The Rise of Maoism in Ha Jin's in The Pod corruption. Jin meticulously captures the panoramic view of unscrupulous China, witnessing the tremor and decimation of the powerful humanitarian structures that once dominated the country. The tension in the religious fabric of China due to the brutal intervention of forces that contaminate not only the rudimentary principles but also the fundamental belief system of the Chinese people. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayMaoism or Mao Zedong Thought is a political theory popularized by the teachings of Mao Zedong, a Chinese political figure. Considered an anti-revisionist example of Marxism-Leninism, a resistance to the attempt to alter, revise and abandon the foundations of revolutionary theory and practice in a communist context by its followers called Maoists. The theory was constructed as a way to propagate the political and military ideology of the Chinese Communist Party (CCP) and as fuel to spread revolutionary movements around the world. The theory emphasized that the peasants should be a significant rebellious class in China in contrast to the bourgeoisie and industrial working class, and that the peasants are better suited to building a revolutionary and socialist society in China. After the end of the Sino-Chinese War in 1945, the Chinese Civil War took place in which the Chinese Communist Party overthrew the Kuomintang-led Republic of China, followed by the creation of the People's Republic of China (PRC) loosely based on "China continental". With the declaration of the People's Republic of China, Mao's primary goal was the equitable division of land, and this fledgling communist belief clashed with puritanical views of complete landowner ownership of agricultural land. By subverting this rigid total ownership or harsh capitalist society, Mao Zedong further expanded his attempt to eradicate the epidemic of capitalism in China. Mao's vision of a socialist community as a strong ideology that would elevate China not only politically but also on an economic scale. Maoism, which began as a theory of resistance, not only opposed contemporary political theories such as Marxism-Leninism, but also made inroads into the powerful religious belief structures of Chinese communities by challenging the very roots of its existence and existence. propagation. Religious teachings including Confucianism, Taoism, and teachings of various people such as Buddha. In the pond of Ha Jin bears witness to the stormy collision of pro-Mao China studded with the strongly communist approach and the parallel system of values that moves in a previous way by delving into each and every value and going back to the most embryonic version by scrutinizing the rudimentary structure. The novel is imbued with these value systems ranging from Buddhism, Confucianism and Taoism in the colossal communist arena struggling to survive. Confucianism or Ruism can be described as a religion, a philosophy, a tradition that keeps the humanitarian or rationalistic approach in the foreground, a way of administration or, in a clarified form, a way of life. It can be traced back to the archaic teachings of one of China's greatest philosophers Confucius. This philosophy initially derived and developed from what later became known as the One Hundred Schools of Thought. Confucius, who lived between 551 and 479 BC, was considered a retransmitter of the values of the Zhou dynasty which he spread during his lifetime. With his strongsimilarity with Taoist culture, both teachings are kept close to each other. On a humanitarian and rationalistic basis, the basic principles of Confucianism emphasize the importance of family and social harmony or Dharma in Hindu mythology. It distinguishes itself from materialism and superficiality by maintaining humanism as the fundamental value of Confucianism. It basically accentuates the prosaic activities of human life primarily highlighting the relationship between human beings as a fundamental source for the expression of genuine human nature known as 'xing', which also serves as an anchor in Heaven (Tian) and respect for spirits and the gods (shen). In the Pond subtly targets pro-Mao China, when the very roots whereby Mao Zedong subverted China's primary and elementary system. Ha Jin's portrait of the novel's protagonist Shao Bin tormented by worldly angst, struggle, and the relentless effort to elevate his position from a prosaic manifestation of a character to a larger-than-life one. His ploys to expose the corruption of the leaders, Secretary Liu and Director Ma. The novel is meticulously set in a workplace called Harvest Fertilizer Plant and he tries his best to house his wife Meilan and his two-year-old daughter in a room there. But due to tricks and cheap counterfeits you always end up getting nothing. His performance as an amateur painter and calligrapher helps him highlight the fractured system and the fissures and breaches that exist within it. In the Pond is a decent microcosmic specimen of the Chinese communist macrocosm. Jin discreetly raises the curtains from a hidden door and gets a peek into the lives of ordinary people in a highly communist environment and the