What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
Murder is wearing a mask “like” Castlereagh, Castlereagh is not necessarily Murder, but Murder takes the disguise of people in power to perform his deeds.
Lord Castlereagh (1769–1822) was a repressive Anglo-Irish politician, who feared revolt. At this time, he was the Foreign Secretary and leader for the Tories in the House of Commons. He was infamous for his bloody supression of The Irish Rebellion of 1798.
This video is processing – it'll appear automatically when it's done.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
Throughout, Shelley personifies and capitalises evil, abstract qualities, linking them to prominent political figures of the time, the members of Lord Liverpool’s government, whom he saw as responsible for the conditions that had led to the massacre.
This video is processing – it'll appear automatically when it's done.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
It appears that the harlot’s curse attacks and mars, or marks, the institution of marriage. London itself is marked by the depravity caused by the oppressive nature of the political and religious systems which allow such evil and exploitation to exist. Blight and plague are the result.
This video is processing – it'll appear automatically when it's done.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
The desperation of London is summed up by the young prostitute cursing. Is she cursing as in swearing, or cursing others, like the men who exploit her? Or is she herself, also cursed?
Her curse furthermore harms the new-born infant. “Blasts” would suggest that her own howl of anger and grief frightens her child; she doesn’t take his tears into account. She may be cursing the child himself or her fate. But Blake’s main point is in the final line: her curse calls down judgment on the poor state of marriage at the time (infidelity was taken for granted by many men) and turns the carriage ridden by newlyweds into a hearse.
The word “youthful” here is a direct criticism of the conditions for young, working-class women in the time of George III. Poor urban women worked as seamstresses (which required skill that took time to learn), and in domestic service.
The early industrial revolution, (the ‘Romantic’ era) when Blake lived, started in the north of England; factory work for women and children was beginning to grow and mill towns to spring up, though conditions in the mills and factories were terrible. But in London those who failed to find work sewing or in domestic service fell back on prostitution as the most viable means of subsistence. This was the fate for thousands of young women with nowhere else to turn. Before taking up the profession, this young unencumbered girl might have been an ‘English rose’ as opposed to her now haggard, cursing self.
This video is processing – it'll appear automatically when it's done.
harlots curse is a euphemism for a sexually transmitted disease as in the time period it would have meant almost certain death and a harlot is another word for a prostitute
The noun “curse” has several connotations.
It could refer to the woman swearing at the child, commenting on both her terrible conditions and the loss of innocence for the child, a recurring theme in Blake’s works.
It could also refer to the inability for women to get out out poverty, they have fallen into prostitution as the only means to live as women’s jobs were still domestic and they needed a husband in order to stay financially afloat.
Another interpretation of the “curse” is that it represents the STIs that the woman has received, she wouldn’t have received any help for her disease, as prostitutes were ostracised from society from the religious constructs that Blake criticises.
Could the fact that the new-born infant is being cursed reflect on the fact that the neglect experienced by all factions of society began since childbirth. The image of a new born being shouted at is a cold, substantial image.
the author could be saying that desperation and prostitution are killing any chance to escape your life- he implies that even young girls are on the streets producing unwanted babies and spreading STIs. this is a cycle of unhappiness.
demonstrates the innocence of youth with the sordidness of prostitution
‘youthful’ they’re young, (innocent, happy, carefree) being forced to grow up, innocence has been stripped away.
‘Harlot’s’ – Girls had to turn to prostitution, emphasizes how desperate they were and how bad poverty was – They had to stoop to that level just to earn money.
Plural highlights how widespread it is,
‘curse’ emphasize anger and frustration, highlights maturity. They’ve been neglected by elders
what are the techniques used
The phrase is English rose, not British rose
Blake was not writing during the Victorian era! He was writing during the 18th century – no Queen Victoria at that time!
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
This video is processing – it'll appear automatically when it's done.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
This line, along with the one immediately after it, refers to the way events are controlled by outside forces. The “hapless” soldier’s sigh “run[ning] in blood” down the enclosures of power–metaphorically staining the palace’s pristine walls–could speak to Blake’s understanding of the futility of existence, the destructive stupidity of war, or the fact that soldiers who die while following orders have literally given control of their life to their country, and thus lack agency over their fates.
Note the alliterative repetition of ‘a’s and 'p’s in 'appalls’ and ‘hapless’, which give unity to the stanza. Also the plosive ‘b’s and 'p’s in 'blackening’ and ‘blood’, and ‘Palace’, ‘appalls’ and again ‘hapless’ express the anger and despair of the speaker. The sibilant ’s’s imitate the sound of sighing.
To reinforce the speaker’s synaesthesia — whose ‘mind-forged manacles’ sees the worst in everything around him (an unfortunate condition of Experience) and causes him to have his aural experience manifest itself in horrible sights (literally seeing sounds) — Blake has made an acrostic of this stanza with the first letter of each line spelling ‘H E A R’. The speaker is overwhelmed by the suffering that marks his perception as much as it marks the hapless victims of an Industrial Empire.
