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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.

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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.

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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.

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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.

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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.

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Nas

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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.

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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.

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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.

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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.

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