cultural revolution in China. The Cultural Revolution or Great Proletarian Cultural Revolution, a sociopolitical movement initiated by the leader of the People's Republic of China, Mao Zedong. This movement marked the return of Zedong and the consolidation of his position after the bizarre ramifications of his old draconian campaign, the Great Leap Forward. The aim of this campaign was to transcend China by making it socially and economically sound, and push it into the vortex of transition and rapidly transform it from an agricultural society to a socialist society through industrialization and collectivization. Jin outlines dark images of ordinary China by forcing her into a small town called Dismount Fort. The novel is set in 1977, a year after the end of the Cultural Revolution. Jin, through his remarkable writing skills, seeks to incorporate the contaminated area and ramifications that result in the breaches and rifts in China. The dark images become clear after the economic conditions of the protagonist and the people living there begin to emerge highlighting corrupt and tarnished working conditions. One of the examples from the novel is when Shao Bin writes a letter accusing Director Ma and Secretary Liu of lack of transparency in the system. “Where is the communist consciousness? Why are they more vicious and more greedy than the landowners and capitalists of old China? Should they still remain in the party?” (35)The reservations and questions raised by the protagonist Shao Bin provide an unmistakable insight into a China outside of fiction that tells a completely distorted story of the corruption prevalent in the country. The fundamental purpose of the Cultural Revolution was to preserve and cultivate genuine communist ideology in China by eliminating the remnants of capitalists and traditional China, which once defined the country as an agrarian community. The hidden motive behind this resistance of capitalism in China was to reimpose the Maoist ideology of asocialist country. The novel can be said to be a compilation of all the outcomes of the Great Leap Forward and during the Cultural Revolution as it is set against the backdrop of these gigantic and epochal movements. Ha Jin's assimilation of the Cultural Revolution and Mao Zedong Thought is spiraling into a positive compass in his novel. The author, set in favor of Mao, simply exposes the remnants of capitalism in the city. It can be said that the Ha Jin consciously tries to skip the middle phase of the Great Leap Forward and be cryptic about it when it ended with one of the most draconian and massive mass killings of millions of human beings that a century has ever seen. view. One of the cases in the novel where the protagonist Shao Bin idealizes the ideology of Mao Zedong and tries to spread his teachings through calligraphy and art. joy in fighting the Earth, boundless joy in fighting Man!” Those words, representing the courage of the proletariat, warmed Bin's heart and invigorated his blood” (73)Although the Great Proletarian Cultural Revolution fractured China politically and had a negative impact on the country's economy with some of its savage and regressive strategies, the revolution as a whole brought the country to a uniform and homogeneous state of mind. The congruence in the psychology of the people has invigorated the country to a greater extent. Jin outlined a China set in a post-Maoist context, rich in images and scenarios in which capitalism, landowners and primitive ways struggle to re-emerge while the ideology of Mao Zedong with a greater inclination towards Marxist philosophy and its regime had just ended and still holds a stronger influence on people. The Pond celebrates the ideology of Mao Zedong and builds on reinforcing the Great Proletarian Cultural Revolution of the People's Republic of China that transformed China from a politically and economically fragile nation into something powerful and muscular. Even leaders who are depicted as antagonists and who come out as hidden capitalists in the commune and socialist society. Director Ma and Secretary Liu are still following the teachings of the Mao government. The antagonists, however, are violating the main reason of common China; they can't really eliminate it or detach from it. One such example in the novel is when Director Ma reacts when Shao Bin's painting reaches the newspaper: “It's not our fault. When we were young, the government encouraged us to have children, the more the better, and at that time there was no such thing as family planning. Chairman Mao announced at the conference: "Among all things in the world, the most precious are human beings." (27) The recurring mention of Chairman Mao and his teachings in a positive manner throughout the novel, reveals to some extent the political thinking process of the writer himself. The writer's political views become clearer as the novel progresses. Through the protagonist Shao Bin, Jin's motivation to expose China's withering and return it to the capitalist society where Bin sees struggle in the fertilizer harvesting plant and is tormented by the leaders exposes the tenuous state of the political system towards which China it's moving. He tries to show new breaches, fissures and fractures in the new political system and tries to exhibit them through his art. Through Shao Bin's calligraphy and art, he seeks to incorporate primitive and traditional ways and strategies to deal with the corruption and indecency of leaders. Through this, he propagates the power of art forms and how China believes in autonomous art forms and how they are still a powerful tool to spread a message to a wider mass. Truth and beauty go into one conceptparallel and this is how the leaders' indecency is revealed in the novel. "That night, he took out a large brush made of goat hair and wrote on a large piece of paper: "Yang Chen always haunts Me!"