William Blake | From Milton | ‘Jerusalem’ | Christian Poems
William Blake | From Milton | ‘Jerusalem’
And did those feet in ancient time
Walk upon England’s mountains green?
And was the holy Lamb of God
On England’s 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 England’s green and pleasant land.
William Blake | From Milton | ‘Jerusalem’
William Blake’s ‘Jerusalem’ is a visionary poem taken from Milton: A Poem, one of Blake’s prophetic works. Though often associated with patriotism, the poem is more complex than a simple celebration of England. It expresses a deep anxiety about the spiritual and moral state of the nation, contrasting an idealized past with the corrupted present. Blake imagines a divine England, once touched by the presence of Christ, now overshadowed by oppressive forces that must be resisted through a struggle of the mind and spirit. The poem follows a regular structure of four quatrains with an ABAB rhyme scheme, and its meter, largely iambic tetrameter, gives it the quality of a hymn or a rallying cry.
The poem begins with a series of rhetorical questions: ‘And did those feet in ancient time / Walk upon England’s mountains green?’ These verses introduce the legend that Christ, as a child, once visited England with Joseph of Arimathea. Though there is no historical basis for this claim, the idea serves as a symbolic foundation for Blake’s vision. The question is not meant to establish fact but to awaken the reader to the possibility that England was once a sacred land. This speculation is immediately followed by a contrast between the past and the present. The reference to ‘dark Satanic Mills’ is widely interpreted as a critique of industrialization, but Blake’s meaning extends beyond the physical factories of his time. The mills symbolize all forms of oppression—political, economic, and spiritual—that crush human imagination and reduce life to mechanical toil. This aligns with Blake’s broader concerns in his work, where he often portrays industrialization, rigid institutions, and unthinking conformity as forces of spiritual destruction.
The tone of the poem shifts dramatically in the third stanza. No longer asking questions, the speaker now issues commands: ‘Bring me my bow of burning gold! / Bring me my arrows of desire!’ These verses call for action, evoking images of divine warfare. The reference to a ‘chariot of fire’ recalls the biblical story of Elijah, who was taken up to heaven in a whirlwind, symbolizing divine power and transformation. Blake envisions a battle not of violence, but of resistance against spiritual decay. The weapons he calls for are not physical but symbolic—passion, imagination, and moral determination. The phrase ‘mental fight’ in the final stanza reinforces this idea. The struggle is one of vision and belief, a rejection of complacency and submission to oppressive systems. Blake declares that he will not rest ‘Till we have built Jerusalem / In England’s green and pleasant land.’ The term ‘Jerusalem’ does not refer to the historical city per se but to a state of spiritual perfection, a new society based on justice, creativity, and human dignity.
Blake’s vision is deeply rooted in his rejection of both industrial capitalism and the rigidity of institutionalized religion. Blake was a radical thinker, critical of both the political establishment and the Church, which he saw as complicit in maintaining systems of control. His Jerusalem is not an appeal to nationalism but to transformation, urging the people to reclaim their imaginative and spiritual power.
William Blake | A Brief Biography
William Blake (1757–1827) was an English poet, painter, and printmaker, whose work was largely unrecognized during his lifetime but has since been regarded as some of the most original and visionary in English literature and art. Born in London, Blake showed artistic talent from an early age and was apprenticed to an engraver before studying briefly at the Royal Academy. Throughout his life, he combined visual and literary art, developing a unique method of relief etching to produce his illuminated books, in which poetry and illustration were inseparable.
Blake’s work is marked by a deeply personal mythology, influenced by his religious mysticism, radical politics, and opposition to institutional authority. His early poetry collections, Songs of Innocence (1789) and Songs of Experience (1794), contrast childlike purity with the corruption of experience, exploring themes of oppression, social injustice, and the loss of spiritual vision. His later prophetic books, including Milton and Jerusalem, contain complex, symbolic narratives reflecting his apocalyptic worldview and rejection of materialism.
Blake lived in relative poverty, sustained by a small circle of admirers, including younger Romantic poets like William Wordsworth and Samuel Taylor Coleridge. Though often dismissed as mad by his contemporaries, he remained deeply committed to his artistic and spiritual visions until his death. Today, he is recognized as a major figure in Romanticism, celebrated for his bold imagination, social criticism, and unorthodox spirituality. Blake’s poem Jerusalem, set to music, has become one of Britain’s most famous hymns.
