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 "And did those feet in ancient time" is a short poem by William Blake from the preface to his epic Milton a Poem. The date on the title page of 1804 for Milton is probably when the plates were begun but the poem was printed c. 1808.[1] Today it is best known as the hymn "Jerusalem," with music written by Sir Hubert Parry in 1916. The poem was inspired by the apocryphal story that a young Jesus, accompanied by his uncle Joseph of Arimathea, travelled to the area that is now England and visited Glastonbury.[2] The legend is linked to an idea in the Book of Revelation (3:12 and 21:2) describing a Second Coming, wherein Jesus establishes a new Jerusalem. The Christian church in general, and the English Church in particular, used Jerusalem as a metaphor for Heaven, a place of universal love and peace. The poem implies that the visit of Jesus briefly created a heaven in England, in contrast to its post-industrial-revolution "dark Satanic Mills."[3] However the image of "chariots of fire" was drawn from the Old Testament story of Elijah in 2 Kings 2:11. Blake refers to the legend by asking questions rather than stating it to be true. He says that there may, or may not, have been a divine visit, when there was briefly heaven in England. But that was then; now, he says, we are faced with the challenge of creating such a country once again.
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[edit] Satanic MillsThe term "dark Satanic Mills", which entered the English language from this poem, is interpreted as referring to the early Industrial Revolution and its destruction of nature and human relationships.[4] This view has been linked to the fate of the Albion Flour Mills, which was the first major factory in London, built in 1769 by Matthew Boulton and James Watt. It was powered by Watt's steam engines, and produced 6,000 bushels of flour a week. The factory could have driven independent traditional millers out of business, but it was destroyed, perhaps deliberately, by fire in 1791. London's independent millers celebrated with placards reading, "Success to the mills of ALBION but no Albion Mills."[2] Opponents referred to the factory as satanic, and accused its owners of adulterating flour and using cheap imports at the expense of British producers. An illustration of the fire published at the time shows a devil squatting on the building.[5] The mills were a short distance from Blake's home. The phrase was especially poignant for the millions of workers employed in mills, who adopted the poem as a Socialist hymn.[6] The Bishop of Durham, N. T. Wright, speaking in a homily given before the singing of the hymn, proposed the view that the "dark satanic mills" refers to the "great churches". The incongruity of this could be seen as "a dangerously subversive act", Wright said, or by likening it to when "an old unreconstructed Marxist trade unionist is given a peerage and ends his days muttering his imprecations against The System from a somnolent posture on the back benches of the House of Lords."[7] Blake's phrase resonates with a wider theme in his works, what he envisioned as a physically and spiritually repressive ideology based on a quantifiable reality. Blake saw the cotton mills and collieries of the period as a mechanism for the enslavement of millions, but the concepts underpinning the works had a wider application:[6][8]
Another contested view is that the Mills refer to churches of the established Church of England.[7] Blake's views, expressed through his metaphysical writings and paintings, were attacked by an Anglican church he held was a force crushing the spiritual growth of the nation.[citation needed] Some[who?] hold that his call to build a new Jerusalem reflected calls for a new egalitarianism in English society. The hymn specifically asks the question that could it be here, where Jesus walked, that a new society be built, a call adopted by the Methodist and Christian Socialist movements and subsequently by the Labour Party.[citation needed] A similar approach sees the Satanic Mills as the universities of Oxford and Cambridge, which as the traditional seats of learning and thought in England, were heavily controlled by the Anglican church at the time.[10][citation needed]  An alternative theory is that Blake refers to Stonehenge; an illustration of it and other megaliths is featured in his work, Milton. However, he did not see ancient Britain as satanic, but rather saw the Druids and their supposed temple, Stonehenge, as precursors of Christianity.[2] Satan's "Mills" are referred to repeatedly in the main poem, and are first described in words which suggest neither industrialism nor ancient megaliths, but rather something more abstract: "the starry Mills of Satan/ Are built beneath the earth and waters of the Mundane Shell...To Mortals thy Mills seem everything, and the Harrow of Shaddai / A scheme of human conduct invisible and incomprehensible".[11] [edit] Chariot of fireThe line from the poem, "Bring me my Chariot of fire!" draws on the story of 2 Kings 2:11, where the Old Testament prophet Elijah is taken directly to heaven: "And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven." Or it could refer to 2 Kings 6:17, where the prophet Elisha prays that the eyes of his servant might be opened to the "horses and chariots of fire" surrounding them to protect them from an enemy army.[citation needed] [edit] Green and pleasant LandBlake lived in London for most of his life, but wrote much of Milton when he was living in the village of Felpham in Sussex. It has been suggested[who?] that the difference between London and rural Sussex influenced the contrast between the imagery of "Mills" and the "green and pleasant Land" beyond the town. Amanda Gilroy argues that the poem is informed by Blake's "evident pleasure" in the Felpham countryside.[12] [edit] RevolutionSeveral of Blake's poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory. Even though the poem was written during the Napoleonic Wars, Blake was an outspoken supporter of the French Revolution, whose successor Napoleon claimed to be.