The literary canon contains some truly great plays; those of Shakespeare for example, with qualities

that set them above all other works. I feel Jez Butterworth's Jerusalem is a play of truly amazing
quality, easily deserving of a place in the canon, as not only the quality of its writing, but its content
place it above other works. Set on St Georges Day its the story of social outcast Johnny Rooster
Byron, and how hes wanted by council officials for eviction, his son wants to be taken to the fair, and
the time he spends with a band of misfits after his plentiful supply of drugs and alcohol. Which seems
an unlikely premise for a place in the Canon, where typical topics are about the development of
Higher Culture. Yet theres a sense of timelessness in Jerusalem, and it strongly resists, much like
the main Character; Johnny Rooster Byron, simplification; and being simply defined. This play
cannot be reduced to a single meaning due to its complexity; the more you delve into it, the more of
its underlying, and often eternal, themes are touched upon; and these include the cycle of youth,
national identity and the relation between man and nature. These are all canonical topics presented in
a different way to normal by Butterworth.
One of the greatest qualities of canonical literature is that it doesnt merely address themes relevant to
its setting, but those on a grander scale; to both the individual and society. With one of great
significance in Jerusalem being the loss of British national identity. Which is visible throughout the
play, in the rural community slowly fading away, with the building of the new estate and the sway of
the big companies over the village fair. The power of the state is encroaching literally over the rural
communities, and symbolically over the free spirit of the individuals. The once proud nation has lost a
sense of itself, as whilst theres a clear difference between the sprawling estates, woodland glade
rubbish tips and derelict buildings of yesteryear of the real countryside, the powerful image of the
idealised green rural England clings to the hearts of the people like Johnny, and brings ideas of a
brighter country. Butterworth creates a truly moving moment when Johnnys land is to be taken from
him, because of; The law, Mr Byron. The English Law, a moment where it feels as though the
country has turned upon the heart of itself, lost sight of the past and is now moving on without it, even
as the soul of the once-proud English nation still cries out in defiance through the lips of Johnny
Byron. For this reason the canon is easily a suitable home for Jerusalem, as it addresses topics
relevant to both the individual and the whole nation.
Another aspect of Jerusalem that makes it so enthralling, is the complexity of the multiple stories told
within it; its far more than just the tale of Johnny, which is in itself a wealth of allegory and
symbolism; almost every other character has their own story arc, concluding in the third act, and
taking on a darker tone. As whilst there's a sense the characters have developed, there's no real
conclusion to any of their stories; which could be Butterworth presenting how in reality people's lives
don't wrap up so neatly. Ginger, who's almost a "peter pan", never having grown up and left Johnny,
the duo of Davey and Lee; each showing different ideals of home; Davey knowing he'll stay in this
county forever and Lee moving as far away from it as he can, Wesley the local pub landlord, roped
into Morris dancing at the request of the brewery, the professor; an elderly eccentric who babble
philosophical and literary nothings. Within these minor characters Butterworth presents a wealth of
ideas, the power of the big companies over individuals, both the love and loathing of home, and how
the worth of great literature and philosophy fluctuates with context. This level of complexity in
relatively minor characters is what adds to the overall quality of Jerusalem, that Butterworth
addresses some themes of the piece through the smaller characters only increases the overall depth.
A frequently occurring theme is that of the cycle of youth, its mentioned by Johnny when talking to
Wesley; Everyone knows what theyre up to and dads. Why? Because they did the same fuckin
thing, and younger, and when Troy comes searching for Phaedra, he reveals from his past experience
that it Aint changed much, has it. Except the faces. These comments are a way in which

