Classic and Contemporary Poetry: Explained

"Ballade of Blue China" is a compelling poem by the Scottish writer Andrew Lang, known for his prodigious contributions to literature in the realms of poetry, folklore, and literary criticism. The poem belongs to Lang's body of work that emerged during the late Victorian era, a time marked by a profound fascination with collecting and curating objects from the past, particularly from exotic cultures.

In "Ballade of Blue China," Lang engages with this cultural enthusiasm for antiquity, specifically with the Victorian obsession with collecting blue china. He uses the ballade form, which carries French origins and adheres to a strict rhyme and meter. The structure includes three main stanzas and an envoi (or a short, concluding stanza), with each line's content and rhyme contributing to the overall rhythm and flow of the poem.

Through the lens of blue china, the poet expresses a profound joy in contemplating the past. The repeated reference to the 'Emperor Hwang' situates the china within a long-gone era, presenting the porcelain as a relic of an ancient, mythical age. This is further emphasized through the fantastical narrative presented in the second and third stanzas involving dragons and lovers transformed into birds, highlighting the mythical aura that collectors often associate with their cherished antiques.

The poem abounds with vivid imagery, like "gloat on the glaze and the mark / Of china that's ancient and blue," creating a sensory experience that underscores the pleasure derived from collecting. Lang's use of alliteration, as in "mighty of fin and of fang," also enhances the musicality of the poem, lending a rhythmic cadence to the ballade.

Lang injects irony into the envoi, anticipating a critic's mockery of his enthusiasms. His retort that "a sage never heeded a shrew," suggests a dismissal of criticism, revealing a deeper commentary on the individualistic nature of aesthetic appreciation. What is trivial to one may be of profound value to another.

In conclusion, "Ballade of Blue China" showcases Andrew Lang's ability to take a popular Victorian hobby and weave it into a poetic reflection on aesthetics, personal pleasure, and the allure of the ancient past. Through the skilful use of imagery, alliteration, and irony within the ballade form, Lang creates a captivating homage to the joy of collecting, while offering subtle commentary on the nature of criticism and individual taste.

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