London SS Flashcards
‘I wander thro’ each charter’d street, near where the charter’d Thames does flow’
‘I’ —> narratorial voice is speaking from personal experience. Perhaps is the voice of Blake or just a citizen criticising the burgeoning metropolis of London and the Industrial Revolution. Links in to Blake as a romantic poet.
‘Wander’ —> portrays a lack of purpose and describes the narrator as meandering or vagabonding aimlessly. This indicates a sense of freedom to act without a fixed purpose which juxtaposes the surroundings.
‘Charter’d’ —> repetition of adjective ‘chartered’ reinforces its meaning as ‘chartered’ has strong connotations of a location being divided into smaller areas.
- In the context of London, it portrays nature in the ‘Thames’ as being chartered or controlled by human authority showing how it lacks freedom and can not flow freely but is restricted by the metropolis.
‘Chartered street’ —> strong sense of division and this reinforces the description of London as an urban setting which is deprived of harmony and stability.
‘In every face I meet Marks of weakness, marks of woe’
‘Every’ —> uses a collective reference to imply that all are struggling.
‘Mark’ —> creates imagery of a stain or blemish which can refer to physical marks from emotional or physical stress. Alternatively, it can refer to the the results of social oppression showing how Londoners are subjugated under the restricting conditions of the metropolis.
- ‘marks’ —> can link in to the context of London as it may refer to the effects of STD’s as a lack of sexual hygiene was rife at the time.
- ‘w’ alliteration in ‘woe’ and ‘weakness’ uses the emotive diction to reinforce the prevailing gloom in the area and poignance of the irreversible misery.
‘In every cry of every man, in every infant’s cry of fear’
- use of anaphora at start of each line employed through ‘in every’ —> continually reinforces how all people or categories of people are experiencing distress.
‘Every man’ —> noun ‘man’ in the context of in the 18th century, the idea of a ‘man’ creates strong stereotypical connotations of stoicism and strength. In this, weakness and pain in the emotive noun of a ‘cry’ portrays the extent of suffering as even the strongest citizens of London are weakened and suffering.
‘Infant’ —> evokes associations with innocence, however, the ‘fear’ and ‘cry’ of an infant portrays a sense of experience and understanding of distress. This portrays how both fully-grown adults and youthful children both struggle making pain seem universal. This understanding of ‘fear’ also alludes to the idea that ‘infants’ have lost their innocence as a result of th atrocities that they have faced within London.
‘In every voice, in every ban,’
- ‘every voice’ —> utilises auditory language to highlight the multitude of negative impacts of the industrialisation of London. Also, in the repetition of ‘every’ for ‘voice’ and ‘ban’, it insinuates that all ‘bans’ or actions taken by authorities are detrimental creating the impression that authority in London is corrupted and causing suffering. This aligned to Blake’s views which often challenged authority, law and order within society and aligned with romanticism views.
‘The mind-forg’d manacles I hear.’
- ‘mind-forg’d’ —> uses powerful metaphorical diction in the verb ‘forg’d’ along with the noun ‘mind’ to insinuate that the issues that Londoners face are self-imposed and that humans are being controlled by their own actions such as industrialisation. In this, Wordsworth may aim to criticise the detrimental impacts of industrialisation.
- Alternatively, ‘mind-forg’d manacles’ can link in to Wordsworth’s negative views on establishment as he may be criticising the way in which Londoners’ minds are being controlled and restrained by social norms which deprive them of an identity, autonomy and freedom.
‘How the chimmney sweeper’s cry every black’ning church appalls’
- ‘chimney sweeper’s cry’ —> ‘chimney sweepers’ —> criticism by Wordsworth between poverty and child labour since during the 18th century, children were made to work to earn for their family. This can be demonstrated by the monosyllabic sound ‘cry’ which accurately reflects the pain and emotional turmoil that working class children faced.
Metaphorical: - ‘black’ning church’ —> can be viewed as oxymoronic language since the ‘church’ creates imagery of hope, light and spirituality, however, the adjective ‘black’ning’ connotes to the idea of immorality, horror and darkness creating opposing and negative imagery. This juxtaposes stereotypical ideas of the church hence presenting it as horrific and deceiving. This links in to Blake’s iconoclastic (criticising institutions) views against religion.
Literal: - ‘black’ning’ —> adjective may refer to a build-up of soot on the side of churches. This then links in to the usage of ‘chimney sweeper’s’ as a criticism since ‘chimney sweeper’s’ would have been used to clean the church. This can reinforce Blake’s iconoclastic criticising views since it highlights the fact that churches would have used child labour for its maintenance, hence tarnishing its reputation since the church is meant to be generous and righteous, however, it exploits young children.
‘The hapless soldier’s sigh runs in blood down palace walls’
- ‘hapless’ —> adjective refers to being unfortunate or unlucky, whilst the noun ‘sigh’ creates the impression of hopelessness or despair. This juxtaposes ideas of soldiers’ being powerful, intrepid and determined and this can help to show Blake’s criticism of propaganda and the needless loss of life in wars.
- This is reinforced by the use of sibilance —> imitates a sighing sound and reinforces the hopelessness of soldiers due to the corruption that they have faced.
- ‘runs blood down palace walls’—> verb ‘runs’ —> creates strong imagery of an abundance of blood hence emphasising the amount of people who have suffered due to violence. ‘Down palaces walls’ —> also creates the impression that the ‘palace’ or monarchy is responsible for this loss of life. This portrays it negatively and is indicative of Blake’s anti-monarchy beliefs.
Alternatively: - ‘blood down palace walls’ —> can also refer to the French Revolution portraying his beliefs on the distressing period where many people suffered.
‘Most though midnight streets I hear how the youthful Harlot’s curse Blasts the new born Infant’s ear’
- ‘most’ —> superlative places focus on the rife effects of prostitution as a prominent and horrific issue within the industrial Evolution.
Metaphorical: - ‘youthful Harlot’s curse’ —> ‘Harlot’ —> was a derogetory term for a prostitute showing his opinion on prostitution, whilst the adjective ‘youthful’ —> is employed due to criticise the nature of society where young women are forced into prostitution due to poverty. Also, in the strong auditory word ‘curse’, it portrays how young women were trapped within a cycle of affliction and were forced into it from society’s lack of care and exploitation of the poor.
Literal: - ‘curse’ —> can refer to an STD portraying it as a ‘curse’ since it was cancerous and would often harm and end young women’s lives.
‘Blights with plagues the Marriage hearse.’
- ‘blights’ —> verb ‘blights’ creates imagery of physical damage and decay hence portraying the physical negative impacts of ‘Marriage’.
- ‘plagues’ —> evokes strong imagery of pestilence referring to the horrific affects of STD’s spreading through London. This criticises social norms.
- ‘marriage hearse’ —> utilities an oxymoron as ‘marriage’ can refer to the start of a new life, whereas a ‘hearse’ is a carriage for death. This creates juxtaposing imagery and deconstructs the feeling of joy associated with marriage. Instead, from the affects of prostitution, marriage is being criticised as an institution causing issues and death. This links in strongly to Blake’s beliefs against marriage.
