London" by William Blake

Stanza One :
"London" by William Blake
I wander thro’ each charter’d street, Near where the charter’d
Thames does flow. And mark in every face I meet Marks of weakness,
marks of woe.

In the first stanza, the speaker provides the setting and tone. The setting can of course
be derived from the title, but the first stanza also reveals that the speaker is walking down a
street. He says that he “wander[s] down each chartered street”. The term “wander” gives
some insight into the speaker as well. He appears to be not quite sure of himself, and a bit
misguided, if not entirely lost. The use of the term “chartered” also suggests that the streets
he walks are controlled and rigid. He is not walking in a free, open field, but a confined, rigid,
mapped out area. The speaker will expound upon this idea later on in ‘London’. As he walks,
he notices something about the faces of the people walking by. There seem to be the marks
of weariness in them all. He describes their faces as having “weakness” and “woe”. This sets
up the tone as melancholy. The gloom and the sadness seem to seep from the speaker’s
voice as he describes the passersby.

‫ﻤﻜﻦ اﻹﻋﺪاد @ٮﺎﻟﻄ@ٮﻊ‬1‫ ٮ‬.‫ﻮ"ڡﺮ اﻟﺴﻤﺎﻋﺔ اﻹﻋﺪاد واﻟﻨ"ﻌﻤﺔ‬1‫ ٮ‬، ‫ى اﻟﻤ)ڡﻄﻊ اﻷول‬ "
$‫ڡ‬
‫ى كﻞ ﺷﺎر ع‬ " ) " ً 1‫ﻜﺸﻒ أٮ‬1‫ ﻟﻜﻦ اﻟﻤ)ڡﻄﻊ اﻷول ٮ‬، ‫ﻣﻦ اﻟﻌﻨوان‬
$ ‫ﺘ@ﺤول ڡ‬1‫ڡول إﻧﻪ "ٮ‬1‫ ٮ‬.‫ى اﻟﺸﺎر ع‬ $ ‫ٮﺮ ڡ‬1‫ﺴ‬1‫ﻀﺎ أن اﻟﻤﺘﺤﺪث ٮ‬
ً 1‫" ﻧ\ﻄﺮة ﺛﺎ)ڡ@ٮﺔ ﻟﻠﻤﺘﺤﺪث أٮ‬wander" ‫ى اﻟﻤﺼﻄﻠﺢ‬
‫ وﻣﻀﻠﻞ‬، ‫ٮﺮ ﻣﺘﺄﻛﺪ ﻣﻦ ﻧ"ڡﺴﻪ ﺗﻤﺎًﻣﺎ‬1‫@ٮﺪو أﻧﻪ \ﻋ‬1‫ ٮ‬.‫ﻀﺎ‬ $ ‫ﻌط‬1‫ ٮ‬."‫ﻣﺴﺘﺄ@ﺣﺮ‬
‫ٮﺮ "ڡيﻬﺎ‬1‫ﺴ‬1‫ﻀﺎ إﻟﻰ أن اﻟﺸوار ع اﻟﱵ ٮ‬
ً 1‫ٮﺮ اﺳﺘ\ﺤﺪام ﻣﺼﻄﻠﺢ "ﻣﺴﺘﺄ@ﺣﺮ" أٮ‬1‫ﺸ‬1‫ ٮ‬.‫ﻜﻦ ﺿﺎﺋًﻌﺎ ﺗﻤﺎًﻣﺎ‬1‫ إن ﻟﻢ ٮ‬، ‫@ٮﻌﺾ اﻟﴚء‬
‫ٮﺸرح‬1‫ ﺳ‬.‫ى ﻣﻨﻄ)ڡﺔ ﻣﺤﺼورة وﺻﻠ@ٮﺔ وﻣﺤﺪدة‬ " " ) "
$ ‫ @ٮﻞ ڡ‬، ‫ى ﺣڡﻞ ﺣﺮ ﻣڡﺘوح‬
$ ‫ٮﺮ ڡ‬1‫ﺴ‬1‫ إﻧﻪ ﻻ ٮ‬.‫ٮﻄﺮ ﻋﻠيﻬﺎ و@ﺣﺎﻣﺪة‬1‫ﻣﺴ‬
‫@ٮﺪو‬1‫ ٮ‬.‫ﻤﺸون @ٮ@ﺤﺎﻧ@ٮﻪ‬1‫ﻦ ٮ‬1‫ٮﺌًﺎ ﻋﻦ و@ﺣﻮه اﻷﺷ\ﺤﺎص اﻟﺬٮ‬1‫ ﻻﺣﻆ ﺷ‬، ‫ٮﺮه‬1‫ أﺛﻨﺎء ﺳ‬."‫ى "ﻟﻨﺪن‬ " ً) "
$ ‫اﻟﻤﺘﺤﺪث ﻫﺬه اﻟڡﻜﺮة ﻻﺣڡﺎ ڡ‬
‫@ٮﺪو أن‬1‫ ٮ‬.‫@ﺤﻌﻞ اﻟﻨ"ﻌﻤﺔ ﺣزيﻨﺔ‬1‫ ﻫﺬا ٮ‬."‫ﺼﻒ و@ﺣﻮﻫﻬﻢ @ٮﺄﻧﻬﺎ "ﺿﻌﻒ" و "ويﻞ‬1‫ ٮ‬.‫ى كﻞ ﻣﻨﻬﻢ‬ "
$ ‫أن ﻫﻨﺎك ﻋﻼﻣﺎت اﻟﺘﻌﺐ ڡ‬
.‫ﺼﻒ اﻟﻤﺎرة‬1‫ﺘﺴر@ٮﺎن ﻣﻦ ﺻﻮت اﻟﻤﺘﺤﺪث وﻫﻮ ٮ‬1‫اﻟكﺂ@ٮﺔ واﻟﺤزن ٮ‬

