William Blake's "The Chimney Sweeper": A Comparative Analysis

William Blake, a renowned poet of the 18th century, crafted two versions of his poignant poem "The Chimney Sweeper," first in 1789 and then in 1794. Both versions delve into the harsh realities of children working as chimney sweeps, employing poetic techniques such as imagery, tone, and diction to evoke sympathy from the audience. While these techniques are present in both renditions, they offer distinct perspectives on the plight of the young chimney sweeps.

Imagery of Death and Oppression

In both iterations of the poem, Blake skillfully employs imagery, particularly through the depiction of death, using the recurring motif of the color black.

The 1789 version vividly describes the chimney sweeps as being "lock'd up in coffins of black," highlighting the pervasive darkness of the soot on the children. Similarly, the 1794 version portrays a "little black thing among the snow," emphasizing the omnipresent hardship faced by these young workers. The use of 'coffins' to describe the chimneys evokes a sense of claustrophobia and terror, drawing parallels between the chimneys and actual coffins, symbolizing the oppressive conditions the children endure daily.

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Expanding on this theme in the 1794 edition, Blake adds a layer of despair by stating, "They clothed me in the clothes of death." This imagery suggests that the chimney sweeps live in perpetual fear, with their black attire resembling mourning attire, further reinforcing the association with death. Additionally, the poem introduces a celestial element, referring to the person liberating the children as an 'Angel.' This angelic figure holds a "bright key" and liberates the children by opening the coffins, symbolizing their release from the entrapment of their arduous labor.

Contrasting Tones: Hope and Despair

Despite the shared imagery, the tones in the two versions of "The Chimney Sweeper" diverge markedly, presenting distinct perspectives on life and God. In the 1789 version, the speaker maintains a positive outlook, portraying God as benevolent and hopeful. The Angel assures Tom that if he remains virtuous, he will have "God for his father & never want joy." The tone in this rendition is optimistic and forward-looking, suggesting that diligent work will yield a promising future. The speaker even concludes, "So if all do their duty, they need not fear harm," reinforcing the belief in a just and rewarding existence.

Conversely, the 1794 version introduces a bitter tone as the speaker attributes his predicament to parental negligence, expressing disdain with, "They think they have done me no injury." This speaker is more outspoken and accusatory, leveling blame not only at the parents but also at God and the societal figures of "God & his Priest & King," whom he accuses of constructing a heaven from the chimney sweeps' misery. Unlike the 1789 version, this rendition manifests a sense of resentment and disillusionment.

Diction: Symbolism and Evoking Emotion

Diction plays a pivotal role in both versions of "The Chimney Sweeper," shaping the emotional resonance of the poems. In the 1789 iteration, Blake strategically employs the word 'white' to evoke feelings of purity and innocence. Lines such as "soot cannot spoil your white hair" and "naked & white" emphasize the childlike innocence the speaker wishes to preserve. Other words like 'bright' and 'shine' further contribute to this tone of purity and optimism, culminating in the image of children running down a green plain, symbolizing freedom and cleansing akin to baptism.

Conversely, the diction in the 1789 version is laden with words of despair, emphasizing the grim reality faced by chimney sweeps. Phrases like "notes of woe," "black," and "misery" pervade the poem, intensifying the seriousness of the subject matter. The use of "A little black thing among the snow" in the opening line accentuates the stark contrast between the innocence of childhood and the harshness of their forced labor. The speaker's reference to 'sweep' as "the notes of woe" and the characterization of their lives as 'misery' contribute to a more somber and critical tone, highlighting the injustice of child labor.

Conclusion

William Blake's dual versions of "The Chimney Sweeper" provide a nuanced exploration of the lives of child laborers in 18th-century England. Through the masterful use of imagery, tone, and diction, Blake invites readers to empathize with the plight of chimney sweeps while presenting contrasting perspectives on faith, hope, and societal responsibility. The vivid imagery of blackness, the contrasting tones of optimism and disillusionment, and the carefully chosen words all contribute to the emotional impact of these poems. Ultimately, "The Chimney Sweeper" serves as a timeless commentary on the human cost of societal indifference and the exploitation of the vulnerable.