"London" is a poem by William Blake, published in the Songs of Experience in 1794. It is one of the few poems in Songs of Experience that reflects a constrained or bleak view of the city. Written during the time of significant political and social upheaval in England, the poem expresses themes of oppression, poverty, and institutional corruption. Scholars have suggested that Blake used this work to critique the impacts of industrialization and to highlight the experiences of London's impoverished residents. [2] [3]
Consequently, the poem critically examines the social conditions of the time, particularly the exploitation of the poor, while also addressing the loss of individual freedom and the moral decay of society. Blake's writing is thought to reflect his response to the industrial revolution and political unrest in England, as he sought to highlight the suffering of the city's inhabitants. [4]
I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear
How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls
But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse.
The poem is widely considered a social critique of London during the late 18th century. Scholars interpret Blake’s work as a reflection of his perception of the city's poverty, oppression, and inequality. According to literary critics, Blake’s “London” explores the idea of institutional corruption and the psychological toll on the working class. Blake's contemporary, the French Revolution, and the Industrial Revolution had impacted British society, and critics argue that Blake may have been influenced by these events. The poem is notable for its focus on themes like powerlessness, as suggested by the repeated imagery of "chartered" streets and the "mind-forged manacles" that suggest a sense of inescapable control over individuals. Through vivid and repetitive imagery, Blake portrays a society marked by oppression, particularly emphasizing how institutions like the church and the monarchy contribute to systemic despair. For example, Blake’s mention of the 'mind-forg’d manacles' suggests the psychological impact of societal restrictions on individuals (Zhan, 2013). [2] [5]
Additionally, an acrostic poem titled Shouting at the Past by Benbo Smith, explores themes of silence and the loss of hearing. It draws a parallel to William Blake's London, using the acrostic "H.E.A.R." to highlight the soundscape of Blake's London, where societal conditions create a noisy, oppressive environment. The poem conveys the tension between the past and present, emphasizing the absence of sound as a metaphor for emotional or social detachment. The analysis connects these ideas to Blake’s critique of industrialization and social injustice in London. [6]
The poem addresses themes such as social oppression, the loss of individual freedom, and the impact of industrialization on urban life. Blake uses these themes to critique the institutions he saw as perpetuating inequality and suffering in society, including the church and the government (Zhan, 2013; Thompson, 1993). [7] [2]
Blake critiques not only the societal structures but also the role of institutions such as the Church and the monarchy in perpetuating inequality. He draws attention to the suffering of marginalized groups, such as chimney sweeps, soldiers, and prostitutes, who bear the brunt of the city's moral and economic corruption. Through stark imagery like the "youthful harlot's curse" and "runs in blood down palace walls," Blake critiques the moral decay that spreads across generations, exacerbating the cycle of poverty and suffering. [8] [9]
Blake’s poem employs several literary techniques that are central to its effect:
Blake uses repetition and stark imagery to highlight the oppressive atmosphere of London. For example, the repeated word ‘charter’d’ underscores the regulated, restrictive nature of city life, while other phrases convey a sense of entrapment and despair. His choice of structure and rhythm further amplifies the bleak tone of the poem (Erdman, 1988). [10]
I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear
How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls
But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse [11]
In Songs of Innocence and Experience , William Blake made deliberate alterations to the wording and arrangement of poems across different editions of his work, particularly in the first prints of 1794. This method reflected Blake's evolving artistic vision. These editions were unique in their hand-colored illustrations and in the presentation of both the text and visual elements, with no two copies being exactly the same, having the text etched onto copper plates. Scholars note that these variations can be seen in changes to the order of the poems and even in subtle differences in phrasing. The differing sequences reflect Blake's deep engagement with the themes of innocence and experience and how they were perceived over time. [12] [13]
London was published in Blake’s Songs of Experience in 1794, alongside other poems that explore themes of societal control and personal suffering. The collection, which was originally illustrated and printed by Blake himself, reflects his evolving perspective on social and political issues of the time (Bentley, 2004). [14]
Blake's London contains several notable allusions that critique societal structures in 18th-century England, which Blake portrays as oppressive institutions. His use of several imagery conveys his criticism of both religious and governmental powers, suggesting they contribute to the suffering of the poor. One of the most prominent is the "Church" and its depiction as a "black'ning Church." The reference to the "black'ning Church" suggests that the church as an institution is not only physically blackening from the soot of London but is actually rotting from the inside, insinuating severe corruption. This phrase may signify Blake’s view of the church as an institution complicit in the suffering of the population, symbolically “darkened” by its failure to address social issues like poverty and child labor. Scholars suggest that Blake used this imagery to critique the church's alignment with oppressive structures rather than acting as a force for compassion and support in society (Frye, 1947; Thompson, 1993). [15] [16]
