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List of countries that border only one other country
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This is the list of countries that border only one other country, with only land borders being counted. Some of these countries have several neighbours "across the sea". As an example Denmark "borders" Sweden and Norway by sea, and Canada has sea boundaries with Denmark (between Baffin Island and Greenland) and France (between the island of Newfoundland and the territory of St. Pierre and Miquelon). Other countries, such as Sri Lanka, border only one other country by sea.
There are generally three possible arrangements by which a country can have a single border. The first is with a divided island such a Haiti and the Dominican Republic, or Ireland and the United Kingdom. The second is a peninsular relationship, where the first country borders the second and is otherwise surrounded by sea, while the second country borders other countries, as with Portugal and Spain, Denmark and Germany, or Canada and the United States. The third is the circumstance where the first country is a small country that is landlocked and completely surrounded by the second, larger country, as with The Vatican and Italy, or Lesotho and South Africa.
Territory leased or ceded by one country to another for perpetual use, but not in sovereignty, such as Guantanamo Bay Naval Base in Cuba, or memorials, such as the American Cemetery in France, do not constitute true territorial borders, because the land occupied remains a formal part of the host country.
This list is based on the Correlates of War Direct Contiguity data set, with causeways and bridges not being counted. [1]
Contents
1 Countries bordering only one other country
2 Causeways, bridges, and tunnels
3 Dependent territories
4 Historical
5 See also
6 Notes
7 References
Countries bordering only one other country[edit]
Country
Neighbour
Border length (km)
Border length (mi)
Notes
Brunei Malaysia 381 237 [A]
Canada United States 8,893 5,526 [B]
Denmark Germany 68 42 [C]
Dominican Republic Haiti 360 220 [D]
The Gambia Senegal 740 460 [E]
Haiti Dominican Republic 360 220 [D]
Ireland United Kingdom 360 220 [F]
Lesotho South Africa 909 565 [G]
Monaco France 4.4 2.7
Papua New Guinea Indonesia 820 510 [H]
Portugal Spain 1,214 754
Qatar Saudi Arabia 60 37 [I]
San Marino Italy 39 24 [J]
South Korea North Korea 238 148 [K]
Timor-Leste Indonesia 228 142 [L]
United Kingdom Ireland 360 220 [M]
Vatican City Italy 3.2 2.0 [N]
Causeways, bridges, and tunnels[edit]
Passport Island, site of the land border between Bahrain and Saudi Arabia, is seen at the far left. Each nation has a border checkpoint on the island on opposite sides of the border.
Borders relevant to this list may include short borders in the middle of man-made constructions.
Has a land border, and a second artificial border
Denmark: in addition to its border with Germany, technically also has an extremely short border with Sweden across the Øresund Bridge.
United Kingdom: in addition to its border with Ireland, has a border with France in the Channel Tunnel.
Has no land border, but an artificial border
Bahrain: although an island nation with no natural land borders, it is connected to Saudi Arabia by the King Fahd Causeway at Passport Island.
Singapore: although an island nation with no natural land borders, is connected to Malaysia by the Johor Causeway and the Malaysia–Singapore Second Link.
Dependent territories[edit]
In some cases, a dependent territory of one nation borders another nation.
Akrotiri and Dhekelia: British sovereign base areas, border the Republic of Cyprus. Dhekelia also borders the Turkish Republic of Northern Cyprus, but the latter is recognised only by Turkey.
French Southern and Antarctic Lands: Adélie Land, France's (largely unrecognised) claim in Antarctica borders only the Australian Antarctic Territory. (It also touches other claims at the South Pole.)
Gibraltar: a British overseas territory, occupies a small peninsula and has a 1.2 km (0.75 mi) land border with Spain.
Greenland: a constituent country of the Kingdom of Denmark, has a border dispute with Canada on the border near or on Hans Island. The island is located in the centre of the Kennedy Channel of Nares Strait (between Canada's Ellesmere Island and northern Greenland). Both countries claim Hans Island and the border is not defined.
Hong Kong: comprising a continental portion and more than 200 islands in the South China Sea, was formerly ceded and leased by Qing China to the United Kingdom. It was returned to the People's Republic of China in 1997, but has since then operated with its own judicial system under the policy of "One Country, Two Systems". The land border and coastline, although no longer one between two states, are still controlled as though Hong Kong were an international exclave.
Macau: comprises a peninsula and one island in the South China Sea, 60 km (37 mi) west of Hong Kong, and like Hong Kong was formerly administered by a colonial power (in this case, Portugal) but returned to the People's Republic of China in 1999. It too has its own judicial system and retains border and coastal controls similar to those of an exclave.
Ross Dependency: New Zealand's (largely unrecognised) territorial claim in Antarctica borders only the Australian Antarctic Territory and the unclaimed Marie Byrd Land. (It also touches other claims at the South Pole.)
/ Saint Martin: The island is split between two island territories: the northern half, Saint-Martin, is a French overseas collectivity; the southern half, Sint Maarten, is a constituent country of the Kingdom of the Netherlands.
Historical[edit]
There were many countries that historically had only one neighbour. Some no longer exist while others now have either no land borders or borders with more than one nation due to border changes.
Korea bordered only China for several hundred years before 1860, after which a second international border with Russia appeared (approx. 17 km (11 mi) long), according to the Convention of Peking. Following the division of Korea in 1945 only North Korea now shares this border.
Ciskei, one of the South African "independent" homelands, reincorporated on April 27, 1994.
Venda, one of the South African "independent" homelands, was a true enclave bordering only South Africa and separated narrowly from Zimbabwe by the Madimbo corridor to the north; reincorporated on April 27, 1994.
Dominion of Newfoundland, with Canada, until March 31, 1949 when it became the Canadian province of Newfoundland (now named Newfoundland and Labrador).
The Kingdom of Scotland and the Kingdom of England bordered each other until 1707 when Scotland and England were united by the Acts of Union, see Anglo-Scottish border.
Japan bordered Russia on the island of Sakhalin from 1905 until 1910, when a second border with Manchuria (China) and the Russian Far East appeared upon Japan's annexation of Korea. Both Sakhalin and Korea were relinquished in 1945. (See Karafuto Prefecture and Empire of Japan).
