In order to depict the complexity of their works, authors often publish revised versions of their previous works as the situations regarding the subject evolve. In this manner, William Blake's two poems, both titled The Chimney Sweeper and published in 1789 and 1794, attempt to establish the treacherous conditions faced by young chimney sweepers during the time period. Although written by the same author, the poems are representative of the differences in the industrious time periods in which they were published. Throughout both poems, Blake contrasts the innocence and resentment of the children towards their occupations through the careful placement of rhyme scheme and ironic diction, all the while highlighting the disparities in the tone of the speaker in each poem. Blake's response provides a emotional yet firm insight into the hardships faced during the industrious lifestyle of the time period.
The 1789 poem presents Blake's initial response to the chimney sweepers and highlights the innate innocence of the working children. The poem's rhyme scheme is obtrusively present and maintains a consistent pattern throughout the work. Following the 'AABBCCDD...' scheme, the instantaneous repetition of the sound in the previous line emphasizes the children's need to continuously adhere to a routine set by their authorities and instantly follow all directions given to them. This strict rhyme of the poem is therefore representative of the strict and meaningless lifestyle led by the children. Additionally, Blake utilizes ironic diction symbolically numerous times throughout the poem to depict the concrete differences in two contrasting ideas. "As Tom was a-sleeping he had such a sight" (Blake l. 10) is a depiction of the restricted freedom presented to the children and to those of the industrial period as only through dreams in their sleep are they able to see clearly without obstruction of outside influences. The irony present simply asserts this contrast with more emphasis, thus presenting a hopeless society in which dreams are unattainable in reality. When an Angel "open[s] the coffins & set[s] them all free" (Blake l. 14), the ironic contrast between the presence of an Angel, a symbol of purity, and some coffins, a symbol of death, is a representation of the ability of solely angels to appease the struggles the children remain immersed in. The workers themselves are unable to gain the freedom they seek and must be assisted by a purer, external force in receiving the guidance towards happiness. In general, the rhyme scheme and ironic diction present throughout underscore the darker aspects of the poem, leading to a misconception of the initially perceived optimistic and innocent tone of the poem.
In the 1794 poem, Blake presents an altered response to the chimney sweepers by depicting the misery faced by the children to a greater extent. The AABB CDCD EFEF rhyme scheme, a more complex form than that of the previous poem, shows the wavering thought process of the children and their tendency to grow resentful and envious of others of higher authority.The first stanza's rhyme pattern is consistent with that of the 1789 poem, a representation of the innocence carried forward to the speaker as he quietly accepts the fact that his parents "are both gone up to the church to pray" (Blake l. 4). However, as the poem progresses, the speaker's tone changes as the rhyme scheme does. The pattern begins to waver as the tone and emotions turn darker. Instead of his naive and obliged self, the speaker is grows resentful towards his parents and towards God, blaming them for "a heaven of our misery" (Blake l. 12). While the 1789 poem did not define any significant tone shifts, this poem's rhyme scheme sets a significant precedent for the emotions portrayed by the speaker. Ironic diction is also used more explicitly in this poem, as the second stanza serves to contrast the "happy" (Blake l. 5) child with the "clothes of death" (Blake l. 7) and "notes of woe" (Blake l. 8). The symbols in the stanza provide yet another shift in tone that can be recognized through its irony; indeed, it is in this stanza that the speaker first begins to show signs of resentment towards his parents, who appear to ignore their child's happiness and well-being by burdening him with a miserable workload. They are indifferent towards their child's "smil[es] among the winter's snow" (Blake l. 6) and present to him the "clothes of death" (Blake l. 7), diminishing the child's happiness to a life of struggle. This poem's tone shifts, depicted through its ironic symbolism and rhyme scheme, strengthens the intent of the author in depicting the industrious lifestyle that was forced upon the children.
The 1789 poem presents Blake's initial response to the chimney sweepers and highlights the innate innocence of the working children. The poem's rhyme scheme is obtrusively present and maintains a consistent pattern throughout the work. Following the 'AABBCCDD...' scheme, the instantaneous repetition of the sound in the previous line emphasizes the children's need to continuously adhere to a routine set by their authorities and instantly follow all directions given to them. This strict rhyme of the poem is therefore representative of the strict and meaningless lifestyle led by the children. Additionally, Blake utilizes ironic diction symbolically numerous times throughout the poem to depict the concrete differences in two contrasting ideas. "As Tom was a-sleeping he had such a sight" (Blake l. 10) is a depiction of the restricted freedom presented to the children and to those of the industrial period as only through dreams in their sleep are they able to see clearly without obstruction of outside influences. The irony present simply asserts this contrast with more emphasis, thus presenting a hopeless society in which dreams are unattainable in reality. When an Angel "open[s] the coffins & set[s] them all free" (Blake l. 14), the ironic contrast between the presence of an Angel, a symbol of purity, and some coffins, a symbol of death, is a representation of the ability of solely angels to appease the struggles the children remain immersed in. The workers themselves are unable to gain the freedom they seek and must be assisted by a purer, external force in receiving the guidance towards happiness. In general, the rhyme scheme and ironic diction present throughout underscore the darker aspects of the poem, leading to a misconception of the initially perceived optimistic and innocent tone of the poem.
In the 1794 poem, Blake presents an altered response to the chimney sweepers by depicting the misery faced by the children to a greater extent. The AABB CDCD EFEF rhyme scheme, a more complex form than that of the previous poem, shows the wavering thought process of the children and their tendency to grow resentful and envious of others of higher authority.The first stanza's rhyme pattern is consistent with that of the 1789 poem, a representation of the innocence carried forward to the speaker as he quietly accepts the fact that his parents "are both gone up to the church to pray" (Blake l. 4). However, as the poem progresses, the speaker's tone changes as the rhyme scheme does. The pattern begins to waver as the tone and emotions turn darker. Instead of his naive and obliged self, the speaker is grows resentful towards his parents and towards God, blaming them for "a heaven of our misery" (Blake l. 12). While the 1789 poem did not define any significant tone shifts, this poem's rhyme scheme sets a significant precedent for the emotions portrayed by the speaker. Ironic diction is also used more explicitly in this poem, as the second stanza serves to contrast the "happy" (Blake l. 5) child with the "clothes of death" (Blake l. 7) and "notes of woe" (Blake l. 8). The symbols in the stanza provide yet another shift in tone that can be recognized through its irony; indeed, it is in this stanza that the speaker first begins to show signs of resentment towards his parents, who appear to ignore their child's happiness and well-being by burdening him with a miserable workload. They are indifferent towards their child's "smil[es] among the winter's snow" (Blake l. 6) and present to him the "clothes of death" (Blake l. 7), diminishing the child's happiness to a life of struggle. This poem's tone shifts, depicted through its ironic symbolism and rhyme scheme, strengthens the intent of the author in depicting the industrious lifestyle that was forced upon the children.
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