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Interpretation in literature
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Blake's Jerusalem and Political Correctness Blake's, Jerusalem is commonly associated with the National Anthem, Rule Britannia, and I vow to thee my country. However this association is misplaced. Although Jerusalem is often played at national sporting events for example major cricket tournaments and rugby matches as a symbol of national pride, the lyrics do not in fact totally focus on pride in England or the greatness of our country. At a glance Jerusalem gives off the impression that it is in fact aggressively nationalistic, for example, 'Walk upon England's mountains green' This line appears to be promoting England's land and therefore would be considered politically incorrect. Another strong example of how this poem appears to be politically incorrect until studied at depth is in the third and final stanza, 'I will not cease from mental fight Nor shall my (my) sword sleep in hand' This appears to be an aggressive and fierce gesture. Later in the poem further examples of this are displayed such as, 'Bring me my bow (my bow) of burning gold Bring me my arrows of desire Bring me my spears o'clouds unfold…' This may be considered an act of attack and an overly aggressive message, especially if taken literally. It also has potentially racist connotations. However when you study Jerusalem you discover it is far more politically correct then it's reputation leads you to believe. I will demonstrate this by looking closely at the meaning of the poem. For example, in the first stanza of Jerusalem; 'Walk upon England's mountains green?' The truth about England is expressed, one which is not exag... ... middle of paper ... ...on has not been achieved as expressed in the lines, 'I will not cease from mental fight Nor shall my (my) sword sleep in hand 'Til we have built Jerusalem' Other similarities are apparent in the form of the verse, with the powerful use of repetition. In Jerusalem, 'Bring me my bow (my bow) of burning gold Bring me my arrows of desire Bring me my spears o'clouds unfold Bring me my chariot of fire' And in London, '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.' To conclude neither of these poems are nationalistic, the language and imagery used in London is one of sadness and despair. As discussed on closer examination Jerusalem is clearly expressing the sentiment that England is by no means a perfect place.
“Power” is an outcry at what is going on and has been going on with the African American peoples throughout the last four-hundred years: “they had dragged her 4´10´´ black woman’s frame/over the hot coals of four centuries of white male approval” (35,36). The lack of rhyme scheme is the vent of the outrage of the speaker. When we are mad (as mad as this speaker is), things become jumbled. We do not think in a normal way. Things that are usually normal are not so normal. The speaker is only consumed by the anger built up inside of it, and we see that by some of the things that it says, and by the overall construction of its poem. The difference of the structures of the stanzas is another thing that denotes this `action´ of anger, and the thought that the speaker is consumed by its anger and showing it. The speaker, in its state of anger, is not thinking of how many lines it is putting into each stanza. The poem is also thought about , but the words are spilling out of the speaker’s mouth in an anger ridden breakdown.
country’) and it is saying that this is all a lie. In ‘England to her
The poem "London" by William Blake paints a frightening, dark picture of the eighteenth century London, a picture of war, poverty and pain. Written in the historical context of the English crusade against France in 1793, William Blake cries out with vivid analogies and images against the repressive and hypocritical English society. He accuses the government, the clergy and the crown of failing their mandate to serve people. Blake confronts the reader in an apocalyptic picture with the devastating consequences of diseasing the creative capabilities of a society.
This is as Blake is. aware of everything that goes on in the society, and the poem clearly expresses his repulsiveness towards the political oppression imposed by the monarchy. However, Blake does not solely blame the monarcy, but he does. also the people of his country. This is because he saw all the other countries that previously suffered the oppression of a monarchy, fight.
On the surface the poem seems to be a meditation on past events and actions, a contemplative reflection about what has gone on before. Research into the poem informs us that the poem is written with a sense of irony
An exploited and mistreated society that 's tyrannical monarchy leaves its people without any hope left. To be poor defines being oppressed, this poem shows through the ranks that there is unification among everyone, in the fact that no matter who they are, society is repressed by the government. William Blake, in his poem London, uses rhyme, repetition and imagery paint the picture of social oppression in London.
Marxist views can be frequently spotted within William Blake’s works. The argument that “human interactions are economically driven and are based on a struggle for power between different social classes” is deeply rooted within the lines of Blake’s work. (Gardner, Pg. 146). In fact, “The Chimney Sweeper,” which was first published in 1789, a full half a century before Karl Marx first publicized his Marxist theory in 1848, has several instances of Marxist tones. Critic, Janet E. Gardner, argues that the theological similarities between the views expressed in the poem “Chimney Sweeper” and Karl Marx’s beliefs are easily found. For example, Karl believed that literary characters could be “divided into powerful oppressors and their powerless victims (Gardner, Pg. 145).” Similarly, Blake presents the character Tom Dacre as an accepting victim of the horrible indictment within the economically driven arrangements. An arrangement created to sell and buy children only in order to work and cripple them into a fatal labor. Both Marx and Blake note that the child labor could have come to an end earlier, but the naïve mind-set of the described characters presents them in a dream like nostalgia that even when they “awoke in the dark,” Tom “was [still] happy and warm.” Continuing, the church or government controls the mind of the children in labor; Blake echoes in an extreme sense of the children not seeing the truth or “light” and end up settling with the realities of their life. Similarly, Blake details suggest that the church brainwashes the children into believing that through tedious and cruel hours or if Tom “be a good boy, he’d have God for his father (Blake in Sweeper, L. 18-19).” Blake depicts a metaphysical defiance toward customary ...
