And did those feet in ancient time
William Blake wrote the poem "And did those feet in ancient time" as part of his epic work Milton: A Poem in Two Books. The title page of this collection bears the date 1804, which likely marks when Blake began engraving the plates for publication. However, historical records indicate the actual printing occurred later, specifically in 1808. This poem appeared within a larger collection known as the Prophetic Books, yet it remained obscure for nearly a century after its initial release. Blake inscribed a biblical quotation beneath the text, linking the verses to the Book of Revelation and themes of a Second Coming. The phrase "dark Satanic Mills" entered the English language from this specific preface, though its meaning has sparked decades of scholarly debate. Some readers interpret these mills as references to the early Industrial Revolution and its destruction of nature. Others argue they symbolize the established Church of England or abstract concepts within Blake's personal mythology. The Albion Flour Mills in Southwark serve as a potential real-world anchor for the industrial interpretation. This factory could produce 6,000 bushels of flour per week using steam power. It was destroyed by fire in 1791, possibly due to overheated bearings rather than arson. Independent millers celebrated the blaze with placards reading "Success to the mills of Albion but no Albion Mills." Blake lived near this site during his time in London.
Scholars have long debated whether Blake intended his poem to describe a historical visit by Jesus to ancient Britain. British folklore scholar A. W. Smith noted that oral traditions about such a visit did not exist before the early twentieth century. Instead, the poem draws on older stories found in Milton's History of Britain regarding Joseph of Arimathea preaching to ancient Britons. The text asks four questions without asserting the historical truth of Christ's arrival. Critics often view the second verse as an exhortation to create an ideal society regardless of divine intervention. Peter Porter observed that many scholars believe the mills refer to churches and social conformity rather than factories. In 2007, Bishop N. T. Wright acknowledged the view that dark satanic mills could mean great churches. F. W. Bateson criticized the adoption of this anti-clerical paean by women's organizations in 1967. Blake retained an active interest in social events throughout his life while cloaking political statements in Protestant mystical allegory. He was charged with high treason at Chichester in 1803 for uttering seditious expressions. The trial resulted from comments made in conversation, including the phrase "Damn the King!" The poem expresses a desire for radical change without overt sedition. It follows a quotation from Numbers 11:29 stating that all people should be prophets. Christopher Rowland argued this includes everyone speaking out about what they see. Blake wanted to stir people from their intellectual slumbers to see how culture kept them thinking in ways serving powerful interests.
The poem remained little known during the century following its writing until Robert Bridges included it in the anthology The Spirit of Man. This publication occurred in 1916 when morale had begun declining due to World War I casualties. Bridges asked Sir Hubert Parry to set the text to music for a Fight for Right campaign meeting. The event took place at London's Queen's Hall on the 28th of March 1916. Parry wrote the manuscript on the 10th of March 1916 and handed it to conductor Walford Davies. He told Davies simply, "Here's a tune for you, old chap. Do what you like with it." The song was initially titled And Did Those Feet in Ancient Time before later becoming known as Jerusalem. Parry deployed a two-stanza format using eight lines of Blake's original poem per stanza. He added a four-bar musical introduction to each verse and a coda echoing melodic motifs. Millicent Fawcett of the National Union of Women's Suffrage Societies saved the song from potential withdrawal by Parry. She requested its use at a Suffrage Demonstration Concert held on the 13th of March 1918. Parry orchestrated the piece specifically for this concert after originally composing it for voices and organ. He assigned copyright to the NUWSS which remained until that organization wound up in 1928. The copyright then passed to the Women's Institutes where it stayed until entering the public domain in 1968. Parry always referred to the work by its first title despite the change appearing around the time of the 1918 concert.
Sir Edward Elgar re-scored the work for a very large orchestra in 1922 for use at the Leeds Festival. His orchestration has overshadowed Parry's own version primarily because it is the standard used today. Sir Malcolm Sargent introduced the piece to the Last Night of the Proms during the 1950s but always used Parry's arrangement. The Royal Albert Hall hosts thousands of singers every year who perform this hymn as part of the closing ceremony. In 2020, composer Errollyn Wallen presented a new musical arrangement sung by South African soprano Golda Schultz. This version featured different rhythms and dissonance with references to the blues causing significant controversy. The song remains a staple of English cultural life alongside traditional choral performances. It is sung simultaneously in Proms in the Park venues throughout the country along with the main event. Many schools use the song especially public schools in Great Britain and private institutions abroad. The BBC broadcast a documentary titled Jerusalem: An Anthem For England in 2005 highlighting various usages. Howard Goodall, Billy Bragg, and Garry Bushell contributed to this case for adoption as a national anthem. Team England held a public poll in 2010 to decide which anthem should play at medal ceremonies. Jerusalem won with 52% of the vote over Land of Hope and Glory and God Save the Queen.
