QUEEN JANE APPROXIMATELY

A version of this will be part of DIG YOURSELF: THE RISE OF BOB DYLAN, 

the third volume in the PICASSO OF SONG trilogy

EXTRACTS:  FULL TEXT HERE 

Queen Jane Approximately is an elusive, enigmatic song whose subject is a shadowy figure who may or may not be a real person. Although it appears to be directed at a woman, it can hardly be described as a love song. Dylan’s songs on Highway 61 Revisited are peopled by a range of historical characters, but there is no reason to suggest that the narrator is addressing Henry VIII’s third wife Jane Seymour (the subject of the traditional ballad The Death of Queen Jane) or the briefly enthroned Lady Jane Grey.

JANE SEYMOUR

In fact, the naming of the woman as a ‘Queen’ seems to be rather sarcastic. We can, however, imagine that she is some kind of artist or celebrity with a following of sycophants whose advice is not helpful. When an interview asked him who Queen Jane was, Dylan famously replied …Queen Jane is a man… Of course, this response might just be his usual deliberate attempt to lead astray those who try to interpret his songs literally, or try to assert that the song is actually ‘about’ some love interest of his. But the narrator shows no obvious romantic inclinations. The name ‘queen’ can refer to a gay man as well as a female monarch. ‘Queen Jane’ is perhaps as much Allen Ginsberg or Andy Warhol as she is Joan Baez. If she really is a woman, she is only ‘approximately’ so.

ANDY WARHOL

Queen Jane

The song was not performed live until 1987, but was played over eighty times between then and 2021. A rather languorous live version appeared on the Dylan and the Dead album. It has been covered by a number of artists but it demands a very special vocal approach – hinting at seriousness but quite cutting in its mockery of its subject. This is a difficult trick to pull off vocally. Various other artists, such as Emma Swift and Bob Weir have produced acceptable versions, but this is a song that requires a particularly seamless mixture of seriousness, humour and self restraint in order to do justice to its uniquely satirical undertones. The most skilful country singers, like Hank Williams, Johnny Cash, Patsy Cline, George Jones and Dolly Parton were expert at combining the expression of emotion with such a self-deprecating tone. Although Queen Jane cannot be labelled a country song, Dylan learned much about the subtleties of vocal expression from such singers. The country-rock singer Lucinda Williams’ 2020 version, which is delivered in her characteristic slightly self mocking drawl, perhaps comes closest to Dylan’s efforts.

As ever with Dylan’s most effective songs, the ambiguity of Queen Jane is its strength. The song is not concerned with the character of Queen Jane herself, of which we learn very little. The entire song deals with others’ reactions to her. There is also little indication as to who the narrator is and what his relationship with her might be, although he does appear to be offering himself as some kind of friend or sanctuary. She may or may not be a famous person who Dylan has only heard or read about and perhaps the entire ‘conversation’ in the song is a mere fantasy. The key elements of the song are the complex emotions and attitudes that the narrator is wrestling with. Some commentators have even asserted that the title character may even be Dylan himself, or the part of him that has become disillusioned with (or bored with) fame.

The entire song consists of an address to ‘Jane’. It has just five verses of five lines each, with the final two lines of each verse consisting of the repeated invocation …Won’t you come see me, Queen Jane?… In many ways it resembles the contemporaneous Positively Fourth Street in that the apparent cynicism of the lyrics is set against a compellingly sweet melody and an easy to sing refrain, which gives it the quality of an infectious pop song. The original recording begins with an attractive piano figure played by Paul Griffin, which acts as a counter melody throughout. This is set against prominent washes of Al Kooper’s organ. Dylan’s vocals are sharp and passionate, as if he is fearlessly cutting through the mystery that the song presents. But he seems to have his tongue in his cheek throughout. The presentation of emotion hovers on the edge of self parody, as Queen Jane can hardly be said to be really suffering. Much of the dark humour of the song is conveyed by Dylan’s judicious use of memorably ironic rhymes.

Queen Jane

We are first presented with something of a conundrum: …When your mother sends back all your invitations/ And your father to your sister, he explains/ That you’re tired of yourself and all of your creations… The ‘invitations/creations’ rhyme is especially striking here, with Dylan placing some judicious emphasis on the second word, so communicating a strong sense of ennui. Jane is apparently ‘tired of herself’ and of whatever artistic works she has produced. The narrator appears to be offering her solace from this dilemma. The word ‘creations’ is the only indication in the song that Jane is some kind of artist, although the word ‘creations’ can of course be used in a number of different contexts. Perhaps Jane is some kind of Greek goddess, languishing in boredom on Mount Olympus and looking for excitement. Or perhaps she is a penniless artist or a famous singer or writer. Dylan’s urgent delivery seems to break through some kind of barrier here, as if he is singing directly to her – or perhaps directly into a mirror.