Stanza Two:
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
The second stanza gives some insight into the speaker’s melancholy feelings toward the
people he watches pass him by. The speaker reveals that from the cry of the newborn infant,
to the cry of the full-grown man, he hears the “mind forg’d manacles”. This gives insight into
his despairing view of mankind. The “manacles” are shackles or some kind of chain that
keeps a person imprisoned. The fact that these chains are “mind forg’d” reveals that they are
metaphorical chains created by the people’s own ideas. The use of the word “ban” reveals
that these manacles are placed there by society. A ban, of course, is a restriction given by
law. The speaker’s use of words such as “Charterd” “ban” and “manacles” reveal his belief
that society metaphorically imprisons people. Suddenly, it becomes apparent that the
thoughts, pressures, and ideals of society are under scrutiny here.

‫ﻜﺸﻒ‬1‫ ٮ‬.‫ﻤرون @ٮﻪ‬1‫ﺸﺎﻫﺪﻫﻢ ٮ‬1‫ﻦ ٮ‬1‫ى ﻧ\ﻄﺮة ﺛﺎ)ڡ@ٮﺔ ﻋﲆ ﻣﺸﺎﻋﺮ ﺣزن اﻟﻤﺘﺤﺪث ﺗ@ﺤﺎه اﻷﺷ\ﺤﺎص اﻟﺬٮ‬ )
$ ‫ى اﻟﻤڡﻄﻊ اﻟﺜﺎﻧ‬
$ ‫ﻌط‬1‫ٮ‬
\ )
‫ى‬$ ‫ﻌط‬1‫ ﻫﺬا ٮ‬."‫ﺴﻤﻊ "اﻟﻌڡﻞ اﻟﻤﻨﴘ اﻷﻋﻼل‬1‫ ٮ‬، ‫ إﻟﻰ ﺻﺮ\ﺣﺔ اﻟﺮ@ﺣﻞ اﻟﲀﻣﻞ‬، ‫ﺪ‬1‫اﻟﻤﺘﺤﺪث أﻧﻪ ﻣﻦ ﺻﺮ\ﺣﺔ اﻟﻤﻮﻟﻮد اﻟ@ﺤﺪٮ‬
‫ ﺗﻜﺸﻒ‬.‫ى أ\ﻋﻼل أو ﻧوع ﻣﻦ اﻟﺴﻼﺳﻞ اﻟﱵ ﺗﺤ@ٮﺲ اﻟﺸ\ﺤﺺ‬ \ )
$ ‫ "اﻷﻋﻼل" ه‬.‫ٮﺎﺋﺴﺔ ﻟﻠ@ٮﺸريﺔ‬1‫ﻧ\ﻄﺮة ﺛﺎڡ@ٮﺔ ﻟﻮ@ﺣﻬﺔ ﻧ\ﻄﺮه اﻟ‬
"‫ﻜﺸﻒ اﺳﺘ\ﺤﺪام كﻠﻤﺔ "ﺣ\ﻄﺮ‬1‫ ٮ‬.‫ٮﺔ اﻟﻌ)ڡﻞ" أﻧﻬﺎ ﺳﻼﺳﻞ ﻣ@ﺤﺎزيﺔ أﻧﺸﺄﺗﻬﺎ أ"ڡﲀر اﻟﻨﺎس‬1‫ٮ)ڡﺔ أن ﻫﺬه اﻟﺴﻼﺳﻞ "ﻣﻨﺴ‬1‫ﺣ)ڡ‬
