“London” by William Blake: A Critical Analysis

Introduction: “London” by William Blake

“London” by William Blake first appeared in 1794 in his collection Songs of Experience, a companion piece to his earlier Songs of Innocence. The poem presents a haunting portrait of the city, exploring themes of poverty, oppression, and the bleak conditions faced by London’s citizens under a rigid, industrializing society. Blake’s vivid imagery and powerful language illustrate the “mind-forged manacles” that bind individuals, symbolizing the psychological and social restraints imposed by authority and tradition. The poem’s enduring popularity stems from its evocative depiction of urban despair and its critique of social injustice, which continues to resonate with readers as a timeless commentary on institutional oppression and human suffering.

Text: “London” by William Blake

Annotations: “London” by William Blake

Line	Annotation
“I wander thro’ each charter’d street,”	The speaker, possibly Blake himself, walks aimlessly through the city. “Charter’d” refers to the restriction of public spaces and rivers, symbolizing the control exerted by authorities on both people and natural resources.
“Near where the charter’d Thames does flow.”	The Thames, like the streets, is described as “charter’d,” suggesting even the natural world is constrained and exploited by economic and political powers. The river is a metaphor for the loss of freedom.
“And mark in every face I meet”	The word “mark” serves a dual meaning—observing and as a symbol of scars or signs of suffering. This line highlights the uniform distress visible on the faces of the people in London.
“Marks of weakness, marks of woe.”	The faces bear “marks” of both physical weakness and emotional suffering, indicating the pervasive impact of societal oppression and hardship on individuals.
“In every cry of every Man,”	Blake emphasizes universality by repeating “every,” indicating that despair affects all social classes and ages. The cries represent collective anguish, heard throughout the city.
“In every Infants cry of fear,”	Even infants, who should symbolize innocence and hope, are afflicted by fear, signifying a city where suffering begins from birth. The fear is emblematic of societal neglect and pervasive anxiety.
“In every voice: in every ban,”	The cries and restrictions (“ban”) symbolize the repressive atmosphere. A “ban” can mean both a prohibition and a curse, suggesting how laws and edicts contribute to the people’s suffering.
“The mind-forg’d manacles I hear”	Blake refers to the “manacles” as being “mind-forg’d,” implying that mental oppression and psychological restrictions are self-imposed or ingrained by societal indoctrination, not just physical restraints.
“How the Chimney-sweepers cry”	Chimney-sweepers were often young boys forced into dangerous labor. Their cries highlight the exploitation of children, and their suffering contrasts with the purity that churches claim to uphold.
“Every blackning Church appalls,”	The image of the “blackning Church” suggests corruption and hypocrisy within religious institutions, which fail to protect society’s vulnerable and contribute to the city’s moral decay.
“And the hapless Soldiers sigh”	Soldiers are portrayed as “hapless,” reflecting their lack of agency and their victimization by the ruling powers. Their plight is a result of war and the exploitation of the poor for political gain.
“Runs in blood down Palace walls”	This metaphor suggests the hidden violence and suffering caused by the monarchy and government, symbolized by “Palace walls.” The “blood” represents the sacrifices of the common people for the benefit of the elite.
“But most thro’ midnight streets I hear”	The nighttime setting adds a sense of isolation and secrecy, heightening the sense of despair. Midnight evokes an image of hidden, darker aspects of society becoming more evident.
“How the youthful Harlots curse”	The “youthful Harlots” are young women driven to prostitution, a result of poverty and lack of opportunity. Their “curse” reflects both their despair and society’s moral decline.
“Blasts the new-born Infants tear”	The “curse” of the harlots affects innocent infants, suggesting that suffering is passed down and that the innocence of the next generation is corrupted from birth.
“And blights with plagues the Marriage hearse”	This line links marriage with death (“Marriage hearse”), symbolizing the decay of sacred institutions and the corruption of love by societal ills, such as disease, poverty, and moral decay.