... To him the five words seemed labored and elegant, each as big as a brick. ( 57) The infusion of conventional techniques into post-Mao modern China, such as calligraphy and novel-imbued art forms, acts as a primary breach or fissure. This fracture holds significant importance to its traditional or primitive essence These conventional tools have stood the test of time and are still hardy enough to exist as an autonomous entity. China has always been known for its unique culture and traditions and its distinctive nature sets it apart from other countries archaic ways and let those tools exist in isolation celebrating not only their uniqueness but also their power. These tools, although endangered, still create a deep rift in people's minds, enough to inspire or change their opinion. One such case was when Shao Bin went up to the altar to broadcast a work of art and show the fraudulent nature of the leaders and change the course of many people to vote for the leader in the elections. The understanding of primitive and archaic techniques and value systems in the world of modern post-Mao China are precisely those strategies that create breaches, rifts and fractures. There is always a stench, impression or influence of these techniques on modern printmaking. While these techniques have evolved over time and percolated during that time, undergoing changes on a colossal or miniscule level do not truly dissipate. The novels worked on two self-contained fragments or fragments that oscillate between conventional and traditional concepts when these concepts are seen re-emerging on the crest and another works on a modern concept of how these concepts have stood the test of time and emerged with small and big changes. . Like a pendulum, Jin's In the Pond keeps going back and forth and sometimes overlaps the concept of the archaic with that of new concepts and this novel can be seen as an exemplar, a microcosm of the ramifications that are happening in reality. One of these primitive value systems assimilated by Ha Jin in the novel is the fragment of Religion. This basic belief system of China. Jin embodies this degraded belief system to delineate transgression and fractures in post-Mao China. He returns the modified version, a filtered value system that has stood the test of centuries; Confucianism and Buddhism. Religion has always been considered as an entity that, in some ways, is on the verge of colliding head-on with modern codes of conduct. Its existence is bound to a completely different plane without the possibility of overlap or coincidence. Its nature is purely autonomous and therefore clashes violently as in a juxtaposition or a presumption if only approached without any modification or filtered system. In order for Religion to slide smoothly onto the different plane without distorting any conduct of the Moderns, it must go through a transition phase to enter into synchrony and simultaneously offer a completely independent choice. This transition is inevitable as society moves forward, otherwise its puritanical codes of conduct could lead to the complete extinction of the imperiled entity. Therefore religion harmonizes with modern concepts, undergoing changes, massive or small, for its survival. Confucianism and Buddhism are the two main belief systems permeated in Ha Jin's novel. The protagonist Shao Bin and his wife Meilan reiterate repeatedlythese traditional concepts, being influenced by them to eliminate the remnants of capitalism or taking inspiration to continue their task by gaining wisdom from these sources. Searching for and selecting values from these traditional sources in the super-modern era acts as a transgression or breach that allows one to enter another dimension: religion. There are many such instances in the novel where Jin is seen reinvigorating rudimentary belief systems. “If only they had lived in Worker's Park, the plant's apartment complex, which was just a few hundred steps from the shore. These days Meilan prayed to Buddha at night, begging him to help her family find an apartment in the park soon.” (5) The characters in the novel draw on these traditional concepts and try to blend them into their everyday modern lifestyle. Another example from the novel where Shao takes inspiration from the traditional concept, a belief system of the Han Dynasty. “He remembered that the materialist thinker Wang Chong of the Han Dynasty had said something about punishing evil with the brush. That passage must have been in the