‫ﻜﺸﻒ اﺳﺘ\ﺤﺪام اﻟﻤﺘﺤﺪث‬1‫ ٮ‬.‫ٮﻪ اﻟ)ڡﺎﻧون‬1‫ﻨﺺ ﻋﻠ‬1‫ٮﺪ ٮ‬1‫ ﻫﻮ )ڡ‬، ‫ @ٮﺎﻟﻄ@ٮﻊ‬، ‫ اﻟﺤ\ﻄﺮ‬.‫ٮﻮد ﻫﻨﺎك‬1‫ﻀﻊ ﻫﺬه اﻟ)ڡ‬1‫أن اﻟﻤ@ﺤﺘﻤﻊ ٮ‬
‫ﺘﻀﺢ أن أ"ڡﲀر‬1‫ ٮ‬، ‫ "ڡ@ﺤﺄة‬.‫ﺴ@ﺤﻦ اﻟﻨﺎس ﻣ@ﺤﺎزًيﺎ‬1‫ﻟكﻠﻤﺎت ﻣﺜﻞ "ﺗﺸﺎرﺗﺮد" "ﺣ\ﻄﺮ" و "أ\ﻋﻼل" ﻋﻦ اﻋﺘ)ڡﺎده @ٮﺄن اﻟﻤ@ﺤﺘﻤﻊ ٮ‬
.‫ٮﺺ ﻫﻨﺎ‬1‫ٮﺎ ﺗ\ﺤﻀﻊ ﻟﻠﺘﻤﺤ‬1‫اﻟﻤ@ﺤﺘﻤﻊ وﺿ"ﻌﻮﻃﻪ وُﻣﺜُﻠﻪ اﻟﻌﻠ‬

Stanza Three:
How the Chimney-sweepers cry Every blackning Church appalls,
And the hapless Soldiers sigh Runs in blood down Palace walls

In this stanza of ‘London’, the speaker digs even deeper into the reasons for his feelings
toward humanity. He implies that the shackles worn by the people and inflicted by society
have some disastrous results. He begins with the Chimney sweeper. The Chimney sweeper
was one of the poorest of society. His life expectancy was threatened because of his line of
work. He was consistently dirty and sick. Those of the lowest class were forced into this kind
of work in order to provide for their families. Then, the speaker criticizes the church, calling it
“blackning” and claiming that even the church “appalls” at the Chimney sweeper. Often, the
chimney sweepers were just children. They were small enough to fit down the chimneys.
These children were often orphaned children, and the church was responsible for them. This
explains
why the poet ties the chimney sweepers with the “blackning church”.