Literary And Poetic Devices: “London” by William Blake

Literary Device	Example	Explanation
Anaphora	“In every cry of every Man, / In every Infants cry”	The repetition of “In every” at the beginning of consecutive lines highlights the widespread suffering across all ages and classes.
Assonance	“Thro’ each charter’d street”	The repetition of the “e” sound creates a smooth, rhythmic flow, mimicking the monotonous wandering through the controlled streets.
Imagery	“blackning Church appalls”	Visual imagery that portrays the Church as dark and hypocritical, morally corrupt and failing to protect the vulnerable.
Metaphor	“The mind-forg’d manacles”	“Manacles” (shackles) represent psychological or societal restrictions imposed on individuals, highlighting the lack of true freedom.
Symbolism	“Thames”	The river Thames symbolizes the natural world controlled and exploited by economic and political power.
Repetition	“cry” and “every”	Repetition of these words underscores the pervasive nature of sorrow and oppression in the city.
Irony	“blackning Church”	The Church, expected to be a source of purity, is described as “blackning,” which ironically suggests corruption instead of sanctity.
Personification	“the youthful Harlots curse”	The harlot’s curse is personified as something that can “blast” and “blight,” giving it power over others’ lives and future generations.
Oxymoron	“Marriage hearse”	Combines the ideas of marriage and death, suggesting that even marriage is tainted with decay and destruction.
Juxtaposition	“Chimney-sweepers cry / Every blackning Church”	Places innocent child laborers and the corrupted Church side by side, emphasizing the Church’s moral failure to protect them.
Hyperbole	“Runs in blood down Palace walls”	An exaggerated image that suggests the monarchy’s power is stained by the blood of those who suffer due to its decisions.
Visual Imagery	“Marks of weakness, marks of woe”	Creates a visual image of despair etched onto every person’s face, enhancing the bleakness of the setting.
Consonance	“Chimney-sweepers cry”	The repetition of the “c” sound emphasizes the harshness of the chimney-sweepers’ cries, underscoring the grim reality of their lives.
End-stopped Line	“And blights with plagues the Marriage hearse.”	The line ends with a period, emphasizing the grim finality and hopelessness surrounding marriage in the city.
Paradox	“Marriage hearse”	Suggests an illogical union of marriage (new life) with death (hearse), indicating the corruption of love and purity in a decaying society.
Tone	Somber and accusatory throughout	The dark, critical tone reflects Blake’s condemnation of the institutions that perpetuate suffering and poverty.
Enjambment	“In every voice: in every ban, / The mind-forg’d manacles I hear”	The line flows without punctuation, conveying the ongoing, unbroken nature of societal restrictions.
Metonymy	“Palace walls”	Represents the monarchy or ruling class, suggesting that they are complicit in the suffering symbolized by the “blood” on the walls.
Mood	Gloomy, oppressive	The mood reflects the hopelessness and despair experienced by the city’s inhabitants due to systemic oppression and poverty.

Themes: “London” by William Blake

1. Oppression and Control: Blake highlights the pervasive control exerted by institutions over the lives of individuals in London. The word “charter’d” in lines like “charter’d street” and “charter’d Thames” suggests a city where even natural elements are regulated and constrained, reflecting the overwhelming oppression faced by the populace. This control extends beyond physical spaces to people’s minds, as Blake speaks of “mind-forg’d manacles,” symbolizing psychological restraint and societal limitations imposed by those in power.
2. Suffering and Despair: The poem vividly captures the anguish of London’s citizens, whose faces bear “marks of weakness, marks of woe.” Blake’s repetition of “In every” emphasizes that this suffering is all-encompassing, affecting “every Man” and even “Infants,” who cry in fear. This collective suffering reflects the grim reality of the city, where misery permeates all aspects of life, irrespective of age or class.
3. Corruption and Hypocrisy: Blake criticizes the institutions of religion and government, which he portrays as corrupt and morally bankrupt. The phrase “blackning Church” juxtaposes the Church’s role as a beacon of purity with the stain of hypocrisy, as it fails to alleviate the suffering of the chimney-sweepers and the impoverished. Similarly, the image of blood running “down Palace walls” implicates the monarchy in the oppression and exploitation of the common people, suggesting a disconnect between the ruling class and those they govern.
4. Decay of Social Morality: Blake presents a city where moral values have eroded, affecting even fundamental institutions like marriage. The phrase “Marriage hearse” combines the concepts of matrimony and death, indicating that love and union have been tainted by disease, poverty, and social degradation. The presence of “youthful Harlots” cursing and the “new-born Infants” crying imply that innocence is corrupted from birth, and societal decay has seeped into the fabric of family and community life.