Weihaiwei, 1898–1930, British colony on a leased territory from Manchu Qing Empire. Transferred to the Republic of China in 1930.
The Colony of Tasmania bordered only by the Colony of Victoria (on Boundary Islet), until the creation of the Commonwealth of Australia in 1901.
See also[edit]
Enclave and exclave
Island country
Land borders
Landlocked country
List of countries and territories by land and maritime borders
List of enclaves and exclaves
List of island countries
List of divided islands
List of political and geographic borders
Notes[edit]
Jump up ^ Borders the Malaysian state of Sarawak on the island of Borneo.
Jump up ^ The border around the area of Hans Island between Canada and Greenland (a constituent country of the Kingdom of Denmark) is disputed and undefined. Canada also shares a small maritime border with the French overseas collectivity of Saint Pierre and Miquelon.
Jump up ^ Since 1999, Denmark is connected to Sweden via the Øresund Bridge, which was opened in the year 2000.
^ Jump up to: a b On the island of Hispaniola.
Jump up ^ The Republic of the Gambia is bordered north, south and east by Senegal.
Jump up ^ The Republic of Ireland borders Northern Ireland, a constituent country of the United Kingdom, on the island of Ireland.
Jump up ^ Lesotho is an enclave which is entirely surrounded by South Africa.
Jump up ^ On the island of New Guinea.
Jump up ^ The planned Qatar–Bahrain Friendship Bridge would connect Qatar to Bahrain.
Jump up ^ San Marino is an enclave entirely surrounded by Italy.
Jump up ^ On the Korean Peninsula, at the Demarcation Line. The two countries are separated by a 4 km wide Demilitarized Zone.
Jump up ^ On the island of Timor.
Jump up ^ On the island of Ireland. The British Overseas Territories of Gibraltar and Akrotiri and Dhekelia border Spain and Cyprus respectively, but these territories are not part of the United Kingdom proper (see #Dependent territories section).
Jump up ^ The Vatican is an enclave entirely surrounded by Italy.
References[edit]
Jump up ^ "Direct Contiguity Data, 1816-2016. Version 3.2". Correlates of War Project. Retrieved 12 December 2017.
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text:
And did those feet in ancient time
From Wikipedia, the free encyclopedia
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And did those feet in ancient time
The preface to Milton, as it appeared in Blake's own illuminated version
Unofficial National anthem of England
Also known as
Jerusalem
Lyrics
William Blake, 1804
Music
Hubert Parry, 1916
v
t
e
"And did those feet in ancient time" is a poem by William Blake from the preface to his epic Milton: A Poem in Two Books, one of a collection of writings known as the Prophetic Books. The date of 1804 on the title page is probably when the plates were begun, but the poem was printed c. 1808.[1] Today it is best known as the anthem "Jerusalem", with music written by Sir Hubert Parry in 1916. It is not to be confused with another poem, much longer and larger in scope, but also by Blake, called Jerusalem The Emanation of the Giant Albion.
The poem was inspired by the apocryphal story that a young Jesus, accompanied by Joseph of Arimathea, a tin merchant, travelled to what is now England and visited Glastonbury during his unknown years.[2][3] The poem's theme is linked to the Book of Revelation (3:12 and 21:2) describing a Second Coming, wherein Jesus establishes a New Jerusalem. The Christian church in general, and the English Church in particular, has long used Jerusalem as a metaphor for Heaven, a place of universal love and peace.[a]
In the most common interpretation of the poem, Blake implies that a visit by Jesus would briefly create heaven in England, in contrast to the "dark Satanic Mills" of the Industrial Revolution. Blake's poem asks four questions rather than asserting the historical truth of Christ's visit. Thus the poem merely implies that there may, or may not, have been a divine visit, when there was briefly heaven in England.[4][5]
Contents
[hide]
1 Text
1.1 "Dark Satanic Mills"
1.2 "Chariot of fire"
1.3 "Green and pleasant Land"
1.4 Revolution
2 Popularisation
2.1 Parry's setting of "Jerusalem"
2.2 Use as a hymn
2.3 Use as an anthem
2.4 Emerson, Lake and Palmer version
2.5 Performances
2.6 Use in film, television and theatre
3 Other composers
4 See also
5 Notes
6 References
7 External links
Text[edit]
The original text is found in the preface Blake wrote for inclusion with Milton, a Poem, following the lines beginning "The Stolen and Perverted Writings of Homer & Ovid: of Plato & Cicero, which all Men ought to contemn: ..."[6] Blake's poem
And did those feet in ancient time,
Walk upon England's[b] 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.
Beneath the poem Blake inscribed a quotation from the Bible:[7]
"Would to God that all the Lords people were Prophets"
Numbers XI.ch 29.v[6]
"Dark Satanic Mills"[edit]
Albion Flour Mills
The phrase "dark Satanic Mills", which entered the English language from this poem, is often interpreted as referring to the early Industrial Revolution and its destruction of nature and human relationships.[8]
This view has been linked to the fate of the Albion Flour Mills, which was the first major factory in London. Designed by John Rennie and Samuel Wyatt, the factory was built on land purchased by Wyatt in Southwark. This rotary steam-powered flour mill by Matthew Boulton and James Watt used grinding gears by Rennie[9] to produce 6000 bushels of flour per week.
The factory could have driven independent traditional millers out of business, but it was destroyed in 1791 by fire, perhaps deliberately. London's independent millers celebrated with placards reading, "Success to the mills of Albion but no Albion Mills."[10] Opponents referred to the factory as satanic, and accused its owners of adulterating flour and using cheap imports at the expense of British producers. A contemporary illustration of the fire shows a devil squatting on the building.[11] The mills were a short distance from Blake's home.
