{"id":2573,"date":"2019-09-16T17:06:17","date_gmt":"2019-09-16T17:06:17","guid":{"rendered":"http:\/\/www.bars.ac.uk\/blog\/?p=2573"},"modified":"2019-09-23T12:32:01","modified_gmt":"2019-09-23T12:32:01","slug":"romantic-reimaginings-jez-butterworths-jerusalem","status":"publish","type":"post","link":"https:\/\/www.bars.ac.uk\/blog\/?p=2573","title":{"rendered":"Romantic Reimaginings: Jez Butterworth\u2019s Jerusalem"},"content":{"rendered":"

Romantic Reimaginings is a BARS blog series which seeks to explore the ways in which texts of the Romantic era continue to resonate. The blog is curated by Eleanor Bryan. If you would like to publish an article in the series, please email ebryan@lincoln.ac.uk.<\/strong><\/p>\n

Today on the blog, David Sigler explores the reimagining of Romanticism in Jez Butterworth’s\u00a0Jerusalem<\/em>.\u00a0<\/strong><\/p>\n

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Jerusalem<\/em>, NHB Modern Plays book cover (2009).<\/p><\/div>\n

Jez Butterworth\u2019s play Jerusalem <\/em>does not hide its debts to British Romantic poetry. It takes its title from William Blake\u2019s Milton: A Poem<\/em> (by way of Hubert Parry), and attempts to update for modern England the fantasy of England that Blake conjures. The play opens with a prologue that recites Blake\u2019s prologue, and ends, as if in a revelation of a divine truth, with the character Ginger acknowledging Blake\u2019s authorship. The protagonist, a distinctly Byronic figure and local cock-of-the-walk, is, in a subtle stroke, called Johnny \u201cRooster\u201d Byron. The play premiered in 2009 at Royal Court Theatre in London and has since been frequently staged across the UK, the US, and Canada, most recently, through June 2019, in Vancouver.<\/p>\n

As a play about nostalgia for bygone times and national myths, and as a play committed to bringing plain speech, and even crass speech, into the realm of literary high art, Jerusalem <\/em>is a thoroughly Romantic play: it is both romantic, if ugly and unsentimental, and Romantic, in its eagerness to confer the dignity of literary classics upon a gang of self-described \u201ceducationally subnormal outcasts\u201d (p.53). Rooster, a forcibly retired daredevil encamped illegally for decades on public land, spends his days drinking, getting banned from pubs, causing public disturbances, selling drugs to teenagers, and luring them into exploitative non-consensual sex. His squatter\u2019s rights are being challenged by his wealthier, more respectable neighbours, and Rooster, dreaming of a \u201cFlintock rebellion\u201d (p.53), maintains staunch opposition to Kennet and Avon Council and its enforcement officers. As the drama unfolds, Butterworth effectively reactivates the ethos of Lyrical Ballads<\/em>: Rooster, like Wordsworth\u2019s Simon Lee, is a man once central to his local community who is forced to confront his own uselessness in the modern world, but whose act of living on as the last of his kind can be seen as a meaningful form of political resistance to the neoliberal powers that have dismantled the community. His capacity for tall tales (reminiscent of \u201cThe Thorn\u201d) exposes the modern world to the realm of the mythological and supernatural (as in \u201cThe Rime of the Ancient Mariner\u201d) and highlights his allegiances with literature. It is as if Lord Byron were inserted into the world of Lyrical Ballads<\/em> and tasked with enacting Blake\u2019s vision of divine political renovation. To see or read Jerusalem<\/em> as a Romanticist, then, is to encounter something deeply familiar.<\/p>\n

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Jerusalem<\/em> at the Watermill Theatre, Newbury, 2018. Photograph by Philip Tull.<\/p><\/div>\n

