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Literary analysis everyday use
Child labour 1800's
Child labour 19th century england
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In the poem, “The Chimney Sweeper” by William Blake, the author attempts to educate the reader about the horrors experienced by young children who are forced into labor at an early age cleaning chimneys for the wealthy. The poem begins with a young boy who has lost his mother but has no time to properly grieve because his father has sold him into a life of filth and despair. The child weeps not only for the loss of his mother and his father’s betrayal, but also for the loss of his childhood and innocence. Blake uses poetry in an attempt to provoke outrage over the inhumane and dangerous practice of exploiting children and attempts to shine a light on the plight of the children by appealing to the reader’s conscience in order to free the children from their nightmare existence.
Right away in the first lines of the poem we learn through the child narrator his life is about to change dramatically for the worse. “’When my mother died I was very young, / And my father sold me while yet my tongue / Could scarcely cry 'weep! 'weep! 'weep! 'weep!'” (1-2). The use of the word ‘weep’ is a clever play on words to get the reader to understand the grief the boy experienced and also foreshadows what is to come next. If you add the letter “s” to “weep” the word becomes “sweep”. Repeating the words “weep, weep, weep” almost sounds like a chorus of a song or maybe even the raising of an alarm. We know the child was small, otherwise he would not have been able to clean chimneys, but it is possible also that the child was so young that he couldn’t even pronounce the word “sweep” correctly and instead pronounced it “weep” which would account for the poet’s use of the words “scarcely cry” (2) and “tongue” (3). We get the impression that th...
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...18), are all metaphors for what their life should be, not what they have been condemned to. In waking, Tom finds comfort in his dream and is finally at peace with his forced existence. “And so Tom awoke; and we rose in the dark, /And got with our bags & our brushes to work” (21-22). Reality has returned, the dark is back but a newfound acceptance and hope has replaced the despair. “Tom was happy & warm; / So if all do their duty they need not fear harm”, (23-24). These lines infer that there is still hope that society will see the error of their ways and put an end to their suffering and if not, they will be released to a better place in death. Society will someday realize that what they robbed these children of was immoral and wrong and they will stop the injustice and put an end to child labor.
Works Cited
Blake, William. The Chimney Sweeper. 1789. Web.
Stanza two shows us how the baby is well looked after, yet is lacking the affection that small children need. The child experiences a ‘vague passing spasm of loss.’ The mother blocks out her child’s cries. There is a lack of contact and warmth between the pair.
...ll wants and desires often results in a future filled with deep sadness. However, children do not degenerate by themselves; rather they are not spoiled till those of influential stature in the eyes of the children sink in to the corruption of favoritism. Even though times have changed, this corruption present in “Why I Live at the P.O” is analogous to what favoritism is today. In the modern world, partiality towards a certain child usually comes from strong feelings of love that bury themselves in an prominent figure’s mind and subconsciously spoil the child. This irony, that amplified love actually causes one to suffer later in life, depicts the broader issue that by getting one used to an imaginary life where all desires are fulfilled, he or she cannot accept the fact of human nature that, outside the household, people are indifferent to another person’s wishes.
The poem “Those Winter Sundays” displays a past relationship between a child and his father. Hayden makes use of past tense phrases such as “I’d wake and hear the cold splintering, breaking” (6) to show the readers that the child is remembering certain events that took place in the past. Although the child’s father did not openly express his love towards him when he was growing up, the child now feels a great amount of guilt for never thanking his father for all the things he actually did for him and his family. This poem proves that love can come in more than one form, and it is not always a completely obvious act.
Sandra Cisneros’ The House on Mango Street, written in 1984, and Toni Morrison’s The Bluest Eye, first published in 1970, are both aimed at adolescent audiences but deal with deep, often disturbing themes about serious social conditions and their effects on children. Both books are told in the first person; both narrators are young girls, living in destitute neighborhoods, who witness the harsh realities of life for those who are poor, abused, and hopeless, although the narrators themselves manage to survive their tough environments with their wits and strength intact. The books are more than simple literary exercises written merely to amuse or delight their audiences.
