Part 22
[Then follow the alternate question and answer; the questions in the same words as the first verse, and the answers in the same form as the second verse, stating that Jenny is
(1) folding, (2) starching, (3) ironing, (4) ill, (5) dying, (6) dead;
then the verses proceed with--]
May we come to the funeral? Yes.
May we come in red? Red is for soldiers, you can't come in red.
May we come in blue? Blue is for sailors, you can't come in blue.
May we come in white? White is for weddings, you can't come in white.
May we come in black? Black is for funerals, so you can come in that.
--Bocking, Essex (_Folk-lore Record_, iii. 471).
X. I come to see poor Jenny Joe, Jenny Joe, Jenny Joe, I come to see poor Jenny Joe, And how is she now?
She's washing, she's washing, And you can't see her now.
Very well, ladies, ladies, ladies, Very well, ladies, and gentlemen too.
I come to see poor Jenny Joe, Jenny Joe, Jenny Joe, I come to see poor Jenny Joe, And how is she now?
She's folding, she's folding, And you can't see her now.
Very well, ladies, ladies, ladies, Very well, ladies, and gentlemen too.
I come to see poor Jenny Joe, Jenny Joe, Jenny Joe, I come to see poor Jenny Joe, And how is she now?
She's ironing, she's ironing, And you can't see her now.
Very well, ladies, ladies, ladies, Very well, ladies, and gentlemen too.
[Then follow alternate questions and answers in the same manner for--
(1) dying, (2) dead.
Then--]
I come in my white dress, white dress, white dress, I come in my white dress, and how will that do?
White is for wedding, wedding, wedding, White is for wedding, and that won't do.
Very well, ladies, ladies, ladies, Very well, ladies, and gentlemen too.
I come in my blue dress, blue dress, blue dress, I come in my blue dress, and how will that do?
Blue is for sailors, sailors, sailors, Blue is for sailors, and that won't do.
[Then follow verses as before, beginning--
Very well, ladies. I come in my red dress. Red is for soldiers, Very well, ladies.
Then--]
I come in my black dress, black dress, black dress, I come in my black dress, and how will that do?
Black is for funeral, And that will do To carry poor Jenny to the grave.
--Sporle, Norfolk (Miss Matthews).
XI. We're come to see Jenny Jones, Jenny Jones, Jenny Jones, Come to see Jenny Jones, how is she now?
Jenny is a-washing, a-washing, a-washing, Jenny is a-washing, you can't see her now.
Very well, ladies, very well, ladies, Very well, ladies, we can't see her now.
[Then follow the same verses for--
(1) ironing, (2) badly, (3) dead;
And the singing proceeds with--]
Please, will white do, white do, white do? Please, will white do, please, will it do?
White's for the weddingers, the weddingers, White's for the weddingers, that won't do.
Please, will blue do, blue do, blue do? Please, will blue do, please will it do?
[Then follow verses as before, beginning--
Blue's for the sailors, the sailors, the sailors. Please, will red do, red do? Red's for the soldiers.
Then--]
Please, will black do, black do, black do? Black's for the funeral, black will do.
--Northamptonshire (Rev. W. D. Sweeting).
XII. I've come to see how Jenny Jones is to-day. You can't see her, she's washing. I've come to see how Jenny Jones is to-day. You can't see her, she's ironing [she's starching, she's brewing, she's baking, _successively_]. I've come to see how Jenny Jones is to-day. You can't see her, she's ill [then she's worse]. I've come to see how Jenny Jones is to-day. You can't see her, she's dead!
_Chorus._ There's red for the soldiers, Blue for the sailors, White for the angels [for the _baby_, Chirbury], And black for the mourners [of poor Jenny Jones].
--Berrington, Chirbury (_Shropshire Folk-lore_, p. 577).
XIII. We've come to see poor Jenny Jones. Poor Jenny Jones is washing, you can't see her. We've come to see poor Jenny Jones. Poor Jenny Jones is drying, you can't see her. We've come to see poor Jenny Jones. Poor Jenny Jones is starching, you can't see her. We've come to see poor Jenny Jones. Poor Jenny Jones is ironing, you can't see her. We've come to see poor Jenny Jones. Poor Jenny Jones is dead, you can't see her. What shall we follow, in red, blue, or black? Red's for the soldier, blue for the sailor, Black for the dead.
