First, unambiguous.
Mr. Lao She's language art is extraordinary. Although Teahouse has only three short acts, he can portray and convey unique content and rich thoughts and feelings in highly concise and accurate language. Li Yu believes that the language of drama should conform to the image of the characters, and whatever the characters say, that is, the language should correspond to the characters, otherwise it will make the audience feel unreal. "It's all proverbs, one use and one use." [1] Obviously, Mr. Lao She followed the theory of "No Gone with the Wind" in my Random Thoughts, and used personalized language to outline various characters with a few strokes.
The visualization of language is the focus of the study of language characteristics in all teahouses. Liang Jiaxin believes that Lao She's ability to use characters' language is the charm of Teahouse without complicated structure and ups and downs. [2] There are dozens of characters in Teahouse, and Lao She has the ability to let them expose their personalities in a few words, so as to achieve the effect of "opening your mouth and knowing who you are [3]".
Wang Lifa, the owner of the teahouse, is an important figure with the most appearances (229 times), which promoted the development of the plot. Mei Qiu thinks he is the person with the most personality and image. [4] The three acts of Teahouse are all connected in series with him as the protagonist.
The first sentence "Mr. Tang, take a walk outside" in Teahouse was said by Wang Lifa, the owner of the teahouse, not only to Tang Tiezui, but also to the guests in the teahouse. In Teahouse, Tang Tiezui is a gangster who smokes opium all day. He often comes to drink tea, but he always owes money. Wang Lifa naturally hates Tang Tiezui. But for this kind of person, Wang Lifa didn't swear directly. In order not to affect the business, he called Tang Tiezui "Mr. Tang" when he left the teahouse, and even sent Tang Tiezui a pot of tea. One of Wang Lifa's actions is to keep Tang Tiezui out of the limelight and let the teahouse get involved in right and wrong. Second, it can attract the goodwill of other diners. Obviously, Wang Lifa is a timid, cautious and smooth businessman. He inherited his father's teahouse at a young age. According to his father's old method, he insisted on "saying more good things, showing more respect and being liked by people, so that nothing would happen." This principle also kept Wang Lifa's teahouse from closing down in troubled times when warlords were fighting and people were in dire straits. At this time, Wang Lifa also verbally appeared "All? Right? " In order to run this pub, Wang Lifa is flexible. This is bound to make him smooth and humble.
When Fourth Master Qin collected the rent, his tactfulness and humility showed incisively and vividly.
Qin: Xiao Wang, does the rent here have to go up? The rent your father gave me in those days was not enough for me to drink tea!
Wang Lifa: You are right, sir. You are absolutely right! However, you don't need to be distracted by this little thing. Please send a waiter, and I will discuss with him how much the rent should be. I will definitely do so! Yes! Yes!
Qin: Boy, you are smoother than your father! Well, wait, I will get the house back sooner or later!
Wang Lifa: Don't scare me. I know how much you care about me and feel sorry for me. You will never let me sell hot tea in the street with a big teapot!
Master Qin, the landlord, obviously wants to raise the rent. He suffered from anger, but he was still flattering and humble. A few short words made Qin helpless. But when faced with soldiers and patrolmen, he was helpless. Afraid that the soldiers would smash his teahouse, he was a little timid and gave all his money to the soldiers. Facing the patrol of the patrolman
Cheating, he only dares to stamp his foot and scold a few words when the patrolman walks away.
But at the same time, he is kind. When Tang Tiezui showed his face to Wang Lifa, Wang Lifa said, "I tell you, if you don't quit smoking, you will never be lucky!" At this time, Wang Lifa took a tone of lesson. Mei Qiu thought that this was a sign that Wang Lifa despises Tang Tiezui, but more scholars such as Lu Wenjing thought that this reflected Wang Lifa's kindness. [5] The author believes that Wang Lifa has both emotions, but a person who can be so smooth uses warning to persuade people to quit smoking, which shows that Wang Lifa's kindness is more important.
There is no dispute about the image of Wang Lifa in various studies. I very much agree with Zhang's summary of his characters: he is a smart and capable person, flexible in mind, good at reading words and senses, not a heinous bad guy, but definitely not a good man who dares to uphold justice. [6]
Master Chang's language also has its own characteristics. Grandpa four often appears in 85 places, which is obviously a key figure in Mr. Lao She's works. Master Chang's language embodies his generous and frank style, which accords with his character characteristics of many years' travel and vicissitudes. Take the paragraph where they talk about foreign snuff as an example.