Although Blake had an encounter with a drunken soldier invading his property in 1803, who is named in Blake’s later prophetic works (and a reversed image from this plate of the old man and child appear in Plate 84 of ‘Jerusalem’), our sympathy here in London is with the soldier as a victim of the state.
There is also irony in the returned Soldier who sheds blood to protect a system that keeps him in such terrible conditions, so he is indeed ‘hapless’. Simon Armitage arguably provides a contemporary echo of this soldier’s sigh in the poem Remains.
This video is processing – it'll appear automatically when it's done.
correct me if im wrong but songs of experience was published in the 1790s? so surely to break in wouldn’t have any influence
Could also refer to the French revolution and how Blake perhaps imagined a revolution as being the only way of overcoming the poverty of the city? He resents the power of the monarchy and their lack of care for their people and this could link to the limitations the people put up for themselves in their ‘mind forg’d manacles’ – perhaps Blake believes that the way to make change happen is by the people revolting.
Could use simpler language and sentences. Hard to read
Wonderful observation of the acrostic. Never noticed that.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
The chimney-sweeper symbolizes the abuse of innocence which is such a key theme in Blake’s work— he even has a poem of that title in this series . Boys were forced by poverty into this dangerous and exploitative employment. This links to the next line where their cry metaphorically blackens the church, with its alleged care for the weak. Though the children have dirty, blackened faces, they are innocent. The church, however, is blackened or sullied by its complicity in the abuse and exploitation of the vulnerable. The hypocrisy appals Blake.
Blake moves from introspective musings to specific social realism, in that he focuses on ‘the Chimney-sweeper’. Note that each of the characters in the poem is described with a capital letter, so that they represent a section of society. Unlike academics and postulating ‘thinkers’, Blake always returns to real experiences. This is continued in the following stanza’s references to a soldier, harlot, and new-born baby.
This video is processing – it'll appear automatically when it's done.
blackening means to become black as a result of burning, decaying or bruising. This enhances the fact that the job was too extreme for young boys, adding to the brutality of being young in poverty.
“appals” means to go pale with fear, yet the churches have gone “black” this is a juxtaposition. the church is such an innocent place yet its gone black with soot, suggesting the church has gone corrupt along with the other institutions that Blake references in his poem.
(not my annotation found it online thought it deserved to be here)
- the phrase ‘blackening church’ could act as an oxymoron and suggests how the church as an institution which is supposed to help the children, has become increasingly corrupt and lost its sight of charitable aims
Simply, ‘blackening church’ could suggest the soot being accumulated on the church, due to the Industrial Revolution and factories, or it could also show how Blake feels (remember poems convey emotion) the church is becoming more corrupt and it isn’t doing it’s responsibility to those who are mentiioned in the poem (e.g the ‘chimney sweeper’).
@123 – Blake was alive at the time of George lll. He wasn’t Victorian. The ‘Romantic era’ — Blake can be categorised loosely as ‘Pre-Romantic’ — predates the Victorian era.
biblical reference of church which symbolises God as it contrasts with “black'ning” and the “light” of goodwill is shaded and blocked by the metaphorical expression of “black” that indicates the mass corruption in Victorian Britain that affects people socially and religiously making the poor much poorer without aid as it could also be a social diatribe towards people’s beliefs of God however they don’t aid the poor
‘appalls’ was originally spelt ‘appals’ and, though now obsolete, meant to become pale or weak in the time period the poem was written. This suggests the corrupt Ecclesiastical institutions in London are dying and the influence of the church is fading.
the word ‘appals’ could actually mean white and bright, this juxtaposes with the black imagery to show how these shouldn’t exist with each other at the same time.
Blake could possibly be exposing authority and those in power as hypocrites and liars, as “church” has connotations of helping, supporting and working together, however, the idea of the church being blackened implies that the church has not only been polluted by the fumes of the Industrial Revolution. but also hints that the church has been corrupted and is no longer following it’s expectations- to help and support those in need. Instead, like all other aspects of authority, the church is lying and disguising itself to be able to sustain the power it is given- Blake is suggesting that the church and the rest of authority do not deserve this power, as they are not using it as they should, they are taking it as advantage and abusing it. By adding in “appalls”, Blake is literally outing his direct views towards the ways of the church, showing the reader how angry he actually is, emphasising the extent to which he thinks authority are not doing their job and are not worthy of the power they are given. Blake is consistently highlighting the significant fact that the wound has been infected to the point where it will take all of society to work together and heal it; authority cannot fix this alone, and probably will not anyway.
When putting together everything implied about society, one could say that it is a way sinister due to its uncompromising oppression of the poor. Black. The church is described as black suggesting that it is disguising itself too well, to be in compliance with the society which means neglecting the innocent.