Literary Theories and “London” by William Blake

Literary Theory	Application to “London”	References from the Poem
Marxist Criticism	This theory examines class struggle, societal oppression, and the influence of economic structures. Blake’s portrayal of the suffering masses and critique of institutions aligns with Marxist views on the exploitation of the working class by those in power.	Lines such as “In every cry of every Man, / In every Infants cry of fear” reveal class-based suffering. The “Palace walls” and “blackning Church” suggest that the ruling class and religious institutions perpetuate inequality and oppression.
Psychoanalytic Theory	Psychoanalytic theory explores psychological repression and subconscious influences. Blake’s reference to “mind-forg’d manacles” suggests an internalized oppression where individuals are mentally shackled by societal expectations and limitations, a concept aligned with Freud’s ideas on repression.	The phrase “mind-forg’d manacles” indicates self-imposed or psychologically internalized constraints, shaped by society and leading to a kind of mental imprisonment.
New Historicism	New Historicism interprets texts within the historical and cultural context of the time, examining power dynamics. Blake’s “London” is deeply reflective of the social injustices and authoritarian control of 18th-century London, criticizing the historical realities of poverty, labor exploitation, and institutional hypocrisy.	References to “charter’d street” and “charter’d Thames” reflect the socio-political control over London during Blake’s time. The mention of “Chimney-sweepers” and “Soldiers” connects to real occupations where exploitation was rampant in the 18th century.

Critical Questions about “London” by William Blake

• How does Blake use the setting of London to critique societal structures?
• Blake’s choice of London as the setting serves as a microcosm for the corrupt and oppressive societal structures he critiques. By describing “charter’d streets” and even a “charter’d Thames,” he illustrates how natural elements and public spaces are controlled by the wealthy elite, symbolizing the broader socio-political control over individual lives. The confinement of even a river reflects the loss of freedom and autonomy among London’s people, indicating a society where personal liberties are subjugated to authority and capitalism.
• What is the significance of “mind-forg’d manacles” in the poem?
• The “mind-forg’d manacles” represent the psychological restraints that society imposes on individuals, shackling them mentally as well as physically. These “manacles” suggest that oppression is not only external but also internalized, as the people of London have been conditioned to accept their suffering. The phrase reveals Blake’s insight into how societal control affects not just behavior but also the mindset of individuals, leading them to accept limitations imposed by the institutions around them.
• How does Blake portray the role of institutions in the suffering of London’s citizens?
• Blake critiques institutions such as the Church and the monarchy as enablers of societal suffering. He describes the “blackning Church” as appalling, an image that implies religious institutions have become morally corrupt, failing to protect society’s vulnerable. Similarly, the reference to blood “run[ning] down Palace walls” implicates the monarchy in the misery experienced by ordinary citizens, as the elite maintain power at the expense of the oppressed. These images reveal Blake’s condemnation of institutions that perpetuate inequality and disregard human suffering.
• What role does innocence and corruption play in the poem?
• Innocence and corruption are central themes, with Blake suggesting that even the youngest and most innocent members of society, like infants, are tainted by the city’s oppressive environment. The cries of “Infants” and the “youthful Harlots curse” demonstrate how innocence is corrupted from birth, and how the cycle of despair and moral decay is unbroken. The “Marriage hearse” combines the purity of marriage with the finality of death, suggesting that love and union are doomed in a city where corruption prevails. This merging of innocence with decay paints a bleak picture of London as a place where purity is inevitably stained.

