Character Model Study In LiuZhenyun’s Novels

Liu Zhenyun’s characters gallery has small and great opposition of two kinds of image. The writer objectively described the conditions of small potatoes,standing on the position of the small potatoes to have communications and dialogues with great men. As the opposite of small potatoes, great men exited everywhere, whereas small potatoes were always under the despotic power of great men. Liu Zhenyun’s character followed their specific pattern.Small potatoes were shaped by three modes: the mode of primitive ecology, the mode of embarrassment and livestock. The life habit and styles were vulgar, living environment were involved in sordid surroundings. Little persons lived in original ecology and showed vigorous vitality of people at the bottom, which was a mirror of the living conditions of small potatoes, and also a special compliment on vigorous vitality. Small potatoes were involved in embarrassment, which meant they struggled in economical, mental and multiple dilemma. They could hardly get rid of the embarrassment no matter how hard they tried. When cruel reality broke inner balance, small potatoes could barely communicate with other people effectively, which led to isolation. It meant that they could only find inner comfort from animals. The shape patterns also consisted of three types: vulgarization, authoritarian criticism and spiritual distortion. Both powerful core people and middle-class people struggled to get promotion under a powerful ladder were both depicted with vulgarization. As a result, the aureole of so-called great men missed thoroughly. With the powerful sticks, they could have their full swing. So it was naturally necessary to criticize authority to reveal the ugly face of great men. It seemed that great men had power and lived with luxury, but everlasting desire and inner empty led to their spiritual distortion and abnormal psychology.In short, whether great men or small potatoes were endowed with three common patterns by the author. Firstly, they were both in the cycle of from embarrassment to struggle and then back to embarrassment, which was an abnormal life in Liu Zhenyun’s novel. Second, all people were teased by desire, kidnapped by power will, substance will, survival will, sexual desire, etc. Then they became the slaves of desire, in power and desire under the baton of agony. At last, all characters’ normal living track was always blocked by chance factors, then coincidence factors became the dominating factor of characters’ fates. From the functional perspective of the characters, the writer fully showed the subjectivity of the creation subject on characters. All characters are arranged in for "I" used model. These figures became the megaphone of communication and dialogue of the novelist.