London Flashcards
I wander thro’ each charter’d street,
Near where the charter’d Thames does flow,
(first stanza)
At the beginning of the poem, Blake establishes a personal, first-hand account of the problems in London. The narrator observes the city’s oppression, describing how “I wander thro’ each charter’d street Near where the charter’d Thames does flow.” Blake employs the verb “wander,” which suggests aimlessness and reflects his powerlessness to change anything. This is fused with the diacope of “charter’d,” to hints that London is a kind of cage, keeping its inhabitants trapped within the confines of their suffering. To communicate a sense of entrapment, Blake contrasts human control with nature and the adjective “charter’d,” used to describe both the streets and the Thames, connotes ownership and restriction, creating the impression that even natural elements are under human control. The open assonance in the line momentarily mimics the movement of a freely running river, but the harsh end-stop at the end of the stanza abruptly cuts this flow, reinforcing the idea that even nature is constrained. As the Thames runs through the heart of London, its restriction suggests that oppression is everywhere and inescapable, deeply embedded within the city’s very structure.
And mark in every face I meet
Marks of weakness, marks of woe
At the beginning of the poem, Blake establishes a vivid depiction of the suffering he witnesses in London. The narrator relates how he observes the lasting impact of oppression, describing how “And mark in every face I meet / Marks of weakness, marks of woe.” Blake employs the term “mark,” which, through the use of antanaclasis, carries a double meaning—he both notices the suffering and is also “marked” or affected by what he sees. Fused with the repetition of the noun “marks,” this represents the permanent damage of power on society and symbolises the physical scarring of the people of London, suggesting that the impact of incessant suffering cannot be removed. To communicate the overwhelming presence of this misery, Blake reverses the rhythm in this line, placing emphasis on the “marks” he sees in the faces of those he passes. Furthermore, the phrase “marks of weakness, marks of woe” employs alliteration, with the /m/ and /w/ sounds functioning as visual marks across both lines, further emphasising the deep-rooted suffering present in the city. This reinforces Blake’s critique of a society permanently scarred by oppression and despair.
In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban
(stanza 2)
At the beginning of the second stanza, Blake establishes the universal nature of suffering in London. The narrator reveales how he observes the relentless misery of the city “In every cry of every Man, / In every Infants cry of fear, / In every voice: in every ban.” Blake employs the repetition of “every”, which emphasises the sheer scale of the problem, reinforcing the feeling of bleakness and highlighting that this despair affects everyone—there is no escape. This is used in conjunction with the imagery of children crying, which evokes sympathy in the reader, as infants represent innocence and should not have to suffer. To communicate the inescapability of this oppression.
The mind-forg’d manacles I hear
Blake establishes the idea of mental oppression through “The mind-forg’d manacles I hear.” The narrator perceives not just physical suffering but psychological chains binding London’s people. The compound adjective “mind-forg’d” suggests these restrictions are self-imposed as well as enforced by authority, while also emphasising how people have been conditioned into accepting their suffering. The alliteration of “mind-forg’d manacles” echoes “Man” in line 5, reinforcing the idea that people are both the victims and creators of their own misery. The auditory detail “I hear” makes this restriction feel tangible, bringing the control of weight to life and the distressing noises. The phrase suggests that Londoners are mentally imprisoned by a totalitarian system, suppressing freedom and imagination. Manacles’ are handcuffs. The image implies that the people are trapped emotionally in society and in their social class.
How the Chimney-sweepers cry
Every black’ning 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
Context
Structure
-Simple ABAB rhyme scheme: reflects the unrelenting misery of the city, and perhaps the rhythm of his feet as he trudges around the city.
-First two stanzas focus on people; third stanza focuses on the institutions he holds responsible; fourth stanza returns to the people - they are the central focus.
Good points to know
All of the repetition creates a cacophony of unbearable noise.