--Enborne School, Berks (Miss M. Kimber).
XIV. Come to see Miss Jenny Jones, Miss Jenny Jones, Miss Jenny Jones; Come to see Miss Jenny Jones, And how is she to-day?
Miss Jenny Jones is washing, washing, washing, Miss Jenny Jones is washing, You can't see her to-day.
Farewell, ladies, ladies, ladies, and gentlemen too.
[Miss Jenny Jones is drying, starching, ironing, ill, worse, dying, and dead in turn. Then--]
What shall we dress her in, Dress her in, dress her in? What shall we dress her in, Dress her in red?
Red's what the soldiers wear, The soldiers wear, the soldiers wear, Red's what the soldiers wear, And that won't do.
What shall we dress her in, Dress her in, dress her in? What shall we dress her in, Dress her in blue?
Blue's what the sailors wear, Sailors wear, sailors wear; Blue's what the sailors wear, And that won't do.
What shall we dress her in, Dress her in, dress her in? What shall we dress her in, Dress her in black?
Black's what the mourners wear, The mourners wear, the mourners wear; Black's what the mourners wear, And that won't do.
What shall we dress her in, Dress her in, dress her in? What shall we dress her in, Dress her in white?
White's what the dead wear, The dead wear, the dead wear; White's what the dead wear, And that will do.
--Liphook, Hants (Miss Fowler).
XV. Come to see Jinny Jones, Jinny Jones Come to see Jinny Jones, And where is she now?
Jinny is washing, is washing, Jinny is washing, And you can't see her now.
Very well, very well, lady, lady, Very well, lady, That will do.
[Then follow--
(1) starching, (2) ironing, (3) dying, (4) dead.]
What shall we follow in, follow in? What shall we follow in? We'll follow in blue.
Blue is for sailors, for sailors, Blue is for sailors, And that won't do. [_or_, You can't follow her so.]
[Then follow--
Red is for soldiers, White is for weddings, Yellow is for babies.]
Black is not deep enough, deep enough, That won't do.
What shall we follow in, follow in?
We'll follow her in crape, crape [pronounced _cray-ape_].
You may follow her in crape, crape, You may follow her in crape, That will do.
--Deptford (Miss E. Chase).
XVI. I've come to see Georgina, Georgina, Georgina, I've come to see Georgina, how's she to-day?
She's upstairs washing, washing, washing, She's upstairs washing, and can't get away.
O very well, ladies, ladies, ladies, We'll come another day.
We've come to see Georgina, Georgina, Georgina, We've come to see Georgina, how's she to-day?
She's upstairs ironing, ironing, ironing, She's upstairs ironing, and can't get away.
[Then the two verses are repeated--
O very well, ladies. We've come to see Georgina.
Then follows--]
She was coming downstairs with a basin of water, and she fell down and broke her toe, and she's dead.
And what shall we dress her in, dress her in, dress her in? And what shall we dress her in? Dress her in red.
Red for the soldiers, soldiers, soldiers, Red for the soldiers, and that shan't do.
[Then follow blue for the sailors, black for the mourners, and finally--]
What shall we dress her in, dress her in, dress her in? What shall we dress her in? Dress her in white.
White for the dead people, dead people, dead people, White for the dead people, and that will do.
--Auchencairn, Kirkcudbright (A. C. Haddon).
XVII. How's poor Jenny jo, Jenny jo, Jenny jo? He's very ill. Oh, very good, very good, very good. How's poor Jenny jo, Jenny jo, Jenny jo? He's fallen downstairs and broken his neck. Oh, very good, very good, very good. How's poor Jenny jo, Jenny jo, Jenny jo? He's dead. Oh, very good, very good, very good.
--Annaverna, Louth, Ireland (Miss R. Stephen).
