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London Analysis
Author: Poetry of William Blake Type: Poetry Views: 13489
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I wandered through each chartered street,
Near where the chartered Thames does flow,
A mark in every face I meet,
Marks of weakness, marks of woe.
In every cry of every man,
In every infant's cry of fear,
In every voice, in every ban,
The mind-forged manacles I hear:
How the chimney-sweeper's cry
Every blackening church appals,
And the hapless soldier's sigh
Runs in blood down palace-walls.
But most, through midnight streets I hear
How the youthful harlot's curse
Blasts the new-born infant's tear,
And blights with plagues the marriage-hearse.
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||| Analysis | Critique | Overview Below |||
.: :.
London by William Blake is silly. It's use of personification is depressing and I want to cry myself to sleep every time i read it. Our names are Kate and Jade. We are extremely intelligent and attend a lovely educational facility. In this poem they use old time lanuage. WHAT IS WITH THAT! We are in modern days, so why are we reading things like this? Our assignment is based on this poo pile that we dont understand. WHY?
| Posted on 2008-08-07 | by a guest
London by William Blake is silly. It's use of personification is depressing and I want to cry myself to sleep every time i read it. Our names are Kate and Jade. We are extremely intelligent and attend a lovely educational facility. In this poem they use old time lanuage. WHAT IS WITH THAT! We are in modern days, so why are we reading things like this? Our assignment is based on this poo pile that we dont understand. WHY?
| Posted on 2008-08-07 | by a guest
.: Sound :.
During the whole poem only one time does the speaker encounter actual people, in the "every face" part of the first stanza. I think this use of sound as a medium indicates that Blake was trying to express the ghostly lifelessness of London by showing signs of life but never life itself, except, again, for the beginning.
| Posted on 2008-05-20 | by a guest
During the whole poem only one time does the speaker encounter actual people, in the "every face" part of the first stanza. I think this use of sound as a medium indicates that Blake was trying to express the ghostly lifelessness of London by showing signs of life but never life itself, except, again, for the beginning.
| Posted on 2008-05-20 | by a guest
.: :.
My name is derik and i have pizas for lunch, i dont quite know what this poem is about yet it is clear from the tight quatrian rhyme and the choice of words such as 'charterd' ( that could be a pun on the word 'Charted') combine to form the tightly structured poem that informs the reader of the restrictions within London at that time.
Its clear that the effects of the aristocracy was universal considering the echo of 'every', chaining each 'cry' to one and other.
| Posted on 2008-05-20 | by a guest
My name is derik and i have pizas for lunch, i dont quite know what this poem is about yet it is clear from the tight quatrian rhyme and the choice of words such as 'charterd' ( that could be a pun on the word 'Charted') combine to form the tightly structured poem that informs the reader of the restrictions within London at that time.
Its clear that the effects of the aristocracy was universal considering the echo of 'every', chaining each 'cry' to one and other.
| Posted on 2008-05-20 | by a guest
.: London :.
Blake once wrote "through imagination we can access god". the admonition "mind-forg'd manacles" links closely to this quote, also advocating that if one accepts dominent ideologies you became a prisoner of your own mind. Blake expresses aspects of imprisonment in lines such as "every voice in every ban". Furthermore, the repetition of the word 'every; depcits the universality of conflict that every man suffers, and how society has congruated all minds into one domineering one, and individuality along with confomroity of organized religion and politics has surprssed our imagination into a 'bleak' sense of living (reflected in London), and that without our imagination we have no direct contact with god, and therefore our lives are filled with the 'cry of ever man' and the 'black'ning church'.
| Posted on 2008-05-19 | by a guest
Blake once wrote "through imagination we can access god". the admonition "mind-forg'd manacles" links closely to this quote, also advocating that if one accepts dominent ideologies you became a prisoner of your own mind. Blake expresses aspects of imprisonment in lines such as "every voice in every ban". Furthermore, the repetition of the word 'every; depcits the universality of conflict that every man suffers, and how society has congruated all minds into one domineering one, and individuality along with confomroity of organized religion and politics has surprssed our imagination into a 'bleak' sense of living (reflected in London), and that without our imagination we have no direct contact with god, and therefore our lives are filled with the 'cry of ever man' and the 'black'ning church'.
| Posted on 2008-05-19 | by a guest
.: :.
There is a great deal of emphasis on disease in the poem. The "marks of weakness" suggest malnutrition and starvation. Also, the reference to blood running down a wall, suggests coughing up blood, a symptom of cholera, a disease prevelant in Blake's time, especially around the poorer areas close to the Thames. However, the most obvious reference to disease is in the last line, with the words 'blights' and 'plagues', both connected very strongly with the idea of disease, specifically endemic diseases.
Also, the references to authority are numerous throughout the poem. 'the mind-forged manacles' are a suggestion of the restraints put upon these people by authority, namely the 'blackening church', associated with exploitation and child labour, 'the chimney sweeper' of the poem. Even the 'youthful harlot' asserts authority, cursing the new-born infant, in an attempt to quiet the child, who is struggling to break free of his manacles, paralleling itself to "Infant Sorrow"
| Posted on 2008-05-18 | by a guest
There is a great deal of emphasis on disease in the poem. The "marks of weakness" suggest malnutrition and starvation. Also, the reference to blood running down a wall, suggests coughing up blood, a symptom of cholera, a disease prevelant in Blake's time, especially around the poorer areas close to the Thames. However, the most obvious reference to disease is in the last line, with the words 'blights' and 'plagues', both connected very strongly with the idea of disease, specifically endemic diseases.
Also, the references to authority are numerous throughout the poem. 'the mind-forged manacles' are a suggestion of the restraints put upon these people by authority, namely the 'blackening church', associated with exploitation and child labour, 'the chimney sweeper' of the poem. Even the 'youthful harlot' asserts authority, cursing the new-born infant, in an attempt to quiet the child, who is struggling to break free of his manacles, paralleling itself to "Infant Sorrow"
| Posted on 2008-05-18 | by a guest
.: Revolution :.