paperback The Essence of Ancient Chinese Thought, which he had read a few weeks earlier. (15)It was a recurring event when the protagonist Shao Bin drew inspiration from archaic value systems before waging a war against his leaders, Director Ma and Secretary Liu. He is seen reading these old texts or remembering the belief system before engaging in any work he begins. Jin's artistry in building his characters and making them encompass traits that transcend them to the level of good or lower them based on their choices as evil characters. We see that these characters work on three distinct levels. Or they are very traditional characters and represent archaic culture and traditions. The second floor represents modern characters with traits and personalities that represent values. The third plane can be called the plane of hybrid characters who exist simultaneously on the first and second planes or swing like a pendulum between the conventional concept and the modern concept. Starting with the character who represents traditional culture is Meilan. She is the wife of the protagonist Shao Bin and can be defined as the raw manifestation of Confucianism and Buddhist teachings. He preaches the teachings of Buddha and his belief system and seeks to create an authentic rift in post-Mao China through his portrayal as a conventional character. It represents ancient Chinese culture and therefore can be considered the example of dying China. Other genuine characters who are the manifestation of modern China or post-Mao China are Secretary Liu and Director Ma. They are the newly formed remnants of capitalist society. These characters can be interpreted as a violation of Mao Zedong Thought and therefore become the first and elementary choice as antagonists. They are the corrupt leaders and oppose Shao Bin as resistance to allow him to rise. These characters portray a China that is rapidly advancing. The character on the third floor is Shao Bin, the protagonist himself. He is a character who moves back and forth between the archaic and the modern concept. Once he realizes that his grip on modern society is becoming fragile, he returns to his roots to search for a value that will help him achieve justice in post-Mao China. Shao Bin is the link that connects two concepts, the conventional, primitive and traditional one, to the modern one. It is the manifestation of ancient China, but strengthening it and modern China by giving the message that modern China will remain paralyzed without the help of traditional concepts. Jin's author's note on choosing the protagonist tells of.

Topic > The Rise of Maoism in Ha Jin's in The Pod corruption. Jin meticulously captures the panoramic view of unscrupulous China, witnessing the tremor and decimation of the powerful humanitarian structures that once dominated the country. The tension in the religious fabric of China due to the brutal intervention of forces that contaminate not only the rudimentary principles but also the fundamental belief system of the Chinese people. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayMaoism or Mao Zedong Thought is a political theory popularized by the teachings of Mao Zedong, a Chinese political figure. Considered an anti-revisionist example of Marxism-Leninism, a resistance to the attempt to alter, revise and abandon the foundations of revolutionary theory and practice in a communist context by its followers called Maoists. The theory was constructed as a way to propagate the political and military ideology of the Chinese Communist Party (CCP) and as fuel to spread revolutionary movements around the world. The theory emphasized that the peasants should be a significant rebellious class in China in contrast to the bourgeoisie and industrial working class, and that the peasants are better suited to building a revolutionary and socialist society in China. After the end of the Sino-Chinese War in 1945, the Chinese Civil War took place in which the Chinese Communist Party overthrew the Kuomintang-led Republic of China, followed by the creation of the People's Republic of China (PRC) loosely based on "China continental". With the declaration of the People's Republic of China, Mao's primary goal was the equitable division of land, and this fledgling communist belief clashed with puritanical views of complete landowner ownership of agricultural land. By subverting this rigid total ownership or harsh capitalist society, Mao Zedong further expanded his attempt to eradicate the epidemic of capitalism in China. Mao's vision of a socialist community as a strong ideology that would elevate China not only politically but also on an economic scale. Maoism, which began as a theory of resistance, not only opposed contemporary political theories such as Marxism-Leninism, but also made inroads into the powerful religious belief structures of Chinese communities by challenging the very roots of its existence and existence. propagation. Religious teachings including Confucianism, Taoism, and teachings of various people such as Buddha. In the pond of Ha Jin bears witness to the stormy collision of pro-Mao China studded with the strongly communist approach and the parallel system of