Maggie and Jimmie, siblings whom Cranes uses as protagonists, live in deplorable and violent conditions. The setting is America West, during the industrialization era. The change from agricultural to industrial economy led to many casualties, including Maggie and Jimmie’s parents. They found themselves in periphery of economic edifice where poverty was rampant. Now alcoholics, they are incapable of offering parental care and support to their children. This leaves the children at the mercies of a violent, vain, and despondent society that shapes them to what they became in the end. Cranes’ ability to create and sustain characters that readers can empathize with is epic though critics like Eichhorst have lambasted his episodic style (23). This paper will demonstrate that in spite of its inadequacy, Cranes Novella caricatures American naturalism in a way hitherto unseen by illustrating the profound effect of social circumstances on his characters.
follow his father’s footsteps, but is obligated to stay to support his family. He feels the need to abandon all his problems and change his life’s fate. Through the symbol of the fireplace, Tennessee Williams suggests that people want to escape the confinements of reality to chase their dreams, but are restrained by their sympathizing emotions.
According to Jacqueline O’Connor she saw confinement as a main theme in the play. She says, “Tom speaks frequently about the confinement that keeps him from fulfilling his dreams.” “In scene three, he berates his mother for the lack of priva...
The Chimney Sweeper is divided in six stanzas; the first stanza of this narrative poem starts off with the young chimney sweeper, the persona, explaining naively his cause for being a climbing boy. It is widely known in history that the chimney sweepers used to announce their service by bellowing the word "Sweep!" on streets so when we read this first stanza it is deduced that this boy was sold by his father to a master sweep at the time that he could not have been older than 6 years old. In the third verse the boy says that his tongue "could scarcely cry " `weep! `weep! `weep! `weep!" ", meaning that he did not have the ability to speak such a word. He was obliged to start working and to live in inhuman conditions; for when Blake wrote "and in soot I sleep", he again was precise. Chimney sweepers sometimes endured more than 3 months without cleaning themselves, having to be forced to sleep in the soot of the chimneys they had cleaned.
Things like chores should be very trivial compared to the hardships and tasks the subjects of William Blake’s “The Chimney Sweeper” face. “When my mother died I was very young,” and here you stand complaining about the dishes? Also, when the main subject says, “And my father sold me while yet my tongue,/ Could scarcely cry weep weep weep weep.” really puts life into perspective.
Parents had to raise their children knowing there children would suffer the same fate as they did when they become of age. “Grandma was soon to lose another object of affection, she had lost many before.” (pg. 39) When the kids were young they were allowed to develop friendships with the slave owner’s children. “Color makes no difference with a child.” (pg.50) Kids are oblivious. However, slave children began to realize what the rest of their life would be like when they did become of age. Sopia the slave o...
Instructor’s comment: This student’s essay performs the admirable trick of being both intensely personal and intelligently literary. While using children’s literature to reflect on what she lost in growing up, she shows in the grace of her language that she has gained something as well: an intelligent understanding of what in childhood is worth reclaiming. We all should make the effort to find our inner child
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
The children that were assigned to clean the chimneys were sometimes as young as four years old and the majority of them were orphans. The job was also dangerous. Children could get stuck and suffocate or get burned and bruised on a regular basis. This was obviously something that poet William Blake felt strongly about.
In The Chimney Sweeper from Songs of Innocence, the tone of the poem is innocent and shifts from sad to hopeful. Blake uses such diction as “And my father sold me while yet my tongue could scarcely cry ‘weep! weep! weep! weep!’”(lines 2-3) and “in soot I sleep”(line 4) to give the beginning of the poem a depressing tone which evokes sympathy from the readers about the speaker’s deplorable situation. As the poem continues the tone shifts to hopeful as the speaker tries to reassure his friend Tom that everything will be alright, “’Hush, Tom! Never mind it,’” (line 7). In Tom’s dream he imagines freedom and happiness going “down a green plain leaping, laughing” (line 15) as they “sport in the wind” (line 18). The dream takes place in a pastoral idyll opposite of the monochrome darkness of the real world in which the boys are subject to a capitalist economy where they can only weep over their degradation (Norton). Tom’s dream is reflective of the innocent tone of this poem in that he is still able to be hopeful in such a horrid and desolate situation. The lines most convincing of the shift in tone to hopeful are the last lines, lines 23 and 24: “Though the morning was cold, Tom was happy and warm; so if all do their duty they need not fear harm.” This is a dramatic turn of events from Tom crying about having to get his head shaved to being happy to start a days’ work in soot
At its fundamental level, adulthood is simply the end of childhood, and the two stages are, by all accounts, drastically different. In the major works of poetry by William Blake and William Wordsworth, the dynamic between these two phases of life is analyzed and articulated. In both Blake’s Songs of Innocence and of Experience and many of Wordsworth’s works, childhood is portrayed as a superior state of mental capacity and freedom. The two poets echo one another in asserting that the individual’s progression into adulthood diminishes this childhood voice. In essence, both poets demonstrate an adoration for the vision possessed by a child, and an aversion to the mental state of adulthood.