“Runs in blood down palace walls”, is the last line in the fourth stanza. I think it is used to relate to The French Revolution, as it is around that time. This could be showing that the Royals were killed and a new era was starting, but it could also be implying that some sort of upheaval would be possible in England at the time. The soldiers are dying and therefore have no fight left in them, and because of the poor lifestyle, children are being killed before they can try and resist the manacles surrounding them, and the adults struggle to fend for themselves, so will have no will to fight. This could have been viewed as a conspiracy, the government knew how poor these people were, and they knew that The French Revolution would have made them feel like they should stand up for what they believed, but as they were so weak and oppressed, there was nothing they could do about it, so the government continued to exploit these people without any second thought. Thus meaning the rich got richer and the poor stayed in poverty. Blake may be angry at this point, that no-one is prepared to take a chance and try and make a difference, and he may be seeing himself as some sort of leader, who has a say through his writings.
Gareth, 15.
| Posted on 2008-05-18 | by a guest
“Runs in blood down palace walls”, is the last line in the fourth stanza. I think it is used to relate to The French Revolution, as it is around that time. This could be showing that the Royals were killed and a new era was starting, but it could also be implying that some sort of upheaval would be possible in England at the time. The soldiers are dying and therefore have no fight left in them, and because of the poor lifestyle, children are being killed before they can try and resist the manacles surrounding them, and the adults struggle to fend for themselves, so will have no will to fight. This could have been viewed as a conspiracy, the government knew how poor these people were, and they knew that The French Revolution would have made them feel like they should stand up for what they believed, but as they were so weak and oppressed, there was nothing they could do about it, so the government continued to exploit these people without any second thought. Thus meaning the rich got richer and the poor stayed in poverty. Blake may be angry at this point, that no-one is prepared to take a chance and try and make a difference, and he may be seeing himself as some sort of leader, who has a say through his writings.
Gareth, 15.
| Posted on 2008-05-18 | by a guest
.: suffering, constraint :.
the ABAB rhyme scheme is like a reminder of a children's nursery rhyme, having a direct conflict with the idea and theme of the poem, like other poems in the Songs of Innocence in which adults are no longer innocent like children. they are constantly inflicting suffering on to others.
this suffering is depicted by Blakes repitition of 'every' in the second stanza. It shows the universality of conflict- that every man is suffering. in this stanza there are links between infant and man, suggesting a loss of innocence.
the repetition of 'cry' provides a sense of mourning for everyone's lack of freedom. there is constraint, restriction and imprisonment and people are facing oppression from within their own minds: 'mind-forg'd manacles' thus limiting their imagination.
"man is born free and everywhere he is in chains"
-Rousseau
| Posted on 2008-05-17 | by a guest
the ABAB rhyme scheme is like a reminder of a children's nursery rhyme, having a direct conflict with the idea and theme of the poem, like other poems in the Songs of Innocence in which adults are no longer innocent like children. they are constantly inflicting suffering on to others.
this suffering is depicted by Blakes repitition of 'every' in the second stanza. It shows the universality of conflict- that every man is suffering. in this stanza there are links between infant and man, suggesting a loss of innocence.
the repetition of 'cry' provides a sense of mourning for everyone's lack of freedom. there is constraint, restriction and imprisonment and people are facing oppression from within their own minds: 'mind-forg'd manacles' thus limiting their imagination.
"man is born free and everywhere he is in chains"
-Rousseau
| Posted on 2008-05-17 | by a guest
.: Revolution? :.
Perhaps the use of the words: "weakness" and "woe" suggest that Blake is more horrified that despite the corruption and exploitation of the people, they are too weak to rebel and follow the French. He understands that if the English cannot rebel against such terrors then they it is probable that they never will.
The "mind-forg'd manacles" could refer to how the Government and the Monarch have suppressed the people so much that they are unable to join together and fight for their own freedom. The soldiers are dying (symbolise lack of fight), the children/infants are being killed before they can form a resistance and the adults barely have enough strength to live let alone fight.
Their lack of enthusiasm is spreading across generations, which is what enabled things that are natural and beautiful and free (the Thames) to become controlled by corruption.
Prehaps, Blake is criticising the people for letting all this happen and not standing up for themselves?
| Posted on 2008-05-17 | by a guest
Perhaps the use of the words: "weakness" and "woe" suggest that Blake is more horrified that despite the corruption and exploitation of the people, they are too weak to rebel and follow the French. He understands that if the English cannot rebel against such terrors then they it is probable that they never will.
The "mind-forg'd manacles" could refer to how the Government and the Monarch have suppressed the people so much that they are unable to join together and fight for their own freedom. The soldiers are dying (symbolise lack of fight), the children/infants are being killed before they can form a resistance and the adults barely have enough strength to live let alone fight.
Their lack of enthusiasm is spreading across generations, which is what enabled things that are natural and beautiful and free (the Thames) to become controlled by corruption.
Prehaps, Blake is criticising the people for letting all this happen and not standing up for themselves?
| Posted on 2008-05-17 | by a guest
.: poem analogy :.
London, yes London,
Cheesey and well,
I beleive I saw Flundon,
But i couldn't quite tell!
As i began to walk down the road,
I couldn't help notice, a fat little toad,
I walked to him, yes,
And asked him to dress,
For why, i didn't know, his own little mode.
Hmm! yes. It is a good little poem is it not?
I beleive I shall take another little stroll shortly.
Thankyou very much young roogys!
Oh, and for all you young ones out there,
a smiley face:
:-)
| Posted on 2008-04-10 | by a guest
London, yes London,
Cheesey and well,
I beleive I saw Flundon,
But i couldn't quite tell!
As i began to walk down the road,
I couldn't help notice, a fat little toad,
I walked to him, yes,
And asked him to dress,
For why, i didn't know, his own little mode.
Hmm! yes. It is a good little poem is it not?
I beleive I shall take another little stroll shortly.
Thankyou very much young roogys!
Oh, and for all you young ones out there,
a smiley face:
:-)
| Posted on 2008-04-10 | by a guest
.: Romanticism :.