values that moves in a previous way by delving into each and every value and going back to the most embryonic version by scrutinizing the rudimentary structure. The novel is imbued with these value systems ranging from Buddhism, Confucianism and Taoism in the colossal communist arena struggling to survive. Confucianism or Ruism can be described as a religion, a philosophy, a tradition that keeps the humanitarian or rationalistic approach in the foreground, a way of administration or, in a clarified form, a way of life. It can be traced back to the archaic teachings of one of China's greatest philosophers Confucius. This philosophy initially derived and developed from what later became known as the One Hundred Schools of Thought. Confucius, who lived between 551 and 479 BC, was considered a retransmitter of the values of the Zhou dynasty which he spread during his lifetime. With his strongsimilarity with Taoist culture, both teachings are kept close to each other. On a humanitarian and rationalistic basis, the basic principles of Confucianism emphasize the importance of family and social harmony or Dharma in Hindu mythology. It distinguishes itself from materialism and superficiality by maintaining humanism as the fundamental value of Confucianism. It basically accentuates the prosaic activities of human life primarily highlighting the relationship between human beings as a fundamental source for the expression of genuine human nature known as 'xing', which also serves as an anchor in Heaven (Tian) and respect for spirits and the gods (shen). In the Pond subtly targets pro-Mao China, when the very roots whereby Mao Zedong subverted China's primary and elementary system. Ha Jin's portrait of the novel's protagonist Shao Bin tormented by worldly angst, struggle, and the relentless effort to elevate his position from a prosaic manifestation of a character to a larger-than-life one. His ploys to expose the corruption of the leaders, Secretary Liu and Director Ma. The novel is meticulously set in a workplace called Harvest Fertilizer Plant and he tries his best to house his wife Meilan and his two-year-old daughter in a room there. But due to tricks and cheap counterfeits you always end up getting nothing. His performance as an amateur painter and calligrapher helps him highlight the fractured system and the fissures and breaches that exist within it. In the Pond is a decent microcosmic specimen of the Chinese communist macrocosm. Jin discreetly raises the curtains from a hidden door and gets a peek into the lives of ordinary people in a highly communist environment and the cultural revolution in China. The Cultural Revolution or Great Proletarian Cultural Revolution, a sociopolitical movement initiated by the leader of the People's Republic of China, Mao Zedong. This movement marked the return of Zedong and the consolidation of his position after the bizarre ramifications of his old draconian campaign, the Great Leap Forward. The aim of this campaign was to transcend China by making it socially and economically sound, and push it into the vortex of transition and rapidly transform it from an agricultural society to a socialist society through industrialization and collectivization. Jin outlines dark images of ordinary China by forcing her into a small town called Dismount Fort. The novel is set in 1977, a year after the end of the Cultural Revolution. Jin, through his remarkable writing skills, seeks to incorporate the contaminated area and ramifications that result in the breaches and rifts in China. The dark images become clear after the economic conditions of the protagonist and the people living there begin to emerge highlighting corrupt and tarnished working conditions. One of the examples from the novel is when Shao Bin writes a letter accusing Director Ma and Secretary Liu of lack of transparency in the system. “Where is the communist consciousness? Why are they more vicious and more greedy than the landowners and capitalists of old China? Should they still remain in the party?” (35)The reservations and questions raised by the protagonist Shao Bin provide an unmistakable insight into a China outside of fiction that tells a completely distorted story of the corruption prevalent in the country. The fundamental purpose of the Cultural Revolution was to preserve and cultivate genuine communist ideology in China by eliminating the remnants of capitalists and traditional China, which once defined the country as an agrarian community. The hidden motive behind this resistance of capitalism in China was to reimpose the Maoist ideology of asocialist country. The novel can be said to be a compilation of all the outcomes of the Great Leap Forward and during the Cultural Revolution as it is set against the backdrop of these gigantic and epochal movements. Ha Jin's assimilation of the Cultural Revolution and Mao Zedong Thought is spiraling into a positive compass in his novel. The author, set in favor of Mao, simply exposes the remnants of capitalism in the city. It can be said that the Ha Jin consciously tries to skip the middle phase of the Great Leap Forward and be cryptic about it when it ended with one of the most draconian and