[clarification needed][13] The poem expressed his desire for radical change without overt sedition. (In 1803 Blake was charged at Chichester with high treason for having 'uttered seditious and treasonable expressions' but was acquitted[14].) The poem is followed in the preface by a quotation from Numbers ch. 11, v. 29: "Would to God that all the Lord's people were prophets." Christopher Rowland, a Professor of Theology at Oxford University, has argued that this includes "everyone in the task of speaking out about what they saw. Prophecy for Blake, however, was not a prediction of the end of the world, but telling the truth as best a person can about what he or she sees, fortified by insight and an honest persuasion that with personal struggle, things could be improved."[15] The words of the poem "stress the importance of people taking responsibility for change and building a better society in England's green and pleasant land". [edit] Popularisation of the hymnThe poem, which was little known during the century which followed its writing, was included in a patriotic anthology of verse published in 1916, a time when morale had begun to decline due to the high number of casualties in the First World War and the perception that there was no end in sight. Under these circumstances, it seemed to many to define what England was fighting for. Therefore, Robert Bridges, the Poet Laureate, asked Sir Hubert Parry to put it to music at a Fight for Right campaign meeting in London's Queen's Hall. The aims of this organisation were "to brace the spirit of the nation that the people of Great Britain, knowing that they are fighting for the best interests of humanity, may refuse any temptation, however insidious, to conclude a premature peace, and may accept with cheerfulness all the sacrifices necessary to bring the war to a satisfactory conclusion".[16] Bridges asked Parry to supply the verse with "suitable, simple music that an audience could take up and join in". The score was conducted by Parry's student Walford Davies; Parry afterward released it to him, saying "There you are, my boy, do what you like with it." Davies had it published by Curwen and began teaching the tune.[16] Originally Parry intended the first verse to be sung by a solo female voice, but this is rare nowadays. The most famous version was orchestrated by Sir Edward Elgar in 1922 for a large orchestra at the Leeds Festival.[17] Upon hearing the orchestral version for the first time, King George V said that he preferred "Jerusalem" over "God Save the King", the National Anthem. Jerusalem is considered to be England's most popular patriotic song, the New York Times has called it "Fast becoming an alternative national anthem," [18] and there have even been calls to give it official status[19]. This is because England has no official anthem and so uses the British National Anthem "God Save the Queen" for some national occasions, for example before English international football matches. However, some sports, including cricket, rugby union, rugby league and ballroom dancing use "Jerusalem" as the English anthem. Questions in Parliament have not clarified the situation as answers from the relevant minister say that each sport must make its own decision. Critics of the song have said that its reference to a foreign city and its non-secular basis make it unsuitable. The poem's idealistic theme or subtext accounts for its popularity across the philosophical spectrum. It was used as a campaign slogan by the Labour Party in the 1945 general election; Clement Attlee said they would build "a new Jerusalem"[20]. It has been sung at conferences of the British Conservative Party, at the Glee Club of the British Liberal Assembly, the British Labour Party and by the British Liberal Democrats. It is frequently sung as an office or recessional hymn in English cathedrals, churches and chapels on St George's Day. The hymn is also sung in some churches on Jerusalem Sunday, a day set aside to celebrate the holy city, in Anglican Churches throughout the world and even in some Episcopal Churches in the U.S. However some vicars in the Church of England, according to the BBC TV programme "Jerusalem: An Anthem for England", have said that the song is not technically a hymn, as it is not a prayer to God (which hymns always are). Consequently, it is not sung in some churches in England.[21] Parry's tune is so well liked that the song is not only sung in many schools, especially public schools in the UK (it was used as the title music for the BBC's 1979 series 'Public School' at Radley College) , but also at several private schools in New England and Canada. Some attempts have also been made to increase its use elsewhere with other words. The established Church of Scotland debated altering the words of the hymn to read "Albion" instead of England to make it more locally relevant.[citation needed] [edit] Live performancesThe popularity of Parry's setting has resulted in many hundreds of recordings being made, too numerous to list, of both traditional choral performances and new interpretations by popular music artists. Consequently only its most notable live performances are listed below.
[edit] Other musical settingsBlake's lyrics have also been set to music by other composers without reference to Parry's melody. The words, with some variations, are used in the track Jerusalem on Bruce Dickinson's album The Chemical Wedding, which also includes lines from book two of Milton. Finn Coren also created a different musical setting for the poem on his album The Blake Project: Spring. [edit] Use in film and theatre"Bring me my chariot of fire" inspired the title of the film Chariots of Fire.[24] A church congregation sings "Jerusalem" at the close of the film and a performance appears on the Chariots of Fire soundtrack performed by the Ambrosian Singers overlaid partly by a composition by Vangelis. The film's working title was "Running" until Colin Welland saw a TV programme, Songs of Praise, featuring the hymn and decided to change the title.[24] The hymn has featured in many other films and TV programmes including Four Weddings and a Funeral, How to Get Ahead in Advertising,The Loneliness of the Long Distance Runner, Calendar Girls, Star Trek: Deep Space Nine, Good Night, Mr Tom, and Monty Python's Flying Circus. In the theatre it appears in Jerusalem (play),[18] Calendar Girls and in Time and the Conways.[18] [edit] See also
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