The Use Of Literary Devices In Jez Butterworth's Jerusalem
On making of the play, Butterworth had been “haunted by the nature of Englishness”. He successfully portrays ‘Jerusalem’ as a peculiarly evocative play that is primarily based on the robust English identity- with embodies great duality that causes societal divisions, as symbolised by the Kennet and Avon, and non- anarchic Johnny. As a writer Butterworth successfully illustrates the importance of Johnny’s disposition as he uses it to explore the complexities of society, in relation to status and identity. While the play transgresses in act 1, the audience learn that Johnny is victimized by a society that has united in their intolerance of him and his followers. Equally, he is a modern-day pied piper to the marginalised youth of Wilshire; all of which are similarly perceived as “outcasts, leeches and undesirables. ”
Butterworth conveys a slight change in the disposition of Lee as he deviates from a decadent onlooker to a someone who rejects the sexual advances from the overtly promiscuous females of his demographic, including Tanya. Throughout this dialogue Butterworth deliberately creates a dichotomy between Tanya’s debauched individualism and Lee’s optimism. Tanya uses sultry colloquial language to mock Lee by showing him sexual affection, offering to “give him one for the road”; which emphasises her voluptuous behaviour. Between their dialects, the acerbic phrase “I didn’t mean it like that” used sternly by Lee creates an awkward sense of tension, that may metaphorically convey that his discomfort is caused by pressure to accept such as advances. Butterworth’s indicative use of stage directions “beat” creates a moment of realisation for Lee as it intensifies his departure, while suggesting that he is possibly trying to hide the emotional attachment towards the group. Perhaps Butterworth intentionally used this form to convey a change in diction from Lee being a flippant character to being pushed to a liminal state of being where he is longing to leave the village, to rebuild himself, possibly so that he could be considered as a civilised member of society. Conversely, Butterworth presents Johnny as an enchanted leader of youths, who befriends them while offering refuge to help fund their indulgence in excessive intoxication, so that they can live up to their hedonistic lifestyle. However, Johnny acknowledges the moral culpability of his actions and attempts to resolve this by notifying the “bloody rats” that he is “passing a new law” so that none “is to kip without written permission from his lawyers”. This signifies his ability as the pretentious ruler of the remote demographic to maintain the stability and order. The imperative connotes Rooster’s authority over the young people, however the audience may find this ironic because while he devises a new law, he himself has the inability to conform to society’s law.
The grotesque elements from the term “rats” may suggest that to society they (Johnny and his followers) are uncivilised ‘pests’; associating to the “Pollution Control and Local Government Order 1974” in the opening of act one. Yet, the emphasis on “permission” creates a sense of duty towards, the young girls, ensuring that they are secure and protected; suggesting that Johnny is their parental woodland father figure. This negates that irrespective of Johnny’s participation of helping the young girls to feel liberated by the indulging in a debauchery lifestyle, the mobile home is a haven for the youth. Thus, the depiction of the pastoral imagery presents the idea that the rural world which is bombarded with “trance music, ” and “whizz” is a respite to the teenagers who may feel as though they are forcibly situated at the fringes of society due to their inability to conform to society’s standards.
Butterworth creates a dramatic change of dynamics as Davey refers to the “trance music”, alluding to a bacchic hellish frenzy. However, such acts represent the anthesis of traditions, as condemned by Fawcett and Parson, who symbolically encompass the law, while Johnny and his acquaintances encapsulates attributes of both a scapegoat and monster. Butterworth highlights the perpetual transgression of Johnny within the extract- such as a parental figure towards a “free ogre”, a prime example of a social deviant. This links to the opening of act 1 whereby “people are dancing widely, with abandon” which highlights their rejection of traditions. There is a possible reference to modern day culture which is emphasised by the “rave” setting, which relates to the increased number of illegal warehouse raves in the UK. Additionally, Canadian English critic Northrop Frye had argued that the green world “is a world of freedom, but also a world of confusion”. This suggests that Johnny’s urban homeland represents freedom and a release from the restrictions of the repressed territory which Fawcett and Parsons attempt to enforce through legislation, as suggested by the “notice on the door”. Conversely, in the ending of this extract, Butterworth portrays Ginger as an idiosyncratic storyteller. This is depicted by the anti- hero’s miraculous resurrection from the dead, where Ginger (his prodigy) nostalgically recites Johnny’s past as a “daredevil”, which led to “breaking every bone in his body”.
The religious imagery alludes to him being God-like. His rebirth conveys elements of his mystique, while metaphorically suggesting that he is a symbol of anarchy. The negative connotations from “daredevil” such as recklessness, fearlessness and toxicity allude to his slight inhumane persona which is illustrated from his actions which causes havoc, such as handling drugs and alcohol to the teenagers. This relates to the slight emphasis on Johnny’s physical degeneration during the ending of act one which indicates how he was born with “two black eyes”. The grotesque nature suggests that Johnny may be more than an ordinary man, and possibly inhuman. On the other hand, Butterworth’s use of the farce does not only gravitate the audience to the humorous outlandish tales but also alter their perception of Johhny as they question whether protagonist in the play is fully human, or he is the “other” in a conservative society.
To conclude, Butterworth represents a “burlesque of the literary life", suggesting that its purpose is to make the audience think about perception. In terms of how we look at marginalised groups of society, the purpose of the law and the detriments of class inequality.