Grandpa Chang: "Alas, even snuff has to come from abroad! How much money does this have to flow out! "
Asako Liu: "We have plenty of Jinshan Yinshan in the Qing Dynasty, which is inexhaustible!"
A few strokes will often be compared with pockmarked Liu, which will show his constant justice and patriotism and his "swinging" character. Another frequently mentioned fragment also reflects Chang's character:
Who are you gossiping about?
Grandpa Chang: (not to be outdone) Where did you ask me? Spend money on tea, who won't be in charge?
Master Song: (looking at Er Dezi) I said, Sir, are you a policeman in the camp? Come on, sit down and have a bowl. We are also outfielders.
……
Erdezi: Hey! You're right. I'll sit in the back. Li San, I'm waiting for the tea money here.
In this conversation of five people, everyone only said three or five sentences at most, and all of a sudden Er Dezi, the favorite of the Manchu government, exposed his personality characteristics and ugly face, such as making trouble, flying around, making trouble without reason, bullying the weak and being afraid of the hard, being an expert in civil war and a layman in foreign war. It also vividly shows the emotional characteristics such as anger and kindness of foreign aggression, dissatisfaction with the Qing court's betrayal of the country, and contempt for the court's tolerant personnel. There are also Wang Lifa's fear of things, Mr. Song's harmony and other personality characteristics, which have been satisfactorily demonstrated. When Erdezi began to discipline Master Chang, Master Ma only said a few words, but he didn't even stand up, and suddenly smashed Erdezi's arrogance and bared his teeth. This truth was later explained clearly through Wang Lifa's mouth. It turned out that Master Ma had a foreign backer, which not only re-emphasized the character of Erdezi as an expert in civil war and an outsider in foreign wars, but also secretly revealed the imperialist control over the Qing government at that time.
In the study, the analysis of Qin, the equally patriotic capital, focuses on a conversation between him and eunuch Pang. This passage can be described as innuendo and angry words. One is fearless and condescending; One is a new national capitalist who doesn't worry about money. In a few words, it shows their identity, status, personality and mentality. Qin despised Pang, a feudal die-hard eunuch, and was still unconvinced. When he talked to eunuch Pang, he was naturally provocative and had something to say. According to the situation that Tan Sitong was killed and the die-hards gained power, Qin said to eunuch Pang, "Master Pang! Have you settled in these two days? " As the red man of Empress Dowager Cixi, eunuch Pang is well known for his high status and condescending pride, which Qin despised. Eunuch Pang's next words were obviously threatening: "Needless to say. The world is at peace, and the imperial edict comes down. Tan Sitong asks for an audience! Tell you, whoever dares to change the constitution of his ancestors will lose his head! " What they say is full of personality, which shows the sharp opposition between them. Eunuch Pang was a loyal minister of the rulers of the Qing Dynasty, and his social status made him develop an arbitrary character. But after all, this was after the Reform Movement of 1898. Although the political reform failed, the authority of Empress Dowager Cixi was severely impacted, and the seeds of the national bourgeoisie were growing step by step. So when eunuch Pang showed off his privileges, he had to restrain himself after he left and muttered something. Qin, whose social status is lower than that of a courtier eunuch, is the beneficiary of the "political reform" and seems to have a bright future. Although Qin is still humble to eunuch Pang on the surface, there is a sense of pride in his words. From the dialogue between these two roles, people can easily see that they belong to different classes and feel the opposition between the two social forces.
Even a small person, Mr. Lao She's language description is very personalized. Dozens of characters in Teahouse have their own personalities, and none of them are paper men. In Lao She's own words: "A big teahouse is a small society". All kinds of characters in the three eras staged all kinds of strange lives in a teahouse. Take Song Enzi and Wu Xiangzi as two supporting roles, but their personalities are also very distinct. There is a saying that "if there is an emperor, he will work for the emperor, and if there is President Yuan, he will work for the president." They are mercenary, regardless of good and evil, willing to be slaves and running dogs.