(_b_) Two children stand apart; one, who personates the Mother, stands still and holds out her skirts with both hands; the other personates Jenny Jones, and kneels or stoops down in a crouching position behind her companion's outstretched skirts. The other players form a line by joining hands. They sing the first, third, and every alternate verse, advancing and retiring in line while doing so. The Mother sings the answers to their questions, standing still and hiding Jenny Jones all the time from view. When the verses are finished, Jenny Jones lies down as if she were dead, and the Mother stands aside. Two of the other players then take up Jenny Jones, one by the shoulders and the other by the feet, and carry her a little distance off, where they lay her on the ground. All the players follow, generally two by two, with their handkerchiefs at their eyes and heads lowered, pretending to grieve.
This is the more general way of playing the game. In those versions where the reply, "Very well, ladies," occurs, this is sung by the line of children just before they sing, "We've come to see Jenny Jones." Sometimes, as in the Berrington and Chirbury game, two lines of children facing each other advance and retire, singing the verses. They then carry Jenny Jones to a corner, lay her down, stand in a circle round, and sing to her the last verse. In the Hants versions sent by Miss Mendham, six or eight children carry Jenny stretched out and flat, lay her down, cover her over, and then sing the last lines. The rest of the children follow them. In the Irish (Belfast) version the game is played in the same way; the funeral is arranged, when Jenny suddenly comes to life again (W. H. Patterson). In the Southampton version, after the carrying of Jenny by her head and feet to the grave, and the other children following and standing round, Jenny Jones rises up and pursues the children. She is called the Ghost. The children run away in affected terror, calling out, "The Ghost!" Whoever she catches becomes Jenny Jones in the next game. This incident is also played in the Barnes, Northants, Annaverna, co. Louth, Enborne and Liphook versions.
(_c_) This game is played very generally throughout the country, and I have other versions collected from Earls Heaton (Mr. H. Hardy), Barnes (A. B. Gomme), Cambridge (Mrs. Haddon), Hampshire (Miss Mendham), Frodingham (Miss Peacock), Cowes, Isle of Wight (Miss E. Smith), Sulhampstead, Berks (Miss Thoyts), and Platt, Kent (Miss Burne). These versions are so similar to the Hanwell version, with the exception of the "Very well, ladies," that it is needless to print them in full; special differences are noted hereafter. In some places the game is said in a sing-song manner.
Some of the versions differ from the general type in two ways--first, in the method of playing; secondly, in the wording of the verses. The differences in the method of playing direct attention to the connection of the game with ancient custom. The game is always played by the players taking sides; but one method is for one side to consist of only two children (Mother and Jenny Jones), and the other side to consist of all the other players; while the other method is for the players to be divided into two sides of about equal numbers, each side advancing and retiring in line when singing their part. Jenny Jones in some cases walks with the girls in her line until the funeral, when she is carried to the grave, and in others she stands alone behind the line. The way of performing the funeral also differs. Generally two of the players carry Jenny to the grave, the rest following two by two; but in one Hampshire version six or eight children carry Jenny, stretched out and flat, to the grave, and cover her over; in Holywood, co. Down, she is carried sitting on the crossed hands of two players; while in some versions no funeral is apparently performed, the words only being sung. Another significant incident is the Ghost. An additional incident occurs in the Liphook version, which represents her being "swung to life again" by two of the players.
These differences may perhaps be immaterial to the meaning and origin of the game, but they are sufficiently indicative of early custom to suggest the divergence of the game in modern times towards modern custom. Thus the players divided line-by-line follow the general form for children playing singing games, and it would therefore suggest itself as the earlier form for this game. The change of the game from the line-by-line action to the mother-and-line action would indicate a corresponding change in the prevailing custom which influenced the game. This custom was the wooing by a band of suitors of girls surrounded by their fellow-villagers, which became obsolete in favour of ordinary marriage custom. The dropping out of this custom would cause the game to change from a representation of both wooing and burial to one of burial only. As burial only the mother-and-line action is sufficient, but the presence of a wooing incident in the earlier form of the game is plainly revealed by the verse which sings, "Fare ye well, ladies," or, as it has become in the English variant, "Very well, ladies."
The difference in the wording of the versions is slight, and does not need formal analysis. Domestic occupation is shown throughout, washing and its attendants, drying, folding, starching and ironing being by far the most numerous, brewing, and baking only occurring in one. Illness, dying, and death are the usual forms for the later verses, but illness and dying are lost in several versions. The choosing of colours is in some versions not for the mourners but for the dead maiden, and in these cases (six) white is the colour chosen, for "white's what the dead wear."