My chimney sweeper is autistic
Once I got fisted by a six foot six black chimney sweeper and it was great
Black'ning Church could literally show how the church is turning black due to the industrial revolution the empire was facing at the time
In the third stanza if you look on the left you can seen the acrostic poem HEAR. This adds emphasis as Blake is trying to get the reader to listen to the voices of the chimney sweeper, and soldier.
‘blackning church appalls’ could be referring to the criticism of authority as the church is getting blackened by terrors of industrialism but are not taking action about it.
Quote is juxtaposition.
It contrasts how the chimney sweepers are very innocent and dirty and how the church at the time was clean but rather corrupt.
The word ‘blackening’ connotes that the Church is corrupt and immoral. William Blake is suggesting that the Church have failed at their job, as if they wanted to help those in need, there would not be any chimney sweepers.
fuck you bob u fucking overgrwn ape just go and fuck ur self u little shit u mum is a prostitute and im sleeping with ur sister and shes a fucking hore
add the device of the quotation
Put bullets in their head to make us feel bad Akala – Fire In The Booth Part 3
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
Irony is used here to claim that the victims of western capitalist imperialism fake their injuries, fake the effect of drone strikes and state backed terror, fake the murder of their children to make us feel a sense of guilt.
This video is processing – it'll appear automatically when it's done.
In every Infant's cry of fear,
In every voice: in every ban, William Blake – London
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
Powerful repetition of ‘every’ and ‘cry’ develops the sense that Blake’s London is a tortuous and agonising place in which to live. The sense that everybody, regardless of age, is living in this dystopian city pervades. The lines are structured to constitute a list, building up a picture of an abundance of suffering. By having both ‘every man’ and ‘every infant’ crying, we can infer that pain and suffering are constant from birth to death.
The repetition of ‘In every …’ is a device called anaphora with the same two words coming at the beginning of three lines. This adds a rhythmic emphasis to reinforce the meaning. It is also another example of syntactic parallelism.
Additionally, the hyperbolic phrase “in every cry of every man” would, at the time of the poem, been shocking to a reader, as, contextually, the patriarchal society of the era meant that men displaying sad emotions would contradict beliefs about male strength and toughness.
This video is processing – it'll appear automatically when it's done.
The fact that its a child crying instantly triggers the caregiving instinct in adult readers and makes them more sympathetic to the situation.
The commas at the end of the lines can symbolise tears running down people’s faces showing pain and suffering
Could the structure represent control?
The reference to an “Infant” could also suggest that London was so corrupted that children were born fearful, leading to the destruction of innocence.
This line should read: ‘In every cry of every Man’.
Blake uses proper nouns such as ‘Harlot’ and ‘Infant’ to segregate society/deride the system.
My Nan cried when I booted her in the chin
The repetition is a key language technique, emphasizing the speaker’s initial unhappiness with the situation in London and building up to a strong picture of universal oppression with the five-fold repetition of ‘every’.
This quote shows that even the privileged few suffer the same as the poorer would contradicting previous ideas thought about them throughout the poem such as them having a happier life and controlling the poor. This is why this is such a powerful statement as it contrast all previous ideas in the poem as well as the patriarchal society at that time.
The last line of the first paragraph of the annotation ends with “,.”
It could also suggest the ‘rarity’ of a man crying and how this would have been unheard of in the middle ages, linking the weakness this man might feel as do ‘infants’. Alluding to the fact we are controlled by society.
this represents the message that blake is trying to convey to the reader. the theme of suffering is evident here, but blake illustrates that the city is very polluted and it is affecting the lives of the people living there
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
Evoking darkness and fear, setting the poem at midnight shows that London is, at all hours, a damaged city, with its citizens on the streets, living painfully oppressed lives.
Midnight is significant in that it is associated with death. Shakespeare’s Falstaff says in Henry IV Part 2 that ‘We have heard the chimes at midnight’, signifying that death is near at hand. Poor Londoners would have lived with death — short life expectancy, high infant mortality, disease — looming constantly over them.
Midnight is also a metaphor for sinister happenings, when demons rise from graveyards and threaten humans.
i liek this poem it is cool
I think that ‘midnight’ foreshadows something bad is going to happen. This is because typically ‘midnight’ is used in stories and poems as a time when something bad happens.
-15
F@CK_chloeKeller you fat slut everyone knows you suck bare dick you big batti bitch your mums on benifiys and ur dads in prison for rape you dumb bitch how about you die. I hope your dad gets raped in prison how dare you talk back to me u horrible little whore
rape
-15
My Nan is albino and her pussy taste of milky bar
i hear loud sexual noises
Blake uses pathetic fallacy to set a dreary scene for the last stanza, overall creating a more dark and impactful climax.
The association that ‘midnight’ holds with the supernatural may be an used in order to display the belief that the fear held in superstitions, deludes people from seeing the truth of their current system. This therefore illustrates that those who oppress the poorer citizens harbour demonic qualities, and should therefore be what people fear. Nevertheless, the ‘mind-forged manacles’ people wear, results in an opportunity for such qualities to manifest in the rich, allowing for oppression.