Revelry Narration in Teahouse

Carnival is a cultural aesthetic and poetic proposition put forward by Bakhtin. The so-called "carnival" refers to the transformation and infiltration of all carnival celebrations, ceremonies and forms in literary genres. To put it simply, it is to combine various forms of carnival with literature, break the form and style of literature, pursue new literary styles through the collision of complex literary factors, and realize the openness of literary content and diversification of forms.

Carnival is arbitrary in people's eyes. Let go of everything and throw yourself into a happy feast. The carnival in the Middle Ages was a carnival that temporarily eliminated the barriers between classes, talked and laughed freely, dressed casually and spent three months boldly and freely. The carnival of literature is an open and inclusive state. The characters and scenes in the works switch back and forth, and the ups and downs of characters experience are surging. Taking Teahouse as an example, the ups and downs of Yutai Teahouse for decades are like a carnival scene from prosperity to decline, and the fate of the characters changes accordingly.

The first is the carnival of life. Yutai Teahouse in the teahouse is the most famous and lively teahouse in the street. People come and go every day, and Wang Lifa's sleek style can please everyone who comes to the store for tea. The beginning of the story is the late Qing Dynasty, which is the peak of teahouse development and the best life of teahouse characters. Rich people can go to private rooms with dignity, and pawns and plowmen who make a living from this can pay a few pennies to make a bench in the hall, drink a bowl of tea and chat with strangers. Although respectable people and civilians don't drink tea together, there is information exchange in Yutai Teahouse. This carnival of decent people and civilians seems to have class inequality, but on the platform of Yutai teahouse, it can be regarded as breaking the shackles of class.

Secondly, the background of the story spans from the late Qing Dynasty to the War of Liberation. The people in the teahouse changed from fickle to less, and the protagonist and the fate of the teahouse rose and fell together, just like a grand carnival from climax to end. At first, the teahouse was bustling and free. Later, the operation was difficult step by step, the rent rose, the shopkeeper Wang Lifa committed suicide, and the teahouse closed down. This kind of carnival will inevitably come to an end under the interference of different external forces, just like no fireworks can last forever, and no matter how lively the banquet is, some people will eventually go to the empty field of tea.

In Teahouse, carnival language is used to connect the story with the development trend of the characters. The tension of the characters' environment is inseparable from language. Wang Lifa was euphemistic and unsophisticated to his guests from the beginning, and then he became nervous, timid and passive step by step. Through language and dialogue, we can reflect the changes from the late Qing Dynasty to the liberation war for decades, and how the teahouse changed and attacked Wang Lifa and his teahouse. Carnival narration runs through the plot development and promotes the plot development. Carnival has vitality, but it will come to an end.