massive mass killings of millions of human beings that a century has ever seen. view. One of the cases in the novel where the protagonist Shao Bin idealizes the ideology of Mao Zedong and tries to spread his teachings through calligraphy and art. joy in fighting the Earth, boundless joy in fighting Man!” Those words, representing the courage of the proletariat, warmed Bin's heart and invigorated his blood” (73)Although the Great Proletarian Cultural Revolution fractured China politically and had a negative impact on the country's economy with some of its savage and regressive strategies, the revolution as a whole brought the country to a uniform and homogeneous state of mind. The congruence in the psychology of the people has invigorated the country to a greater extent. Jin outlined a China set in a post-Maoist context, rich in images and scenarios in which capitalism, landowners and primitive ways struggle to re-emerge while the ideology of Mao Zedong with a greater inclination towards Marxist philosophy and its regime had just ended and still holds a stronger influence on people. The Pond celebrates the ideology of Mao Zedong and builds on reinforcing the Great Proletarian Cultural Revolution of the People's Republic of China that transformed China from a politically and economically fragile nation into something powerful and muscular. Even leaders who are depicted as antagonists and who come out as hidden capitalists in the commune and socialist society. Director Ma and Secretary Liu are still following the teachings of the Mao government. The antagonists, however, are violating the main reason of common China; they can't really eliminate it or detach from it. One such example in the novel is when Director Ma reacts when Shao Bin's painting reaches the newspaper: “It's not our fault. When we were young, the government encouraged us to have children, the more the better, and at that time there was no such thing as family planning. Chairman Mao announced at the conference: "Among all things in the world, the most precious are human beings." (27) The recurring mention of Chairman Mao and his teachings in a positive manner throughout the novel, reveals to some extent the political thinking process of the writer himself. The writer's political views become clearer as the novel progresses. Through the protagonist Shao Bin, Jin's motivation to expose China's withering and return it to the capitalist society where Bin sees struggle in the fertilizer harvesting plant and is tormented by the leaders exposes the tenuous state of the political system towards which China it's moving. He tries to show new breaches, fissures and fractures in the new political system and tries to exhibit them through his art. Through Shao Bin's calligraphy and art, he seeks to incorporate primitive and traditional ways and strategies to deal with the corruption and indecency of leaders. Through this, he propagates the power of art forms and how China believes in autonomous art forms and how they are still a powerful tool to spread a message to a wider mass. Truth and beauty go into one conceptparallel and this is how the leaders' indecency is revealed in the novel. "That night, he took out a large brush made of goat hair and wrote on a large piece of paper: "Yang Chen always haunts Me!"... To him the five words seemed labored and elegant, each as big as a brick. ( 57) The infusion of conventional techniques into post-Mao modern China, such as calligraphy and novel-imbued art forms, acts as a primary breach or fissure. This fracture holds significant importance to its traditional or primitive essence These conventional tools have stood the test of time and are still hardy enough to exist as an autonomous entity. China has always been known for its unique culture and traditions and its distinctive nature sets it apart from other countries archaic ways and let those tools exist in isolation celebrating not only their uniqueness but also their power. These tools, although endangered, still create a deep rift in people's minds, enough to inspire or change their opinion. One such case was when Shao Bin went up to the altar to broadcast a work of art and show the fraudulent nature of the leaders and change the course of many people to vote for the leader in the elections. The understanding of primitive and archaic techniques and value systems in the world of modern post-Mao China are precisely those strategies that create breaches, rifts and fractures. There is always a stench, impression or influence of these techniques on modern printmaking. While these techniques have evolved over time and percolated during that time, undergoing changes on a colossal or miniscule level do not truly dissipate. The novels worked on two self-contained fragments or fragments that oscillate between conventional and traditional concepts when these concepts are seen re-emerging on the crest and another works on a modern concept of how these concepts have stood the test of time and emerged with small and big changes. . Like a pendulum, Jin's In the Pond keeps going back and forth and sometimes overlaps the concept of the archaic with that of new concepts and this novel can be seen