If we analyse the times in which Blake wrote this as well as his beliefs of a corrupt church and regimentation of his natural world it becomes clear that he has created paradigms between the physical and the metaphorical aspects of his 'London'. Romantics believed in the individual and ones personal relationship with God and instead we read here of Blake's recognition of the corruption of the church by referencing its 'blackening' walls but regarding the literal meaning of blackening it is direct reference to the industrial revolution. His repetition of the word 'chartered' not only gives the image of a structured and highly unnatural environment, but also relates back to the repetition of the poem itself to emphasise the monotony of the town in which he lives. The blood that runs down the palace walls refers to soldiers who are being exploited by the monarchy and are uselessly defending and fighting for a country run by aristocrats, driven by the possibility of exploitation purely for monetary gain. In reference to the harlot's curse, Blake refers to prostitution, sexually transmitted diseases essentially, and infants who are growing up with this as the foundation for their primary years.
| Posted on 2008-04-09 | by a guest
If we analyse the times in which Blake wrote this as well as his beliefs of a corrupt church and regimentation of his natural world it becomes clear that he has created paradigms between the physical and the metaphorical aspects of his 'London'. Romantics believed in the individual and ones personal relationship with God and instead we read here of Blake's recognition of the corruption of the church by referencing its 'blackening' walls but regarding the literal meaning of blackening it is direct reference to the industrial revolution. His repetition of the word 'chartered' not only gives the image of a structured and highly unnatural environment, but also relates back to the repetition of the poem itself to emphasise the monotony of the town in which he lives. The blood that runs down the palace walls refers to soldiers who are being exploited by the monarchy and are uselessly defending and fighting for a country run by aristocrats, driven by the possibility of exploitation purely for monetary gain. In reference to the harlot's curse, Blake refers to prostitution, sexually transmitted diseases essentially, and infants who are growing up with this as the foundation for their primary years.
| Posted on 2008-04-09 | by a guest
.: :.
i feel that london is about how william is dissapionting as he sounds angry that people pass by, that people ignore the magnificence and look straight to the ugliness. They think that they have surpassed this place, which they call their capital.
| Posted on 2008-04-03 | by a guest
i feel that london is about how william is dissapionting as he sounds angry that people pass by, that people ignore the magnificence and look straight to the ugliness. They think that they have surpassed this place, which they call their capital.
| Posted on 2008-04-03 | by a guest
.: well... :.
To be honest this poem rather strikes a sausage bean with my chord. I mean, the thought of William Blake Jotting down all this 'Shanizzle' is rather inspiring. So a few days ago I decided to give a little stroll myself through London and jot down a few things and make a poem. This is how it turned out:
London, yes London,
Cheesey and well,
I beleive I saw Flundon,
But i couldn't quite tell!
As i began to walk down the road,
I couldn't help notice, a fat little toad,
I walked to him, yes,
And asked him to dress,
For why, i didn't know, his own little mode.
Hmm! yes. It is a good little poem is it not?
I beleive I shall take another little stroll shortly.
Thankyou very much young roogys!
Oh, and for all you young ones out there,
a smiley face:
:-)
ho ho. I enjoyed this greatly. ta ta.
| Posted on 2008-03-06 | by a guest
To be honest this poem rather strikes a sausage bean with my chord. I mean, the thought of William Blake Jotting down all this 'Shanizzle' is rather inspiring. So a few days ago I decided to give a little stroll myself through London and jot down a few things and make a poem. This is how it turned out:
London, yes London,
Cheesey and well,
I beleive I saw Flundon,
But i couldn't quite tell!
As i began to walk down the road,
I couldn't help notice, a fat little toad,
I walked to him, yes,
And asked him to dress,
For why, i didn't know, his own little mode.
Hmm! yes. It is a good little poem is it not?
I beleive I shall take another little stroll shortly.
Thankyou very much young roogys!
Oh, and for all you young ones out there,
a smiley face:
:-)
ho ho. I enjoyed this greatly. ta ta.
| Posted on 2008-03-06 | by a guest
.: subject matter :.
Liek dat other person befroe I agree...so i used some ideas ta combin m' opinion
The poem describes a journey around London, offering a glimpse of what the speaker sees, such as the terrible conditions faced by inhabitants. Pun (The word “Charter’d” implies a meaning of given liberty, but also means such places are foreseen as private property)
• Imagery (For example the use of “mind-forged manacles” expresses so much in such a little space. Two images are conveyed and it shows the tension between internal and external forces that take away freedom as well as a mental restriction is in place upon the people of London)
•
Child labour, restrictive property laws and prostitution are all explored.
The poem starts with criticism of laws relating to property ownership. The "charter'd Thames" is a bitter reference to the way every aspect of life in London is owned, even the river - so often in other poems a symbol of life, freedom and the power of nature.
Blake's poem also criticises religion. The speaker draws attention to the cry of the chimney sweeper and the blackening of church walls, implying that the Church as an institution is inactive, unwilling to help those in need. Punctuation (Many important keywords like Man and Infants are capitalised)
It ends with a vision of the terrible consequences of sexually transmitted disease.
• Repetition (For example “In every” is repeated several times)
| Posted on 2008-02-10 | by a guest
Liek dat other person befroe I agree...so i used some ideas ta combin m' opinion
The poem describes a journey around London, offering a glimpse of what the speaker sees, such as the terrible conditions faced by inhabitants. Pun (The word “Charter’d” implies a meaning of given liberty, but also means such places are foreseen as private property)
• Imagery (For example the use of “mind-forged manacles” expresses so much in such a little space. Two images are conveyed and it shows the tension between internal and external forces that take away freedom as well as a mental restriction is in place upon the people of London)
•
Child labour, restrictive property laws and prostitution are all explored.
The poem starts with criticism of laws relating to property ownership. The "charter'd Thames" is a bitter reference to the way every aspect of life in London is owned, even the river - so often in other poems a symbol of life, freedom and the power of nature.
Blake's poem also criticises religion. The speaker draws attention to the cry of the chimney sweeper and the blackening of church walls, implying that the Church as an institution is inactive, unwilling to help those in need. Punctuation (Many important keywords like Man and Infants are capitalised)
It ends with a vision of the terrible consequences of sexually transmitted disease.
• Repetition (For example “In every” is repeated several times)
| Posted on 2008-02-10 | by a guest
.: depressing!!!! :.