Blake's phrase resonates with a wider theme in his works, what he envisioned as a physically and spiritually repressive ideology based on a quantified reality. Blake saw the cotton mills and collieries of the period as a mechanism for the enslavement of millions, but the concepts underpinning the works had a wider application:[12][13]
And all the Arts of Life they changed into the Arts of Death in Albion./...[c]
—  Jerusalem Chapter 3. William Blake
The first reference to Satan's "mills", next to images of megaliths (Milton: A Poem in Two Books, copy C, object 4)
Another interpretation, amongst Nonconformists, is that the phrase refers to the established Church of England. This church preached a doctrine of conformity to the established social order and class system, in contrast to Blake. In 2007 the new Bishop of Durham, N. T. Wright, explicitly recognised this element of English subculture when he acknowledged this alternative view that the "dark satanic mills" refer to the "great churches".[14] In similar vein, the critic F. W. Bateson noted how "the adoption by the Churches and women's organizations of this anti-clerical paean of free love is amusing evidence of the carelessness with which poetry is read".[15]
Stonehenge and other megaliths are featured in Milton, suggesting they may relate to the oppressive power of priestcraft in general; as Peter Porter observed, many scholars argue that the "[mills] are churches and not the factories of the Industrial Revolution everyone else takes them for".[16] An alternative theory is that Blake is referring to a mystical concept within his own mythology related to the ancient history of England. Satan's "mills" are referred to repeatedly in the main poem, and are first described in words which suggest neither industrialism nor ancient megaliths, but rather something more abstract: "the starry Mills of Satan/ Are built beneath the earth and waters of the Mundane Shell...To Mortals thy Mills seem everything, and the Harrow of Shaddai / A scheme of human conduct invisible and incomprehensible".[17]
"Chariot of fire"[edit]
The line from the poem "Bring me my Chariot of fire!" draws on the story of 2 Kings 2:11, where the Old Testament prophet Elijah is taken directly to heaven: "And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven." The phrase has become a byword for divine energy, and inspired the title of the 1981 film Chariots of Fire. The plural phrase "chariots of fire" refers to 2 Kings 6:16–18.
"Green and pleasant Land"[edit]
Blake lived in London for most of his life, but wrote much of Milton while living in the village of Felpham in Sussex. Amanda Gilroy argues that the poem is informed by Blake's "evident pleasure" in the Felpham countryside.[18]
The phrase "green and pleasant land" has become a collocation for identifiably English landscape or society. It appears as a headline, title or sub-title in numerous articles and books. Sometimes it refers, whether with appreciation, nostalgia or critical analysis, to idyllic or enigmatic aspects of the English countryside.[19] In other contexts it can suggest the perceived habits and aspirations of rural middle-class life.[20] Sometimes it is used ironically,[21] e.g. in the Dire Straits song "Iron Hand".
Revolution[edit]
Several of Blake's poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory. Even though the poem was written during the Napoleonic Wars, Blake was an outspoken supporter of the French Revolution, and Napoleon claimed to be continuing this revolution.[22] The poem expressed his desire for radical change without overt sedition. (In 1803 Blake was charged at Chichester with high treason for having "uttered seditious and treasonable expressions", but was acquitted.[23]) The poem is followed in the preface by a quotation from Numbers ch. 11, v. 29: "Would to God that all the Lords people were prophets." Christopher Rowland has argued that this includes
everyone in the task of speaking out about what they saw. Prophecy for Blake, however, was not a prediction of the end of the world, but telling the truth as best a person can about what he or she sees, fortified by insight and an "honest persuasion" that with personal struggle, things could be improved. A human being observes, is indignant and speaks out: it's a basic political maxim which is necessary for any age. Blake wanted to stir people from their intellectual slumbers, and the daily grind of their toil, to see that they were captivated in the grip of a culture which kept them thinking in ways which served the interests of the powerful.[24]
The words of the poem "stress the importance of people taking responsibility for change and building a better society 'in Englands green and pleasant land.'"[24]
Popularisation[edit]
See also: William Blake in popular culture
The poem, which was little known during the century which followed its writing,[25] was included in the patriotic anthology of verse The Spirit of Man, edited by the Poet Laureate of the United Kingdom, Robert Bridges, and published in 1916, at a time when morale had begun to decline because of the high number of casualties in World War I and the perception that there was no end in sight.[26]
Under these circumstances, Bridges, finding the poem an appropriate hymn text to "brace the spirit of the nation [to] accept with cheerfulness all the sacrifices necessary,"[27] asked Sir Hubert Parry to put it to music for a Fight for Right campaign meeting in London's Queen's Hall. Bridges asked Parry to supply "suitable, simple music to Blake's stanzas – music that an audience could take up and join in", and added that, if Parry could not do it himself, he might delegate the task to George Butterworth.[28]
The poem's idealistic theme or subtext accounts for its popularity across much of the political spectrum. It was used as a campaign slogan by the Labour Party in the 1945 general election; Clement Attlee said they would build "a new Jerusalem".[29] It has been sung at conferences of the Conservative Party, at the Glee Club of the British Liberal Assembly, the Labour Party and by the Liberal Democrats.[30]
Parry's setting of "Jerusalem"[edit]
In adapting Blake's poem as a unison song, Parry deployed a two-stanza format, each taking up eight lines of Blake's original poem. He added a four-bar musical introduction to each verse and a coda, echoing melodic motifs of the song. The word "those" was substituted for "these" before "dark satanic mills".
The piece was to be conducted by Parry's former student Walford Davies, but Parry was initially reluctant to set the words, as he had doubts about the ultra-patriotism of Fight for Right, but not wanting to disappoint either Robert Bridges or Davies he agreed, writing it on 10 March 1916, and handing the manuscript to Davies with the comment, "Here's a tune for you, old chap. Do what you like with it."[31] Davies later recalled,
We looked at [the manuscript] together in his room at the Royal College of Music, and I recall vividly his unwonted happiness over it ... He ceased to speak, and put his finger on the note D in the second stanza where the words 'O clouds unfold' break his rhythm. I do not think any word passed about it, yet he made it perfectly clear that this was the one note and one moment of the song which he treasured ...[32]
Davies arranged for the vocal score to be published by Curwen in time for the concert at the Queen's Hall on 28 March and began rehearsing it.[33] It was a success and was taken up generally.
