‘London’ by William Blake, GCSE poetry.
The poem:
London by William Blake
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.
Analysis
William Blake’s London, first published in 1794 as part of his Songs of Experience, is a haunting and politically charged poem that explores the darker side of urban life in the late 18th century. The poem, deeply rooted in the socio-political context of its time, critiques the oppressive structures of power and the resulting human suffering. Its vivid imagery, powerful use of sound, and tightly controlled structure reflect Blake’s anger at the institutions that enslave human freedom—making it a vital part of the AQA GCSE Power and Conflict anthology.
Historical Context
To understand London, it is important to consider the historical backdrop. Blake lived during a time of great social upheaval: the Industrial Revolution was transforming Britain, bringing wealth to a few and misery to many. Poverty, child labour, disease, and the exploitation of the working class were rampant, especially in cities like London. Blake was also heavily influenced by the American and French Revolutions and the Enlightenment ideals of liberty and equality. However, he saw Britain becoming more repressive rather than freer, with institutions like the Church and Monarchy complicit in maintaining control.
Blake himself was a radical thinker, often critical of the Church, state, and economic exploitation. He was part of the Romantic movement, which valued emotion, nature, and individual freedom over reason and industrialisation. London is a product of these views—it’s a deeply political poem that uses a first-person speaker to present a damning indictment of his city.
Structure and Form
Blake’s London is a four-stanza poem, each consisting of four lines (quatrains) written in iambic tetrameter (four stressed syllables per line). The consistent ABAB rhyme scheme gives the poem a rigid, almost monotonous feel—echoing the oppressive and inescapable conditions Blake describes.
This tight structure contrasts with the chaotic, disturbing content, creating a sense of entrapment, mirroring the theme of lack of freedom. The regular rhythm might also reflect the relentlessness of suffering in the city.
Themes in ‘London’
1. Oppression and Lack of Freedom
From the outset, Blake depicts London as a place where freedom is absent:
“I wander through each charter’d street”
The word “charter’d” is key here. It means regulated or controlled by a charter, often granted by authority. Blake repeats this word in “charter’d Thames”, implying that even the natural river is not free. To a modern teenager, this suggests the total control of every aspect of the city, even nature itself, by powerful institutions.
This idea continues in:
“And mark in every face I meet / Marks of weakness, marks of woe.”
The repetition of “mark” is a clever play on words. First, it means to notice or observe, but also refers to visible signs of suffering. Everyone in London bears these metaphorical or even physical signs of despair.
2. Institutional Power and Corruption
Blake attacks several key institutions: government, religion, and monarchy. These are portrayed not as protectors, but as sources of suffering.
“In every cry of every Man, / In every Infant’s cry of fear, / In every voice, in every ban, / The mind-forg’d manacles I hear.”
The phrase “mind-forg’d manacles” is a powerful metaphor. “Manacles” are chains or shackles, often for prisoners. Blake suggests that people are imprisoned not only physically, but mentally—indoctrinated by institutions to accept their suffering. These are “forged” by the mind, implying that societal norms and beliefs are responsible for people’s psychological imprisonment.
Religious hypocrisy is attacked in:
“How the Chimney-sweeper’s cry / Every black’ning Church appalls;”
Here, the cry of the chimney-sweeper—a symbol of child labour and exploitation—“appalls” the church. But Blake uses irony: the Church is “black’ning” both literally and morally. It is complicit in this suffering, turning a blind eye or even participating in it.
Finally, the monarchy is condemned in:
“And the hapless Soldier’s sigh / Runs in blood down Palace walls.”
This is a bold, revolutionary image. The Palace walls, representing royalty, are metaphorically stained with the blood of soldiers. Blake suggests that the elite’s luxury is bought at the cost of human life, perhaps referring to war or the general suffering under the monarchy.
3. Decay of Innocence
The final stanza of the poem focuses on sexual exploitation and moral decay:
“But most thro’ midnight streets I hear / How the youthful Harlot’s curse / Blasts the new-born Infant’s tear / And blights with plagues the Marriage hearse.”
Here, Blake connects prostitution (“youthful Harlot”) to the destruction of innocence and marriage. The “curse” may be both a literal curse (shouting abuse) and a metaphor for sexually transmitted disease. The oxymoron “Marriage hearse” brings together love and death, suggesting that even marriage, once sacred, is now corrupted.