This poem London by William Blake is all about the dark side of London. It seems this poet is very angry about the restrictions of the city and that the people of England dont stand up and rebel. Blake wants the reader to think of London as a place of restriction and bans. Even though the poem was wrote years ago it reminds me about how it is now. There are so many rules laws bans and boundaries.
| Posted on 2007-12-13 | by a guest
This poem London by William Blake is all about the dark side of London. It seems this poet is very angry about the restrictions of the city and that the people of England dont stand up and rebel. Blake wants the reader to think of London as a place of restriction and bans. Even though the poem was wrote years ago it reminds me about how it is now. There are so many rules laws bans and boundaries.
| Posted on 2007-12-13 | by a guest
.: depressing!!!! :.
This poem London by William Blake is all about the dark side of London. It seems this poet is very angry about the restrictions of the city and that the people of England dont stand up and rebel. Blake wants the reader to think of London as a place of restriction and bans. Even though the poem was wrote years ago it reminds me about how it is now. There are so many rules laws bans and boundaries.
| Posted on 2007-12-13 | by a guest
This poem London by William Blake is all about the dark side of London. It seems this poet is very angry about the restrictions of the city and that the people of England dont stand up and rebel. Blake wants the reader to think of London as a place of restriction and bans. Even though the poem was wrote years ago it reminds me about how it is now. There are so many rules laws bans and boundaries.
| Posted on 2007-12-13 | by a guest
.: SAM MOHENU :.
HI THIS POEM IS [censored] AND SMELLS LIKE A NANS SAGGY FLAP.
wHO ME?? SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
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| Posted on 2007-12-07 | by a guest
HI THIS POEM IS [censored] AND SMELLS LIKE A NANS SAGGY FLAP.
wHO ME?? SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
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| Posted on 2007-12-07 | by a guest
.: SAM MOHENU :.
HI THIS POEM IS [censored] AND SMELLS LIKE A NANS SAGGY FLAP.
wHO ME?? SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAM
| Posted on 2007-12-07 | by a guest
HI THIS POEM IS [censored] AND SMELLS LIKE A NANS SAGGY FLAP.
wHO ME?? SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAM
SAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAMSAM MOHENU LOVES IT GRAHAM
| Posted on 2007-12-07 | by a guest
.: meaning :.
Willaim Blake is protesting about how cruel society is and how it has turned innocent people no matter what age or gender into cooperating with dominant ideology. The Churchs and the Royals who run the country are responsible for the suffering and polluting innocent people lives, he argues people are socialised into a terrible cycle were there health is in jeopardy.
| Posted on 2007-10-31 | by a guest
Willaim Blake is protesting about how cruel society is and how it has turned innocent people no matter what age or gender into cooperating with dominant ideology. The Churchs and the Royals who run the country are responsible for the suffering and polluting innocent people lives, he argues people are socialised into a terrible cycle were there health is in jeopardy.
| Posted on 2007-10-31 | by a guest
.: Comparison :.
In the eighteenth century London had many different views and judgments from different Londoners. Despite some people felt the unenthusiastic and had depressing feeling of the atmosphere because of living inside the dark, some people may have the positive feeling of arrogance and appreciative, such as the visiting romantic poet, William Wordsworth. Wordsworth generally captured the beauty of London sunrise, and written on his poem “Composed Upon Westminster Bridge” and made a comparison with the countryside, which he had an awe-inspiring feeling within his mind whereas William Blake presented London at a different perspective, as he only sees the tedious and ugly side of London when he strolls down the streets.
| Posted on 2007-10-24 | by a guest
In the eighteenth century London had many different views and judgments from different Londoners. Despite some people felt the unenthusiastic and had depressing feeling of the atmosphere because of living inside the dark, some people may have the positive feeling of arrogance and appreciative, such as the visiting romantic poet, William Wordsworth. Wordsworth generally captured the beauty of London sunrise, and written on his poem “Composed Upon Westminster Bridge” and made a comparison with the countryside, which he had an awe-inspiring feeling within his mind whereas William Blake presented London at a different perspective, as he only sees the tedious and ugly side of London when he strolls down the streets.
| Posted on 2007-10-24 | by a guest
.: :.
I am a singer, and was discussing this song/poem today with a professor. The idea of chartered, he explained to me, connotes something that is bought and sold...in the poem, everyday life revolves around money and its necessity to life - for the young sweeps, the soldiers, and even the harlots. The mind-forged manacles, people's preoccupation (and necessarily so) with money. My professor also had a quite literal explanation for the final lines - the harlot's curse is syphilis, which is transmitted to children and which causes "weeping" pus...
| Posted on 2007-10-23 | by a guest
I am a singer, and was discussing this song/poem today with a professor. The idea of chartered, he explained to me, connotes something that is bought and sold...in the poem, everyday life revolves around money and its necessity to life - for the young sweeps, the soldiers, and even the harlots. The mind-forged manacles, people's preoccupation (and necessarily so) with money. My professor also had a quite literal explanation for the final lines - the harlot's curse is syphilis, which is transmitted to children and which causes "weeping" pus...
| Posted on 2007-10-23 | by a guest
.: Third stanza of London :.
William Blake also emphasizes the difference in working class that there was , and still is today in the 21st century. This is very obvious in the third paragraph, we see that this difference is because of wealth and family backgrounds. The way he goes from chimney sweeper to church which was a significant place in those days and today, then to soldiers and the blood that runs down palace walls from those soldiers. Its shows that there is misery all around and those who are not concerned and too wrapped up in money should feel guilty from those suffering around them, trying to make it through the day , and fighting for their country.
| Posted on 2007-09-05 | by a guest
William Blake also emphasizes the difference in working class that there was , and still is today in the 21st century. This is very obvious in the third paragraph, we see that this difference is because of wealth and family backgrounds. The way he goes from chimney sweeper to church which was a significant place in those days and today, then to soldiers and the blood that runs down palace walls from those soldiers. Its shows that there is misery all around and those who are not concerned and too wrapped up in money should feel guilty from those suffering around them, trying to make it through the day , and fighting for their country.
| Posted on 2007-09-05 | by a guest
.: Third stanza of London :.