This question of colours for the dead is a very important one. The dressing of the dead body of a maiden in white by her girl companions, and the carrying of the body by them to the grave, are known village customs, the whole village being invited to the funeral. The rising of the dead lover, and the belief that excessive mourning over a loved one disturbs his or her rest in the grave, thus causing the dead to rise and speak, are shown in old ballads; the belief that spirits of the dead haunt churchyards and places of their former abode may also be adduced in illustration of the ghost incident.
(_d_) The methods of playing, and the incidents revealed by the verses sung, show that this is perhaps the most realistic of all the singing games, the daily occupation, the illness, death, and burial being portrayed, first, in the words of the rhymes, and secondly, by the accompanying action. The Scottish versions make the opening incident that of a lover coming to the house of the loved one, then proceed to the domestic occupation, and finally to the death incident; while the English versions give the idea of village friends calling upon a favourite companion, and subsequently attending her funeral. That the former is the older of the two versions is confirmed by the great probability of the name "Jenny Jones" being a degraded form of "Janet jo." There is some evidence for this. The Sporle version gives it as "Jenny Joe," which is clearly a misunderstood rendering of "Jenny jo." The corruption of this into "Jenny Jones" is exactly what might be expected from modern English ignorance of the pretty meaning of the word jo, "dear;" and to what lengths this corruption may proceed under such influences may be seen by versions from Earls Heaton, where we have "Jingy Jog;" Leeds, where we get "Jilly Jog;" and the Edinburgh version, where we have "Georgina."
This would be an argument for the Scottish home of the rhymes, and for the direct borrowing of the name from Scotland by the English villagers. In furtherance of this view the following passage from Chambers may be quoted:--
In the Stewartry of Kirkcudbright, "Janet Jo" is a dramatic entertainment amongst young rustics. Suppose a party has met in a harvest or winter evening round a good peat fire, and it is resolved to have "Janet Jo" performed. Two undertake to personate a goodman and a goodwife; the rest a family of marriageable daughters. One of the lads, the best singer of the party, retires, and equips himself in a dress proper for representing an old bachelor in search of a wife. He comes in, bonnet in hand, bowing, and sings--
Guid e'en to ye, maidens a', Maidens a', maidens a', Guid e'en to ye, maidens a', Be ye or no.
I'm come to court Janet jo, Janet jo, Janet jo, I'm come to court Janet jo, Janet, my jo.
Goodwife sings--What'll ye gie for Janet jo, Janet jo, Janet jo? What'll ye gie for Janet jo, Janet, my jo?
Wooer--I'll gie ye a peck o' siller, A peck o' siller, peck o' siller, I'll gie ye a peck o' siller, For Janet, my jo.
Goodwife says--Gae awa', ye auld carle!
Then sings--Ye'se never get Janet jo, Janet jo, Janet jo, Ye'se never get Janet jo, Janet, my jo.
The wooer hereupon retires, singing a verse expressive of mortification, but soon re-enters with a reassured air, singing--
I'll gie ye a peck o' gowd, A peck o' gowd, a peck o' gowd, I'll gie ye a peck o' gowd, For Janet, my jo.
The matron gives him a rebuff as before, and he again retires discomfited, and again enters, singing an offer of "twa pecks o' gowd," which, however, is also refused. At his next entry he offers "three pecks o' gowd," at which the good wife brightens up and sings--
Come ben beside Janet jo, Janet jo, Janet jo, Ye're welcome to Janet jo, Janet, my jo.
The suitor then advances gaily to his sweetheart, and the affair ends in a scramble for kisses.--_Popular Rhymes_, pp. 141, 142.