Key Literary Devices
1. Repetition
Blake uses repetition throughout the poem to emphasise suffering and convey the inescapability of the city’s oppression:
“In every cry of every Man, / In every Infant’s cry of fear, / In every voice, in every ban…”
This anaphora (repeating a phrase at the start of successive lines) hammers home the ubiquity of misery.
2. Alliteration
Blake uses alliteration to add sound effects that reinforce meaning:
“Marks of weakness, marks of woe”
The repetition of “w” sounds almost like a whimper or sobbing.
“Blights with plagues the Marriage hearse.”
The harsh “b” and “p” sounds mimic spitting or cursing, enhancing the sense of bitterness and decay.
3. Metaphor and Symbolism
“Mind-forg’d manacles” – A metaphor for mental imprisonment.
“Black’ning Church” – Symbol of religious hypocrisy.
“Marriage hearse” – Oxymoron symbolising the death of love and innocence.
Challenging Vocabulary Explained
For modern UK teenagers, here are some difficult terms:
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Charter’d – Controlled or owned (suggesting restriction).
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Mark – Notice or see, but also visible sign.
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Woe – Great sorrow or distress.
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Ban – A law or command; here it can mean both social orders and prohibitions.
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Mind-forg’d manacles – Shackles or chains made by mental control or beliefs.
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Appalls – Horrifies or shocks.
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Blights – Ruins or spoils.
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Harlot – An old term for a prostitute.
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Hearse – A vehicle for carrying a coffin.
Understanding these words is essential for high-level analysis.
Comparison with Other Poems in the Anthology
1. Checking Out Me History – John Agard
Both poems deal with oppression. While Blake criticises political and religious institutions, Agard focuses on the erasure of identity through colonial education. Both use metaphor powerfully (e.g., “bandage up me eye” vs “mind-forg’d manacles”) to show how language and ideas control people.
2. Ozymandias – Percy Bysshe Shelley
Like Blake, Shelley criticises abuse of power. Ozymandias’ crumbling statue is a metaphor for the transience of power. Blake shows the living misery of people under oppressive institutions, whereas Shelley shows how tyrants fade, but their damage lingers.
3. The Émigrée – Carol Rumens
London and The Émigrée both use a city as a symbol, but in different ways. Blake’s city is diseased and decaying, whereas Rumens’ speaker romanticises her city of origin, despite its corruption.
Grade 9 Exam Strategy
To achieve a Grade 9, students need to:
1. Know the Poem Deeply
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Memorise key quotes and know how they relate to themes and context.
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Understand all literary devices and why Blake uses them.
2. Make Original Points
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Don’t just repeat what teachers or guides say.
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For example, argue how the structure (tight form) contrasts with the chaotic suffering, suggesting lack of escape.
3. Use Comparative Analysis
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Be able to compare London clearly to another poem from the anthology, using language, structure and form, as well as themes.
Example: “While Blake uses rigid iambic tetrameter to reflect urban control, Agard uses irregular rhyme and Caribbean dialect to resist cultural oppression.”
4. Link to Context Thoughtfully
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Don’t just drop in facts. Connect them.
Instead of: “Blake lived during the Industrial Revolution,” say:
“Blake’s portrayal of child labour in ‘chimney-sweeper’s cry’ reflects the grim reality of urban poverty during the Industrial Revolution, where children were often exploited with the Church’s silent approval.”
5. Zoom-in on Language
Go beyond surface-level:
“‘Mind-forg’d manacles’ is a metaphor showing how people are chained by beliefs. Blake may be suggesting that it’s not just external control, but internal acceptance of injustice that keeps people oppressed.”
Conclusion
William Blake’s London is a masterfully constructed critique of society’s failure to protect its people. Through vivid imagery, biting irony, and rich metaphor, Blake exposes the moral and psychological chains that bind the citizens of London. For GCSE students, understanding the poem’s historical roots, its brilliant use of language, and its comparative relevance is key to unlocking top grades. Comparing Blake’s themes of oppression, control, and decay with other poems in the anthology enables students to deepen their insight and demonstrate the high-level analysis needed for a Grade 9.