Five millions of people cannot rest in their bed,
The murderer’s knife seems to hang o’er their head,
This demon is hiding in a mysterious way,
Pray Heaven the villain is taken today.
These verses are from one of a number of street, or ‘broadside’, ballads produced about the Whitechapel murders, perpetrated by someone known only as ‘Jack the Ripper’.
When the Ripper first struck, London’s east end was already a byword for depravity and crime. From its origins and later development into a seething dockland and sailortown the district was rookery of sin which frequently proved everybody right about the bad things it was commonly said to spawn. But this was something especially grotesque.
Perhaps twenty minutes before 4am on 31 August 1888, a passing workman discovered the still warm body of ‘Polly’ Nichols in Buck’s Row, not far from Bethnal Green. It was a dreadful sight. Her head was almost severed by a savage slash through the throat and her abdomen was deeply gashed with a very sharp instrument. Her dress was pulled up to her waist, possibly related to her work as a prostitute. The attending surgeon noted a wine glass and a lot of blood in the gutter.
‘Polly’ was the street name of Mary Ann Nichols. She was forty-three years old, though looked ten years younger, and stood just over five feet tall with greying brown hair and grey eyes. An alcoholic, Polly was seen staggering drunk an hour earlier and spoke of her intention to find a client to pay for her night’s doss.
Eight days later, another dead prostitute was found. Annie Chapman has been sliced up much like Polly Nichols, but this time the killer had removed and taken away some internal organs. Alongside her right shoulder lay her small intestine. The uterus and part of the bladder had been removed. The mutilated remains lay in a yard in Hanbury Street and were discovered just before 6am. The attending surgeon thought the horrific wounds must have been inflicted by someone with ‘great anatomical knowledge’.
On 30 September, the remains of ‘Long Liz’ Stride and Catherine Eddowes are found. Swedish-born Stride, 45 years old, has her throat sliced open. She is not mutilated, unlike poor Catherine, whose body is not far away in Mitre Square. In her forties and just five feet tall, her intestines have been sliced out and placed over her right shoulder; the killer has taken a kidney for a souvenir, or worse, along with her uterus. Many of her other organs are also mutilated, including her lower eyelids. When the remains arrive at the mortuary, ‘A piece of deceased’s ear dropped from the clothing’.
These murders were committed in the streets, giving the killer little time to perform whatever dark urges drove him. The next one took place in a lodging house bed in Miller’s Court. With no one to disturb him the serial murderer now dubbed ‘Jack the Ripper’ thoroughly mutilated twenty-five-year-old Mary Kelly, scattering most of her body parts around her and on the bedside table. Both her breasts had been removed.
Several other women had been murdered in the Whitechapel area before Polly Nichols died. The circumstances of their deaths were not the same as those of the five women who are generally accepted as bona fide Ripper victims, but the press, the police and the public all speculated about a serial killer at work in the area. And there were other murders after the death of Mary Kelly, fueling a hysteria and a macabre mystery that persists to the present. These events were also featured in several street ballads.
The ballad business was in decline by now, finally bested by the superior technology and more effective distribution of newspapers and the sensational ‘penny blood’ magazines. But by the following year, if not long before, at least two Ripper ballads were being sold in Scotland, where a couple of gents were regaled by a ballad seller on his route to Inverness with no less than two classics of the genre. ‘The Demon Jack the Ripper’ focused on the fate of the last victim:
“The demon Jack the Ripper,
Has begun his work once more,
His hate for women is bitter,
He delights in human gore,
The last victim Mary Kelly,
But twenty-six year of age,
Has been served much worse by London’s curse,
You will say I will engage.
Chorus
The demon Jack the Ripper,
Is at work once more,
In Spitalfields Mary Kelly he killed
and left her in her gore.
The rough and ready verses gave a fair account of the state of Mary’s remains:
In the room where she was living.
Her naked body was found,
The Ripper no clue was giving
To those who lived around.
Her body was cut in pieces,
And portions taken away,
Her flesh ’tis shown stripped from her bones,
A terrible sight she lay.
There were some details of Mary’s Irish background and how she ‘fell into shame when to London she came’. Finally, the ballad voiced the question on every mind – when were the police – now considering the use of bloodhounds – going to catch the Ripper?
Where’s the noted bloodhounds,
That such wonders were to do,
That Jack the Ripper is not found
It must seem strange to you.
The authorities in London,
must adopt some more secret plan
Without bloodhounds to hunt him down
For he must be Satan and not a man.
The other song offered by the peddler was ‘The London Murderer’, a catalogue of the Ripper’s crimes and their instant notoriety:
This murderous history has spread thro’ the world.
Of all these poor women to Eternity hurled.
Again, the question why ‘the great men of our modern times’ ‘fail to discover these cowardly crimes’ and the fear in the streets:
Five millions of people cannot rest in their bed,
The murderer’s knife seems to hang o’er their head,
This demon is hiding in a mysterious way,
Pray Heaven the villain is taken today.
The world has ne’er known such cruelty before,
Not even abroad on some savage shore,
Tho’ for a time this monster may flee,
Burnt at the stake this fiend ought to be.
The ballad seller was rewarded with the sale of a shillings-worth of his stock, and a nice tip from his listeners. [1] His songs perfectly reflected the combined fascination with the grisly murders and the fear they produced in the streets of London and much further afield. And they probably helped it to multiply and spread.
[1] From The Inverness Courier, 15 February 1889. See also Paul Slade’s excellent Planet Slade site for more on murder ballads and much more besides at http://www.planetslade.com/index.html. Interestingly, Catherine Eddowes may have been involved with the street ballad trade herself in and around her hometown, see