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- W2510145341 abstract "In gently playful essay now more than one hundred fifty years old, Charles Lamb transforms teapot into symbol of eternal happiness. For this transformation the essayist employs circular form particularly well suited to his purpose.' Analysis of the essay reveals its structural subtlety and also leads to discussion of how form contributes to an essay's meaning. Old China begins with Lamb's persona Elia and Elia's cousin Bridget at tea. Elia admires their new china service. The blue painted figures on the porcelain divert him because they blithely flout conventions of scale and proportion. A quaint, courtly Mandarin hands teacup to lady who appears two miles off. Another lady steps from boat into meadow a furlong away. A rabbit couchant seems to be co-extensive with cow. When Elia delightedly describes the porcelain's figures to Bridget, however, she pouts. Now that they are rich, she complains, they do not get so much pleasure from their purchases as they did when they were poor. Bridget reminisces of how the cousins once had to struggle for each penny, and of how they cherished their acquisitions then. They were happier, she says, because their indulgences demanded sacrifices. She recalls how the ardent cousins schemed and skulked to furnish themselves with their keen but frugal pleasures-cadging service at an inn to which they had brought picnic lunch; dispensing precise number of shillings on painting; squeezing into the cheapest seats to see play. Their pleasures are less acute now, she sighs, because they are more assured. Elia remonstrates with his cousin, arguing that they were happier then not because they were poor, but because they were young. But he, too, reminisces about their former pleasures. Soon, however, Elia calls Bridget's attention back to the china cups: And now do just look at that merry little Chinese waiter holding an umbrella, big enough for bed-tester, over the head of that pretty insipid half-Madona-ish chit of lady in that very blue summer-house. Elia's action ends the cousins' argument and, not incidentally, brings the essay full circle; it reestablishes the opening scene-the Elias at tea." @default.
- W2510145341 created "2016-09-16" @default.
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- W2510145341 date "2016-01-01" @default.
- W2510145341 modified "2023-09-24" @default.
- W2510145341 title "and the Natural Authority of Form" @default.
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