Butterworth can be seen to present the endless cycle of youth, that despite the other changes to society
and surrounding, the behaviour of youth as they grow up remains the same. Which presents it as a
deeply imprinted part of the Human condition; and a part of simply being human, is to follow this
continuing cycle of youth. The addressing of this eternally profound, and relevant, theme makes
Jerusalem relevant far beyond the contemporary setting of the play itself.
One particularly resounding, and literary beautiful, sections of the play is Johnnys defiant call to his
ancestors and giants of ancient England at the plays conclusion. The literary and mythological
allusions are clear, supporting the already established bonds Byron has to this mythology, which is a
major part of his character. This connection evokes a sense of mystery and timelessness within the
character, which in turn are qualities lent to the play. The eviction of Johnny becomes more than just
an outcast being further excluded from the society he clings to the edge of, but the slow corrosion of
both physical and spiritual English nature, culminating in the new and darker society attempting to
wipe away the soul of Englands past, to make way for change and development; in both the people
and the land. The language of this moment is what also makes it stand out, in comparison with the
typically cruder dialogue in the rest of the play, with Butterworths rhetorical techniques such as
alliteration and tricolon structure. The use iambic pentameter in the line; you fields of ghosts who
walk these green plains still. skilfully ties this speech to the already well-established links to
Shakespeare, the play itself occurring on the Bards birthday; the 23 rd April. This homage to the Bard
furthers the Englishness of the play, as hes crucial part of English culture, and also ties the play to
the canon itself. The speech overall reinforces the literary beauty of the play as a whole, and furthers
the quality of the play through the connections to great literary works and authors. That Butterworth
feels able to directly compare Jerusalem to these works presents his confidence that it will be able
stand amongst them, and I feel that it easily can, as a masterpiece of literature.
Theres an interesting connection between Jerusalem and William Blakes poem; And did those feet in
ancient time, where Byrons wood can be viewed as Heaven or Jerusalem, with happiness and
freedom, built amongst these dark Satanic Mills of the new estate and the element of change
surrounding it. Whilst strengthening the literary connections of the play, it also provides the sense that
Butterworths setting is timeless; much like Blakes poem, with Johnny as a force of good amongst
the dark. In relation to the hymn Jerusalem; often maintained as the unofficial anthem of England,
Byron can be perceived similarly, held as an unofficial representation of the nation. This idea of
Johnny as a symbol is further linked through the title, and text as a whole, to Blakes poem Jerusalem
the Emanation of the Giant Albion, which tells of the fall of Albion, Blakes embodiment of man and
Britain, an important link the Butterworths play. As Johnny can be seen as a modern Albion, steeped
in the myth and lore of Englands past, and Jerusalem presents his fall, as he steadily loses the
company of his friends and his home. Woven deeply into Jerusalem, these literary connections
make it a strong candidate for the canon, because they grant it a timeless relevance, and enrich the
play by making Johnny beyond a man; they make him an avatar of the nation.
Theres a sense of great literary significance in the title Butterworth chose for his anti-hero, which is
supported further in the play. The name Byron is strongly linked to the great British poet George
Byron, who Johnny bears many similarities to. One physical aspect is that just like George Byron;
who had a club foot, its described that Johnny has a limp, and the original Byron was described by
Lady Caroline Lamb as; Mad, bad, and dangerous to know, much like his 21 st century namesake.
George Byron pursued her passionately in response to this, which can be seen as echoed in Johnnys
briefly renewed relationship with Dawn after she has denied him so much. Romanticism can also be
seen to connect Johnny to George Byron; who is a famous Romantic, as one of the basic principles of
Romanticism is a strong interest and a belief in the importance of nature, Johnnys surrounding could,

in conjunction with his many stories and frequently occurring beautiful language, make him a form of
Romantic. Despite Romanticism originally a defiance of social and political norms of the time, Neoromanticism has become a dominant modern mode of thinking, which does come across within
Jerusalem. As an example of a Romantic idea visible within the play, is distrust of the human world,
which is easily visible in Johnnys character, and the idea that being separated from nature corrupts,
thats reinforced through the councils desire to destroy Johnnys world. The belief that a firm
connection with nature is mentally and morally healthy is another link between Johnny and
Romanticism, as whilst its easy to see Johnnys morals as skewed; selling drugs and alcohol to
youths, he explains what he really offers them. He explains that the youth flock to him because, Half
of them are safer than they are at home. You go nowhere else to go, come on over. The doors open.
You dont like it, stay away. What the fuck do you think an English forest is for? It presents the
Romantic idea of nature; and Johnny with his close bond to it, as being safe, a sanctuary from the
darkness of humanity thats lost touch with nature. (like Troy Whitworth- worth expanding?) Overall
the timeless element of nature, present in Jerusalem through its strong connections to Romanticism,
and Johnnys links to George Byron; develop a sense of the plays own timelessness, which is a
quality of canonical works and a reason I consider it worthy of the canon.
Even physically Byron can be seen as an embodiment of England itself, and especially of the changes
wrought upon it. Like England, he tries to make himself appear that bit larger and more powerful; by
puffing out his chest, fittingly making him look much like a rooster himself. Who used to be an
unstoppable power, with his daredevil stunts; like leaping buses, but much like the Power of England
and Country and Empire he represents, he became depleted, with the reputation and respect of him
fading into a distant memory, like the many myths he speaks of.
Another reason the play is so great is that it easily transcends its context. Whilst fixed in a particular
time of England, with references that suit and benefit from the time period of its setting, there is a
timeless nature that comes through, set in the heart of tradition and myth of days gone by, that will
forever echo in each new era of England. Byron tells many stories over the course of the play, of
giants and ages past, each sounding and being called more unbelievable than the last, but his
unshakeable faith in the soul of the England stays with him to the very end, his last call to the Giants
of the nation resonating at the end of the play. As whilst those times were not truly innocent; as
Johnny was supposedly told upon his birth after asking; Mother, what is this dark place by her reply
of Tis England, my boy. England, there is still the possibility of building the Jerusalem of days
gone by among the dark satanic Mills of England today. And this is what Butterworth himself
achieves, as I believe Jerusalem to be a Jerusalem of literature, steeped in eternal themes and
mythology, carried by the complex Byron; and truly worthy of a place in the canon.