'Compare three pre-20th Century poems about London Essay\r'

'I am difference to comp ar three genuinely disparate rhyme forms somewhat capital of the United Kingdom. The first poem is ‘capital of the United Kingdom’ by William Blake, indite around 1800. ‘Upon Westminster tie’ is the second poem , by William Wordsworth, again written around 1800. The third poem by bloody shame Ann Evans in the mid-19th century is c each(prenominal)(prenominal)ed ‘In a London rough draught board.’\r\nWilliam Blake was a existence of strong opinions, he was a strange psyche who painted horrific art and walked around new in his garden. He was a strict Christian and wrote hymns. People disliked him for his strange ideas and strong reproach of what he felt was wrong.\r\nWilliam Wordsworth lived in the Lake District, and wrote poems more or less where he live; the countryside. Whilst visiting London he wrote a poem about what he could see from Westminster bridge.\r\nbloody shame Ann Evans lived in London she wa s a tomboy by the name of George Elliot. Her father was a vicar. She moved to London to live a more interesting life. running(a) for a printing company she realised how step women were.\r\nThe story behind ‘Upon Westminster bridge’ is:- London looks very beautiful. You’d be sad not to be impressed. It’s about what Wordsworth sees from Westminster bridge. His theme is simple; He likes what he sees.\r\nLondon has a very different theme: William Blake lives in London and can’t stand it. The story is very simple the poet wanders through London’s streets thinking about what he sees.\r\nIn a London design room also has a simple story; Mary Ann Evans is in a drawing room look out into the street. Her theme is much more multiplex She talks about how London through this windowpane is dull, grey and boring. When she says this she actually subject matter that’s how she feels at heart and expresses it through her poetry.\r\n‘Upon Wes tminster bridge’ is a sonnet because it has fourteen lines praising London’s beauty, it has only peerless poesy. It has a constant iambic musical rhythm all the office through: Giving the poem a joyful sound. There is no regular poetry pattern exactly some lines rhyme.\r\nLondon uses quatrains which means it has four equal lines into four verses. London has a regular and joyful rhythm, which is ironic because of its sad message. The rhyme follows an ACBD pattern (‘A’ rhymes with line ‘C’-‘B’ rhymes with line ‘D.)\r\n‘In a London drawing room’ has no verses, twenty lines which have each ten syllables in them. There is no regular rhythm, because of the regular enjambement.\r\nâ€Å"Cutting the sky with one massive line of environ\r\nLike soled becloud: Far as the eye can stretch.” The enjambment causes lines to run into each other. There is no rhyme a tall in the poem.\r\nThere is a lot of figur ative language in ‘Upon Westminster bridge.’\r\nâ€Å" tire The beauty of the morning; silent bargon,” This a prosopopoeia because the city wears the beauty of the morning like a dress.\r\nâ€Å"The river glideth at his own sweet will:” In line twelve names the river a ‘he’. This poem has a lot of imagery, one of them mentions valley, brandish and hill, putting the picture of the valleys, hills and rocks on the horizon. In a London drawing room too uses figurative language,\r\nâ€Å"The world seems one huge prison-house and court,” this is a alike because the world seems to be like a prison-house. A fable would be,\r\nâ€Å"Cutting the sky with one long line of wall,” this is calling the row of houses a wall cutting the sky.\r\nThe figurative language in London are,\r\nâ€Å"The mind-forg’d manacles I hear.” Means the people in London believe they are in manacles. The metaphor at the nullify of the third verse is about the old war soldiers begging outside flush houses,\r\nâ€Å"And the hapless soldier’s sigh\r\nRuns in blood down palace walls.”\r\nIn ‘Upon Westminster bridge’ most of the ‘play on treatments’ are to keep the rhyme and rhythm in a pattern.\r\nLondon plays on oral communication quiet a lot compared with Upon Westminster bridge. At the end of the first verse there is an element of alliteration,\r\nâ€Å"Marks of weakness. Marks of hurt,” woe is a much more powerful word to use than sad plus it alliterates with weakness. The second verse uses ‘in every….’ Four times to blend in the point that this is serious across more strongly.\r\n” The mind-forg’d manacles I hear,” is an alliteration of the letter ‘M’. On the prevail line, the exsert two address are marriage and hearse (car that carries a coffin) this is called juxtaposition; because marriage is associated with antece dent and hearse is associated with the end they are opposites. This is an interesting way to end the poem.\r\nThe only real play on dustup in ‘in a London drawing room’ was the last line because the three last words are the only positive words (colour, warmth and joy) in the whole poem but just before it says ‘with lowest rate of’. So they might be positive but she’s saying there is no colour, warmth or joy.\r\nI feel London is the most useful poem. This is because I like the irony in the rhythm and rhyme which sounds happy but its meaning is sad. I also like the Juxtaposition in the last line ‘Marriage hearse’. He uses quick-witted words and sentences to put down London. I don’t like ‘In a London drawing room’ because it drags on so as to misplace its meaning. ‘Upon Westminster bridge’ I quite like because its agreeable but I still prefer the way ‘London’ is written because it uses good words and clever poetry.\r\n'