female characters ‘need’ their less intelligent male lovers to offer them a moral center so that they do not sink into immorality. One of the many examples of this is Zhao Min and Zhang Wuji – Zhao Min is a badass, conniving Mongol princess who is both ruthless and clever enough to both take over her own family and rule all of China – but that all ends when she falls in love with Zhang Wuji, who is a Super Nice Guy and she wants him to like her. An even more extreme example is Ah Zi and Qiao Feng (though, to be fair, Ah Zi is not especially intelligent – but she is very sadistic) – to quote TV Tropes:
Morality Pet: A rare example of an older, stronger man being a young girl’s morality pet can be found in Demi Gods and Semi Devils. Xiao Feng is the only person who can bring out any sort of redeeming qualities in Ah Zi. Any good deed that Ah Zi ever attempts has been in the effort to seek his approval.
Meanwhile, Qiao Feng also gets a ton of use out of Ah Zi’s very intelligent (and mischievous) sister Ah Zhu.
There are, at most, two counter examples. One is maybe, maybe Wei Xiaobao and Shuang’er – Shuang’er is very subservient to Wei Xiaobao (even though he does not deserve it), but with her obedient goodness, she occasionally persuades Wei Xiaobao to be a bit less blatantly immoral. But I think this is a very borderline example. The better example is Yang Guo and Xiaolongü – he helps ground him so he is less inclined to being implusive and mischievous (and this is the only major example in Jin Yong fiction – well, except for Wei Xiaobao and some of his wives – of an intelligent male character being lovers with a not-particularly-intelligent female character).
I love the work of Jin Yong, and I love that it is full of so many complex and diverse female characters. But I cannot help but notice that the female characters are there to be used by the male characters – whether they are used for they physical appearance or used for their brains. And I am not sure that being objectified for one’s brains is much better than being objectified for one’s physical appearance.
And this raises the question: why do feminists often say they want more intelligent female characters? Do we really want more intelligent female characters, or are we really seeking something else and we just think having more intelligent female characters would be expedient to reaching that other goal?