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The tone of anger and condemnation rises, and in the third verse, the long list of accusatory examples has … While the first stanza sets up the tone of London, the second stanza gives some insight into the speaker’s melancholy feelings toward the people he watches pass him by. The sense that everybody, regardless of age, is living in … "In *every* cry of *every man*, In *every* infant's cry of fear, In *every* voice, in everyevery man cry of *every man*, In *every* infant's cry of fear, ... A Christmas Carol - quotation analysis. But most thro' midnight streets I hear 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. hayley290371. 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 How the Chimney-sweepers cry. / And mark in every face I meet / Marks of weakness, marks of woe. 5 In every cry of every Man, 6 In every Infants cry of fear, 7 In every voice: in every ban, 8 The mind-forg'd manacles I hear. The urban setting is restrictive to the imaginative, according to Blake. As Blake portrays the urban setting, it is fill of sorrow and despair and lacking imagination and energy. And mark in every face I meet, a Marks of weakness, marks of woe. 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. 3 And mark in every face I meet. d How the Chimney-sweepers cry e Every blackening Church appalls, f And the hapless soldier’s sigh e I think understanding this should be the key to appreciating the whole poem. b In every cry of every Man, c In every Infants cry of fear, d In every voice, in every ban, c The mind-forged manacles I hear . How the Chimney-sweepers cry Every blackening Church appalls, And the hapless soldier’s sigh Runs in blood down palace-walls .
And mark in every face I meet Marks of weakness, marks of woe. 51 terms. The narrator says, "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"(64). The first verse is mostly scene-setting, and the last two are about specific examples of misery in London. In every cry of every man, In every infant’s cry of fear, In every voice, in every ban, The mind-forged manacles I hear: What are the "mind-forged manacles"? 18 terms. ( F urther Thoughts(2014) 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. This analysis will continue in another blog. / In every cry of every man Marks of weakness, marks of woe. “London” Analysis: I wander thro’ each charter’d street, Near where the charter’d Thames does flow. "In every cry of every man, In every Infant's cry of fear, In every voice: in every ban," Powerful repetition of 'every' and 'cry' develops the sense that Blake's London is a tortuous and agonizing place in which to live. Other poems of Place can be found here and here and here!. And mark in every face I meet Marks of weakness, marks of woe. 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” Again the repetition and rhythm of ‘every’ reinforces the anger and oppression, everybody’s affected. 12 Runs in blood down Palace walls. This analysis will continue in another blog.
( F urther Thoughts(2014) 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. In the second stanza Blake shifts the focus(and locus) of our perception. How the Chimney-sweepers cry Marks of weakness, marks of woe. And mark in every face I meet .
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. 4 Marks of weakness, marks of woe. 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 . After the dirge of passivity in: “In every cry of every Man / In every Infant’s cry of fear”, we are jolted by the phrase into a sudden moment of analysis, of understanding. In the second stanza Blake tells the reader what he can hear on the oppressed streets of London.