King George V stated he preferred Jerusalem over the British national anthem God Save the King upon hearing the orchestral version. The New York Times described it as fast becoming an alternative national anthem though no official status exists. England uses God Save the King before international football matches while some sports like rugby league choose Jerusalem instead. The England and Wales Cricket Board designated it as their official hymn despite occasional singing of God Save the Queen. Questions in Parliament have not clarified the situation since each sport must make its own decision regarding anthems. The song was chosen as the opening hymn for the London Olympics 2012 even though God Save the Queen played during flag raising. It is sung every year by thousands at the end of the Last Night of the Proms in the Royal Albert Hall. Alongside The Red Flag, it marks the closing of the annual Labour Party conference. The Durham Miners' Gala also features regular performances of the piece. During the 1920s many Women's Institutes started closing meetings by singing it catching on nationally. Although never adopted officially, it holds that position in practice within the organization. A rendition appeared on the 1973 album Brain Salad Surgery by Emerson Lake & Palmer using a Moog Apollo synthesizer. Bruce Dickinson incorporated the full text into his 6:42 track Jerusalem from his 1998 solo album The Chemical Wedding.
The hymn has featured in numerous films including Chariots of Fire which took its title from the line Bring me my Chariot of fire. Other productions include Four Weddings and a Funeral How to Get Ahead in Advertising and Saint Jack. An extract appeared in the 2013 Doctor Who episode The Crimson Horror set in 1893 before Parry's arrangement existed. A bawdy version was sung by Mr Partridge in Series 1 Episode 3 of Hi-de-Hi! Punk versions appear in Derek Jarman's 1977 film Jubilee. British band The Verve reworked lines in their song Love Is Noise asking if those feet walk on soles made in China. Another version emerged from post-punk band The Fall in 1988. Simple Minds included an instrumental rendition on their 1989 album The Amsterdam EP. The song inspired segments directed by Danny Boyle during the 2012 Summer Olympics opening ceremony. It appears in television series such as Star Trek Deep Space Nine Season 3 Episode 22 and Shameless. Modified lyrics replacing England with Neo serve as the national anthem for the city state Neo Yokio. Many churches have adopted Jerusalem as a four-part hymn though some clergy argue it is not technically a prayer to God. It was sung at the wedding of Prince William and Catherine Middleton in Westminster Abbey. In a countrywide poll conducted in 2019, listeners voted it the UK's favourite hymn relegating How Great Thou Art to second place.
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Common questions
When did William Blake write the poem And did those feet in ancient time?
William Blake wrote the poem as part of his epic work Milton: A Poem in Two Books with a title page dated 1804. Historical records indicate the actual printing occurred later specifically in 1808.
What does the phrase dark Satanic Mills mean in the poem by William Blake?
The phrase entered the English language from this specific preface though its meaning has sparked decades of scholarly debate. Some readers interpret these mills as references to the early Industrial Revolution and its destruction of nature while others argue they symbolize the established Church of England or abstract concepts within Blake's personal mythology.
Who set the music for the hymn Jerusalem based on the poem by William Blake?
Sir Hubert Parry set the text to music for a Fight for Right campaign meeting that took place at London's Queen's Hall on the 28th of March 1916. He wrote the manuscript on the 10th of March 1916 and handed it to conductor Walford Davies.
Why is the song Jerusalem popular in Great Britain today?
The Royal Albert Hall hosts thousands of singers every year who perform this hymn as part of the closing ceremony during the Last Night of the Proms. In 2010 Team England held a public poll where Jerusalem won with 52% of the vote over Land of Hope and Glory and God Save the Queen.
When was the song Jerusalem first sung at a Suffrage Demonstration Concert?
Millicent Fawcett of the National Union of Women's Suffrage Societies requested its use at a Suffrage Demonstration Concert held on the 13th of March 1918. Parry orchestrated the piece specifically for this concert after originally composing it for voices and organ.