As for the "dynamic" mentioned in some studies, researchers are controversial about this concept. Some researchers think that the characters in Lao She's works change with time, while others think that "dynamic" refers to the contradiction and opposition in the dialogue between characters (see the dialogue between Qin and eunuch Pang above). In my opinion, the former pays more attention to the characters, and it is a bit far-fetched to classify them as linguistic features, while the latter can be covered visually and need not be listed separately, so I won't go into details here.
Second, concise English.
Li Yu said: "Legends are no better than articles. Articles are read by scholars, and I don't blame them for their depth. Drama is read by scholars and non-scholars, and it is read by women and children who don't study, so it is not expensive. [1]22 Mr. Lao She's Teahouse is very consistent with the characteristics of "simple but elegant". Its use of Beijing dialect makes the characters vivid and the content easy to understand, showing the rich local customs and characteristics of Beijing.
(A) the two
Erhua is often mentioned when studying Lao She's "Jingweier" writing. Erhua is an important feature of Beijing dialect. Erhua is not only a phonetic phenomenon, but also plays a rhetorical or grammatical role in language. Many usages of Hua Er in teahouses are worth savoring: "The place is right, how has it changed ..." ... Xiao Dingbao stood at the door with his head tilted, and immediately came in more than 200 teahouses ... ""With your hand that presided over one or two hundred tables of Manchu-Chinese banquets, go steaming? " Like, doorway, teahouse and hand. Lao She's application of Hua Er Yun in the script can shorten the distance with the audience and make the drama language lively and interesting.
(B) Modal words
Because the language in Teahouse is popular, there are many modal particles in it. A preliminary study on the translation of the modal particle "ah" in the English version of Teahouse and the translation of the modal particle "you" in the English version This paper analyzes the usage of "a" and "you" in Teahouse.
"Ah" mostly appears at the end of the sentence, and a small part appears in the sentence. The usage of "ah" at the end of a sentence varies according to the form of the sentence.
In the usage of the modal particle "ah" in Teahouse 13 1, 39 "ah" * * * appear at the end of the statement. The modal particle "ah" can be used at the end of explanatory sentences to remind or explain, "indicating the speaker's confident attitude towards the information conveyed, reminding the listener to strengthen his understanding of the information and make a response. For example, when a patrolman goes to a teahouse to collect vegetables, he explains to Wang Lifa the necessity of collecting vegetables. " "Ah" reflects the patrolman's attention to "soldiers can only fight with food" and reminds listeners to respond as soon as possible. On the one hand, the "ah" at the end of the evaluation sentence reflects the speaker's conviction of the exclamation content and expresses the speaker's strong exclamation emotion; ? On the other hand, it shows that the speaker wants to arouse the listener's * * * and respond. For example, Dezi made a fool of himself in the teahouse and wanted to beat Grandpa Chang. "You are awesome" is Grandpa Ma's evaluation of Er Dezi's domineering behavior, which contains irony. "Ah" highlights Master Ma's sigh, strengthens irony, and plays a role in reminding listeners to pay attention to their words and deeds.
The "ah" at the end of imperative sentences plays an important role in emphasizing the speaker's attitude of asking the listener to carry out instructions. At the same time, the use of "ah" will also narrow the distance between the speaker and the listener, thus easing the tone. As usual, when Grandpa Four was about to be taken away, he called out, "Where are you going? I want to make my feelings clear! Grandpa Chang asked Song Enzi to give him a reasonable explanation. " Ah "has the meaning of urging, reflecting the urgent mood that Grandpa Chang is not taken away and urgently needs an explanation.
Whether the "ah" in interrogative sentences can express doubt is controversial in academic circles. The author discusses them in categories. "Ah", which expresses interrogative tone, emphasizes the speaker's question, indicating that the speaker needs the listener's attitude to answer. For example, when he saw that Pockmarked Liu lost his soul, he rushed to beat himself. He wanted to know what happened, so he asked the audience, "What happened?" It's scary! I hope pockmarked Liu will give me an answer. "Ah", which does not express doubt, expresses the speaker's attitude of asking the listener for proof. For example, judging from Master Chang's words and deeds, Master Chang did not know that Master Ma had unintentionally offended Master Ma. So I began to remind you: you don't know this is Master Ma! You offended him too! Wang Lifa expressed his understanding in the form of right and wrong, and the "ah" at the end of the sentence showed Wang Lifa's convincing attitude towards expression.