In "London", William Blake brings to light a city overrun by poverty and hardship. Blake discards the common, glorifying view of London and replaces it with his idea of truth. London is nothing more but a city strapped by harsh economic times where Royalty and other venues of power have allowed morality and goodness to deteriorate so that suffering and poverty are all that exist. It is with the use of three distinct metaphors; "mind-forg'd manacles", "blackning Church", and "Marriage hearse", that Blake conveys the idea of a city that suffers from physical and psychological imprisonment, social oppression, and an unraveling moral society.
... bleed at a bitterer vein for the/ Comfortless unconfessed of them-/ No not uncomforted: lovely-felicitous Providence/ Finger of a tender of; O of a feathery delicacy, the breast of the/ Maiden could obey so, be a bell to, ring of it, and/ Startle the poor sheep back! is the shipwrack then a harvest, does tempest carry the grain/ for thee” (241-249). In the last stanza of the poem, the tone is the drama of triumph tone rather than a conflicted one: “Dame, at our door/ Drowned, and among our shoals,/ Remember us in the roads, the heave-haven of the Reward:/ Our King back, oh, upon English souls!/ Let him easter in us, be a dayspring to the dimness of us, be a crimson-cresseted east,/ More brightening her, rare-dear Britain, as his reign rolls,/ Pride, rose, prince, hero of us, high-priest, / Our hearts’ charity’s hearth’s fire, our thoughts’ chivalry’s throng’s Lord.”
All over the country, universities are setting up areas called “safe spaces” where potential harmful ideas are not allowed in order to protect students from ideas that may “trigger” or offend them. These occurrences are all apart of the “Political Correctness” movement that encourages people to avoid certain words and phrases that insult or marginalize minorities and the disadvantaged. Many schools, however, are fighting against this phenomenon. The Dean of the University of Chicago sent a letter to the incoming freshman class warning them that “trigger warnings” and “safe spaces” would not be tolerated at the university (Levinovitz). He was met with hostility as students “argued that the dean willfully ignored or misunderstood these intended
In this poem, Blake is trying to dispel the myth of grandeur and glory associated with London and to show the 'real' people of London and how they felt. London was seen and portrayed as a powerful and wonderful city where the wealthy lived and socialised. However, Blake knew that London was really a dirty, depressing and poverty-stricken city filled with slums and the homeless and chronically sick. To reveal the truth, Blake combines description of people and places with the thoughts and emotions of the people. For example, the second stanza says:"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"Blake combines the descriptions of the crying baby and man with the observation that the people oppress their hopes and dreams, figuratively 'chaining up their minds' because they know that they will never be able to achieve their dreams. Another Example is in the third stanza when Blake describes the crying chimney-sweep and then the "blackning church", but is really saying that the church does not want to dirty its hands by helping the soot-covered [black] chimney sweep. Therefore, a "blackning church" is one that helps the common, dirty people, and Blake says that "every blackning church appalls", showing that the aristocracy and those in positions of power did not want the church that they supported associating with the common people.Throughout the poem, Blake uses fairly simple language, punctuated with the occasional obscure word, but generally the more common words, probably to appeal to the common people who he was supporting through this poem.In writing this poem, Blake is trying to make the reader understand the truth about London and understand about the 'real' people, and he is also encouraging the church, and the aristocracy to help the common people and to support them instead of pushing them away and disregarding them.
living we enjoy in the United States is a result of the fact that we,
William Blake's poems, The Tiger and The Lamb, work symbiotically to exemplify the duality of religion, a concept of both blind and continually questioned faith. These two concepts are continually seen in both poems, as each asks its own questions of varying complexity. In The Tiger, for example, Blake poses the questions "What immortal hand or eye could frame thy fearful symmetry?" (Blake 3-5) and "did he smile his work to see? Did he who made the lamb make thee?" (Blake 19-20) portraying a deeper inspection of the being that created both the tiger, a symbol of beauty, terror, and evil, and the lamb, a symbol of simplicity and beauty. In The Lamb, on the other hand, he asks two, simple questions, "Little Lamb, who made thee? Dost thou know who made thee?" (Blake 9-10) These questions pose little to no meaning, and are very easily answered. In fact, Blake gives the reader the answer by
The poem, “The Tyger” by William Blake, shows how the author uses a curious tone when narrating this story. He uses this curious tone in literary devices such as diction, syntax, figurative language, and imagery.
When Donald Trump won the 2016 presidential election, people across the world knew that something must had gone wrong with the election give him his win. The hacking of the Democratic National Committee to release emails that “included damaging revelations about the Democratic Party and former Secretary of State Hillary Clinton, the party's nominee” (CNN) almost certainly made an impact on the outcome of the election. However, Trump might not have needed the hack to win after all.