But Parry began to have misgivings again about Fight for Right and eventually wrote to Sir Francis Younghusband withdrawing his support entirely in May 1917. There was even concern that the composer might withdraw the song, but the situation was saved by Millicent Fawcett of the National Union of Women's Suffrage Societies (NUWSS). The song had been taken up by the Suffragettes in 1917 and Fawcett asked Parry if it might be used at a Suffrage Demonstration Concert on 13 March 1918. Parry was delighted and orchestrated the piece for the concert (it had originally been for voices and organ). After the concert, Fawcett asked the composer if it might become the Women Voters' Hymn. Parry wrote back,
I wish indeed it might become the Women Voters' Hymn, as you suggest. People seem to enjoy singing it. And having the vote ought to diffuse a good deal of joy. So they should combine happily."[32]
Accordingly, he assigned the copyright to the NUWSS. When that organisation was wound up in 1928, Parry's executors reassigned the copyright to the Women's Institutes, where it remained until it entered the public domain in 1968.[32]
The song was first called "And Did Those Feet in Ancient Time" and the early published scores have this title. The change to "Jerusalem" seems to have been made about the time of the 1918 Suffrage Demonstration Concert, perhaps when the orchestral score was published (Parry's manuscript of the orchestral score has the old title crossed out and "Jerusalem" inserted in a different hand).[34] However, Parry always referred to it by its first title. He had originally intended the first verse to be sung by a solo female voice (this is marked in the score), but this is rare in contemporary performances. Sir Edward Elgar re-scored the work for very large orchestra in 1922 for use at the Leeds Festival.[35] Elgar's orchestration has overshadowed Parry's own, primarily because it is the version usually used now for the Last Night of the Proms (though Sir Malcolm Sargent, who introduced it to that event in the 1950s, always used Parry's version).
During his folk-singing period, in 1965 Don Partridge recorded a solo version of the hymn with acoustic guitar accompaniment.[36]
Use as a hymn[edit]
Although Parry composed the music as a unison song, many churches have adopted "Jerusalem"; English cathedrals, churches and chapels frequently use it as an office or recessional hymn on St George's Day.[citation needed]
However, some clergy in the Church of England, according to the BBC TV programme Jerusalem: An Anthem for England, have said that the song is not technically a hymn as it is not a prayer to God (which they claim hymns always are, though many counter-examples appear in any hymnal).[37] Consequently, it is not sung in some churches in England.[38] Despite this, it was sung as a hymn during the wedding of Prince William and Catherine Middleton in Westminster Abbey.[39]
Many schools use the song, especially public schools in Great Britain (it was used as the title music for the BBC's 1979 series 'Public School' at Radley College), and several private schools in Australia, New Zealand, New England and Canada. "Jerusalem" was chosen[by whom?] as the opening hymn for the London Olympics 2012, although "God Save the Queen" was the anthem sung during the raising of the flag in salute to the Queen. Some attempts have also been made to increase its use elsewhere with other words, examples include the State Funeral of President Ronald Reagan in Washington National Cathedral on 11 June 2004 and the State Memorial Service for Australian Prime Minister Gough Whitlam AC QC on 5 November 2014.
Use as an anthem[edit]
See also: National anthem of England
Upon hearing the orchestral version for the first time, King George V said that he preferred "Jerusalem" over the British national anthem "God Save the King". "Jerusalem" is considered to be England's most popular patriotic song; The New York Times said it was "fast becoming an alternative national anthem,"[40] and there have even been calls to give it official status.[41] England has no official anthem and uses the British national anthem "God Save the Queen", also unofficial, for some national occasions, such as before English international football matches. However, some sports, including rugby league, use "Jerusalem" as the English anthem. "Jerusalem" is the official hymn of the England and Wales Cricket Board,[42] although "God Save the Queen" was the anthem sung before England's games in 2010 ICC World Twenty20 and 2010–11 Ashes series. Questions in Parliament have not clarified the situation, as answers from the relevant minister say that since there is no official national anthem, each sport must make its own decision.
As Parliament has not clarified the situation, Team England, the English Commonwealth team, held a public poll in 2010 to decide which anthem should be played at medal ceremonies to celebrate an English win at the Commonwealth Games. "Jerusalem" was selected by 52% of voters over "Land of Hope and Glory" (used since 1930) and "God Save the Queen".[43] The lyrics' explicit focus on England, without mention of other parts of the United Kingdom, renders the song unfitting as a national anthem for the entire UK.
In 2005 BBC Four produced Jerusalem: An Anthem For England highlighting the usages of the song/poem and a case was made for its adoption as the national anthem of England. Varied contributions come from Howard Goodall, Billy Bragg, Gary Bushell, Lord Hattersley, Ann Widdecombe and David Mellor, war proponents, war opponents, suffragettes, trade unionists, public schoolboys, the Conservatives, the Labour Party, football supporters, the British National Party, the Women's Institute, a gay choir, a gospel choir, Fat Les and naturists.[44][45]
Emerson, Lake and Palmer version[edit]
"Jerusalem"
Single by Emerson, Lake & Palmer
from the album Brain Salad Surgery
B-side
"When the Apple Blossoms Bloom in the Windmills of Your Mind I'll Be Your Valentine"
Released
1973
Format
45 rpm
Genre
Progressive rock
Length
2:45
Label
Manticore
Songwriter(s)
William Blake, Hubert Parry
Producer(s)
Greg Lake
Emerson, Lake & Palmer singles chronology
"Living Sin" / "Hoedown"
(1972) "Jerusalem"
(1973) "Still... You'll Turn Me On" / "Brain Salad Surgery"
(1974)
"Living Sin" / "Hoedown"
(1972) "Jerusalem"
(1973) "Still... You'll Turn Me On" / "Brain Salad Surgery"
(1974)
Brain Salad Surgery track listing
"Jerusalem"
(1) "Toccata"
(2)
In 1973, for their Brain Salad Surgery album, British progressive rock band Emerson, Lake & Palmer recorded a version of the song titled "Jerusalem". The track features the debut of the prototype Moog Apollo, the first-ever polyphonic music synthesizer.[46] The subject matter of this song indicates a nod to ELP's unabashed Englishness and simultaneously lent an air of timeless tradition and ceremony to the music. Though a single was released of the song, it failed to chart, and it was banned from radio play in England. The BBC would not accept it as a serious piece of music, the band claims.[46] Drummer Carl Palmer later expressed disappointment over this decision.