Another significant allusion is the reference to "Palace walls" running with blood. This line is interpreted as a criticism of the monarchy and the ruling class, whom Blake viewed as indifferent to the suffering of the common people. This imagery may evoke associations with the social unrest and revolutions occurring in Blake's era, such as the French Revolution, which Blake followed closely and viewed as a reaction against oppressive rule. The phrase suggests that the palace—or monarchy—is metaphorically "stained" with the blood of the oppressed, pointing to the exploitation and suffering endured by lower classes as a result of the monarchy’s policies (Erdman, 1988; Bentley, 2004). [10] [14]
Finally, the mention of the "Harlot's curse" and the "newborn infant's tear" evokes a cycle of suffering perpetuated across generations, implying that societal corruption affects both individuals and families, trapping them in a relentless cycle of despair. Scholars have noted that this line critiques the societal impact of poverty and the breakdown of traditional family structures in the face of industrial and urban pressures (Bentley, 2004). [14] Blake’s use of these allusions underscores his critique of the moral and social decay he perceived in London’s institutions. [17] [7]
The poem London by William Blake has inspired various musical interpretations, demonstrating its enduring influence across different artistic fields. Notably, Ralph Vaughan Williams adapted the poem in 1958 as part of his Ten Blake Songs , a cycle that reflects his approach to integrating Blake’s visual and poetic elements with musical composition. Similarly, Benjamin Britten incorporated the poem into his 1965 cycle Songs and Proverbs of William Blake , exploring the themes of oppression and corruption present in the work. Furthermore, the German electronic band Tangerine Dream released an album titled Tyger in 1987, inspired by Blake's poems, including London. This album reflects a more modern, experimental take on Blake's themes, showcasing how the poem continues to resonate with contemporary artists. [18]
William Blake was an English poet, painter, and printmaker. Largely unrecognised during his life, Blake has become a seminal figure in the history of the poetry and visual art of the Romantic Age. What he called his "prophetic works" were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language". While he lived in London his entire life, except for three years spent in Felpham, he produced a diverse and symbolically rich collection of works, which embraced the imagination as "the body of God", or "human existence itself".
"The Tyger" is a poem by the English poet William Blake, published in 1794 as part of his Songs of Experience collection and rising to prominence in the romantic period. The poem is one of the most anthologised in the English literary canon, and has been the subject of both literary criticism and many adaptations, including various musical versions. The poem explores and questions Christian religious paradigms prevalent in late 18th century and early 19th century England, discussing God's intention and motivation for creating both the "Lamb" and the eponymous "Tyger."
"The Chimney Sweeper" is the title of a poem by William Blake, published in two parts in Songs of Innocence in 1789 and Songs of Experience in 1794. The poem "The Chimney Sweeper" is set against the dark background of child labour that was prominent in England in the late 18th and 19th centuries. At the age of four and five, boys were sold to clean chimneys, due to their small size. These children were oppressed and had a diminutive existence that was socially accepted at the time. Children in this field of work were often unfed and poorly clothed. In most cases, these children died from either falling through the chimneys or from lung damage and other horrible diseases from breathing in the soot. In the earlier poem, a young chimney sweeper recounts a dream by one of his fellows, in which an angel rescues the boys from coffins and takes them to a sunny meadow; in the later poem, an apparently adult speaker encounters a child chimney sweeper abandoned in the snow while his parents are at church or possibly even suffered death where church is referring to being with God.
Jerusalem: The Emanation of the Giant Albion is a prophetic book by English poet William Blake. Jerusalem is the last, longest and greatest in scope of Blake's works. Etched in handwriting, accompanied by small sketches, marginal figures and huge full-plate illustrations, it has been described as "visionary theatre". The poet himself believed it was his masterpiece and it has been said that "of all Blake's illuminated epics, this is by far the most public and accessible". Nonetheless, only six copies were printed in Blake's lifetime and the book, like all of Blake's prophetic works, was all but ignored by his contemporaries.
Tiriel is a narrative poem by William Blake, written c.1789. Considered the first of his prophetic books, it is also the first poem in which Blake used free septenaries, which he would go on to use in much of his later verse. Tiriel was unpublished during Blake's lifetime and remained so until 1874, when it appeared in William Michael Rossetti's Poetical Works of William Blake. Although Blake did not engrave the poem, he did make twelve sepia drawings to accompany the rough and unfinished manuscript. However, three of them are considered lost as they have not been traced since 1863.
