Carnival has no boundaries and no restrictions. All the people can participate in it, and the rulers are among them. Everyone is involved. Because it adopts a super-ecclesiastical and super-religious lifestyle, and because it gets rid of privileges and prohibitions, people also show their own free forms of existence while living. The carnival performances in the streets and squares reflect the "carnival world sense", which shows a complex view of human life existence, such as the interdependence of life and death, endless life, and "the relationship between death, regeneration and alternate renewal is always the leading factor in the holiday world sense".
Bakhtin pointed out the characteristics of carnival laughter itself. In this kind of laughter, "there are ancient fun rituals that laugh at the gods. Here, all the sacrificial elements and restrictive elements have disappeared, but the inclusive elements of the whole people have remained. It pursues a "spirit of the highest goal". This theory is a very useful antidote to stylized and dogmatic thinking.
Judging from Bakhtin's definition of carnival, carnival and carnival, carnival should contain more than two levels of connotation. On the one hand, it refers to the carnival phenomenon in human social life, which is mainly a folk cultural form represented by carnival. On the other hand, it also refers to the literary phenomenon of carnival, which is manifested in literary and dramatic narrative works with carnival spirit. Cervantes' Don Quixote is regarded by Bakhtin as a typical carnival literature.
< Don Quixote >: In the eyes of readers, the characters in the novel are a middle-aged countryman with a thin figure, dressed in rags and riding a lean old horse, and a short and fat attendant riding a donkey. The visual gap is huge, which is one of the manifestations of carnival narrative theory.
The bohemian behavior of the characters is also one of the manifestations. Don Quixote put his armor in the courtyard of a small hotel for four hours, accepted the seal of the shopkeeper of the inn, and fought a carnival-like battle ... a solemn link and the characteristics of the game. Carnival can also be seen, and the characteristics of frolicking are incisive, which adds to the carnival atmosphere.
Naturally, the language of the characters is indispensable. You read: you can learn about various languages, colloquial abuse, poems of praise and criticism, and frank and unrestrained language. The use of square language has a strong carnival color from beginning to end.
In a mixed style, you seem to be reading folk poetry, medieval literature, pastoral novels and inscriptions, vagrant novels, knight literature ... This writing style leads to a strong carnival color in the whole text.
The chaos of time, the repeated changes of the narrator's angle, and the ubiquitous "square" all prove to us what kind of grounded literary works this strong carnival color can produce, and its strong attraction tempts every carnival soul.