William Blake also emphasizes the difference in working class that there was , and still is today in the 21st century. This is very obvious in the third paragraph, we see that this difference is because of wealth and family backgrounds. The way he goes from chimney sweeper to church which was a significant place in those days and today, then to soldiers and the blood that runs down palace walls from those soldiers. Its shows that there is misery all around and those who are not concerned and too wrapped up in money should feel guilty from those suffering around them, trying to make it through the day , and fighting for their country.
| Posted on 2007-09-05 | by a guest
William Blake also emphasizes the difference in working class that there was , and still is today in the 21st century. This is very obvious in the third paragraph, we see that this difference is because of wealth and family backgrounds. The way he goes from chimney sweeper to church which was a significant place in those days and today, then to soldiers and the blood that runs down palace walls from those soldiers. Its shows that there is misery all around and those who are not concerned and too wrapped up in money should feel guilty from those suffering around them, trying to make it through the day , and fighting for their country.
| Posted on 2007-09-05 | by a guest
.: poems :.
Comparing The Poems ‘London’ & Composed Upon Westminster’s Bridge’
William Blake’s poem “London”, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.. He has created a dark atmosphere, that’s dull and tiring, whereas in ‘Composed Upon Westminster’s Bridge By William Wordsworth his tone his tone is positive, calm and romantic. The poem discusses the view from Westminster’s Bridge and explains how overcome he his by the beauty on London is from this view.
The main ideas in ‘London’ that Blake is trying to put across are that London is a horrible, grotty place. He also suggests that the people in London live in fear and misery. For example ‘every cry of every man’. This suggests that everyone is upset and as a result of this they are crying and also the repetition of ‘every’ really emphasises everyone of London.
He also uses repetition of ‘every’ to emphasise the idea that every man of London is suffering.
Wordsworth’s ‘Composed upon Westminster’s Bridge’ creates the idea of a wonderful, beautiful place, that’s clean and calm. Wordsworth has used personification,’ ne’er saw me; never felt so deep…Dear God! The very houses seem asleep!
This example of personification, which suggests that London is so peaceful that the houses seem asleep. This suggests that London is peaceful because everything is so calm and quite that objects seem like their in a peaceful sleep. He also put an explanation mark at the end of the stanza which emphasises Wordsworth’s point that London is a wonderful place.
The language Blake has used in ‘London’ is mainly negative, because he uses dark, gloomy adjectives, such as, ‘blackening’. This suggests a dark, evil and corrupt scene. He does this to create a negative picture of London. Blake shows his disgust and hatred of the London he lived in. for example, he mentions the idea ‘Plague’ for example, ’Blights With Plagues the marriage-hearse’. This suggests that even the happiest things, such as marriage are tarnished with disease. Blake also uses dark imagery to create a dark tone of the poem. There is also an example of juxta-position in ‘London’ when Blake put ‘marriage’ and ‘hearse’ together, suggesting marriage then death. The effect of placing a symbol of death next to marriage – a happy event is saying basically that happiest things in life are tarnished by disease, such as the plague, causing death.
‘Composed Upon Westminster’s Bridge’ by William Wordsworth has a completely different tone and atmosphere to the poem. Wordsworth uses positive adjectives to reflect beauty and peace, such as, beauty’ and ‘bare’. These adjectives reflect a peaceful and calm scene of London in that time. He uses romantic imagery, ‘Never did the sun more beautifully steep’ which basically means; never did the sun shine more beautifully than it shone upon London that day. Wordsworth uses positive language because he wants to create a positive name upon London and to show that the negative scene on London can sometimes not be true.
Wordsworth has also used clean adjectives and imagery such as ‘smokeless air’ and quiet sounds like ‘silent. He uses this type of language to show the calmness of London. The word ‘smokeless’ means that basically the air is clean.
The poem ‘London’ is written in four stanzas. The poem uses an ‘A, B,A,B’ rhyming pattern, which is restricted to that beat. Blake also uses assonance for example ‘flow’ and ‘woe’; whereas in Wordsworth’s poem ‘Composed Upon Westminster’s Bridge’ is a sonnet. It has 14 lines and is written in iambic pentameter.
| Posted on 2007-06-07 | by a guest
Comparing The Poems ‘London’ & Composed Upon Westminster’s Bridge’
William Blake’s poem “London”, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.. He has created a dark atmosphere, that’s dull and tiring, whereas in ‘Composed Upon Westminster’s Bridge By William Wordsworth his tone his tone is positive, calm and romantic. The poem discusses the view from Westminster’s Bridge and explains how overcome he his by the beauty on London is from this view.
The main ideas in ‘London’ that Blake is trying to put across are that London is a horrible, grotty place. He also suggests that the people in London live in fear and misery. For example ‘every cry of every man’. This suggests that everyone is upset and as a result of this they are crying and also the repetition of ‘every’ really emphasises everyone of London.
He also uses repetition of ‘every’ to emphasise the idea that every man of London is suffering.
Wordsworth’s ‘Composed upon Westminster’s Bridge’ creates the idea of a wonderful, beautiful place, that’s clean and calm. Wordsworth has used personification,’ ne’er saw me; never felt so deep…Dear God! The very houses seem asleep!
This example of personification, which suggests that London is so peaceful that the houses seem asleep. This suggests that London is peaceful because everything is so calm and quite that objects seem like their in a peaceful sleep. He also put an explanation mark at the end of the stanza which emphasises Wordsworth’s point that London is a wonderful place.
The language Blake has used in ‘London’ is mainly negative, because he uses dark, gloomy adjectives, such as, ‘blackening’. This suggests a dark, evil and corrupt scene. He does this to create a negative picture of London. Blake shows his disgust and hatred of the London he lived in. for example, he mentions the idea ‘Plague’ for example, ’Blights With Plagues the marriage-hearse’. This suggests that even the happiest things, such as marriage are tarnished with disease. Blake also uses dark imagery to create a dark tone of the poem. There is also an example of juxta-position in ‘London’ when Blake put ‘marriage’ and ‘hearse’ together, suggesting marriage then death. The effect of placing a symbol of death next to marriage – a happy event is saying basically that happiest things in life are tarnished by disease, such as the plague, causing death.