Holy Thursday is a poem by William Blake, from his 1789 book of poems Songs of Innocence.
"The Garden of Love" is a poem by the Romantic poet William Blake. It was published as part of his collection, Songs of Experience.
"Holy Thursday" is a poem by William Blake, first published in Songs of Innocence and Experience in 1794. This poem, unlike its companion poem in "Songs of Innocence" (1789), focuses more on society as a whole than on the ceremony held in London.
"Ah! Sun-flower" is an illustrated poem written by the English poet, painter and printmaker William Blake. It was published as part of his collection Songs of Experience in 1794. It is one of only four poems in Songs of Experience not found in the "Notebook".
Earth's Answer is a poem by William Blake within his larger collection called Songs of Innocence and of Experience. It is the response to the previous poem in The Songs of Experience-- Introduction . In the Introduction, the bard asks the Earth to wake up and claim ownership. In this poem, the feminine Earth responds.
The Little Girl Lost is a 1794 poem published by William Blake in his collection Songs of Innocence and of Experience. According to scholar, Grevel Lindop, this poem represents Blake's pattern of the transition between "the spontaneous, imaginative Innocence of childhood" to the "complex and mature adult state of Experience."
The Little Vagabond is a 1794 poem by English poet William Blake in his collection Songs of Innocence and of Experience. His collection, Songs of Innocence, was originally published alone, in 1789. The scholar Robert Gleckner says that the poem is a form of transformation of the boy in the poem "The School Boy", from Songs of Innocence.
The Song of Los is one of William Blake's epic poems, known as prophetic books. The poem consists of two sections, "Africa" and "Asia". In the first section Blake catalogues the decline of morality in Europe, which he blames on both the African slave trade and enlightenment philosophers. The book provides a historical context for The Book of Urizen, The Book of Ahania, and The Book of Los, and also ties those more obscure works to The Continental Prophecies, "Europe" and "America". The second section consists of Los urging revolution.
The French Revolution is a poem written by William Blake in 1791. It was intended to be seven books in length, but only one book survives. In that book, Blake describes the problems of the French monarchy and seeks the destruction of the Bastille in the name of Freedom.
Poetical Sketches is the first collection of poetry and prose by William Blake, written between 1769 and 1777. Forty copies were printed in 1783 with the help of Blake's friends, the artist John Flaxman and the Reverend Anthony Stephen Mathew, at the request of his wife Harriet Mathew. The book was never published for the public, with copies instead given as gifts to friends of the author and other interested parties. Of the forty copies, fourteen were accounted for at the time of Geoffrey Keynes' census in 1921. A further eight copies had been discovered by the time of Keynes' The Complete Writings of William Blake in 1957. In March 2011, a previously unrecorded copy was sold at auction in London for £72,000.
An Island in the Moon is the name generally assigned to an untitled, unfinished prose satire by William Blake, written in late 1784. Containing early versions of three poems later included in Songs of Innocence (1789) and satirising the "contrived and empty productions of the contemporary culture", An Island demonstrates Blake's increasing dissatisfaction with convention and his developing interest in prophetic modes of expression. Referred to by William Butler Yeats and E. J. Ellis as "Blake's first true symbolic book," it also includes a partial description of Blake's soon-to-be-realised method of illuminated printing. The piece was unpublished during Blake's lifetime, and survives only in a single manuscript copy, residing in the Fitzwilliam Museum, in the University of Cambridge.
"Fallen woman" is an archaic term which was used to describe a woman who has "lost her innocence", and fallen from the grace of God. In 19th-century Britain especially, the meaning came to be closely associated with the loss or surrender of a woman's chastity and with female promiscuity. Its use was an expression of the belief that to be socially and morally acceptable, a woman's sexuality and experience should be entirely restricted to marriage, and that she should also be under the supervision and care of an authoritative man. Used when society offered few employment opportunities for women in times of crisis or hardship, the term was often more specifically associated with prostitution, which was regarded as both cause and effect of a woman being "fallen". The term is considered to be anachronistic in the 21st century, although it has considerable importance in social history and appears in many literary works.
The Notebook of William Blake was used by William Blake as a commonplace book from c. 1787 to 1818.
"The Little Boy Found" is a poem by William Blake first published in the collection Songs of Innocence in 1789. Songs of Innocence was printed using illuminated printing, a style Blake created. By integrating the images with the poems the reader was better able to understand the meaning behind each of Blake's poems.
"A Dream" is a poem by English poet William Blake. The poem was first published in 1789 as part of Blake's collection of poems entitled Songs of Innocence.
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