We wanted to put it out as a single ... We figured it was worthy of a single. In England, they have this format where four or five people have to [approve it] before it gets played on the airwaves; it's a very old-fashioned way of doing it, but that's the way it was being done at the time. I think there was some apprehension [as] to whether or not we should be playing a hymn and bastardizing it, as they said, or whatever was being called at the time ... We thought we'd done it spot-on, and I thought that was very sad because I've got a jukebox at home, and that's a piece of music that I've got on the jukebox, so I actually thought the recording and just the general performances from all of us were absolutely wonderful. I couldn't believe the small-mindedness of the English ... committee to vote these things onto the radio or off the radio. They ... obviously didn't even listen to this. It got banned and there was sort of quite a big thing about it, these people just would not play it. They said no, it was a hymn, and we had taken it the wrong way.[citation needed]
A live rendition was recorded during their subsequent Someone Get Me a Ladder tour, and was included on Welcome Back, My Friends, to the Show That Never Ends ~ Ladies and Gentlemen... Emerson, Lake & Palmer!
Performances[edit]
The popularity of Parry's setting has resulted in many hundreds of recordings being made, too numerous to list, of both traditional choral performances and new interpretations by popular music artists. Consequently, only its most notable performances are listed below.
It is sung every year by an audience of thousands at the end of the Last Night of the Proms in the Royal Albert Hall and simultaneously in the Proms in the Park venues throughout the country.[47]
Along with "The Red Flag", it is sung each year at the closing of the annual Labour Party conference.
The song was used by the National Union of Women's Suffrage Societies (indeed it was their property until 1928, when they were wound up after women won the right to vote – see above in relation to Millicent Garret Fawcett).[48] During the 1920s, many Women's Institutes (WI) started closing meetings by singing it, and this caught on nationally. Although it has never actually been adopted as the WI's official anthem, in practice it holds that position, and is an enduring element of the public image of the WI.[49]
The extended version of dance group the KLF's hit single "It's Grim Up North" incorporates Parry's setting of the poem.
It is traditionally sung before rugby league's Challenge Cup Final, along with "Abide with Me", and before the Super League Grand Final, where it is introduced as "the rugby league anthem". Before 2008, it was the anthem used by the national side, as "God Save the Queen" was used by the Great Britain team: since the Lions were superseded by England, "God Save the Queen" has replaced "Jerusalem".
The Waterboys have incorporated verses into live performances of "Savage Earth Heart".[50]
Since 2004, it has been the anthem of the England cricket team, being played before each day of their home test matches.
A recording by the Grimethorpe Colliery Band was played in medal ceremonies when an English competitor at the 2010 Commonwealth Games was awarded gold.[51][52]
It was one of three "hymns" sung at the wedding of Prince William, Duke of Cambridge, and Catherine Middleton.[53]
At a concert at the Royal Albert Hall on 4 July 2009, Jeff Beck performed a version featuring his touring band at the time (Vinnie Colaiuta, Tal Wilkenfeld and Jason Rebello) and a guest appearance by David Gilmour.
While performing at Glastonbury in June 2011, U2's Bono incorporated one of the verses into their songs "Where The Streets Have No Name" and "Bad". Whilst being interviewed after the gig, he said it was a tribute to Glastonbury's historical significance.
It was used in the opening ceremony of the 2012 Summer Olympics held in London and inspired several of the opening show segments directed by Danny Boyle.[54] It was included in the ceremony's soundtrack album, Isles of Wonder.
An a cappella version by Jacob Collier was selected for Beats by Dre "The Game Starts Here" for the England Rugby World Cup campaign.[55][56]
Use in film, television and theatre[edit]
"Bring me my Chariot of fire" inspired the title of the film Chariots of Fire.[57] A church congregation sings "Jerusalem" at the close of the film and a performance appears on the Chariots of Fire soundtrack performed by the Ambrosian Singers overlaid partly by a composition by Vangelis. One unexpected touch is that "Jerusalem" is sung in four-part harmony, as if it were truly a hymn. This is not authentic: Parry's composition was a unison song (that is, all voices sing the tune – perhaps one of the things that make it so "singable" by massed crowds) and he never provided any harmonisation other than the accompaniment for organ (or orchestra). Neither does it appear in any standard hymn book in a guise other than Parry's own, so it may have been harmonised specially for the film. The film's working title was "Running" until Colin Welland saw a television programme, Songs of Praise, featuring the hymn and decided to change the title.[57]
The hymn has featured in many other films and television programmes including Four Weddings and a Funeral, How to Get Ahead in Advertising, The Loneliness of the Long Distance Runner, Calendar Girls, Star Trek: Deep Space Nine, Goodnight Mr. Tom, Women in Love, The Man Who Fell to Earth, Shameless, Building Jerusalem and Monty Python's Flying Circus. An extract was heard in the 2013 Doctor Who episode "The Crimson Horror" although that story was set in 1893, i.e., before Parry's arrangement. A punk version is heard in Derek Jarman's 1977 film Jubilee. In an episode of Peep Show, Jez (Robert Webb) records a track titled "This Is Outrageous" which uses the first and a version of the second line in a verse.[58]
In the theatre it appears in Jerusalem,[40] Calendar Girls and in Time and the Conways.[40] Eddie Izzard discusses the hymn in his 2000 Circle stand-up tour. Punk band Bad Religion have borrowed the opening line of Blake's poem in their "God Song", from the 1990 album Against the Grain.
Other composers[edit]
Blake's lyrics have also been set to music by other composers without reference to Parry's melody. Tim Blake (synthesiser player of Gong) produced a solo album in 1978 called Blake's New Jerusalem, including a 20-minute track with lyrics from Blake's poem. Mark E. Smith of The Fall interpolated the verses with a deadpan rant against his native land in the track "Dog is life/Jerusalem" from the 1988 ballet score "I Am Kurious Oranj". The words, with some variations, are used in the track "Jerusalem" on Bruce Dickinson's album The Chemical Wedding, which also includes lines from book two of Milton. Finn Coren also created a different musical setting for the poem on his album The Blake Project: Spring. The Verve also referenced the song in their 2008 song Love Is Noise from the album Forth. Lead singer and writer Richard Ashcroft said that Blake had influenced the lyric 'Will those feet in modern times' from the song.[59] This is not the first Verve song influenced by Blake, as their previous single History also featured the lyrics "I wandered lonely streets/Behind where the old Thames does flow/And in every face I meet", referencing Blake's "London".