‘Composed Upon Westminster’s Bridge’ by William Wordsworth has a completely different tone and atmosphere to the poem. Wordsworth uses positive adjectives to reflect beauty and peace, such as, beauty’ and ‘bare’. These adjectives reflect a peaceful and calm scene of London in that time. He uses romantic imagery, ‘Never did the sun more beautifully steep’ which basically means; never did the sun shine more beautifully than it shone upon London that day. Wordsworth uses positive language because he wants to create a positive name upon London and to show that the negative scene on London can sometimes not be true.
Wordsworth has also used clean adjectives and imagery such as ‘smokeless air’ and quiet sounds like ‘silent. He uses this type of language to show the calmness of London. The word ‘smokeless’ means that basically the air is clean.
The poem ‘London’ is written in four stanzas. The poem uses an ‘A, B,A,B’ rhyming pattern, which is restricted to that beat. Blake also uses assonance for example ‘flow’ and ‘woe’; whereas in Wordsworth’s poem ‘Composed Upon Westminster’s Bridge’ is a sonnet. It has 14 lines and is written in iambic pentameter.
| Posted on 2007-06-07 | by a guest
.: poem :.
Summary
The speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. The woeful cry of the chimney-sweeper stands as a chastisement to the Church, and the blood of a soldier stains the outer walls of the monarch's residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the "Marriage hearse."
The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.
Commentary
The opening image of wandering, the focus on sound, and the images of stains in this poem's first lines recall the Introduction to Songs of Innocence, but with a twist; we are now quite far from the piping, pastoral bard of the earlier poem: we are in the city. The poem's title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set. Everything in this urban space--even the natural River Thames--submits to being "charter'd," a term which combines mapping and legalism. Blake's repetition of this word (which he then tops with two repetitions of "mark" in the next two lines) reinforces the sense of stricture the speaker feels upon entering the city. It is as if language itself, the poet's medium, experiences a hemming-in, a restriction of resources. Blake's repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus "mark," between the third and fourth lines, changes from a verb to a pair of nouns--from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people's bodies regardless of the speaker's actions.
Ironically, the speaker's "meeting" with these marks represents the experience closest to a human encounter that the poem will offer the speaker. All the speaker's subjects--men, infants, chimney-sweeper, soldier, harlot--are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls. Signs of human suffering abound, but a complete human form--the human form that Blake has used repeatedly in the Songs to personify and render natural phenomena--is lacking. In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls--but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power--the clergy, the government--are rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blake's commentary that neither the city's victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city's woes; rather, the victims help to make their own "mind-forg'd manacles," more powerful than material chains could ever be.
The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction.
| Posted on 2007-02-25 | by a guest
Summary
The speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. The woeful cry of the chimney-sweeper stands as a chastisement to the Church, and the blood of a soldier stains the outer walls of the monarch's residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the "Marriage hearse."
The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.
Commentary
The opening image of wandering, the focus on sound, and the images of stains in this poem's first lines recall the Introduction to Songs of Innocence, but with a twist; we are now quite far from the piping, pastoral bard of the earlier poem: we are in the city. The poem's title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set. Everything in this urban space--even the natural River Thames--submits to being "charter'd," a term which combines mapping and legalism. Blake's repetition of this word (which he then tops with two repetitions of "mark" in the next two lines) reinforces the sense of stricture the speaker feels upon entering the city. It is as if language itself, the poet's medium, experiences a hemming-in, a restriction of resources. Blake's repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus "mark," between the third and fourth lines, changes from a verb to a pair of nouns--from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people's bodies regardless of the speaker's actions.
Ironically, the speaker's "meeting" with these marks represents the experience closest to a human encounter that the poem will offer the speaker. All the speaker's subjects--men, infants, chimney-sweeper, soldier, harlot--are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls. Signs of human suffering abound, but a complete human form--the human form that Blake has used repeatedly in the Songs to personify and render natural phenomena--is lacking. In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls--but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power--the clergy, the government--are rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blake's commentary that neither the city's victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city's woes; rather, the victims help to make their own "mind-forg'd manacles," more powerful than material chains could ever be.
The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction.
| Posted on 2007-02-25 | by a guest
.: W.Blake :.
There are many main differences between the poems ‘London’, and ‘Composed Upon Westminster Bridge’ and the poets who wrote them, William Blake and William Wordsworth.
now read your poem and analyse it! what type of poem , who is speaking it? poet? some one else? who? when wasa it written? what style of poem? jott down your ideas then structure them!
| Posted on 2007-02-18 | by a guest
There are many main differences between the poems ‘London’, and ‘Composed Upon Westminster Bridge’ and the poets who wrote them, William Blake and William Wordsworth.
now read your poem and analyse it! what type of poem , who is speaking it? poet? some one else? who? when wasa it written? what style of poem? jott down your ideas then structure them!
| Posted on 2007-02-18 | by a guest
.: the third stanza :.
The third stanza represents the working class, in which the poems subjects are only known through the traces that they leave behind. This could be interpreted as Blake conveying the point that upper classes never see the working class apart from what they leave behind them. “the chimney-sweeper’s cry” this not only re-iterates the previous point, but it also gives the reader or listener an eerie feeling to thwe poem and enables them to ask questions about the subjects. Another point in the third stanza is that the chimney-sweepers in old London would have most likely been children, which again gives a different perspective and image to the “chimney-sweeper’s cry”. The third stanza portrays the point that the industry is a rising profession and also a corrupt one. “every blackening church appals,” this quote relates to the idea of sending children into chimneys, that every generation of church members should theoretically do something to stop this however they never do, they just turn a blind eye, some thing to which Blake finds shocking. Relating to the revolution in not only the industry but the revolution in France, during the period of the Romantic poetry is “the hapless soldier’s sigh” this and the cry of the chimney sweeper almost mystically metamorphose into “blood down the palace walls”
| Posted on 2006-06-26 | by Approved Guest
The third stanza represents the working class, in which the poems subjects are only known through the traces that they leave behind. This could be interpreted as Blake conveying the point that upper classes never see the working class apart from what they leave behind them. “the chimney-sweeper’s cry” this not only re-iterates the previous point, but it also gives the reader or listener an eerie feeling to thwe poem and enables them to ask questions about the subjects. Another point in the third stanza is that the chimney-sweepers in old London would have most likely been children, which again gives a different perspective and image to the “chimney-sweeper’s cry”. The third stanza portrays the point that the industry is a rising profession and also a corrupt one. “every blackening church appals,” this quote relates to the idea of sending children into chimneys, that every generation of church members should theoretically do something to stop this however they never do, they just turn a blind eye, some thing to which Blake finds shocking. Relating to the revolution in not only the industry but the revolution in France, during the period of the Romantic poetry is “the hapless soldier’s sigh” this and the cry of the chimney sweeper almost mystically metamorphose into “blood down the palace walls”
| Posted on 2006-06-26 | by Approved Guest
.: GCSE Analysis :.
