On The Carnival Features Of The First Part Of King Henry The Fourth

Bahktin's carnival theory,though greatly controversial,has been applied to the analysis of varied literary texts ever since its creation.This thesis tries a new interpretation with Bakhtin's theory of carnivalization to uncover the profound carnival spirit in Shakespeare's play.Bakhtin takes the idea of carnival from its agricultural and Christian origins as a promise of new growth,and expands it to represent a feast for all the world,—"a feast of becoming,change and renewal".This universalized image of carnival allows him to develop the concept of the "carnival spirit".During the Renaissance,the primordial elements of carnival swept away many barriers and invaded many realms of official life and worldview. The Renaissance is the high point of carnival life.Carnival,with diverse rituals,customs and symbols,is intended to degrade the hierarchical order and dogmatism,tuming it upside down; and the core of carnival is reversal.By grounding his philosophical explorations on subversion,laughter,ambivalence,and becoming,Bakhtin emphasizes the dynamic movement underlying "unofficial" language.Traditionally,history plays are serious and conform to the chronological events in history,however,Shakespeare's HenryⅣinverses this tradition,adding comic elements and giving voice to what is silent in the historical plot. The very existence of the diverse voices serves to counter the totalizing fantasies of power and subvert the hierarchies upon which they depend,which actually embodies the carnival spirit of subversion and change.In addition to injecting fresh blood to the history play,the element of carnivalization reflects the anti-traditional attitude during Renaissance period.This thesis is divided into three chapters.Chapter one demonstrates the fundamental characteristic of carnival rituals of the folk world.The primary carnival act is the mock crowning and subsequent decrowning of the carnival king—a dualistic ritual displayed by Falstaff's crowning and decrowning.The other is carnival laughter and dualistic carnival image."Official" authority is subverted most of all by laughter which emphasizes movement and draws attention to the forms of relationship, rather than the components within the relationship.Besides,it also overcomes fear,for it knows no inhibitions,no limitations.The laughter brings by Falstaff is strongly connected with his aspiration for freedom and his challenge to the authority.Hal and Falstaff are two complex dualistic carnival figures,and opposite poles of changes and crisis are fully represented in them.Chapter two illustrates carnival sense of the free world which comprises of three parts. Part one is about mood of humor and collectivity.All carnival rituals and customs bear a certain kind of humorous element.It also involves full participation by various classes, ranging from king and noblemen,rebels,to Falstaff and ordinary people in the tavern.The second part discusses the atmosphere of equality embodied in the dialogues between diverse groups.Here different voices of different ideologies come together,making their unique, independent thought clear.The last part concerns the carnival spirit of alteration and regeneration.In this part the carnival world values behind the rituals,combing spirit of alteration and regeneration and spirit of dialoguing,are interpreted,and Bahktin's viewpoint is questioned where he denies the dialogue feature of plays.In chapter three,the carnival features of the setting,the characters and the languages are analyzed in depth,especially the carnival square,clown-like figures and the multiple-style languages.Altogether,the carnival square,carnival characters and folk language make the play a profound carnival drama.