See also[edit]
Jerusalem The Emanation of the Giant Albion by William Blake
Civil religion
Merry England
Romantic Movement and the industrial revolution
Notes[edit]
Jump up ^ The hymn 'Jerusalem the Golden with milk and honey blessed... I know not oh I know not what joys await me there....' uses Jerusalem for the same metaphor.
Jump up ^ In this poem Blake wrote Englands here, and twice later, where we would use the standardised genitive England's
Jump up ^ Incipit of citation given in Hall, 1996:
"And all the Arts of Life they changed into the Arts of Death in Albion.
The hour-glass contemned because its simple workmanship
Was like the workmanship of the Plowman and the water-wheel

That raises water into cisterns, broken and burned with fire
Because its workmanship was like the workmanship of the shepherd;
And in their stead intricate wheels invented, wheel without wheel
To perplex youth in their outgoings and to bind to labours in
Albion."
References[edit]
Jump up ^ Cox, Michael, editor, The Concise Oxford Chronology of English Literature, "1808", p 289, Oxford University Press, 2004, ISBN 0-19-860634-6
Jump up ^ Icons – a portrait of England. Icon: Jerusalem (hymn) Feature: And did those feet? Archived 12 December 2009 at the Wayback Machine. Accessed 7 August 2008
Jump up ^ Peter Stanford, "Did Jesus REALLY stay in England? A new film claims he built a church in Somerset and learnt maths from the Druids", Daily Mail, 27 November 2009. Retrieved 2016.10.21.
Jump up ^ "The One Show". BBC. 17 October 2008. Retrieved 29 April 2011.
Jump up ^ John Walsh The Independent 18 May 1996
^ Jump up to: a b Blake, William. "Milton a Poem, copy B object 2". The William Blake Archive. Ed. Morris Eaves, Robert N. Essick, and Joseph Viscomi. Retrieved 1 March 2010.
Jump up ^ "Numbers 11:29". King James Version. biblegateway.com.
Jump up ^ Lienhard, John H. 1999 Poets in the Industrial Revolution. The Engines of Our Ingenuity No. 1413: (Revised transcription)
Jump up ^ Walk This Way from southbanklondon.com. Retrieved 7 January 2011
Jump up ^ ICONS – a portrait of England. Icon: Jerusalem (hymn) Feature: And did those feet? Archived 12 December 2009 at the Wayback Machine. Accessed 7 August 2008
Jump up ^ Brian Maidment, Reading Popular Prints, 1790–1870, Manchester University Press, 2001, p.40
Jump up ^ Alfred Kazin: Introduction to a volume of Blake. 1946
Jump up ^ Hall, Ernest (8 February 1996). "In Defense of Genius". Annual Lecture to the Arts Council of England. 21st Century Learning Initiative. Archived from the original on 25 October 2008. Retrieved 19 September 2009.
Jump up ^ N. T. Wright, Bishop of Durham (23 June 2007) "Where Shall Wisdom be Found?" Homily at the 175th anniversary of the founding of the University of Durham. ntwrightpage.com
Jump up ^ Quoted in Yvor Winters, Forms of Discovery (1967) p. 166
Jump up ^ Peter Porter, The English Poets: from Chaucer to Edward Thomas, Secker and Warburg, 1974, p.198., quoted in Shivashankar Mishra, The Rise of William Blake, Mittal Publications, 1995, p.184.
Jump up ^ Blake, William, Milton: A Poem, plate 4.
Jump up ^ Gilroy, Amanda (2004). Green and Pleasant Land: English Culture and the Romantic Countryside. Peeters Publishers. p. 66.
Jump up ^ "Eric Ravilious: Green and Pleasant Land," by Tom Lubbock, The Independent, 13 July 2010.. Retrieved 7 January 2011
Jump up ^ "This green and pleasant land," by Tim Adams, The Observer, 10 April 2005.. Retrieved 7 January 2011
Jump up ^ "Green and pleasant land?" by Jeremy Paxman, The Guardian, 6 March 2007.. Retrieved 7 January 2011
Jump up ^ William Blake Spartacus Educational (schoolnet.co) – Accessed 7 August 2008
Jump up ^ Liukkonen, Petri. "William Blake". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 26 January 2012.
^ Jump up to: a b Rowland, C. 2007 William Blake: a visionary for our time openDemocracy.net
Jump up ^ Carroll, James (2011). Jerusalem, Jerusalem: How the Ancient City Ignited Our Modern World. Houghton Mifflin Harcourt. p. 236. ISBN 978-0-547-19561-2.
Jump up ^ Bridges, Robert, ed. (January 1916). "Index". The Spirit of Man: An Anthology in English & French from the Philosophers & Poets (First ed.). Longmans, Green & Co. p. 335. Retrieved 10 September 2012.
Jump up ^ Carroll, James (2011). Jerusalem, Jerusalem: How the Ancient City Ignited Our Modern World. Houghton Mifflin Harcourt. p. 235. ISBN 978-0-547-19561-2.
Jump up ^ C. L.Graves, Hubert Parry, Macmillan 1926, p. 92
Jump up ^ "Link to PBS script quoting Attlee in 1945 – Accessed 7 August 2008". Pbs.org. 24 October 1929. Archived from the original on 16 May 2011. Retrieved 29 April 2011.
Jump up ^ "What does it really mean to be English? Nothing at all – and that's how it should be". The Daily Telegraph. 24 April 2012.
Jump up ^ Benoliel, Bernard, Parry Before Jerusalem, Ashgate, Aldershot, 1997
^ Jump up to: a b c Dibble, Jeremy, C. Hubert H. Parry: His life and music, Oxford University Press, 1992
Jump up ^ Christopher Wiltshire (Former archivist, British Federation of Festivals for Music, Speech and Dance), Guardian newspaper 8 December 2000 Letters: Tune into Jerusalem's fighting history The Guardian 8 December 2000.