The whole of the poem shows William Blake's view of London during the 18th Century, he describes the oppression inflicted on the civilians both by themselves and by others.
Blake's attitude to society, as he describes it in his poem "London", shows London to be controlled by bureaucratic laws. This is shown by the mentioning of "charter'd streets", charters were given to people who were richer or more powerful than most and it allowed them to control the streets of London.
Blake also mentions the Thames at this point to emphasise the extremity of the control by saying "the charter'd Thames", obviously it is ridiculous attempt to control the river.
Blake puts a large emphasis onto the depair affecting everyone by the repetition of "every" there is also an exaggeration of of the negative feeling by the repetition of "cry".
In the third stanza Blake places some of the responsibility onto the church, the church is metaphorically described as "blakening" to represent the guilt.
There is also a juxtaposition in this line, "appalls" is exaggerating the blame of the church as well as meaning "goes pale" which is a juxtaposition with "blackening".
Blake also connects the chimney-sweeper with the church because they are often in need of the church's help but are oftened turned away, this is why the "blakening church" also represents the smoke and soot.
During this time many feared a revolution as one had occured recently in France, it is obvious that Blake also feared a revolution as he mentions the "hapless soldier's blood running down the palace walls" this shows he believes that if the unhappiness of the soldiers is continually ignored by those running the country a revolution is inevatable.
The final stanza concentrates on marriage and new-life, both of which should bring happeness, instead Blake sees new-life as just continueing the cycle of the corruption, and he critisises the reasons for marriage, believing that many marry for convenience rather than marrying for love. Blake also critisises the "youthful harlot" and uses the word "plaugue" to suggest STD's which will be contracted and passed on.
Blake uses immagery to put across his view, with the main idea being the constraint and lack of freedom for everyone within London.
| Posted on 2006-05-03 | by Approved Guest
The whole of the poem shows William Blake's view of London during the 18th Century, he describes the oppression inflicted on the civilians both by themselves and by others.
Blake's attitude to society, as he describes it in his poem "London", shows London to be controlled by bureaucratic laws. This is shown by the mentioning of "charter'd streets", charters were given to people who were richer or more powerful than most and it allowed them to control the streets of London.
Blake also mentions the Thames at this point to emphasise the extremity of the control by saying "the charter'd Thames", obviously it is ridiculous attempt to control the river.
Blake puts a large emphasis onto the depair affecting everyone by the repetition of "every" there is also an exaggeration of of the negative feeling by the repetition of "cry".
In the third stanza Blake places some of the responsibility onto the church, the church is metaphorically described as "blakening" to represent the guilt.
There is also a juxtaposition in this line, "appalls" is exaggerating the blame of the church as well as meaning "goes pale" which is a juxtaposition with "blackening".
Blake also connects the chimney-sweeper with the church because they are often in need of the church's help but are oftened turned away, this is why the "blakening church" also represents the smoke and soot.
During this time many feared a revolution as one had occured recently in France, it is obvious that Blake also feared a revolution as he mentions the "hapless soldier's blood running down the palace walls" this shows he believes that if the unhappiness of the soldiers is continually ignored by those running the country a revolution is inevatable.
The final stanza concentrates on marriage and new-life, both of which should bring happeness, instead Blake sees new-life as just continueing the cycle of the corruption, and he critisises the reasons for marriage, believing that many marry for convenience rather than marrying for love. Blake also critisises the "youthful harlot" and uses the word "plaugue" to suggest STD's which will be contracted and passed on.
Blake uses immagery to put across his view, with the main idea being the constraint and lack of freedom for everyone within London.
| Posted on 2006-05-03 | by Approved Guest
.: Poem :.
William Blake’s poem “London”, first published in 1974, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.
2. With this poem the author wants to show the poverty and the bad circumstances, the poor people are living in. The poem creates a very depressing atmosphere. On the one hand it is not far fetched but on the other hand the poem is written with a very negative view on London.
| Posted on 2006-04-19 | by Approved Guest
William Blake’s poem “London”, first published in 1974, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.
2. With this poem the author wants to show the poverty and the bad circumstances, the poor people are living in. The poem creates a very depressing atmosphere. On the one hand it is not far fetched but on the other hand the poem is written with a very negative view on London.
| Posted on 2006-04-19 | by Approved Guest
.: :.
The government responded to the French revolution by restricting freedom of speech and sending soldiers overseas. Blake responds to this corruption by keeping the message and mood of the poem obvious; it is impossible to miss the point, although some of the language is complicated. Perhaps it is also worth mentioning that “London” was originally published in a group of poems called “Songs of Experience” (possibly another reason why the structure is simple: it is titled as song) which were intended as satires of “matching” poems in “Songs of Experience”. For instance, “The Lamb” (innocence) rivalled “The Tyger” (experience). London is the only poem from this collection without an innocent pair. This reiterates Blake’s disgust at the state of affairs in London: there’s no nice innocent side.
| Posted on 2006-01-07 | by Approved Guest
The government responded to the French revolution by restricting freedom of speech and sending soldiers overseas. Blake responds to this corruption by keeping the message and mood of the poem obvious; it is impossible to miss the point, although some of the language is complicated. Perhaps it is also worth mentioning that “London” was originally published in a group of poems called “Songs of Experience” (possibly another reason why the structure is simple: it is titled as song) which were intended as satires of “matching” poems in “Songs of Experience”. For instance, “The Lamb” (innocence) rivalled “The Tyger” (experience). London is the only poem from this collection without an innocent pair. This reiterates Blake’s disgust at the state of affairs in London: there’s no nice innocent side.
| Posted on 2006-01-07 | by Approved Guest
.: :.