Literary Works Similar to “London” by William Blake

• “The Cry of the Children” by Elizabeth Barrett Browning: Similarity: Both poems explore the suffering of the oppressed, particularly children, in a rapidly industrializing society.
• “The Chimney Sweeper” (from Songs of Innocence and Songs of Experience) by William Blake: Similarity: Like “London,” these poems critique societal neglect and exploitation, focusing on the harsh lives of child laborers.
• “Dover Beach” by Matthew Arnold: Similarity: Both reflect a bleak perspective on society, highlighting the loss of faith and moral degradation in the modern world.
• “The Waste Land” by T.S. Eliot: Similarity: Eliot’s poem, like Blake’s, portrays a city in decay, symbolizing societal corruption and spiritual desolation.
• “Composed upon Westminster Bridge” by William Wordsworth: Similarity: While more optimistic, this poem also captures the essence of London, offering a contrasting view of the city’s beauty amidst industrialization.

Representative Quotations of “London” by William Blake

Quotation	Context	Theoretical Perspective
“I wander thro’ each charter’d street”	The speaker begins his journey through the streets of London, observing the city’s systematic confinement and regulation.	Marxist Criticism: Highlights economic control and restriction of public spaces by the elite, symbolizing societal oppression.
“Near where the charter’d Thames does flow”	Even natural elements like the Thames are under restrictive control, symbolizing how nature itself is affected by human exploitation.	Eco-Criticism: Suggests the loss of nature’s freedom, emphasizing how industrialization invades natural landscapes.
“And mark in every face I meet / Marks of weakness, marks of woe”	The speaker observes the expressions of suffering on every face, reflecting a collective experience of hardship.	New Historicism: Represents the historical realities of poverty and suffering in 18th-century London.
“In every cry of every Man”	Blake emphasizes the universality of suffering, with cries that transcend individual experience to reflect society’s collective anguish.	Psychoanalytic Theory: Suggests shared psychological trauma as a result of oppressive societal structures.
“In every Infants cry of fear”	Even infants are not exempt from the pervasive atmosphere of fear and despair in London.	Child Studies: Examines how societal neglect and poverty impact children from birth, depriving them of innocence and safety.
“The mind-forg’d manacles I hear”	The metaphor of “mind-forg’d manacles” represents psychological restraints imposed by societal norms and expectations.	Psychoanalytic Theory: Reflects how oppression becomes internalized, creating mental limitations and self-imposed constraints.
“How the Chimney-sweepers cry”	Young chimney sweepers, often exploited child laborers, cry out as they suffer from dangerous and inhumane working conditions.	Marxist Criticism: Depicts the exploitation of the working class, particularly children, by capitalist forces.
“Every blackning Church appalls”	Blake criticizes the Church, which has become metaphorically “blackened” by its failure to protect the vulnerable and uphold morality.	Religious Criticism: Challenges the Church’s hypocrisy and moral decay, questioning its role in a corrupt society.
“Runs in blood down Palace walls”	The image of blood on palace walls symbolizes the monarchy’s complicity in the suffering and sacrifice of the common people.	Political Criticism: Implies the ruling class is responsible for the bloodshed and misery of its citizens.
“And blights with plagues the Marriage hearse”	The juxtaposition of marriage and death suggests the corruption of sacred institutions and the inevitable decay of love in a morally tainted society.	Feminist Criticism: Questions how societal constraints affect personal relationships, particularly marriage, in oppressive contexts.

Suggested Readings: “London” by William Blake

1. Miner, Paul. “Blake’s London: Times & Spaces.” Studies in Romanticism, vol. 41, no. 2, 2002, pp. 279–316. JSTOR, https://doi.org/10.2307/25601560. Accessed 9 Nov. 2024.
2. Miner, Paul. “WILLIAM BLAKE’S CREATIVE SCRIPTURE.” Literature and Theology, vol. 27, no. 1, 2013, pp. 32–47. JSTOR, http://www.jstor.org/stable/23927441. Accessed 9 Nov. 2024.
3. Griffin, Paul F. “MISINTERPRETING THE CITY IN BLAKE’S ‘LONDON.’” CEA Critic, vol. 48/49, 1986, pp. 114–107. JSTOR, http://www.jstor.org/stable/44378189. Accessed 9 Nov. 2024.
4. PUNTER, DAVID. “Blake and the Shapes of London.” Criticism, vol. 23, no. 1, 1981, pp. 1–23. JSTOR, http://www.jstor.org/stable/23105010. Accessed 9 Nov. 2024.