as an exemplar, a microcosm of the ramifications that are happening in reality. One of these primitive value systems assimilated by Ha Jin in the novel is the fragment of Religion. This basic belief system of China. Jin embodies this degraded belief system to delineate transgression and fractures in post-Mao China. He returns the modified version, a filtered value system that has stood the test of centuries; Confucianism and Buddhism. Religion has always been considered as an entity that, in some ways, is on the verge of colliding head-on with modern codes of conduct. Its existence is bound to a completely different plane without the possibility of overlap or coincidence. Its nature is purely autonomous and therefore clashes violently as in a juxtaposition or a presumption if only approached without any modification or filtered system. In order for Religion to slide smoothly onto the different plane without distorting any conduct of the Moderns, it must go through a transition phase to enter into synchrony and simultaneously offer a completely independent choice. This transition is inevitable as society moves forward, otherwise its puritanical codes of conduct could lead to the complete extinction of the imperiled entity. Therefore religion harmonizes with modern concepts, undergoing changes, massive or small, for its survival. Confucianism and Buddhism are the two main belief systems permeated in Ha Jin's novel. The protagonist Shao Bin and his wife Meilan reiterate repeatedlythese traditional concepts, being influenced by them to eliminate the remnants of capitalism or taking inspiration to continue their task by gaining wisdom from these sources. Searching for and selecting values from these traditional sources in the super-modern era acts as a transgression or breach that allows one to enter another dimension: religion. There are many such instances in the novel where Jin is seen reinvigorating rudimentary belief systems. “If only they had lived in Worker's Park, the plant's apartment complex, which was just a few hundred steps from the shore. These days Meilan prayed to Buddha at night, begging him to help her family find an apartment in the park soon.” (5) The characters in the novel draw on these traditional concepts and try to blend them into their everyday modern lifestyle. Another example from the novel where Shao takes inspiration from the traditional concept, a belief system of the Han Dynasty. “He remembered that the materialist thinker Wang Chong of the Han Dynasty had said something about punishing evil with the brush. That passage must have been in the paperback The Essence of Ancient Chinese Thought, which he had read a few weeks earlier. (15)It was a recurring event when the protagonist Shao Bin drew inspiration from archaic value systems before waging a war against his leaders, Director Ma and Secretary Liu. He is seen reading these old texts or remembering the belief system before engaging in any work he begins. Jin's artistry in building his characters and making them encompass traits that transcend them to the level of good or lower them based on their choices as evil characters. We see that these characters work on three distinct levels. Or they are very traditional characters and represent archaic culture and traditions. The second floor represents modern characters with traits and personalities that represent values. The third plane can be called the plane of hybrid characters who exist simultaneously on the first and second planes or swing like a pendulum between the conventional concept and the modern concept. Starting with the character who represents traditional culture is Meilan. She is the wife of the protagonist Shao Bin and can be defined as the raw manifestation of Confucianism and Buddhist teachings. He preaches the teachings of Buddha and his belief system and seeks to create an authentic rift in post-Mao China through his portrayal as a conventional character. It represents ancient Chinese culture and therefore can be considered the example of dying China. Other genuine characters who are the manifestation of modern China or post-Mao China are Secretary Liu and Director Ma. They are the newly formed remnants of capitalist society. These characters can be interpreted as a violation of Mao Zedong Thought and therefore become the first and elementary choice as antagonists. They are the corrupt leaders and oppose Shao Bin as resistance to allow him to rise. These characters portray a China that is rapidly advancing. The character on the third floor is Shao Bin, the protagonist himself. He is a character who moves back and forth between the archaic and the modern concept. Once he realizes that his grip on modern society is becoming fragile, he returns to his roots to search for a value that will help him achieve justice in post-Mao China. Shao Bin is the link that connects two concepts, the conventional, primitive and traditional one, to the modern one. It is the manifestation of ancient China, but strengthening it and modern China by giving the message that modern China will remain paralyzed without the help of traditional concepts. Jin's author's note on choosing the protagonist tells of.