‫ﻬﺎ‬1‫ﺮﺗﺪٮ‬1‫ٮﺮ إﻟﻰ أن اﻷ\ﻋﻼل اﻟﱵ ٮ‬1‫ﺸ‬1‫ وﻫﻮ ٮ‬.‫ٮﺔ‬1‫ى أﺳ@ٮﺎب ﻣﺸﺎﻋﺮه ﺗ@ﺤﺎه اﻹﻧﺴﺎﻧ‬ " ) "
$ ‫ﺘﻌﻤﻖ اﻟﻤﺘﺤﺪث ڡ‬1‫ ٮ‬، ‫ى ﻣڡﻄﻊ "ﻟﻨﺪن" ﻫﺬا‬
$‫ڡ‬
‫ﻬﺎ‬3‫ﺮﺗﺪٮ‬3‫ﻋﻼل اﻟﱵ ٮ‬N‫ٮﺮ إﻟﻰ أن اﻷ‬3‫ﺸ‬3‫ وﻫﻮ ٮ‬.‫ٮﺔ‬3‫ى أﺳ=ٮﺎب ﻣﺸﺎﻋﺮه ﺗ=ﺤﺎه اﻹﻧﺴﺎﻧ‬ " ' "
$ ‫ﺘﻌﻤﻖ اﻟﻤﺘﺤﺪث ڡ‬3‫ ٮ‬، ‫ى ﻣڡﻄﻊ "ﻟﻨﺪن" ﻫﺬا‬
$‫ڡ‬
‫ﺣﻦ ﻣﻦ‬N‫ ﰷﻧﺖ ﻣﻜﻨﺴﺔ اﻟﻤﺪا‬.‫ﺣﻦ‬N‫=ٮﺪأ ﻣﻊ ﻣﻜﻨﺴﺔ اﻟﻤﺪا‬3‫ ٮ‬.‫ٮﺔ‬3‫"ڡﺮﺿﻬﺎ اﻟﻤ=ﺤﺘﻤﻊ ﻟﻬﺎ =ٮﻌﺾ اﻟﻨﺘﺎﺋﺞ اﻟﲀرﺛ‬3‫اﻟﻨﺎس واﻟﱵ ٮ‬
‫ أ ُ=ﺣ=ٮﺮ‬.‫ ﰷن داﺋﻤﺎ 'ڡﺬرا وﻣريﻀﺎ‬.‫ﺪ =ٮﺴ=ٮﺐ ﻣ=ﺤﺎل ﻋﻤﻠﻪ‬3‫ ﺗﻌﺮض ﻣﺘﻮﺳﻂ اﻟﻌﻤﺮ اﻟﻤﺘﻮ'ڡﻊ ﻟﻠﺘﻬﺪٮ‬.‫أ"ڡ'ڡﺮ "ڡﺌﺎت اﻟﻤ=ﺤﺘﻤﻊ‬
، ‫ٮﺴﺔ‬3‫ﻨﺘ'ڡﺪ اﻟﻤﺘﺤﺪث اﻟﻜﻨ‬3‫ ٮ‬، ‫ =ٮﻌﺪ ذﻟﻚ‬.‫ٮﺎ ﻋﲆ ﻫﺬا اﻟﻨوع ﻣﻦ اﻟﻌﻤﻞ ﻣﻦ أ=ﺣﻞ إﻋﺎﻟﺔ أﺳﺮﻫﻢ‬3‫أوﻟﺌﻚ ﻣﻦ اﻟﻄ=ٮ'ڡﺔ اﻟﺪﻧ‬
"
‫ ﰷن ﻋﻤﺎل‬، ‫ٮﺎن‬3‫ٮﺮ ﻣﻦ اﻷﺣ‬3‫ى ﻛﺜ‬ $ ‫ ڡ‬.‫ﺣﻨﺔ‬N‫ٮﺴﺔ "ﺗﺮﻋﺐ" ﻋﻨﺪ ﻛﻨﺎﺳﺔ اﻟﻤﺪ‬3‫ى أﻧﻪ ﺣﱴ اﻟﻜﻨ‬ $ ‫ويﻄﻠﻖ ﻋﻠيﻬﺎ "اﻟﺴواد" ويﺪع‬
‫ى اﻟ"ﻌﺎﻟﺐ أﻃ"ڡﺎًﻻ‬ " "
$ ‫ ﰷن ﻫؤﻻء اﻷﻃڡﺎل ڡ‬.‫ﺣﻦ‬N‫ى ﻟﺘﻨﺎﺳﺐ اﻟﻤﺪا‬
" "
$ ‫ﻜڡ‬3‫ٮﺮة =ٮﻤﺎ ٮ‬3‫ ﰷﻧﺖ ﺻ"ﻌ‬.‫ﺣﻦ ﻣ=ﺤﺮد أﻃڡﺎل‬N‫ٮﻒ اﻟﻤﺪا‬3‫ﻄ‬N‫ﺗﻨ‬
‫"ڡﺴﺮ‬3‫ وﻫﺬا ﻣﺎ ٮ‬.‫ٮﺴﺔ ﻣﺴؤوﻟﺔ ﻋﻨﻬﻢ‬3‫ وﰷﻧﺖ اﻟﻜﻨ‬، ‫ﺘﺎًﻣﺎ‬3‫أٮ‬
."‫ٮﺴﺔ اﻟﺴﻮداء‬3‫ﺣﻦ =ٮـ "اﻟﻜﻨ‬N‫ر=ٮﻂ اﻟﺸﺎﻋﺮ ﻣﲀﻧﺲ اﻟﻤﺪا‬3‫ﻟﻤﺎذا ٮ‬