Jump up ^ The manuscripts of the song with organ and with orchestra, and of Elgar's orchestration, are in the library of the Royal College of Music, London
Jump up ^ ICONS – a portrait of England. Icon: Jerusalem (hymn) Sir Hubert Parry Archived 9 August 2011 at the Wayback Machine., "Jerusalem" and Elgar's orchestration.
Jump up ^ Don Partridge "Singing Soho Style" EP, Capital Film Records (1965)
Jump up ^ Jerusalem: An Anthem for England. BBC Four. 8 July 2007.
Jump up ^ Borland, Sophie (10 April 2008). "Cathedral bans popular hymn Jerusalem". The Daily Telegraph. London. Archived from the original on 11 April 2008. Retrieved 11 April 2008.
Jump up ^ "Royal Wedding: Prince William and Kate Middleton choose popular hymns", The Telegraph, 29 April 2011. Retrieved 29 April 2011.
^ Jump up to: a b c Brantley, Ben (20 July 2009). "Time, and the Green and Pleasant Land". The New York Times. Retrieved 23 April 2010.
Jump up ^ Parliamentary Early Day Motion 2791, UK Parliament, 18 October 2006
Jump up ^ "Correspondence". UK: Anthem 4 England. 8 May 2007. Retrieved 29 April 2011.
Jump up ^ Sir Andrew Foster (30 May 2010). "England announce victory anthem for Delhi chosen by the public! – Commonwealth Games England". Weare England. Archived from the original on 11 June 2011. Retrieved 29 April 2011.
Jump up ^ "Jerusalem: An Anthem for England (TV 2005)". Internet Movie Database. Retrieved 27 September 2011.
Jump up ^ Sam Wollaston (9 September 2005). "Get me to the clink on time". The Guardian. UK. Retrieved 28 September 2011.
^ Jump up to: a b "Liner Notes from the DVD-A of Brain Salad Surgery". Ladies of the Lake – A Greg Lake Tribute Site. Retrieved 2 September 2014.
Jump up ^ Video on YouTube
Jump up ^ "Link to SongFacts – Accessed 7 August 2008". Songfacts.com. Retrieved 29 April 2011.
Jump up ^ The "Jam and Jerusalem" caricature of the WI is still current enough that they have a FAQ about it on their site at [1]
Jump up ^ The Waterboys using verses from Jerusalem on YouTube
Jump up ^ Nation has chosen anthem for England's medallists: And did those feet in Ancient times walk upon England’s mountains green....., Commonwealth Games England, May–June 2010, archived from the original on 9 October 2010, retrieved 13 October 2010, Now we can reveal that the anthem has been recorded for us by The Grimethorpe Colliery Band...The new official anthem of the England Team will be played for English athletes on the podium in Delhi when a Gold medal is won.
Jump up ^ Turnbull, Simon (2 October 2010), "The Paralympian taking on able-bodied athletes", The Independent, London, archived from the original on 5 October 2010, retrieved 13 October 2010
Jump up ^ "Music for the Wedding Service". Official Royal Wedding 2011 (Blog). 28 April 2011. Archived from the original on 29 April 2011. Retrieved 28 April 2011.
Jump up ^ "Navigating the 'Isles of Wonder': A guide to the Olympic opening ceremony". CNN. Retrieved 28 July 2012.
Jump up ^ "England rugby captain stars in Beats By Dre campaign". Retrieved 28 June 2016.
Jump up ^ "Jerusalem – Jacob Collier (Soundtrack for Beats by Dre: "The Game Starts Here")". Retrieved 28 June 2016.
^ Jump up to: a b IMDb trivia – Origin of title – Accessed 11 August 2008
Jump up ^ Video on YouTube
Jump up ^ https://www.youtube.com/watch?v=9rXLSWrFVqg The Verve – Love is Noise (Interview) – "Look at it in the first few lines, as a kind of remake of Jerusalem by William Blake, rather than those feet in ancient times, its those feet in modern times."
External links[edit]
Wikisource has original text related to this article:
Milton (Blake)/Preface
Comparisons of the Hand Painted copies of the Preface on the William Blake Archive
Free sheet music of Jerusalem from Cantorion.org
And did those feet in ancient time at Hymnary.org
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Peter Minshall
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This article contains wording that promotes the subject in a subjective manner without imparting real information. Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance. (May 2017) (Learn how and when to remove this template message)
Peter Minshall (born 16 July 1941)[1] is a Trinidadian Carnival artist (described colloquially in Trinidad and Tobago as a "mas-man").
Contents
1 Early life and career beginnings
2 Rise to fame
3 Masquerade trilogies and award-winning performances
4 Characteristics of Minshall's work
5 Work outside Carnival
6 Awards
6.1 Band of the Year titles
7 References
8 External links
Early life and career beginnings[edit]
Minshall was born in Georgetown, Guyana, but moved to Trinidad as a small child after his father took a job as a cartoonist. Growing up in the capital, Port of Spain, Minshall was exposed to Carnival from a young age. He made his first costume at the age of 13. He attended Queen's Royal College, then went on to study Theatre Design at the Central School of Art and Design in London.
Peter Minshall designed Carnival costumes for various relatives and family friends, even before he left school. At art school, he wrote a thesis on the bat (a traditional Carnival character) and his first major theatrical commission, for a production at Sadler's Wells, came after a director saw a portfolio of his Carnival designs.
Rise to fame[edit]
When Minshall's mother asked him to create a costume for his adopted sister Sherry-Ann Guy (Coelho) to wear for carnival 1974, it was the pivotal event in Minshall's Carnival career. The costume he created was called "From the Land of the Hummingbird".[2] According to him, it took five weeks, 12 people, 104 feathers, each one made of 150 different pieces of fabric. The costume was designed to allow its wearer total mobility and was an immediate sensation. It also became a major icon of Trinidad Carnival.
The following year, Minshall designed a band for London's Notting Hill Carnival, and in 1976 he was asked by veteran bandleaders Stephen and Elsie Lee Heung to design a full-size band for Trinidad Carnival. Minshall chose the theme Paradise Lost, which was inspired by Milton's epic poem. The band was conceived in four "movements", like a symphony, and introduced a form of winged costume based on Minshall's study of traditional Carnival characters, which he would continue to develop over the course of his career. As Paradise Lost paraded through the streets of the city, a grand narrative unfolded, astounding onlookers. One observer, the photographer Roy Boyke, remarked, "It is doubtful that the work of any single individual has had so searing an impact on the consciousness of an entire country."