The poet describes himself as a ‘tenant’ to a ‘rich Lord’, establishing a relationship with God in terms of landlord and tenant. The poet indicates dissatisfaction with his spiritual ‘tenancy’, explaining that he has not ‘thrived’ in this role. Consequently, he decides to be ‘bold’ and approach God to ask for a ‘new, small-rented lease’, a metaphorical request for a fresh start or new terms in his relationship. The desire to ‘cancel the old’ lease reflects the poet’s wish to move beyond his past shortcomings and seek a more achievable agreement with God [ … ]
YouTube: Ash Wednesday | T.S. Eliot | Audio Christian Poetry | Word Aloud Ash Wednesday, one of T.S. Eliot’s most profound and enigmatic poems, marks a significant transition in his life and work. Written in 1930, it is the first long poem Eliot composed after his conversion to Anglicanism in 1927. The poem, often considered one of Eliot’s masterpieces, delves into themes of faith, redemption, and spiritual struggle. It reflects the poet’s personal journey towards spiritual enlightenment and serves as a testament to his newfound religious beliefs. A reading of Ash Wednesday is an exploration of the poem’s religious, literary, and personal contexts, as of the poem’s complex structure and themes. Religious Context And Symbolism Ash Wednesday is deeply embedded in Christian symbolism and tradition. The title refers to the first day of Lent in the Christian liturgical calendar, a day marked by penance, fasting, and prayer. Ash Wednesday is a time for reflection on mortality and repentance, themes that are intricately woven throughout the poem. Eliot’s conversion to Anglicanism profoundly influenced his writing; ‘Ash Wednesday’ is an expression of spiritual awakening and quest for redemption. The poem is replete with religious imagery and references, drawing on Christian doctrine and scripture. The use of liturgical language, biblical allusions, and references to saints and spiritual figures creates a tapestry of faith that invites readers to contemplate deep spiritual truths with which Eliot is grappling. The repetitive and prayer-like quality of the verses echoes meditative practices of the faithful, in part enabling the contemplative nature of the poem. Literary Influences And Techniques T.S. Eliot was a master of literary allusion and technique, and Ash Wednesday expresses Eliot’s ability to blend various influences into a cohesive whole. The poem reflects the influence of Dante, particularly The Divine Comedy, which Eliot admired for its exploration of spiritual ascent and redemption. Dante’s journey through Hell, Purgatory and Heaven parallels Eliot’s own spiritual journey, and the structure of Ash Wednesday can be seen as a reflection of this pilgrimage. Eliot’s use of fragmented narrative, a hallmark of his earlier work such as The Waste Land, is also present in Ash Wednesday. However, in this poem, the fragmentation serves a different purpose. Instead of depicting the disintegration of modern society, it mirrors the fragmented and often painful process of spiritual rebirth. The disjointed structure reflects the internal struggle of the speaker, who is torn between the pull of worldly desires and the aspiration for divine grace. The poem’s language is rich and varied, combining the lyrical and the obscure, the personal and the universal. Eliot employs a range of poetic forms and devices, including free verse, rhyme and meter, to convey the tumultuous journey of faith. The shifting tone and style reflect the complexities and contradictions inherent in the spiritual quest, capturing moments of doubt, despair, hope, and transcendence. Personal Significance Ash Wednesday is a deeply personal work. Eliot’s conversion to Anglicanism marked a profound shift in his life, providing a sense of purpose and direction that had been missing. The poem can be read as a reflection of Eliot’s own struggles with faith and his efforts to reconcile his intellectual skepticism with his desire for spiritual certainty. Eliot’s personal experiences, including his troubled marriage and professional pressures, also inform the poem. Themes of renunciation and acceptance, sin and redemption, are not merely abstract concepts but lived realities for the poet. This personal dimension adds a layer of intimacy and urgency to the poem, which thereby resonates with readers who have faced their own spiritual crises. Thematic Exploration At its core, Ash Wednesday is a meditation on the possibility of spiritual renewal in a world that often seems devoid of meaning. The poem grapples with the tension between faith and doubt, reflecting the existential struggles of modernity. The poem acknowledges the difficulties of maintaining belief in an age of skepticism but ultimately affirms the possibility of redemption and grace. The central theme of renunciation is explored through imagery of ascension and purification. The speaker’s journey is marked by a series of renunciations, symbolizing the shedding of earthly attachments in pursuit of spiritual truth. This process is neither straightforward nor easy; it involves moments of intense struggle and introspection. Yet, through this arduous journey, the speaker moves closer to a state of spiritual clarity and acceptance. Ash Wednesday | T. S. Eliot Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man’s gift and that man’s scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now […]
Jesus goes to the Mount of Olives on a number of occasions to pray. It is good for us now to witness Jesus praying. When we pray, we pray with Jesus and according to his example [ … ]