London by William Blake is a way for Blake to uncover his true feelings about the city. He is angry at authority and hates the way the poverty in the big great London is steadily increaesing. at this time the french revolution is going on in France, blake is a surporter of their struggle for democracy. this is shown in his poem
hope this helps
| Posted on 2005-11-07 | by Approved Guest
London by William Blake is a way for Blake to uncover his true feelings about the city. He is angry at authority and hates the way the poverty in the big great London is steadily increaesing. at this time the french revolution is going on in France, blake is a surporter of their struggle for democracy. this is shown in his poem
hope this helps
| Posted on 2005-11-07 | by Approved Guest
.: : :.
Stanzas 1 and 2 point out to us that London is resricted by rules and regulations.
Stanza 3 shows us who are restricting the people of London, i.e the Church The Soldiers and the Palace/Monarch.
This restriction is corrupting the population from an early age the 'new-born infant' for example is corrupted by the 'youthfull Harlots curse'. The Chimney Sweeps are no doubtably children therefore society corrupts them by making them work in a harmful environment by only giving thm that choice or dieing.
'mind forg'd manacles' show that it isn't just external restrictions that were put on the people of London, they themselves allow those in power to place the restrictions by not fighting the injustice of it all.
The repetition may also symbolise the way in which things can be enforced into peoples minds, repeatedly doing things may cause them to become a habit.
Blakes message?: Free yourself from the restrictions of your own mind and the conceptions you were brought up on and then you may be able to find freedom.
emma
| Posted on 2005-09-07 | by Approved Guest
Stanzas 1 and 2 point out to us that London is resricted by rules and regulations.
Stanza 3 shows us who are restricting the people of London, i.e the Church The Soldiers and the Palace/Monarch.
This restriction is corrupting the population from an early age the 'new-born infant' for example is corrupted by the 'youthfull Harlots curse'. The Chimney Sweeps are no doubtably children therefore society corrupts them by making them work in a harmful environment by only giving thm that choice or dieing.
'mind forg'd manacles' show that it isn't just external restrictions that were put on the people of London, they themselves allow those in power to place the restrictions by not fighting the injustice of it all.
The repetition may also symbolise the way in which things can be enforced into peoples minds, repeatedly doing things may cause them to become a habit.
Blakes message?: Free yourself from the restrictions of your own mind and the conceptions you were brought up on and then you may be able to find freedom.
emma
| Posted on 2005-09-07 | by Approved Guest
.: :.
Summary
The speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. The woeful cry of the chimney-sweeper stands as a chastisement to the Church, and the blood of a soldier stains the outer walls of the monarch's residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the "Marriage hearse."
The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.
Commentary
The opening image of wandering, the focus on sound, and the images of stains in this poem's first lines recall the Introduction to Songs of Innocence, but with a twist; we are now quite far from the piping, pastoral bard of the earlier poem: we are in the city. The poem's title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set. Everything in this urban space--even the natural River Thames--submits to being "charter'd," a term which combines mapping and legalism. Blake's repetition of this word (which he then tops with two repetitions of "mark" in the next two lines) reinforces the sense of stricture the speaker feels upon entering the city. It is as if language itself, the poet's medium, experiences a hemming-in, a restriction of resources. Blake's repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus "mark," between the third and fourth lines, changes from a verb to a pair of nouns--from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people's bodies regardless of the speaker's actions.
Ironically, the speaker's "meeting" with these marks represents the experience closest to a human encounter that the poem will offer the speaker. All the speaker's subjects--men, infants, chimney-sweeper, soldier, harlot--are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls. Signs of human suffering abound, but a complete human form--the human form that Blake has used repeatedly in the Songs to personify and render natural phenomena--is lacking. In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls--but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power--the clergy, the government--are rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blake's commentary that neither the city's victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city's woes; rather, the victims help to make their own "mind-forg'd manacles," more powerful than material chains could ever be.
The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction.
| Posted on 2005-03-30 | by Approved Guest
Summary
The speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. The woeful cry of the chimney-sweeper stands as a chastisement to the Church, and the blood of a soldier stains the outer walls of the monarch's residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the "Marriage hearse."
The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.
Commentary
The opening image of wandering, the focus on sound, and the images of stains in this poem's first lines recall the Introduction to Songs of Innocence, but with a twist; we are now quite far from the piping, pastoral bard of the earlier poem: we are in the city. The poem's title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set. Everything in this urban space--even the natural River Thames--submits to being "charter'd," a term which combines mapping and legalism. Blake's repetition of this word (which he then tops with two repetitions of "mark" in the next two lines) reinforces the sense of stricture the speaker feels upon entering the city. It is as if language itself, the poet's medium, experiences a hemming-in, a restriction of resources. Blake's repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus "mark," between the third and fourth lines, changes from a verb to a pair of nouns--from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people's bodies regardless of the speaker's actions.
Ironically, the speaker's "meeting" with these marks represents the experience closest to a human encounter that the poem will offer the speaker. All the speaker's subjects--men, infants, chimney-sweeper, soldier, harlot--are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls. Signs of human suffering abound, but a complete human form--the human form that Blake has used repeatedly in the Songs to personify and render natural phenomena--is lacking. In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls--but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power--the clergy, the government--are rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blake's commentary that neither the city's victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city's woes; rather, the victims help to make their own "mind-forg'd manacles," more powerful than material chains could ever be.
The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction.
| Posted on 2005-03-30 | by Approved Guest
.: REEN :.
1. William Blake’s poem “London”, first published in 1974, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.
2. With this poem the author wants to show the poverty and the bad circumstances, the poor people are living in. The poem creates a very depressing atmosphere. On the one hand it is not far fetched but on the other hand the poem is written with a very negative view on London.
| Posted on 2004-12-08 | by Approved Guest
1. William Blake’s poem “London”, first published in 1974, deals with the difficult and hard life in London at that time. He describes how dirty the streets and the Thames is and how the poor people suffer hopelessly and how they are in dire need of money.
2. With this poem the author wants to show the poverty and the bad circumstances, the poor people are living in. The poem creates a very depressing atmosphere. On the one hand it is not far fetched but on the other hand the poem is written with a very negative view on London.
| Posted on 2004-12-08 | by Approved Guest
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