Masquerade trilogies and award-winning performances[edit]
Paradise Lost was followed by the bands Zodiac (1978), Carnival of the Sea (1979), Dance Macabre (1980), and Jungle Fever (1981). Papillon (1982), which consisted of 2,500 masqueraders wearing ten-foot butterfly wings in a huge meditation on the ephemeral nature of life, was another Minshall landmark. River (1983) began the trilogy of bands that many consider Minshall's magnum opus. The queen of the band, "Washerwoman", represented life and purity; the king, "Mancrab", was a symbol of greed and technological madness. In Minshall's narrative, these two characters battled over the souls of the River People, portrayed by the band's ordinary masqueraders. On Carnival Monday the River People danced in the streets dressed in white cotton, like a stream of purity, under a rippling white canopy three-quarters of a mile long. On Carnival Tuesday, "Mancrab" triumphed over "Washerwoman"; as her lifeless body was carried away, the River People doused each other with paint of many colours in a ritual of pollution, until the once-pristine masqueraders were a uniform muddy purple. The River trilogy continued in 1984 with Callaloo and concluded in 1985 with The Golden Calabash, in which two full-size bands, Princes of Darkness and Lords of Light, clashed in an epic symbolic battle between good and evil.
A series of pessimistic bands followed in the late 1980s: Rat Race (1987), Jumbie (1988), and Sans Humanité (1989), before Minshall conjured up a dream of joy and harmony in Tantana (1990). The queen and king of the band, Tan Tan and Saga Boy, are among Minshall's most popular creations, giant puppets that danced with lifelike mannerisms in the streets.
Minshall's began his second trilogy in 1995 with a band he called Hallelujah, and continued with Song of the Earth (1996) andTapestry (1997). The entire cycle was an immense, baroque, overtly theological praise-song, referring to creation myths and religious images.
Depressed by the growing commercialism of Carnival and the decline of the traditions his work had always drawn on, Minshall produced a series of sardonic bands in the late 1990s and early 2000s-- The Lost Tribe (1999), This Is Hell (2001), Ship of Fools (2003)--relieved only by his joyful Picoplat (2002), a band of colourful dancing birds. He produced no bands in 2004 and 2005, but in 2006 Minshall returned to Carnival with The Sacred Heart, an army of "urban samurai cowboys and -girls" marching against hate, selfishness, disease, and prejudice. The band was partly sponsored by the National AIDS Coordinating Committee of Trinidad and Tobago and had an explicit HIV/AIDS awareness message.
Characteristics of Minshall's work[edit]
Minshall's costumes have sometimes been called "dancing mobiles." "Mas" as he conceives it is performance art that combines the qualities of sculpture with those of movement. Each costume is designed with the motion of the performer in mind, so that performer and costume are one. "I provide the means for the human body to express its energy," he says. His bands are never merely costumed parades, but exercises in total theatre, using music, drama, dance, and visual spectacle to communicate a metaphor-rich narrative.
His 1987 band Carnival is Colour was a sarcastic response to criticisms that his work was not reflective of Carnival. Another characteristic of Minshall's work is his focus on social or philosophical issues. His work is also controversial at times; his 1995 band Hallelujah resulted in a petition by 208 Pentecostal pastors who deemed the name blasphemous. However, Minshall refused to change the name.
Minshall claims that mas--"living art that we make fresh every year"—is the truest artistic expression of Trinidad. "Our aesthetic is performance, the living now." A major aim of his life's work has been to prove that mas can be "high" art, as capable of the sublime or the universal as any other artform.
Work outside Carnival[edit]
In addition to designing mas, Minshall has worked on a variety of performance projects. In 1985, he led Adoration of Hiroshima, a nuclear protest mas', in Washington, D.C. He helped design the opening awards ceremonies for the 1987 Pan American Games, the 1992 Barcelona Olympics, the 1996 Atlanta Olympics, the 1994 Football World Cup and the 2002 Salt Lake City Winter Olympics. He also collaborated with Jean Michel Jarre, once in 1990 on Paris la Defense, and again in 1995 on the Concert For Tolerance. Minshall's creations have also been on display and took place at the opening ceremony of the ICC Cricket World Cup 2007. He is also credited as the inventor of the Air dancer.
Awards[edit]
Guggenheim Fellowship (1982)
Chaconia Silver Medal (1987)
Doctor of Letters, Honoris Causa – from the University of the West Indies (1991)
Prince Claus Award (2001)
Republic Day Award (2005)
Trinity Cross (1996)
Band of the Year titles[edit]
Paradise Lost (1976)
Carnival of the Sea (1979)
Jungle Fever (1981)
Carnival Is Colour (1987)
Hallelujah (1995)
Song of the Earth (1996)
Tapestry (1997)
The Sacred Heart (2006; medium-size bands category)
References[edit]
Jump up ^ "Peter Minshall – Mas Innovator", Caribbean Icons.
Jump up ^ "The Face of Carnival", Looking for the wild blog, 1 March 2014.
"Minshall – Man of Mas". Archived from the original on 18 July 2007. Retrieved 28 February 2006.
"Caribbean Beat: Archives". Archived from the original on 27 September 2011. Retrieved 28 February 2006.
"Peter Minshall – Millennium Man of Mas". Archived from the original on 31 March 2008. Retrieved 28 February 2006.
"Mas Through the Eyes of a Master". Archived from the original on 27 March 2009. Retrieved 28 February 2006.
External links[edit]
The Callaloo Company website
Authority control
WorldCat Identities
ISNI: 0000 0000 6803 7791
LCCN: no2015019873
RKD: 420284
SUDOC: 157233979
ULAN: 500117832
VIAF: 96554754
Retrieved from "https://en.wikipedia.org/w/index.php?title=Peter_Minshall&oldid=860201588"
Categories:
Trinidad and Tobago artists
Recipients of the Trinity Cross
Laureates of the Prince Claus Award
Alumni of the Central School of Art and Design
Guggenheim Fellows
Alumni of Queen's Royal College, Trinidad
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People from Georgetown, Guyana
1941 births
Living people
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