The speaker then turns his attentions to the “hapless soldier”. He has already criticized
society, pointed out the misfortunes of the poor and the hypocrisy of the church, and now he
will also criticize the government by suggesting that the soldiers are the poor victims of a
corrupt government. He reveals his feelings toward war by describing the blood that runs
down the palace walls. The palace, of course, is where royalty would have lived. Thus, the
speaker accuses the higher up people in his society of spilling the blood of the soldiers in
order to keep their comfort of living in a palace.

‫ وأﺷﺎر إﻟﻰ ﻣﺼﺎﺋﺐ اﻟ"ڡ'ڡراء‬، ‫ ﻟ'ڡﺪ ﺳ=ٮﻖ ﻟﻪ أن اﻧﺘ'ڡﺪ اﻟﻤ=ﺤﺘﻤﻊ‬."‫ٮﺲ‬3‫ﻮ=ﺣﻪ اﻟﻤﺘﺤﺪث اﻧﺘ=ٮﺎﻫﻪ إﻟﻰ "اﻟ=ﺤﻨﺪي اﻟﺘﻌ‬3‫ﺛﻢ ٮ‬
.‫ﺎ اﻟ"ڡ'ڡراء ﻟﺤﻜﻮﻣﺔ "ڡﺎﺳﺪة‬3‫ﺤﺎء =ٮﺄن اﻟ=ﺤﻨﻮد ﻫﻢ اﻟﻀﺤﺎٮ‬3‫ﺣﻼل اﻹٮ‬N ‫ﻀﺎ ﻣﻦ‬
ً 3‫ٮﻨﺘ'ڡﺪ اﻟﺤﻜﻮﻣﺔ أٮ‬3‫ واﻵن ﺳ‬، ‫ٮﺴﺔ‬3‫وﻧ"ڡﺎق اﻟﻜﻨ‬
‫ ﻫﻮ اﻟﻤﲀن‬، ‫ =ٮﺎﻟﻄ=ٮﻊ‬، ‫ اﻟ'ڡﺼﺮ‬.‫ٮﻞ ﻋﲆ =ﺣﺪران اﻟ'ڡﺼﺮ‬3‫ﺣﻼل وﺻﻒ اﻟﺪﻣﺎء اﻟﱵ ﺗﺴ‬N ‫ﻜﺸﻒ ﻣﺸﺎﻋﺮه ﺗ=ﺤﺎه اﻟﺤﺮب ﻣﻦ‬3‫ٮ‬
‫ى ﻣ=ﺤﺘﻤﻌﻪ =ٮﺈرا'ڡﺔ دﻣﺎء‬ " "
$ ‫ٮﺎ ڡ‬3‫ﺘﻬﻢ اﻟﻤﺘﺤﺪث أﺻﺤﺎب اﻟﻤﻨﺎﺻﺐ اﻟﻌﻠ‬3‫ ٮ‬، ‫ وﻫﻜﺬا‬.‫ٮﻪ اﻟﻤﻠﻮك‬3‫ٮﺶ ڡ‬3‫ﻤﻜﻦ أن ﺗﻌ‬3‫اﻟﺬي ﰷن ٮ‬
.‫ى 'ڡﺼﺮ‬ " " "
$ ‫ﻃﺎ ﻋﲆ راﺣﺘﻬﻢ ڡ‬N‫اﻟ=ﺤﻨﻮد ﺣڡﺎ‬
$ ‫ٮﺶ ڡ‬3‫ى اﻟﻌ‬

Stanza Four:
But most thro’ midnight streets I hear How the youthful Harlots
curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse

In the final stanza, the speaker reveals how the corruptness of society attacks innocence. He
says that he hears the “youthful Harlot’s curse...”. The idea of a
youthful harlot suggests the level of poverty and corruption, that a girl who was yet a youth
would be involved in prostitution. Then, things become even more interesting, as the speaker
reveals the object of the Harlot’s cursing. She curses at the tears of a newborn baby. This is
the ultimate attack upon innocence. The speaker does not reveal whether the harlot is the
mother of the baby or not, but he does imply that rather than comforting a crying infant, she
curses it. This reveals the hardened heart of the harlot, which represents the hardened heart
of society at large. While the innocent shed tears, the perverted attack them.