The "ah" used to pause in a sentence, on the one hand, emphasizes the discourse content before "ah", on the other hand, is a reminder?
Listen to the following. For example, Mr. Song asked Mr. Huang for help, and Mr. Huang replied: "I am in charge of what the official hall can't do!" I won't talk about what Guanting can manage! On the one hand, the "ah" here plays the role of emphasizing the topic, on the other hand, it reminds Mr. Song to pay attention and not to mind his own business.
(3) Others
The research on the language style of Teahouse focuses on Er Hua, and there are few other concrete forms that can reflect the plain language of Teahouse.
Liu Qingzhen mentioned the use of foul language in The Artistic Features of Language. Swearing and swearing can make literary works closer to reality, but it is risky. It is risky to use dirty words. In the second act, just as Wang Lifa gave money to the police, several ragged soldiers broke in. The policeman who got the benefit was busy beating around the bush, saying that he was checking his household registration and that the teahouse was not open yet. The soldiers here are exemplary. When they say four words, they swear. Two of the swearing words are two independent sentences. However, the dirty words and dirty words here did not appear vulgar and vulgar, but showed the hateful faces and personality characteristics of soldiers in that era very clearly and accurately. [7]
Some dialect words and reduplicated words with Beijing flavor are also widely used in Teahouse. "Old Bangzi" (old guy) with personal feelings, "chewing food" (food) with more local flavor, the meaning of "Hou" in "Tea Money Waiting for Me" and so on. These dialect words make sentences more expressive. However, Teahouse uses a lot of reduplicated words, which makes the language more vivid, such as reduplicated words describing the characters' demeanor, and words with "AABB" structure such as "noisy" and "washing". "ABAB" structure of "care"; "AAB" structure of "dancing" and "playing cards"; "AA" structure such as "sit and walk" and "winding". This overlapping use makes the use of verbs more flexible.
Others, such as light and heavy tones, the use of Quyi, etc. It is also described in some papers, so I won't go into details here.
Third, criticize the disadvantages in the interests of machines.
Humor is also a distinctive feature of Teahouse and even Mr. Lao She's writing. In the study of the writing characteristics of Teahouse, some just point out this characteristic and analyze it with specific fragments, such as Chen's On the Language Artistic Features of Li Yu's Drama in Teahouse, while others have made a deeper analysis: Liang Jiaxin's Lao She pointed out in The Artistic Features of Language that Lao She portrayed all kinds of life with tactful and wise language, which made the whole play full of humor and made the audience watch. In this way, he portrayed all kinds of life and showed the ugliness of the characters in this teahouse, similar to Li Yu's theory of "emphasizing machine interest" In On Lao She, Zhao Weiwei analyzed the reasons behind Lao She's humorous features of smiling with tears and mild irony in Jingweier. Under the oppressive social background, the banners in the late Qing Dynasty responded to the bleak life by teasing each other. In the early years of the Republic of China, their social status declined again, and the lower-class banners were mostly gagged to get temporary and pitiful psychological comfort. Over time, a cynical sense of humor has become the characteristic of Beijing standard-bearers. Lao She grew up in this background, and he himself often looked on coldly at the ridiculous things of all kinds of people-"itchy meat" and "looking at the world with a half-hate and a half-smile". Zhao Zhizhong also thinks that this kind of humor is the * * * of Beijing writers. [8]
The author thinks that Lao She's personality is an important reason for his humorous writing with tears in his smile. Based on the audience of the play, Mr. Lao She is also consciously making the language of Teahouse more humorous to attract the audience, so that the audience can feel the fate of the Chinese nation and the bad habits of the people, thus achieving the awakening effect. [9] Mr. Lao She himself said: "Humor is not as good as irony. Satire is said in a sharp tone, hurting people, and humor is said in a playful tone, which makes people smile faintly, and then blushes because of reflection after laughing. " [ 10]
Four. conclusion
Although relevant studies have comprehensively summarized the language and artistic features of Teahouse, few studies can be compared with the analysis of specific plots. The detailed language features of Teahouse. In addition, some specific analysis selected by various research institutes overlap seriously, and I hope to see more specific analysis of the plot in future research.
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