The play\u2019s populist politics have not aged well in the decade since its debut. It is clear, though, that Butterworth saw the urgency with which white, poor, and sometimes\u00a0xenophobic people, feeling abandoned by the official national eye and encroached upon by outsiders, and enamoured especially of ludicrous bullshit, were set to become the focal point of national politics in Britain and worldwide. There is a nativist strand in the play, according to which supposedly real<\/em> Britons, through \u201clines of ancient energy\u201d (p.72), can claim an ancestral connection to Stonehenge, May Day, and the woods. Hence Rooster delights in his fantasy of having urinated on the car of the traffic wardens in Marlborough town, whom he supposes to be \u201cbig Nigerians,\u201d and of having escaped their clutches by refusing their \u201cNigerian delicacies\u201d (p.68). Rooster deems himself authentically British by virtue of his bloodlines\u2014what Rooster boasts of as Romany \u201cByron blood\u201d\u2014even when those bloodlines mark him as a perpetual outsider and subject him to racialized violence. His marginalization, legally and socially, are all the more a sign that he belongs in \u201cRooster\u2019s Wood,\u201d whatever the Rules of County Court would say. Jerusalem<\/em> uses Romantic poetry as a signifier for these nativist bona fides<\/em>, and to justify the squatters\u2019 battle against the respectable New Estate. This all seems problematic and over-familiar in 2019. Yet, as Rooster and Ginger become more desperate in Act 3, their Romantic myths begin to turn against them with the brutality of a gang and with the administrative violence of the law. The myths are nevertheless all they\u2019ve got, and so the play begins to undercut its characters\u2019 propensity to valorize their own social and economic marginalization. The irony that results is, I think, part of the play\u2019s Byronic and Blakean ethos.<\/p>\n

Jerusalem <\/em>is a complex and challenging contemporary response to British Romanticism. It re-activates the Romantic era\u2019s debates over enclosure and the commons, its revolutionary impulses, its class warfare over respectability, its commitment to the \u201creal language of men,\u201d its affection for the supernatural, its consolidation of nationalist and racial ideologies, and its valorizations of drug addiction and sexual exploitation; it persuasively implies that these Romantic inheritances have laid the groundwork for contemporary British politics. It then suggests\u2014with recourse to a magical golden drum\u2014that Romanticism might offer a solution to Britain\u2019s current political impasses, such as Brexit, which the play very much anticipates. Yet it does so by refusing to wish away the fault lines that have come to a crisis since 2009, especially during the Brexit referendum but also in the U.S. and around the world. Jerusalem<\/em>, like a CNN pundit from 2016, demands that we learn to respect the values and prejudices of the rural poor\u2014lest these forgotten people vow to exact their cosmic revenge. It invites us to think of \u201cEngland\u201d as a \u201cgreen and pleasant land\u201d belonging to the people, and redeemed by its miniature oases of authenticity, in which, ironically, self-aggrandizing lies are the coin of the realm. And it stresses the living presence of activist poetry as part of a national counterpublic that, even when it is ignored or forcibly suppressed, still simmers, by many undetected, in British politics. In that sense it is prescient and quite thoughtful\u2014even revolutionary.<\/p>\n

In doing so, however, Jerusalem <\/em>takes a narrow and stereotyped view of British Romanticism and its legacy. Its vision of Romanticism is nearly a cult of masculinity that worships solitary men of extraordinary vision, who, through the force of their irrepressible personalities, are clearly better than the regular folks around them. These men, Butterworth suggests, won\u2019t be constrained by society\u2019s rules. This is the most conservative possible vision of British Romanticism, and one that the field of Romantic studies has been working to undo for several decades now.<\/p>\n

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Work cited: Butterworth, Jez. Jerusalem<\/em>. Nick Hern Books, 2009.<\/p>\n

David Sigler is Associate Professor of English at the University of Calgary (Canada). He is the author of Sexual Enjoyment in British Romanticism<\/em> (McGill-Queen\u2019s UP, 2015) and co-editor of Lacan and Romanticism<\/em> (SUNY Press, 2019).<\/strong><\/p>\n

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Romantic Reimaginings is a BARS blog series which seeks to explore the ways in which texts of the Romantic era continue to resonate. The blog is curated by Eleanor Bryan…. Read more »<\/a><\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":""},"categories":[23],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2573"}],"collection":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2573"}],"version-history":[{"count":7,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2573\/revisions"}],"predecessor-version":[{"id":2601,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/2573\/revisions\/2601"}],"wp:attachment":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2573"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2573"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2573"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}