On the other hand, it must not be overlooked that this game-drama and the game of "Janet Jo" have no connection beyond the name of the heroine and the wooing incident; so that the borrowing, if borrowing there be, might have been by Scotland, who improved the commonplace "Jenny Jones" into the pretty sweetness of her Scottish namesake. The Scottish version of the game leaves out the question of the colours for mourning, but, on the other hand, it contains the very important incident of the restoration of the dead. Chambers (_Popular Rhymes_, p. 141) suggests that this incident was introduced for the purpose of beginning the game again, but this seems extremely doubtful, in consideration of the Liphook variant, in which Miss Fowler says, "It is no uncommon thing for 'Jenny Jones' to be swung into life again;" and the still more significant Southampton version, where "'Jenny Jones' appears in the character of the Ghost, and scatters and pursues the surrounding mourners." This detail is also used by the Northants and Barnes children, the version of whose game is very like the Southampton one. On the whole, the analysis would suggest that there has been a game played by the children of both England and Scotland, the leading incidents of which have been varied in accordance with the conditions of life. Mr. Napier (_Folk-lore Record_, iv. 474), in his description of the West Scotland example, evidently considered the game to be thoroughly representative of Scottish life, and this, indeed, seems to be the most striking feature of the game in all the variants. The domestic economy which they reveal is in no case out of keeping with the known facts of everyday peasant life, and many a mother has denied to her child's friends the companionship they desired because of the work to be done.
In most cases the burden of the song rests upon the question of health, but in two cases, namely, Colchester and Deptford, the question is put as to where "Jenny Jones" is at the time of the visit. It is curious that the refrain of "Farewell, ladies," should appear in such widely separated districts as Scotland, Northamptonshire, Norfolk, Middlesex, Hants, Lincoln, and Barnes.
With reference to the colours for mourning, there is an obvious addition of crape introduced into the Deptford version which is very suggestive of the decadence going on. The four colours used in most versions are red, blue, white, and black, colours which have been known to the people from ancient times. Black is accepted as the correct colour in all versions except five, where white is declared to be the colour which the dead wear. The method of question and answer is adopted for all the rhyme-movements. The tune of the game, with but slight variation, in all the versions is the same as that given from Platt, near Wrotham, except the two which are printed from Northants and Belfast.
Jenny Mac
Jenny Mac, Jenny Mac, Jenny Macghie, Turn your back about to me; And if you find an ill baubee, Lift it up and gie't to me.
Two girls cross their arms behind their backs, and thus taking hold of each other's hands, parade along together, by daylight or moonlight, occasionally turning upon their arms, as indicated in the rhyme. Another rhyme for this amusement is--
A basket, a basket, a bonny penny basket, A penny to you, and a penny to me, Turn about the basket.
--Chambers's _Popular Rhymes_; p. 123.
See "Basket."
Jib-Job-Jeremiah
An undescribed Suffolk game.--Moor's _Suffolk Words_, p. 238.
Jiddy-cum-jiddy
A northern name for "See Saw."
Jingle-the-bonnet
A game in which two or more put a halfpenny each, or any piece of coin, into a cap or bonnet. After jingling or shaking them together, they are thrown on the ground; and he who has most heads when it is his turn to jingle, gains the stakes which were put into the bonnet.--Jamieson.
Halliwell (_Dictionary_) says this is a northern name for the game of "Shake Cap," and Brockett (_North Country Words_) speaks of it as a game much practised among the young pitmen and keelmen.
Jingo-ring
Here we go by jingo-ring, jingo-ring, jingo-ring, Here we go by jingo-ring, and round by merry-ma-tansy.
--Sporle, Norfolk (Miss Matthews).
Sung to the "Mulberry" or "Ivy bush" tune.
The children form a ring and dance round singing. At the last word they all fall down.
See "Merry-ma-tansa."
Jinkie
A game among children, in which they run round a table trying to catch one whose business is by quick turns to elude them.--Jamieson.
Jock and Jock's Man
A juvenile sport in which the _bon camarada_ is to repeat all the pranks which the leader can perform.--Brockett's _North Country Words_.
See "Follow my Gable," "Follow my Leader."
Jockie Blind-man
Scotch name for "Blind Man's Buff."--Jamieson.
See "Blind Man's Buff."
Joggle along
I. Come all you young men In your youthful ways, And sow your wild oats In your youthful days. Then you'll be happy, Then you'll be happy, As you grow old. For the day's far spent, And the night's coming on, So give us your arm, and We'll joggle along.
--Penzance, Cornwall (Mrs. Mabbott).