‫ٮﺔ‬3‫ﺴﻤﻊ "ﻟﻌﻨﺔ اﻟزاﻧ‬3‫'ڡول إﻧﻪ ٮ‬3‫ ٮ‬.‫ﻬﺎ=ﺣﻢ "ڡﺴﺎد اﻟﻤ=ﺤﺘﻤﻊ اﻟ=ٮراءة‬3‫ٮﻒ ٮ‬3‫ﻜﺸﻒ اﻟﻤﺘﺤﺪث ﻛ‬3‫ ٮ‬، ‫ٮﺮ‬3‫ﺣ‬N‫ى اﻟﻤ'ڡﻄﻊ اﻷ‬ "
$‫ڡ‬
" " " '" "
$ ‫ﺤﺮط ڡ‬N‫ وأن اﻟڡﺘﺎة اﻟﱵ ﰷﻧﺖ ﺷﺎ=ٮﺔ ﺳﺘﻨ‬، ‫ٮﺔ اﻟﺸﺎ=ٮﺔ إﻟﻰ ﻣﺴﺘﻮى اﻟڡڡﺮ واﻟڡﺴﺎد‬3‫ٮﺮ اﻟزاﻧ‬3‫ ڡﻜﺮة أﺗﺸ‬."... ‫اﻟﺸﺎ=ٮﺔ‬
.‫ى اﻟﺪﻋﺎرة‬
‫ إﻧﻬﺎ ﺗﺸﺘﻢ دﻣوع ﻣﻮﻟﻮدﻫﺎ‬.‫ٮﺔ‬3‫ﻜﺸﻒ اﻟﻤﺘﺤﺪث ﻋﻦ ﻣﻮﺿوع ﻟﻌﻨﺔ اﻟزاﻧ‬3‫ٮﺚ ٮ‬3‫ ﺣ‬، ‫ﺛﻢ ﺗﺼ=ٮﺢ اﻷﻣور أﻛﺜﺮ إﺛﺎرة ﻟﻼﻫﺘﻤﺎم‬
‫ ﻟﻜﻨﻪ‬، ‫ى أم اﻟﻄ"ڡﻞ أم ﻻ‬ $ ‫ٮﺔ ه‬3‫ﻜﺸﻒ اﻟﻤﺘﺤﺪث ﻣﺎ إذا ﰷﻧﺖ اﻟزاﻧ‬3‫ ﻻ ٮ‬.‫ى ﻋﲆ اﻟ=ٮراءة‬ $ ‫ ﻫﺬا ﻫﻮ اﻟﻬ=ﺤﻮم اﻟﻨﻬﺎﺋ‬.‫ﺪ‬3‫اﻟ=ﺤﺪٮ‬
‫ واﻟﱵ ﺗﻤﺜﻞ اﻟ'ڡﻠﺐ‬، ‫ٮﺔ‬3‫ﻜﺸﻒ ﻫﺬا ﻋﻦ 'ڡﺴﻮة 'ڡﻠﺐ اﻟزاﻧ‬3‫ ٮ‬.‫ى‬ " ً " ً
$ ‫=ٮك‬3‫ٮﺮ ﺿﻤﻨﺎ إﻟﻰ أﻧﻬﺎ ﺗﻠﻌﻦ اﻟﻄڡﻞ =ٮﺪﻻ ﻣﻦ ﻣواﺳﺎة ﻃڡﻞ ٮ‬3‫ﺸ‬3‫ٮ‬
.‫ﻬﺎ=ﺣﻤﻬﻢ اﻟﻤﻨﺤﺮ"ڡون‬3‫ ٮ‬، ‫ﺬر"ڡون اﻟﺪﻣوع‬3‫ٮﻨﻤﺎ اﻷ=ٮريﺎء ٮ‬3‫ =ٮ‬.‫اﻟﺼﻠﺐ ﻟﻠﻤ=ﺤﺘﻤﻊ ككﻞ‬
.
The last line of ‘London’reveals the speaker’s thoughts on marriage as well. The Harlot,
apparently, has “blighted” the “marriage hearse”. She has deranged marriage by having sold
her body before ever entering into the marriage union. Although the speaker believes that
the Harlot has somehow damaged marriage, he also reveals his beliefs about marriage in the
