'The chimney sweep' from the songs of innocence tells another personal testimony, this time of a character named Tom Darce. He is an example of the suffering felt by many children, and could be the same persona as the child in the songs of experience. It is different to the poem in experience as it explores the possibility of a saviour of innocence. The sweep is consoled by Darce when he is vulnerable and scared of his hair being shorn: 'the soot cannot spoil your white hair' and this gives the poem a more positive tone. However, it is unclear as to whether this feeling is ironic or not. Indeed, the line 'If you are a good boy' suggests that if the sweep does as he is told and subjects himself to this life of misery, he will be rewarded in Heaven. Blake clearly does not agree with this viewpoint, and alludes to his opinion that you should not have to suffer in this life and be grateful, simply to be happy in the next. This could also be a reference to his 'Marriage of heaven and hell' in which the roles and settings of heaven and hell are reversed. The final line: 'so if all do their duty, they need not fear harm' supports this view, serving as an indictment on the harsh society that allows such atrocities to take place. Perhaps Blake feels that the voice of religion is embodied in this final line, a voice that tries to coerce humanity into doing it's bidding, at the promise of some great reward in death.
‘The Little Vagabond’ is written from the viewpoint of a child living in experience – he sounds almost too knowing and too deliberately appealing in his combination of innocent vulnerability and wisdom. The poem highlights Blake’s feelings towards the Church’s failings and the viciousness of its compulsion when he says, ‘And the modest dame Lurch, who is always at Church/ Would not have bandy children nor fasting nor birch.’ The metrical irregularities and half rhymes displayed in the poem such as ‘And we’d be happy as birds in the spring’ reinforce the affected innocence of the vagabond. It is clear that Blake is trying to convey the cruel merciless system that the established church proposes on its followers.
‘On a Portrait of a Deaf Man’, offers a different perspective on death and reality mainly because this poem is autobiographical so instantly the tone becomes personal and emotional. This poem is a sentimental, look back on a life that has ended so is a sad, reminiscent theme, but also another angry attack on God and a religious dilemma of doubt which is similar in Blake’s poems. Betjeman remembers the way his father used to be with his 'kind old face, the egg-shaped head' and the way he 'looked so wise' but uses sharp contrast to compare what he was like to how he is now with 'maggots in his eyes' and finger bones sticking 'through his finger ends' which shows how he is deeply affected by these haunting images and is a clear expression of the way Betjeman himself views death. He believes that when a person dies he can 'only see decay' and that the body rots in the soil. He is doubting his religion because he accuses God of letting him decay, but it proves he must still believe in God if he is addressing him, so I fell he just needs someone to express his anger and grief to, someone to blame 'You, God, who treat him thus and thus.
Betjeman uses bitter irony such as the fact that his father liked the 'smell of ploughed-up soil' but now he is buried in it, or the ironic contrasts that he used to wear 'loosely fitting shooting clothes' but is not wearing 'a closely fitting shroud' in his coffin. This is because Betjeman vividly remembers what he was like but can also graphically picture what he must be like now under the ground, and it is painful for him. Betjeman also expresses his regrets in the way that they had trouble communicating on their 'long silent walks' but now there is no possibility of talking to him and telling him everything he should have said on those walks. So the poem makes us feel sympathy and pathos for Betjeman because we can identify as we will all lose a parent, and the view of death is one of detailed physical decay and hurt for the people left behind when somebody dies. This poem therefore does not agree with what the critics have said when they call him a ‘fun’ poet. Betjeman offers many contrasting aspects of death and deals with these aspects by using different writing styles, tones, language and structure to suit each view on death. He can be comic with death, but also sad, and when it becomes personal, he can be detailed and writes with his emotions available for all to read. It is possible to say that Betjeman treats death differently each time depending on the circumstances and shows how he is an adaptable and flexible writer that is not confined by convention and tradition, as was Blake.
On the other hand, ‘How to get on in Society’ offers a different perspective on Betjeman’s poetry. In this poem, we can see his use of ‘gentle satire’ mocking the upper and middle classes. In this poem Betjeman, if the language is analysed first, continues in his general manor. A dramatic monologue, or in places epigram, of simple diction, which contains a nursery type rhyme scheme (A, B, C, B). This is coupled with a basic four quatrain poem structure, consisting of thirty four syllables in each quatrain and a constant leit-motif on society and the social classes.
One immediately assumes the speaker to be a woman, because as a general assumption, women are more critical and bothered about physical appearance, and the good first impression, whereas men are more interested in the sport. This is a very stereotypical view, but upon considering that upon the time of publication, sexual equality was not yet upstanding and women's places were believed to be in the home, you can see the imagery that Betjeman is creating. The use of the name 'Norman', can be perceived in two separate manors. We can primarily take 'Norman' to be us, the audience, as a direct initial address is made, however 'Norman' could also be the husband or servant, as 'Norman' is a very dull and working class name, and so while not promoting a Upper Class servant it serves its purpose to pose as one for the bourgeoisie, in the form of the husband or partner. This is one of the many hints that Betjeman gives so to expose the fraudity of the middle classes and show their veracity to life, behind the masquerade. The Phoning for fish-knives is also a give-away as the Upper Classes would have their own fish knives, and by the eating of fish the resident and host is trying to air a sophisticated and delicate inclination.
The poem can be further divided into quatrains dependant upon different subjects, with the first two talking of the presentation, the third about addressing the person in question and the fourth and fifth discuss the food itself. This shows that the food is of little importance in the eyes of the holder of this lush and extravagant party, as the aesthetical appearance, which every quatrain deals with, is more important. The presentation of oneself and their home shows, how they live and so what class and so esteemed stature they can receive. Both the inaugural lines of the second and fifth quatrains end in a question mark, here Betjeman is trying to involve you the reader, by asking a seemingly direct question to you: "Milk and then just as it comes dear?" Here we can see that apart from the question a term of endearment is used, which is a trademark of Betjeman. He is trying to create a warm 'lovey' atmosphere to the poem, which goes with the falsity of the portrayed upper class.
We can see the evidence of the mocking of the middle class, yet also under the humorous exterior an attack is progressing on the defining Social Class; the peak of the hierarchy; the Upper Class. He is showing their arrogant ways and beliefs, that they are of a higher entity and so should control the masses is not directly, then through their valuation of self and mind, and so through society. Betjeman is using the society issue as a tool, to get to the foremost of his hatred of self-evils.
The views expressed by Blake in both experience and innocence illustrate the conflict of the two states. On the one hand, the brotherhood of man could be perceived as an idyllic form of existence, a world in which everyone displays the Christ-like virtues depicted in 'The Lamb', for example. In contrast, in experience, Blake is pursuing the idea of humanity being corrupted and impure - a society without morals. In this sense, the statement above stating his poems display ‘uncompromising realism’ is valid. But to generalize Betjeman as a ‘fun’ poet with ‘gentle satire’ in his poetry is too much of a broad speculation. As we can see, his poems include a wide range of diverse focuses, but the main ones being change in society and fear of death.
