Introduction

Abstract

These four quatrains, formerly known as ‘Jerusalem’, somewhat confusingly as Blake’s final epic also bears that title, have often been referred to as the genuine national anthem, and would be widely accepted as the most important political poem in English literature: One of the few texts that most British (not merely English) people would know well, perhaps by heart. It is certainly much more responsive to popular aspirations than the feudal monarchism of the verses originally written for the German King, George II, in 1746 in the aftermath of the Jacobite rebellion, whose less- quoted second verse implores the Hanoverian dynasty to ‘Confound their Politicks / Frustrate their Knavish Tricks’.¹ Its reception history is sufficiently diverse to stretch from Sir Hubert Parry’s lush orchestral setting in 1916 to Fat Les’s techno version for the Euro 2000 soccer tournament, and includes not only socialist politics and the Trade Union movement, but also the Women’s Guild and the Conservative party. It is this political amorphousness that is most germane to the more general questions posed by the subject of this book, Blake, Nation and Empire.²

And did those feet in ancient time, Walk upon Englands mountains green: And was the holy Lamb of God, On Englands pleasant pastures seen!

And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among these dark Satanic Mills?

Bring me my Bow of burning gold: Bring me my Arrows of desire: Bring me my Spear: O clouds unfold! Bring me my Chariot of fire!

I will not cease from Mental Fight, Nor shall my Sword sleep in my hand: Till we have built Jerusalem, In Englands green & pleasant Land.

(E95-96)