first place. The fact that he calls it a “marriage hearse” reveals that he views marriage as
death. Overall, the poem has criticized society, the church, prostitution, and even marriage.
The innocent baby shedding tears represent
those who are innocent in the world. They are few and they are scoffed at. They are also
infants and are not left to be innocent for long. Their innocence is “blasted” by the cry of the
perverted..
"‫ "أ"ڡﺴﺪت‬، ‫=ٮﺪو‬3‫ ﻋﲆ ﻣﺎ ٮ‬، ‫ٮﺔ‬3‫ اﻟزاﻧ‬.‫ﻀﺎ‬ ً 3‫ٮﻦ ﺣول اﻟزواج أٮ‬3‫ﻜﺸﻒ ﻋﻦ أ"ڡﲀر اﻟﻤﺘﺤﺪﺛ‬3‫ٮﺮ ﻣﻦ "ﻟﻨﺪن" ٮ‬3‫ﺣ‬N‫اﻟﺴﻄﺮ اﻷ‬
‫ﻌﺘ'ڡﺪ أن‬3‫ﻋﻢ ﻣﻦ أن اﻟﻤﺘﺤﺪث ٮ‬N‫ ﻋﲆ اﻟﺮ‬.‫ى اﻟزواج‬ " ' " '
$ ‫ﺣول ڡ‬N‫ ﻟڡﺪ أڡﺴﺪت زوا=ﺣﻬﺎ =ٮ=ٮيﻊ =ﺣﺴﺪﻫﺎ ڡ=ٮﻞ اﻟﺪ‬."‫"ﺳﻤﺎع اﻟزواج‬
‫ٮ'ڡﺔ‬3‫ ﺗﻜﺸﻒ ﺣ'ڡ‬.‫ى اﻟﻤ'ڡﺎم اﻷول‬ " ' ً 3‫ﻜﺸﻒ أٮ‬3‫ إﻻ أﻧﻪ ٮ‬، ‫اﻟﻌﺎﻫﺮة 'ڡﺪ أﺿﺮ =ٮﻄري'ڡﺔ ﻣﺎ =ٮﺎﻟزواج‬
$ ‫ﻀﺎ ﻋﻦ ﻣﻌﺘڡﺪاﺗﻪ ﺣول اﻟزواج ڡ‬
‫ٮﺴﺔ واﻟﺪﻋﺎرة وﺣﱴ‬3‫ٮﺪة اﻟﻤ=ﺤﺘﻤﻊ واﻟﻜﻨ‬3‫ اﻧﺘ'ڡﺪت اﻟ'ڡﺼ‬، ‫ =ٮﺸكﻞ ﻋﺎم‬.‫ﻌﺘ=ٮﺮ اﻟزواج ﻣﻮﺗ ًﺎ‬3‫ﺴﻤيﻬﺎ "=ﺣﻠﺴﺔ زواج" أﻧﻪ ٮ‬3‫أﻧﻪ ٮ‬
‫ﻤﺜﻞ‬3‫ اﻟﻄ"ڡﻞ اﻟ=ٮﺮيء ذرف اﻟﺪﻣوع ٮ‬.‫اﻟزواج‬
‫ إن =ٮراءﺗﻬﻢ‬.‫ُﺘﺮﻛوا أ=ٮريﺎء ﻟ"ڡﺘﺮة ﻃويﻠﺔ‬3‫ﻀﺎ ُرﺿﻊ وﻟﻢ ٮ‬ ً 3‫ ﻫﻢ أٮ‬.‫ﺤرون ﻣﻨﻬﻢ‬N‫ٮﻠون ويﺴ‬3‫ ﻫﻢ 'ڡﻠ‬.‫ى اﻟﻌﺎﻟﻢ‬ "
$ ‫أوﻟﺌﻚ اﻷ=ٮريﺎء ڡ‬
.‫ٮﻦ‬3‫ﺣﺔ اﻟﻤﻨﺤﺮ"ڡ‬N‫"ﺗﻨ"ڡ=ﺤﺮ" =ٮﺼﺮ‬

‫ﻃﻢ‬N‫ﺣﻨﺎن ﰷ‬