London

Question 1

Structure and form

Answer 1

Dramatic Monologue

London is written in the first person, making it feel personal and passionate. The speaker directly shares his experiences, using simple, conversational language. Blake wanted his poetry to be accessible so that everyone could understand and engage with his message. The monologue format sets up a one-sided conversation, drawing readers into his perspective.

Cyclical Structure

The poem begins by showing suffering, then explores its causes, before returning to suffering again. This cycle suggests that oppression is endless unless people take action to break free. Blake may be encouraging rebellion, similar to the French Revolution, by showing how society remains trapped in a loop of misery.

Iambic Tetrameter

Blake mostly follows iambic tetrameter (four beats per line), creating a sense of order and control. This relentless rhythm reflects the oppression in London, mirroring how the lower classes are trapped in a strict and controlled society.

Consistent Rhyme Scheme & Stanza Length

The poem follows an ABAB rhyme scheme and is structured in quatrains (four-line stanzas). This rigid structure enhances the theme of oppression, showing how suffering is constant and inescapable. However, occasional breaks in this pattern, like “marks of weakness, marks of woe” (which has only seven syllables), stand out and disrupt the flow. These moments may symbolize opportunities for change—suggesting that, despite the overwhelming control, rebellion is still possible.

Hidden Message: “HEAR”

The first letters of each line in the third stanza spell HEAR, which could be a hidden message urging readers to pay attention. Throughout the poem, Blake emphasizes sound with words like “cry”, “sigh”, and “curse”. This may be his way of calling for people to listen to the suffering around them and recognize society’s injustices.

Question 2

“Mind forged manacles”

Answer 2

Blake’s phrase “mind-forged manacles” symbolizes how the people of London have internalized their suffering. The “manacles” suggest enslavement and oppression, but since they are “mind-forged,” Blake implies that people are not merely controlled by external authorities but also by their own psychological conditioning and passive acceptance of injustice. Though physically free, they are mentally suppressed by institutions like the church, monarchy, and class system. By presenting oppression as a mental construct, Blake suggests that change is possible if people confront their self-imposed mental chains and actively resist the forces that limit their freedom.

Question 3

“Each charted street”

Answer 3

Blake’s use of “chartered” highlights how oppression is rooted in the privatisation of land and resources. The repetition in “each chartered street” and “chartered Thames does flow” emphasises the totality of control over London, suggesting that every aspect of the city—whether streets or rivers—has been claimed and regulated by the wealthy. The term “chartered” refers not just to ownership but to legal and institutional sanctioning.

In the 1700s, land legislation allowed common land to be taken for private ownership, meaning what was once accessible to all was now restricted to a privileged few. This shift represents not only economic oppression but also a loss of freedom for ordinary people, as even the spaces they live and work in are controlled by others. The idea that these spaces are “chartered” implies that the people have no freedom to move freely or access what was once theirs, underlining the systemic nature of the control they face. Blake is pointing out that land ownership becomes a tool for keeping the working class in place, reinforcing their powerlessness in a society dominated by the elite.

Blake further reinforces this idea through the juxtaposition of “chartered” and “flow”. The noun “flow” evokes images of freedom, movement, and natural order, suggesting that the Thames, as a natural force, should be uncontrollable and free-flowing. However, the use of “chartered” in relation to the river highlights that human greed has not only sought to control land and wealth but has also extended its reach to nature itself. This is a critique of the ways in which institutional power and capitalism aim to dominate even the natural world. Blake is exposing the absurdity of this control, where even nature—the symbol of life and freedom—is no longer beyond the grasp of the powerful. This is a direct challenge to the idea that humans can or should exert control over the environment for profit.

In Blake’s eyes, this unnatural intrusion into nature further exemplifies the corruption of society by power and greed.Ultimately, Blake presents this control as unnatural and unjust, urging readers to question the systems that allow such domination to persist. Through his use of the word “chartered,” he critiques how capitalism and institutional authority work together to trap people in a system where even the most fundamental freedoms are restricted—whether it be the space they inhabit or the natural world that should remain beyond the reach of exploitation.

Question 4

“Every black’ning church appals”

Answer 4

1. Religious Hypocrisy

Blake criticizes the Church for failing to help the poor and suffering. Christianity teaches compassion, yet the Church in London turns a blind eye to social injustice. The word “black’ning” suggests moral corruption, implying that instead of being a place of purity and hope, the Church is tainted by its inaction and complicity in oppression.

2. Industrial Revolution Imagery

The “black’ning” could also be literal, referring to the smoke and soot from the Industrial Revolution, which physically darkened London’s buildings. This links the Church to the growing pollution and suffering caused by industrialization, reinforcing Blake’s anger at how progress benefits the wealthy while worsening conditions for the poor.

3. Sin and Decay

The darkening of the Church could symbolize the decay of faith and morality in society. Instead of standing against oppression, it seems to be crumbling under it, showing how institutions of power—both religious and political—fail the people they should serve.

4. Contrast with “Appalls”

The verb “appalls” (meaning shocks or horrifies) might reflect either the speaker’s own disgust at the Church or the Church’s supposed horror at the suffering around it. However, the hypocrisy is clear—the Church should be a force for good, yet it is itself “black’ning”, suggesting it is part of the problem rather than the solution.

Overall, “every black’ning church” highlights the corruption of institutions that should offer hope, exposing how religion, instead of alleviating suffering, has become tainted by greed and neglect.
- The poem uses the phrase “in every”, with “every” also repeated within the lines (seven times in total throughout the poem). This may be Blake emphasising the extreme extent of the suffering, showing how it impacts everyone with no discrimination. The device gets very repetitive, maybe to show how repetitive the cycles of suffering are in London’s Georgian society. This repetition builds up to the final line like a literary crescendo.

Question 5

Poets message

Answer 5

The poet’s message in London by William Blake is about the suffering and oppression caused by social and political corruption. Through his vivid descriptions of the city, Blake highlights the poor living conditions, the exploitation of the working class, and the lack of freedom. The poem focuses on the negative impact of industrialization and how institutions like the church and government contribute to the suffering of people. Blake’s message is a critique of the injustice and inequality in society, calling for change and greater awareness of the struggles faced by the poor.

Question 6

Context

Answer 6

1. Historical Context:
   The poem was written in 1794 during the Industrial Revolution in England. At this time, London was rapidly growing, and many people lived in poverty due to poor working conditions in factories, overcrowded living spaces, and low wages. The city’s wealth was often built on the exploitation of the working class.
   
   2. Social Context:
      Blake was a critic of the social system, especially the inequality between the rich and poor. The church, government, and monarchy were often seen as maintaining the status quo and not addressing the suffering of the poor. Blake, a strong advocate for social change and equality, was deeply concerned about these injustices.
   3. Blake’s Beliefs:
      Blake was a Romantic poet who believed in human freedom and the importance of imagination and individual expression. He was critical of the oppressive institutions that restricted freedom, such as the church and the monarchy. His poetry often highlighted themes of innocence, experience, and social criticism.